We strike! we strike! the heart of your nation!

Here is a band called New Math. It was recommended by a friend who found out about them in an old book from the late 80s put out by Trouser Press. Thank god he had that! Here is a rare piece of US postpunk/new wave with another classic song. One of the best things about this band is that they hail from Rochester, NY - a first even for me! I suppose a city so bleak is worthy of a band like this. What is most noticeable is their frontman who comes off, to me as obnoxious Ian Curtis. It took a while for me to get used to his style, but I now really like it. As a less hip friend of mine remarked "I think the singer is a total creep," but that really is his charm. He is clearly very aware of his style and that comes across in the brilliantly directed video. The lyrics coupled with the visual style is quite reminiscent of horror movies of the time - specifically They Live and Videodrome, respectively. On the topic of horror movies New Math changed their name to the eerily prescient "Jet Black Berries" and recorded a song for the death rock-heavy (featuring 45 Grave and T.S.O.L.) soundtrack for Return of the Living Dead.

***UPDATE 8 and 20 May 2009***
Thanks to a loyal reader I have just acquired their album for your sampling. Other tracks I have gotten into include "Invocation" and "Flesh Element." The latter comes from their proper LP Gardens which I found sealed for a mere three dollars at In Your Ear in Cambridge, but with moving and all I have not had the opportunity to spin it yet. However, the tracks I've heard on the comp from it are strong.


New Math - Wake The Dead (1976-1984)

Also, I recommend that you look up the source of their band name, quite an interesting story...

In other news I think I will finally begin creating the Rock 'n' Roll Encyclopedia I've been considering writing since 8th grade soon, any encouragement would help.

Also, If it's playing anywhere near you you MUST see Anvil! The Story of Anvil. It's essential viewing for any lover of rock music or beautiful stories, regardless of what you think of heavy metal.

Back Again...

I've been meaning to post this for a while, but didn't wanna go too overboard with LA and girl groups, but now I give you the Bangles. This is a great pop record. According to Tom Scharpling, the Bangles were the only Paisley Underground group to really make pop records. I disagree with the man this time, though they definitely are way more on the pop side than The Dream Syndicate and Rain Parade, though I would argue not quite as much as The Three O'Clock. What distinguishes the Bangles so much amongst their contemporaries isn't just that they are all female, but they are definitely the best vocalists. The group's harmonies, which I beleive often, if not always involved all members are the tightest and best realized, especially compared to the constant solo vocals of The Dream Syndicate, and Rain Parade's loose amateurism.

This debut was made before people (*cough* Prince aka "Christopher") designated Susanna Hoffs as the focal point, so the other members' vocals, especially those of Vicki Peterson are more prevailant than on later records. However, I would argue Hoffs steals the show every time she opens her mouth even when merely harmonizing. The songwriting is tight, but it's undeniable that a lot of the best songs are not originals... However the whole thing is really solid and the band really shows off their talents in a unique way even if the songs are not their own. Standout tracks: "Hero Takes a Fall," "Dover Beach," "Going Down To Liverpool."


The Bangles - All Over The Place (1984)

If you wish, feel free to include a Bangles 1-4 in the style of Scharpling and Wurster's "Kid eBay", therefor including a then and now. Mine is: (then) Susanna, Michael, Vicki, Debbi (now) Susanna, Vicki, Michael, Debbi

Cor, Baby, This is Really Free!

Here is an artist I'd been meaning to check out for a while and this video totally sold me on him just last night. I guess to compare him to anything (if you haven't watched the video yet) I would say a crazier Billy Bragg, though the same could not be said for frequent collaborator Wild Willy Barratt. He looks more like a Southern rocker, IMO. Perhaps needlessly to say, what I like most about John Otway is his theatricality, fearlessness, and just-plain-weirdness. I have not had the time to absorb the below compilation yet, but of course I love the song fromt he video, which is quite different from the version seen. "Beware of the Flowers" was also a hit in the UK, and so far I am feeling the rest of this comp. "Headbutts," more of a comedy act, was also pretty well known-and earned the duo a sponsorshit from Shure microphones, which of course, was well-deserved.


John Otway - Greatest Hits (2002)

This House That You Have Spied

If you do not already have this album you need it immediately. This album is, in my opinion the best of the sixties. I love sixties music.

