The Best Band on Earth, 1962

It begins in 1962 as this was the birth of the "band" era.  Before that, in rock at least, it was all about singular performers and perhaps some acknowledgement of their side men.  This concept is based on the idea of cohesion, energy, and unity.  No bands repeat, so I guess it's not totally accurate.  It has very little to do with records and some bands will be number one when they did not release anything or maybe even released a weak album.  So, with that, the best band of 1962, The Beach Boys.

So, obviously I am not trying to say that the Beach Boys did their best work in 1962, but merely that they were the best band in the world at the time.  In a lot of ways, they were the best band they ever were at this point.  As the music got better they became more a project of Brian Wilson making use of five other vocalists and one other guitarist.  Then really just six solo projects that would share LPs.

1962, though the quintet of Brian, Carl, and Dennis Wilson with Mike Love and David Marks were the tightest and liveliest band so far.  Brian's songs were getting better and better by the day as he expanded beyond surfing and car songs into the likes of "Farmer's Daughter" and "Lonely Sea."  Though a weaker record, their debut Surfin' Safari showed how much potential the soon-to-be legendary band had and considering the hypnotic harmonies on "Ten Little Indians" were recorded live they may have already been there.

There is still a lot of controversy surrounding rhythm guitarist David Marks, but the extraordinarily young guitarist contributed much to the band being so cohesive.  The 1962 lineup was essentially a power trio of brothers plus one cousin and Marks.  Growing up in the same neighborhood as the Wilsons he was Dennis' young sidekick and even learned how to play guitar side by side with Carl.  These familiar bonds gave this era a rhythmic lock never head before that even a mature musician like Al Jardine just could not outdo.

The mostly teenage band did a lot of touring already and maintained a live schedule far more demanding than most bands since the 80s and their playing was improving as rapidly as the songwriting.  Sure, it may pale in comparison to Pet Sounds, but the 1962 Beach Boys were a live musical force far beyond many of over 50  the groups that will follow.  Plus, consider that the average age of its members was only 17!

Youth of America 2013

On my article about friends' projects I really wanted to include something from Miles Marsico, but I didn't have anything.  Now here is something!  For months he had been working on things here and there at Super River's home studio and here, as New Technology is a video for a synthesizer cover of "Youth of America."  What more could you want?



Oh, and here's a download if you want to keep it around, I know I will for my next party mix!

Friends

So the last series was really self-centered, but this whole time it was all with the intention of putting out a collection of songs by my friends.  Most of the are the fascinating characters mentioned in my previous articles.  I have been lucky enough to be surrounded by geniuses my whole life, most of them musicians, and many of them collaborators.  Though some may be over or under-represented in this set, I tried not to have any favorites, I merely wanted all the major projects represented.  Alameda and Basking Ridge probably make up the majority of the lot, but people I know from college (the bridge to all, I suppose) and LA are in there too.  Now for the long explanation int eh only order that makes any sense:  Alphabetical...

Colin O'Brien-Lux is a Maryland-bred performance artist in Los Angeles who has been active in many communities in the city and is perhaps best-known for his Winter 2012 clown show Everybody Nose Nothing Means Anything And I'm Very Worried, which unfortunately coincided with Super River's debut.  Not to discuss my own band too much, but the connection is a major one as Jesse Johnstone did the engineering on the EP Angel Will You Marry Me? from which both these tracks are taken and played drums on one song.  Other drums were played by Miles Marsico and bass came from Andrew Lewis, who played in Skin Rat.  Last I know he was performing as Grandma in a very atmospheric and intimate way that should not be missed.  "Scarf" is one of the most powerful tracks I have heard in a while.

The Darflers is a project led by Alex "Flash Gilmore" Hatatsis that has also featured fromer Funbeatles/Sunfighter Marty Skeels and local legend (and portrayer of Nagatoku in "Gundam Driver") Chris Arnold.  The band had an emphasis on power-pop with green musician Halatsis skillfully pulling off both bass and vocals.  Not much has been heard since, but Halatsis is now in a band with Big/Ewox member Alyssa Polizzi before her move to LA.  "Best Boy" comes from the Spencer's Girl EP, and "Another Lonely Girl" is a demo with lyrics penned by yours truly.  One of my two appearances in this set.

Flash Gilmore & the Funbeatles was Alameda's greatest band, band certainly the greatest live act of 2012.  With firm roots in The Comfy Men, they were comprised of frontman Flash Gilmore, drummer Jerry Ramone, bassist Mick James and guitarists Hazel James and The Glove.  Their uniformed and choreographed shows were a rare spectacle featuring both phenomenal originals and classic covers.  They released the record Debauchery Playground, named after their closing track - the first composed for the project shortly before disbanding in late Spring of 2011.  Unfortunately, the album was recorded months before and the band's playing and songs had improved much in that time, but that's only an issue if you were lucky enough to witness these later shows.  It still stands as one of the best rock records of its time and "The Top" and "Here It Comes" are hardly enough to hear by this unbelievable combo.

Kidz was a project led by Sam Deutsch (who will be explained in more detail shortly) with a collaborator named Mike.  "Move Yo' Body" is a fantastic piece of 90s dance music that shows just how much the artist who cut his teeth in Hurtu/the Shears/Love Athena can do.

The Last Nights was the brief reunification of Funbeatles Alex Halatsis, Paul Igaz, and Arran Rogerson who made a worthy (even by their standards) debut with an improvised set in May 2012.  Before the Hawaii exodus they played a few shows and recorded Dig This from which these two tracks come.  "Dany James" is about the inspirational Oakland artist.  Sadly other classic tracks "Virtual Tibet" and "Guided by C-Mac" remain unrecorded to my knowledge.

