20 Years Performing Diversified Proficient Music — Shows No Musical Rust
When I write about a band / artist that has existed for many years, with a great repertoire, with a respectful degree of success, won some awards, and a following — has no major label release? Readers have questioned me: why?
Well, my having been in the television, radio, motion picture and music business all these years — I can suggest one that’s very real: the label’s A&R people can’t pidgeon hole the type of music the artist plays, the advertising and publicity departments can’t determine the target audience / sales demographic. Who would they appeal to? Is it country, is it rock? Is it blues or roots? Is it Americana? Folk-rock or alt-country? Maybe the problem is too many terms.
Or, I ask — isn’t it the job of the record label to determine who the audience is? Test the market, and if there isn’t a solid market — maybe create one? Or is that too much work? Even the radio stations suffer when these terms are applied because they need to know who the audience is. In order to be a good marksman you need to hit the target. And if you don’t have a target? You still need practice right? Pick a target, make a target — the importance is whether you hit the target. So…maybe some of these artists should be given the benefit of the doubt. Or maybe not. After all, sometimes their originality, creativity and momentum is determined by their ability to not wear musical chains. Musical chains? Yes, like this: “we need a hit single….” It’s not commercial enough. We already have that type of band.
But, if the record company is picking up a master created by the band and they have no costs in the studio — why do they get to dictate? They have a finished product to sell. Press and promote. Example — in 1969 Warner Brothers — at one time one of the best major record labels — began issuing a series of Loss Leaders record samplers. They started with October 1969 — that’s the album title. Dozen of their artists — some famous, some not so famous. They continued this practice every few months, probably at a loss in revenue but these samplers became popular at $1.00 and $2.00 for a double album. They admitted it. Today those albums are collectibles. But what am I talking about? Well, Warners believed in certain artists: Randy Newman, Van Dyke Parks, Ry Cooder, Bonnie Raitt — to name a few. These artists sold almost zero copies of their albums. In Randy Newman’s case, they were giving them away.
But their patience paid off: Randy Newman had a hit album “Little Criminals,” and became an Academy Award winning composer and very respected singer-songwriter. Van Dyke Parks teamed with The Beach Boys’ Brian Wilson and wrote many of their greatest lyrics at the height of the Beach Boys return to performing and recording. Ry Cooder is one of the biggest studio bottleneck lead guitarists and he recorded the Buena Vista Social Club album that won a Grammy. Bonnie Raitt….do I really have to explain her success? None of these artists had hits with their first albums. But Warners stuck to them even past their third and fourth efforts. (Unheard of in this industry. Usually, if you don’t survive the sophmore slump — the second album usually tanks compared to the first. Ask The Cars, Dire Straits).
My point? The Paperboys. They are one of many artists who have always deserved major label attention and treatment. Of course, maybe they don’t want that kind of interference. But nonetheless, having a monetary advance to record and perform — is a good thing. Widening their audience base and exposure — would be excellent.
Having said all this — this is what I hear today: The first track of this new collection got off to a grand start for me. “Back to You,” has a chiming melodic infectious ring to it. Reminiscent of that same breezy rain of acoustics that decades old Poco song also possessed: “A Good Feeling to Know.” If this is the general direction The Paperboys are hawking this time around — they have increased radiance in their effort. Get your papers….
Now that ancient band – Poco started their run in 1968 and they’re still performing and recording. So, The Paperboys are mining a vein that’s rich and judging from the “pick and shovels” they bring to the music this time they should hit pay dirt. Well, except that it’s 2016 and not 1968. Finding an audience that appreciates this music is out there, but it’s still a hard sell. But, I am forgetting that The Paperboys already have a following…a dedicated following and that matters.
The Pure Prairie League also wrote great songs in this tradition. Aside from Poco, I hear shades of Pure Prairie’s “Amie,” which was one of that band’s great country-rock songs. Then, of course, there’s the band America (“Sister Golden Hair,” “Horse with No Name,” & “Sandman”) – that also had its moment in the sun with this genre. So, I guess what I am saying is – maybe it’s time again for this music to recapture some old ears and some new ears. The Paperboys have the melodies, they have the musicianship and they just need that proverbial door to open a little wider.
