Sunday, March 26, 2017

I'm always in the toilet pissing out the noise.

It's another batch of four EPs.  Among these are forays into minimalist punk, singer/songwriter alt-pop, southern rock, and an exceedingly guilty pleasure I'm not likely to live down anytime soon.


Saturday, March 25, 2017

The Dils - Live! (1987, rec 1977 + 80, XXX)

I have a feeling recording time at studios in/around L.A. in the late seventies must have been a king's ransom.  How else you can you explain why punk legends The Dils only recorded about ten two-minute (if that) songs in a their three/four year life span.  Perhaps that might explain why Dils live records were fairly ubiquitous at one point.  The trio was helmed by brothers Tony and Chip Kinman, operating guitar and bass respectively, with both sharing the mic - and rumored to have communist ideologies among other eccentricities.  Rounded out by a cast of rotating drummers, the band released three singles between 1977-80, bequeathing such cult punk, h/c standards as "Class War," "Mr. Big" and "I Hate the Rich."  Think the first Redd Kross ep to give you a general idea where they were coming from.  The Dils sparse body of work was surprisingly incisive given the brevity of their songs, not to mention a performance aptitude that was often just a notch or two above rudimentary.  As for the album I'm featuring, all I know is someone had a tape deck running at two separate Dils concerts.  The gig from 1980 is the lengthier and the more rewarding of the two, featuring a bevy of Dils "classics," including some of the aforementioned and some surprises like a cover of Buddy Holly's "Modern Don Juan."  The 1977 set that rounds this thing out (tracks 11-14) is potentially incomplete and largely devoid of sophistication (e.g. "Baby You're My Whore").  As an aside, my incarnation of The Dils Live! is a cassette, though LP was also an option.

01. Tell Her You Love Her
02. Tell Me What I Want to Hear
03. It's Not Worth It
04. You're Not Blank
05. Red Rockers Rule
06. Mr. Big
07. Sound of the Rain
08. Gimme a Break
09. Modern Don Juan
10. Class War
11. You Can't Shake It
12. Baby You're My Whore
13. The Expert
14. It's Not Worth It

(1-10 from 1980, 11-14 from 1977)

The Creation - Action Painting (2017, Numero) - A critique.

For some, what if the British Invasion wasn't an invasion, so much as a breach or even a de minimus sideswipe?   We can't attribute such a notion to omnipresent heavyweights like The Beatles, Stones, Kinks and The Who, but what about acts that registered on a lower tier in their native UK...and perhaps not at all on the Yankee side of the pond?  Chestnut, Hertfordshire, England was ground zero for The Creation, a band whose stature was minimal in proportion to their aforementioned contemporaries, but their cumulative value and influence seemingly grew exponentially in the decades following their 1968 dissolution. 

In their initial 1966-68 lifespan, The Creation failed to release a proper full length on their own home turf, but dispensed a volley of singles according them with not one, not two, but four career defining signature songs - "Painter Man," "Biff, Bang, Pow," "Making Time" and "How Does it Feel to Feel."  Sonically, they were a loose amalgam of The Who, Small Faces, and to a lesser extent, the Monkees.  They weren’t as unkempt as the Troggs, or as dizzying as Floyd, and they certainly didn’t pack the harmonies of the fab four...yet there was something incendiary to The Creation, albeit even if they didn't set either side of the Atlantic alight.   Numero Records has recently and thoughtfully endowed us with, Action Painting, comprising the entirety of their original sixties recordings, spread across two fully loaded CDs, packaged in a sturdy hard-shell case.

The first half of Action predominantly concerns the Creation's commercially available studio recordings, that have been sliced and diced over the ensuing decades in myriad compilations and reissues.  The first of those collections, We Are the Paintermen came to light in '67 while the quartet was still active, but I should mention it was only available in Germany.  Furthermore, the Creation only earned one Top-40 in the UK, "Painter Man," which barely scraped the charts in October 1966, eking in at a modest 36 at best.  From my per-view, as someone who hadn't been conceived until the seventies, these fellows didn't sound or even look particularly different than what was coming off the Brit-prop production line.  But the fact that (relatively) current artists like Ride and Teenage Fanclub have taken Creation classics to task speaks volumes of the enduring effectiveness of the band's original material.

