Am I Awake? Am I Asleep?

Thanks to a wonderful reader's comment on my article on Trees I was shown to a recent interview with the great Dane Conover which is available right here.

While I wish I could have heard more from Mr. Conover himself and not just music from Sleep Convention and his influences. However what he says is pretty great as are some of the rarer music in the program. In particlar, it was my first exposure to his first band The Puppies whose "Mechanical Beat" is featured, as well as his recent work with his wife under the name Popgems. The latter project's song "California" is just incredible and I really wish I had that to listen to on my cross-country drive here from new Jersey/Michigan. Once again it is part of Conover's uniquely SoCal contribution to the synth-pop world. The most significant, however is the original version of the Sleep Convention standout "11:00 AM" which could be described as nothing short of epic. Not only is it one of the best examples of Conover's genius, but also of Earle Mankey's - to whom Conover gives endless credit in the interview. If that masterpiece connected with you this is just as essential listening.

Beautiful Babies and Runaway Daughters

To continue on this tear for synth-pop (which I think will continue for quite a bit after this as well) I give you perhaps the United States' best, and definitely most under appreciated contribution.

Coming from San Diego, a city which is only now getting a musical voice, Dane Conover managed to not only get signed by MCA, but also produce a slew of low-budget videos such as the one above. Unfortunately, success did not find its way to this great album. Considering the sound of the record (produced by Earle Mankey), the major label, the rise of MTV, and the outstanding quality of the music, it is hard to believe this even happened. Perhaps the public was not ready for its own synthy weirdos... Regardless, we have it now, and this is a real masterpiece that may even outdo synth-pop classics like The Pleasure Principle, Dare!, and Rio. Trees has the same kind of cold and eerie depth of his British counterparts, but is delivered with something of Southern California carefree vibe rather than the bleak English roots. This, however does not mean the lyrics are any less foreboding and apocalyptic. The majestic "Red Car" and "Midnight In America" are prime examples of a U.S. response to Gary Numan's works like "M.E." and "Metal," while "Shock of the New" - which really kicks the album into gear, may be the greatest unsung anthem of the New Wave era. Yet, it may be "Wildwood" that is the true showstopper with Conover's vocals and haiku-esque lyrics somehow submerging bright California pop into the cold and dark world of synth-pop.

It seems to me that Conover has remained busy since, but this is the only Trees record. It's a shame, but at least he gave this style a unique masterpiece.


Trees - Sleep Convention (1982)

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)