Reviews

'Harmonies From Heaven' Gives a Breakneck View of the Everly Brothers

A little too fast at times for the viewer to fully absorb, this BBC4 doc nevertheless reminds us of the power the Everlys wielded in their heyday.


The Everly Brothers: Harmonies From Heaven

Distributor: Eagle Rock
US Release Date: 2016-09-09
UK Release Date: 2016-09-09

Harmonies From Heaven shines a light on the heyday of Don and Phil Everly during the '50s and '60s. Originally aired as a BBC 4 special, the documentary features testimonials from a wide array of rockers, including Keith Richards, Graham Nash, Dave Edmunds and Art Garfunkel and, in this new DVD and Blu-Ray edition, previously unissued live performances from 1968 and 1971. The documentary will please fans of those early years, those someone wishing and hoping for something that probes the wilderness years (from a vitriolic 1973 breakup to an Albert Hall reunion a decade on) will have to wait for a different time. Rather than being a sweeping examination of the Brothers, this is a nice thumbnail examination that will allow viewers / fans to remember the duo as they were.

Remember, these two gave a kick to the world of popular music with those impeccable genetic harmonies, smarter-than-you-think rhythms and lyrics that were sometimes teetering on the edge of good taste. Early hits, such as “Bye Bye Love” and “Wake Up Little Susie” (1957) came courtesy of writers Felice and Boudleaux Bryant, who could not have crafted better material for the brothers from Kentucky. Listening to those songs today, one might find that they straddle the line between country and the still young genre of rock. They took rhythms from the hills and the dirt roads and mixed them with lyrics that were universal and, in the case of the latter, topical.

“Wake Up Little Susie” rests on the side of safety because the characters we meet in its lyrics haven’t slept together, though the whole world seems to think they have; had they, they would not have been the first teenagers in history to have engaged in premarital sex, though that would have created a scandal that kept the song and its writers from the charts. Almost, in this case, was good enough. The song created a stir but not enough of one that it didn’t enter the popular consciousness in its time.

Today, those songs and later ones, such as “Cathy’s Clown”, “Crying in the Rain” and “When Will I Be Loved” aren’t heard frequently enough for most music lovers to appreciate the mastery that the Everlys had in their voices, their phrasing and their overall delivery. There have been efforts in recent times, including from The Chapin Sisters (with the impeccable A Date With the Everly Brothers) and Bonnie “Prince” Billy with Dawn McCarthy (via their deep cut-leaning What the Brothers Sang), but somehow or other Don and Phil haven’t experienced the kind of wide-reaching attention that Ira and Charlie Louvin claimed more than a decade ago when they became the it artists to cite in band and artist bios.

The Everlys had their dramas: There were drugs, differences that couldn’t be bridged no matter how hard either party tried, and contracts that complicated their careers in ways that were both deadly and detrimental. We get glimpses of those factors as this picture races through its rising and falling action faster than a hit record from the '50s.

Younger artists, such as Jake Bugg and Teddy Thompson, show us how moving the music remains through their testimonials and obvious commitment to the life-altering qualities the music has. Longtime Everly friends such as Paul McCartney and Paul Simon are notable in their absence. Not that we need them there to explain the magnitude of the Everly talents. All one needs for that, as they say, is ears.

As lovely as it all is, the sheer brevity of the thing disappoints and one finds themselves examining the DVD case in the hope that there’s more story to be found somewhere inside the packaging. Of course, that searching is of no avail. Instead, we’re left to pick up scraps here and there, to fill in gaps with the imagination and some of the ink that’s been spilled over this duo in the decades since their career inexplicably dried up on their home soil.

If nothing else, packages such as this can perhaps persuade other filmmakers and music lovers to take a deeper and longer look at this duo. The Everly Brothers are capable of bringing listeners of all eras more joy and enjoyment than the duo’s current standing might suggest.

6

From genre-busting electronic music to new highs in the ever-evolving R&B scene, from hip-hop and Americana to rock and pop, 2017's music scenes bestowed an embarrassment of riches upon us.


