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Topeka - Land Rush (2004)

THE ORANGE COUNTY REGISTER, September 3, 2004

By ROBERT KINSLER, SPECIAL TO THE REGISTER

Anyone familiar with the acclaimed legacy of Gram Parsons knows the country-rock architect played seminal roles with the Byrds and Flying Burrito Brothers before going on to record two brilliant solo albums before his untimely death at age 26 in September 1973.

There is much of Parsons' legendary alt-country spirit in the music of Tustin's Fletcher Harrington, who has carved out some of the best alternative roots music this side of the Mississippi, with Cowboy Buddha in the late 1990s and as a solo artist in the 21st century.

Following up the release of 2001's "Eyes on Fire & Knuckles Sore" and last year's "The Ghost in the Choir," Harrington has shifted sonic gears with his new band, Topeka.

While his artful and distinguishing skills as songwriter, singer and guitarist remain at the center of Topeka, Harrington has brought in singer-guitarist Tanya Livingstone, guitarist-keyboardist Brit Collins and bassist Darcey Stubblefield to help create a sound that fuses folk and Americana roots music with ambient and electronic touches, a mixture that defies easy categorization. Nevertheless, the results delight on "Land Rush," Topeka's debut, which is set for release by Costa Mesa-based Lopie Records on Oct. 20.

"When I was recording 'Ghost in the Choir,' we were recording a lot of songs. I started working on both records at one time," said Harrington, recalling that he made a decision to finish and release "Ghost in the Choir" in 2003 and come back to Topeka this year. "I'm country-rock oriented. This (Topeka) is stuff I haven't done before, and it's a challenge. It took a lot longer."

Harrington's voice draws easy comparisons to artists such as Neil Young and John Hiatt, whose distinctive vocals work well with their characteristic material. Livingstone has a beautiful and emotive soprano, and the Laguna Niguel resident is featured across much of "Land Rush," including the intoxicating "Another Brilliant Day."

"I think my voice cushions his a bit; it softens it a bit," said Livingstone, who was also a featured guest vocalist on "Ghost in the Choir."

Added Harrington: "I sing a certain way. ... Tanya's voice might make it sound more accessible."

Livingstone is lead singer of the folk-rock group Blind Ruby, but she enjoys her role in the genre-busting Topeka as well.

"I think he is a good songwriter. Fletcher has good vision; he paints a picture," Livingstone said.

In addition to Topeka tracks such as "Another Brilliant Day" and "Winter 808," Harrington will be featuring originals such as "At the Train Wreck," "Texas Sized Mistake" and "As If You Had a Choice" when he performs tonight with Livingstone and Collins at the Coach House in San Juan Capistrano. Harrington also has several other upcoming solo shows in Orange County, leading up to an ambitious tour with Topeka that includes dates in Belgium, France and England in late October and early November.

When Harrington does play covers, he opts to perform obscure gems from the Velvet Underground and Parsons that segue more artfully into his original songs. And with an arsenal of original songs such as "Big Dumb Luck," "Coming Apart at the Seams" and "Oklahoma Shotgun Bath," Harrington is an artist whose freewheeling spirit is rooted in a self-described "Air Force brat" childhood that included stints in such diverse locales as England, Colorado and Florida.

"I've never been interested in what everybody else is doing," he said. "I am going to do what I'm going to do."

REALMUSICLIVE - Pete Feenstra

Coming from out of nowhere and crashing in at number one, Topeka are all about the angular alt.Americana roots music of one Fletcher Harrington, the wonderful voice of Tanya Livingstone, and the multi instrumental talent of Brit Collins. And if you can overcome the slightly nasal timbre of Harrington’s voice (often cleverly mixed into double vocal lines with Tanya), you will discover a wealth of impressionistic lyrics, musical textures and moods. Fletcher’s lyrics reflect a dark brooding psyche, the kind that was once explored by the likes of Loudon Wainwright, and might in contemporary times be almost best suited to a David Lynch style movie.

The songs themselves slip from a straight ahead folky feel as evidenced on the opening cut “Another Brilliant Day” and the very catchy Cymbaline, but in between there’s some of the most inventive, well crafted, delicate songs that its been my pleasure to hear for years. From the dense metaphors of “Sliding Scale” to the closing aching love songs “Ten Steps” there’s unrelenting craftsmanship at work. On top of that there’s also a clever inner structure at play with careful positioning of tracks based on tempo, feel, and pace.

The magnificent single “Winter 808” for example - complete with imposing repeated bass lines, percussion and echo reverb - hits a wonderful groove, and uses a late chord change to create a telling dynamic. The number is nicely juxtaposed by the edgy “Writing on The Wall”, and the sonorous “Like the Road That Rolls On by”. On the latter the accompanying restated chiming guitar riff, and beautifully muted trumpet manages to mirror the lyrical subject matter brilliantly. Above all Fletcher is no ordinary song writer. His songs are undoubtedly based on a mix of personal experience, literary nuances, and personal melancholy that only he can really know about. If you wonder for example exactly what he’s on, to come up with dense imagery of “Winter 808”, then he offers a teasing closing couplet to give you a part answer, “Light a pipe, and cool your eyes, Think like a panther on the prowl, Drink another shot of Jim Beam And drive a nail into your cross”.

