MELOMANIA here to tiptoe with you into the first of the year

shhh...we're hunting Rabbits.

As we open the brand new year, MELOMANIA welcomes you to what we hope you will enjoy reading and listening to. Without a doubt, the streaming phenomenon has dramatically affected the number of releases hitting all of our ears every week. We are still sticking as closely as we can to reviewing records that are physical. While there is nothing wrong with online-only releases, in 2022 the glut of them made it increasingly difficult to evaluate, streamline and arrive at a suitable list of records that we are enthusiastic about. In addition, how does one continue to maintain that level of appreciation for the months of hard work artists, producers, engineers, labels, and distributors put into it over time - when we clear the decks and begin again from week to week? We have no swift or carefully parsed answers to these questions yet. To be honest, we may not. However, to create such a voracious appetite for new music and then cut the releases for the week down to ribbons - left us with this handful that we hope will not seem like a slow start or even “consolation prizes.” When you listen to the playlist attached, know that there is no burn-off here. This was road-tested like all the others and aimed squarely at looking ahead to what 2023 has in store. Thanks.

TWO NEW FINDS

The humongous giant-sized end-of-the-year playlists were a lot of fun. We were thrilled at so many of them and their scope. However, none of them matched the level of surprise and reach of Brad Luen's Semi-Pop Life's "99 Lives 2022"

This is a monster list, truly dangerous and inspiring in places - but never ever predictable. Like and subscribe.

On the other end of the spectrum is Small Albums which neatly deal in bite-size pieces that leave more room for repetition and following an artist who intrigues you down the rabbit hole. Their Picks of the Day and factoids are consistent and show foresight. While you may not agree with it all, they are inviting you to listen. Follow. Etc.

zzzahara - Liminal Spaces [LP/CS](Lex UK)

We do not know whose dreams Zahara Jaime is having, but we want to have them too. As Dream Pop grows out of its hazy, Cocteau Twins-phase, zzzahara looks to lead us into a realm where Synth Pop (the billowing “they don’t know,”) meets a sort of Twee Punk (the wonderful double-time Cure feel of “get out of la.”) Jaime’s knack for choruses is zzzahara’s biggest plus. “possessive” is so brooding in its verses. Jaime holds back like either the words do not want to come out - or they are purposefully being withheld. However, when Jaime hits the streams of melody in the chorus that dot the romantic confession “Cause I just want you all for myself” the effect is narcotic.

YUNGMORPHEUS - Burnished Sums [LP/CS](Lex UK)

Yungmorpheus is back to bank on the promise of “Thumbing Through Foliage.” (reviewed here 3.11.22) The Los Angeles rapper is far more laid back with six tracks that feature some fantastic backdrops (worthy of instrumental release.) What is most surprising is his whispered flow comes with such menace. “Figure-Four Leg Lock” is the neat dimming of braggadocio to make room to feel both pride and trepidation. “It’s Stuck Now” is even more coded about its clandestine tale. As a result, Yungmorpheus pushes his words along like a method actor. You know what he is talking about - but he is so deep in it that it could not be expressed in layman’s terms. When he does get bold on string-laden Soul of “Head Above The Water” it is to plainly lay down his philosophy: “I ain’t got the time for conversation that ain’t interesting/Watch your life waste away rockin’ with them simpletons.”

PULSE EMITTER - Dusk [CS](Hausu Mountain/Redeye)

Daryl Groetsch’s electronic experimentation can sound very New Age at its surface. The twirling nature sounds of a distant planet amid the wash of synths are a clue that is not just “environmental music” but a musical environment. “Cloudside Dwellings” is almost majestic as its waves of sound roll across you when listening. The Eastern mystery/Tangerine Dream-squelch of “Temple In The Mountains” is a work of travel. As it plays, sounds squeal overhead and synths are reminiscent of the sun’s rays breaking through the clouds. However, the meditative “Chrome Sky” is Groetsch’s real masterwork. Its Eno-esque structure gives you the feeling of a musical descent and then rise. The chord choices are enough to change your emotions and even the expressions on your face. Once the right sound is found, it feels as if it corresponds with you and only you. Pulse Emitter’s “Dusk” does everything Emo music wishes it could do without even using a human voice.

BRIAN AUGER & THE TRINITY - Far Horizons [5LP/5CD BOX](Soul Bank/Redeye)

In the middle of the constantly changing music of the Sixties, players with virtuoso abilities quickly proved themselves to be stars almost the size of the decade's still-favored run of matinee idols. Brian Auger entered the London scene (wisely) just between the Beat Boom and the Blues Boom. (As a session musician, you hear his organ on the immortal Yardbirds single "For Your Love.") His Hammond organ skills first caught the attention of Jazzers (John McLaughlin, Joe Harriott) before Rockers picked up on his power (Steampacket namely featuring Long John Baldry, Rod Stewart, and Julie Driscoll.) So it was only natural to build a group around Auger as 1967's "Open" and 1968's "Definitely What?" show. With fiery vocalist Driscoll in front, the Basement Tapes-era Dylan favorite "This Wheel's On Fire" became their calling card. 

With Driscoll, Auger's true recording debut on "Open" is Jazzy instrumentals on side one and fiery R&B and swishy Psychedelia with Driscoll on side two. Gary Boyle's tasteful guitar part on "In and Out" almost makes it Blue Note-ready. "Black Cat" is a red hot almost Shocking Blue-esque showpiece with fabulous horn charts. Elsewhere, "Open" is all about departures. Auger's piano solo "Lament for Miss Baker" is tasteful but not as intriguing as his muscular organ playing. The World Music exploration of "Goodbye Jungle Telegraph" demonstrates Auge's percussive ideas on the organ but really needs only half the time to accomplish that feat. The cover of "Tramp" swings hard thanks to the sax runs and Auger's organ (even as the bongos might be a bit much.) "A Kind of Love-In" is extravagant with its telegraph guitar-part and Auger's horn chart-like fills. As huge as it is (those timpani rolls!) the drop in its midpoint actually proves how Auger just needs a minimally tight, tough band to carry nearly any tune.

1968's "Definitely What?!" answers a lot of questions about Auger's impact. With his own Eric Burdon-ish vocal delivery ("George Bruno Money,") Auger delivers complementary organ runs that raise the quality of the music above its lounge-y swing (which was in at the time.) Mostly, you just want to hear Trinity swing for the fences on tracks like Booker T. & The MG's "Red Beans and Rice." With bassist Dave Ambrose (his work on "John Brown's Body" is spectacular) and drummer Clive Thacker, "Definitely What?!" is an experimental sidestep that demonstrates what Auger needs is a real challenge.

Having exhausted the big studio horn sound, 1969's "Streetnoise" is where Auger and this band proved their mettle. With a massive double album of sixteen songs, Auger, Driscoll, and Trinity finally get to use a little more space in their music. While they are not known for subtlety, the quality of recording improvement and separation truly benefit every member here. "Streetnoise" is selling the depth of Auger, Driscoll, Thacker, and Ambrose. Its Nice-like opener "Tropic of Capricorn" builds up some great jazzy flourishes. "Czechoslavakia" gives Driscoll's voice a more California sound even as it heads off into unknown territory. When the quartet tugs the reins, there's Gospel (Nina Simone's "Take Me To The Water/I'm Going Back Home,") and acoustic Folk ("A World About Colour,") before you long for something familiar. Two years removed from its omnipresence on Radio, The Doors' "Light My Fire" gives Driscoll a chance to show the sharp Grace Slick edge in her voice and Auger to demonstrate his ability to color with beautiful chords and really drive this band.  The Richie Havens obscurity "Indian Rope Man" with its Freakbeat beat and Auger's powerful organ may be their best track ever. The solid backing band immediately finds its place and does not lose it. While Driscoll has never sounded so powerful and controlled. However, this is Auger's show. His hand-to-hand manipulation of pounding chords, its flaming runs, and the overdriven solo is sensational. Still, in hindsight, it is easy to see how "Rope Man" did not compare single-wise to the power of "Wheel."

The second side is the high point of Driscoll, Auger, and Trinity. Driscoll's vocal showpiece the traditional "When I Was a Young Girl" is a stunner and a testament to her ability to sustain a song in just over seven minutes. When the group next tackles the popular "Hair" overture "The Flesh Failures (Let The Sunshine In,") its compositional changes never throw the group - who just keep driving through it. If space was what the group needed to accomplish this goal of actually sounding like a "band" (rather than just a "jazz" "beat" "blues" and what have you,) then space nearly overwhelms sides three and four. After a blazing run through "Ellis Island," things quickly turn interpretive again. The Traffic like "In Search of The Sun" and the blues of "Finally Found You Out" have great riffs - that are too drawn out. The solo piano/Driscoll's low-register vocal piece of "Looking In The Eye of the World" and Driscoll's contemplative "Vauxhall To Lambeth Bridge" never truly find their focus. Thus, pinning the wake-up call on either a vocal take of Miles Davis' "All Blues," another "Hair" track, or a mid-tempo version of Laura Nyro's "Save The Country." With such a solid start, "Streetnoise" nearly pulls it out in the end.

In terms of overreach, all of these musicians prove they can handle anything. Driscoll left the band on tour right when they were gaining a foothold in the States, so for 1970's "Befour" they welcomed back guitarist Gary Boyle to race through a vast array of Jazz (Herbie Hancock, nine minutes of Eddie Harris) and Rock (Sly and the Family Stone's "I Want To Take You Higher.) What is most interesting are the Prog-ish arrangements of Gabriel Faure's "Pavane" and Auger vocally giving it everything he has on the soulful "No Time To Live" from Traffic. As a whole, "Befour" feels like Auger has outgrown this group. The rhythm section sounds like they can handle Jazz and they can handle Rock - but putting it together simply does not fit. With that, Trinity was no more. Auger would find his Jazz/Rock group in Oblivion Express and even achieve some US success. Driscoll would marry King Crimson contributor Keith Tippett and make experimental music, eventually re-recording "This Wheel's On Fire" with Adrian Edmondson for use as the theme to the BBC's classic "Absolutely Fabulous."Finally, it should be noted that Julie Driscoll, Brian Auger & Trinity also released some brilliant singles during this run including 1967's "Tiger" and 1969's "What You Gonna Do?"/"Bumpin' On Sunset" (minus Driscoll,) 1969's "Save Me," and "Road To Cairo." They also recorded an album in 1965 supporting Sonny Boy Williamson (II) that featured Jimmy Page. 

There is a method to the madness we promise. To us, the best playlisting songs come two ways:

1. When you are just skimming an older playlist/segment - see a track - and it starts playing in your head.

2. When a cut surprises you. When you are listening to the random array run together and that song plays that makes you race over to find out what it is.

So thank you for reading, listening, subscribing, and supporting the artists we introduce via this online platform.

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