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.

Just a Symptom of the Moral Decay That's Gnawing at the Heart of the Country

Due to an M&M's TV spot, The The got perhaps their largest exposure in the US in 2007. The commercial utilized this album's "This is the Day" giving the audience a catchy piece of 80s indie rock. While cute, the commercial does not show the deep, dramatic and in fact life-affirming power of the song. After a long time of not listening all that much I put this on the turntable on a whim. Good call on my part.

The rest of the album is not far behind. I will be honest that I've listened to the first side much more than the second, but that is not to say it's only half-great, but that first side... fuggedaboudit. Anchored by "This is the Day," it starts off with the dark and intense yet insanely catchy "I've Been Waiting for Tomorrow All of My Life." At this point it is pretty clear that The The's pretty-much-only member Matt Johnson is a bit overly tragic in persona. However, either the conviction in his voice will make you believe it or his knack for songwriting will make you not care. Most likely it will be both. He's got a real skill for stretching out his songs too as only two songs are below 5 minutes in time. Not only do these secret epics remain interesting for up to over nine minutes (the appropriately-named "GIANT"), Johnson uses them as an opportunity to show off his diverse skills in his genre-bending solos. Likewise Side one closer "Uncertain Smile" featuring a piano solo from Jools Holland may even be the album's finest cut at nearly seven minutes that leave you still wanting more.

This is the album today's college kids are trying to make in their dorm rooms with their bootleg copies of ProTools and budget M-Boxes. Hence it serves as evidence that such technology is a bad influence on music.


The The - Soul Mining (1984)

Here's the original video for "This is the Day"


In other news, I think there was a problem with the original upload of the Chills/Van Dyke Parks collaboration "Water Wolves," so I fixed that by putting up the whole record on that very old article.

Am I Awake? Am I Asleep?

Thanks to a wonderful reader's comment on my article on Trees I was shown to a recent interview with the great Dane Conover which is available right here.

While I wish I could have heard more from Mr. Conover himself and not just music from Sleep Convention and his influences. However what he says is pretty great as are some of the rarer music in the program. In particlar, it was my first exposure to his first band The Puppies whose "Mechanical Beat" is featured, as well as his recent work with his wife under the name Popgems. The latter project's song "California" is just incredible and I really wish I had that to listen to on my cross-country drive here from new Jersey/Michigan. Once again it is part of Conover's uniquely SoCal contribution to the synth-pop world. The most significant, however is the original version of the Sleep Convention standout "11:00 AM" which could be described as nothing short of epic. Not only is it one of the best examples of Conover's genius, but also of Earle Mankey's - to whom Conover gives endless credit in the interview. If that masterpiece connected with you this is just as essential listening.

I'm Gonna Leave This Party Now

The KLF really really knew their shit. If the sample of Arthur Russell (Dinosaur L)'s "Go Bang!" at the end of "Go To Sleep" doesn't prove that I don't know what will.

This group is what happened when two underground rock veterans out of the already unique scene in Liverpool decide to reinvent pop culture for the 90s and succeeded - this album's opener "Kylie Said to Jason" and Drummond's white rapping prove this. While few, at least in this country (where they were in fact pretty successful at the time) remember them, 90s mainstream culture (playing what was often called "stadium house") was in many ways created by this band whose political commentary and postmodern sound basically came from 20 years in the future. ...If only 20 years later could have music this good. If you don't believe that check out their successful mash-up from 1988 below. They made the music Kanye West would wish he could have if he had taste. There is so much to say about the KLF, I could go on forever, so I''ll just stop now and get to this album...

It is hard to imagine just what the film The White Room would have been like had it been made. Certainly like nothing else in history, judging not only by the KLF's bizarre videos but just how epic its unreleased soundtrack is. The power of songs like "No More Tears" and "Build A Fire" is undeniable and the imagine a film that could carry them will simply blow one's mind. Like in much of the KLF's work every style is sampled replicated and perfectly accompanied by standard electronic instruments of the time to create a truly postmodern sound. This could definitely be called the A Wizard, A True Star of the 1990s. This is an engaging trip through a psychedelic 90s disco from beginning to end and will surely change the way you think about music and, really all performing arts. It can stand cheesy at times, but consciously, knowing that in the short term it would be embarassing. The KLF guarenteed a legacy that would come, go, and then stay stronger than ever. One of the top artistic achievements of our time. I'll stop now.

Dedicated to

The KLF - The White Room: Original Motion Picture Soundtrack (1991)


The Timelords - "Doctorin' the Tardis" (1988)

Dedicated to the people of the Caucasian nations, where it is almost 3 A.M. (Eternal).

AFFORDABLE FIREPOWER!

The Ultimate Product!