Finally, a word about the band: If Fletcher with his delicate early Neil Young style vocals is the driving force, the band as I said at the outset is a very organic proposition with Tanya Livingstone adding haunting voice, and Brit Collins contributing intuitive guitar and keyboard parts.

Quite simply Topeka has produced a miniature classic. It could even be a macro monster but given Harrington’s weird take on things, he’s probably happiest with a micro success!

SOUTHBOUND BEAT MAGAZINE

by - DAVE HOWELL

Topeka is a project of members of three bands on Lopie Records: Fletcher Harrington of Cowboy Buddha, Brit Collins of Moonhead, and Tanya Livingstone of Blind Ruby. I reviewed Harrington's fine, quirky CD "The Ghost in the Choir," so I thought, correctly, that it was good news that he wrote all the songs here. This CD has an unusual flavor, even though Harrington shares the vocals with Livingstone. Her vocals are a bit less dark and more conventional than Harrington's reedy, high singing. Lopie Records' website compares Harrington with the late Gram Parsons. Both men had an Americana, roots sound, although it is difficult to compare Harrington to anyone, as you can tell by these examples of his lyrics: From "Popskull": "The carbons pass on by/The carbons pass, so I'll try." From "Winter 808": "Light a pipe and cool your eyes/Think like a panther on the prowl." Multi-instrumentalist Collins makes the tracks sound even more strange with his use of various keyboards, including farfisa and mini-moog (Harrington also plays organ and piano). Keyboards often are the main instruments rather than guitars in these Country flavored songs. Sarah Kramer adds to the feel with trumpet on a few tracks. These tales of lost love and loneliness have a spare sound, capturing a feel of regret and remembrance. They do not seem written by someone who is satisfied, but rather by a man who is constantly searching and on the move. There is an unsettled beauty here, and visions of feelings that can never quite be resolved. 

LE CRI DU COYOTE, February - March 2005

By CHRISTIAN LABONNE

Le refrain du premeir morceau commence par "I believe that it's a miracle". C'est un signe ou un hasard mais ce CD est lumineux. Rein de particulier a premiere nue dans cd projet qui reunit 3 artistes de Lopie, petite masion de CD californienne qui a le bon gout d'avoir dans ses rangs Fletcher Harrington dont le recent Ghost In The Choir a ete chronique ici. Dans Topeka, il est entoure de Brit Collins (clavier) et de Tanya Livingstone (guitare) qui chante en lead ou en harmonie avec lui et le mariage des voix est une reussite. Nappes d'orgues, guitares, acoustiques, percussions et quelques notes de trompette ou de guitare electruique servent de cadre a ces chansons presque toutes issues de la plume de Fletcher. La reference a Gram Parsons n'est pas usurpee tant la nostalgie et la charge emotionnelle qui emanent de ces plages est tangible. A l'instar d'anceiennes changsons de R.E.M. ou de mythique On The Beach de Neil Young, les ballades de Topeka ont une fraicheur et un charme indefinissable. Pas seulement de coutnry folk de qualite" bein plue que ca.

RADIO FEDRA, Serbia

The popularity of "Land Rush" will never end. It's becoming radio FEDRA's trade mark. - Dragan Stajic

COUNTRY JUKEBOX mit MAX W. ACHATZ

Fletcher Harrington (Cowboy Buddha), Brit Collins (Moonhead) und Tanya Livingstone (Blind Ruby) hatten in der Vergangenheit bereits miteinander gearbeitet, doch jetzt haben sich die drei Künster für ein Gemeinscaaftsprojekt zusammen gefunden, mit dem sie unter dem Bandnamen Topeka für ordentlich Schwung in der kalifornischen Musikszene sorgen.

Jeder, der die Musik von Gram Parsons, den Byrds un den Flying Burrito Brothers zu schätzen weiß, wird sich auch für das Albumdebüt von Topeka erwärmen können, dass seit kurzem mit dem Titel Land Rush im Handel erhäitich ist.

Die drei Künstlerkollegen haben einen von Parsons inspirierten Sound geschaffen, der sich aus verschiedenen Elementen der alt.country-, Folk-, Americana- und Roots Music nährt und der zudem mit elektronischen Einlagen angereichert wurde.

Auf diese Weise kommen die einzelnen Vorzüge der beteiligten Bandmitglieder voll zur Geltung - auch wenn es eine Kategorisierung nicht gerade leichter macht.  Das Zusammenspiel von Livingstone's wunderschöner, emotioneller Sopranstimme mit dem eines Neil Young oder eines John Haitt geradezu aufderängen, kann man nur als gelungen bezeichnen.

Real Roots Cafe      Januari 2005

"Land Rush" van Fletcher Harrington en de zinjen, is mijn eerste kennismaking met deze artiest uit Californië.  Samen met zangeres Tanya Livingstone en multi-instrumentalist Brit Collins tovert hij een eigenzinnig soort muziek uit de hoed, die niet zo marr te definiëren is.  Het is een mélange van folk, country, rock en pop in een wat zweverige omlijstion.  De muziek doet me denken aan vroeger: aan hippies, aan The Incredible String Band/Mike Heron, ann Pearls Before Swine/Tom Rapp, aan poëtische teksten.  Maar zeker ook ann vandaag: aan Low, ann Mazzy Star, ann ontsnappen aan de soms rauwe realiteit van het bestaan.  Het zijn tien liedjes die binja allemaal prachtig weemoedig én optimistisch getoonzet zijn.  Wanneer Livingston se leadzang voor haar rekening neemt is het genieten geblazen van haar loepzuivere folky stem, zoals in het straight gespeelde openingsnummer "Another Brilliant Day", het rustieke "Sliding Scale" en het symbiotische "Fall".  Harrington laat een aangenaam soort bibberstem horen die zowel krachtig als breekbaar overkomt, onder andere in het van Pink Floyd's album "More" afkomstige "Cymbaline" en "Winter 808".  Door de inventieve arrangementen en de gedoseerde inzet van gevarieerde instrumenten (waaronder zeer smaakvolle tromptjes) weet de plaat een verstilde en dromerige sfeer op te roepen die bovendien een buitengewoon relaxte uitwerking heeft.  Hoogtepunt van de plaat is het ronduit prachtig verhalende "Ten Steps" dat maar liefst ruim zeven minuten aanhoudt en toch veel te snel eindigt.  "Land Rush" is een zeer geslaagde fusie van ouderwets goede americana en integere, eigentijdse popmuziek.  (Huub Thomassen)

Country Special

Fletcher Harrington met de CD "The Ghost in the Choir".  Zo werd een paar maanden geleden de CD van Fletcher Harrington in deze rubriek aangekondigd.  

Inmiddels heeft hij een tweede project afgemaakt.  Hij wild graag dat een ander enkele van zijn zelfgeschreven songs zou zingen.  Hiertoe werd besloten om de band Topeka te formeren tezamen met zangeres Tanya Livingstone en mulit instrumentalist Brit Collins.

De muzieksoort is overgegaan op zoals zij het zelf noemen: Een nieuw geluid in de Americana muziek.  Zijn muziek, welke hij zelf schrijft vant in de caregorie Americana muziek.

Ik vond twe nummers, waaruit de kwaliteiten van Fletcher Harrington als liedjes schrijver blijken.  Deze kunt u de komende programma's beluisteren.

Veel luisterplezier met Topeka.

INANNA NAKED    by Héctor Noble Fernández

Topeka, con el Señor Harrington como principal motor y compositor/letrista es una banda formada por miembros de otras bandas de Lopie Productions: Fletcher Harrington (Cowboy Buddha), Tanya Livingstone (Blind Ruby) y Brit Collins (Moonhead). Si os digo que en este disco hay una maravillosa versión de "Cymbaline" (Pink Floyd) probablemente os haréis una idea más exacta sobre la música en "Land Rush", o no, la verdad es que hay obvias influencias de los 70, pero la diferencia entre el primer y el segundo tema de este cd podría ilustrar perfectamente las dos columnas musicales más importantes del primer álbum de Topeka; el country y la música de los 70, todo quizás bajo un ligero tamiz independiente o alternativo. El primer tema es cantado por Tanya Livingstone, el segundo por Fletcher Harrington; los temas cantados por la Señora Livingstone son más melancólicos y francamente bellos; los temas con el Señor Harrington como protagonista tienen un aire más grave, con influencias más sombreadas; los temas con voz femenina son más simples y orientados al country, mientras que la voz de Fletcher es muy particular y las guitarras eléctricas usualmente aparecen en las canciones a las que les presta su voz, pero no exactamente para traer rock a la música, solo sonoridades eléctricas mezcladas con las emociones acústicas; el bajo y la batería hacen el resto. "Sliding Scale", "Fall" y la hipnótica "Like the Road That Rolls On By", las tres cantadas por Tanya, introducen una espléndida trompeta que hace estos temas más líricos o evocativos; otros elementos son un casi constante fondo de órganos clásicos (Wurlitzter, Hammond, Moog...), cristalinas guitarras acústicas que dan un poco de luz a su melancolía y esas otras guitarras en momentos muy concretos repitiendo lentamente las mismas pocas notas o esquemas rítmicos. El desarrollo instrumental de los temas, con influencias abiertas, da un enfoque más alternativo y variado a la música, como el sugerente bajo en ese repetitivo experimento llamado "Winter 808". Un poco de desierto americano, un poco de nostalgia y diez canciones con sabor nocturno y sonoridades errantes, tocadas con cuidadosa y emotiva lentitud.

Letras: las letras de Fletcher hablan sobre sentimientos, situaciones y lugares muy concretos, quizás basados en experiencias personales pero bajo un prisma ligeramente impresionista; como sueños literarios sobre soledad, viajes, extrañas relaciones, esperas...

8,7/10