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THE STEPHEN SONDHEIM COLLECTION

(IMAGE ENTERTAINMENT (747 minutes; Unrated); 2015)

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I’ve never been a big fan of musicals… ain’t gonna apologize for it… it’s just the way things have always worked in my brain-pan. However, that doesn’t mean I don’t know anything about them. For instance, when the name Sondheim is evoked, I know that he is one of the most celebrated composers of our lifetime, responsible for some of the most well-known musicals (and individual numbers) ever.

Stephen Sondheim, 2010 (photo credit: ASSOCIATED PRESS/HENNY RAY ABRAMS)
Stephen Sondheim, 2010 (photo credit: ASSOCIATED PRESS/HENNY RAY ABRAMS)

Just take a look at the offerings on this massive six disc celebration of the life and influential music of the legendary Stephen Sondheim: INTO THE WOODS (way before Disney got their hands on it, this AMERICAN PLAYHOUSE version is from 1991 and stars most of the original Broadway cast, including Bernadette Peters and Joanna Gleason… so, bonus points for NO Johnny Depp!); SUNDAY IN THE PARK WITH GEORGE (another AMERICAN PLAYHOUSE production – from 1986 – and starring Mandy Patinkin and, once again, the sublime Bernadette Peters); COMPANY (an all-star cast headed by Neil Patrick Harris, Patti LuPone and Jon Cryer, performing on stage with the New York Philharmonic in 2011); SWEENEY TOOD: THE DEMON BARBER OF FLEET STREET IN CONCERT (recorded in 2001, with George Hearn, LuPone and Harris in the leads and, again, thankfully, Depp free!). Also included are 2010’s SONDHEIM: THE BIRTHDAY CONCERT, celebrating the lyricist’s 80th birthday, with appearances by just about everyone listed above, David Hyde Pierce (Master of Ceremony) and Sondheim’s long-time collaborator, Paul Gemignani conducting the New York Philharmonic and FOLLIES IN CONCERT, a 1985 film documenting the one night revival of 1971’s FOLLIES, from the first rehearsals to the final curtain call and featuring such luminaries as Lee Remick, Carol Burnett, Hearn, Patinkin and more.

So, while there is nothing new here (aside from the packaging and some much-needed re-mastering), it is a chance to get a whole lot of Stephen Sondheim’s best work in one place for a decent price ($129). Plus, with the Disney version of INTO THE WOODS sending most of the female tween population into a frenzy, this is a nice way to introduce them to a more grounded version of that show and, maybe, get them interested in real theater. You can pre-order the box set at all of the usual online places or hunt it down when it’s released on April 14, 2015.

TEETH AND BLOOD

(Digital and DVD; IMAGE ENTERTAINMENT/URBAN MOVIE CHANNEL/ROBSTAR ENTERTAINMENT (101 minutes; Unrated); 2015)

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I am a sucker (pun added with bad intentions) for a good vampire flick; truth be told, I’m occasionally a sucker for a bad vampire movie. Sometimes, I’m just a sucker. While TEETH AND BLOOD arrived at my door with all kinds of promise, I gotta tell you that if it weren’t for the virtual door-to-door pulchritudinous “star power,” I probably wouldn’t have made my way through this one. Even though it is beautifully peopled, the script obviously didn’t specify that the pretty faces must also be at least fair actors. Unfortunately, the whole thing comes off as something very much like Tyler Perry’s Dracula.

TEETH AND BLOOD (Glenn Plummer) (publicity still)
TEETH AND BLOOD (Glenn Plummer) (publicity still)

The premise: Detective Mike Hung (who is more of a Sam and Dean Winchester/SUPERNATURAL monster hunter type than cop) manages to get himself assigned to a murder case at a film studio in Los Angeles. Detective Hung is teamed with Detective Sasha Colfax and the two, with cover stories in tow, head off to the studio in search of jobs… and answers to a murder and a missing corpse, of course… I mean, they are police officers. The head-turning beauty of Detective Colfax sees her becoming the new female lead (the previous star being the victim of the crime in question) in director Vincent Augustine’s latest movie, Chapel Blood. There’s no hope for Hung, as his acting chops are no way near those of Colfax, so he seeks employ as a grip (kinda like a wrench-monkey that works in the camera department). Augustine’s vision has a vampire priest (Greg Eagles, whose appearance is an obvious homage to William Marshall’s BLACULA) delivering the unholy word from the pulpit and baptizing his disciples in blood. So taken is Augustine with Colfax that he attempts a little sump’n-sump’n but, she is having neither the hanky nor the panky; having been thus rebuffed, what’s a vampire lord supposed to do… shrug his shoulder and say, “That’s alright. I understand your trepidation.”? Uh… no! He casts that thousand mile stare her way, drops his voice about 103 octaves and… enthralls her. That’s gonna come back later in the flick and bite somebody in the… neck.

TEETH AND BLOOD (Michelle van der Water, Sean Christopher) (publicity still)
TEETH AND BLOOD (Michelle van der Water, Sean Christopher) (publicity still)

In a plot hole you could maneuver an aircraft carrier through, apparently everyone on-set except the two detectives knows that the movie is made by vampires, for vampires. So, with bodies continuing to drop, what’s a good undercover police officer to do? Why, naturally, you tell the vampire boss that you’re an undercover cop. Caramba! The underlying thematic push of TEETH AND BLOOD is a vampiric gang war, revolving around a depleted blood supply (it seems that most vamps have assimilated and rather than draining a vein, they get their fix from the local blood bank), a crooked mayor (there’s always a crooked mayor!) and a deal between said mayor and Vincent Augustine to provide the city with a new synthetic blood supply. The catch is, while Augustine’s coven (I thought that was witches, but… oh, well) is tapped into the real deal, all other warring factions will be feeding on the synthetic cocktail, which inhibits the undead’s powers of regeneration. In other words, they get old and turn to dust and blow away, leaving Augustine as the supreme leader of the vampire population. This, of course, leads to double-crosses and deceit aplenty. And, a feeding frenzy that makes the zombie apocalypse sound like a trip to the beach. And, a “shock” ending that was telegraphed virtually from the beginning. And… probably a sequel.

TEETH AND BLOOD (Danielle Vega) (publicity still)
TEETH AND BLOOD (Danielle Vega) (publicity still)

You’ll notice that I haven’t mentioned any of the main cast. I’m going to rectify that now. Vincent Augustine is played by Glenn Plummer, who also had a hand in the script. While he does flash signs of his talent (I mean, the man CAN act), Glenn, unfortunately, comes off as rather wooden and disinterested throughout most of the film. His two “action” sequences, fight scenes between Augustine and another vampire (of which, more later) and, later, Detective Hung are poorly timed and badly staged. To be fair, though, I’m not really sure that we can lay the entire blame on Plummer for any of this; as I mentioned, he is a fine actor and, he may have just been reacting to the script and the others around him (but, then, maybe I am giving him too much credit… after all, he does have a writing credit by his name). The totally delectable Michelle van der Water, as Detective Sasha Colfax, is woefully out of place and unrelentingly unbelievable (as a cop, as a cop pretending to be an actress and – unfortunately – as an actress). Like Plummer, I’m willing to give van der Water the benefit of the doubt here, considering what she had to work with; most of her scenes involve reaction shots to what’s happening around her. She does have a few action sequences and, like those with Glenn Plummer, they come off forced and hackneyed. Detective Colfax is enthralled by Augustine, which presents a whole other set of problems for van der Water to muddle through – she just isn’t at all convincing as a hypnotized minion of darkness. The equally delectable Danielle Vega fairs slightly better in the role of Lori Franklin, the bespectacled and “timid production assistant” to Augustine. Vega’s understated performance is actually one of the few highlights of the whole flick; at least, until… Lori shows her true colors, as the cat-suited leader of a rival vampire family. Franklin’s transformation leads to a really horribly choreographed fight scene with Colfax (suddenly imbued with enhanced abilities after being enthralled), which totally leaves me cold. From the point that the timid Lori Franklin reveals her true intentions, the character becomes just another stereotype… and not even a very good one, at that.

TEETH AND BLOOD (Steffinnie Phrommany, Lyndsey Hogan) (publicity still)
TEETH AND BLOOD (Steffinnie Phrommany, Lyndsey Hogan) (publicity still)

Speaking of stereotypes, remember Augustine’s battle with that other vampire I mentioned earlier? That vamp, named Tyrese, is a gigantic Huggy Bear-like ghetto pimp – decked out in a very loud purple zoot suit – who has a rough time keeping his fangs out of the extras. The character is played to the 1970s exploitation hilt by comedian King Kedar and, aside from some rather dubious fight scenes and even more questionable special effects, is a bright oasis in an otherwise bleak landscape; Kedar’s vampire-out-of-time character is definitely approached with a comedic verve, but – make no mistake about it – he is also one of the more frightening aspects of a movie that lacks any sense of dread or foreboding. As the second male lead, Detective Mike Hung, Sean Christopher (he has alternately been credited as Sean Hutchinson – Christopher is his middle name – but may be more familiar as Chef Sean, a poet and hip-hop performer; Sean and his riff-heavy band, Blaze, are responsible for the flick’s title tune, a video of which you can view below), certainly seems to have some chops as an actor. Again, the main drawback to his performance comes from a script that is all over the place; added to that, the detective’s back-story is a muddled mess (that can be said of Detective Colfax and just about every character of note in TEETH AND BLOOD)… you really just can’t have any type of affinity for a guy that you know next to nothing about. I understand that the movie was made on the cheap (about 300 grand) but, truthfully, I would have preferred that less money was used on special effects (that were, ultimately, unappealing anyway) and more time and effort had been devoted to a workable script that offers better character development and a centralized plot that doesn’t send those characters off in a half dozen wildly different directions. Sometimes, these things work out and the finished product is, at least, marginally enjoyable to watch; more often than not, the final release ends up very much like TEETH AND BLOOD. If you feel you absolutely must watch this movie (or, if you belong to the local chapter of the Bad Cinema Appreciation Society), take note that it is fairly violent with some sexual overtones… you may wanna watch it after the kids have gone to bed.

KANSAS: MIRACLES OUT OF NOWHERE

(LEGACY RECORDINGS/KIRSHNER RECORDS/EPIC RECORDS/SONY MUSIC; 2015)

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It was forty years ago last year when a group of struggling musicians with an ambitious sound and an unassuming name released their first album, sending them on a ten year journey of self-discovery and musical dominance in a field generally considered the exclusive realm of rather high-minded and esoteric English bands. To celebrate, all six original members reconvened to reminisce about everything from those humble beginnings to their breakthrough albums, LEFTOVERTURE and POINT OF KNOW RETURN, and the singles those albums spawned – “Carry On Wayward Son” and “Dust In the Wind.” Those reminiscences are featured in a new documentary called MIRACLES OUT OF NOWHERE, which also includes input from Garth Brooks, Brian May and ROLLING STONE scribe David Wild, among others. This special package features that documentary on DVD (or Blu-Ray), as well as a specially curated CD that covers those first five groundbreaking albums, compiled by drummer Phil Ehart and long-time producer Jeff Glixman.

Though the documentary does feature snippets of songs and rare concert footage, it’s really more about the story, which is fine with me. And, even though the guys rarely appear together on camera, there are plenty of great stories to be heard. One of the best involves Aerosmith’s Steven Tyler and how opening act Kansas thwarted his attempts to pull the plug on a particularly well-received set in their home state. When the guys do appear together, it’s on a bus, recreating their drives across the state from early in their career. There’s a certain sense of camaraderie, the type that everybody feels when you’re reunited with old friends after an extended period of time; the old problems and feuds are forgotten and things just naturally pick up where they left off before those things intruded. If you want to see a bit more of the guys discussing the old days together, there is a special edition release with an extra DVD of material of just that, available only from the band’s dedicated website if pre-ordered before the release date (March 16, 2015).

Kansas, circa 1973 (Phil Ehart, Kerry Livgren, Steve Walsh, Rich Williams, Robby Steinhardt, Dave Hope) (photo credit: DON HUNSTEIN)
Kansas, circa 1973 (Phil Ehart, Kerry Livgren, Steve Walsh, Rich Williams, Robby Steinhardt, Dave Hope) (photo credit: DON HUNSTEIN)

The CD intersperses dialogue from the documentary with the hits and some deeper cuts from the band’s first five records. There are, of course, the group’s two biggest successes, as well as several tracks that have become staples at Classic Rock radio. You’ll recognize the ones I mean as we discuss each track individually. Now, you may be asking yourself, why do we need to discuss individual tracks that are 35 to 40 years old? Well… a couple of reasons: I really didn’t get into Kansas until their sixth release, the live album TWO FOR THE SHOW and, while I was an avid consumer of music back then, I didn’t write reviews like this one. That second reason actually leads to a third reason for an in-depth review: Cuz I wanna and cuz I can (does that make it four reasons? But, then, nobody expects the Spanish Inquisition!).

Kansas, circa 1974 (Dave Hope, Rich Williams, Robby Steinhardt, Phil Ehart, Steve Walsh, Kerry Livgren) (publicity photo)
Kansas, circa 1974 (Dave Hope, Rich Williams, Robby Steinhardt, Phil Ehart, Steve Walsh, Kerry Livgren) (publicity photo)

The disc is fairly chronological, as it begins with material from KANSAS and ends with songs from POINT OF KNOW RETURN (stopping at each subsequent album in between), although each record’s offerings are re-sequenced from the order in which they originally appeared. That means that this collection starts with the sixth track on 1974’s debut release, “The Pilgrimage,” which is actually pretty standard Midwest rock ‘n’ roll from the period. Except, of course, for Robby Steinhardt’s violin. There is absolutely nothing about this tune that would lead you to believe that these guys would become the standard-bearer for American progressive music by the release of album number two. While “Can I Tell You” was Side one, Track one of the KANSAS record, this version was recorded live for DON KIRSHNER’S ROCK CONCERT. The weird thing about it was that there was no audience; the band was as shocked to discover that when they took the stage as I was when they told the story in the documentary… I mean, who knew? Anyway, “Can I Tell You” is Kansas with their prog roots starting to show and, it’s one of those tracks that you’re likely to hear on the radio when the DJ is sick of playing the hits. “Journey From Mariabronn” is eight minutes of progressive pomp, beautifully constructed and symphonic in its scope. This is the song that really had the other guys in the band standing up and taking notice of Steve Walsh’s vocal abilities.

Kansas, circa 1977 (Kerry Livgren, Phil Ehart, Rich Williams, Robby Steinhardt, Steve Walsh, dave Hope) (publicity photo)
Kansas, circa 1977 (Kerry Livgren, Phil Ehart, Rich Williams, Robby Steinhardt, Steve Walsh, dave Hope) (publicity photo)

Song For America,” the title track to the second record, sees chief songwriter Kerry Livgren upping his game. The ten minute piece strays a bit into Yes territory with its elegance and power, its intricate time signatures and arrangement. A straight forward rocker, “Down the Road” features a heavy Dave Hope bass line and some wicked duels between Steinhardt and guitarist Rich Williams (or, is it Livgren… or, maybe, both?). There is a section where guitar, bass and violin are playing in harmony that is absolutely magical! The prog-rockery was ratcheted up another notch with MASQUE and its centerpiece, the doublet of “Icarus” and “Borne On Wings of Steel.” The track features a pumping organ from Walsh and some heavy guitar riffs and solos, with the main solo sounding kinda like something that Steve Howe woulda played. With all of that happening, the highlight of the song is found with the amazingly tight harmony vocals. “The Pinnacle” is a majestic, symphonic number, with several musical and emotional levels… and, that’s just in the nearly three minute intro. Phil Ehart’s drums thunder and swell just below the vocals as the song continually threatens to explode in a rock ‘n’ roll fury but, sorta like something by ELP, it’s reined in right before everything blows. The tension, searching desperately for a release, is the driving force until the second, muscular guitar solo (at about the 7:45 mark), but that’s only a tease. The song is a great exercise in dynamics.

Kansas (Rich Williams) (photo credit: VICTOR PETERS); (Phil Ehart, Kerry Livgren, 2009) (photo credit: LAURIE LARSON)
Kansas (Rich Williams) (photo credit: VICTOR PETERS); (Phil Ehart, Kerry Livgren, 2009) (photo credit: LAURIE LARSON)

LEFTOVERTURE is where record sales finally caught up with the inherent talent of Kansas. This time out, Kerry Livgren’s songs, while not being overtly religious, are much more… spiritual, looking inward and reaching upward. Three of the first four songs on LEFTOVERTURE are presented here, beginning with “The Wall,” another slow, symphonic piece with great harmony guitars and a hymn-like keyboard coda. “Carry On Wayward Son” is THE song that Kansas will forever be remembered for. The release that never came during “The Pinnacle” finally arrives… in spades! With one of the most recognizable choruses and riffs in the history of music, not just rock, “Carry On…” still receives as much airplay as “Stairway To Heaven” or “Free Bird.” That middle section is stunningly powerful, with evocative organ and guitar solos. The song that gave this collection its name, “Miracles Out of Nowhere,” reaches Dennis DeYoung heights of pomposity, with welcome flourishes of late-period King Crimson (before they broke up the first time) mixed in during the instrumental break.

Kansas (Robby Steinhardt, Steve Walsh) (video still); (Dave Hope) (photo credit: DAVID CARSTENS)
Kansas (Robby Steinhardt, Steve Walsh) (video still); (Dave Hope) (photo credit: DAVID CARSTENS)

Point of Know Return,” from the album of the same name, is probably the most well-known number from Kansas’ early oeuvre that isn’t “Carry On…” or “Dust In the Wind.” A nifty bass line from Dave Hope underscores some fairly progressive keyboard, violin and guitar parts on what is pretty much another rather Styxian sounding rocker. “Dust In the Wind” is another brilliant, subliminally spiritual song from Kerry Livgren. The beauty of the piece – aside from the lyrics – lies in its simplicity. Stripped down to the vocals of Steve Walsh and Robby Steinhardt, the guitars of Rich Williams and Livgren and Steinhardt’s violin, it’s a beautiful, sentimental tune that all of the girls wanted to slow dance to at the end of the high school dance for years to come. The final track here is “Nobody’s Home,” another elegant ballad, highlighted by a delicate piano and a rousing finale. It’s an absolutely fitting end to a great look back at a band that, at the time, stood tall among the rock elite. Unfortunately, though the guys remain friends, there are no plans for a reunion album or tour. Too bad. I, for one, would love to see that old fire and passion rekindled… if only for little while.

CJ RAMONE: LAST CHANCE TO DANCE

(FAT WRECK CHORDS; 2014)

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With only three members (none original) of the legendary Ramones still walking the earth, it seems that each is intent on reconnecting with their punk roots of late, as drummers Marky and Richie and, now, bassist CJ have all returned with new music recently, utilizing the Ramone name. To be fair to Marc Bell, he never stopped being a Ramone and, aside from Joey, was the quintessential Ramone. I’d honestly lost track of Richie, who I always considered a footnote in the group’s history, as the mid-’80s output (TOO TOUGH TO DIE, ANIMAL BOY and HALFWAY TO SANITY), though serviceable, was nothing to write home about; Richie released an album called ENTITLED in 2013. CJ reverted back to his real name, leading a metal band called Los Gusanos as CJ Ward for a short time. Now, CJ is back with his second solo record (RECONQUISTA was released in 2012), a solid dose of hard rockin’ punk that is sure to please Ramones fans everywhere.

