Reviews: Winter 1995
Hover
“Almost Everything”
Dewdrops/Club Fub Records
1817 Corinth Ave, #10
Los Angeles, CA 90025
Released in 1995
By Mathew Taylor
Hover’s 16 song CD entitled, Almost Everything, was released in January on Dewdrops records, a Los Angeles based label. The album, which is entirely a compilation of previously released Hover material, brings together the band's work of the last three years and packages it very professionally under one title. The first three songs originally appeared as My Tea Is Gone, a 1993 Club Fub release. These songs and the fourth were all recorded masterfully at Low-Tech Studios in Burlington. The sound quality of these four songs (and really the rest of the album) is of extraordinarily high standards. Accomplishing that many local bands are still grappling with, Hover has found a good mix in the studio and the result is a full, well-rounded sound.
The band, which combines the ethereal, lulling vocals of Jan Tofferi with the guitar work of Bob Higgins, bass and vocals of Nick Nichols, and drumming of Brad Searles, manages to capture a dreamy, late-80’s-esque sensitive, sharp-edged pop sound quite effectively. They have found the formula for the listener-friendly, accessible pop song and they stick by this formula steadily throughout the 16 tracks.
The positive side of Hover’s sound is that they write catchy songs and compose them skillfully, maintaining a good balance between the melodic and slightly more hard-edged. The only perceived problem might be that the songs on Almost Everything fit this form so well that they seem to run together. While all three instrument-wielding members are accomplished musicians with a good feel for what they play, only Higgins’s guitar is noticeably varied from song to song. Although the bass and drums are integral elements of the mic and very effective in creating the sound that Hover successfully strives for, they rarely change from one song to another and become predictable by the end of the album.
This is not necessarily a bad thing. Tofferi’s vocals, which seem to be intentionally void of emotions, are also very predictable, She delivers thoughtful lyrics in a smooth and sedated manner which seems to want to break free from their confinement, but never do. As with the rhythm section, Tofferi rarely strays from her quiet, understated, sleepy style. This is not a criticism, as it appears to be precisely what Hover is trying to accomplish throughout the album. It should be noted that they are very good at what they do; they are very good at a particular type of music. I just can’t help but feel that they could be a great band if they mixed things up a bit and worked on developing the personality of individual songs now that they’ve developed a strong sense of themselves as a band.
One of the album’s highlights is “North Hyde Park”, a song written by the sometimes Burlington band, Guppyboy. This track, recorded at ClubFub in the summer of 1993, originally appeared on GuppyLove- A tribute to Guppyboy. Songs 6 through 16 were originally released on cassette as thinsilverhorizon, recorded in 1993 at ClubFub and Wilde studios. Higgin’s guitar gets a little more abrasive on some of these tracks, and Nichols has some vocal work, which mixes very smoothly at times with Tofferi’s singing. One of Hover’s strong points are these vocal harmonies which, though sparse, mix well with the mood of the music. This is something I would have liked to see them employ more often as it tends to add depth to the vocals.
Almost Everything is a success and should be seen as such. Hover is on the right track and, with a little more variation and perseverance, would have every opportunity to evolve into a great band, if they wished to. They have the mold and they have the technique. They do what they do extremely well and should be rewarded for it. With a little bit more energy and song to song originality, Hover would be a band to watch out for. As it stands however, they are, for the most part, defunct. Almost Everything is an important anthology for these Burlington musicians and is definitely worth your money. Check it out and see for yourself because you may never actually get to see Hover.
Matthew Taylor is a local coffee jerk who spends his spare time sleeping, eating, and wondering why the Flock of Seagulls never had another hit,
Erich Kory
“Sentient Cello”
Cello Vision, PO Box 135,
Vergennes, VT 05401
Producer: Erich Kory
Recorded at Treehouse Studio Charlotte, and Low Tech Studio, Burlington, VT.
