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 DONOVAN |
 CROSBY NASH |
 KEN STRINGFELLOW |
 JEFF LARSON |
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BRIAN WILSON
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DONOVAN
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JULES SHEAR Sayin' Hello To The Folks (Valley Entertaiment)
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CROSBY
NASH Crosby Nash (Sanctuary)
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KEN STRINGFELLOW Soft Commands (Yep Roc)
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JEFF
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During
the halcyon mid ‘60s Beach Boys years, Brian Wilson could crank
out three albums worth of Top40 hits and studio tracks in a one year’s
time. Recorded in the wake of the Beach Boy’s last artistic gasp,
Wilson’s least appreciated album had to be an intriguingly titled
effort that never even officially came out. Recorded in the early ‘90s
aftermath of his underrated self-titled ‘88 comeback on Sire Records,
the album, Sweet Insanity, contained a range of
brilliant Beach Boys flecked tunes that could make Frankie Valli light
up. Despite it’s convoluted history, Wilson’s trailblazing
mix of Doc Pomus meets The Four Seasons came sharply into focus on Sweet
Insanity. Several years after those sweet and sour Landy years,
Wilson fulfilled the mission with his overdue ‘98 comeback Imagination.
Now, after six years of an endless summer of touring with pop luminaries
The Wondermints and fine players like guitarist and vocalist
Jeff Foskett, Wilson’s 2004 album Gettin’ In Over
My Head is yet another masterful long player worthy of many listens.
Released on Bri-Mel / Rhino, Gettin’ In Over My Head
is filled with sonic surprises none the least of which are superior
rerecordings from the famous Sweet Insanity sessions and other
tracks Brian originally made in the early ‘90s—specifically
a remake of a Wilson classic entitled “Save The Day”, redone
here as a much less lyrically complex song as the upbeat “Fairy
Tale”, with new lyrics and added arrangements. Adding another dimension
and finally providing some recognition of Wilson’s greatness as
a pop artist and composer among his peers, i.e. the surviving rock gods,
other GIOMH spotlight tracks here feature Brian in the company
of album guests Paul McCartney, Elton John and Eric
Clapton, who adds some tasty guitar licks on a highlight track called
“City Blues”. Regarding the redone tracks originally planned
for the ‘90 ill-fated Sweet Insanity album (now referred
to as ‘sweet conspiracy’ in a new remake of “Rainbow
Eyes”)—Wilson treats them well on these newer takes. Further
tracks recorded during the mid ‘90s with L.A. pop producer / A&R
guru Andy Paley are revived on Gettin' In as well, including
the spooky title track and an enormous cover of “Soul Searchin”,
written by Brian and Paley and featuring lead vocals from Brian’s
brother, the late great Carl Wilson—the
greatest interpreter of Brian’s fabled melodies and lyrics. First
rate cover art reminiscent of those classic Beach Boys covers, complete
lyrics and fine liner notes by Wilson confidant David Leaf caps
off what may very well be Wilson’s best album to date. 
Four
decades after he rearranged the musical deck chairs of a generation,
folk-rock poet Donovan Leitch returns in 2004 with Beat Cafe. A
freshly recorded reminder that Donovan's music broke borders and defined
genres, Beat Cafe crisscrosses the psychedelic folk-rock and
folk-beat sound explored on “Sunshine Superman” and “Catch
The Wind”. Featuring Donovan’s vocals and guitar, Beat
Cafe finds the visionary troubadour in fine form alongside drumming
legend Jim Keltner, long time Donovan bass ace Danny Thompson
and producer Jim Chelew on keyboards. Commenting on the ultra
cool bohemian folk-jazz vibe of his first album in six years, the folk-rock
legend adds, “As the recording progressed, I realized we were exploring
in the spirit of the Bohemian cafe happenings, no fixed arrangements.
I can do this with Danny and Jim, so experienced and free are they as
artists.” Decidedly more in the spirit of his ‘60s work than
his other recent titles, Beat Cafe is further enhanced with splendid
artwork and new liner notes from the man himself. While his guitar work
on Beat Cafe is understated, ethereal and quite jazz-tinged,
for a great example of Donovan’s early pub days sound and Dylan-inspired
acoustic guitar and singing check out Sixty Four, the
first archival CD release on his own Donovan Discs. Again adorned
by great, essential CD art, liner notes and lyrics, the nine track half
hour CD features unreleased 1964 tracks from Donovan, backed up by bass
legend Brian Locking, who—fresh after his stint in The Shadows—joined
the then burgeoning folk singer for these early sides that were recently
discovered in the vaults. While Beat Cafe explores Donovan’s
new millennium sound, and Sixty Four, his early ‘60s Dylan
sound, two new 2004 Edsel Records reissue CDs takes a look at
a pair of albums Donovan released in 1974 called 7-Tease and
it’s 1976 follow up, Slow Down World. Featuring
a number great players including Jim Keltner, Klaus Voorman and
Jesse Ed Davis (on Slow Down World) and David Briggs
and Kenny Buttrey (on 7-Tease), 7-Tease in particular
revived and mixed some of the eclectic pop spirit of classic ‘60s
albums like Hurdy Gurdy Man with a refreshing ‘70s approach.
