Songs You May Have Missed #221

bart

Bart Davenport: “Bar-Code Trees” (2003)

Bart Davenport was a little ahead of indie pop’s retroist curve, blending easy-going early 70’s pop sounds since 2002. “Bar-Code Trees” might make you think of CSN–a compliment indeed.

But this is just his “CSN song”. Listening to a Davenport album is a true “spot the influence” exercise as he evokes in turns Al Stewart, Van Morrison, America, Boz Scaggs, Delfonics-style Philly soul and more. He even, as vocalist of retrofunk three-piece Honeycut, nailed the Gnarls Barkley sound–although since both bands released their debuts in 2006 it’s hard to say if one influenced the other. Or vice versa.

Songs You May Have Missed #220

crush

Velvet Crush: “#10” (1994)

Velvet Crush’s second album, Teenage Symphonies to God, was named for Brian Wilson’s description of his aborted-then-resurrected Smile album. It’s an apt title, as the band shows a keen Beach Boys influence. Big Star is another name that comes to mind for comparison.

This ballad is the album’s most mellow and melodic moment.

See also: Songs You May Have Missed #673 | Every Moment Has A Song (edcyphers.com)

Songs You May Have Missed #219

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Jimmy Beaumont and The Skyliners: “Where Have They Gone” (1974)

 

Pittsburgh vocal group the Skyliners are best known for the 1959 doo wop classic “Since I Don’t Have You”, and the voice of Jimmy Beaumont–perhaps the greatest of the early rock ‘n roll era.

By 1963 the group disbanded, but 11 years later Beaumont brought a new lineup together to record one of the saddest and most nostalgic songs ever committed to vinyl, “Where Have They Gone”.

The song wistfully, wonderfully recollects sweet memories of earlier days, and love (and perhaps group members) lost.

This beautifully rendered song enjoyed lots of airplay in the local Pittsburgh market, but barely scratched the national charts, peaking at #100 in March of 1975.

This quote (source unfortunately unknown) says it best:

The title is both literal and metaphorical — it speaks to the group’s own journey: members leaving, time passing, and the fading of their early days. It’s a fitting farewell to the original era and a reminder of where they “went” — into history, into the memories of fans, and into the doo‑wop canon.

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Songs You May Have Missed #218

samantha

Cellarful of Noise: “Samantha” (1988)

 

Here’s a nearly forgotten song that was quite a big local hit in Pittsburgh, though it only charted nationally at #69. It was written and sung by Mark Avsec, who was a member not only of Donnie Iris’ Cruisers but also of Wild Cherry (“Play That Funky Music”).

cellarIf this one sounds like a Donnie Iris song, there’s good reason: Avsec co-wrote all of Iris’ biggest hits, including “My Girl”, “Love Is Like a Rock” and “Ah! Leah!”. His other band, Cellarful of Noise, released two albums.

“Samantha” is in my opinion the second-best pop song about an abortion, number one being ELO’s “Livin’ Thing”. (I’d rank Ben Folds’ “Brick” third, ’cause I have to–it’s the only other one I know.)

See also: https://edcyphers.com/2020/03/14/songs-you-may-have-missed-656/

See also: https://edcyphers.com/2026/07/15/songs-you-may-have-missed-853/

Songs You May Have Missed #217

muse

Muse: “Undisclosed Desires” (2009)

Weird band, Muse. Sometimes they sound like they grew up listening to ELO. Sometimes they sound exactly like U2. They definitely seem to merge a bunch of influences and don’t seem to try to hide them.

Prog websites and publications claim them for prog, but I don’t hear that at all. Some consider them one of the great bands of this era. I’m not sure I hear that either. But each of their last few releases has had at least a couple of tracks that caught my attention–like this one.

See also: https://edcyphers.com/2020/01/11/songs-you-may-have-missed-645/

Songs You May Have Missed #216

house band

The House Band: “Tom Hark” (1994)

Formed in Edinburgh in 1984, The House Band had a nice little run that lasted until 2001 and saw them tour Britain, Europe, Africa, Australia, New Zealand and the United States playing a diverse selection of British folk, Cajun, Celtic, and even jazz and reggae music.

“Tom Hark” is extracted from a longer medley (“Tom Hark/African Marketplace”) which, microcosmically, clashed styles together–in this case Irish and Mideastern sounds. I’ve extracted the Irish-sounding bit. It’s a song that stood out for me when I saw them live back in the 1990’s, and sent me to the merch table to buy their Another Setting album.

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