De Nova. The Redwalls.
2005, Capitol Records. Producer: Rob Schnapf.
Purchased ca. 2006.
IN A NUTSHELL: As “Beatlesque” as Beatlesque can be, these four Americans know their way around melody, harmony, song structure and – best of all – lead guitar that supports the song throughout. The album presents a bit of a conundrum, as their Beatles sound is what I love, but it also probably limits my enjoyment. WOULD BE HIGHER IF – it had 3 fewer songs, and one or two of the remaining had been more “Redwallsesque.”
Imitation has always been inextricably bound to rock and roll music. Nothing that has come down the pike (aside from a few unlistenable things) has been truly original – it has all been based on something that came before. (And even the unlistenable stuff is a mutation of previous, listenable music!) When I was a kid, they said that “Rock Around the Clock,” by Bill Haley and his Comets, was “the first rock and roll song,” as if Haley had gone to bed one night as a classical guitarist, then sprung from bed the next morning and suddenly pooped out a backbeat, 12-bar blues and a simple, repetitive melody.
And listeners were supposedly suddenly hypnotized by a sound the likes of which had never been heard before, as if Poseidon himself had risen from the sea and unleashed his magnificent ichthyological ensemble on terrestrial beings everywhere.
Other smarter, better writers than me have discussed at length the dangers of simplifying historical narratives (and for a historical topic as insubstantial as popular music, danger is probably too strong a word), but nonetheless I’ll point out that describing a single song as “the first” of any genre will obviously leave out much of the story.
Bill Haley had heard all kinds of music in his life, I’m sure, and “Rock Around the Clock” probably sounded like much of his musical repertoire, and similar to what he had been hearing among his musical colleagues, particularly his black colleagues who couldn’t get their songs heard by the white populace – artists like The Four Blues. Much has been written about white American musicians co-opting black American music, (far less has been written about black American musicians co-opting white music, but it has been done) and while it’s true that societal racism was at work in popularizing white artists like Haley, Elvis Presley and Jerry Lee Lewis while many African American artists went unrecognized, something that’s not considered very often in the discussion is the fact that these artists – both white and black – were making music that sounded the way it sounded not because they were trying to cheat someone else out of recognition or money (at least not until Led Zeppelin, anyway) but because it was what they liked and what they heard around them. Musicians tend to play the music they like to hear, so it makes sense that “new” music will sound very similar to “old” music, and that white cats who dug the new sound (in the parlance of the times) would reproduce it in their own way. I doubt that anyone in the 70s really thought the “first rock and roll song” was by Bill Haley – I think it was more about hyping up the TV show Happy Days than anything else.
(Random thought – look at that Bill Haley and His Comets photo again. Can you imagine there was a time when a rock and roll band had use for an accordion player in the mix?? Although, when I l look closely, it appears to me that maybe he’s being phased out of the band)
Another reason musical artists copy others (although, as Picasso supposedly said, “Good artists copy, great artists steal”) is because the listening public wants to hear what they know. Acts from Bill Haley in the 50s through Radio Disney artists of today have benefited financially from having a recognizable sound that becomes distinguished precisely because it is not distinguishable.
In the 60s, the wave of Beatlemania was followed closely by ripples of Beatle-somia. Acts like The Dave Clark Five and The Knickerbockers capitalized on their Beatle sound, and Hollywood executives put together a mock-Beatles band, The Monkees (complete with animal name and misspelled long “E” sound) that was wildly successful (in large part because of the quality of songwriters they hired.) Even big-time artists with careers of their own took a shot at incorporating That Beatles Thing, such as The Rolling Stones’ answer to Sgt. Pepper’s Lonely Hearts Club Band, the album Their Satanic Majesties Request.
In the early 70s, the sensitive singer-songwriter James Taylor began pumping out his string of earnest, mellow hits and before you could say “Don’t let me be lonely tonight,” the airwaves were flooded with story-songs sung by a dude with an acoustic guitar sitting on a stool. They didn’t all sound like James Taylor, but this fact was actually part of the imitation: each artist’s singularity was what was being marketed at the height of “The Me Decade.”
