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On 24 November 2024, The Catfish in Fitzroy will host Jason Falkner, an LA-based musician whose meticulously crafted pop has resonated with fans and musicians alike, both in the United States and beyond.
Known for his ability to play nearly every instrument on his records and his thoughtful, layered songwriting, the upcoming solo performance of Jason Falkner alongside Melbourne’s The Wellingtons offers a rare opportunity for audiences in Australia to engage with an artist whose influence has spanned decades. Though his impact on Melbourne’s scene has been subtle, Falkner’s presence in Australia fits perfectly within the city’s rich tradition of intelligent, well-crafted pop.
Paisley Underground Origins and Prince's Influence
Falkner, born and raised in Los Angeles, began his career in the mid-1980s when he joined The Three O'Clock, a key band in the Paisley Underground scene, known for its blend of 1960s pop and psychedelic influences. Falkner joined the band just in time to record their final album, Vermillion (1988), produced by Ian Ritchie and released through Warner Bros. Records on Prince's Paisley Park label. Prince had been aware of the band since their earlier release Arrive Without Travelling, with The Bangles tipping them off that the legendary artist was a fan. Prince even contributed the track "Neon Telephone" to Vermillion, writing under the pseudonym Joey Coco. Despite the high-profile backing, Vermillion failed to make an impact both critically and commercially, marking the end of The Three O'Clock's studio recordings.
After The Three O'Clock disbanded, Falkner’s friend Roger Manning convinced him to move to San Francisco to join his new band, Jellyfish. Jellyfish stood out during the early 1990s for their flamboyant attire and sophisticated pop harmonies, in sharp contrast to the grunge-dominated scene of the time. Their debut album, Bellybutton (1990), drew inspiration from bands like The Beach Boys, Queen, Cheap Trick, XTC, ELO, and The Zombies. Though Bellybutton saw some chart success and received radio and MTV play with tracks like "The King Is Half-Undressed," Falkner left the band shortly after its release. Creative disputes—mainly over his lack of songwriting opportunities—prompted his departure, and he vowed never to join another band. But that vow wouldn’t last long.
Jellyfish and The Grays: From Collaborative Ideal to Creative Tensions
After Jellyfish, Falkner found himself once again being drawn into a collaborative project, but this time it wasn’t through traditional industry channels. Jon Brion, impressed by a mixtape of The Zombies’ Odessey and Oracle that Falkner had made for his girlfriend, reached out and invited him to a jam session with Buddy Judge and Dan McCarroll. What started as informal gatherings between friends soon attracted the attention of a music executive, leading to a bidding war over a band that didn’t yet exist.
Reluctantly, Falkner agreed to form The Grays, and in 1993 they signed with Epic Records. The intention behind the group was to create a democratic collective, with each member contributing songs and swapping instruments based on the needs of the music. However, despite this egalitarian structure, creative tensions began to arise during the recording process. Their debut (and only) album, Ro Sham Bo (1994), featured Falkner’s song “Very Best Years” as the lead single. Accompanied by a music video, the track received some airplay on MTV and minor radio attention, but the album struggled commercially despite positive reviews from critics.
Behind the scenes, the group’s supposed democracy began to crack. Falkner later reflected that, despite the band’s intentions, he felt like the leader, as their producer Jack Joseph Puig gravitated more towards his songs. Falkner ended up with one extra track on the album, which created friction, especially with Jon Brion. The band's inability to find commercial success, combined with the growing internal animosity, led Brion to leave, and soon after, the band dissolved. Ro Sham Bo later went out of print, but remains a cult favourite among power-pop aficionados.
A Solo Career Signed to Elektra and Pop Masterpieces
After his experiences in band settings, Falkner finally embarked on a solo career where he could fully control his artistic vision. He signed with Elektra Records and released Presents Author Unknown (1996), an album widely regarded as a power pop masterpiece. Falkner played nearly every instrument on the album, with tracks like "I Live," "Miracle Medicine," and the introspective “Afraid Himself To Be” showcasing his ability to blend intricate arrangements with emotional depth.