The Paperboys have something additional in their repertoire. A fiery fiddle attack and brass — I am impressed with how they have already managed to sew some fine arrangements together. Though they remind me of these older bands The Paperboys are no retro band. They have injected a lot of muscle into their showcase, not to mention musical personality. Now – I am not talking about this band like they just got together. They haven’t. They have been playing for twenty years in Canada.
Even though their first song from this new album – At Peace With One’s Ghosts — (first, in 6-years) sounded a little like Poco, a little America and Pure Prairie – this is a very diversified band. They touch upon many styles and they do them all proficiently (they even covered Elvis Presley). Tom Landa – vocals, guitar, jarana (a guitar-like Mexican instrument), bass, percussion and ukulele helms these boys and one girl – from its inception. Along with him, five other members and twelve guest appearances. But, we will explore contributions as we move through the songs.
This is a band that encompasses far more – musically — than most of the more famous, and acknowledged bands of the past, including the ones I mentioned. Though, when Poco recorded “Crazy Eyes,” their masterpiece — that song included banjo and a full orchestra on steroids. Landa even says one of his favorite bands growing up was Spirit of the West. Another Canadian band that is absolutely superb. If someone, anyone, who is a good musician and is influenced or prodded along to begin their own career because of a band like Spirit of the West – then that’s a band I want to listen to, pay attention to and follow. Nothing but something good, inspiring, and fascinating is bound to emerge.
“City of Chains,” is the second track with crisp, clear acoustics, banjo and melodic unison singing with some Mexican flavored brass and rhythms spiced with Caribbean percussion. Beautiful. The lyrics are not lame and very Spirit of the West in tradition crossed liberally with a little of the Oyster Band (their cover, for instance of the old Pogues classic — “Lullaby of London” featuring June Tabor). “City of Chains,” is decorated with the sounds of whistles, congas, timbales, tight subdued brass that is there, but not overwhelmingly.
Geoffrey Kelly offers flute and whistles; Brad Gillard plays bass, but he also provides the banjo. This is a wonderfully woven melody and performance.
Continuing in a Spanish motif, with Kevin Tang (trombone), Malcolm Aiken (trumpet), Darren Parris’ bass, and Kyle Butz on banjo. The Spanish sung “Mismo Latido,” has a smooth, upbeat time that has that Ricky Ricardo Band percussive feel (theme from “I Love Lucy” by Desi Arnaz — on YouTube). It’s engaging, fueled for the snap of fingers and cigarette twist crunch with the toe on the dance floor.
Kalissa Landa’s fiddle saws its way through all the other instruments and a refined 50’s style guitar solo is just too warm to dissect into words. Especially good — the drums and percussion – followed by the vocal — sing and answer routine — that is often hot in almost any song. However, here it is enthusiastic to the point that you don’t have to know what they are saying – the voices have the feel that penetrates the ears and you will put your ass in gear on the dance floor to this and the soles of your shoes will smoke. Spanish flavored music with a banjo and fiddle – who would have believed it would work so fine? The Paperboys did.
“Fake It,” begins with an artillery of brass and snare snaps. Underneath it all a snaking deep keyboard and the brass arrangement punctuates the lyric. Diversification. Same band as before only this one is not Latin flavored, but more in the tradition of Blood, Sweat and Tears without the commercial appeal. The appeal here is strictly great music. I mentioned this band in earlier reviews, but they are worth mentioning again. The reason? The rich melding of the brass and the organ with the dynamics of the song, the rhythm and the insertion of good female counter singing. The band I heard this from, as early as 1970, was SCRA – from Australia. The Southern Contemporary Rock Assembly (The Ship Album) – released on American label Atlantic. Specifically, the track “Midnight” & “Changes” (On YouTube). This is where I grasp the roots of what The Paperboys are doing here with “Fake It.” It has that same drama, power, and exceptional arrangement. The brass, the drums, background singers and lead vocalist – it’s all impressive. These songs by these bands could easily be played back to back not because of any similarity. There isn’t any. It’s just the spirit in which they’ve both been created that is the same. The spirit – it’s alive and well 2016.
