The SMiLE Meme

By Paul Casey

Smile logo
by Mark London

“SMiLE music is sacred. It is not to be messed with. Isn’t anything sacred anymore?”
—Sheriff John Stone

The Smile Sessions, released on November 1 from EMI and Capitol Records, marks in a significant way, the end for those who have centered their lives around the SMiLE Meme. The myth of the Perfect Album. The myth of the Lost Album. The myth of The Beach Boys (and their insecure fans) besting The Beatles (and their satisfied fans). While the reality of the music of SMiLE and the journey it went on is far more interesting to this writer’s ears, some continue to covet the picture in their head with fetishistic pride.

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Expo, 40 Sleeps

By Paul Casey

Full disclosure: John Lane and Christian Lipski are friends of mine. They have both written for this website. This is going to be a fair and biased review.

40 Sleeps is Expo‘s third album and follows the summertime joy of 2010’s She Sells Seashells with a mood far more in keeping with their debut, Playtime. “Dreaming of Bears” and its sleepy textures would have been particularly at home on that earlier album. Although things are on the downbeat, 40 Sleeps is not bleak or self-indulgent. The singer may be sad, but like Elvis Costello, is trying his darnedest to Get Happy!!!

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Bob Dylan Revealed

By John Lane

One can expect the usual onslaught of products and merchandise to cash in on Bob Dylan’s 70th birthday on May 1. Just as we have become used to more Beatles product every time Ringo coughs or Paul sneezes, so too must we be inundated with Bob Dylan product when he reaches a significant birthday mark.
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Painters Paint: The Definitive Career-Spanning Interview (to date) With The High Llamas’ Sean O’Hagan

By John Lane

For the uninitiated, The High Llamas are an enduring band that emerged in the early ’90s. Sidestepping the twists and turns of the teenage-angst/grunge bandwagon propagated by the media because of Nirvana, the Llamas hoed their own row and followed the credo that sometimes a small sound can make its own huge explosion. They were armed with banjos, vibraphones, strings, and a savvy musical sensibility that embraced everything from Bacharach to Bizet.

I first came across the High Llamas circa 1997 when a friend of mine (knowing of my love of The Beach Boys’ Pet Sounds) asked me if I had heard of them. I didn’t, so he made me a tape copy of their album Hawaii, which I proceeded to play ad nauseum on a small General Electric radio/tape-player the night before a wedding. I was the groom’s best man, and after about ten listens of the epic album, he politely asked if I could spin something else. I grudgingly obliged, but can’t remember what the substitute was.

I was thrilled to get the chance to prod the brain of High Llama guitarist and songwriter Sean O’Hagan.
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A Goddess At The Console: Q&A With Mary Edwards

By John Lane

In another era, Mary Edwards might have been a behind-the-scenes songwriter in the famous Brill Building, that renowned stable of musical artisans that included Goffin & King, Laura Nyro, and a host of others. Instead, in this era, we are lucky to have singer/songwriter Mary Edwards in clear view. Her music is characterized by a smooth charm that draws upon soft-pop, jazz, and funk, framed with a soulful voice that is reminiscent of Dionne Warwick in her prime; her attitude reflects an almost guileless enthrallment with music and the sometimes subtle, gifted influences that can become songwriting fodder. I caught up with Mary upon the recent release of her latest album, Console.
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The Lexingtons, Isn’t It Nice To Be Loved?/Choose Choice

By John Lane

Something audacious is happening in the otherwise-inconspicuous state of Rhode Island. The Lexingtons, helmed by their chief Eric Warncke, have taken the plunge that very few bands dare to anymore: the release of a double album, titled (with its yin-yang polarity in check) Isn’t It Nice To Be Loved?/Choose Choice.
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Robert Wyatt/Gilad Atzmon/Ros Stephen, For The Ghosts Within

By John Lane

Say what you will about Robert Wyatt, but he has never done anything for the fast buck.

What’s more, in an age where the music industry is in an odd state of flux, Robert Wyatt seems to be among the rare legacy laborers who remain somehow protected. Or maybe he’s just kept his head down and tried to stay inconspicuous.
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Hello, Allan!

By John Lane

Collectors’ Choice Music has just released eight out-of-print novelty albums (encompassing the years 1962-1967) by the singular Allan Sherman. Given that the novelty album is an art form now seemingly owned by Weird Al Yankovic, one could be forgiven for not understanding the lineage from whence Weird Al sprang.
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Candy Claws, Hidden Lands

By John Lane

I happily stumbled upon the duo named Candy Claws (now a sort of band) not too long ago. Their 2009 album, In the Dream of the Sea Life gives off a Wes-Anderson/Steve-Zissou vibe, from the quirk,y mostly-instrumental cinematic sounds right down to the design and packaging.

Sound architects Ryan Hover and Kay Bertholf return this year with Hidden Lands, an album that represents somewhat of a sideways progression. For hipsters clamoring for another boy/girl duo-combo (i.e., Beach House, She & Him), this will satisfy that need. What separates Hover and Bertholf from the pack, however, is the fact that there is a certain joyous naiveté that seems to guide them and makes their existence all the more curious and appealing.
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Mister Fusty, Connect EP

By John Lane

In the interest of full disclosure, right off the bat, Mister Fusty (a.k.a. Rob Gibson) is a musical comrade-in-arms who collaborated on a track from my recent album. That out of the way, I was a fan of Mister Fusty long before I mustered up the nerve to ask him if he would work with me.

I discovered him somewhere between his first album Honest Blundering (November 2006) and the follow-up Sparkle Darkly (August 2007). These two instrumental-only albums knocked me off my feet and made me reconsider the whole idea of what it means to write a melody line.
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