CJ Ramone with Steve Soto, Dan Root and live drummer Joe Rizzo (photo credit: YUKI KUROYANAGI)
CJ Ramone with Steve Soto, Dan Root and live drummer Joe Rizzo (photo credit: YUKI KUROYANAGI)

The set kicks of with the lead single from the album, “Understand Me?,” a powerful mix of old-school Ramones and the heavier tendencies of Los Gusanos. With CJ’s voice sounding strong and assertive, we are off to a great start. “Won’t Stop Swinging” is a basic three-chord hard rock tune featuring a heavier guitar sound, thanks in part to the baritone guitar supplied by guest Martin Beal. The same three chords show up on “One More Chance,” in a punkier style. This is the first track that sounds like it coulda actually been on a Ramones record. “Carry Me Away” has a haunting vibe and a “love lost” lyric: “So carry me away, boys, carry me away/Carry me to my home/’Cause I long for the girl with/The sun in her eyes/Evangaline, I’m coming home.” The twist, of course, is that the song is recited by a young sailor lost at sea… an atmospheric ghost story. This track, in particular, features great backing vocals from guitarists Steve Soto and Dan Root. A slow rocking, early ’60s pop sound flavors “’Til the End,” with sweet girl-group harmony from CJ, Dan and Steve. “Long Way To Go” is a punked up, fuzzed out cover of the Alice Cooper classic, with Tony Cadena guesting on vocals.

The second half of LAST CHANCE TO DANCE (Side two, if you’re a vinyl junkie) opens with a hard rockin’ slow grind ode to guns and revolutions, “Mister Kalashnikov,” named after the man who designed the AK-47 assault rifle: “Mister Kalashnikov/We owe it all to you/Every common man with a gun in his hand/Is what we gotta do.” At just north of four minutes, it’s the longest song of the set. “Pitstop” is sort of a cowpunk tune, with very Ramones-esque vocals and a country-tinged guitar solo. A grinding riff runs throughGrunt” and doesn’t relent for the entire minute-and-a-half length of the track. “You Own Me” is a melodic punk tune with a late ’60s psychedelic pop feel and a vocal melody line that is quite reminiscent of Buddy Holly. The title track is a classic Ramones rocker with a very un-Ramones like guitar solo; a very effective dichotomy of styles. Bordering on hardcore, “Clusterfuck,” at less than a minute long, is over almost before it begins. It feels almost like a throw away song, but I’m sure that it’ll become the centerpiece of CJ’s live show. With a higher profile release than the self-released RECONQUISTA, this could be the record that brings CJ Ramone back into the consciousness of mainstream record buyers after being away for far too long.

JOE DENINZON AND STRATOSPHEERIUS: GUILTY OF INNOCENCE

(SELF RELEASED DIGITAL SINGLE; 2015)

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Mad genius Joe Deninzon fiddles while Stratospheerius burns.” That could be the ad copy tagline for this new single from one of the most eclectic groups around today. Stratospheerius plays a wicked Zappa-like fusion of rock and funk, peppered with a jazzy metallic seasoning. If you think that’s as beautifully chaotic as it sounds, you would be correct. “Guilty of Innocence” is the second of four single releases coming this year, leading up to full-length album in 2016.

Joe Deninzon and Stratospheerius (Lucianna Padmore, Aurelien Budynek, Joe Deninzon, Jamie Bishop) (publicity photo)
Joe Deninzon and Stratospheerius (Lucianna Padmore, Aurelien Budynek, Joe Deninzon, Jamie Bishop) (publicity photo)

According to Joe, the track was “inspired by my 2012 stint in jury duty and deals with crime and punishment. I was presiding on a rape trial and the guy who I thought was guilty got off practically scot-free.” The rhythm section of bassist Jamie Bishop and drummer Lucianna Padmore lays down a powerful, funky groove as Deninzon’s spastic violin leads and Aurelien Budynek’s muscular metal riffs drive the tune. If you’re a fan of the previously mentioned Frank Zappa or Bela Fleck and the Flecktones, but are unfamiliar with Stratospheerius, “Guilty of Innocence” is a great jumping on place; it’s available at CD Baby, Amazon and all of the other “usual places” and, of course, at the group’s Bandcamp page (along with the previous single, “Behind the Curtain.”)

MUSIKK AV DYPTFØLT SKJØNNHET!

NORWAY’S INGERLISE STORKSEN ON “ALL THE GOOD THINGS”: HER SOLO DEBUT, HER HOME BAND EPHEMERA, AND WHAT GOES INTO MAKING MUSICAL MAGIC

A worldwide exclusive from KEVIN RENICK

Ephemera (Christine Sandtorve, Ingerlise Storksen, Jannicke Larsen) (uncredited photo)
Ephemera (Christine Sandtorv, Ingerlise Storksen, Jannicke Larsen) (uncredited photo)

Once upon a time, in the mystical, fjord-side town of Bergen, Norway, there were three clever and ambitious teenage girls who loved music. Christine Sandtorv, Ingerlise Storksen and Jannicke Larsen spent many hours together talking about music, songwriting and life itself, and they decided to form a singing group. They called their trio EPHEMERA, a word meaning “something transitory or short-lived.” The girls had voices that could soothe the most hardened soul, and when they blended their three voices together, the universe itself seemed to smile and nod in approval. In 1996, they excitedly released their quirky first album, GLUE. But then they met a wizardly producer named Yngve Leidulv Saetre, who instinctively understood the depths of the music these three girls were capable of making, and he wanted to guide them a bit. With Yngve at the helm, the trio released SUN in 2000, the first album to truly capture the beautiful, luminous sound they would come to be known for over the next five years. They built a following in their native land, and fans in other parts of Europe and even Japan began to rave about them. Their third album, BALLOONS AND CHAMPAGNE, won them a Spellemannprisen Award (the Nordic equivalent of the Grammys) for Best Pop Album in 2002. They toured, recorded and made magic together, and they kept growing as musicians. Across the ocean in America, one curious writer for a new publication discovered Ephemera’s music and fell in love with them. He became the first in that country to interview the band, and he told anyone who would listen how incredibly lovely and heartfelt Ephemera’s music was. America, though it seemed to be intrigued with many other popular artists emerging from Scandinavia, preferred flashier, more commercially aggressive or “obvious” type musicians, and did not take notice of Ephemera, despite one of their songs landing in a teen movie. Or maybe America just couldn’t keep up with all the Scandinavian exports of the new millennium and needed an urgent memo. The girls of Ephemera, however, decided to take a long break in 2005 to nurture relationships and raise families. But some fans, including the undaunted American writer, continued to listen, enjoy and talk about the band’s gorgeous music. “It’s like an amazing secret,” the writer said. “And more people should know about it.”

Ingerlise Storksen (photo credit: ORJAN DEISZ)
Ingerlise Storksen (photo credit: ORJAN DEISZ)

Oh, there are many ways to start an article about the female Norwegian musical trio Ephemera and the superb new solo album Ingerlise Storksen has just released, but since their music is so far above the norm, I thought we should begin with a fairytale flavor. The writer in that preface is yours truly, and I won’t hide the fact that this band has moved me to tears countless times with the transcendent beauty of their sound and songwriting. No other band in my adult life has given me shivers of emotion like Ephemera; I learned the word “frisson,” which means just that, because of them. I have digested every one of the songs on their five albums and even sublime rarities like “Puzzle” and “It Could Have Been Me.” I’ve had conversations with girlfriends, therapists and good friends about some of Ephemera’s most stellar compositions, which include “Maple Tree” (one of the most heartbreakingly life-affirming songs ever written), “One of a Kind” (should be an anthem for lonely or troubled people everywhere), “Little Lion,” “Bye,” “Thank You,” “Paint Your Sky” and many others. Ephemera’s music is sweet, romantic, sensual, empathetic, encouraging and hopeful. It is melodic, catchy and rendered with crystalline sonic clarity. It is free of cynicism and any sense of defeat; the songs are about living, loving, leaving (sometimes when you know you HAVE to) and learning to keep the fire burning in your heart. It may be classified as “pop music” stylistically, but the intimate vocals and engaging emotions in any Ephemera song make it something so much more, something more poetic and involving than just about anything you’ll hear in American popular music. It’s a gift, this band’s body of work, one with the kind of repeat listenability that only the best songs achieve. I have cherished and enjoyed a great deal of music throughout my life, but… sometimes, I see it like this: There is EPHEMERA. And then there’s everything else. The girls themselves may not truly realize how special they are…

Ingerlise Storksen (uncredited photo)
Ingerlise Storksen (uncredited photo)

Ingerlise Storksen isn’t the most prolific songwriter in Ephemera; that honor goes to Christine Sandtorv. But Ingerlise wrote some of the band’s most beautiful, heart-tugging tunes. No matter how many times I listen to her songs “Perfect,” “Close,” “Air,” “Bye” (simply a stunning gem of a song), and “Thank You,” the unmatched intimacy of her vocals sends shivers up my spine. Her songs are often “hushed secrets” that the listener gets to be privy to. And there’s a song called “Dead Against the Plan,” from the 2004 release MONOLOVE, a blue diamond of a pop song written by Ingerlise and Christine together, that is quite simply one of the most dazzlingly catchy, perfect songs EVER, not just out of Scandinavia. If I were teaching a class in songwriting and music arrangement, this is one of the songs I would have the class listen to and discuss. Yes, it’s that good.

It’s a big deal that Ingerlise is finally giving the world ALL THE GOOD THINGS, her first solo album. A big deal both for her artistic journey, and for fans of her contemplative songwriting style. While her mate, Christine Sandtorv, released FIRST LAST DANCE in 2006, followed it with several albums of children’s songs sung in Norwegian, and collaborated with other Nordic artists like Ralph Myerz, Ingerlise had not been so publically active. Those of us who are enthusiastic fans were quietly waiting and watching to see what she might do. And now here it is, the exceptional Yngve Saetre-produced gem that any Ephemera fan is going to adore. The album contains 11 original songs and Ingerlise performs with a band that includes Jorgen Sandvik on guitar, banjo and strings, Paul Inge Vikingtad on bass, Odd Martin Skalnes on keys and Vegard Fossum on drums. Ingerlise plays her distinctive acoustic guitar and also keyboards. It was no small thing for the artist to step away from Ephemera for the first time, and that was one of the first things I wanted to ask her about.