Whether musicians are consciously trying to sound like what’s come before, like Kingdom “wir klingen genau wie Led Zeppelin” Come or whether a band just had a sound that some record exec thought sounded like, say, Led Zeppelin, one of the best ways to get some traction as a musical act is to sound like another musical act.
(A quick aside: Musical imitation also remains a booming industry in the nightclub concert circuit. So-called “Tribute Acts,” whose members imitate other bands with varying degrees of accuracy and sincerity, are some of the highest-grossing unsigned acts performing today. I’ve seen both Lez Zeppelin, an all-female Led Zeppelin tribute act that is remarkable in both its power and its musical chops, and Tragedy, an as-good-as-it-sounds Heavy Metal Bee-Gees Tribute Band, which melds metal and disco and both acts put on some of the best shows I’ve seen. There’s a tremendously interesting book about tribute bands called Like a Rolling Stone: The Strange Life of a Tribute Band, by Steven Kurutz, which I highly recommend!)
(One more thing here: One of the first “Tribute Acts” I remember was Sha-na-na,
a group in the 70s, named for a distinguishing musical feature of 50s doo-wop music, who covered 20-year old rock and roll songs, and who [after warming up the crowd at Woodstock just before Jimi Hendrix (!)] parlayed that narrow ability into a successful TV variety show – one of the most successful syndicated TV shows of all time! To put that in perspective, imagine a few pierced guys dressed in flannel and thrift shop clothes today calling themselves, say, “Distortion Pedal,” and having a hit TV show on which they perform old hits by Bush and Lit and Fuel in between telling corny jokes about Zima, “Virtual Reality” and Kevin Costner. It boggles the mind.) (And it sounds like a great skit idea for Portlandia! Someone call Fred and Carrie!)
As has been well-documented here in this blog, I am a Beatles fan. To summarize, I really like The Beatles. Billions of people are, or have been, Beatles fans over the past 50 years or so. I won’t go into details, but if you want you can read this dude’s BA thesis, written a few years ago by a student at a Marasyk University in the Czech Republic.
Since I like The Beatles, it shouldn’t come as a surprise that over the years I’ve enjoyed many acts that have been described in the press as “Beatle-esque.” Cheap Trick, XTC, and Matthew Sweet are a few acts whose albums are close to my heart (and possibly part of my Top 100??!!??) – acts that don’t exactly sound like The Beatles, but that clearly were strongly influenced by them. I know I like the sound, so I keep my ears open for acts described as “Beatlesque.”
At some point around 2005, probably on a message board about Stand-Up Comedy, I became aware of the existence of a young band from the Chicago area called The Redwalls that had a serious Beatles thing going on. I think a friend’s band may have opened for them somewhere in the Boston area. I checked out the name on Youtube, and came across what has become one of my favorite songs ever: their first single from De Nova, “Thank You.”
What first captured my attention in this song was Andrew Langer’s guitar. It had become very rare, by 2005, to hear modern bands play the style of lead guitar heard on this song. I believe it was the influence of Grunge and 90s punk that caused the lead guitar to become so diminished in rock music. Bands like Nirvana and Green Day might throw a guitar solo into a song once in a while, but if they did, more often than not – as in the guitar solo in “Smells Like Teen Spirit” – the solos sounded ironic, like an outright mocking of the idea of a “Guitar Solo.” Even less popular than the Guitar Solo was the idea of a “Lead Guitar,” that is, a guitarist who plays something other than chords and rhythm throughout the song. Lead guitarists like Don Felder, from the Eagles, and Jeff “The Skunk” Baxter, from The Doobie Brothers and Steely Dan, and George Harrison would fill up songs with all sorts of interesting fills and figures that added color and texture to a song. Part of the ethos of punk and grunge was to strip away all the frills and leave behind the power of a simple, loud song. I can appreciate this aesthetic, but I also really love a well placed, cool-sounding guitar. And “Thank You,” and the entire De Nova album, has this type of guitar work throughout.
