Album Notes - Sam Teskey - Cycles

Posted by CANNASaver on Friday, 10 December 2021 in Album Notes

If you saw the last name of today's artist and thought to yourself, "I hope that is one of the brothers from an album featured here back in autumn 2019," well my friend, you are in luck. Unless, of course, you were wishing for a retread of that soulful R&B/blues brand of music that Sam, his older brother Josh, and the rest of the Teskey Brothers have built a steady following upon. 

On this solo debut, Sam trades in his Otis Reading fan club subscription for one blatantly Meddle-era Pink Floyd. If there weren't significant country influences mixed with moments downright reminiscent of the Barr Brothers scattered throughout, one wouldn't be wrong to question whether the junior Teskey listened to anything other than early 70's Floyd while his native Australia was on lockdown. Don't mistake this as a complaint. 

That the output largely succeeds in matching the ambition is a testament to Teskey's skills as a musician and recording artist. By endeavoring to pull off an eleven-song sequence that flows seamlessly from start to finish, four of the tracks either intros or outros, the results lay bare Teskey's design on creating a cohesive work, much like the aforementioned fellow Commonwealth quartet to whom he generously lent an ear. His intent is also revealed in the album's name: Cycles.

Bronze Radio Return - Chillers

Posted by CANNASaver on Friday, 19 November 2021 in Album Notes

Two and a half years after the rocking Entertain You, Bronze Radio Return, uhh, return with an album befittingly named for the songwriting whims indulged. If its predecessor was designed to be featured in commercials, the acoustic-based Chillers is full of tracks longing to occupy those sappy scenes of reconciliation between two leads when everything aligns for the titular character. The vibe is not an accident. It's a collection of previously released, uhh, chillers, from the Connecticut-based band, along with a handful of demos, which in at least one case is better than the official version. Whether or not the tunes were tailored for film or TV, they nestle in nicely with the arrival of cooler temperatures.

Obscure October: Comus' "First Utterance"

Posted by CANNASaver on Thursday, 28 October 2021 in Album Notes

As October comes to a close, so too does our themed month aimed at providing exposure to some lesser-known albums. Next week we'll return to our regularly scheduled programming. Whether that's to your delight or dismay, thanks for tuning in.

Obscure October Week 4
Date: February 19, 1971
Location: London, England 
The Skinny: The intersection of Jethro Tull, Mahavishnu John McLaughlin, and Pink Floyd

The 1971 debut from Comus quickly manifests mental images of words like "occult" and "pagan." While there is little difficulty in ascribing the sounds to the artists listed above, it is very much worth keeping in mind that First Utterance preceded a certain magnum opus, and, to those acutely aware of familiar chord formations and potential similarities on instantly recognizable Floyd albums, came out more than a year before recording sessions began for that lunar-themed masterpiece. Bonus points here, as always, for bands that have songs named after or directly reference the group that wrote it. If the comparisons to Comus' contemporaries don't completely fit your bill, more "modern" siblings would be peak Rusted Root and Sweden's Goat.

The album title speaks for itself in so much as it's likely the initial exposure for many to this relatively short-lived outfit, one who released a follow-up three years later, then disappeared until well after the dawn of our current century. First Utterance, final farewell to Obscure October.

Obscure October: Susumu Yokota's "Grinning Cat"

Posted by CANNASaver on Thursday, 21 October 2021 in Album Notes

Obscure October Week 3
Date: June 4, 2001
Location: Japan
The Skinny: Ambient, piano-driven chill Japanese DJ does it his way

I have no interest in being verbose to describe a largely instrumental album. As someone who never felt at home in the electronic scene, I am the first to admit that the late Susumu Yokota may not qualify as obscure for serious fans of the genre throughout the 90s and 00s. "Ambient" is the label laid upon Grinning Cat, the prolific Japanese DJ's umpteenth release, but calling it such seems unfairly reductive to artist and craft. Yes, Yokota's wares frequently supply a calming effect that leave the listener in a state of contemplative bliss, but for years I've been struck by this record for reasons I can't explain. Something just keeps calling me back. 

Listening to Grinning Cat, it's easier to picture a painter taking stabs at a fresh canvas than it is to see a DJ splicing together that which results in these 13 tracks. An inventive, playful nature lies at the heart of the album from start to finish. One can easily imagine Yokota smiling like a Cheshire as he put the final touches on this set.

Obscure October: Zamla Mammaz Manna's "Familijesprickor"

Posted by CANNASaver on Thursday, 14 October 2021 in Album Notes

New week, even older obscure oddity, and one that is likely my favorite of the four that will be featured this month.

Obscure October Week 2: Familijesprickor
Date: 1980
Location: Uppsala, Sweden
The Skinny: There's nothing lean about the virtuosic prog rock excursions from this Swedish outfit that land somewhere between Zappa, Mr. Bungle, and Emerson, Lake, and Palmer. 

I don't even know where to begin with Zamla Mammaz Manna other than to say that if you like the aforementioned artists, or pretty much any jamband from the 90s or 00s, or are curious about 70s Scandinavian prog rock, do yourself a favor and check out Familijesprickor. It is something that truly has to be heard to be understood. And even then the latter may prove difficult.

While changing their name from Samla Mammas Manna to Zamla Mammaz Manna and back again doesn't quite put them in John Dwyer of Orinoka Crash Sweet / OCS / Orange County Sound / The Ohsees / Thee Oh Sees / Oh Sees / Osees territory as far as trying to make cataloguing one band's releases as challenging as possible, the act of doing so, combined with the musical stylings, no doubt did little to help their broad appeal. 

