Didn't Realize the Sign, 'Cause it Was the Sign of the Times

As trendy and hip as the city became this decade, it's easy to forget that Portland that actually made it's greatest contribution to music actually came before most of the world actually knew that people actually lived in the Pacific Northwest. That, of course, would be the Wipers, led by the enigmatic Greg Sage.

I am not sure of the availability of their work these days, but when I first got into them at a middle school teacher's suggestion it was all pretty rare. His suggestion was, increasingly weak due to it's Nirvana connection, Is This Real?, with "Return of the Rat." So when I managed to find this compilation in Ann Arbor's Encore Recordings, I was a little disappointed to to find neither that track, nor anything from the classic debut on here. After acquire the all-classic first three albums though, my appreciation for this compilation grew exponentially. With only one track from Youth of America and two from Over the Edge, this set features the best of Sage's supposedly spottier later work.

Most of the tracks on here stand up to the classics' "Messenger," and "Taking Too Long," so this is the perfect source for more Wipers. The opening track "Nothing Left to Lose," is one of Sage's all-time best and his darkly dreamlike virtuosity over a simple rhythm is not only the perfect transition between postpunk and grunge and enough to make one instantly fall in love with the Wipers. However particularly strong, that track is only one of many so carefully selected (especially counting the CD-only last three tracks) that would suggest that the band's last three albums of the 80s were as strong as the first. Also included are a couple tracks from Sage's supposedly lackluster 1985 solo debut. These, "Soul's Tongue" and "Blue Cowboy" are some of the best on here. They certainly have a different sound, slower, cinematic, yet no less effective. Their desperado air seem to be as much of a window into this elusive soul as any of the Wipers' finest moments.

They sometimes call the Wipers a "wrong-coast Mission of Burma," but anyone who's been to Boston can tell you it's the other way around. While that band came to represent their city's pretense and pomposity, the Wipers came to establish the whole sound of their region. Bravo.

The Best of the Wipers and Greg Sage (1990)

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)

More to Seattle Than You Think

I'd been wanting to put up the Fastbacks for a while. They came to mind again last night as I was consulting an old book of mine last night and noticed a top 10 records from the group's leader/songwriter Kurt Bloch that included The Three O'Clock's Sixteen Tambourines - one of the few mentions of that group in the book. Another interesting fact about the Fastbacks, perhaps the one that finally got me to hear them, is that Duff McKagan of Guns 'N' Roses was one of the many to pass through the group's revolving door of drummers.

It is some fast-paced punky pop, perhaps "pop-punk," as maligned as that style has become. Bloch as a great songwriter and really allows the female vocals to shine through, watching his own creation succeed. He rocks out as well and has just as many connections to the world of metal (well beyond the McKagan association) as to indie pop (including producing Robyn Hitchcock and the Venus 3 in his home studio). Most tracks are quite short and very infectious, particularly opener "Under The Old Lightbulb" and "Bill Challenger," but longer tracks like the opener "Believe Me Never" do not get boring either.

This is a prime example of the pre-grunge Seattle music scene, despite it's post-explosion release date, this was one of the bands that really got that city ready for the prolific (though only arguably great) scene that grew in Washington's fertile ground.


The Fastbacks - Zücker (1993)

It's Like Nearly I Puked In My Face!

grunge.

Mundhoney has been a big part of my life since 8th grade. Maybe even earlier as their appearance in the Chris Farley-David Spade vehicle Black Sheep made a pretty big impact on me as far back as 1997. Regardless, they are the best "grunge" band I know of. This album is a whole lot of fun for lovers of any rock 'n' roll. Like Paisley Underground, it needs to be remembered that most music scenes are likened by geography and attitude than sound really, and grunge was no exception. Mudhoney, unlike many of their peers like nirvana or Soundgarden come from the MC5/Stooges side of rock. Their sound relies most on distortion (as seen in the title) and energy than anything else.

Image was also a big part of grunge, whether they liked it or not and Mudhoney, via Sub Pop heads Jonaythan Poneman and Bruce Pavitt was the prototype. The band, consisting of college-euducated middle-class suburban kids was marketed to the famously frantic UK press as rural lumberjacks along with the rest of the label's roster. This, best chronicled in Our Band Could Be Your Life, presented the PNW groups as an oddity to the "sophisticated" European indie scene. When you pick up a legit copy of this the pictures inside will make this even more clear with the sometime shirtless band chugging cheap beer and dogpiling. This strategy in fact worked quite well and had much to do with the rise of grunge in the home country.

Perhaps in assumption that the proto-punk influence was apparent fromt he very beginning (or perhaps the MC5-like image ont he front cover), Mudhoney pays tribute to their more contemporary influences by covering Sonic Youth and Texas hardcore group the Dicks. These songs are pretty great, and as in most cases, Mudhoney outdoes Sonic Youth at their own game. Some of the best original cuts include "Sweet Young Thing Ain't Sweet No More," "Need," the epic masterpiece "In 'n' Out of Grace," and closer "Mudride." The band is pretty talented, especially drummer Danny Peters, who briefly was a member of Nirvan during a Mudhoney hiatus, and the guitar dynamic of Mark Arm and Steve Turner is one of the best of the 1980s. This is one to rock out to like you were still fourteen, which is exactly what my friends (particularly former bandmates) I do every time we hear this - especially with some watery domestic in the system. It jsut doesn't get much better than this.


Mudhoney - Superfuzz Bigmuff plus Early Singles (1988)

*It should be noted the early singles are the first half and the EP is second.