Released 1993
By C. Graves
“Sentient” refers to awareness and “Sentient Cello,” once again, makes one aware of the variety of talent residing in Vermont away from the mainstream music establishment. Cellist Erich Kory has worked with such diverse talents as Sting and Leonard Bernstein, and created musical themes for performance artists and dance ensembles in New York, Germany and Montreal. And then there is this compact disc, originating in Vergennes, Vermont.
From the technical standpoint alone, there are engineers at London/Decca productions that could learn a lot from the lush sound produced by Treehouse Studios and Charles Eller Studio, both located in Charlotte, According to the jacket, Kory composed, engineered, mixed, and edited the whole recording, so he deserves the highest credit for electronic as well as cellist skill…and the cello technique is spectacular. All the music and sounds, including thunder and bird calls. Are produced by cello.
Upon first listening, the virtuosity of Kory’s playing literally took my breath away; he produces sounds from the cello that draw from various traditions and themes , from Bach’s solo cello paritia bowing to classical Japanese koto plucking’s to Segovia-style strums to Arabic half quarter tone slides (and more!) There are echoes of composers in the classical tradition like Samuel Barber and John Tevener, entwined with rock (I’m reminded of a section in Joe Satraini’s “The Extremist”,) jazz (Charles Mingus, perhaps) and new age (definitely Paul Winter.)
After noting all the branches of Kory’s musical family tree, however, you will probably have to look for his CD in the “New age” section of your local record store. Whether or not you will enjoy it depends, at least in part, on how much you enjoy such composers as the aforementioned Paul Winter or Andreas Vollenweider (harp, “Down to the Moon”) and David Lanz (piano, “Christophori’s Dream.)
Upon several listening’s, the varieties of Kory’s technique give way to a certain sameness, or unity if you prefer, of sound, that does not (for me) lend itself to the kind of sitting and only listening experience that, say, John Taverner’s “The Protecting Veil” (also for cello) provides. Perhaps Mr. Kory, as clever and tuneful as his works are, has done most of the work for the listener, there is little here to challenge the eat, And yet… while there is a time for challenge, there is also a time for letting go, time to allow others to do things for you. With Mr. Kory, you are in very capable hands. Relax.
C.Graves is a Burlington artist who has experience with folk, rock. And classical music in Vermont, New York and Pennsylvania.
Madelines
“Used to Believe” ep
Sudden Shame Records
2 Cypress Lane Essex Jct, Vermont
Released 1994
By Alan Rench
Recorded by Joe Egan, Brad Searles and the Madelines at Eclipse Studio in South Burlington, “Used to Believe” is as solid a local recording as you’ll find: think clouds of sound that envelope and caress you and then roll you out into the sky to your certain death. One of those heady, dream team experiences awaits you in a kind of stoned, ethereal haze: imagine a big wave of guitars and a vocal that almost drowns but somehow struggles to the surface.
This is not the land of the screaming solos and the banshee creos of modern rock: this is the land of catchy pop songs that don’t jump up and splash down in your face… you kind of have to wade in and get wet, You should actually soak in Madelines music. And take your time.
“Halo,” the cassette’s opener, is a hook-driven slice of indie pop pie that’s so good I’d almost be scared to release it: this is the kind of song that you spend your career trying to top. Well produced, well played and nicely written by Colin, Pat, Kurt, and Scott.
Alan Rench loves music and he lives to tell about it.
Various Artists
Sounds Around Burlington
Club Fub Records
PO Box 1452 Burlington VT 05402
Released in 1994
By Becca Foster
“Hello Burlington” holler James Kochalka Superstar! And so starts the compilation of lo-fi recordings known as “Sounds Around Burlington.” Put together by Brad Searles as home recordings intended for a “friends only” kind of release, Brad found a lot of interest in the project and got sponsors and made a CD! Here is it, song by song:
AESOP: It’s crazy people…no, it’s hopping up and down fun, people…no it’s Aesop! They’re playing “Goldfish” at St. Mikes, recorded live and out on this CD. This song definitely gets my attention and even though it’s in alphabetical order, this is a great song to start off the album.