Released in 1980, the Zam's seventh album comes across today as simultaneously dated yet fresh. Many of the keyboard sounds really are something else, for better or worse, while the songwriting is right at home with what a number of bands of a certain ilk have tried to accomplish over the past few decades. One could hear snippets, taken in conjunction with the song titles and band name, and assume these guys are from the school of those inspired by Phish. The difference between this and any number of jambands who attempt such aural adventures is that these Swedes are not only technically proficient on their respective instruments, but pen quality compositions to boot. Not to mention they rarely bother with trying to sing. Familijesprickor may translate as "Family Cracks" but there are no fault lines here. Only quality tunes and even better chops. 

Obscure October: The Voluntary Butler Scheme's "The Grandad Galaxy"

Posted by CANNASaver on Thursday, 07 October 2021 in Album Notes

We haven't done this since 2019's Nordic November, but it's time for another themed month: Obscure October. (Yeah, my absolute adoration of alliteration abides.)

Granted, there is some inherent difficultly in the proposition. Obscure is relative to all axes of proximity. Not to mention that for some, many records featured in Album Notes may already land in this category. That said, the idea is to dive deep and shed light on a few albums and artists that deserve far more attention than they have (at least in my mind) heretofore received. 

Obscure October Week 1: The Grandad Galaxy
Date: July 14, 2011
Location: Stourbridge, England
The Skinny: Half instrumental, half catchy Beach Boys/Beatles vibes. All good. 

What's in a name? The Voluntary Butler Scheme reads like something spit out of a band name generator. The musical product is far more intentional. Rob Jones released three albums under the moniker between 2009 and 2014. All are very much worth checking out, and while a favorite is hard to pick from the trio, The Grandad Galaxy stands as the best balance of production and songwriting. The 15 tracks are at once modern but old-timey, all the while dreamy and hypnotic. Whether or not the nonsensical name contributed to the lack of stardom, Jones delivered three quality records worthy of wider recognition.

Cat Stevens' Teaser and the Firecat turns 50

Posted by CANNASaver on Thursday, 30 September 2021 in Album Notes

While this album will be getting the full 50th anniversary super deluxe special sauce lettuce cheese pickles onions treatment featuring a smattering of demos, alternate takes, live versions, etc., on, curiously, November 12, it was in fact October 1, 1971, when Cat Stevens gave the world Teaser and the Firecat, solidifying his genteel place in the industry, and building upon the success of the more-fondly remembered today Tea for the Tillerman, released just 10 months prior. 

Depending on your familiarity with Cat Stevens, aka Yusuf Islam, aka Yusuf, aka Yusuf / Cat Stevens, you'll likely recognize multiple songs. "Peace Train" is the enduring tune, but "Morning Has Broken," "Bitterblue," and "Moonshadow" may well spark memories for listeners in melody if not in name. 

There are no frills on Teaser and the Firecat and no grand desire from the songwriter to make art for any other reason than channeling that which he knows, a necessary release valve. Pureness is the pervading quality. There is also no filler, just top-notch songwriting across this 33-minute masterpiece. And although Teaser's predecessor is widely regarded as the Englishman's peak, to me this 10-song effort represents the pinnacle of a fantastic career and comfortably resides in the upper echelon of the folk rock genre. 

Turnstile - Glow On

Posted by CANNASaver on Saturday, 04 September 2021 in Album Notes

Self-described as a "hardcore band" by lead singer Brendan Yates, one might have a hard time believing Turnstile resembles anything remotely close to that if only the opening 19 seconds on their third full-length are heard. That said, Glow On would also be easy to pigeonhole if glanced over. But as the following 15 tracks swiftly unfold on this 35-minute adventure, Yates' assertion oscillates between dubiousness and indisputability, and descriptions ranging from Incubus to new wave become applicable. Still, the Fugazi-ness undoubedtly lingers. That said, fuck the labels, this rocks. And so much more.

Shannon & The Clams - Year of the Spider

Posted by CANNASaver on Monday, 30 August 2021 in Album Notes

Shannon and The Clams' latest album, Year of the Spider, is not named in honor of the arachnid-rich campgrounds of High Cliff State Park on Lake Winnebago in eastern Wisconsin. Because that would be every year. 

Instead, Shannon Shaw said the title of the group's sixth LP came from reevaluating a lifelong fear of the silk producers during a period of time when her world was crashing down. In a post on the band's website, Shaw said, "I am terrified of spiders, but my mom always told me that they're drawn to me." The singer/bassist visited an astrologer and was told "to summon Durga when she felt powerless, a Hindu goddess who holds a weapon in each of her eight arms... The symbolism of the spider made a full turn in an interesting way. I was getting protection from the thing I feared the most." It also led to the quartet's most serious effort yet.

While it's difficult to find any reference to Shannon & The Clams without the word "garage" being used to describe their music, Year of the Spider is decidedly un-carport by the band's standards. If the production feels similar to the recently featured Introducing... by Aaron Frazer, the not-so-secret connection is Dan Auerbach, producer and occasional hired gun on both. On Year of the Spider, the Clams' edges have been smoothed, the raw energy toned down. Fortunately, the overall "what decade is this?" sound of R&B, doo-wop, and early rock & roll remains, punctuated by Shaw's voice, explosive as ever.

"Spiders destroy the bullshit bugs," Shaw came to appreciate. "Like mosquitoes. Who needs 'em?" As someone born where that omnipresent, obnoxious little fly is the unofficial state bird, I wholeheartedly agree. Safe to say, Year of the Skeeter is unlikely to be LP number seven, but coming from Shannon & The Clams, it would be a beautiful buzz.