Juliana Hatfield’s 2018 tribute to Olivia
Newton-John, Juliana Hatfield Sings Olivia Newton-John
(naturally), was as satisfying as it was unexpected. One of the most
underrated singers of the ‘90s, Hatfield, turned her distinctively
impassioned vocals on songs that for decades had become shorthand
for ‘80s bubble gum pop for many cynical listeners and in doing so, was
able to get across her genuine appreciation for songs that shaped her
as a musician.
it should come as no surprise that
Hatfield brings the same mix of deference and love to this set of songs
by The Police, another one of her big musical influences. This
collection includes some of their biggest hits (“Can’t Stand Losing
You,” “Roxanne,” “Every Breath You Take”) as well as
deeper cuts (“Rehumanize Yourself,” “Landlord”) and each track here is
essentially a love note to the trio, building onto the foundation they
created decades ago with her own unique style. And while there is not a
single song on this record that should be
skipped past, her versions of “De Do Do Do, De Da Da Da” and “Canary In
the Coalmine” are no less than remarkable.
So much more than a standard covers album or tribute record, Sings the Police obviously comes from a place of joy and respect. Can’t wait to see who gets the Hatfield treatment next.
We previously covered Juliana’s music; visit John’s review for Whatever, My Love from 2015.
Juliana Hatfield – Sings The Police/12 tracks/American Laundromat Records/2019
Ah, the covers album. Once seen as little
more than a stop gap until the band could pull together enough new
material for a new album,
lately, thanks to folks like Corb Lund and Ben Lee’s soon-to-be
released record, cover albums seem to be moving towards a much more
satisfying experimental phase (Americana Lund covering AC/DC, Indie
stalwart Lee covering Fugazi, for example).
And while The Mavericks don’t venture too far beyond their influences on
Play The Hits, the record is still crammed with a mix of good-to-great cover songs.
Among the best is their take on Waylon
Jennings’s “Are You Sure Hank Done It This Way” and the fantastically
inventive spin on Springsteen’s
“Hungry Heart,” complete with their trademark Tex Mex horns and
accordion. Even on some of the more ho hum tracks here, like John
Anderson’s “Swingin’” (the early ‘80s country song was never that great
to begin with), the band manages to elevate the original
thanks to Raul Malo’s remarkably smooth croon (his voice on Hank
Cochran’s “Why Can’t She Be You” is simply stunning). The band’s stated
goal was to tackle songs that they started playing early on in their
three decades together as a group. That explains why
Presley’s “Don’t Be Cruel” was in the mix, despite that song having
nearly been covered to death at this point.
Though not as great as their last few albums of all original songs, Play The Hits is still a fun holdover until the band comes back with another record.
THE MAVERICKS – Play The Hits / Thirty Tigers & Mono Mundo Recordings / 2019 / Facebook /
Kim Shattuck, singer/guitarist for the shockingly underrated band The Muffs, died unexpectedly just weeks ago, after a two-year battle with ALS that many outside of her close circle were unaware of. She left a brilliant legacy, with half a dozen near-perfect pop punk records to her name, a dedicated fanbase and a slew of heartbroken, normally jaded music journalists who were charmed by their interactions with her over the years (myself included).
It hardly surprising then that No Holiday, a record that she and the band were in the process of promoting when she unexpectedly passed away, lives up to their already impressive output. At 18 songs (18!), their first LP in five years comes out on Omnivore Recordings, fittingly the same label that recently reissued the group’s first three records and helped remind the world just how brilliant The Muffs were. No Holiday manages to be both remarkably nostalgic, capturing the vibe of those earlier efforts, while also building on their trademark sound, adding in several new musical directions. The taut pop punk rhythms are still there as are Shattuck’s glorious fuzzy power chords and her tough as a slap to the face vocals (probably one of the most undervalued in the punk rock world), but the trio manages to expand on that sound, with some of their slower tempo jams, like “Earth Below Me” with it’s plunked out clean guitar lines and “Lovely Day Boo Hoo,” with its melancholy vibe and acoustic guitars. This diverse collection actually manages to bolster the band’s reputation. They’re a little less sloppy than that solid 1993 debut, but Shattuck’s exasperated scream in the middle of “Late And Sorry” shows they are still very much that band many fell in love with so many decades ago.
