When a music journalist uses the term, “California Sound,” most of us instinctively know what that means, whether we experienced it in real time or soaked it up second-hand on classic rock and oldies radio stations. The lush vocal blend and romantic innocence of the Beach Boys’ music, or the outstanding harmonies and guitar-laden sound of America or the Eagles might come to mind when reaching for examples to define the musical sound of the Southernmost end of the Golden State.
While the face of pop music has radically changed since those groups first topped the charts, the overriding influence they had on music cannot be denied. Those influences are heard to great effect in the music on singer-songwriter Jeff Larson’s Fragile Sunrise.
Larson has done an admirable job of infusing his album with the kind of slow-burning aural glow that inhabits the best of what used to be called “mellow rock”. In fact, he’s gone directly to the sun-drenched source to make sure his songs reflect all the warmth and beauty of a Malibu sunset. Fans of the groups mentioned above will be delighted to hear vocal and musical contributions by Gerry Beckley and Dewey Bunnell (America), Timothy B. Schmit (Eagles), and Jeffrey Foskett (Beach Boys, Brian Wilson), assisted by a coterie of studio aces breathing additional color and life into the lyrical musings of these romantic songs. Producer/multi-instrumentalist Hank Linderman (Aimee Mann, Tim McGraw, Timothy B. Schmit) deserves his own accolades for ably helping to shape the sound of Larson’s musical journey.
Larson plays his 514ce and 614ce throughout Fragile Sunrise, strumming and flatpicking against, above, around, and beneath chiming electric 12-strings, smoothly distorted Strats, and tasteful synthesizer beds. The instrumental arrangements are impeccable, and vocal blends borrowed from each of the abovementioned supergroups helps raise each song to a familiar-feeling level, even on first listen. Larson’s melodies sparkle, rise, and fall, not a note wasted or a phrase out of place. In some cases, his lyrics glimmer like reflections on the moving surface of the sea, thus suggesting poetic impressions of the subject matter, rather than making prosaic, obvious statements.
The album opens with “Place Where I Belong”; a little flash of Byrds-y jangle and echo catches your ear, and then you’re swept off into Jeff’s melodic world as he sings about the “sweet dream” in his mind, and “all the promise in her smile.” Wrap-around, America-style vocals back up Larson’s mellow tenor in the verses, and morph into rich and creamy Brian Wilson-ish lines in the bridge of the song.
“Changing Colors” is a lovely song, with perhaps the prettiest melody on the CD. Schmit backs Larson’s vocal on this tune about searching for and finding comfort in the wake of life’s occasional turmoil. Sparkling acoustic guitars, including Larson’s high-strung Baby Taylor (played by producer Hank Linderman) effortlessly carry the arrangement forward, through a delicate mist of fluttering synthesizer trills. [Ed. Note: See the “High-strung Baby” article in the Summer ’03 issue of Wood&Steel.]
Another standout track is “Norman,” a tune written by America’s Beckley, who co-produced the cut and sings harmony on it. “Norman” [about the late architect and designer Norman Bel Geddes] is a moving ballad supported by an exceptional arrangement -- orchestral details, unusual percussion, toy piano, and other subtle touches (including more Brian Wilson-style backing vocals) imbue the song with drama, and make it a very engaging listen.
“Heavy Rain” is a haunting, melancholy tune, a nice change of pace from the relatively upbeat tone of the album. The chords take an unexpected turn and “lift” the listener into the chorus, and throaty baritone-guitar parts punctuate the soundscape around Larson’s plaintive vocal line.
The 12th cut, a bonus track, is the “producer’s commentary” version of “Norman”. If you’re into recording, or have ever been in a band, you’ll probably get a kick out of listening to Beckley calling out arrangement suggestions on the fly, while singing along with, and making comments on, everything from the string section to the guitar parts. This track lends a light and pleasant final touch to the album.
If you enjoy the mellow pop music of the ’70s, Fragile Sunrise is capable of transporting you to a place where the skies are clear, and there’s a fresh salt breeze in the air. A wall of beautiful voices, enchanting melodies, soaring harmonies, a blend of mellow acoustic and singing electric guitars -- it’s a classic combination of sound and sensibilities, and Larson gives it his own contemporary spin.
—Andy Robinson
