Spike Priggen: Stars After Stars After Stars (Volare)
With an extensive two-decade pedigree that’s found him working with some of the most America’s most illustrious alt-rock ensembles (Dumptruck, Liquor Giants, the Schramms, etc.), Spike Priggen certainly knows great power pop when he hears it. So while an album of obscure covers may seem an unlikely career move a mere two sets into his solo sojourn, given his musical inclinations, it does seem to make some sense.
Granted, most people will have no idea who these artists are. The Pontiac Brothers, the Jacobites, the Hot Bodies and Scritti Politti never made much of an impact on the public radar. The Zombies, the Ramones, and Tracey Thorn of Everything but the Girl are represented, but Priggen’s song selection still manages to keep the recognition factor nearly nil. The best known track by far turns out to be a revved-up cover of Alice Cooper’s defiant adolescent anthem, “I’m Eighteen,” rendered here in a manner befitting Neil Young and Crazy Horse, i.e. all attitude and amplitude.
Nevertheless, despite the lack of instant identification, Priggen does an admirable job of reinventing this melodic material. The fact that they’re not known actually works in his favor; unhindered by previous perceptions, he makes these tunes his own, embellishing each with lavish arrangements befitting his pop pedigree. As a result, “In the Inside,” “Be Married Song,” “Big Store,” and “Only Children Sleeping” sound like radio-ready contenders circa the ‘70s, rich, robust and instantly accessible. Things take a strange turn when the album reaches its end, as a rambling dialogue by an obviously inept talent promoter takes over the proceedings. Two uncredited songs follow, but by then the listener’s so perplexed, they seem like an unlikely coda.
Nevertheless, with Stars After Stars After Stars coming on top of his outstanding debut, The Very Thing You Treasure, Priggen’s proven his point. Rock ‘n’ roll is often at its best when it comes from unexpected sources. By Lee Zimmerman
The 4th song on my new CD is "When You Looked At Me" written by Jenifer Jackson. I first heard this song on Jenifer's "Love Lane" EP-soon after that I got to play bass on it for a few gigs with her. Jenifer's songs have this timeless pop quality. Although it's probably the most modern song on the record (chronologically), it sounds like it could one of the oldest. I'm betting this is one of the few songs in recorded history that features pedal steel AND lap steel.
