CD Review: King Crimson

King Crimson
Lizard (1970)
Red (1974)
DGM
By David Chiu

While made by King Crimson in name only, both their studio albums, Lizard and Red (which have been recently reissued as part of the band’s 40th anniversary), are dissimilar stylistically. That’s the one thing that’s great about King Crimson and its founder Robert Fripp: each subsequent album seems to be a stylistic, forward-thinking progression to the next.

Of the two aforementioned albums, Lizard is clearly a product of the art /progressive rock movement of the early ‘70s. It’s a distant cousin to the band’s first incarnation from In The Court of the Crimson King, with its dominant Mellotron sound, jazzy flourishes and the imaginative and poetic lyrics of Peter Sinfield. “Cirkus” is a melting pot of folk/art rock/ and fusion echoed by Gordon Haskell’s charismatic singing; “Indoor Games” has this almost quasi funky/ethereal sound highlighted by Mel Collin’s wailing sax. and there’s also a lovely ballad “Lady of the Dancing Water.” The main centerpiece of Lizard is the epic title track, which features a lead vocal by Yes’ Jon Anderson—its noteworthy section is the “Bolero” part. Lizard may not be the most popular Crimson album in the catalog, a point that’s even hinted in the liner notes of the reissue, but it’s still better than most of what was coming from the band’s art rock peers. (This new edition features three bonus tracks, including alternate versions of “Lady of the Dancing Water” and “Cirkus”).

But there is no dispute with Red—it’s an absolute masterpiece. By this time, Crimson has been reduced to the power trio of guitarist Fripp, bassist/vocalist John Wetton and drummer Bill Bruford. With the exception of the horns, the music on Red is very stripped down, lean, muscular and heavy on the rock. The title track still electrifies showcasing Fripp’s riffs; “One More Red Nightmare” is uncharacteristically funky and poppy; the avant-garde “Providence” showcases former member David Cross’ graceful yet experimental violin playing; and “Starless” begins with a subdued melancholy air before morphing into this chaotic rocker towards the end. Unfortunately this Crimson broke up soon afterwards until Fripp revived the band seven years later with a new lineup. If you had to rank the greatest Crimson albums, Red would no doubt be in the top three. (This reissue features live video from that era and three bonus tracks, including the entire performance of “Providence”).

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Interview: Jake Evans of Bad Lieutenant

An interview with Jake Evans of Bad Lieutenant
By David Chiu

Upon first listening to British band Bad Lieutenant’s recent album, Never Cry Another Tear, without even knowing its history, one could have sworn this was New Order. After all, the lead vocal is unmistakably familiar because it’s from New Order guitarist Bernard Sumner. While that and the music present recognizable elements for old fans, Bad Lieutenant a group that also has its own identity. That’s because Bad Lieutenant sound is more rooted in organic guitar rock, with a few electronic flourishes, compared to New Order’s ‘80s dance-oriented-music. To put it more diplomatically, it’s the sound of both a familiar group and a new band.

Bad Lieutenant was formed by Sumner, Phil Cunningham (who was also in New Order’s last lineup) and Jake Evans. (New Order drummer Stephen Morris guested on a few tracks). Evans, who is also in the group Rambo and Leroy, was an old friend of Cunningham, and that connection later led him to Sumner and Bad Lieutenant. In November the band released Never Cry Another Tear, an album highlighted by some strong tracks like "Twist of Fate" and "Sink or Swim." While Sumner may be more recognizable of the core three given his track record, Evans also makes his presence known as a singer on a couple of the tracks, reflecting a certain group democracy.

So far the group has performed live mainly in their native UK, including this past December as the opening act for the Pet Shop Boys. A tour of the U.S. opening for the Pixies was originally scheduled late last year but never materialized because of visa issues.

NewBeats had a chance to speak with Jake Evans to talk about how the group came to be, their music, and working with Sumner and Morris.

