Frank Zappa in Vilnius

Photo: Wout de Natris

At least two decades ago I heard of a buste of Frank Zappa in Vilnius. When one of my former colleagues travelled to Lithuania's capital for an international meeting somewhere in the 00s, I asked him to take a picture for the erstwhile WoNo Magazine, which he dutifully did. Last week I was in the city for the fourth time in 16 years and finally found the time to do so myself.

About an hour before a great downpour I left my hotel in the morning to take a 15 minute walk down the street it is in. Past the former city wall and late 19th century buildings that most likely have seen better times but still show a form of grandeur.

At the beginning of a side street leading into a more modern residential area, Google Maps said destination reached. On one side appartment building and on the other a diagnostic centre with next to it a parking lot. So where was Zappa's buste? Next to the parking lot there is a postage stamp of a park. In front of a mural is the buste an a silver coloured round pedestal. It has a fairly good likeness to the American musician and composer. From a distance better than up close.

Zappa lived from 1940 to 1993, when he died of cancer. When he died I wondered what his legacy would be. I still don't know, to be honest. Zappa was on a plain of his own, musically and lyrically, besides writing (rather weird, even bizarre) songs and compositions. I have many of his records but the one I revisit the most is 'One Size Fits All'. My absolute favourite, including my absolute favourite Zappa song, 'Inca Roads'. This will undoubtedly be different for many people.

When I told people at the conference what my plan was for Wednesday morning, I noticed that many people had no clue who I was talking about. That tells you something but then Zappa was never one to get played on the radio with the exception of 'Dancing Fool' and apparently 'Bobby Brown' in Norway. He always was one for the connaisseur music lover.

Photo: Wout de Natris

But why the statue in Vilnius? That is a good question. I thought to know but when I visited the Go Vilnius website today, I found that there is no real story behind it. Fact is, Zappa never visited the town and has (no known) tie to it. It all started "with a visit to the USA by artist Saulius Paukštys, who told everyone a story of how he became friends with Zappa himself. It was all an elaborate lie". Because the story Zappa did get noticed by other people in Lithuania. This inspired "sculptor Konstantinas Bagdonas, known for his busts of Lenin during Soviet times, (who) created the legendary Zappa statue as a sign of a new era of post-Soviet Lithuania".

That is all behind the buste on a 2,5 meter high pedestal. You can find it at this address: K. Kalinausko g. 1, Vilnius 03107.

Was it worth the walk? Yes, when you're a Zappa fan, it is a must do when in Vilnius. The walk is nice and walk back a little down the same thoroughfare, turn left and you are in the old centre before you know it.

Wout de Natris

Gets loaded. Hollis Brown

Last year there was quite some attention on this blog for the debut album of Hollis Brown. Now the band is back with a new album. The strange thing is that it is a new album, but there's not one single new song to be found. 'Ride on the train' was an album with songs that were a mix of early to mid 1970s influenced songs. From CCR to The Eagles, traces of those bands could be found for all with the right ear for the music. On Gets loaded Hollis Brown brings a tribute to a band that, rumour has it, hardly anybody saw play in the five years it was together, but that everyone who did see the band play, started his or her own band straight away. This band is one of the elusive mysteries in music that only a few bands share: totally unsuccessful (commercially), but hugely influential. We are speaking of The Velvet Underground here of course. And those who know the repertoire of that band have guessed which album is being covered here integrally: 'Loaded', the 1970 swan song of The Velvets. Integral is not completely correct as the album starts with that treacherously sweetest of The Velvet Underground songs 'Sweet nothings' and ends with 'Who loves the sun'. Surprising also, as 'Loaded' is not exactly the most critically acclaimed album of the band.

This almost necessarily becomes a post about 'Loaded' and Gets loaded, The Velvet Underground and Lou Reed more than Hollis Brown. Still, you will find that the balance is there and a surprising conclusion or two are divulged. Let's start with that this is a quite pleasant surprise.

Lou Reed's career in most obituaries that I read was comprised to the four albums he made with The Velvet Underground and a 44 year solo career was sort of hidden away, disappeared almost. Hollis Brown participated in a Lou Reed tribute in his and its home town of New York City and decided to extend this tribute with a whole album. I had bought 'Loaded' as an album somewhere in the 80s, probably second hand. It was one of the two or three albums in my possession that someone decided to put a steaming cup of tea on top of the sleeve. A killer for the vinyl record inside I can assure you. Hence, I sort of forgot about it and it wasn't my favourite one anyway. That were 'The Velvet Underground' and 'VU'. So that makes Gets loaded a sort of re-acquaintance with 'Loaded'.

The Velvet Underground is best know and respected for its songs without mercy or compromise. 'Sister Ray' is at the high top of all that. Unlistenable avant garde noise. Relentless sensory overload. And then there is this other side. The side in which Lou Reed let out all the other influences of his youth. The sweetest ballads, rock and roll, doo wop and even a little country. They can be found on all albums with the exception of 'White light/White heat'. All these influences came out in the songs on 'Loaded'. And Hollis Brown makes these songs come alive as if they were written in the past few months. A song like 'Lonesome cowboy Bill', which I've always considered mediocre at best comes out trumps and shiny in this version. The same goes for 'Head up high'. The song is turned into a Creedence like blistering rocker. Where The Velvet Underground was on its very last legs in 1970, despite holding two songs that would remain a part of Lou Reed's set for most of his life, Hollis Brown attacks 'Loaded' with fresh energy. In short making Gets loaded a better album than 'Loaded' ever was in my opinion. This band was having fun when it re-created 'Loaded', Lou Reed was on his last legs and unbelievably chagrined in his playing, but most certainly his singing, putting a negative stamp all over 'Loaded'.

