Clearwater Creedence Revival live, Gebr. de Nobel, Leiden Thursday 13 April

Photo: Wout de Natris

A friend asked months ago if I was interested in a guestlist ticket to a Creedence tribute band. We saw John Fogerty together, most likely close to 20 years ago, so why not? His hits are there forever but the fans are on average even older than I am, looking at the grey heads around me, including my own of course.

I can remember the first hit entering the Top 40 in 1969, 'Proud Mary', followed by an immense string of hit singles. The first four weren't even big hits. That came in 1970 and beyond. The band's biggest hit, 'I Put A Spell On You' was released only after the band had broken up in 1972, with a hit in 1973 to follow. And then it was all over. With John Fogerty playing live to this day, it is still possible, for a few more years perhaps, to hear the real thing. Soon tribute band will be all that there's left live.

This group of British musicians are paying tribute and being paid to tribute CCR for over two decades already. The announcement of De Nobel mentions legendary musicians. Three have played in later incarnations of famous 1960s bands like The Animals and The Hollies and in Danny Laine's solo band. It was the bass player who impressed me most. Why wasn't Alan Sagar asked to replace John Entwhistle in The Who?, I asked myself.

John Fogerty's songs can't be broken. They are simply too good and melodically extremely strong. An interesting fact is that some of the songs that were hits here, were the b-side to hits in other countries. A number 1 hit here, 'Up Around The Bend' was not played. The B-side 'Run Through The Jungle' was. 'Commotion' was not played. 'Green River' was. There were a few songs that I truly missed not being played, but most of them were there. Singing along and dancing on the spot all happened.

Then Clearwater Creedence Revival itself. As I already wrote, CCR's songs can't be broken and they weren't, but I know bands who play for free at the local village fest and play better. For a band playing these songs for 25 years simply too many mistakes were made. Of course they can all play and certainly sing very nice harmonies together but with a full house of people paying money to see this band, it simply should be better. I enjoyed myself with the songs but was not far away from being annoyed. Perhaps because I play in a band myself and listen more critically to music, including my own flaws and mistakes. In fact, we may do a better 'I Put A Spell On You', actually. Many people in the venue seemed very happy, and that is what counts in the end.

It is a long time ago that I heard a better bass solo than the one Alan Sagar played. Rhythm and melody in one. John Entwhistle worthy.

Wout de Natris

Leather Catsuit. Leather Catsuit

Lead single of this mini album 'Piece Of The Pie' already received profuse praise on this blog. Also during my second acquaintance as opening song of Leather Catsuit's eponymous album it makes simply a huge impression on me. Nothing on the album is a good as this song, sorry, but that may be simply impossible. No matter what the by now fabled new The Rolling Stones album brings, it won't contain a rock song this good. That is how good 'Piece Of The Pie' is. Rock and roll for the third decade of the twenty first century and way beyond.

If anything, this album is the proof of having to keep believing in yourself and grab the chance when offered it. The pandemic made it possible for singer and songwriter Kim Olin to work with some friends she had got to know along the way of being involved in and around music and living. The result is a mini album that rocks.

Olin and band obviously are comfortable in a few genres that all get a rock edge, not in the least because of Olin's voice. It has that edge that comes with experience, allowing her to sing a real rock song, country rock and a ballad in the style of Heart without Mutt Lange as a producer.

Johnny Pisano (bass) and Jon Weber (drums) make sure this record has a nice deep end. Listen to those bass melodies in 'You're Killing Me' for example. This is far more than just accompanying an artist. It's all about giving a song an extra feature to enjoy. Steve Conte's guitar work is all over the record. Multilayered and multi-sounded there's still more to enjoy. His writing credits certainly should not be forgotten. He co-wrote what may prove to be the rock song of the decade.

People having a little history in music may be surprised who close 'Can't Get You Off My Mind', no matter how much longe the title is, scales Dave Edmond's 'Girl's Talk'. If Elvis Costello is forgiving, he wrote the song, I am as well.

For Kim Olin a dream came true. The record is her dream baby and what a record it is. I do sincerely hope she gets, at least a portion of, the world at her feet, as she sings in that great single, with this band. It's that good, folks.

Wout de Natris

You can listen to and order 'Leather Catsuit' here:

https://rumbarrecords.bandcamp.com/album/leather-catsuit

How the other half lives

Last weekend we hiked through the most south-western part of The Netherlands, called Zeeuws-Vlaanderen. A bit on the fly, last moment decision and it being Easter most venues were totally booked. We found a hotel in a place called Aardenburg. Known vaguely from the map but that is all. From our window we could see the next village, in Belgium. During our hikes we at times had no more meters left of our home country. We never got around seeing Aardenburg though.