CHIN HO!: First things first, who’s this Sarah? Is she my ex-best friend and if so why didn’t you tell me earlier? This song “Stay Away From Sarah” is just one of their many remarkable tunes. It’s just Dave and Andrew doing this song but there are more people in the band. Of course.
CLEARY, HERBERT& LILJA: Jazzy, jazzy song. A song that both my mother and I can enjoy dancing to around the house.
EEF:Fast and fun time: Jeddie, Brad, and Mike getting into the groove on “Maleman.” Let’s just hope that Jeddie didn’t hurt himself kicking his amp.
THE FAGS: They rock! “Get Away” is awesome to listen to. I can listen to it over and over again!
HICKORY SWITCH: This song reminds me of doing folk dancing in the gym, I loved every minute of it! We had to dance with the boys. Unfortunately I was always the last to be asked. I guess I wasn’t popular enough.
HOVER: There’s something about this song I just can’t place: it has to do with Jan’s beautiful voice. My mom the Chin Ho! Freak told me that Chin Ho! Plays this song a lot. I remember that Jan told me that this song was written by Jeddie…isn’t that cool. You remember Jedd, the Eefalicious guy?
HUFY: It’s so funny, this song is so cute. It’s like when you were in sixth grade with a new boyfriend and you’re both speechless.
MATT HUTTON:I have this dream that when I turn sixteen I’m going to get a car and kidnap my best friend and we’re going to leave this great state of Vermont. I don’t know why, but this song makes me think about the two of us driving down the freeway with the wind in our hair.
JAZZIN’ HELL: I really want to see these guys play. This is like a pre-school learning song but it’s about a telephone.
DAVID KAMM: I get all teary eyed with this song “I Hold You,” it’s crazy! It’s one of those songs that makes you want to curl up in bed with your stuffed dogs that your brother gave you and the tie dyed t-shirt that you stole from that guy that smells so good.
JEDD KETTLER: Jeddie played this instruments that he brought back from China. Pretty interesting sound but very beautiful.
MADELINES: I love watching these guys rock out. Madelines are like spinning around until you get sick but loving every single minute of it. And you know that you can stay up longer than your friends.
THE PANTS: I’ve heard a lot about the Pants but this is the first time I’ve listened to them. This song is like the sun shining and you’re hanging out with a bunch of frogs jumping around and there’s some weird bird singing.
SAP: It’s really funny I never thought to read the inside of the package while I was listening to the CD. And when it got to this song it was so confusing because it sounded so much like something that Colin would write and sing but I thought that I would have been told by Colin about this SA. But I guess not. I was so proud of myself to open the package and read that it was Colin!
SKY TEN W/ THE WARDS: “Weapon Factory” sounds like people making weapons in a weapon factory and they are really mad…but who knows?
SNOWPLOW: On February 11, 1994, I went to see Hover play and Snowplow played first and they were really good. So, after that I went to most of their gigs and I got to know their music.
TEARMOS: I’ve heard this song played by Eef. I guess it’s all right if a person plays the same song in a different band. I can relate to this song I get the same way. I can’t get off the couch when I watch too much TV. Thank God we got rid of it.
SEAN TOOHEY: This song reminds me of my school last year. For some reason, this song really brings back memories.
VELVET OVUM BAND: I have a beautiful Velvet Ovum bumper sticker on my bass guitar case. Some stranger gave it to me at the Big Music Fest when I walked by him. This song is really beautiful, just like their bumper sticker.
Becca Foster is thirteen years old and lives in Burlington, Vermont. Her brother is Jedd Keller of Eef and Tearmos and latter day Hover ame, which may account for her unusually hip, and knowledgeable insight.
FreeFall
“Primal Youth”
FreeFall Productions
214 Battery Street Burlington, VT.
Recorded at Archer Studios Essex Junction, VT
Released 1994
By Stacey Starkweather
Followers of Freefall fusion-jazz extravaganzas will undoubtedly sense a certain kind of pride in being able to finally hold the “Primal Youth” CD in-hand.
