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)

She's Like Fire, She's Like Ice, She'll Leave You High And Dry

A lot of people give David Roback the most credit for Rain Parade because of Mazzy Star. Their later work does not falter enough for that argument, nor is Mazzy Star good enough. His in-between group though, is the place to highlight his individual talent though.

Originally as Clay Allison, he and the Dream Syndicate's Kendra Smith collaborated on the work here, which I feel, particularly on the shared track "She's a Diamond" is better than their Happy Nightmare Baby. While it may have been in discussion of Rain Parade, Roback's famous quote "we wanted to make very quiet music," is the best description of Opal's work, more of a departure from the old band's Byrds-y guitars and hard-hitting drums than expected. What distinguishes this from the follow-ups of sorts is stong songwriter, at least some that can really shine through. Its opener "Empty Box Blues" is instantly more captivating than a lot of Roback's other post-Rain Parade work, and Smith sounds better than ever, as well. At times she even has the sound of an Old West chanteuse with a quiet shoegaze milleu. There is not much else like this, just don't let it put you to sleep... no offense.


Opal - Early Recordings (1988)

Flowers Will Spring From Every Grave

While Rain Parade's final album may not be another Emergency Third Rail Power Trip it is no embarrassment. I picked this up for a mere $2.99 (vinyl) just this weekend at Sound Sations in Westchester and was pleasantly surprised.

I hear it may have never been released on CD, which made it surprising that, even while released on Island it was so cheap (I had never seen a copy before). The most noticeable difference between this and the group's previous work is not the absence of David Roback, which in truth did not make that much difference even on Explosions in the Glass Palace, but the slicker production. It is a big change, but not one that ruins anything. In fact, I believe this album could ahve had some hits if released about seven to ten years later (rare thing to say about anything Paisley Underground). Matt Piucci and Stephen Roback's songwriting chops may have been even stronger than ever at this point, and their vocals are as great as ever. While radically different, "Don't Feel Bad" and "Fertile Crescent" - both sung by Roback, are as great as a lot of the group's stellar debut. The band plays tighter as well, which sounds great, even when compared to their previous loose sound, and it is much easier to know that they have a keyboad player than ever before. "Mystic Green" and "My Secret Country" are some great tracks as well, and this album is overall quite as enjoyable. It is ideal for anyone who thought that Rain Parade could get a little too drony on previous albums. For the others, it may be a challenge to get through the synthy intro of "Depending on You," but if you can you will be surprised at how far from grace the band fell (not far at all). Rain Parade started great and ended great, as far as I am concerned, that is not arguable.


Rain Parade - Crashing Dream (1986)

I'm Not Easy, I Know...

In continuation of my section on desert rock and my arrival in the Paradise City, I today give you Green on Red.

I originally heard of the band in 2003 when I was becoming a massive Pavement fan. I found a page that listed each member of the group's top 10 records. I do not know what year it was from. This one held a very high position on Bob Nostanovich's and was one of the year I had not even heard of at that point.

Despite hailing entirely from Tuscon Green on Red were an essential and arguable part of the Paisley Underground. In fact, both Matt Piucci (Rain Parade) and Steve Wynn (The Dream Syndicate) get specific shout outs on the sleeve. They did, of course have their very own sound, though, in having a very prevalent country sound, while retaining more psychedelia than a group like the Long Ryders. If one is to compare all of the Paisley Underground artists to an earlier group, Green On Red's would be to the Doors all thank to the dominant organ. Lyrically, though, things get heavier with them than most of the others, but their often bouncy rhythms make up for it. Two of such examples are the title track and "That What You're Here For." Other highlights include the 70s cinema (coincidence?) one-two punch of "5 Easy Pieces" and "Deliverence," and the Southwestern downer "Old Chief." With that said, one needs to also give credit to the anthemic "Brave Generation," which is a supportive voice at this age in this time, but that's nothing...

Like many other great re-issues, this version has bonus tracks placed in between the two sides.


Green On Red - Gravity Talks (1983)

Tell Me, Where Does Your Mind Grow?

Okay, this is just the Three O'Clock in 1983

Before the Three O'Clock there was the Salvation Army. Essentially they were the same band, though. The group, which featured Michael Quercio(at times going by "Ricky Start") and Gregg (later known as Louis) Gutierrez formed in Carson and was forced to change their name by the actual religious/charity organization... but not before being signed to the Minutemen's New Allience label and releasing the "Happen Happened/Mind Gardens" single and a self-titled album (which had, excempting the titles, the same album art). The releases made some waves as the liner notes quote eventual Three O'Clock drummer Danny Benair recounting hearing "Mind Gardens" on Rodney on the ROQ while still a member of the Weirdos. It should be noted that the band was signed by New Allience in November 1981, when Quercio was a mere 18 years old.

The sound is wuite different from the band they originially formed into being more in tune with a garage/punk sound than the jangly new-wave psych at which The Three O'Clock would excel. The songwriting is all Quercio's despite Gutierrez' presence in the group - however those already familiar with the last two Three O'Clock records should make no assumptions as this has nothing in common with their clean, 80s sound. Though I am a fan of both Quercio eras, he had yet to come into himself at this point lyrically. The lyrics resemple more psychedelic rambling than the darly whimsical ambiguity of his later work. Despite this, the most exemplary tracks "She Turns to Flowers" and "Happen Happened" stand out as some of the finest. This collection which contains all of the band's work under the Salvation Army moniker is prime example of the early Paisley Underground sound. And why shouldn't it? This was around the time that Quercio coined that term in the first place.


Befour Three O'Clock - Happen Happened (1992)

Back Again...

I've been meaning to post this for a while, but didn't wanna go too overboard with LA and girl groups, but now I give you the Bangles. This is a great pop record. According to Tom Scharpling, the Bangles were the only Paisley Underground group to really make pop records. I disagree with the man this time, though they definitely are way more on the pop side than The Dream Syndicate and Rain Parade, though I would argue not quite as much as The Three O'Clock. What distinguishes the Bangles so much amongst their contemporaries isn't just that they are all female, but they are definitely the best vocalists. The group's harmonies, which I beleive often, if not always involved all members are the tightest and best realized, especially compared to the constant solo vocals of The Dream Syndicate, and Rain Parade's loose amateurism.

This debut was made before people (*cough* Prince aka "Christopher") designated Susanna Hoffs as the focal point, so the other members' vocals, especially those of Vicki Peterson are more prevailant than on later records. However, I would argue Hoffs steals the show every time she opens her mouth even when merely harmonizing. The songwriting is tight, but it's undeniable that a lot of the best songs are not originals... However the whole thing is really solid and the band really shows off their talents in a unique way even if the songs are not their own. Standout tracks: "Hero Takes a Fall," "Dover Beach," "Going Down To Liverpool."


The Bangles - All Over The Place (1984)

If you wish, feel free to include a Bangles 1-4 in the style of Scharpling and Wurster's "Kid eBay", therefor including a then and now. Mine is: (then) Susanna, Michael, Vicki, Debbi (now) Susanna, Vicki, Michael, Debbi

I'm Just Trying To Remember...

Shamelessly named after the drone group featuring La Monte Young, John Cale, and Tony Conrad, The Dream Syndicate was perhaps the Paisley Underground's darkest and most experimental groups. After getting lost in the Longwood Medical Area this early afternoon I finally began to understand why this album is often considered the greatest of the movement, though I am not sure if I would agree with that. Rather than channeling the more pop-oriented psychedelic groups of the sixties like Rain Parade, Green on Red, and The Three O'Clock were, The Dream Syndicate is most in touch with The Velvet Underground and Television. Their songs are much longer and build into a less traditional structure. It is a more challenging listen than the other Paisley Underground records I've posted, but in the artistic sense, it's even more rewarding, in the same way that the minimalistic album art would suggest. Standout tracks include the title track, "Until Lately" and the group's most accessible song "That's What You Always Say". Included as well is the preceding EP and Steve Wynn's 15 Minutes EP which he released before forming the group, planning for it to be his last foray into music. Thank god it wasn't. The music on here is some of the earliest of the Paisley Underground Movement, being only beat by the Salvation Army (later The Three O'Clock) and Green on Red's first EPs.


The Dream Syndicate - The Days of Wine and Roses (1982)

Sleeping in My Dreams, Dreaming on my Feet

The further the discussion of Los Angeles' Paisley Underground, here is another great piece of 80's psychedelia.


Rain Parade - Emergency Third Rail Power Trip/Explosions in the Glass Palace (1983-4)

The gorgeous album art is an indicator for the sound and mood that you will hear on the record. It very floaty and psychedelic, at time almost like an American version of shoegaze. However, it does have some extremely strong songwriting on it.

Rain Parade is also significant for being David Roback's first significant group. He left after Emergency Third Rail Power Trip and went on to form Opal with The Dream Syndicate's Kendra Smith and later Mazzy Star. However, Rain Parade was a truly collaborative band and Roback's contributions are equaled by his brother, bassist Steven, and other guitarist Matt Piucci. This becomes clear as many of these songs are more pop-based than his later work. The sound is extremely well-grounded in the sixties, but still adds enough to make it not only fresh in 1983 but even today. The influence of the Byrds, in particular, is undeniable, especially on the album's catchiest track "What's She Done to Your Mind." This album is true psychedelic rock and is best suited for colorfully low-lit rooms while on drugs. Tracks like "I Look Around" evoke the same kind of drugged-out bliss as the Brian Jonestown Massacre, while "Talking in My Sleep" captures a dazed life that may or may not be the result of drugs.

Also included is the Explosions in the Glass Palace EP, which is still an essential work and (supposedly) the band's last worthy release. It does, in fact almost stand up to the LP, especially on the Beatles-esque "Prisoners". In between the records is the track "Look Both Ways," as well.

Here's a video which features a brief interview with Matt Piucci and Steven Roback on music and the Paisley Underground followed by a performance of "No Easy Way Down," one of Explosions' dronier tunes.

The Three O'Clock

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

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

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

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

In the meantime here are some of their videos: