I was 7 years old in 1970, and the musical memory from 1970 here for me is being the right age for The Partridge Family, but not being interested in David Cassidy. I wanted to be as good a musician as Susan Dey. I can’t play, but writing about it is just as good.

So 1970 as a whole is somewhat retroactive for me, but what a lot of good music there was that year! Very rich, very diverse, and, as shown here on We All Shine On, brought into the present in very good ways. If you're at all interested in the 70s, this comp is a must have.

John Borack, the producer, who also played on the comp, was kind enough to answer a few questions for me.

Andrea Weiss: How did the comp get put together?

John Borack: I’ve produced three other tribute compilations—2001’s Shoe Fetish: A Tribute to Shoes, 2002’s Right to Chews: Bubblegum Classics Revisited, and 2015’s Beyond Belief: A Tribute to Elvis Costello—and right around the time of the beginning of the pandemic in 2020 I felt it was the right time to take a stab at putting together another one. I had previously worked with SpyderPop Records on the Costello compilation and they are a great label with a wonderful bunch of folks working behind the scenes. I approached them with my idea for a tribute focusing on the year 1970 and they gave me the go-ahead. From there it was deciding what artists to invite to contribute and what songs they would cover. I didn’t want the artist roster to consist solely of the same indie pop artists who generally appear on these type of tributes, so I made sure to invite a few personal favorites who were also sort of wild cards: artists such as Richard Barone, Marc Jonson, Darian Sahanaja, and Starbelly, for example.

AW: Why 1970? What was special about that year?

JB: Well, the original plan was to have the collection released in 2020 and have it celebrate the 50-year anniversary of some amazing tunes, but COVID-19 shot that idea to hell. Beyond that, I felt that 1970 was sort of a watershed year in popular music. As I mention in the liner notes, 1970 had a ton of memorable tunes that encompassed hard rock, bubblegum, soul, proto-punk, AM radio pop, and lots of those glorious one-offs. So many great songs.

AW: Did anyone have a preference for what they wanted to cover, a song they knew would be perfect for them?

JB: Several artists knew right away what songs they wanted to do: for example, Chris Price had worked with Emitt Rhodes on Rhodes’ final recordings, so it made sense for him to do one of Emitt’s songs. The Used Electrics cover the Stooges’ “Loose” during their live performances, so that was an easy choice for them, and Richard Barone chose Donovan’s “Riki Tiki Tavi” straight away and even recruited Donovan’s original percussionist, Candy John Carr, to appear on the recording. There were a few artists I suggested songs to: I felt Joe South’s “Walk a Mile in My Shoes” was right up Lannie Flowers’ alley, and I think he did a marvelous job on it. Similarly, I thought “Indiana Wants Me” would be a good fit for Bobby Sutliff.

AW: I like the mix of FM and AM radio hits. What drew everyone to these particular

hits?

JB: Well, I wanted the disc to be a representative look at the year in music and not just focus on one single genre. To accomplish that, we drew on a variety of sources which included both AM and FM radio favorites, as well as songs by some acts who didn’t receive a hell of a lot of airplay at the time, such as the Stooges. As far as what drew folks to particular songs, it varies. Some had great memories of certain songs from their childhood; Darian Sahanaja mentioned to me that he used to listen to the 45 of Mark Lindsay’s “Arizona” constantly when he was young, so he picked that one to cover. I’ve always loved the Guess Who’s “Share the Land” and I felt its message was relatable to some of the things going on in our world today, so I selected that one for my band Popdudes to cover.

AW: In 1970 the Vietnam war was raging, the civil rights movement, gay rights movement, feminism, and other new rights movements got going. Does this song selection represent that, and do these songs embody that revolutionary spirit?

JB: I think more than anything else, the song selection on We All Shine On represents the varied tapestry of music that helped make up the year 1970. It was a time when you could hear soul, rock, bubblegum, novelty and singer/songwriter stuff back-to-back-to- back on the radio, and it was a perfectly normal occurrence. Now that mainstream radio has become so segmented, you never hear that sort of thing happening anymore. There are definitely some songs on the tribute that (lyrically) speak to the time period in which they were recorded: the aforementioned “Share the Land” and “Arizona” are certainly two, along with “Lay Down (Candles in the Rain),” “Mama Told Me Not to Come,” and a handful of others.

AW: One of the tie-ins to today is that Richard Nixon was president, who was much like Trump. Could these songs that were against Nixon be used today in the same way against the GOP?

JB: I think one of the great things about music is that any song can mean anything to anyone. I mean, you can listen to “Riki Tiki Tavi” and at first it sounds like nothing more than a cute little tune for kids, but then you pay closer attention to the lyrics and there’s a whole ‘nother thing going on under the surface.

