The law firm of Wilson-Munson-Wilson is back!
Doesn’t seem like that long ago that Semisonic was a staple of our radio diet. “Closing Time” – both song and video – seemed to spool in an incessant loop for about a two year period. Fortunately the band had both chops and songs. Like the Gin Blossoms, they seemed like they’d pump out pleasing melodic pop rock for a long time, and then – like the Gin Blossoms – they were yesterday’s hot band.
Before there was Semisonic there was Trip Shakespeare, where the Wilson-Munson-Wilson axis was firmly in place. Now those three are involved in related projects as artists and producers (damn, Minneapolis is a fertile ground!). And Jacob Slichter? Well, he only wrote one of the best books I’ve ever read about being a musician and getting tossed into the star-making machinery. I heartily recommend you go read So You Wanna be A Rock And Roll Star as soon as possible – it’s literate, funny and poignant.
But on to these two records; a semi–Semisonic, if you will.
One of the things I liked about Semisonic was that even when they weren’t really rocking (“FYT”, “Brand New Baby”, “Across The Great Divide”, “If I Run”, etc.) they had a punch to their songs. Sure, much of it was powered by piano and acoustic guitar; maybe it was the way Dan Wilson’s vocals soared above it all that hooked me. The slower paced songs (“Secret Smile”) seemed more fragile by comparison. I could listen to something like “Falling” all day long.
Well, if you like great vocals, those of John Munson and Matt Wilson as The Twilight Hours are stellar. Stereo Night kicks off with the ambitious “Dreams”, weaving hook and melody between foreground and background like a delicious hypnotic dance. But after ten tracks I was in serious need of something more uptempo, although the closing track “Never Mine To Lose” is a solid exit.
“My Return” and “Queen of Tomorrow” are probably the standouts as far as the more energetic tracks go, while “Forgot Me Now” reminds me of Semisonic’s finest slower moments. (It actually reminds me more of a song called “Fall” by The Tender Idols, but that’s really stretching a reference!). And “Winter Blue” is a pretty stunning exercise in twee-pop, with some nice arrangements that will remind you of another guy named Wilson.
It’s pretty, well-crafted and consistent. For me, it’s just lacking that intangible oomph to force its way to the top of the pile. Give a listen and decide for yourself.
The Twilight Hours on MySpace
I’m rabid for tribute albums, and by a similar nature, always game when established musicians do cover songs because they want to. That’s a long way from the days when you had to cover the du jour pop tunes in your corner bar to put food on your table, so if you’re going there now, I’ll go there with you.
Thanks to Chan Poling’s piano and Steve Roehm’s natty vibes, the album does swing. I won’t say that their version of “Androgynous” will make me forget Paul Westerberg or Joan Jett, but it’s clever and catchy and retains all of the original playfulness. And there are some loopy jazz moments within “Watching The Detectives” that remind you that Steve Nieve would totally do that if Elvis only let him.
But the bottom line for me is too many albums, not enough time. The New Standards are great musicians, offer some class arrangements, and John Munson (with Poling) are solid vocalists. There will be moments when this album will be a joy to encounter. But there’s no way I’ll ever play it as loud or as often as The Hot Rats, who were just as inventive but (1) selected better songs and (2) rocked the snot out of them. (Caveat: I didn’t realize they had a prior album out, and some of those songs look killer, so I’m headed there to check them out myself).
But this album is well worth a listen as your mileage may vary.
And let’s not forget Dan Wilson, who has been pretty busy himself.