Sunday, January 29, 2006

Various Artists: Deep Six Compilation


LP, C/Z Records, 1985

This record is sort of like what a Cuban cigar is to most American cigar aficionados - better as a legend than experienced in real life. The Skinyard, Sound Garden and Melvins cuts are like preliminary sketches. Skinyard's Jack Endino even admitted this on his web page calling these versions "embryonic" and pointing the listener to later recorded versions. Sound Garden always impressed me as a band that hit as often as they missed and here they missed with both feet firmly planted underneath their hair waving heads. And the Melvins had much better years ahead of them though they turn in one decent cut ("Scared") which (I believe) best showcases the Open D tuning that would characterize the 'Seattle sound' in years to come. They have three other cuts on the record. Malfunkshun, a band that broke up before they did much show some scattered brilliance bringing a nice noise-crud-infested guitar to the mix and often odd embellishments (hand claps!) to their cuts but failed to hold my interest for an entire track. It's all cool stuff, I guess, but more of historical interest than a compelling listen.

The best cuts belong to the more (then) established of the bands - Green River reaching their peak with both Stone Gossard and Bruce Fairweather turning in their first incredible twin guitar electric metal minuets (on both cuts) (Steve Turner having left prior to this recording). The cuts are a bit unpolished but that's cool I like it that way. And Mark Arm's vocals will improve in the coming years. There's a neat "fuck it all" attitude they bring to their songs (the Melvins would catch that 'tude soon enough), in partic. "Your Own Best Friend" which ends with a cut-up and an extended sloppy drum solo but is important as it outlines the fast-slow/rave to heavy song arrangements that made bands like Nirvana. "10,000 Things" opens the album and it's clear why it was chosen as it gets your attention even if the backing cuts to that side fail to excite in the same fashion.

But it's the U-Men who steal the show with an incredible closing cut "They" - a swamp-surf- metal-rockabilly-garage bastard of Elvis rave-up that manages to pay tribute to about 10 different songs and 20 different artists and puts The Cramps and live Killdozer to shame if they had any. Unfortunately, it's their only contribution. They wouldn't have been embarrassed opening for Screamin' Jay Hawkins, this band.

Songs:

Links/Saved Round:

Because this didn't fit in the review above, it needs to be said that Deep Six is considered by many a seminal album, sought out by collectors (the vinyl at least), as it predates both Sub-Pop and of course the Seattle hype era and is the first recorded evidence of many of these bands. Also, it should be noted in more than passing that this album and perhaps a good deal of the momentum that propelled the Seattle scene into prominence wouldn't have happened without the industry of C/Z label owner Chris Hanzsek and his co-producer Tina Casale. Although I suspect that the record was also part shrewd business ploy since Hanzsek also owned a studio (still does) which got a lot of work when the Seattle scene took off.

The album was re-released as a CD in 1994 and is easy to find on E-Bay or in used music stores but remains out of print.

Wednesday, January 25, 2006

Shutterpunk Mix

It's amazing what treasures you'll find buried in a shoebox. More evidence that I was infinitely more creative when I was a stoner....

Goth Fashion Disaster, 1980's


"Memories in My Head"
mono lo-fi minimal
link



Self-portrait, 1980's


"Red-Headed Eric"
Tenniscoats
Live Wanderus
buy



Punk Rock Girls and Longhair Boy in Dupont Circle, Washington DC 1980s



Dart Drug, 1980's


"'84 Pontiac Dream"
Boards of Canada
The Campfire Headphase
buy



Husker Du Lisner Auditorium, 1980's


Cute Girl At Show 1986



"I'd Like to Take You Out Tonight"
Blood On the Wall
Awesomer, Awesomer, Awesomer...
buy



New Wave Girl Skirt Envy, 1980's



Lone Punk Dancer, 1980's

"Where the Wind Turns the Skin to Leather"
Arizona Amp and Alternator
self-titled
buy




Molly Ringwald Guitar, Dag Nasty Shorts, 1980's



These are all from a recent photo scanning frenzy... Additional photos with some captions at my flickr site

Monday, January 23, 2006

Frankie Goes to Hollywood: Two Tribes


I think when pressed as to whether these were indeed all of the Frankie Goes to Hollywood band members playing on this tune, producer Trevor Horn deferred and implied that while he had hired some pro musicians and there were FGTW playing somewhere in the mix.

A band that arose out of the Liverpool punk scene, FGTW boasted a few notable assets - singer Holly Johnson, a McLaren-ish Paul Rutherford and someone having the good sense to hire Trevor Horn to produce their songs and Godley and Creme to produce their (at the time) stand-out videos... they were also helped by the idiots in the BBC1 decrying their first hit, "Relax" as a tribute to anal sex. I think they even came under the ever-helpful eye of the PMRC - at any rate, these shallow attempts at censorship only made the band more notorious.

And I sure dug that video of two old men kicking the shit out of each other, didn't you (banned in the UK for being too violent, ha ha, but it got lots of play on MTV)?

This 12" included two mixes of "Two Tribes" - one, an overly long "Annihilation" mix of "Two Tribes" and the "Surrender" mix which emphasized the instrumentals and that bitching guitar underscore (dadadadumdadadadadadumdedumdedum) that makes you wanna put on your Miami Vice shades and go steal a cigarette boat (well, not really)... there's also a hyperactive version of "War (What Is It Good For)" that falls flat, a mock-interview of the band acting as if they were the second coming of the Beatles and a dry post-industrial spoken word piece ("One February Friday") featuring the British actor who was the same voice one would hear if the U.K. ever had a nuclear war.

So, Frankie Say: come relive the Cold War paranoia, Trevor Horn style, because when two tribes to to war, a point is all that you can score... now I gotta get back to work on the black gas.

