tag:blogger.com,1999:blog-79442638382357813842024-03-19T05:44:10.068-07:00Naustin's 90'sGreat albums from the 90's and early 2000's that you need to hear ASAP (banner photo by Jasmine Jones)--------------------------------------------------------------------------------------------------
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"This site uses cookies from Google to deliver its services and analyze traffic. Your IP address and user-agent are shared with Google along with performance and security metrics to ensure quality of service, generate usage statistics, and to detect and address abuse."Naustinhttp://www.blogger.com/profile/08756557580114216238noreply@blogger.comBlogger31125tag:blogger.com,1999:blog-7944263838235781384.post-60660114184581091272020-06-07T18:02:00.000-07:002020-06-08T12:28:57.771-07:00Fuzzbubble-INTERVIEW WITH JIM BACCHI AND JASON CAMIOLO<br />
<b><span style="font-size: large;">“Make
sure that hook is big enough to catch a whale”- Jim Bacchi</span></b><br />
<br />
<br />
<table cellpadding="0" cellspacing="0" class="tr-caption-container" style="float: left; margin-right: 1em; text-align: left;"><tbody>
<tr><td style="text-align: center;"><a href="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEiSbO-hlnC-_w71JGaJT-7uqgoBiqZhFPDHAA5nZoLVfynwsleDslUVs9BuUmdeUJ3vAY9RuRP6A5hDcfEXAlaDrgITYCLOE9cnxuT39KQbwymq71F45_vwwhwHy1-D9n3yugC4hBAfe58S/s1600/A-59771-1189530587.jpeg.jpg" imageanchor="1" style="clear: left; margin-bottom: 1em; margin-left: auto; margin-right: auto;"><img border="0" data-original-height="530" data-original-width="600" height="282" src="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEiSbO-hlnC-_w71JGaJT-7uqgoBiqZhFPDHAA5nZoLVfynwsleDslUVs9BuUmdeUJ3vAY9RuRP6A5hDcfEXAlaDrgITYCLOE9cnxuT39KQbwymq71F45_vwwhwHy1-D9n3yugC4hBAfe58S/s320/A-59771-1189530587.jpeg.jpg" width="320" /></a></td></tr>
<tr><td class="tr-caption" style="text-align: center;">Fuzzbubble in motion (Photo by Larry Busacca)</td></tr>
</tbody></table>
<span style="mso-fareast-font-family: "Times New Roman";">Had
Fuzzbubble actually sent their massive armada of pop hooks adrift at sea,
whales and other cetaceans would have been driven to global extinction as early as the mid 90’s. Simply put, they are
one of the most explosive and melodically gifted power pop bands of all time. Their self
titled debut album immediately imprinted on me as a (I’m going to say 11 or 12
year old) kid with a taste for his dad’s Beatles, Kinks and Who records. The album has continued to grow on me ever since—as has their "Demos, Outtakes
& Rarities" album (which honestly plays more like a fully realized LP than a
collection of castoffs). Recently, Fuzzbubble members Jim Bacchi, Jason
Camiolo, and Mark DiCarlo have embarked on a new project: “Cult Stars From Mars”
(named after an early Fuzzbubble track). </span><span style="background-color: white;">They have a fantastic ongoing podcast
(<a href="https://podcasts.apple.com/us/podcast/podcast-from-mars/id1514042369?i=1000475025627&fbclid=IwAR12ZD4zNMdLdIHAHhZC-yMvu9niFm9hBcdRu4Cw92hHgPHtJeg4j7gAeDo"><span style="color: red;"><b>LINKED HERE</b></span></a>) and will be releasing brand new tracks (keep an eye on their
Facebook page for updates: <a href="https://www.facebook.com/fuzzbubble"><span style="color: red;"><b>https://www.facebook.com/fuzzbubble</b></span></a>).</span><br />
<br />
<span style="mso-fareast-font-family: "Times New Roman";"> </span><span style="mso-fareast-font-family: "Times New Roman";">I am
absolutely thrilled that Fuzzbubble (and now Cult Stars From Mars) members Jim
Bacchi and Jason Camiolo have agreed to answer a few questions for me. </span><br />
<span style="mso-fareast-font-family: "Times New Roman";"><br /></span>
<span style="mso-fareast-font-family: "Times New Roman";"><br /></span>
<span style="background: #0084ff; font-family: "inherit" , serif;"></span><br />
<br />
<br />
<br />
<u></u><u></u><span style="background-color: black;"></span><u></u><span style="background-color: white;"></span><u></u><span style="color: #0b5394;"></span><u></u><u></u><u></u><u></u><a href="https://www.youtube.com/watch?v=vgyQ40mrDvY"><b>Don't Let It Get You Down (Youtube Audio)</b></a><br />
<b></b><br />
<b><u><span style="color: red; mso-fareast-font-family: "Times New Roman";">N:</span></u></b><b><span style="color: red; mso-fareast-font-family: "Times New Roman";"> “Don’t Let It Get You Down” is one of those rare perfect pop songs—
one of those songs that sounds like it has existed since the beginning of time. Do you guys remember the evolution of the song’s chorus— that killer melody and
harmony? Did it emerge as a pretty fully-formed piece of music, or did it go
through various iterations before what we hear on the album?</span></b><span style="mso-fareast-font-family: "Times New Roman";"> </span><br />
<br />
<b><u><span style="mso-fareast-font-family: "Times New Roman";">Jim:</span></u></b><span style="mso-fareast-font-family: "Times New Roman";"> Thank you for that
compliment. It’s one of my most prized songs.</span><br />
<br />
<span style="mso-fareast-font-family: "Times New Roman";"> </span><span style="mso-fareast-font-family: "Times New Roman";">I
remember exactly how that song happened. Probably 1996…I was in my apartment in
Hollywood, getting my day started. I was listening to a Seattle band called
FLOP (the “Fall of the Mopsqueezer” album)…the song that was playing was called
“Big Sky”, which unbeknownst to me was actually a KINKS cover…now, you’d think
I’d know that being a power pop fan, but I’ve never been that big of a fan of The
Kinks (I know right? Powerpop 101 right there, but I just never really
connected with them).</span><br />
<br />
<span style="mso-fareast-font-family: "Times New Roman";"> </span><span style="mso-fareast-font-family: "Times New Roman";">Anyway,
the last line of the song is: “don’t let it get you down.” It was a really nice
melodic phrase, but it was that lyric that caught me. So, I immediately shut
the CD off and picked up my cheap 1960’s Kawaii Jaguar copy, and the song
literally just came gushing out. Literally written in like 30 minutes--maybe
except for some lyrics-- which may have taken more time, but not much.</span><br />
<br />
<span style="mso-fareast-font-family: "Times New Roman";"> </span><span style="mso-fareast-font-family: "Times New Roman";">Somewhere
in the middle of that 30 minute burst of creativity, Brett (our bass player)
called me. The band had moved out to Hollywood to put Fuzzbubble together
at the beginning of that year…anyway, he just called to see what was up, and I
was like “I just wrote this amazing song,” and I think I may have played it for
him. Anyway, we got together, rehearsed it up, and recorded it not too long
after that.</span><br />
<br />
<span style="mso-fareast-font-family: "Times New Roman";"> </span><span style="mso-fareast-font-family: "Times New Roman";">I
still remember the whole thing, because it happened so fast. Sometimes the best
songs just happen like that.</span><br />
<br />
<span style="mso-fareast-font-family: "Times New Roman";"> </span><b><u><span style="mso-fareast-font-family: "Times New Roman";">Jason:</span></u></b><span style="mso-fareast-font-family: "Times New Roman";"> I remember recording the
demo of that song on Mother’s Day of 1996 in LA - (I think the studio was "The
Sandbox") and phoning back to NY to wish my mom a Happy Mother’s Day… Jimmy
showed it to us and we loved it right away. Obviously Beatle-esque, but I
recall talking about The Raspberries influence, and for me--drumming-wise
anyway-- there’s a lot of Bun E. Carlos (Cheap Trick) --or at least my attempt
at him-- in there. As with most Fuzzbubble songs’ drums - lots of Ringo, and lots of Bun E. influence. </span><br />
<br />
<span style="mso-fareast-font-family: "Times New Roman";"> </span><b><u><span style="color: red; mso-fareast-font-family: "Times New Roman";"><br /></span></u></b><br />
<b><span style="color: red; mso-fareast-font-family: "Times New Roman";"><a href="https://www.youtube.com/watch?v=y9DTtPxhbMU">Bliss (Youtube Audio)</a></span></b><br />
<b><u><span style="color: red; mso-fareast-font-family: "Times New Roman";"><br /></span></u></b>
<b><u><span style="color: red; mso-fareast-font-family: "Times New Roman";">N:</span></u></b><b><span style="color: red; mso-fareast-font-family: "Times New Roman";"> You guys talked (in the podcast) about your harder rock influences.
I always felt like there was more to that edge than just the remnants of
grunge--it was just too sincere. Of course you come right out of the gate with
"Bliss"-one of the hardest hitting/ most defiant power pop songs ever
written. Do you remember what gave you that unapologetic "band versus the
world" vitriol? Where did that blood and vinegar----that rocket
fuel---come from? </span></b><b><span style="mso-fareast-font-family: "Times New Roman";"></span></b><br />
<br />
<b><u><span style="mso-fareast-font-family: "Times New Roman";">Jason</span></u></b><span style="mso-fareast-font-family: "Times New Roman";">: I will let Jim answer as he
is the main writer and ‘visionary’ of the band… but as an aside, we are also
legitimate and ardent hard-rock and heavy metal fans, and all four of us played
in much ‘harder & heavier’ bands prior to Fuzzbubble.</span><br />
<br />
<b><u><span style="mso-fareast-font-family: "Times New Roman";">Jim:
</span></u></b><span style="mso-fareast-font-family: "Times New Roman";">The song
is actually not "band vs world"-- it's "Jim vs world". It's
a song of introspection-- a very personal song about not fitting in, and always
feeling like (as the great Neil Peart once described in the song
"Subdivisions") "the dreamer and the misfit so alone". It's
about always feeling wrong about who you are, and finally saying "fuck,
everyone is crazy…but I'm alright".</span><br />
<br />
<span style="mso-fareast-font-family: "Times New Roman";">It was
definitely musically influenced by the Foo Fighters’ song “I’ll Stick Around”.
I was listening to that first album a lot at the time I wrote “Bliss”. I liked
the melodic, yet aggressive feel.</span><br />
<br />
<span style="mso-fareast-font-family: "Times New Roman";"> </span><b><u><span style="mso-fareast-font-family: "Times New Roman";">Jason:</span></u></b><span style="mso-fareast-font-family: "Times New Roman";"> I also love Dave Grohl-- especially
his drumming-- and it’s no surprise he’s a fan of The Beatles and Cheap Trick.
In a weird 'twist' we would eventually have a single (“Out There”) on the
soundtrack to Godzilla, along with the Foo Fighters (“A320”). Dave Grohl also
played drums on the studio recording of “All About the Benjamins - Rock Remix”,
which we played live a few times (including with Slash at NetAid in ‘98).</span><br />
<br />
<br />
<br />
<b><span style="color: red; mso-fareast-font-family: "Times New Roman";"><a href="https://www.youtube.com/watch?v=ysi0gNjlMY0">Rockstar Parking (Youtube Audio)</a></span></b><br />
<b><u><span style="color: red; mso-fareast-font-family: "Times New Roman";"><br /></span></u></b>
<b><u><span style="color: red; mso-fareast-font-family: "Times New Roman";">N:</span></u></b><b><span style="color: red; mso-fareast-font-family: "Times New Roman";"> If a young band came to you guys with a demo/ some song ideas, and
said they needed it to "sound like Fuzzbubble", what kinds of
pointers would you offer? Anything in terms of composition, attitude, or
recording (I know you have a lot of studio experience Jim)? </span></b><br />
<br />
<b><u><span style="mso-fareast-font-family: "Times New Roman";">Jim</span></u></b><span style="mso-fareast-font-family: "Times New Roman";">: Well, sonically speaking, a
few things.</span><br />
<br />
<span style="mso-fareast-font-family: "Times New Roman";"> </span><span style="mso-fareast-font-family: "Times New Roman";">A
big part of the Fuzzbubble sound is that the bass guitar is dirty, and the
guitars are on the cleaner, less distorted side. Not “jangly clean” like The
Byrds, but kind of cranked up and clanging…or as Chip Z’nuff told us: “Beatles
with Balls”. That about sums it up.</span><br />
<br />
<span style="mso-fareast-font-family: "Times New Roman";"> </span><span style="mso-fareast-font-family: "Times New Roman";">Drums?
Ringo and Bun E Carlos. I’ll let Jay answer this one, but for me: a nice,
ringing, open sounding drum kit, and a swingy feel to the beats.</span><br />
<br />
<span style="mso-fareast-font-family: "Times New Roman";"> </span><span style="mso-fareast-font-family: "Times New Roman";">Vocals?
Harmonies…but not just harmonizing along with the lead vocals-- <i>actual
question and answer harmony parts</i>…like the Beatles do. Counter-melodies to
the lead vocal. Also, just singing a straight 3 part harmony is cool, but a
nice tension harmony always makes things way more interesting.</span><br />
<br />
<span style="mso-fareast-font-family: "Times New Roman";"> </span><span style="mso-fareast-font-family: "Times New Roman";">In
terms of composition: Make sure that hook is big enough to catch a whale. That
chorus needs to be melodic and catchy. You want to hear that song once and
remember the hook. Hard to do, but it’s what I always aim for. Make sure you
create a nice tension building up to the chorus, and with 2 guitars it’s always
nice to have the guitars doing different things at times, as well as playing
the same part for impact as well-- switch back and forth. It gives the song
more dimension, then more impact when they double the same part.</span><br />
<br />
<span style="mso-fareast-font-family: "Times New Roman";"> </span><span style="mso-fareast-font-family: "Times New Roman";">Recording…well,
most of the Fuzzbubble material was recorded on 2” tape…no, copy/paste option…you
just did it, and tried to punch in any mistakes. Now things are way different--
it’s a lot easier to fix things. While I do record the modern way now, I AM
glad that I learned to engineer and record the old fashioned way. The real fun
is recording the new way, and getting it to sound like the old way. It’s what
everyone wants, and that’s why there are so many vintage style plug ins...and I
own most of them, LOL.</span><br />
<span style="mso-fareast-font-family: "Times New Roman";"><br /></span>
<b><u><span style="mso-fareast-font-family: "Times New Roman";">Jason:</span></u></b><span style="mso-fareast-font-family: "Times New Roman";"> Funny, because I wasn’t
reading ahead here, and when I got to Jim’s comments about the drums I laughed!
</span><br />
<br />
<span style="mso-fareast-font-family: "Times New Roman";"> </span><span style="mso-fareast-font-family: "Times New Roman";">Yes,
exactly!<span style="mso-spacerun: yes;"> </span>Ringo Starr & Bun E.
Carlos definitely make up the bulk of my influence as far as ‘Fuzzbubble -
Drums’ are concerned. I would add Clem Burke (Blondie) and Andy Sturmer
(Jellyfish) as well. I do love Roger Taylor of Queen too - and MANY more! </span><br />
<br />
<span style="mso-fareast-font-family: "Times New Roman";"> </span><span style="mso-fareast-font-family: "Times New Roman";">But,
the overarching idea here as ‘advice for the drummer’ from me would be this:
“You’re not here to play the drums… you’re here to play drums <i>in these songs</i>.”
Meaning: As much as I am also a fan of prog rock and metal and many other very "technical" drummers (Neil Peart, Terry Bozzio, Danny Carey…), that’s not the
‘vibe’ for a Fuzzbubble or power-pop band (in my opinion). </span><br />
<br />
<span style="mso-fareast-font-family: "Times New Roman";"> </span><span style="mso-fareast-font-family: "Times New Roman";">The
drums/ drummer are a 'support role’ –to ‘groove’ or ’swing’ or ‘drive’ the
SONG. This is pretty much my mantra for the new project (Cult Stars From Mars).
Although I’m only, or always, playing drums… I make some appearances on
keyboards and bass as well in the new project. So far... ; )<span style="mso-spacerun: yes;"> </span></span><br />
<span style="mso-fareast-font-family: "Times New Roman";"><span style="mso-spacerun: yes;"><br /></span></span>
<span style="mso-fareast-font-family: "Times New Roman";"><span style="color: red; mso-spacerun: yes;"><b>I was interested to learn that Jason has two sons who are roughly the same age I was when I discovered Fuzzbubble. So, do they think their dad's music is pretty cool?</b></span></span><br />
<span style="mso-fareast-font-family: "Times New Roman";"><span style="mso-spacerun: yes;"><b></b><br /></span></span>
<span style="mso-fareast-font-family: "Times New Roman";"><span style="mso-spacerun: yes;"><b><u>Maxwell (12)</u></b>: Yeah.</span></span><br />
<span style="mso-fareast-font-family: "Times New Roman";"><span style="mso-spacerun: yes;"><br /></span></span>
<span style="mso-fareast-font-family: "Times New Roman";"><span style="mso-spacerun: yes;"><b><u>Ian (11)</u></b>: Kind of. No offense but I was born in a different time period.</span></span><br />
<span style="mso-fareast-font-family: "Times New Roman";"><span style="mso-spacerun: yes;"><br /></span></span>
<span style="mso-fareast-font-family: "Times New Roman";"><span style="color: red; mso-spacerun: yes;"><b>So there you have it! Again, if you haven't added the podcast to your bookmarks, here it is:</b> </span></span><span style="mso-fareast-font-family: "Times New Roman";"><span style="color: red; font-size: large; mso-spacerun: yes;"><a href="https://podcasts.apple.com/us/podcast/podcast-from-mars/id1514042369?i=1000475025627&fbclid=IwAR12ZD4zNMdLdIHAHhZC-yMvu9niFm9hBcdRu4Cw92hHgPHtJeg4j7gAeDo">Podcast From Mars</a></span></span><br />
<span style="color: red;"></span><span style="font-size: large;"></span><br />
<span style="color: red;"><b>Exciting things in the works...</b></span>Naustinhttp://www.blogger.com/profile/08756557580114216238noreply@blogger.com0tag:blogger.com,1999:blog-7944263838235781384.post-72256984425346992432020-05-19T16:58:00.000-07:002020-06-08T10:08:03.548-07:00Sugarpop- Give Up Your Sister (1997)<div style="clear: left; float: left; margin-bottom: 1em; margin-right: 1em;">
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<img border="0" data-original-height="1554" data-original-width="1600" height="310" src="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEhDFx9M3t4uaEhpqWqMc8j637qbOVfJyHBkBCaVxrQ3oNYLIPZZmjvCW-B4en9V1pY2FnzwOfyXmFfoBL0Xyu5a5rdd1n2lIxHSxXzt1wx1cNY77AXHVTWPACZ6nSTUq0ydY9FkCxduW0dJ/s320/Sugarpop.jpg" width="320" /></div>
<div>
J-Bird Records was an early online music hub. As Roger Catlin wrote in a 1996 Hartford Courant article: </div>
"J-Bird Records, which operates out of Wilton, is likely the first wholly inclusive label -- signing bands, designing products, manufacturing CDs and marketing them in a virtual store whose number of titles, like the Web itself, will be unlimited."<br />
<div>
It was an era in which people were excited by the "web's" unlimited potential rather than terrified of it. How quaint!</div>
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<br /></div>
<div>
Arguably the finest release in the J-Bird catalogue is Sugarpop's "Give Up Your Sister". A tip for 90's/ early 2000's music conoisseurs: if a band's name is a combination of "sugar" and another word, it is probably pretty good. Sugarpop, Sugarbomb, Sugarcult, Sugarspoon, Sugartooth...all really good bands! I am even quite partial to Sugar Ray (c. "Every Morning"). Oh, and wasn't the inimitable Icelandic vocalist Bjork originally in a band called the Sugarcubes? I think it's a pretty solid rule. </div>
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<div>
Allmusic appears to stick the "power pop" label on this album, but I don't completely agree. Yes, it is melodic, but it doesn't quite fit the mould. More accurate are reviewer Andy Hinds' Nirvana comparisons (<a href="https://www.allmusic.com/album/give-up-your-sister-mw0000597796">https://www.allmusic.com/album/give-up-your-sister</a>). The similarities are especially apparent on tracks like "Cigarette", where the vocal delivery bears an uncanny resemblance to Kurt Cobain. Forunately (and unlike so many others), Sugarpop understand what made Cobain such a great vocalist and songwriter, so the similarities are welcome. "Dashboard Hula Girl" seems to recall Beck with its spare arrangement, wiry slide guitar, and danceable drum beat. In fact, the entire album seems permeated by the kind of off-kilter pop sensibilities Beck pioneered on 1994's "Mellow Gold". </div>
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The album's high point comes at track 6: "Downtown". Their many influences coalesce into something unique and arresting--a magnetic 2-or-so minute pop song you'll be singing all day!</div>
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Unfortunately, media samples are scarce, and the album doesn't appear to be on Spotify or iTunes. Use the Allmusic review page as your source for audio clips if you want to know if this album is for you, and then seek out used copies on CD. </div>
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<b></b><i></i><u></u><sub></sub><sup></sup><strike></strike><span style="font-family: inherit;"></span><span style="color: black;"></span><br />Naustinhttp://www.blogger.com/profile/08756557580114216238noreply@blogger.com0tag:blogger.com,1999:blog-7944263838235781384.post-73272276156382430282020-05-13T00:37:00.000-07:002020-06-07T19:40:55.094-07:00Some Of My Favourite 90's/ Early 2000's PowerpopIn no particular order, and with many omissions (I have enough left for a few more lists)...<br />
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<b><u>Greta-This Is Greta! (1995)</u></b><br />
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<a href="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEjAVrIu9_3MvJhr69AefHtuwQrjFtYl6lKdNSxnGgRFx6nNNG5wZspyEXj5EvuOqXBTrF9mqXohSKYeWcw45S5mpaafOwbfDWRmUXMslcmMuycV1RT41z2JckKBBtpqavsx9ykooKIr7xPu/s1600/R-4157536-1383801045-9584.jpeg%255B1%255D.jpg" imageanchor="1" style="clear: left; float: left; margin-bottom: 1em; margin-right: 1em;"><img border="0" data-original-height="465" data-original-width="470" height="316" src="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEjAVrIu9_3MvJhr69AefHtuwQrjFtYl6lKdNSxnGgRFx6nNNG5wZspyEXj5EvuOqXBTrF9mqXohSKYeWcw45S5mpaafOwbfDWRmUXMslcmMuycV1RT41z2JckKBBtpqavsx9ykooKIr7xPu/s320/R-4157536-1383801045-9584.jpeg%255B1%255D.jpg" width="320" /></a></div>
My previous post covers Greta in depth (an interview with Josh Gordon). I won't re-write that post here...but obviously this album deserves a spot on this list.<br />
<br />
<a href="https://www.youtube.com/watch?v=6pRAi6GpGdM">Some People (Youtube Audio)</a><br />
<br />
<a href="https://www.youtube.com/watch?v=aDP6SRjhtaQ">About You (Youtube Music Video)</a><br />
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<b><u>The Nines-Wonderworld of Colourful (1998) </u></b><br />
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<a href="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEj24D1oVc9XGivPDNtcyj1RMgpxZjcjpqMhKYbeUPd-I1JylGDwr4z39LCjEc6z6fAErkVRhnYmq2AxqRSKd9CzeoqHMGJcgtPe7I2KSyt-3dOYH7tSniGnNrZdXUH1X7jX-LJRUS1R5WJA/s1600/R-6627850-1423404934-6675.jpeg%255B1%255D.jpg" imageanchor="1" style="clear: left; float: left; margin-bottom: 1em; margin-right: 1em;"><img border="0" data-original-height="600" data-original-width="600" height="320" src="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEj24D1oVc9XGivPDNtcyj1RMgpxZjcjpqMhKYbeUPd-I1JylGDwr4z39LCjEc6z6fAErkVRhnYmq2AxqRSKd9CzeoqHMGJcgtPe7I2KSyt-3dOYH7tSniGnNrZdXUH1X7jX-LJRUS1R5WJA/s320/R-6627850-1423404934-6675.jpeg%255B1%255D.jpg" width="320" /></a></div>
A prolific and extremely talented group. It was difficult to pick just one album. The single "Melanie" alone nearly made me choose 2001's "Properties of Sound", but I think "Wonderworld..." is their brightest moment, and demonstrates their full range. There's nothing they can't do---from the chugging, shadowy "Bobby's Alibi" to the heavenly Pet Sounds-esque "Ghost Town Sunday", to the fuzzed out pseudo-grunge of "Jules Maxi" it is all perfectly executed.<br />
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<a href="https://www.youtube.com/watch?v=bfS9Yf0fE08">Ghost Town Sunday (Youtube Audio)</a><br />
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<a href="https://www.youtube.com/watch?v=GO5TQpQwCq4&list=OLAK5uy_mdsqenAhmT6oJpcni5tmX9HjHQy_7p5wg">Bobby's Alibi (Youtube Audio)</a><br />
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<b><u>Jellyfish- Spilt Milk (1993)</u></b><br />
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<a href="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEjqmsVYUwKq2VoTpp03-ZMgWTGaPj8-7UEkJUbUh7xP2xMWPHu3Ssh4wUJjBIFpf_nK20rhwQ1bpxF48bQr821-EiGeakFUgZk7CQrbJQLJ1hh1JgNXteothedFIkdVHJiz9Tu8BBTfhlE8/s1600/R-2319703-1474356062-6326.jpeg%255B1%255D.jpg" imageanchor="1" style="clear: left; float: left; margin-bottom: 1em; margin-right: 1em;"><img border="0" data-original-height="600" data-original-width="600" height="320" src="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEjqmsVYUwKq2VoTpp03-ZMgWTGaPj8-7UEkJUbUh7xP2xMWPHu3Ssh4wUJjBIFpf_nK20rhwQ1bpxF48bQr821-EiGeakFUgZk7CQrbJQLJ1hh1JgNXteothedFIkdVHJiz9Tu8BBTfhlE8/s320/R-2319703-1474356062-6326.jpeg%255B1%255D.jpg" width="320" /></a></div>
In my opinion, this album is EASILY one of the top 10 best of the 90's (any genre). The ambition and scope are massive, and the musicianship is godlike. Andy Sturmer's lead vocals often recall the heroics of late Queen frontman Freddy Mercury (!), and the harmonies call up visions of Sgt. Pepper era Beatles, or The Beach Boys circa "Pet Sounds"(!) (just listen to the too-perfect opener "Hush" if you don't believe me). If that's not enough of an endorsement, I don't know what is. AllMusic's Mark Deming gave the album 4.5/5 stars...but I assure you, he merely lost that .5 in the pocket of another jacket. It's a 5/5, hands down. <br />
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<a href="https://www.youtube.com/watch?v=JojV8kNfWK8">Joining A Fan Club (Youtube Audio)</a><br />
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<b><u>Imperial Drag (1996) </u></b><br />
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<a href="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEjv2lKCxdM0-lKBfg_k7lB-on3Wo1xXC4lp-0b9cIUjxlncI3py9S0P0YBKYDmCwMV0CTH6Pxy4Br6xq88CQSKw5P5XMmXe6vYbj_cJFVxZYY7YX9_z21UTyXbZvtRcSElBvROljD9CK-Nl/s1600/R-2114286-1355527614-7380.jpeg%255B2%255D.jpg" imageanchor="1" style="clear: left; float: left; margin-bottom: 1em; margin-right: 1em;"><img border="0" data-original-height="600" data-original-width="600" height="320" src="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEjv2lKCxdM0-lKBfg_k7lB-on3Wo1xXC4lp-0b9cIUjxlncI3py9S0P0YBKYDmCwMV0CTH6Pxy4Br6xq88CQSKw5P5XMmXe6vYbj_cJFVxZYY7YX9_z21UTyXbZvtRcSElBvROljD9CK-Nl/s320/R-2114286-1355527614-7380.jpeg%255B2%255D.jpg" width="320" /></a></div>
Roger Joseph Manning Jr.'s post-Jellyfish project. More straight-ahead than Jellyfish, but still absolutely massive. I hear a 70's glam influence here--perhaps a bit of Marc Bolan/ T-Rex in the track I have linked below? <br />
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<a href="https://www.youtube.com/watch?v=0Kuk9hnp234">Boy Or A Girl (Youtube Music Video)</a><br />
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<b><u>Splitsville- Presents...The Complete Pet Soul (2001) </u></b><br />
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<a href="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEi8czBXxrfYWGRtX31k3e06BA9Dq5PRPNn_pTxsvv3sIvxVDOFDCnUQPs3FHMTAgZjg27-2zKzSmLh1pyXxbQx-t4DwJacbY-bW9rhQCmKFbfUMiiFS81upO1X6kdVnXnvA8dbso9R2lhpC/s1600/R-2543639-1289681107.jpeg%255B1%255D.jpg" imageanchor="1" style="clear: left; float: left; margin-bottom: 1em; margin-right: 1em;"><img border="0" data-original-height="300" data-original-width="300" src="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEi8czBXxrfYWGRtX31k3e06BA9Dq5PRPNn_pTxsvv3sIvxVDOFDCnUQPs3FHMTAgZjg27-2zKzSmLh1pyXxbQx-t4DwJacbY-bW9rhQCmKFbfUMiiFS81upO1X6kdVnXnvA8dbso9R2lhpC/s1600/R-2543639-1289681107.jpeg%255B1%255D.jpg" /></a></div>
Yes, your eyes aren't mistaken; the title is a combination of "Pet Sounds" and "Rubber Soul". Not since the makers of "Life" cereal has someone been so audacious in the naming of a product. Despite this act of hubris (and I mean this in the Classical Greek sense: defiance of the gods-- usually sealing one's fate), Splitsville were able to back up the title with the goods. While the album's namesakes may never be truly surpassed in terms of both quality and mythology, this is a worthy shelf companion. Splitsville have always been able to flex their vocal harmony skills. On this album they went all in--turning the distortion down a bit on their amps, slowing things down just a touch, and indulging their intimate familiarity with 60's sunshine-pop. Luckily this doesn't come across as a novelty record--the writing is simply too strong, and the earnestness seeps out of every groove (if ever a CD had grooves, it would be this one). Why not wear your heart on your sleeve? Why not indulge? Good on you Splitsville!<br />
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<a href="https://www.youtube.com/watch?v=_6TOIoIE_gU&list=PLfPUBqcCBovyN3jRCDFxYW40AdO3NY8xv&index=6">Sunshiny Daydream (Youtube Audio)</a><br />
