Medleyville

Simplistic blueprint puts the hooks front and center

Some of Pete Yorn's detractors refer to him as "Pete Yawn," and the derisive name has fit a little too well over the course of his career. The singer/songwriter has sounded a bit bored himself on the sensitive-guy mush that at times bogs down his albums.

Compared against this body of work, Yorn's fifth, self-titled solo studio disc sounds all the more refreshing. On the taut, 11-song set — cranked out on a whim in five days, with the Pixies' Frank Black producing — Yorn exudes the energy and verve of his ballyhooed 2001 release, musicforthemorningafter, and recalls why that debut album was so well-received. Some of these recordings aren't so eloborately crafted (though the earnest, polished "Stronger Than" would surely fit on an earlier album), and that is to be expected. But in the spirit of this project's spontaneity, they are more than sufficient.

The raw "Badman," with its ragged riffs and spoken-shouted vocals, feels a tad tossed-off, but in this context, it works. The important thing is that Yorn sounds revitalized. The simplistic blueprint employed here — layered guitars prominent in the mix, stripped-down production, bare-bones drum tracks — does more than enhance the off-the-cuff vibe. It also puts Yorn's hooks front and center, right from the opening strains of leadoff track "Precious Stone," as catchy and saccharine a love song as he has penned.

Also striking on Pete Yorn (Vagrant Records) is that Yorn flashes a bit of wit and humor, elements sorely lacking in his previous work. "Velcro Shoes" is a childhood flashback to having worn the ubiquitous '80s footwear. On "Rock Crowd," Yorn would have us believe he is a nervous wreck without his adoring audiences ("I feel glad when you all surround me/It's you, it's you who grounds me/When you're done put me back where you found me"), and he plays the part well, with uneasy, frog-in-his-throat vocals — one of several performances on the album that showcase Yorn singing clearly and passionately, getting away from his warbling tendencies.

Maybe it was the collaboration with Black, or a simply a desire to cut loose after last year's sleepy Back & Fourth that seems to have sparked Yorn (and it's probably no coincidence that this his first effort for an independent label, after four records with Sony). In any case, Pete Yorn is the sound of him fulfilling a lyric from this disc: "Play me a song, sing your heart out."

— By George Henn

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THROUGH THE PAST, SMARTLY

For those who arrived at the party rather late — meaning the first new Rolling Stones record you ever bought had a big red tongue splayed across its label — the five years and 99 minutes contained within Chrome Dreams' fine new The Rolling Stones: The Mick Taylor Years DVD will serve as a more than welcome addition to all of your recently-acquired Exile on Main St. collectibles.

In fact, should you consider yourself a part of the ever-expanding constituency who swear the Stones' best work was done during that half decade between the death of Brian Jones and the arrival of Ronnie Wood, this is one documentary which absolutely deserves your undivided attention.

Beginning as the 1960s became the 1970s and The Rolling Stones were struggling to grow all the way from "England's Newest Hit Makers" into "The World’s Greatest Rock 'n' Roll Band," we hear the entire journey recounted by an impressive list of Stones biographers, historians and even session musicians. Plus, we see the events themselves unfold not only via promotional clips but in newsreel footage from the band's initial, free Hyde Park concert with Mick Taylor clear through those landmark 1969 and 1972 North American tours that forged the soon-to-become fantastically lucrative U.S. arena-rock circuit.

The point repeatedly made during this entire film is how key a role Taylor actually played in these remarkable achievements: First, he joins the band at an ideal time, fully prepared to face audiences who by 1969 were expecting to listen to, rather than simply scream at, rock concerts that now lasted much longer than 30 minutes. With this, Taylor introduces to the Stones a new and subtly fluid approach to his instrument — a style that at first challenges fellow guitarist Keith Richards, soon perfectly complements him, and by 1973 practically supplants him both onstage and in the studio.

Still, most fascinating to me are this film’s interviews with Exile on Main St. support musicians Al Perkins and Bill Plummer, both of whom offer rare and insightful glimpses into the Stones' recording techniques and intra-band relationships. Sadly, their stories (not to mention all those involving Gram Parsons) were left completely untold in the band's own recently released Stones in Exile film. I wonder why?

