Spider Poets

Death of the Avante-Garde
Artist: Jerry Oliver
Label: Odd Records
Time: 18 tracks/63:42 minutes
When you see an album title like Death of the Avante-Garde you expect something unique, and perhaps a little pretentious too. Jerry Oliver's new album is definitely unique, but there is not even a hint of pretension in this fun, varied rock and roll collection. Oliver delights in the history of rock, and it is quite evident on these 18 songs (including one bonus track and one remix). He explores various genres and styles, all connected to rock and the history of rock, from pop to bluegrass, and alternative to hardcore. It is not avant-garde, but it is certainly a post-modern pastiche of rock and roll history.

The strange thing about this record is that despite its varying styles, it maintains its unity, never sounding incoherent. Also, even though it is certainly unique, it never feels experimental or revolutionary; instead it is a re-visitation and revision of classic rock sensibilities. Oliver seamlessly weaves the styles together track to track, making it a fun and catchy record, perfect for summer driving.

There is a recurring theme of questioning values, history, and ideals throughout the record, certainly adding to its post-modernism. Perhaps this is the death Oliver is referring to: we no longer have the time for abstractions, instead we focus on asking metaphysical questions though we never reach a concrete solution to those most pressing.

Unfortunately the album is marred by some simple, fixable mistakes. First, it includes four or five short, often humorous interlude tracks. These are unnecessary and detract from the coherence of the album. Also the remixed song and bonus track add clutter to the record making it sound unfocused. The focus on classic rock sounds may deter some listeners as well, however this is something Oliver most likely doesn't care about-if he wanted to make a pop record he most likely would not refer to the avant-garde in the title! If you don't mind sifting though a bit of the clutter you will find a rewarding listen in Death of the Avante-Garde. It may take a few spins before you get used to the genre hopping, but it is well worth the effort.

Noah Salo

- Noah Salo

Jerry Oliver - Death Of The Avant-Garde
2008, Odd Records

Minneapolis native and current Nashville denizen Jerry Oliver has been making music for a number of years. As a member of bands as diverse as The Cherokee Rose Band, Peculiar Red and Pushin’ Daisies, Oliver has released/recorded several albums, toured extensively and even been featured on a regional compilation. These days Oliver teaches guitar at The Musicians Hall Of Fame and Museum School Of Music in Nashville, in addition to gigging extensively. In February of 2008, Oliver released Death Of The Avant-Garde.

Death Of The Avant-Garde opens with the Hot Coals after a short prelude. Oliver sets the tone with big guitar and sitar evolving into a straight up rock tune with lyrics that are unimaginative and uninformative. Death of The Avant-Garde turns out to be a wonderfully Prog new wave tune. This will get people up and moving whether on the radio, in a club or on the stage of a stadium. Out Of Here is a bit slower getting through the verses but the refrain is ultra-catchy. Fact Or Fiction? is a mellow and dreamy introspective song that devolves into an occasional discordant fit. Ripped Yellow Shade wants to rely on a style that's part old school gospel.

Jerry Oliver is a capable vocalist, and the music on Death Of The Avant-Garde is interesting in composition. The musicianship here is first class, and the songwriting ranges from Great! to Okay. Death of the Avant-Garde is a fun listen and definitely worth checking out.

Rating: 3 Stars (Out of 5)

You can learn more about Jerry Oliver and purchase a copy of Death Of The Avant-Garde at http://www.jerryoliver.com/. - Wildy

By Dan MacIntosh

Jerry Oliver is one smart cat. He’s also spiritual dude who combines intelligence with spirituality on Death of the Avant-Garde. He comes off like a young Steve Taylor during many of these intellectual exercises, and even sounds like that “I Want To Be A Clone” guy vocally much of the time.

Marty MacKeever is credited with providing drum programming, loops, and keyboards to this project. Some of these tracks have a collage feel to them, as though there is more experimentation than natural jamming going on. It’s not until “Fact Or Fiction?" that an Oliver song truly takes root in the senses. Over an 80s sounding keyboard groove – not unlike that of The Cars’ MTV heyday – Oliver lets the melody have its natural way. It’s also hard not to love “Polka Hole," which is – just like its title suggests – a light polka tune. This instrumental is loose and easy.

A better musical template for Oliver’s lyrical philosophies can be found on “Things You Throw Away." It’s a guitar-driven track with an overall new wave feel to it. There are also cool backing female vocals. It illustrates how Oliver is so much more effective when he sings over simplified, straight forward musical tracks. He may be too young to remember the original new wave era, but this style’s influence can also be found on “The Question," which mixes tight guitar and keyboards together.

A couple of this CD's best songs are Oliver’s rare acoustic performances. One of these is “Alright," which is gentle and kind. A second is “Do Ya," which is supported by acoustic guitar and highlighted by fiddle fills. Listening to Oliver stripped of all the technology is a true treat. This simple, nearly-folk song is followed by “Do Ya Remix," which turns the song into a foreboding, ambient tune. It sounds like something you might hear at the end of a Blaxploitation film, where the main Superfly-like character gets whacked in the end.

- Dan MacIntosh

By Mark Suppanz

Since His band Peculiar Red broke up in 1998, this prolific Nashville-based singer/songwriter and guitar teacher has released nine LPs, both solo and with his wife Sheila (as Pushin' Daisies). He displays an eccentric quirky bent all over his new album, with a slightly sinister, yet inviting snarl that sometimes brings to mind Jello Biafra or Captain Beefheart. His melodic, Jazz Butcher-like art rock is varied and unpredictable. For example, "Fact or Fiction" sounds like The Go Be-Betweens and ELO, while the sleepy "Rain Parade" recalls Tom Waits. Producer/programmer Marty MacKeever provides attention-grabbing keyboard touches throughout (like the pleasant orchestral sweep of "There's a Hole In Your Dark"), while Loretta Brank contributes poignant fiddle on attractive ballads "Ripped Yellowed Shade" and "Do Ya." After so many LPs, Oliver's creativity shows no signs of waning. - The Big Takeover (Issue #63)