Whether they charted or not, the Creation really did have songs.  Some would argue they benefited from having two different front-men (though not simultaneously).  Original singer Kenny Pickett was ousted from the band in 1967 by former bassist Bob Garner.  Pickett didn't part without writing some of The Creation's most well known pieces, namely "Try and Stop Me," "Biff, Bang, Pow," and the less spoken of but melodically winsome "Nightmares."  The mod-stomping kick of "Making Time" might as well be worth the price of admission alone.  Garner's ascension to vocalist and prime mover also came with increased song-penning duties, and he brought the fan-favorite, "How Does it Feel to Feel" to the table.  "...Feel" was a mildly woozy, slow motion romp, predating the kind of modus opernadi that Marc Bolan would perfect in a few years via T. Rex. Again, it's one of The Creation's signature pieces, but five different versions populating almost a full tenth of Action Painting spells overkill to me.  Pickett would rejoin his former cohorts in 1968, but by then it was largely over. 

The second disk commences with four songs from the precursor to The Creation, The Mark Four, a competent, if not terribly innovative beat band, who like the Beatles cut their teeth gigging in West Germany.  The meat and potatoes of the second half of Action Painting emphasizes a raft of fresh stereo mixes of virtually every key Creation composition and then some, and also delves into some ace rarities, not the least of which is a stirring reading of Dylan's "Like a Rolling Stone."

As mentioned a little north of this paragraph, following their 1968 dismantlement affection for the Creation blossomed not only in Britain, but the US and points beyond.  By popular demand, the band sporadically reunited in the eighties all the way into the '00s.  Both Pickett and Garner have since passed away.  Action Painting is a more than thorough document of The Creations halcyon era, and makes a compelling argument that the sixties didn't belong solely to the Beatles, Stoines and Who.  Sample and purchase direct from Numero, Amazon and iTunes.  

Wednesday, March 22, 2017

Think As Incas - Palestine One Mile ep (1988, dOINK)

I'm not sure how prominent Think as Incas were in their hometown of Memphis, but the quartet saw frontman David Shouse migrate to the ranks of future Sub Pop-all stars The Grifters.  There are virtually no other commonalities between the two groups, which is all good and well with me since I wasn't terribly compelled by the Grifters.  The Incas were of college-rock stock themselves I suppose, opting to pursue a more traditional tact a la The Connells, adopting a dab of the Georgia Satellites tartness   without conveying themselves as blatantly derivative of either.  Couple o' saucy rockers here, appearing in the guise of the title cut and "Wishing Again," while the acoustic finale, "I'm the Boy" could pass for a sobering Uncle Tupelo ballad in a heartbeat.

01. Wishing Again
02. The Great Kiss Off
03. A Man Needs a Gun
04. Palestine One Mile
05. Tommy's Tiny Brain
06. I'm the Boy

Sunday, March 19, 2017

I’m a little cut up and I feel frustrated.

A 1997 compilation from one of Australia's greatest, if not so latest. 


Friday, March 17, 2017

Boys Life ep (1982, Seco)

Punk/wave/indie bands that prominently feature saxophones tend not to exude the sweetest of vibes, but Boston's Boys Life were at least something of an exception.  You can probably chalk that up to Neal Sugarmen, whose reeds don't overpower so much as augment.  The trio was definitely on the left-of-the-dial level, frequently bearing a pop acumen.  Sonically, Boys Life impress me as being a bit advanced for their time, and in all honesty, I would have pegged this record as a product of 1987-88 rather than five years prior.  And is it just me or does frontman John Surette remind you of Gray Matter/3/Senator Flux singer Geoff Turner?  Pure coincidence of course.

01. It Came From Here
02. Water
03. From A to Z
04. Happy People
05. True Believers
06. Person I Want to Be

Thursday, March 16, 2017

The Muffs - Happy Birthday to Me (1997/2007, WB/Omnivore) - A brief overview.

On the surface, there may not be much to differentiate one Muffs album from another, but the subtleties are there.  After a spate of singles released on tastemaking indie labels like Sympathy for the Record Industry, Kim Shattuck & Co. took their bratty gumption to the next level in 1993, signing to Warner Bros., unleashing a near monumental debut LP, The Muffs.  That record's punky ethos and yearnful, heart-on-sleeve reveries should have extended the then quartet's cult appeal to a national audience, but that would have to wait.  The next Muffs salvo, Blonder and Blonder saw the light of day in 1995, boasting a slight curtailment of their debut's more primal elements, playing up Kim's vague girl-group flirtations without meddling with the Muff's proven recipe.  And for a third act? 