The quality and strength of character attained by Steve Blair and Andy Hildebrandt’s production with Dan Archer Studios, as well as the mastering by Chaz Eller, puts this album into my “best band” category.
Blair and Hildebrandt’s thought-provoking songs repeatedly demonstrate their skill as composers.
Certainly, well worth the wait.
Though weighted a little heavy on the fusion styled backbeat, every song is fully formed, crafted to perfection and executed with real excitement. Conceptions’ symphonic, haunting, long-form melody, and Far off and in Between’s lilting glide and pensive figures are further proof of this team’s high-caliber, compositional ability.
As for the playing itself, all through this release, FreeFall exhibits world-class musicianship.
Guitarist, Steve Blair, with his Strat and fat-body Gibson, weaves each track with tapestries of six strong magic. His explosive bursts of passion during Conception present the listener with not only an intriguing strength and compassion for his instrument, but also serve as a philosophical wake-up call.
How far into the stratosphere can one take their instrument?
Chris Peteman, tenor saxophone, clearly and increasingly articulates his own voice as the project progresses. Playing - which may initially strike one as minutely derivative of other players - evolved based on his own conceptions of sound…angular, obtuse and caressing; sometimes intense but never boring.
Bassist Eric Hoh, uses every note he plays. No excess fat, no unnecessary calories; 100% snapping, sweaty, groove-approved soul.
Roger Berard on drums let’s you know - whether swinging or popping - the two and four just listen,
Mind boggling piano solos from Andy Hildebrandt dance on the keys with deep beds to die for and a palette of musical intrigue, which don’t sound anything like your favorite synths’ presets. Definitely, a leading candidate in the “touched-by-the-hand-of-God” inspiration category.
The word on the street is: Blair and Hildebrandt never stop writing and exploring the unlimited musical material somehow channeled into their universe. Such being the case, it’s also been heard - they have enough material to complete two to three more projects. I'll be looking for the next CD.
If you’ve never chosen to explore original fusion material, my advise is take an adventure with FreeFall. Even if you’re not generally into contemporary, fusion, or mainstream jazz “Primal Youth'' is worth checking out.
Remember these guys live in Vermont. But, how long will our luck last? Thanks to Nectar, we can still get on their trip for the price of a draft or less. But, before this all ceases to be…go-see them.
Starkweather is a bassist for six bands: Disciples, Michael Ray & the Cosmic Krewe, Bad Hat, The Grippo, Sklar Sextet, Jamie Mansfield’s Jazz Mandolin Project and the Gordon Stone Trio.
Lester’s Butt
“Rock Titty”
Burlington CD Project
P.O. Box 559 Richmond VT 05477
Released in 1994
By Chaz Handel
Loose and from the heart, Lester’s Butt was a band that seemed synonymous with the Last Elm Cafe for a while in 1994. Long on posters, short on appearances, I thought we’d seen the last of the Butt when this song came out of nowhere as if a missive from garage bands past: politically correct and socially relevant, “Rock Titty” is a homo-love song beautifully rendered by bassist/vocalist Diane Rodgers. One moment a hilarious story about cold-hardened nipples and the next a lament that “...it’s tough to be a queer when you mom has homo fears…” the song features standard low-fi production values and an irreverence that serves the final purpose just fine; this is a low maintenance story about girl-girl love that manages the difficult task of smiling and looking sad at the same time. In the face of discrimination from stupid people with stupid, outdated ideas, this mere expression of homosexual love seems refreshingly candid. I only wish it could happen more often. Oh, if only people weren’t stupid.
Chaz Handel is a writer and contortionist based in the Northeast Kingdom of Vermont.