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<b><u>The Shazam-Godspeed The Shazam (1999) </u></b><br />
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<a href="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEj4aZ_RC0Hf7tMv8geqOsrdio283gfyAAuhijZYZgQF4tRQ9giox_JUMCQ7NYF0poTHzsc5dlHwEqUuELVmt62XtV5pkQWZ0on1SlVJFcBPWNvamAHhMAChBqaWZYPDRP2enuNs-dvpcXoJ/s1600/R-4835468-1376999426-9890.jpeg%255B1%255D.jpg" imageanchor="1" style="clear: left; float: left; margin-bottom: 1em; margin-right: 1em;"><img border="0" data-original-height="592" data-original-width="600" height="315" src="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEj4aZ_RC0Hf7tMv8geqOsrdio283gfyAAuhijZYZgQF4tRQ9giox_JUMCQ7NYF0poTHzsc5dlHwEqUuELVmt62XtV5pkQWZ0on1SlVJFcBPWNvamAHhMAChBqaWZYPDRP2enuNs-dvpcXoJ/s320/R-4835468-1376999426-9890.jpeg%255B1%255D.jpg" width="320" /></a></div>
Nashville's "The Shazam" released this gem on the now defunct "Not Lame Recordings" label. If you're searching for good powerpop artists, the "Not Lame..." roster is a good place to start. If you're not afraid of falling in love, check out the song "Chipper Cherry Daylily".<br />
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<a href="https://www.youtube.com/watch?v=9RLjozr7mgw">Chipper Cherry Daylily (Youtube Audio)</a><br />
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<b><u>The Pillbugs (1998) </u></b><br />
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Seriously, who has the audacity to make their first release a double album!? These guys, that's who-- and the gambit pays off! Essential for fans of 60's psychedelia (think The Pretty Things circa "S.F. Sorrow" and early Pink Floyd). Available (along with the rest of their catalogue) for listening and purchase on Bandcamp. Spacy, cerebral pop ecstasy.<br />
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<a href="https://www.youtube.com/watch?v=Cq4xLhfa_Ac">Pretend You're Not Home (Youtube Audio)</a><br />
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<a href="https://thepillbugs.bandcamp.com/album/the-pillbugs">The Pillbugs on Bandcamp</a><br />
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<b><u>Brian Stevens-Prettier Than You (1996) </u></b><br />
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<a href="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEjq11CrPzdxqFhC1yF5dvl5bRpdM3RPzhRcTHrbsOLnotyS7yOrWVNrYP91-sGdTWS3NmUFTFxunezdmWem8JMjGdEqE3ewiK0hkJ0BzROJ76cTulBQPGZsGtfUzv2Sy2Dz3gN2-cJwKI8L/s1600/R-434339-1113835242.jpg%255B1%255D.jpg" imageanchor="1" style="clear: left; float: left; margin-bottom: 1em; margin-right: 1em;"><img border="0" data-original-height="303" data-original-width="300" src="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEjq11CrPzdxqFhC1yF5dvl5bRpdM3RPzhRcTHrbsOLnotyS7yOrWVNrYP91-sGdTWS3NmUFTFxunezdmWem8JMjGdEqE3ewiK0hkJ0BzROJ76cTulBQPGZsGtfUzv2Sy2Dz3gN2-cJwKI8L/s1600/R-434339-1113835242.jpg%255B1%255D.jpg" /></a></div>
Talented "Q Division" alumnus (check out that label's roster for some other great artists), and former member of Boston cult heroes The Cavedogs. Stevens even gets some help on guitar here from Clayton Scoble of Poundcake (reviewed in another post). Just as colourful and rich as the baroque cover art would lead you to believe.<br />
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<a href="https://www.youtube.com/watch?v=XU2_D1Wc8ec">The Piper (Youtube Audio)</a><br />
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<b><u>The Gravy-Hangman's Pop (1997) </u></b><br />
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Includes Todd Spahr, another former member of The Cavedogs. Not dissimilar to what Stevens was doing (which is good).<br />
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<a href="https://www.youtube.com/watch?v=sJciqfgQ128">Memory (Youtube Music Video)</a><br />
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<b><u>The Gravel Pit-The Gravel Pit Manifesto (1996) </u></b><br />
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<a href="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEiyLVffbaxFfw282UciCcJmDBg4gg8voi_Vf_OGC4F59-KR89w2ndTeU9Tik0kS6aWKhaf43u2-JjJTrzwmQb_MBOY7FlJDZHgaCFhns7pn7CVLAfP0AdKefmu2DGiUduBsGw2KAmOKHGI1/s1600/R-1027608-1189391710.jpeg%255B1%255D.jpg" imageanchor="1" style="clear: left; float: left; margin-bottom: 1em; margin-right: 1em;"><img border="0" data-original-height="605" data-original-width="600" height="320" src="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEiyLVffbaxFfw282UciCcJmDBg4gg8voi_Vf_OGC4F59-KR89w2ndTeU9Tik0kS6aWKhaf43u2-JjJTrzwmQb_MBOY7FlJDZHgaCFhns7pn7CVLAfP0AdKefmu2DGiUduBsGw2KAmOKHGI1/s320/R-1027608-1189391710.jpeg%255B1%255D.jpg" width="317" /></a></div>
The third straight "Q Division" release on this list. A bit heavier and more jagged than the previous two, but just as enjoyable and pop-savvy.<br />
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<a href="https://www.allmusic.com/album/the-gravel-pit-manifesto-mw0000647805">Allmusic Review & Song Clips</a><br />
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<b><u>Sloan-Navy Blues (1998) </u></b><br />
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Canada's perennial powerpop powerhouse, Sloan, are so consistent that there isn't a simile available to describe how consistent they are. Why? The word "Sloan" has been universally accepted as the go-to simile for something that is extremely consistent ("x is as consistent as Sloan")--saying "Sloan are as consistent as Sloan" is just self-evident. Since their debut album in 1993 they have taken care of business without interruption, and without falling below the incredibly high bar they have set. But, if I HAD TO pick a favourite album from their catalogue, I think I would go with this one. It is just too much fun! It also contains one of their signature tracks: the riffy and electrifying "Money City Maniacs". Other instantly loveable cuts include "She Says What She Means", "Chester The Molester", and "Iggy and Angus". Near-legendary status in Canada, but I'm not sure how well-known they are elsewhere. Essential listening.<br />
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<a href="https://www.youtube.com/watch?v=cZopJ6w85wc">Money City Maniacs (Youtube Audio)</a><br />
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<a href="https://www.youtube.com/watch?v=7rc2tC5aLyo">She Says What She Means (Youtube Music Video)</a><br />
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<a href="https://www.youtube.com/watch?v=pEr1d_CencY">Chester The Molester (Youtube Audio)</a><br />
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<b><u>The Killjoys- Gimme Five (1996) </u></b><br />
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The chiming, reverb-drenched opening notes of "Soaked" are a direct callback to "There She Goes" by The La's (that being one of the greatest singles on one of the greatest albums of all time)- so you know you're in for a good ride. This is crunchier than The La's though-- just listen to standout track "Like I Care". It was 1996 after all--- it would have been impossible not to be excited about the chunky riffery that was constantly in the air. "Space Girl" is a nice mid-album detour into more quiet territory though. Also, these guys are Canadian, proving that Sloan weren't merely a fluke--Canuck powerpop is a real thing.<br />
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<a href="https://www.youtube.com/watch?v=zyRJApMXbNc">Soaked (Youtube Audio)</a><br />
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<b><u>The La's (1990) </u></b><br />
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Like I said in the last blurb: one of the greatest albums ever made. While frontman Lee Mavers was apparently displeased with the production, I think the songs are just too strong to be sullied by any mixing issues (and I actually have no qualms with the production myself). I don't even know if this can fairly be called "powerpop"...it is transcendental and ineffable. I tend to put this on whatever "best of" list I can shoehorn it into.<br />
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<a href="https://www.youtube.com/watch?v=eu2iv-vMKT8">There She Goes (Youtube Audio)</a><br />
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<b><u>The Tories-Wonderful Life (1997) </u></b><br />
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The single "Gladys Kravitz" is impossible not to like. Excellent vocals too!<br />
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<a href="https://www.youtube.com/watch?v=KxcQfk4Vew4">Gladys Kravitz (Youtube Music Video)</a><br />
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<b><u>Fuzzbubble (2000) </u></b><br />
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Be careful, this one has attitude. If you like "power" in your powerpop, this one is for you. Opening track "Bliss" hits like a silverback gorilla, so make sure you're holding onto something and wearing some protective gear. A very formative album for me.<br />
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<a href="https://www.youtube.com/watch?v=vgyQ40mrDvY">Don't Let It Get You Down (Youtube Audio)</a><br />
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<a href="https://www.youtube.com/watch?v=y9DTtPxhbMU">Bliss (Youtube Audio)</a><br />
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<b><u>The Green and Yellow TV- Record X (2002)</u></b><br />
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The subject of an independent post from awhile back, but too good to be left off of this list! Another formative album for me.<br />
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<a href="https://www.youtube.com/watch?v=zDMSh_hlsOc&list=PL96pcPWGUT-xklgHcn6HcGcnxBXvW8kQr&index=15&t=0s">Ruined (Youtube Audio)</a><br />
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<a href="https://www.youtube.com/watch?v=jN34lWoopRY&list=PL96pcPWGUT-xklgHcn6HcGcnxBXvW8kQr&index=5">In With You (Youtube Audio)</a><br />
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<b><u>Vinyl Kings- A Little Trip (2002) </u></b><br />
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<a href="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEjhFW7AXJJLWJlrJQlHJzHFUqobc3zXdPvoJOMaZ0hmXLgvVkAwo3onP3mHwID4ONNwF8bo19BjY0Zf5mdWjUx8SFq6NXaMoQewx_lwQ0Amno0s3Hmla8y4_PKdXP1SXNWdSQzVcx_DGOCd/s1600/R-11556806-1518454888-8728.jpeg%255B1%255D.jpg" imageanchor="1" style="clear: left; float: left; margin-bottom: 1em; margin-right: 1em;"><img border="0" data-original-height="603" data-original-width="600" height="320" src="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEjhFW7AXJJLWJlrJQlHJzHFUqobc3zXdPvoJOMaZ0hmXLgvVkAwo3onP3mHwID4ONNwF8bo19BjY0Zf5mdWjUx8SFq6NXaMoQewx_lwQ0Amno0s3Hmla8y4_PKdXP1SXNWdSQzVcx_DGOCd/s320/R-11556806-1518454888-8728.jpeg%255B1%255D.jpg" width="318" /></a></div>
The Vinyl Kings are composed of a group of session-men with dazzling resumes. This is obviously an homage to The Beatles--but it is much too heartfelt and earnest to be dismissed as simply a tribute or a burlesque. No, this is a proper album and it deserves your time and attention.<br />
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<a href="https://www.youtube.com/watch?v=KndqYDxpNqU">A Little Trip (Youtube Audio)</a><br />
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<b><u>The Spongetones- Beat and Torn (1994) </u></b><br />
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I'm cheating a bit here on two counts:<br />
I) This is actually a compilation, not a proper "studio album"<br />
II) It consists of the group's 1980's material.<br />
After careful consideration by a panel of myself, I have granted this album exceptional status. It is a nice companion to the others on the list, and an excellent introduction to the band (who did in fact continue to release quality material throughout the 90's and into the early 2000's).<br />
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<a href="https://www.youtube.com/watch?v=WL_nw5Gjp2I">My Girl Maryanne (Youtube Audio)</a><br />
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<b><u>Supraluxe (2005) </u></b><br />
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"Sugar Chalet" is a hit in multiple fairer parallel universes.<br />
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<a href="https://www.youtube.com/watch?v=_FFJ2G5Q3vM">Sugar Chalet (Youtube Audio)</a><br />
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<b><u>Willie Wisely-Turbosherbet (1997) </u></b><br />
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Punchy, sexy, and infectious. Some may prefer 1996's excellent "She", but this one has had more rotation with me personally. Either way, you can't go wrong.<br />
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<a href="https://www.youtube.com/watch?v=QzDvj-6XE8g&list=PLQcevhAtcZiJ_T6DEPSY_LlqovfMokd9y">She Said Yeah (Youtube Audio)</a><br />
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<a href="https://www.youtube.com/watch?v=gM0H7w4KefU&list=PLQcevhAtcZiJ_T6DEPSY_LlqovfMokd9y&index=7">So Turned On (Youtube Audio)</a><br />
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<b><u>P. Hux-Deluxe (1995) </u></b><br />
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P. Hux is the pseudonym of powerpop luminary Parthenon Huxley (what a great name!) Huxley would later be involved in ELO Part II (a Jeff Lynne-less second iteration of the legendary 70's/80's giants)-- a fitting recognition of his considerable talent. Huxley lost his wife to cancer a few years after releasing this album-- making the already touching love songs found here all the more poignant in hindsight. <br />
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<a href="https://www.youtube.com/watch?v=7Lq6-BKbRbg">Playing Her Guitar (Youtube Audio)</a><br />
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<a href="https://www.youtube.com/watch?v=NhRCq3TAXNc">So Good (Youtube Audio)</a><br />
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<b><u>That Dog- Retreat From the Sun (1997) </u></b><br />
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The group's most solid release in my opinion; absolutely bursting at the seams with confidence. "Never Say Never" hits it out of orbit with its new-wave inflected cool and "Gagged and Tied" seals the deal.<br />
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<a href="https://www.youtube.com/watch?v=ubujniiNgS8">Never Say Never (Youtube Music Video)</a><br />
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<a href="https://www.youtube.com/watch?v=5BotdKNQct4">Gagged and Tied (Youtube Audio)</a><br />
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<b><u>Chaselounge- Black Plastic Ordinary (2005) </u></b><br />
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Distinctly early 2000's sound (would have slotted in nicely alongside pop punkers like Fall Out Boy) but with echoes of the ghost of rock past (do I hear some of Elvis Costello's vocal acrobatics on "My Rotary Phone"?)<br />
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<a href="https://www.youtube.com/watch?v=bl_YC_xVbDI">My Rotary Phone (Youtube Audio)</a><br />
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<b><u>The Irresponsibles- When Pigs Fly (1999) </u></b><br />
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Protegees of the legendary Adrian Belew, with a decidedly poppier sound than their mentor. Many great tracks here (will probably warrant a longer entry in the future). Maybe a bit of an XTC edge?<br />
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<a href="https://www.youtube.com/watch?v=Ybxzr4a1HHA">A Girl To Looze (Youtube Audio)</a><br />
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<b><u>Fountains of Wayne (1996) </u></b><br />
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The world lost a tremendous songwriter this year in Adam Schlesinger. Fountains of Wayne have always occupied an important and much-visited spot on my CD shelves. I think this, their debut, may be their most consistent release. It also paved the way for many other powerpoppers who emerged in the late 90's/ early 2000's-- showed them the dazzling heights the genre was capable of reaching. While it wasn't until the 2003 single "Stacy's Mom" that these guys fully broke into the mainstream, many of the tracks here could have easily done the trick with a bit of luck. <br />
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<a href="https://www.youtube.com/watch?v=rmqswLKKYyU">Radiation Vibe (Youtube Music Video)</a><br />
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<b><u>Admiral Twin- Mock Heroic (2000)</u></b><br />
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Tough to pick just one album by these guys to include here, but tracks like "The Unlucky Ones", "No. 1 Fan", and "Blessed Imperial" are hard to top.<br />
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<a href="https://www.youtube.com/watch?v=XvD3LK5-6mI">No. 1 Fan (Youtube Audio)</a><br />
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<b><u>Wunderband (1997) </u></b><br />
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Quirky, off-kilter fun. Sometimes compared favourably to XTC.<br />
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<a href="https://www.youtube.com/watch?v=t0gnEJa9vsY">Mayqueen (Youtube Audio)</a><br />
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<b><u>Liar's Club-Drop Dead (1994) </u></b><br />
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The subject of a lengthy post elsewhere on this blog. Just never gets old!<br />
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<a href="https://www.allmusic.com/album/drop-dead-mw0000647931">Allmusic Drop Dead Song Previews</a><br />
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<b><u>Michael Penn- Mr. Hollywood Jr. 1947 (2005) </u></b><br />
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Member of the talented showbiz Penn family (brother of Sean Penn), Michael is a powerpop mainstay and a seriously bright dude. This album completes a string of solid releases going back to 1989 (and is the most ambitious of the bunch in my humble opinion). As the title suggests, the backdrop here is post- WWII Hollywood/ California. Residue, memories of memories, self-aware nostalgia, tenderness, hints of lingering trauma...sophistication wrapped in stellar popcraft. <br />
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<a href="https://www.youtube.com/watch?v=iWGL3mPE114">Walter Reed (Youtube Music Video)</a><br />
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<b><u>Owsley (1999)</u></b><br />
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Straight-ahead fun. By 1999 Will Owsley had already demonstrated his considerable talent as a member of cult heroes The Semantics, who released a single album, titled "Powerbill" (only distributed in Japan), in 1996. Despite consisting of Owsley, Zak Starkey (son of Ringo Starr), Millard Powers (who later joined Counting Crows on bass), and (occasionally/ informally) Ben Folds, The Semantics seem to have faded into obscurity. A re-recorded Semantics track, "The Sky is Falling", appears here and is arguably the album's highlight.<br />
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<a href="https://www.youtube.com/watch?v=CoqDRe2zz_U&list=RDCoqDRe2zz_U&start_radio=1">The Sky Is Falling (Youtube Audio)</a><br />
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<a href="https://www.youtube.com/watch?v=dPjIJpsckng">Oh No The Radio (Youtube Audio)</a><br />
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<b><u>Wondermints (1995) </u></b><br />
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Selected by Beach Boys frontman Brian Wilson as a touring backing band, and as studio-mates for his re-recorded version of "SMiLE", listening to this album makes it easy to understand why. In fact, I think I prefer this album to "SMiLE"...am I allowed to say that?<br />
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<a href="https://www.youtube.com/watch?v=05m-al-eFdo">Proto Pretty (Youtube Audio)</a><br />
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<b><u>Superdrag- Regretfully Yours (1996) </u></b><br />
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Fortunately, this album saw a pretty broad release, so tracking down a physical copy is usually fairly easy (and prices for used copies online are generally extremely reasonable). "Sucked Out" got some well deserved airplay, and the rest of the album lives up to the promise of that stellar track.<br />
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<a href="https://www.youtube.com/watch?v=a0zEkiQ5biI">Sucked Out (Youtube Audio)</a><br />
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<b><u>Sugarbomb- Bully (2001)</u></b><br />
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Very apt band name. Theatrical bombast and an eclectic mishmash of styles. Sometimes they even seem to recall Jellyfish (yes, they're that good). Fantastic vocals, well executed harmonies, and complex-yet-direct compositions. Jackdaw 4 would be another apt point of reference.<br />
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<a href="https://www.youtube.com/watch?v=UvfXyr702cE">Motor Mouth (Youtube Audio)</a><br />
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<a href="https://www.youtube.com/watch?v=dcJCzbXNemQ&list=PLEvr99j7ruPwvP2VCB9l6E30FrTKwB0PJ&index=4">Mail Order Girlfriend (Youtube Audio)</a><br />
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<b><u>The Sneetches- Starfucker (1995)</u></b><br />
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Sneetches, if you recall, are fuzzy, yellow Dr. Seuss-ian creatures-- some having stars on their bellies ("Star-Belly Sneetches") and some without. I am just leafing through my own copy of Seuss's book to find the scene referenced in this album's title.<br />
The Sneetches have achieved cult-hero status for their lovingly crafted classic guitar-pop tunes, and they gained positive critical (not necessarily commercial) recognition in the late 80's and early 90's. The band would split after 1994's "Blow Out The Sun", but released this mini-album, composed of leftover tracks, the next year. Against all odds, it ended up being one of their finest works, and a fitting capstone to their legacy. <br />
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<a href="https://www.youtube.com/watch?time_continue=1&v=u2R2LX8RcHU&feature=emb_title">They Keep Me Running (Youtube Audio)</a><br />
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<a href="https://www.youtube.com/watch?time_continue=68&v=PUmIYgGYg-E&feature=emb_title">Watch Me Burn (Youtube Audio)</a><br />
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<b><u>Silver Sun (1997) </u></b><br />
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Immaculate harmonies, razor-sharp melodies, and lots of cheeky sexual innuendos. Like an amped up, feistier version of the Beach Boys.<br />
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<a href="https://www.youtube.com/watch?v=YYo80U4OkN0">Julia (Youtube Music Video)</a> <br />
<br />Naustinhttp://www.blogger.com/profile/08756557580114216238noreply@blogger.com0tag:blogger.com,1999:blog-7944263838235781384.post-29506300767340545612020-04-11T19:53:00.000-07:002020-04-13T13:13:58.331-07:00Greta- INTERVIEW WITH JOSH GORDON<span style="font-family: inherit;"><br /></span>
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<span style="font-family: inherit;">I would like to dedicate this post to the memory of Paul Wisdom Plagens- a man of immeasurable talent and inimitable creative voice. Please keep him in your thoughts as you enjoy Greta's music, and delve into their history with me.</span><br />
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<tr><td class="tr-caption" style="text-align: center;">Design by Josh Gordon & Richard Frankel; Photography by Alison Dyer and GALLO, C</td></tr>
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<span style="font-family: inherit;">I have wanted to write about LA-based band Greta for quite some time. As music journalist Stewart Mason writes, they: "...executed one of the most impressive mid-career changes of direction of the 90's" (<a href="https://www.allmusic.com/artist/greta-mn0002294238/biography">https://www.allmusic.com/artist/greta-mn0002294238/biography</a>). Still, their two releases "No Biting" (1993) and "This Is Greta!" (1995) are tied together by keen melodic sense, strong musicianship, and encyclopedic knowledge of rock history. The heavy psychedelia of "No Biting" was quite unique: the metallic attack of Scott Carneghi's drumming, and frequent forays into truculent first-wave grunge riffage--- paired with singer Paul Plagens' ear for melody and Josh Gordon's fluid, mellifluous bass-lines. In other words, equally prepared to pulverize or to romance. The music video for the single "Fathom" even got some rotation on MTV's zeitgeist defining "Headbanger's Ball" (they had videos featured on Beavis and Butthead's video review segment too, but I can't confirm which one(s)). Viewers who tuned into "The Ball" on November 13th 1993, for example, would have seen "Fathom" played alongside reels for Megadeth's "Peace Sells" and Motorhead's "Burner". But Headbanger's Ball was only part of the story---there were hints in the music that Greta would have been just as at home with fellow LA locals Redd Kross or Dramarama. Those hints exploded to the fore on 1995's This Is Greta!, an impressive power-pop platter, featuring my personal Desert Island Discs pick: "Some People". It remains an overflowing chalice of inspired 90's ambrosia (highlights including the aforementioned "Some People", the punchy opener "About You", the soaring "Silver Blue," and the relentlessly catchy "Warm Disease"). According to a 1995 interview in <i>Highwire Daze Magazine</i><span style="background-color: white; color: black; font-size: medium;">, there may have been even MORE</span> goodness, as the band apparently wrote as many as 30 songs for the album before settling on the final 11(<a href="http://wrightproductions.tripod.com/greta.html">wrightproductions.tripod.com/greta.html</a>). Whether these additional tracks still exist out there in the ether I do not know, but I digress. I could write all day, but fortunately for you, Greta's bass player and frequent songwriting collaborator Josh Gordon has agreed to answer some questions for me.</span><br />
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<span style="font-family: inherit;"><a href="https://www.youtube.com/watch?v=6pRAi6GpGdM">"Some People" Audio-1995 (Youtube)</a></span><br />
<a href="https://www.youtube.com/watch?v=ZcAGt_HybUY">"Silver Blue" Audio- 1995 (Youtube)</a><br />
<a href="https://www.youtube.com/watch?v=aDP6SRjhtaQ">"About You" Video- 1995 (Youtube)</a><br />
<a href="https://www.youtube.com/watch?v=Ab1UiHbUI9c">"Jesus Crux" Audio- 1993 (Youtube)</a><br />
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<tr><td class="tr-caption" style="text-align: center;">Greta in <i>Rolling Stone Magazine </i>(5 August 1993); Photo by Greg Allen</td></tr>
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<span style="font-family: inherit;"><b><u><span lang="EN-US">N:</span></u></b><b><span lang="EN-US">
Where did the name “Greta” come from? Did it have anything to do with the dress
Paul was known to wear on stage in the early days? An alter ego perhaps?</span></b></span><b></b></div>
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<span style="font-family: inherit;"><b><u><span style="color: red;">JG</span></u></b><b><span style="color: red;">: Our original drummer
Brad Wilk came up with the name. He left to join Rage Against the Machine.
we were sitting around at rehearsal or in the car trying to come up with a name,
and he said "what do you think about Greta?" We all thought it was
really interesting and unique. I don't know if you've ever been in a band, but
coming up with a good name is such a hard thing to do. We had spent weeks--
maybe even months-- trying to come up with a name with no luck whatsoever. He
said it, and it just kind of rang with us, so we went with it. The dress
originally came from a Halloween outfit that Paul had worn for a house party we
were playing. Paul went in drag, and we thought it was awesome. It brought an
energy to the band, and Paul was able to really let himself go as a lead singer
in it. Most of us have strong feminine components to our personality, and
identify very strongly with feminine energy. The dress and the name personified
this for us. We were feminists from an early age and very anti-macho. The
lyrics to “Off the Slug” are an example of this. </span></b></span></div>
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<tr><td class="tr-caption" style="text-align: center;">Paul Plagens in his Halloween party dress; Photo by Lindsay Brice for Getty Images</td></tr>
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<span style="font-family: inherit;"><b><u>N:</u></b> <b>I think “No Biting” and “This
Is Greta!”, while very different, are both strong in their own ways. I’ve
noticed some reviewers taking the album title “This Is Greta!” as a declaration
that it embodied the “real” Greta---the project you guys really wanted to do.