Songs:
"Two Tribes (Surrender Mix)"
"One February Friday"

Linkage:
Wiki entry
Band Website - FGTH plan a 2006 tours. They have tried several times to get Holly Johnson back in the group but he has backed off.
Album cover picture taken from classic 45 where this record retails for $12.00.

Friday, January 20, 2006

It's Friday; Time for a Likker Run


I'm not totally going soft rock on ya with all this Burt B stuff ... here's a great song that's been rocking the hacienda to rev up yr weekend...

"Let Me Be Your Liquor Man" - Minni-Thins (Kentucky)

(more on Minni-Thins at M&M)

More Bacharach (and Hal David) Semi-legal MP3 Song Mix

Special Coffee and Cigarettes edition...

I can't help myself - I'm on a Bacharach kick. Ones with asterixes come from indexes found via Singingfish.com...


Raindrops Keep Falling on My Head
* - BJ Thomas
Close to You* - The Carpenters
Alfie - Ron Kaplan
Do You Know the Way to San Jose* - Dionne Warwick
The Look of Love - Bobbe Shore (via Bialeks Music)

Burt goes political in his latest album At This Time

Burt Bacharach Online

Thursday, January 19, 2006

As Japanese as Burt Bacharach


I wonder if when you jump the Andersens' bones they make little cooing sounds and fluttery moans.

Prepared Landscapes came out in early 2005, self-released on their own label, but it wasn't until the holiday lull in new CDs that I got around to ordering it. Well, actually, it wasn't until this month that I actually found an online vendor that I could buy it from.

Andersens make lo-fi easy listening psychedelia as if it were a religious rite - they're kind of like The Carpenters playing in front of an ancient shrine in long flowing robes after a short dose of acid. They make great music for watching snow fall and steam rise from the grates of the city.



"Bacharach" - Andersens (Burt Bacharach is or was very big in Japan - give this song at least two listens before making up your mind on it.)

Bonus Bacharach:

"Walk On By" - Dionne Warwick (Groovemaster mix)

Links:
  • Stream more Andersens at Myspace
  • Das Gemeine is a great find for Japanese underground stuff you can't find anywhere else. I've got some more Jap U-pop to unload here over the next few days.
  • Previous VM post on Andersens
  • And finally...


  • Ain't he cool? Here's some Bacharach tour dates...


SAVED ROUNDS: “CEASE FIRE-UNLOAD. REMAIN IN POSITION UNTIL THE LINE IS CLEARED. ARE THERE ALIBIS OR SAVED ROUNDS ON THE RIGHT? ALIBIS OR SAVED ROUNDS ON THE LEFT?”

Some great music found at MP3 blogs in recent days...

Tuesday, January 17, 2006

I Did It Just The Same - Eurythmics



Annie Lennox moan-scats through a minor cut from the (aborted) soundtrack of 1984's 1984 movie. The album never got much respect - both of the singles bombed (although "Sex Crime" was a dance club hit with that robot dance inducing chorus). But in these times of fears of over-zealous 'crats tapping phone lines, the album merits a few spins. This cut was actually from the flipside of the 12" single which popped up in the box on the same day the NY Times broke the NSA story. So think of this as some good soundtrack music the next time you have phone sex with your foreign girl/boyfriend and the NSA. Just don't visualize John Hurt... unless you want to.

Wikipedia actually has a write-up on this soundtrack that never was and gives some background on this song:
Most of the tracks were instrumental, with song titles and lyrics of the two songs on the album being derived from Orwell's text. For instance, "I Did it Just the Same" is taken from a passage in the book where the antihero, Winston Smith, relates how he committted "sexcrime" with a prostitute—initially deceived by her makeup, when he got close to her, he realised she was "about fifty - but I did it just the same".
So was the sex crime that she was an older lady or that he did it with a prostitute or that he did it all? Never really clear...

Link: Brother John wrote about this a few months ago and lamented that 1984 was left off the E's November 2005 box set release (which has something to do with the fact that the soundtrack was released on another label besides RCA in England). However, the CD is readily available as an import and on the used CD/vinyl sites like Gemm.
Song:

"I Did It Just The Same" - Eurythmics

Buy 1984 (For the love of Big Brother)

Sunday, January 15, 2006

False Prophets: self-titled LB

1986, Alternative Tentacles

I remember this band around the timing of this release as having one of the more exciting and theatrical frontmen in the genre and I suppose like many bands of that era, I'm more excited that I saw them live than whether I have their records. But as records go, this one was pretty decent.

False Prophets (1979-1993) were a left-wing protest / militant band, contemporaries of Reagan Youth and Beefeater/Fidelity Jonesand all three of these band collectives feature an outrageous frontman. There were also of the few East Coasters signed to Jello Biafra's label at the time. Live, Stephan Ielpi would goosestep around the stage, scarily get into everyone's faces and generally try to make you feel uncomfortable about politics whether or not you shared his. His between-song harangues suggested what it might be like at a Communist party meeting in a Cambodian mental hospital. Their band name basically was a refutation of the notion of following a band, declaring up front that they were just False Prophets like all the rest.

I remember coming late to the show (in Baltimore, I think) while they were setting up (this was in the mid-80s) and the kids (back then "kids" were junior high kids not college indie preps) were sitting outside smoking cigarettes and mumbling about "synthshit" but later on when the band had warmed up they were up front doing their little tribal dance. I saw them later on (at the Fidelity Jones debut show), the band had improved and frontman Stephan Ielpi had gotten even more strident and less enjoyable - their show seemed more like a lecture with songs thrown in than a concert with engaging between-song words.