Following the almost as incredible Psychedelic Sounds of the 13th Floor Elevators, which arguably is the first psychedelic album, this 1967 release begins to show just how far that style can go. The combined genius (yes, genius) of the remarkably young (~20) Roky Erickson, guitarist Stacey Sutherland, and electric jug-player and essentially bandleader Tommy Hall becomes even more apparent. The music spares nothing is going all-out with the psychedelia always delivered with energy and urgency that set the bar impossibly high for contenders and giving fellow Texans Janis Joplin and ZZ Top their ultimate aspirations. In fact, the groups eventual visit to San Francisco at the height of Haight-Ashbury proved their drug-influenced music squarely in another league even when in the world's LSD capitol.

The epic opening track "Slip Inside This House" is an unparalleled psychedelic journey and Erickson's lyrical flow can put any rapper to shame immediately. Followed by frequent song contributor Powell St. John's chilling (but why?) "Slide Machine," the album's power hardly could be accused of cooling down. Giving Erickson a break, Sutherland's "Nobody to Love" is a perfect 60s US rocker and the much debated Dylan cover "Baby Blue" is a perfect side-closer.

Luckily, the other side is just as strong, most notably with "I Had To Tell You," which outdoes the debut's "Splash 1" in proving how well the band could write pretty songs. While there are no hits like the previous album's "You're Gonna Miss Me" who cares? Trip out, rock out, and spaz out to this masterpiece immediately. Essential for all fans of music, especially Janis Joplin, ZZ Top, The Butthole Surfers, and/or other Texas rock.

The 13th Floor Elevators - Easter Everywhere (1967)

Excuse Me, Is This The Age of Reason?

All the great American rock artists of the 80s can agree that the most powerful thing about that time and place was the number of amazing bands that dotted the whole country, even in the most remote areas. The Embarrassment was one of these bands, and one of the few I've been listening to lately outside of NZ and LA). The quartet hailed from Wichita, Kansas and played what they called "blister pop." Apparently, other people called it "punk" - most likely mainly people from Kansas. While their unashamedly nerdy look may bring to mind the Feelies, the Embos had one of the most unique voices in rock at the time with lyrics that ranged from snide and sarcastic to innocent and sincere all delivered with a playful, Midwestern sense of humor.

As nerdy as they looked, the boys were pretty hip as anyone who has been to a hipster gathering could tell immediately in a song like "Celebrity Art Party." The raunchy "Sex Drive" and sweet-natured "Wellsville" (which I would bet gave the setting of The Adventures of Pete & Pete its name) demonstrate the band's great plains roots. The almost cruel ode to Bewitched star "Elizabeth Montgomery's Face" and epic "Lewis and Clark" evoke the kind of boyhood fantasies/fascinations hardly visible in underground rock music done to perfection. The first disc really is the star of the show, covering the groups original singles and EPs. The second disc, while strong yet very outtake-y has it's gems such as the song that really get me into the band "Sexy Singer Girl."

After teh band's original breakup half of the band relocated to Boston, which beleive it or not at one time had a few redemptive qualities (i.e. music scene) with guitarist Bill Goffier froming Big Dipper and drummer Brent Giessman joining the Del Fuegos. The other two, I presume sttayed in Wichita until the band reunited. I do not know if they did anything significant there.


The Embarrassment - Heyday 1979-83

Here are some sweet videos as well:



thre's more where the second one came from...

Better than Daniel Johnston, I Assure You

So, basically, this is me forcing myself to post something not from L.A. or New Zealand, but truthfully I listen to this album about as much if not more than everything else I have posted lately.

R. Stevie Moore is an outsider musician. In my opinion, he is the best outsider musician. He hails from Nashville originally and comes from as musical background as his father was Elvis Presley's favorite bassist and a member of the Nashville A-Team, making R. Stevie one of the first second-generation rock musicians. After this record, which was originally released via his uncle on only only 100 copies he relocated to Bloomfield, New Jersey where he has lived ever since. He is the father of home recorded rock and is idolized by the likes of Ariel Pink (who has covered two tracks off this album - "Hobbies Galore" and "She Don't Know What To Do With Herself"), The Elephant 6 collective, and many more. The sound on this album is almost like a lo-fi take on Todd Rundgren's Something/Anything? and is no less American. From the epic instrumental "Melbourne" to the tacked on bonus tracks coming from the extensive work he had already accomplished before this record everything is flawless. The songwriting is brilliant and it's all done with a great sense of humor that extends to some hilariously offbeat skits between songs. Bottom line: this album is a masterpiece. This is outsider music at it's best, if you hear this and still prefer Daniel Johnston you need to give up on music because you will never get it. In addition to every track I've already mentioned so far, "You and Me," "Goodbye Piano," "California Rhythm," "I Want You In My Life," and "Why Should I Love You" are some of the best.