60. White Hills - Stop Mute Defeat (Thrill Jockey)

White Hills epic '80s callback Stop Mute Defeat is a determined march against encroaching imperial darkness; their eyes boring into the shadows for danger but they're aware that blinding lights can kill and distort truth. From "Overlord's" dark stomp casting nets for totalitarian warnings to "Attack Mode", which roars in with the tribal certainty that we can survive the madness if we keep our wits, the record is a true and timely win for Dave W. and Ego Sensation. Martin Bisi and the poster band's mysterious but relevant cool make a great team and deliver one of their least psych yet most mind destroying records to date. Much like the first time you heard Joy Division or early Pigface, for example, you'll experience being startled at first before becoming addicted to the band's unique microcosm of dystopia that is simultaneously corrupting and seducing your ears. - Morgan Y. Evans

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Music

The Best Dance Tracks of 2017

Photo: Murielle Victorine Scherre (Courtesy of Big Beat Press)

From the "shamanic techno" of Parisian duo Pouvoir Magique to Stockholm Noir's brilliant string of darkly foreboding, electro-licked singles, here are ten selections that represent some of the more intriguing dance offerings of 2017.

In June of 2016, prolific producer Diplo lambasted the world of DJ's in an interview with Billboard, stating that EDM was dying. Coincidentally enough, the article's contents went viral and made their way into Vice Media's electronic music and culture channel Thump, which closed its doors after four years this summer amid company-wide layoffs. Months earlier, electronic music giant SFX Entertainment filed bankruptcy and reemerged as Lifestyle, Inc., shunning the term "EDM".

So here we are at the end of 2017, and the internet is still a flurry with articles declaring that Electronic Dance Music is rotting from the inside out and DJ culture is dying on the vine, devoured by corporate greed. That might all well be the case, but electronic music isn't disappearing into the night without a fight as witnessed by the endless parade of emerging artists on the scene, the rise of North America's first Electro Parade in Montréal, and the inaugural Electronic Music Awards in Los Angeles this past September.

For every insipid, automaton disc jockey-producer, there are innovative minds like Anna Lunoe, Four Tet, and the Black Madonna, whose eclectic, infectious sets display impeccable taste, a wealth of knowledge, and boundless creativity. Over the past few years, many underground artists have been thrust into the mainstream spotlight and lost the je ne sais quoi that made them unique. Regardless, there will always be new musicians, producers, singers, and visionaries to replace them, those who bring something novel to the table or tip a hat to their predecessors in a way that steps beyond homage and exhilarates as it did decades before.

As electronic music continues to evolve and its endless sub-genres continue to expand, so do fickle tastes, and preferences become more and more subjective with a seemingly endless list of artists to sift through. With so much music to digest, its no wonder that many artists remain under the radar. This list hopes to remedy that injustice and celebrate tracks both indie and mainstream. From the "shamanic techno" of Parisian duo Pouvoir Magique to Stockholm Noir's brilliant string of darkly foreboding, electro-licked singles, here are ten selections that represent some of the more intriguing dance offerings of 2017.

10. Moullinex - “Work It Out (feat. Fritz Helder)”

Taken from Portuguese producer, DJ, and multi-instrumentalist Luis Clara Gomes' third album Hypersex, "Work It Out" like all of its surrounding companions is a self-proclaimed, "collective love letter to club culture, and a celebration of love, inclusion and difference." Dance music has always seemingly been a safe haven for "misfits" standing on the edge of the mainstream, and while EDM manufactured sheen might have taken the piss out of the scene, Hypersex still revels in that defiant, yet warm and inviting attitude.

Like a cheeky homage to Rick James and the late, great High Priest of Pop, Prince, this delectably filthy, sexually charged track with its nasty, funk-drenched bass line, couldn't have found a more flawless messenger than former Azari & III member Fritz Helder. As the radiant, gender-fluid artist sings, "you better work your shit out", this album highlight becomes an anthem for all those who refuse to bow down to BS. Without any accompanying visuals, the track is electro-funk perfection, but the video, with its ruby-red, penile glitter canon, kicks the whole thing up a notch.