Love Warrior was a solo project from Arran Rogerson after the disbanding of the Funbeatles and recorded the album DMZ, a power-pop album mostly about masturbation.

Also from Alameda is One Tribe, the project of Hawaii native Tony O'Toole.  A spiritual figure in the Alameda scene, Tony was the subject of one of the Funbeatles' earliest songs and has been catalyst to much musical growth (in both directions) with most of the Alameda musicians.  Music For My Friends was an ambitious project for him, but turned out to be a success.  It is the source of the atmospheric instrumental "John" and the cover of "30 Century Man," with guest vocals from Alex Halatsis.  "What a Strange Day" is a demo I rather like as well.

pow wow! is the project of Basking Ridge originals Jeff and Eddie Nazareno with roots going back arguably about ten years, or 26, depending on the perspective.  Last year they released the refreshing Don't Stop To Look with a five-member lineup providing big arrangements, tons of hooks, and beautiful harmonies.  The first two tracks are here, but the whole thing is about as good.  The band has had varying levels of notoriety throughout it its career, and their album, one of the finest of 2012 still needs its due.  Unfortunately their future is a bit uncertain, but there is no doubt its members will go onto creating more great music.

Sunfighter is the primary band of former Funbeatles Arran and Sam Rogerson.  They both play guitar and sing and split songwriting duties.  Sweet Machine was another great and overlooked album of 2012 full of catchy guitar rock that evokes all the best stuff and is quite creative in its songcraft.  They toured the West Coast last summer with rhythm section Fed Martinez (drummer in Rogerson's past groups Life on Mars? and others) and Eamon O'Conner, playing with Super River in two instances.  Here are two of my favorites from that record.

SWade is the former alias of Sam Deutsch, one of the most talented and unpredictable artists I know in any regard.  That made selecting tracks from him very difficult.  He can write great classic pop songs, experimental pieces, piano ballads and just about everything in between.  Lately his focus has been on Dark R&B, though with plenty of breaks in between.  He is currently using the name 50 Grand Sam and working on an EP, but just released the song "Hollywood" yesterday which you can purchase on iTunes, and I implore that you do.  These two are different though - "Could This Mean Space?" is an experimental synth pop that is as edgy as it is catchy, and "A Best Friend's Love" is a funny folk-rock demo.  Just two of my favorites among a whole lot.

Volcano Divers is Liam Carroll, from Liberty Corner, not Basking Ridge if you can believe that.  First appearing in this blog as Batwolf's butler Dr. Alphonzo Vengeance (yes, we had a doctor for a Butler), he has recorded a lot of noise-pop in this form and here are a couple of my faves.

Will Stratton is another old friend from Basking Ridge.  His real name is Will Lulofs and he was a member of Batwolf, the Tangles, and previously Time Well Spent.  He is recovering from Testicular Cancer and planning to return u-time to New York in October.   There will will be more about that in an upcoming article.  Last Friday was his benefit show, featuring a closing performance by the man himself in accompaniment of the BENEFIT ALBUM which I will also discuss in more detail.  Having the most professional career of all (four albums released on real labels) it was also hard to choose material from him, especially considering how much of it has Basking Ridge references.  However I chose one from his first, another from his second, and a demo of the title track for the next.  I am sure it will change a lot before the album is released, but I like this version.  I also used to like the demo version of "You're a Real Thing" more, but that has changed.

As mentioned before, Zero the Astronaut is Alex Adler's solo project after Ways ceased to be.  With so much material he started narrowing it down and went into the studio to record a debut single of "Solitude" and "Misery City."  He played all the instruments except the bass on "Solitude" which, not surprisingly was me.  The songs show both his sides - heavy and complex and soft and stoney, but both have a great deal of raw emotion.  Adler is an excellent songwriter who is firmly in the tradition of the best American rock of the 80s and 90s who has a lot of potential, particularly in his ability to not fear the obvious.

DOWNLOAD: THE BEST OF FRIENDS

I hope you enjoy all these tracks and artists as much as I do.

Roots, pt. 8: Skin Rat

I must admit I forgot about this one.  That's because it began after the inception of Super River, but before leaving California.  It is the first of many Super River side bands, but without a doubt the best-defined.  Almost all of these groups have names and I cannot keep track of them.  Maybe Jesse can, but those are just the ones that he is in!  Every different configuration of the members of Super River has a different name, though the recorded material is usually just lumped in as "Super River."  When others are concerned it's different.  There are countless bands made up of any number of the five of us and our usual collaborators like Miles Marsico, Max Dameron, Colin O'Brien-Lux, Arran Rogerson, David Boe, Michael Solan, Paul Igaz, and many more.  A few I can recall include God Particle, which I believe is the four male members of Super River, Silk & Flowers which is Super River (or at least most of us) plus Max Dameron (and possibly Miles) and of course Kathryne and Miles' project Fake date.

So then onto Skin Rat.

Thanksgiving week 2011 was a trying period for Super River with Jason's schedule changing (or so we thought), Jesse's visit to New Mexico, and Kathryne and Alex's long trips away to Portland and Atlanta, respectively.  We feared they may never come back, but luckily that was not the case and the band continued.  Jesse took this opportunity to test out some new recording ideas in our space at ABC studios, in Glassel Park with the help of me and our friend Andrew Lewis.  These tests were successful as anyone who knows the improvement in sound quality in our recordings from late November/December 2011.  Upon Kathryne's return we recorded the first versions of classics like "It's Dancing Time" and "The Liberty Science Center."

