Album Review

Jason Lytle – Music Meant To Accompany The Artwork Of Ron Cameron

• 20th Jan 2011

Releasing an album of music which Jason Lytle (JL) admittedly refers to as (and I’m paraphrasing here…) ” a bunch of shit… a reason to clean up my desktop, something that better not be called my next fucking album because I really don’t know if I like any of it… it has plenty of ‘Arm of Roger’ moments, Christian-Ween-meets Beavis and Butthead meets David Lynch-Mob Gang”… you get the idea!

And yes it’s limited, JL says “I don’t intend on printing up anymore and I plan on burning the hard drive that holds the material in a campfire in Zion National park while Mormon Hawks fly above on 100 degree air currents and look on in relief”. It might strike most as an odd admission however, when you hear the tracks, it’s difficult to argue with his decision to share this fascinating and insightful set of songs, some of which are clearly chrysalis states of finished, congratulation worthy tracks.

Slackassedly dragging the LP into life with its lazy Sunday sounds, ‘Waiting for My Phone to Dry’ perfectly illustrates the ‘out-take/demo/ sketchy idea’ actuality of this album. And despite the simplicity of the opener, it at least shows that the polished production levels are intact, whilst offering a glimpse into the singer-songwriter side of JL.

‘Birds Build Nests in Letters’ offers an idea which exceeds any accomplishment of the song itself. We’re no stranger to JLs love of androids robots cyborgs etc, and here we hear him conversing with an apparently nature loving machine, as it attempts to disprove the apparently corporate JL. It’s short and sweet for sure but as I say, the idea itself is bigger, brighter and packed full of charm.

‘Liquid Hyper Tweeker Energy Drinks’ cranks it up a notch and whether we’re supposed to know it or not, this is surely an early rendition of ‘Slipstream’, the track JL collaborated on with Crystal Method. Both the vocals and their delivery have changed entirely, but the tune is unmistakable. The jury’s out as to whether this political REM-esque version is better, with a frenzied and bent-out-of-shape tirade of lyrics seemingly being announced from a Tannoy speaker system.

And keeping with the theme of chrysalis songs ‘Lose Weight by Crying! Ask Me How!’ follows, serving as an instrumental rendition of Admiral Radleys ‘I Left U Cuz I Luft U’. Unsurprisingly piano driven, the tracks poignancy pleasingly rekindles any heartache you may have turned your stomach on.

‘At The Mall in Klamath Falls’ proves to be the most conventional and rounded offering so far. It’s balanced tempo & delivery, progressive narrative and verse/chorus construct serve as something of a risk-free homage to the brilliant Seawolf and his ‘Black Leaf Falls’. There’s enough of JL personality to differentiate the two of course and the lyrics herein are as wonderful and engaging as always.

‘My Phone Is Still Wet’ takes off from where the opener left us and does little else aside from bringing a pre-determined & balanced narrative to the LP.

The similarly titled demo version of Admiral Radleys LP title-track follows. Owing for the quirky lyrics ‘I Love CA (Intersection Vendor Ending)’ is another piano driven lounge-act which despite its unadventurous nature, pleases immensely. It also goes to show just how much JL puts into any project he immerses himself in, be it a single track collaboration or full-on band project; he’s generally behind the majority of the writing. Hearing the final Admiral Radley version of this offers a fantastic contrast to this version and honestly in comparison, this version is left in the shade. And whether the modest JL will admit to this being his original demo of the final Ad Rad version or it’ simply a cover version, we’re surely left grateful either way.

My personal favourite ‘D.U.I. BBQ checkpoint’ and the imagery it presents is ace. Kiss goodbye to all those drink-drive fears, for now the police are feeding their detainees at their roadside meet and greets! Theatre aside, the feel of the song seems to single-handedly serve as a reminder to the fun and musical mischief to be enjoyed when recording.

More poignancy comes in the instrumental ‘Dismantle, Rebuild’; JLs ‘I Am Lost’ casually disguised in sonic gimmickry.
The most far-removed from its end result, ‘Indie Rock Freestyle’ is the undeniably kickass Dangermouse/Sparklehorse collaboration track ‘Jaykub’. Yes, everything’s changed and yes, you’d be justified in calling me a liar! Injecting mild humour as he goes, JL gets his freestyling freak on in style, as he paints a ramshackle picture of our artistic, beer drinking protagonist Jakeff (the offspring Jacob & Jeff)!

‘The Town Where I’m Livin’ Now’ epitomises the essence and sensibility of JL on his best behaviour, as this sublimely composed, sung, written and delivered song pulls us into the imagination and sorrowful world JL portrays.

‘Still Waiting for My Phone to Dry’ stays in the same vein as its two preceding counterparts and yes, it fits as a suitable closer to the album.
Only available from JLs website for a short time, music meant to accompany the art of Ron Cameron is as abundant with magic moments as a Quality Street factory! Any JL/Grandaddy fan should consider this a must for their collection and should go buy it now whilst they can. I’m sure that beyond the track-spotting I’ve accomplished herein, (considering the sheer size of JLs expansive career) there’ll be more I’ve missed, along with a myriad of personally gratifying moments for any listener.

I can’t wait for JLs official follow up LP which promises some of his best lyrical trickery to date!