Tom Hedrick: Press

As we close the books on corporate-America’s most musically unimpressive decade, it’s refreshing to herald in 2010 with a brand-spanking new release from one of our favourite non-corporate musical artists, Tom Hedrick.

For those familiar with Tom’s body of solo releases, this third solo effort, Red Giant, will no doubt raise a few eyebrows (and perhaps a few arm hairs as well!).  Indeed, Red Giant confirms that, like prime Paul McCartney, Tom Hedrick is dynamic recording artist regarding structure, arrangement, and particularly lyric content.  From a strict musical viewpoint, much of the presentation may seem very “un-Tom-like” -- with only the familiar Hedrick voice as a clue to the artist.  For instance, conspicuously absent are both the comically carefree concerns extolling the near-virtues of automobiles, as well as the peculiarly palatable pieces exploiting any given assortment of not-so-famous 19^th-century American men.  This void frees up room for more salient material.  Where Salads And Ballads hinted at sobering themes, Red Giant makes such the order of the day with much of the lyric content comprising critical assessments that approach doleful conclusions...  The work is thematically timely, too, given America once again finds herself at a localized socioeculturaleconomic valley -- with the current power brokering boys and girls scrambling to seize the last vestiges of American middle class values.  

(A brief word about the recording quality:  The sonics are extremely bright -- in an ‘80s digital way.  The mastering sounds like the EQ was cranked on the upper end.  If you’re into that sort of thing you’ll like the sound otherwise, high volumes may peg your analog shrill-o-meter.)

The Salad Crowd.  By way of transition from the previous release, Tom opens the album with a pretty little melody – a sweet musical salvo akin to Brian Wilson’s Meant For You from Friends (1968); although, in 2010, the preface ends with a minor voicing replete with an ominous timpani roll.

The album proper begins with An Earthly Love Not Understood (or, as Tom enunciates it -- an ETH-ly love -- think a New England-esque cross between character-actor, Jim Backus and character-socialist, Franklin Delano Roosevelt).  Tom’s Tennessee-Two-meets-the-Rhythm-of-the-Saints rhythmic approach neatly propels this critically grave affirmation.  The bass part is particularly noteworthy in its articulation and note selection, as is the memorable recurring piano release.

Song For Joe is a moderate pop-rocker, presumably, about “Joe”.  Am not sure who this cat is, but the listener will no doubt be relieved to not be in his shoes.  The piece is notable for the extended instrumental “false betrayal” section.  As it happens, from that point onward the piece exhibits a quasi-Arthur Lee (circa 1966-67) quality in its twisty structure and “off” ending.

It Won’t Matter What I Put Together -- which recalls Taste, Touch and Smell from Salads And Ballads -- showcases a rougher vocal quality.  Personally, I remain to be convinced that such a style suits Tom’s vocal palette; nevertheless, the stylistic approach surely supports the lyric content -- the meat of which will be immediately dismissed by the boys and girls of Madison Avenue (for whom, such spot-on assessments like, “Since when do record companies have anything to do with music?”, are irritatingly appropriate in their honest sarcasm).  The catchy C-sections, brief as they are, jerk one back to The Who Sell Out [1967].  Dig that cool guitar solo in the second C-section, which then segues into what I presume are genuine anonymous examples from the guilty parties themselves.  The song features a modest, albeit conservative, contrete ending. 

How Will They Go On?  The spartan sonics of Salads and Ballads are evident in this number.  The tension and release in the B-section is particularly powerful -- specifically so given the dour theme.

Snowflake is a catchy piece that would immediately lend itself to live combo treatment.  The song structure has a few left turns to keep the astute listener on his/her toes.

I Wasn’t There appears to be a personal anecdote -- delivered al a multi-track a cappella.  It’s OK, but single voice multitrack affairs can be a bit taxing at times.

The LP takes a decidedly dour turn from this point to its conclusion.  Fire At The Lab and Justice? appear to be cut from a similar musical cloth:  While the former piece remains abstruse, the latter is a series of grim, point-blank statements featuring Tom’s finest lyrics to date -- the intensity of which is heightened via the ardently frugal string arrangement.  The coffin-closing ending is fearsome.

Luckily, Anywhere brings an order of relief...although the presentation leaves one teetering, unsettled.

Red Giant is clearly Tom Hedrick’s most ambitious solo release to date.  Much of the lyric content is composed of critical assessments that approach doleful conclusions.  Although one can take the LP as discrete “songs”, it would seem that an overall premise is at work here -- as though the overall album contents are complementary to a larger scheme.  The LP is intense:  At times the feel aims one toward John Lennon’s Plastic Ono Band [1970] -- sans the personal confessionals; the LP also exhibits qualities reminiscent of Randy Newman’s Harps And Angles [2008] -- sans the acerbic sarcasm.  Arguably, both Lennon and Newman come away as pessimists; and each is probably correct (though for different reasons).  Perhaps the overall purpose of Tom’s RED GIANT is to present a series of somber vignettes designed to provoke and challenge current thought.  Not a bad idea, actually; as in this regard, Red Giant is surely a notable improvement relative to the all-too-common attempts routinely compromised by self-serving or smirk-filled agendas.  With Tom in the driver's seat, the overall message captures a benevolent disposition...as though one with an earnest heart is longing for the general good.

In any event, it will take numerous listens to gain further insight.  The best albums are always like that.

Tom Hedrick is a curious figure in underground American pop music. He is one of the few contemporary talents that, while obviously rooted in ‘60s Ameri-pop, he exhibits no overt derivation from any particular artist – a difficult task indeed given his employment of familiar 4/4 backbeats, electric guitars, and other combo accruements commonplace since 1964.

Perhaps that’s precisely the charm: that Hedrick’s take on pop is essentially his own amalgam. This curious concoction – with one foot firmly planted anywhere between 1965 and 1971 – includes addictive sing-songy melodies, and singular (at times peculiar) lyric content.

In any event, nearly 6½ years later, Tom’s sophomore solo release is finally ours for the taking. Using As If! as a musical guide, Salads And Ballads will take most listeners by surprise on first listen. Salads And Ballads appears as a more personal work; indeed, it is very much a one-man show – notwithstanding the significant contributions from female vocalist, Lori Shepard.

Tom’s more-than competent bass and guitar help to make up for the absent drum chair. As for the vocalist chair – it goes without saying that he is a first-chair…or at least first chaise lounge.

Let's hope we don't hafta wait another 6 years for Son of Salads and Ballads. I mean if that’s the case, then maybe he’ll finally issue "Let’s All Sing In Esperanto". It’ll be worth the wait.

As if it hasn’t been six years since Tom Hedrick’s last release. As if his fans weren’t eagerly awaiting new material from this gifted singer/songwriter. Thankfully, Hedrick has returned with a brilliant follow up to his 2002 release, “As If”.

The new cd, “Salads and Ballads”, features vocals by Lori Shepard, the only additional musician helping out on the cd. Opening with “A Picture of the World”, Hedrick paints an idyllic picture of how things could be. From the punchy metal of the opening guitar and drums, to the seamless harmonies on the chorus, to the Tower of Power horns, this song just makes you smile. This track is a perfect segue to “Taste, Touch, and Smell”—similar in its use of stripped down chords, driving beat, horns, and again, beautiful harmonies, yet completely different in melody and meaning from track 1.

Hedrick uncharacteristically opens up his softer side on this cd. Songs like “Happy Isn’t Satisfied”, “Sunday Dinner”, and “Sweet Angels” showcase the depth of his songwriting skills. “Happy Isn’t Satisfied” features Ms. Shepard’s lovely voice backed only by Hedrick’s guitar. “Sunday Dinner” is a melancholic reflection, with the surprise accompaniment of a piano. “Sweet Angels” features the most ethereal vocals in a touching tribute to Hedrick’s young daughter. He poignantly voices every parent’s wishes for the health and happiness of their own children.

And then, there are the tracks in the style that we are most accustomed to: quirky, witty lyrics, set to catchy riffs and melodies. “The Big Silver Ball” is my personal favorite. Think of it as “Penny Lane” meets “Lola”. He has captured the musicality of McCartney and the unexpected lyrics of Ray Davies. What may not be as entirely clear as Lola’s gender by the end of the Kinks song is that “The Big Silver Ball” is a reference to a young child having his temperature taken back in the days before digital thermometers.

“Shoot Me Into Space” is another favorite of mine. I feel like I’m watching The Jetsons every time the chorus comes on. This song is about Hedrick’s wishes for his remains. You got it: burial and cremation are not what he has in mind! Continuing Hedrick’s bid to reinvigorate the old “Schoolhouse Rock” anthems (think back to “As If”’s “James K. Polk”), Hedrick’s “Oh, Dear Pluto!”, “the twangy “Jefferson Davis”, and “Save the Penny” are, like the best Schoolhouse Rock anthems, easy to sing along with yet educational at the same time. “Save the Penny” features Billy Preston keyboards and lyrics for today’s kids: “And if you think a penniless country made a humdinger, that old Consumer Price Index would be more like a middle finger”. Wow—economics!

There is a theme to these three songs—Hedrick is clearly rooting for the underdog. Pluto’s demotion as a planet, Davis’ Civil War defeat, and the plight of the controversial penny. I know the trend nowadays is to download individual tracks, and each and every one of Hedrick’s songs can certainly stand on its own, but there is something to be said for a well thought-out and well laid-out cd. Hedrick clearly gave a lot of thought to how the songs would flow together, and if you are able to give the entire cd a listen, I don’t think you will be the least bit disappointed.

Tom Hedrick - "As If" CD 14/36:58 Tom Hedrick is f*****g weird, but I like him. He's got a classic sense of pop craftsmanship, a multi-instrumentalist's palate, and a whimsically twisted vocabulary. Call it geek rock if you want, although it sounds nothing like the cartoonish lesser songs of Zappa and They Might Be Giants.  This stuff is still pretty listenable, if not relentlessly quirky.

Tom Hedrick manages to infuse each song with a wacky (and decidedly nerdy) sense of humor. For example, the first line of the title track is "If I were a Vulcan..." "Little Saturn" could be that Beach Boys-flavored jingle that GM has been dying to hear. And then there's a song about our greatest president, James K. Polk.

In the liners, Hedrick admits to being a control freak, and he's certainly dotted all hi s I's and crossed all his T's. The sound is tight and very, very studio. Hedrick crafted the graphic on the cover, and that same sort of sunny un-reality pervades his music. You might think I'm complaining, but the strange thing is that Hedrick's wonky, obsessive sound works simply because the guy is so damned earnest. He makes music this plastic-sounding because he likes it that way. And his enthusiasm rubbed off on me in a big way.

Self-described geek rocker Tom Hedrick debuted his quirky pop on As If! in 2002. The former bassist for the Fitsners recruited many guest musicians for As If!, adding organ, accordion, harmonica, mandolin, flute, and cornet to the mix.

The collection is chock-full of humorous and melodic narratives, beginning with "Rock 'n Roll Kids" and the blissful title track. His approach is conventional and traditional throughout, as Hedrick sings quirky lyrics in the vein of Wally Pleasant.

The rock gets a little edgier on "Little Saturn" and horns are added to an unabashedly affectionate ode to President James Polk on "James K. Polk." History enthusiast Hedrick continues to showcase his wit on "Immortalized in Cake," a tribute to Leif Erikson and Paul Revere.

"Jen My Name Is Ken" includes the most impressive composition and instrumentation of the disc, as Hedrick takes on the character of the love-riddled Ken, and the festive keyboards add a light and energetic flare.

The eccentric "My Hand Has a Mind of Its Own" is wonderfully silly, and "Radio Knobs" tells the tale of a hapless door-to-door salesman. The disc ends with the catchy and deceptively merry "I Lost It All."

The 14-song disc appeared on Freedom of Speech Records in 2002