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You know that old saying: \u201cIf you want something done, ask a busy person to do it.\u201d Or something like that. By all available evidence, this axiom holds true in creative matters as well, at least when the subject is connected to Mystery Lawn Music. I’ve covered a number of MLM-related releases over the last few years: The Orange Peels<\/strong>‘ 2020<\/em><\/a>;<\/span> The Fairwood Singers<\/strong><\/a>; Agony Aunts<\/strong><\/a>, William Cleere + the Marvelous Fellas<\/strong><\/a>. All of these bands\/projects\/whatevers have one thing in common: some degree \u2013 often a high one \u2013 of involvement by Allen Clapp<\/strong>.<\/p>\n So, based on that information alone, it’s clear that Clapp’s a busy guy. But wait: I’m pretty certain he also has a day job. Indie heroes of the underground pop variety can’t support a lavish lifestyle on music revenues (that’s a subtle hint: Buy. Their. Albums.) so day-job it often is.<\/p>\n Against that backdrop \u2013 and with the safe assumption that more stuff is always in the works over at Mystery Lawn \u2013 it’s delightful news to discover yet another release from the multi-talented Mr. Clapp. The latest is Mixed Greens<\/em>, credited to Allen Clapp & His Orchestra<\/strong>.<\/p>\n Mixed Greens<\/em> certainly shares some sonic similarities with other Mystery Lawn releases; how could it not be so? From my point of view (or, more properly, hearing) that’s a very, very good thing. The liner notes \u2013 part of the reliably lovely package design \u2013 don’t quite spell out all of the who-does-what details, but many of the Mystery Lawn usual suspects \u2013 or as I recently called them, a Wrecking Crew<\/strong> in miniature \u2013 are name-checked. Still, this one is Clapp’s show, first and foremost.<\/p>\n The majestic \u00be lilt of \u201cPicnic at the Hermitage\u201d sets the album’s tone. This instrumental track betrays hnts of XTC<\/strong> influence, and Magical Mystery Tour<\/em> era Beatles<\/strong>, but it’s pop, not sike. \u201cDownfall No. 3\u201d is reminiscent of Clapp’s Orange Peels work, albeit with more of a Left Banke<\/strong> bent. Name-checking Carole King<\/strong> and Chrissie Hynde<\/strong> gives the listener additional cues to where Clapp’s coming from; so too do his wide-panned \u201cla la las.\u201d The soaring \u201cAll or Nothing\u201d is redolent of the best AM radio pop of the 70s, but Clapp’s use of electronic percussion imbues it with a (relatively) more modern vibe.<\/p>\n Though most of the song on Mixed Greens<\/em> are built around piano, \u201cTreeline\u201d centers around acoustic guitar, at least initially. Its highlight is Clapp’s clear and impeccably multitracked harmony vocal work. Bonus points for some twangy, reverbed (albeit tantalizingly brief) lead guitar \u2013 and sympathetic bass work — both highly evocative of Pet Sounds<\/em>.<\/p>\n Clapp’s vocals carry the strong, memorable melody of \u201cIf the Wind is Right.\u201d A second instrumental, \u201cIn the Halls of the King of the Land Beyond the Sun\u201d has the loosest, most \u201clive\u201d vibe of all Mixed Greens<\/em> tracks, and it also veers the closest to rock’n’roll. The plaintive, melancholy \u201cBack 2 Normal\u201d is another exemplar of classic songwriting and arrangement; though most of Clapp’s compositions tend toward the upbeat, he’s clearly an expert at capturing pathos and other finely-shaded \u201cadult\u201d emotions in a way that’s very appealing and resonant. The occasional \u201cWoo hoo hoo\u201d helps with that.<\/p>\n \u201cI Remember What You Said\u201d employs guitar again; this time it’s of the delicately picked electric variety. Subtle use of several keyboard textures adds a lot to the song. \u201cAutumn Heart\u201d employs a piano with a very \u201cupright apartment grand\u201d texture, and is vaguely reminiscent of (very early) Elton John<\/strong>. The no-duds track list wraps up Mixed Greens<\/em> with \u201cThe Winter in You.\u201d It’s perhaps the album’s most subtle track, taking its sweet time to unfold, and drawing the listener in all the while. Like all of the tracks on the album, it delivers the vibe of baroque pop without the filigree normally associated with that style.<\/p>\n Special recognition is due to liner notes author Jud Cost<\/strong> for channeling Ralph Gleason<\/strong> in his essay. He provides some context, tells a story, and entertains; the brief piece fits hand-in-glove with the music and overall packaging. I hear it’s soon to be on vinyl, too!<\/p>\n \u00a0If you’re looking for a rocking good time, turn your attention elsewhere (toward, say, The Orange Peels’ 2020<\/em>). But if your tastes and appetite run toward impeccably crafted pop, Mixed Greens<\/em> should be on your platter.<\/p>\n
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