West Coast Pop Art Experimental Band - Part One

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Free Music Notes for Part One

Free Music Review: Stunning debut for a relatively unknown band
Hit: 5 Stars

Note that the "old" guy in the band [early 30's or so] didn't play an instrument, and in fact, was tone-deaf. The only reason he was in the band was because he was independently wealthy, and so paid for all the equipment; what he got in return was the new [for him] ability to "impress chicks". He stood in front of the band at performances, shaking a tambourine with his vocal microphone turned off. Moreover, any band member who was out of favor with him at the time of a new release wouldn't have their picture on the album cover. Ultimately, he was responsible for the band's breakup by driving the others crazy with his power trips.

"Shifting Sands" The album starts out with a bang, and I don't mean a noisy one. Poetic, moody song about one whom is 'born to wander'. Interesting when juxtaposed with the opening cut from their third album. [5 stars]

"I Won't Hurt You" Pretty, moody, moving song about innocence, love and protection. Check out the percussive use of guitar "chukkas" in place of the drum kit. [5 stars]

"1906" Hollies-style vocal harmonies with a spoken lead vocal, which is however mixed rather poorly (the lead needs to assert itself more in the mix, not be so subordinate to the backing tracks). The subject of the 'discourse' is somewhat of a surreal complaint. Has a long middle-eastern sounding bridge section. [5 stars].

"Help, I'm a Rock": Not many people would deign to cover a Mothers of Invention tune, but the youngsters [the Mothers used to open for them at gigs] did a very palatable job, all things considered. Very tastefully done. [5 stars]

"Will You Walk With Me?" Textually, continues along a rather similar tack as "I Won't Hurt You". [4 stars]

"Transparent Day" Lead vocal pans back and forth from left to right (phrase by phrase). But it's mixed rather poorly to the point of being annoying--at times one of the phrases is just too soft compared with the rest of the mix. This is regrettable as, otherwise, this is one of the strongest compositions on the album. The singer is not at fault . . . it's really an engineering problem. [5 stars nevertheless]

"Leiyla" The boys revert to a somewhat more blasé genre, but pull if off with typical youthful verve. Smack in the middle, the song seems to be fading out as a new song begins, which is an acoustic guitar solo in the style of Elizabethan (early 17th century English) lute music. But, that in turn fades out [was it an episodic music lesson, part of the story?] and Leiyla fades back up and continues for several more minutes. [4 stars]

"Here's Where You Belong" This one is folk rock á la Byrds, and as good or better than anything McGuinn and company did during the period prior to 'The Notorious Byrd Brothers'. This would have been a monster seller had it been recorded/released as a single, a year or so before. [5 stars]

"If You Want This Love of Mine" Continuing in a similar vein, though much closer to the Charlatans, or even a soft version of the Chocolate Watchband, than to the Byrds. Terrific country rock solo at the bridge. [5 stars]

""Scuse Me, Miss Rose" More rather blasé stuff, this time unredeemed. [2½ stars]

"High Coin" Electrified (though barely) country folk blues instrumental. Gorgeous little number; great closing piece!
[5 stars]

Part One Poster

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