R. Stevie Moore - Phonography (1976)

Additionally, here's a great video of Mr. Moore on Floyd Vivino's WNJN faux-children's show (proto-Pee-Wee's Playhouse) The Uncle Floyd Show on which he would regularly appear:

She Was Looking for Change and So Was I

The title is in reference to this 70s hit I put up for fun. It's by Dean Friedman who was essentially Jersey's answer to Billy Joel. If you have Ariel Pink's EP with the cover of this song, please get it to me, I've been looking for it for a while.

The main article of the night goes to another great girl group as I was thinking about posting the Bangles' first album All Over the Place, which I recently acquired. I decided it better not to do two consecutive Paisley Underground posts, so that will have to wait. Tonight it's New Zealand's (yes, I know almsot everything I post is either from L.A. or New Zealand) Look Blue Go Purple. In a scene where many major artists, e.g. The Bats, the Verlaines, the Chills, and the Sneaky Feelings, had female members Look Blue Go Purple was the only all-female group. Their sound fits in quite well with the classic Flying Nun roster, yet they are as unique as any of the other groups. Their music is a well-layered swirl of psychedelic pop that could only come from Dunedin. While it's clear what side of the kiwi-pop scene they veer towards they are airier than the Bats, earthier than the Chills, and and stronger than 90s-era Clean. On top of that many of their songs have an eerily psychedelic flute that puts them in a place as otherworldly as any of their contemporaries. Though their name sites blue and purple, colors that come to mind more are the green of the hills in their Tolkein-esque homeland and the sea at its blackest raging against the cliffs of South Island. That in mind they could write some great pop songs like "I Don't Want You Anyway" and the New Zealand Top 20 Hit "Cactus Cat." However, I like their more distinctive flowing sound more in tracks like "Safety in Crosswords," "Winged Rumour," and "Hiawatha." Included in this compilation is, I believe everything they released. It is essentail for any fan of kiwi-pop.

The thing to wonder is if the vocals are mixed low out of some kind of insecurity/unsureness, or because someone just knew they sounded best that way...


Look Blue Go Purple - Look Blue Go Purple Compilation

I'm Just Trying To Remember...

Shamelessly named after the drone group featuring La Monte Young, John Cale, and Tony Conrad, The Dream Syndicate was perhaps the Paisley Underground's darkest and most experimental groups. After getting lost in the Longwood Medical Area this early afternoon I finally began to understand why this album is often considered the greatest of the movement, though I am not sure if I would agree with that. Rather than channeling the more pop-oriented psychedelic groups of the sixties like Rain Parade, Green on Red, and The Three O'Clock were, The Dream Syndicate is most in touch with The Velvet Underground and Television. Their songs are much longer and build into a less traditional structure. It is a more challenging listen than the other Paisley Underground records I've posted, but in the artistic sense, it's even more rewarding, in the same way that the minimalistic album art would suggest. Standout tracks include the title track, "Until Lately" and the group's most accessible song "That's What You Always Say". Included as well is the preceding EP and Steve Wynn's 15 Minutes EP which he released before forming the group, planning for it to be his last foray into music. Thank god it wasn't. The music on here is some of the earliest of the Paisley Underground Movement, being only beat by the Salvation Army (later The Three O'Clock) and Green on Red's first EPs.


The Dream Syndicate - The Days of Wine and Roses (1982)

What Jumpstarted My Kiwi-Pop Obsession

It was barely over a year ago that the Dunedin sound became more than just something I knew into my life. I had already gotten way into the Chills and the Clean, but had been meaning to catch up on the Bats, the Verlaines, and Tall Dwarfs. The first of those groups' work I managed to acquire was the Bats' The Law of Things, which while not as strong as the predecessor Daddy's Highway is also a remarkable pop album. Really, the only flaw is in the lessened presence of Kaye Woodward's airy voice which is much more prevalent on the group's other releases. As you can see below, the album art is almost as errily bizarre as on Daddy's Highway, but I think it captures the music accurately. While this record is often overshadowed by other Flying Nun releases it holds a special place for me as it began a life-altering obsession with that scene. It is refreshing to be rediscovering it now. The sound is a bit more laid back, but it has as much emotional power as ever. My favorite tracks include "The Other Side of You," "Mastery," and "Smoking Her Wings," though the quality of the others is not far behind.