Are they making too much of the name, or maybe misinterpreting it? Or was that really
the case?</b></span></div>
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<span style="font-family: inherit;"><b><u><span style="color: red;">JG</span></u></b><b><span style="color: red;">: The short answer is: we
wanted to do both… but the long answer is: the "declaration" is, in
fact, a correct interpretation. Paul and I had been friends since we were 12
years old. We, without question, come from the "Beatles are
God" school of music. We religiously devoured 1960s music: The Who,
The Kinks, Bob Dylan, The Rolling Stones, The Yardbirds, Paul Revere and the
Raiders, and everything in between. We also became punk and new wave fanatics
in the late 70s (which was a seminal era for power pop as well: The Plimsouls,
The Knack, 20/20, Paul Collins Beat), so there was also that dichotomy of pop
music and "alternative", more dangerous/edgy music. Back then we were
regularly bullied at school for wearing punk/new wave styles. We were
threatened on a near daily basis. So as quaint as DEVO and The Clash seem now,
it really freaked people out back then. People had very visceral reactions to
punk rock when it first came out. In 1990 I had become very attracted to industrial/alternative
music. Bands like Ministry were taking music into new territory. I told Paul
that I wanted to start a band that had the heaviness of some of the
metal/industrial music, but with a melodic sense. I wanted to combine the sound
and feel of heavy metal with The Beatles. So, cutting back to your question-- when
we did the first album, “No Biting”, we were all really into the
this hard/soft thing. The first song we came up with for it was
"Fathom". I wrote the music, and Paul and I worked together on the
lyrics. All the melody for “Fathom” was Paul. We felt we had something unique,
and pretty interesting. That set the tone for all of the songs that came after.
By the time we got to "This Is Greta", we were painfully disappointed
by the lack of success of the first record. By the standards of the industry in
charge of our future, it was a colossal disappointment. I have ADD and so I was
in a "let's try something different!" mode. We didn't have anything
to lose and Paul, Kyle and I always admired bands like the Beatles and Stones
that were always changing direction and evolving. Kyle, Scott, and I and were
jamming when we all came up with the music for "About You"-- just
before Paul got to rehearsal. Kyle came up with the gorgeous music to
"Charade". We were just naturally moving in that direction. I think
that kind of music is where we defaulted to. One of our pre-“No Biting” singles,
made right after we signed to Mercury was a pretty straightforward cover of
Hank Williams’ "There'll Be No Teardrops Tonight", and Bing
Crosby's "Pennies From Heaven"-- so were always into anything that
was good, regardless of genre. So, when we came to "This Is Greta" we
had nothing to lose, and thought "fuck it", let’s just make the best
record we can. I had to lobby for the title. I wanted it to be an introduction
to the band like a lot of the sixties debut albums were -- "Meet The
Beatles", "Ladies and Gentlemen, The Rolling Stones", The
Zombies, Begin Here" -- I thought "This Is Greta” was absolutely a
declaration! This is where we come from and this is who we are. I also love
that it's the name of a Spinal Tap record [“This is Spinal Tap”]. We love
Spinal Tap, so there was always a kind of "Tap" awareness that anyone
who makes rock music should be aware of. This was sort of our "Jazz
Odyssey" change of direction, but it was absolutely sincere, and very true
to us. </span></b> </span><b></b></div>
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<span style="font-family: inherit;"><b><u>N</u></b><b>:</b> <b>I found a snippet in a Rolling Stone magazine from
August 1993 (written by David Wild) calling Greta “Beatles-influenced hard
rock” (this article predated “No Biting”). The pop/ power pop elements didn’t
really seem as evident until “This Is Greta!”. Was your live set around that
time pretty faithful to what ended up on the “No Biting” album? The Beatles
seem like an odd primary point of reference for the band’s early incarnation
(although your bass playing did always have a melodic McCartney-esque quality
to it, even in the heavier moments). Was some of the later material already
written/ in your repertoire by this point? Just curious where a journalist
would have been coming from in 1993 after seeing one of your shows.</b></span></div>
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<span style="font-family: inherit;"><b><u><span style="color: red;">JG</span></u></b><b><span style="color: red;">: I think I may have
rambled the answer for this in my last answer. The only song from TIG that had
been written during the “No Biting” era was "Rocking Chair". We had a
number of very heavy riffs and jams that we were going to use moving into our
second record, but we really were moving in a different direction. Paul was
writing really strong songs like "You’re So Whatever" and "Some
People," and we were all just going with it. Paul wasn't into heavy
metal/hard music in the same way the rest of us were. Fleshing out those
heavy riffs wasn't necessarily working or coming naturally at that time.</span></b></span></div>
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<b><span style="color: red;"><span style="font-family: inherit;">To anyone who was seeing
us live, I can only guess that songs like “Sleepyhead” and “Jesus Crux” may
have hinted at our Beatles influences, but songs like "Off The Slug"
and "Insomnia" certainly don't make it obvious. </span></span></b></div>
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<span style="font-family: inherit;"><b><span style="color: red;">McCartney is my favorite
bass player and I was always trying to find appropriate melodic lines to
compliment the songs. The pre-chorus to "Everything's Fine" is an
example of my love of McCartney, and I recall actually saying out loud while
writing the part: "what would McCartney do?". Kyle's solos on
that record are also, I think, reflective of his understanding and love of
straight-ahead melody-oriented guitar solos.</span></b> </span><b><span style="color: red;"></span></b></div>
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<span style="font-family: inherit;"><b><u>N</u></b><b>:
</b><b>I think
1995 would have been one of the most difficult years to release an album----PERIOD.
There was this collision between the cool affected-disaffectedness of early
90’s youth culture (I sense a wry critique of this in “Cal Cool (You’re So
Whatever)”), and something more earnest and dramatic emerging in the first wave
of “post grunge”. Either way, it didn’t seem like a new group could win—if you
fell in with the post-grunge crowd you would attract megatons of hipster ire
for being too serious/ earnest/ stiff…but if you channeled the energy of the
early 90’s groups you would be labelled a “band-wagon jumper”. I think the
enduring strength of Greta is a testament to the band not falling into either
camp---being more transcendent...but did you guys ever struggle with anxieties
about image? Especially after changing your sound so much between albums? (My
take on 90’s culture is from second-hand accounts/ my own preconceived notions,
as I was only 2 or 3 years old when this was all happening-so feel free to set
me straight!)</b></span></div>
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<span style="font-family: inherit;"><b><u><span style="color: red;">JG:</span></u></b><b><span style="color: red;"> You're 100 percent
right. You're also spot-on about “Cal Cool”. There was a lot of
"hipster" bullshit at the time. I think that era gave rise to the hipster--
which none of us ever subscribed to. Silverlake (a hub of hipster pretension)
was near nausea inducing at that period of time. We WERE earnest! I think
that's one of the more tragic legacies of the 90s: a destruction of commitment.
Everybody became so disaffected and ironic. Irony and satire are great for
comedy and art in the right doses, but too much of it takes away society’s
emotional vulnerabilities. Without vulnerability, you're really just pretending
to be invulnerable. You can get carried away to some dangerous systems, many of
which we're experiencing in America now. </span></b></span></div>
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<b><span style="color: red;"><span style="font-family: inherit;">We didn't really struggle
with our image. We were just doing what we wanted. We had fun with image, and
by that I mean fashion can be fun, and has always been a huge part of rock and roll.
We liked that… Bowie, The Sex Pistols, etc… Of course, even no image is an
image. The Doc Marten's- cut jeans is obviously an anti-image image… but it's
still an image. We were, in a way, so unsuccessful with our first record that
we had nothing to lose, so we just did whatever we wanted. It gave us a kind of
freedom. </span></span></b></div>
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<b><span style="color: red;"><span style="font-family: inherit;">We were particularly
proud of the second record. I think we played really well together as a band. I
think "Silver Blue" was the tightest and most connected the four of
us ever played in the studio. </span></span></b></div>
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<b><span style="color: red;"><span style="font-family: inherit;">Here's a fun fact: Most
of the tracks on the 2nd record are demo versions. We went in to record the
album after doing the demos, and our A&R man said "these new versions
suck...we're going to use the demos". We recorded the demos in 2
days at Sound City, and there was no pressure. “About You”, “Charade”, “Silver
Blue”, “Strained”, “Cal Cool”, and “Some People” were all recorded at Sound
City for the demos. “Rocking Chair”, Nothing At All”, “Warm Disease”, and “Anomaly,” I
think, were recorded after the demos, and intended for the record. We're
critical of some aspects of “No Biting”-- some of the tempos are too fast,
there was a great deal of pressure, I don't think we're grooving and locking in
as a band the way we would have liked... I think “Insomnia”, “Jesus Crux”, and “Sleepyhead”
came out really well… but “Off the Slug”, “Is It What You Wanted”, “School On
Fire”-- we think are too fast. </span></span></b></div>
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<b><span style="color: red;"><span style="font-family: inherit;">We really like “Some
People” too! That would've made Paul really happy that it's one of your Desert Island
Discs.</span></span></b></div>
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<span style="font-family: inherit;"><b><u>N:</u></b><b> </b><b><span lang="EN-US">Greta has
some pretty cool videos. “Fathom” and “About You” are a filmmaker’s dream---all
sorts of kinetic energy to work with---“Fathom”, for example, has that awesome
syncopated riff to frame action around (and, as an aside for any musician
readers-- the riff is a great way to see how good at alternate picking you
really are). Anyways, do you have any interesting memories from the actual
video shoots?</span></b></span><b></b></div>
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<span style="font-family: inherit;"><b><u><span style="color: red;">JG</span></u></b><b><span style="color: red;">: We have great memories of the video shoots. I'm a huge film buff
and have a real interest in design. The band let me run with conceptual ideas
and production for the videos. For “Fathom” we were working with a pretty small
budget. I think the director's name was Troy Smith. I was really into “Survival
Research Laboratories”-- a performance art troop from San Francisco. They were
doing very industrial, mechanical, violent pieces of performance art that I
thought would be really perfect conceptually. Some of the intention behind “Fathom”
was to sort of make us the house-band in hell. </span></b><b><span style="color: red;">The
opening "staccato" cuts are from a video for a song called "Fire
Extinguisher Love" that I directed for a band I was in called "Ugly
Wedding" in the late 80s. The guitarist and singer of that band, John
Bird, grew up with Paul and I. He played organ on "Nothing At All" on
“This Is Greta" and is currently the keyboardist for The Living Dolls with
Kyle and I.</span></b><span style="color: red;"> </span><b><span style="color: red;">I also really liked the idea of '60s go-go
dancers dancing to such an un-sixties, undanceable piece of music. We had
wanted the video to be much more colorful, vivid, and vibrant, and for whatever
reason the colors weren't really captured as explosively as they looked in real
life.</span></b><span style="color: red;"> </span><b><span style="color: red;">The shoot was an absolute blast. we had a really good time making
it. </span></b></span><br />
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<b><span style="color: red;"><span style="font-family: inherit;">We were all really happy with the “About You” video. I worked with
the director, Bill Ward, with an idea that I wanted the backdrop to have a 60s
feel-- like something from “Shindig” or “Ready Steady Go”, but on a bigger
scale. We were letting some of our mod influences come out. The band was facing
a critical point with our label and our success (or lack thereof). The A&R
guy was really behind us, and we were very excited about this new music, and
really enthusiastic about the video. Sadly, it was never sent to MTV. The band
was really tight as a unit at that period of time-- musically and emotionally.
Bill did a phenomenal job on that video. We met him through my sister, and he
had just done work with The Smoking Popes. We still stay in touch through
Facebook now and again.</span></span></b><br />
<b><span style="color: red;"><span style="font-family: inherit;"><br /></span></span></b>
<b><span style="color: red;"><span style="font-family: inherit;"><a href="https://www.youtube.com/watch?v=Yrt4-cHdOLU">"Fathom" MTV Video-1993 (Youtube)</a></span></span></b><br />
<br />
<br />
<br />
<div style="mso-margin-bottom-alt: auto; mso-margin-top-alt: auto;">
<span style="font-family: inherit;"><b><u>N:</u></b><b> </b><b><span lang="EN-US">Lastly, in
the spirit of Nick Hornby’s <i>High Fidelity</i> (thinking about the top 5
side-1, track-1 debate)… how much did you guys agonize about choosing the
perfect opening track for “This Is Greta!” “About You” seems like one of those
Platonic ideals of a side 1-track 1. Especially considering your influences--
there’s a lot riding on that track. It has to be a real knockout punch (The
Beatles’ “Taxman”, and The Knack’s “Let Me Out” for example).</span></b></span></div>
<br />
<div style="mso-margin-bottom-alt: auto; mso-margin-top-alt: auto;">
<b><u><span style="color: red;"><span style="font-family: inherit;"></span><br /></span></u></b></div>
<div style="mso-margin-bottom-alt: auto; mso-margin-top-alt: auto;">
<span style="font-family: inherit;"><b><u><span style="color: red;">JG</span></u></b><b><span style="color: red;">: “About You” had that
feel for us too. I love that you use The Knack as an example. Paul and I were
absolute Knack freaks and I agree with you that “Let Me Out” is one of the
great all-time openers! With the title, “This is Greta,” we felt that the first
track had to exemplify this shift in sound for us. We experienced it as an
up-tempo, lift you off the ground, power pop opener. We were using it to open
our shows as well. </span></b></span></div>
<div style="mso-margin-bottom-alt: auto; mso-margin-top-alt: auto;">
<span style="font-family: inherit;"><b><span style="color: red;"><br /></span></b></span></div>
<div style="mso-margin-bottom-alt: auto; mso-margin-top-alt: auto;">
<span style="font-family: inherit;"><b><span style="color: red;"><a href="https://www.youtube.com/watch?v=aDP6SRjhtaQ">"About You" Video-1995 (Youtube)</a> </span><span style="background-color: #999999; color: #444444;">**ALSO LINKED AT TOP OF PAGE</span></b></span><b></b></div>
<br />
<div style="mso-margin-bottom-alt: auto; mso-margin-top-alt: auto;">
<b><u><span lang="EN-US"><span style="font-family: inherit;"></span><br /></span></u></b></div>
<div style="mso-margin-bottom-alt: auto; mso-margin-top-alt: auto;">
<span style="font-family: inherit;"><b><u><span lang="EN-US">N:</span></u></b><b><span lang="EN-US">
And of course I will give you some free space to say whatever you
want---anything you want the listener in 2020 to know, any projects you have going
on right now that you’d like to promote---absolutely anything.</span></b></span><b></b></div>
<br />
<div style="mso-margin-bottom-alt: auto; mso-margin-top-alt: auto;">
<b><u><span style="color: red;"><span style="font-family: inherit;"></span><br /></span></u></b></div>
<div style="mso-margin-bottom-alt: auto; mso-margin-top-alt: auto;">
<span style="font-family: inherit;"><b><u><span style="color: red;">JG</span></u></b><b><span style="color: red;">: Kyle Baer and I still
play together in a band called The Living Dolls. All of my influences are there:
The Kinks, The Who, Lou Reed, ELO... I'm the lead singer, and I’m afraid I’m
not even on the same planet as Paul as a vocalist-- but I love playing music,
and will always do it no matter what. Scott was actually in the band for a
couple of months as well. We all keep in touch and miss Paul a great deal. He
was supremely talented. A tremendous songwriter. </span></b></span></div>
<br />
<div style="mso-margin-bottom-alt: auto; mso-margin-top-alt: auto;">
<b><span style="color: red;"><span style="font-family: inherit;">During Paul's memorial,
John Easdale (the singer for Dramarama and the co-producer of our first album
and early demos) sang “Jesus Crux” and “Sleepyhead” with Scott, Kyle and
I. </span></span></b></div>
<br />
<div style="mso-margin-bottom-alt: auto; mso-margin-top-alt: auto;">
<b><span style="color: red;"><span style="font-family: inherit;">It’s so nice to know that
people are finding and appreciating the music now. It's validating. It means a
lot to us and would have meant so much to Paul. </span></span></b></div>
<div style="mso-margin-bottom-alt: auto; mso-margin-top-alt: auto;">
<br /></div>
<div style="mso-margin-bottom-alt: auto; mso-margin-top-alt: auto;">
<a href="https://www.facebook.com/thelivingdolls/">FOLLOW THE LIVING DOLLS ON FACEBOOK HERE!</a></div>
<br />
<b><span style="color: red; font-family: "times new roman" , serif;"> <table align="center" cellpadding="0" cellspacing="0" class="tr-caption-container" style="margin-left: auto; margin-right: auto; text-align: center;"><tbody>
<tr><td style="text-align: center;"><a href="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEiYNtZwwgth2DuA-TObkrP4DpUkzVHyKKnRE5d43tGMKN8bW3LwQY2S7kH-vNRAd7jvGW2wszCN7A_olFsKVhshSc-ORGnv7ZG5K68pivWdKEP71MqVr9aN29qTcfRqFHvcmICLz4uzgmXv/s1600/Greta+2.jpg" imageanchor="1" style="margin-left: auto; margin-right: auto;"><img border="0" data-original-height="1490" data-original-width="1512" height="315" src="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEiYNtZwwgth2DuA-TObkrP4DpUkzVHyKKnRE5d43tGMKN8bW3LwQY2S7kH-vNRAd7jvGW2wszCN7A_olFsKVhshSc-ORGnv7ZG5K68pivWdKEP71MqVr9aN29qTcfRqFHvcmICLz4uzgmXv/s320/Greta+2.jpg" width="320" /></a></td></tr>
<tr><td class="tr-caption" style="text-align: center;"><span style="color: black;">Greta c. 1993, Photo by Greg Allen</span></td></tr>
</tbody></table>
</span></b><br />
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<b></b><i></i><u></u><sub></sub><sup></sup><strike></strike><br />
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<br />Naustinhttp://www.blogger.com/profile/08756557580114216238noreply@blogger.com0tag:blogger.com,1999:blog-7944263838235781384.post-84299671477863481392020-04-11T13:10:00.000-07:002020-04-11T19:55:05.458-07:00Lund Bros.-Loser (1998)<br />
<a href="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEjaU5LWGCe6Ut9RfpgPC0In99Iq8RYty_S0wcZybX9dtN_D1ps783cfdXCs4oMAObDP98Mrrp2Fs4mlgNL7HYjxCgw0TWb9IJlcYn_NofUYcip86ZVsJj4QLGE4T32o67x1mWFaVwBM14CL/s1600/loser_large.jpg" imageanchor="1"><img border="0" height="320" src="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEjaU5LWGCe6Ut9RfpgPC0In99Iq8RYty_S0wcZybX9dtN_D1ps783cfdXCs4oMAObDP98Mrrp2Fs4mlgNL7HYjxCgw0TWb9IJlcYn_NofUYcip86ZVsJj4QLGE4T32o67x1mWFaVwBM14CL/s320/loser_large.jpg" width="320" /></a><br />
<br />
<br />
Apparently Geffen was involved in funding this record's production, but ultimately passed on the band because they "sounded too much like The Beatles" (<a href="https://store.cdbaby.com/cd/loser">CD Baby Album Notes</a>). They fired the guy painting their ceilings for being "too much like Michelangelo" shortly thereafter. Their loss I guess. Luckily this was merely the start for the Lund Bros., who would go on to release a handful of extremely tasty power pop offerings.<br />
<br />
<a href="https://www.youtube.com/watch?v=vpyE9TTyrt0">In My Hands</a><br />
<br />
<a href="https://www.youtube.com/watch?v=bV54z05rwi8">Told You So</a><br />
<br />
<a href="https://www.youtube.com/watch?v=LbDwzyAJnQ8">Kick Me</a>Naustinhttp://www.blogger.com/profile/08756557580114216238noreply@blogger.com0tag:blogger.com,1999:blog-7944263838235781384.post-20231674019813780802020-03-29T14:59:00.000-07:002020-04-06T10:18:38.459-07:00The Sharp-This Is The Sharp (1993)<div class="separator" style="clear: both; text-align: center;">
<a href="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEiVnBAJOSWudGfgimhmvfK6P1eJ8jHYhT0_lM8HZYEypSC3_AsGmSuf-xJH5c6eFgjY9Qfc6yzPWa5YJIaGtojyOYbbWztGPCN3gP7i_zUgUeVCa2AFuUbf8oCTUaq2pymjsxBl8XjgCVSw/s1600/R-7462938-1442827310-4320.jpeg.jpg" imageanchor="1" style="clear: left; float: left; margin-bottom: 1em; margin-right: 1em;"><img border="0" data-original-height="600" data-original-width="600" height="320" src="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEiVnBAJOSWudGfgimhmvfK6P1eJ8jHYhT0_lM8HZYEypSC3_AsGmSuf-xJH5c6eFgjY9Qfc6yzPWa5YJIaGtojyOYbbWztGPCN3gP7i_zUgUeVCa2AFuUbf8oCTUaq2pymjsxBl8XjgCVSw/s320/R-7462938-1442827310-4320.jpeg.jpg" width="320" /></a></div>
<div>
Thought I needed some Australian content. After all, this is the country that blessed us with The Hoodoo Gurus, The Vines, TISM, and Jet (oh and ACDC anybody?). The Sharp definitely deserve to be part of the conversation. </div>
<div>
<br /></div>
Their 1993 hit "Scratch My Back" is catchier than a cocklebur storm at a Velcro convention. It curls toes more forcefully than advanced rigor mortis, and remains a prime suspect in the Strasbourg Dancing Plaugue of 1518 investigations (<a href="https://en.wikipedia.org/wiki/Dancing_plague_of_1518">https://en.wikipedia.org/wiki/Dancing_plague_of_1518</a>). Channeling 60's British Invasion vibes, it would not have sounded out of place in the early 2000's garage rock revival either, when other bands with "The" in their names (The Vines, The Hives, The Caesars, The Strokes, etc...) made a brief but forceful climb up the charts. So perhaps they were just too early...or too late? Regardless, they did make a splash in their homeland, even spawning a well-known parody sketch, titled "Skivvies Are Back," ("skivvies" in Australian parlance= "turtlenecks" in Canadian) on The Late Show (a popular satirical Australian TV program of the era). Honestly, in hindsight the sketch seems mostly like an excuse to rock out to the song and look cool (the actors donning The Sharp's trademark white "skivvies"/ black pants and jacket combo).<br />
<div>
<br /></div>
<div>
<br /></div>
<div>
