[.ca] Coming Up An Indie Tribute To

Very Nicely Done:
from Beatlefan by Al Becker The separately released companion disc to the "Listen To What the Man Said" album consists of McCartney covers by lesser known artists toiling on independent labels. That in itself doesn't make it any less of interest, but on the 15 tracks here the performers don't take many chances and pretty much follow the original McCartney arrangements (sometimes even down to the vocal asides and inflections), which means that, for the most part, they don't really give you much reason to listen to these versions as opposed to Macca's. Don't get me wrong; there aren't any true misfires here. All of the songs are lovingly and competently covered. But there's nothing particularly memorable about them. Plus three of the songs are duplicate titles from the other disc (and one track, "My Brave Face" by Star Collector, previously was issued on last year's Atlanta McCartney tribute). Highlights are the Masticators' rendition of "With a Little Luck", which has a female lead vocalist (and Robbie Rist of "Brady Bunch" infamy on drums) and replaces the original's keyboards with guitars; and Christian artist Phil Keaggy's lovely take of "Somedays", on which he handles all the instruments and harmonies. Here's a brief rundown on the remaining tracks: "Let Em In" by Starbelly; "Take It Away" by The Jellybricks (offering tasty backing harmonies and a false ending); "Every Night" by Mark Bacino (who sticks very close to the original); "This One" by Cliff Hillis (apes the original and very nicely done); "Temporary Secretary" by The Andersons (actually more mainstream-sounding than Macca's original!); "Mull of Kintyre" by Kyf Brewer (nice mandolin and yes, it has bagpipes); "Getting Closer" by Michael Carpenter (another one-man show); "Maybe I'm Amazed" by the Gadget White Band" (with a female lead vocalist reminiscent of Melissa Etheridge and a violin replacing the guitar solo); "Helen Wheels" by The Shazam; "Oh Woman, Oh Why" by Ray Paul (an offbeat choice with a nice singing job; co-produced by Emitt Rhodes, who also does backing vocals); "Another Day" by Cherry Twister (nice harmonies); and "Back On My Feet" by Cockeyed Ghost. This disc also benefits the Susan G. Komen Breast Cancer Foundation.

Teriffic fun!!:
from Rockpile Under the Radar by Gail Worley Thirty years after the dissolution of the most influential pop band of all time, Sir Paul McCartney finally comes due to his dose of idol worship with two separate tribute albums, both on Oglio Records. Arriving in the wake of McCartney's own two-disc career anthology release, Wingspan, consider these tributes to be a bedside companion of sorts. Coming Up, the indie tribute, features a virtually unknown roster of artists ­ Cockeyed Ghost being the only familiar name among the 15 assorted bands. McCartney's radio singles often had embarrassingly kitsch lyrics, making those songs almost natural choices for indie rock interpretation. This record's stripped-down production values could pass for demo versions of these song, especially when listeners hear how closely many of the artists mimic his very distinctive voice. "Every Night," "Mull of Kintyre," and "Somedays" ­ by three different artists you probably never heard of ­ all feature nearly identical vocal performances. Highlights of Coming Up include Starbelly's "Let REm In," incorporating all the signature touches (doorbell chimes intro) on its version of McCartney's 1976 massive hit, and The Andersons snotty, deadpan vocal delivery on "Temporary Secretary," serving this potential novelty tune well. Though Wingspan divides McCartney's catalog into a "Hits" and "History" collection, these discs each mix radio singles with beloved album cuts, tossing in a few obscurities to keep things unpredictable. Authentic arrangements across the board maintain the integrity of the songs (there are thankfully no rap, ska or industrial interpretations). A notable difference, however, occurs on Listen To What the Man Said (the popular artists tribute) where production values get taken to the next level, allowing for more varied, experimental performances, small opportunities for artists to put their mark on their favorite McCartney tunes. This free spiritedness yields some special moments. The Merrymakers take an adventurous stab at "No More Lonely Nights," working dense, reverberated vocals over a psychadelic keyborad riff into the bridge, Robyn Hitchcock's cockney accented vocals on "Let Me Roll It" are enduring, and "Too Many People" by Tim and Neil Finn is one of the albums best cuts. But it's Linus of Hollywood's lush, reverently a capella rendition of "Warm & Beautiful" stopping the show and igniting the tribute album. These collections won't replace McCartney's original versions, of course, especially if you're a fan of the man's expansive career, but both discs are teriffic fun. Even casual fans will be impressed with the significant accomplishment of these loving homages to one of the great musicians of our time.

Makes a good travelling companion to McCartney's Wingspan:
As with the McCartney tribute album Love In Song, tentative lists of possible inclusions on two more all-star samplers of McCartney songs have been circulating for almost two years. Some, but not all of these names now re-appear on Listen To What the Man Said and it's companion CD, Coming Up: one set with popular artists (whose names not all ring a bell to me, though) and another by independent performers (some of whom appear courtesy of Not Lame Recording Company, the well-known powerpop label). The total of 31 tracks include only three doubles: My Brave Face, Every Night and Maybe I'm Amazed. There are the hit songs, album tracks (like Ram On, Somedays, Warm And Beautiful) as well as an occasional B-side (Oh Woman Oh Why, Back On My Feet). A preference for McCartney's very first album followed by Band On The Run and McCartney II is apparent. In general, some of the songs stick faithful to the originals, without any personal element taken in, but in most cases it simply proves the artists' professionalism. Both the albums have a caption, reading: 'this album does not contain any performance or endorsement by Paul McCartney or MPL Communications Inc.' In fact, some of the cover versions may pass off as McCartney outtakes. But when you're looking for really outstanding versions, there are still some to enjoy: My Brave Face and Waterfalls, speeded up by SR-71 and Sloan, Junk features accordion and beautiful vocal harmonies, Judybats' version of Love In Song with a truly different instrumental backing, the a-cappella version of Warm And Beautiful, an melange of various instruments and sound effects in Ram On, jazzy trumpet fills passing by in Coming Up, a violin replacing the guitar parts in Maybe I'm Amazed, sung by rough-voiced female singer, mandolin combined with the obvious bagpipes in Mull Of Kintyre and stunning one-man's jobs-multi-instrumentalist Phil Keaggy's version of Somedays and Michael Carpenter's strong version of Getting Closer. Some of the added novelties sound so fitting, that they're hardly noticed as new features in the song. The two (you have to buy both!) make a good travelling companion to McCartney's own Wingspan compilation, and should at least strengthen your opinion on the quality of McCartney's solo work. If you still have doubts, take in mind that the albums benefit a worthy cause: a substantial part of the proceeds benefit the Susan G. Komen Breast Cancer Foundation. - (...)

Absolutely Essential!!:
South Florida's Entertainment News & Views Listening with Lee Zimmerman Tribute albums can be a precarious proposition. Either the cover artists remake the songs so faithfully that there's little difference between the originals and the remakes, or they vary to such an extent that they are then compared to the artist's takes, and often come out the worse for the wear as a result. It's especially scary when you tackle an artist of the stature of Paul McCartney (is there anyone who's more prominent?), a musician whose recordings have formed an indelible imprint in the minds of millions. On the other hand, it's amazing that McCartney hasn't been covered before. After all, Michael Jackson's self-proclaimed trumpeting aside, his remarkable legacy has anointed him the true king of pop, bar none. Of course, individual Beatles and McCartney covers are nothing new, but kudos ought to be accorded to the artists signing on to these tributes. The standards are indeed, to paraphrase Paul himself, high high high. As if to make up for lost time, Oglio has issued two tributes, each with a different array of participants. While a few tunes overlap (My Brave Face, Every Night), the two albums cover a wide array of material between them, tracks that run through the majority of McCartney's career, with special emphasis on the first ten years of his solo trek. They range from well-known standards like Band On the Run and Maybe I'm Amazed to a fe more obscure nuggets, Temporary Secretary and Waterfalls, among them. They also feature a virtual who's who of today's most vital and vibrant younger rockers. Of the two, Listen To What the Man Said offers the better known participants, an impressive roster that includes Robyn Hitchcock, World Party, Matthew Sweet, and They Might Be Giants. Mark Bacino, The Shazam and Cliff Hillis and the other artists that fill out the companion piece are lesser known, but no less impressive in their mastery of the material. In both cases, the clever, cutting and creative renditions these power poppers provide a new appreciation to the McCartney canon ­ if that's possible ­ while adding a fresh perspective and a powerful pop punch to these remarkable melodies. A wonderful combination of rock music's post and present, both these albums are absolutely essential.

