Black Rebel Motorcycle Club – Specter At The Feast

 

Black Rebel Motorcycle Club – Specter At The Feast

By

Jesse E. Mullen

 

You’ve co-led a successful indie rock band. You’ve helped revive a style of music from the mid-80s with your own spin. And you’ve enlisted the help and wisdom of family ties. But what happens when tragedy strikes down these ties?

Robert Levon Been is the bassist and co-lead vocalist of San Francisco’s Black Rebel Motorcycle Club (aka BRMC). Along with guitarist and singer Peter Hayes, the duo perfected an update of the sound established by The Jesus and Mary Chain. Their voices blended perfectly over the guitars. Drummer Nick Jago played with a primal intensity.

Their debut album B.R.M.C. was released in 2001 to rave reviews. “Spread Your Love” and the eternal “Whatever Happened To My Rock ‘N Roll? (Punk Song)” displayed a fiery intensity not heard in the era of Robbie Williams and Coldplay.

The British press ate them up. Noel Gallagher had them open for Oasis. Things were looking up for BRMC. And it didn’t look like they would ever stop. Until suddenly they did. The music press are a fickle bunch. They can champion a band one day and tear them down the very next.

BRMC found this out the hard way, when they released their second album Take Them On, On Your Own in autumn 2003. While there was nothing wrong with the album, critics said they hadn’t progressed enough since their previous release. Pitchfork singled out “US Government” as being too generic to be a protest song.

Critics were only divided further when BRMC released their third album, the all-acoustic, blues-based Howl in 2005. While many were enamored with the new direction, a select few weren’t as impressed. At this point, Been and Hayes were having problems with Jago. He had been in and out of rehab several times.

Another problem had arisen. While Been and Hayes were American, Jago was British and needed a touring visa to play in the States. Problems with his American papers nearly forced BRMC to tour exclusively in the UK and Europe. After more interpersonal issues and a poorly received 2007 album Baby 81, Jago was out.

Replacing him was The Ravenettes’ Leah Shapiro. She became a fan-favorite instantly, sounding almost exactly like her predecessor. Her hard-hitting style solidified her role as the new third member. But if anyone was going to claim the title of “fourth member of BRMC,” it was undoubtedly Michael Been.

As frontman and producer for the ‘80s band The Call – and father to Robert Levon Been – he filled two roles within the group. He acted as their soundman and in-house engineer, as well as being a personal mentor to the band. He was there when the going got tough in 2007 with Jago. And he’d just helped BRMC make their then-newest album.

Beat The Devil’s Tattoo was released in spring 2010. It combined their earlier, electric sound with the acoustic slide guitars of Howl. While the reception was middling, it was still a massive accomplishment for the group. They’d carved out their niche, developed a cult following, and found a drummer who wasn’t going to blow at any second.

It seemed that the trials of the past were finally in the rearview for BRMC. They could now enjoy life on the road like the gang they were named after. That was until August 19^th, 2010. It was supposed to be a wonderful weekend. But one piece of news changed everything.

The band were slated to play at the Pukkelpop festival in Belgium. It is an annual event where some of the best names in alternative music play. Everything was set into place until Michael Been suffered a fatal heart attack. He was 60 years old.

Through their grief, BRMC soldiered on through a fierce set. But as the reality of the situation sunk in, the band was at an all-time low. Michael Been was their mentor, the one that dug them out of crisis with their first drummer and spread his wisdom from his own touring days. How could they go on without him?

BRMC approached the situation the only way they knew how. By making another record. They started out slowly in early 2011. But in spring of 2013, Specter At The Feast was finally ready for release. The existence of the album was a miracle in and of itself. But fans still had to wonder – could BRMC make another great album? And could they do it without their staunchest ally?

The album gets off to a spooky start with “Fire Walker.” BRMC are dialed down to a volume of five rather than their typical 11. Been is almost whispering his vocals. This is ambient music closer to what Radiohead achieved on “Identikit” than typical BRMC. But it makes for an effective mood setter

In tribute to their fallen comrade Michael Been, BRMC recorded a cover of “Let The Day Begin” by The Call.  It’s an extremely uplifting anthem, the kind of song that winds up being used as theme tune for presidential campaigns.

