Roots, part 1: Hurtu - The Power of Rawk

In late 2002 or early 2003 with the departure of Adrian Ricelli, Xyster dissolved and left Aidan McEneaney, Sam Deutsch, and myself to become Hurtu.  This was a brief period before the addition of Alec Signorino and the name change to the Shears.  In the summer of 2003 Deutsch and the McEneaneys recorded the EPs ¡Swing Pad! and Smokin' in the Girls Room with stand-in drummers Tin Nelson and Jeff Ziga (former Affirmative Action Jackson and Knives Out, later founder of Little Baby's Ice Cream).  While those recordings were mostly tight and professional, this is a noise-lo-fi mess.  Afterwards, with the departure of Signorino for "The New Shears," the core trio became Love Athena, working with drummers Peter Cross and Will Floyd.  Both band's work will be posted later with a more in-depth history.




















It was a tumultuous time and this recorded document crudely captures this unique transitional band, perhaps at its worst, but should be interesting for fans of outsider music, especially that made by teenagers.  It has a rare combination of teenage stupidity and art-damaged pretension, to the point where distributors Barfbag Records features several warnings, such as "Explicit Content," a warning about long gaps of silence, and another about the extremely violent threats dispersed throughout the record (though no one complains when Wu Tang does it).  There was never a track list and some of these songs may have never had titles at all.  Some did and those are recorded and here is the analyisis.

So with that that album begins with "1:  You Wanna Die?," the first of four of the threatening tracks performed by Aidan in his heavy metal singer alter-ego.  They are all some of the of the most explicit and hilarious manifestations about early-teen angst and this first track is the only one with full musical accompaniment, making it one of the album's most listenable "songs."  Batwölf may or may not have played it live.  The character is first introduced and luckily the music hides the other members' laughter.

"2:  Creep Street" is an instrumental that goes back to the earliest days of Xyster originally composed by myself, Tommy Holden, and Adrian Ricelli.  As the Popes, Aidan and I recorded that as well in a professional setting in the Summer of 2002.  IT owes a heavy debt to the Fall's "Mansion" and is one of the best places to hear the use of cheap multi pedals.

"3:  The Power of Rawk III" is another instrumental based on "What Is Love?" with a blistering lead from Sam that used to be my favorite song on the album.  It doesn't really hold up as well, I must admit.

"4:  Parallel Lines" is yet another instrumental, also led by Sam's guitar.  It gained its title later when lyrics were added and was eventually recorded as such on the ¡Swing Pad! EP, to be shared next time.

Track five is another threat from Aidan, this time directed towards me.  The laughs are not a problem and his love of prolonging torture and saying "Shut up, bitch!" is exposed as well as his misunderstanding of the word "arsenal."

Six's drum track is one of the coolest sounds on the whole record and the bass playing on this fuzzed-out reggae track is solid, but otherwise it's a failed experiment, though I have to admit a bold one, mixing such elements together.  It's bad teenage heartbreak, but has to be heard to believed, tough I suppose it may not be too different from nu-metal, especially 311...  That was not the intention.

Next up is "Flavia," a long comedy jam.  It is the only song recorded completely live with guitar, bass, and drums, and even more surprisingly only one of two songs featuring Deutsch on vocals.  IT's an absurd love song to a girl who may not have deserved such treatment.

"Lost on Gilligan's Island" I think had the most potential to be a great song.  It's lyrics are still kind of funny, in a really cute way, I can't remember exactly what I was going for, but I think it just came to me title first.  It's a mess but the idea is there and it has the best home-made feeling to it with my "wait, stop" beginning the song.  The drums are more shambolic than I still think is possible, but there is some tune and a lot of playfulness yet if you stripped it of that it's some top-notch noise rock.  The actual song section concludes with piano credited to Ben Folds and the following "silence" is actually Aidan talking shit on Nirvana.  If you can get through the whole thing you still won't believe it was for real.

The ninth track is maybe the best-realized song, a sludge-metal, on which I think I played everything.  It's simple and I think it would be cool to play again.  Some find it boring and the timing of each instrument sucks, but there is one moment where the solo is absolutely transcendent.

