It’s one thing to be prolific, but it’s another thing to be prolific and accomplished. San Francisco Bay Area singer, songwriter and multi-faceted instrumentalist Richard Turgeon boasts both traits. Following the release of his last full-length album, Sea Change, which appeared this past August, Turgeon has been producing digital singles every couple of weeks.
His current single – “Let’s Take A Drive” – is a popping rocker sizzling with a solid sense of dynamics and sound. Ushered by Turgeon’s rural vocals, the simply-structured, yet bold and blunt song, exudes instant appeal. The energy is raw and forthright, and the hooks and chorus are absolutely addictive. As an additional treat, a sweltering guitar solo is squeezed into the showstopper.
An ideal suggestion for the times we are living in, “Let’s Take A Drive” will no doubt encourage those cocooning to step outside, get behind the wheel and go cruising. The song is also designed to play at top volume while tooling about with the windows rolled down.
Visualize Tom Petty fronting Bachman Turner Overdrive, and that pretty much defines the flavor and feel of this great song. In a live setting, “Let’s Take A Drive” would be perfect to perform as the closing number. Excitement abounds, Bics are flicked, and when the crowd-pleaser hits the final note, the audience will scream for an encore. Strapped tight with all the makings of a classic rock anthem, “Let’s Take A Drive” possesses traction and power by the mile.
As a teenager, Richard Turgeo received his first taste of Flesh For Lulu when hearing their tune, I Go Crazy on the Some Kind Of Wonderful movie soundtrack. Still a fan after all these years, the San Francisco Bay Area singer, songwriter and multi-instrumentalist pays homage to the South London band on his latest download single, which is an adaption of Postcards From Paradise that was initially issued in 1987.
Copping a British accent with absolute perfection, Turgeon delivers Postcards From Paradise with a swagger and a shine. Built around a wall of rocking clamor, the punchy song is topped by an exhilarating chorus and electrifying melodies. Managed by power and presence, Turgeon’s cover of Postcards From Paradise is just as great as the original recording.
On a personal note, Turgeon dedicates the cut to his sister Katherine, who introduced him to The Cure – another band cited as an early influence – and has always encouraged and supported his own musical activities.
If you enjoy Postcards From Paradise – and I am sure you will – make it a point to check out Turgeon’s new album, Sea Change, which is set to be released any day now, but can be pre-ordered from Kool Kat Musik.
As the world turns on an unsettling axis, Richard Turgeon keeps churning out one brilliant song after another. Music certainly provides great comfort and joy at a grim time like this, so how wonderful it is Turgeon shares his gift with us and relays words of hope and encouragement.
The San Francisco-based singer, songwriter and multiple-instrumentalist has been putting a new album together, and posting choice cuts as download singles, with “Still Not Ready To Die” tapped as the latest release.
Buzzing with energy, the song resonates to a terminally uplifting vibe. Accentuated by a “call to arms” chorus evocative of The Clash and Eddie and the Hot Rods, “Still Not Ready To Die” additionally soars forth with tightly-woven rhythms and powerhouse melodies. Also of excellence is the clean but killer guitar work penetrating the production.
Rocking with purpose and determination, “Still Not Ready To Die” invites listeners to join (virtual) hands, sing along and most importantly, remain strong and optimistic.
Recovery Room (Precedent Records 2004)
Since the late seventies, singer, songwriter and guitarist Jim Basnight has been active both in the studio and on the live circuit. The Seattle native’s resume includes leader of bands such as The Moberlys and The Rockinghams, as well as a solo career. A loyal fan base, heightened by continual praise from the press has awarded Basnight satisfying artistic rewards.
A blast from the not so distant past, “Recovery Room” examines Basnight traveling beyond his signature roots-flavored power pop parameters and embracing a mercurial selection of styles. String and horn arrangements, along with female back-up vocals, duly play an integral part is allowing the album to cast a different demeanor than Basnight’s previous efforts.
Adopting a jazzy soul pose, “Comfort Me” simmers with cool and breezy textures, and “Something Peculiar” plugs in as a glistening orchestrated ballad. Recalling one of those quirky little kind of tunes the Small Faces produced during their psychedelic phase, “Riding Rainbows” skips and flips to a happy carefree beat, punctuated with a run of wiggy sound effects and instrumentation. A cover of “Brother Louie” – which was a huge hit for The Stories in 1973 – favors an improvisational approach, marked by jammy jazz rock doodlings.
While a good deal of “Recovery Room” catches Basnight experimenting and channeling his inner soul and jazz impulses, the album offers no shortage of Tom Petty meets The Kinks type of rockers he is primarily known for. Fired by striking riffs and arresting hooks, “Ripple In The Bay” and “Python Boogaloo” ably blend Basnight’s top-notch tunesmith skills with sneering garage punk energy, while “Miss America” and “Microwave” also perch high on the totem pole as other electryfing endeavors not to be ignored.
Although “Recovery Room” contains a mix of genres, the presentation is balanced and cohesive. The performances are totally natural and stem straight from the heart. It’s rare to come across an album where each song has its own personality and leaves a permanent imprint, but “Recovery Room” succeeds at doing so. Rife with creativity and originality, the album brings out the best in Basnight.
The Clock Watchers / The Clock Watchers (Gear Fab Records 2020)
Those not familiar with the background of The Clock Watchers will be forgiven thinking they were one of those obscure sixties bands heard on compilation albums like “Pebbles”, “Green Crystal Ties” or “Teenage Shutdown.” But the truth is, these guys existed a few decades after the musical era they mined. 1992 and 1993 saw the Northwest Pacific band cutting a cache of songs, which appeared on a self-titled album in 1999 distributed by the Gear Fab label. The Colorado based imprint has not only recently revived the collection on compact disc, but attached a slew of previously unreleased material to the package.
Ron Kleim – who has played with notable bands such as The Surf Trio and Marble Orchard – held the role of songwriter, singer and organist of The Clock Watchers. The other members of the band were bassist Don Beckner and Jayson Breeton on drums, vocals, bass and guitar.
Dining on a diet of jingly jangly chords, squealing Farfisa figures, choppy drum beats and gnawing breaks, The Clock Watchers mainly operated under the dual influences of West Coast folk pop and reedy garage rock. Moody vocals, coupled with aching melodies ringing with expression, add a sense of longing and loneliness to the catchy tunes that call to mind certain aspects of The Rising Storm, The Beau Brummels, The E-Types and The Gestures.
Providing just the right measure of raw energy and snappy hook lines, “Drop In The Bucket,” “The Girl With Tears In Her Eyes,” “You Can Run,” “This Could Be Love,” “Mad Girl,” “Dirty Shame,” “When I Dream” and “Hey Little Girl” recreate the sound, style and spirit of 1965 to utter perfection.
A taunting edge marks the aggressive thrust of “I’d Rather Laugh” and the comparably tough and toxic “No Tears For You” is spiked with the crying pitch of a bluesy harp. “Free Soul,” “Gone For Good” and “Shadows” further appropriate a rough and rugged finish, while “Goodbye” crackles with twanging country aspirations.
Powered by a bouncy kick, “Kiss Of Death” races and rolls with surf inspired rhythms before concluding to a round of trippy sitar riffs, and “It’s Your Life” is threaded with zoomy space age guitars reminiscent of the kind of stuff The Byrds were doing during their psychedelic phase.
Comprised of twenty-two songs, The Clock Watchers makes for a consistently enjoyable listen. Period- piece lyrics, a swinging vibe and vintage equipment are the winning ingredients behind the amazing authenticity of The Clock Watchers. Here’s a band that really knew how to compose and perform the music they adored, and how nice it is their efforts have been rescued from the vaults. Perhaps now that The Clock Watchers has been reissued, the band will be motivated to reunite and record more groovy nuggets.
Shortly after his third and most recent album, Go Deep, was released last August, Richard Turgeon wasted nary a second working on new material. Since then, the San Francisco based singer, songwriter and multi-instrumentalist has unfolded a series of singles, which are available in digital download mode, and are scheduled to appear on his forthcoming album.
Turgeon’s latest single, “The Journey,” addresses the sensitive subject of supporting and encouraging a loved one grappling with challenging changes and situations in their life.
Ebbing and flowing with captivating curves, the track is firmly grounded in folk rock soil. Drafts of stinging guitars, fizzing with sweeping melodies, lend “The Journey” a tone modeled on the likes of Neil Young, Tom Petty and Teenage Fanclub. But Turgeon’s smart tunesmith tactics, partnered with his robust vocals that have the ability and inflection to communicate clearly, rise above the copycat category.
Turgeon is truly one of the finest contemporary artists composing and playing roots styled pop rock. The quality of his output remains amazingly high, with “The Journey” clocking in as yet another stone cold clarification of his worth.