“At first I was a bit concerned and anxious that it was going to be too close to the Ephemera sound,” said Ingerlise via email. “But I concluded quickly that I am a big part of the Ephemera sound, and I cannot change my voice or the way I play the guitar or make music, just to keep a distance from what might possibly sound like something Ephemera did. The studio session was very focused and very good; I never thought about being on my own, or that it was scary or difficult. It was all very natural. The band was in the studio for only two days… so I had a good picture of what I wanted. Almost all the arrangements were already done, I had recorded them at home as demos. The band played and put their sounds and feelings into the songs and it went really great, I think.”

Ingerlise Storksen (uncredited photo)
Ingerlise Storksen (uncredited photo)

When a singer has been primarily known for being in a group with tight vocal harmonies, they must be cognizant of listeners’ expectations, and even though Ephemera were far from being “superstars,” they made a tremendous mark in the Norwegian music scene. But there is no trace of the other girls on this album, it is definitely all Ingerlise. Wasn’t that a bit strange?

“Actually, it wasn’t strange or difficult at all,” she said. “I love those girls, no question about that! But I have the need to make my own music, to make decisions and choices without always meeting others halfway. It’s been such a strong experience for me. Of course, I’ve had thoughts like, ‘what if I can’t do this without them? What if it isn’t good enough?’ But most of all, I’ve been excited and confident about this record. ALL THE GOOD THINGS is a turning point in my life. It’s a really personal album, and it is all about making the world the best it can be. To make the right decisions for yourself, spending the time right and doing what means something to you.”

Ingerlise is justifiably proud of this record indeed, as it’s a tremendous showcase for her sublime songwriting. “In the End” and “Hearbeat” are fine examples of the kind of achingly emotional, haunting ballads that Ingerlise contributed to Ephemera and now offers here in a different musical setting. It’s authentic and real, hearing songs such as these. Ms Storksen is incapable of ever hitting a false emotional note. On “Velvet Voice,” a phrase that could easily apply to the sound that comes out of Ingerlise’s mouth, unexpected harps add a surprising texture to a song that starts out somewhat plaintive and soon turns sublime. “If you have anything to say/Use your velvet voice in your best way,” the singer advises, and this could be directed to a struggling friend (“A poor lily lost her grounded view/Too much to lose… All the guilt, the endless wall/Insecure, even smaller… “) or possibly an affirmation for the singer herself. Such things are up to the listener to decide, but it’s a gorgeous song. There are simpler, acoustic guitar-driven tunes such as “Defender” and “The Birds Would Cry” that are the kind of songs Ingerlise seems to be able to write in her sleep. There’s an organic purity to these kinds of songs; if they were food, the label would say “organically grown, no artificial ingredients.” Like any normal person, Ingerlise has undoubtedly experienced plenty of hurt and disappointment, but the empathy in her voice at all times is a wondrous gift far beyond the ability of most singers to convey. “I keep breathing to keep you alive/I am your defender in every fight/I am floating, you’re dragging me down/I keep breathing, watching you drown,” she sings in “Defender,” a tune about someone that has clearly made some big mistakes and is NOT listening to our heroine. As for “Birds,” in one simple lyric, Ingerlise lays it on the line about the risk of loving: “I know you’re scared, so am I/The trees will mourn and the birds would cry/If we let it go without a try.” This is a singer who, when she sings words like that (in flawless, softly breathy English, by the way), you can’t imagine the kind of idiot who would NOT take her advice. Elsewhere on the album, there are some more rocking songs like “Knockout” and “No Need For Sleep,” both of which are incredibly catchy and should be on the radio. Of that former song, it is worth mentioning that the peerless arrangement and production provides a rare moment of apt comparison. It’s not often that Ingerlise (or the other Ephemera girls) particularly reminds me of any other artists, but there is a breathtaking chord change in the chorus (“Night and day/High and low/I’ve been looking for you”) and a big, sweeping vocal ascension that is absolutely reminiscent of latter day Cocteau Twins. Nothing about Ingerlise’s normal singing voice would remind one of Liz Fraser, but this amazing moment truly does. High praise, I assure you. It’s also worth mentioning the stylistically uncategorizable first single, “I Killed Your Horse.” The unsettling title is metaphorical, one assumes; this is a love song with some high stakes, apparently, about a “strong cowboy” (or IS he?) and the woman asking him questions he may or may not be able to answer. The chorus is again, excellent, and Ingerlise has already gotten some plaudits in the Norwegian press for the tune. What is most interesting is to see her expand stylistically; this song in particular is NOT reminiscent of Ephemera, while some of the ones mentioned above, definitely are. At any rate, she’s made a fantastic, smoothly consistent, emotionally stirring record. And that wonderful voice? It oughta be playing in therapy centers and mental health clinics everywhere; I have to believe that at least SOME patients would soon find themselves feeling less anxious…

There were many, many questions I wanted to ask this amazing artist, and it was difficult to try to limit myself to a dozen or so. But the bulk of them follow; they cover the new record, the past and future of Ephemera, Ingerlise’s formative years, et cetera. Initially it might require some patience to get ahold of the vinyl (yes, it IS released in that format) or CD of ALL THE BEST THINGS, but I’d advise you to persevere if you like intimate, emotionally cathartic music of uncommon melodic beauty. Ingerlise Storksen is worth whatever you have to go through to hear her music. Personally, just knowing she is on the planet makes me feel better!

Ingerlise Storksen (uncredited photo)
Ingerlise Storksen (uncredited photo)

THE MULE: You seem to have this trademark style that is primarily acoustic guitar, your amazing voice, and then various quirky sounds that emerge during the production process. Do you generally have your songs finished as acoustic arrangements before you go into the studio? And do you also have the keyboard parts in your head?

INGERLISE: Yes, the songs are all finished and arranged in acoustic composition before I go in the studio. I’m working a lot at home, recording demos where I arrange and compose melodies for keys and choir and even strings. I love working out harmonies, and I love putting them together, chasing for that little magic touch.

THE MULE: There are some very intimate, melancholy songs on this album, like “You Are Love,” “In the End” and “Heartbeat.” You do these songs with such gentleness and emotional clarity. Do you ever get overwhelmed with emotion by your own songs? Are songs like this always about people or situations from your own life? “In the End” strikes me as a song that could be either about a character talking to herself, like therapeutic “self affirmation,” or advice to an insecure friend who is suffering.

INGERLISE: Those songs you mention are all very important songs for me. They are written in “real” moments. Moments when I really HAD to write them out. They are all very personal and emotional – especially “Heartbeat.” That song is about my dear, dear grandmother who passed away in May 2014. She and I have always been very close, and still I think it is so strange and so sad that she is gone. This song is for her. I managed to sing it at her funeral. It was hard work, but it was the right thing to do. I know she knows. So, yes, sometimes a song can be overwhelming – even for me.

THE MULE: I love the song “Velvet Voice” and it sounds like one of the album’s highlights. Could you talk about the recording of this song? I don’t recognize one of the string instruments, but the arrangement is startling. Is Yngve Saetre proactive about suggesting unique instrumentation like this? Does he surprise you, or do members of your band surprise you with suggestions that maybe you would not have thought of yourself?

INGERLISE: This song is one of my favorites, as well. The string-thing was something that happened in the studio, all spontaneous. I think maybe Jorgen picked up one of the harps in studio, just to play along with me while going through the song before we started recording. And all of a sudden, Paul Inge and Odd Martin were playing harps as well. It sounded great right away, and we jumped into takes. I think we played through the song two or three times, live – and there it was. It is two small harps and one Guzheng used. Plus two acoustic guitars. And Odd Martin is humming, as well.

Ingerlise Storksen I Killed Your Horse single
Ingerlise Storksen I Killed Your Horse single

THE MULE: “Knockout” and “No Need For Sleep” are the upbeat rockers on the album. Is it more fun to do songs like that in the studio? What made you choose “I Killed Your Horse,” a more eccentric song, probably, for a single rather than one of the upbeat tunes like this?

INGERLISE: It is really fun to record upbeat songs. It’s a whole different energy and way of working. I think “I Killed Your Horse” is such a strong song. It is not a typical single right away, but still it’s got a good chorus, but maybe more; it’s got catchy verses. The lyrics are very important for this song, and it really comes through. The next single release will be “Knockout” – a much more easygoing radio song. But when that song comes out, I will have already established a “deeper” image. About myself and my music. And I like that!

THE MULE: “Defender” is also a marvelous song, what inspired that one? It’s a great example of your style and your musicality. Do you need a “defender” in your own life?

INGERLISE: “Defender” is an important song for me. It’s about the need to “keep on walking”, and to leave things behind. To put something into sleep, while still keeping hold of the good feelings and the soul and the moments. It’s one of those sad love stories. I would like to have a big and strong defender in my life… but sometimes I think we all need to just lay down and let somebody strong and safe take care of us. Without any questions.

THE MULE: Your producer, Yngve Saetre, is a genius in my opinion. He worked on all the Ephemera recordings, and now he has produced your solo album. It would be an understatement to say he has good ears. What makes him such an ideal producer for you?

INGERLISE: Yngve has this unassailable way of working with music. He is a man with strong meanings, without any filter. So… we have had some good discussions on the road. He is stubborn and I am stubborn, but we both agree that we have to do what’s the best for each song. He is a very creative soul, and can often see things that I never would. Still, the songs on ALL THE GOOD THINGS were so ready when I went into the studio, and with all the preparation I already had done – the arrangements and harmonies – so there was not so much to discuss. I love working with Yngve, and I hope I get the opportunity again.

THE MULE: Bergen, where you live, has consistently turned out amazing musical artists. We think of it as a mystical, almost mythical music town here in the US. What is it like for you who live there? What makes it so unique?

INGERLISE: Bergen Is a small, but big city. Small in its size, but big in its facilities due to music and art and soul. The one thing that actually is kind of unique with Bergen, is that everyone who’s from this city is really intensely committed. Proud and loud about it! Even the mayor is really well known throughout Norway because of her big love for Bergen. There’s a little something special about Bergen that is hard to explain. When it comes to the music scene, there has always been a lot of generosity around. It seems everybody is cheering for each other – there is no fighting for the spotlight. The main thing is the music. Not money. Not fame or any of that.

