Former Phish sideman delivers solid disc
By William Earl
2007-04-17
Page McConnell (Sony Legacy)
Before mega-jammers Phish threw in the towel in 2004, singer-pianist sideman
Page McConnell resembled nearly every member of another fab foursome.
Talented like John, quiet like George yet lively like Ringo, perhaps he was
most reminiscent of Paul in his pop workmanship. Creating a strong contrast
to the inspired weirdness and freakout psychedelia of frontman Trey
Anastasio, McConnell often relished the hooks over solos, although he was
always able to blast through a tremendous run during improvisational
sections.
This blend of musicianship and song writing prowess adds up to a cool
self-titled debut for McConnell. Making the transition to pop-pianist,
McConnell thankfully strays from Norah Jones-esque self-satisfaction to
release something pure. A major reason his transition into adult
contemporary works is because of a genuine appreciation for the craft and
respect for the audience, which sometimes lacks in an age of record
label-crafted talent.
The 9 solid tracks on this album donıt allow for many standouts, as
McConnell molds every song to accord with his grand, yet easygoing, vision.
Opener ³Beauty of a Broken Heart² sets the scene with a piano line
supporting McConnellıs gentle everyman vocals. The lyrics, avoiding the
previous Phish explorations of the absurd, stick to traditional love nı
loss fare, all the more fragile given the gentle frontmanıs demeanor. Other
standouts are the beautiful ³Close To Home² and closer ³Everyone But Me,²
which mercifully stays away from schmaltz in order to deliver a solid final
note.
Ultimately, the albumıs biggest downfall is something out of McConnellıs
control this isnıt a Phish record. Although maligned by the mainstream
press under accusation of directionless guitar noodling, meandering song
writing and subpar studio work, it is safe to call the group one of the best
of the 90s. But many who would be drawn to McConnellıs current work might
be turned off by the Phish association. Their frenzied fan base often
deterred those who were not interested in the neo-hippie jam movement. And
their exciting improvisation is missed on McConnellıs effort, especially
when his solid, yet unimpressive, band does not take risks Phish would have
capitalized on.
Ultimately, if Phish is to remain on permanent hiatus, any release from its
members is better than nothing. McConnell is now poised for the best solo
career over Anastasio and bassist Mike Gordon because, although not perfect,
he is able to start anew and distance himself from his past. Hereıs to more
positive jams in the future.
Page McConnell resembled nearly every member of another fab foursome.
Talented like John, quiet like George yet lively like Ringo, perhaps he was
most reminiscent of Paul in his pop workmanship. Creating a strong contrast
to the inspired weirdness and freakout psychedelia of frontman Trey
Anastasio, McConnell often relished the hooks over solos, although he was
always able to blast through a tremendous run during improvisational
sections.
This blend of musicianship and song writing prowess adds up to a cool
self-titled debut for McConnell. Making the transition to pop-pianist,
McConnell thankfully strays from Norah Jones-esque self-satisfaction to
release something pure. A major reason his transition into adult
contemporary works is because of a genuine appreciation for the craft and
respect for the audience, which sometimes lacks in an age of record
label-crafted talent.
The 9 solid tracks on this album donıt allow for many standouts, as
McConnell molds every song to accord with his grand, yet easygoing, vision.
Opener ³Beauty of a Broken Heart² sets the scene with a piano line
supporting McConnellıs gentle everyman vocals. The lyrics, avoiding the
previous Phish explorations of the absurd, stick to traditional love nı
loss fare, all the more fragile given the gentle frontmanıs demeanor. Other
standouts are the beautiful ³Close To Home² and closer ³Everyone But Me,²
which mercifully stays away from schmaltz in order to deliver a solid final
note.
Ultimately, the albumıs biggest downfall is something out of McConnellıs
control this isnıt a Phish record. Although maligned by the mainstream
press under accusation of directionless guitar noodling, meandering song
writing and subpar studio work, it is safe to call the group one of the best
of the 90s. But many who would be drawn to McConnellıs current work might
be turned off by the Phish association. Their frenzied fan base often
deterred those who were not interested in the neo-hippie jam movement. And
their exciting improvisation is missed on McConnellıs effort, especially
when his solid, yet unimpressive, band does not take risks Phish would have
capitalized on.
Ultimately, if Phish is to remain on permanent hiatus, any release from its
members is better than nothing. McConnell is now poised for the best solo
career over Anastasio and bassist Mike Gordon because, although not perfect,
he is able to start anew and distance himself from his past. Hereıs to more
positive jams in the future.
Switch writer William Earl suggests you pick up the 11/27/98 Phish bootleg
from the Worcester Centrum itıs pretty rad. E-mail him at
williamjearl@gmail.com.