"This song is not profound" sing the comics in the sketch segment. While the original song's lyrics (and by extension the parody's) may not be profound in the traditional sense, I believe profundity comes in many shapes and sizes. For example, there is something profound in the experience of enjoying an infectious, perfectly executed, generation defying 3 minute rock song. Are the lyrics merely perfunctory sexual innuendo? Not when sung with this much conviction! </div>
<div>
<br /></div>
<div>
<a href="https://www.youtube.com/watch?v=427eCw0AzHQ">Scratch My Back</a></div>
<div>
<br /></div>
<div>
Other album highlights include "Train of Thought" and "Closer". </div>
Naustinhttp://www.blogger.com/profile/08756557580114216238noreply@blogger.com0tag:blogger.com,1999:blog-7944263838235781384.post-70057586451201407652019-11-16T21:44:00.000-08:002020-03-06T10:33:42.892-08:00Britpop: A Deeper Dive<br />
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I would be remiss not to post about 90's Britpop, and it has taken me far too long to get around to it!</div>
I am going to assume that most of you know about the megalithic, untouchable pillars of Britpop: Oasis' first three albums, Blur's "Parklife" (or... really any of their albums), The Verve's "Urban Hymns", Radiohead's "The Bends", Pulp's "Different Class", and Supergrass's "I Should Coco".<br />
(If these aren't ringing a bell, PLEASE go listen to them right now!!!) <br />
As an aside, this list is likely more helpful for non-UK residents. Most of the following groups/ albums achieved at least some degree of commercial success in their homeland. I want to bring them to the world (or at least the handful of people actually reading this).<br />
<br />
<b><u>The La's (1990)</u></b><br />
<b><u><br /></u></b>
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<a href="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEgUXrsRrl8sgWDw4hw6_bTaem6O39cFy4vlEeiguuIxCpBeWYuJ-BVTRqOVJw_izUMNJ4vwQlxRqgO2YTZXs76jlAkN6UC5yZUmn0m8ybIDpxBS8xil8DEJZxfLBK5pHCsGcLok_6o8lM_6/s1600/thelas-1000x1000%255B1%255D.jpg" imageanchor="1" style="clear: left; float: left; margin-bottom: 1em; margin-right: 1em;"><img border="0" data-original-height="1000" data-original-width="1000" height="320" src="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEgUXrsRrl8sgWDw4hw6_bTaem6O39cFy4vlEeiguuIxCpBeWYuJ-BVTRqOVJw_izUMNJ4vwQlxRqgO2YTZXs76jlAkN6UC5yZUmn0m8ybIDpxBS8xil8DEJZxfLBK5pHCsGcLok_6o8lM_6/s320/thelas-1000x1000%255B1%255D.jpg" width="320" /></a></div>
<span style="color: black;">Let's be clear: THIS IS AS CLOSE TO A PERFECT ALBUM AS YOU CAN GET. When I first heard it, it was a revelation. That's because Lee Mavers and co. honed these songs to a scalpel edge; playing them for years on the local club circuit before committing them to wax. The tracks are concise, melodic, catchy, invigorating, memorable, charming (in an unmistakably Liverpudlian way), and timeless (see, for example, the aptly named "Timeless Melody"). Mavers is a genius...it's that simple. It is impossible to pack more pop goodness into a 2-3 minute track than The La's do here. Unfortunately, Mavers' genius proved to be the end of The La's, who would never release another album. Displeased with the debut album's mixing, Mavers lashed out in the press, doing everything he could to stymie its success (unsuccessfully as it turned out). In the meantime, he began working feverishly on the follow-up...which, almost 30 years later, has yet to see the light of day. Some rough cuts have surfaced online, including a recording known as "The Crescent Tapes" (Mavers had taken a band called "The Crescent" under his wing...and they appear to have covertly taped some material and leaked it). Although the sound on these leaks is rather low quality, the songs sound extremely promising. </span><br />
<span style="color: black;"><br /></span>
So, w<span style="color: black;">hat happened? Rumours abound...but Mavers' perfectionism, and the gargantuan scope of his artistic vision almost certainly contributed. Apparently a young Noel Gallagher once said that he began Oasis as a way to "finish what The La's started." Hopefully one day The La's will finish what The La's started.</span><br />
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<div style="text-align: left;">
<span style="color: black;"><br /></span></div>
<div style="text-align: left;">
<span style="color: black;"><b>There She Goes:</b></span><br />
<span style="color: black;"><u><a href="https://www.youtube.com/watch?v=eu2iv-vMKT8">https://www.youtube.com/watch?v=eu2iv-vMKT8</a></u></span><br />
<span style="color: black;"><u><b></b><br /></u></span>
<span style="color: black;"><b>Feelin':</b></span><br />
<span style="color: black;"><u><a href="https://www.youtube.com/watch?v=1bzxpWob71M">https://www.youtube.com/watch?v=1bzxpWob71M</a></u></span></div>
<div style="text-align: left;">
<span style="color: black;"><b><u><br /></u></b></span>
<span style="color: black;"><b>I Can't Sleep:</b></span><br />
<span style="color: black;"><u><a href="https://www.youtube.com/watch?v=6LURvVxSZl4">https://www.youtube.com/watch?v=6LURvVxSZl4</a></u></span><br />
<span style="color: black;"><u><br /></u></span>
<span style="color: black;"><u><br /></u></span>
<span style="color: black;"><u><br /></u></span>
<span style="color: black;"><u><b></b><br /></u></span>
<span style="color: black;"><b><u>Cast- All Change (1995); Mother Nature Calls (1997); Magic Hour (1999)</u></b></span></div>
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<a href="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEgs1CYR5XBet_w3Vz-n2Glw2g6-MwjCc357AaxOYwuTtvClzEDy9A_1b0vl6PdM03Dy2VtQRC6AW2dW_l-37DXUw4p9FGphc4hBwNxu3CYwz5P7aggMiEgKXkLw3cHe9se7oCyRG3erz-iF/s1600/Allchangecastcover%255B1%255D.jpg" imageanchor="1" style="clear: left; float: left; margin-bottom: 1em; margin-right: 1em;"><img border="0" data-original-height="300" data-original-width="301" src="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEgs1CYR5XBet_w3Vz-n2Glw2g6-MwjCc357AaxOYwuTtvClzEDy9A_1b0vl6PdM03Dy2VtQRC6AW2dW_l-37DXUw4p9FGphc4hBwNxu3CYwz5P7aggMiEgKXkLw3cHe9se7oCyRG3erz-iF/s1600/Allchangecastcover%255B1%255D.jpg" /></a></div>
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<span style="color: black;">Fortunately, not all was lost. From the opaque, swirling limbo enveloping The La's emerged Cast- fronted by (ex-La) John Power. In fact, a couple tracks originally written by Power for his previous band surfaced here (including the brilliant "Alright"). While The La's were largely about jangly and earthy acoustic rock, Cast tend more toward the "modern guitar rock" end of the scale. Fortunately, the songs are still anchored by impeccable craft and melodic sense. Their live recordings reveal a band completely at home in a "stadium rock" setting, not unlike The Who in their heyday. </span></div>
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<span style="color: black;"><br /></span></div>
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<span style="color: black;"><b>Alright:</b></span><br />
<span style="color: black;"><u><a href="https://www.youtube.com/watch?v=AtP_-knmRqc">https://www.youtube.com/watch?v=AtP_-knmRqc</a></u></span><br />
<span style="color: black;"><u><br /></u></span>
<span style="color: black;"><b>Fine Time:</b></span><br />
<span style="color: black;"><a href="https://www.youtube.com/watch?v=3inhvtBqd5o">https://www.youtube.com/watch?v=3inhvtBqd5o</a><b></b></span><br />
<span style="color: black;"><b></b><b></b><u></u><b></b><br /></span></div>
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<span style="color: black;"><b>Beat Mama (from 1997' "Magic Hour" album):</b></span><br />
<span style="color: black;"><u><a href="https://www.youtube.com/watch?v=nkuGRDOnIiw">https://www.youtube.com/watch?v=nkuGRDOnIiw</a></u></span></div>
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<span style="color: black;"><b><u><br /></u></b></span>
<span style="color: black;"><b><u><br /></u></b></span>
<span style="color: black;"><b><u>Longpigs- The Sun Is Often Out (1996)</u></b></span><span style="color: black;"><br /></span></div>
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My favourite podcast of all time, "The Ricky Gervais Show" (hosted by Ricky Gervais, Stephen Merchant, and Karl Pilkington), featured a segment called "Rockbusters". Pilkington would provide a "cryptic clue" and an initial to the listener (much to the chagrin of Gervais, who expressed his disdain for the segment at every opportunity), who could call in and guess the band Karl was thinking of. It is still a joy to listen to, and I have linked a few excerpts below:</div>
</div>
<div>
<b><br /></b>
<b>Rockbusters:</b></div>
<div>
<a href="https://www.youtube.com/watch?v=jtSi6_kjQPU">https://www.youtube.com/watch?v=jtSi6_kjQPU</a></div>
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<a href="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEhXvIigQktgKJoV2g71faV2lVmuZ-rJizxv_NYFyDrASTgQoZ9mq5qNjKRcmBbFtexpe8qKlQ71jkIUhAy8MisZEOQUZCY1fWZ4XPI7UkVTM3J12dtrIjbKn3afbA4-74KK2a-hxKbz-I1n/s1600/hqdefault%255B5%255D.jpg" imageanchor="1" style="clear: left; float: left; margin-bottom: 1em; margin-right: 1em;"><br /></a></div>
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<div style="text-align: left;">
For me, it wouldn't get any bigger than being featured on Rockbusters. Longpigs achieved this honour. </div>
<div style="text-align: left;">
<b>Clue:</b> "You'll get a load of bacon off them. Initial 'L'." </div>
<div style="text-align: left;">
If that distinction doesn't have you convinced, just listen to some of the perfect pop on their debut album. Tracks like "She Said" (the group at their most brash), "Far", and "Dozen Wicked Words" are easily among the best of the genre.<br />
<br />
<b>Far:</b><br />
<a href="https://www.youtube.com/watch?v=3ZW04NmOf7g">https://www.youtube.com/watch?v=3ZW04NmOf7g</a><br />
<br />
<b>She Said:</b><br />
<u><a href="https://www.youtube.com/watch?v=dutG1mcfkpo">https://www.youtube.com/watch?v=dutG1mcfkpo</a><b></b></u><br />
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<b>Dozen Wicked Words:</b><br />
<a href="https://www.youtube.com/watch?v=D6l_Ox-5G9Q">https://www.youtube.com/watch?v=D6l_Ox-5G9Q</a><br />
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<b><u>The Charlatans-Tellin' Stories (1997)</u></b></div>
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<a href="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEjKz8qwAgBRmaM_UxA0rYvzAFyweo-RvHq1sSapiWIVRaa6uoEz04-P6yGDcZdK5Db0RKc9X7Yu6ZelocsYQdCP_CglT6HGYaMb0oTXgk7I8_CZYHJ2nK6gC9VWZhbRk9-G05O3bV7lbiNt/s1600/Tellinstoriescover%255B1%255D.jpg" imageanchor="1" style="clear: left; float: left; margin-bottom: 1em; margin-right: 1em;"><img border="0" data-original-height="300" data-original-width="300" src="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEjKz8qwAgBRmaM_UxA0rYvzAFyweo-RvHq1sSapiWIVRaa6uoEz04-P6yGDcZdK5Db0RKc9X7Yu6ZelocsYQdCP_CglT6HGYaMb0oTXgk7I8_CZYHJ2nK6gC9VWZhbRk9-G05O3bV7lbiNt/s1600/Tellinstoriescover%255B1%255D.jpg" /></a></div>
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Another beneficiary of the "Rockbusters" treatment:</div>
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"Those people can't make up their minds whether to sit in the sun or not" (Charlatans= Shall-I-Tans?).</div>
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Again, this list won't be a deep dive for some. The Charlatans were hugely successful, and continue to maintain a rabid fanbase. In fact, this album captures them at their commercial peak (3 smash UK hit singles). Still, it wasn't until recently that I familiarized myself with brilliant tracks like "One To Another", and "How High" (after seeing the album listed on Q Magazine's 100 best records of the 90's list). I generally avoid the more dance-inflected/ "Madchester" scene groups- I am more of a guitar-rock kinda guy...but The Charlatans are an exception. They retain enough grit, swagger, and rawness to win me over. The electronic flourishes are garnish here, and the main dish is impossible not to love.</div>
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<b>One To Another:</b><br />
<u><a href="https://www.youtube.com/watch?v=uxyQ5ByKLfE">https://www.youtube.com/watch?v=uxyQ5ByKLfE</a><b></b></u></div>
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<b>How High:</b><br />
<u><a href="https://www.youtube.com/watch?v=qm9LHAMbY6M">https://www.youtube.com/watch?v=qm9LHAMbY6M</a><b></b></u></div>
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<b><u>Out Of My Hair- Drop The Roof (1996)</u></b></div>
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<span style="font-family: inherit;">Here's a genuinely overlooked entry. Breezy, bright, effortlessly charming, and distinctly English- it's amazing that this group doesn't get namedropped more often. </span><span style="color: black; font-size: 16px; font-style: normal; font-variant: normal; font-weight: 400; letter-spacing: normal; text-align: left; text-decoration: none; text-indent: 0px; text-transform: none; white-space: normal; word-spacing: 0px;"></span><br />
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<span style="color: black; font-size: 16px; font-style: normal; font-variant: normal; font-weight: 400; letter-spacing: normal; text-align: left; text-decoration: none; text-indent: 0px; text-transform: none; white-space: normal; word-spacing: 0px;"><span style="font-family: inherit;">Songs like "Mr. Jones" (not to be confused with the Counting Crows song of the same name) and "In The Groove Again" showcase Simon Eugene's (AKA Comfort's) dulcet and playful-yet-earnest vocal delivery. </span></span></div>
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<b>Mr. Jones: </b></div>
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<u><a href="https://www.youtube.com/watch?v=dvsL_SM9O7s&t=54s">https://www.youtube.com/watch?v=dvsL_SM9O7s&t=54s</a><b></b></u></div>
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<b><u>Ocean Colour Scene- Moseley Shoals (1996)</u></b></div>
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This is pure, no-nonsense British rock: Reverence for tradition paired with modern punch and production values. Moselely Shoals captures the group at their peak, and begins with the unbeatable one-two punch of "The Riverboat Song" and "The Day We Caught The Train". </div>
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<b>The Day We Caught The Train:</b><br />
<a href="https://www.youtube.com/watch?v=1rr4tXN2eJM">https://www.youtube.com/watch?v=1rr4tXN2eJM</a></div>
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<b><u>The Seahorses- Do It Yourself (1997)</u></b><br />
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<a href="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEhSoSGopX5U4C3B-tLeCstj98spWYZRBfWJVWLLDh5Hh4rVOsqYDhTIa_4oan-OL_xzAdD4hAn4Ox21d_2f0hMJWz8Va35cpgzrrvocMKF5DxcxJWo0epvzG_EKu9Lgh_2bQefWYSi-YVsU/s1600/0072064251342_600%255B1%255D.jpg" imageanchor="1" style="clear: left; float: left; margin-bottom: 1em; margin-right: 1em;"><img border="0" data-original-height="600" data-original-width="600" height="320" src="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEhSoSGopX5U4C3B-tLeCstj98spWYZRBfWJVWLLDh5Hh4rVOsqYDhTIa_4oan-OL_xzAdD4hAn4Ox21d_2f0hMJWz8Va35cpgzrrvocMKF5DxcxJWo0epvzG_EKu9Lgh_2bQefWYSi-YVsU/s320/0072064251342_600%255B1%255D.jpg" width="320" /></a></div>
Though featuring ex-Stone Roses guitarist Chris Squires, The Seahorses favoured a more direct and less electronic attack than the Roses had (gone are the dense washes of sound, calculated ambience, and drum loops). Singer Chris Helme also proves himself a compelling frontman. Unfortunately, this was the group's sole release (not including stand-alone single "You Can Talk To Me") before they split.<br />
<b></b><u></u><br />
<b>Love Is The Law:</b><br />
<a href="https://www.youtube.com/watch?v=hVzUFNWIYM0">https://www.youtube.com/watch?v=hVzUFNWIYM0</a><br />
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<b>I Want You To Know:</b><br />
<a href="https://www.youtube.com/watch?v=asAJaSPdl3k">https://www.youtube.com/watch?v=asAJaSPdl3k</a><br />
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<b><u>Dodgy- Free Peace Sweet (1996)</u></b><br />
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<a href="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEinfdYCN_a7tT06H27dh2jy7W7AuM2VpRkCDsS_PU1biZUPPJqyAAC3mHAyUyCqOWfxd3DcNJTH5soO1n6Nq7lABnl5TqWwsy2xWV6GxNuNiVG8rGzbJ-2vGjghRCRUTI6JD82_XCGRBaJh/s1600/FreePeaceSweet%255B1%255D.jpg" imageanchor="1" style="clear: left; float: left; margin-bottom: 1em; margin-right: 1em;"><img border="0" data-original-height="298" data-original-width="300" src="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEinfdYCN_a7tT06H27dh2jy7W7AuM2VpRkCDsS_PU1biZUPPJqyAAC3mHAyUyCqOWfxd3DcNJTH5soO1n6Nq7lABnl5TqWwsy2xWV6GxNuNiVG8rGzbJ-2vGjghRCRUTI6JD82_XCGRBaJh/s1600/FreePeaceSweet%255B1%255D.jpg" /></a></div>
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<span style="font-family: inherit;">Workmanlike Britpop mainstays with a string of successful, radio- ready singles (one of their best, "Found You", appearing on this album...along with 3 other top 20 UK singles). Check out the dual chorus melodies and pure rock bliss of "You've Gotta Look Up". </span><br />
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<span style="font-family: inherit;"><b>Found You:</b></span><br />
<span style="font-family: inherit;"></span><a href="https://www.youtube.com/watch?v=wikGi23DXz0">https://www.youtube.com/watch?v=wikGi23DXz0</a><br />
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<b>You've Gotta Look Up:</b><br />
<a href="https://www.youtube.com/watch?v=aVGT0T4AO0w">https://www.youtube.com/watch?v=aVGT0T4AO0w</a><br />
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<b><u>Suede (1992)</u></b><br />
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<a href="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEhbM-jT5jvwKtRcTVUp1DoVy3zhp3iqHgn8Ff9g7yB0WgXcXBNfT_cJdGBHbFiUIT9bvHi0FxuhqU7wpLr2oHUJFxb38NOO0G6GWi3OojljOkpkU5crIaHo5BhxSmQNhk5Bop5MmaR4LlxR/s1600/Suede_%2528Suede_album_-_cover_art%2529%255B1%255D.jpg" imageanchor="1" style="clear: left; float: left; margin-bottom: 1em; margin-right: 1em;"><img border="0" data-original-height="226" data-original-width="230" src="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEhbM-jT5jvwKtRcTVUp1DoVy3zhp3iqHgn8Ff9g7yB0WgXcXBNfT_cJdGBHbFiUIT9bvHi0FxuhqU7wpLr2oHUJFxb38NOO0G6GWi3OojljOkpkU5crIaHo5BhxSmQNhk5Bop5MmaR4LlxR/s1600/Suede_%2528Suede_album_-_cover_art%2529%255B1%255D.jpg" /></a></div>
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The masters of dark romanticism. Sex-charged, self-consciously excessive, and revelling in crunchy, dense glam riffage--the debut is as good a place to start with Suede as any (although critics usually gravitate towards the follow-up: the darker, more esoteric "Dog Man Star"). <br />
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<b>Metal Mickey:</b><br />
<a href="https://www.youtube.com/watch?v=32fPNb2WHzM">https://www.youtube.com/watch?v=32fPNb2WHzM</a><br />
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<b><u>Gay Dad- Leisure Noise (1999)</u></b><br />
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<a href="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEibyFrY910bZ6lhMOUBEpThXObj8sG_T0oebe36yEBySicfmpcLA5Z9WYOFTW8d0Qg53IYzBnfy9iptMLm7gTD6A226IXFrustcBkyY5c_D7DqS8Fy5xAEpdzhWzCIsNUYHA3jk1dA5ITFN/s1600/GD_LN_Art%255B1%255D.jpg" imageanchor="1" style="clear: left; float: left; margin-bottom: 1em; margin-right: 1em;"><img border="0" data-original-height="300" data-original-width="299" src="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEibyFrY910bZ6lhMOUBEpThXObj8sG_T0oebe36yEBySicfmpcLA5Z9WYOFTW8d0Qg53IYzBnfy9iptMLm7gTD6A226IXFrustcBkyY5c_D7DqS8Fy5xAEpdzhWzCIsNUYHA3jk1dA5ITFN/s1600/GD_LN_Art%255B1%255D.jpg" /></a></div>
With a lineup including an ex-<i>Mojo</i> Magazine music journalist<i> </i>(Cliff Jones), this group kinda had to be good (imagine the glee of tearing into a critic unable to back his words with actual musical talent: the ultimate poetic justice for so many scorned artists). Fortunately, Jones retained both his street cred and his entrails.<br />
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<b>Oh Jim:</b><br />
<a href="https://www.youtube.com/watch?v=Rhkvqxmhvi0">https://www.youtube.com/watch?v=Rhkvqxmhvi0</a><b></b><br />
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<b>My Son Mystic:</b><br />
<a href="https://www.youtube.com/watch?v=9TR7JGMibho">https://www.youtube.com/watch?v=9TR7JGMibho</a><br />
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<b><u>Oasis- Whatever (Single) (1994)</u></b><br />
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<a href="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEgxp2Lte3LKVZgmvU9cOzrqiJVhyC5pPRTWg6oIdRcuyv8BW80zS1xgE7VI5gEADLzQOy6bcFyGNSiE1OltgHVGzyv3bKciZ-vLeCxTbfm_RCnAssUBACiyqteeJoSHRN0Mta_9VY36Qhl3/s1600/5051961014105_600%255B1%255D.jpg" imageanchor="1" style="clear: left; float: left; margin-bottom: 1em; margin-right: 1em;"><img border="0" data-original-height="600" data-original-width="600" height="320" src="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEgxp2Lte3LKVZgmvU9cOzrqiJVhyC5pPRTWg6oIdRcuyv8BW80zS1xgE7VI5gEADLzQOy6bcFyGNSiE1OltgHVGzyv3bKciZ-vLeCxTbfm_RCnAssUBACiyqteeJoSHRN0Mta_9VY36Qhl3/s320/5051961014105_600%255B1%255D.jpg" width="320" /></a></div>
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Yes, I know everyone is aware of Oasis. If not, you should be- they're brilliant.<br />
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What audiences outside of the UK may not know is that the group released a stand-alone single (unavailable on any full-length album until the deluxe reissue of "Definitely Maybe") to bridge the gap between their debut, and the now legendary "(What's the Story?) Morning Glory". It did the job nicely, maintaining the momentum the young superstars had begun to build until they could deliver the knockout punch.<br />
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"Whatever" is an ambitious (almost 6-and-a-half minutes in length + featuring a full orchestra) anthem for the defiant, the proud, and really anyone seeking a sense of affirmation--- an uplifting "take me as I am" statement from the pen of one of rock's most tuneful songwriters, and the lips of one of its most defiant and confident performers. In short, it richly deserves its almost 55 million(!) plays on YouTube. "I'm free to be whatever I- whatever I choose and I'll sing the blues if I want".<br />
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<a href="https://www.youtube.com/watch?time_continue=4&v=EHfx9LXzxpw&feature=emb_logo">https://www.youtube.com/watch?time_continue=4&v=EHfx9LXzxpw&feature=emb_logo</a><br />
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<b><u>Heavy Stereo- Smiler (Single) (1995)</u></b><br />
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<a href="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEiD35OEGiOTbXw26pkCWI5upr6jQ75-CIJbi13H463qxY2m9p6ZuFGBH18Vnf9RsajsHNFRJ06bD06y00G8RMr-JFjZuXoNCq_fhdskqxTc9-x9UqKSHtZojZFeX_Rr3DRvO-nJJ9jLjLn-/s1600/R-1416466-1272912194.jpeg%255B1%255D.jpg" imageanchor="1" style="clear: left; float: left; margin-bottom: 1em; margin-right: 1em;"><img border="0" data-original-height="464" data-original-width="599" height="247" src="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEiD35OEGiOTbXw26pkCWI5upr6jQ75-CIJbi13H463qxY2m9p6ZuFGBH18Vnf9RsajsHNFRJ06bD06y00G8RMr-JFjZuXoNCq_fhdskqxTc9-x9UqKSHtZojZFeX_Rr3DRvO-nJJ9jLjLn-/s320/R-1416466-1272912194.jpeg%255B1%255D.jpg" width="320" /></a></div>
