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At peril of engaging in a mild bit of hyperbole, Donovan’s Brain<\/b><\/a> can rightly be described as a college-rock supergroup. \u201cCollege rock\u201d \u2013 those of you over thirty may recall \u2013 was the label applied to music of the 1980s and beyond that didn’t quite fit on commercial FM radio, but was quite popular in its own semi-underground way. Duran Duran<\/b> wasn’t college rock, but R.E.M.<\/b><\/a> was; Human League<\/b> didn’t qualify as college rock, but New Order<\/b> did. College rock was eventually re-branded as \u201calternative,\u201d a slightly less meaningful term: alternative to what, exactly? (Oh: yeah: commercial product served up by the likes of Bon Jovi<\/b>.)<\/p>\n Supergroups, of course, were a classification that came about nearly two decades earlier: when musicians of some individual renown came together as a new group, they earned the tag: Crosby, Stills, Nash and <\/b>(sometimes) Young<\/b>; Cream<\/b>; Emerson, Lake, and Palmer<\/a><\/b>. Or, in much later years, the Traveling Wilburys<\/b>.<\/p>\n But back to college rock for a moment. The jangly sound \u2013 often thanks to Rickenbacker guitars \u2013 was a key component of some of the era’s best outfits. And a knowing update of 60s garage rock coupled with a new wave edge; that was part of the mix as well. And some of the groups that exemplified the best of what college rock had to offer were The Windbreakers<\/b>, Rain Parade<\/b>, and The Long Ryders<\/b><\/a>. Each of those groups reached their apex in the 1980s; they recorded and released music that may have not shifted millions of units, but they created music that was critically well-received, and that has stood the test of time.<\/p>\n Fast forward to the 21st<\/sup> century. Most of the aforementioned acts have long since broken up, their members having moved onto other things (not to mention having their gotten three decades older). But their creative impulses have not dimmed, and select members of those groups, along with others of note and skill, formed a collective known as Donovan’s Brain.<\/p>\n The group includes guitarist Matt Piucci<\/b>, late of Rain Parade<\/b> and \u2013 of all things \u2013 Crazy Horse<\/b>; guitarist Bobby Sutliff<\/b><\/a> (The Windbreakers<\/b>); Tom Stevens<\/b> (The Long Ryders<\/b>) on bass. And if that’s not enough college rock\/alterna-cred, the group’s lineup features guitarist Deniz Tek<\/b><\/a> (of American\/Australian punk heroes Radio Birdman<\/b><\/a>) and drummer Ric Parnell<\/b> (better know to rock fans as Mick Shrimpton, spontaneously-combusting drummer for Spinal Tap<\/b>, and also a member for a time in Atomic Rooster<\/b>). The group is rounded out by names slightly less well known but of equal musical caliber: Ron Sanchez<\/b> (multiple instruments), Scott Sutherland<\/b> (many instruments as well), and vocalist Kris Wilkinson Hughes<\/b>.<\/p>\n But pedigree only takes one so far: none of this history would matter one whit if the music wasn’t worth the listener’s time. Happily, the players and composers involved have, in Donovan’s Brain, created music that’s in many ways more timeless and potentially enduring as the music they made in decades previous. The group plays down the composition credits, but the fourteen songs on their new Heirloom Varieties<\/i> were (as you’ll discover if you read the credits very<\/i> carefully with Google at hand) written collectively by Sanchez, Sutliff, Sutherland, and Stevens. That said, it’s clear that the other players bring their unique and estimable talents to bear on the arrangements.<\/p>\n After the delightful (if slightly tentative and wobbly) country rock of \u201cBrighten Up Shop,\u201d the soaring and winsome \u201cHouseboy\u201d will evoke smiling memories of the twangy, Byrds-influenced end of college rock sound. The more deliberate pace of \u201cSaw it coming\u201d is very reminiscence of Third<\/i>-period Big Star<\/b><\/a>, filtered through Rain Parade’s paisley-psych sensibility. The whooshing phased-guitars of \u201cUp to Me Down to You\u201d lean even more in a Rain Parade direction.<\/p>\n \u201cGreat Divide\u201d feels like Bobby Fuller Four<\/b> (specifically, the classic \u201cLove’s Made a Fool of You,\u201d which is quoted) crossed with the Flying Burrito Brothers<\/b>; lots of shimmering electric guitars and winningly loose-limbed vocal harmonies abound. The twelve-string guitar solos are maddeningly short, as they should be in a great pop song: \u201cleave ’em wanting more\u201d is always a good creative strategy.<\/p>\n Some simple yet effective piano is a key ingredient of \u201cLong Time Ago,\u201d a Tom Petty<\/b><\/a>-esque contemplative and melodic number. \u201cScant Information\u201d revives the paisley underground vibe, with subtle use of Mellotron and backward guitar figures.<\/p>\n Kicking off what’s noted as Side Two (the disc is available on vinyl as well) \u201cWedding Bell Ring\u201d sounds like the best Byrds<\/b> tune you’ve never heard: adding to the creamy Rickenbacker guitar is some tasty Leslie-effected soloing and an extended bridge that’s strong enough to be a song itself.<\/p>\n