The Bats - The Law of Things (1990)

Get the Beat!

Today, after listening to the 99 cent LP for weeks, I at last acquired the Go-Go's Beauty and the Beat digitally. I have no one to thank more than Tommy Holden for turning me onto the Go-Go's. This record is pure "J" Fantasy. From beginning end it captures all the fun, paranoia, superficiality, and manipulation of Los Angeles and jsut makes you want to dance! Sure the hiuts are great, but "Our Lips Are Sealed" and "We Got the Beat" are merely the beginning. Side One closer "This Town" fits right in with all the other classic L.A. anthems like "I Love L.A," "Welcome to the Jungle," and "Hollywood Freaks." That and "Lust to Love" are perhaps the best songs on this extraordinarily solid pop record. With their undeniably cute, SoCal girl image and irresistably catchy tunes, it would be easy not to take the Go-Go's seriously, but not only is the songwriting highly skilled and the lyrics quite intelligent, the production is phenomenal.

This is an amazing vinyl rip, so in my opinion the absolute best way to first hear this record digitally. Seeing as it went double platinum I should not have to post it on a blog that features much more obscure artists, but I would much rather spend my time posting this than let yet another generation beleive that girls can't make kick-ass rock music! It's a shame they don't do it more. Tommy put it best himself when he said "We love our girl groups!"


The Go-Go's - Beauty and the Beat (1981)

The Greatest Show in Earth!

Who doesn't love Sparks? For some reason the US! This album was a big hit in France, but of course, as it was the group's second produced by Italo-Disco guro Giorgio Moroder. Though it has less of Moroder's influence than No. 1 in Heaven, this one is almost as strong and definitely rockier, as "Rock 'n' Roll People in a Disco World," would imply. The sound precedes a lot of the New WAve pop that would dominate the charts both sides of the Atlantic in subsequewnt years. The Brother Mael's sense of humor is as prevalent on earlier stuff, much more than the predecessor and as much as it's less Moroder tracks like "Noisy Boys" and "Young Girls" make it perhaps and even better party record. "Stereo" is one of their finest moments, I think, thoughb admittedly this album is more of a grower than a lot of Sparks' other masterpieces. Either way it's pretty hard to come by and I was lucky enough to find it on CD at Ameoba in San Francisco last January, so here it is:


Sparks (with Giorgio Moroder) - Terminal Jive (1980)

Simply Put: New Musik - Does It All Add Up To You?

As a change of pace I thought I would write about one of the most forgotten groups on the New Wave, the perfectly-named New Musik. They created some of the most perfect synth-pop you will ever hear. It is a rare sound as any of their songs will sound as strong and full played by a lone musician with nothing but his or her voice and an acoustic guitar. Their sound, while in some ways dated is also quite ahead of its time as this acoustic-electronic integration is constantly being attempted to less successful results these days. They actually had some hits, but have all but been forgotten. Based on music alone it is a wonder why, but the band's unhip aesthetic bizarre lyrics comprised mainly of metaphor and apocalyptic visions may have had something to do with it. My friends and I were lucky enough to discover them via an old mix tape that Tommy's dad had compiled in the early 80s featuring "Straight Lines." Their popularity in their time yielded many videos, mainly from Top of the Pops:


Check out the bassist's playing in this one!





Anything else you could wonder about them is on this extremely informative website.

And of course, here's is the little bit of their music I have (including all the songs from the videos).

Sleeping in My Dreams, Dreaming on my Feet

The further the discussion of Los Angeles' Paisley Underground, here is another great piece of 80's psychedelia.


Rain Parade - Emergency Third Rail Power Trip/Explosions in the Glass Palace (1983-4)

The gorgeous album art is an indicator for the sound and mood that you will hear on the record. It very floaty and psychedelic, at time almost like an American version of shoegaze. However, it does have some extremely strong songwriting on it.

Rain Parade is also significant for being David Roback's first significant group. He left after Emergency Third Rail Power Trip and went on to form Opal with The Dream Syndicate's Kendra Smith and later Mazzy Star. However, Rain Parade was a truly collaborative band and Roback's contributions are equaled by his brother, bassist Steven, and other guitarist Matt Piucci. This becomes clear as many of these songs are more pop-based than his later work. The sound is extremely well-grounded in the sixties, but still adds enough to make it not only fresh in 1983 but even today. The influence of the Byrds, in particular, is undeniable, especially on the album's catchiest track "What's She Done to Your Mind." This album is true psychedelic rock and is best suited for colorfully low-lit rooms while on drugs. Tracks like "I Look Around" evoke the same kind of drugged-out bliss as the Brian Jonestown Massacre, while "Talking in My Sleep" captures a dazed life that may or may not be the result of drugs.

