Roots, part 12: Shooting Stars

Most likely this is the end of the series, and so far it may be the most important.  No, it's not really related to anything I'm doing now, it doesn't have any of the familiar characters, it doesn't even amass any great talent like BATWÖLF.  In fact, it was far from my band.

What is so special about Shooting Stars is that they are the oldest.  Xyster (whose material will probably never surface) was barely even a thing at this point.  I believe that Tommy Holden, Adrian Ricelli, Aidan, and myself had only played all together once at this point.

It was July 2001 in Bryn Mawr, Pennsylvania.  I was in my first week of the legendary Summer Music Programs in a "misfit band" that I decline to name and discuss in detail, mostly because it was just lame kid stuff - nothing interesting, offensive, or competent.  The three boys (not even one girl that week in the overnight program) were not on the same wavelength musically and it seemed like few others were.  That was, until I met Shooting Stars.

They kept to themselves as they had all come together.  Two of the oldest - Chris Ott and Emilio Rovello, and one of the youngest - Johnny Ott, students at the program.  I sat with them one day at lunch and we connected over love of the B-52s, Ramones, and many other hip artists.  My band didn't appreciate this desertion, but I didn't care.  I learned that these three were the only kids in the program for all three weeks, they had traveled unaccompanied via train from Stamford, CT, and had rented all their gear.  None of them had any experience playing music, even on their own, until that summer.

Of course that put off other students, but I knew that training had nothing to do with making music. These three had no boundaries in the music they loved.  They were some of the only people there who liked hip-hop, they liked punk, and ska, and psychedlia, and experimental rock, and even jam bands - even though they couldn't see how anyone would listen to that exclusively.  It was liberating coming from an enviroment full of very close-minded music fans.  They were open to anything but Weezer.  Despite being thrown into their guitar, bass, and drums and having to sing at the same time they managed to make a big splash on the scene their first week.  Their key composition "Current C#" with its infectious reggae-inspired groove became the best remembered song in that program's history.  No joke.  Instructors would be playing this catchy tune for years afterward.

So, with it apparent that these were the koolest cats in Bryn Mawr I asked Chet, the leader of this fine institution if I could join Shooting Stars despite there already being a bass player.  Luckily it was allowed and that Friday night I became another Shooting Star.  On Monday we were given a slightly hippie-ish instructor named Josh and we went to work on the next EP.  Josh was pretty helpful despite being in over his head and he more than anything was there for an extra skilled hand as the four young musicians swapped instruments and made Summer Music Programs history.  Here is the evidence:

Back and front cover, featututing the barely visible typo from our designer.

These are thanks you's that are hard to read, and most are not that important, mostly obvious.  There's a lot of thanks to the Sage Dining Service and their gruff employee Tyone Ellis and no hanks to Weezer and The Bon.  Also thanked are Pooch, the "industry insider" that would speak at Summer Music Programs for many years, and "bitch on wheels" which was a catchphrase of that week.

Inside artwork, taken from a fun and immature afternoon with Hayden Wright.
That's us in tennis skirts.  Shame Emilio was cut from that image, he cross-dressed too.

Back cover starring Johnny Ott.

The EP kicks off with "Music,"young (12) Johnny's original, which despite being sung from a drummer's perspective features Chris on drums playing some really cool awkward-length fills (on purpose).  It features Josh on Chris's role of guitar and is the only song with two basses.  It's pretty cute.

Next is my vocal spotlight "Now I wanna Sniff Some Glue" which we had to change to "snip" some glue, if you can even tell.  It's kinda ruined by the high, snappy snare that EVERYONE had to use on that trip to the studio, but also established me as "the Ramones guy" for many years at the program, almost more than I wanted.  For the sake of extension, we added a solo that Chris made real weird.

Then things really move into our unique territory with "61 Cans on the Wall/The Bon" which, of course, was mixed up on the CD.  This was a loose, reggae-inspired jam, with hippy-dippy rap lyrics a la De La Soul from Chris and Emilio.  The tracks features myself and Josh on piano, but no need to mention that - it's mentioned in the improvised lyrics towards the end.  Chris gets really weird on guitar on this track, further showing how willing this group was to just have fun and be weird.  At the end we go into the noise breakdown "The Bon" - a noisy punk attack with all four of us shouting out the memories from the week, largely about Tyrone Ellis and "Johnny Dinglehopper." Johnny Ott's screams my be my favorite part.

Ending it is the six and a half minute instrumental "Twisted Symphony" which really foreshadowed just about everything I have done with music since.  Chris Ott gets even weirder with his guitar parts and he and Josh overdubbed some pretty weird sounds.  Emilio is on keyboards, and I play a repetitive bass drone.  On the rhythm track josh lended an extra set of hands on drums.

I will admit it can be a rough listen at times, but far less than Chronic Insurgence.  If you want to hear a bunch of kids who love music and hate rules and conformity here it is.  I have never had more fun recording in my life and when I hear this all the memories come back.  You can hear some of these tracks and realize that I really haven't changed in the 12 years since making this.  Shooting Stars was a rare band, especially this week.  We genuinely liked each other and shared a lot of vision.  Never gain would Summer Music Programs have a band go into a professional studio and just jam and mess around.  Just listen for yourself, you will be glad you did because there is nothing else like it.  Maybe the Shaggs, but I think it's a lot easier of a listen!

DOWNLOAD:  Shooting Stars - Politically Correct (2001)

Roots, Part 11: Chronic Insurgence

Here's the real star of the day.  I promised a nü-metal song featuring myself and Aidan and that is one of the high points here.  It's an odd story, for sure.

So, the week before, Aidan and I were on our own and as the Popes, created Shabazz!.  The next week was a different story as we were thrown into the "misfit band."  That got off to a real bad start as that Friday we met our drummer, a preppy redneck with no talent, knowledge, or taste.  He was named Chuck.  Just overall one of the most terrible people I ever met and a constant sore in all of our sides that on numerous occasions almost came to blows.  The four other members could all say they "almost killed him," as did nearly everyone on the staff.

Next we met our self-imposed frontman.  First, I should say that as a good citizen who got to do whatever he wanted the week before, I let this clown have his way a bit, plus he was a lot better than Chuck.  The fact that this guy, Josh had blue hair, wore all black - juggalo pants and sleeveless tees, and dog collars exclusively, was from Chicago, and was convinced he was the smartest person on Earth should show just how awful Chuck was.  Obviously he played a B.C. Rich.

Last arrived our bassist.  He was a nice guy from Rochester named Kevin and was your typical bass geek.  You know, the kind of person with a chin beard who wants to tell you how great Big Dumb Face is.  He, of course, played a 5-string, which was still the least offensive ax not owned by a McEneaney.  This left me playing a different instrument all week - usually my Explorer.

That Monday, the five of us began this miserable musical exploration.  Five days later, watergun outlet emerged and here is the evidence.

The inside, featuring all five members in front of tires surrounded by chainlink fence:
Uno (Christopher McEneaney) on guitar and bass, Gorak (Aidan McEneaney) on guitar, Qev (Kevin) on bass, Josh, who proudly announces that he is Satan on guitar and vocals, and Chuck Daddy on drums.

The back and front cover.
To the left we are in Satan's room.  We thought it would be funny, and it is.  The right is the cover designed by Satan which he loved to remind us was not the same as the Quake logo.  The scan never worked, and I don't care because this is fucking stupid.

Here's the back cover (GET IT?!?) which segues into further explanation...

Our tracklist was as odd as the membership.

We began with "Just Like Honey," which I sang, and thankfully did not play guitar on - two was bad enough.  I can't listen to this version of the song, because I can't stand my own voice, especially at 15, but I'll mention that this is my mom's favorite recording ever.  Funny story, when we practiced it, Aidan naturally turned his distortion all the way up.  Satan told him not to because "it's a soft song."  Keep in mind in addition to him knowing nothing of good music just chooses to ignore the fact that Aidan was familiar with the original song.

"Sunday Bloody Sunday" was an odd choice too, just showing what a "compromise" amongst this group means. In rehearsals we would have a fairly interesting noise breakdown that unfortunately was not recreated in the studio.  Still funny on the CD, though.

"My Atonement," as should be obvious by now, was the aforementioned nu-metal track.  It may outdo "Wait and Bleed" as the nu-metal song I find most enjoyable due to my participation and the laughter it induces.  Naturally, this song has the best use of Qev's fifth string, and on the verses the sound of the three guitars palm muted is a truly rare sound.  It's so bad though, I think this would be funny to anyone, especially as the metal vocals nowadays sound like a really horrible Louis Armstrong impression.  It includes consecutive solos by Aidan and Satan, and it is very easy to tell which is which - one is tasteful and simple, while other sound like a reject from an unrelated Dream Theater song.  It speaks for itself, so give it a listen! 