Ephemera (Ingerlise Storksen, Jannicke Larsen,Christine Sandtorve) (uncredited photo)
Ephemera (Ingerlise Storksen, Jannicke Larsen, Christine Sandtorv) (uncredited photo)

THE MULE: What is it that first made you want to write songs and sing? What were your biggest influences?

INGERLISE: I have all my life felt this big and natural passion for music. I remember being a small girl, yearning to sing out loud, being on stage, singing for people – it was an intense urge. I grew up in a very musical family, and both my parents always played music in our house. Actually, they both played in bands as youngsters, my mom in a girl band, and my dad as a lead singer in his band. So there were guitars and a piano around me at home, and I was 12 years old when I sat down in my room and started to figure out how to play the guitar. I loved it! And I preferred to stay home in my room, playing and singing, than to be outside playing with my girly friends. I began to write my own songs at 16 or 17, with no other ambition than just for the love of it. When we started to play gigs with Ephemera, we suddenly understood that people out there liked the music we made. And all of a sudden it meant something more… There was never a question about playing together or spending all our time doing music.

THE MULE: Did you set any particular guidelines or rules for yourself when you first started writing your own songs? Were you shy about the process?

INGERLISE: Hmm. No guidelines or rules. But just always hunting for the good melody. I think it is possible to learn a method, or follow rules and setups for how to write a song – but I don’t believe you can provoke the real soul that you can sometimes feel in a song. I write my best songs when I experience the darker days. I love writing songs when I NEED to. I remember I felt a bit shy early on, when I was performing a new song for the girls in Ephemera. Was it good enough? Would they like it? But we were all a bit shy back then.

THE MULE: How much did Christine and Jannicke, your partners in Ephemera, influence the way you composed? Did they give you a sense of what did or didn’t work? How much collaboration was there?

INGERLISE: Well, Jannicke, Christine and myself are so much alike when It comes to taste in music in general. We grew up together, and we shared our youth and the “basic time” …if that makes sense. Still, we are very different souls and we have different preferences. I would say that the three of us together IS the sound of Ephemera. We’ve influenced each other on the road, and we grew as a band and as songwriters together. That is quite beautiful, actually. We have shared some really great things together. We have mostly written songs on our own – taken the song to the band rehearsal, and together, making it an Ephemera-song. I developed my way of writing during the intense time in Ephemera, and of course I’ve been influenced by the other girls. Still, I have always had a clear view of my own music, and how and what I want it to become.

THE MULE: The first Ephemera album, GLUE, came out in 1996. It was a pleasant recording, but didn’t truly showcase the “Ephemera sound.” That came to fruition on SUN, when you started working with producer Yngve Saetre. What did he bring to your sound that made such a difference? What happened in the group during that period between GLUE and SUN, which was in 2000?

INGERLISE: Wow, it was a long time ago. I’ll try to think back. That first record, GLUE, was very pure. I was only 17 years old when we were recording this album. And we were very concerned, and focused on the “live sound,” making sure everything was clean and organic. And real. It was a great first experience, and we learned a lot during this recording. We met Yngve during the mix of GLUE, he is the one who mixed the album. He really liked the way we worked and our songs, and wanted to work some more with us. I remember recording the album SUN like magic. It was in summertime, late evenings, and we just had a really good process. Working with Yngve went very well. He understood us, and together, we found the Ephemera sound during this recording.

Ephemera (Jannicke Larsen,Christine Sandtorve, Ingerlise Storksen) (uncredited photo)
Ephemera (Jannicke Larsen,Christine Sandtorv, Ingerlise Storksen) (uncredited photo)

THE MULE: It’s hard to analyze what makes something “magical” in music, but I just want to tell you that for me as a listener, what you and Ephemera have achieved often sounds like pure magic. There is some special ingredient that makes it soar higher than mere “excellence.” What makes music achieve that magical level, in your opinion?

INGERLISE: The magic in music… that is so powerful. And, so hard to explain. For me, it is those times when you write music because you really NEED to – when there is pure and real feeling and meaning in your words. When you manage to get pieces of hurt or soul, fervently into a song – I think some of that soul keeps on living in that song, and other people can feel it when they listen to it. That is magic!

THE MULE: My impression is that you were not that assertive about songwriting in the early days of Ephemera, but became more so between AIR and MONOLOVE. Is this accurate? What was your “evolution” as a songwriter?

INGERLISE: Hmm… I think I have always had it in me. Remember – we were young back then. At least, that is what I kept saying to myself. 17,18,19, 20 years old. I think it was more about confidence than ability. For every year that went by, It became easier for me to write songs, and to believe in myself as a songwriter. Still, I have this fear of, “what if I never write a good song ever again?” But deep inside, I know it’s there. That there will be more songs. I hope!

THE MULE: All three of you have fantastic voices, and you each add something special to the mix. Christine has written a ton of great songs. And I have to say that a lot of your songs, your vocal performances, give me chills. There are many songs I could ask you about, but I specifically wondered about two songs from MONOLOVE, the last Ephemera album. “Thank You” features a heartbreakingly beautiful vocal from you, with a level of hushed intimacy that few singers could ever hope to achieve. And “Dead Against the Plan” is, to me, one of the catchiest and most dazzling pop songs ever put on record. Can you tell me a little about what it was like working in the studio on those two songs? Did you know you were capturing some amazing musical moments on record when you did these songs?

INGERLISE: “Thank You” is a song written to one of my favorite persons in my life, my grandmother. I have now written a song for both of them – but both were amazing, you see. Really. “Thank You” is about everything she gave to us. The beautiful perspective of life she gave us. She lost two of her children when she was young, and went through such hard times. Still, she was always there for my dad and us grandchildren. She gave us all the love in the world. She was so strong and small at the same time; she was broken, but she never broke. It just makes me so sad to think about. Life can be so brutal. “Dead Against the Plan.” This is a song I started writing, the melody and the story. But I needed some help from Christine to finish up. So this one is a collaboration. The story is about a girl and a boy, they have been really good friends through many years. Always there for each other, in the ups and downs. It all changes the day he starts to feel more. They ruin the friendship by not figuring it out, and they never get back to where they once were. Stupid, right? This was a special song, and it was recorded not long after it was written, so there is some real energy there.

THE MULE: What is the current status of Ephemera? Obviously you guys keep in touch, but some fans were disappointed when the “break” you took turned into over a decade long. What happened? Will the group ever record an album again?

INGERLISE: We will never fully break up the band. We are on a long break. You see, we started up when I was 15 years old, and Christine and Jannicke 16. From early on, Ephemera got a lot of attention and it quickly became a busy pleasure. So the life with Ephemera was committed, and it held us back from doing a lot of other things in life. BUT… I would never miss that for the world. We got to keep doing what we really loved, we traveled around and experienced a lot that other “kids” didn’t get to do. But after all those years together, we needed to do some stuff on our own. All of a sudden, there were babies coming into the band, and family life was a fact. It’s not easy to leave your kids behind, to travel and tour. So we decided to take a real break, with no pressure or expectations. And then came more kids, and we had time to finish our education and try out the “adult-life” for a bit. Will Ephemera ever make another album? I would say yes.

Ingerlise Storksen (uncredited photo)
Ingerlise Storksen (uncredited photo)

THE MULE: Do you have any insights as to why many Norwegian recordings don’t get released in the US? Many albums I love from Norway cannot be found ANYWHERE here, they can only be ordered as special imports. That is gradually changing, as downloading becomes the prominent way for listeners to get music, but still… why didn’t Ephemera records, for example, get released here?

INGERLISE: Hmm. I don’t know, actually. A lot of Norwegian bands typically tour and release their music in Germany, England and Europe in general, but not so often in the US. But yes, it’s changing now. I see more and more bands traveling over to you, and making things happen over there. Sondre Lerche. The Last Hurrah! They are both working in the US these days. With Ephemera, I don’t think we had the right contacts. And we were so busy touring in Europe, Japan – and we didn’t get to the US before we took this break. We did have some songs on some TV series and some movies, but it never quite got to anything else. Maybe I will try with my solo project! I would love to release my music over there.

THE MULE: During the long break since MONOLOVE, I understand that you were all raising families, but it has certainly been a much longer break than bands usually take. The only new recording the band made, I suppose, was your cover of the Prince song “Manic Monday” for a tribute album. How much were you working on music yourself those years? Did you ever lose interest in it? Or were there particular “barriers” to overcome?

INGERLISE: I could never lose interest. This is about so much more than just an interest. I’ve been writing music all the way, for all these years. It is such a big part of who I am, and I will never stop making songs and writing lyrics. It was just time for me to jump off the wagon for a while. I needed time home with my son, and this was a choice I made. I have been working as a journalist as well, and I tasted the “everyday-life.” I love being at home with my son, but working in front of a computer all day… no! It kills me. In the end, it makes me sad and “sick” if I can’t keep working and spending time with my passion and music. So I have recently quit my job, and will be focusing only on music now. And Oskar. There is one life. One chance.

Ingerlise Storksen (uncredited photo)
Ingerlise Storksen (uncredited photo)

ALL THE GOOD THINGS is due for release this Spring on iLs Records. You can follow Ingerlise’s activities at www.ingerlisestorksen.com. Most of Ephemera’s music is available on iTunes, and some of it can be heard at Spotify.


FIVE EPHEMERA GEMS

Although on hiatus, the Norwegian trio has recorded a clutch of albums that are stellar examples of luminous, emotionally compelling modern pop. Here are five of their very best songs to seek out:

Ephemera  (Jannicke Larsen, Ingerlise Storksen, Christine Sandtorve) (uncredited photo)
Ephemera (Jannicke Larsen, Ingerlise Storksen, Christine Sandtorv) (uncredited photo)

1. PERFECT – From their 2000 release SUN, Ingerlise sings this delicate tale of a troubled relationship in which the boy begs unsuccessfully for forgiveness for the way he’s messed things up. Spine-tingling harmonies only add bliss to the impossibly fragile lead vocal.