Also included is the Explosions in the Glass Palace EP, which is still an essential work and (supposedly) the band's last worthy release. It does, in fact almost stand up to the LP, especially on the Beatles-esque "Prisoners". In between the records is the track "Look Both Ways," as well.

Here's a video which features a brief interview with Matt Piucci and Steven Roback on music and the Paisley Underground followed by a performance of "No Easy Way Down," one of Explosions' dronier tunes.

The Bats (US)

One of my all-time favorite bands is the Christchurch, NZ-based group the Bats (link goes to Daddy's Highway on The Doledrums - absolutely essential!), but this summer I discovered another band by the same name led by none other than famed score composer Jon Brion. After a request on last.fm I decided to put this up today. I heard them through an 80s power-pop compilation that also included another very obscure band called The Tweeds with their record-collector theme song "I Need that Record", which I would love to acquire. So, the sound of this Bats record, entitled How Pop Can You Get? is extremely poppy, to many a bit too much. Todd Rundgren is clearly the biggest influence and it sounds well placed in the US 80s "Pop Underground." What's amazing is the band is not from New York, LA, Boston, or even North Carolina but Hartford, CT. It's more straightforward than most of Brion's later work, but is a good set regardless and his voice is unmistakeable, with some of the best tracks being the title track, "Will She Ever Come Around?" and "Not My Girl Anymore". This is vinyl rip I found off of SoulSeek, so it's not the best version (I hear this has been re-released on CD), but it will have to do:


The Bats (US) - How Pop Can You Get?

On Par with a Bottle of Miller Lite from Bob Pollard's Cooler

I promise after this, no more Ariel Pink for a while, but here is the mandatory review of the show.

Somehow, it had not all sold out yet, but the crowd was pretty tight. I unfortunately missed the first opener who I heard was pretty great, but can in right as Bobb Trimble was about to begin.



His set was strong and his band was comprised of a second guitarist, bassist, female vocalist - necessary as his voice could not get as freakishly high as it used to, percussionist and drummer. Most of the members were quite younger than him, but not that much younger relative to his past backing bands. They were all enthusiastic and performed well, for a time all in silly hats. Trimble was searing an odd hat as well, but soon switched to a Red Sox cap. The bassist was wearing a shirt with Bobb's image from the cover of Iron Curtain Innocence which of course I find kind of weak, but it's an awesome shirt either way. I would ahve bought one myself, but alas my size was not available. They are limited edition and were only $15 dollars so if you have any interest in owning one I would get on that.

Then came Ariel with one hell of a set. He and his band played mostly new stuff, but with just enough classics to keep the show largely recognizable. Here is the set list which I snagged off a synthesizer (some titles are abbreviated and not recognizable to me):

22 Eyes
For Kate I Wait
Flashback
Can't Hear
Remin.
Baby Comes Around
Hardcore Pops Are Fun
Among Dreams
People I'm Not
Interesting Results
Fantasma
Lil MG

ENCORE:
Trepenated Earth
[I can't remember at the moment, but I think it was an old one]

Also, he played "Are You Gonna Look After My Boys?" at some point.

I had been hearing mixed things aobut Pink's performance, but I think it was strong, his performance evokes the same diverse LA classics as his music. Onstage he channels Darby Crash, Rozz Williams, Jim Morrison, and Axl Rose as much as Stevie Knicks, Ron Mael, and Brian Wilson. The band is tight and has great energy, but as much of a real band that Haunted Graffiti is now it still comes across that Ariel is in charge. His presence is strong in a uniquely genius way. His merchandise table was decent, I got a T-shirt and Oddities Sodomies vol. 1, but I was expecting some of his early CD-R releases, something special.

One thing I had been wondering before the who is waht he would be wearing. It was a black satin jacket and a white sweatshirt that read "Bigger Raffi Fan." Classic. Here are some photos:


Rock God




Interesting Results


Let's get nervous!


Rockin' the Keys


Hangin' out after the show. It was here that Ariel told me "If you love Rock 'n' Roll you gotta move to L.A."