Local Music
It's been way too long since singer/songwriter Brian Lillie's brilliant debut CD, "Waking Up in Traffic" was released in 1995. The collection of sometimes starkly painful, other times funny-as-hell slices of the human condition was one of the best pieces of music to pop up from the local folk (for lack of a better term) scene that gets better with each passing day. Lillie's new CD, "Rowboats" (with his backup band, The Squirrel Mountain Orchestra) is set for release next month on Ann Arbor's Thursday Records and is more evidence the artist has taken a giant leap both as a writer and as a vocalist.
On the 19 tunes here, there's this Brian Lillie world/Brian Lillie reality that sneaks up on you like summer turning into fall. It's a universe with a tiny bit of sadness and introspection, but one that's mostly a celebration of love, a celebration of hope and faith in the way life is unfolding. On neariy every track here, Lillie just clicks and connects with the listener in an original, personal way so that you feel like you're part of his circle of friends.
Yeah, yeah. Normally l'm a hardcore cynic to the pits of my soul and happy gets on my nerves. Not always, but it's way easier to project angst and heartbreak and pain than the good, life-lifting incredible stuff. But Brian Lillie walks the tightrope like a pro and pulls it off.
As a songwriter Lillie can be amazingiy silly on a tune like "Sweetheart," a giddy double-time foot-stomper about an all-night car trip to visit a lover in Indiana ("l'm so tired l've got one eye closed. Long dead relatives are waving from passing cars...") or on the throwaway "Squids," another silly piece of fluff that knocks 'em dead at a live gig. He's a performer as well as an "artist" you know and this side is entertaining fun pop music.
But where Lillie shines is on the heart-touching songs. On the kickoff cut "Sunday," the singer's voice and tone is so upbeat when he sings about writing tunes, relaxing and making love, it's fun and uplifting and moving and perfect pop music too. The production seems almost radio-aimed and in the right time and place it could be the perfect summer single. On the song about his grandmother's death, "Hazel's Last Christmas," the tale of a last family gathering is so full of hope and joy, you can't help but smile and cry at the same time. On the more complex "Madrid," Lillie pulls in subject matter that includes John Kennedy's death, the Civil War, Hank Williams Sr., and his own love of playing the guitar, into a song poem about faith in the future.
Even on the oh-so-so sad "Bad Advice," a lost soul finally falls in love figures out "Even the saddest heart can be lit up by grace" and only someone as gifted as Lillie can use that line and get away with it. The cool thing about it is Brian LiIlie doesn't run away from taking chances and risks when it comes to wearing his heart on his sleeve.
Good songs are nice but there's more to the story here than good song writing. Lillie has turned into a great singer too. On his debut CD he was a little close to his roots, mostly early Bob Dylan. But on "Rowboats," he has mellowed as a vocalist and has a better sense of timing and control. There's a laid back, easy feel that slides and drifts through the voice and he's leamed when NOT to push the vocal chords and when the tune calls for a little crunch. Lillie seems to know less is better on the new recording and the songs benefit from the restraint.
In addition, the new collection seems like a record and not just a recording. The debut CD sounded just fine, but "Rowboats" is the perfect mix of sounding good and not being overproduced. Some of the credit goes to the busload of great musicians who are along for the ride. Whether it's the cool cello fills from Abby Alwin, the hot hot mandolin on "Camival" from David Mose (ex-of the Deadbeat Society) or the down-home steel guitar on "Sweetheart" by Rollie Tussing III, LiIIie's sense for record producing is right on track. Recorded at the 16 track studio, 40 Oz. Sound in Ann Arbor (with one solo voice/guitar number captured live at the legend-in-the-making Gypsy Cafe), the overall mix is lively and clean.
It all falls right into place on "Rowboats" - the songs, the voice, the sound. Only a tiny bit of the time does Lillie get a little silly. (O.K. ... there are 19 tunes here. l'll give him a little slack). But once again, Brian Lillie proves what a rare, gifted artist he continues to be.
Speaking of rare and gifted artists who continue to create a body of important pop music, Billy King, the teenage pop genius who has been pumping out gem-filled little classic cassettes for years is back and his new self-titled release is pure pop music in the best sense of jangling guitars, sing-along chords, and tales of broken hearts. The new one is more of the same and this time around I hear echoes of Freedy Johnston, John Lennon and the Byrds. Recorded at King's home studio, it sounds like the performer has been listening to old Phil Spector/Ronettes records until the early hours of the morning. Which is just fine with me.
The View From Nowhere, AGENDA, 220 S. Main Street, A2, Michigan 48104 or e-mail to: alangoldsmith@compuserve.com.