While operating as a 2nd generation hardcore-thrash band (later an anti-metalcore stance was pretty evident), False Prophets rarely stayed within the conventions and aesthetics of the form utilizing synths (!) sometimes doubling up piano and organ and showing a reverence for Alice Cooper and 60's British Invasion (The Kinks). Still, they took more cues from classic punk like the Pistols, Clash, Black Flag and Dead Kennedys. About a third to half of the songs here are classic hardcore. The better hardcore songs on this record are available for download at Alternative Tentacles, this album having been reissued in 2000 with some of their earlier singles. "Taxidermist" was about the most original "thrash" song to appear on ROIR's NY Thrash compilation in the 80's featuring non-ironic slow rawk chorus and a shimmery Queenish piano arpeggio in the bridge. The dumbest cut is "Suburbanites Invade," a reggae-Clash-ish rant (replete with reggae cliches like rants about Bobbylon) about, well, the suspicious, complaining suburbanites and how they should "and live in your own Hell" - I'm thinking there's goes half the door at most punk shows but it would make city life so much more enjoyable what with the petty criminals now preying on the dwellers exclusively.

"Seven Deadly Sins," the dramatic opener - Ielpi sounds like Rollins would later sound opening up with a dramatic primal sermon and then the band exploding into razor-sharp thrash. They had a tendency to go over the top but in these songs they sort of skim the glass edge. "Functional" is another standout and one of the few thrash genre songs with organ in it (besides Great Plains, ha ha)

Suffice to say, there's a lot of offbeat stuff here. The goofiest cut is "Marat/Sade" which is a cover of what sounds like a Broadway number (it's actually from a movie about Jean Marat and Marquis de Sade) which seems to defend Jacobin Jean Marat's murderous excesses during the French Revolution. Ooohkay. The band's version is well-arranged, sort of what a punk band covering Les Miserables might sound like and like most of this record well-recorded - it's goofy as hell but also audacious and brave.

"Faith', the closing cut and a more traditional rock-punk song, is my favorite with it's skankin' tribal drums and bass, double guitar attack and piano embellishments.

Not a bad record to have around, mostly well recorded and mixed (although at times, such as in "Helplessly Screaming" the bass was turned up too loud) -- yes, there are some clunkers mostly on the first side and some cuts where the band (principally the drummer) overreached, although not exactly essential as the follow-up, Implosion (which was released a year later).

Songs:
"Marat-Sade"
"Faith"

Links:
  • Alternative Tentacles False Prophets band site has a band history written by co-founder and bassist Steve Wishnia, a picture of Stephan Ielpi in his prime and four superb MP3s from the reissue of this record Blind Roaches & Fat Vultures. Here's Punknews' review of that reissue.
  • The band reunited for the 2002 NY Thrash Compilation 20th Anniversary - pictures here
  • Coincidentally, many of the members of False Prophets have become authors:
    • Guitarist/Keyboardist and backup vocalist Debra DeSalvo is making her own music with her own band and has written a book called Language of the Blues
    • Steve Wishnia is senior editor at High Times, often pops up on Alternet and Indymedia and has written Cannibas Companion which is also available at Ripoff Press.
    • George Tabb has been writing for Maximum Rock and Roll for like forever and has several books which can be ordered via his website.
    • Guitarist Steven Taylor joined the False Prophets after this record was made but wrote a memoir and diatribe entitled False Prophet: Fieldnotes from the Punk Underground about his experience describing the breakup. I've read most of it online at Amazon via their "Search Inside" feature.
  • Last year, Stephan Ielpi reported that he is in San Francisco working on a poltical music project with "Mike" from Faith No More - not sure who that is since there was more than one Mike in FNM.
  • Drummer Ned Brewster and guitarist-founder Peter Campbell whereabouts unknown

Saturday, January 07, 2006

Vox Pop: The Band The Myth The Volume

blogger12" EP, Mystic Records 1982



Band (from left to right - not verified):
  • Dinah Cancer (later to 45 Grave; now in The Graverobbers)
  • Paul B. Cutler (later to 45 Grave, Dream Syndicate, Naked Prey, producer, engineer)
  • Jeff Dahl (later to Angry Samoans, Lazy Cowgirls, Poison Idea, Jeff Dahl Band. etc)
  • Del Hopkins (later played in Jeff Dahl Band)
  • Mitch Ochoa (disposition unknown)
  • Don Bolles (seated front; later to 45 Grave; producer, author)
There's little documented about this L.A. band. I believe they were active in the timeframe of 1978-1980 and preceded and perhaps overlapped a little with 45 Grave to which three of the members eventually ended up. They are most famous as a footnote to The Germs story in that this band is often cited as the reason Darby Crash kicked Don Bolles (Germs drummer) out of the band. More on that below.

I don't have a discography but apparently they released two (?) singles at least one on the same label that released some Angry Samoans (Bad Trip Records). The front cover photo of this record has Dinah Cancer holding what looks to be a 7" record (that's Paul B. Cutler providing the full frontal nudity and I think that's Jeff Dahl standing in shock to left). I am not sure whether this posthumous Mystic(!) release (1982) contains the singles or was previously unpublished material. I'm guessing buried deep in some old fanzines in my archive, one can probably put together a more fuller story. At any rate,there is some information about this band scattered all over the Internet, so I thought I would, in the tradition of Lexicon Devil and Please Kill Me, put together an oral history of the band.

If you have any remembrances of the band or can talk with intelligence about the provenance of this record or their other releases, please add comments...