Eighteen tracks, usually a sign of a group that could use a little outside help cutting some of the fat, proves that the band was just hitting it’s stride. Eighteen songs and No Holiday still leaves you craving more. Long live Kim Shattuck.
THE MUFFS – No Holiday/18 tracks/Omnivore Recordings/2019
takes a real knack to retell a story that many have likely heard many
times before and still manage to make it compelling. As listeners of the
podcast Disgraceland have already figured out, Jake Brenan is that rare
narrator who can.
true crime podcast focuses on musicians and those connected to them and
the darkness that follows them usually connected to fame, drugs and
(but mostly drugs). The book, appropriately enough sharing the name of
the podcast, uses the same concept and it is equally addictive. Brennan
bookends this collection of stories with a focus on Elvis – fat and
skinny/Elvis on the rise and on his way out.
The most complex story of the bunch, it mixes a fair amount of reality –
his corrupt Con Man manager, his ballooning weight and reliance
on drugs and his obsession with guns – alongside a fantastical, but
wildly entertaining sequence where over the hill Elvis is talking with a
svelte, cool Rockabilly version of what he could
between, Brennan recounts true stories about Sid Vicious in his last
days, Gram Parsons corpse theft and Phil Spector’s bizarre relationships
murder of one of his guests, among many other true tales.
anyone even remotely interested in the more macabre side of rock, most
if not all of these stories are likely familiar. But it’s Brenan’s flair
telling them that makes this book so captivating.
Disgraceland: Musicians Getting Away With Murder and Behaving Very Badly By Jake Brennan/Hardcover, 288 pages/Grand Central Publishing/2019
Who would have thought some of the best
Outlaw Country-inspired music would be coming out of the Pacific Northwest?
Right On Time, their second LP and first since 2015, The Lonesome
Billies pick up right where they left off, but with a little more
groove this time around. Across a dozen tracks of twangy Telecaster
riffs and a baritone that even Waylon Jennings would
envy, The Lonesome Billies prove they deserve just as much attention as
folks like Sturgill Simpson and Jason Isbell for making it safe to
finally enjoy country music again.
like “Sad Old Man” and the so brilliantly,
smartly macabre it could have been written by Johnny Cash “If You’re
Gonna Hang Me” go on to highlight just how sorely these guys have been
missed over the last few years. The general song themes: death,
loneliness and simply not giving a shit also bring to
mind a lot of the punk acts that clearly had as much influence on the
band as the Outlaw Country giants of the ‘70s.
The Lonesome Billies are back and they’ve
brought more hooks and a lot more funk for this go ‘round.
The Lonesome Billies – Right On Time (Vinyl) /12 tracks/Stay Lonesome Records/2019
If Dr. John grew up a punk rocker in the Midwest rather than in the jazz and funk clubs of voodoo-soaked New Orleans, chances are he’d sound a lot like Jake La Botz.
They’re Coming For Me, the Nashville, by way of Chicago, musician
turns in a wildly eclectic, deeply satisfying gumbo of blues, funk,
jazz and even snatches of rock. And despite being decades younger than
the brilliant, dearly missed Night Tripper, you
can hear traces of his influence in both Botz’s music as well as his
fantastical characters. It’s the music that first draws you in, from
haunting guitars, organs and pianos. But’s it’s the characters in the
songs that keep you coming back for more, whether
it’s stories about Sasquatch, (“Hey Bigfoot”) or a song about a guy
trying to fix everything around him with glue… or likely about something
so much more (“Johnnybag the Superglue”). It’s Botz’s knack for a witty
turn of phrase that makes this set so compelling.
Elsewhere songs like “Grace Of The Leaves” and “Without The Weight,”
two of the most stripped down tracks from this collection, manage to be
just as captivating.
They’re Coming For Me, Botz’s sophomore effort, he has manages to
up the stakes considerably thanks to such a strong effort, likely
earning him a slew of new followers and setting a pretty high bar for
his next act.
Jake La Botz – They’re Coming For Me/12 tracks/Hi-Style Records/2019
Nineteen-seventy’s power pop never sounded so
good. Portland-based four piece Daystar may borrow inspiration liberally from
bands like Big Star, Wings and Badfinger, but their songs still manage to smack
of originality. The Complete Recordings is a masterclass in building,
taking the foundation of some of the best post-Beatles bands to ever commit to
wax and then erecting a wildly satisfying modern take on those sounds.
