jamie hoover and bill lloyd. reviews of hoo-ever, back to even, and paparazzi, by alan haber. buhdge

hot buhdge too good to pass up in a world gone mad

They're hot, alright: the latest releases by music's best. Too good to pass up in a world gone mad, they're must-gets in a world full of must-avoids. They're the cream of the crop, and we review them here.

Jamie Hoover Hoo-Ever (Loaded Goat, 2004) Bill Lloyd Back to Even (New Boss Sounds, 2004) Jamie Hoover and Bill Lloyd Paparazzi (Paisley Pop, 2004) It's love, come what may, during these last days of summer into fall, our creature comforts cuddled before us, among them three melodic masterpieces that naturally sing a song of love, of hope, of dreams that safely guides us through night into day and back again. Twin sons of different mothers? Perhaps. Jamie Hoover and Bill Lloyd, esteemed purveyors of melody married to beat, have, at long last, come together as a duo on the magical Paparazzi, and, not coincidentally, released separate solo albums, both miracles to behold: Lloyd's Back to Even and Hoover's Hoo-Ever. It is, without a doubt, a great time to be alive, to be bathed in the sweet sounds of such magical purity. Neither man is a stranger to fans of sixties- and seventies-inspired pop. Hoover has delighted listeners for more than 23 years as a member of the Spongetones; he is one half of the duo VanDe Lecki's with Bryan Shumate; and he has released a solo album, Coupons, Questions and Comments. Lloyd, as one half of country duo Foster & Llloyd, fused pop and country for a long-time winning formula. As a solo artist, Lloyd has released a bevy of records over the years, Back to Even being his latest. Both Hoover and Lloyd are musical journeymen, dedicated to getting it right. They are both on a winning streak to be marveled at. Hoover's Hoo-Ever collects 13 covers, most originally appearing on various tribute albums; several are unique to this album. All are gold. Klaatu's "Silly Boys" is a natural for the self-confessed Klaatu maniac; his reading of the song, essentially Klaatu's "Anus of Uranus" presented backwards, is glorious fun. Hoover reinvents Todd Rundgren's "Izzat Love?" as an ever-so-slowed-down lover's plea, breathing new life into the tune. Bob Lind's "Elusive Butterfly" is a love letter to one of the greatest pop songs ever written; this version originally appeared on the Van DeLecki's Ebum Shoobum Shoobum album. Injecting a healthy dose of Queen's Brian May into Percy Faith's rendition of "Theme from A Summer Place," Hoover ramps up the percussion attack and fuzzes up the guitars, to great success. Now, a new generation can make out on Lover's Lane, saints be praised. The traditional "Barbara Allen" gets a warm, respectful, folkish turn, centered around Hoover's accomplished mandolin playing. On an album chock full of keepers, there are two, absolutely mind-blowing out-of-the-park home runs: the Beatles' "Goodnight" gets the mandolin treatment alongside some of the most gorgeous harmonies this side of sleepy time. And Hoover's version of Bobby Fuller's "It's Love, Come What May" is the absolute gold standard of cover versions of any song: beautifully reimagined, creatively arranged, and song with gusto as only Hoover can. Also delivered with gusto are the 15 songs on Lloyd's Back to Even. This is Lloyd's best, most consistent solo effort, and that's saying a mouthful. Plenty of jangle, but plenty of a lot more, too, populates these solid tunes. What is most striking is the command the artist has over his warm, soulful voice; never has it sounded so true. Lloyd gets off to a running start with the infectious title song, an in-your-face rocker. "Dancing with the Past" keeps things moving in an upbeat fashion, as Lloyd puts a vote in for looking toward the future instead of living in the past. The song's co-writer, Beth Neilsen Chapman, contributes some lovely backing vocals. The lovely instrumental "Hindon't" is played from first note to last by Lloyd, showcasing his instrumental skills to great effect; dig the allusion to George Harrison's sitar playing as the song comes to a close. The straight-ahead rockers "Dial Nine" and "Kissed Your Sister" are two-of-a-kind; both feature strikingly catchy choruses and infectious beats. In a fight to the finish, I think "Sister" would win, cheesy synth line and all, mostly because the song comes alive in widescreen fashion, notching only 2:05 on the clock, and suggests a game of "naked Twister" for your listening, dancing and romancing pleasure. Back to Even throws the occasional aural curve ball, as in the light, jazzy "Me Against Me," which features Don Dixon on bass. The deliberately-paced "The Perfect Crime," co-written with popster Pat Buchanan, seems somehow different from the album's other fare, as does the closing anthem, "Oasis," on which Lloyd plays everything except drums (most notably some great, bitchin' solo guitar). "Nothing can erase this oasis of love," Lloyd sings on this song, that will go down as one of his best. Hoover and Lloyd come together as one on Paparazzi, the duo's first album together after a long history of co-writes. The boys play the two-sides-of-a-coin approach so well that it is sometimes hard to tell who is singing lead, or how much input either had into any given song. It's that seamless. Any music fan would do well to add this album to his collection. You pop neophytes without a CD collection to call your own: start here and build from there. In partnership with the great Smithereens drummer Dennis Diken (a more knowledgeable music guy cannot possibly exist), Hoover and Lloyd pull off the unimaginable: a perfect pop album that's going to be hard to surpass in this or any year. The classy love letter to sixties pop, "Show & Tell the World," is a hit single if ever I heard one; the vibes and tympani accents alone allow this song to soar to previously unreached heights. The softer side of Hoover and Lloyd can be heard on the gorgeous ballad "As You Were." Lloyd's vocal, somewhat understated, is one for the ages. There is no mistaking the Partridge Family (or is that Jellyfish channeling the Partridge Family?) influence in the spirited "Still Not Over You." The could've-been-should've-been sentiment of the jangly "It Could Have Been You" is similarly infectious. So there you are: two great performers, performing at the peak of their powers together and on their own (and don't forget Diken's drumming on Paparazzi, which only takes the enterprise to another, higher level). Hopefully, the three albums under discussion here will see wide distribution and win the artists untold new fans. Genre distribution being what it is, the limitations forced on even the greatest records unfairly keep them from having what are often referred to as legs. That's where you, the music fan, comes in: Don't hesitate to spread the word on these great albums to everyone you know, from the classic rock fan to the classical enthusiast; from folk aficionados to just plain folk who love simply great music. Encourage your local record stores, no matter how large or small, to stock them and other great albums that suffer the curse of many a great record: little or no radio play or print coverage. Photocopy this review and stick it under the doors of every apartment in every apartment building in your neighborhood. Cut the grass of people you don't know if they'll just listen to these records. Call people blindly by picking their names out of the phone book; in this election year, they'll be happy to be getting a call from someone other than a politician or a pollster. I can just hear it now..."You want to recommend the latest albums by Jamie Hoover and Bill Llloyd...?" Whatever you do, start a groundswell, will you? Help get the word out on these three great records from two of music's most important, talented artists. Calling all twin sons of different mothers... Alan Haber buhdge August 23, 2004
alan haber's pure pop buhdgeblog hot buhdge \| pop buhdge \| buhdge remembers television buhdge \| film buhdge \| books buhdge video buhdge \| buhdge fine print \| links about buhdge \| write for buhdge \| contact home (c) 2004 Alan Haber