Zeeuws-Vlaanderen came across as a part of our country where war has been rampant, hundreds of years ago. Old citadels, bastions, defence lines, they are still a part of the cities and villages and shape the landscape. Around 1600 "we" fought the Spaniards and "they" us. I've learned a lot in two days time, not to start about French armies that came "visiting" every few years.

In the hotel there was live music. The duo Cliff & Katrien was advertised and part of our package. We had no idea, but we decided to go down and enjoy some of the "free" drinks. Only Cliff was there, Katrien must have been indisposed. Either that or the duo had broken up quite recently.

When we came down the room was packed. Average age, 65 as a minimum and the musical repertoire aimed at even older people. Cliff, electronic beats and a keyboard, was singing a wide-ranging repertoire of rock and roll, 'The Hucklebuck', translated versions of well-known hits and Dutch language schlagers. No, I can't claim to know all songs, but so many were so familiar, with Neil Diamond, I think 'Sweet Caroline' came by three times that evening, as number 1. Also a song I had forgotten all about, until the former actress died this winter, Gina Lollobrigida. A man called Tony Bass had a huge hit in 1969 with a song called after her. Believe it or not, large parts of the text came rolling out of me with ease. Surprising even myself.

Cliff is a fairly young man. Perhaps 40 but maybe not even that. He's singing songs from way before his time. And with such ease. One song after the other comes rolling out. The beat starts and off he goes. As if he always plays without Katrien, who slowly grew into mythical proportions at our table.

It's easy to be disdainful. Cliff doesn't deserve it. The guy can play, can sing and entertain his target audience. People were singing, clapping, dancing and having a genuine good time. And me, it's hard to not enjoy music played live. Even this kind of music. So, here you have it, I had a fairly good time, in my new Shame t-shirt and all.

Cliff started his second set with his accordion. I hate that kind of music, but I have to give it to him, he plays really well. And, thankfully he refrained from 'De Vogeltjesdans'. This is how the other half lives and has a good time. It's good to be reminded every once in a while.

Wout de Natris

Blondshell. Blondshell

Blondshell or singer-songwriter parttime rock chick Sabrina Teitelbaum, knows how to rock alright. With single 'Veronica Mars' she made a first impression on me that lasted, as you are viewing my words on her eponymous debut album. 'Veronica Mars' opens the album and shreds it into little pieces. As undercooled as she sings the song, seeking shelter with a near-death voice, all the pain, uncertainty, anxiety, teenangst and God knows what else comes out in one howl and that guitar. Within two minutes it is all over, but what a two minutes they are. Blondshell must have been out to make a huge impression and success in spades. Is this one of those first songs on a first album that even if she had never released another song, it would have been enough? Say 'Rock And Roll Star' or 'I Saw Her Standing There'? It may well be.

Teitelbaum is smart enough to know she'll not easily go over her opening track and changes the mood to intimacy immediately. 'Kiss City' is a ballad. Yes, it becomes more emotional and louder but does not compete in a serious way. It is more than enough to keep my attention and gladly it does.

Blondshell is a nice alternative rock album. She is not afraid of riding the waves of the 90s grunge movement. It is easy to recognise the light-dark dynamics of Nirvana and Hole, including the soft singing and screams of both frontpersons, Kurt Cobain and Courtney Love. At the same time there is a hint of pop in her vocal melodies. It is however all about what happens underneath that hint. Rock is the word here.

Sabrina Teitelbaum grew up in mid-town Manhatten, went to L.A. for her schooling in a pop school, dropped out with enough theoretical knowledge to start her career on. Back in New York she found her own voice during the pandemic and is ready to take on the world with 'Blondshell' once back in L.A..

Photo: Dominique Falcone

Lyrically, I cannot always relate any more. From a marketing point of view I should not be Blondshell's target audience. Rock transcends generations these days, so here I am anyway. And having a good time with the record. Musically the album falls right into its place

Admittedly I like 'Veronica Mars' better than 'Sober Together', the other side of the album. An almost jazzy ballad that with only minor details changed in the arrangement could have been on Sade's debut album. As a ballad the song works. A lot of work was put into the details and that pays off.

Where to place 'Blondshell'? I think it deserves its place between recent albums by The Beths, Jen Cloher and Amber Arcades, where rock meets pop, always in surprising ways. 'Blondshell' is not the best album in its segment. Remember, this a debut album, so Sabrina Teitelbaum has every chance to develop her art further. With 'Veronica Mars' she already released a song that deserves a spot in the rock pantheon. Not a lot of people can say as much, let alone with a song off their first album.

Wout de Natris

You can listen to and order Blondshell here:

https://blondshell.bandcamp.com/

Oh Glistening Onion, The Nighttime Is Coming. Pearla

Nicole Rodriguez levert als Pearla een prachtig debuutalbum af, waarop de muzikante uit Brooklyn indruk maakt met bijzondere arrangementen, veelkleurige songs en een stem die van alles met je doet.