2. BYE – Another Ingerlise tune, this is one of the most perfect melancholy pop songs you’ll ever hear. Sweetly sad, flawlessly sung and graced with a soft chugging rhythm and singalong chorus. If that weren’t enough, the song unexpectedly breaks into a semi-jazzy piano break halfway through that sends this straight into “blue diamond” territory. Transcendent.

3. MAPLE TREE – Christine Sandtorv penned and sang this gorgeous romantic song from the 2003 release AIR. A seemingly simple song about a girl sitting under a tree on a sunny day, “holding a leaf with my toe,” with an unnamed romantic companion suddenly showing up. So perfect, sweet and life affirming is this song, it has brought me to tears on several occasions. “When the sky is blue, right in front of you/Touch it while you can/It may never happen again,” sings our angelic protagonist, and I don’t know of any advice on ANY recording that gets you right in the heart the way Christine does here. Nordic magic so sublime it puts the overproduced and melodramatic works by most American female artists to shame. Probably one of my ten favorite songs of all time.

4. ON MY FEET AGAIN – Another tune from AIR, this is a lovely collaboration between Christine and Ingerlise in which, improbably, almost every line begins with the word “Maybe.” It comes across as a girl talking to herself, trying to figure out, perhaps why things aren’t so great. The repeated refrain is a simple “Maybe I’ve got a lot to learn about falling down/Maybe I’ve got a lot to learn about getting up on my feet again.” Melodically rich, catchy as hell, featuring an evocative keyboard sound, and oooh, those sweetly feminine harmonies. Beautiful simplicity, something Ephemera does better than anyone.

5. DEAD AGAINST THE PLAN – Before their fifth album, MONOLOVE, came out in 2004, Ephemera had raised their own bar so high that one could be forgiven for thinking they were finally going to make something LESS wonderful, something maybe a bit, I don’t know. Self-indulgent? Repetitious? Ordinary bands do that sort of thing, after all. But gee whiz, MONOLOVE turned out to be deeper, richer and more multi-layered than ever before, with a full slate of gorgeous new songs like “Thank You” and the anthemic “Paint Your Sky” (one of Jannicke Larsen’s finest songs). “Dead Against the Plan,” however, another Ingerlise-Christine collaboration mostly sung by the former, is ridiculously brilliant. Every single second of this song is so meticulously sung, performed and arranged for maximum musical impact, that you can only shake your head in awe. Multiple hooks, rich harmonies, odd little detours and breaks, one of the best uses of a banjo on a pop song ever, and an A plus plus plus production by Yngve Saetre put this song in a class by itself. It’s so damn good that I only allow myself to listen to it once in a while, because I don’t want to ever take for granted or “get used to” pop music this dazzling. Anyone who wants to quickly find out why I am so in love with this band just needs to put this song on, turn it up loud, close your eyes and experience Nordic songcraft at its most enthralling.

WARDRUNA: RUNALJOD – GAP VAR GINNUNGA

(INDIE RECORDINGS; reissue, 2014; original release, 2009)

Wardruna cover

Let’s just get this out of the way upfront. It IS okay to play favorites when you’re a music writer. I wouldn’t believe ANYONE who says they like everything the same; we all have our favorites. And while anyone bold enough to write about music or art in a public forum better at least be open-minded, it is normal and human to be drawn to certain things more than others. A whole host of factors determine one’s personal aesthetic and predilections, and these generally change as you grow older. So I just wanted to say all this by way of explaining my delirious response to the Norwegian group Wardruna. I’m well known for loving Scandinavian music, especially what comes out of Norway and the rustic forests of Finland. I also tend to love anything that’s weird and unclassifiable, and I am an avowed ambient music fanatic. So, imagine how enthralling it must be for me to encounter this Norse trio, who are plenty weird, plenty ambient, and absolutely committed to their quest to conjure up a sound that evokes old Viking mythology, the darkness along ancient rocky shores, and the fiery passions of a people so tied to a beautiful, cold, mountainous land far away that nothing else matters except their homes, their families, their lifestyle and their surroundings. The sound of this recording is not “unearthly” per se, although some may call it such. What it IS, though, is wild, untamed, eerie, primal, awe-inspiring and deeply mysterious. Parts of it sound like bits of the score from the LORD OF THE RINGS trilogy (it’s well-known that composer Howard Shore drew from Norse mythology for some elements of LOTR), parts are reminiscent of Dead Can Dance (only superficially, though) and most of it is rich in the traditional folk stylings of Norway’s boundless musical past.

Wardruna performs at Vikingskipshuset (The Viking Ship Museum) in Oslo  Norway, 2010 (photo credit: wardruna.com)
Wardruna performs at Vikingskipshuset (The Viking Ship Museum) in Oslo Norway, 2010 (photo credit: wardruna.com)

So, who is behind this spellbinding sound? Let’s meet them, shall we? The chief visionary is Einar Kvitrafn Selvik, who apparently writes everything and plays most of the instruments, along with his deep-register vocalizing. Lindy-Fay Hella is the woman in the group, and she contributes amazing, much needed female vocals. And Gaahl is credited on vocals and “conceptual contributions.” This GAP VAR GINNUNGA project is part one of a planned trilogy about runes. What’s that, you ask? Let’s just quote right from the group’s website here: “The ongoing RUNALJOD trilogy is a musical rendition of the 24 runes in what is often referred to as the Elder Futhark. Some of the recordings are done outdoors in places or under circumstances of significance to each rune. Wardruna primarily use old and historical instruments such as primitive deer-hide frame drums, kraviklyra, tagelharpe, mouth harp, goat horn, lur and more. Non-traditional instruments and other sources of sound like trees, rocks, water and torches are also used.” Are you better prepared now, listeners? Well, I doubt it, because no description is truly apt for the mighty, immersive, sonic grandeur this trio has forged. And lemme tell you, “forged” is a better word than something as bland as “recorded.” You don’t sit down and “record” stuff like this. You sculpt and chisel it out of the very foundation of your SOUL, using materials tied more to the earth than anything the average musician picks up. The vocal incantations, drones, ancient horns, percussive THUMPS and thoroughly mysterious other instruments take you to another time, another place, a dreamscape so far away from your normal reality that you can’t believe it exists out there. This is a history lesson without the names or events, a trip to an exotic place without having to drive, fly or sail, an experience in unbridled passion without having to touch or question the motivations of your partner. Wardruna are making living, breathing, stirring musical art that anyone with even mildly adventurous musical taste should revel in. It’s unforgettable, music that is at one with the ancient power of nature in a manner unattainable by most recordings.

Wardruna (Lindy-Fay and Kvitrafn) (publicity photo)
Wardruna (Lindy-Fay and Kvitrafn) (publicity photo)

And listen, picking out individual song titles is not particularly relevant in this case. It’s all of a piece, one track flowing into the next. The titles are in Norse anyway: “Hagal,” “Bjarkan,” “Jara,” “Laukr,” et cetera. Speaking of “Laukr,” by the time I got to that eighth track, I was already so deliriously grateful for what this group had laid down for us that I knew the kind of review I was going to write. This music renders most adjectives inadequate. Wardruna have power, majesty, the singular intent of all the best art, the confidence that what they are embarking on is more than worthy, and the musical skill to capture the organic ebb and flow common to the best listening experiences. This stuff isn’t for you if you only like pop or rock and roll. But if you liked being STIRRED, haunted and enthralled by music and the mysteries of life, check out Wardruna. You will NOT forget what you hear. Oh, and Norway? You keep raising the bar SO high for interesting aural creations, what are the rest of them out there gonna do? Not your problem, though… just keep on being beautiful, provocative and wildly yourself, dear. Some of us appreciate you a ton, and we’ll see to it that only the most DESERVING get to experience your secrets.

SARA RENAR: JESEN (AUTUMN)

(AQUARIUS RECORDS EP; Croatian import; 2014)

Sara Renar cover

Reviewing a singer/songwriter from another country, singing tunes in their native language, pretty much forces you to concentrate on the pure sound of their offerings, since you can’t follow along with the lyrics. Although I have listened to a fair amount of unique stuff from Europe, Sara Renar is the first singer I’ve listened to from Croatia. So I don’t have many reference points for her 7-song EP titled AUTUMN, or JESEN in her native tongue. I certainly wasn’t expecting a somber 2-minute ambient instrumental to kick things off. The title track was a bit plodding and not very original, but “Trag” was a bit more interesting, repetitive in a good way and using its two-chord simplicity to good effect. Another mid tempo vocal track, then a rather delicate piano and guitar instrumental called “Post Sezona” pretty much lets you know you’re listening to something rather unusual, aesthetically speaking. “Razmak” offers another surprise by beginning with squiggly sounding synth and drum machine and actual lyrics in English. But lest you get too comfortable, Renar switches back to her native Croatian, although the arrangement and feel of this track are so lithe and appealing by this point, you don’t really care. It’s a strong, energetic track. Things close out with an a cappella version of the title track, with two different vocal lines competing for your attention. It’s striking, and a good reminder of how much power the simple human voice can have when singing with conviction and this kind of potent drama. Renar has emotions to spare, and it’s a real kick to hear her going full tilt like this. I didn’t really need to know WHAT she was singing, I could simply tell SHE was into it, and that was enough.

Sara Renar (photo credit: DOONJA DOPSAJ)
Sara Renar (photo credit: DOONJA DOPSAJ)

Hard to say if Renar is an important artist on the basis of this EP, but one thing’s for sure, it does NOT follow a predictable formula. It’s a burst of somewhat nervous energy, with an exploratory feel, and it is curiously asexual in nature. Mostly, I liked it. I hope her next full-length will answer some of the questions that, creatively, this disc leaves hanging.