1. Bad Lieutenant is still kind of relatively new to us folks here in the States. Can you tell us how you ended up in the group. And did you know Bernard and Stephen previously?
Me and Phil have been friends for a long time. We grew up in the same town of Macclesfield. Being musicians, inevitably you end up working together or just chatting about music at some point, so our friendship kind of grew from there really. Later on I did a stint with him in [the group] Marion when they reformed.

As far as meeting Bernard goes, I was at a mutual friend’s birthday party when we first met. I was convinced into getting up and doing a song. I think that was how Bernard came to bear me in mind when he wanted to form this new group. I also supported New Order with my own band Rambo and Leroy on their final UK show in Wolverhampton. Bernard and Phil came out to watch our set and they were impressed I think.

I got a call on New Years Day I think or the day after from Carl Jackson ( Carl plays drums on some of the tracks on the album )asking if I fancied playing some guitar and singing in this new band Bernard was thinking of doing with himself, Alex [James] from Blur and Phil. We started just getting together and jamming really in the early days, just to see what stuck you know? After that we decided to take it all a bit more seriously and the writing core just naturally started to center around myself, Bernard and Phil. The album head a real collective feel, which added to its distinct sound I think.

I didn't meet Steve until towards the end of the making of the album, when we asked him to play on a couple of tracks, to which he added his own inimitable style. We finally drafted in Tom on bass guitar towards the end of the album, and after he played on a track or two, we knew he was the right guy for the job.

2. When you're playing with Bernard (and to some degree with Stephen), did you ever think sometimes "Oh my God, I'm in the same band with someone I grew up listening to and admired" or were you indifferent to that?
It is a real pleasure to work with these guys for sure. It takes a while to get comfortable working with anyone new no matter who they are to be honest, but you've got to get past any of that if you want to be a real band. It’s a buzz to say the least to play some of the songs from their back catalogue that inspired and influenced so many. At times it can feel a little surreal but in the best possible way.

The idea to share the vocals was kind of our ethos from the start to tell the truth. It was great to be asked to collaborate with musicians I hold in high regard. When it came to deciding which of us would write/sing the vocals on which tracks, it either felt obvious instinctually, or we would collaborate by bringing different lyrical/melodic ideas to the song and use and develop whichever we felt were the best.

3. The one thing I noticed about this album is how guitar-rock oriented the sound is. And it also sounds very organic, rich and natural--was that something that was conscientious on the part of the band?
Although a lot of the songs are underscored with synths and programming, this is predominantly a very guitary album. The electronic influence is still there though, all be it to a lesser extent than bands previously associated with Bernard and Steve perhaps. It just happened that way very naturally. This is a new band, with a new sound, and a new outlook.

I personally love using electronics in music. The only thing for me is the song rules, end of story. Perhaps our next album will be very synthy, or less so than this one. Who knows. I like being able to do what we want. Which is what we did with this album. And besides, any fan of Bernard's and Steve's will know that they like to surprise people. I like the fact that while so many bands at the moment are trying to ape the sound they had 20 years ago, Bernard's just released his most guitar driven work for years! Ha.

5. There are a lot of really good songs on the album in my opinion like "Twist of Fate" and "Shine Like the Sun." Is there one track or a few particular ones that stick out for you and why?
Thanks. Yes those are great tunes. I like them all for different reasons to tell you the truth. Which is probably why we had a bit of a stress when it came to the tracklisting!! I would have to say that one of my favourites would have to be “This Is Home.” It embodies what we're about I think and was one of the songs even from early on that just seemed to work.

6. Having never seen you guys perform live on stage, do you also perform New Order songs as well? And do you think have people now accepted Bad Lieutenant as a band within itself as opposed to being constantly compared to New Order?
We do play some of Bernard and Steve's back catalogue, which is a pleasure to play for me anyway. The gigs are predominantly our own material but we do throw some of their classics as well. And why not? People want to hear them. Having said that the last thing I would want to come across as is a New Order cover band, so its a delicate balance. I think the message about the new band is still getting out there, particularly in the US.

7. How disappointed were you that your U.S. tour was canceled because of the visa problems? Are there future plans on coming back once that is corrected?
We were gutted when we had to pull the initial gigs over there. Rest assured we're working on getting back over for a full-scale tour soon. It always takes time to be accepted as a new band but forming our own identity is something we're committed to doing.

8. Has there been a personal or professional highlight so far that has happened to this band, whether it is a funny or poignant moment in the studio, during a tour, or a gig? What has been the overall experience in being in Bad Lieutenant?
I think I would have to say that the first sold out night we played in Manchester was pretty special. Everything just came together. We had a blast. The overall feeling of being in this band is great. We work well together. We have a laugh. We make good music. That's enough for me.

Band press photos from MySpace.

For information on Bad Lieutenant, visit http://badlieutenant.net/

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Upcoming: Damon and Naomi Live

If you have seen Damon Krukowski and Naomi Yang perform live, as I have several times, including late last year, you know the type of mesmerizing show they can put on. The psychedelic folk duo best known as 2/3 of the legendary alt-rock group Galaxie 500 will be performing with Ghost’s Michio Kurihara on Jan. 30 at the 92Y in Tribeca. But it’s not just a concert per se: there will also be a screening of 1001 Nights, an anthology of the duo’s live performances and videos from the last ten years or so,and a Q& A with Haden Guest from the Harvard Film Archive. And if there was any added incentive to go, the wonderful Sharon Van Etten will be opening the proceedings with her her show. For more information visit damonandnaomi.com.

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CD Review: El May

El May
Ely May
By David Chiu

After paying her dues by being an instrumentalist for the likes of Luna and Ben Lee, Australian Lara Meyerratken finally emerges as her own artist. Under the moniker of El May, Meyerratken crafts a very wonderful indie pop self-titled debut album full of instrumental textures and atmospherics, gorgeous melodies and dreamy, imaginative lyrics. Tracks that highlight those characteristics include the catchy “Don’t You” and the groove-filled “Decide on a Direction and Go”; the last song “Hold Yourself” tempers the infectious mood of the record with gentle, almost haunting balladry; With her vocals up front and center, Meyerratken possesses a stately and elegant singing style that is equally distinctive as her instrumental and arranging prowess. El May harkens the approach of Lindsey Buckingham, ELO’s Jeff Lynne and many other musical geniuses. It’s hard not to be captivated by the modestness yet decorative sound of this album as. It may have taken a while for Meyerratken to finally get around to finally record on her own but if you listen to her album, you can appreciate why.

For info on El May, visit her Web site.

Watch "Don't You" by El May:

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CD Review: Beach House

Beach House
Teen Dream
Sub Pop
By David Chiu

Beach House’s third album could be the Baltimore duo’s breakthrough record. Certainly Teen Dream has a lot of tracks that border on being poppy, from the breathtaking “Norway” and “Lover of Mine” to the romantic “Walk in the Park” and “Take Care.” And perhaps the more pronounced use of percussion on this record is a step-up from the previous two albums. Yet the pop melodies merely complement or even accentuate the group’s already distinct Gothic-drone sound: the cathedral-like keyboards, the airy harmonies, the trippy guitar lines of Alex Scally and the soulful yet evocative vocals of Victoria Legrand (especially her performance on “Silver Soul”) . Bathed in lush atmospherics, this album projects a slow sound that is so elegant, beautiful and haunting. We’ve just started 2010, but Teen Dream could already be one of this year’s best records so far.

A video for the song "Norway" by Beach House:

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Book Review: Always Been There

Always Been There: Rosanne Cash, The List, and the Spirit of Southern Music
By Michael Streissguth
Da Capo
Review by David Chiu

Rosanne Cash is an artist of integrity. Anyone who is familiar with Cash knows that she always tried to not be pigeonholed in order to achieve something different yet true. Although she’ll be forever synonymous with her famous country music family, Cash rode on the wave of the Nashville hit machinery in the ‘80s, only to go against expectations with some critically acclaimed records highlighted by the 1990 masterpiece Interiors. And she’s also a survivor from losing her father, mother and stepmother within a short period of time to overcoming a brain operation.

But Always Been There, written by Michael Streissguth, who had previously penned a 2006 biography of Johnny Cash, is not a strict, exhaustive biography of the singer-songwriter, although it does trace moments in her life and career. What the author presents, however, is someone on a journey in revisiting and reclaim her musical roots. That is symbolized by “the list,” which, back in 1973, was given to a young Cash by her famous father Johnny containing 100 important songs that an emerging musician should be familiar with. Thirty-five years later Rosanne Cash recorded an album of the songs that might have been on that list (at the time of the book’s writing, she was never able to find it).

The List is the driving force for this book along with the album. This insightful approach to telling Cash’s life in this manner is more compelling than the standard biographical fare. The author was given practically unlimited access to Cash last year as she was recordtng the new album and touring parts of Europe. Streissguth delves into what the songs meant to Cash and provides a glimpse of her recording in the studio with her producer-husband John Leventhal. Accompanying her along the tour stops along Zurich, Scotland and Berlin, Streissguth documents her processes and ideas as well as interactions with her husband, manager and the audience members. More telling is her feelings about her family, especially about her father, which are poignant as it is revealing.

Streissguth makes no bones that he is a fan of Rosanne Cash but he doesn’t stray away from his primary role as observer. We feel like we’re with Cash in the studio as she’s summoning herself to be one with the song emotionally, or why this particular song or artist resonates with. Always Been There achieves in being both a chronicle of an artist still at the top of her game but also the love for music that inspires and defines where we come from.

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CD Review: Elvis Presley

Elvis Presley
Elvis 75: Good Rockin’ Tonight
RCA/Legacy
By David Chiu

There have been so many Elvis Presley compilations and packages over the years, so at first, this new 4-CD set may beg you to ask ‘What makes this one so special?’ Well, Elvis 75: Good Rockin’ Tonight arrives on the eve of what would have been the King of Rock and Roll’s 75th birthday this Friday. For the casual Elvis fan who not only wants the hit songs but also a little more, this is the perfect introduction. Clearly the early Elvis material from the mid to late ‘50s, which can be found on Disc 1, is the main highlight and can stand alone with the songs that sparked a cultural revolution: from the very first song he ever recorded “My Happiness” for his mom, through “Heartbreak Hotel,” “Blue Suede Shoes,” “Hound Dog,” “Don’t Be Cruel” and “Jailhouse Rock.” Even as the King made the transition from rock and roller to pop singer/movie star throughout the ‘60s, Discs 2 and 3 ignite some sparks with “Can’t Help Falling in Love,” “Are You Lonesome Tonight,” “It’s Now Or Never” and “Viva Las Vegas.” And just as his career might have faded away, the King made a comeback with his ’68 special and started another wave of interest that continued up until his death in 1977 (“Suspicious Minds,” “Always on My Mind,” “Burning Love”). The set concludes with the dance remix version of “A Little Less Conversation” from 2002, which merely confirms Elvis‘s enduring popularity. Elvis 75 encompasses what made the King the greatest.

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From the Archives: An interview with Britta Phillips

Continuing with NewBeats' 10th anniversary, here is an interview with former Luna bassist Britta Phillips from 2003.

Loungin' with Luna's Britta Phillips
by David Chiu

Pop music has its memorable share of famous male-and-female pairings: Nancy Sinatra and Lee Hazelwood, George Jones and Tammy Wynette, Marvin Gaye and Tami Terrell, John Lennon and Yoko Ono, Paul and Linda McCartney, Sonny and Cher, and Eurythmics' Annie Lennox and Dave Stewart (we won't count Michael Jackson and Lisa Marie Presley). What makes these pairings so memorable is the chemistry between the principals that conveys a sense of true romance or conflict, like actors engaged in a love scene or going through the motions.