Jason Falkner even toured throughout Australia with indie rock band, The Clouds on their "Never Say Forever" tour in 1997. Though it didn’t achieve mainstream commercial success, Presents Author Unknown solidified Falkner’s cult following.
His follow-up album, Can You Still Feel? (1999), was co-produced with Nigel Godrich, best known for his work with Radiohead.
The album built on Falkner’s growing reputation for crafting smart, introspective pop songs. Highlights include the lush "Eloquence" and the soulful "My Lucky Day." Falkner's ability to weave complexity into accessible pop melodies further cemented his place in the power pop canon.
Necessity and Beatles Tributes: A Glimpse into the Process
In 2001, Falkner offered fans a look into his earlier work with Necessity: The 4-Track Years, a compilation of demos that revealed the raw origins of some of his fully realised songs. Tracks like "She Goes To Bed" and "My Home Is Not A House" showcased Falkner’s gift for turning even the most stripped-back demos into intricate pop songs.
Falkner's deep admiration for The Beatles came to the forefront with Bedtime With The Beatles (2001), where he reimagined the band’s classic songs as lullabies. With his soothing takes on tracks like "Across The Universe," Falkner transformed well-known tunes into something entirely his own. In 2008, Bedtime With The Beatles Part Two was released, featuring more of Falkner’s lush instrumental versions of Beatles classics, including "Here Comes The Sun."
In 2007, Falkner released I’m OK, You’re OK in Japan, an album that continued to build on his legacy of lush pop melodies. Songs like “This Time” are standouts, merging his sophisticated arrangements with deeply personal lyrics.
A U.S. version of I’m OK, You’re OK was released in 2010, featuring alternate artwork and a few notable changes from the original Japanese edition. Among these differences, the U.S. version included an entirely new version of "This Time" and a remixed take on "The Knew."
A Collaborative Turn and Continuing Influence
In 2009, Falkner returned with All Quiet On The Noise Floor, another Japan-only release that featured tracks like "Counting Sheep," "The Lie In Me," and "My Home Is Not A House." The album continued Falkner’s exploration of introspective, intricately crafted pop.
In 2012, Falkner contributed drums, guitars, and backing vocals to Ku Klux Glam, a collaboration between Ariel Pink and R. Stevie Moore. 2015 saw Falkner collaborating again with Moore on Make It Be, an album that veered into more experimental territory. Tracks like "I H8 Ppl" and "Stamps" reflected Falkner’s willingness to push beyond the boundaries of traditional pop, blending his own polished sensibilities with Moore’s avant-garde, lo-fi approach.
Still Touring With Beck and a Connection to Melbourne
Despite his prolific solo work, Falkner has maintained a steady presence as a touring guitarist for Beck, a role he’s held for decades. This long-term collaboration has kept him in touch with the forefront of modern rock, even as he continues to pursue his own artistic vision. Falkner is currently part of St. Vincent's touring band and it is for this reason he will be on our shores.
Although Falkner’s presence on Melbourne’s music scene might not be widely recognised, his meticulous approach to pop songwriting finds a natural fit within the city's tradition of power pop and indie. Australian bands like Even, Icecream Hands, You Am I, and earlier icons such as Sunnyboys, Young Modern, The Stems, and Hoodoo Gurus all share a common passion for melody-driven, guitar-infused music—resonating with the essence Falkner brings to his work.
In the broader U.S. power pop landscape, Falkner’s legacy is undeniable. From his early days with The Three O'Clock in the Paisley Park scene to his roles in Jellyfish and The Grays, his work has left an indelible mark on the genre. His collaborations with Brendan Benson, Aimee Mann, Paul McCartney, Noel Gallagher, Beck, and Air underline his influence, while his sound echoes the spirit of power pop greats like The Bangles, R.E.M., Elvis Costello and Big Star. Falkner’s career reflects not just the vibrant power pop movement but also the experimental ethos nurtured by Paisley Park, where genre boundaries were pushed and innovation thrived.
Event Details:
Date: 24 November 2024
Venue: The Catfish, Fitzroy
Lineup: Jason Falkner (USA) with The Wellingtons (Duo)
Tickets: A$26.69 (Limited availability): https://thecatfish.iwannaticket.com.au/events/thecatfish/MzIxNTk