An Oral History of Vox Pop:

From Flipside history of .45 Grave; Author Unknown: Don and Paul [are] from Phoenix and Dinah is from Los Angeles. ... Paul was in Phoenix in a band called ‚Turquoise Orchestra, the jazz version of Vox Pop. Don was playing in Krazy Homicide but since they weren't very active decided to take up drums and join The Exterminators with Rob [Graves - later in 45 Grave but not in Vox Pop - ed]. At about this time, the Consumers - a local Phoenix band Paul was in, Don and Rob all moved to Hollywood - right into the Canterbury Arms luxury apartments. The Consumers, among others practiced in the basement - that's where Don met Dinah [two hearts in the original text]! The Consumers didn't last long, and Don was offered many drumming jobs - he chose the Germs and The Skulls. The Germs finally got around to auditioning Don in The Masque bathroom and after much deliberation... Don was a Germ.

Flipside: Jeff Doll [Dahl - sic] the guy with the big red afro called up Don one day looking for a girl, he and Don talked and found they both liked Blue Cheer, so Jeff brought some live tapes over to Don but they ended up in the studio making noise. Jeff needed a band to play his songs and he already had a gig booked at Kings Palace. So they came up with a total meaningless name - Vox Pop. Paul was in it cause he was there, Dinah joined later cause she had always sung - "occasionally unis [? - editor] on vocals", Mike Ochoa joined cause "he was a weird guy with a synthesizer" and Del because they needed a drummer. Everyone wanted to play lead guitar. They ended up playing about 7 times and some guy liked them enough to put out their single on Bad Trip Records. At one show Mugger from H.B. [? - is this Mugger from Nig Heist - editor] got up on stage and sang "Fuck me in the wenny" to the tune of "Louie, Louie" and Vox Pop got another song... [Flipside, 1980 - http://vereine.rol3.com/Plasmatics/private/bands/45grartc.htm]

Don Bolles: Vox Pop was a big band in that there were like seven people in it, and one of them was kinda fat. So it was big that way, but really we couldn't pay people to go to our shows. People did not wanna go see someone being like Flipper-meets-Runaways-and-Faust. [Mark Prindle interview, 2004)

Paul B. Cutler: I had known Don and Rob from Phoenix and Dinah was Don's girlfriend. We had nothing better to do, so we started a band. [interview by Pat Thomas BOB Magazine; 1987 published on Steve Wynne's website]

Brad Duff: Vox Pop was basically 45 Grave with everyone switched around on instruments, plus Mikey Borens (I think) and Jeff Dahl, a couple other people (even me) were in and out of the band. [Dig It Fanzine; date unclear]

Nicole Panter (Germs Manager): Don Bolles wore dresses and make-up [in Vox Pop]. And Darby [Crash] was mortified: He'd get on Don's case, "People are gonna make fun of us if they see you like that." Darby was not an ironist. He was too deep in his own shit to see irony. - Lexicon Devil: The Fast Times and Short Life of Darby Crash, 2002

Barry Spradling: Don Bolles came walking past us with a striking feminine make up job on his face, and what appeared to be a fifties style police uniform. My poor straight friend stopped Don and said "hello!" thinking he was a girl, and Don replied "Hi!" back to him in a manly tone. "[via via Gerardo Velasquez tribute page - the Darby Crash biography has a picture of Bolles in Policewoman drag]

Don Bolles: Well, I still kinda do that. I look fuckin' hot in drag! I have this whole teenage rock star body even though I'm almost 50 years old. [Mark Prindle interview, 2004 - editors note: see for yourself whether Don Bolles still has a rock star body - that's him second from the left, picture taken in 2005]

Pat Smear (Germs): The fact that Don wore a dress was like, whatever, that wasn't it, I don't think -- it was that he was in a fucking joke band. I mean, you're in the most serious band in town. How can you be in a fucking joke band? -[Lexicon Devil, The Fast Times and Short Life of Darby Crash, 2002]

Jeff MacDonald (Redd Kross): I thought Vox Pop was fantastic! They weren't a "joke" to me -- at the time they were one of the only decent bands in town. I saw some incredible Vox Pop shows -- twice when I saw them Paul Cutler was nude. It was total rock and roll! [ Lexicon Devil, The Fast Times and Short Life of Darby Crash]

Paul B. Cutler: I would like to find a way to promote violent revolution in the streets and towns of America and until I do, there will be no Paul B. Cutler LP. That was, and will remain, my long-term goal. After all, why kill someone poor when you can kill someone rich ? You can't own something if it burned to the ground. [interview by Pat Thomas, BOB Magazine; 1987 published on Steve Wynne's website]

Jeff Dahl: 'kay, here's a strange one that came outta of the blue! I just had an email from a pal in LA telling me that there is a movie currently in production about the seminal LA punk band, The Germs. It's called What We Do Is Secret and I have no idea when it is supposed to be out in theaters or on DVD or on cable or whatever. I guess it's an actual legit movie coz it's starring Lucas Hass, Bijou Phillips and Shane West. Okay, I think it's weird that they're making a movie on The Germs to begin with but here's where it gets really nutty. As you may or may not know, at the time of The Germs, their drummer, Don Bolles, was also in a band called Vox Pop with me. I played guitar, I sang some of the songs and I did tons of illicit substances. Germs singer/martyr, Darby Crash, saw us once and pronounced us the worst band in the world, though he might have actually said we were the worst band in history. God knows we tried. Anyway, some friends who have been on the set during filming have said there is actually a scene in it where Vox Pop is playing a show! Which means that some poor actor type is playing me in a movie. I dunno whether to be flattered or amused or confused by the whole idea? Imagine going to see a movie where someone is playing you? Even a small scene or bit part ... kinda creepy, huh? If you had told me, in 1980, when we were stoned, drunk and porking anything that would allow us, that in 2005 there would be a movie about this stuff I would have laughed in your face... F'n hilarious. Whatta world... [via Jeff's website - date unknown but recent]