BRMC more than does it justice, with Robert Levon Been providing passionate lead vocals. In fact, the cover might be better than the original. Stripped from the tinniness of the late 80s production, BRMC modernize the song for the 2010s.

Not one to be outdone by his bandmate, Peter Hayes delivers a passionate, Ride-styled rocker in “Hate The Taste.” Been delivers an excellent bassline and Shapiro locks in with a cymbal-heavy beat. The guitars crunch with a repeating riff that will certainly be stuck in your head.

Lyrically, the song seems to describe the poor decisions one makes while under the influence. Hayes sings the vocals with spirit, evoking the sound of Alex Turner. It’s the kind of song that works well in any context, be it a party, blasting from a car stereo, or celebrating a goal at a football match.

BRMC are again evoking the past on the rocking “Rival.” It’s catchy refrain of “I need a rival” recalling “Spread Your Love” and “US Government.” Musically the track sprints along with the energy of “Whatever Happened To My Rock ‘N Roll? (Punk Song).” BRMC again prove that you don’t have to reinvent the wheel to be good.

However, they are in new territory towards the end of the album. “Sometimes The Light” is Spiritualized-style gospel/dreampop complete with the Vox Continental organ sounds and angelic harmonies. With the gospel overtones of the track, one has to wonder if this is another tribute to Been’s late father.

But perhaps the specter of Michael Been – and the specter in the title – is no more audible than in album closer “Lose Yourself.” A slow-burning dreamy tune which builds in the chorus, Robert’s voice is completely unobscured for once. He prefaces each chorus with a refrain of “Why don’t you lose yourself?”

After all the band had been through the previous three years, it is nice to hear them stretch out. And stretch out they do. In epic fashion reminiscent of “Champagne Supernova,” Hayes plays a skyscraping guitar solo for the ages in the middle of the track. Shapiro plays with restraint, her drums forming a soft steady beat. Gradually, the song ends and the album fades into ghostly oblivion.

It is somewhat of a miracle that Black Rebel Motorcycle Club persevered through their tragic loss. That they made an album which not only stacks up to their older work but charts a new path forward is even more impressive. Specter At The Feast often trades their signature roar for a spooky ambiance, but BRMC prove that this is just as viable.

Abstract Dragon/2013

 

 

 

 

 

 

Chuck Prophet – Homemade Blood

 

Chuck Prophet – Homemade Blood

By

Jesse E. Mullen

 

A lifestyle change is difficult no matter the circumstances. But sobriety is an especially difficult transition for those with addiction. Try making this change in the freewheeling world of rock ‘n’ roll, and you can magnify the difficulty tenfold.

Chuck Prophet is an American musician from San Francisco, CA. He has been involved in music since the 1980s when he joined cowpunk stalwarts Green On Red as lead guitarist. But it wasn’t until 1990 when we saw what Prophet was capable of as a singer songwriter.

That year he released his debut solo album Brother Aldo on Fire Records. Because Fire were – and still are – a British label, it sold modestly stateside but attracted critical acclaim. The song “Scarecrow” in particular showed Prophet’s gifts, sounding like Neil Young mixed with San Francisco contemporaries American Music Club and Engine 88.

Prophet followed up with Balinese Dancer in 1993. A more expensive sounding affair – better production, better separation between instruments – it was more of a refinement of the debut than a massive leap forward. Still, it had several strong songs.

The next album was when the problems started. 1995 saw the release of Feast of Hearts. Prophet was altogether unhappy with the production and overall sound of the record. A change was needed to solidify his status as a rock great. So, he quit drinking.

Sobriety has a different effect on different people. Sometimes a person will find religion or acquire a taste for fruity seltzers. But for Chuck Prophet, the change led him to looking inward and finding a new confidence in his abilities. A confidence he lost while making Feast of Hearts.

When Homemade Blood came out in 1997, Chuck Prophet was an artist reborn. He was finally ready to take on the world. The question was, was the world ready for him? And would Homemade Blood take him to new levels of critical and commercial success?

Opener “Credit” features some of Prophet’s most expressive guitarwork to date. The opening riff sounds a bit like “Dirty Blvd.” if it was written by Keith Richards. Once the solo hits, Prophet is on fire, playing a clean country rock solo with fast fingers.