"Crop Circles," on the other hand, is probably the biggest mess on the album with horrible over-driven bass leading the whole thing and deafening clipping drums.  Maybe some potential in there too, but who cares?  If you can hear anything resembling music in there you will know for sure that this is Sonic Youth-aping, but hey apparently that's what everyone wants, so you'll probably like it.  I, however, hate it and I love outsider music like this.  Actually, Aidan's screams are kind of cool, mine too, or Sam's whatever that is...

The unnamed eleventh track is also somewhat well-realized in terms of instruments playing together (though the drums could use some work).  It sounds like it was recorded live, and I vaguely remember that being the case.  I felt pretty good about this one at the time, and structurally, I still do though the lyrics are god-awful weepy teenage boy garbage, but I was trying!  I noticed I had drowned out my vocals, so they cranked up a little high to compensate and all three of us sang on this one and Sam's may be the most pleasant sound on the whole album.  Aidan's have a real unusual rhythm that I still think is pretty cool too.  I was the only person who had any faith in this song, but it's really a pretty decent grunge rocker, theoretically.  With the right pedal it could have even been "Mudhoney-esque"

Twelve is the return of the heavy metal singer and is the best view into the deranged mind of a 12 year old boy with its mix of homophobia and homoeroticism.  If you can get over that it's probably the funniest one, especially when he talks about cutting off your penis and feeding it to his dog.  Then it takes the left turn with "ever since you signed up for the army" and it's self referential qualities which just grow and grow.  What's real and what is just black humor?  Either way it's gonna BURRRRRN YOOUUUU!

"13:  Smokey Bear Plays With Matches" is another old one.  The concept/lyrics came from Jonathan Lee in Mr. Clark's Comm. Arts class in spring 2001 and the music was from Panaphobia members Bo Liu and Doug Chee.  All that time makes this probably the strongest song on the album.  A loud, heavy, noise-blues tune which is the most apparent result of teenagers imitating Captain Beefheart probably ever recorded.  If any track needs to be heard on this album, it's this one.

In conclusion I accept, and grow tired of the heavy metal singer's threats, and he is eaten apart by his insecurities as I turn into him.  It's pretty jail.  Think about it.

I don't know what machine this was recorded on, but it was a cheap digital 12-track.  Production began at the Deutsch's West Orange McMansion and concluded after they relocated to a townhouse in the Cedars, Basking Ridge.  The guitars were a Mostrite Ventures II, a Fender Cyclone II, an Epphone Explorer and possibly an Epiphone Casino.  Basses were an Ibanez Jazz and Precision hybrid and a Fender P.  Drums and amps were a mixed bag and at some point everybody played every instrument, that was important to me.

Ultimately this album is pretty unlistenable, but it did live up to my artistic vision as something of a historical document.  I think it stands up to other teenage outsider music like The Shaggs Philosophy of the World or Todd's With Love... From Me To You or the younger crowd of Eyeball Skeleton, but is a lot more fun and with a far, far greater awareness of the whole expanse of rock music.  Just look at the artists I reference here, this is not in retrospect.  This is a fact, the experimental/noise rock of Can, Sonic Youth, Captain Beefheart, etc was as much an influence as Weezer, Mudhoney, and At The Drive-In as the lo-fi challenges of Sebadoh, Guided by Voices, and Pavement.  I put this out here because it needs to be heard and be out in the universe.  It's just too funny not to.  You have enjoyed worse, I know that for a fact.

YOU WANNA DIE!? 

Next time:  The Shears.

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.

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)

Days in Aftermath

Srsly Jay Reatard being dead. I can't believe it. I feel bad about not writing about it in the past few days, but I suppose this is where a positive attitude falls short. Great musician, great performer.

Believe Me!

It seems that over the past year Dara Puspita has become a familiar sound in hip circles, perhaps a mostly as a name to drop, but to be honest, not even this cynic sees it that way. That being said, I am a little late on this, but I should throw in my two cents as well, and perhaps as in such "dire economic times" two cents has more value than we have thought. Either way, I just want everyone to know they heard it here too, plus it's been a while since I've posted one of those girl groups we love so much.

So, Dara Puspita or, in English "The Flower Girls" were an all-singing, all-playing girl group from Java who in my opinion represented everything great about sixties rock. This well-coiffed quartet had the sass and presentation of America's finest negro girl groups, the songwriting of the British invasion, the energy and low fidelity of garage/proto-punk, and all with a delightful psychedelic tinge. Obviously it's a ton of fun. This is as pure as it gets as the forward-thinking West had yet to see such a perfectly self-contained X-chromosome unit and this pre-dates even the Kim Fowley-dictated Runaways by nearly a decade. Like much of the music I have posted it is catchy and memorable even when largely in a foreign tongue, so don't let that bother you on pop gems like "Bhaktiku" and the fantastic title track which demonstrates the finest lo-fi production prior to GbV's Propeller, and maybe even beyond. For those intimadated by the language barrier you may want to start with their beautiful cover of the BeeGee's "To Love Somebody," or their own work in "Believe Me." Regardless this aptly-titled album is a real pleasure from beginning to end.

In some ways, I feel like Dara Puspita will be to 2009 what Os Mutantes was to 2004, so get hip to them before liking them too much makes you seem a bit behind the curve. On the other hand, David Byrne has yet to champion them and their cohorts, so you may be fine. Either way, if you love fun pure, rock 'n' roll, especially from girls this is essential.


Dara Puspita - A Go Go (1968)

When I Saw You There I Saw The Best Part of Me Was Yourself

As a true Official Iron Man, I would, of course consider Robert Pollard the greatest songwriter ever. Beyond that, I would say the other contributing member of GbV and father of their lo-fi sound Tobin Sprout is the second. Anyone who has fairly listened to their records Propeller through Under The Bushes Under The Stars need not question why. After all where would those albums be if not for classics like "Ester's Day," "A Good Flying Bird," "Little Whirl," "14 Cheerleader Coldfront," or "To Remake the Young Flyer" Slightly less deserving as the greatest records of all time, that's where. Well, here's an entire album of that kind of thing.

This album, release concurrently with Pollard's Not In My Air Force, the initial reaction to Sprout's now out-of-print album was more favorable than Pollard's unexpectedly experimental piece. This one fits in noticeably more with the prior three GbV releases than that album does. In fact, one of the most recent album's standout tracks, "It's Like Soul Man" is re-recorded here - actually with a more clean and professional recording. Luckily it's not even the best song as "My Beloved Martha" and "E's Navy Blue" manage to outdo that GbV masterpiece. that is not to say they are the only two. Really this album is as solid as most of GbV's LPs and to be frank, maybe even better than average. It is the perfect for anyone who ever wished for just a bit more of "You're Not An Airplane."


Tobin Sprout - Carnival Boy (1996)

It's the Story How I'm S'posed to Feel Because You Told Me So

A true American tale of its era. Us in the United States should be able to recall Spring 2002. A time not long after the 9/11 disaster where any incident that could be called terrorism was, understandably, assumed the comlicated, calculated work of Islamic extremists.

One of the many times the media (yes, for any foreigners, it's more often the media than the government... even the Bush administration) was wrong was in the case of the Midwestern Pipe Bomber. The guilty party turned out to be a Kurt Cobain-worshiping Minnesota college kid named Luke Helder. Rather than hurt anybody, Helder wanted to just fight conformity by setting off minor explosions across middle America inthe shape of a smiley face.

9/11 aside, the media, especially in regards to teens/young adults was still reeling from Columbine and eager to point the finger at music. This is where I was first lucky enough to hear Apathy on a rare event of my dad driving my brother and I to school listening to Howard Stern. Copies of the bomber's band's album Sacks of People went for as much as $200 and Stern was lucky enough to get one on the air. As expected, it's a bunch of mindless teen angst played over an honestly well-done imitation of Nirvana that lives up to the perp's attire when busted.

A few years after the incident I managed to find the album's supposed masterpiece "Conformity," but lost it in computer transitions. After years of casual search, I finally got it again along with this site that seems to feature the whole thing. I'll get it later and probably put it up. If anyone has the full album with allthe proper titles and track order, please let me know. This is the Billy Beer of the aughts. Have a blast.

Apathy - "Conformity" and more...

