Dreamboats and Lemonade

The Yearning

Dreamboats & Lemonade

“If I Can’t Have You” digital single

(Elefant)

Ever since I began my foray into the land of the LPGA the final week of August (see my previous post: New Life), my routine has been completely off kilter.  Until earlier this week, I have not turned on my stereo at home, in my car, or dialed up tunes while at work, which may be the longest I’ve gone without making personal choices with music since I was a little kid.  I’m not sure if I needed the break, or if it was something worrisome, but I finally cracked open some sealed records that have been sitting around my living room unopened for several weeks.

It’s fitting that the first album I encountered this week is the debut LP from The Yearning Dreamboats & Lemonade.  The Yearning makes music that I have been a sucker for since I was a child – music that transports me to someplace unreal but ideal, which is where I’ve found my thoughts most of the time these days.  They magically recreate the innocence of the late 50s/early 60s doo-wop girl groups as spear-headed by producers like Phil Spector and the Brill Building songwriters and bands such as the Ronettes, the Shirelles, the Supremes, Martha and the Vandellas, and my favorite the Shangri-Las.  Songwriter and multi-instrumentalist Joe Moore, along with the stunningly beautifully voiced Maddie Dobie have created a world where going steady and holding hands and a desire for a simple and true love has not yet been spoiled by years and years of jadedness, heartbreak, and the cruel realities of what humankind can dole out.  In other words, the perfect soundtrack for a person like me looking for a renewal, a redo, and a new spark.

“Dreamboat” begins this collection with sounds of an ocean shore and classic doo-wop “dum dum do-do-wa’s” from Dobie and Alicia Rendle-Woodhouse and a waltz that is exactly about drifting away completely with a special someone and it is so damn perfect that it seems like this song has always been around to hum along with.  This anticipation dressed in classic pop is also presented beautifully in the exciting “Tomorrow Night,” as Dobie prepares to see her beau.  The first single, and my introduction to the band, “If I Can’t Have You,” brings in a dose of longing, as Dobie emotes about having to settle for someone other than that afore mentioned ‘dreamboat’ atop a drum beat and a church organ that recalls the best girl group story songs over time (The digital single also includes the non-LP b-side “Gotta Pull Myself Together,” originally by the Nolans, new wave era girl group – only the Yearning washes away the dated sound of the original production). Similarly, the vocal harmony packed “Lemonade,” also finds our girl lost in dreams of a crush unfulfilled.

Meanwhile, the jaunty “Dance with Me” brings in a deep bass groove and would make the perfect soundtrack to the busy old rock-n-roll roller skating rinks that I’ve heard about or seen in movies - not the rundown, dirty, mostly abandoned, and creepy ones I remember as a kid.     Elsewhere, Moore channels his inner Ennio Morricone with the Spaghetti Western cinematics of “Marry Me in the Morning” and the Marty Robbins sounding “Every Time I Fall in Love.”  It’s the melancholic “Chasing Shadows” that really captures me though, especially once the scooting bass line delicately begins and the Camera Obscura-esque trumpet and flute orchestrations fill the room.  My favorite song here is the finale ballad “When I Was Your Baby,” whose simplicity evokes all kinds of sadness and a lingering realization that this was all a dream.

Moore, Dobie and company have crafted pop perfection that is an ode to a musical era from long ago, but one that is timeless and still sounds fresh today. 

(facebook.com/TheYearning)

The Yearning "If I Can't Have You"

 

Days of Abandon

The Pains of Being Pure at Heart

Days of Abandon

(Yebo)

I have not read any reviews of the latest Pains of Being Pure at Heart album, Days of Abandon, but I have a feeling that I won’t find much new to say about it.  With this, their third album, they’ve progressed again.  They began with a classic 80s/90s cute indie pop sound, added a bunch of fuzzy guitars and density with their second album, Belong, and now, they’ve stripped away that feedback and have glossed everything over.  Instead of indulging in the so-called “shoegaze” sound, or the C86 sounds, they now seem to have more in common sonically with mid-80s ABC.  This may sound like a slight, but if you know me, you know that I love those old ABC records.  It was my chance to be in on their grand scheme and still thrill at the glossy sounds of perfectly performed and recorded shiny melodies that I have generally eschewed.  Having said that, it still took me a handful of listens to take in the changes and fully accept them.

Word has it that this is almost a solo album (with guest musicians) for songwriter Kip Berman.  The credits seem to indicate the same core group (Kurt Feldman, Alex Naidus), but keyboardist and background vocalist Peggy Wang is sadly missing.  Her vocal duties are now being fulfilled and then some by A Sunny Day In Glasgow singer Jen Goma (great voice!  I think I need to give that group more of a listen).  In fact so much so, that she takes lead vocals on two songs – her plaintive plea for a chance of coupling with “Kelly,” and the similar “Life After Life,” where she sings again to a lost soul who she desperately wants to save.  Goma provides very pronounced and strong vocal harmonies throughout.  So much so, that when her voice chimes in on most songs, often paired with an emphasizing keyboard splash, during each chorus, the songs take a much bolder turn.  Each chorus here is big – almost too much so – yet there’s no denying Berman’s knack for really addictive songwriting.  Check out the first single “Simple and Sure” for evidence with its massive yet simple message of devotion.  The second pop single “Until the Sun Explodes” also professes enduring devotion as Berman emotes to his loved one from the side of a hospital bed with a two and a half minute sugar coated nugget of pure catchiness (“but you don’t look right in the hospital light / breathing soft and slow / but I’ll say to you I’ll stay with you / until the sun explodes”).  Then there’s the tragically sad song “Eurydice” (try to remember your Greek mythology), where his loved one has passed on and he struggles with acceptance.  This song’s chiming and building chorus (“I never stop losing you”) is so over the top that it teeters on silliness.  Yet, this song has been stuck in my head for a couple of weeks now – in a really way - especially the climactic part where Goma frantically cries out “In the summer rain / alone I cried / I couldn’t stand to think heaven was a lie” before the song goes fully off the hinges with musical dramatics.  It really is pretty spectacular.  The album is filled with love songs for those lost through various circumstances.  “Art Smock,” the acoustic opening ode to a school crush on the misunderstood punk girl is priceless, as are the fantastic song arrangements and musical touches throughout (check out the tasteful horns on the final two songs). 

Yes, it did take me a few tries before the album’s new direction started to sink in, but now that they have, I have fully immersed myself.  Berman is a great songwriter with a knack for great pop songs with any kind of adornments and an endless supply of exuberance.  Check it out, if you haven’t already.

(thepainsofbeingpureatheart.com)

The Pains of Being Pure at Heart "Until the Sun Explodes"