Songs/Commentary:
  • "Production" - a song that puts a lie to the notion that this was merely a joke band - in retrospect, maybe 45 Gravewas the joke band. It's just that one was commercially and regionally more viable for the time, I guess. It also didn't help Vox Pop that Darby disliked (or maybe was jealous) of the project. At any rate, a finer tribute to Blue Cheer I have never heard even by Blue Cheer. Paul B. Cutler wrote.
  • "Procession" - a spooky qualude queerity featuring Dinah Cancer in backup vocals that suggests Vox Pop might have gotten a better reception in NYC opening up for Lou Reed, Suicide or The Cramps. Has some awesome two guitar work that riffs off the vocals. Ends with a lock groove. Cowritten by Cutler, Dahl (hmmm, Lazy Cowgirls anyone?) and Sims (Cancer's real name is Mary Sims).
  • "Become a Pagan" - It's like either old school L. A. Punk (The Bags?) playing 45 Grave or 45 Grave playing like an old LA Punk band. A perfect primal bridge between the genres of early punk and goth. And then if that sounds weird enough, the song then morphs into a late 60's acid rock jam combined with what sounds like a brutal S&M scene. Cancer screams "Pagan!" and someone responding with what sounds like the whip-grunts. The music falls apart for a minute and then the whipping ritual recommences until it sounds like Cancer is ready to collapse. I once played this for a girlfriend who was into goth and hadn't heard early Dinah Cancer and so was naturally intrigued. She smiled when she heard it and said, hey she's saying "'take it' like I do.." (referring to an unnatural act of copulation illegal in most states) and I said, no she's saying "Pagan!" A few days later while engaged in an unnatural act of copulation (illegal in most states), she started saying "Pagan!" and I naturally replied"Unhh!"...written by Dahl, Cutler and Ochoa.

Saved Rounds:
Credits:
  • From liner notes:
    • A Goldar Production
    • recorded at Mystic Sound Studios
    • Engineers: Steve Benner, Paul Cutler
    • Front Photo: Robert Hill
    • Back Photo: Ed Culver
  • (p)(c) DM Music (1982)

Saturday, December 31, 2005

It's a God-damn Crime...


... that I didn't have tickets to last night's Volcano Suns Maxwell's reunion show or Thursday's Boston gig at the Middle East.

All hail the Suns who reunited this week... Rumors abound of a tour but it may have to be postponed until after the MoB release/tour next year.

Alas, tickets were sold out long before I heard of it. If you went, tell me how it was.

They have generously set up a Myspace with downloads or you can stream four songs, pictures of the band (you have to register to see these - sorta like a porn site), gig adverts, notes on their rehearsals, etc. here...

LHB has a clip from a Boston newspaper review. Update: Brett Milano provides a less jaded account.

Volcano Suns - "Blown Stack - Engines" - from All Night Lotus Party

"You only get this offer for a limited time..."

Daniel Cohen has a nice picture of the Suns gig here in Boston which I'm temporarily showing up to the leftside of my blog.

SAVED ROUND: My 2005 List

Tuesday, December 27, 2005

Sarcastic Orgasm: You Are What You Fuck

As a promised follow-up to this post, here's DC's Sarcastic Orgasm's master(bate)piece, "You Are What You Fuck," a timely and cautionary tale for the New Year.

May you all bring in the New Year with a bang.

Update: With reservation but by special request, here is "Soap Opera Hallucinations."

"Like the bugs under our skins, these are the days of our lives."

Saturday, December 24, 2005

Killdozer: Burl EP & Little Baby Buntin'



Touch and Go Records, 1986-1987

"Ballad singing has been going on ever since people sang at all. It comes up like an underground stream and then goes back again. But it always exists."
- Burl Ives.

"If America wasn't a cesspool we couldn't write songs. At least not the songs we write."
- Michael Gerald, Killdozer, 1994, Stumpy Fanzine
I bet Burl Ives didn't have Killdozer in mind when he waxed on about ballad singing but for that brief period they were one of the few bands practicing the art.

Like the 70's TV movie that they took their inspiration from, Killdozer wrote bluesy guttural and vulgar songs about an industrial world out of control and the working class freaks and losers that populate that bleak landscape. There were no Springsteenian heroes here promising redemption beneath a dirty hood of a Chevrolet or Dylanish troubadours reading the words written by Italian poets from the thirteenth century by candlelight. Instead we have short order fry cooks who seem on the verge of a killing spree, a man so lonely that he imagines the cyst on his neck has come alive and a man who gets a "bubblegum face" from an industrial accident but still brags that with a hood on his head he's a "sexual beast."

The thing that sticks with you about Killdozer is undoubtedly Michael Gerald's raspy put-on voice that sounds like Froggy from Our Gang might have sounded at 65 after a lifetime of whisky and cigars. He's been criticized for never deviating from 'the voice" and at times it can get annoying (example: the cartoonish "Hi There" or his monotone delivery in the "I'm Not Lisa" cover). But if you listen closely, he does vary it at times - compare the almost soft delivery of "Slackjaw" with the balls-out singing on "Hamburger Martyr" for example. And it's not like put-on voices aren't part of a proud tradition. Check out Dylan or Springsteen, the most prominent balladeers of the previous two decades, for instance. The band has also been criticized for being too derivative of Flipper which is a bogus argument given the fact that these are ballads with song structure and story while Flipper were mainly one or two lines sung over and over again until your ears started to bleed. You could make the point that they are derivative of Birthday Party but again you go back to the songs and where Birthday Party were more influenced by Southern Gothic novels while Killdozer drew from a folk tradition stemming from Depression-era dustbowl music. Burl Ives may be somewhat sarcastically cited here but give the guy his due, he helped popularize Woody Guthrie and tons of other balladeers in the 30's even if he's best known as the holly-jolly snowman in Rudolph the Red-Nosed Reindeer. Ives' signature song (before "Silver and Gold") was "Wayfarin' Stranger," which like much of Killdozer's work is sung in the first person.

It's a shame these two records were never reissued together since they seem to be a perfect match. Burl, released in 1986, was their first work in a 24 track studio and the sound is bigger and more experimental. It lays the groundwork for Little Baby Buntin' where the band sounds even more uninhibited. And it can't go without mention that uber-producer Butch Vig cut his teeth with Killdozer even if he later became the drummer for Garbage.


Band:
  • Bill Hobson: Guitars
  • Dan Hobson: Drums
  • Michael Gerald: Bass, vocals
  • Butch Vig: piano (on Burl)

Songs:
  • "Puppy" - Little Baby Buntin'

This song is about a true incident - here's Michael Gerald telling the story in his own words:
SP: If there's one line I may never get out of my head (much as I want to) it'’s the one that goes something like "When I lit Sonny'’s balls on fire/You didn't even blink." Where did that come from?
MG: There was a biker gang outside of Madison, WI, called Satan'’s Dragons, that didnÂ’t even own motorcycles. They were in the news because one of their initiates had been found dead and naked in a field, castrated and with his dick stuffed into his mouth. They were caught when one of them reported to the police the theft of his Harley Davison ring, which had been found underneath the head of the dead initiate. The dudes referred to their initiates as "puppies." I naturally imagined them being the type who would set a dog'’s balls on fire...
[From Snap! Pop Interview by Comely Mike Montana, 2000]

Michael's interpretation of the chorus's line: "I Am, I said / to no one there / and no one heard at all / not even the chair" is simultaneously absurd and poignant. Excuse me while I cry into my hanky but this is their best cover ever - and this is a band that did LOTS of covers.


Besides being a great way to open up Burl, this is a clever reference to The Venus Hottentot, a shameful incident in Western history where an African woman was brought to England and put on display because she had a big ass. "Hottentot" doesn't have any references to this beyond the title but instead reflects a common theme in Killdozer songs - that is the sons and daughters not heeding history and repeating the sins of their fathers. A fat man plans some sort of despicable act against a little girl for criticizing him for his "enormous size".

Links:
Saved Round:

In an example of life imitating art, a man angry with his local government armored a bulldozer and attempted to destroy a small Colorado town. He ended up destroying 13 buildings. The local media nicknamed the bulldozer Killdozer.

When the bulldozer broke down, the man shot himself and the armor cover had to be removed by a crane in order to get to his body. The quote below from Mr. Dailey sounds like it could have been written by Michael Gerald.

Undersheriff Glen Trainor said the dozer's armor plates consisted of two sheets of half-inch steel with a layer of concrete between them.

Grand County Commissioner Duane Dailey said Heemeyer apparently used a video camera and two monitors found inside to guide the dozer. Two guns were mounted in front and aimed through portals. Other portals were cut in the back. It was unclear how many guns Heemeyer had in the dozer.

Authorities speculated Heemeyer may have used a homemade crane found in his garage to lower the armor hull over the dozer and himself.

"Once he tipped that lid shut, he knew he wasn't getting out," Dailey said.

source: cbs4denver.com

Thursday, December 15, 2005

My Christmas Song: Anal Satan


So last year, I was feeling all gushy and mushy and this year I'm all cynical about the holy days. The only difference I can think of is that I'm one year older and I'm dealing with an insatiable (younger) girlfriend when last year I was just another member of the Lonely Guy Club.

You'd think it would be the other way around.

This isn't really a Christmas song but its about as blasphemous as I can get and it sums up my feelings about the season. Maybe because its taking away from valuable sack time.

It comes from the "Olympia Must Die" 7" by the Witchypoo roving collection of misfits -- and its a cover of a Melvins song - Joe Preston is on the record too - probably not a coincidence, that.

It was released back in August but I've just gotten around to ripping it to digital.

People seem to hate this band but listening to this, I can't see why. Sure, it ain't gonna be on The O.C.'s Season Finale or even Sleeper Cell (where it might actually work) but it blows away any other electroclash I've heard this year.

Merry Fucking Christmas. Now I have to go shopping. Thank you Baby Jesus.

"Anal Satan" - Witchypoo (thin the herd records)

Coffee and Cigarettes MP3 Mix: Suburban Decay

Owl Prone
"Mirror Stage" - Collapsing Opposites
"The Sun Again" - Vedett
"Birds, Cats, Piano" - Metal (see also Artistry)
"You Told Me You Loved Me" - Wolfo (aka Horsemachine aka Robbie/Poopfilter)
"Systems of Social Recalibration" - Aspects of Physics (source)

Liner notes: Some new bands I've picked up via the web, links from other bands that I like and longish crawling through myspace... that's my photo there, taken in my older brother's backyard. The owl apparently is to scare off certain types of birds that plague suburbanites but had fallen on the ground. I suspect I may come back in Spring and he'll still be there waiting to be put back on his perch.

None of these bands really have much to do with suburbia so far as I can tell but they seem to fit the mood of the silent owl somehow. Collapsing Opposites leads off the set - he's a child care worker by day so he tries out alot of his songs on a captive audience, so to speak. Tons more downloads at his site. Vedett is a Dungen like band from Belgium and you know about as much as me. There's more songs at their site. Metal appears to be part of one of those collectives but they are too cool to call themselves such. At any rate, it's a nice ambient piano (improv?) where birds and outside sounds provide accompaniang. "You Told Me You Loved ME" proves nice new songs can come from acoustic guitars - the artist who appears to be linked with Metal. Finally, Aspects of Physics recorded "Systems" in 2005 but it took me long enough to find it. Great little meditation piece to end the set.


