Review by: Avery Campbell
Album assigned by: Charly Saenz
The Aerovons were an American psychedelic pop band who really liked The Beatles. No, I mean REALLY liked The Beatles. They liked The Beatles so much that they turned down a recording offer from Capitol Records because they wanted to be able to record in London. Somewhat miraculously, this stubbornly starry-eyed hero worship actually did eventually land them in Abbey Road to record their album, although it’d go unreleased until 2003.
Sound-wise, the album is pretty standard baroque psychedelic 60s pop. Nice harmonies, swirly string arrangements, piano, etc. In fact, standard might not be a strong enough word – some of this stuff is really derivative. Resurrection and Say Georgia make this clear almost immediately, borrowing heavily from Across the Universe and Oh Darling respectively, but the feeling of a band really excited by music but without much new to say permeates most of these tracks. They take a stab at the “ballad with stinging electric guitar” on Quotes and Photos, “doofy British music hall” on Bessy Goodheart, “lightly psychedelic hippie strummer” on The Years, and so on. All of these songs are competently written and performed, but they have trouble distinguishing themselves as more than a band writing songs in particular styles because those are the styles their favorite bands wrote in.
On the positive side, though, this album is certainly an enjoyable one. It’s a very pleasant listen, the production is excellent, and there are a few songs that manage to be pretty striking. My personal favorite is the opening “World of You”, a wonderfully orchestrated ballad and the major keeper here. Bessy Goodheart sounds quite a lot like both The Kinks and Lady Madonna, but is probably the catchiest song on the album, and She’s Not Dead also has a pretty solid chorus. The closing bonus track Here is quite lovely as well, despite being a little too obvious of a stab at a McCartney ballad.
So, while Resurrection is certainly an enjoyable album, I wouldn’t rate it as one those “lost 60s masterpieces” like Odessey and Oracle, Forever Changes, or Walk Away Renee/Pretty Ballerina. More than anything, Resurrection makes me wish this band had stuck around long enough to put out more albums. There’s all the signs of a potentially excellent songwriting outfit once they’d matured a bit. After all, at the time our main songwriter here was 17, and what 17-year-old doesn’t want to be his hero? File this with the early Bee Gees albums, and that sort of thing, though the melodies are weaker here. Still, not a bad grab for lovers of obscure 60s pop.