AW:These songs also could speak to the lack of peace and love today, which is what these musicians were calling for in 1970. Are the artists on this album doing the same?

JB: I certainly can’t speak for all the artists involved but knowing what I do know of the contributors to the comp, I think it’s safe to say that everyone would agree that peace and love is always welcomed and necessary. Even though the songs don’t all come out and say it in a direct manner, I think the overriding theme on We All Shine On is one of positivity and happiness. I think it’s really a “feel good” collection of songs.

AW: The policies of 1970 were shaped in part by the Kent State tragedy, and so was the political content of some of these songs. Do you think they speak to today just as much as back then?

JB: I think a number of these songs will resonate with people on a personal level, be it via nostalgia, a fond memory, or otherwise. To put more of a fine point on your question, though: sometimes the more things change, the more they remain the same.

 Various Artists

We All Shine On: Celebrating The Music Of 1970

Spyderpop Records/ Big Stir Records

This great, well considered tribute to the watershed year of 1970 has a little of everything: AM gold top 40 hits, nods to FM rock, R&B, and even proto punk. It blends them into one seamless whole where every song demands your attention.

The songs have been updated in smart ways, like Bill Loyd’s jangle pop take on Three Dog Night’s “Mama Told Me Not To Come,” which sounds a lot better than the original, especially with the strained voices in the chorus, and is closer to the sardonicism of the original idea for the song written by Randy Newman. Then there’s the snotty, angry take on the Guess Who’s “Share The Land,” where Robbie Rist and Michael Simmons tell either a member of the establishment or a hippie that doesn’t believe them, “You want love, peace, and togetherness, we’ll give you love, peace, and togetherness”

The politics of the time haven’t been skimped on, either. Even as 1970 was overshadowed by the Kent State shootings, the music on this comp refuses to despair, by pointing to some  issues that are just as important today as they were in 1970. Anti-racism, pro-civil rights, and left wing politics in general arise in songs like Ray Stevens' “Everything Is Beautiful,” done here by Danny Wilkerson, and ““Riki Tiki Tavi,” written by Donovan and sung here by Richard Barone, and played very well, too.

The overriding message of this comp is is that it’s so hippie it’s punk, so punk it’s hippie, and peace, love, and togetherness finally become punk rock values. About fucking time, too, to be a bit punk here, as what they’re also trying to say is that if you're clear-eyed and realistic, not soft-headed, why the fuck not be hippie about it? The irony here is that they aren’t being ironic, which is so cool, good, and needed today. The US needs hippie politics more than ever, and it's a relief to hear it coming from punks. To be 1970 about it, I dig this comp, and you will too.

Andrea Weiss

 Crossword Smile

Parallel Lines

Big Stir Records

You wouldn't think this combination -- Steely Dan, Fountains Of Wayne, and early REM -- would work together, but it does. In fact it’s great, and a nice balance of the three, on a song about love gone wrong -– or did it? Friendly, but wry like the Dan lyrically, FoW-type empathy, jangly guitars via REM that is faintly Dan-like jazzy, too, or the softer side of FoW.

So if you're a fan of any of these bands, or all three, I’d pick up this single from a new band that’s going places.

Andrea Weiss

 Jeremy Pinnell (featuring Arlo McKinley)

Rodeo (Live Video)

Sofaburn Records

This video was recorded October 8th, 2021 at Southgate House Revival in Newport, KY, recorded by Chris Alley, mixed and mastered by Mike Montgomery at Candyland Recording Studio. The video, shot by Brandon Weaver of Iron Wing Studio, is well filmed. It begins with just Pinnell and McKinley singing, then the band walks on and joins in for the rest of the song. It's a “road goes on forever” type song, but the party isn’t much fun. Yet neither of them are feeling sorry for themselves. just telling a story.

Both Pinnell and McKinley are great, and while I've heard their studio recordings and really like them, they seem even better live, from this clip. If you’re lucky enough to be where they are playing, go see them. It’ll be more than worth it.

Andrea Weiss

 Nick Frater

Aerodrome Motel

Big Stir Records

Frater’s follow up to 2021’s Earworms is just as good, and in a way I like it better, because of the two big influences on it, Steely Dan and Squeeze. 

The Dan aren’t usually thought of as punk, but Nick, by making their music gentler, makes them gently ironic, like Squeeze. There’s both band’s sense of melody here, and wry lyrics. I hear the kind of jazz feel the Dan had, and Nick’s vocals are reminiscent of Glen Tilbrook’s.

Every track has something to recommend it, but “Dancing With A Gertrude” stands out, as does “American Expressways.” “Dancing...,” for it’s unusual subject, extinct baby names, told in a way that's almost like a novel, and just a delight to hear while walking down the street. It’s great to move to. “American Expressways” is about the US and UK exiting Afghanistan, in a non-political sense. It's darker and sadder than "Dancing,” but endings, especially messy ones, are like that.