Jubilant! Heavy Stereo released a couple of 3-track EPs to promote the release of their full length album "Deja Voodoo". "Smiler" is my favourite song from the EPs, and (miraculously) did not make the track list on the full-length. Copies of the EPs and full-length are tricky to find this side of the pond, but do surface regularly on auction sites like Ebay.<br />
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<a href="https://www.youtube.com/watch?v=AfeIM-L5x-Y">https://www.youtube.com/watch?v=AfeIM-L5x-Y</a><br />
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<b><u>The Real People (1991)</u></b><br />
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<a href="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEjecH4Wz42uasrD3RN2V_36IfOV092pgv6A7Q3T7wsGSTewZ20dxEfb9pghF8b4NktU5FW20ci6Ucc8xP3qAx7jiX9SmhfmpcOrFSQU7zani1R8kCQ6lbQbgTbB-2zRugEyvmFr90leJdNc/s1600/The-Real-People-resize-1%255B1%255D.jpg" imageanchor="1" style="clear: left; float: left; margin-bottom: 1em; margin-right: 1em;"><img border="0" data-original-height="1088" data-original-width="1088" height="320" src="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEjecH4Wz42uasrD3RN2V_36IfOV092pgv6A7Q3T7wsGSTewZ20dxEfb9pghF8b4NktU5FW20ci6Ucc8xP3qAx7jiX9SmhfmpcOrFSQU7zani1R8kCQ6lbQbgTbB-2zRugEyvmFr90leJdNc/s320/The-Real-People-resize-1%255B1%255D.jpg" width="320" /></a></div>
Liverpudlian pop-connoisseurs who rubbed shoulders with Oasis (including a couple guest credits on early Oasis tracks---Tony Griffiths provided backing vocals on "Supersonic", and Chris Griffiths co-wrote "Rockin Chair" with Noel Gallagher) and The La's. They seem to have taken cues equally from The Stone Roses (electronic textures and rhythms) and The La's, while retaining a wholly unique personality and vision all of their own. Hugely underrated!<br />
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<b>Window Pane:</b><br />
<a href="https://www.youtube.com/watch?v=U2OyWJTGXDY">https://www.youtube.com/watch?v=U2OyWJTGXDY</a><br />
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<b>The Truth:</b><br />
<a href="https://www.youtube.com/watch?v=EGKhkNmvQaM">https://www.youtube.com/watch?v=EGKhkNmvQaM</a><br />
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<b><u>Drugstore-White Magic For Lovers (1998)</u></b><br />
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<a href="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEhn7gUqUkLhSMK_q86UficAkeMMBzb-oUpoeOgXoMohcpn4EElTL1X00vTu65jSQfCd-kAFSpzsaf-7mDsddfF72BacmkucxoAdVG4yoYME7n4GvEK_atEI7vhGrUym-zaBd995A-aP18RJ/s1600/Drugstore_-_White_Magic_for_Lovers%255B1%255D.jpg" imageanchor="1" style="clear: left; float: left; margin-bottom: 1em; margin-right: 1em;"><img border="0" data-original-height="283" data-original-width="283" src="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEhn7gUqUkLhSMK_q86UficAkeMMBzb-oUpoeOgXoMohcpn4EElTL1X00vTu65jSQfCd-kAFSpzsaf-7mDsddfF72BacmkucxoAdVG4yoYME7n4GvEK_atEI7vhGrUym-zaBd995A-aP18RJ/s1600/Drugstore_-_White_Magic_for_Lovers%255B1%255D.jpg" /></a></div>
I usually stay away from anything branded "dream pop", but this one appeals to me nonetheless. Hands-down the best track here is "El President"- an ethereal duet between Isabel Monteiro and Thom Yorke (YES, THE ONE FROM RADIOHEAD). It is near impossible to stand toe-to-toe (or voice-to-voice) with Thom Yorke...but Isabel Monteiro is more than equal to the task here. <br />
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<b>El President:</b><br />
<a href="https://www.youtube.com/watch?time_continue=1&v=_6pc-tWwccU&feature=emb_logo">https://www.youtube.com/watch?time_continue=1&v=_6pc-tWwccU&feature=emb_logo</a><br />
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<b><u>Hurricane #1 (1997)</u></b><br />
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<a href="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEiL-1rWm3YPaO7qjCBiL0P3ELXB4kG2gxJ3XwLrsnmXJCqF5u8SHD3t9-DAqFEwMu0GLmYJsArD68v7HkxwF8ksqdgqd0iMYo4bDnlmDeeUS76gIVr7FHNwuve31ARXB9YCsPTu4rDsPU8l/s1600/Hurricane_no._1%255B1%255D.jpg" imageanchor="1" style="clear: left; float: left; margin-bottom: 1em; margin-right: 1em;"><img border="0" data-original-height="235" data-original-width="235" src="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEiL-1rWm3YPaO7qjCBiL0P3ELXB4kG2gxJ3XwLrsnmXJCqF5u8SHD3t9-DAqFEwMu0GLmYJsArD68v7HkxwF8ksqdgqd0iMYo4bDnlmDeeUS76gIVr7FHNwuve31ARXB9YCsPTu4rDsPU8l/s1600/Hurricane_no._1%255B1%255D.jpg" /></a></div>
Just recently discovered these guys, so I don't have much info. Regardless, they deserve a spot on my list.<br />
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<b>Step Into My World:</b><br />
<span style="font-family: "times new roman";"><b></b><b></b></span><a href="https://www.youtube.com/watch?v=_jPZgLszqRY">https://www.youtube.com/watch?v=_jPZgLszqRY</a><br />
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<b><u>Travis-Good Feeling (1997)</u></b><br />
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It's bouncy, angular, irreverent, brash...a far cry from the restrained and minimalist "adult alternative" sound these guys would become known for (and achieve a modicum of fame in North America with) in the new millenium. I hear echoes of Brit-Pop future here. Might The Fratellis have been listening to this album when they came storming out of the gates in the early 2000's? <u><b><br /></b>
</u>
<b>U16 Girls:</b><br />
<a href="https://www.youtube.com/watch?v=KXgjN_9Id88">https://www.youtube.com/watch?v=KXgjN_9Id88</a><b></b><br />
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<b><u>Starclub (1993)</u></b><br />
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<img border="0" data-original-height="303" data-original-width="300" src="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEjB-cDVjR7OOEcHNu5UQoS5ZiolnLuG_AviGh2RsNNbxvLSdUcT8UqyVreJw7TNa2G-yJWcJsUOru7_m6fn1pxkjI96hahihoO13sfMc_rs2o_bu45kTHozQE7oMGIFLphFQTnGGx4iemoy/s1600/R-2230124-1271158896.jpeg%255B2%255D.jpg" /></div>
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<b><u>Embrace- The Good Will Out (1998)</u></b></div>
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<a href="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEjK5QKPXAqsDiakqQNTbUmDJr5JkELraQ7FqnN7xmqIp0P4TeRKOOM9BukKPHboeuEj-70WR8ewUH5GGh0yqER9ioAdl1C9_Ah0UbaK2uXocSzsXSdfmMDjb5OXJR_4m4y5X_Ms59tlMiy4/s1600/Embrace_TheGoodWillOut_Cover%255B1%255D.jpg" imageanchor="1" style="margin-left: 1em; margin-right: 1em;"><img border="0" data-original-height="300" data-original-width="298" src="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEjK5QKPXAqsDiakqQNTbUmDJr5JkELraQ7FqnN7xmqIp0P4TeRKOOM9BukKPHboeuEj-70WR8ewUH5GGh0yqER9ioAdl1C9_Ah0UbaK2uXocSzsXSdfmMDjb5OXJR_4m4y5X_Ms59tlMiy4/s1600/Embrace_TheGoodWillOut_Cover%255B1%255D.jpg" /></a></div>
<div>
<b>One Big Family:</b></div>
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<a href="https://www.youtube.com/watch?v=_IqLH3VPImk">https://www.youtube.com/watch?v=_IqLH3VPImk</a></div>
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<b><u>The Boo Radleys- C'mon Kids (1996) </u></b></div>
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<img border="0" data-original-height="599" data-original-width="600" height="319" src="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEjrNyXqXH1b3XOcAw5Do0skhimREfLUJACgH8DlCjuqbTrzk6XG0fCbm5_pqjs0tbn9u0WUkyOeKkc74BRPWevm6x_z8elI5yYjM79ibxqFuhRuz9h3nxfiZ3XEnn1M5yHzJrhqR2SiKzyN/s320/R-748543-1157397934.jpeg%255B1%255D.jpg" width="320" /></div>
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Let's end on a rocker. </div>
<div>
<b>C'mon Kids:</b></div>
<div>
<a href="https://www.youtube.com/watch?v=PT5RIYNU2nw"><b></b>https://www.youtube.com/watch?v=PT5RIYNU2nw</a></div>
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Some critics believe that Starclub shot themselves in the foot---naming themselves after a Hamburg club where The Beatles played a legendary string of shows in 1962 (see the Beatles' recording "Live! at the Star-Club..."). There may be some truth there, as these guys don't quite call the Fab Four to mind. That being said, they do warrant a re-examination. Now that the dust has settled, we can listen to simple, no-frills pop tunes like "Hard To Get" on their own merits. It's not breathtaking, but it is fun to dip one's toes into now and then.<br />
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Drummer Alan White would go on to play with Oasis from 1995-2001 (replacing original drummer Tony McCarroll). </div>
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<b>Hard To Get:</b><br />
<a href="https://www.youtube.com/watch?v=kRsttXfQsVQ">https://www.youtube.com/watch?v=kRsttXfQsVQ</a><br />
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<br />Naustinhttp://www.blogger.com/profile/08756557580114216238noreply@blogger.com6tag:blogger.com,1999:blog-7944263838235781384.post-62659676590464597422018-12-21T15:18:00.000-08:002020-06-10T11:17:15.866-07:00The Falling Wallendas-Belittle (1997)<table cellpadding="0" cellspacing="0" class="tr-caption-container" style="float: left; margin-right: 1em; text-align: left;"><tbody>
<tr><td style="text-align: center;"><a href="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEhXFTLyWn-vWO2JmG4JJBcujSqGIIae-4T7it_n8o2cdAQVmbt6pDh2JXkZdq-riorP0bwS0ICFpVkJBlICCruTG8wFu7oHB7KpCkXSFzBjvGvTzs9JcHM03rAFr4RcGe4s8ulfKoyEs1Pz/s1600/0-3.jpg" imageanchor="1" style="clear: left; margin-bottom: 1em; margin-left: auto; margin-right: auto;"><img border="0" data-original-height="799" data-original-width="807" height="316" src="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEhXFTLyWn-vWO2JmG4JJBcujSqGIIae-4T7it_n8o2cdAQVmbt6pDh2JXkZdq-riorP0bwS0ICFpVkJBlICCruTG8wFu7oHB7KpCkXSFzBjvGvTzs9JcHM03rAFr4RcGe4s8ulfKoyEs1Pz/s320/0-3.jpg" width="320" /></a></td></tr>
<tr><td class="tr-caption" style="text-align: center;"><span style="font-size: xx-small;"><u><b>CD Design</b></u>: Jimmy Olson; <u><b>Photography:</b></u> Mary Osmundsen</span></td></tr>
</tbody></table>
This interesting alt-rock disc came across my desk awhile back (and by "came across my desk" I mean "I ordered it on Amazon and it eventually showed up"). It's a nice companion to VPN's "Small Wire" (a few posts back)- a good album for those looking for clarity and punchiness with just a touch of experimentalism in the melody department, and some esoteric lyricism. "Captain Beefheart" is one of a few stunners here- showcasing the tightness of the band's attack (precision bass riffing and driving percussion dissolving into a sunshiney chorus hook). Don't expect many echoes of the actual Beefheart though- this isn't as avant-garde or abrasive (and I like it all the better for that). Still, be prepared for the unexpected; for sharp melodic detours like the chilled-out block party verses of "Porn" dissolving into blasts of amp-testing evil. <br />
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<a href="https://www.allmusic.com/album/belittle-mw0000907856">https://www.allmusic.com/album/belittle-mw0000907856</a><br />
<b>Available on iTunes</b><br />
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<a href="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEj7fqTdKt5Gp42YDm7uYwFhxdNzQZhNmzmk5SrmdIv03vCIbztRye23b-_9tw9XWavIKCJaqPnPkXNmsOvy24PhVCPjAp_9Jwmz5SzbpUsXeIi_ZTpjdW_41IFa4DogANY_x5wUBDtCB4u-/s1600/0-4.jpg" imageanchor="1" style="margin-left: 1em; margin-right: 1em;"><img border="0" data-original-height="800" data-original-width="970" height="263" src="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEj7fqTdKt5Gp42YDm7uYwFhxdNzQZhNmzmk5SrmdIv03vCIbztRye23b-_9tw9XWavIKCJaqPnPkXNmsOvy24PhVCPjAp_9Jwmz5SzbpUsXeIi_ZTpjdW_41IFa4DogANY_x5wUBDtCB4u-/s320/0-4.jpg" width="320" /></a></div>
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<a href="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEj_whJzadfAetWVBGLXGmbBKUAYNNmhS3hg-8AqmUSVzmK7HdgKFiWT2wnBi_oX3K6xaQfSjcrYk5R9DIOC_K7A_ukevaH8mcyQMnMS32WiXxCo225-76357xxCYk6zP7kfeST8P4hwGolh/s1600/0-6.jpg" imageanchor="1" style="margin-left: 1em; margin-right: 1em;"><img border="0" data-original-height="799" data-original-width="742" height="320" src="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEj_whJzadfAetWVBGLXGmbBKUAYNNmhS3hg-8AqmUSVzmK7HdgKFiWT2wnBi_oX3K6xaQfSjcrYk5R9DIOC_K7A_ukevaH8mcyQMnMS32WiXxCo225-76357xxCYk6zP7kfeST8P4hwGolh/s320/0-6.jpg" width="297" /></a></div>
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<br />Naustinhttp://www.blogger.com/profile/08756557580114216238noreply@blogger.com0tag:blogger.com,1999:blog-7944263838235781384.post-56017721322800778402018-12-21T13:41:00.000-08:002018-12-21T13:41:22.685-08:00The Merrymakers-Bubblegun (1997)<table cellpadding="0" cellspacing="0" class="tr-caption-container" style="float: left; margin-right: 1em; text-align: left;"><tbody>
<tr><td style="text-align: center;"><a href="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEi5Td-LQ0RVobezLr_yywKUWNaMTYaJzX76s90WbC7TLyWutAm6Vcvn1EoQvSU6odzJd8Zd1kiXQUJrIwOvzmssJ7lPknMUq1PiVfcnEcX218HbXM5VNvKYwXyxPcGFEktysjOjwhNWc98x/s1600/0.jpg" imageanchor="1" style="clear: left; margin-bottom: 1em; margin-left: auto; margin-right: auto;"><img border="0" data-original-height="799" data-original-width="799" height="320" src="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEi5Td-LQ0RVobezLr_yywKUWNaMTYaJzX76s90WbC7TLyWutAm6Vcvn1EoQvSU6odzJd8Zd1kiXQUJrIwOvzmssJ7lPknMUq1PiVfcnEcX218HbXM5VNvKYwXyxPcGFEktysjOjwhNWc98x/s320/0.jpg" width="320" /></a></td></tr>
<tr><td class="tr-caption" style="text-align: center;"><span style="font-size: xx-small;"><u><b>Design:</b></u> Nancy Brennan, Kato-Chin Club, Pelle Hokengren. <u><b>Photos:</b></u> Megumi Seki, Miharu Saito/ City Publication </span></td><td class="tr-caption" style="text-align: center;"><span style="font-size: xx-small;">Inc, Anders Hellgren</span></td></tr>
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As a massive powerpop fan, and a frequenter of powerpop/ 90's rock blogs, I am angered and dismayed that it took so long for this album to appear on my radar. In the end, it was the ever reliable "Dig Me Out" podcast crew who alerted me to the existence of this group. Perhaps they were better known in their native Sweden?<br />
The Merrymakers will, perhaps, never escape comparisons to Jellyfish...and that group's Andy Sturmer gets a couple of writing and production credits...but that comparison never hurts! The Merrymakers' approach is perhaps a bit more straightforward and a bit less theatrical than the aforementioned group--but they always deliver on their implicit (and explicit, for that matter) promise: to "make merry".<br />
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Saltwater Drinks:<br />
<a href="https://www.youtube.com/watch?v=XS5NZDRcia8">https://www.youtube.com/watch?v=XS5NZDRcia8</a><br />
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April's Fool:<br />
<a href="https://www.youtube.com/watch?v=RbOp3QQW4-U">https://www.youtube.com/watch?v=RbOp3QQW4-U</a><br />
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<a href="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEhpsIyXIYkj_L2m4f9hq15yBvV2Ob7PsSxK83m15CmzvHPuJh3NzKMFK2bkkEAtjyVQYeLM8LkI7xKWuR7ck_E7_p2Jz-jmyoxEM3trR-fbqB2qEIK4PqXBKshB_Gc9R-g4Bn_W_QYxcZ64/s1600/0-2.jpg" imageanchor="1" style="margin-left: 1em; margin-right: 1em;"><img border="0" data-original-height="799" data-original-width="931" height="274" src="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEhpsIyXIYkj_L2m4f9hq15yBvV2Ob7PsSxK83m15CmzvHPuJh3NzKMFK2bkkEAtjyVQYeLM8LkI7xKWuR7ck_E7_p2Jz-jmyoxEM3trR-fbqB2qEIK4PqXBKshB_Gc9R-g4Bn_W_QYxcZ64/s320/0-2.jpg" width="320" /></a></div>
Naustinhttp://www.blogger.com/profile/08756557580114216238noreply@blogger.com0tag:blogger.com,1999:blog-7944263838235781384.post-26455516863780312002018-10-14T13:43:00.004-07:002020-03-06T10:21:41.440-08:00VPN-Small Wire (1998)<table cellpadding="0" cellspacing="0" class="tr-caption-container" style="float: left; margin-right: 1em; text-align: left;"><tbody>
<tr><td style="text-align: center;"><a href="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEg1kbSTIJx_2O509F_VSWSDhoiRJSThDLrptjnGBz7uVbbNH6AJwNO_EGhUz5hotXillxVlcx6uj9vaKRC8CFDr1bgDvFevXBiLkpOMF9orlw4Wb2DLpNDJmd1G6mdjnBwrzlYAsnGMh_2R/s1600/44023974_250667809139385_6325122397502439424_n.jpg" imageanchor="1" style="clear: left; margin-bottom: 1em; margin-left: auto; margin-right: auto;"><img border="0" data-original-height="960" data-original-width="952" height="320" src="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEg1kbSTIJx_2O509F_VSWSDhoiRJSThDLrptjnGBz7uVbbNH6AJwNO_EGhUz5hotXillxVlcx6uj9vaKRC8CFDr1bgDvFevXBiLkpOMF9orlw4Wb2DLpNDJmd1G6mdjnBwrzlYAsnGMh_2R/s320/44023974_250667809139385_6325122397502439424_n.jpg" width="317" /></a></td></tr>
<tr><td class="tr-caption" style="text-align: center;"><span style="font-size: xx-small;"><b>Sleeve design by Tonya Hudson & Austin Hughes; Photography by Austin Hughes</b></span></td></tr>
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Literally ones (perhaps even twos) of people have been asking me what's up with the blog. I've been back in school, so have had very little time for posting. Figured I'd better give the people what they want though.<br />
<br />
I have been meaning to alert the masses to this band for a while.<br />
As far as I can tell, VPN (or "Very Pleasant Neighbor") released just two albums-this being the first.<br />
This is one of those groups that seemed to emerge from the ether fully formed: no timidity, no areas requiring growth, no derivitiveness, no sluggishness...it's all toned and honed.<br />
The writing reminds me a bit of "She Said She Said" era John Lennon--taking all sorts of melodic risks-veering off at unexpected angles before resolving into something surprisingly lean and accessible (See tracks like "Patty Hearst", "Skywriting", and "Submarine").<br />
Eleanor (Has Four Arms)--which includes lyrics like:<br />
"<i>Eleanor, you've traded your two legs;</i><br />
<i>Eleanor, your two legs for two arms</i>"<br />
and "She Has A Leak" showcase the band's knack for dark surrealist/ psychedelic table-setting. There's always something...a looming threat...just below the surface, and it will keep you on the edge of your seat.<br />
<br />
<span style="font-size: large;"><u><b>Link to the album on Spotify:</b></u></span><br />
<a href="https://open.spotify.com/album/23sCmTBux55ZzSLnEXvAjn">https://open.spotify.com/album/23sCmTBux55ZzSLnEXvAjn</a><br />
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<a href="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEg6l7SKOf70_5hdlbnKozTeCtUS_RfbLumLxPJTSOwpE-kaU9f-Z5U09XW4uGg6lOc9IWqFTQKiP3yCjfvgJgGhGvZJwiyEERTsMeBoHrB1omS5tzd0qWZbIi3oytq0wh8PWIxfWbzhGSj8/s1600/44030896_359356161477515_7553846544420569088_n.jpg" imageanchor="1" style="clear: left; float: left; margin-bottom: 1em; margin-right: 1em;"><img border="0" data-original-height="846" data-original-width="960" height="282" src="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEg6l7SKOf70_5hdlbnKozTeCtUS_RfbLumLxPJTSOwpE-kaU9f-Z5U09XW4uGg6lOc9IWqFTQKiP3yCjfvgJgGhGvZJwiyEERTsMeBoHrB1omS5tzd0qWZbIi3oytq0wh8PWIxfWbzhGSj8/s320/44030896_359356161477515_7553846544420569088_n.jpg" width="320" /></a></div>
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<tr><td style="text-align: center;"><a href="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEgkh6z9z2WmE7g1jp5U98ZksxfRL0KTIr0bXEfimZj0lTIl8z8gBAMvrtKtMEH3iZDyead5CjYnoPF25qilGYS65Q7w-cKYOcMrVqzVoZrmNqOxnzs0sySlFh99nFVwS-NhMBPQ3DD1pBi4/s1600/44045295_410011049534652_3628555729356455936_n.jpg" imageanchor="1" style="margin-left: auto; margin-right: auto;"><img border="0" data-original-height="935" data-original-width="960" height="308" src="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEgkh6z9z2WmE7g1jp5U98ZksxfRL0KTIr0bXEfimZj0lTIl8z8gBAMvrtKtMEH3iZDyead5CjYnoPF25qilGYS65Q7w-cKYOcMrVqzVoZrmNqOxnzs0sySlFh99nFVwS-NhMBPQ3DD1pBi4/s320/44045295_410011049534652_3628555729356455936_n.jpg" width="320" /></a></td></tr>
<tr><td class="tr-caption" style="text-align: center;"><b><span style="font-size: xx-small;">Band photo by</span> <span style="font-size: xx-small;">Elain Ahn</span></b></td></tr>
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<br />Naustinhttp://www.blogger.com/profile/08756557580114216238noreply@blogger.com0tag:blogger.com,1999:blog-7944263838235781384.post-32674959788952875932018-08-25T18:55:00.000-07:002018-09-11T08:10:18.212-07:00The Liar's Club-Drop Dead. (1994)<table cellpadding="0" cellspacing="0" class="tr-caption-container" style="float: left; margin-right: 1em; text-align: left;"><tbody>
<tr><td style="text-align: center;"><a href="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEjbzZS34uhdrcUtPlLEz1y0RZatCdZrW_fJnhzgWVJ4eXAL3RX2DUXHbrMmYvYCOPrrFeMfZ6wXo6krK9AWyWCMr2kaYEJaxTzuxjz_iSPBULgSu9pTDF1FEWbNtJWoMM3-u6FjHeU3Hmam/s1600/40129148_334806550596180_7183069383625801728_n.jpg" imageanchor="1" style="clear: left; margin-bottom: 1em; margin-left: auto; margin-right: auto;"><img border="0" data-original-height="1580" data-original-width="1600" height="316" src="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEjbzZS34uhdrcUtPlLEz1y0RZatCdZrW_fJnhzgWVJ4eXAL3RX2DUXHbrMmYvYCOPrrFeMfZ6wXo6krK9AWyWCMr2kaYEJaxTzuxjz_iSPBULgSu9pTDF1FEWbNtJWoMM3-u6FjHeU3Hmam/s320/40129148_334806550596180_7183069383625801728_n.jpg" width="320" /></a></td></tr>
<tr><td class="tr-caption" style="text-align: center;"><b><span style="font-size: xx-small;">(Photographs by Steve McElrath; Design by Ben Thompson with Jayson Jarmon)</span></b></td></tr>
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With songs referencing Fred Astaire, Holly Golightly, and Elvis (almost added "Twin Peaks" to the list, but actually that was pretty current at the time...and has indeed become very current again), The Liar's Club always seemed a bit before their time (even the name appears to have come from a 60's/70's game show). That's not necessarily a bad thing for a pop/ rock group of their ilk, but it is always a looming presence. Fortunately The Liar's Club don't spend much time pining over some "golden era gone by"; they spend their reverential energy on crafting pop hooks with the same care and attention to detail as their forefathers (Lennon, McCartney, Emmit Rhodes, Ray and Dave Davies...) and adding that distinctly 90's "tang". Unfortunately, as the Wikipedia article points out, these guys were from the Seattle area (Tacoma to be exact), and everybody knows what the Seattle zeitgeist was in the early 90's (and yes, it was frickin' awesome!)...and it wasn't this (frickin' awesome in a different way). Sometimes this "band against the world" ethos surfaces in subtle ways-perhaps most pointedly on the wonderful "Whatever..." which appears to poke fun at the hip "affected cynicism" of the time ("Whatever I say, whatever I do, "whatever" is all I ever get from you..."). It skips along on the legs of a melody that would have sounded as good now as in 1967...or, for that matter, probably as good as it would have sounded at the time the first Ichthyostega pulled itself from the primeval seas and drew its first gasping breaths- easing itself forward on it's newly evolved forelimbs under the hot Devonian sun."Fred Astaire", "Triage", and "The Redundant Romantic Fool" are other can't miss moments.<br />
There's also a sort of running joke underpinning the album's marketing-I pulled this from the Discogs page:<br />
<i>"<span style="font-size: x-small;">The concept behind Drop Dead was simply: a band so desperate for
commercial success - they faked their own deaths hoping to pique
consumer interest.
<br />
<br />The catalogue number (614) was taken from the Dewey Decimal
classification for "Forensic medicine; incidence of injuries, wounds,
disease; public preventive medicine"
</span></i><br />
<a href="https://www.discogs.com/Liars-Club-Drop-Dead/release/4938680">https://www.discogs.com/Liars-Club-Drop-Dead/release/4938680</a><br />
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<span style="font-size: small;">And, as you can see, this joke carries through into the album's packaging and artwork. I particularly like the legal notice on the back of the jewel case: </span><br />
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<span style="font-size: x-small;"><i>"WARNING: A curse be upon ye who would defile our memory or disturb our bones. </i></span><br />
<span style="font-size: small;"><span style="font-size: x-small;"><i>Unauthorized duplication of this recording will be met with swift retribution from beyond the grave"</i><span style="font-size: small;"> </span></span></span><br />
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<span style="font-size: small;"><span style="font-size: x-small;"><span style="font-size: small;">I should add that the group would not release another album until 2013, so those who had initially laughed at the whole "death joke" were probably getting a bit concerned. </span></span></span><br />
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<span style="font-size: small;"><span style="font-size: x-small;"><span style="font-size: small;">Unfortunately this is the only (out of 4) Liar's Club album NOT on iTunes. I can't find much on Youtube either- but here's what I have unearthed:</span></span></span><br />
<span style="font-size: small;"><span style="font-size: x-small;"><u><span style="font-size: small;">"Triage" live on The Spud Goodman Show: </span></u></span></span><br />
<span style="font-size: small;"><a href="https://www.youtube.com/watch?v=9zMdUCrZro8&list=PLB-R63tyrYzzn5-1yjE9vv-QoammpFZFY&index=8&t=0s">https://www.youtube.com/watch?v=9zMdUCrZro8&list=PLB-R63tyrYzzn5-1yjE9vv-QoammpFZFY&index=8&t=0s</a><i> </i></span><br />
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<u>"Cinnamon Smiles":</u><br />
<a href="https://www.youtube.com/watch?v=CI9u5KdAOBc&index=1&list=PLB-R63tyrYzzn5-1yjE9vv-QoammpFZFY">https://www.youtube.com/watch?v=CI9u5KdAOBc&index=1&list=PLB-R63tyrYzzn5-1yjE9vv-QoammpFZFY</a><br />
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I cheated and got my copy online, but if you ever come across it at a used record shop I recommend-no, PLEAD- you pick it up. And of course, check out the albums that ARE available on iTunes (although this is their finest in my opinion).<br />
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<tr><td class="tr-caption" style="text-align: center;"><b><span style="font-size: xx-small;">(Art/Design credits same as above)</span></b></td></tr>
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<tr><td class="tr-caption" style="text-align: center;"><span style="font-size: xx-small;"><b>(Charlatan Record Cartel-CRC 614)</b></span></td></tr>
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<br />Naustinhttp://www.blogger.com/profile/08756557580114216238noreply@blogger.com0tag:blogger.com,1999:blog-7944263838235781384.post-51809029649366367252018-08-03T12:22:00.000-07:002020-03-07T11:29:38.541-08:00Poundcake-Aloha Via Satellite (1996)<table cellpadding="0" cellspacing="0" class="tr-caption-container" style="float: left; margin-right: 1em; text-align: left;"><tbody>
<tr><td style="text-align: center;"><a href="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEhliufC5m052bgYqZoRgdZOgHCU14xbJ6xF7C4hxT1OSjBRicJGGOmGDpprSA_ZS06RcNjX4Dag1XIGeKLcHO_2R3wTZaSdG7PAGUaZXVmi7EvQthjmuMyI1aCcw1ODa7wm7nTaM1ZZWhKe/s1600/38516127_10155278927062242_5352258450363514880_n.jpg" imageanchor="1" style="clear: left; margin-bottom: 1em; margin-left: auto; margin-right: auto;"><img border="0" data-original-height="1600" data-original-width="1562" height="320" src="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEhliufC5m052bgYqZoRgdZOgHCU14xbJ6xF7C4hxT1OSjBRicJGGOmGDpprSA_ZS06RcNjX4Dag1XIGeKLcHO_2R3wTZaSdG7PAGUaZXVmi7EvQthjmuMyI1aCcw1ODa7wm7nTaM1ZZWhKe/s320/38516127_10155278927062242_5352258450363514880_n.jpg" width="312" /></a></td></tr>
<tr><td class="tr-caption" style="text-align: center;"><b><span style="font-size: xx-small;">(Art direction and design by Lauren Herman; Photography by Spencer Lloyd)</span></b></td></tr>
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Boston power-pop group "The Cavedogs" split in 1992 after two (now cult classic) LP's. Fortunately, like the mythical hydra, when the Cavedogs' head was severed, three even more ferocious heads sprouted to take its place:<br />
-<b>Brian Stevens</b> released "Prettier Than You" in 1996 as a solo artist<br />
-<b>Todd Spahr</b> formed "The Gravy" (check out 1997's "Hangman's Pop")<br />
-<b>Mark Rivers</b> formed "Poundcake" with vocalist/ guitarist Clayton P. Scoble, and bassist/ vocalist Josh D. Lattanzi.<br />
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I will also note, before going any further, that one remaining thread connecting these three projects was <b>Q Division Records</b>. Q Division is worth noting for their formidable roster-just a ton of great artists! Here are a few others to check out: The Gravel Pit, Stepladder, Jennifer Trynin, Jules Verdone, The Fly Seville, and Aimee Mann.<br />
<br />
So, Poundcake...<br />
The power pop hooks inherited from the Cavedogs are still on full display, but they are honed to a scalpel-sharp edge, and they are a bit rougher-hewn too.<br />
I generally like my power pop with some jaggedness. Sure, you still need a bit of cuteness- a bit of Beatles-esque whimsy, a bit of Byrds-esque jangle-but there needs to be some spikiness too! Imagine a big pot-bellied hog. It's cute, it's pet-able, if it's at a fair it's probably in a pen with some straw and grass so people can take photos and scratch it behind the ears...BUT when you get a handful of it, you feel the bristles covering it's porcine folds-not an unpleasant sensation, but a reminder that there's more there than meets the eye...and it holds you there, eager to uncover more of it's mystery-taking in the suppleness, the malleability, but the ugliness and jaggedness too- reveling in it! So that's Poundcake-got it?<br />
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Of the three "Cavedogs" offshoots, Poundcake is the heaviest. There's as much Cobain (at his most melodic) as McCartney here. There's a sense of liberation on this record too; a sense that Rivers had always wanted to really let loose, but perhaps "The Cavedogs" were not the vehicle for that-they had an established aesthetic that their audience counted on day in and day out. Maybe it's his writing partnership with Scoble (who already had an impressive resumé at this point-including credits with Aimee Mann, Guster, and Jennifer Trynin) that pushed things in this new direction? I would be curious to know what the writing dynamic was like...but regardless, it works. <br />
They even get a bit political here, with a sardonic commentary on then NRA president Marion P. Hammer ("Marion P. Hammer Day"). "The Midas Brush" offers some nice variety at the 2/3 mark, slowing things down and getting a bit rootsy- my favourite lyric: "...there's no one knows the greats I've aped; cause a million monkeys with a million brushes still would only eat the paint" (a play on the famous "monkeys and typewriters" allegory). <br />
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Oh, and I should mention, Mark Rivers would later go on to play the drummer in the fictional band "Mouse Rat" (fronted by Andy Dwyer- played by Chris Pratt) on the sitcom "Parks and Rec". Pretty cool career! <br />
Clayton Scoble would go on to form the excellent "Francine", and release two LP's with that group (maybe the subject of a future review).<br />
Josh Lattanzi would go on to perform with a variety of other artists, including Q Division's "Senor Happy" and Ben Kweller. He also appears to have some Sound Engineer credits (including one with the aforementioned "Gravel Pit"). These are some talented dudes.<br />
<br />
Nothing on Youtube...but fortunately the album appears to be available on Spotify, as well as for download on iTunes. Here's a Spotify link:<br />
<a href="https://open.spotify.com/album/1UkSlhRLcosAEMgsS3xTyR">https://open.spotify.com/album/1UkSlhRLcosAEMgsS3xTyR</a><br />
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<a href="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEiEJFWng7gvkkYC2jpgF-YkMZVwCTZpJ4Y0Ia1Z9FxiBd0gjTnEd9IPG2IGTb2TMcBZgyH7VW_nuMBy7d_oDXwIMpg6gt4vJe_W6n5cj4giT9ZgfWd7hMLjIS9KeDORjRkz2n-kYME47o9B/s1600/38404938_10155278927597242_7683633631402655744_n.jpg" imageanchor="1" style="clear: left; float: left; margin-bottom: 1em; margin-right: 1em;"><img border="0" data-original-height="1599" data-original-width="1600" height="319" src="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEiEJFWng7gvkkYC2jpgF-YkMZVwCTZpJ4Y0Ia1Z9FxiBd0gjTnEd9IPG2IGTb2TMcBZgyH7VW_nuMBy7d_oDXwIMpg6gt4vJe_W6n5cj4giT9ZgfWd7hMLjIS9KeDORjRkz2n-kYME47o9B/s320/38404938_10155278927597242_7683633631402655744_n.jpg" width="320" /></a></div>
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<tr><td style="text-align: center;"><a href="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEis5wbpk_oRUIQ82vSJ0kVXjiuyC0ZAEa2-BQ3m28EK0aGu4XapCD35vwxNVIy7PEmIwTSlRNoRdFuYRqUDaazKqqxGhcFeLMROsxwCDyEyFA6BEyJ4u-CO3CmfKMkRk9pAmxKTqLe-IjGg/s1600/38231998_10155278926887242_6576313942061088768_n.jpg" imageanchor="1" style="clear: left; margin-bottom: 1em; margin-left: auto; margin-right: auto;"><img border="0" data-original-height="1562" data-original-width="1600" height="312" src="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEis5wbpk_oRUIQ82vSJ0kVXjiuyC0ZAEa2-BQ3m28EK0aGu4XapCD35vwxNVIy7PEmIwTSlRNoRdFuYRqUDaazKqqxGhcFeLMROsxwCDyEyFA6BEyJ4u-CO3CmfKMkRk9pAmxKTqLe-IjGg/s320/38231998_10155278926887242_6576313942061088768_n.jpg" width="320" /></a></td></tr>
<tr><td class="tr-caption" style="text-align: center;"><b><span style="font-size: xx-small;">(Art credits same as for cover; Label: Q Division Records)</span></b></td></tr>
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Naustinhttp://www.blogger.com/profile/08756557580114216238noreply@blogger.com0tag:blogger.com,1999:blog-7944263838235781384.post-30872225222884605242018-07-30T18:24:00.002-07:002018-07-30T18:24:58.727-07:00Ben Swift Band-Chimpanzee (1998)<table cellpadding="0" cellspacing="0" class="tr-caption-container" style="float: left; margin-right: 1em; text-align: left;"><tbody>
<tr><td style="text-align: center;"><a href="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEilB2qVV1mYb8d29CvOZ5oFjKgOczACFROAsMHO_n-GADBo6duvrwl-euEBNhm8IoYWrXEShUOIc58xBOAFLzlgmrwgvkOqGfCZTIgTbUSth2wgNoXMM_sIvxfmk3aKXYmrKNtP83BTnQav/s1600/38085244_10155270744097242_863264275894894592_n.jpg" imageanchor="1" style="clear: left; margin-bottom: 1em; margin-left: auto; margin-right: auto;"><img border="0" data-original-height="1600" data-original-width="1543" height="320" src="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEilB2qVV1mYb8d29CvOZ5oFjKgOczACFROAsMHO_n-GADBo6duvrwl-euEBNhm8IoYWrXEShUOIc58xBOAFLzlgmrwgvkOqGfCZTIgTbUSth2wgNoXMM_sIvxfmk3aKXYmrKNtP83BTnQav/s320/38085244_10155270744097242_863264275894894592_n.jpg" width="308" /></a></td></tr>
<tr><td class="tr-caption" style="text-align: center;"><span style="font-size: xx-small;">(Illustration, Design, and Photography by Abbey Tyson)</span></td></tr>
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There are a lot of reviews out there comparing the Ben Swift Band to the Dave Matthews Band, or at least lumping them into the "90's jam band" category. One Amazon customer reviewer (whom I will refrain from naming for their own safety) said something to the effect of "these guys basically do what Dave Matthews does, but better". In my opinion, the last way to win over a Dave Matthews Band (or "DMB" from here on in) fan is to suggest that there is someone else out there who "does it better"; his fans are pretty hardcore--like, "Deadhead" hardcore. If you openly suggested to a DMB fan that there was a similar group that "did it better" you would be put into a crate and shipped to a remote island where man is hunted for sport; and while the denizens of this island polished and mounted the heads from that day's hunt, they would debate, ad nauseum, what the best live version of "Two Step" is.<br />
<br />
But let's be clear-the Ben Swift Band are NOT a DMB copy. Any similarities lie in the strengths of the respective bands/ performers, not via any attempt by the former to ape the latter. Those similarities include: <br />
-Ben Swift's vocals are a formidable weapon-raspy and soulful, yet tuneful. So, like Dave Matthews, he is one of those rare "jam band" front-men whose voice is among the most potent things on show.<br />
-They are song oriented. The jamming is incidental to the song-not the other way around.<br />
-Brass instruments and mandolins pop up now and again.<br />
<br />
Unlike many so-called "jam bands", there is a remarkable and refreshing concision to "Chimpanzee". The longest song on the album is the title track, which weighs in at a robust, but not overdone 5:54. What's more, the virtuoso qualities, limberness, and looseness of the songs actually feel magnified by the shorter running times. Why stretch it out just for the sake of it? If you can take someone on a fulfilling and inspired journey in 4 minutes when it takes your contemporaries 10 or more to communicate less, then why not do it?<br />
<br />
My favourite tracks on the album are the slinky and sexy "Cup and Saucer":<br />
<a href="https://www.youtube.com/watch?v=UaalkOhvGDM">https://www.youtube.com/watch?v=UaalkOhvGDM</a><br />
the swinging and stirring "Poughkeepsie":<br />
<a href="https://www.youtube.com/watch?v=2oj-75l3DU4">https://www.youtube.com/watch?v=2oj-75l3DU4</a><br />
and the seraphic and subdued "Walking Away":<br />
<a href="https://www.youtube.com/watch?v=y9xMbngPKFk">https://www.youtube.com/watch?v=y9xMbngPKFk</a><br />
<br />
Ben Swift's music can (and should) be purchased on iTunes and/or CDbaby:<br />
<a href="https://store.cdbaby.com/Artist/BenSwiftBand">https://store.cdbaby.com/Artist/BenSwiftBand</a><br />
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<tr><td style="text-align: center;"><a href="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEjbi-2RA04Wvo_dRXhiaoRqVIp-3K1ozseaut9_wkbEJIGX5gcYz8wvQhi8cGZbP0vChPZXtwmRAW96Nykx1cjqZ-Ho2OUtvvi5MQhD4hfaaeFVUPKSuZpT4BdOD-vwqwEbFHCJiKFXl5Sn/s1600/38085756_10155270745337242_5242026212041162752_n.jpg" imageanchor="1" style="margin-left: auto; margin-right: auto;"><img border="0" data-original-height="1370" data-original-width="1600" height="274" src="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEjbi-2RA04Wvo_dRXhiaoRqVIp-3K1ozseaut9_wkbEJIGX5gcYz8wvQhi8cGZbP0vChPZXtwmRAW96Nykx1cjqZ-Ho2OUtvvi5MQhD4hfaaeFVUPKSuZpT4BdOD-vwqwEbFHCJiKFXl5Sn/s320/38085756_10155270745337242_5242026212041162752_n.jpg" width="320" /></a></td></tr>
<tr><td class="tr-caption" style="text-align: center;"><span style="font-size: xx-small;">(Art credits same as above; Label info: Stonebone Records)</span></td></tr>
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<br />Naustinhttp://www.blogger.com/profile/08756557580114216238noreply@blogger.com0tag:blogger.com,1999:blog-7944263838235781384.post-59346605735020880612018-07-24T11:34:00.000-07:002018-07-25T22:57:41.900-07:00Brendan Benson-One Mississippi (1996)<table cellpadding="0" cellspacing="0" class="tr-caption-container" style="float: left; margin-right: 1em; text-align: left;"><tbody>
<tr><td style="text-align: center;"><a href="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEhjQrnrwZaVO4GtT2jtJ-x-fEYrU3Nthgk3alzS3n_01DNnJAtwoJrlq32rqX4WO_M2jmHevEaro1-PCLDCctZpQbA-Roiz6fLwu_EphJ7Y5uLItSnI-daw6JHMn3bTW7qXPtlM23NMp5RY/s1600/Brendan_Benson-One_Mississippi-Frontal.jpg" imageanchor="1" style="clear: left; margin-bottom: 1em; margin-left: auto; margin-right: auto;"><img border="0" data-original-height="953" data-original-width="953" height="320" src="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEhjQrnrwZaVO4GtT2jtJ-x-fEYrU3Nthgk3alzS3n_01DNnJAtwoJrlq32rqX4WO_M2jmHevEaro1-PCLDCctZpQbA-Roiz6fLwu_EphJ7Y5uLItSnI-daw6JHMn3bTW7qXPtlM23NMp5RY/s320/Brendan_Benson-One_Mississippi-Frontal.jpg" width="320" /></a></td></tr>
<tr><td class="tr-caption" style="text-align: center;"><b><span style="font-size: xx-small;">(Photos by Jennifer Youngblood, Tom LeGoff, and Dan Burkhart; Design by Jeff Lyons)</span></b></td></tr>
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Brendan Benson is a pretty important name in 90's power pop circles (right up there with Matthew Sweet), and he would go on to co-star with Jack White in The Raconteurs (known for hits like "Steady As She Goes"). Regardless, this--his first album-- is often unfairly overlooked, and can be a bit tricky to find. <br />
<br />
For a songwriter making his first foray into major label territory (the album was released on Virgin), Benson shows oodles and oodles of confidence. Take for example "Sittin' Pretty", easily the most musically accessible and catchy track on the album. So, you have a radio-ready hit; lightning in a bottle; this track is gonna break you into the mainstream...so what's it about?<br />
<br />
Well, metaphorically, it seems to be about a person who has complete dominion over a relationship- a one-sided romance. Read literally it's about sexual violence, obsession, kidnapping, stalking...it's pretty dark! It includes lyrics like: "<i>If I point my gun at you, are you gonna see it my way</i>?" and a chorus of:<br />
<i>"My baby's tied to a chair<br />
Don't she look pretty, just sittin' there?"</i><br />
<br />
Ya know-lyrics that wouldn't sound out of place on an Alice Cooper album. Was Benson ever worried about people conflating the roles of writer and narrator? Label backlash?<br />
<br />
It's really quite unique: musically, a super sweet, super catchy power pop gem....but one to listen to through gritted teeth.<br />
(Benson co-wrote the song with Jellyfish's Jason Falkner, so maybe having that veteran presence was a calming influence).<br />
<br />
The rest of the album features more of the catchy, brash, and timeless pop Benson is known for-but with a bit more roughness than the follow-up: 2002's "Lapalco".<br />
<br />
<b>Sittin' Pretty:</b><br />
<a href="https://www.youtube.com/watch?v=SqGCyhnUhjA">https://www.youtube.com/watch?v=SqGCyhnUhjA</a><br />
<b>Insects Rule: </b><br />
<a href="https://www.youtube.com/watch?v=AITAmMZ-ZV0">https://www.youtube.com/watch?v=AITAmMZ-ZV0</a><br />
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<tr><td style="text-align: center;"><a href="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEgcwft2Ugj3dgxFowbs8M7szQLXKlJ01IQ8TBvHj1z5dYLwTP3B3s_VaS8k5gAlWv-4NE8DTbJFIMdmFXZswjHDGLTxT1JMszvimS-5zRbQBVIi-O5Dz5HoIO0ctedpRA3hKt1ZL96u6C8s/s1600/37680758_10155255319167242_5128428029323771904_n.jpg" imageanchor="1" style="clear: left; margin-bottom: 1em; margin-left: auto; margin-right: auto;"><img border="0" data-original-height="793" data-original-width="899" height="282" src="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEgcwft2Ugj3dgxFowbs8M7szQLXKlJ01IQ8TBvHj1z5dYLwTP3B3s_VaS8k5gAlWv-4NE8DTbJFIMdmFXZswjHDGLTxT1JMszvimS-5zRbQBVIi-O5Dz5HoIO0ctedpRA3hKt1ZL96u6C8s/s320/37680758_10155255319167242_5128428029323771904_n.jpg" width="320" /></a></td></tr>
<tr><td class="tr-caption" style="text-align: center;"><b><span style="font-size: xx-small;">(Label info reads: Virgin Music Canada; Distributed by EMI)</span></b></td></tr>
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<a href="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEjMQKVOAWc0WlHkMmc6HDpbQAXs3jC-N0xye0uMMBrYr6qFgzL6gfzWuMa0PsIEz7Bp0ispp-sVfh2LfLp-9X96Yak2xV9XroQefW5rsHxmvZY-NJJPvL_t0gvsXxu42EJFsNEUZb54Rd0d/s1600/37723770_10155255311077242_1628027436815876096_n.jpg" imageanchor="1" style="clear: left; float: left; margin-bottom: 1em; margin-right: 1em;"><img border="0" data-original-height="641" data-original-width="1600" height="128" src="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEjMQKVOAWc0WlHkMmc6HDpbQAXs3jC-N0xye0uMMBrYr6qFgzL6gfzWuMa0PsIEz7Bp0ispp-sVfh2LfLp-9X96Yak2xV9XroQefW5rsHxmvZY-NJJPvL_t0gvsXxu42EJFsNEUZb54Rd0d/s320/37723770_10155255311077242_1628027436815876096_n.jpg" width="320" /></a></div>
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<tr><td style="text-align: center;"><a href="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEhf9UPDWN_SQk3dhPKpm7wqhXAhT-PtACWrPu_IooAVd6GVPjfksL4skZZ3qQN8A2zojQ7NCjJox1OBgT1s3qDH4gY6H28rY7pqnMwUNr7qyJb8Zn_ufu4N7gw97C033mkyMgbYz3yJC2g1/s1600/37687871_10155255320037242_8343890844918480896_n.jpg" imageanchor="1" style="clear: left; margin-bottom: 1em; margin-left: auto; margin-right: auto;"><img border="0" data-original-height="906" data-original-width="1309" height="221" src="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEhf9UPDWN_SQk3dhPKpm7wqhXAhT-PtACWrPu_IooAVd6GVPjfksL4skZZ3qQN8A2zojQ7NCjJox1OBgT1s3qDH4gY6H28rY7pqnMwUNr7qyJb8Zn_ufu4N7gw97C033mkyMgbYz3yJC2g1/s320/37687871_10155255320037242_8343890844918480896_n.jpg" width="320" /></a></td></tr>
<tr><td class="tr-caption" style="text-align: center;"><span style="font-size: xx-small;"><b>(Credits same as for album cover)</b></span></td></tr>
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<br />Naustinhttp://www.blogger.com/profile/08756557580114216238noreply@blogger.com0tag:blogger.com,1999:blog-7944263838235781384.post-71248915736480990172018-07-23T14:33:00.000-07:002018-07-23T14:33:19.619-07:00Floater-Angels in the Flesh & the Devil in the Bone (1998)<table cellpadding="0" cellspacing="0" class="tr-caption-container" style="float: left; margin-right: 1em; text-align: left;"><tbody>
<tr><td style="text-align: center;"><a href="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEh_572hf9jEzPELDNTUv1mNdHSnCUXMWaTGQNf-WRH6EJCPjYvwcIKs9r08B6E4X207PhXPCXmWD75LZfFPHV9ye32otjZ2NxV-V2vCbsjBeuzai0ieFO4cET0ww7M9Mzb4OO1rAtsTVXWc/s1600/37687876_10155255261872242_198645918226972672_n.jpg" imageanchor="1" style="clear: left; margin-bottom: 1em; margin-left: auto; margin-right: auto;"><img border="0" data-original-height="1197" data-original-width="1206" height="396" src="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEh_572hf9jEzPELDNTUv1mNdHSnCUXMWaTGQNf-WRH6EJCPjYvwcIKs9r08B6E4X207PhXPCXmWD75LZfFPHV9ye32otjZ2NxV-V2vCbsjBeuzai0ieFO4cET0ww7M9Mzb4OO1rAtsTVXWc/s400/37687876_10155255261872242_198645918226972672_n.jpg" width="400" /></a></td></tr>
<tr><td class="tr-caption" style="text-align: center;"><b><span style="font-size: xx-small;">(Concept by Floater; Graphic Manip. by Paul Anders; Manip/Layout by Rabid Rabit Graphics) </span></b></td><td class="tr-caption" style="text-align: center;"><b><span style="font-size: xx-small;"><br /></span></b></td></tr>
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The eye imagery surrounding this American progressive rock group (including the eye on the album cover here) leads me to believe that they are named for the squiggly little shapes you get in your field of vision from deposits in your vitreous humour. It's also an apt description of how their albums play--allowing the listener to float between various liminal and transitory states (am I a fly on the wall in someone's dream? Is the narrator on a plane somewhere between life and death?) It's almost like a musical version of that hypnotic and unsettling diner scene in David Lynch's "Mulholland Drive" in which a man recounts a disturbing dream to his companion...and then it starts to seep into reality (or is it reality?)... I will refrain from posting spoilers (look it up on youtube). The whole scene plays like a dream in and of itself...and then you get the "dream within the dream"-and it's all very captivating and unnerving and artfully done and blah blah blah you get the idea.<br />
<br />
Floater are, like many of their influences (Pink Floyd being a huge one I would think) interested not only in evoking transitory states, but exploring artifice (particularly cinematic artifice-see "American Cinema") and idolatry (just look at the title of this one and you'll get the idea) as well. From what I can gather based on my listens, it seems to be a loose concept album based on a Christ-like figure (or one with delusions of godliness) experiencing a real or imagined death and rebirth (Wikipedia seems to confirm this). I will note, however, that nothing about the concept is on-the-nose or lazy. Skillful writing ensures that the songs retain a sense of mystique-even a sense of the cabalistic; so repeat listens are welcomed. In fact, I would go as far as to say that this may have been the kind of dark magic King Crimson were trying to capture during their 90's/ early 2000's comeback.<br />
<br />
Floater seem to get lumped into the alt-metal file from time to time (their earlier albums, like 1994's "Sink" certainly have a harder edge), but that was never a comfortable label. Later albums, like 2004's "Acoustics" had a bit of a latter day Pink Floyd sound (particularly Gilmour's Floyd); maybe even a bit of Alan Parsons at his darkest. "Angels..." is at the mid-point of this transition. <br />
<br />
<b>Endless II: </b><br />
<a href="https://www.youtube.com/watch?v=yYhqWYPZfBw">https://www.youtube.com/watch?v=yYhqWYPZfBw</a><br />
<b>Medicine Woman:</b><br />
<a href="https://www.youtube.com/watch?v=wItJpumMoAA">https://www.youtube.com/watch?v=wItJpumMoAA</a><br />
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<tr><td style="text-align: center;"><a href="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEhzPCEXVvzqKK62duhfOvnDhSJOfvobsVv1Iek1bF_Re4hQaovJjX8qTpR-q3vi3RWPYefMAmQV3GzPChISZoBHx7qahvNc2VLLeY2hOYgFVcFY8k4-k5V65vwU1R6EXmXuEpfyuGsOptm1/s1600/37675586_10155255259532242_4476196782539276288_n.jpg" imageanchor="1" style="clear: left; margin-bottom: 1em; margin-left: auto; margin-right: auto;"><img border="0" data-original-height="796" data-original-width="946" height="269" src="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEhzPCEXVvzqKK62duhfOvnDhSJOfvobsVv1Iek1bF_Re4hQaovJjX8qTpR-q3vi3RWPYefMAmQV3GzPChISZoBHx7qahvNc2VLLeY2hOYgFVcFY8k4-k5V65vwU1R6EXmXuEpfyuGsOptm1/s320/37675586_10155255259532242_4476196782539276288_n.jpg" width="320" /></a></td></tr>
<tr><td class="tr-caption" style="text-align: center;"><span style="font-size: xx-small;"><b>(Labels read: "Typhon" and "Distributed by Elemental Records")</b></span></td></tr>
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<br />Naustinhttp://www.blogger.com/profile/08756557580114216238noreply@blogger.com2tag:blogger.com,1999:blog-7944263838235781384.post-48509202500152074532018-07-16T16:09:00.001-07:002018-07-16T19:13:14.726-07:00Bicycle-Self-Titled (1999)<table cellpadding="0" cellspacing="0" class="tr-caption-container" style="float: left; margin-right: 1em; text-align: left;"><tbody>
