Lemonhead Drive

Concept and analysis

'Lemonhead Drive' was conceived during the Covid-19 pandemic of 2020. Having been furloughed by my employer, like many others, I had more time on my hands to be creative - my normal six day a week working schedule allowing me only small pockets of time in which to compose and record new material. The 27 track album that materialized during this bizarre, and often distressing period reflects many of my moods and thoughts from this time. Feelings of isolation and paranoia were rife around the world, and I certainly experienced them myself to a certain degree. I don't think I expected the album to be quite so long, but fresh inspiration came daily, and soon I had enough tracks to allow me to develop a substantial concept album. While there is some guitar work, I think 'Lemonhead Drive' is essentially a keyboard/synthesizer based album.

The setting is the USA, the mood and musical direction are varied, to say the least...

The opening track, 'Erin Walks the Dog Wearing Bubblegum Shades', is one of my favourite tracks. A simple acoustic guitar strum develops into a more synthesizer-based composition, with electric piano and harpsichord to the fore. 'Drive-In With Cindy' takes two simple rock guitar chords, adds some distortion, then injects some cool sound effects, and some vintage layered synthesizer riffs that are just to die for. 'The Street Where Tammy Lives', is another favourite track. Childhood love is the theme - who doesn't remember having a crush on the girl who lived two streets away? Well, those feeling are rekindled here, in a poignant track that takes a pleasing piano sequence, adds clavichord, strings, and electric Spanish guitar, and turns it into something unique and very special. 'My Day-Glo Garden' was comprised entirely on the Korg Micron, and has a touch of 'Black Moth Super Rainbow' about it. 'A Sacramento Affair' combines synthesizer, electric piano, acoustic guitar and strings to produce a little number about a boy and girl having some fun in Sacramento. Angelic voices, brass, and a tight electric guitar riff are added to the coda, making this composition most pleasing to the ear. 'Mademoiselle Chloe' is tuneful, 'Dark Ferris' is mysterious and transporting. 'She Works From an Office in Outer Space' takes an imaginative break from the reality of suburban life, while 'Candy Machine Girl' returns us to the bubble of cosy teenage street life - a twangy Fender Stratocaster and some choice organ breaks turning this short composition into something upbeat and optimistic. Look out for the surprise 'reverse ending'. However, this is where the fun ends, and 'Virus Gun', the next track, heralds a change to the order of things. Almost avant garde in its approach, this composition is urgent in its message of danger and impending doom. As if waiting in the wings, the next track, 'Made In Wuhan', now makes its appearance. Both lengthy and majestic, this piece of electronic theatre still blows my mind. A seductive bassline weaves itself amongst ghostly voices and sound effects, building up tension, until the first release of crashing percussion propels the listener into a slippery-synth tune and, later, a frantic organ solo. Always sly and changeable, this explosive slice of musical extravaganza never fails to entice the listener back for more. 'Write On The Sun' and 'Lockdown in Tinseltown' continue to disturb, while 'Don't Ever Love Me Ginger', 'Retro TV Cop Night', and 'Dawn Cab to Mornington Crescent', finally add a little light relief to the proceedings. 'Nuke' is a collage of electronic sounds and voices, while 'Lockdown Dream Part 1' is experimental. '19 Ways to Fly (JFK Mix)' is a great little indie rock out track, complete with urgent, siren-like synthesizer passages. 'Cars That Have Men In Black Written All Over Them' uses reverse electric guitar to its advantage, creating an eerie and tense atmosphere. The saxophone intoxicated 'Big Deal In Electro City' is a slice of heavy electronica, with enough buzzing synths and electronic menace to keep even a purist happy.' 'Lockdown Dream Part 2' feature deranged fuzz guitar combined with plucked electric guitar and organ passages, creating something that is both unusual and beautiful. The final five tracks, 'Nitroride', 'Gas Mask Acoustic', 'Lockdown Dream Part 3', 'Storm Over Minneapolis', and 'Hail the Dead Presidents' share one thing in common - they all contribute to the sound of what is possibly my very best album. Have a listen!

Instrumentation

• Korg M50 synthesizer

• Korg R3 synthesizer

• Korg Micron synthesizer

• Yamaha MODX6 synthesizer

• Fender Stratocaster electric guitar

• AFQ Pro electric guitar

• Fender electric bass guitar

• Boss RC-102 Rhythm Loop Station

  
  

Finished product

'Lemonhead Drive' is one of my most accomplished albums and contains many of my favourite compositions. In hindsight, I think the first section of the album is definitely more upbeat, with a lighthearted, playful feel to the fore. The mood changes, gradually, to incorporate more complex, darker issues, such as drug use and prostitution. Major paranoia sets in half way through the album with the event of 'Virus Gun', 'Lockdown In Tinseltown', and, of course, in my 'pièce de résistance', 'Made In Wuhan'. This mood continues for some time, and is reflected in other tracks such as 'Cars That Have Men in Black Written All Over Them', 'Nuke', '19 Ways to Fly', and 'Big Deal in Electro City'. While there is some respite from this creeping paranoia, in the form of the uplifting 'Dawn Cab to Mornington Crescent', and 'Don't Ever Love Me Ginger', the remainder of the album falls into a sort of uneasy dream state, reflected in tracks such as the 'Lockdown Dream Trilogy', 'Gas Mask Acoustic' and 'Hail the Dead Presidents'. Check out my Spotify single release discography for access to compositions that have been released with alternative artwork. I feel the production was excellent on all tracks, and some singles received local radio play.