It’s another great album from Frater, who should be a lot more popular, but we, the public know what to do here--buy this excellent and album, and promote it any way you can. It’s more than worth it.

Andrea Weiss

 All the albums I’ve heard from Nick Frater have been wonderful. The style is singer/songwriter, but power pop, which means smart and tough, gentle, but wry and ironic. If you, like this type of songwriting, then you’ll like him and want to explore more.

Nick was kind enough to answer a few questions for me.  

Andrea Weiss: What came first for you with this album, the lyrics or the music?

Nick Frater: Songs are a mystery! I’ve been lucky to capture a few and there isn’t a routine way they arrive. That said, the lyrics on this album do feel like a step forward for me from a songwriting perspective. I’ve tried to push myself a little further than the regular rock’n’roll subject matter of love and loss - those are still there, but sometimes written from a character perspective instead of my own. But the rest of the album has felt a bit adventurous! Songs written from the graffiti on a toilet door, songs about baby names, songs about adult male mental health…but hopefully still catchy and enjoyable, while dealing sensitively with the subject matter.

AW: I hear a lot of Squeeze in your sound, which is great. Are they an influence?

NF: I love Squeeze! How they ever put up with Jools Holland is anyone’s guess, but despite some rogue band members, they wrote some great songs. Recently I’ve been writing a few "character songs" as a new (to me) way of expanding possibilities. It’s a frequent trick of Squeeze, with "Up The Junction," "Labeled With Love," etc. all doing the same. Martin White from The Mystery Fax Machine Orchestra recently shared his theory with me that the greatest era of pop songwriting (e.g. 60s/70s) so many of the songs looked outwards. Observations of the world and people in it; yet particularly over the last few decades, lyrics of pop songs have been very self-centred. Once you notice that trend it’s quite surprising. That wasn’t what inspired me to look in the opposite direction, but feels like a strange coincidence!

AW: And I also hear a lot of Countdown to Ecstasy or Pretzel Logic era Steely Dan. Would you say the Dan are an influence too?

NF: Absolutely! I’m the least punk person I know….although making these sorts of albums for the most part DIY in my home studio feels pretty punk at times!

I guess the Steely Dan influence is possibly most felt in the range of drummers on the album. Lockdowns have led to an explosion in remote recording, which has given musicians like me the luxury of working with incredible musicians from across the world. Being able to tailor songs or arrangements to particular drummers is wonderful, at least for me. Although, I reckon I’m a bit easier to work with than Don and Walter!

AW: “Dancing With A Gertrude,” while i know it’s about defunct baby names, could also be a scene from a film where all the chapters are introduced by an unseen narrator. Would you say that’s a good characterization of it too?

NF: I’m so pleased with the way the lyrics on "Dancing With A Gertrude" turned out. They kind of just appeared in my head fairly well formed, with a few tweaks as I tried to sing them. But then when I was typing them all out ahead of the album coming out, and reading them purely as words, I was surprised that they stand up pretty well. I guess they could be scenes narrated, but I try not to get too tied down to technicalities with lyrics. Sometimes the sounds of words feel better than their technical correctness. Never let grammar get in the way of a good rhyming couplet!

AW: What is “American Expressways” about?

NF: "American Expressways" is a non-political war song. I realize that might not even be a genre that exists. The song was written in response to the abrupt exit of the USA and UK from Afghanistan. However, it isn’t about the rights or wrongs of that exit. It has hopefully a more universal emotional center. It is about the sudden change, the unexpected retreat, emotions of a veteran from any conflict, who has been told to stop. The battle they’ve been focused on, is no more. Mixed emotions of returning home against deaths they will have witnessed; potentially for nothing. Politics and songs are often dubious territory, but the human side, to all sides of a conflict, are universal.

AW: Your relationship songs seem to be for grown ups, people who are no longer young adults, which I like. Or are they for young people too?

NF: Who knows!? I’d never underestimate the emotional experiences of anyone. There are life changing events that many humans experience; growing up, becoming parents, losing parents, and generally trying function as a human in the 21st century. As someone rapidly approaching the end of their 30s, my life experience is pretty deep, which has inevitably filtered into songs, and outlook. However, songs are universal, and in some ways that is the point of them. It’s the ability to empathize with the voice and story of the song that draws the listener in. I love Johnny Cash, but am yet to experience shooting a man in Reno just to watch him die.

AW: Any plans to tour with the new album in the US?

NF: I would absolutely love to do some gigs in the US. We’re looking into possibilities at the moment. As a small scale DIY artist, bringing a band over is terrifyingly expensive. But if any readers have influence with SXSW or similar events then message me, let’s try and make it happen!