By 1986 members of the original punk explosion had moved onto the broad category of "postpunk." Members of the Sex Pistols and the Buzzcocks had embraced their Krautrock and Dub influences, while others were experimenting with funky dance music. Billy Idol, for one brought punk the middle America by selling out a little while his former cohort Tony James sold out so much that Middle America could never hope to handle it. That is, except for one Chicago teen by the name of Ferris Beuller.

"Love Missle F1-11" was featured in that character's day off, but that is just a warm up for this masterpiece of Musique-Concrète and 1980s hedonistic debauchery that could only be produced by Giorgio Moroder. The videos Sigue Sigue Sputnik left behind show what this album plays - the ultimate 80s experience: Consumerism, glam, video games, cable TV, Transformers, Terminator, and Tokyo. The band's use of samples predates the DJs of the 90s all without moving into dance category, just high art for fun's sake. As I mentioned months ago on the topic of Hanoi Rocks, do not expect anything metal from this despite the band's image - this is something totally unique, hip, absolutely hilarious and often called the first (and probably only) truly "cyberpunk" album. By simply listening to this album you can almost say you lived through the 80s. The album is really one to play through as it flows together really well with long samples in intros (the kind that produce negative numbers on CD players making is hard to track on the PC.) However there are some tracks that do stand out on their own like the aforementioned one, along with "Atari Baby," "Rockit Miss U.S.A.," and "21st Century Boy." With the heavy presence of classical samples, Sigue Sigue Sputnik made an album for the future that was in tough with the past, and could only come from the present in 1986.


Sigue Sigue Sputnik - Flaunt It (1986)

I beleive I was lucky enough to have found this CD at Vintage Vinyl in Fords, NJ.

Beautiful Babies and Runaway Daughters

To continue on this tear for synth-pop (which I think will continue for quite a bit after this as well) I give you perhaps the United States' best, and definitely most under appreciated contribution.

Coming from San Diego, a city which is only now getting a musical voice, Dane Conover managed to not only get signed by MCA, but also produce a slew of low-budget videos such as the one above. Unfortunately, success did not find its way to this great album. Considering the sound of the record (produced by Earle Mankey), the major label, the rise of MTV, and the outstanding quality of the music, it is hard to believe this even happened. Perhaps the public was not ready for its own synthy weirdos... Regardless, we have it now, and this is a real masterpiece that may even outdo synth-pop classics like The Pleasure Principle, Dare!, and Rio. Trees has the same kind of cold and eerie depth of his British counterparts, but is delivered with something of Southern California carefree vibe rather than the bleak English roots. This, however does not mean the lyrics are any less foreboding and apocalyptic. The majestic "Red Car" and "Midnight In America" are prime examples of a U.S. response to Gary Numan's works like "M.E." and "Metal," while "Shock of the New" - which really kicks the album into gear, may be the greatest unsung anthem of the New Wave era. Yet, it may be "Wildwood" that is the true showstopper with Conover's vocals and haiku-esque lyrics somehow submerging bright California pop into the cold and dark world of synth-pop.

It seems to me that Conover has remained busy since, but this is the only Trees record. It's a shame, but at least he gave this style a unique masterpiece.


Trees - Sleep Convention (1982)

The Heavenly Touch of the Synthesizer

After seeing their album and hearing their name so much I was assuming that Black Moth Super Rainbow was just like Animal Collective at their worst (at a time when I was "washing my hands" of them). I finally gave them a chance and was pleasantly proven wrong and they became a part of my every day life for a few weeks last summer. What is so amazing about them is that they are the first band since the synth-pop explosion to really show the beauty of the synthesizer. By the time of BMSR's breakthrough, their primary instrument had become much-maligned as a music machine with no depth and nothing but artificiality. We all know that the instrument of Kraftwerk, Gary Numan, and Dane Conover could never be such a thing! Where AIR had made the analog synth hip and pretty, this group from Pittsburgh reminded everyone just why Walter (at the time) Carlos' Switched On works were so popular. BMSR shows just why these great tools were invented- to eliminate all restrictions of live music creation, and through their dedication to vintage instruments proves just how much the likes of Robert Moog succeded. This is a brilliant and transcendent record that comes as much from the woods of Western Pennsylvania, as it does from the blissed-out mind of a modern music geek. Great for almost any occasion.


Black Moth Super Rainbow - Dandelion Gum (2007)

We're Leaving at Five In The Morning - We Could Get Better Mileage

I write this in my second hotel room of the trip in Western Colorado. Today's drive was made even more transcendent through repeated listening of Popol Vuh's Coeur de Verre, which could not leave my CD player as ventured through the Rockies. One listen, even without seeing the movie would explain why. Download it!


Yesterday's drive, though, was through Iowa. Probably my least favorite state thus far, but I would never have dared say that to Arthur Russell!

