Recommended Albums #99

Tonic: Sugar (1999)

If there was a hidden message in going from bitter to sweet references in the titles of Tonic’s first two albums (their 1996 debut being Lemon Parade) it’s lost on me.

But there’s no denying the honeyed glaze coating the riffs and melodies on their second LP.

Discovering the band’s music post-2010 was probably key to my own appreciation of them. Among the Matchbox Twenty/Third Eye Blind/Toad the Wet Sprocket/Collective Soul thicket of 90’s modern rock, their music had a “heard it before” quality in the minds of some critics.

But to my ears at least, the years have been kind, and Tonic’s earnest lyrics and sturdy–if not groundbreaking–songwriting make for an enjoyable listen in an era when guitar rock isn’t exactly flourishing.

“You Wanted More” graced the American Pie soundtrack and so may be familiar. The song is inspired by the difficulties in striking a balance between life in a touring band and maintaining a relationship.

“Sugar” is breezily romantic; or, if you’re inclined to be critical, a little moist and saccharine. Depends on your taste, really.

“Waiting for the Light to Change” is wistful and evocative, and its title refrain is a metaphor that’ll stop you in your tracks–in a manner of speaking.

“Sunflower” is built on the kind of lively, stomping riff that has me hoping to take advantage of one of the rare opportunities to see these guys live.

Tonic received Grammy nominations and plenty of alternative rock airplay. And yet it seemed they could have been bigger. Perhaps the fact that they weren’t terribly prolific–just four albums released between 1996 and 2010–held them back. Or maybe they were just victims of a glut of guitar rock at the time.

At any rate, some bands and artists deserve to be reevaluated or reappraised outside their original context. I think Tonic is such a band.

Removed from the “Modern Rock” era, it’s just good music.

Listen to: “You Wanted More”

Listen to: “Sugar”

Listen to: “Waiting for the Light to Change”

Listen to: “Sunflower”

See also: https://edcyphers.com/2019/05/11/songs-you-may-have-missed-637/

Video of the Week: Jeff Beck demonstrating Stevie Wonder’s “Superstition”

Recommended Albums #98

Amazing Blondel: Evensong (1970)

So much distinctive pop, rock and folk music has originated on that little island across the pond. Where would we be without the Brits and their flair for the idiosyncratic musical niche?

John Gladwin, Terence Wincott and Edward Baird performed what they themselves called “pseudo-Elizabethan/Classical acoustic music sung with British accents”.

And they weren’t jesting.

To wit: they dressed as bards and played medieval-style ballads and madrigals on recorder, harpsichord, cittern, crumhorn, harmonium, and a type of lute called a theorboe.

There being a dearth of acoustic Elizabethan-style bands to tour with, they opened shows for rockers like Procol Harum, Genesis, Steeleye Span and Free. So as you listen the accompanying anachronistic revelries, try to imagine a concert wherein their music was followed by “All Right Now” for example.

Apparently despite the contrast in styles their sound presented as compared with such rock acts, Blondel were well-received by audiences who hadn’t come specifically to see them, their stage banter and bawdy humor winning over audiences and making new fans.

The trio were known to take upwards of 40 instruments onstage–which could require about 5 hours’ worth of tuning beforehand.

Eventually there arose conflict between the band’s desire for studio and writing time and their manager’s insistence on a demanding touring schedule. This led to primary songwriter Gladwin leaving the band in 1973.

Amazing Blondel carried on subsequently as a duo, shortening their name to Blondel, and producing a brand of folk pop that leaned decidedly less medieval and more towards a mainstream sound.

But while Gladwin was the dominant writing voice, the band produced a fairly unique brand of archaic British folk, which sounds even more distinctive half a century removed from the English folk revival that spawned it.

These songs are simple, not challenging. They’re gentle, not bombastic. They’re humble, not ambitious.

Amazing Blondel’s songs don’t rock. They charm and enchant. If rock music wants to knock you down and carry you off, Blondel would rather court you with a medieval suitor’s chivalry.

Listen to: “Pavan

Listen to: “St. Crispin’s Day”

Listen to: Spring Season

Listen to: “Willowood”

Listen to: “Evensong

Listen to: “Under the Greenwood Tree”

Songs You May Have Missed #782

Golden Smog: “Until You Came Along” (1998)

From the second full-length outing by the side project supergroup comprised of members of the Jayhawks, Soul Asylum, Big Star and Wilco among others.

The band formed in the Minneapolis area playing mostly covers in local clubs. In its infancy the lineups, setlists and even band name were fluid.

They played mostly Eagles covers as the “Take it To the Limit Band”. They played a Rolling Stones-themed show under the band name “Her Satanic Majesty’s Paycheck”.

But by the time of their first full-length LP in 1995 (following the covers EP On Golden Smog in ’92) they were recording mostly originals, with Wilco’s Jeff Tweedy and Gary Louris of the Jayhawks often contributing the best material.

Golden Smog continued to record in between members’ other projects, hanging around long enough to warrant a Best Of, Stay Golden Smog, in 2008.

The standout track “Until You Came Along” sounds like something straight off a Jayhawks album.

And that’s a good thing.

See also: https://edcyphers.com/2017/12/17/songs-you-may-have-missed-624/

‘I Had the Stroke, and It Was All Over’: Matthew Sweet’s Road to Recovery

(via msn) by David Browne

When one of his eyes doesn’t feel as if it’s wobbling up and down, or he doesn’t feel so depleted that he has to nap, Matthew Sweet still has moments of hope. Until last fall, one of the downstairs rooms in his Omaha, Nebraska, home was his music room, filled with guitars, a recording console, and assorted gear. But since he can no longer climb stairs for the foreseeable future, he now spends a good deal of his time in that room on a newly installed king-sized bed. What remains of his musical setup is still visible, reminders of a life and career on pause.

I guess I have a feeling that I will make music with all of it,” Sweet says, in his first interview eight months after he was rushed to a hospital. “In that way, it’s positive. It’s a vision of the time when I’ll be able to use everything. I don’t feel like it’s that far away. I don’t feel like it will be an impossible thing for me to write songs. Then again, I don’t really feel a burning desire to figure that out, because there’s just so much stuff making it difficult right now.”

For Sweet, 2024 was shaping up to be a reset. After several years off the road after the pandemic, the man who almost single-handedly kept power-pop alive had put together a new band and played shows in the spring. He was in the early stages of prepping his first album since 2021. In the fall, he started another round of gigs, this time opening for Hanson, whom he’s known and worked with for more than 20 years, and doing his own separate shows. “I really felt very positive about it,” he says. “I was doing two-hour-long acoustic shows playing songs from all during my career.”

Then, last Oct. 12, Sweet and his crew – his small acoustic band, his road manager – arrived at their hotel in Toronto. His tour with Hanson was into its second week, and Sweet had just driven up from the previous stop in Baltimore. As they were checking in, the singer, who had turned 60 a week before, felt a sensation he’d never experienced before. “The first thing I felt was really cool, like cold sweat,” he says. “And I remember saying to one of my band members, ‘Feel my arm. It’s freezing cold.’ Something wasn’t right.”

Slumping into a chair behind the front desk, Sweet began hearing what he calls “this kind of tinnitus, more like white noise, and that became really, really, really loud, in both my ears. And that’s the last thing I remember until I was in an ambulance and I heard a guy say, ‘Sir, you’ve had a stroke.'”

Read more: https://www.msn.com/en-us/music/news/i-had-the-stroke-and-it-was-all-over-matthew-sweet-s-road-to-recovery/ar-AA1GgSsD?ocid=entnewsntp&pc=DCTS&cvid=72d8308180d04407912e7af623b65a13&ei=58

See also: https://edcyphers.com/2025/03/17/songs-you-may-have-missed-768/

See also: https://edcyphers.com/2013/10/11/songs-you-may-have-missed-488/

See also: https://edcyphers.com/2013/06/20/songs-you-may-have-missed-430/

Video of the Week: That Time Al Green Walked into a Studio where Chicago was Rehearsing, and they Conjured Some Magic

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