It all began with Skin Rat.  Jesse, Andrew and myself decided to jam for two nights and we had a great time.  We tried a few different configurations instrument-wise, but found the greatest success with myself on guitar and vocals, Andrew on bass, and Jesse on drums.  Unfortunately the bass is pretty low on these recordings but the power of the trio is still apparent on these dark, heavy, and angular songs - all improvised in the usual tradition.  Worth a listen if you were curious about my guitar playing.

"Blood on the Ground" is a noisy and angular goth/no wave track, "DryWings" is is a quick bit somewhat meandering track that would work well in a psychedelic Western shootout.  Pretty cinematic.  "Fly Climate" with its eeire vocals is also atmospheric, naturally of jungle nightmare.

DOWNLOAD:  Skin Rat - Mom's Worst Nightmare (2011)

Roots, Part 6: (Winding) Ways

Alex Adler, George McTernan, C-Mac

There was another barren period, this time also lasting about three years, but it was perhaps even more barren and a lot of it had to do with not even having an instrument with me when I moved to LA in June of 2009.  That changed slightly over a year later when my family visited.  I needed the thing back no matter what, but it was heightened by the possibility of the Funbeatles losing a member.  Luckily for everyone other than me that never happened.  The bass was useful when I moved to Alameda at the end of 2010, though, but I would not be in a proper band until the following Spring when I returned to LA.

That band was Ways, also known as Winding Ways and sometimes The Ways.  It was led by my college friend Alex Adler who had amassed a large quantity of songs, ideas, and titles, all of which impressed me, such as "Inner Moon," "Alive In Well," "(Oh) Family," "Ocean Vision" and many more.  Just looking forward to playing again, we began and all too quickly found drummer and recent transplant from New England George McTernan.

We began weekly sessions at Echo Park's ultra-hip rehearsal space Bedrock (where less than a year later Super River would be) and got to work on this wide body of songs.   Some of the first were "Zero The Astronaut," "On Pleasure Pier," "Discipline" and "Vice/Versa."  The band's influences were mostly of the 80s and 90s rock type like grunge, shoegaze, and American Underground, though with some space-rock in there too.  Some more specific inspirations were the Wipers, Meat Puppets, and Bobb Trimble, with Adler's dominant guitar style evoking a lot of John Frusciante, Curt Kirkwood, and Trimble.  Those four early songs were recorded in early May by Paul Igaz in his legendary basement with him on drums.  I unfortunately do not have these demos at the moment which is tragic as they may be the best recordings and Igaz' drum style is quite different from McTernan's which offers a very different interpretation of these songs.

Brady Nelson played with us a few times on synth, but we were unsure how needed that was and schedules were not ideal.  Through that Summer we kept playing and our setlist grew and grew into an exciting little show.  That show was finally put on display at the embarrassing Highland Park venue Mr. T's Bowl with current Los Angeles buzz band Spaceships and a "punk" band called Dog Teeth or something, who I guess has a cassette or something.  I found them unpleasant, but Spaceships was great.  We got that show through their bassist Schuyler Stone, also of Benefit Friends (who departed that November for New York) who also, through them got Super River a nice show at Silver Lake Lounge a year later.  It went well for the most part, other than my amp being a bit too loud and my mic being way too loud as the sound guy was not expecting my screams on "Pheonix" which on a good night like that were pretty ear-piercing.

We recorded nearly every rehearsal to varying success.  The vocals were often far too low.  We used some kind of good machine I've seen before, but an iPhone probably would have worked better as it did for Super River.  There were also some really great videos made with the help of Adler's room mate Hee-Jae Park, but those have been taken down.  These are probably the rawest recordings I will share.  Not our best performances nor best sound quality and I think I may even be out of tune on "Vice/Versa," but this is the best I have of the band in its original form.

"Misery City" is probably the most pop-oriented song, with a dark beachy vibe.  Keeping with the nautical theme, common in Adler's work is the ballad "On Pleasure Pier," which was always a lot of fun to play, even at its slower tempo.  "Phoenix" was maybe our heaviest songs and definitely the heaviest here.  It has a rare complexity and was more complicated than most, which made it a lot of fun to play, in addition to the screams.  "Vice/Versa" is another emotional rocker, one where it's hard to find a point of reference, though.

The first song we did together "Zero The Astronaut," is obviously pretty spacy and at its best was a hypnotic piece that we would jam on for a while live despite its radical shifts.  Also a lot of fun on bass.  "Discipine" was a loud fast punk track, sort of like a stiffer Wipers.  "Greener Paper" was also fun and one of our shortest songs that always reminded me of Nirvana for some reason, though I really can't hear it.

The band folded in late 2011 as Adler and McTernan's inability to agree on drum parts worsened and the early days of Super River made me unable to focus on any other projects - I even wrote a song partially inspired by this, also included here.  It is one of the few Super River tracks with me on lead vocals.

I think all these songs have a lot of potential and just needed some fine-tuned dynamics to be classics.  Luckily, Adler has stuck with most of them on his own as Zero the Astronaut - available here.  So far he has recorded "Misery City" and "Solitude" which I have also included.  I was lucky enough to lend my bass to "Solitude," though to see it live, and on the old video was ideal with vocal harmonies provided by George and me.  It was truly something exciting and I have a lot to look forward to from Alex Adler.

THE ORIGINAL WAYS +related

Next:  The lost bands, the future, and the best of friends.

John Maus/Geneva Jacuzzi/Holy Shit at the Echo 5/13

Probably nobody reading this has noticed I don't review shows often. They probably don't even realize it's been a very long time since I've updated. Either way, I felt this show needed to be reviewed immediately. Here's a little update too: I live in LA again and I am actually listening to new music and enjoying it! It's been a good year. So moving on...