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)

Indeed That Heavy, But This Futen Has No Right to Say...

Well, I've been inactive for a long time now. Just wasn't feeling too inspired, but that's changed. Just dicked around in this hopeless post-graduate LA job-market clearing my palate with some old favorites and Rhino's Super Hits of the 70s: Have a Nice Day series thanks to my roommate Tommy. That and getting deeper into Julian Cope's Japrocksampler...

...which of course has been the return of my inspiration, and here is Les Raillezes Denudés. Formed in the late 60s this Japanese band formed out of the folk scene emerging with the radical (mostly communist) left, but eventually took their music in an even more radical direction. After the politics took an equally radical turn for the band's bassist hijacking a plane en route to South Korea with quite a few American passengers and escaping to North Korea, the band faded somewhat into obscurity. At this point the cult legend and the sound only sound worthy of it grew. At this point leaderand sole consistent member Mizutani Takashiheaded off into the mountains to live in isolation and set the standard for generations of futen artists like Ghost and perhaps his most dedicated followers Acid Mothers Temple and the Meltin Paraiso U.F.O. Here the sound was honed, taking the Velvet Underground's "Sister Ray" as the blueprint and turning into a precise art of noise as only the Japanese could. Not to mention it's a whole lot more interesting musically, and I must hope with less-embarrassing lyrics. Likewise, Andy and the Velvets' Exploding Plastic Inevitable Show was the top influence on Mizutani's "total sensory assault," which unfortunately was put to rest in 1997.

This set - a bootleg like all their releases, is ranked as the third greatest of the Japrock movement by Cope is some of the most exciting music I've heard. Starting off with the hypnotic "Strong Out Deeper Than The Night," the band's mastery of noise and atmosphere as well as Mizutani's perfectly executed vocals prove that this unique music demands one's full attention. Luckily, it is well-held for the whole 15:33 with an exploratory experience of jazz with the unity of a classic rock song. "The Night Collectors" rocks out the hardest and catchiest, but not without the Tarkovskyesque approach of "sculpting in time." Moments, or long stretches of them of softness come through as well most notably in "Enter The Mirror," making this psychedelic experience particularly dreamlike. For those looking for the most hardcore psychedelia, here it is, one that evokes the full-body brain-piercing experience of an Acid Mothers show even though these busted laptop speakers - full-blast, full-attention, life-changing.


Les Rallizes Denudés - Heavier Than A Death In The Family (1995?)

*I have a few more suspicions than usual this file may not have uploaded properly, so please let me know if there's an issue!

Here's a great video - the true title of this gorgeous song is "Romance of the Black Grief"

They Weren't Kidding When They Called It "Obsession"

...and that is because all the featured artists have gotten bigger and bigger over the past year and a half. While not all of them have gotten proper re-issues, their names are out there and their music is on the blogosphere. I will continue this with the Quarteto Nova Era EP. There is not much more I can add to it - Brazilian, stands up to their contemporaries, shame there wasn't more from them despite making it into the 70s. Every song is good. A friend of mine bought a copy of this extremely rare find on eBay. The rest of us can get it here.


The Quarteto Nova Era EP (1968)

Woke Up Screaming "God I Hope I'm Not Bleeding!"

I went with a recent photo for the irony. I have not listened to that much Built to Spill in a while, but this weekend after "Ze" telling me about their performance at Outside Lands they have been on my mind. Like my friend was after their set I was just a little disappointed when I saw them about four years ago. Now, a lot of that had to do with weak openers, but also because my friends who had seen them two years prior seemed to have gotten an unusually remarkable set from them featuring VERY early work.

