≡ Menu

Hawks News

Americana UK reviews “Hawks with Good Intentions”

by Paul Kerr
link to full article

California’s I See Hawks In L.A. and Liverpool’s Good Intentions met and became friends at a house concert in California back in 2012. Since then, the bands have shared stages in the States and here in the UK and along the way they began writing some songs together, the first fruits of their joint effort displayed on the Hawks’ last album, ‘Live And Never Learn‘, which had two songs co-written with Peter Davies of Good Intentions. Bouncing emails and mp3 files across the Atlantic they eventually came up with the ten songs on display here, sections recorded in L.A. and Liverpool with each of the bands’ contributions stitched together so well that the join is never seen. As it says on the sleeve, “Gleaming technology serving acoustic guitars and down home harmonies.”

It’s primarily an acoustic album with drums on only one song and some spare lap and slide guitar from Paul Lacques present. Lead vocals are shared between Davies and the Hawks’ Rob Waller and Victoria Jacobs while the other member of Good Intentions, Gabrielle Monk, weighs in on backing vocals. As such, it’s a collection which is finely laidback as various guitars strum and harmonies float reminding one of the “wooden music” side of CSN&Y or the more blissed out moments of the good ole’ Grateful Dead along with a sprinkling of acts such as The Ozark Mountain Daredevils and Loggins & Messina. Writing in various permutations with Waller, Lacques and Jacobs, Davies has a hand in all but one song and it’s his voice which opens the album on ‘Blue Heaven‘, a sun dappled slice of nostalgia laden with harmonies and sly Dobro, the kind of song which could accompany faded home movies of flower children celebrating. Waller takes the reins for the following western themed ‘Things Like This‘, a taut Larry McMurtry like murder tale which skittles along like tumbleweed before Weller and Davies swap their contrasting lead vocals on ‘Rolling The Boxcars‘, a gambling song with the protagonists always on the losing end with the song delivered as if all were singing around a late night campfire.

Plenty to admire then in this opening triumvirate which showcases the strengths of both ends of this collaboration. But there’s much more to come as the combo accommodate the folkier side of Davies on the Tom Paxton like ‘Rambling Girl‘ (with The Punch Brothers’ Gabe Whitcher on fiddle) and then  allow Waller to deliver the excellent railroad chug of ‘Steel Rails‘. ‘White Cross‘, one of the songs which appeared on ‘Live And Never Learn‘, remains as sinewy as the original while ‘Flying Now‘ finds Davies down on his luck but ever hopeful on a song which recalls the late Ronnie Lane especially with its accordion accompaniment from Richie Lawrence. ‘Epiphany On Town Hall Square‘, while fitting well into its surroundings in terms of its delivery, is somewhat odd, bearing as it does, echoes of a Christmas carol in its setting but the closing ‘Will You Watch Over Me‘, the one song written solely by Lacques and Waller, is bang in the Hawks canon as it gently rolls along with rippling guitar accompaniment  invoking a greater spirit.

Collaborations can often be tricky affairs but it feels safe to say that on this occasion fans of either band will be satisfied by ‘Hawks With Good Intentions’. It simply  radiates good vibes as these transatlantic cousins find common cause.

Hands Across The Water

7/10

LAWeekly Names Hawks Best Country Group

I See Hawks In L.A.

EXPAND

Best Country Group
I See Hawks In L.A. are a house band of the Hippie diaspora. Twenty years and eight albums on (with a ninth en route), the country-rock quartet has supplied pot anthems (“Humboldt”), political profiles in courage (“Byrd From West Virginia”) and ecological laments (theme song “I See Hawks In L.A.”). Baritone lead singer Rob Waller and virtuosic string slinger Paul Lacques scribe these literate, pointed contemporary classics, while drummer Victoria Jacobs contributed the loopy hoot “My Parka Saved Me.” With bassist Paul Marshall, the front line’s close harmony is reminiscent of The Byrds — both flocks being rootsy and psychedelic avian-christened Los Angeles-based freaks. —Michael Simmons

link to full article

L.A. TIMES : I SEE HAWKS IN L.A. DELIVERS MORE TIMELESS TWANG

link to full article 

by Randall Roberts
Los Angeles Times
July 19, 2018

I See Hawks in L.A., “Live and Never Learn” (Western Seeds Record Company). Within the first two verses of this longtime twang band’s eighth studio album, singer-guitarist Rob Waller has asked some big questions about contemporary America, and has done so through a genre — guitar-driven country rock — that hasn’t changed much since the Nixon presidency.

After noting in opening song “Ballad for the Trees” that that “every age is without precedent,” Waller wonders whether “we’ve broken with how to be alone,” and asks, “Are we drowning in the sea/ Of facts that come too easily/ And friends we never see?”

Perhaps, but if so, Waller and band don’t dwell on it. Across the 14 songs on “Live and Never Learn,” I See Hawks in L.A. touch on less heady themes such as smoking weed in a basement while watching the Eddie Murphy movie “Trading Places” on a black-and-white TV; smoking weed after a breakup with someone who then becomes a born-again Christian; taking speed and listening to country music; and a titular “King of the Rosemead Boogie,” who “hocked himself a loogie” that he “spit in the air just like he didn’t care” — and then consumed a cocktail of “two Jacks and one toke, some shatter and some coke” and “a capacity of dope.”