SAVED ROUND: Speaking of new music, Opuszine has two new Liz Durrett tracks up from her Jan 2006 release - The Mezzanine ... we last wrote about her here.

...also here's a link to a recent Meredith Bragg performance at the Kennedy Center - requires RealPlayer.

Sunday, December 11, 2005

Sarcastic Orgasm


mini-LP, Synn's Allright Now Records, 1986

Here's an obscure mid-80's DC group that to my knowledge only put this record out and appeared in assorted compilations. I only remember ever seeing them listed as playing live in DC maybe once and I never saw them. I suppose among my peers at the time, I was about their only supporter if they knew anything about them in the first place. I think DC in the mid-80's was a hard place to be truly weird and maybe it still is. Of course, that made the Darwinian dynamic give rise to some great weirdo bands like 1/2 Japanese and No Trend and forced other wierdos like Psycodrama and White Boy even further into the underground.

This record consists of six mostly damaged art-punk songs that I suppose qualify as social critique whilst maintaining a veneer of fun or at least the type of fun a band that uses publishes a back-cover picture of nostril hairs in lieu of band photo.

Each side has what I would call two "concept songs" and one conventional song, if anything about this band can be labeled conventional. The concept pieces are mostly retarded Zappaish music beds or synthy Ur-plop that generally underscore a spoken word narrative such as a dry reading of a newstory about an African massacre ("Hebephrenic List"), a portentous recap of a soap opera story line ("Soap-Opera Hallucination") using the Young and Restless theme song for effect or a restless rendering of a Penthouse Forum Letter while the band merrily skronks out ("Name and Address Withheld").

The two "conventional" songs are circus-like juvenile lurch-pop with titles like "You Are What You Fuck" and the anti-authority "Why, Because I Said So." Due to a technical glitch, I was unable to get "You Are What You Fuck" in this go-round but I may post it later.


Band Members:
  • Jerry Boner - Bass + Bkrd Vocal
  • Brad Glosserman - Drums
  • John Hoppe - Keyboards + Violin
  • Scott Phillips - Guitar + Vocals
  • Extra Hard Working Guest Artist: Synn
Songs:
Links:

Answer to Future 80's Underground Music Trivial Pursuit Question:

Sarcastic Orgasm are mentioned in Mike Watt's liner notes for Sonic Youth's The Whitey Album:
"However, death is not mocked and my big man D. Boon was killed December 11, 1985 in a van crash. I was tiny and stopped wrestling my bass, wouldn't touch it. Kira had to do some internship at Yale so I drove her to Connecticut. I stopped in NYC and stayed with Thurston and Kim for a week. Staying up late laying on the couch with a blanket on just talking and talking. Talking about everything, even silly band names out of Flipside like Sarcastic Orgasm. I must have drove them crazy. But it really helped me get over that hell of D. Boon Dying, I really owe them all I've done since the Minutemen."

The Scientists: Weird Love


Big Time Records, 1986

For their only US release, Australia's Kim Salmon and his band The Scientists (in its fourth incarnation and minus the original drummer) went into a London studio and re-recorded this set of songs, at least one of them even better than their originals ("When Fate Deals Its Mortal Blow"). Joe Carducci in his Rock and Pop Narcotic book said The Scientists were "a rather unfocused blend of Crampsian dynamic and Stoogian structure" - this description might also work for The Gun Club although J. L. Pierce's voice was much more striking than Salmon's drone. Furthermore, this batch of songs sounds much more tilted towards the "Crampsian dynamic" than "Stoogian structure."

Salmon's voice is unremarkably recorded here and there's a garagepunk sameness to the overall sound -- maybe its because almost all the songs were recorded in London with a slick new wave producer over the space of three days in February, 1986. Some of the songs sound like the band is playing in a detached manner and I can't find the enthusiasm that exists in their earlier stuff or the original versions of the songs.

But, but, but there are some cuts that approach a sort of limited form of nirvana. "When Fate Deals Its Mortal Blow" is a slide guitar shuffle and a bass line that shakes the cobwebs out of my skull - although this band wasn't known for their lyrics, I love the line: "There's a hundred head hunters all headed your way / with a hundred ways they'll make you pay." I don't think Lux and Ivy could have written a better line.

A cover of the James Bond song "You Only Live Twice" (originally done by Nancy Sinatra) has some great guitar noise, Stoogian structure or not and refashions the song's hook with a buried single note piano. I'm not surprised that this was the only song on the record not recorded with Wall of Voodoo producer Richard Mazda (and with a different drummer). "Swampland" is redone with more finesse than the original and while it may lose something in its regurgitation, this version still stands alone quite nicely and makes for a promising record opener. Finally, "If It's The Last Thing I Do" (sometimes called "Travis") adds to the canon of Great Works inspired by Travis Bickle and Martin Scorsese.

Band:
  • Guitars: Tony Thewlis & Kim Salmon
  • Drums & Piano: Leanne Chock
  • Bass Guitar: Boris Sujdovic
  • Voice: Kim Salmon

Some Weird Love songs:
  • "Swampland" - opening track - from the liner notes: "A song of yearning for the exotic. Love of the weird."
  • "You Only Live Twice" - closing track liner notes: "Nothing weird about loving this song - or its original songstress, for that matter."

