RIYL: Flying Burrito Brothers, early Wilco, Gram Parsons
We say Part I because Jayhawks guitarist Gary Louris personally told us that there are plans to reissue the band’s remaining three albums with American and Lost Highway before the end of the year. Insert fist pump here.
It sure seemed like the planets were aligned, on several occasions, for the Jayhawks to become a much bigger band. They were discovered in an only-in-the-movies fashion, as American Recordings A&R chief George Drakoulias was on the phone with the president of Twin Tone Records and heard Blue Earth, the band’s 1989 sophomore album, in the background. He quickly signed them and produced their first two major label albums. They sold well, but beneath the ‘next Black Crowes’ hype they were tagged with at the time, which was a silly tag to hit them with in retrospect, but you know how the music business works, even when it’s counterproductive to a band’s long-term health.
And ultimately, that inability to break through to the next level cost them in more ways than one. Singer and founder Mark Olson left the band shortly after the song “Blue” failed to take off the way they had hoped it would, and Louris took over the band for three more albums before quietly calling it a day. Then something strange and wonderful happened: Olson realized that he and Louris had unfinished business. The two made a quiet album together, 2009’s Ready for the Flood, and before they knew it, the definitive Jayhawks lineup was playing together again and are currently putting the finishing touches on their first album in eight years. As an appetizer, Sony Legacy has reissued the band’s first two albums for American Recordings along with some hard-to-find B-sides and basement tapes that were the stuff of urban legend. Dig in.
Hollywood Town Hall
Modern rock radio was still in its infancy when Hollywood Town Hall came out in late 1992, and you can’t help but think that the fact that they received support from modern rock stations actually cost them airplay on the traditional rock stations. Whatever the reasons, it deserved to do better, because this is one solid rock album, thanks in no small part to the blossoming of Louris as a songwriter. The Jayhawks were Olson’s band in the beginning, but he would never have written something like “Waiting for the Sun” or “Settled Down Like Rain,” and it’s no coincidence that both of those songs were tapped as singles. The harmonies are as tight as ever, and the inclusion of piano and organ fleshes the songs out and gives even the more countrified moments a rock flavor. For a band that began as country rock act, Hollywood Town Hall is certainly far removed from their roots, yet the band’s essence remains intact.
The bonus tracks are just as good, too, particularly “Leave No Gold” and a raucous version of the gospel standard “Up Above My Head.” Many of these songs never saw the light of day in the US (and two of them were never released at all), so their inclusion here is a big, big plus.
Tomorrow the Green Grass
Here is all you need to know about Tomorrow the Green Grass: when the band announced that they had reformed and were doing a mini-tour, and would be dedicating certain nights to playing one of these two albums in its entirety, the shows where they were playing all of Tomorrow the Green Grass were the first ones to sell out. With keyboardist Karen Grotberg involved in the recording sessions (she came on board after the band had finished recording Hollywood Town Hall) and the band ready to experiment with different sonic textures, songs like the string-kissed “I’d Run Away” soared like no Jayhawks song had ever soared before. “Nothing Left to Borrow” is the best song the Byrds never wrote, and “Blue” practically started its own religion. It’s pop in the best sense of the word, melding a myriad of influences (check out the rockin’ “Real Light”) to create something wholly unique. Tomorrow the Green Grass is in a class all its own.
And look what Legacy dug up to go with it – the so-called Mystery Demos that Jayhawks fans gossiped about for a good 10 years on message boards. Comprised of two sessions between Olson and Louris (one of which featured a violinist), several of these songs wound up on Tomorrow the Green Grass, but the stark versions here are just as memorable, particularly “Red’s Song” and an almost fully formed “Nothing Left to Borrow.” Of the tracks to receive the deluxe recording treatment, the Grotberg-sung “Last Cigarette” and the stomping title track are highlights. We eagerly await Round II of the Jayhawks reissue campaign, not to mention the band’s new album, their first in eight years, later this spring. For the first time in a long time, it’s good to be a Jayhawks fan. (Sony Legacy 2010)
The Jayhawks official website
Click to buy Hollywood Town Hall from Amazon
Click to buy Tomorrow the Green Grass from Amazon
New England based alt-pop band the Alternate Routes have flirted with modest success – their breakthrough, Good and Reckless and True, was produced by Jay Joyce and their 2009 album was released by indie giant Vanguard. But like many talented bands these days, they’re back to doing it on their own again. Led by Eric Donnelly and Tim Warren, the Alternate Routes and their acoustic-driven, slightly twangy alterna-pop are back with a fourth studio album called Lately. The band is road-tested and still has above average songwriting chops, but there is a bit of magic missing based on previous work. As with most work from the Alternate Routes, there is a nice balance between guitar-driven, beer-soaked rockers (“Rocking Chair”), rock anthems (“Kiss Me” or “Tell Me Your Name”), and pretty ballads (“Shame” and “Lollapalooza”). But if you’ve been digging on these guys since the beginning, you’ll no doubt appreciate the straight-up driving pop of “Still Can’t Get Enough.” No matter where they are in their career, The Alternate Routes are still making relevant, easy-to-listen-to music – that and the compelling vocals of Warren should keep them on the road for a little while longer. (Alternate Routes Records & Soundwave 2010)
Though he may be more known for his role in indie rock supergroup the New Pornographers, Dan Bejar has been enticing people into his strange world for the past 15 years via Destroyer. Backed by a frequently rotating cast of band members, Bejar uses Destroyer to craft his own brand of avant-pop-rock, unmistakable to anyone who has ever heard it. Over the course of nine albums, he weaves tales of numerous women, told in a hybrid of speech-yelp-singing with non-sequiturs, dense, visually striking metaphors (
