A little holiday sentimentality from Paisley Pop Alt-Country Superstars The Long Ryders.
Happy New Year to All!
Tuesday, December 31, 2013
Monday, December 30, 2013
Western Industrial Dance and Trance---Red Lorry Yellow Lorry--Paint Your Wagon!
I bought Red Lorry Yellow Lorry's 2nd album without knowing a thing about them. They are from Leeds, England. I got it in Champaign-Urbana, Illinois at the Record Stop. The combination of the fiery Wagon Wheel cover art (and the always helpful spot-on handwritten descriptions on the albums penned on little quarter sized stickies on the plastic slipcovers) were what sold me. Turned out to be a good decision. Back in the 80's, I know I listened to this a lot.
I'm not sure what the album is about--singer Chris Reed plays the role of a deep voiced disco religious revivalist here. He certainly does a lot of chanting short mantras on this album. Between the album art and the song titles, thematically the music is about the American West. But overall it sounds like proto-industrial dance music to me, and without the aforementioned cues, I probably would not view this as a Western Album.
The disc I am listening to is an old Cherry Red reissue which also contains their 1st album, Talk About the Weather. Talk about the Weather is a perfectly good album, and Reed is noticeably singing in the style of Ian Curtis. But there are other elements at work, in the music, like early Killing Joke and Gang of Four. Maybe Jesus & Mary Chain. This particular release is a very nice twofer.
Chris Reed: Vocals and Guitar
David Wolfenden: Guitar
Leon Phillips: Bass
Chris Oldroyd: Drums
Having the two albums on the same disc allows the listener an opportunity to really contrast how the music changed in a short period of time. They are sounding much more original. Right out of the gate, on Walking on Your Hands you hear the assertive drumming right up front in the mix. The droning shrapnelly guitar riffs sync up nicely with the beats, with the malevolent vocals laying over the top. They are sonically impressive on this record, noisy yet somehow pop accessible. Certainly this is functional music, like an noisy engine built for use the dance floor. And while the band is in a groove throughout the recording, the songs don't all sound the same.
The Lorries wound up recording 5 albums in total before splitting up. Though it does seem like they have gotten back together and performed as recently as this year.
When I listen to the great sound that they achieved on Paint Your Wagon, I have to conclude that they were an innovative bunch. Don't go looking for profundity in the lyrics--it wasn't really the point here. There simply were not a lot of lyrics, and they were repeated and repeated in order to create a mesmerizing affect. Overall a pretty successful effort by a talented band well worth investigating.
I'm not sure what the album is about--singer Chris Reed plays the role of a deep voiced disco religious revivalist here. He certainly does a lot of chanting short mantras on this album. Between the album art and the song titles, thematically the music is about the American West. But overall it sounds like proto-industrial dance music to me, and without the aforementioned cues, I probably would not view this as a Western Album.
The disc I am listening to is an old Cherry Red reissue which also contains their 1st album, Talk About the Weather. Talk about the Weather is a perfectly good album, and Reed is noticeably singing in the style of Ian Curtis. But there are other elements at work, in the music, like early Killing Joke and Gang of Four. Maybe Jesus & Mary Chain. This particular release is a very nice twofer.
Chris Reed: Vocals and Guitar
David Wolfenden: Guitar
Leon Phillips: Bass
Chris Oldroyd: Drums
Having the two albums on the same disc allows the listener an opportunity to really contrast how the music changed in a short period of time. They are sounding much more original. Right out of the gate, on Walking on Your Hands you hear the assertive drumming right up front in the mix. The droning shrapnelly guitar riffs sync up nicely with the beats, with the malevolent vocals laying over the top. They are sonically impressive on this record, noisy yet somehow pop accessible. Certainly this is functional music, like an noisy engine built for use the dance floor. And while the band is in a groove throughout the recording, the songs don't all sound the same.
The Lorries wound up recording 5 albums in total before splitting up. Though it does seem like they have gotten back together and performed as recently as this year.
When I listen to the great sound that they achieved on Paint Your Wagon, I have to conclude that they were an innovative bunch. Don't go looking for profundity in the lyrics--it wasn't really the point here. There simply were not a lot of lyrics, and they were repeated and repeated in order to create a mesmerizing affect. Overall a pretty successful effort by a talented band well worth investigating.
