Just in time for Christmas comes one of the world’s most loathsome rock impresarios with something new! Well, if not exactly new, previously unreleased and mostly unknown. Yes, it’s MURRY WILSON & SNOW! The Break Away EP is a 4-track digital-only collection of songs recorded sometime in 1969 by The Beach Boys’ patriarch and a Midwestern vocal group that nobody knows anything about! Okay, we do know a bit: Once Murry Wilson was forcibly removed from his sons’ (Brian, Carl & Dennis) orbit the old guy decided to try and replicate the boys’ success with a new group he could manage (The Sunrays, three Top 100 singles and then nothin’), which soon petered out, leaving him to ponder his next move. And that was, try again. Sunray leader Rick Henn brought Murry a new singing group, Snow, consisting of apparently a number of Midwestern guys and possibly at least one gal and soon the group and presumably some studio musicians (if it’s anyone from The Wrecking Crew none of ’em are owning up to it) got together to make an actually pleasant little sunshine pop concoction. “Break Away” and “We’re Together Again” were associated with The Beach Boys and the other two, “Wilderness” and “Bless Me,” are otherwise unaccounted for in the greater world of pop k-nowledge. Regardless of whether we knew about Snow before now, it’s kinda fun to listen to – dare I say, delightful? – and to see how Murry Wilson remained determined to get what he felt were his just desserts for giving his boys, The Beach Boys, to us years after they gave him the boot. — Marsh Gooch
2/5 (Omnivore OVDG-367, 2019)
Here’s a taste of the “legend” of Murry Wilson’s managerial (and fatherly!) finesse, followed by a fictionalized look created by cartoonist extraordinaire, Peter Bagge:
If you started with BIG STAR’s In Space and worked your way backwards through Third/Sister Lovers, Radio City and then #1 Record, you’d feel like you’d quickly worked your way to an easy jackpot. Sorta like playing the slots and winning with the first lever pull (okay, these days, button push), then winning some more, then winning A LOT more, and then BOOM! Lights flash, slot machine makes all kinds of exciting noise and then the attendant comes over to give you buckets and buckets of coin. That may be exaggerating the point, but the final album in Big Star’s four album trajectory (not counting live stuff) is a winner, it’s just nowhere near as great as the others.
The rock critic in me feels bad making such a statement about In Space, as I know both Jon Auer and Ken Stringfellow in real life and they’re a couple of great guys – AND they’re talented as hell! When they hooked up with remaining Big Stars Alex Chilton and Jody Stephens in the early ’90s all of us in the Seattle music scene were excited for these founders of The Posies, perfect youngbloods, to bolster the once brilliant band. They did some live concerts, eventually releasing a few (Columbia, Live in Memphis) and doing some short tours. When it was announced that Big Star Mk IV were in the studio recording an album of new material, it came as a pleasant surprise, tempered by the likelihood that whatever they recorded wouldn’t match the excellence of the original band’s (as in Mks I, II & III) near-immaculate output. Okay, maybe what turned out to be In Space might equal Third/Sister Lovers in awesomeness, but even that was likely not gonna happen. What I’m saying is, In Space turned out to be a pretty nice little album. Not necessarily essential listening, but in a way, exactly where you’d have expected Big Star to land if they’d stayed together. AND… it could’ve been a disaster. That, my friends, is why the Posies/Big Star merger made total sense: Because it didn’t end in disaster.
The album starts with the four best tracks, “Dony,” “Lady Sweet,” “Best Chance” and “Turn My Back on the Sun,” all songs that sport that patented Big Star power pop mixture: catchy tunes, tough but melodic guitars, hard pounding drums and killer harmonies. There’s even a Brian Wilson tribute (“Turn My Back”) with vocals that deserve to be heard on their own (which is just what you get as a bonus track). In Space also includes a pair of funky workouts like those Alex Chilton favored in his mid ’80s solo phase (“Do You Wanna Make It” and the Archie Bell & The Drells-inspired “Love Revolution,” which works as a nice mid album change of pace). Did you know that Ken Stringfellow is a real good bass player? Dig his playing here!
I can’t say all of the album is that good. I could live without “Aria, Largo,” which is an instrumental cover of baroque composer Georg Muffat’s original that sounds like the guys are still learning it, and the remaining songs are alright but not essential. But what the album lacks in all-out Big Star goodness it makes up for in a lighthearted, fun vibe that permeates the entire disc.
Omnivore’s 2019 reissue includes a rocking epic called “Hot Thing” that they ought to have included when the album was originally released in 2005, some demos and a rough mix, and the aforementioned a cappella take. The CD version sounds muscular and dynamic, and I’d assume the vinyl (initially available on clear blue wax) is going to sound similarly swell. It’s a worthwhile purchase, especially if you don’t have the original Rykodisc issue. Basically, in my dad’s words, In Space is “not too shabby.” Not superb, but NTS. — Marsh Gooch
[Review originally published 12/8/2009 on my old blog, Skratchdisc]
PHIL SPECTOR would be rolling in his grave if he knew what these malcontents have done to his quintessential yuletide rekkid. Featuring artists like Billy Childish, Thee Headcoatees, Cute Lepers, Holly Golightly, and other mostly-Brit indie stars, A Damaged Christmas Gift For You is about as garage as you can get. The 14-track compilation pulls cuts from various Damaged Goods (UK record label) 7″ holiday singles from the last decade, plus a couple of new tracks. Holly Golightly is great with “Christmas Tree on Fire” and “Little Stars” (backed by a few of The Raconteurs under the Greenhornes guise), T.V. Smith (of The Adverts) has a ditty called “Xmas Bloody Xmas,” and then there’s the incredibly naughty “Santa Claus” by Thee Headcoatees—so dirty I’d be surprised these girls got anything aside from a summer sausage as a gift that year. Very Damaged, indeed. (Available as a download only from Damaged Goods) — Marsh Gooch
HARRY NILSSON died of a heart attack twenty-five years ago. That would seem to explain why it took so long to finish Losst and Founnd, the “new” album from pop’s coolest singer. But there’s almost always more to the story than the obvious explanation, especially with Harry. And so, here we are in 2019 with a finished version of the album he was working on when he passed away in 1994 and it’s just about everything you’d want out of a Nilsson record.
Why’d it take so long to find Losst and Founnd? It’s apparently a convoluted enough story that there’s a four part podcast series dedicated to it. I don’t have time to sift through that now, so take it from me, it doesn’t really matter. This is a new Nilsson record! As it’s sung on the title track, “Losst and Found, what a miracle!”
From the humor that is uniquely Harry’s on “U.C.L.A.,” to the die-hard fandom of “Yo Dodger Blue,” to his interpretations of Yoko Ono’s “Listen, The Snow Is Falling” and Jimmy Webb’s beautiful-yet-funny “What Does a Woman See in a Man,” this album’s completion means there’s one more really good Nilsson record (or CD) to have on your shelf. Yes, by now his voice wasn’t the instrument it once was – but he could still sing, and in fact the gruff in his voice quite suits the material. Sorta like how some of Johnny Cash’s American Recordings tracks (such as “Hurt,” the cover of Nine Inch Nails) benefited from the maturity and experience that only an old guy could emote. The arrangements, too, are of a similar quality level to what Harry accomplished with Richard Perry back in the early ’70s.
You may not go to Losst and Founnd as often as you do Nilsson Schmilsson or Son of Schmilsson, but it’s right up there with Pussy Cats and some of Harry’s other greats. Despite its twenty-five year incubation, it was really worth the wait. Kudos to Omnivore Recordings and producer Mark Hudson for allowing it to finally hatch. — Marsh Gooch