Jamie Hoover Hoo-Ever (Loaded Goat, 2004)
Bill Lloyd Back to Even (New Boss Sounds, 2004)
Jamie Hoover and Bill Lloyd Paparazzi (Paisley Pop, 2004)

Jamie Hoover and Bill Lloyd's Paparazzi It's love, come what may, during these last days of summer into fall, our creature comforts cuddled before us, among them three melodic masterpieces that naturally sing a song of love, of hope, of dreams that safely guides us through night into day and back again.

Twin sons of different mothers? Perhaps. Jamie Hoover and Bill Lloyd, esteemed purveyors of melody married to beat, have, at long last, come together as a duo on the magical Paparazzi, and, not coincidentally, released separate solo albums, both miracles to behold: Lloyd's Back to Even and Hoover's Hoo-Ever. It is, without a doubt, a great time to be alive, to be bathed in the sweet sounds of such magical purity.

Neither man is a stranger to fans of sixties- and seventies-inspired pop. Hoover has delighted listeners for more than 23 years as a member of the Spongetones; he is one half of the duo VanDe Lecki's with Bryan Shumate; and he has released a solo album, Coupons, Questions and Comments. Lloyd, as one half of country duo Foster & Llloyd, fused pop and country for a long-time winning formula. As a solo artist, Lloyd has released a bevy of records over the years, Back to Even being his latest. Both Hoover and Lloyd are musical journeymen, dedicated to getting it right. They are both on a winning streak to be marveled at.

Jamie Hoover's Hooever Hoover's Hoo-Ever collects 13 covers, most originally appearing on various tribute albums; several are unique to this album. All are gold. Klaatu's "Silly Boys" is a natural for the self-confessed Klaatu maniac; his reading of the song, essentially Klaatu's "Anus of Uranus" presented backwards, is glorious fun. Hoover reinvents Todd Rundgren's "Izzat Love?" as an ever-so-slowed-down lover's plea, breathing new life into the tune. Bob Lind's "Elusive Butterfly" is a love letter to one of the greatest pop songs ever written; this version originally appeared on the Van DeLecki's Ebum Shoobum Shoobum album.

Injecting a healthy dose of Queen's Brian May into Percy Faith's rendition of "Theme from A Summer Place," Hoover ramps up the percussion attack and fuzzes up the guitars, to great success. Now, a new generation can make out on Lover's Lane, saints be praised. The traditional "Barbara Allen" gets a warm, respectful, folkish turn, centered around Hoover's accomplished mandolin playing.

On an album chock full of keepers, there are two, absolutely mind-blowing out-of-the-park home runs: the Beatles' "Goodnight" gets the mandolin treatment alongside some of the most gorgeous harmonies this side of sleepy time. And Hoover's version of Bobby Fuller's "It's Love, Come What May" is the absolute gold standard of cover versions of any song: beautifully reimagined, creatively arranged, and song with gusto as only Hoover can.

Also delivered with gusto are the 15 songs on Lloyd's Back to Even. This is Lloyd's best, most consistent solo effort, and that's saying a mouthful. Plenty of jangle, but plenty of a lot more, too, populates these solid tunes. What is most striking is the command the artist has over his warm, soulful voice; never has it sounded so true.

Bill Lloyd's Back to Even Lloyd gets off to a running start with the infectious title song, an in-your-face rocker. "Dancing with the Past" keeps things moving in an upbeat fashion, as Lloyd puts a vote in for looking toward the future instead of living in the past. The song's co-writer, Beth Neilsen Chapman, contributes some lovely backing vocals.

The lovely instrumental "Hindon't" is played from first note to last by Lloyd, showcasing his instrumental skills to great effect; dig the allusion to George Harrison's sitar playing as the song comes to a close. The straight-ahead rockers "Dial Nine" and "Kissed Your Sister" are two-of-a-kind; both feature strikingly catchy choruses and infectious beats. In a fight to the finish, I think "Sister" would win, cheesy synth line and all, mostly because the song comes alive in widescreen fashion, notching only 2:05 on the clock, and suggests a game of "naked Twister" for your listening, dancing and romancing pleasure.

Back to Even throws the occasional aural curve ball, as in the light, jazzy "Me Against Me," which features Don Dixon on bass. The deliberately-paced "The Perfect Crime," co-written with popster Pat Buchanan, seems somehow different from the album's other fare, as does the closing anthem, "Oasis," on which Lloyd plays everything except drums (most notably some great, bitchin' solo guitar). "Nothing can erase this oasis of love," Lloyd sings on this song, that will go down as one of his best.

Hoover and Lloyd come together as one on Paparazzi, the duo's first album together after a long history of co-writes. The boys play the two-sides-of-a-coin approach so well that it is sometimes hard to tell who is singing lead, or how much input either had into any given song. It's that seamless. Any music fan would do well to add this album to his collection. You pop neophytes without a CD collection to call your own: start here and build from there.

In partnership with the great Smithereens drummer Dennis Diken (a more knowledgeable music guy cannot possibly exist), Hoover and Lloyd pull off the unimaginable: a perfect pop album that's going to be hard to surpass in this or any year. The classy love letter to sixties pop, "Show & Tell the World," is a hit single if ever I heard one; the vibes and tympani accents alone allow this song to soar to previously unreached heights.

Jamie Hoover and Bill Lloyd's Paparazzi The softer side of Hoover and Lloyd can be heard on the gorgeous ballad "As You Were." Lloyd's vocal, somewhat understated, is one for the ages. There is no mistaking the Partridge Family (or is that Jellyfish channeling the Partridge Family?) influence in the spirited "Still Not Over You." The could've-been-should've-been sentiment of the jangly "It Could Have Been You" is similarly infectious.

So there you are: two great performers, performing at the peak of their powers together and on their own (and don't forget Diken's drumming on Paparazzi, which only takes the enterprise to another, higher level).

Hopefully, the three albums under discussion here will see wide distribution and win the artists untold new fans. Genre distribution being what it is, the limitations forced on even the greatest records unfairly keep them from having what are often referred to as legs. That's where you, the music fan, comes in: Don't hesitate to spread the word on these great albums to everyone you know, from the classic rock fan to the classical enthusiast; from folk aficionados to just plain folk who love simply great music. Encourage your local record stores, no matter how large or small, to stock them and other great albums that suffer the curse of many a great record: little or no radio play or print coverage. Photocopy this review and stick it under the doors of every apartment in every apartment building in your neighborhood. Cut the grass of people you don't know if they'll just listen to these records. Call people blindly by picking their names out of the phone book; in this election year, they'll be happy to be getting a call from someone other than a politician or a pollster. I can just hear it now..."You want to recommend the latest albums by Jamie Hoover and Bill Llloyd...?"

Whatever you do, start a groundswell, will you? Help get the word out on these three great records from two of music's most important, talented artists.

Calling all twin sons of different mothers...

Alan Haber
buhdge
August 23, 2004