Gorgeous Johnny is finally out. Sweet. I’ve been waiting
three years for a new album from the
Skygreen Leopards. Their last, 2006’s
Disciples of California, is so good it had me writing all kinds of wacky copy about
Jerry Garcia fronting
Television Personalities in a dive bar in Santa Cruz. (Oh, wait a minute. Maybe that was Mickey Dolenz and the
Go-Betweens?)
Disciples strikes the perfect balance between 1980s twee and rootsy, West Coast folk-pop. Since its release I’ve stumbled across more than a few indie bands exploring similar turf. I dig a lot of them, particularly San Diego’s
Donkeys, whose
Living on the Other Side is just splendid. But for the most part very few of them can do what the Leopards do. Even with the Donkeys, you can point to a specific guitar lick or riff and say “That’s so
Neil Young” or “Man, that sounds a lot like ‘
Ripple.’” What makes
Disciples special, in contrast, is how the album channels the golden age of California pop, folk and country without ever aping it, without ever sounding like a Monkees tribute band or the Grateful Dead, Jr. Ultimately, the Leopards are more about capturing the feeling of that era rather than its actual sound.
Now having said all that,
Gorgeous Johnny finds the Skygreen Leopards backing away from their love of classic California. I mean, it does have its moments, like the
Smile-inspired vocal magic of “Goodnight Anna” (the album’s third best song after (1) “Can Go Back” and (2) the title track). But overall,
Gorgeous Johnny is way less pastoral, way less wandering-the-countryside-on-a-Saturday-afternoon music. In fact, it’s really kind of urban. Like one of America’s half-dozen classic flatiron buildings, it’s lined with finely detailed ornamentation. The album’s artwork gives all this away. Where
Disciples’ cover is a dusty country road (albeit one with a gigantic skull hovering at its end), this new record sports a colorful painting of a city block full of towering apartment buildings.
Though the Leopards’ artistic core are singer-songwriters Glenn Donaldson and
Donovan Quinn, the recent addition of multi-instrumentalist Jason Quever helps explain the sound of the new album. This dude is the brains behind
Papercuts. If you dig richly textured dream pop, then check out their latest release
You Can Have What You Want, released this past spring. Quever, unlike Quinn and Donaldson, doesn’t sound as if he writes songs while strumming a guitar underneath the protective canopy of a redwood forest. He’s more of a composer-type, one who probably develops ideas on the piano. Of course, I’m just guessing here, but I think I’m on to something. A good chunk of
Gorgeous Johnny feels more composed, more baroque -- more
rococo. (Ha! That word rules.) Several songs unfold like mini-suites stitched together from two or three song fragments. The most striking just might be the oddly titled “SGL’s et al.” It opens with piano and handclaps drowning in echo, that whole recorded-down-the-hall effect. This ends abruptly, giving way to Quinn mumbling like
Lou Reed after staying awake for 36 straight hours. He’s saying something about the band getting in the van and driving to the sea. Gradually, Quinn melts into a hazy, droning chant involving a little strummed guitar and about three or four hushed voices. It’s really quite... gorgeous.
Then again, so is the rest of this more-than-worthy follow-up.
PS - You in need of even more Skygreen Leopards? Then check out their
Rhapsody celebrity playlist! It’s packed with all kinds of good stuff: The Kinks, Jerry Jeff Walker, The Clientele, Lou Reed, Outrageous Cherry and more.