Russell, who died of AIDS in 1992 was a genius, and if you don't beleive me beleive the likes of Jens Lekman, the Talking Heads, and even the K.L.F. who sampled his "Go Bang!" while he was still alive! He is the unifiying force of all the great music that was happening in Manhattan in the late seventies with punk/new wave, the avant-garde, disco, and minimalism. All of their influences are heard on this record, like most of his available releases is a posthumous compilation. This one may not be the best, but its general sound unifies his vast skills better than others while still remaining cohesive. That, and it contains what I would consider one of the greatest pieces of music of all time, "That's Us/Wild Combination." That piece, like many of his songs is made up of two very distinct parts that gradually unify and then disassemble, also heard in his disco classic "Is It All Over My Face?" The record also includes some great dronier tunes that still have his kind of pop and disco sensibility like the title tracks and "The Platform on the Ocean." Others are a New Wave dance party for the eccentricly genius, most notably, "Calling All Kids."

Russell was a legendary perfectionist who spent nearly all his time working on and recording his music, especially in his last days. That being said, anything you think could be better in these songs probably has been done and recorded. Hoprefully it will be released one day as well.


Arthur Russell - Calling Out Of Context (2004)

The cover photo may have been perfect for the release's time, but Russell's trucker hat is not the result of a prescient sense of fasion, but rather a relic of his Iowa roots which he always held dear.

Please Make Me Feel The Beat, You're the One That Drives Me Wild

While I did not take this picture, I could have.

The story with Gary Wilson is that he is from Endicott, NY and released the album You Think You Really Know Me, recorded in his parents' basement in 1977. It was a bizarre, smooth set of outsider music all about unrequited love. Unrequited love to the degree of almost stalking. It is cool though, Wilson comes from a tradition of sleazy lounge music as seen in such titles as "Groovy Girls Make Love At The Beach" and "6.4 = Makeout." After 1980, though he kind of disappeared whilst the album made huge impacts on the likes of the PNW underground and Beck, whose "Where It's At" not only name drops Wilson but shows a clear influence from him. In the early part of this decade Wilson resurfaced as there was a desire to re-issue his first album. He was working in an adult cinema and performing in a lounge band in San Diego. Then he started recording again.

This album picks off where he left off 27 years earlier, which is particularly depending on which album you hear first. Really, the only change here is the addition of his sped-up voice as the alter-ego. Here are more songs from the stalker's point of view even including some of the same characters as in the first album. In this regard some of the best tracks are "Linda Wants To Be Alone," "Gary's In The Park," and "Gary Saw Linda Last Night" - both of which are some of the most exciting parts of his show. Both tracks also come from Wilson's uniquely Endicott voice, namedropping the local geography also heard in "Newark Valley" and the instrumental tribute "She Makes Me Think of Endicott." As creepy as it can get at times, this is a fun set of loungey outsider pop.

Wislon still performs lounge music on the side and it seems like his live band may be the same. When I saw them last summer many members looked very old, as in older then Wislon himself (he is in his mid 50s) - a telltale sign of a lounge band. Still, those guys were a lot more fun, original, and rock 'n' roll than any under-30 band I have seen.


Gary Wilson - Mary Had Brown Hair (2004)

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.

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).

The Three O'Clock

Recently I've been getting into any music I can from Los Angeles and with that at last the "Paisley Underground" scene which has clearly been up my alley for years. The term, used to describe a batch of musicians who reacted against the extreme violence and anger of that city's punk scene with peace and love via 60s-style music was actually coined by one Michael Quercio of the Three O'Clock. So far I have found them to be my favorite of the bunch. Their music, which I would describe as the sound of a sixties psych-pop group who had acquired a synthesizer from 15 years in the future fit as well into the mod clothing the prepubescent-looking Quercio would wear as it did in 1980s Los Angeles. It is not hard to imagine many of their songs in a movie like Fast Times at Ridgemont High.

The songwriting is phenomenal as is the production, which on the first two records was done by LA rock guru and former Sparks guitarist Earle Mankey. It is downright shocking that the group neither acheived mainstream success, nor became well-remembered. The group's music is as lovable and accessable as their more successful scenemates the Bangles (whose Susanna Hoffs was at the time dating The Three O'Clock's guitarist Louis Gutierrez), and Quercio certainly had teen idol potential. Perhaps it was his bizarre lyrics to tracks with titles such as "A Day in Erotica," "Her Head's Revolving," and "With a Canteloupe Girlfriend" that kept audiences away.

Regardless, their first three records (Baroque Hoedown, Sixteen Tambourines, and Arrive Without Traveling, and Ever After)

are superb, and as my friend Sheldon who recently downloaded this package agreed, they need to be heard to gain this great band the legacy it deserves.

In the meantime here are some of their videos: