Archive for the ‘Hope Sandoval’ Category

I’ve taken the turnpike, a toll road, every work day for the past 18 years, save for those occasions when I work from home, but I don’t have – nor do I want – E-ZPass. For those readers who aren’t from one of the 16 states that offer it, it’s basically an automated toll taker. You place a transponder on your windshield, pay into an account online, and then, when you drive through the correct entry or exit lane, the payment is instant. There’s no muss or fuss, and – theoretically speaking – no backed-up lines of cars at the toll plaza. (In practice, however, at least for the times I enter and exit, the E-ZPass lanes are often backed up even more than the cash lanes.) Pennsylvania, my state, also offers a discount vs. the cash option.

In other words, I generally see the same faces collecting tolls, and often trade quick talk about the weather, traffic and other stuff. “Hey buddy.” “There he is.” “How you doing?” “See you tomorrow.” “Have a great day.” “How ‘bout them Eagles?” Or, sometimes, “You’re later than usual.” I always thank them, and bid them a good day or night. It’s routine. It’s nice.

There’s a larger point I could make about the downside of automation, but that’s for another day. Rather, I’m sharing my toll booth tales for no other reason than this: More often than not, music – though not too loud, as I always turn it down – engulfs the background of those short conversations. And yesterday morning, one of those same faces commented, “You’re always listening to something good. Who is that?”

Which leads to today’s Top 5: Toll Booth Tales (aka What I Listened to This Week)

1) Erin O’Dowd – “Wewoka.” The answer to the question the toll booth collector asked is Erin O’Dowd, whose Old Town has received many plays from me this week. My hopes were high when, just about this time last year, I pledged for it on her Kickstarter page. I suspected it would be good. But this good?! After a week of listening, I can safely say that everything I wrote in my First Impressions of it is an understatement. It’s one of my favorite albums of the year, thus far.

 2) Belly – “Shiny One.” Back in 1993, I fell under the spell of Star, the Rhode Island band’s debut album, and played it the only way I know how – again and again, and again after that. “Feed the Tree” was, and remains, freakin’ awesome – one of the greatest songs of the era. I’d love to say that I also played their 1995 follow-up, King, in the same fashion, but can’t – my main memory of it is one of disappointment. Anyway, leap forward to the present, and I can say without equivocation that the reformed Belly’s third studio offering, Dove, is a keeper. (Highway Queens has a great review of it.) Also, just as an aside, this song – the lead single – seemingly channels one of the great under-appreciated bands of the 1980s, Opal.

3) Mazzy Star – “Quiet, the Winter Harbor.” And speaking of Opal, there’s this, the lead single from the forthcoming Still EP from Opal’s successor, Mazzy Star, which I have on pre-order from Amazon. It’s the kind of dreamy song that takes you places. 

4) Courtney Marie Andrews – “Warning Sign.” One of my big regrets of recent vintage is not recording this killer song when Diane and I saw Courtney Marie & Band perform it in Philly. It collects and reflects a myriad of influences, so much so that you’ll swear you heard it buried somewhere on either the Complete Stax/Volt Singles or Beg, Scream & Shout: The Big Ol’ Box of ‘60s Soul mega-sets. And with that…here she is delivering a stirring rendition of it in Liverpool last month. (The video’s only negative: Dillon’s guitar gymnastics take place off screen.)

5) Juliana Hatfield – “Suspended in Time.” Juliana performs this Xanadu song, from her insta-classic Juliana Hatfield Sings Olivia Newton-John album, just last week in Somerville, Mass. (She’s not touring at present, which is both a shame and understandable.)

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Last night, with some time to kill prior to Crazy Ex-Girlfriend, I found myself surfing the algorithmic waves of YouTube thanks to a hankering to hear Best Coast’s title song to their 2015 album California Nights. I’d never heard of the band until reading a review of the album in, I think, Mojo; and I was instantly smitten with that trippy song’s thick and hazy tones, which creep in like a dense fog at dusk. I ordered the CD the same day and, a few days later, featured it in this post – while mentioning its similarities to Opal and Mazzy Star.

And after listening to it yet again last night, I found myself diving head-first into Opal’s sonic undertow. Their 1987 Happy Nightmare, Baby album, as I’ve said before, is a true lost treasure. For those unaware of them, the band had its roots in L.A.’s Paisley Underground scene, and – if they’d stuck together – could’ve carved out a Sonic Youth-like career. But, while on tour promoting that LP (their one and only), lead singer Kendra Smith quit the band and, after releasing a few albums over the next few years, disappeared into the woods of Northern California, never to be heard from again. A true shame, as she was a talented artist and that version of the band was intense.

Dave Roback, Opal’s remaining musical architect, recruited Hope Sandoval to step into the void in order to finish the tour. They were already friends, having worked together on never-released recordings for Hope’s folk duo, Going Home. (In the clip above, that’s her to the right of Roback in the studio intro.) Here’s a full set of that version of Opal in 1988 Italy –

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I’m sure it was difficult to sub for Smith on such short notice, but Hope pulled it off – and then some; and, as the decade faded into the next, the group morphed into Mazzy Star. While they maintained the same languid shoe-gazing psychedelia, Hope’s vocals are far more dreamy, ethereal and inviting than Smith’s. And, too, the dark-hued dissonance was imbued with splashes of color. (Or something like that.)

Here’s “Halah,” from the 1990 Mazzy Star debut, She Hangs Brightly.

Three years later, they released the So Tonight That I Might See CD, home to a classic song that (almost) everyone of a certain vintage will remember: “Fade Into You.”

There’s far more to the story, of course; and the Wikipedia entry does a thorough job in explaining it. For the purposes of this post, though, while jumping from one video to another to another last night – such as this one, “Flowers in December,” from a 1994 appearance at Neil Young’s annual Bridge School benefit concert –

– I discovered that, last year, Hope collaborated with Massive Attack (for the second time) on the song “The Spoils.”

She also released the album Until the Hunter with her own group, the Warm Inventions – which will likely be most of what I listen to for the next few weeks. Now that I’ve listened to it not once, but twice, I can say: It follows the Opal/Mazzy Star blueprint; and is, in a word, amazing. Here are two songs from it: