Born In The Suburbs
I should start this by saying that Suburban Urchins will appeal to fans of The Kinks. This rough-and-tumble outfit from Tasmania isn’t about smooth edges, but bringing the goods in the form of an iron-fisted right cross.
4000 Miles Away begins with a wind-up, propelled by big drums and power chords. With literally energy for miles, it leads way to I Don’t Wanna Go, an isolation song that’s a real fist-pumper. Scott Riley’s vocals and guitar are perfectly supplemented by the keys of Ernie Oppenheimer, who deftly sprinkles synth and Farfisa throughout.
My fave of the set is the anthemic No More Black Dogs, which feels right out of The Davies’ Brothers playbook, in all the right ways.
Paul McCartney brings his own namesake trilogy to a close with McCartney III. With most of the world in lockdown mode in 2020, Macca split his time between days at his recording studio, and evenings with his daughter and grandkids.
I’m a big fan of the first two installments of the trilogy, the first producing Every Night and Maybe I’m Amazed, the latter, Coming Up and Waterfalls. Working by oneself can produce results far different that a full band effort, and I think McCartney flourishes in this setting.
The instrumentation, which relies predominantly on acoustic instruments, is the perfect stage for Sir Paul’s now-weathered vocals. Find My Way is a peppy number fuel by harpsichord and guitar riffs that mimmic horn stabs. Lavatory Lil and Slidin’ are a couple of top-notch rockers, and Winter Bird/When Winter Comes is a pretty acoustic musing, and one of McCartney’s best.
All around, this is a really pleasant listen. With vibes to spare and a lot of really strong songs, I can’t recommend McCartney III enough.
Life Gets Strange
The undeniable sign of a great release? Repeat listens. I’ll bet that in the past two days, I’ve listened to this e.p. at least ten times. From the first verse of the opener, the rambling Let’s Pretend, to the fadeout of the pretty Alien Eyes, I was comfortably hooked.
Cliff Hillis sounds remarkably like Bill Lloyd, who you know I’m partial to. These six tracks are nestled somewhere between the feisty Americana of Cracker and the always-reliable Tom Petty, but without any Southern vocal affectation. Hillis’s friendly, warm voice is perfectly accompanied by the contrast of crisp acoustic guitars and rougher electrics. The production is absolutely on-point.
Life Gets Strange was released in 2020, and I sincerely regret not hearing it earlier. It certainly would have made my year-end-best list. Highly Recommended.
By Dan Pavelich