Independent Clauses | n. —unusual words about underappreciated music

Redvers Bailey: If you know who you are, sing it loud

May 10, 2016


Redvers Bailey‘s if you want to fly you’ve got to let go is a charming, evocative album that sounds like a cross between The Mountain Goats, Belle and Sebastian, and Wes Anderson. Whoa, you might be thinking, that’s a lot of hipstery junk. Well sure. But if you’re into that sort of thing, this is the sort of thing you’ll really like.

For instance, opener “Young Romance” contains 450 words, some of which are Gustav Klimt, Egon Schiele, microfibre cloth, and several puns about the word “arm.” Follow-on “Elephant Ballerina” contains 537 words and includes the fact that a group of angels is a murmuration, some characters doing Gangnam Style, and “a hundred Michael Jackson zombies filling the dance floor.” Both of these tunes include only acoustic guitar and Bailey’s quirky, endearing, affected tenor (except for a very brief intrusion by a pseudo-marching band to the latter tune). By this point you’re in or you’re out, but if you’re in, here’s some more information.

Past those two opening tunes, things level out a bit into a melodic singer/songwriter with a Mountain Goats bent.¬†“You and Me and My VW” includes a glockenspiel over the fingerpicking to give the pop tune a eternally-sunny Avalanche City vibe, while “The Key to Happiness” has furious, chunky guitar chords straight out of John Darnielle’s early ’90s period. “Living Well is the Best Revenge” and “Sarah” are ballads that lean heavily on the descriptive lyrics instead of the quirky guitar-based songwriting; they fit with the earlier songs through a similar hyper-specific lyrical disposition and Bailey’s voice, but musically they’re a lot different.

Still, Bailey wraps up the collection with the title track, a tune just as verbose, humorous, and enthusiastic as the opening two tunes. The track is a mission statement of sorts, relating the poignant yet still smile-inducing story of how Bailey ended up trying (and failing) to disavow being a musician. (Spoiler alert: he comes back to music.) It’s the perfect mid-point between the earnest emotionalism of his quiet tracks and the passionate theatricality of his poppier tracks.

If you’re into self-aware singer-songwriters with a huge vocabulary and tons of cultural references, you’ll find a gem in Redvers Bailey. if you want to fly is a whirlwind trip through someone else’s mind, and it’s a thoroughly invigorating¬†experience. Here’s to knowing what you do and doing it unabashedly.

Some thoughts on folk, Bon Iver, and Sunny Jim Brown

September 28, 2013


The emergence of Bon Iver’s For Emma, Forever Ago was an incredibly important event for folk. Although the water had been getting murky for years (decades?), that heavily stylized album broke the dam that separated indie-pop and folk. Now we have Mumford and Sons and The Lumineers and Phillip Phillips and we don’t even think twice about it. My thesis here is that we can’t have “Babel” hollered through your radio without Justin Vernon mournfully ruminating over Emma. What that means for indie-pop and folk as individual genres is complex and interesting. One tiny element is that trad-folk/Americana (which is what we now have to call the stuff that most people who aren’t ethnomusicologists used to call “folk”) has received a boost from the indie-folk scene. Sunny Jim Brown playing the traditional “Darling Corey” may not have been of any interest to people who liked Belle and Sebastian in the early 2000s. Now it seems like the two are near to kindred spirits.

Which is all to say that even if Sunny Jim Brown’s Sweet Virginia EP features primarily guitar and banjo in a very traditional idiom, it’s still a blast from the imagined past. Brown’s earthy baritone imbues passion equally over the aforementioned traditional, the gorgeous original “Black Gold,” and No Use For A Name cover “Pacific Standard Time.” It hardly matters that one was written in time immemorial, one in 2007/2008, and one probably in 2012/2013. This is a testament to Sunny Jim Brown’s vision: these tunes could be disparate and disjointed, but instead they’re coherent and wonderful. “Black Gold” is the sort of fingerpicked guitar line that I got into this business to hear more of, and the world-weary vocals give the song even more to love. “Lonesome” and “Sweet Virginia” are strummers that sway excellently. You want honest, raw, and beautiful? Here you go.

These tunes feel as real and raw as For Emma ever did, and maybe as real and raw as folk did before that. What does that mean for folk in general? Well, probably that what is good never dies, it just gets pushed to the top in different amounts at different times. Culture is weird like that. Maybe in 10 years the folk moment will be over and we’ll be on to something else. What does that mean for this particular EP? That you should go listen to it right now. Start with “Black Gold,” and impress your Tallest Man on Earth-loving self.

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

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