Acclaimed S.T.P.: A Journey Through America With The Rolling Stones author Robert Greenfield then explains how the tale quickly starts to wind all the way down for the band, creatively at least, as he references the star-studded guest list Atlantic Records chairman Ahmet Ertegun assembled for Mick Jagger's 29th birthday party in New York City. Rock 'n' roll — and The World’s Greatest Rock 'n' Roll Band along with it — now found themselves not only fully embraced by high society but confronted with its accompanying high-stakes corporate dalliances as well. Rock was fast becoming Very Big Business, and Jagger in particular became utterly besotted and seduced by these unforeseen turns of event — at the same precise time his partner Richards was succumbing unapologetically to a degree of drug dependency that rendered him next to useless when it came to writing and recording new material. Again, enter Taylor to pick up the slack — not that it seems he has even to this day ever been given proper (label) credit for his thankless work in these crucial areas.

Perhaps that had something to do with the man’s sudden, and surprising — even to some of his fellow band members, it seems! — departure from the Stones in 1974. As Taylor explains most candidly herein, "My role in the Rolling Stones was to play guitar. I think after five-and-a-half years, I'd really had enough. I didn't feel that I could grow anymore. To me, they'd peaked (by) then."

Controversial words, indeed. But one listen to, say, Goats Head Soup should prove at least most of his point.

So, to many ever since, the Stones of the ensuing three-decades-plus seem more concerned with creating financial rather than musical history, a band that appears to carry onward if only to prove some sort of statistical point. Be that as it most very likely is, all I will add here and now is The Mick Taylor Years certainly deserves an immediate place within your Stones cache (even if you do feel more at home with December's children than with Mr. D).

— Musician/writer Gary Pig Gold is the co-founder of the To M'Lou Music label.

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Gasoline Silver, Ryan Montbleau Band and Death in the Park

* Gasoline Silver -- Gasoline Silver (Victorian Pictures)

His nasally vocals and wheezy harmonica playing bring to mind Bob Dylan, but Gasoline Silver's Ron Franklin (who also sports a frizzy Dylanesque 'do) hasn’t painted himself into a folkie corner with his latest band, the Minnesota-based Gasoline Silver. There are garage and punk elements to the trio's self-titled debut album (out now), and Josh Misner's synth lines provide a nice contrast to the fuzzy guitars. Standouts include "It's All Over But the Cryin' " and "Indianapolis."

* Ryan Montbleau Band -- Heavy on the Vine (Blue's Mountain Records)

Conversational singers are either melodic or monotone, and thankfully, Ryan Montbleau falls on the more listenable side of that line. Even better, Montbleau's casual vocal style suits the many sounds and moods throughout the Martin Sexton-produced Heavy on the Vine (out now). Montbleau and company glide effortlessly from reggae ("Songbird") to country ("I Can’t Wait") to funk ("Love Songs"), among other styles, on this 14-song effort.

* Death in the Park -- Death in the Park (End Sounds)

Andy Jackson, who enjoyed a pretty good run with Hot Rod Circuit, briefly considered making his next project a solo effort. Instead, he put together a new band called Death in the Park, and the pop-punk quartet's self-titled debut (out now) has its share of punchy, shout-along songs. Paramore singer Hayley Williams sweetens the chorus on "Fallen," the album's first single and best song.

-- By Chris M. Junior

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Sara Radle moves her solo career forward with Four

When she decided to relaunch her solo career in southern California, singer, multi-instrumentalist and native Texan Sara Radle realized she had some work to do building her own fan base.

"The people who know me in Los Angeles know me from The Rentals or Walking Sleep," she adds. "It's a little scary going out there on your own when people are only familiar with you in one certain perspective."

Radle feels as though she's back on track musically with her latest solo album, Four. And with that number in mind, she addressed a handful of topics related to her life and career.

Four most favorite songs from your childhood and what made them special:
Sara Radle: " 'Daydream Believer.' The Monkees were my first favorite band, and quite honestly are still high up there in my book. They had people like Neil Diamond and Carole King writing for them, so they had such great tunes!

" 'Donna.' I had a crush on Lou Diamond Phillips as Ritchie Valens in La Bamba. My brother made me a cassette copy of the soundtrack, and I fell in love with Ritchie, too.

" 'Hello.' I remember I thought there was something so sad and beautiful about [that Lionel Richie song].

"Anything by The Beach Boys. I would drive around with my dad all day, just waiting for a Beach Boys song to come on the oldies station. I loved the harmonies!"