Phish
“Hoist”
Elektra Records
Produced by Paul Fox
Released in 1994
By Nate Brown
And in the year 1993 Phish went Hollywood. In a big, bad and beautiful way, our hometown heroes took the big bucks of corporate rock, stuffed tier pockets, and ran gleefully off into the west coast sun. And as happens in the Land of the Phish (as Nectar would say,) they get away with the drive, no questions asked.
First things first: producer Paul Fox seemed an unlikely choice, considering what role a hired hit man might have in the land of the WEA elves, his name on a Sugarcubes album, among others. What would happen to our lovely quirky pals with a big name, big money shaper of stars at the board? Well, trust the judgment of the Phish (as Nectar would say,) nothing wrong with a hit single, is there? And that seemed to be where the pre-release controversy landed: would the band be convinced to abandon their lovably quirky sound and suck the golden tit of Casey Kasem?
Well, yes and no. This album almost leaks it’s so full of hits. Say that five times fast and it becomes a Phish fan's nightmare: no one wants to see their idols grow up and get respectable. But if respectable means penning hits: “Hoist” is standing tall and proud. “Down with Disease” rocks. “If I Could” weeps. “Axilla (Part II)” is the funniest Blue Oyster Cult tribute I’ve ever heard… and the fact that it ends in post-Beatles psychedelia renders me silly with giggles. “Sample in a Jar” is perfect pop, pure and simple. “Wolfman’s Brother” takes a funky roff out of the Shaft catalog, throws some Staple Singer- sounding vocals on it and it still comes out sounding like Phish.
Let’s face it: Phish has been slugged by the too-cool everywhere: Hippies steal Zappa catalog and white hats flock. I’ve always considered these guys the underdogs and I’m pretty damn happy that they’re ranking in 10.3 million per year. And the fact that they’re making really interesting albums for a major label makes me want to support them even more.
“Hoist,” in the end, is like one of those Scooby Doo episodes when they had the guest stars on like Jonathan Winters Sonny and Cher and Batman and Robin and the entire episode was built around the appearance of the celebrities. It may have looked like desperation at the time, but it ended up making for great television.
Nate Brown is a Student at the University of Vermont and loves life.
Joe Cunningham
“Another Joe on the Street”
Shiretown Records
PO Box 238, East Randolph, VT 05041.
Recorded at Noteworthy Studio, East Randolph, VT.
Produced by Kate Younghahl and Roger Stauss
Released in 1994
By Alan Rench
Joe Cunningham grew up in Michigan and settled in Warren, Vermont. Somewhere between the two locations, he acquired a slightly twisted world view that he shares with is on “Another Joe on the Street,” an eleven song collection on East Randolph’s photo of Hancock’s Hubbard’s Country Store and the musician listing inside paint a very Vermont picture, the lyrics urbanity contrasts the music’s eclectic, almost neo-folky feel. Cunningham’s characters share a vague, discontented yearning for something, anything: the woman in “All She Wrote” finds herself naked on Sixth Avenue in a dream, the narrator of “I Fall in Love” who “...just can’t seem to stay attached…” and perhaps the author himself who, in the title track, laments that “Now I’m forty-one, I’m almost forty two, I’m still not sure what I’m gonna do, I’m not even sure where I’m going.”
While discontent and desire may not make for a comfortable, laid back life, they do equal an array of interesting portrayals: by the end of the album you’ve met a strange little group of people who share not only longing but also, more importantly: hope. “Might be the best rose in your garden might get pulled up by the roots, guess I’ll take my chances opening up to you” he writes in “Opening Up to You.”
The album features a veritable all-star band of Vermont musicians, including bassist Stacey Starkweather, drummer Jeff Salisbury and pianist Andy Shapiro. Tammy Fletcher of the Disciples is also featured with a very distinctive vocal turn on “Opening Up to You.”
Recorded over five months at Granville’s Noteworthy studio, “Another Joe on the Street” is an eclectic assortment of well-crafted pop songs that successfully introduce a singer/songwriter who may not know where he’s destined, but who realized that the journey is what it’s all about.