Essential links:

Thursday, December 08, 2005

Dr. Know: "Plug-In Jesus" Mini-LP


Mystic Records, 1984

Dr. Know were of the Mystic Records crop and violated the sacrosanct aesthetic of hardcore punk by littering their tunes with (horrors!) guitar solos and bass and drums breaks. This was one of the reasons I liked them at least until they full totally dived into metal core in subsequent years. They're since back to their HC punk w/metal accented roots pretty much if their Myspace samples are any indication.

The songs themselves cover all the wellworn HC punk 'n' angst topics - lashing out at religion, society and themselves. This is also one of those odd mini-LPs that Mystic liked to release - somewherez between an EP and an LP - about 10-15 minutes on each side versus the normal 18-20 minutes for LPs and 8-10 minutes for EPs.

First singer was Brandon Cruz and current singer is Brandon Cruz but in-between they had Kyle Toucher both belting out vocals and wailing on "lead guitar"... Interesting thing though is that Fred Mataquin is also listed as "lead guitar" and that pretty much sums up their approach: two blasting lead guitars with a smoking bass and drummer.

Random coolness factoring point was that bassist Ismael Hernandez was kid bro to the Hernandez Brothers and Jamie designed their, um, identity thingie and I may have bought this just as much for asshole comic collector rententionitis completistness than merely just for the band itself given that there were plenty of others plowing similar fields. Here's the Xamie Hernandez logo thingie for waaaat! it's dearth:


Links & shit: Two songs here to sample but Dressed for the Bomb also has cuts up from this record and the songs are mostly found on the "Best of Dr. Know".. in recent years, the band seemed to be on-again off-again but their Dr. Know Myspace, um, space indicates that they are still playing gigs (Cruz and Hernandez are the longtime members) and have a label. There's a comprehensive history both at Myspace and on Wikipedia.

Band:
Kyle Toucher - Lead Guitar, Vocals
Ismael Hernandez - Bass Guitar
Fred Mataquin - Lead Guitar
Rik Heller - Drums



Sample Songs (only up for 14 Days):
"The Intruder" (also called "Fear the Intruder") - nice guitar solo about a minute in
"Circle of Fear" - features an extended drums and bass break and then some nice ensemble work near the end of the song

Saved Round(s): The front page of the Washington Post has an article quoting Bob Mould in the lede and its about how indie bands are making their livings liscensing their songs to commercials and TV shows. I would like to just announce here and now that if anyone would like to license Vinyl Mine to a TV show, I'm more than happy to have your people meet my people. My ideal scenario would be to have the mousy chick and the fat guy in "24" ignoring a terroristic attack because they are downloading No Trend tracks for their iPods.

Also, I want to publicly thank American Analog Set for playing in DC on Tuesday night given that they so graciously publicly thanked me (well, the audience) at the end of the show. Catherine Lewis writes:
The crowd dwindled as the final droning chord of the band's last song, "We're Computerizing and We Just Don't Need You Anymore," morphed into a murmured "Continuous Hit Music" performed by Kenny solo. He then spoke about how much he and his band love playing music. "It really is our pleasure to play for you," he stated generously, unfazed by the thinning and inattentive crowd.
Really, it was an awesome show and AAS adhere to the hardcore punk aesthetic of "no solos" by the way.

Saturday, November 26, 2005

Screaming Trees: Invisible Lantern

SST Records, 1988

A creamy slop of early psychedelic and pop sludge in this third full-length from the 'Trees. I never got that they were "punk" but I suppose if you played loud feedback-laden guitars in the '80s you were bound to get that label. This should have come with a warning label: Much Pot Was Consumed in Making This Record. Can't fathom why Lanegan refers to this early work as "crap" (1999 interview) although close scrutiny of the lyrics (quick sample: There's a dark-hair girl on a mattress / and there's a room suspended in the air") might make you throw-up a little but who's really listening except for the choruses.

Otherwise, you can't fault Lanegan's raw singing and Gary Lee Conner's wall of feedback snake charmin' guitar. You also have to acknowledge producer (and ballad pianist) Steve Fisk as the "fifth member" of the group - the sound is absolutely and awesomely sublime especially when you consider that he's running a start-up studio in some small town in the Inland Empire.

In contrast to Lanegan, Gary Lee Conner calls this his favorite Trees record on his website although he traces the band's troubles to this time period:
This is my favorite Screaming Trees record. It is total
psychedelia with a hard rock edge and some pop thrown in
for good measure. Also this is when it start to get hard
instead of fun we had started to tour two or three times a
year and we were all getting sick of each other. We had
fights with Steve Fisk over mixes and there was a general
malaise in the Screaming Trees camp. The worst thing
about the album is that Van quit right after we finished it
and was replaced by Donna Dresch for the fall 88 tour with
fIREHOSE. Luckily he came back after making one too
many donuts at Albertsons (it's not like we made any money
with the band in those days). (source: purpleoutside.com)
If this lacks anything other than groovy lyrics it's a reason to really internalize the music. Most of the songs while technically pretty and musically interesting but just seem to lack a whole lotta soul. It's all a great listen and I'd recommend this most out of their early work but the songs don't really reach out and grab you like their later stuff, even if you think it's slicker. Although most people have said that this band's signposts are the garage psyche bands of the '60s and '70's, I also see much affinity with some of their labelmates - Meat Puppets and Husker Du records sound right filed next to this. Best Meat Puppets tribute is "The Second I Awake" and best Du tribute is "Walk Through to This Side" and those were two bands that DID stick in my craw, they're my choice for sampling. I'd put "Ivy", the opener and "Night Comes Creeping" is more in line with the 60's style stuff - 13th Floor Elevators are the closest touchstone my feeble mind can construct.

Band:
  • Van Conner - Bass
  • Mark Pickerel - Drums
  • Mark Lanegan - Vocals
  • Gary Lee Conner - Guitar

Songs:

Links:
And now for something completely different: