Bart Davenport — Physical World
ξ≈ Bart Davenport zlomil spoustu srdcí, když odešel z Bay Area v jižní Kalifornii před dvěma lety. Pocit neustálé, dotírající nostalgie (Joe Jackson, Daryl Hall, Simply Red) je jistým druhem plusového bodu pro skladatele, jakým je Davenport, který velmi dobře zná své místo v širším vesmíru. Nicméně, on hraje příliš mnoho her ve fyzickém světě pro udržení zájmu posluchače: to má vliv na britský přízvuk v písni "Dust in the Circuits," i když je tímto postupem jakoby méně specifický a více všestranný, než Morrissey. To, co chybí, je právě přítomnost, která se tváří jako Bart Davenport, a po chvíli se začne zdát jako album od úplně někoho jiného. Vypadá jako nějaký hudební impresionista (tím míním Frank Caliendo "impresionistický", ne ve stylu Moneta). Je to tu o vinylovém duchu. Já bych mu dal dobrých 7.2/10.
ξ≈ Indie pop figure whose laid-back sound draws from soft rock and singer/songwriters.
Location: Los Angeles, California, U.S.
Album release: March 3, 2014
Record Label: Lovemonk
01 Wearing the Changes 4:30
02 Fuck Fame 4:11
03 Dust in the Circuits 3:47
04 On Your Own Planet 4:20
05 Girl Gotta Way 5:01
06 Pamela 3:02
07 Physical World 4:08
08 Every Little Step 2:43
09 Vow 3:51
10 Loop in My Head 3:42
Highlights: Fuck Fame, Physical World
ξ≈ Amy Blaschke Guest Artist, Vocals (Background)
ξ≈ Paul Burkhart Drums, Group Member
ξ≈ Carrie Clough Guest Artist, Vocals (Background)
ξ≈ Freddy Cristy Artwork
ξ≈ Bart Davenport Bass, Composer, Group Member, Guitar, Vocals
ξ≈ Jessica Espeleta Group Member, Guitar (Bass)
ξ≈ Wayne Faler Group Member, Guitar
ξ≈ Rachel Fannan Guest Artist, Vocals (Background)
ξ≈ JJ Golden Mastering
ξ≈ Eric Palmquist Engineer
ξ≈ Andres Renteria Drum Machine, Drums, Group Member, Percussion
ξ≈ Nathan Shafer Group Member, Keyboards, Vocals (Background)
ξ≈ Luke Top Engineer, Mixing, Producer
THE BART DAVENPORT BAND:
ξ≈ Wayne Faler — Guitar (on all tracks with the exception of 6 & 8)
ξ≈ Jessica Espeleta — Bass Guitar (tracks 1, 2, 3, 4, 7, 9 & 10)
ξ≈ Nathan Lee Shafer — Keyboards, Backing Vocal (on all tracks except 6)
ξ≈ Paul Burkhart — Drums (tracks 1, 2, 3, 4, 9 & 10)
ξ≈ Andres Renteria — Drums, Percussion, Drum machines (tracks 5, 6, 7 & 8)
ξ≈ Bart Davenport — Lead Vocals, Guitar (all tracks) (Bass on tracks 5, 6 & 8)
ξ≈ Rachel Fannan — Backing Vocal (track 2)
ξ≈ Carrie Clough and Amy Blaschke — Backing Vocals (track 8)
PRODUCED BY LUKE TOP
ξ≈ Recorded by Eric Palmquist at Infrasonic Studios, Los Angeles CA
ξ≈ Additional recording by Luke Top at White Iris Studios, Los Angeles CA
ξ≈ Mixed by Luke Top at Grand Gallop Studios, Los Angeles CA
ξ≈ Mastered by JJ Golden at Golden Mastering, Ventura CA
ξ≈ Artwork by Freddy Cristy
ξ≈ All songs written by Bart Davenport (Vic Silva Songs, BMI)
ξ≈ Big thanks to Borja Torres, Sean Bohrman, Susan Cronin, Allison McSurely, Xan McCurdy, Robyn Miller, Mike Chase, Hane C. Lee, Sam Flax, Russ Blackmar, Allison Bennett and Josh Miller © ξ≈ Bart Davenport + La Brigada @ Festival In-Somni
By Jayson Greene; March 31, 2014; Score: 6.5
ξ≈ Bart Davenport’s latest album, Physical World, has a song called “Fuck Fame.” Bart Davenport has never really gotten within distance of fame, but the songwriter spits at it with convincing disgust regardless: “Fame? What fame? I never wanted it, I never needed it/ Fame, what fame? I can be creative from behind the scenes.” The guitar tone is pure Joe Jackson, and it's likely the song itself is Davenport’s savvy imitation of a Joe Jackson bitter kiss-off to fame. On the chorus, though, the script switches slightly: Davenport leans into the punchline, “But we could talk about money,” harmonizing in a way that recalls Simply Red’s “Money’s Too Tight (To Mention).” It occurs to you: Hey, actually, maybe those guitars are more reminiscent of Simply Red’s jazzy synth chords, after all. Is that intentional?
ξ≈ The answer, from a scan of Bart Davenport’s discography, is an overwhelming “yes.” His catalog is a series of nested quotations brilliantly lifted and folded into power-pop confections that he's mastered, down to the lemon zest and sea-salt sprinkles on top. Listening to “Fuck Fame,” it's not even clear if we’re hearing Bart Davenport’s thoughts or just a roundup of “fuck fame” songs strung together like a Sudoku puzzle in three dimensions.
ξ≈ Davenport’s Physical World is a world of record sleeves, thumbed through masterfully. The album opens with “Wearing The Changes”, a fond and affectionate tribute to a woman who is “Wearing the changes well,” which is an elegant way to phrase aging gracefully. It’s a lion-in-winter flirtation, and the bittersweet green-apple tang of the guitar chords provide the wink and the proffered champagne glass, while Davenport slides in the clincher line: “Don’t stop doing whatever you’re doing something so right”. Again, you think: didn’t Daryl Hall say something like this?
ξ≈ This sense of constant, nagging nostalgia is kind of the point for songwriters like Davenport, who keenly understands his place in the wider universe. However, he plays too many games on Physical World to sustain a listener’s interest: he affects a British accent on “Dust in the Circuits,” although it’s less of a specific accent and more of an All-Purpose Morrissey. “Pamela” traces a chord progression distractingly similar to “Wearing the Changes”, but with twice the glucose.
ξ≈ What he lacks is a presence that feels definitely Bart Davenport, and after a while, it begins to feel like an album full of someone else’s songs — or, rather, anyone else’s songs. His best moments are breezy and autumnal, where a five'o'clock shadow of soulfulness shades the proceedings. “We rely on the physical world for love/ See me cry when invisible things still hurt,” he croons gently on the title track, and while the words are lovely, the melody is the focal point, coasting up and breezing down with a reassuring ease. “Keep it light and keep it loose,” he sings, and it's one of the album’s few telling lyrics. Davenport keeps it light, but too much so, and it doesn’t take much for the entire album to float gently from your notice. (http://pitchfork.com/)
By Jeff Koch; 4 March 2014; Score: 7
ξ≈ There’s throwback rock. There are songs like Jet’s “Are You Gonna Be My Girl?” that call back to the glory days of rock and roll, but infuse them with a modern touch. And then there is Bart Davenport, who seems like some sort of musical impressionist (that’s Frank Caliendo “impressionist,” not Monet “impressionist”).
ξ≈ On Davenport’s new album, Physical World, each song feels like a relic from a bygone era of pop music. Thankfully, these stylistic tributes are more affectionate than cynical, and it feels like discovering an old gem. Everything from the clean, shimmering guitar tones to the warm vocal reverb reminds one of the past. “Dust In The Circuits” is The Smiths. “Pamela” is Paul McCartney. “Fuck Fame” — my favorite track, and viciously catchy — is Huey Lewis and The News.
ξ≈ There’s something to be said for doing work within an established genre and doing it well. Davenport has done that here. And despite all that analog warmth, there are a few spaced out tracks like “Girl Gotta Way” which, while clearly Pink Floydian in inspiration, still smack of something out of the 21st century. You’ll probably download the record on MP3 (if you do so at all), but, either way, it’s got a vinyl soul. Fortaken: http://www.popmatters.com/
Review by Tim Sendra; Score: ****
ξ≈ West Coast singer/songwriter Bart Davenport has been a lot of things over the course of his long career: a bluesy garage rocker, a retro-soul crooner, a folkie on his most recent solo album Searching for Bart Davenport. What he does best, though, is '70s-tinged soft rock, and his 2014 album Physical World works incredibly well because it sticks closely to the soft sounds/sweet melodies/catchy songs formula of his best album (2003's Game Preserve). Working with a small band that includes guitarist Wayne Faler of Dream Boys, bassist Jessica Espeleta, a couple of drummers, and keyboardist Nathan Shafer, Davenport gets a sound that's simple and direct, while still radiating warmth through the speakers like one of those lamps people use to fight seasonal affective disorder. His soothing vocals are the focus, as he floats through the songs like the reincarnation of some lost Laurel Canyon craftsman dropping nuggets of wistful wisdom and comforting broken hearts along the way. The band is right there with him at all times, Faler's guitar fills and leads are exemplary, and Shafer provides rich beds of synths and gentle electric piano vamping that give the songs some extra kick. The variety of sounds and styles the group explores on the album is impressive too, ranging from late-night ballads (the very 10cc-sounding "Girl Gotta Way") and bouncy '80s radio pop ("Dust in the Circuits") to pulsing rockers that sound like Rick Springfield if he were way more relaxed ("Vow"), and even a little politics on the most chill protest song of all time ("Fuck Fame"). Whatever strain of soft rock they try, Davenport and his able crew sound like they are having a blast playing and singing, and that feeling translates to the listener. It makes the album a true pleasure to listen to, and Physical World gives Game Preserve a run for its money as Davenport's best stuff yet. (Allmusic.com)