AW: How do you think your new album builds on your last one, Earworms?

NF:Aerodrome Motel is my tenth solo album, which feels like some kind of milestone! Don’t worry, I’m already working on albums 11,12, and 13, so plenty more songs in the pot!

Each album feels it has progressed in some way on the one before. Songs, production,

ambition, have all pushed further with each one. Earworms was such a fun record to make, despite being in the peak of lockdown here in the UK. I was able to make music with several of my musical heroes. Looking to the future, I absolutely love working with other musicians, so if you played bass in the Beatles, and you are reading this, then give me a bell! Your place or mine is fine with me!

 Lori Goldston

The Waves and What’s Under video

Sofaburn Records

Filmed on a secret island in the Salish Sea, on the grounds of the Boatel, this memorial for her friend Geneviève Elverum on amplified acoustic cello, is hypnotic, soothing, moving, and yet upbeat.

It’s just Goldston at the cello, casually dressed, filmed by her friend Clyde Petersen. There is a calmness coming from her that suits the composition very well, a simple eulogy for a friend.

Goldston has worked with many people, including Cat Power, R. Ring, David Byrne, Earth, Nirvana, Mirah, Laura Veirs, and The Wedding Present. Fans of these artists will want to see this video, even if you’re not well versed in this type of music, modern classical music. I am not , but I had a wonderful time watching it, and I think you will too.

Andrea Weiss

 Jem Records Celebrates Pete Townshend

Various Artists

Jem Records

This tribute to Pete Townsend that draws from the Who and his solo career is really good and showcases him as one of the best.

Pete could be quirky, like “Mary Ann With the Shaky Hand” by The Anderson Council, sweet, as in “So Sad About Us” by the Gold Needles, political, in “I’m Free” by The Grip Weeds. He blended it all into one big whole, much like the bands do here.

The music is uniformly the sort of power pop the Who invented, and is used so wisely here, like when Lisa Mychols and Super 8 fold “Who Are You" into “Baba O'Riley” and Airport 77 fold “Won’t Get Fooled Again” into “Substitute.”

This comp is a lot of fun, never disappoints, and if you’re a Who fan it's a good album to have in your collection. This album makes the case successfully for Townsend’s icon status.

Andrea Weiss

 Tony Valentino

Sometimes Good Guys Don’t Wear White single

Big Stir Records

This update of the second Standells hit, performed by their guitarist, is a good one: feel great garage rock with a timely message that some of the best people aren’t saints.

This song is made for kicking back and having fun, and as it's a stomper, good for moving around, too.

Andrea Weiss

 Jem Records Celebrates Pete Townsend : Video Sampler

Jem Records

This video album sampler, with clips of what’s on the tribute album, is very good, a lot of fun, and a reminder that The Who were one of the best bands ever and Townshend is one of the greatest rock songwriters.

My favorites are Lisa Mychols' ebullient “Baba O’Reilly,” Nick Piunti's nicely updated take on”The Seeker,” The Weeklings with my favorite Who song, “I Can See For Miles,” which rocks, and The Anderson Counsel with a good take on “Mary Anne With the Shaky Hand.”

Every track has something to recommend it, so if you love the Who and Townsend, this sampler packs a lot of great stuff into three minutes and will give you an idea of what the album is like. Watch this space for the full album review soon.

https://www.youtube.com/watch?v=Z-LFnYo9h3Q

Andrea Weiss

 Are You Ready/Love Grows (Where My Rosemary Goes)

We All Shine On: Celebrating The Music Of 1970

Syperpop/Big Stir Records

This double A Side single is the first from this upcoming comp and it’s great. Up first is “Are You Ready” by Pacific Gas & Electric. Petsche/Raines. (Alan Petsche and Delbert Raines from Texas power pop group the Pengwins ) along with the The Baker Brothers Gospel Choir do a very soulful, power pop take on this one hit wonder R&B band that matches the original, and the original was pretty good. What makes the song contemporary is the realization that today’s politics are like those of the 1970s, with the call for love and peace just as loud today as it was then.

Edison Lighthouse’s AM gold single “Love Grows (Where My Rosemary Goes)” also gets the power pop treatment from the Test Pressings (Robbie Rist on guitar and vocals, Karen Basset of The Pandoras on bass and backing vocals, and drums from compilation producer John M. Borack of Popdudes and The Armoires). The song is so blissed out that it’s irresistible. And wonderful. It could almost be an anthem declaring this about Rosemary, as well as just being fun.

It’s also punk, but so punk it’s hippie, and so hippie it’s punk. The irony here is that they aren’t being ironic, they mean every word they say, every note they play, which is why this single works so well. It’s a pick-me-up for bad days, and reminds everyone that the need for love and peace, as well as the politics of 1970s are not so different from today.

Andrea Weiss