Unlisted is, "Mirror In the Bathroom."  Originally by The (English) Beat, the song was butchered by Fifi on the SLC Punk soundtrack then THAT version was re-butchered by this band.

Overall this is a horrible recording, though one that is enjoyable for being so horrible.  It seriously is worth a good laugh, but perhaps, unlike The Power of Rawk only once.  Firstly some people in this band, mostly Chuck, lack proficiency on their instruments while others, mostly Satan, want to get a showy as possible.  There are three guitarists and everyone has completely different taste in music, so coupled with belligerence, bad ears, and ego there are no dynamics at all, and it's all very busy.

If you dare, here is Chronic Insurgence - watergun outlet (2002) for your listening pleasure.

Tomorrow, or perhaps Thursday, Shooting Stars - Politically Correct

Roots, Part 9: Uncovered! The Popes!

In part 7 I realized I mentioned the Popes who existed for a week (possibly longer with more people in the same name - transition from Xyster to Hurtu era) in 2002.  Just me and Aidan at Summer Music Programs plus Jeff Ziga and a girl named Jen, both instructors, on drums and guitar, respectively.  It was rare for a band to be so unconcerned with being "mature" at Summer Music programs and this EP's two originals are repetitive, droney instrumentals.  The guest guitarist questioned our open-ness to "goth," but at 15 I explained to her what goth really was with these tracks.

We had a great week and I go to sing "Transmission" and "Beat on the Brat" as the two of us were able to explore our, or probably just my stupid teenage musical ideas for a week.  In a lot of ways, this is a more "professional"-sounding version of The Power of Rawk but with more sax.  Either way, more teenage outsider rock.

The next week we were thrown into Chronic Insurgence, and unfortunately I could not find Watergun Outlet, that band's fascinating EP when I was in New Jersey.  Not sure what else to add, you know the characters already, all there is the music and if you can believe it, all the album art!

Also, I was temporarily unaware of Shane McGowan's band of the same name, and that's why it did not stick.  The names were chosen to be religiously offensive.

Back, front cover

The inside.  Pictures taken that Tuesday and scanned from Weird NJ.

Back cover, can't remember the source of that image

DOWNLOAD:  The Popes - Shabazz! (2002)

A Tribute to Will Stratton

A little late on this but, last Friday was a pretty exciting event.  It was the tribute to Will Stratton coupled with the release of the album available for purchase that also goes to his Medical fund.

It was a pretty fantastic sow held at Spin in Manhattan - a large basement ping-pong club.  I wish I wrote this earlier so I could remember it better.

First there was Beat Radio.  That was a two-man group.  Not usually into that kind of thing, but it was cool.  Next you had Kid in the Attic who I had previously seen at a rooftop show with pow wow! and Crazy Pills on Andrea's birthday.  It's just one woman in a red hat and this was certainly a better venue for her than a drunken Bushwick party.  Both artists are on the tribute album and make pretty cool contributions.

Aaron Roche was the next to perform, an older guy and collaborator of R. Stevie Moore's.  Naturally that piqued my interest and his set, though long awaited from the set-up time was pretty awesome.  It started really quiet and then got louder as he had two young female vocalists with him for harmonies that reminded me of a more successful version of what the Dirty Projectors try to do.  With mostly pre-recorded backing and high intensity, his set reminded the most of John Maus.

The Next two sets were more personal by New York friends Jesse Rifkin and Trevor Wilson.  Both of them are on the tribute album as well, and by then things got so emotionally taxing that I couldn't even pay much attention to Wilson's set, though it was clearly a continuation of Rifkin's with a lot of delicate beauty.  You should look into both artists.

Will closed the set himself which was an unexpected treat, up to some point, and though he was underrehearsed, I doubt I've seen him play better.  It was overwhelming.  There were only three songs in his set but it was the highlight despite some great competition.  He is looking surprisingly healthy and in good spirits, so we all have a lot more to look forward to from Will.  His next album is entitled Gray Lodge Wisdom and will be quite a change of pace, and I personally have very high hopes for it.  A demo of its title track (sure to change a lot) is included in yesterday's article's package.