<tr><td style="text-align: center;"><a href="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEg0YebzGjWtKoW4P4LjlR_0UmUPo7G747o2lkwAI3UAcaRACTCvX-Kd_yEtNGglujcKwPVSifY0lCCXISKEvOlN3vft0xdTGGmmFFHjBtahqc8-kvBodGJRX4LzO-WYAuyLVstjm9YSqVmI/s1600/37238842_10155240885147242_2588110458930069504_n.jpg" imageanchor="1" style="clear: left; margin-bottom: 1em; margin-left: auto; margin-right: auto;"><img border="0" data-original-height="1015" data-original-width="1040" height="390" src="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEg0YebzGjWtKoW4P4LjlR_0UmUPo7G747o2lkwAI3UAcaRACTCvX-Kd_yEtNGglujcKwPVSifY0lCCXISKEvOlN3vft0xdTGGmmFFHjBtahqc8-kvBodGJRX4LzO-WYAuyLVstjm9YSqVmI/s400/37238842_10155240885147242_2588110458930069504_n.jpg" width="400" /></a></td></tr>
<tr><td class="tr-caption" style="text-align: center;"><b><span style="font-size: xx-small;">(Art Direction/ Design by Frank Gargiulo; Photography by Dietmar Busse)</span></b></td></tr>
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<br />
Bicycle's sole release, also called "Bicycle"- is a band/ album name combo fit to ensure that nobody in the internet age will ever be able track down anything about them EVER again. Luckily you have me to do the digging for you though, because this is good, fun stuff.<br />
<br />
Lead singer Kurt Liebert knows his way around a catchy, summery/ sun-shiney tune. It's one of those albums that, once May or June hits, I am drawn inexorably back to. Imagine a more straightforward/ poppy Beck (including electronic flourishes and quasi-hip hop beats/ loops in places) and you'll be on the right track. I'm reminded instantly of "Cake" too (you know, the "Short Skirt, Long Jacket" guys).<br />
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Chris Ballew (yes, the Chris Ballew who sang and played bass in "The Presidents of the United States of America") has producer and backing vocal credits-so you know it's gonna be good, cheeky fun.<br />
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<tr><td style="text-align: center;"><a href="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEhrx7CIfHLpCzeTMLD-EqYGkGQ_WNJUcOoB5ty4oMHRH9ichEdbez93kYdUyp7wVvrUKEy_GHLHlbImH0CHLKiYBIKFtpDh5xchzpRf6G9Hn_wVdj-cQ-NVuNNlJvgAasndNRPPk7Layhyt/s1600/37299757_10155240887967242_3596199687721320448_n.jpg" imageanchor="1" style="clear: left; margin-bottom: 1em; margin-left: auto; margin-right: auto;"><img border="0" data-original-height="681" data-original-width="783" height="278" src="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEhrx7CIfHLpCzeTMLD-EqYGkGQ_WNJUcOoB5ty4oMHRH9ichEdbez93kYdUyp7wVvrUKEy_GHLHlbImH0CHLKiYBIKFtpDh5xchzpRf6G9Hn_wVdj-cQ-NVuNNlJvgAasndNRPPk7Layhyt/s320/37299757_10155240887967242_3596199687721320448_n.jpg" width="320" /></a></td></tr>
<tr><td class="tr-caption" style="text-align: center;"><b><span style="font-size: xx-small;">(Label= Capricorn Records)</span></b></td></tr>
</tbody></table>
I think I will let the music do most of the talking here:<br />
<br />
<b>Pop Song:</b><br />
<a href="https://www.youtube.com/watch?v=niVFaUbcyy0">https://www.youtube.com/watch?v=niVFaUbcyy0</a><br />
<b>Wilderbeast:</b><br />
<a href="https://www.youtube.com/watch?v=zw6gL6A9rmU">https://www.youtube.com/watch?v=zw6gL6A9rmU</a><br />
<b>68:</b><br />
<a href="https://www.youtube.com/watch?v=GBKvTHY6YRQ&index=1&list=PL45DDFDB812D53709">https://www.youtube.com/watch?v=GBKvTHY6YRQ&index=1&list=PL45DDFDB812D53709</a><br />
<b>Clean: </b><br />
<a href="https://www.youtube.com/watch?v=e1HWe2XLeSM&index=11&list=PL45DDFDB812D53709&t=0s">https://www.youtube.com/watch?v=e1HWe2XLeSM&index=11&list=PL45DDFDB812D53709&t=0s</a><br />
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<a href="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEhPS29UTECkv0XEPCRfYOMN84uHnZJrgWCZDjbRQ32xJcVN5rD7A0f_7smk2m7NR-p-QpoHW4NuddoidFgMbq_cIIwu0CZXmm3Q-_368Wh10g4cCVoO1tKXPPvovJcp5E9krwaQ6nltK-ji/s1600/37203637_10155240887042242_5969944811329814528_n.jpg" imageanchor="1" style="margin-left: 1em; margin-right: 1em;"><img border="0" data-original-height="534" data-original-width="1600" height="106" src="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEhPS29UTECkv0XEPCRfYOMN84uHnZJrgWCZDjbRQ32xJcVN5rD7A0f_7smk2m7NR-p-QpoHW4NuddoidFgMbq_cIIwu0CZXmm3Q-_368Wh10g4cCVoO1tKXPPvovJcp5E9krwaQ6nltK-ji/s320/37203637_10155240887042242_5969944811329814528_n.jpg" width="320" /></a></div>
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<a href="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEiWbCr5kSzyGCwDk89jMkFQMvUiumpvwkNWKRPjoHKfejvyH-X-pU0VxgRlUaruLzKxkLG0bimcCF8b71aeFk2gMGagS-MlRhy33ibk-C_htn4WjFN869XqfWB1D2IRpFkXk4eU3xvRFvmz/s1600/37314588_10155240902177242_6854364025950568448_n.jpg" imageanchor="1" style="margin-left: 1em; margin-right: 1em;"><img border="0" data-original-height="1457" data-original-width="1427" height="320" src="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEiWbCr5kSzyGCwDk89jMkFQMvUiumpvwkNWKRPjoHKfejvyH-X-pU0VxgRlUaruLzKxkLG0bimcCF8b71aeFk2gMGagS-MlRhy33ibk-C_htn4WjFN869XqfWB1D2IRpFkXk4eU3xvRFvmz/s320/37314588_10155240902177242_6854364025950568448_n.jpg" width="313" /></a></div>
<br />Naustinhttp://www.blogger.com/profile/08756557580114216238noreply@blogger.com0tag:blogger.com,1999:blog-7944263838235781384.post-26030712706835775602018-07-11T20:18:00.000-07:002018-07-29T18:44:07.438-07:00The Green And Yellow TV-Record X (2002)<table cellpadding="0" cellspacing="0" class="tr-caption-container" style="float: left; margin-right: 1em; text-align: left;"><tbody>
<tr><td style="text-align: center;"><a href="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEhat78XFfY_WHUawDGQ2j2L-FCNvLoe9aEaZdilEvmAaS_mBB6GMNphUWUkj_N03PGKBbY3T-jtOKq0YIbd5MktlXz2lsqxtzvNJbMvYExID2E2tm1GjNbb9m73u4KUG-6aii3LhJgAu0Nv/s1600/R-8610990-1465098621-6624.jpeg.jpg" imageanchor="1" style="clear: left; margin-bottom: 1em; margin-left: auto; margin-right: auto;"><img border="0" data-original-height="500" data-original-width="500" height="320" src="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEhat78XFfY_WHUawDGQ2j2L-FCNvLoe9aEaZdilEvmAaS_mBB6GMNphUWUkj_N03PGKBbY3T-jtOKq0YIbd5MktlXz2lsqxtzvNJbMvYExID2E2tm1GjNbb9m73u4KUG-6aii3LhJgAu0Nv/s320/R-8610990-1465098621-6624.jpeg.jpg" width="320" /></a></td></tr>
<tr><td class="tr-caption" style="text-align: center;"><b><span style="font-size: xx-small;">(Photography by Shaune McDowell; Design by Jill Simonsen)</span></b></td></tr>
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I remember discovering this album around the time iTunes became a thing (I guess I would've been a pre-teen), and I would spend a huge amount of time wandering the iTunesphere looking for good stuff. On a whim, I popped "El Cid" (ya know-the medieval Spanish warrior) into the search bar to see what would come up...and I got this nugget; a nugget I have made sure to hype to absolutely everyone I meet (fortunately it's an easy sell). <br />
<br />
I don't know if it's true, but I read somewhere that Jimi Hendrix once sculpted his hair into a pair of antennae so that he could "tune into the sounds floating around him". Or, there's The La's (a band I cannot recommend highly enough) "Timeless Melody", which muses on songs/ melodies finding their writers. I think Record X is one of those situations: where the songs existed in a timeless ether until they fortuitously collided with The Green And Yellow TV (or perhaps entered their antennae). That's why "Record X" is such a good title. It happens in "X" time and "X" location-not quite here, not quite there. It's like the audio equivalent of a Tarantino film; it can transport you-maybe even make you feel a bit nostalgic...but for what? It's the diner scene in Pulp Fiction (or all of Pulp Fiction for that matter)-when is it happening? Is it within a self-contained alternate universe?<br />
<br />
I wouldn't make any direct comparisons to Hendrix or the La's though-there's more of a "mod" or "British Invasion"(or maybe British Invasion through an American lens, like Paul Revere and the Raiders....or maybe even a harder-edged Beach Boys) feel here. But don't worry, this isn't one of those novelty "retro" bands...have I not written enough about the timeless ether? The songs work on their own merits, as well as the undeniable talent of the musicians involved (check out those vocal harmonies). The production also achieves 21st century clarity; the guitars are allowed to bark and foam at the mouth a little without getting lost in the mix. All of this is epitomized by (you guessed it) "El Cid". Listen below:<br />
<a href="https://www.youtube.com/watch?v=I_-6arHObGQ" target="_blank">https://www.youtube.com/watch?v=I_-6arHObGQ</a><br />
<br />
Another goody:<br />
<a href="https://www.youtube.com/watch?v=SZ2LSKCtqhE">https://www.youtube.com/watch?v=SZ2LSKCtqhE</a><br />
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<table cellpadding="0" cellspacing="0" class="tr-caption-container" style="float: left; margin-right: 1em; text-align: left;"><tbody>
<tr><td style="text-align: center;"><a href="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEgZeBmU1NIhHgP3Ged7-2jz2WjTjHbaxPwewEta59APNGol4njKaxF1yZaCRdczGXdaGult6Ljb4AeciZ88WzK8nYIkx-ZyoYV58nlCjqjUa36DsDbaHBJF04ytfG2yo3i_3gNT7pKJwSIP/s1600/36998491_10155230431042242_8916100116469776384_n.jpg" imageanchor="1" style="clear: left; margin-bottom: 1em; margin-left: auto; margin-right: auto;"><img border="0" data-original-height="709" data-original-width="1600" height="141" src="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEgZeBmU1NIhHgP3Ged7-2jz2WjTjHbaxPwewEta59APNGol4njKaxF1yZaCRdczGXdaGult6Ljb4AeciZ88WzK8nYIkx-ZyoYV58nlCjqjUa36DsDbaHBJF04ytfG2yo3i_3gNT7pKJwSIP/s320/36998491_10155230431042242_8916100116469776384_n.jpg" width="320" /></a></td></tr>
<tr><td class="tr-caption" style="text-align: center;"><b><span style="font-size: xx-small;">(Credits same as above)</span></b></td></tr>
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<tr><td style="text-align: center;"><a href="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEjCasGZXJQY-c1iIspyj4vpIuDeLsLt03Sdxy-JwF6hccmZJL58DQ9_r36m8Zx6kDMjXTsKDx1jbnQTM8o8Bj7fZX0SeGvFPApVPasxmSs_BdjtutG5PTS_9BY3BI6Y-1F7z9BWDTkbsiMN/s1600/36915638_10155230431297242_265702310611517440_n.jpg" imageanchor="1" style="clear: left; margin-bottom: 1em; margin-left: auto; margin-right: auto;"><img border="0" data-original-height="1350" data-original-width="1600" height="268" src="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEjCasGZXJQY-c1iIspyj4vpIuDeLsLt03Sdxy-JwF6hccmZJL58DQ9_r36m8Zx6kDMjXTsKDx1jbnQTM8o8Bj7fZX0SeGvFPApVPasxmSs_BdjtutG5PTS_9BY3BI6Y-1F7z9BWDTkbsiMN/s320/36915638_10155230431297242_265702310611517440_n.jpg" width="320" /></a></td></tr>
<tr><td class="tr-caption" style="text-align: center;"><b><span style="font-size: xx-small;">(Photography and Design by Jill Simonsen)</span></b></td></tr>
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<br />Naustinhttp://www.blogger.com/profile/08756557580114216238noreply@blogger.com0tag:blogger.com,1999:blog-7944263838235781384.post-7686386276403134492018-07-09T18:57:00.001-07:002020-04-12T11:55:17.284-07:00Uncle Green/ 3 Lb. Thrill-Rycopa (1997/ 2011) INTERVIEW WITH PETE MCDADE<div class="separator" style="clear: both; text-align: center;">
<a href="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEiE4x54Yb-6FDtCOJDxldZ2yXbfcm1na-tRUG6Ok-e_tMXu1J3eacU0OuM9tBVzzbpe10NSKMMgQj0p0GqFNWbIDoEiKJOxSKUtb38hHrVOwG8wDDxGwGmtJ2pwCX7VdUjYe7rdBA4xoXut/s1600/81NuNYT0SOL._SL1425_.jpg" imageanchor="1" style="clear: left; float: left; margin-bottom: 1em; margin-right: 1em;"><img border="0" data-original-height="1425" data-original-width="1425" height="320" src="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEiE4x54Yb-6FDtCOJDxldZ2yXbfcm1na-tRUG6Ok-e_tMXu1J3eacU0OuM9tBVzzbpe10NSKMMgQj0p0GqFNWbIDoEiKJOxSKUtb38hHrVOwG8wDDxGwGmtJ2pwCX7VdUjYe7rdBA4xoXut/s320/81NuNYT0SOL._SL1425_.jpg" width="320" /></a></div>
<br />
So, first off, Uncle Green and 3 Lb. Thrill are the same group (the latter being a reincarnation of the former, but the former being the moniker that graces the front cover of Rycopa).<br />
<br />
But what's in a name? That which we call 3 Lb. Thrill by any other word would sound as sweet;<br />
So 3 Lb. Thrill, were they not 3 Lb. Thrill call'd,<br />
Retain that dear perfection which they owe<br />
Without that title. (My words)<br />
<br />
Following 1995's "Vulture" the group got to work on the ambitious, kaleidoscopic double-album "Rycopa". Completed in 1997, Rycopa looked poised to ascend into the stratosphere...and it would have, had it materialized. Instead, the group's label waffled, and the album went unreleased for 14 years. Finally, in 2011, a successful Kickstarter campaign sprung the lost masterpiece from it's bardo, purgatory, limbo, etc etc... (whatever liminal state best resonates with the reader). <br />
This album is extra special to me, so I thought I would take a slightly different approach to this post. To make this possible, founding Uncle Green/ 3 Lb. Thrill member, and consummate musician, Pete McDade, has very generously agreed to answer some of my questions. Here are a few tracks to play for an optimal reading experience:<br />
St. Lazaro:<br />
<a href="https://www.youtube.com/watch?v=iwsLuyLejEE&index=18&t=0s&list=PLEfQtN7Eu_7VHAZN2ZE0pp5ocKZSP1ifR" target="_blank">https://www.youtube.com/watch?v=iwsLuyLejEE&index=18&t=0s&list=PLEfQtN7Eu_7VHAZN2ZE0pp5ocKZSP1ifR</a><br />
Wassamatta With You?:<br />
<a href="https://www.youtube.com/watch?v=vfcOau40na0&list=PLEfQtN7Eu_7VHAZN2ZE0pp5ocKZSP1ifR&index=15" target="_blank">https://www.youtube.com/watch?v=vfcOau40na0&list=PLEfQtN7Eu_7VHAZN2ZE0pp5ocKZSP1ifR&index=15</a><br />
Karen Dine: <br />
<a href="https://www.youtube.com/watch?v=cVoJlo7jMVc&list=PLEfQtN7Eu_7VHAZN2ZE0pp5ocKZSP1ifR&index=1" target="_blank">https://www.youtube.com/watch?v=cVoJlo7jMVc&list=PLEfQtN7Eu_7VHAZN2ZE0pp5ocKZSP1ifR&index=1</a><br />
<br />
<b><u>Q:</u> </b><span class="_mh6 _wsc" id="cch_f3ce5ecd62d8a86"><span class="_3oh- _58nk">Thanks so much! I really appreciate it! Firstly, I wanted to ask you about the scope of the album--it plays almost like a "variety show" (conceptually how Sgt. Pepper's worked...or maybe The Turtles' Battle of the Bands); it's very eclectic- theatrical at times, even. And on top of that it's a double album! Was approaching the writing/ recording of this (colorful, theatrical, double) album not absolutely terrifying??! I mean, when it gets that big, it becomes a sort of grand artistic statement--you've gotta fully embrace it/ get behind it.</span></span><br />
<br />
<br />
<span style="color: red;"><u><b><span class="_mh6 _wsc" id="cch_f3ce5ecd62d8a86"><span class="_3oh- _58nk">A:</span></span></b></u><b><span class="_mh6 _wsc" id="cch_f3ce5ecd62d8a86"><span class="_3oh- _58nk"> </span></span></b><span class="_mh6 _wsc" id="cch_f3ce5ecd62d8a86"><span class="_3oh- _58nk"><span class="_mh6 _wsc" id="cch_f3ce5ecd62d8a86"><span class="_3oh- _58nk">It took us 14 years to actually get it released, after finishing recording, so it's nice to have a chance to talk about it.
What I remember most about the recording experience was a sense of excitement. I mean, we always loved the record-making process, but working on Rycopa was like getting to live a childhood dream. We'd been a band since we were teens, and had always dreamt of renting a house and making a record, and this was our chance to do it.</span></span></span></span></span><br />
<br />
<span style="color: red;"><span class="_mh6 _wsc" id="cch_f3ce5ecd62d8a86"><span class="_3oh- _58nk"><span class="_mh6 _wsc" id="cch_f3ce5ecd62d8a86"><span class="_3oh- _58nk"><span class="_mh6 _wsc" id="cch_f3ce5ecd62d8a86"><span class="_3oh- _58nk">So we basically tackled a song a day. Matt, or Jeff, or Matt & Jeff (if they had written a song together), would start by playing the basic structure on piano or guitar, and then the four of us and Caram, our engineer, would start batting around ideas for arrangement and production.</span></span></span></span></span></span></span><br />
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<span style="color: red;"><span class="_3oh- _58nk">Since it was just us, in this house, we really had an "anything goes" approach. We set the drums and amps up in various rooms to see what sounds we could get, rented a grand piano for the living room, and just started trying as many different approaches as we could.</span></span></div>
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<span style="color: red;"><span class="_mh6 _wsc" id="cch_f3ce5ecd62d8a86"><span class="_3oh- _58nk">By dinner we usually had the basic parts of the track in place. At night, we had any friends or guests come over to sing or play, to see what they could add.</span></span></span></div>
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<span style="color: red;"><span class="_3oh- _58nk">So maybe the short answer is: we were too excited to understand we should have been a little more nervous about it all.</span></span></div>
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<u><span class="_3oh- _58nk"><b>Q:</b></span></u><span class="_3oh- _58nk"> </span><span class="_3oh- _58nk">I was reading a bit of history on the whole 3 Lb. Thrill/ Uncle Green saga, and noticed a credit on a Jesus Christ Superstar project-was going to ask if maybe Rycopa was born out of a musical theater interest- but really from what you're saying, it sounds like it wasn't a concept album in the least; you guys never sat down and said "this is what the next album is all about/ these are the types of songs we need to start writing"? Maybe that's why it feels so organic! You can point to little musical motifs and points of influence here and there...but the songs all feel really timeless. They're the types of songs that could've been written in 1968 or 2018. What advice would you give to songwriters who want to pay homage to certain musical eras or figures without ending up with a novelty record? I know "timelessness" isn't exactly a teachable concept-but is there anything from the writing/ jamming/ recording that you remember that helped keep you all in the zone?</span></div>
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<span style="color: red;"><b><span class="_3oh- _58nk"><u>A:</u> </span></b><span class="_3oh- _58nk"><span class="_mh6 _wsc" id="cch_f3ce5ecd62d8a86"><span class="_3oh- _58nk">Yes, you put that very well--we didn't go from the concept and then move to the songs. We started with the songs, and then the themes that tie them together emerged later. <br /><br />For me, thinking about this time again has me noticing how similar the process of shaping a record and writing a novel are: I start with characters, and how they interact is what reveals the themes. In this case, the songs are the characters, and their interaction creates a mood/feeling/etc. <br /><br />In short, I'm glad that Rycopa feels like a concept album. <br /><br />And I agree that "timelessness" isn't something you can teach, in part because it's something I don't think you can set out trying to create. But I do think there are key elements in music that make certain songs/albums feel timeless, just as there are key elements in novels/movies/etc that can create the same effect. For music, I think melody sits at the center of it all, or at least it always did for Uncle Green. Around that center you construct the rest of the song, using dynamics and structure and arrangement. Then you finish by getting rid of all the unnecessary bits. <br /><br />Does that make sense? It's almost like the first step is not trying to create the sense of timelessness. Write what you need to write, focus on making the best parts of that particular song as good as they can be, and then hope you did it right.<br /><br />And then try again.</span></span></span></span></div>
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<span class="_3oh- _58nk"><span class="_mh6 _wsc" id="cch_f3ce5ecd62d8a86"><span class="_3oh- _58nk"><u><b>Q:</b></u> </span></span></span><span class="_3oh- _58nk">I think that's hugely important. I guess I'm more from the "Myspace/ Soundcloud generation" where it's like-if you want to start a band, the first thing you do is go set up a band page and enter your genre, your key influences, and what sorts of movements/ eras you identify most with. A lot of the time that's before any songs have even been written. It's almost like step 1 is getting the marketing department up and running-identifying your key demographics...and then absolutely everything else comes afterwards. It's too easy to get carried away. So, lastly I wanted to ask--Sony was the label you were dealing with circa Rycopa? You guys had a hit as 3lb Thrill with "Diana", and then you give them two discs of fantastic material (with even more in the bank...I haven't even mentioned the outtakes album:"Scrapple"-you obviously had a lot of material to choose from; lifting a few radio singles would've been really easy)-and there's no release for 14 years? Did they ever give you any reasons as to why they weren't prepared to get behind it?</span><span class="_3oh- _58nk"><span class="_mh6 _wsc" id="cch_f3ce5ecd62d8a86"><span class="_3oh- _58nk"></span></span></span><span class="_3oh- _58nk"><span class="_mh6 _wsc" id="cch_f3ce5ecd62d8a86"><span class="_3oh- _58nk"><span class="_mh6 _wsc" id="cch_f3ce5ecd62d8a86"></span> </span></span></span></div>
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<span class="_3oh- _58nk"><span class="_mh6 _wsc" id="cch_f3ce5ecd62d8a86"><span class="_3oh- _58nk"><span style="color: red;"><span class="_mh6 _wsc" id="cch_f3ce5ecd62d8a86"></span></span></span></span></span><br />
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<span class="_3oh- _58nk"><span class="_mh6 _wsc" id="cch_f3ce5ecd62d8a86"><span class="_3oh- _58nk"><span style="color: red;"><span class="_mh6 _wsc" id="cch_f3ce5ecd62d8a86"><span class="_3oh- _58nk"><u><b>A:</b></u> I think that's an interesting ripple effect of the web I had not thought of before--young bands needing to explain and identify themselves at a very early stage, for websites/etc. Back in our day (cue old-timey music) we'd get asked about influences and sound in interviews and such, but otherwise never had to think about it that much, beyond our own private discussions. <br /><br />As far as the non-release of Rycopa: yes, we were signed to 57 Records, an imprint of Sony. Calling "Diana" a hit may, alas, be a bit of a stretch--did well at radio, but not super huge, and we were told by MTV they wouldn't play the video, out of lyric(!) concerns. So our next record for Sony was actually a big make-or-break moment for us, and we went for broke. <br /><br />This was either brilliant or foolish. <br /><br />Sony said they didn't hear a single in the first 32 songs, which was when we went back and recorded MORE demos--the last 5 songs on Scrapple come from these sessions. Still no single, and we were dropped. <br /><br />Sony did say we could have the tapes, but we were moving on, we thought, and got close to signing to MCA, before our A & R fan lost his job. Ah, the music industry. Then it took several years of searching and cajoling, before someone at Sony finally entered the right search terms and found the tapes in the ominously named "Iron Mountain" storage facility.</span></span></span></span></span></span></div>
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<span class="_mh6 _wsc" id="cch_f3ce5ecd62d8a86"><span class="_3oh- _58nk"><span class="_mh6 _wsc" id="cch_f3ce5ecd62d8a86"><span class="_3oh- _58nk"><span class="_mh6 _wsc" id="cch_f3ce5ecd62d8a86"><span class="_3oh- _58nk">Rycopa is available for purchase on the iTunes store, but if you're like me and want a physical copy, you'll want to follow the CD Baby link below and order the disc:</span></span></span></span></span></span><br />
<span class="_mh6 _wsc" id="cch_f3ce5ecd62d8a86"><span class="_3oh- _58nk"><span class="_mh6 _wsc" id="cch_f3ce5ecd62d8a86"><span class="_3oh- _58nk"><span class="_mh6 _wsc" id="cch_f3ce5ecd62d8a86"><span class="_3oh- _58nk"><a href="https://store.cdbaby.com/cd/unclegreen2" target="_blank">https://store.cdbaby.com/cd/unclegreen2</a> </span></span> </span></span></span></span><br />
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<a href="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEipIhBrhWYEn_ouqdyuNeF1RlZQTW32oZ8uOUZhz2uh0bCppBB2W6P-E2skSCE1F4-1RQWHl3GOnY241LixU0UMaBDZ4V6Hc_ogKY_uxDe4urjXa1RebFB4IpWON8PhE1GGdkwOwOgJXW4J/s1600/36839143_10155225813762242_7284089771796725760_n.jpg" imageanchor="1" style="clear: left; float: left; margin-bottom: 1em; margin-right: 1em;"><img border="0" data-original-height="1280" data-original-width="1455" height="351" src="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEipIhBrhWYEn_ouqdyuNeF1RlZQTW32oZ8uOUZhz2uh0bCppBB2W6P-E2skSCE1F4-1RQWHl3GOnY241LixU0UMaBDZ4V6Hc_ogKY_uxDe4urjXa1RebFB4IpWON8PhE1GGdkwOwOgJXW4J/s400/36839143_10155225813762242_7284089771796725760_n.jpg" width="400" /></a></div>
<span class="_mh6 _wsc" id="cch_f3ce5ecd62d8a86"><span class="_3oh- _58nk"><span class="_mh6 _wsc" id="cch_f3ce5ecd62d8a86"><span class="_3oh- _58nk"> </span></span> </span></span>Naustinhttp://www.blogger.com/profile/08756557580114216238noreply@blogger.com2tag:blogger.com,1999:blog-7944263838235781384.post-9829944087566483192018-07-04T18:52:00.000-07:002018-07-04T21:44:11.419-07:00Oleander-Shrinking the Blob (1996/1997)<table cellpadding="0" cellspacing="0" class="tr-caption-container" style="float: left; margin-right: 1em; text-align: left;"><tbody>
<tr><td style="text-align: center;"><a href="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEh4lyxgkNojw6IJ-s9hBZguqILPblRwrYkfN_SnYeAwu84OhUg8DeR_Mcct_YpnmFoNfIpwc8N-PBykL_MvktrFcQW9nXeQnXKDf1H26RUbdognHluegflneTBhnxWp1vajMtADV6KBrTX0/s1600/36628925_10155215045072242_9121026943330811904_n.jpg" imageanchor="1" style="clear: left; margin-bottom: 1em; margin-left: auto; margin-right: auto;"><img border="0" data-original-height="1575" data-original-width="1600" height="315" src="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEh4lyxgkNojw6IJ-s9hBZguqILPblRwrYkfN_SnYeAwu84OhUg8DeR_Mcct_YpnmFoNfIpwc8N-PBykL_MvktrFcQW9nXeQnXKDf1H26RUbdognHluegflneTBhnxWp1vajMtADV6KBrTX0/s320/36628925_10155215045072242_9121026943330811904_n.jpg" width="320" /></a></td></tr>
<tr><td class="tr-caption" style="text-align: center;"><b><span style="font-size: xx-small;">(Art direction/ design by Doug Eldridge, Paul Niklewicz; Photos by Scott Mcchane)</span></b></td></tr>
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Oleander are perhaps a bit more well known than most of the bands I share on here. The follow up to this album (1999's February Son) was certified gold, they played Woodstock '99, and they have had some pretty high profile soundtrack credits (Dawson's Creek and American Pie to name a couple). Still, Shrinking the Blob (Oleander's sole independent release as far as I know; on Fine Records) is often unfairly overlooked.<br />
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Yes, these guys fit into the "post grunge" mold...but on Shrinking the Blob they tug a little toward the "grunge" side as opposed to the "post" side...a little. Just looking at the B-Movie inspired title may give one the impression that these guys aren't as grand and earnest as Live-nor do they have the pseudo-spiritual undertones of Creed (I genuinely enjoy both groups by the way...not taking pot-shots here)...and that impression would be correct. Check out the grit and propulsiveness of tracks like "Half an Ass", which boasts a ferocious circular riff recalling Nirvana's "Dive":<br />
<a href="https://www.youtube.com/watch?v=P1AYwk34lVo" target="_blank">https://www.youtube.com/watch?v=P1AYwk34lVo</a><br />
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Unfortunately, lyrically, it sheds little to no light on the evocative title. How is the ass in question bi-sected? Vertically or horizontally? I would suggest that vertically (i.e. into two equal cheeks) makes the most sense + maintains the most tissue/ cheek integrity...but I must digress.<br />
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Here it is live, followed by another track from the album, "Jimmy Shaker Day":<br />
<a href="https://www.youtube.com/watch?v=1J_njRX8THo" target="_blank">https://www.youtube.com/watch?v=1J_njRX8THo</a><br />
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And another rocker, "Silver Lined":<br />
<a href="https://www.youtube.com/watch?v=My6mZMhca7o" target="_blank">https://www.youtube.com/watch?v=My6mZMhca7o</a><br />
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So, as you can hear, this album will be an interesting case for historians and future anthropologists charting the passage of the grunge era into the post grunge era. As they pore over the shards of broken pottery, the hieroglyphics, the fossilized boom boxes, what conclusions will they reach? I am not suggesting that this album is the missing link-the change was already well underway by 1996...but this could be one of many albums released in the chasm between the two eras that really encapsulates the evolution.<br />
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Exhibit A-"Why I'm Here". The track would be cleaned up a bit and re-recorded for February Son (where it was a reasonably big hit), but the rough and ready version on Shrinking the Blob is even better. I can't find that version on Youtube, so here's a live version to give you an idea:<br />
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<a href="https://www.youtube.com/watch?v=lKNVO8QWI3U" target="_blank">https://www.youtube.com/watch?v=lKNVO8QWI3U</a><br />
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<tr><td class="tr-caption" style="text-align: center;"><span style="font-size: xx-small;"><b>(Art/ Design credits same as those listed under cover)</b></span></td></tr>
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<br />Naustinhttp://www.blogger.com/profile/08756557580114216238noreply@blogger.com2tag:blogger.com,1999:blog-7944263838235781384.post-44227129068998632702018-06-28T17:30:00.002-07:002018-06-28T17:30:35.135-07:00Bisbee-Snacks (1996)<br />
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<tr><td style="text-align: center;"><a href="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEjkDoOFacrKLS4GrnlLZWgO57J9euByyM6o5bISE7zb2hRlKHK-sr2VcoJEj8N5Mf1Wn_r5bfdHmUqYWhOLeHBwydB_274N1cXBnW_wXmG_w6aoAdJbbaM_QSf2AhwLa-X_XiOD3kbhemN6/s1600/36327618_10155201402747242_8762589820577906688_n.jpg" imageanchor="1" style="clear: left; margin-bottom: 1em; margin-left: auto; margin-right: auto;"><img border="0" data-original-height="1600" data-original-width="1408" height="400" src="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEjkDoOFacrKLS4GrnlLZWgO57J9euByyM6o5bISE7zb2hRlKHK-sr2VcoJEj8N5Mf1Wn_r5bfdHmUqYWhOLeHBwydB_274N1cXBnW_wXmG_w6aoAdJbbaM_QSf2AhwLa-X_XiOD3kbhemN6/s400/36327618_10155201402747242_8762589820577906688_n.jpg" width="351" /></a></td></tr>
<tr><td class="tr-caption" style="text-align: center;"><b><span style="font-size: xx-small;">(Art/ Photography by Jonathon Hexner; Associate art direction/ Layout by Amy Macintyre)</span></b></td></tr>
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Here's a real treat-Bisbee's (named for singer/ songwriter Sam Bisbee) "Snacks". The stars aligned for this one; the rock gods poured a little bit of their sweet ambrosia cider mix into Sam Bisbee's gilded chalice, and he slurped it up like Cherry-Cola...and then committed this ethereal "snack" [insert pause for laughter] to disc.<br />
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I'll start you with this link to the Allmusic page as a sort of aperitif (you can listen to the audio clips):<br />
<a href="https://www.allmusic.com/album/snacks-mw0000613578" target="_blank">https://www.allmusic.com/album/snacks-mw0000613578</a><br />
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Sound-wise what are we looking at? Well, it so happens that Bisbee is/are excellent at synthesizing influences in a decidedly non-derivitive way. The songs feel/ sound eerily familiar...but good luck putting your finger on why that might be. That's likely why Sam Bisbee has been able to continue writing, recording, and growing musically to the present day. Is there a bit of Dave Matthews Band in "Disposable love"? A little bit of Third Eye Blind in the beautiful, surging "Turn Me On"? Look at the "similar albums" tab on Allmusic for a few apt comparisons (The Verve, Live, The Goo Goo Dolls, Lifehouse, Alanis Morissette, Third Eye Blind, etc...) and some absolutely laughable ones (Korn, The Offspring, P.O.D......AM I LISTENING TO THE SAME ALBUM?!). Have to scratch my head a bit there...<br />
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Thematically, I see a real disposibility/ transitory pleasure motif (making the title extremely apt and telling). The narrators are often struggling to find meaning and stimulation in otherwise hollow and temporary experiences. We start in a world dominated by, and connected via plastic commodities in "Middle of Everywhere" ("<i>In the middle of everywhere, she's speaking into a hand-held plastic object, connected by a wire to a hole in the wall, which leads to an infinite number of other handheld plastic objects... </i>"), move to "Disposable Love", and then eavesdrop on a sad "rent-a-lover" experience- "970-GIRL". Sounding pretty contemporary and relevant, eh?<br />
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P.C. Dominatrix is another great cut about stimulation, excess, etc...- a tongue-in-cheek narrative about a politically conscious dominatrix. Lyrics include:<br />
"<i>She likes to tie me up, and talk to me about the issues</i><br />
<i>She hurts me when I disagree-when I use an un-progressive attitude</i><br />
<i>She grills me on the plight of the homeless population</i><br />
<i>She beats me with both sides of her hairbrush,</i><br />
<i>It's such a strange sensation</i>."<br />
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And: "<i>It takes a world of pain to turn me on...</i>"<br />
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My personal picks for best tracks: the back-to-back, one-two punch of "Disposable Love" and "Turn Me On".<br />
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Sadly, while Sam Bisbee's later albums are available on iTunes, "Snacks" is not. I will post images from the CD booklet/ packaging below. <b>Note that the art credits are the same as those listed under the cover image</b>. I'm really diggin' those charming pen and ink sketches of the band-members. <br />
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<br />Naustinhttp://www.blogger.com/profile/08756557580114216238noreply@blogger.com0tag:blogger.com,1999:blog-7944263838235781384.post-39528005883038599312018-06-27T14:01:00.001-07:002018-06-28T11:41:42.480-07:00The New Grand-Self-Titled (1996)<div class="separator" style="clear: both; text-align: center;">
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<tr><td class="tr-caption" style="text-align: center;">(Layout by Design on Demand)</td></tr>
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This is a Canadian blog, so where's all the Canadian content? During the 90's, the Canadian alt-rock mines were operating at wartime capacity. Right in the middle of the booming industry was a label called "Sonic Unyon" (I think it's pronounced like "onion", there's an onion in the logo...but I always said "union"...but I digress). At various times, Sonic Unyon's roster included Treble Charger, Thrush Hermit, Tristan Psionic, and these guys-The New Grand. In fact, The New Grand toured with the aforementioned Treble Charger at some point in the late 90's. I think that association is actually quite telling-Treble Charger were, at the time, midway through a transition from a fuzz drenched, shoegazey, lo-fi outfit (like a less accessible Dinosaur Jr) into a nationally known pop-punk powerhouse. If Treble Charger's career were an Animorphs book jacket, the New Grand would be the third metamorphosis stage--right in the middle--right in the sweet spot where things are most interesting. <br />
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Listening to their debut single, "The Get Up", I am reminded of Sebadoh's killer track "License to Confuse"--quick and sweet, maddeningly catchy, wholeheartedly embracing bubblegum hooks, yet maintaining robust indie street-cred. Listen for yourself:<br />
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<a href="https://www.youtube.com/watch?v=o2ilKqYkdko" target="_blank">https://www.youtube.com/watch?v=o2ilKqYkdko</a> <br />
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And that's The New Grand to a T. I plan on dedicating a post to their second album, "Incognito", sometime in the near future, as it is definitely worth a listen (it's like this album with a more pronounced Weezer influence. I actually like it better than this one). But for now, I will leave you with a Youtube upload of the first album in it's entirety. The New Grand discography is also available on Itunes:<br />
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<a href="https://www.youtube.com/watch?v=7L4cy01BvGo" target="_blank">https://www.youtube.com/watch?v=7L4cy01BvGo</a><br />
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Naustinhttp://www.blogger.com/profile/08756557580114216238noreply@blogger.com0tag:blogger.com,1999:blog-7944263838235781384.post-33164720502546423712018-06-25T13:32:00.002-07:002018-06-27T18:24:57.794-07:00The Winebottles-Sober (1992)<table align="center" cellpadding="0" cellspacing="0" class="tr-caption-container" style="float: left; margin-right: 1em; text-align: left;"><tbody>
<tr><td style="text-align: center;"><a href="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEgv3Lx77E9p81NRQLO264dLM8Iatfc7Rgu4_DwYkyqOpgy2_e6rwGx7gKVOzA_oJEvXU9Oq7Q4URwCkYy7VHw9bpozF9MPz-z7Xz0w9fkLfQuR7492LXtwPuUNjh37UMvsBDOMUcmrgVHig/s1600/Screen+Shot+2018-06-25+at+1.29.14+PM.png" imageanchor="1" style="margin-left: auto; margin-right: auto;"><img border="0" data-original-height="459" data-original-width="453" height="400" src="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEgv3Lx77E9p81NRQLO264dLM8Iatfc7Rgu4_DwYkyqOpgy2_e6rwGx7gKVOzA_oJEvXU9Oq7Q4URwCkYy7VHw9bpozF9MPz-z7Xz0w9fkLfQuR7492LXtwPuUNjh37UMvsBDOMUcmrgVHig/s400/Screen+Shot+2018-06-25+at+1.29.14+PM.png" width="393" /></a></td></tr>
<tr><td class="tr-caption" style="text-align: center;">(Signature-looking scrawl in bottom right reads "Boulder Colorado 1992"; Art credit in booklet: "23 East"); (Red Garage Records)</td><td class="tr-caption" style="text-align: center;"><br /></td><td class="tr-caption" style="text-align: center;"><br /></td></tr>
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Why have I used R.E.M. as a reference point so much in my last few posts? I like them a lot, but I'm not a maniac about them or anything...I do listen to other bands. Am I just not creative enough to come up with other apt comparisons? I will try to reel it in a bit.<br />
Anyways, that little bit of housekeeping out of the way...these guys remind me a bit of R.E.M.<br />
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This album screams "college rock radio". The jangly guitars, the bits of snide political commentary (see "Government" for the most blatant example...and a chorus that revels in its "R.E.M. isms"), the overall literacy...<br />
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There is a musical sophistication here too. Listen to tracks like "Yellow", with its great call- and-response chorus, and "New Rags" with its jerky, staccato guitar lines and you may be reminded of other erudite emissaries like the Talking Heads and XTC. <br />
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Any weaknesses? Front and center-the lack of consistency. When these guys get in the groove ("Yellow", "Government", "New Rags", "Sober"...) they are thoroughly enjoyable. Still, at 17 tracks, the album inevitably sags at points, and suffers from a bit of sameness- some songs blending into each other without much to distinguish them. Cutting this one down to about 10 or 11 tracks would likely have been beneficial. But who can really fault a band for wanting to give us "more"? It is also entirely possible that this was sort of a "demo reel"-meant to showcase a whole schwack of songs from the band's repertoire that could later be re-purposed for distribution on a bigger label. <br />
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Yellow:<br />
<a href="https://www.youtube.com/watch?v=xY5P0KwDzfo" target="_blank">https://www.youtube.com/watch?v=xY5P0KwDzfo</a><br />
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A link to the Allmusic page, where you can find more info, and some sound clips of other songs on the album:<br />
<a href="https://www.allmusic.com/album/sober-mw0000996912" target="_blank">https://www.allmusic.com/album/sober-mw0000996912</a><br />
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<tr><td class="tr-caption" style="text-align: center;">(Back cover)</td><td class="tr-caption" style="text-align: center;"><br /></td><td class="tr-caption" style="text-align: center;"><br /></td></tr>
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<tr><td class="tr-caption" style="text-align: center;">(Reverse side of insert-credit "Gods Publishing")</td></tr>
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<br />Naustinhttp://www.blogger.com/profile/08756557580114216238noreply@blogger.com0tag:blogger.com,1999:blog-7944263838235781384.post-8512272585630539182018-06-22T14:07:00.000-07:002018-06-27T18:18:42.598-07:00Boom Crash Opera-These Here Are Crazy Times (1990)*NOTE-for the real sticklers, my copy of the album is dated 1990 on Warner Bros. Records, but I think the Aussie release may have come a year earlier <br />
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<tr><td style="text-align: center;"><a href="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEiTUFqR7nqRovNuvg6R3CECfWD2VpEapI17C-jXAowG7MmPDV9k8JNBateBLkNFspeOIs4bHM3Rl8BK2dfezyoMOG1Ks-V5zMrR1nDcGzBRGeQ5WbeZ-WGhRGxRDDa5dTrkbzvLiSSoE7io/s1600/BOOM-CRASH-OPERA-These-Here-Are-Crazy-Times-4.jpg" imageanchor="1" style="margin-left: auto; margin-right: auto;"><img border="0" data-original-height="500" data-original-width="500" height="320" src="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEiTUFqR7nqRovNuvg6R3CECfWD2VpEapI17C-jXAowG7MmPDV9k8JNBateBLkNFspeOIs4bHM3Rl8BK2dfezyoMOG1Ks-V5zMrR1nDcGzBRGeQ5WbeZ-WGhRGxRDDa5dTrkbzvLiSSoE7io/s320/BOOM-CRASH-OPERA-These-Here-Are-Crazy-Times-4.jpg" width="320" /></a></td></tr>
<tr><td class="tr-caption" style="text-align: center;">(Cover art by Greg O'Connor)</td></tr>
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Although they got their start in the 80's, Boom Crash Opera are one of a number of fantastic bands who populated the fertile 90's Australian rock scene (others include Jebediah, TISM, The Hoodoo Gurus, Tumbleweed, Spiderbait, and Regurgitator).<br />
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A full 11 years before Shrek's famed soliloquy in Shrek 1 (or was it a "monologue"...I can't remember if Donkey was there...), these Aussies were making onion/ layers/ life and being analogies with grace and aplomb. "Onion Skin", linked below, is a real toe tapper/ shout-alonger:<br />
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<a href="https://www.youtube.com/watch?v=-2FPE1Y5_4o" target="_blank">https://www.youtube.com/watch?v=-2FPE1Y5_4o</a><br />
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In fact, let's have a listen to it played live too:<br />
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<a href="https://www.youtube.com/watch?v=M30PnFbWCDs" target="_blank">https://www.youtube.com/watch?v=M30PnFbWCDs</a><br />
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Yes, there are certainly 80's vestiges. The shadow of that decade's glam-tastic, buffed to a sheen production lingers in the corners, but it is effectively tempered by the rawness and immediacy of good old pub rock. Still, when things tend toward the 80's end of the spectrum, it's done right: with big, hooky, shiny, anthemic choruses (see "Dancing in the Storm" below). Nothing dated about this sound.<br />
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<a href="https://www.youtube.com/watch?v=f-mmg4egLtM" target="_blank">https://www.youtube.com/watch?v=f-mmg4egLtM</a><br />
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Thematically, what are we looking at here? The way I see it, this is all about meeting change with intrepidity. The final decade of the 20th century was set to begin-how would the century come to an end? Would we even make it to the end at all? As the title says: "These Here (Were) Are Crazy Times". But how do we meet the "storm"? We "dance" in it. " The Best Thing" (linked below) begins with a "venturing out into the unknown" image too ("I put my space suit on, count back 10 to 1. The gravitation pull gets stronger") before singer Richard Pleasance assures us that "this is the best thing that has ever happened to me"; and I have no reason to doubt him- he seems like an honest bloke.<br />
Take Mr. Pleasance's optimism and courage with you into these crazy times of our own! <br />
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<a href="https://www.youtube.com/watch?v=EBQCbPbPS8E" target="_blank">https://www.youtube.com/watch?v=EBQCbPbPS8E</a><br />
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<tr><td style="text-align: center;"><a href="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEh1mdSMXuzod3IGaB-s0cLfg-Tp8tdz22s2k0lZiCc3vgjaYT1OIg8yMYkhWHTe-NEVk68xFMtg8SBRa6QlIMhXf9pRzc2rowhOfU3hxiCZxbGelEpvExVHZfVPX2xEHk-D9aAU0nME2wTr/s1600/35900536_10155189536772242_8440958497377484800_n.jpg" imageanchor="1" style="margin-left: auto; margin-right: auto;"><img border="0" data-original-height="1361" data-original-width="1600" height="272" src="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEh1mdSMXuzod3IGaB-s0cLfg-Tp8tdz22s2k0lZiCc3vgjaYT1OIg8yMYkhWHTe-NEVk68xFMtg8SBRa6QlIMhXf9pRzc2rowhOfU3hxiCZxbGelEpvExVHZfVPX2xEHk-D9aAU0nME2wTr/s320/35900536_10155189536772242_8440958497377484800_n.jpg" width="320" /></a></td></tr>
<tr><td class="tr-caption" style="text-align: center;">(Photography by Matthew Deller)</td></tr>
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<a href="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEija9IeyYmQoyNU-HLtph_C5jMU_GwzvD8hmr7spnwxSJGwOg_3uxXoAthfJN8WpVXuwkY2tIHvh5QlWyet_TeO-cTUm9F1X-pyOI2hakuhvw4r3ETEyFRXW8t-ds2QbyEc3v6doH4L7cup/s1600/35893251_10155189535772242_6078290184619687936_n.jpg" imageanchor="1" style="clear: left; float: left; margin-bottom: 1em; margin-right: 1em;"><img border="0" data-original-height="1600" data-original-width="1412" height="320" src="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEija9IeyYmQoyNU-HLtph_C5jMU_GwzvD8hmr7spnwxSJGwOg_3uxXoAthfJN8WpVXuwkY2tIHvh5QlWyet_TeO-cTUm9F1X-pyOI2hakuhvw4r3ETEyFRXW8t-ds2QbyEc3v6doH4L7cup/s320/35893251_10155189535772242_6078290184619687936_n.jpg" width="282" /></a></div>
<br />Naustinhttp://www.blogger.com/profile/08756557580114216238noreply@blogger.com0tag:blogger.com,1999:blog-7944263838235781384.post-42260051903253731342018-06-21T15:19:00.001-07:002018-06-27T18:23:47.346-07:00Dandelion-Dyslexicon (1995)<table align="center" cellpadding="0" cellspacing="0" class="tr-caption-container" style="float: left; margin-right: 1em; text-align: left;"><tbody>
<tr><td style="text-align: center;"><a href="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEhdXk3Afn2VUqC_8bbI6U8ePFIQ1ZdUUDr4ydOPQsEEJGk3D_cYxbVScEqPT3qWfTx8MWPdtH_SzGgdNqt0CBZNZ4oAsnMMM3RtBbF_kFxQ8ipY9781KAolzAe6xJlBRQyNKspGpPr_XO3G/s1600/640x640.jpg" imageanchor="1" style="margin-left: auto; margin-right: auto;"><img border="0" data-original-height="640" data-original-width="640" height="320" src="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEhdXk3Afn2VUqC_8bbI6U8ePFIQ1ZdUUDr4ydOPQsEEJGk3D_cYxbVScEqPT3qWfTx8MWPdtH_SzGgdNqt0CBZNZ4oAsnMMM3RtBbF_kFxQ8ipY9781KAolzAe6xJlBRQyNKspGpPr_XO3G/s320/640x640.jpg" width="320" /></a></td></tr>
<tr><td class="tr-caption" style="text-align: center;"><span style="font-size: x-small;">(Art by Marcus Durant, assisted by Jeff Prybolsky; Type by Disappearing Inc.)</span></td></tr>
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Dandelion revel in junk culture; they are connoisseurs of the low brow-and it's a lot of fun! If I was a Jeff Koons fan, maybe I would mine his artist statements for some banter to use here....but I'll just stick to the basics. From having a video featured on Beavis and Butthead (the two idiot savants provided commentary on the 1993 video for "Under My Skin"), to the B-movie poster-esque (or maybe pulp novel-esque?) album cover, to the sampled toy laughter at the end of "Super Cool", there's a lot to love about these guys. Have a look at the packaging/ presentation (images below). The art department nailed this one: polka dots and pink on the disc, comic book clippings (including a motorcycle rider-maybe a nod to the track "Viva Kneval"?), a cinematic-looking still of a dude shooting lasers out of his eyeballs...it's a pop-culture hodgepodge; a giddy assemblage of low-pop ephemera (and that's Dandelion to a T!) Musically, start with Nirvana and Mudhoney, add a bit of The Sonics, The Troggs, and a big dollop of The Ohio Express (circa "Quick Joey Small") and throw it in a blender on "pulse" and you might get close. For Exhibit A check out "Pass The Stone" (link below).<br />
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<a href="https://www.youtube.com/watch?v=UUv3xboIcCA" target="_blank">https://www.youtube.com/watch?v=UUv3xboIcCA</a><br />
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What should one expect when listening to Dyslexicon? It's like walking into a grunge candy shop: it's colourful and exciting, packed with sweets, and there's a bit of bubblegum...but the cleaners only come like once a year, so the floors are grimy and gross, and the clerks are all a bit surly. <br />
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Listen to "Weird-Out" (link below), which made it to #14 on the U.S. Modern Rock charts. Certainly vocalist Kevin Morpurgo wears his Cobain-isms on his sleeve...but why not? The important thing here is that Dandelion understand that to really emulate Nirvana you need more than long hair, Fender guitars, and songs that start quiet and then get louder. You need HOOKS and SONGCRAFT and CHARM. Dyslexicon has all three.<br />
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<a href="https://www.youtube.com/watch?v=B1jSrSz4wd4" target="_blank">https://www.youtube.com/watch?v=B1jSrSz4wd4</a><br />
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Naustinhttp://www.blogger.com/profile/08756557580114216238noreply@blogger.com0tag:blogger.com,1999:blog-7944263838235781384.post-6633439652830150242018-06-16T11:57:00.000-07:002018-06-27T19:07:53.991-07:00Thirst-Through the Wire (1996)<div class="separator" style="clear: both; text-align: center;">
<a href="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEh-gCVBgOzOCycuGZYyYjQfOONhhi-Tn0MvJT3drd9F_vFZzSbooSapzfiA38852OfDSDoGl-Sj4kRUHV9WLz9oogi6A5rwFgRWErWkIiJvplawkfy72yL7ACwHzhxVAIjRTZHn4b36aRb0/s1600/4102490.jpg" imageanchor="1" style="clear: left; float: left; margin-bottom: 1em; margin-right: 1em;"><img border="0" data-original-height="501" data-original-width="500" height="320" src="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEh-gCVBgOzOCycuGZYyYjQfOONhhi-Tn0MvJT3drd9F_vFZzSbooSapzfiA38852OfDSDoGl-Sj4kRUHV9WLz9oogi6A5rwFgRWErWkIiJvplawkfy72yL7ACwHzhxVAIjRTZHn4b36aRb0/s320/4102490.jpg" width="319" /></a></div>
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<tr><td style="text-align: center;"><a href="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEhew-pjEoU6LMjh4Elxj9G_6ZZruP4oLmnnYf4uL_ZLmw4dZT_Ovj4ED-0l9L8J6IkJxJu1f67F1q5gi4M2fEYNkxShNLtsGvA10YVsyZ8gD6POfFo8HmBvF9yGA2rInxXC1vuYfx3YRBeK/s1600/35381373_10155175671867242_1439941266916769792_n.jpg" imageanchor="1" style="margin-left: auto; margin-right: auto;"><img border="0" data-original-height="712" data-original-width="1600" height="142" src="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEhew-pjEoU6LMjh4Elxj9G_6ZZruP4oLmnnYf4uL_ZLmw4dZT_Ovj4ED-0l9L8J6IkJxJu1f67F1q5gi4M2fEYNkxShNLtsGvA10YVsyZ8gD6POfFo8HmBvF9yGA2rInxXC1vuYfx3YRBeK/s320/35381373_10155175671867242_1439941266916769792_n.jpg" width="320" /></a></td></tr>
<tr><td class="tr-caption" style="text-align: center;">(Design and imaging by Zerogravity; Colour photo by Indira Cesarine) </td></tr>
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Here's a nice pairing for my previous post (Sugarspoon's self titled masterpiece). Those Toad the Wet Sprocket and R.E.M. comparisons I was grasping at in my Sugarspoon post? Perhaps a bit more readily made here. Still, this isn't by any means derivative...this is Thirst, and it's thoroughly quenching (sorry, that was awful). <br />
Maybe this album appeals to my Canadian sensibilities (even though these guys aren't Canadians)- tracks like "Eskimos" and "Bricks and Clay" have a raw beauty and lyrical sophistication that calls to mind the late, great Gord Downie and the Tragically Hip! "Climb" and "Gyrate" have the rough and ready buoyant rock hooks of 54-40 at their best. So, maybe the reason that this album didn't blow up was that it's legions of untapped potential fans were all North of the border (the album was recorded in New York, and presumably marketed to an American audience). Just listen to the Canuck rootsy-ness underpinning "End of the Millenium"! <br />
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Unfortunately, sound clips from this beaut are scarce. I have linked the Allmusic page below for access to some 30 second clips...but this is definitely one worth tracking down.<br />
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<a href="https://www.allmusic.com/album/through-the-wire-mw0000079917" target="_blank">https://www.allmusic.com/album/through-the-wire-mw0000079917</a><br />
<br />Naustinhttp://www.blogger.com/profile/08756557580114216238noreply@blogger.com0