9. Touch Sensitive - “Veronica”

The neon-streaked days of roller rinks and turtlenecks, leg warmers and popped polo collars have come and gone, but you wouldn't think so listening to Michael "Touch Sensitive" Di Francesco's dazzling debut Visions. The Sydney-based DJ/producer's long-awaited LP and its lead single "Lay Down", which shot to the top of the Hype Machine charts, are as retro-gazing as they are distinctly modern, with nods to everything from nu disco to slo-mo house.

Featuring a sample lifted from 90s DJ and producer Paul Johnson's "So Much (So Much Mix)," the New Jack-kissed "Veronica" owns the dance floor. While the conversational interplay between the sexed-up couple is anything but profound, there is no denying its charms, however laughably awkward. While not everything on Visions is as instantly arresting, it is a testament to Di Francesco's talents that everything old sounds so damn fresh again.

8. Gourmet - “Delicious”

Neither Gourmet's defiantly eccentric, nine-track debut Cashmere, nor its subsequent singles, "There You Go" or "Yellow" gave any indication that the South African purveyor of "spaghetti pop" would drop one of the year's sassiest club tracks, but there you have it. The Cape Town-based artist, part of oil-slick, independent label 1991's diminutive roster, flagrantly disregards expectation on his latest outing, channeling the Scissor Sisters at their most gloriously bitchy best, Ratchet-era Shamir, and the shimmering dance-pop of UK singer-producer Joe Flory, aka Amateur Best.

With an amusingly detached delivery that rivals Ben Stein's droning roll call in Ferris Bueller's Day Off , he sings "I just want to dance, and fuck, and fly, and try, and fail, and try again…hold up," against a squelchy bass line and stabbing synths. When the percussive noise of what sounds like a triangle dinner bell appears within the mix, one can't help but think that Gourmet is simply winking at his audience, as if to say, "dinner is served."

7. Pouvoir Magique - “Chalawan”

Like a psychoactive ayahuasca brew, the intoxicating "shamanic techno" of Parisian duo Pouvoir Magique's LP Disparition, is an exhilarating trip into unfamiliar territory. Formed in November of 2011, "Magic Power" is the musical project of Clément Vincent and Bertrand Cerruti, who over the years, have cleverly merged several millennia of songs from around the world with 21st-century beats and widescreen electro textures. Lest ye be worried, this is anything but Deep Forest.

In the spring of 2013, Pouvoir Magique co-founded the "Mawimbi" collective, a project designed to unite African musical heritage with contemporary soundscapes, and released two EPs. Within days of launching their label Musiques de Sphères, the duo's studio was burglarized and a hard drive with six years of painstakingly curated material had vanished. After tracking down demos they shared with friends before their final stages of completion, Clément and Bertrand reconstructed an album of 12 tracks.

Unfinished though they might be, each song is a marvelous thing to behold. Their stunning 2016 single "Eclipse," with its cinematic video, might have been one of the most immediate songs on the record, but it's the pulsing "Chalawan," with its guttural howls, fluttering flute-like passages, and driving, hypnotic beats that truly mesmerizes.

6. Purple Disco Machine - “Body Funk” & “Devil In Me” (TIE)

Whenever a bevy of guest artists appears on a debut record, it's often best to approach the project with caution. 85% of the time, the collaborative partners either overshadow the proceedings or detract from the vision of the musician whose name is emblazoned across the top of the LP. There are, however, pleasant exceptions to the rule and Tino Piontek's Soulmatic is one of the year's most delightfully cohesive offerings. The Dresden-born Deep Funk innovator, aka Purple Disco Machine, has risen to international status since 2009, releasing one spectacular track and remix after another. It should go without saying that this long-awaited collection, featuring everyone from Kool Keith to Faithless and Boris D'lugosch, is ripe with memorable highlights.

The saucy, soaring "Mistress" shines a spotlight on the stellar pipes of "UK soul hurricane" Hannah Williams. While it might be a crowning moment within the set, its the strutting discofied "Body Funk", and the album's first single, "Devil In Me", that linger long after the record has stopped spinning. The former track with its camptastic fusion of '80s Sylvester gone 1940s military march, and the latter anthem, a soulful stunner that samples the 1968 Stax hit "Private Number", and features the vocal talents of Duane Harden and Joe Killington, feels like an unearthed classic. Without a doubt, the German DJ's debut is one of the best dance records of the year.

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