JIMI: ALL IS BY MY SIDE

(XLRATOR MEDIA/DARKO ENTERTAINMENT/FREEMANFILMS/MATADOR PICTURES (118 minutes/Rated R); 2014)

JIMI: ALL IS BY MY SIDE cover

When this movie was originally announced, there were grumblings and, in the case of Experience Hendrix (the company formed by some members of the Hendrix family to oversee everything Jimi), outright venom spewed at director/writer John Ridley, actor Andre Benjamin (Andre 3000 of the hip-hop/pop/rock duo, Outkast) and others associated with the project. The Experience Hendrix people demanded complete participation and final approval on every aspect of the movie, including who would play Jimi; they were adamant that Benjamin be replaced. When their demands were rebuked, they pulled all licensing of Hendrix’ music for use in the film. Feathers were also ruffled by the portrayal of certain of the man’s character traits and, no doubt, the characterization of his father, Al. I could never really understand the family’s dislike of Mister Benjamin but, I have read some rather ludicrous comments from others on the subject: Andre, according to one person, was several shades too dark to accurately portray the lighter skinned Hendrix (that one just absolutely boggles the mind); another cited Benjamin’s age (somewhere around 37 when filming began), stating that he was too old to play a 23 year old Hendrix (uh… that’s just ridiculous… let’s examine, shall we? The four high school kids from WELCOME BACK, KOTTER were all in their twenties when the series began – John Travolta was the youngest, at 21; Ron Pallilo was 26 and only four years younger than his “teacher,” Gabe Kaplan. That’s just one example… this kinda stuff happens regularly in movies and television), but if 60 is the new 40, then 40 is the new 27 and, suddenly, 37 isn’t so far removed from 23. Another… I’m gonna call it an “observation” that I’ve read (and heard from friends) is the fact that Andre is a “hip-hop” guy and, well, he couldn’t know anything about Jimi Hendrix (ay, caramba! I give up!). Of course, the major complaint is the fact that the film-makers could not use any of Jimi’s music. So, how does the movie stack up against all of that hate? Very well, thank you.

JIMI: ALL IS BY MY SIDE ( Andre Benjamin and Imogen Poots) (photo credit: PATRICK REDMOND)
JIMI: ALL IS BY MY SIDE ( Andre Benjamin and Imogen Poots) (photo credit: PATRICK REDMOND)

Before getting into the meat and taters (so to speak) of the film, I would like to address several of the issues listed above. Let’s start with the biggie: Jimi’s music. The ban was limited to actual recordings of Hendrix and to songs that he wrote. The former really had no bearing on the production, as the music was performed by a crack group of session men (guitarist Waddy Wachtel, bassist Leland Sklar and drummer Kenny Aranoff), with vocals by Benjamin; the latter would have been devastating had the movie focused on Jimi’s legendary career past June 1967, because during the time span featured (June 1966 through June 1967), Hendrix had only released one album (ARE YOU EXPERIENCED in May ’67) and three singles (sure, two of those were “Purple Haze” and “The Wind Cries Mary,” but those also came out in May ’67). So, the music focuses on the time that Hendrix played rhythm and blues standards with Curtis Knight and such classic blues numbers as “Killing Floor” and “Manish Boy.” As far as I’m concerned, that works fine for me and plays into the narrative of Hendrix’ rise to stardom in England during that twelve-month period. The Hendrix family, no doubt, wanted to avoid much of the foibles and the darker side of, not only Jimi, but his father, as well; I gotta admit that I was shocked by a couple of violent outbursts in the film but, who among us can say they are foible-free and don’t possess a darker side to some extent? Now, as far as Andre Benjamin’s skin-tone, if he were a white guy in black make-up, I would see that as a definite problem; since, however, the performance and the voice and the mannerisms are the important thing here, I’m good, as Andre was spot on, based on just about every film clip I’ve ever seen or every audio clip that I’ve ever heard of Jimi Hendrix… except the hands… for some reason, the way he holds and plays the guitar and the way he uses his hands throughout just doesn’t match up with what Hendrix did. You saw my feelings regarding the age discrepancy, so we’ll move on from there to Andre 3000 being a hip-hop guy and not knowing anything about Hendrix. Really? I’m a pasty white guy from the middle of nowhere who grew up in the ’60s and ’70s as a pasty white kid from the middle of nowhere, but I know and love a wide variety of music and artists from the ’50s and earlier. And, hey, just to make that particular section of the populace even crankier, I listen to hip-hop, too.

JIMI: ALL IS BY MY SIDE (Andre Benjamin) (photo credit: PATRICK REDMOND)
JIMI: ALL IS BY MY SIDE (Andre Benjamin) (photo credit: PATRICK REDMOND)

If I have one complaint about JIMI… it’s that it tends to jump around a bit much, leaving a lot of the context of what’s happening up to the viewer (a noble tactic for a horror movie… not here). There are also several stop frames, where a character is identified (Keith Richard, Chas Chandler, Noel Redding) before moving into whatever scene is up next. The whole thing rather reminds me of an old John’s Children song called “Jagged Time Lapse,” which the songwriter, when asked what the title meant, replied, “It’s about jagged lapses of time, innit?” The movie starts at the end, on June 4, 1967, as the Jimi Hendrix Experience are about to take the stage at the Saville Theatre in London (of which, more later). We are quickly transported in time back one year, to the Cheetah Club in New York, where Jimi is playing with Curtis Knight. One of the audience members is the very bored, very spoiled girlfriend of Keith Richard, Linda Keith (played by the beautiful and unfortunately named Imogen Poots), who is immediately taken with the man hiding in the back corner of the stage, just waiting for his solo to come around. Flash forward to Linda turning Jimi on to acid and, later, trying to make him see just how gifted a musician he really is. When he tells her that he can’t leave Knight’s band because the guitar he’s using belongs to his employer, she buys him the white Gibson that would become somewhat of a trademark during those early days. As Linda becomes more involved with Hendrix, she begins to contact the movers and shakers within her circle (the Rolling Stones’ manager, Andrew Loog Oldham, co-founders of the newly formed Sire Records, Seymour Stein and Richard Gottehrer), actively seeking a management and recording deal for him. In a particularly humorous (and somewhat ironic) scene, the Stones’ guitar player, in a petulant pique of jealousy, visits Linda’s father to have him intervene in the situation with Jimi; Keith tells Mister Keith, “And he’s a drug addict. Did you know that? He has her strung out all the time.”

JIMI: ALL IS BY MY SIDE (Haylet Atwell and Andre Benjamin) (photo credit: PATRICK REDMOND)
JIMI: ALL IS BY MY SIDE (Haylet Atwell and Andre Benjamin) (photo credit: PATRICK REDMOND)

A chance meeting with Animals bassist Bryan “Chas” Chandler, at the end of an American tour (and the end of the original Animals line-up), finally garners Linda the guidance for Jimi’s career that she has been seeking: Chandler (played by a virtual doppleganger, Andrew Buckley) is retiring from playing and moving into management. The scene where Chas first hears Hendrix is an absolute priceless moment in the film, with Chandler’s eyes wide and jaw dropped as he’s mesmerized by the guitarist’s ability (if not his stage presence). Linda sets up a meeting between the two rockers and, literally, history is made as Chandler convinces Jimi to head for the much greener pastures of England, with promises of a much more diverse and open-minded approach to the burgeoning music scene there. Jimi arrives in London on September 24, 1966 but, still waiting for his work visa to be approved, his playing time is limited to a couple of minutes onstage. As Chas, Linda and Jimi make the rounds at all of the local clubs, Jimi is noticed by Kathy Etchingham (played by Marvel’s AGENT CARTER, Hayley Atwell, who, it should be noted, doesn’t look anything like Chas Chandler); likewise, Kathy is noticed by Linda, who becomes violently jealous when she catches the pair in bed together later that night (or, six weeks later… jagged time lapses, remember?). Linda simply picks up the guitar she had given Jimi and walks out the door as Jimi implores, “No, Linda, no. Not the guitar.” Kathy is elevated past groupie status to girlfriend, as she and Jimi are virtually inseparable; Linda realizes that her jealousy was misplaced (she and Jimi, though very good friends, were never anything more) and returns the guitar (actually, a pawn ticket for the guitar) and all seems right in the world of Jimi Hendrix.

JIMI: ALL IS BY MY SIDE (Tom Dunlea, Andre Benjamin and Oliver Bennett) (photo credit: PATRICK REDMOND)
JIMI: ALL IS BY MY SIDE (Tom Dunlea, Andre Benjamin and Oliver Bennett) (photo credit: PATRICK REDMOND)

As Hendrix and Chandler marched inextricably toward a return to the States and the legendary performance at the Monterey Pop Festival, there were, of course, several memorable events – all well documented – in those final months in London. Jimi needed a band; Jimi wanted a power trio like his idol, Eric Clapton, had with Cream. The auditions to find the perfect bass player and drummer, complimentary and exemplary players who could do what Jimi’s music and style demanded of them, were on. Noel Redding was tapped for the bassist position as much for his hair (“I like your hair, man. It’s wild, like Bob Dylan’s.”) and his vast musical knowledge as for his playing. In fact, Redding, a guitarist by trade, knew nothing about playing bass. When he asks how much the gig payed, Jimi tells him that everybody was broke, but that was cool: “Might as well hang out with us and be broke… and cool. It’s better than being just broke.” Feeling himself well on the way to being a rock star, Jimi calls his father, in Seattle to tell him the good news; his father is not impressed and, once more sensing that feeling of abandonment from his father, Jimi becomes moody and combative with those around him, who are only looking out for his best interests. Fulfilling a promise, Chandler takes Hendrix to see Cream at the Regent Street Polytechnic on October 1, 1966. Chas tells him that Clapton will meet him before the show; Jimi has him ask if he can sit in. This is one of the most famous first meetings in rock history; Hendrix plugs into Jack Bruce’s bass amp and asks the group if they know “Killing Floor,” starting the song cold, leaving Clapton, Bruce and drummer Ginger Baker to catch up. Bruce and Baker find the groove, but Clapton walks off stage without playing a note. Backstage, Eric asks Chandler, “Is he really that good?” Still searching for the third member of what was now to be known as the “Jimi Hendrix Experience,” Hendrix, Redding and Chanadler are debating the merits of the two finalists for the position. John “Mitch” Mitchell wins a hard fought battle over Aynsley Dunbar via a coin flip. Suddenly, we’re back to the beginning, with the band getting ready to take the stage at the Saville on June 4, 1967. With George Harrison and Paul McCartney in attendance, the Jimi Hendrix Experience would open the show with the just-released Beatles track, “Sergeant Pepper’s Lonely Hearts Club Band,” a gutsy move, but one that works. As he plugs in, Jimi turns to the crowd and, pointing to his ears, says, “Watch out for your ears.” The only thing that didn’t work for me in this scene was the guitar Hendrix was playing. I’ve seen film and photographs of the show and he was playing that white Gibson, not the painted flying V shown in the movie. A little artistic license, I suppose, wanting to show off another one of the man’s iconic guitars.