Banjo opens “Nunca Jamas,” and immediately the Celtic stylings of the band emerge, but then the singer starts to sing in…Spanish. This is cross breeding that is ingenious. It’s like a Celtic-Spanish band performing the instrumentation in the traditional Scottish-Irish melodic manner with those specific instruments only to be blindsided by the Spanish side of the family. This is an invigorating tune with the Spanish lyric. This is a cross-pollination that only music can provide – it’s tantalizing and beautiful. Geoffrey Kelly offers up some nice flute and whistles, the singing is exemplary, and the drums and percussion as usual, impeccable rhythmic timing. Delightful from start to finish.
Acoustic guitars and Celtic traditions intro “Better Than the Last,” and Tom sings in his finest voice – the song is a fringe lullaby – and probably the most accessible song to untrained ears. Darryl Havers’ accordion anchors the melody as the fiddle, flute, and backup singing colorizes the memorable melody. America has its spirituals and gospel music, but this music is close to that heart-wrenching beauty. It evokes visions of the past, times gone by, good times, people we once knew, places we had been – and the optimistic music soothes and stings the memory at just the right moments. A sentimental ballad of beauty. Perfect timing too.
“Feeling You,” is rhythm heavy and playful. No heavy lifting here – just a well-played, jaunty and memorable tune anchored by keyboards and percussion. As simple as it is the arrangement is what is super. Never a dull moment. An English band known as Stackridge (with heavy Beatle leanings, once produced by The Beatles’ own George Martin and still in existence today) was famous for songs similar to this.
Somber, with sadder tones “Rest of My Days,” is a poignant and engaging song with accordion driven brightness. Tom’s lead vocals are effective, sincere and sung with instinctive quality. A song like this can easily become lame, hair-band over emotive and dramatic. But — none of that is here. It doesn’t even suggest it. There’s an earthiness to it, a folk music infused guarantee. Did I say it’s a great ballad?
“The Monarch Set” is instrumental kindling that is fired up by fiddles and built upon by many other instruments including brass. It has a frenetic quality, but all the ingredients are carefully measured. The result is an intermezzo between songs that is refreshing. If nothing else, the Paperboys maintain a high degree of quality throughout their program and even an instrumental (who does those today?) has its polish, it’s gleam and the music alone articulates the message. Close your eyes and get drawn into its vista. It’s a hoot.
Spooky vocal by way of Dead Can Dance’s Lisa Gerrard is suggested at the onset of the John Martyn cover — “Don’t Want to Know,” sung by Kalissa Landa (Fiddle). She goes from spooky to full-fledged folk vocalist and her style is vibrant and emotive. A Spanish male backup vocalist adds to the moody flavor of the song. Typical of John Martyn material. It does indeed capture a prickly mood. Nice work. John Martyn would have loved this.
Upbeat with fingerpicked banjo and fiery percussion that spreads like flames along the floor – “The Pugilist” (re: a boxer, fighter) ignites the final spot with genuine Scottish-Irish Celtic fever. Wow. This is full speed ahead music . Everything performed in the framework by exceptional musicians and their twenty years in the music business shows no rust.
This is peppy, tough, assertive and the perfect send-off for a band that has carved out a comfortable niche for themselves — throughout their career. Nothing short of precise. Looking forward to the next twenty years – by then, we will have to call them the Editors of the Paper and not just mere paperboys: the core band is: Tom Landa, Geoffrey Kelly, Brad Gillard, Kalissa Landa with excellent drums and percussion by Sam Esecson and sax by Kareem Kandi. Too many guests to mention – all proficient, excellent musicians.
The album was produced by Bill Buckingham and Tom Landa. The four-panel CD art was designed by stevi parker kittleson of studio 5 – it has two illustrated ravens or blackbirds on the cover playing banjo and guitar in a cool stance. Nice representative art of the music within. Many of the logos, art and photography with The Paperboys have often been quite good. Which suggests they, at least, know who they are aiming their music at. They know their loyal audience.
Website: http://www.paperboys.com/
Facebook: https://www.facebook.com/thepaperboys
Bandcamp: https://thepaperboys.bandcamp.com/
Disclaimer: The opinions expressed in this review / commentary are those of the author and do not necessarily reflect the official position of No Depression. All photography is owned by the respective photographers and is their copyrighted image; credited where photographer’s name was known & being used here solely as reference and will be removed on request. YouTube images are standard YouTube license.
John Apice / No Depression / Written August 2016