BOBBY SUTLIFF - Bitter Fruit
Not Lame/US
The tension between the influence of Byrdsian pop and Television's artpunk is what made Bobby Sutliff's former band, the Windbreakers, so refreshing. That tension is still here, years after the WB's demise, on Sutliff's BITTER FRUIT, his first release in many moons. It's a welcome return, especially for pop fans who've been yearning for a good guitar record to wrap their heads around. Roughly a decade in the making, BITTER FRUIT is a compilation of home and studio tracks Sutliff's laid down in the years since quitting the music biz in favor of parenthood and other grownup activities. Enlisting the aid of WB's producer Mitch Easter as a recordist and collaborator, Sutliff's made a rich album that recalls jangle pop's heyday without retro sentimentality, as evidenced on the ringing opening track, 'Warning Bells'. 'Change The Way' features gratifying Verlaine-esque soloing. 'Griffin Bay' receives washes of 12-string. Sutliff's voice is earnest; not the strongest in pop, but with a Chris Bell-like quality that complements the Big Star influence evident on tracks like 'Sorry If'. 'No More' features both Sutliff and Easter's accomplished riffing (where's Mitch's solo album?). Sutliff stretches out with traditional 'Spencer The Rover', on which he plays cello and string bass. BITTER FRUIT is spare but strong, washing guitar over the listener in waves. It's easy to see how fans of contemporary indie pop bands like Guided By Voices could find a lot to like here. Obviously, Sutliff's not as prolific as Bud-fueled Bob Pollard, or as endearingly inscrutable, but the hooks and chops are there. He deserves a fresh look from the pop public. For old fans, BITTER FRUIT will sound like home.
JULIE LEDFORD (7)
The former Windbreaker once titled an album ONLY GHOSTS REMAIN, which is appropriate for an artist who imbues classic Southern jangle pop with haunting melodies. Sutliff's music fits squarely within the tradition of artists like Big Star and early R.E.M., and many of his songs are moody strumfests that serve as a great vehicle for his gentle vocals. This album compiles tracks that Sutliff has recorded over the past decade, explaining why this release isn't entirely cohesive. But there are plenty of top quality tracks that illustrate why Sutliff has been a higly regarded talent since the early-80's. 'Days Of Summer' is a languid ballad that poignantly rues a lost romance with a distinctive lead guitar figure running throughout. The wistful verses of 'Griffin Bay' are a splendid counterpoint to the 'I Feel Fine' riff that Sutliff weaves throughout the song. The album's best track, 'You Don't Have To Go', benefits from the subtle drum work of Jeff Lewis and the haunting countermelody of what sounds like a cross between a cello and a saxophone that augments the chorus. Mitch Easter contributes some production and playing, but Sutliff recorded many of the songs alone at his crib. The medium-fi approach is wholly appropriate for the ethereal nature of his songs.
MIKE BENNETT (7)