Sunday, December 29, 2013
Stars Fell on the Magic City......Birmingham's Primitons Anthologized At Last
Been listening to a pretty fine little reissue from Arena Rock Records, Don't Go Away: Collected Works by Primitons, a very good 80's melodic rock band from Birmingham, Alabama. The record collects their entire recorded output, through several lineup changes. I don't recall hearing about them when they were originally putting out records, but I wish I had. The band name is a mash-up of "Primitive Tones".
R.E.M. comparison are inevitable with the Primiton's music, but not entirely accurate. If you love the music of R.E.M., I don't think this album would be a tough sell. But in some ways they are poppier, and other points they rock out a bit more. They actually remind me a bit of the Country Punk of Jason and the Scorchers at times. They rock out fairly righteously when not jangling. They must have been a very great act to see in a club.
At times they are kind of Psychedelic garage sounding like the raga-like guitar coda on Gabrielle. And three passes through this album I'm listening to Seeing is Believing, and I keep thinking that they were influenced by 60's groups like The Monkees. And I mean that in the most complimentary way. The Monkees got to me through the television at an impressionable age and have left an indelible impact on my pop sensibilities. And whether or not they wrote a lot of their more memorable songs, I don't care all that much. They left the musical world a great body of work. And probably any kid with access to a TV watched them.
The tendency for some people is to disparage their music, but if you don't believe me, read Robert Forster's excellent essay on The Monkees from his 10 Rules of Rock N' Roll. The former Go-Between is nearly as excellent as a music essayist as he is at penning song lyrics. While you're at it, I recommend you read all the essays in his book!
Primitons definitely have a southern charm to them, without falling into cliches. It's like having a sensibility and world view from being born and raised in a place, but not necessarily fitting into longstanding traditions. Like on the song You'll Never Know, Mats Roden sings about his "hair being on fire". In the album liner notes, he said that the song was about his closeted sexuality, sort of like, C'mon do I really need to say it?
Mats Roden:Vocals, Guitar, Keys
Brad Dorset: Vocals, Guitar, Keys
Leif Bondarenko: Drums, Accordian
Don Tinsley: Bass, Vocals
Stephanie Truelove Wright: Lyrics
Don't Go Away is chock full of highpoints, like the melodic jangle of Stars Falling on Alabama, which was one of their most popular songs. Or Something on My Mind, which sounds like a long lost Hollies song. Or a beautiful ballad with subtle harmonizing like Happy All the Time. Don't Go Away, the title track is a pop monster. Randomly put a track on and it will probably be terrific.
For all the 20, 25, 30, 40 year deluxe anniversary reissues of well-know albums that keep coming out, it's more gratifying for me when a compilation like this comes out after all these years. Seemingly out of left field. Primitons were a really great band that have finally gotten their body of work released. Fans of Athens Georgia's finest, The dB's, Big Star, Velvet Crush, Lets Active, Jason Ringenberg & Co., will be delighted with this recording! Please support labels that put out releases like this, because people who produce reissues of this caliber definitely need to be incentivized.
 |
| Don't forget the Magic City.... |
R.E.M. comparison are inevitable with the Primiton's music, but not entirely accurate. If you love the music of R.E.M., I don't think this album would be a tough sell. But in some ways they are poppier, and other points they rock out a bit more. They actually remind me a bit of the Country Punk of Jason and the Scorchers at times. They rock out fairly righteously when not jangling. They must have been a very great act to see in a club.
At times they are kind of Psychedelic garage sounding like the raga-like guitar coda on Gabrielle. And three passes through this album I'm listening to Seeing is Believing, and I keep thinking that they were influenced by 60's groups like The Monkees. And I mean that in the most complimentary way. The Monkees got to me through the television at an impressionable age and have left an indelible impact on my pop sensibilities. And whether or not they wrote a lot of their more memorable songs, I don't care all that much. They left the musical world a great body of work. And probably any kid with access to a TV watched them.
The tendency for some people is to disparage their music, but if you don't believe me, read Robert Forster's excellent essay on The Monkees from his 10 Rules of Rock N' Roll. The former Go-Between is nearly as excellent as a music essayist as he is at penning song lyrics. While you're at it, I recommend you read all the essays in his book!
