Independent Clauses | n. —unusual words about underappreciated music

Premiere: Red Sammy’s “Sometimes You Forget What’s Real”

June 12, 2015

I’m all about alt-country, which is a deceptively hard genre to get right. You can’t lean too country, or too indie, or too singer/songwriter. Red Sammy walks the line between all of these with a tune that’s equal parts Tom Waits, Counting Crows, and Jayhawks.

Adam Trice’s rough vocals aren’t the only place that Waits comparisons fit: “Sometimes You Forget What’s Real” is a long, walking-speed tune that relies heavily on a world-weary mood to compel listeners’ ears. There’s a genial, earnest feel to the guitar that calls up August and Everything After-era Counting Crows, while the weeping electric guitar gives the tune a big ‘ol “alt-country” stamp not too far from the Jayhawks’ work. Extra bonus: Mountain Goats-quality yawps at the end of the vocals’ contributions. The whole tune comes together so beautifully that it’s hard to believe that it’s over 6 minutes long. If you’re into old-school, loose folk/country jams or any of the previous acts, this tune will perk your ears up.

“Sometimes You Forget What’s Real” is the lead single on an upcoming album, set to drop Fall 2015.

Blue-collars

January 30, 2012

Red Wanting Blue is the personification of the blue-collar road warrior band. Since 1996, the band has been cranking out melodic rock’n’roll/pop that fits neatly next to Counting Crows—which is a great thing in my book, as I know almost every word of August and Everything After. RWB’s newest, From the Vanishing Point, just broke into the Heatseekers chart at #10, which is a hard-earned spot for a band that’s worked diligently for so long. As my Dad quips, “One of these years I’ll be an overnight success.” Here’s their video for the ridiculously catchy “Audition.”

Charlotte & Magon have been charming me for a while (exhibits A, B, C and D), and “The Mining” is no different. The tense, sparse tune draws from trip-hop, electro-pop and post-punk before bursting into a wicked guitar solo. Yes, a guitar solo. They’re ratcheting up for the release later this year of their “magnum opus, rock novel” Life Factory, which is “the story of the working man in search of hope and truth.”

JD Eicher and the Goodnight's modern pop resists cliches

June 12, 2011

In 2002, a wise friend handed me copies of Coldplay’s A Rush of Blood to the Head and Counting Crows’ August and Everything After. Inexplicably to my pop-punk self at the time, I became obsessed with both. Thus began an interest in modern pop music that extends to an unironic enjoyment of Goo Goo Dolls and Train. Judge away.

JD Eicher and the Goodnights falls between the acoustic pop of August and Everything After and the arena-sized pathos of Goo Goo Dolls. The band’s best songs aren’t quite as navelgazing as Adam Duritz’ increasing self-defeating tunes, but stop short of going for the John Rzeznik stadium singalong. The lesser tunes fall on either side of the divide.

Eicher opens the Crows-esque “Feel The Rain” with the striking, “Seems like every couple hours, it’s six a.m.,” and its subsequent description of breakup symptoms doesn’t beg for sympathy or employ bitterness. The rest of the band employs a similarly impressive restraint, teasing the listener with a soaring chorus that never arrives. The song becomes a highlight because it doesn’t command all the modern pop tricks. Subversive!

The melodic bass work on “Distance and Space” echoes the style of “Feel the Rain,” proving the bassist’s vitally important role in the band’s best songs. The acoustic songwriting in “Love is Gonna Find You” leans in toward Goo Goo Dolls drama, but Eicher keeps the arrangement tight and low: more featured bass, no sweeping strings, no chorus pedal.

It’s not all success. Openers “The Beauty of It All” and “Two Weeks Back” do let the arrangements go electric, and the songs suffer blandness accordingly. “Crazy” is an odd acoustic-rock turn. “Fine Line” is a bit too Five for Fighting cute to pique my interest, and “Easy” flirts with that syndrome as well. But the high highs make the middling tracks easy to pass over.

That oft-maligned, major label-infested genre of modern pop is a tough bag in which to make a go of it. But JD Eicher and the Goodnights are not perturbed. It feels that Shifting came about honestly: Eicher and his band just process music this way, and the greatest honest move they can do is make these songs in this way. In a genre full of cash grabs, kitsch and knowing winks, it’s a pleasant and unusual experience to know that Eicher and his band really mean it when they rock out at the end of “Mr. Misery.” That level of honesty and real pop songwriting chops make Shifting into the success it is.

Oh, and JD: Buy your bassist a beer. And don’t let him leave the band.

Stephen Carradini and friends write reviews of bands that are trying to make the next step in their careers.

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