Alan Rench is your friend. He liked you and everything that you do. That’s just the kind of guy that he is. And he doesn’t mind if you call him names behind his back. Go ahead.
Envy
“The Venus E.P.”
207 Church Street, #13 Burlington, VT 05402
Recorded By Gus Zeising at Low Tech Studio, Burlington, VT
Released in 1994
By George Sand
Do you remember the Psychedelic Furs? Do you like Mazzy Star? Can you sing and dance? None of this matters, trust me, except that if you're inclined to sing and dance: you’re ready for “Venus”, the 4 song EP released last fall by Burlington’s Envy.
From the Silvertone-like lead into “Drowning” to the shrill and pungent antiphon in “Alien,” the guitars fill the room with sweet sound. There are two rockers and two melancholy pieces to sample. Intense even in its slowest moments, this stuff truly rocks, with Matt Hutton’s shouting rasp keeping the music suspended just above the ground…”Where are you coming from? What does that say about you?”
Melanie’s bass and Ann Mindell’s drums are solid and melodic, particularly in “1,000 Lies,” Sean Toohey sings his weighty and sorrowful track. Listen to it with headphones on to get the full effect.
“Drowning” is also down tempo, but at the end, Sean takes us into another plane with his own version of the truth. Screaming cats in slow motion. It’s true, he does scrape his guitar against his amp in a fit of emotion and blind passion.
“Bomb,” a version of which will be released on an upcoming single from Split Records, is hard-edged and heavy: the tune is so pretty it will give you nightmares. Such is the plight of those who seek enlightenment in loud meditation and pop mantra. Don’t say I didn’t warn you.
George Sand was an eighteenth century writer and free thinker. She drank, smoke, slept with Chopin and was the subject of the movie “Impromptu.”
Chin Ho!
“Big Crowd”
Monastery Records
Produced by Chin Ho!
Recorded at Eclipse, South Burlington, & Low Tech, Burlington, VT.
Released in 1995
By Todd Terranova
“Big Crowd.” the album is the third Chin Ho! Release, excluding a 7” project on Split Records with Burlongton’s Hover; and for this writer, it’s a return to a style of music making where life is interpreted from the artists perspective and the listener is allowed to see things that they might not otherwise see.
Strangely enough, my favorite songs on the disc are in order of appearance: “Big Crowd,” the song, encompasses an amazing blend of vocals from lead singer Andrew Smith and guitarist Scott Stevens. Very catchy and very sensitive, leaving me inspired and inquisitive, even after the eighth time through. “Some things you just do instinctively/Some things are methodically planned/You make yourself a lot of promises/Some of them are smart/And some of them are not so smart.”
“Jan Michael Vincent,” -which the whole world is already referring to by the chorus “Water Falls” -blew me away again with the vocals from Smoth, And on this cut Smith is joined by Hover’s Jan Toferri on back-up vocals for an amazingly catchy hook-filled melody. The harf and groovy guitar riffs from guitarist Dave Morenci balance the vocals and lyrics tastefully throughout.
“World,” A fast paced rocker that bases it’s characters in Burlington, takes an intense groove that heats up and then relaxes when Smith starts the story.
“Glover Tonight,” a very-Vermont tale, and “Sticker,” an apparent love-song dedicated to Vermont’s super-rock-heroes Phiosh, finish out the EP on a quieter, more introspective level that serves to remind you that behind every angst-filled boy there usually awaits a man who knows better.
The lyrics are a major high-point of the disc for me: the tales that Smith tells are emotional short stories that almost make you feel like you’re dropping into someone else's life for a few minutes. Expressive, open and understandable lyrics are hard to find in today’s music. Sometimes it’s easier to use phrases that sound cool but hide the message. “Can't fight the seether?”
Overall, “Big Crowd” deserves attention. Careful: it may leave you insightful. This is when music becomes art for me: when it mirrors life.
Todd Terranova is a freelance writer and he is the friendliest doorman in Burlington.