A Truly Royal Scam...

I was told by a friend tonight that the legend R. Stevie Moore had recently passed away, and while his myspace has been re-named "R. STEVIE MOORE R.I.P.," I believe this has to do with his plan to not play live again and death rumors seem false. I know he may not matter as much to everyone has he does to me and my friends, but I think there would be some easily accessible obituary on the man, who if in fact alive is only 57.

Regardless of whether or not it would be in memoriam, I needed to put up some more of his work.

Here is his second "proper" LP, which some people, including the friend who gave it to me, even prefer to Phonography, but to be honest I have yet to absorb it enough to say. Regardless it is a solid set that continues to prove his immense talent. His signiture sound and songwriting skill is on display as much as ever and there is indeed some growth, and some very bold moves including the title "Don't Blame The Niggers." His humor comes out even more on the songs, although the wonderful skits are absent here. This album also marks his move to New Jersey and the WFMU clip that he samples shows the warm welcome we gave him up here despite his perpexling move. The album begins with a bang in "Cool Daddio," which like "Funny Child" may hint at domestic issues that caused the artist's move out of Nashville. Like it or not (as easy on both sides) his love songs are not quite as sincere, but what is lost is replaced with an acerbic whit in the sub-legal "Schoolgirl" and pre-SNL ambiguity of "Oh Pat." It is all delightful, and hopefully so is R. Stevie's future.


R. Stevie Moore - Delicate Tension (1978)

Take It Easy, Jon and Miriam

This weekend I was away in Nashville (the greatest!!!) for a wedding for a friend of mine. His taste, to an extent, was reflected in what I listened to in the car, and this is one of the best examples.

It had been a few years since I had really spun this one, but at first it was a massive part of not only my life, but that of the people around me. It is one of the best psychedelic records of this decade, far and away and should not be missed by any fans of rock 'n' roll (granted I would think many of the readers here have it already, but I should take no chances here).

Dungen is a Swedish "group," though their records are made almost entirely by Gustav Ejstes who clearly excels in every instrument, composition, and in the art of sound recording. It is a pretty great album for any occasion as it can get loud and fast and also have moments of transcendently beautiful psychedelia. Some of the best exaples of Dungen's sound here are the rockin' opener "Panda," the catchy folk-rocker "Festival," and the gorgeous "Det Du Tänker Idag Är Du Imorn." What really sets the band apart is the use of Swedish lyrics, as almost every other group to acheive crossover success from that nation has used mostly English. One flaw of the Ejstes', however, is that the sound is not the most original, but at least it serves as a good anchor and I can firmly state that fans of other exotic psychedelia like Ghost, Amon Düül II, and Erkin Koray should not miss out.

Also included is a mostly instrumental bonus disc which really fits in with the rest of the album, most notably on "Jämna Plågor."


Dungen - Ta Det Lugnt (2004)

In other news, though, Jay Bennett, formerly of Wilco died on the 24th. The cause has not been announced, he brought a lot to the band and his influence is best heard on 1999's Summer Teeth.

Jay at his peak during the recording of Yankee Hotel Foxtrot.

More to Seattle Than You Think

I'd been wanting to put up the Fastbacks for a while. They came to mind again last night as I was consulting an old book of mine last night and noticed a top 10 records from the group's leader/songwriter Kurt Bloch that included The Three O'Clock's Sixteen Tambourines - one of the few mentions of that group in the book. Another interesting fact about the Fastbacks, perhaps the one that finally got me to hear them, is that Duff McKagan of Guns 'N' Roses was one of the many to pass through the group's revolving door of drummers.

It is some fast-paced punky pop, perhaps "pop-punk," as maligned as that style has become. Bloch as a great songwriter and really allows the female vocals to shine through, watching his own creation succeed. He rocks out as well and has just as many connections to the world of metal (well beyond the McKagan association) as to indie pop (including producing Robyn Hitchcock and the Venus 3 in his home studio). Most tracks are quite short and very infectious, particularly opener "Under The Old Lightbulb" and "Bill Challenger," but longer tracks like the opener "Believe Me Never" do not get boring either.

This is a prime example of the pre-grunge Seattle music scene, despite it's post-explosion release date, this was one of the bands that really got that city ready for the prolific (though only arguably great) scene that grew in Washington's fertile ground.


The Fastbacks - Zücker (1993)

Selling Out Never Sounded So Good!