Holy Shit was the performer I had heard the least prior to that evening. They were reduced to a trio due to a missing keyboard player. They had a cool style rooted, unsurprisingly in early postpunk/goth, particularly evoking the Cure. I am sure their records are pretty good but it was a pretty disappointing performance. While the three played well, particularly the drummer It really looked like they were not having any fun. Maybe the singer/guitarist a bit, but definitely not the bassist. He stood there as still as most of the goons in the typical LA audience with the presence (and disguise) of a man at least twice his age. He was so bland (and his instrument least audible) sometimes you forgot he was there. All that did was make you notice that the drummer didn't seem much happier. Good music, disappointing performance, but at least they were first.

In between sets a woman in shiny Arabasque disguise and black and white makeup lurked through the audience. I briefly feared it was a cougar (though perhaps not consciously) occultist who had taken a strong liking to me on Valentine's Day, but much to my relief and excitement it was Ms. Jacuzzi herself. She took the stage alone with only a small synthesizer to keep her company and immediately made me think that while I never got to see Kate Bush and Siouxsie Sioux at their prime I at least had this. Every aspect from her theatricality, to the lighting, to her voice and Moroder-esque atmospheres evoked my greatest dreams and fantasies. Several songs into the set she stripped over her excessive layers down to a more formfitting black ensemble and let down her majestic brown hair. Of course all the men in the audience who failed to observe carefully or do their homework before the show were now aware they were in the presence of perhaps the most beautiful woman in Los Angeles and moved up. I was stuck behind a goon of height comparable height who barely even moved to the beat. Typical Los Angeles, but nothing could ruin this. In fact it may have been a good thing as I probably would have been visibly aroused otherwise. If you like bizarre performances, great disco-goth, and agree that darkness should always be in the spirit of fun you cannot miss Geneva Jacuzzi.

Next we had the headliner himself John Maus. Where I had previously described the University of Hawaii professor as "post-outsider" I immediately dropped the "post" as soon as he took the stage. I have not seen any performances like this before, but when I think about it, that's surprising. He took the stage alone with just a microphone but with the presence of Ian Curtis and Arthur Russell. Basically it was like watching someone rock out to his own CD. Yet it was way more exciting than a lot of bands I've seen. In fact, most. The energetic Maus would often scream off the mic and beat his chest with said device just in case you forgot you were seeing something special. As awkwardly as the songs ended the set was relentless and the seemingly well-initiated audience was in full force for his classics like "Rights for Gays," and "Do Your Best." That being said I am sure I wasn't the only one a little disappointed with his format which naturally would have to exclude "Navy Seals." Of all artists I've seen John Maus was maybe the most excited I've seen and as a fan of his what more could you ask for?

Now, this could be part of the fact that the show was on Friday the 13th, but I know the initiated wonder about the absence of "Ariel Pink" from this review. Well all of us in the audience thought the same thing. Not only is he presumably that missing keyboard player from Holy Shit, but also the missing boyfriend of Geneva Jacuzzi. Not to mention his collaborations with Maus. While I am glad his assumed presence was not a selling point for this show it was still a sad blow to follow R. Stevie Moore having dropped out of the lineup. These men's attendance would have of course made the show much better, but anyone there has little to complain about.

Standing Before King Everything

This was of course the kind of thing I would give my life for: Two nights in a row of Guided by Voices’ classic lineup in the two best places on Earth.

The first night at Los Angeles’ Wiltern Theater was a special occasion as I was joined not only by fellow GbV devotee Paul Igaz, but by two newcomer friends of ours (including a true Pollard). After a number of canned American macrobrews we were ready to head down the street for the show. Doors were at 7 that night and we arrived at almost 8:30. Missing Times New Viking was an unfortunate but doable sacrifice, but what was surprising was that had the schedule been followed to the T we would have missed some of Guided by Voices set. They started not much later, but as Uncle Bob and company entered the stage with “A Salty Salute,” we learned where out lateness was a mistake. Paul and my attempts to get closer were met with unpermissive security forced us into be the most enthusiastic fans in the middle sea of Hollywood poseurs.

However, as Mitch led us into “Shocker in Gloomtown,” the reassurance that we would have another chance the next night was enough to let it go. The band continued to lead us through all the classics from the obvious “I am A Scientist,” “Motor Away”) to the obscure (“My Impression Now”) with fantastic showmanship not only from the Fading Captain himself, but equally from cohorts Mitch Mitchell and the fantastically dressed Greg Demos. Staging hit its peak with the Tobin Sprout cuts – particularly the ones in which he was joined by Pollard and “Cut-Out Witch” (one of the few Under the Bushes Under the Sttars cuts played.) Bob hit us with all his classic moves – the windmills, the kicks, the hops, yet kept them in check to give his band the credit they deserve.

At San Francisco’s Warfield even more friends joined me after an invigorating drive across the Bay Bridge. This time Times New Viking confirmed their importance as one of today’s best bands leaving me, unlike the rest of my crowd speechless. They evoked not only their all-encompassing home state, but some of the cosmic power of Young Marble Giants with Beth Murphy reminding me of an awkward Chrissie Hynde and Adam Elliott as the greatest singer songwriter to sit behind a drum kit.

Then it really started. Was this show better than the one in LA? It is impossible to say, but what I can say is this: Being much closer to the stage surrounded by people who know every word to “Gleemer (the Deeds of Fertile Jim),” “Smothered in Hugs,” and the symphonic high of “Don’t Stop Now” one can only think of commercials for Christian rock compilations for comparison. You know, the ones where the massive audience throws their collective hands towards the sky in transcendent ecstasy. It was like that, but with a lot more motion in the body, a bit hard to stay on your feet, well, and beer, obviously. Likewise the new proximity to the stage allowed me to finally witness the legendary “crazy Kevin face” which was all its cracked up to be possibly due to, or perhaps despite the fact that Mr. Fennell had aged particularly well in spite of the worst substance abuse.