Trouble? Waller, co-founding electric guitarist Paul Lacques and the rhythm section of Paul Marshall (bass) and and Victoria Jacobs (drums) seem to know its contours. Even when Waller tries to convey sunshine, it comes at a price. The final song, “Stop Me,” finds his narrator staring at the sun because it’s so beautiful, unable to look away and begging for help.

He runs a parallel idea on songwriting in the next verse. “Stop me, I’ve been singing on this street for too long/ Trying to find my way to a beautiful song.” As if he’s helpless, the artist seems to rail against a muse that produces regardless of outcome — “staring into the sun/ This used to be fun/ I’m starting to believe/ there’s no prize to be won.”

MAXIMUM VOLUME (UK) REVIEWS “LIVE AND NEVER LEARN”

“Live And Never Learn” is one of those wonderful records that reveals itself in different ways with each passing listen.

Full Article 

They have been famed, over the 17 years that they’ve been releasing albums – their debut came out on September 11th 2001 – for their lamentations on the natural world. So it perhaps doesn’t come as much of a shock that Southern California’s I See Hawks In LA usher in their first album in five years with “Song For The Trees”.  But for all the talk of “the Acacias, the honeybees” and whichever species of tree they mention elsewhere, this is a song for the people of the world.  

Perhaps because they have been through so much in the last few years since their last album – 2013’s “Mystery Drug” (a couple of the band have lost their parents) this is a more personal record than before.

Viewed through this prism, everything else makes sense. “Good intentions, are well and good,” sings Rob Waller on the title track, “but they won’t get you out of the neighbourhood” and it’s almost as IF those traumatic experiences have led them to reflect on their existence – I can certainly recall that when I lost my mum, everything else but that seemed to need thinking about.  

Waller and Paul Jacques harmonise wonderfully on the absolute knockout “White Cross” (written with Good Intentions’ Peter Davies), with the deep, rich tones coming straight out of Muscle Shoals, while their apparent desire to play with the formula sees “Stoned With Melissa” – and I See Hawks have always liked an anthem to weed – switch from rock n roll to something more psychedelic, but the twist it takes at the end is most unexpected (and to be fair, I am always going to love a record that has the phrase “sitting in Melissa’s basement with a black and white TV, watching Trading Places, she hates Eddie Murphy” at its heart. 

“Poour Me” (sic) is a classic country strum, and an ode to getting roaring drunk – at least ostensibly, but then you need to remember that these boys and lady are a little too subtle for that. There is more of that feel on “Planet Earth”, which is elevated above the norm by some absolutely stunning Lap Steel playing. 

Perhaps the best example of their ability to look at things in a way that no one else would is “The Last Man In Tujunga”, it has all the devil may care ebullience of Chuck Berry, but it concerns the fires that saw bass player Paul Marshall almost lose his home (and it has a little Stones homage too). This left-field thinking, though, is natural, not forced, and when they are looking at graves at the start of “Singing In The Wind” it all makes perfect sense.  

Drummer Victoria Jacobs narrates her own story on “My Parka Saved Me” and it almost has an air of “The Leader Of The Pack” as she does, while members of Old Californio appear on “King Of The Rosemead Boogie” which rocks and pulses along with a rare urgency.  

“Tearing Me In Two” with its Celtic touches is another highlight, as are Jacobs’ vocals on the 60s, West Coast infused “Spinning” that follows in the spirit of The Byrds and their ilk and seems to be floating along. And the fiddle work of Dave Markowitz is quite brilliant on the equally blissful – but in an entirely different way – “The Isolation Mountains”. 

“Stop Me” ends the record on a warm, airy note. Its widescreen sounds seem to suggest that anything is possible, and such is the ambition on this album that you couldn’t disagree with the premise.  

“Live And Never Learn” is one of those wonderful records that reveals itself in different ways with each passing listen. I could review it tomorrow and hear different things – that’s just how it is made. It is these textures, though, these different strands, that make it so special.  

Rating 8.5/10

L.A. RECORD PREMIERS “THE ISOLATION MOUNTAINS”

full article

I See Hawks In L.A. are the longtime local masters of Flatlanders-style cosmic country rock—well, it’s more a state of mind than a style, isn’t it? Anyway: Hawks have been a band in L.A. for 17 years and every time they think they’ve seen it all, something else decides to happen. Their new Live and Never Learn album is their first release since 2013, and comes inspired by (or inspired despite, or inspired because of) natural disaster and personal tragedy, a potent tradition that goes all the way back to murder ballads and disaster songs. But founding Hawks Rob Waller and Paul Lacques—interviewing with aplomb here—are still flying, and now they’ve added bassist Paul Marshall, whose credits go all the way back to the Beyond The Valley Of The Dollssoundtrack, and drummer Victoria Jacobs, whose credits go all the way back to L.A.’s Ms. 45 and Roger Corman soundtracks. Live and Never Learn is out June 29, and “The Isolation Mountains” is a characteristically Hawks-ian meditation on the now and the next, says Lacques: “[It’s] an acoustic waltz continuing the Celtic vein, a rural California vision of the afterlife with Galway-style fiddle by Dave Markowitz. There’s an ultimate isolation that pulls at us all but that only helps us more fully savor the moments of true connection with those we love.” I See Hawks in L.A. plays Sun., June 10, at McCabe’swith Tony Gilkyson, and on Fri., July 13, at Cal Plaza downtown with a special set of protest songs—more info at the band’s site here!

out June 29