...but that is to admit that this album actually is a sell-out. Robert Pollards collaboration with Ric Ocasek actually works. Yeah, it's a more over-the-top sound than ever before - but GbV was always sort of over-the-top, right?

It's cleaner and there's a little more multi-tracking than usual, and a lot more keyboards, but it succeeds. Some may complain about how the band did not really do anything new, but who cares? It's Guided by Voices, arguably at their peak. I can see how it may have been off-putting in 1999, but knowing their improved-quality records of the present decade it does not seem out of place. Additionally, this album is the first of the true new loose incarnation of the lineup after the "Guided by Verde" era. In every way, really the band is not waning, despite some filler tracks. The big sound of "Teenage FBI," "Things I Will Keep," and "Wrecking Now" are some of their best songs. With 16 tracks there is no shortage of classics - even the much maligned "Hold On Hope," which was featured on Scrubs (not just any episode, but one featuring Brendan Fraser) is a great one despite what may be said in Hunting Accidents. The album also includes many songs on die-hard Official Iron Man Stephen Soderbergh's top tracks. Ocasek's production really lends to what could be added to GbV's sound and a lot of it reccurs in subsequent albums and Pollard's better solo work.

Bottom line: Despite what you may have heard about this record, it is great, and I think, perhaps a decent starting point for Guided By Voices.


Guided by Voices - Do The Collapse (1999)

You Sure Know How To Make Things Hard

I thought I should put this up as it in quite hard to find (I've never seen it on CD, even at the absurd price at which I have seen Kaleidoscope World and Submarine Bells), but I somehow did. While it's not the CHiLLs' best, it is their debut and like all their records has its own sound that no fan of kiwi-pop should miss. Produced by Mayo Thomas, it has an atmospheric psychedelic sound in a way that is quite different from the follow-up album. The keys are mixed low in a very effective way and the most lovable things on this album are the same things to love about other CHiLLs releases. Plus, only a kiwi-pop album could have a record cover like this one (I hear the members are spelling out "COLD" (Flying Nun's code) in nautical language.)

I don't have the pride of my record collection (this LP) in hand right now so I won't distinguish original tracks from bonus tracks which are mixed in on the side, tastefully distinguishing the two original sides. The opening track "Push" is beautiful and really sets the tone for the rest of the album. "Rain," the next track keeps the energy up and is one of the catchiest songs and perhaps the best use of falsetto I have heard in rock music. The last three tracks are some of the best as well leaving you to want to jsut hear more and more CHiLLs and luckily their other stuff gets better from there. There are plenty of great tracks int he middle though, most notably "Party in My Heart," which you may think of when partying until you realize it is definitely not that much fun... lyrically.


The CHiLLs - Brave Words (1986)

You Don't Need a Lover, You Need An Interpreter

Typically, when people talk about Camper Van Beethoven, they talk about the first and last records. I, however will mostly talk about the first two.

This album, originally intended to be two separate ones, as the title would suggest, really stands up to Telephone Free Landslide Victory and surpasses everything else the band made. It is a shame that this one is not spun around as much, and I owe it all too the short-lived Bernardsville, New Jersey record store Spin City which was open only during the summer of 2003. There, the owner had just acquired a first pressing of this, played it for me, and a week or so later decided to sell it. For a long time it was the top pride of my LP collection, and really deserves that honor. This, however is from the CD, which is a shame because one of the best tracks (arguably first as the LP lists the sides as "B" and "II") "(We're A) Bad Trip" is an inferior, yet more up-tempo version than on the vinyl. It should also be noted that this version is from the boxed set, so the track listing is different from the separate CD, but other than the previously mentioned track, is identical to the LP.

The record really picks up where the last one left off, which cannot really be said about the rest of the band's discography. Even more than on the previous album, though the instrumentals stand out the most and verge on psychedelia and further integration of disparate genre/styles as country, gypsy music, ska, raga, and southern rock. Some of the best examples of this are "Circles," "Abundance," the gorgeous "Dustpan," and the brilliantly-titled "ZZ Top Goes to Egypt." Like the previous album's re-envisioning of Black Flag, Camper pulls out another amazing cover, like Mudhoney, they outdo Sonic Youth in their own game on "I Love Her All The Time," transforming it into a delightful East-meets-West romp. David Lowery's unique sense of humor remains intact and the lyrics do not disappoint, though I admit are not quite up to par with the likes of "The Day Lassie Went To The Moon" and "Where The Hell Is Bill?" with the possible exception of "Goleta," an ode disparaging the Southern coastal Universities of California - perhaps an attempt for a local anthem for Santa Cruz.