I am one of the few that think the band got slightly weaker with each album, thusly implying that the debut is the best. In addition to having the best album and best cover it in fact has the best music. But, it has been out of print (actually, I think just decent distribution) for who knows how long? It captures the band at their best offering both the pop of There's Nothing Wrong With Love and Ancient Melodies of the Future AND the jammy epics of Perfect From Now On and Keep It Like A Secret all with classic 90s lo-fi recording. One could argue that the band may not have the chemistry they would later have as a solid line-up'ed band, but with songs and energy like this who cares? It is particularly odd this did not catch on more as its heavy guitars and playfully angsty lyrics, in addition to the band's Boise home town could have given it a grunge audience at the time. Everything just comes together in such sloppy glory and Greg Martsch's affinity for stacks of guitar tracks shines through, particularly on the simple, yet wailing "Get A Life." "Lie for a Lie," the album's catchiest and shortest song with its goofy samples and white nose tracks stands with The Olivia Tremor Control's "Love Athena" as definitive 90s US indie pop. Its line "Once in a while there's a girl I don't know in my dreams/ she reminds me of a lot of people, but she's someone that I've never seen/ and she's perfect" was the star of numerous bonding moments during my teenage years. However, the star of the show is probably "Nowhere, Nothin', Fuckup" which showcases the band's remarkable talent for jamming on something familiar and turning it into their own masterpiece while making the title a fun little sing-along. This is essential American indie rock. A lost masterpiece.


Built to Spill - Ultimate Alternative Wavers (1993)

Party In The Pines - Big Sur

Thanks to my friend (whose more-professional-than-mine review is available here) I was able to attend this great event.

We arrived as Wooden Ships were playing. They were pretty cool - heavy instrumental psych-rock with the years there to do it quite well. Next there was Vietnam and Farmer Dave. Neither of them did it for me, personally, but with some good, but expensive New Orleans barbecue and some good, and modestly priced local beer who cares? Then, at last there was Ariel Pink's Haunted Graffiti. His set consisted mainly of new stuff and the obscure. Some of these highlights were "Bevery Kills (Freaks with the Golden Heirs)" and "Psychodrama City." The new stuff is fantastic and I really can't wait for the next LP, which if released on time could rank as one of the best of this decade. He also gave an obvious(ly great) rendition of "Among Dreams" and my wish from the last time I saw him of hearing "Higher and Higher" was granted.

Following Pink was Gang Gang dance. I had never heard them before, but they put on a really cool show, which even more than the other sets I wished had been in a different setting. I would not listen to their records, but when they play LA next I will attend that show, especially if it is at the Echo, where their sound would fit perfectly.

Dungen was the star of the show in my eyes, and while they played mostly cuts from he last two albums, it was everything I could have asked for. Gustav Ejstes' genius was in plain view as he demonstrated his skills on mainly piano, plus vocals, flute, guitar... and tambourine. Also on display was his amazing ability to find talented musicians who can play just like him. The band also matched the forest setting best and their sound on classics like "Festival" and "Panda" was more subdued, yet no less powerful than on Ta Det Lugnt. Never miss the chance to see Dungen.

Another star of the show was the DJ who gave us music during the painfully long transitions. Her set consisted heavily of Anatolian rock, even with a cut from Benimle Oynar Mısın - the awesome "Sen Varsin". Gustav Ejstes was enjoying it a whole lot and why not because many of those artists are a clear influence on him.

And of course, who could discuss Anatolian rock without Erkin Koray...

Starting as early as the late 50s, Erkin Koray was the definitive voice of the Anatolian Rock movement, which while less famous was as unique and strong as similar prog/psych rock movements of the time in West Germany and Japan.

Since I have been so unreliable lately, here are his first two solo albums, which despite the increasing availability of Anatolian Rock since the successful Obsession compilation are really not "widely" available. Both of them are very strong and solid and serve as a great introduction to the style which melded Western psych rock with traditional sounds from the crossroads of the Old World. The self-titled is the one that is most in tune with that side, while Elektronik Türküler, much cleaner, is a little but more on par with the West, despite the exotic language. Okay, enough words.


Erkin Koray - Erkin Koray (1973)


Erkin Koray - Elektronik Türküler (1974)

Just Like Life, There's a Good Beginning, But There Is No Middle, So You Might as Well Skip to the End

I can't believe it toook me so long to hear classic Television Personalities. I was pretty up on things when My Dark Places was released a few years ago and knew and loved "Part Time Punks", but I did not really hear this gem until a few months ago at the home of my friends in the Brooklyn band Pow Wow!

The Television Personalities were Joe Strummer's favorite band. He said that they represented, to him, what punk rock was all about. Though, in many ways they are more "indie-pop" than punk, but hey, what does all that mean anyway?