It is in the moments that Hollis Brown excels in bringing out the beauty and best in the songs of 'Loaded', that The Velvet Underground is somewhat demystified. Beneath it all was a band and a songwriter who knew what it takes to write a great pop song. 'New age' with a little imagination thrown in could have been a Sonny & Cher song and certainly a Jefferson Airplane one. Not all things are totally strange in Lou Reed's world. It is more the approach and probably voice of Lou Reed that stood in the way of bigger success. It certainly are not the songs. Just listen to how rough and dangerous 'Cool it down' rocks here. With some great harmonies, that are all over Gets loaded. If it shows anything it is that Lou Reed was a great songwriter, but at the time perhaps not the best judge of his own performance. I wasn't around at the time, but it may also be that he didn't really fit in a band and operated with too much dédain towards his band members. (Of which Doug Yule had a great voice for Lou Reed's best ballads.)

By then I'm totally convinced that Hollis Brown made a great move with this recording. And the two "hits" of 'Loaded' still have to come. 'Rock and roll' and 'Sweet Jane'. My favourite was always 'Sweet nothings' though. The song that ends this feast of recognition and re-acquaintance, 'Who loves the sun', the last song here, underscores everything that I wrote before. This song shows all Reed's loves in music from his youth including some doo wop, the subject is dark, but sweet in execution, but Hollis Brown sings this so much better, making it, well, a classic song. Just what it deserves to be. What a feast Gets loaded is.

Life is full of surprises and Gets loaded is one of them. Just unwrap and enjoy these little surprises. No questions asked. It's just what I'm doing right now. 43 Years after its release 'Loaded' has received a statue that no music fan ought to miss. Gets loaded is one of the best albums released this year so far.

Wo.

You can listen to 'Get loaded' on Spotify.

The classic. Joan as Police Woman

Whenever I read about Joan Wasser, the name Jeff Buckley is not far away. "Former girlfriend", recently even "fiancée" is added to her name. The question is whether Joan Wasser needs this reference in 2014. The answer is no. After the stunning 'Real life" (2006), released as Joan as Police Woman, the consolidating 'To survive' (2008), the playful and musically liberating 'The deep field' (2011) it is time for Joan's fourth album: The classic. And a classic record it is, as in class. Joan Wasser has found a perfect mix between the sound of her first two albums and the third: the possibility to let in all sorts of influences that take her away from the slow, deeply emotional songs that endeared her to me in 2006, while still honouring their spirit. Whether the ambition of the cover will succeed, Goldfinger, i.e. going for gold, time will tell; the classic deserves to be heard.

'The deep field' was one of my favourite albums of 2011. That means that The classic has something to jump over. Does it succeed in doing so? The first signs are quite favourable. Joan as Police Woman's latest release immediately found its place with me. That is a good sign for a new album by a liked artist. The first thing I noticed is that Joan Wasser is singing in her strength again. Where on 'The deep field' she allowed a shrill side of her voice to shine through, something that was not enjoyed by all people I know from personal experience, on The classic this has mostly gone. The slow, languid way of singing is back in most songs. A way of singing that makes the songs seem slower than they actually are. The contrast between 'Witness' and 'Ask me' on The classic, so to say.

The second thing that I noticed listening to this song set for the first time was the tremendous variety. Doo wop, soul, reggae, pop and Joan as Police Woman music, all come by and mould themselves to one coherent album. 'Witness' is of course an exuberant song. With its sharp accents on the organ and horns, it invites to make a body move. Followed by the up-tempo 'Holy city', a 2014 version of soul music. There is a great build up to the beautiful chorus. Joan Wasser is out on the very limit of her voice and comes away with it. The playfulness of 'Holy city' shows the growth as a songwriter she has made in this decade. At this point into the album, two songs, I knew that things were moving just nice.

The third song, title song 'The classic', is doo wop with modern beats. Something that totally comes as a surprise. Where does this out of fashion music come from? It gives a distinct flavour to The classic and authenticity. In 'Good together' Joan as Police Woman delves a level deeper, in a beautiful song with a great line: "Don't want to be nostalgic for something that never was". It is also at this point into the album that a third winning element comes really into view. The (co-)production and multi-instrumentalism of Tyler Wood. The warm notes of an Hammond organ are all over the first part of 'Good together'. Where it ends with a total guitar outing by Joan Wasser. Talking about a song being brought to a climax!

The classic keeps this level of songs and surprises up quite easily. The switch to the softness of 'Get direct' is almost unbelievable. Such a contrast. 'Get direct' is Al Green, 'Sexual healing', soft, mellow, with something lurking in the background of the elementary drums and the dark, brooding electric piano notes. Not all seems well. A feeling that is certainly continued in 'What would you do', that starts out with this question followed by "if you found me dying/dead"? Musically 'What would you do' is more filled up. Organ, drums, horns, giving the right mood to this dark song. A song that has a very surprising twist in the final quarter, providing hope: "There will always be a way out".

With a beautiful soul ballad nearly at the end of The classic, 'Stay', I can only sum up that The classic has endeared itself to me with the first spins. Joan as Police Woman has made a great new record in an oeuvre that is becoming more interesting with the record.

Wo.

You can listen to 'Holy city' here.