JIMI: ALL IS BY MY SIDE (Imogen Poots; Andre Benjamin; Ruth Negga) (photo credits: PATRICK REDMOND)
JIMI: ALL IS BY MY SIDE (Imogen Poots; Andre Benjamin; Ruth Negga) (photo credits: PATRICK REDMOND)

I usually don’t go into such detail when reviewing a film but, as I said, much of this is canon as far as Jimi Hendrix is concerned. But… what about the movie itself? Andre Benjamin catches the essence of the young guitarist perfectly (except, as I mentioned, the hands), capturing especially well the phrasing and nuanced vocal patterns of the soft spoken Hendrix; most of the well-known people shown (mostly in cameos) look astonishingly like the real deals, which is an instant plus. The cast is superb, from top to bottom, including Ruth Negga (the girl in the flowered dress, Raina, in Marvel’s AGENTS OF SHIELD), who has a pivotal role as Ida, a woman wanting Jimi to use his fame as a catalyst for a racial uprising (Hendrix’ response is beautifully poetic and one that should be used universally); of course, like Kathy, she, too, is a groupie looking to bed another rock star. The script doesn’t pull any punches with the portrayals of Jimi and all of the others (Clapton, in particular) and, really, that’s all you can ask of a docudrama like JIMI: ALL IS BY MY SIDE. The film is rated R, primarily for language and the limited portrayal of drug use but, aside from that, this is a film that every music lover (well… except for those close-minded few that I discussed at the front of this thing) should see and will enjoy. Even without those classic Hendrix tunes.

100 GREATEST ALBUMS OF ALL TIME (ACCORDING TO ME), NUMBER 98

If you’re here looking for a Jann Wenner/ROLLING STONE/Rock and Roll Hall of Fame style affirmation of how great Bruce Springsteen is, move on… there’s nothing here for you; Springsteen’s indecipherable vocal grunts have never appealed to me and – like Kurt Cobain’s – his lyrics are a tick (well, okay… several ticks) below that “Friday” girl (Rebecca Black). So, with that out of the way, I can pretty much guarantee that this list will not look like any other such list. Why? Okay, while there are albums that are obviously classics, landmark releases or “must hears,” most of those don’t manage to meet my stringent requirements for this list. Do I like Miles’ BITCHES BREW, Dylan’s HIGHWAY 61 REVISITED or the Floyd’s DARK SIDE OF THE MOON? Absolutely! And, just for the record, I do actually like a lot of Nirvana’s stuff, IN UTERO being my favorite. But, and here’s the major prerequisite for this list, how often do I listen to them? Not as often as I listen to the records that made the cut and, to these ears, that’s what counts. So, there you go… that is my stringent requirement: How often do I listen to the album and, to a lesser extent, how vehement am I about forcing said album on everyone else with whom I come into contact. A few minor things to consider (or not): There are no live albums (that’s a completely different list); these are all full-length releases (no EPs or singles); every album on this list is an official release (no bootlegs or “promotional only” items); “Greatest Hits,” “Best of… ” and singles collections are strictly verboten.

Ask me again next week and this list will probably look quite different; in fact, it’s already changed significantly since I decided to do a list. I started at 20 (in line with my list of favorite live albums). The list quickly ballooned to almost a hundred before I started whittling it back down to 50. I then found myself adding, deleting and substituting the other nearly 50 albums, so… what’s a music lover to do? The answer was obvious: Make the list a firm Top 100, regardless of the massive undertaking. If you wanna call this a “guilty pleasures” list, if that’ll help you sleep better at night… that’s okay with me. What I hope to accomplish with this list is to get you to take a closer look at some albums you may have crossed off after a spin or two or to get you to check out something that you may have never even been familiar with. It ain’t rocket surgery, kids; it’s just me telling you what I like and, why – maybe – you should like the stuff (or at least give a listen), too. With that said, and heading from the bottom of my humble list to the top of the heap, here’s…

(98) JERRY JEFF WALKER: RIDIN’ HIGH

(MCA RECORDS; 1975)

Ridin' High 1975

RIDIN’ HIGH was the fourth MCA release from upstart country artist Jerry Jeff Walker, the man who may forever be best known as the author of the classic tear-jerker, “Mister Bojangles.” My brother liked Jerry Jeff’s music, which was sometimes traditional to a fault, especially the live VIVA TERLINGUA, released two years before RIDIN’ HIGH; I, however, was a hard-headed 16 year old who, the year before, had quite stupidly purged my record collection of everything that wasn’t the hardest of rock (the one exception being anything by Frank Zappa). One day, my brother handed me a stack of MCA releases, a copy of this record included; I’d heard enough Jerry Jeff to know what to expect but, I was feeling expansive once more toward certain types of music and thought, “Okay… just the first song. That way I can say that I at least tried to listen to some country music.” It took me a whole lotta years before I opened my arms (and mind) wide enough to allow country music a little corner of my music room… the one exception being Jerry Jeff Walker’s RIDIN’ HIGH. I listened to the album all the way through that first day and for several days after that, until I’m sure that everybody around me was sick of it; it had achieved a vaunted status amongst Alice Cooper, the Who, Uriah Heep, Black Sabbath, Deep Purple and all the rest. And, now, some 40 years later, it sits at number 98 as one of the greatest albums of all time.

Guy Clark, Dave Perkins and Jerry Jeff Walker (uncredited photo)
Guy Clark, Dave Perkins and Jerry Jeff Walker (uncredited photo)

Jerry Jeff took his Lost Gonzo brethren, mixed in some Nashville veterans and recorded what is, arguably, the best album of his career. The first song on that album is “Public Domain,” written by the bass-playing Gonzo, Bob Livingston. The song is sort of a Texan’s (while Jerry Jeff hailed from upstate New York, Livingston was Texas born and bred) take on New Orleans jazz, with acoustic bass and a ragtime piano. Deep down, this is a protest song (against the government; against the music industry; against the return policy at the local Woolworth’s; against… something): “Don’t be concerned if the song sounds familiar/Don’t be concerned if it all seems the same/Just be concerned that your policies will kill you/And it’s all just public domain.” Don’t let that bother you too much… just enjoy that progressive cosmic cowboy groove. “Pick Up the Tempo” is a more rockin’ Texas stomp from Willie Nelson. It’s closer to what we’ve come to expect from the Lost Gonzo Band when they back Walker. Jerry Jeff gets sentimental with Guy Clark’s “Like a Coat From the Cold.” The cracking, world-weary voice and sparse accompaniment make the song all the more effective. “I Love You” is more of the same, but much more personal, as the track was penned by Walker himself. It features a really nice bass line and one of those pedal steel parts that just makes you feel so lonely. Side one finishes with “Night Rider’s Lament,” a real live cowboy song by Michael Burton, with a pretty fiddle solo and Jerry Jeff’s yodeling… sorta.

Jerry Jeff Walker with Lost Gonzos, circa 1973 (photo credit: Steve Knagg)
Jerry Jeff Walker with Lost Gonzos, circa 1973 (photo credit: Steve Knagg)

On to side two and “Goodbye Easy Street,” a Texas waltz with a lilting melody, written by another backing Gonzo, guitarist John Inmon. The waltz estimation is heightened by a bouncy bass line and augmented by some nice harmonica and a touch of banjo; toss in some very Beatle-esque (no… really!) backing vocals and you have another winner on an album full of ’em. “Pot Can’t Call the Kettle Black” has kind of a weird Irish reel feel to it. I could actually envision this as one of those quirky tunes that Faces were so adept at; the piano could come straight out of Ian McLagan’s playbook and the number has that easy rolling feel that would have suited Rod quite well. It is definitely one of the better fast tunes here with equally impressive vocals from Jerry Jeff; to top things off, there’s a unique harmony break with guitar and pedal steel. Jesse Winchester’s “Mississippi, You’re On My Mind” is kind of a Texarkana cowboy blues, with some fine guitar pickin’ and great backing vocals. I’ve never been a big fan of Winchester… maybe it just took Jerry Jeff and the Gonzos to open my mind a bit. Another Lost Gonzo Band/“London Homesick Blues” type of tune, “Jaded Lover,” is country to the bone, but with a meaty progressive outlaw marrow. The Chuck Pyle tune holds up amazingly well and would probably be a hit if it were released today. Finally… it’s the reason we’re here, the song we all came to hear: Jerry Jeff Walker’s very own “Pissin’ In the Wind.” The song trumps “Friends In Low Places” and “All My Rowdy Friends Are Coming Over Tonight” by at least a decade. The word play comes fast and furious, with lines like “I called this Guy,” and “this Nunn called me up,” and “some Gonzo buddies would like to play,” references to Guy Clark and Gary Nunn and his Lost Gonzo cohorts. Even if the rest of RIDIN’ HIGH wasn’t as over-the-top good as it is, this song alone would be worth the price of admission.

Willie Nelson, Jack Rodgers and Jerry Jeff Walker (uncredited photo)
Willie Nelson, Jack Rodgers and Jerry Jeff Walker (uncredited photo)

This particular set of songs and this particular group of players, along with one of the best voices in any genre of music, make this record indispensable and one of my greatest albums of all time. I’ve got a feeling that my brother is looking down on me and saying, “I told you so!” To which, I can only smile and say, “I love you, too.”

As far as I can tell, the latest edition of RIDIN’ HIGH comes from Australia’s Raven Records and was released in 2012. It’s packaged as WALKER’S COLLECTIBLES/RIDIN’ HIGH… PLUS, with Jerry Jeff’s previous release, WALKER’S COLLECTIBLES, as a two CD set featuring six bonus cuts. You can check it out and order it here: www.ravenrecords.com.au.