Either way, there is nothing like this and if you like Telephone Free Landslide Victory this is incredibly essential and will not disappoint.


Camper Van Beethoven - II & III (1986)

Right Now, Right Now, Right Now, Right Now it's time to...

KICK OUT THE JAMS MOTHERFUCKERS!!!!

Continuing off their notable followers from last night, here's the MC5. They are the greatest.

This debut album of theirs recorded after years together working as a house band, recording singles, and only a year after their long and legendary performance at the 1968 DNC in Chicago captures their unparalleled live energy. Recorded around the peak of their association with the White Panther Party there is a whole lot whole lot of political rambling which luckily just adds to the energy of the performance. It should be noted how loose these affiliations were in reality with members going on to say "We weren't really into the whole political thing but chicks seemed to dig it," and "Being the young hustlers we were, we knew this whole hippie thing was gonna be huge." And they sure were young. Fred "Sonic" Smith was only 19 at the time this was recorded, and he wasn't too far below the average age at all. Despite this, all musicians excel and Rob Tyner's vocal perforamce and stage presence is legendary.

The record, while recorded at two separate performaces in Michigan has the vibe of the best concert you've ever been to with a performance structure that puts any "theatre rock" to shame. This is highlighted by Tyner's delayed arrival after the poplitical rant/hype and Brother Wayne Kramer's bizarre vocal lead on "Ramblin' Rose." After the blues standard Tyner procedes to kick out the jams. The energy never wanes, especially on the first side with closer "Rocket Reducer #62 (Rama Lama Fa Fa Fa)." The album oozes with sexual energy and simply put is rock at it's rockinest.

While at the time this was considered heavy metal (a topic I could outline for ages), and now classified as proto-punk, the group really shows all their sides. There is a whole lot experimentation, not only in the heavily cited use of feedback and heavy distortion, but their moves in free jazz and psychedelic territory.


The MC5 - Kick Out The Jams (1969)

Best listened to in a muscle car. (RIP Pontiac)


If you ask me, THIS is the high society!

It's Like Nearly I Puked In My Face!

grunge.

Mundhoney has been a big part of my life since 8th grade. Maybe even earlier as their appearance in the Chris Farley-David Spade vehicle Black Sheep made a pretty big impact on me as far back as 1997. Regardless, they are the best "grunge" band I know of. This album is a whole lot of fun for lovers of any rock 'n' roll. Like Paisley Underground, it needs to be remembered that most music scenes are likened by geography and attitude than sound really, and grunge was no exception. Mudhoney, unlike many of their peers like nirvana or Soundgarden come from the MC5/Stooges side of rock. Their sound relies most on distortion (as seen in the title) and energy than anything else.

Image was also a big part of grunge, whether they liked it or not and Mudhoney, via Sub Pop heads Jonaythan Poneman and Bruce Pavitt was the prototype. The band, consisting of college-euducated middle-class suburban kids was marketed to the famously frantic UK press as rural lumberjacks along with the rest of the label's roster. This, best chronicled in Our Band Could Be Your Life, presented the PNW groups as an oddity to the "sophisticated" European indie scene. When you pick up a legit copy of this the pictures inside will make this even more clear with the sometime shirtless band chugging cheap beer and dogpiling. This strategy in fact worked quite well and had much to do with the rise of grunge in the home country.

Perhaps in assumption that the proto-punk influence was apparent fromt he very beginning (or perhaps the MC5-like image ont he front cover), Mudhoney pays tribute to their more contemporary influences by covering Sonic Youth and Texas hardcore group the Dicks. These songs are pretty great, and as in most cases, Mudhoney outdoes Sonic Youth at their own game. Some of the best original cuts include "Sweet Young Thing Ain't Sweet No More," "Need," the epic masterpiece "In 'n' Out of Grace," and closer "Mudride." The band is pretty talented, especially drummer Danny Peters, who briefly was a member of Nirvan during a Mudhoney hiatus, and the guitar dynamic of Mark Arm and Steve Turner is one of the best of the 1980s. This is one to rock out to like you were still fourteen, which is exactly what my friends (particularly former bandmates) I do every time we hear this - especially with some watery domestic in the system. It jsut doesn't get much better than this.


Mudhoney - Superfuzz Bigmuff plus Early Singles (1988)

*It should be noted the early singles are the first half and the EP is second.

