REDLANDS: The Dangers play Hangar 24, strike ‘Gold’

BY VANESSA FRANKO

Most bands that are three decades into the game rely on trotting out their beloved material and are stagnant when it comes to new music.

However, after forming 35 years ago, The Dangers are in no danger of going that route, releasing a new album, “Gold!!” that is arguably the band’s best yet.

While it’s full of new material, the beauty of “Gold!!” comes in part from its nods to the past.  The collection is inspired by the eclectic mix that The Dangers’ chief songwriter Chris LeRoy would hear flipping back and forth between two AM radio stations when he was growing up in Redlands.  “The album is a little bit like a radio station,” LeRoy said.  The Dangers will be playing selections from the record at Hangar 24 Brewery on Wednesday, Nov. 6.

The depth and variety of the record can be attributed in part to the band’s newest members.  LeRoy, who also sings, plays guitar and keyboards, singer and guitarist Bob Vennum, bassist and singer Tim Loughlin and drummer Brad Vaughn have been joined by two new members—guitarist Mike Geoghegan of The Sedans and vocalist Lisa Kekaula, of The BellRays, Lisa and the Lips and Bob and Lisa.  “I can’t even imagine trying to go back and be this four piece band,” LeRoy said.

The expanded lineup debuted at a show in North Carolina’s Outer Banks in the spring. That show cemented the direction of The Dangers.  The new chemistry forced LeRoy to open up and consider a different take on the songs he had written and collaborate with the other members of the group.  Loughlin takes the lead vocal on the California country-rock tinged “Flowers and Trees,” a song inspired by a couple who got married after the husband had a heart attack.

The album was going to be called “Peace, Love and Psychedelia” until Kekaula had the idea for “Gold!!” as the recordings were about to be sent out for mastering and the artwork was finished.  But at the core, it’s The Dangers’ songwriting that makes the music so powerful and the songs dictated the production.  “Let’s play the songs the way they’re written and the way they’re meant to be,” LeRoy said.

Yes, the influence of The Kinks and The Beatles runs as strong as ever through the band’s power pop gems, (in fact, “Waterloo Evening” is a follow up with a twist to The Kinks’ classic “Waterloo Sunset”), but it’s the new directions The Dangers take that strike gold.  “I can’t find the full expression of my music without an incredible band,” LeRoy said.  The bossa nova “Everybody In” taps into the spirit Sergio Mendes and Brasil 66 -inspired and the rock ‘n’ roll rambler “Mary Anne” has a Memphis/Sun Studios vibe.

The album’s peak is the slow-building ballad “My Someday,” a goosebump-inducing album closer.  “My Someday” was a song LeRoy had kicked around from a couple of years ago, but the vocal wasn’t right until he thought to pair it with Kekaula’s voice.  She recorded it after she and Vennum had toured with The BellRays in Australia and she was struggling to regain her voice after losing it. That fragile, vulnerable vocal Kekaula did on the first take is where the song derives its power.

That vocal and arrangement is a testament to the power of The Dangers that already has the group working on material for the next album.  “This is the best version of the band,” LeRoy said.

The Flatiron Building

The Flatiron Building (or Fuller Building, as it was originally called) is located at 175 Fifth Avenue in the borough of Manhattan, New York City and is considered to be a groundbreaking skyscraper. Upon completion in 1902, it was one of the tallest buildings in the city and the only skyscraper north of 14th Street. The building sits on a triangular island-block formed by Fifth Avenue, Broadway and East 22nd Street, with 23rd Street grazing the triangle's northern (uptown) peak. As with numerous other wedge-shaped buildings, the name "Flatiron" derives from its resemblance to a cast-iron clothes iron.

The building anchors the south (downtown) end of Madison Square and the north (uptown) end of the Ladies' Mile Historic District. The neighborhood around it is called the Flatiron District after its signature building, which has become an icon of New York City. The building was designated a New York City landmark in 1966, was added to the National Register of Historic Places in 1979, and designated a National Historic Landmark in 1989.

Site

The site on which the Flatiron Building would stand was bought in 1857 by Amos Eno, who would shortly build the Fifth Avenue Hotel on a site diagonally across from it. Eno tore down the four-story St. Germaine Hotel on the south end of the lot, and replaced it with a seven-story apartment building, the Cumberland. On the remainder of the lot he built four three-story buildings for commercial use. This left four stories of the Cumberland's northern face exposed, which Eno rented out to advertisers, including the New York Times, who installed a sign made up of electric lights. Eno later put a canvas screen on the wall, and projected images onto it from a magic lantern on top of one of his smaller buildings, presenting advertisements and interesting pictures alternately. Both the Times and the New York Tribune began using the screen for news bulletins, and on election nights tens of thousands of people would gather in Madison Square, waiting for the latest results.

Architecture

The Flatiron Building was designed by Chicago's Daniel Burnham as a vertical Renaissance palazzo with Beaux-Arts styling. Unlike New York's early skyscrapers, which took the form of towers arising from a lower, blockier mass, such as the contemporary Singer Building (1902–1908), the Flatiron Building epitomizes the Chicago school conception: like a classical Greek column, its facade — limestone at the bottom changing to glazed terra-cotta from the Atlantic Terra Cotta Company in Tottenville, Staten Island as the floors rise — is divided into a base, shaft and capital.

[its] awkwardness [is] entirely undisguised, and without even an attempt to disguise them, if they have not even been aggravated by the treatment. ... The treatment of the tip is an additional and it seems wanton aggravation of the inherent awkwardness of the situation.

Text via Wikipedia.