A job well done!:
This is the second of two CD tributes to one of the greatest songwriters in the history of rock, Paul McCartney. The first disc, Listen to What the Man Said, featured an excellent array of McCartney solo classics performed by artists such as Matthew Sweet and the Barenaked Ladies. That disc focused on bands from either the major label ranks, or bands about to be there due to their success in the indie scene. Coming Up is a nice companion to the first disc as it features all independent artists. These are groups and performers who are on their way up in the music scene but have not gotten quite the same amount of attention. This disc gives them a great chance to show off their talents by paying tribute to the pop virtuoso. As with the first CD tribute, the majority of the tracks on Coming Up are solid covers that keep the spirit of McCartney's tunes intact. Not every track is a must hear, but there are many solid attempts to equal McCartney. If nothing else, none of the attempts will bore the listener. A few of the versions may even brighten one's day. While every song is worth a listen, about half of the tracks stand out above the rest. The first track, "Let 'Em In," is a rocking headnodder courtesy of Starbelly. The drums and bass continuously move the number along as the guitars cut in sharply to add to the rhythmic feel. Although not quite the equal of McCartney's version, the song is a solid attempt and provides an excellent start to the disc. The Jellybricks deliver some reggae-tinged guitar at the start of "Take it Away." The song then nicely flows into more straight-forward pop. They show what they have learned from McCartney and combine genres to bring forth a nice blend. Mark Bacino offers up an acoustic version of "Every Night." Imagine sitting near a fireplace as the warm tones of the instruments and vocals put the listener in a very comfortable place. After hearing this version, one wonders why McCartney didn't try more of his songs acoustically as they translate very well. Star Collector delivers with the anthemic "My Brave Face." They do a nice job of keeping one of McCartney's catchiest numbers bouncy and fun. One can't help but smile when this tune dances out of the speakers. "Mull of Kyntyre" gets a country-flavored treatment from Kyf Brewer. The cut drifts between traditional folk sounds, bagpipes, and a slight twang in the vocals. An interesting take. The Gadget White Band performs a happy, yet soulful "Maybe I'm Amazed." The vocals are a bit too bluesy at points, and at times the song loses its pop roots, but overall the song is an enjoyable cover. Having two entire CD tributes to one artist shows the massive influence that McCartney has had on the entire music scene. It's almost as if he is a grandfather to all of these artists and now he can sit back in his rocking chair and take a look at all of his descendents. His influence covers all music. These two tribute CDs are more recent examples. Artists as different as Nirvana and even Boogie Down Productions have shown glimpses of McCartney flavor at different points in their careers. It seems that almost no musician from the last 35 years can deny McCartney and the Beatles influence, either directly or indirectly. Now, looking back at his lifetime of work, McCartney should sit back in that rocking chair, kick his feet up, and admire a job well done. - from Delusions of Adequacy

• Let 'em In (Starbelly)
• Take It Away (The Jellybricks)
• Every Night (Mark Bacino)
• This One (Cliff Hillis)
• My Brave Face (Star Collector)
• Temporary Secretary (The Andersons)
• Mull of Kintyre (Kyf Brewer)
• With a Little Luck (The Masticators)
• Somedays (Phil Keaggy)
• Getting Closer (Michael Carpenter)
• Maybe I'm Amazed (Gadget White Band)
• Helen Wheels (The Shazam)
• Oh Woman, Oh Why (Ray Paul)
• Another Day (Cherry Twister)
• Back On My Feet (Cockeyed Ghost)