Every Time I Hear Your Music You're Still Thousands of Miles Away

John Cale really had a way with covers. This is in both senses of the word as his most classic records present him on the sleeve with impeccable style and humor, and this record is clearly no exception. Also, it has got an amazing, perhaps proto-goth cover of "Heartbreak Hotel" on it.

Slow Dazzle presents all of Cale's skills, from pop to heavy rock, to the avant-garde. Keeping up with style, mood changes as frequently, from the bright oping tribute to Brian Wilson, which keeps up with much of that fellow's style to the bitter "Guts," about the backstage disaster the night of the legendary June 1, 1974 concert. Then, of course, he takes it to weepy ballad "I'm not the Loving Kind." Other highlights include the Springsteen-esque "Ski Patrol" and the punk attitude of "Dirty-Ass Rock 'n' Roll." Admittedly not everything is as perfect as on albums like Paris 1919 and Vintage Violence, but it highlights the full expanse of Cale's brilliance and creativity. At times, this is exactly what someone may expect from Cale knowing him only as the number two guy on the first two Velvet Underground records. At others, it can only be appreciated that understand Cale as the artist he is - a true enigma not as easy to peg as former collaborator Lou Reed.

Like many of Cale's 70s work, the UK über-elite play on this album, though in this case (considering Phil Collins and Robert Fripp's absences) it could be described as simply Roxy Music. This means he is joined by Phil Manzanera (guitar), Andy Mackay (sax), and Brian Eno (synths), so it would be recommended to anyone curious about their work outside of Eno and Roxy.


John Cale - Slow Dazzle (1975)

Asked Me Why I Never Wrote You a Song When You Thought You'd Given Me Enough to Work On

In celebration of the long-awaited conclusion of my academic career I will write on the Verlaines...



This is, of course because leader Graeme Downes, if anyone, has academicized Rock 'n' Roll. Now, I am not sure if I can agree with that, and while I have not taken his program at the University of Otago (him being one of the few to remain in Dunedin today), I can only assume this kind of thing ends up harming the art much in the way of film school, which I have attended.

However, the Verlaines to rock, and while at times it can be a bit pretensious, it's still clever and sincere, and even better that other successful academia-rockers like Mission of Burma. MoB is a good comparison for the sound as well, and then of course the Wipers would be as well, along with the overall kiwi-pop sound. However, the Verlaines really do rock harder than most of the others, and not in a punky way like the Clean and Toy Love. These energetic songs are catchy, clever, and powerful, and Downes' arrangements often touch on brilliance. In fact, "C.D., Jimmy Jazz, & Me," re-definined perfection in the musical sense with it's flawless integration of strings and horns into epic rock. This along with their definitive "Death and the Maiden" and the acoustic punk of "Pyromaniac" are not only some of the group's best, but some of the movement's. While this is a compilation, it truly is the best place to start, and is the best source for their music even when you have their complete LPs. Notably, part of this is for including "Heavy 33," originially found exclusively on budget used section classic comp No Alternative (also featuring Soul Asylum and the Goo Goo Dolls when they were all about ripping off Soul Asylum). Unfortunately, though, it does not contain anything from the Dunedin Double EP, which was one of Flying Nun's first releases and also contained sides from The CHiLLs, The Stones, and Sneaky Feelings.


The Verlaines - You're Just Too Obscure For Me...

I Knew Somebody, But Now I'm All Alone

Well this is obviously some true Rock 'n' Roll.

Hanoi Rocks hailed from Finland, and despite that disadvantage (which with the likes of HIM tailing is only getting worse and worse) they are legends. Despite their decadently glam image in the 80s and the facts that Guns 'n' Roses cite them as a top influence and Vince Neil was convicted for vehicular manslaughter of their drummer Razzle , Hanoi Rocks is in fact NOT metal. Bands of that style did take a lot of them, though in their attitude and look, but Hanoi Rocks' music harkens back more to the first era of glam and of course, punk rock. Keep in mind that 80s metal borrowed a huge part from punk as well, they just took it differently from these Finns. Metal, punk, whatever - this is music for lovers of Rock 'n' Roll and know that it knows no boundaries, reaching those as far as the Arctic Circle.

