Tag: Tommy Keene

Tax day singles: Lindsay Murray, Orbis Max, Fallon Cush, Tony Marisco,The Krayolas, Tommy Keene, The Blusterfields

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“Fields” features Lindsay Murray (Gretchen’s Wheel) and Orbis Max with drums by Daniele Silvestri. Neil Christie (Emperor Penguin) produced the video. The song compares the end of a relationship with the shifting of a landscape and how even the most permanent landmarks crumble to time and “progress.” Fallon Cush returns with a lively blues-rocker “Sweet Johanna” and Tony Marisco has a sweet EP of jangling songs, fans of The Byrds will certainly enjoy this, check out “Sleepwalker.” The Krayolas honor Dwight Twilley with a classic cover of “I Hear You Knockin’.” The late great Tommy Keene is always worth revisiting, a new digital EP was recently released so don’t hesitate to check it out. A new band to me is The Blusterfields, “Everyone is Dead” fits well with this group, with some jangle and harmonies. Finally, a freebie — RumBar Records After School Special is a 5-song EP with pop-punk artists like Pavid Vermin, J. Prozac, The Cretins, WiMP!, and The Glimmer Stars. Enjoy!





Tommy Keene, Power Pop icon 1958 – 2017

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Tommy Keene, a veteran power pop singer-songwriter has passed away. His website made the announcement, gives no cause of death and simply states: “Tommy Keene 6/30/58 – 11/22/17. Tommy passed unexpectedly and peacefully in his sleep.  Thank you to all his friends and family who he loved very much.”

I had the pleasure of interviewing Tommy in 2011, prior to his release Behind The Parade and it was one of my most memorable experiences. Tommy knew his audience and the state of pop music well.

His musical history is long, and over the years he collaborated with a number of stylistically similar artists. As early as the mid-197o’s Tommy played alongside Nils Lofgren (opening for his band Grin) and then while attending the University of Maryland he joined up with Richard X. Heyman. Then he formed a new band, The Razz who opened for such notable acts as the Ramones, Devo, and Patti Smith. Tommy joined several bands before finally going on his own in 1982. Then in 1986, Keene tapped Beatles producer Geoff Emrick for Songs From The Film, a classic power pop masterwork.

From there Keene’s music career took off, but he never achieved the recognition or stardom many of his peers felt he deserved. He’s played with Velvet Crush, Paul Westerberg, Guided By Voices and many others.  But other than power pop devotees and fellow musicians the general public barely knows him. If there was ever an artist who deserves a bigger box set retrospective of his career, its Tommy Keene. I hope more people discover him, as he was a special talent that is now sadly gone — and he will never be forgotten.

Tommy Keene and Marshall Crenshaw

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Tommy Keene

Tommy Keene “Laugh In The Dark”

It seems doing an album of covers has awakened a spark from the guitar pop veteran and he sounds re-energized on his latest album Laugh In The Dark.  Starting out on “Out of My Mind” with its ringing guitars and catchy rhythm he delivers in spades. It fades into “Dear Heloise,” another brilliant jangling, post-Big Star power pop classic and the riffs have more muscle than a Gold’s Gym on “Last Of The Twilight Girls.”

Keene blends his vocal with the chords just right, even the mid-tempo “All The Lights Are Alive” showcases the solid melodic structure comparable to artists like Chris Stamey. Each track is a finely crafted gem; the title track has a descending bass line with its soothing guitar solo, as he chimes “Yesterday was a lark, now we’ll laugh in the dark.” I’ve only touched on half the album, but you get the drill here. Not a note of filler, and this stands as the best Keene album I’ve heard in years — makes my top ten of 2015 list and its a stellar example of guitar-focused power pop.

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Marshall Crenshaw

Marshall Crenshaw “#392: The Ep Collection”

This is a compilation of 6 vinyl EPs that Crenshaw released from 2012 to this year. Its a good equal mix of originals and cover tunes starting with “Grab the Next Train,” it shows Marshall still has a knack for memorable melody, with lyrics by friend Dan Bern. “Red Wine” is another gem with its jazzy guitar and accordion breaks. Then the smart composition “I Don’t See You Laughing Now,” is about a poetic comeuppance.

All the originals are all solid, where the covers are more of a mixed bag. Starting with The Move’s “No Time” penned by Jeff Lynne is an very inspired choice, less so is a competent but pedestrian version of “Close To You.” My favorites here is Bobby Fuller’s “Never To Be Forgotten” and overall this collection makes for some pleasant listening.

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Tommy Keene and C.L. Blake

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Tommy Keene “Excitment At Your Feet”
Tommy Keene’s new album, Excitement at Your Feet, is a new and exciting approach to covers. Picking several favorite classic bands (The Who, Rolling Stones, Big Star, etc.) but don’t pick the best known tracks. In fact, these songs are downright obscure, and allow Keene to operate without the original lingering in your head for comparison.

Opening with the exciting Flaming Groovies’ “Have You Seen My Baby?” it really rocks and Keene goes to town. The jangle is heaviest on Echo & The Bunnymen “The Puppet” and even the little known Mink DeVille gets covered. With the skillful arranging it makes them all sound like Keene originals. Highlights include “Choking Tara (Guided By Voices)” and “Out Of The Blue (RoxyMusic).” My only pet peeve is that he doesn’t cover The Who’s “Listening To You,” as its lyric is in the albums title! This is further evidence that if you dig deep into your favorite albums, you’ll find a gem or two that can be re-discovered.

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C.L. Blake “george” EP
C.L. Blake (Ira Katz, lead singer/songwriter of The Greenberry Woods) recently teamed with producer/drummer Ken Coomer (Wilco, Will Hoge) to record this EP last year, and its worth discovering. While it has more in common with Wilco stylistically than his old band, Blake still delivers compelling melodies with “All We Are” and the jangling guitar of “Say What You’re Thinking.” Another gem is “Waiting on a Lover (Tressa).” It makes for a polished and effective showcase for his talents. It would be great to hear more “up” tempo tunes, and hopefully Blake is working on a follow-up.

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