Hardly Electronic - The Essex Green

Hardly Electronic

The Essex Green

Merge LC 29279

2018

Back in the late 1990s and early 2000s I was heavily into the Elephant 6 bands and this group was one of my big faves.  I used to listen to their "Everything is Green" CD all the time and would dearly love to see it reissued on vinyl someday.  They came to town on tour with another band I liked, the Ladybug Transistor (Jeff Baron and Sasha Bell were in both bands at the time.)  I got all excited but life intervened and I missed the show.  It bugged me for years and it only got worse when the Essex Green broke up.  Then 12 years after their final album, this album appeared and the band went on tour.  I finally got to see them at the Zebulon and it was worth the wait.  I had a great time and they sounded wonderful.  I was hoping they would keep going but then the pandemic hit and the band appears to be hibernating again.  If this is the end, it is a wonderful way to finish.  The album opens with the irresistible "Sloane Ranger" which I think is one of their best ever songs.  I'm not sure what is the connection to the British social stereotype mentioned in the title but it seems to be a paean to escape and freedom.  It features an exhilarating organ riff and a propulsive rhythmic drive that makes it very exciting.  I can't help bopping around when I listen to it.  I played it over and over when I got the album and it was the highlight of their show at the Zebulon for me.  "The 710" continues in a similar power pop vein.  It is sweetly sung by Bell as she describes a romantic adventure.  The chorus is extremely catchy and inviting.  "Don't Leave It in Our Hands" is the most remarkable song on the album and again one of the best things they've ever done.  It opens with a killer rhythm track upon which are layered multiple vocal lines and soaring harmonies.  The rousing chorus swells like the Arcade Fire at their best.  The lyrics are poetic and enigmatic but I interpret them as a warning against the alienating influence of social media and cellphones on the younger generation.  The lyrics are ominous but the music is  stirring, almost ecstatic.  A truly great song.  The tone shifts dramatically with the tender chamber pop of "In the Key of Me" which features introspective lyrics about a relationship that seem autobiographical.  The song is delicately crooned by Bell until the poppy middle section which sounds like radiant sunshine pop.  "Modern Rain" is more melodic chamber pop driven by electric piano and featuring lovely harmonies.  I think it is a song about creativity but I find it ambiguous. Side two opens with the upbeat "Catatonic" which has a sunshine pop sound and an ebullient vocal from Bell.  "Patsy Desmond" is a haunting moody song that recalls the singer's experiences with the title character.  The lyrics are poetic and evocative and I find the song very compelling.  There is another dramatic tone shift with "Bye Bye Crow" which is a jaunty country rocker.  "Another Story" dissects a female acquaintance with a classic pop sound that evokes the 1960s but still sounds modern in the classic Elephant 6 manner.  It really pushes my buttons with its punchy rhythm section and ringing riff.  The album concludes with "Bristol Sky" which has a folky flavor with chamber pop flourishes and more poetic and enigmatic lyrics.  It gives the album a gentle yet resonant finish.  I should note that the CD version of this album has 4 additional songs which I'm a little miffed about.  They are all good although the only one I really miss is "Smith & 9th" and if I were programming the vinyl I would have swapped it for "Bye Bye Crow."  I'm a big fan of Merge and appreciate them releasing this record but I don't think omitting those songs treats it or vinyl buffs fairly.  I don't like ranking albums, but I think this may be the best album the Essex Green have ever made.  It's maturity, lyrical depth and sonic richness impress me and I'm hoping I won't have to wait until 2030 to hear their next one.  Recommended to fans of early Belle and Sebastian. 