Hanoi Rocks knew no limits either as their singer also excelled as a harmonicist and (red and white) sax player which plays a big part in their music. The British national Razzle, as well changed rock as he played with a bass drum bearing his name rather than the band's. Bottom line this is an awesome album that I've been wanting to get into for years and I just now acquired it in its entirety. "Lost In The City," which I heard first is a great rock tune that lives up to its name. Other favorites are "Tragedy" and "11th Street Kidzz." The album extracts everything fun about punk and glam which of course Southern California metalheads admired as much as I do. Therefore, I recommend this (more than usual) to fans of Guns 'n' Roses, The Clash, Mötley Crüe, David Bowie, etc...


Hanoi Rocks - Bangkok Shocks, Saigon Shakes, Hanoi Rocks (1981)

He's So Fine, He's Like Me...

The power of Chris Knox!

Toy Love was it in the way of kiwi pop. We all know the Clean, but Toy Love was first. The band marked, even more so the transition from imitating UK punk and featured both members of Tall Dwarfs as well as one of my favorite bassists Paul Kean, later of the Bats. They formed out of NZ's original punk band the enemy and were quite a show. After forming in Dunedin they relocated to Australia expecting it as a route for more success. Unfortunately they were wrong. They recorded one poorly mixed self-titled record which has been re-mastered and sounds pretty great on the first disc. However it is some of the earliest singles like "Rebel," "Squeeze" and "Sheep" that stand out the most. These songs can really speak to anyone, anywhere in the world who knows what being a hipster or a true rock 'n' roller is all about. If you are reading this I am sure they should connect with you. Frontman Chris Knox is an incredible performer and the whole band is really switched on as well. It's a whole lot of fun and if you are interested in the history of New Zealand rock this as just as, if not as important as "Tally Ho!," "Pink Frost," and The Dunedin Double EP.


Toy Love - Cuts (Disc 1)

Be Thankful Every Day

We all know that Robert Pollard is the god of Rock 'n' Roll. No person has understood what it's all about and is the second most prolific songwriter in the genre after R. Stevie Moore. Admittedly, he has not lived up to the work he has done with GbV as a solo artist, but this record is the closest he has come to it. That's a lot to say considering this is a double LP (one CD, but whatever, dead format.). Also, this is the first thing he put out after the demise of the greatest band of all time.

Synths are more prevalent than on any GbV release making his New Wave/postpunk and prog influences more apparent than ever. The lyrics never falter and stand up to the stuff he was writing even on Bee Thousand and Alien Lanes. The biggest difference is the song lengths. There is nothing like "Cigarette Tricks" on here with no song clocking in at under one minute. More epics. It is clear that Pollard's songwriter has gotten to the transcendent level here. He is re-inventing song structure rather than simply mastering it. He produces swirling arrangements that slowly build and build while going through complex changes, ultimately building to an orgasmic peak. This kind of structure is possible only with the unworldly understand of rock music that Pollard has. What comes to mind is Built to Spill's Keep It Like A Secret which showed that you could be epic in a mere four minutes. Pollard can get a bona fide epic into a mere 2 1/2 minutes. Any GbV fan would know he is capable of that and here it is. The best tracks are "Dancing Girls and Dancing Men." "U.S. Mustard Company," and "Light Show," but let's be serious here, this is Bob Pollard.

I think comedic genius and former member of Superchunk Jon Wurster plays on this, but I am not sure.

For strong lions only.


Robert Pollard - From a Compound Eye (2006)

Here's some pics I took when I saw Bob with Boston Spaceships here (in Boston) at the Paradise Rock Club this fall with my buds Alex Halatsis and Brock Ginther. Needless to say that was a great show. I still have the empty bottle of Miller Lite that Pollard handed me during the all-GbV encore. I also got a swig or two of his tequila.:


Bob in top form


The Keene Brothers as they are known.

I have more, but why overload? That night Pollard put it all best when he said, "This is how you have a great rock band - you gotta be drunk and tight! It's really hard. Drunk and tight. Now I'm not advocating the abuse of alcohol...

...but yes I am!"

If This Were In "17 Again" Not Only Would I See It, I Would Swear By It

Just this afternoon my friend Sheldon linked me to this.


I highly recommend that everyone check out this blog and download the Toms. It is very reminiscent of Todd Rundgren and Emitt Rhodes and like them is a one-man band as well.

I am pretty sure he is from New Jersey as he as collaborated and recorded with Richie Sambora and the Smithereens recorded at his studeio, and we all know that matters a lot to me here at The Monument. It's is pre-digital home recording, and that's really all that matters, right?

This title, is in reference to the song "(I Wanna Be A) Teen Again," just one of the amazing cuts.