Lyrically the song is a hilarious tale of a man running out of favor with his credit card company. He eventually pushes too far – by taking an expensive vacation he can’t pay for – and is left stranded in Paris.

Credit Kurt Lipschutz – no pun intended – for writing a set of lyrics that are both funny and relatable. The San Francisco poet had been functioning as Prophet’s Robert Hunter since Brother Aldo. But here, the pair were firing on all cylinders, writing songs and words that combined and contrasted perfectly.

“You Been Gone” features excellent wah-wah lap steel from Max Butler. Homemade Blood was Butler’s first stint in Prophet’s backing band – then called The Bible Dusters – but it wouldn’t be his last. Butler would maintain his role as lead guitarist for the next three albums.

He plays the first half of an excellent solo with a heavy digital delay, crossfaded with Prophet’s clean fingerpicking. He would continue to be at Prophet’s side until he retired from touring in 2004. Fortunately, Prophet found the equally gifted James DePrato in 2007.

Credit must also be given to the excellent mix work by Sean Slade and Paul Q. Kolderie. According to Prophet’s website, the famed Boston duo mixed the whole album in just 72 hours. If that is the case, it is truly an amazing feat.

While the album was tracked live – and thus didn’t have many overdubs – it is feasible that mixing sessions would be shorter than an album with extra instruments. Still, it is impressive, judging by how well balanced the sound is. It is easily the best sounding record Prophet had recorded to that point, with ample separation between instruments, and seamless blends between instrumental breaks and verses.

Lyrically the track describes leaving your hometown and returning years later, only to discover that everything has changed. It’s a strong metaphor for growing older, and the fading innocence of youth. At 34, Prophet had to have related to the sentiment. But elsewhere the subject matter was a bit vaguer.

On “Inside Track,” Prophet and Lipschutz show their knack for mixing Dylan-esque imagery with Flying Burrito Brothers-styled country rock. Greg Leisz adds psychedelicized pedal steel to the track, and it’s an absolute banger of a tune. It’s a list song in the style of “Subterranean Homesick Blues,” and it’s a thrill to sort through the cryptic language.

Perhaps “New Year’s Day” is the best track on the album. With the holidays usually being a festive subject for songs, Prophet tells a darker story (with Lipschutz’ help). A couple separated by prison walls, with the man moving back in with parents and barely scraping by as a custodian.

When Prophet sings “don’t cry, it’s new year’s day again,” he is singing to himself as much as he is to everyone else. Musically, the song is just as poignant. The great Greg Leisz’s pedal steel adds color to every line. Prophet’s guitar plays flawlessly with a clean digital delay.

But it is Stephanie Finch who is the track’s secret weapon. Her harmonies during the chorus add a glimmer of hope. She gives the track an emotional resonance and a duality it would not otherwise have. An absolutely stunning song, “New Year’s Day” remains a career highpoint.

Chuck Prophet was mostly out of step with contemporary indie. He was more interested in blending his influences – Tom Petty, Lou Reed, Alex Chilton, a plethora of country rock – with the live-in-the-studio rawness of early rock ‘n’ roll. It didn’t sell a lot of records at the time, but it’s a winning formula for career longevity.

Homemade Blood might not have sold a ton of records, but it has aged better than most albums from 1997. Consistent songcraft and musicianship mixed with the brooding darkness of his situation lead Prophet to gold. And it was only the beginning of an artistic winning streak which continues to this day.

Cooking Vinyl/1997

 

 

 

 

 

Smudge - Manilow

 

Smudge – Manilow

By

Jesse E. Mullen

 

Musical partnerships are hard to come by. You meet another artist you really connect with and you make records together until falling out, drifting apart, or one of you dies. But what happens when the partnership is forged over thousands of miles?

So was the problem Tom Morgan was dealing with in 1993. He’d connected with Evan Dando of The Lemonheads in 1991 and co-written their It’s A Shame About Ray album. He was also in a supergroup with Dando called Godstar. But there was one particular problem with the relationship. Dando was in Boston. Morgan was in Sydney, Australia.

There was no way to sustain a functioning band with the two. So, they did the only logical thing they could. They split apart. Not entirely, mind you. Morgan’s songs appeared on the next Lemonheads album Come On Feel. Dando’s cowrites appear on Morgan’s next project’s debut album.

