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An exemplary volume of power-pop anguish, May 13, 2003
Spike Priggen's name pops up often as a contributor to such in-the-know
New York and Boston bands as Dumptruck, The Pussywillows, and The
Liquor Giants. He's also achieved minor renown for his productions on
his own #1 Records label, including projects with Caroline Know and The
Mad Scene.
In
2001, Priggen finally ventured out front for this debut solo CD. On it
he combines a wealth of pop and rock influences, including Big Star's
chiming melodiousness (along with antecedents like The Beatles,
Searchers, and Byrds), the quirky styles of Chris Stamey and Mitch
Easter, the power-pop energy of Velvet Crush and The Greenberry Woods,
and hints of the 70s guitar excess Matthew Sweet brought to bear on his
post-Girlfriend albums. At times his lyrics seethe with John Lennon's
anger (and wit), but most often, and most brilliantly, they hinge on
the sort of forlorn melancholy that Chris Bell made so affecting.
The
opener is a note-by-note textbook of the perfect pop song. The vocal is
at turns angry and defiant (the song opens "I never thought that I
could be this bitter / I never thought that I could hate you the way
that I do"), but ultimately the bravado gives way to a sense of haggard
defeat in the refrain, "every broken heart is like the first one."
Cascading guitars (including a volume pedal effect that beautifully
captures the sadness of pedal steel) and unusually flanged cymbals
perfectly underscore the lyrical despair. The overall effect is a
mesmerizing outburst of emotion - something that everyone who gets
dumped should listen to for a few days without interruption.
Priggen's
ferment takes a sharper turn with the howling guitars and surreal
mellotron of "Alright," and the riff-heavy "Yesterday" finds Priggen
stridently whinging, "Yesterday, you couldn't live without me." The
album's balance of electric and acoustic, loud and soft, rockers and
ballads is impressive, but it's the contemplative, downbeat numbers
that really stick to the ribs. "The Right Thing" and "Outtasight"
brilliantly capture the end-of-the-night (or early morning) exhaustion
of an emotional downpour in both their words and music. Acoustic and
resonator guitars, Searchers-like electric 12-string, wavery mellotron,
and folk harmonies perfectly match the emotional tenor of the lyrics.
Priggen's
work as producer captures the jangly sheen of his songs with a ragged
glory that spells out his emotional distress. The odd bits of vocal
echo on tracks like "The Right Thing" and "So Good to See You" are at
once noticeable and atmospheric, as are the splashes of mandolin,
cello, xylophone and Hammond M3. You can't quite always put your finger
on why they sound right, but you realize that the songs would never be
the same without them. Even the fanciful "I'm in Love" is lavished with
bouncing, twanging guitars that build to a petulant climax.
This is a truly masterful work, with derivations that lead to subtle, highly-rewarding originality.
So I got a song in this movie "The Last Run", "Alright" from "The Very Thing That You Treasure". I guess it's going straight to dvd/cable. I was surprised at how pro the website looks, with a serious logo (with those 70's male/female symbols) and lots of pictures and whatnot.. It stars Fred Savage from The Wonder Years and some chicks that appear to be some sort of hot strippers. Please buy like 90 copies 'cause they have to pay me more if it grosses some astronomical sum that it's guaranteed not to.