The guitars are jangly, the structure is pop, and the lyrics are playfully dark and perversely innocent... if that makes sense? Either way it's one hell of a record. It has a few less pop culture references than their earlier work, but a little more high culture to keep it full of allusions. However, what may be this album's greatest strength is how well it captures the mind of a teenage boy. Not in some dumbed-down kind of mook way, nor over-dramatic and emo. Jsut real, sincere, and deep, yet naïve. Opener "This Angry Silence" captures that voice amid a tempestuous home life while the discomfortingly simple lyrics of "La Grande Illusion" show the darker side to perhaps the same situation as "Silly Girl." "The Glittering Prizes" is one of the best songs and captures the feeling of malaise with nothing both the future to daydream about and "Geoffrey Ingram" is the "David Watts" of the punk era. Changing to a third person look at essentially the same thing is perhaps the album's best track "World of Pauline Lewis," with a refrain that cuts to the bone. This is essential pop as only an original UK punk band could do it.


Television Personalities - ...And Don't The Kids Just Love It (1981)

Over, and Over, and Over I'm Really Not Ready At All

Sorry It's been so long. Been feeling uninspired. However, I've been on a big post-punk kick. Specifically the branch of first-wave UK punk rock that really set the stage for "indie pop."

The Mekons have had one unique career and their legions of extremely dedicated fans and their highly unusual path from post-punk to more straightforward punk certainly prove this.

Often considered their masterpiece, this album is one of the first to be called "alt-country" - quite a feat for a British band. One member tells that prior to making this album he had been listening heavily to classic country and after a certain point the three chords of punk and the three chords of country became the same three chords. This album's sound is surely the result of that, and the addition to fiddle to the roster makes it even more prominent. This is not to say the punk has not been lost, particularly in the shambolic "Hard To Be Human Again." That song is the perfect gateway for the punk fan that will leaves them wanting more of this countrified mess.

Fear And Whiskey is also one of the great post-punk concept albums with the likes of Hüsker Dü's best works. The story here is one of a city in a somewhat post-apocalyptic world fighting a war (brought hauntingly to life in "Trouble Down South") and struggling to hold on to everything that makes life worth living: love, culture, community, and of course a good party. With that in mind, opening track "Chivalry," is the perfect intro as the ultimate anthem to a drunken, embarrassing night coupled with a hint of the depth that will follow on the rest of the record. "Country," perhaps the album's best sums up the album's whole concept as the lose souls of this city hold on.

People always make once-relevant political connections with this record about the Thatcher/Regan era. Honestly I don't hear it all that much, but that may just be because I neither really lived through that era, nor consider myself a liberal. So, if you see it that way,, great. You are probably all the more enlightened.


The Mekons - Fear and Whiskey (1985)

plus, for good measure, here's a classic early single.


The Mekons - "Where Were You?"

Well, If I Get Drunk, Well That's Alright, If I Sleep On the Floor All Night

It's hard to believe those lyrics are the Verlaines, but it's a good reminder that even Graeme Downes is in fact one of us, if you know what I mean.

Here are their humble beginnings - before big arrangements and production, and even deep lyrics, but still the same great band. One of Flying Nun's first records, the Dunedin Double EPwas a lo-fi, creative format (2 45 RPM EPs) spotlighting the burgeoning talent of locals the CHiLLs, Sneaky Feelings, the Stones, and the Verlaines. Allof them were off to a great start. The CHiLLs tracks were wonderfully transferred onto the Kaleidoscope World LP, but unfortuantely the others were not put on similar compilations. The three songs Downes and company contribute are all great, and despite their many rough qiualities hint at the majesty of their later career. The similarities between "Crisis After Crisis" and their greatest all-time track "C.D.,Jimmy Jazz, and Me" are inmistakeable, proving this band always had it. I include only the Verlaines tracks because, I can't stand the way you need to file compilations to get them all up here together. The rest later?


The Verlaines - Dunedin Double EP (1982) (Side 4)

Hopefully I'll see you Angelinos this weekend!

Gonna Break You Down, Gonna Pop You In The Mouth!

