Music Review - Bluberry Hurricane - Cheap

More of the same Harrison-like goodness. I might have to dig this one out again.

A mysterious wah guitar and light drums introduces Cheap, the second release from local artist Kevin Hambrick who records under the name “Blueberry Hurricane.” As on his 2001 self-titled debut album, Hambrick plays every guitar and every bass, sings every vocal part, and hits every drum (although he does allow fellow Big Red & Rojo member Kyle Stevenson to record and mix the collective tracks). Once again Hambrick weaves a tasty tapestry of songs that borrow elements from the 60s and 70s while adding in a flurry of experimental sonic textures, all coagulating into inventive retro-ish rock/pop songs.

The aforementioned first track, “Knockin’ On The Door (Again),” pits a relaxed Lennonesque melody against a driving bridge, all with some nice vocal harmonies. Like a moody ode to “Savoy Truffle,” “Marigold” is hijacked by a really cool fuzz bass that rumbles through the song like a deranged grandmother (sans teeth). To continue the George Harrison feel is “Feel Me Try,” with vocals that sound as if they came right from the great dead one’s mouth and some great guitar work. Changing gears is “Potion,” which consists of acoustic guitars, Crosby, Stills and Nash vocal harmonies, a catchy, folksy melody and nothing else — clean, simple and memorable. The intentionally lo-fi vocals on “Epidemic” give this jaunty song of love lost a nice 40s feel while the chiming guitars and two-part vocal harmonies of “Much Too Long” remind the listener of the classic songwriting of Jim Croce.

The acoustic stand-up bass and fuzzy guitars on “Evening Of Delight” are yet another sound in the tool belt of this creative artist. The album ends with the lighthearted “Go To Bed,” a short acoustic song sure to bring a smile to your face.

Unlike the last project, which was recorded at Soundmill, this one was definitely done on the cheap. While the artwork is exquisite (as is his website at www.kevinhambrick.com), it’s obviously a computer printout over a CD-R. Sound-wise you can also hear the limitations of whatever equipment was available at their home studio, but it’s not such that one is distracted from the content of these wonderful songs. These nine arty songs are available at the artist’s web site and at Wooden Nickel stores at a nice, Cheap price.

This review first appeared in WhatzUp, August 2002.

Music Review - Blueberry Hurricane - Blueberry Hurricane

No picture, kids. This is a local CD from so long ago that, well, my original review has disappeared off the interwebs. But in searching for an album cover pic I discovered that Blueberry Hurricane is "especially good marijuana." Hmmmm.... Good music, though.

Call it a hunch but I'm willing to bet that Kevin Hambrick, the lone creative force behind Blueberry Hurricane, has more than the national average of lava lamps around his comfy abode. From the moment the first note hits your ears until the last nuance of sound finishes vibrating your eardrum, you'll be immersed in a wash of retro late sixties sound. Hambrick's Lennonish voice only adds to this mystique, as does the vintage instruments and excellent period recording sound captured so perfectly by Soundmill Recordings. The opening song is a glorious train wreck of psychedelic Doors-induced vibe with lots of wailing, bluesy guitars. "Crying in my Sleep" was an early favorite with a George Harrison feel, double-tracked vocals, excellent fuzzy 60s guitar, and some dead-on songwriting. In "So Exhausting Being Me", Hambrick layers an effected vocal over a freaky reversed guitar track. There's a lot going on in this two-minute song with dueling vocals, keyboards, and heaps of lean guitars. "I'm Not My Music" finds Hambrick back in full Lennon-mode with such twisting lines as "I'm not my music/ The music is me/ And sometimes it's all that I have" sung with a very intriguing melody and some ballsy, blues guitar riffing. With it's irregular meter, adventurous use of rhythm, and intentionally rough edges, "Venice" reminded of the two early Zappa-era Alice Cooper albums, which is to say that I liked it a lot. "Goin Down" gets even stranger with a sparse mix of vocals, warbly guitars, and a backward something keeping beat. Good stuff, Maynerd!

My only beef with this album is the length. These ten pop gems add up to less than thirty minutes. Yes, they are thirty wonderful minutes, full of the same easy, experimental feel that was characteristic of some of the best music from the late sixties, but the album ends with you wanting more. I guess this is better than the other extreme and since he played every instrument on the album (my guess is that each two-minute song took many multi-tracked hours to record) such brevity is excusable. The songs are exceptionally well-written, full of catchy hooks and startling changes. Hats must also go off to Soundmill Recordings for so effectively capturing the authentic 60s guitar and vocal tones. For fans of psychedelia and good pop rock, this album is definitely worth the drive to a nearby Wooden Nickel Records!

This review first appeared in WhatzUp, May 2001.