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July 26, 2011

SONG SCRUTINY — 'HOW DEEP IS YOUR LOVE?'

The Rapture_How Deep Is Your Love.jpg

The New York-based band The Rapture is back with the single "How Deep Is Your Love?" — which was released digitally on July 26 (it was previously issued on vinyl as a limited edition of 600 copies). And no, it’s not a cheesy remake of The Bee Gees' disco-era classic. It is a taste of what's to come on The Rapture's first album of new material in five years (and first since bassist Mattie Safer's departure), In the Grace of Your Love, due Sept. 6 in the United States on DFA Records.

Lyrics: Luke Jenner's voice is mellow yet energizing as he delivers vague but personal lines such as "you've given me a chance to see your light" and "when I cry you heal my pain." Later, he longingly cries out "help me come unglued," a perfectly suited call to arms for the club crowd. The song ends with a resounding layered chorus of hallelujahs — amen to that.

Music/Arrangement: This song is like an electronic ride back to the '90s. A chunky piano plays over a retro house beat, and they're blended with echoing vocals and a bluesy saxophone. It's like Bizarre Inc. meets The Boomtown Rats.

Production: French house music veteran Philippe Zdar (his studio credits also include Phoenix's Grammy-winning Wolfgang Amadeus Phoenix) produced this song, and the final product is a dance-club masterpiece. "How Deep Is Your Love?" is a perfect combination of live instruments, haunting vocals and computer magic.

The Verdict: Crank it. This modern dance anthem has the ingredients to be a mainstream hit. Hypnotic yet thrilling, with exploding beats and mesmerizing vocals, it's a song with hooks that grab hold right away and don't lose their grip upon repeated listens. And just try not to dance to it.

— By Kara Bernatowicz

July 25, 2011

THE GARY PIG GOLD REPORT, Vol. 39

HERMAN'S HERMITS MADE MOVIES, TWO!!

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In the utterly go-go, trans-media flurry that was mid-'60s pop(ular culture), every television star worth their Nielsens was expected to not only chase spies and rope steers, but compete with those rock 'n' rollers of the moment upon the Top 40 to boot.

Conversely, the real rock stars of the day were fully expected to make their own stabs upon the silver screen as well — all the better an opportunity to cross-promote their latest singles, albums, custom lunchboxes and/or coast-to-coast public appearance tours.

Meanwhile, over on the circa-1965 AM radio dial, it's not often recalled that a young band of upstarts from Manchester, England, was actually outselling The Beatles all over the North American charts, and they just happened to not only record for a label that conveniently owned its own movie studio, but was also fronted by a picture-perfect poster boy who (a) reminded their producer of a young John F. Kennedy and (b) already possessed previous acting experience on British television.

The band was Herman's Hermits, the label/studio MGM, the mop-topped JFK in question the one and only Peter Blair Denis Bernard ("Herman") Noone — and the movies? Why, none other than those full-color, action-and-music-packed, guitar-beating romp 'n' rolling gems Hold On! and Mrs. Brown, You've Got a Lovely Daughter.

The original motion picture soundtracks for both these films have just been recently re-released courtesy of the good folk over at ABKCO Records. And they honestly do contain more than their fair share of fab, fanciful, and fully-Hermanly numbers, which, thanks in no small part to producer Mickie Most, not only hold on but hold up quite well against such period rock scores as The Beatles' Help! and even The Monkees' magnificent Head.

The Hold On! soundtrack especially, featuring four great P.F. Sloan/Steve Barri compositions, is shoulders above most of the 4/4 fluff then filling teen exploitation fare. In fact three of its numbers, "A Must to Avoid," "Leaning on the Lamp Post" and the "Hold On!" title number itself duly joined the slew of other multiple-million-selling Hermits records then dominating the airwaves.

The Hold On! score also features, it should be noted, the debut appearance of Sloan and Barri's "Where Were You When I Needed You" (which was soon to launch the career of The Grass Roots), plus a cinematically ultra-cute cut by co-star Shelley Fabares called "Make Me Happy" (Fabares, by the way, was then married to record biz mogul Lou Adler, who, not at all coincidentally in the incestuous world of ‘60s pop, also managed and published the aforementioned Sloan and Barri). You should also make it a point to witness Fabares' big fantasy number with Noone/Herman, "The George and Dragon," which for three minutes launches Hold On! into flights of surrealism only hinted at during Magical Mystery Tour.

Two years later, those Monkees had swiftly replaced Herman and Co. upon teenage American bedroom walls and television screens, and the band was banished back to their homeland to eek out a few more hits — and one more movie under the auspices of their new manager (and major MGM stockholder) Allen Klein — before the bubbly inevitably burst. That movie, 1968's Mrs. Brown, You've Got a Lovely Daughter, may not have been set in outer space like some of Hold On! but was, quite refreshingly, much more down-to-earth. Literally — as it concerned the plight of the Hermits and their missing racing greyhound known as, yes, Mrs. Brown. Nevertheless, the music (arranged by a just-pre Led Zeppelin John Paul Jones) is as bouncy and colorful as the Hermits' post-mod wardrobe — we're treated to a revival of the band's U.S. swansong "There's a Kind of Hush (All Over The World)," for example — and, as for the film itself, I'd just have to agree with Bruce Eder, writing in Hollywood Rock, when he calls it "much more fun than Jean-Luc Godard's Sympathy for the Devil," another 1968 Klein production, by the way.

