I'm The Man With the Cabbage Head

With the deluxe American re-issue of his masterpiece Histoire de Melody Nelson, and subsequently arranger Jean-Claude Vannier's L'Enfant Assassin Des Mouches Serge Gainsbourg's name has become a household world not only of the knowledgeable hipsters, but all of them. Obviously, though, they don't know much else about him, and that's where we differ.

This album, like the aforementioned one, is conceptual. Rather than Serge's own obsession with an Englsih teenager, this one is about another man. One with a cabbage for a head, and like the Kids in the Hall woudl years later, he really pulls it off. While it may not reach the same level of transcendent perfection like Histoire... this record dives into more styles rather than just funky orchestral porno music. Serge, as he would continue to, dives into the world of reggae and straightforward pop in addition to the psychedelic prog the dominates, all with his cinematic bend. With the complexity of the character's story it is a bit harder to follow, at least without knowldege of French, than Histoire..., but the music picks it up even when it can be a little jammy at times. While the music is not as perfectly arranged and there are some throwaway tracks, there overall Serge-ness is prevailent as always, and the music has a way of really carrying you away into the sleazy, sleazy Seventies. Standout tracks include the epic opening title track, "Aéroplanes," which with a little punchier of a mix could be your ultimate action-sexploitation film theme. "Flash Foward," with it's repetitive acousitc guitars and analog synths is the blueprint for much of what AIR became famous for, particularly on The Virgin Suicides, so much that you hardly notice the presence of a track called "Premiers Symptômes"! However, it is "Marilou sous La Neige," which is the real star and was an early favorite of his for me. Definitely a good next step for those already infatuated with Histoire de Melody Nelson and Initials B.B. but wary of something too loungey or Afro-Cuban.


Serge Gainsbourg - L'Homme À Tête de Chou (1976)

Pushed To A Wall The First "Punk" Record.

That is mostly because, perhaps only since I am from New Jersey, that the word "punk" evokes the image of a fat, middle-aged New York area man yelling at a bunch of overgrown teenagers something like "get off my car punk!" The Dictators, straight out of the outer Burroughs (including some of the last whites to live in the Bronx!) certainly were who this man would be yelling at.

Some of the best elements of punk rock are found here including an unbeatable and racy sense of humor in tracks with in-your face titles like "Back to Africa" (catch the Clash's inspiration at the end) and "Master Race Rock." The lyrics end up not carrying the white supremacist message one may assume from the titles. The band carried on some Nazi imagery later in their career with a flair that their UK counterparts could only dream of since many of the members were Jews. Other song topics cover the punk way of life stemming back to the Beach Boys with the classic closer "(I Live For) Cars and Girls" being the prime example along with any street punk theme song "Teengenerate." The band covers much of the same topics of New York artists not typically associate with punk rock like doo-wop, but with a hilarious way of not sugar-coating it best seen in the Friday-night anthem "Weekend." Pop covers are another wonderful element here with "I Got You Babe" being done by two men with enough sense of humor to highlight a true love for the song. Basically, they were coming from the same exact place as the Ramones, but with less image construction, and in my opinion, a bit more sincerity. This record is pure fun.

However, the Dictators cannot be mentioned without "Handsome" Dick Manitoba. The band's mascot and "secret weapon" serves mainly as a background vocalist on this record, but his energy is what propels the band into greatness, as the cover should show you. Think Rob Tyner with the flair of a pro-wrestler. The Dictators can also be connected to metal to a certian degree, not only in the fact that in 1975, this album was surely placed in that catergory. During one of the band's many long hiatuses lead guitarist Ross "The Boss" formed humor-metal band Man-O-War.

Perhaps needless to say the other "Boss" Bruce Springsteen is a huge fan.


The Dictators - The Dictators Go Girl Crazy! (1975)

She Was Looking for Change and So Was I

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

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

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


Look Blue Go Purple - Look Blue Go Purple Compilation

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

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

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



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

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

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

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

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

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

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


Rock God




Interesting Results


Let's get nervous!


Rockin' the Keys


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

This is Why They Call Him "Loverboy"

As promised, here is a hard-to-find Ariel Pink release, and overall one of my favorites of his - Loverboy, in the last moment I can listen to his music for about 24 hours (as I do follow that vital rule of rock.

This album is perhaps his most electronic and has some of his most catchy and unique moments. Really, this is a great step two with Pink, preferably after House Arrest (the two were actually packaged together int he original self-release). The title track is a catchy little number, his cover of R. Stevie Moore's "Hobbies Galore" bests the original, "So Glad" is a perfect cheesy 80s ballad with an intro that tops Alphaville's "Forever Young", and "New Trumpets of Time" is completely unlike any other Ariel Pink track you'll ever hear.

As intimidating as some of his albums not released by Paw Tracks can be, this one is quite pleasant and I think great surpasses his widely released Scared Famous. This is a perfect find for anyone looking for more Pink.


Ariel Pink's Haunted Graffiti - Lover Boy (2003)

Mr. Los Angeles' Worn Copy

In light of the big show at T.T. the Bear's Place Wednesday night I though I would put up some Ariel Pink's Haunted Graffiti for the uninitiated. Most Likely there will be some more tomorrow, but for now I'm putting up one of his more available albums jsut because... I'd put it ont he web already... tomorrow most likely Lover Boy.

Worn Copy, though his second release on Paw Tracks was actually his last recorded album to be released. Though it is not his most solid, IMO, it has some of his strongest work I have heard so far and has his best use of long song structures, which in earlier work can get tiresome. In addition to songwriting and arrangement his playing is tighter, but the true star is the lyrical content on this album which ranges from the frighteningly relevant and foreboding "Trepanated Earth," "Artifact," and "Credit" to a look on Pink's distinctly Los Angeles persona in "Life in L.A." and "Jules Lost His Jewels."

Overall his sound is pure L.A. - a unique blend of all of that city's diverse musical history: Sunset Strip Hippiedom, Yacht Rock, L.A. Punk, Deathrock, Paisley Underground, and Hair metal are all well represented in his Lo-Fi sound. Outsider musicians like R. Stevie Moore (with whom Pink has collaborated) and Bobb Trimble are also unmistakable influences.



















Ariel Pink's Haunted Graffiti - Worn Copy

Are you Gonna Look After My Boys?

exactly why I love Ariel Pink.

Directed by Nick Fensler who you may remember for his re-mixed GI Joe PSAs backin 2004.