Joining that illustrious company are Britta Phillips and Dean Wareham. Alternative music fans will immediately recognize them as one-half of the band Luna. They are readying the June release of their solo record from Jetset called ‘L'Avventura,’ a record that recalls mid '60s to early '70s lush and orchestrated pop records (think of French pop star Serge Gainsbourg and Jane Birkin). It could also be considered a Valentine's of sorts to lovers and the broken-hearted, with a few ingredients of regret, angst, and desire thrown in.

How would one of the principals describe the sound of this record? "Somebody said it was beautiful and sick," recalled Phillips with a slight laugh. "Sick compared to what? It's romantic, lush, mellow, pretty, and all that stuff. More intimate than Luna.

On the record, Wareham and Phillips debut a few originals such as the lovely "Night Nurse" (which recalls the aforementioned Sinatra-Hazelwood records) and even a surprising dance-styled track in "Ginger Snaps." "I love that song," commented Phillips, "pre-idsco early '70s sound, and it's got some '80s in there too."

No doubt ‘L'Avventura'’s retro atmospheric and orchestrated sound was due to producer Tony Visconti, who helmed those classic David Bowie and T.Rex albums from the '70s. "He's great easy to work with, a fan of the music," Phillips described about working him. "That's very confidence building. He did some great string arrangements, played guitar and a little bass, and keyboard. He was very organized; he liked accidents or mistakes the good ones."

Originally ‘L'Avventura’ was going to be a Dean Wareham solo project of all-cover songs, with Phillips only appearing as a session player. It gradually developed into something more. "He had some new songs," Phillips remembered, "and I had some songs, and he said, 'Let's do it together.'"

Aside from some material penned by Wareham, Phillips also contributed two compositions to ‘L'Avventura’: the dreamy, ethereal "Out Walking" and the jazzy "Your Baby." Those songs brought Phillips' sexy voice and romantic yet introspective lyrics to the fore. "I actually started writing ["Out Walking"] about ten years ago and I dragged it out a year ago and revamped it. "Your Baby": I based it on a Lee Hazelwood chord progression from a song called "Your Sweet Love."

Phillips relished the opportunity on the record to showcase more of her lead voice as compared to Luna in where she sang backing vocals and maybe the occasional duet. "This is giving a lot more singing opportunities that 's for sure," she acknowledged. " I love to sing."

Although he is Luna's chief songwriter, Wareham has been known to indulge in a cover once in a while-for example, the band tackled a sleepy-version of Guns N'Roses' "Sweet Child O'Mine"; when he was in Galaxie 500, that band covered works by the Modern Lovers, Yoko Ono, the Velvet Underground, and even the Rutles. On L'Avventura, he and Phillips tackle songs by Native American folksinger Buffy St. Marie (the trippy "Moonshot") Madonna (the folkish-tinged "I Deserve It"), and the Doors ("Indian Summer"), all of them rendered in a dreamy, atmospheric sort of way comparable to Luna.

Phillips couldn't offer a concrete reason for Wareham's fancy for some those covers. "He had chosen ten that he was going to do for that album originally," she said. " I don't know what his criteria really. I guess just songs that he likes [and ] I felt we could bring something to. They just seem to lend themselves."

Not only is there a sophisticated mod lounge air to the record, but there is also, musically-speaking, genuine heat between Phillips and Wareham in both their duetting and harmonies on some of the album's tracks, such as on the sly "Night Nurse." On this record and on the last Luna album ‘Romantica,’ Wareham has found in Phillips someone a musical partner in crime who can accentuate his songs of yearning and somber meditations. "I think it's just a natural sympatico musically," she explained about their collaborations. "We both respond to the same kind of things. It's kind of just really natural and easy. I love his taste in music and we have similar ideas about things."

Of the two people on ‘L'Avventura,’ Dean Wareham might be the more recognizable name having been a founding member of legendary '80s indie group Galaxie 500 before starting Luna in 1992. However, one may be surprised that Britta Phillips had been involved with music for nearly fifteen years before joining the band in 2000. How she got to where she is now is a story of interesting career turns and perseverance.