Just now, a friend of mine who was visiting New York City told me a bout a great concert experience he had there seeing a band called Personal & the Pizzas. It sounded like an amazing show featuring songs with titles like "You = Beat Up" and "Nobody Makes My Girl Cry But Me" and the singer whipping chains around while threatening the sound guy. The group is from San Francisco but their gimmick is being from Hoboken. They are quite similar in image, lyrics, and sound to the Ramones and The Dictators.

Here is a link to their myspace.

In a lot of ways, this is the best parody of the Northeast you could ever ask for and it's a whole lotta fun. The intro to "I Don't Wanna Be No Personal Pizza" says it all. Other great tracks to check out on there are "Brass Knuckles" and "I Don't Feel So Happy Now." "I Can Read," though is perhaps the rebuttal the Dictators would give their detractors after going Girls Crazy.

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)

Blasting Off To Jimmy's House!

All great things start somewhere. The greatest thing in Rock 'n' Roll started right here in 1987.

Well, maybe not since Guided by Voices did release an EP, Forever Since Breakfast prior, but this is the first whole album. Pollard started off his prolific career with a series of scarcely available (essential you had to know the band personally) albums, most of which are quite good - though obviously not up to the transcendent beauty of the later work. This really is a noble debut despite that Pollard and cohorts had not yet found their exact voice and at times the songs are noticeably (to the untrained ear) a little derivative. R.E.M. in particular is an undeniable influence, especially on the albums two best cuts "Hey, Hey, Spaceman," in which Pollard's vocals are unusually Stipe-esque and the DIY anthem of "Hank's Little Fingers." The whole album really does forshadow the band's whole career with exellence in songwriting and eccentricities such as the remarkably short lengths and stylistic splicing. Unlike some other early albums, this one even got some presence on the career-spanning best of with closer "Captain's Dead." Pollard's exploration into a more diverse oeuvre is even evident in the epic "Portrait Destroyed by Fire" and instrumental "Crux." The Lo-Fi art was only in its nascent stages here perhaps due to Tobin Sprout's temporary absence (he was living in Florida, but had already passed through the ranks), but considering the commonality of cheap recording by the time this was made widely available, that is negligible.

Do not be put off by the band's obscurity at the time of its release - this is just as worthy as any other GbV album and has enough classics to keep it in rotation. It is available only as part of Box. The question "What keeps Big Daddy happy?" is in reference to Jimmy Pollard's pet rooster on the cover (great story about the photo). It is the same line from "Don't Stop Now."


Guided By Voices - Devil Between My Toes (1987)

God In Heaven, Won't You Help Us, Please

The most surprising thing that I ever heard about Emitt Rhodes was that this very album was EVERYWHERE at one point in time. Of course, the guy telling me this may have just been being a jerk as he charged me something like $15-20 for a not-quite-spectacular condition at Cheapo Records in Cambridge. However, considering the four years I had spent absorbing this rare masterpiece I hold no regrets on that purchase.

This album is often described as what Paul McCartney's solo records should have sounded like - I would agree, despite no negative feelings about many of his solo albums. There is a definite specifically McCartney Beatles vibe here and if you have a problem with McCartney even within the Beatles you really have to leave... obviously. This is the perfect pop album of its time, as it should be considering Rhodes' pedigree with L.A. pop group Merry-Go-Round (whose influence is heard directly on The Bangles) he splices the major influences of UK and Los Angeles guitar pop of the era here. What is extra cool is that Rhodes played and "produced" everything on here on a four-track, placing him among the likes of early one-man bands as Todd Trundgren, R. Stevie Moore, and yes, McCartney himself.

It is a true shame that these days the only people that know Rhodes are the geekiest of music lovers and die-hard Wes Anderson fans (myself both), whose The Royal Tenenbaums featured the short "Lullabye" (as per recomendation of Jason Schwartzman!?). The rest of the songs are of that quality, in particular "Promises I've Made" and the one-two punh of "With My Face On The Floor" and "Somebody Made For Me," so be sure to pick this up becasue it's either here or a long, expensive search... or another blog, I'm sure. Essential for fans of Big Star, The Beatles, and the Yelllow Pills series.


Emitt Rhodes - Emitt Rhodes (1970)