One
of the greatest singer-songwriters of the past twenty years, Jules Shear
bows down and salutes icons and contemporaries alike on his 2004 CD
Sayin’ Hello To The Folks. He’s been produced by, written
songs for and himself produced greats like Todd Rundgren, The Bangles,
Roger McGuinn and Cyndi Lauper and on his first release for NYC-based
Valley Entertainment Shear pays a tribute to his stellar
influences and the entertaining results are just what you’d expect
from a legend like this. According to Jules, “These are all songs
that I loved growing up. Music like this was all on one radio station.”
With Shear covers of The Dave Clark 5 (“I’ve Got To
Have A Reason”), Procol Harum (“Too Much Between Us”),
James Brown (“Ain’t That A Groove”) and Brian
Wilson (“Guess I’m Dumb”), the 12 track Sayin’
Hello To The Folks gives a good indication of just how amazing and
open-minded the ‘60s and early ‘70s were for music fans. Jules
also pays homage to his 1983 producer Todd Rundgren with a fitting
cover of the ‘71 Runt classic “Be Nice To Me”. “I
had the toughest time deciding which not to do”, Jules adds, “But
they were hits in my bedroom and it was a thrill for me to sing them
all and let someone else hear them.” 
Commenting
on the 2004 Crosby & Nash double CD set on Sanctuary,
Graham Nash states, “It was really strange, and really wonderful
that it was so easy. It felt like we’d just carried on where we’d
left off 28 years ago.” Hard to believe it’s the first studio
album from the duo of Crosby & Nash since the 1976 release of Whistling
Down The Wire, yet you only have to play the lead off track of this
20 track collection, “Lay Me Down”, to recognize that patented
sound from two of the main guys that wrote the book when it came to
‘60s pop and folk-rock. David Crosby has lost none of his
knack for bowling you over with his cutting edge lyrics (the politically
charged “They Want It All”) and engaging multi-dimensional
pop edge (on the celestial, wordless vocal harmonies of “How Does
It Shine”). The pair simply shine on their shared vocal on the
James Raymond composition entitled“Puppeteer”—a song
that taps into the spirit of John Lennon and simply glows with that
haunting spirit of ‘69 in full flight. A creative balance of introspective
balladry and vintage sounding early ‘70s West Coast rock, Crosby
/ Nash features the dynamic duo surrounded by solid players such
as Russell Kunkel (drums), Dean Parks (guitar) Leland
Sklar (bass), as well as Crosby’s son James Raymond
on keyboards and Jeff Pevar—the ‘P’ from Crosby
and Raymond’s trio CPR—on guitar. 
What
Ken Stringfellow’s been doing since his 2001 album Touched comes
into focus on the 2004 release on Soft Commands. A co-founder
of power pop group The Posies, Stringfellow’s sound has really
matured on Soft Commands, his first for the incredibly on target
Yep Roc imprint. Stringfellow’s guitar and keyboard work is exemplary
and overall the CD would make a great choice for those old enough to
remember how great bands like The Zombies and Procol Harum with Matthew
Fisher (and producers like Gary Usher) were back in the late ‘60s.
The lead off cut “You Drew”, subtly lifts the lid off one
of the finest retro-pop classics of the year. 
California
singer-songwriter Jeff Larson continues his unbroken track record of
crafting catchy West Coast pop of the highest quality with his 2004
CD Sepia. In the finest spirit of icons like the group America,
The Eagles and Beach Boys’ singer Carl Wilson, Larson fine tunes
his passionate pop portraits with heartfelt lyrical content and dynamic
melodic action. On Sepia, he shapes an accomplished musical rapport
with some of the best in the West including Gerry Beckley (backing
vocals, guitar, keyboards) and Dewey Bunnell (backing
vocals) from America, Brian Wilson band member Jeff Foskett,
all topped off by the vivid electric guitar colorations of veteran producer
Hank Linderman. An album worthy of your replay button, Sepia
further establishes Larson among the West Coast pop elite and
is a most commendable sequel to his 2002 CD Fragile Sunrise.