Photo by Mike Raynes

Photo by Jeff Nasareno

Well, there goes my policy of not reviewing friend's shows, but I have to push the BENEFIT ALBUM and how you should buy it.  I was asked to include a couple tracks and I chose Jesse Rifkin and David Garland's.  The former because it is quite a radical reinterpretation of an old favorite differing from either artist's usual sound, and the latter because of that artist's connection to Connie Converse and the Documentary my wonderful girlfriend Andrea is making about her.

Well, here are those TWO TRACKS, but you really should just buy the album, probably several times.

Anyway, my mind has stopped functioning, rather it's malfunctioning and I should probably stop.

Roots, pt. 3: Mr. Disco

First and foremost, a wish of a happy birthday to the lovely and exhilarating Super River frontwoman Kathryne Dameron-Johnstone.  In other Super River news, The Ball Python Manual is nearing completion and of course we area all very excited for its release.  It is a dark new direction that captured the feelings of 2012.  I am quite impressed so far.

Kathryne smothered with love from her bandmates and brand-new brother-in-law Daniel Johnstone.

And now onto out main subject, Mr. Disco.  This article precedes Love Athena because the recordings predate the Love Athena recordings I will share.  The band itself began about five months before Mr. Disco.

Mr. Disco began in theory in March of 2004 when faced with a two-week break from school that would affect myself, Sam Deutsch, and Aidan, but not current Love Athena drummer Peter Cross.  Sam and I got the idea of creating a two-man project that would just be for fun and simply rip off Lightning Bolt who were then riding high with the recent release of The Wonderful Rainbow.  Luckily, our music ended up being quite different from the Providence band's.

Sam and I assumed the aliases Arthur Disco and The Lummox, respectively, and began with an impromptu performance at a party hosted by Bobby Tarantino one Friday night in Prince Edward Point, Basking Ridge, NJ.  Liam played that last night, I think with Jason Paskow and Bobby T in a band best known as Bobby T and the Classic Rock Junkies which at one point also included former Shears Alec Signorino and later Jesus Cookie (with Paskow) Jason Sobieski.  First though, Mr. Disco debuted with a brief set dedicated to Ernie Keebler with myself on bass and Sam on drums.

Days later we recorded Larry David Salad Bar at Sam's where I began to play my busted old bass outfitted with an untuneable string and an acoustic guitar string nicknamed "the Machine" played through Sam's distorted Marshall.  All three tracks were recorded and improvised live with samples and synths added later.  The track order on the EP is the same order in which the songs were recorded.  Younger siblings Aidan McEneaney and Jenny Deutsch were also present with the latter being left in disbelief that there were not separate guitarist and bassist.  This is a testament to the power of "The Machine."  This would be the extent of the band's recorded output.

Luckily the band played another live show at The Montclair Kimberly Academy's After Class Thespian Spectacular (ACTS).  The audience was even less welcoming, but we had a fantastic time performing a new piece entitled "Midnight in the Garden of Salad and Breadsticks."  This title was even printed on that afternoon's program.  It was a miracle we were allowed to perform after a rusty set at the rehearsal the afternoon before in front of the often tyrannical Dominique "Domdom" Gerard," but these were the golden years of MKA.  Mr. Disco was informally retired afterwards.

DOWNLOAD: Mr. Disco - Larry David Salad Bar (2004)

"Liam, Show Us On The Doll Where He Touched You" is clearly a warm-up and the record's least impressive track.  It has a surfy vibe and opens with a sample of an AppleTalk transcription of a woman who accused Bill Clinton of sexual harassment and concludes with a Charles Bronson PSA.

"Cicada Season" is undoubtedly the strongest track and is one of the darkest heaviest songs you will hear.  Straight out of hell, really, and that's why we agreed that nothing fit better than a sample of a Hitler speech at the song's peak.  No idea what that's about.  We just took a fearless approach in making some very dark music and as odd as it can feel I can't deny that music is very chilling.  This is an achievement and fans of heavy rock should not miss it.  The fun vibe of the band returns at the end with a sample from a Deathwish film.

"Who Do You Sell Ketchup to a Ketchup Salesman" is good too, though clearly steam is being lost and the growing song lengths shows this.  It opens with an exchange between John Wayne and Katharine Hepburn and then kicks in with Sam's classic heavy beat.  Unfortunately the drums are a bit too loud which detracts from some cool riffs.  I don't know what the end sample is, but it's pretty funny.

The one flaw with this record is that it's a bit quiet, so you're going to have to crank it up.  It's a pretty concise little piece of noise-metal and another example of the rare talent possessed by the teens of Basking Ridge in this era.  Listen without prejudice, as they say.

EDIT:  This is a response from Liam Carroll about his performance the night of Mr. Disco's debut:

Excellent piece, although the gig in Bobby T's basement went a bit differently: myself and the Jasons performed sans Alec and Bobby, calling ourselves Automatic Stop (after The Strokes song of the same name). We played first that night, and even though we practiced our asses off for a week, our set was a disaster. We only played two songs, and they both went terribly for various reasons. Then you guys played that totally improvised set afterwards, and I was honestly in shock at how good it was, and dismayed you guys were that much better than us with 100% less practice. I was trying to take The Classic Rock Junkies in a noisier direction anyway, which led to me getting fired from the group, but that's a whole other story.

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.

Now I'm So Happy I Have To Let My Song Outside

so I have been wrapped up lately with attempts at professional stuff and personal struggles and I am forced to do what I try so hard to avoid... re-post what I have found from the internet's best music blog - ZAMBONI Soundtracks.

So, here is Todd. A high school nerd who put together a whole album of music that could only, and most definitively be called "heartfelt." It comes from 1979 like it could come from no time else, but where, I am not totally sure. I would think somewhere in the suburbs of New York: Jersey, Long Island, Staten Island... something like that. It is clear that Todd put is all into this. He had to hire or beg the services of other and record in in a rush as the talent of his backers is arguable and their best defense is that they are playing with no familiarity with Todd's vision and their best attempt to follow it on the spot. The bass player is clearly the most lost and it seems like the drummer may just lack talent. Todd's piano is strong, and his vocals are weak - it is evident that here was a kid with the vision and the passion and hey, he did what he could, so let's give it some credit!

Regardless, you can feel what Todd is going for even if it comes from the superficial standpoint of Me = Good, Jock = Bad. Bottom line, it's like emo of the late 70s... back when that kind of thing was unacceptable. Either way, it's interesting to hear that kind of thing without the influence of the likes of hardcore and the Replacements. Rather the influences are more along the lines of show tunes and Hermit of Mink Hollow-era Todd Rundgren. Yet, still there are the topics of suicide and a-bit-too-unrequited love. There is nothing else like this. Give it a chance, as I am sure anyone who actually reads this kind of thing can relate to it. "Alone" and the title track can resonate the most while "Miracle Whip" is pure Vince Guraldi fun, and "Christ's Love Song" eliminates all the nice Jewish boy context I would assume. "Before It's Too Late," though while not one of the best songs is significant for the "believe it or not" factor of this. So, here is...

Todd - With Love... From Me To You (1979)

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)

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)

A Truly Royal Scam...

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

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

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


R. Stevie Moore - Delicate Tension (1978)

Better than Daniel Johnston, I Assure You

So, basically, this is me forcing myself to post something not from L.A. or New Zealand, but truthfully I listen to this album about as much if not more than everything else I have posted lately.

R. Stevie Moore is an outsider musician. In my opinion, he is the best outsider musician. He hails from Nashville originally and comes from as musical background as his father was Elvis Presley's favorite bassist and a member of the Nashville A-Team, making R. Stevie one of the first second-generation rock musicians. After this record, which was originally released via his uncle on only only 100 copies he relocated to Bloomfield, New Jersey where he has lived ever since. He is the father of home recorded rock and is idolized by the likes of Ariel Pink (who has covered two tracks off this album - "Hobbies Galore" and "She Don't Know What To Do With Herself"), The Elephant 6 collective, and many more. The sound on this album is almost like a lo-fi take on Todd Rundgren's Something/Anything? and is no less American. From the epic instrumental "Melbourne" to the tacked on bonus tracks coming from the extensive work he had already accomplished before this record everything is flawless. The songwriting is brilliant and it's all done with a great sense of humor that extends to some hilariously offbeat skits between songs. Bottom line: this album is a masterpiece. This is outsider music at it's best, if you hear this and still prefer Daniel Johnston you need to give up on music because you will never get it. In addition to every track I've already mentioned so far, "You and Me," "Goodbye Piano," "California Rhythm," "I Want You In My Life," and "Why Should I Love You" are some of the best.


R. Stevie Moore - Phonography (1976)

Additionally, here's a great video of Mr. Moore on Floyd Vivino's WNJN faux-children's show (proto-Pee-Wee's Playhouse) The Uncle Floyd Show on which he would regularly appear:

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.