While the songs were the same, some things differed between the shows. Perhaps this was only due to the location of my party, but the SF show was much more male-dominated, yet despite all your outsider sneering had no apparent gay element to it. Obviously Guided by Voices, right? On a similar note, The Los Angeles show featured a long string of banter between Pollard and Mitchell on the topic of Los Angeles pussy, which I am sure was enjoyed by all single members of the group particularly Mitch. The Los Angeles show also featured a great rush to the stage on “Motor Away,” in which at least 30 people joined the band onstage to everyone’s delight. This was not repeated, but neither was Pollard’s improvisation on “Lethargy” which reminded us that no one in the band gives a fuck, so why should we?

With all the songs intact the band changed it up a little bit by switching from two encores into three, but both ended the same way. First a sing-along epic rendition of “Johnny Appleseed,” and the closer to end all closers “Weedking” in which Uncle Bob sends his fans home early with the right idea I am sure almost all of us followed.

That’s right you will be home early to give your own neighborhood a taste of the Monument Club where you can watch your newly initiated friends transform from child to Official Iron (Wo)Men. That’s all you’re getting. Gotta leave some surprises for you suckers on the East Coast.

But here’s one they certainly won’t be swinging in Boston: Mitch has maintained the cigarette with unfathomable constancy and at many point, so does Pollard.

New Hope on Earth

Well, I just got back from another show at 5011 in Mid-City. A week and a half I went to see my friend Benefit Friends, but had to leave before he played. However it was still a good time thanks to Tubby Boots and the San Francisco band that preceded them. That band sounded like Ratatat with the guitarist from Tortoise if that rings any bells.

Tonight was an even better show, though. The first band - Furcast was amazing. They were like an epic goth-inspired Black Moth Super Rainbow... but no, that would be playing them off as a little bit more derivative, but shit, they were really great. Corridor may have been even better. Merely a heavily-affected acoustic guitar and drummer they had a very full sound.

Both bands I genuinely liked and fully endorse. I am sure they all have myspaces, but I don't really keep up with that kind of thing. Either way I think despite Jay Reatard's death we have a lot to look forward to again.

The Vaccine to Hearing Loss

Whether you love or hate Antone Newcombe this is going to make you feel stronger either way.


Now, despite what Newcombe says in the above video it is not as easy as you might hope to find all of his music on the internet. After struggling though, I did.

This release, I feel, is particularly important to share as the usual and understandable place to start with BJM is Tepid Peppermint Wonderland: A Retrospective. This album was recorded on TVT Records, which as we all know may function more like a major than any other indie. Though actually with even less patience as this was BJM's only record with them, and they were followed by an almost as brief period with GbV. Naturally, the label would not share these tracks for that wonderful compilation. It sure is a shame as the band was on a roll as much as ever and the record highlights many of the band's strong points.

Recorded during their time in Los Angeles, their sound is rooted as much in 60s psychedelia and the Velvets as ever. However, his album named after an 80s Bowie quote not only is the most typically 90s indie rock I've heard from them but also explored the subtle nuances of 90s psychedelia revivalists. There is no better example of this than the Elephant 6 (Specifically Gerbils-esque) pop of "Jennifer," besides maybe "Dawn" with Newcombe seeming emulating Wayne Coyne. Likewise the magnificent opener "Going to Hell" Newcombe gets in touch with his inner Dylan more than just musically to outstanding results. Tracks like "Nothing to Lose," "Dawn," and "Lantern," are typical BJM at their finest being the perfect medium between Spacemen 3 and Rain Parade. This album is a little more acoustic guitar and organ heavy than a lot of BJM's other work, but not of course with any less of Joel Gion's famous tambourine. Keep the revolution going!


The Brian Jonestown Massacre - Strung Out in Heaven (1998)

Water, Keep On Falling...

Well, back from another trip to the Bay which included a much needed trip to Amoeba after months of being to lazy to go to the one in H-Wood while it was still open...

While in their home town, I was looking for any Viva Saturn, but to no avail. While checking the Rain Parade section, though, I was pleasantly surprised. First, I saw that for the first time ever Crashing Dream was available on CD, but I also found this one for the first time on any format.

Here is a posthumous compilation of Rain Parade's finest odds and ends. Mostly demos, it's a great look into their later work for the Emergency Third Rail Power Trip purist, as the stylistically similar album art should imply. The first ten tracks show the band in preparation for Crashing Dream before Island records cleaned up their sound a bit. Personally, I think most of the album version are better, but these are worth hearing, even if you agree with me. Though, perhaps this could only be said about such standouts as "Mystic Green," as this collection's version of "Gone West," despite its invasive synthesizer is better than the proper album's. Additionally, this includes two tracks (including a title number) from that album which, at least in this context, stand up to the others.

The last nine tracks of this collection are the only available examples of Rain Parade's last days and the unsurprising change of pace. Here the band's final sound was one much darker and indeed for the most part heavier than any previous phase. While at times they remain slow and more comparable than ever to David Roback's post-Rain Parade project Opal, even more are rockier than one would have previously though possible, with the live "Got the Fear" sounding a bit like early Built to Spill. However, this should not be a surprise considering how much Rain Parade's Paisely peers had changed by this point (1987), and these rough demos are better than anything The Bangles or The Three O'Clock released that year.


Rain Parade - Demolition (1991)

Dancing in White Sheet Glory

Well, I am back from another wonderful visit to Alameda. Unfortunately, I have not bene feeling as active as I should with the blogs, but I have begun my tenure as a featured writer on SleepWalKing, where I wrote (surprise) a review of Sleep Convention. Well, as much as I love it here, listening to my favorite track from this record reminded me of how much I need to return to more of my own fair city.