The next thing that really drew me in to the song was the melodic, boop-de-dooping bass work of Justin Baren, one of the two brothers who lead the band. He plays a true Lead Bass, in the manner of classic rock bassists such as Paul McCartney and John Entwistle. Lines of melody that have their own path, but juxtapose perfectly with the guitar and the vocal melody. The vocals, on this song and throughout, may be what cause most listeners to immediately state “Beatlesque.” Logan Baren has a nasally, distinct voice, with a hint of a British accent (maybe he was hanging out with Madonna, another American with a British accent), that calls to mind at once John Lennon. There have been other singers that sound a lot like Lennon, but Logan Baren may be the closest match who is not genetically linked. He sings in a deadpan style, but somehow he sounds sincere. The lyrics in “Thank You” are a nice reflection on a longtime love, and the entire piece works on all levels.
I immediately went out and bought the album. I was not disappointed by the rest of the songs.
The Redwalls have a bit of a political bent to some of their lyrics. The song “Falling Down”
is a screed against political censorship which humorously, and blatantly, uses several “words you can’t say on TV” to make the case for freedom of speech. This album was released around the time of that Great American Dark Nightmare of Janet Jackson’s Super Bowl Nipple, which, if you don’t remember, caused politicians across the political spectrum to take action to protect the nation’s youth from naughty words and glimpses of boobies while, shockingly, doing nothing to prevent lousy halftime shows at every Super Bowl since then. [Except Bruno Mars in 2014, which was actually pretty good.] “Falling Down” is a mid-tempo song with a bouncy drum beat, nice guitar work, and the Everly Brothers-esque vocal harmonies that are featured in most Redwalls songs. The voices of the brothers Baren, who trade off lead vocal duties, blend perfectly.
The songs “Glory of War” and “Front Page” also go political, offering a Redwalls take on war and violence and disarray in the modern world. Their political songs’ lyrics are not so overt, and don’t make you feel as if you are attending a political rally. The songs are good and catchy, and after a listen or two the lyrics start to come into better focus. The band definitely takes a “first, make catchy songs” approach to their work, and sound like they’d rather shoehorn an odd lyric into a good song than take the song in an odd direction. But their lyrics are never bad.
A close second for my favorite song on the album is “It’s Alright,”
which starts out as a straight-ahead rocker in the verse, lyrically referencing The Doors, but in the chorus (around the 50 second mark) throws in a tempo change, stellar harmonies, and drum break which sound – I’ve been trying to avoid the “B-esque” word, so I’ll say – Liverpudlian! In a great way. Again, the guitar work is nice throughout the song, continuing to be one of my favorite aspects of the band.
The Redwalls show their peace and love leanings in the excellent song “Build a Bridge.”
The song offers the cool hippy sentiment “Build a Bridge/and bring both sides together.” It starts out with a simple piano and builds to include horns and orchestration, and this makes the song sound important, epic. The catchy sing-along chorus brings to mind the end of the night at a jam session with friends, in which anyone in the room is invited to join in. I think this band has a tremendous songwriting talent, for making the kind of song that makes the listener feel like part of the same club. Some bands can present music that makes me, as a listener, feel not cool enough to “get it,” but The Redwalls invite you in.
So? What are you smirking at? Because this band isn’t all that original? Okay – so what?!? The band obviously likes The Beatles, and so do I! I don’t mean to be defensive. It’s not the only thing I like about them – I like their songs, their harmonies, and especially their guitar. So what if they throw in backward guitar that could have been lifted off Revolver, in songs “Back Together” and “How the Story Goes“? What does it matter if a song like “Hung Up on the Way I’m Feeling,” with its sleepy lead bass, oohs and ahs, and close harmonies, sounds like it might have been cut from the side two medley of Abby Road ? Is it so wrong to have an affinity towards the best band ever? Does it really matter that “Rock & Roll” sounds like it might have been played in The Cavern Club in 1963? I don’t mind at all. The Redwalls are Beatles-ish, but I think they have enough of their own thing going, too. And they don’t pick obvious Beatles songs to cover live, so I like that, too!
Build a Bridge
Hung Up on the Way I’m Feeling
On My Way
How the Story Goes
Glory of War
Rock & Roll
[easy-fb-like-box url=”https://www.facebook.com/100favealbums” width=”” height=”” theme=”light” faces=”true” header=”true” posts=”false” border=”true”]