Four cool artists you met by way of your folk-musician parents:
Radle: "My parents ran the San Antonio Folk Music Festival, so I got to meet a few legends through that. Odetta was regal and kind of intimidating. Ramblin' Jack Elliott was drunk — fun, but drunk. Tom Paxton and Townes Van Zandt were both very nice. I was kind of young when I met them, but I have good memories from those festivals."

The four coolest things about living in Los Angeles:
Radle: "The weather. The weather. The weather. The weather."

Four things you miss the most about Texas, and why:
Radle: "My parents, my friends, the landscape and the general friendliness of people. I was born and raised in Texas, so I'll always have a fond nostalgia when thinking of it."

Four words that best describe Rentals leader Matt Sharp:
Radle: "Silly, insecure, frustrating, focused."

Four must-haves when you're on the road:
Radle: "This American Life podcasts or talk radio: After playing music and listening to other bands all night, it's great to give your ears a break on those long drives.

"Slim-Fast. I know, I know — it's super-girly, but picking up one of these in a convenience store keeps me from grabbing a back of chips or M&M's.

"Running shoes. I tend to stay pretty active, so sitting in a van for long drives can get frustrating for me. I like to stay in hotels with gyms, or I'll find a local gym and get away for a run for a couple of hours every other day or so. It also helps to break free from the group for a little while and get some time for myself. Zoning out on a long run helps me to stay sane.

"My good pillow because van sleep is the best sleep."

Four songs that best sum up your new album, Four:
Radle: " 'Fooling Nobody.' It's the perfect example of my pop/punk past melding with the indie-pop singer/songwriter influences I've had lately.

" 'The Baxter Hill' — best example of girl-group influenced vocals.

" 'Song for Adam.' It was one of my first experiences writing for a string quartet. I have a feeling I'm going to be doing a lot more of that in the future!

" 'Superstar.' It's unlike anything else on the album. I had to turn up the vixen when recording vocals for this one. I didn't know I had that in me!"

— Introduction and interview by Chris M. Junior

Sara Radle on tour (schedule subject to change):

* Sept. 18 and 25: Casey's Irish Pub — Los Angeles

Photo by Anthony Knasas

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Bess Rogers talks EPs, Lilith Fair memories and more

There's no need to be scared or suspicious if you see a young woman playing a crappy ukulele as she makes her way around New York: That's just singer/songwriter Bess Rogers working on new material.

"I have definitely gotten some confused and possibly frightened looks from other drivers," she says. "I tend to write a lot while I'm in the car or on public transportation, so I'm sure people look at me zoning out into space and assume that I'm on drugs or something."

Writing songs on a ukulele — or coming up with a song's lyrics and arrangement before even touching an instrument — is a byproduct of Rogers' constant touring over the past two years, both as a solo artist and as a supporting player. Recently, she spent some quality time on the road as a member of Ingrid Michaelson's backing band.

"Playing the Lilith Fair [with Michaelson] this summer was pretty surreal," Rogers recalls. "Everyone was so warm and welcoming, and we got to see and meet some incredible artists. During the encore, everyone who played was invited onstage for a version of 'Because the Night.' I found myself standing with one arm around Emmylou Harris and the other around Nancy Wilson. I'm surprised I didn't pee in my pants."

Rogers began a tour this month in support of her latest solo EP, the pop-flavored Bess Rogers Presents Bess Rogers.

"Being on the road so much has left me with little time to record, and making EPs enables me to get music out faster and more regularly," she explains. "I felt the response to [2009's] Travel Back was good, and I didn't want fans to have to wait two years before I put out a full-length. I do plan on recording an LP this winter while I have some time off."

And as if she doesn't already have enough to do, Rogers also finds time to play in a country/bluegrass cover band called The Flux Capacitors.

"We strive to cover mostly big hits from the '80s," she says. "I like to see people laughing and singing along, so we really don't go for the super-obscure songs. Some of my favorites are [Def Leppard's] 'Pour Some Sugar on Me' — which I will be playing at a lot of my shows this fall — [Robert Palmer's] 'Addicted to Love,' [Prince's] '1999' and [Twisted Sister's] 'We're Not Gonna Take It.' "

-- By Chris M. Junior

Bess Rogers on tour (schedule subject to change):

* Sept. 8: The Saint -— Asbury Park, N.J.