And just what was that project? Morgan formed the power trio Smudge in late 1991. They were modeled after the American indie rock sounds of Dinosaur Jr., Husker Du, and – yes – The Lemonheads. In retrospect, they were the perfect time capsule for their era.

Morgan had a warm speak-sing quality to his voice which resembled a more melodic Lou Reed. Drummer Alison Galloway had a snappy method of playing which resembled Grant Hart. And permeant bassist Adam Yee had a melodic method of playing, acting as the non-existent rhythm guitar.

But while their early singles were excellent, fans had to be wondering – what would their album sound like? And could Morgan match his previous work with Dando? Both of these questions would be answered when Smudge released Manilow in 1994.

“Superhero” is evocative of Dinosaur Jr, with J. Mascis-styled leads all over the track. It starts out in aggressive start-stop territory with pounding drums and guitars, but then moves into punk-pop territory in the verse. But the chorus is especially catchy.

The lyrics pay tribute to basement punk shows and low ceilings. Morgan is in full free-form mode here. Not spelling everything out explicitly, but still giving the audience enough to work with.

“Pulp” and “Ingrown” both display the sweetness of Dando’s influence. Jangling three-chord ditties with staccato monosyllabic verses, Morgan has written a pair of pop-punk tunes for the ages. Relationship issues seem to be the subject du jour this time around. On “Pulp” he blames himself for the failings, whereas on “Ingrown” he is being emotionally manipulated.

Morgan has the rare ability to make these tunes catchy rather than depressing. The tightness of the band is also something to be praised. The way the trio lock into the songs and create a perfect din speaks volumes to their musical talents. And what would a Smudge album be without a couple of Dando collaborations?

The song “Down About It” would prove to be one of the catchiest pop-punk tunes The Lemonheads would ever record, with double tracked Dando vocals and quick chord changes. But the Smudge version here is a bit different. A slow drumbeat and slightly twangy version of the opening chords introduce the track.

The drumbeat steadies at mid-tempo, and Morgan sings the words with a slight country drawl. This blends nicely with his usual way of singing and gives the track an unpolished charm which The Lemonheads version lacked. However, it is not as immediately catchy. For this reason, I give The Lemonheads version a slight edge. But both are great.

Dando’s other collaboration was actually fully written by Morgan, but also appeared on a contemporary Lemonheads release. The track – “Divan” – is jangly country rock at its best. While he didn’t write it, Dando’s presence is felt in the delivery. The lyrics describe lazy days on a sofa, but the music evokes the wistful feelings of the summer sun.

“Desmond” is an interesting excursion for the album. Sung by drummer Alison Galloway, it has a dreamy quality not heard elsewhere. Her voice also has a more pronounced Australian accent than Morgan’s which gives it a different feel. Lyrically, Galloway is lamenting the type of men she attracts, and humorously considers giving up relationships – as if they were a vice like smoking or drinking.

On “Scary Cassettes,” Morgan pays tribute to one of his contemporary heroes. Lou Barlow of Sebadoh had a big impact on the American indie rock which Smudge took inspiration from. Musically it’s another fast catchy pop song. The guitars fill in the gaps in Morgan’s minimal lyrics. Barlow would later return the favor, covering “Down About It” on a Smudge tribute album.

But perhaps “Impractical Joke” is the best of the bunch. A steady drumbeat and ominous three-chord progression introduce the track. Morgan’s voice enters and he uses the Dando trick of substituting words for similar phrasing. He describes a breakdown in relations between lovers, and the man’s attempt to regain the attention of his girlfriend.

But the track is not just clever wordplay. The trio lock into a tight groove with strong drumming by Galloway, and melodic, almost majestic guitar by Morgan. It’s the kind of track that bands build an entire career on and a song that should’ve taken Smudge into international stardom.

Sadly, they remained cult heroes in Australia until their eventual disbandment in 1999. But not all was lost for Smudge. They eventually reunited in 2002 and have continued to tour sporadically since then. However, they have not released a new album since 1998.

While some musical partnerships spark great success, this is not always the case. Sometimes great bands are left by the wayside, while whatever trend of the time dominates the charts. Such was the case with Smudge. While they may only be known to a small audience, they released an absolute classic in Manilow.

Half a Cow/1994