Ook de afgelopen weken had ik weer een flink stapeltje nieuwe albums van vrouwelijke singer-songwriters in handen. Het wordt binnen deze groep steeds lastiger om op te vallen, maar Pearla, het alter ego van Nicole Rodriguez, heeft er geen enkele moeite mee. Dat heeft alles te maken met de veelzijdigheid van haar debuutalbum. Oh Glistening Onion, The Nighttime Is Coming springt dwars door genres en door de tijd, betovert met wonderschone arrangementen, die ook buiten de lijntjes durven te kleuren, maakt indruk met aansprekende songs en dan is er ook nog eens de expressieve stem van de Amerikaanse muzikante, die zich moeiteloos aanpast aan het bonte kleurenpalet op dit bijzonder fraaie album.

De Amerikaanse muzikante Pearla is met haar debuutalbum Oh Glistening Onion, The Nighttime Is Coming in ieder geval goed voor de meest opvallende albumtitel van deze week, maar ook in muzikaal opzicht trekt de singer-songwriter uit Brooklyn, New York, makkelijk de aandacht. Achter de naam Pearla gaat Nicole Rodriguez schuil, die vier jaar na haar debuut EP dan eindelijk haar eerste album uitbrengt.

Het is flink dringen in het land van de vrouwelijke singer-songwriters, maar Pearla valt wat mij betreft op met een geluid dat anders klinkt dan dat van haar talloze concurrenten. De muzikante uit Brooklyn beschikt om te beginnen over een bijzondere stem. De zang op Oh Glistening Onion, The Nighttime Is Coming trekt onmiddellijk de aandacht en persoonlijk was ik direct gecharmeerd van de expressieve stem van de Amerikaanse muzikante, die al snel uitgroeit tot een van de sterkste wapens van het debuutalbum van Pearla. Nicole Rodriguez beschikt niet alleen over een bijzondere stem, maar kan deze ook nog eens op meerdere manieren inzetten, waardoor Oh Glistening Onion, The Nighttime Is Coming een gevarieerd klinkend album is.

Dat ligt niet alleen aan de zang, maar zeker ook aan de muzikale inkleuring van het album. Pearla heeft samen met producer Tyler Postiglione gekozen voor een veelkleurig geluid, waarvoor flink wat verschillende instrumenten zijn ingezet. Zeker wanneer wordt gekozen voor een grotendeels akoestisch geluid, is de muziek van Pearla vooral folky met hier en daar een vleugje country, maar de Amerikaanse muzikante schuwt ook incidenteel het gebruik van synths niet en is dan opeens ver verwijderd van de Amerikaanse rootsmuziek. Wat verder opvalt zijn de bijzonder mooie arrangementen van strijkers en blazers, die karakteristiek zijn voor het Spacebomb label, waarop het debuut van Pearla is verschenen.

Ook in de songs van Pearla kan het alle kanten op. Het ene moment klinkt Oh Glistening Onion, The Nighttime Is Coming aards en wat traditioneel, maar het volgende moment klinkt de muziek van Pearla opeens mysterieus en zweverig. Zeker wanneer de muzikante uit Brooklyn kiest voor folky popliedjes hoor ik veel van Edie Brickell en zelfs wel wat van Mazzy Star of van Adrienne Lenker. Oh Glistening Onion, The Nighttime Is Coming bevat bovendien echo’s van de psychedelische folk en Laurel Canyon folk uit een ver verleden, met altijd een randje Joni Mitchell, maar Nicole Rodriguez kan je ook zomaar het heden in slepen.

De Amerikaanse muzikante heeft lang gewerkt aan haar debuutalbum en dat hoor je, want Oh Glistening Onion, The Nighttime Is Coming ontstijgt het niveau van een gemiddeld debuutalbum echt op alle fronten. De wat traditioneel aandoende rootssongs op het album, met hier en daar ook nog wat invloeden uit de Appalachen folk, zullen makkelijk in de smaak vallen bij liefhebbers van Amerikaanse rootsmuziek, maar persoonlijk vind ik de tracks waarin Pearla uit alle hokjes breekt het meest interessant.

De stem van de Amerikaanse muzikante valt zoals gezegd direct op bij eerste beluistering van het album, maar inmiddels ben ik hopeloos verliefd op de stem, de muziek en de songs van Nicole Rodriguez, van wie we in de toekomst hopelijk nog heel veel gaan horen. En Oh Glistening Onion, The Nighttime Is Coming kan in de tussentijd zomaar uitgroeien tot een van de verrassingen van 2023.

Erwin Zijleman

Je kunt Oh Glistening Onion, The Nighttime Is Coming hier luisteren en bestellen:

https://pearlamusic.bandcamp.com/album/oh-glistening-onion-the-nighttime-is-coming