* Sept. 9: NightCat — Easton, Md.

* Sept. 10: Tin Angel — Philadelphia

* Sept. 11: Cafe Nola — Frederick, Md.

* Sept. 12: Southern Cafe & Music Hall — Charlottesville, Va.

* Sept. 14: Averett University — Danville, Va.

* Sept. 15: The Garage at Biltmore — Asheville, N.C.

* Sept. 16: Evening Muse — Charlotte, N.C.

* Sept. 17: Smith's Olde Bar — Atlanta

* Sept. 18: Moonlight on the Mountain — Birmingham, Ala.

* Sept. 20: Third & Lindsley — Nashville, Tenn.

* Sept. 21: Birdy's — Indianapolis

* Sept. 23: Elbo Room — Chicago

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Neil Nathan taps Detroit scene to make debut album

There's just something about the Detroit music scene that strikes a chord with Neil Nathan.

It's not just one genre or era, either: Nathan, a New York-based singer/guitarist, digs Detroit rock, pop, R&B and soul from various decades. And his list of favorite acts includes legends (The Stooges, Alice Cooper) and contemporary names (Brendan Benson, The Go), plus artists who might not immediately come to mind when thinking about the Motor City’s music scene (such as Glenn Frey and Marshall Crenshaw).

Looking for a little "Midwest working-class grit and purity of soul without pretense," Nathan recorded nearly all of The Distance Calls, his debut album (which follows a series of EPs), at Tempermill in Ferndale, Mich. Joining Nathan at the studio, which is about 12 miles from Detroit, was a cast of Motor City-area musicians recruited by producer Bobby Harlow of The Go.

"I just knew in my gut I could trust him with my stuff," Nathan says of Harlow. "And I was really interested in totally immersing myself in the experience, ripping myself out of my daily existence and letting go of control in the studio.

"When he told me the backing band would consist of Kenny Tudrick and Joey Mazzola from the Detroit Cobras and John Krautner from The Go,” Nathan adds, "I nearly lost my cookies. It was such a treat to play with guys whose work I’ve respected for years — rock fantasy camp all the way.

"I've worked with lots of great New York City musicians, but [doing that] just wasn't right for this record,” he says. "New York is filled with neurotic pretense and attitude; that's what we do here. It's the greatest city in the world — I ain't knocking it — but I was taking a risk on this one and pushing myself to experience something new."

But working with Harlow wasn't a new experience for Nathan. They previously spent a few days together recording the two-song Nathan EP called Motor City Recordings; one of its songs, "Gone (Fly Away)," was featured in the film Descent (released in 2007 and starring his friend Rosario Dawson).

"I thought [Harlow and I] hit it off pretty well that weekend," Nathan says, "and I sent him about 25 demos to check out to see if he might be interested in doing a full record together. He picked 14, and a year later, I was back, this time for 10 days."

Aside from the acoustic cover of Electric Light Orchestra's "Do Ya" that opens the album and the bonus track "To You (A Happy Birthday Song)," the rest of The Distance Calls was recorded with Harlow at Tempermill.

Nathan says he and Harlow had numerous conversations about the vocal approach to the songs on The Distance Calls, which was released Aug. 24.

"That was a lot of fun for me," Nathan says. "As a rock singer, Bobby knew what buttons to push and when to leave me to fish around on my own. On 'Highways' and 'When the Rain Falls,' that freedom worked well. On a tune like 'Never Enough,' I was just not finding it, so we had a loony pow-wow about the largesse of Marlon Brando and the New York cool of Lou Reed. It was hilarious, but it actually jogged something in me, and I found the tone immediately thereafter."

In the end, destiny may have played a role in Nathan recording at Tempermill. On his first day there, Nathan, a longtime Detroit Tigers fan, noticed the studio had two seats from Tiger Stadium, the team's former home.

"One of the seats had number 11 on it — my favorite number," Nathan recalls. "That clinched it. I just knew I was meant to be there. I don't know why. Just call me a new-age hippie-dippie, I guess."

— By Chris M. Junior

Neil Nathan on tour (schedule subject to change):

* Sept. 17: P&G Bar — New York

* Sept. 25: North Star Bar — Philadelphia

* Nov. 9: Kenny's Castaways — New York

Photo by Fabrizio Costantini

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