Multi instrumentalist Jason Falkner played in the Three O’Clock, Jellyfish and the Grays before embarking on a solo career in the mid-90’s. He’s also played with numerous artists, including Beck, Air and even Paul McCartney.
Falkner’s latest project is an unlikely collaboration with him and low fi pioneer R. Stevie Moore. The new album, Make It Be, meets their two styles midway, with songs mostly written by Moore, featuring backing mostly by Falkner. He talks about how the pairing came about and how both of them chose which songs to record. Falkner also addresses his successful Bedtime with the Beatles series, and how soon we’ll see a new Falkner solo album.
Enuff Z’Nuff arrived at the height of hair metal, but had more in common with bands like Cheap Trick, emphasizing melody over guitar trickery. They scored a couple of radio hits in the early Nineties with “Fly High Michelle” and “New Toy.”
The band has continued releasing albums full of great melodic hooks. Their latest release, Clowns Lounge, goes back to the beginning, featuring songs that were written and recorded during sessions for their debut record, but never released.
We talk with leader Chip Z’Nuff about the archival project, which also features one of the last known vocals by Warrant vocalist Jani Lane on a song called “Devil of Shakespeare.” There’s also a sign of things to come, with a brand-new track called “Dog on a Bone.”
Two-disc set chronicles power popster’s productive latter years
You could say it’s been one hell of a ride for Dwight Twilley. Emerging from Tulsa, Oklahoma in the mid Seventies, he scored a big hit right out of the gate with “I’m On Fire” – establishing right away Twilley’s keen way with a melody, something he’s been doing for over 40 years. After souring on the bright lights of the big city, he returned home to Tulsa near the close of the last millennium and began making records on his own terms.
The Best of Twilley: The Tulsa Years sums up one of the most fruitful chapters of his career. The two disc set also contains several bonus tracks as well. Twilley also gives his memories of the late Leon Russell.
Big Star’s first two LPs were full of chiming guitars, heavy drums and melodic hooks, yet somehow both albums failed to meet the high expectations. Those failures loomed large as Alex Chilton and Jody Stephens went to work on their next project.
Eventually called Third or Sister Lovers, the songs recorded for these sessions seemed at times to be the polar opposite of their first two records – alternating between haunting moments of despair, and fragile beauty. The album, never officially completed, has been issued over the years in many forms and track listings. But, Omnivore Recordings has assembled quite possibly the final word on the legendary project.
Complete Third is s three-disc set, bringing together virtually every note recorded for these sessions. Through acoustic demos, rough mixes, and about as final version of the album as we’ll ever hear, we get a peek behind the scenes of this fractured masterpiece.
We talk to Big Star drummer Jody Stephens about recording the album, what producer Jim Dickinson brought to the project, and how a song he wrote, “For You,” helped shape the rest of the record.
Marshall Crenshaw first gained notoriety with his 1982 debut album which featured the MTV hit “Someday Someway.” A few years back, he came up with a unique way to deliver music to his fans – he set up a subscription service where, beginning in early 2013, he delivered six EP’s over the course of two years on both vinyl and digital downloads. Each EP had a formula – one new song, one cover song, and one reworked cover of an old Crenshaw composition, plus a bonus track.
Well, he completed that project, and now he’s decided to put the best of the series in an album form – hence #392 The EP Collection. We talk to Crenshaw about his thoughts on completing this project, why he decided to cover the Carpenters, and how under-appreciated Bobby Fuller’s music is.
Tommy Keene first gained national attention with his 1983 EP Places That Are Gone, which was a college radio hit, and earned him accolades from the Village Voice, among others. Since then, Tommy has churned out a catalog of excellent albums, collaborated with Rob Pollard of Guided By Voices, and toured with Paul Westerberg, but one thing has remained constant, his gift of melody. Tommy’s just released his 12th full-length is Laugh in the Dark. He definitely wears his influences a little more confidently on his sleeves this time around. He also discusses the great payola scandal of 1986.
TV Eyes was a short lived supergroup featuring Jason Falkner & Roger Manning Jr, who spent time in the power pop band Jellyfish, and drummer Brian Reitzell, who was in the equally melodic Redd Kross. The trio teamed up in the early 2000’s for a debut record that combined elements of early New Wave & Punk, with touches of their previous bands. The result was an album that should’ve turned heads. But, the band was never able to secure an American record label, so the record only came out in Japan. Now, long out of print and fetching top dollar on Ebay, Omnivore Recordings finally sets things right with the release of TV Eyes – not only including the original, nine song record, but also featuring four bonus tracks from an even more rare Japanese EP, Softcore, featuring remixes. We talk to Jason Falkner about the inspiration behind the project, plus what it was like to record with one of his big influences, Paul McCartney.
Some call it Power Pop, others call it melodic rock – either way, Dwight Twilley has been crafting like-minded tunes for over 40 years now. His first hit was the Top 20 smash “I’m On Fire” in 1975. Then, he was back in the Top 20 with “Girls” in 1984. Twilley had a knack for writing radio-ready songs and probably should’ve been a much bigger star, had it not been for record label blundering. Either way, he’s never stopped and is back with a brand new record called “Always.”
Tommy Keene has been a regular guest on our show, but his new album is something different – Excitement at Your Feet is eleven songs that Tommy didn’t write, giving him a chance to show off some of his influences. And he digs pretty deep – most people won’t recognize the covers he does of the Who and Stones. We talk to Keene about the inspiration behind the record, choosing the songs (including a rare one from the Bee Gees), and how soon we could expect a new studio album.
Marshall Crenshaw released his debut album right at the peak of New Wave’s popularity in 1982, when the world was embracing silly haircuts and synthesizers. Full of melodic hooks, it recalled a time when rock was a little more straight-forward, and featured the hit single “Someday Someway.” Crenshaw has parlayed that success into a career that’s lasted over 30 years, with many twists and turns along the way. His latest endeavor is perhaps his boldest yet – a series of vinyl EPs, via a subscription service, which Crenshaw plans to release over the next two years, all funded by his fans through a successful Kickstarter program. We chat with Crenshaw about why he prefers singles over albums, and how he feels about his first album 30 years later.