Christmas Party - The Monkees

Christmas Party

The Monkees

Rhino RI 573134

2018

This was my go-to record this past Christmas.  Even though I knew this would not really be a Monkees album when it came out, I was still excited to get it last year.  It is basically a Micky Dolenz record with cameos from Michael Nesmith and Peter Tork, plus some archival recordings by Davy Jones.  To be even more accurate it is closer to being a Fountains of Wayne album with lead vocals by Dolenz which I think is probably a good thing.  I love the Monkees but I have my doubts about Dolenz on his own and besides I am also a Fountains of Wayne fan.  That band's Adam Schlesinger played bass and keyboards for most of the tracks and produced most of it as well.  He brought in bandmate Brian Young to play drums on the record and Jody Porter for a track as well.  Schlesinger had also had a big role in the prior Monkees' album "Good Times!"  He died last year of Covid-19 which along with Peter Tork's passing in 2019 gives this record a special poignancy for me.  The album opens with "Unwrap You At Christmas" by XTC's Andy Partridge which features a bouncy poppy tune to accompany mildly salacious lyrics.  "What Would Santa Do" was written by Rivers Cuomo of Weezer.  It is a punchy tune with an ebullient chorus and amusing lyrics in which the singer gets cuckolded by Santa Claus so you know this record is not directed at the kiddies.  Davy Jones sings "Mele Kalikimaka" by Robert Alex Anderson.  The vocal is lifted from a Christmas cassette Jones made in 1991 with Chip Douglas featuring new instrumental backing from Schlesinger and crew.  It is the sort of music hall type song Jones excelled at and his performance is very charming.  "House of Broken Gingerbread" was written by Schlesinger and Michael Chabon.  It is power pop with psych overtones featuring an inspired vocal from Dolenz that reminds me of the Monkees' "Porpoise Song."  The lyrics describe more Christmas debauchery.  Michael Nesmith croons the venerable classic "The Christmas Song" by Robert Wells and Mel Tormé which is given a lush interpretation with country embellishments courtesy of Pete Finney's steel guitar.  Even in his prime Nesmith did not have the chops to handle this song, but I find his clumsy yet sincere vocal rather endearing.  His son Christian produced and arranged the song and plays guitar and keyboards on it as well.  "Christmas Party" was written by power pop heavies Peter Buck and Scott McCaughey.  It is the most raucous and hard rocking song on the album as is appropriate for a song about a wild Christmas party that name checks James Brown, Darlene Love and, in a nod to Monkees fans, Auntie Grizelda.  The song opens with some Monkees dialogue that I assume was lifted from their TV series.  The side concludes with a lovely cover of Big Star's "Jesus Christ" by Alex Chilton.  Prior to this album I would never have believed that Micky Dolenz would someday be singing a song from "Third" but here it is and he does it very convincingly.  Side two opens with a cover of Wizzard's "I Wish It Could Be Christmas Everyday" by Roy Wood.  It is an exuberant song with a sunshine pop sound worthy of the Turtles.  Jones takes on another Christmas classic with Jay Livingston and Ray Evan's "Silver Bells."  Once again the vocal is lifted from Jones's Christmas cassette with tasteful new instrumental backing.  The song suits Jones very well.  Dolenz returns with a delightful cover of Paul McCartney's "Wonderful Christmastime."  It sticks pretty close to the McCartney version and is one of my favorite tracks on the album.  Nesmith dips into the past with his version of Claude and Ruth Thornhill's "Snowfall" which dates back to 1941.  The song was produced by Nesmith's son Jonathan who also plays all the instruments and sings back up.  Nesmith's vocal is pretty weak but his son covers up for him with a very dense and rich arrangement.  Peter Tork finally makes an appearance humbly warbling "Angels We Have Heard On High" in a bare bones country arrangement featuring Tork on banjo.  Tork's voice sounds frail presumably due to his illness, but I nonetheless find his performance moving and charming, easily the most authentic moment on the album.  Dolenz gets to break out his soul man schtick for the rhythm and blues Christmas classic "Merry Christmas, Baby" by Lou Baxter and Johnny Moore.  The song is given a heavy lumbering treatment that gives Dolenz plenty of room to emote.  The record concludes with a 1967 acapella performance of the 16th Century Spanish song "Riu Chiu" which was taken from "The Monkees" tv show and is the only track to feature the group performing together on the record.  It is a little jarring to hear the lads sounding so young, but it does give the record a memorable and touching finish.  I love this album but I have to admit it is not very cohesive.  The Dolenz tracks and the tracks from his bandmates sound like they come from entirely different albums.  On the other hand you could say that about some of the original Monkees albums as well.  I dig the eclecticism and there are no tracks on here that I do not thoroughly enjoy.  It will be spinning on my turntable for many Christmases to come.  Recommended to fans of Sloan and the Posies.