Seems odd, but yes, Los Angeles is the home of American goth. I had always been curious about the domestic side of the style as I have long been a fan of Joy Division, Bauhaus and the Cure. Our contribution to the style is a bit more on the side of the common mall-goth stereotype. Yet unlike Los Angeles peers and arguable super-group 45 Grave, Christian Death (name actually a play on words for "Christian Doir" rather than mere anti-Christian angst) is only arguably intentionally funny. All the drama (see "theatre" in title) would have to be intentional if only frontman Rozz Williams had been past his teen years. However, it is hard to deny either the fun of this over-the-top band or the creative guitar playing of former Adolescent Rikk Agnew. While Marilyn Manson copped much of Williams' style, the original can speak to anyone with a good sense of humor more than the 90s shocker. By far the album's best track, "Romeo's Distress" exemplifies the album's best charms the punky minor-chord bass line is a catchy pull and Agnew breaks into some of the most enjoyable goth guitar - basically Bauhaus with some real SoCal-style chops. Then Williams comes in with one of the most beautifully tasteless shock lines of all time "a burning cross is on a nigger's lawn." Obviously not for the easily offended. Though at a lower level the rest of this album is not a far cry from that masterful track.

Like my last article attempted to wash off some stigma around pop-metal this one should encourage you to give goth a chance. This is true rock 'n' roll in perhaps the most fun way. It gets dark, offensive, and even disturbing but remember, it's only theatre... OF PAIN!!!


Christian Death - Only Theatre of Pain (1982)

She's Like Fire, She's Like Ice, She'll Leave You High And Dry

A lot of people give David Roback the most credit for Rain Parade because of Mazzy Star. Their later work does not falter enough for that argument, nor is Mazzy Star good enough. His in-between group though, is the place to highlight his individual talent though.

Originally as Clay Allison, he and the Dream Syndicate's Kendra Smith collaborated on the work here, which I feel, particularly on the shared track "She's a Diamond" is better than their Happy Nightmare Baby. While it may have been in discussion of Rain Parade, Roback's famous quote "we wanted to make very quiet music," is the best description of Opal's work, more of a departure from the old band's Byrds-y guitars and hard-hitting drums than expected. What distinguishes this from the follow-ups of sorts is stong songwriter, at least some that can really shine through. Its opener "Empty Box Blues" is instantly more captivating than a lot of Roback's other post-Rain Parade work, and Smith sounds better than ever, as well. At times she even has the sound of an Old West chanteuse with a quiet shoegaze milleu. There is not much else like this, just don't let it put you to sleep... no offense.


Opal - Early Recordings (1988)

New York's Alright If You Like Tuberculosis

Yesterday was the final show of the Vans Warped Tour here in Los Angeles and I was lucky enough to be comped a ticket. Of course, I have little to no interest in most of the artists playing, I had not even heard of most of them, but there was the Old School stage... There I caught U.K. Subs, D.O.A., and an amazing set from Fishbone. Yet, after a very weak and ungrateful band from Kansas City with the misfortune of playing after Fishbone I got what I was really looking forward to... FEAR.

While it was in the fallout of the most severe commercialization of punk rock, it was the most punk experience of my life. Lee Ving is as charismatic and acerbic as ever and the crowd was true L.A. hardcore. The whole set was very strong and the highlights, apart from "More Beer" were many of the same highlights as from the below album. They started off with "I Love Living In The City," and had a performance of "Beef Baloney" on par with the classic SNL debacle. Of course, "New York's Alright If You Like Saxophones" resonated heavily for me at this point in my life, even as it lacked the saxophone part...

For those who may not be well versed in FEAR, here's a little background: They were one of the original LA hardcore bands formed in the late 70s and bridged the (slight) gap between the Germs, X, Screamers, and Weirdos and likes of Black Flag and T.S.O.L. They were also John Belushi's favorite band (one listen to this and that makes a whole lot of sense) and he would not agree to do the SNL Halloween special in 1981 unless they could be the band. They got to do that and made a mess of their much maligned New York City featuring slam dancers and thousands of dollars worth of damage to the studio. They played "Beef Baloney" and of course "New York's Alright If You Like Saxophones" but were cut off mid-song while performing "Let's Have A War." It was definitive punk rock, of course, and Lee Ving has not changed a bit since then... at least not publicly. So get ready to get offended and enjoy...


FEAR - The Record (1982)

What About The Problems of Our Society?

Ever since I first acquired this via New Jersey's Vintage Vinyl I had wanted to attend a dance party featuring the music of A Certain Ratio. Sunday I will finally have my way. So, if you are an Angelino and already a fan, or I am just about to make you one, be at the Echo Sunday night at 10 for Factory Night. I will no doubt be there (as well as Funky Sole the night before).

The initiated often have a poor idea of ACR based on their portrayal as Tony Wilson's boy band in 24 Hour Party People but they are actually contenders with the rest of the bunch. Appropriately named after a Brian Eno song ("The True Wheel"), ACR sounds like that artist making a Latin funk album and succeeding (although their LPs are admittedly not strong). This band put a dark ambiance around percussive dance music and pulled it off with impeccable musicianship - especially from drummer Donald Johnson. A Certain Ratio was in many ways the most definitive Factory band that ushered in the transition from atmospheric Joy Division and Durutti Column into New Order and eventually the burgeoning rave scene. This is most evident in their longer, loosely structured dance tracks like "Knife Slits Water" and "Sounds Like Something Dirty." Their more pop-like tracks are some of their best work such as the classic "Du the Du," "Shack Up," and my personal favorite "Faceless (Graveyard and Ballroom)." The explosive intsrumental, "Blown Away," is so great I am tempted to put a second pun in this sentence. White (well, 80%) funk does not get any better than this, and all for one reason: they never lost touch with the fact that they were teenage Bowie/Eno devotees from Manchester. That and an unbelievably creative sense of rhythm.