Comprised of veterans of various Northwest
bands, the members of Daystar – despite playing in groups that were previously all
over the genre map – shared a fondness for classic power pop and it shows.
Songs like the beautifully sublime “Warped Reality” and “A Lot Of Love” are
vaguely nostalgic, with a timeless vibe. Elsewhere, the band shows they’re not
afraid of volume with up tempo tracks like “Buttons & Brass.” Chill and
mellow or turn-it-up rock and roll, The Complete Recordings has a vibe
for just about any mood.
Daystar – The Complete Recordings/12 tracks/Self-Released/2019 / Bandcamp /
is no venue more appropriate for
Old Crow Medicine Show to record their live album in than Nashville’s
Ryman Auditorium, the 125 year old historic landmark that was once
formerly known as the Grand Ole Opry and is essentially mecca for
Country, Bluegrass, Americana and all of the various
offshoots. It also happens to be the local venue for the brilliantly
talented Nashville-based Americana String Band Old Crow Medicine Show
and has been their go-to stage in Nashville since 2001.
11 track album, which perfectly captures
the band’s exhilarating live show – in this case the songs were taken
from a slew of sets performed at the Ryman over the years – is also a
love song of sorts to the venue. The band plays a number of standards
that have echoed through the auditorium for years
like “CC Rider,” “Sixteen Tons” and the gospel classic “Will the Circle
be Unbroken.” The band also finds time to include some of their own
classics like “Bushy Mountain Conjugal Trailer” and a raucous version of
“Methamphetamine.” The highlight however is
the duet with Margo Price on the infectiously catchy “Mississippi
It’s hard to imagine a live album able
to perfectly capture the spirit and vibe of an Old Crow Medicine Show, but Live At The Ryman
is probably the closest we’ll ever get.
Old Crow Medicine Show – Live At The Ryman/11 tracks/Columbia Records & The Orchard/2019 / Domain /
before the current generation of garage rock punks were even birthed,
the Dogmatics were pioneers of the genre, with the band’s brilliant
1986 debut and for 30 years, sole release.
The Boston band is finally back with the 5-track She’s The One EP and time has certainly been kind to the band.
of this album are wildly, pleasantly all over the place, from the title
track; the self-explanatory “I Love Rock and Roll;” an
ode to summer (“Summertime”); a track about Trump’s outrageously out of
touch Secretary of Commerce (“The Ballad of Wilbur Ross”); and a
closing tune about footwear (“Black Plastic Shoes”). Throughout the band
tears through each song with frantic, fun abandon.
Who knows what prompted this reunion, 33 years later, but it’s clear that they’ve managed to sand away any possible rust that may have settled in over the past several decades, offering a revisiting of a band that always deserved a much wider audience beyond their native Boston. She’s The One could very well be the release to make that happen.
Dogmatics – She’s The One/5 tracks/Rum Bar Records/2019
For close to a decade now, Brett Newski has been living the troubadour life. And not, “oh, that guy tours for a month at a time, he’s a real troubadour.” No, the Wisconsin-based musician Newski, began his career in 2011 with a six-month Southeast Asia tour. He followed it up the next year with a 20-date South African tour and has pretty much been on the road ever since – playing festivals, opening for everyone from the Violent Femmes to Barenaked Ladies, to playing living room and basement shows. Sometimes with a buddy on drums, but more often than not traversing the globe alone, his live shows are a thing of wonder and beauty. Part stand up, part serenade, he even manages to play his own backbeat through foot pedals, accompanying himself on guitar and occasionally the kazoo.
It’s a wonder that it’s taken him this
long to put out a live record. He does a good job of filling 14 tracks
here with a nice cross section
of music from his last few albums, from the deeply comical (“DIY”) to
the slightly more earnest (“Ride”), with plenty of his charmingly witty
banter interposed throughout.
While it hasn’t completely captured the feel of a Newski live show – that would be virtually impossible – it does a pretty admirable job. Live In Wisconsin is certainly worth picking up and playing on repeat until Newski comes through your town again. And based on his track record, that’s probably just a few weeks from now.
BRETT NEWSKI – Live in Wisconsin/14 tracks/Self-Released/2019