So! Two vintage '60s original motion picture soundtracks, 20 songs in less than 50 minutes (plus a surprise "Mrs. Brown's Daughter" session excerpt), great singing and playing by Noone, Karl Green, Keith Hopwood, Barry Whitwam and the late, extremely great Derek "Lek" Leckenby, and all newly available on disc and for download via ABKCO.

PS: Both the Hold On! and Mrs. Brown films themselves are back on DVD courtesy of the Warner Archive Collection, so you can once and for all find out precisely why NASA wanted to name its latest Gemini space capsule "Herman's Hermits," and how Stanley Holloway got Herman a job as a fruit peddler in a London grocery stall. Trust me: They just don't make movies — or compose film scores — like these anymore at all!

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

July 15, 2011

SONG SCRUTINY — 'INTO THE SUN'

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On its debut album, And You Were a Crow (2008), the New Jersey shore-bred quintet The Parlor Mob put a fresh coat of paint on 1970s-style hard rock.

With a new bassist in the fold, The Parlor Mob is back — and still flashing its retro swagger — with "Into the Sun," which will be included on the band’s second album, Dogs, due Oct. 11 on Roadrunner Records. The song is scheduled to go to radio on July 25, but it can be downloaded now from the band's Facebook page.

Lyrics: At a low volume, it's a bit difficult to understand what singer Mark Melicia is so fired up about, but this is a song that's meant to be played loud — and not just to get a grasp on the words. About 13 seconds into the tune, Melicia opens with the line "All my life I've been chasing something," and he later sings about "no retreats and no regrets," insists "there ain't no turning back" and proclaims in the chorus "our day is gonna come." A bit clichéd, yes, but everything is delivered with the right amount of passion (and melody). In a video trailer for "Into the Sun," PM guitarist Paul Ritchie offers this summation of the lyrics: "I would have to assume it's about the last year and a half of our lives."

Music/arrangement: A shade longer than three minutes, "Into the Sun" is one big fuzz-guitar orgy from start to finish, anchored by a steady, sturdy riff that opens the song and reappears after the first and last chorus. And right at the point where one might expect a guitar solo, there's a cool 30-second chord/riff break that features a slight tempo change and has Melicia cutting loose with a long, rock-god wail taken from Robert Plant's Led Zeppelin playbook.

Production: Matt Radosevich, whose credits include 30 Seconds to Mars and Taking Back Sunday, doesn't really try to fix what ain't broke: Anyone who is familiar with The Parlor Mob's first album should recognize right away that the same band is behind this song. Radosevich also mixed "Into the Sun," and the choice to not push Melicia's vocals too high works in providing an element of mystery.

The verdict: Crank it — literally and figuratively. "Into the Sun" is a ballsy rocker that sounds best with the volume turned up to 11, and the song gets better with repeated listens. Here's hoping the remaining commercial rock stations in America are not scared to play something like this.

— By Chris M. Junior

July 08, 2011

BREAKING ON THROUGH

James Lee Stanley, Cliff Eberhardt put new spin on Doors classics

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He would have been pleased just to obtain an autograph from Doors drummer John Densmore, but James Lee Stanley ended up with so much more.

First came positive remarks from Densmore about All Wood and Stones, Stanley's album with John Batdorf that featured acoustic versions of 11 Rolling Stones songs.

Then came an even bigger surprise: Densmore's offer to play with Stanley if he ever wanted to give Doors material the same treatment.

"I was stunned that he even knew who I was," Stanley says, recalling a lunch in California with Densmore that also included a mutual friend. "And when he offered to play [with me], I thought, 'This sure sounds like a gift from heaven.' "

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James Lee Stanley

Densmore kept his promise; he appears on All Wood and Doors (Beachwood Recordings). Other notable guests on the album include Doors guitarist Robby Krieger, as well as longtime Stanley friend Peter Tork (The Monkees) and Timothy B. Schmit (The Eagles).

Featuring 12 Doors songs, All Wood and Doors — Stanley's first collaboration with fellow singer/guitarist Cliff Eberhardt — is anything but a collection of straightforward, by-the-numbers interpretations. In addition to the material being presented in an acoustic format, the tempos have been changed, and the songs' structures and arrangements have been reworked.

A perfect example of a tune getting a complete makeover is "Touch Me," which at first was a very unlikely candidate for the album when Stanley and Eberhardt started recording in May 2010.

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Cliff Eberhardt

"I was a big Doors fan, but I didn't like that song," Stanley says. "And I remember when I called Cliff about doing this album, he [made it clear he didn't want to do] 'Touch Me,' and I said I was OK with that.

"By the time he got [to California]," Stanley adds, "a friend of mine had said we should do 'Touch Me' because it has one of the most beautiful refrains in rock 'n' roll — 'I'm gonna love you … ' So when Cliff came, we started playing it, and I said, 'What do you think about starting with the chorus?' And he said, 'I think that's a cool idea.' "

Hard-core Doors fans will have to rely on their ears to figure out which songs feature Densmore and Krieger. All Wood and Doors (due July 12) will not contain that information, and Stanley remains tightlipped about the details.

"I remember listening to Steely Dan when they first came out, and the albums didn't say who was playing on what," Stanley says. "At first I found it maddening — I wanted to know who did what — but then I thought it was kind of cool. You play this guessing game trying to figure out who played what on what, and I decided to do that on this album.

"A year or two from now, if anyone cares," he adds with a laugh, "I'll tell them."

— By Chris M. Junior

Photo of James Lee Stanley by Andrea Cross

Photo of Cliff Eberhardt by Stephen Paley