Phillips hails from Bucks County, Pennsylvania, the daughter in a musically-inclined family; her father played the piano and trombone and her mom sang. "Elton John was probably my first record," she remembered about her early musical tastes," and later Blondie, Television, and Talking Heads. And I lived in England in the early '90s I got into the shoegazing stuff."

Early on Phillips wanted to pursue a career in music though professionally she started out acting. One of her first forays in entertainment was being the singing voice of the cartoon character JEM in the mid '80s. Soon after in 1988, she got the part of Billy Swan, the blonde guitar player in the film ‘Satisfaction.’ At the time, it was Phillips first major acting break. "I had a manager at the time. He told [the agency] that I was a good actress, which was just totally made up. I hadn't done anything. This was actually my first audition and I got it."

Fans of those goofy '80s comedies might remember ‘Satisfaction’ about a young mostly girl band who lands a summer gig, and the film boasted an impressive cast in Justine Bateman, Trini Alvarado, Blondie singer Deborah Harry, and soon-to-be Hollywood heavyweights Julia Roberts and Liam Neeson. Phillips looked back at that experience somewhat fondly. "It was a blast--really fun. We knew the movie was going to be really silly once we started doing it, so we didn't worry about it too much." Other acting gigs for her included appearances in the short-lived '80s TV dramas ‘Crime Story’ and ‘Nightingales.’

In an ironic way, life imitated art because shortly after her brief acting career, Phillips did end up joining a real-life band called Belltower where she moved to London at the height of the shoegazing sound pioneered by My Bloody Valentine and Lush. "Music was something I wanted to do before [acting] but I hadn't actually played with a band. It was mainly jingles and home recordings." Belltower won critical kudos in the British music press ("...a sound that inspires the mind and pleases the body," raved Melody Maker) and recorded an album Popdropper before they broke up in 1996. Shortly afterwards she joined another group called Ultrababyfat, which released Silver Tones Smile in 1998.

Then Luna's longtime bassist Justin Harwood announced his departure from the band, during the release of their record ‘The Days of Our Nights’ in 1999. "I had done a tour with Ben Lee," Phillips said, "and Ben's guitar tech also techs for Luna. And he knew that they were looking for someone to replace Justin on the tour and recommended me. I got a call and auditioned for a couple of times. They had me for the tour, and after the tour was over, they asked me to stay on."

Phillips officially made her recording debut with the band on the Luna Live disc from 2001, but it was on the all-original ‘Romantica’ where she was credited as a full member. Although considered the new guy (or gal) of the group, Phillips made her presence known, adding honeyed vocal harmonies on the record, bringing a pop element to the band and a contrast to Wareham's melancholy.

Admittedly, Philips had heard of Luna though admittedly she wasn't entirely acquainted with their catalog. "I heard a couple of songs but I wasn't really familiar, much to my chagrin," she said. "Sometimes when you are busy doing your own thing, you just don't take the time to really listen to something. So I really wasn't familiar, which is kind of good in a way. It made me a little less nervous. I'm a big fan now, and of Galaxie 500 too."

Though music is now her full-time profession, Phillips still has the acting bug and has involved herself again in some film and television projects. "Having been back in New York for the last three years, I do have an agent who signed Dean and I up, and who has been sending me out on voice-over auditions. I actually did a Nestle's commercial on camera for just the UK only." Even Wareham has done some work on the silver screen such as on the upcoming indie film Piggy.

Depending on whether L'Avventura meets any varying degree of success or not, Phillips admitted she would love to do another of this sort with Wareham. Later in the year the two plan to tour behind the record and play in the major cities such as New York, Los Angeles, and Chicago. How are people going to perceive this retro, ultra cool record in this environment of prefabricated, bland corporate pop music? "I want them to fall in love it with it," the singer/bassist said with a tinge of joking glee. "As long as it is something good no matter what. Hopefully Luna fans will like it as well as people who aren't familiar with Luna."

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