A Certain Ratio - Early (2002)

"B-Sides, Rarities, & Sessions" is not another album, but simply the second disc.

It is an enhanced CD that includes this video, which by request of poster I am not allowed to imbed, but is absolutely worth watching.

See you Sunday!

Flowers Will Spring From Every Grave

While Rain Parade's final album may not be another Emergency Third Rail Power Trip it is no embarrassment. I picked this up for a mere $2.99 (vinyl) just this weekend at Sound Sations in Westchester and was pleasantly surprised.

I hear it may have never been released on CD, which made it surprising that, even while released on Island it was so cheap (I had never seen a copy before). The most noticeable difference between this and the group's previous work is not the absence of David Roback, which in truth did not make that much difference even on Explosions in the Glass Palace, but the slicker production. It is a big change, but not one that ruins anything. In fact, I believe this album could ahve had some hits if released about seven to ten years later (rare thing to say about anything Paisley Underground). Matt Piucci and Stephen Roback's songwriting chops may have been even stronger than ever at this point, and their vocals are as great as ever. While radically different, "Don't Feel Bad" and "Fertile Crescent" - both sung by Roback, are as great as a lot of the group's stellar debut. The band plays tighter as well, which sounds great, even when compared to their previous loose sound, and it is much easier to know that they have a keyboad player than ever before. "Mystic Green" and "My Secret Country" are some great tracks as well, and this album is overall quite as enjoyable. It is ideal for anyone who thought that Rain Parade could get a little too drony on previous albums. For the others, it may be a challenge to get through the synthy intro of "Depending on You," but if you can you will be surprised at how far from grace the band fell (not far at all). Rain Parade started great and ended great, as far as I am concerned, that is not arguable.


Rain Parade - Crashing Dream (1986)

The Ultimate Rock 'N' Roll Legend

On August 15, 1990, the U.S.S.R.'s top musician Viktor Tsoi died in an massive car wreck after fishing in Latvia. Miraculously, the one thing that survived intact was a tape of his vocal tracks for the next album. With those tracks his surviving band members recorded KINO's posthumous masterpiece known typically as "The Black Album."

This is often considered the band's greatest work despite the entire musical tracks being recorded after Tsoi's death. However, it sounds as good, if not better than all the other records and it is hard to beleive it was recorded under such conditions. Like in all KINO's other works, that power to transcend not only the language, but their language's poor aesthetics (sorry) is there. However, it is at its most powerful here and every song is a winner. The band's post-New Wave sound is tighter than ever and Yuriy Kasparyan's guitar excels. These catchy and hypnotic songs stick into one's subconscious forever and permanently capture the last days of Glasnost and Parastroika. It makes you really wonder whether Tsoi's death before the fall of the U.S.S.R. was tragic, lucky for him, or even how he could have altered the Russia's unfortunate future. The dark yet hopeful lyrics reflect this unique time in world history on two of the album's best songs, opener "Кончится Лето (Summer Will Soon Be Over)" and (Красно-желтые Дни )Red and Yellow Days)," as does the plaintive "Кукушка (Cuckoo)," one of their best songs. "Звезда (Star)" is one of their best songs and has a cool, simple beat that any fan of New Order or Duran Duran would have to love. "Когда твоя девушка больна (When Your Girlfriend is Sick)" is one of the band's sweetest pop songs yet somehow fits in this heavy set quite well showing how much of a range Tsoi had as a songwriter, hinting at what kind of music he may have made if he lived to see the overly optomistic years following his death. This is perhaps KINO's best work and in many ways the best place to start with this remarkable band and proves that had Tsoi survived they would most likely have caught on outside the Eastern Block.


Кино (KINO) - Кино (KINO) a.k.a. Чёрный альбом (The Black Album) (1990)


Now, on a totally unrelated note, I had the unusual privelige to see 90s pop favorites Sugar Ray at Best Buy on Pico here in Los Angeles last night. I was informed about this by my friend Tommy who is working for Rocket Science, who works for the band. It was a fun way to relive 1999, and the band knew it would hardly be more than that and htey seemd to be enjoying themselves. The set even began with Mark "Mr. Ray" McGrath asking "who wants to hear the number one song of 1999?!" before going straight into "Every Morning." The set consisted of only a few songs including just one from the new album, one cover, and on top of "Every Morning," "Fly" and "Someday." I am sure no one was disappointed... well maybe the band was hoping for a bigger turnout, but they sure didn't show it. As tiresome as it may have gotten ten years ago, you gotta give the band some credit for doing what they know they do well, enjoying themselves, and having a good attitude. After all, weren't all thsoe hits better than anything that's been on pop radio since?

You Better Shut Up and Listen!!

If you talk to anyone who was actually on the Sunset Strip during the brief days of L.A. punk the names that will appear the most are always the Germs, X, the Weirdos, and the Screamers. Unfortunately, one of those bands didn't leave us behind with any classic records.

...And it's a shame, because the Screamers, known for their tall hair styles, may have been the best. They did have one of the most innovative sounds and performance styles of any punk band, regardless of location. Relying on synthesizer and Fender Rhodes rather than guitar and bass the band did not even broach on New Wave/Postpunk/Synth Pop and really had much more in common with the Germs than any artist of those styles. That coupled with Tomata du Plenty and Tommy Gear's drag past in SF and Seattle (where the roots of the band began as the Tupperwears) which heavily shows in the du Plenty's emphasis on performance and costume. The Screamers reflect just how all-inclusive the Los Angeles Punk scene was and, as a result, how it was one of the most important music scenes of the 1970s. To appreciate the Screamers, one must see them:


As you can see, it's pretty incredible - especially those dance moves! The big problem with the L.A. punk scene, was the despite it's proximity to the labels, it was completely ignored by the labels. The Screamers sound, in particular, was believed to not be able to translate well to recording. The music of the proceeding ten years, I believe, proved that entirely wrong. All that is left in that was are these very rough demos which are really not particularly listenable, but are the best we can do. I would just recommend watching them over and over again.

I believe both Gear and du Plenty died of AIDS, but the other two members went on to pretty significant careers. Paul Roessler played keys for the death-rock pseudo-supergroup 45 Grave (with the Germs Don Bolles and future Dream Syndicate guitarist Paul B. Cutler), while drummer K.K. Barrett works as a Production designer and has worked on all of Spike Jonze's films.


The Screamers - Demos 1977-78

Tomorrow You Could Start Anew

The first time I heard "Confusion is Nothing New" - the first real song on this album I listened to it about 70 times in in a row. I am not even sure how I managed to procure it on my dying low-tech 2004 computer, but something in it really spoke to me.

This is some very Los Angeles music. The band's name comes from an intersection here (I've heard, though I used to think it was a play on the Zombies song), and there sound is full of good vibrations and the local tradition (check out the Forever Changes-esque album art), mainly that of Gram Parsons and the Flying Burrito Brothers. Additionally, their sound owes a debt to previous California cowboys Camper Van Beethoven. The band's silence and eventual and very recent official demise was jsut another reason for the shortage of good music in this decade. This album, though does leave them with a pretty strong legacy. This is perfect psychedelic country rock, and perhaps even more than Gilded Palace of Sin lives up to Parsons' title of "Cosmic American Music." The perfect laid-back Saturday afternoon in the sun sound complete with alternating Western lap steel and trippy organ. The indie kid vocals could be tedious to some, but they are delivered with an alarming amount of sincerity for the sound and at times even excel. Inaddition to the aforementioned track other standouts include the harmonica melody of "The Hustler," the blissed-out "The Sun Surrounds Me," and the successfully romanitc Sade (!?) cover "By Your Side." This is the ultimate soundtrack to a bike cruise along the Pacific Coast, or a day spent folicking in Griffith Park, or even just floating in a broken-into Beverly Hills pool blazed. Enjoy.


Beachwood Sparks - Once We Were Trees (2001)

I'm Not Easy, I Know...

In continuation of my section on desert rock and my arrival in the Paradise City, I today give you Green on Red.

I originally heard of the band in 2003 when I was becoming a massive Pavement fan. I found a page that listed each member of the group's top 10 records. I do not know what year it was from. This one held a very high position on Bob Nostanovich's and was one of the year I had not even heard of at that point.

Despite hailing entirely from Tuscon Green on Red were an essential and arguable part of the Paisley Underground. In fact, both Matt Piucci (Rain Parade) and Steve Wynn (The Dream Syndicate) get specific shout outs on the sleeve. They did, of course have their very own sound, though, in having a very prevalent country sound, while retaining more psychedelia than a group like the Long Ryders. If one is to compare all of the Paisley Underground artists to an earlier group, Green On Red's would be to the Doors all thank to the dominant organ. Lyrically, though, things get heavier with them than most of the others, but their often bouncy rhythms make up for it. Two of such examples are the title track and "That What You're Here For." Other highlights include the 70s cinema (coincidence?) one-two punch of "5 Easy Pieces" and "Deliverence," and the Southwestern downer "Old Chief." With that said, one needs to also give credit to the anthemic "Brave Generation," which is a supportive voice at this age in this time, but that's nothing...

Like many other great re-issues, this version has bonus tracks placed in between the two sides.


Green On Red - Gravity Talks (1983)

Just Need A Future That's Possibly Bright

Well, first things first: A few words for MJ. As we all know by now Michael Jackson died today. Regardless what you may think of him he gave the world some great music and there never has been, and even less likely, will be a performer like him. His relatively young death, I suppose, an end as tragic as his last decade and a half. Let us remember him for all the joy he brought us. ...and don't forget that Farrah Fawcett died as well.

One of Jackon's most devoted followers...

...is tonight's topic once again as his music and words motivates me along this tedious journey to L.A. on which I have embarked (this being written in a motel in Iowa near Omaha).

As many know, Ariel Pink has more music than has been re-released and widely distributed, originally making CD-Rs which were eventually composited into his "proper" albums. This is one of the best examples as its title was re-used with maybe about half of the tracks with ones from its original companion FF>> and others added. Unfortuantely, many of the best tracks were omitted, including Pink's theme song "Beverly Kills (Freaks with the Golden Heirs)," the epic "Express, Confess, Cover-Up," and our namesake "I Wanna Be Young," whcih was eventually included on Oddities Sodomies, vol. 1. Some of the more familiar numbers from the widely avalable version are absent, but still this is the better version, as FF>> is essential as well. One of the greatest tragedies of the widely-avalable version is the absence of some covers including a rendition of ideol R. Stevie Moore's "Shedon'tknowwhattodowithherself" (no spaces in Pink's version) and Strawberry Alarm Clock's "Birds in My Tree." This album is ever more proof that Ariel Pink is a more consisten artist than the more pompous critics would admit, and this oroginal version is essential for any fan of Pink's, particularly one who can absorb his more eccentric work.

I did, however, include "Politely Declined," which takes it's place as the other track 5 - it is not on FF>>.


Ariel Pink's Haunted Graffiti - Scared Famous (Original CD-R Version)