Primitons definitely have a southern charm to them, without falling into cliches. It's like having a sensibility and world view from being born and raised in a place, but not necessarily fitting into longstanding traditions. Like on the song You'll Never Know, Mats Roden sings about his "hair being on fire". In the album liner notes, he said that the song was about his closeted sexuality, sort of like, C'mon do I really need to say it?
Mats Roden:Vocals, Guitar, Keys
Brad Dorset: Vocals, Guitar, Keys
Leif Bondarenko: Drums, Accordian
Don Tinsley: Bass, Vocals
Stephanie Truelove Wright: Lyrics
Don't Go Away is chock full of highpoints, like the melodic jangle of Stars Falling on Alabama, which was one of their most popular songs. Or Something on My Mind, which sounds like a long lost Hollies song. Or a beautiful ballad with subtle harmonizing like Happy All the Time. Don't Go Away, the title track is a pop monster. Randomly put a track on and it will probably be terrific.
For all the 20, 25, 30, 40 year deluxe anniversary reissues of well-know albums that keep coming out, it's more gratifying for me when a compilation like this comes out after all these years. Seemingly out of left field. Primitons were a really great band that have finally gotten their body of work released. Fans of Athens Georgia's finest, The dB's, Big Star, Velvet Crush, Lets Active, Jason Ringenberg & Co., will be delighted with this recording! Please support labels that put out releases like this, because people who produce reissues of this caliber definitely need to be incentivized.
Thursday, December 26, 2013
Disavow your Vow Smash Your Sacred Cow---Art Bergmann-What Fresh Hell is This---It's Boxing Day in Canada!
I wanted to do a Canadian Post for Boxing Day, originally I was going to do a long overdue post on the Dishrags. But you know what? I realized that I've amassed 6 Art Bergmann albums without having a post on him yet. Well, I haven't listened to them all either.
So I've changed my mind. Sorry Dishrags--but your time will come. Jade Blade has got to be one of the best punk names ever.......
So I'm listening to a pretty great but extremely dark album from Art Bergmann, one of the most original and talented Canadian musicians you could listen to. The album is What Fresh Hell is This?, and it won the 1996 Juno Award for Best Canadian Alternative Album. But how many people have heard this one South of their border?
Bergmann is probably best known for leading the K-Tels and Young Canadians from the early Punk days of Vancouver. You can see him in the documentary Bloodied Not Unbowed, one of the best made scene documentaries around. The Young Canadians/K-Tels compilation on Sudden Death Records is mandatory punk listening. Back in those early days he was probably the musician that people thought would break out. Well, sadly that did not come to pass. But let's get back to Hell.
But its pretty amazing that an album with such self-confessional desperate jaded gritty vitriolic poetry could get such mainstream acclaim. I couldn't really imagine an album like this winning a Grammy. Musically the album is a fairly melodic rock album (he's a pretty great guitarist), but the listening to the subject matter sort of like pulling off a scab to reveal a whole other world that I'm fortunate not to have lived. Harrowing songs, right on the edge of things, kind of like Lou Reed. But its Art Bergmann and he is in his own Hell, not anyone else's. This music is just too personal, edgy, like Curt Cobain's---this is not about simply being an entertainer, it's breaking down the boundaries between generalities and the personal. I feel like I know too much now, like a voyeur.
Just from the outset, with the song Beatles in Hollywood, he sings about the contrast between idealism, innocence and the music business and its corruptibility, but it seems to be equally about fighting demons. But whatever it means, it is a seriously miserable place to be in.
The songs on Fresh Hell have titles like Demolished, Buried Alive, Some Fresh Hell, Dive. It gives you some idea of the subject matter. The song Contract is probably one of the more vicious songs about the music industry you could hear. "I dig my own grave for you, be a slave for you", he sings.
Guns and Heroin is an epic sounding ballad on the album, replete with cello by Anne Bourne.
What a powerful song this is!
Art Bergmann is an artist well worth getting acquainted with, and What Fresh Hell is This? is probably a good place to start. But most of his albums are available at reasonable prices, with the exception of Vultura Freeway. The Lost Art Bergmann came out in 2009, but that seems pretty impossible to get today.
He's been playing shows again recently, the reviews so far seem to be mixed, but hopefully better times are coming for him. One listen to What Fresh Hell is This? and you'll wonder why you didn't hear about this album 10 years ago!
So I've changed my mind. Sorry Dishrags--but your time will come. Jade Blade has got to be one of the best punk names ever.......
So I'm listening to a pretty great but extremely dark album from Art Bergmann, one of the most original and talented Canadian musicians you could listen to. The album is What Fresh Hell is This?, and it won the 1996 Juno Award for Best Canadian Alternative Album. But how many people have heard this one South of their border?
 |
| Create a Monster and Eat it Too...... |
Bergmann is probably best known for leading the K-Tels and Young Canadians from the early Punk days of Vancouver. You can see him in the documentary Bloodied Not Unbowed, one of the best made scene documentaries around. The Young Canadians/K-Tels compilation on Sudden Death Records is mandatory punk listening. Back in those early days he was probably the musician that people thought would break out. Well, sadly that did not come to pass. But let's get back to Hell.
But its pretty amazing that an album with such self-confessional desperate jaded gritty vitriolic poetry could get such mainstream acclaim. I couldn't really imagine an album like this winning a Grammy. Musically the album is a fairly melodic rock album (he's a pretty great guitarist), but the listening to the subject matter sort of like pulling off a scab to reveal a whole other world that I'm fortunate not to have lived. Harrowing songs, right on the edge of things, kind of like Lou Reed. But its Art Bergmann and he is in his own Hell, not anyone else's. This music is just too personal, edgy, like Curt Cobain's---this is not about simply being an entertainer, it's breaking down the boundaries between generalities and the personal. I feel like I know too much now, like a voyeur.
Just from the outset, with the song Beatles in Hollywood, he sings about the contrast between idealism, innocence and the music business and its corruptibility, but it seems to be equally about fighting demons. But whatever it means, it is a seriously miserable place to be in.
The songs on Fresh Hell have titles like Demolished, Buried Alive, Some Fresh Hell, Dive. It gives you some idea of the subject matter. The song Contract is probably one of the more vicious songs about the music industry you could hear. "I dig my own grave for you, be a slave for you", he sings.
Guns and Heroin is an epic sounding ballad on the album, replete with cello by Anne Bourne.
What a powerful song this is!
Art Bergmann is an artist well worth getting acquainted with, and What Fresh Hell is This? is probably a good place to start. But most of his albums are available at reasonable prices, with the exception of Vultura Freeway. The Lost Art Bergmann came out in 2009, but that seems pretty impossible to get today.
He's been playing shows again recently, the reviews so far seem to be mixed, but hopefully better times are coming for him. One listen to What Fresh Hell is This? and you'll wonder why you didn't hear about this album 10 years ago!
Pernice Brothers Honor an American Legend......
 |
| Ad Pondus Omnium |
 |
| Headquarters |
It's obvious to me why The Pernices wrote the following song. Clearly it has to be dedicated to the one and only, regarded by many as Boston's truest son, like an illicit love child of Larry Bird and Sam Adams. The culmination of generations of Classical Jesuit scholarship. Had it not been for "Mimegate", he might very well have wound up elected Mayor of Boston.
So, here's to you, Sir, a special tribute by one of Massachusett's best bands.
As the wise man once said "Entita Ipsa Involvit Aptitudinam ad Extorquendum
Certum Assensum". Words to live by.
Tuesday, December 24, 2013
New Mendicants---Teaching Us the True Meaning of Christmas!
Christmas magic from the new singing/songwriting super duo, The New Mendicants. This is my pick so far of this years Christmas songs.
Comprised of Toronto immigrants (and neighbors) Joe Pernice (Pernice Brothers) and Norman Blake (Teenage Fanclub)!
The first album is due out early next year.
Here's their exceptional performance of a Go-Betweens classic.
Wishing everybody a safe and happy Christmas!
Comprised of Toronto immigrants (and neighbors) Joe Pernice (Pernice Brothers) and Norman Blake (Teenage Fanclub)!
The first album is due out early next year.
Here's their exceptional performance of a Go-Betweens classic.
Wishing everybody a safe and happy Christmas!
Monday, December 23, 2013
Not the Band who Must not be Named....Blind Idiot God---Remarkable Improvisational Dub Shredding from St Louis
Blind Idiot God was a thrashy improvisational rock trio from the 1980's, originally from St Louis, Mo. What a great Lovecraftian band name they had, and one beautifully freaky Lovecraftian album cover! Up there with Pink Floyd's Piper at the Gates of Dawn. These outward elements aligned perfectly with sort of music they played. A lot of musical worlds collided head on with this music---thrash, free jazz, hard rock, punk, dub. No vocals. This is a pretty unique sounding recording to me, the musicianship is superb; just beneath the amazing powerhouse guitar shredwork is a completely rock solid kick ass rhythm section.
Either I had forgot or never knew this, but this eponymous album (their first) from 1987 was released on SST records. The notion that SST was a pretty super label at one time has inadvertently become a forgotten factoid in my memory. But they were just that at one time. In addition to some of the great American bands of the 80, acts like Meat Puppets, Minutemen, Dinosaur Jr., Husker Du, Sonic Youth, and of course Black Flag, they were also releasing great music by other bands that are less well known, like B.I.G., or The Last. At one time there was a bit of cachet to be on the SST roster in the way Subpop label became actually bigger than the bands.
The Band:
Andy Hawkins: Guitar
Gabriel Katz: Bass
Ted Epstein: Drums
Album art and layout: Miles Rutlin
In the post-Punk landscape of the time, these guys were pretty sui generis. They definitely can't be described as "trendy". What's nice to me is that the songs are not aimless 19 minute of noodling around--the longest songs are 5 minutes flat. And the bounty of musical ideas are executed in fresh interesting ways. The album definitely is not prototypical album of the era, probably inspired as much by the music of Sonny Sharrock, Chrome and King Tubby, as Bad Brains hardcore, The Ruts or Killing Joke. The albums rips along at a blistering pace--its almost like they share a common idea with what John Zorn was trying to do on Naked City, except he was crossing over from a jazz perspective. And Naked City came out a few years after Blind Idiot God!
For a band with a name like Blind Idiot God they certainly had a great deal of vision. Their album is a truly artistic statement, particularly as this is their first recording. I don't know how many people know about this album, but I am sure a fair share of musicians covering a variety of genres are familiar with them.
As much as I like a good pop hook, it's always great to hear a band that has carved out its own space with musical chops and ingenuity. I bought this album originally at about the time it was released, and it still sounds just as vital today. And frankly, I probably would have bought it blindly just for the cool name and amazing album art. Blind Idiot God also put out 2 other albums, Undertow & Cyclotron before they called it quits in the early 90's.
Give these guys a listen if you dare.....
 |
| The other notorious B.I.G. |
Either I had forgot or never knew this, but this eponymous album (their first) from 1987 was released on SST records. The notion that SST was a pretty super label at one time has inadvertently become a forgotten factoid in my memory. But they were just that at one time. In addition to some of the great American bands of the 80, acts like Meat Puppets, Minutemen, Dinosaur Jr., Husker Du, Sonic Youth, and of course Black Flag, they were also releasing great music by other bands that are less well known, like B.I.G., or The Last. At one time there was a bit of cachet to be on the SST roster in the way Subpop label became actually bigger than the bands.
The Band:
Andy Hawkins: Guitar
Gabriel Katz: Bass
Ted Epstein: Drums
Album art and layout: Miles Rutlin
In the post-Punk landscape of the time, these guys were pretty sui generis. They definitely can't be described as "trendy". What's nice to me is that the songs are not aimless 19 minute of noodling around--the longest songs are 5 minutes flat. And the bounty of musical ideas are executed in fresh interesting ways. The album definitely is not prototypical album of the era, probably inspired as much by the music of Sonny Sharrock, Chrome and King Tubby, as Bad Brains hardcore, The Ruts or Killing Joke. The albums rips along at a blistering pace--its almost like they share a common idea with what John Zorn was trying to do on Naked City, except he was crossing over from a jazz perspective. And Naked City came out a few years after Blind Idiot God!
For a band with a name like Blind Idiot God they certainly had a great deal of vision. Their album is a truly artistic statement, particularly as this is their first recording. I don't know how many people know about this album, but I am sure a fair share of musicians covering a variety of genres are familiar with them.
As much as I like a good pop hook, it's always great to hear a band that has carved out its own space with musical chops and ingenuity. I bought this album originally at about the time it was released, and it still sounds just as vital today. And frankly, I probably would have bought it blindly just for the cool name and amazing album art. Blind Idiot God also put out 2 other albums, Undertow & Cyclotron before they called it quits in the early 90's.
Give these guys a listen if you dare.....
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