Happy Birthday to Me marked the Muffs last realistic stab at grasping the fabled "brass ring," and it came with a six-figure budget to aid and abet the trio of Shattuck, Ronnie Barnett and Roy McDonald (yes, of Red Kross renown) to crank their turbo pop machine over the top.  Yet the band's third album (and first self-produced) wasn't an out-an-out departure from previous attempts, nor did it extend any palpable commercial overtures.  The Muffs had the accessibility thing down from the get go, but now more than ever they had the songsThe Muffs may have showcased the band at their most iconic and identifiable, however Birthday demonstrated the band's growth, shedding some of the angsty, rough and tumble roar while keeping things plenty sassy.  And yes, there are a lot of love songs on this one (what, you thought there weren't gonna be any?) yet Kim's pen is dipped in irony and even resignation, not so much spite and devastation.  "Is it All Okay," "Where Only I Could Go," and yes, even the pointedly titled "I'm a Dick" all deserve a slot on any Muffs mix tape.

In the grand scheme of things, Happy Birthday didn't exactly shift the needle for the band's fortunes.  I'm not even sure if it outsold the previous records.  The Muffs stint with the WB was over after the album cycle, but more records and tours would follow.  That's consolation in itself I suppose, but the real icing on the dessert?  Twenty years after the fact, the partially feasted on chocolate cake in the inside back page of the booklet looks as scrumptious today as it did then.  Omnivore's 2017 reissue features six album demos to sweeten the deal.  Buy it direct, or move that cursor on over to iTunes or Amazon.

Wednesday, March 15, 2017

Big Wheel - East End (1989, Giant)

After Louisville, KY punk wunderkinds Squirrel Bait split in the late '80s, throaty vocal sorcerer Peter Searcy invested his efforts into the demonstrably more lucid Big Wheel.  The quartet subscribed to a comparatively standard rock n rule schematic, occasionally spiked with the slightly frenetic tincture of S/B...just don’t get your hopes up if you're pining for another Skag Heaven.  Frankly, Big Wheel were innocuous riff-brokers, but if you’re taken with Searcy’s singular timbre, the band infuse just enough groove into the proceedings to keep things afloat.  I'm not sure what's up with them titling a song "Metallica" that has absolutely no relevance to the band (though I have to admit, it shreds harder than anything else on here).  Bit of a head scratcher I suppose.  East End was followed up by two more Big Wheel volumes, Holiday Manor and Slowtown.

01. Bang, Bang, Bang
02. Model Home
03. Times You Need to Think
04. Big legged Woman
05. Erect Song
06. Time of Your Life
07. Sound so Familiar
08. Body and Soul
09. Billboard Song
10. Half of Everything
11. Spanish Salsa
12. Metallica

Sunday, March 12, 2017

Maybe your tin cans could just cut right through this sand.

Primo Brit-pop too impeccable to be uttered in the same breath as Oasis and Blur.  This was issued in 2004, but contains material dating back to 1995.


Saturday, March 11, 2017

Arctic Circles - Time ep (1986, Mr. Spaceman)

The title of this record involves something I'm well short of these days, but I digress.  I have no relevant info to offer on the Arctic Circles, a bygone Aussie psych/garage band.  Nothing here particularly shakes me up, but superficially, you'll encounter ample Hammond organ.  At times, these guys strike me as a more serious variation on say, Inspiral Carpets.  Make of the Arctic Circles what you will.

01. Time
02. W.A.S.P.
03. My Window
04. Celina
05. Taste

Thursday, March 9, 2017

86 - Provocation (1987, Twilight)

I made my acquaintance with Atlanta's 86 a good ten years after they disbanded, via an ep titled Minutes in a Day.  Not an overwhelmingly awe-striking record, but the band's Yankee spin on tuneful Brit post-punk put their foot in my door, so to speak.  After said revelation, it would be eons before I excavated any further 86 ventures, but low and behold the follow-up to Minutes, 1987's Provocation eventually found it's way into my hands.  What a difference a year can make between records.  Provocation still bore a decent chunk of 86's collective worship of clangy, Anglo crown jewels C.S. Angels and the like, but the album was equally informed by a more dissonant quotient of American indie-rawk:  The Wipers, Nice Strong Arm and an assortment of lesser names that would crop up on imprints such as Homestead Records.  This recipe tempts delightfully on paper, but in practice...  It's still a recommendable album, but you might be better off sticking to side two (tracks 6-11).  You can peruse much more detailed text on 86 here and Beyond Failure blog, who are hosting the bulk, if not all of their discography.

01. New Pair of Eyes
02. The City
03. Shade of Black
04. Seven Weeks and One Day
05. Kings Mountain
06. Eyeless
07. Sonambo
08. Wondering
09. Getaway
10. Inside
11. Wheel of Confusion

Sunday, March 5, 2017

The only thing worse than bad memories is no memories at all.

From 1999.  One of the coolest and most creative albums to close out the twentieth century.  This one's a bit of an acquired taste.


Saturday, March 4, 2017

Greg Kihn Band - Next of Kihn (1978, Beserkley)

For what it's worth, it's long perturbed me that aside from two sizable hit singles that are still in classic rock rotation ("The Breakup Song" and "Jeopardy") there seems to be a complete media blackout on the Greg Kihn Band.  I don't get it.  The dude had far more hits than the aforementioned, not to mention a keen kihn commercial accessibility that played effectively to both the AOR masses, and us power pop types.  Most artists of his stature have enjoyed exhaustive album reissues/expansions, but save for a best-of or two Kihn's catalog has languished out of print.  In fact, the GKB's debut Next of Kihn made it into the digital era for what seemed like two minutes.  I don't get this.  Really don't get this.  Why do they want to deprive this man of a legacy and kill off the memory of his band?

Truth be told, Next of Kihn is a mixed bag, with some lengthier pieces that may have seemed ok when the record was tracked in '78, but don't quite translate forty years after the fact.  It's the more concise cuts that do the trick for me - "Sorry," as well as the absolutely pumping "Cold Hard Cash" and "Museum."  Maybe not the textbook definition of power pop, but they truly don't write 'em like this anymore.

Incidentally, a new Kihn album is slated for later this year.

01. Cold Hard Cash
02. Museum
03. Remember
04. China Town
05. Sorry
06. Everybody Else
07. Understander
08. Secret Meetings

Thursday, March 2, 2017

Glass Penguins - Raspberry (1987, Green Monkey)

This cassette album from a good three decades ago will be of interest a got lot of you.  Not due so much to the renown of Glass Penguins prime mover Michael Cox, but some of his collaborators, including Kurt Bloch (Fastbacks), Scott McCaughey & Chuck Carroll (Young Fresh Fellows) and last but not least Jon Auer of The Posies who co-engineered Raspberry.  By and large this is Michael's baby, with the aforementioned primarily playing background roles.  No true blue revelations here, but all and all a pretty good tape that sonically pursues DIY, bedroom/power pop avenues. The opening "Girl I've Never Met" and later, "Out of the Rain" might mesh appropriately on an early Game Theory record, "I'm Sure" is brisk, assured acousti-pop, and "Out of the Rain" packs plenty of kickin' propulsive panache.  Michael does ample justice to the Knack's "Number and Your Name" and Neil Diamond's "Look Out (Here Come's Tomorrow)."

01. Girl I've Never Met
02. Shadow of a Fish
03. Your Time
04. Out of the Rain
05. Fine to Me
06. I'm Sure
07. Number or Your Name
08. She Moves Me
09. Look Out (Here Come's Tomorrow)
10. Pull Yourself Together
11. It's Never Too Late

Wednesday, March 1, 2017

The family that plays together...

Just over a month ago I expelled a little verbiage on the latest album from singer/songwriter mainstay Jeremy Morris, who's been pumping out a bevy of pop-centric records since the '80s.   These days, collaborations are more his thing, as was the case with 2016's Hit You With a Flower, credited to The Jeremy Band.  Increasingly, Jeremy doesn't have to stretch out very far for willing collaborators, as a flock of them live under his own roof and share his surname.  Some of his offspring have even spun-off with their own tune savvy pursuits.

The Lemon Clocks, for better or worse, are not models for what I've spelled out above above, as the lineup entails Jeremy and couple of unrelated chaps, Todd Borsch and Stefan Johansson.  This retro-fitted trio are unabashed purveyors of '60s psychedelic and Brit Invasion rock, tossing in just about every trippy indulgence of that era into the fray, save for a theremin.  Tones of the Byrds, the Hollies and Syd-era Pink Floyd all waft their way into the Clocks intoxicating elixir, uncannily sounding like the genuine article.  The band's second album,Time to Fly dropped in 2015 and is a doozy.

Jeremy's son Peter doesn't put on any throwback airs, instead embracing a more contemporary motif via his trio Cardboard Highway.  Their full length debut, Reach, commences with "Washboard," a downcast, but melodic post-punk stunner that allures with a tingly guitar bit and gets exponentially better by the second.  Death Cab For Cutie wishes they still had the chops to produce something this visceral.   The remainder of the oft atmospheric Reach ebbs and flows, albeit not as consistently persuasive as the aforementioned "Washboard."  Nonetheless Cardboard Highway have all the corrugated components in place for a sturdier second act. 

The Glowfriends charmingly twee moniker belies a considerably more pensive and sophisticated modus operandi.  Those acquainted with this Kalamazoo, MI collective will no doubt speak of their dreampop tendencies, but on their fourth disk, Gather Us Together, the distortion factor is dialed back, instead eliciting a similar tact to the Spinanes and '90s Yo La Tengo.  Helmed by Jeremy's daughter April Zimont (alongside brother Mark) The Glowfriends resonant indie-pop ranges from placid to playful, eschewing any of their chosen genre's tricky pretensions and hangups, resulting in their most rewarding and accomplished foray to date.  Highly recommended.

...And we come full circle with the man that literally helped make all of this music a reality.  The Jeremy Band's All Over the World, is a re-visitation of Mr. Morris' back pages, the bulk of which were tracked live in San Diego, 2013.  Alongside his erstwhile chums Dave Dietrich and Todd Borsch, World is a family affair with the touring version of The Jeremy Band expanded by next-of-kin Peter, Mark and April.  Touching on back catalog favorites like "Pop Rules" "I Want to be With You" and "Chain Reaction," with a couple new ones sprinkled in, the record makes a solid case for Jeremy's near-lifelong tenure and functions as an ideal place for neophytes to grab an earful.

All of these titles and more are available straight from the source at Jam Records, where you can sample all the album's herein discussed.  Have at it!

Sunday, February 26, 2017

Sex is free, it's so hard to sell...

Out of this world pop-punk from 1995.


Saturday, February 25, 2017

Good Question - Thin Disguise (1986/2001)

Here's a rather substantial upgrade to a record I posted almost seven years ago.  Fronted by proto power-pop maven Van Drunen, who was lauded for his now classic 1977 LP Are You Serious?, Good Question lasted but one record, Thin Disguise.  Drunen formally inhabited the same stomping ground as Big Star and Chris Bell in the heady, early '70s Memphis pop scene, though you'd barely know it from the sound of this record, which was largely steeped in a Todd Rundgren and Utopia aesthetic - not to mention a healthy dollop of 1980s production finesse.  This is the CD incarnation of Disguise, re-released in Japan in 2001 with five bonus morsels, including a 1987 recording session.

A denizen of the '70s Memphis music scene, who was not only in cahoots with Big Star's Chris Bell and Jody Stephens, Van Duren went so far as to audition as a guitarist for Big Star, but ultimately that wasn't in the cards.  By the mid-80s, Van Duren's McCartney-cum-Emitt Rhodes aplomb had taken a back seat, and his new vehicle of choice was Good Question.  Thin Disguise boasts the plush, airwaves-groomed sound of it's era, gunning just shy of Casey Kasem’s weekly honor roll, while managing to keep much of it's fragile credibility on the same page as it's rather obvious commercial aspirations.  There's some faint new-romantic gestures cropping up on "Girls In Uniform" and "The Couple Most Unlikely," but Thin Disguise is at heart a hook-savvy, but meticulously polished '80s pop/rock record that didn't have the corporate backing to accord it with the en masse push that would have made all the effort worth it.

01. Jane
02. The Naked Eye of Love
03. Fool for the Face
04. What're You Gonna Do About It
05. Thin Disguise
06. The Couple Most Likely
07. Above and Beyond the Call
08. Catcher in the Rain
09. Girls in Uniform
10. Never Too Late (K.T.)
11. Do Nothing 'til You Hear it From Me
12. I Jumped in
13. In Dallas as Japan
14. Never in a Million Years

Wednesday, February 22, 2017

Sonny Sixkiller - This is Your Heaven (2000, Vital Cog)

This is just one of many albums in the "S" section of my CD rack that I fail to acknowledge 99.99% of the time when I'm browsing.  And then there are rare occasions like today when I purge it from it's roost on the shelf and actually put it to good use.  Always a wise decision when it comes to Sonny Sixkiller, a Philly combo offering something of a revolving door lineup, with focal point Kara Lafty leading the charge on vox and gits.  Kara and intermittent drummer Bret Tobias were part and parcel of '90s indie-pop noiseniks Moped.  Much as I cheered-on Moped and their primo album, It Won't Sound Any Better Tomorrow, Sonny entailed a more lucid and advanced aptitude, hinging on a bittersweet undercurrent that should have made them a hell of a lot more endearing to a bigger audience.  Sonically, This is Your Heaven comes from a locale situated somewhere between the Blake Babies and Pollyanna, and wields some seriously crackling and melodic salvos including "Halo" and "Drive Away."

01. Water it Down
02. Halo
03. Blue Eye Shadow
04. Big house
05. Drive Away
06. Song in Three
07. Calculated Guess
08. One Less in the Way
09. Nothing's Too Complicated
10. Not So Fast
11. I'm Not Courageous
12. Out of Sight

Sunday, February 19, 2017

Give me just one inch, I swear that's all I need.

From 2003.  Saturday I presented you with something that's about as close to avant garde as I get.  Today I'm playing it a little less adventurous, and am aiming
for instant gratification (I hope) instead.


Saturday, February 18, 2017

VA - Cash Cow: The Best of Giorno Poetry Systems (1993, ESD)

We gave a party for the gods...and the gods all came.  - John Giorno.

I'll admit it.  Hüsker Dü were the draw for me here, or more specifically their contribution, a devastating Metal Circus outtake, "Won't Change," equaling or outpacing anything on that classic 1983 ep.  This entire album is worth downloading for that song along, but if you're anything like me this compendium of songs having previously appeared on a myriad of Giorno Poetry Systems releases (a synopsis of what GPS entails follows in italics after my essay) will reward you otherwise as well.  In essence, Cash Cow corrals an inadvertent "who's who" of the post-beatnik syndicate, with most of the participants hailing from ground zero itself, New York City.  First and foremost, it introduced me to John Giorno himself, a somewhat confrontational poet who rubbed elbows with Andy Warhol in the early '60s and generally speaking his reputation and inspiration snowballed from there.

William Burroughs factors in significantly to Giorno's life, and he contributes text from Naked Lunch and then some.  Laurie Anderson's spoken word soliloquies are particularly jarring thanks to some eerie vocal manipulations, Patti Smith gets deep, and Frank Zappa reads a portion of Burroughs, you guessed it, Naked Lunch.  Giorno himself makes a brief appearance, of course.  His startling "Hi Risque" is a lascivious AIDS-era lament that's almost certain to implore your attention. This gentleman's dialect and pentameter fascinates me to no end.

And there's more music as well.  Cabaret Voltaire and Philip Glass were never my style, but their inclusion amidst the proceedings is fitting.  Buster Poindexter's "Totalitarian State," is relevant today as it ever was, and Glenn Branca's clangy, sixteen minute piece "Bad Smells" is surprisingly approachable.

Cash Cow isn't for everyone, particularly those with a strictly 'pop" palette, but I got more out of this than I expected, and maybe you'll come away a little more enlightened too.  I've included a bonus John Giorno spoken word monologue, which happens to be a sheer favorite of mine.  An explanation of Giorno Poetry Systems (penned by the man himself) and full tracklist follows:

Giorno Poetry Systems (was) a non-profit foundation under which many projects were born. The record label called Giorno Poetry Systems eventually built up a catalog of 40 titles, ushering poetry onto the radio alongside rock, jazz, etc. for the first time. The Dial-A-Poem service, begun, in 1968, was a huge success. Not only did we ourselves get millions of calls, we inspired the creation of dial-for-stock market info and dial for sports-info services, etc. We also foreshadowed by a generation the explosion of 1-900 telephone promotions, not to mention the delivery of the Internet over phone lines. we produced poetry videos, videopaks and films. We formed bands and toured like the rock'n' rollers. We displayed poetry on the surface of ordinary objects, producing silk-screen and lithograph Poem Prints. We established the AIDS Treatment Project in 1984.

But in 1965, even before founding Giorno Poetry Systems, I began recording my friend William Burroughs, starting with tape experiments at his Centre Street loft and with Brion Gysin at the Hotel Chelsea. Before the year was out, with my earlier inspirations turning into tangible performances, electronic events and sound pieces at a show at the Museum of Modern Art in Paris, I began Giorno Poetry Systems.
01-Cabaret Voltaire - Ride Baby Ride
02-William S. Burroughs - The Do Rights and Naked Lunch
03-Debbie Harry - Moroccan Rock (Pipe Of Pain)
04-Buster Poindexter - Totalitarian State
05-John Giorno - Berlin & Chernobyl, Hi Risque
06-Husker Du - Won't Change
07-Laurie Anderson - Song From America On The Move
08-Philip Glass - A Secret Solo
09-Patti Smith - The Histories Of The Universe
10-Coil - Neither His Nor Yours
11-Diamanda Galas - Eyes Without Blood
12-Glenn Branca - Bad Smells
13-Frank Zappa - The Talking Asshole
plus: John Giorno - We Got Here Yesterday

Wild Giraffes - Ensemble and Majorettes 7'' (1978)

Request fulfilled to the individual who asked for this, and while I'm not in possession of the original artifact, another blogger made this available several years ago.  I featured one of the Wild Giraffes later releases, their 1981 platter Right Now.  Regarding this 45, "Love Me" is a delightful way to spend 150 seconds (or so).  Quintessential DIY power pop from it's halcyon era, brimming with harmonies, a ringing guitar fill, and warm reverb that charms like no ones business.  The Giraffes approach the flipside, "When I Find Out" with a grittier, serrated edge not dissimilar to the garagey tendencies of The Troggs.

A. Love Me
B. When I Find Out

Thursday, February 16, 2017

Lovers Under Pressure - Island tape (199?)

Not long after I made Minneapolis' Love Under Pressure's first album (The Elvis Years) available for public consumption I was contacted by an alum of the trio who informed me there were a couple of subsequent releases I might be interested in hearing.   The cassette ep I'm sharing today was one of them, generously provided by said alum (who for now shall remain nameless).  Perhaps with the exception of the gutsy "Promises," Island finds LUP gravitating to a milder tact.  Music-heads of left-of-the-dial staples like Agitpop, Dumptruck and the Pedaljets will find something to relish here, but I'm going to go out on a limb and say these Mpls lads could have roped in listeners of say, Crowded House as well, provided the right exposure of course.

01. Your Life Story
02. Island
03. Dear Johnny
04. To Olive From Catherine
05. No One's Watched Before
06. Promises

Tuesday, February 14, 2017

Majesty Crush - P.S. I Love You (1996, Vulva)

Here's an approporiate album title for Valentine's Day if there ever was one.  Sadly, word went out two weeks ago that Majesty Crush frontman David Stroughter passed away, without much of a causation of death provided.  Never knew him personally, but I was gonzo for Majesty's one and only full length, '93s Love 15, a nuanced Yankee response to heady, Brit shoegazer/dream pop.  I've been sharing two independently released M/C eps, Fan and Sans Muscles for virtually the entirety of this blog's lifespan, but news of David's passing had me scurrying to Discogs to see if there had been anything I missed within the realm of his bygone band.  As it turns out there was a missing piece of the puzzle after all, the record I'm sharing today.   

P.S. I Love You, was released in 1996 in a startlingly low quantity of 200 vinyl copies, predominantly distributed in Majesty's stomping grounds of Detroit, MI.  Someone had recently uploaded some vintage M/C clips on YouTube, and in the comments for one of them I put the call out for a digital version of this exceedingly scarce and long sold-out piece of wax.  Within a matter of days someone came through, with a nice clean rip of the album, all seven songs, that were exclusive to the disk at the time of it's release.  Love 15 had major label backing, but by 1995 the band retreated to their own Vulva Records.  Sonically, P.S... is considerably rawer, albeit not as clingy to the ethereal ethos of Love 15.  Oddly enough, the opening "Unless I See You Again" opens with the stanza "the sun's going down on my life," a line that would become soberingly prophetic in a couple of decades.  Writ large, the record isn't a downer, just deliciously bittersweet with noisome, effects-laden guitars that will ring delightfully in the ears of any distorto-pop aficionado.

Stroughter eventually relocated to Los Angeles, and minted a new indie pop posse, P.S. I Love You, obviously named after Majesty's elusive parting shot.  A heartfelt remembrance of Stroughter can be found here.  Special thanks to whomever took the time to digitize this record, and for the images.

01. Unless i See You Again
02. Gemini
03. Monkey
04. Kowalski
05. Everybody's Bored
06. Since the Prom
07. Teen Beatles

Sunday, February 12, 2017

Shovels in my hand from digging for your pain.

A skewed alt-pop pearl from 1993.