Tag: Loveland Duren

Loveland Duren and The Embryos

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Real Sickies

Loveland Duren “Any Such Thing”

The collaboration between Memphis musicians Vicki Loveland and Van Duren has proven fruitful over the years, as they both are consummate professionals that play off each other beautifully. This new album is no exception, the opener “Tumbledown Hearts” is an A-list single that would win over the pop and country charts if given a chance. “Any Such Thing” is Loveland’s anti-fascist screed laced with strong rock instrumentation and blaring horns. This is soulful pop music for grown-ups.

While the styles are pop and country, the songs feel timeless when they click. “Funny Way of Showing It” has Loveland’s emotions on her sleeve when it comes to domestic abuse accompanied by orchestral strings. And Van Duren’s just as emotional on ‘Where are we going?” when it comes to a relationship in trouble. When the two collaborate, it’s pure magic; “Bridges I Had To Burn” is another winner that speaks to experience. Van Duren also manages a very timely statement on political discord with a strong melody on “Everyone is Out of Tune.” Not everything here is as memorable, but this 3rd LP by the duo is a good mix of songs that deserves to be heard.

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The Embryos

The Embryos “National Absurdatory”

Chicago band, The Embryos are back three years after their debut Open The Kimono, and their maturity is evident, “Morning Birds” is a sophisticated pop tune, but they shift their sound on the instrumental “The Funky Embryo” akin to Graham Central Station and “Rattlesnakes”  is a great synthesis influence from The Doors and The Byrds. It’s likely the best tune here, but they inject some power-pop-blues-rock with the great “Spend Tonight,” and it’s another high point.

The next several songs seem to channel The Stones, from “Catching Fire,” to the sleepy “You Can Be A Mystery.” The energy from earlier has mellowed quite a bit. The cryptic “Cosmic Wheel” and “Rolling Wheels” are both sweet stoner tunes with layered harmonies, psychedelic touches, and catchy bass lines. Overall a very good LP that grows on you with each repeat. Highly Recommended.

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Loveland Duren and The Breakup Society

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Loveland Duren “Bloody Cupid”
This is the eclectic combination of musicians Vicki Loveland and Van Duren. Starting with “Crash Landing” it features a cool bass line, Loveland’s soaring vocal (similar to Heart’s Ann Wilson) and guitarist Jim Duckworth shredding solo. Next track is more melodic, “Lines in The Sand” has both Van and Vicki in a duet with a memorable chorus and snappy pop hook. “Now Will Do” has more folk elements, with violin and mandolin featured as a country tune.

You really can’t pigeon hole this LP in one genre, but I’m gonna focus on the more pop oriented tunes, so I recommend “Birthmarks,” the romantic “There Goes The Floor” and the sobering “Losing My Mean Streak.” The soulful rock of “Sins Of The Father” is a highlight of Loveland’s moving vocal, and the soft-shoe “Kiss Me Slowly” is another jazz tune with Van Duren’s easy going lead. Like a fine wine, you’ll want to sip in this albums variety and charm.

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The Breakup Society “So Much Unhappiness. So Little Time…”
This passed under my radar early this year, but I wanted to call it out as a great soundtrack for life’s disappointments. Opening with the title track, it sets the stage with the words of Ed Masley “it’s a struggle making lemonade, when life gives you limes.” The band skillfully navigates the Beatle influenced “Invitation to Quit” and Masley approaches it with his Midwestern heart on his sleeve. Each tune is an impressive blend of The Kinks and Paul Westerberg in his prime, with no filler.

The album follows the sad losers in Masley’s world, from the dude waiting for “The Next Reunion” to impress old classmates to the old groupie trying to meet the band in “Another Day in The Life.” Even the upbeat “Upward Spiral” where the narrator sees the path out of the pity party,  he “can’t seem to wrap his head around it.” The standout here is the rocking power pop gem “Here Comes Floyd.”  And Masley isn’t quite like the characters he sings about, on “Mary Shelly” where he “appears to be the fool he plays in each song” he’s really not, just like “Shelly wasn’t Frankenstein”. The dense guitar psychedelics close out “She Doesn’t Cross Against The Light” like an Oasis finale, and overall its excellent album. I hope Masley doesn’t take another five years for the next one.

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