Jukebox Upchuck

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2006-03-01T21:43:00.000-06:00

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Best in Show

2006-02-28T20:35:00.000-06:00

A friend "tagged me" to list my favorite concerts of all time after doing so himself. I'm not sure if I'm truly up for the challenge, because my memory is so shitty. (In fact, I'm finding 1997-1999 a total blank spot.) But regardless, I'll give it a shot.

I'm sure this is true for most people: Many of my favorite concerts happened during my formative years, living near Peoria, Illinois in the early-to-mid '90s. Oddly enough, most if not all of those concerts were also booked by another good friend. I actually recall more details about many of those shows -- even though many of them occurred a decade or more ago -- than I do concerts that I've attended in the past five years. I suppose I can chalk that up to youth, in that I had such a wild, uninhibited time (often not aided by alcohol) that the memories have stuck with me.

Unlike the person who tagged me, I can honestly say that I have not seen a majority of my favorite bands, in part because so many of them are from the '60s and '70s. So, this list hardly comprises my favorite bands, but instead my favorite and/or most memorable concerts. Some notables didn't make my list, including The Walkmen, Wilco, My Morning Jacket, Arcade Fire, Neko Case, Guided By Voices, Will Oldham, Magnolia Electric Co., The Flaming Lips, and Dead Meadow. Certainly, they all put on memorable shows ... just not as memorable as the following. Here's my list -- in order and subject to change the minute I click "publish post".

25. Jonathan Fire*Eater @ a house party, Peoria, 1995(?)
This show appears more due to circumstance rather than performance. Yet another friend actually booked this show -- his first and only attempt at such an endeavor. The show was supposed to be held in the basement of a house that hosted shows on a regular basis. But the landlord, reacting to numerous compaints from neighbors and the police, decided to erect a wall in the middle of the basement space just a couple days before the Fire*Eater show. The show ended up being held in the house's attic space, three flights up! After hauling all the gear upstairs -- and managing to avoid the massive whole in the floor, which had been covered up by a hardly-adequate piece of plywood -- the show began over an hour late. The three opening bands each got to do a full set, but just four songs into JFE's set, the cops arrived and pulled the plug. JFE were totally cool about the bizarre show, taking far less than their guarantee in exchange for a floor to sleep on. I saw them seven years later in Chicago as The Walkmen (before they got huge), and approached them after the show. Oddly enough, they remembered the gig vividly, saying they had discussed it just the day before on their drive across Illinois.

24. Oval @ The Highdive, Champaign, 2001
I'm not a big fan of abstract or experimental electronic music. I think I was simply scratching an itch when I went to see Oval. It was clear from the start that Oval -- playing to a nearly empty club -- was received as more of a curiosity than anything else. Playing by his lonesome, Markus Popp stood in front of a laptop and for 45 minutes produced some of the most intense, borderline-painful white noise I have ever heard. The funny thing is, after a while I began to dig it. It was almost as if Popp recognized that he was a curiosity, and got busy being curious (or just plain offensive). Needless to say, I don't think The Highdive has booked any more avant-garde electronic composers since then. But I for one was taken by Oval's brashness. Sure, Popp may have been simply wiping his hard drive clean, but the fact remains that he chose to say "fuck you" to the environment and forgo any of his more accessible material (like, say, with beats and structure) for the sake of aural destruction. That takes some balls, I guess.

23. The Cherry Valance @ The Highdive, Champaign, 2002
I’ve seen my share of “classic rock” bands perform live. It’'s sort of a surprise to me that Drive-By Truckers didn’t make my list. Maybe they should have, but their show was definitely not as good as North Carolina’s The Cherry Valance. Two drummers -- who are also the lead singers -- and a woman on lead guitar make for one helluva fun time, especially when the band is channeling The Pink Fairies and Blue Cheer. Man these guys were good.

22. The New Year @ The Highdive, Champaign, 2001
I never got to see Bedhead in action, but The New Year were the next-best thing. Their three-guitar attack is even more stunning in person, and they even dusted off one of my Bedhead faves.

21. Joanna Newsom @ Logan Square Auditorium, Chicago, 2004
Newsom opened for the Incredible String Band, and it was quite easy to tell who was there to see which artist. Newsom is probably my favorite discovery of the past few years (thanks WFMU!), and she did not disappoint one bit in concert. My first -- and hopefully not last -- time watching a harpist perform.

20. Jens Lekman @ Second Story, Bloomington (IN), 2005
Jens may be the closest I come to seeing either Beat Happening or Morrissey in my lifetime. Live, Jens wore a silly hat and brought a cellist along for the ride. His songs didn’t go over so well in a crowded, stinky indie rock club, but you wouldn’t have known that by looking at the faces of those in the first few rows.

19. DMS @ The Highdive, Champaign, 2001
This entry means little-to-nothing to anyone living outside of central Illinois, as you have probably never seen (or maybe heard of) DMS, which for the better part of their existence was a one-man-band fronted by drummer Steve Lamos. Steve’s live performance combined technical drumming with electronic samples and live trumpet playing. If it sounds weird, it was. But on stage, he was simply spectacular. One of the five best drummers I’ve ever seen.

18. Liars, Yeah Yeah Yeahs @ Empty Bottle, Chicago, 2002
The Yeah Yeah Yeahs were good, but on this night they were blown off the stage by the opening act, the Liars. This was the Liars before their original lineup dissolved and they became what they are today, more a curiosity than anything else. The intensity with which Angus Andrew and company performed caused flashbacks to my first Fugazi concert.

17. U.S. Maple @ the East Peoria VFW hall, 1996
Growing up in a town without a proper (or accessible) venue, I saw a lot of shows at what amounts to adult fraternities (VFWs and American Legion Halls). Those venues were each unique in some fashion, often times simply due to the fact that they weren't intended as live music venues. If memory serves, this VFW hall featured a very modest, foot-high stage thrown in the corner of the room. This was my first (and only) time seeing U.S. Maple, and I was hardly prepared for their intense show. Al Johnson was quite the actor on stage, and on the whole U.S. Maple seemed to thrive off of audience interaction. That is, they provoked the audience through their bizarre on-stage antics. At one point, guitarist Mark Shippy actually forced his way off stage into the audience, clearly violating the invisible stage/audience wall at the lip of the stage in a sudden fashion. He proceeded to play his guitar into my ex-girlfriend's chest -- with no regard for what he was doing, as if he was on another planet -- while she sort of stood there, confused. Anyway, I left that night with the impression that U.S. Maple -- through their seemingly improvised music and stage demeanor -- were as much a theater troupe as they were a rock band.

16. The Frogs @ Double Door, Chicago, 1997
Maybe this comes as a surprise to some, but I do have a soft spot for Dennis and Jimmy Flemion. Their live show and their songs are both so over the top, and that’s precisely what I love about them. On this particular night, they played “Adam and Steve” and brought the house down.

15. Jonathan Richman @ The Highdive, Champaign, 2002
I admit that seeing Richman perform wasn’t necessarily why this concert is on my list. That has more to do with the circumstances of the concert, and what felt like a date even though it wasn’t called such. But romance aside, Richman’s publicist wouldn’t grant me an interview prior to the show, which pissed me off as I was denied the opportunity to speak with one of my rock & roll idols. After the show, I talked to Richman, and he apologized for not doing the interview (and explained why), which made me feel all giddy and self-important in a way that most of my rock idols would never dream of doing. I had my picture taken with him, too, but I’ve no clue where that snapshot ended up.

14. Blur, Pulp @ The Vic, Chicago, 1994
Two bands that I don't listen to much anymore. But in 1994, I loved Parklife and His 'n' Hers. I remember three things about this concert: doing a congo line (of sorts) through the balcony during "Girls & Boys", watching Damon Albarn jump from the top of the speaker cabinets (he stole my speaker-leaping virginity), and Jarvis Cocker eating all kinds of fruit during Pulp's set, periodically tossing a banana into the crowd.

13. Tortoise, The Sea and Cake, and 5ive Style @ Bradley University, Peoria, 1996
The first time I saw Tortoise was probably a year prior to this date at the Metro in Chicago, and their performance that night was superior (and probably deserving of a spot on this list). However, the lineup on this night was just awesome. I don't really listen to any of these bands any more (at least on a consistent basis), but at the time these were some of my favorite bands. Seeing them all together was way cool.

12. Smog @ The Highdive, Champaign, 2002
TIE
The Clientele @ Schubas, Chicago, 2001
Put Bill Callahan and Dirty Three drummer Jim White in the same room together, and something good’s gonna happen to you. Enough said about that. The Clientele show appears here as a tie simply because I remembered it after I completed my list, and didn't want to nudge anything else off this list to make room. This concert's reservation on the list has as much to do with circumstance as it does with the group's performance. After my guest for the concert backed out at the last second, I reluctantly decided to make the two-and-a-half hour drive to Chicago by my lonesome. During the concert I ended up striking up a conversation with a gorgeous (and loopy) girl -- something that never happens to me at shows. We dated for a couple months before things fell apart, but she was quite the pleasant surprise. And the band was great, too!

11. Fugazi, The Make Up @ Expo Gardens, Peoria, 1995
In retrospect, I'm more excited that I got to see The Make Up, who actually stole the show on the stage. Off the stage, it was a whole 'nother matter. The Expo Gardens is essentially a large, empty room used for conventions. A make-shift stage was set up in the middle of the room, and the force with which the fans were moshing during Fugazi's set was causing the stage to move. That, combined with a few nasty punks in the crowd, had peaked Ian MacKaye's attention. (Ian is, of course, a pacifist at heart.) He stopped the show once to warn the crowd to settle down. A couple songs later, he demanded that the entire crowd be seated, or the show would not go on. So, there you have it: 900 or so Fugazi fans sitting down during a Fugazi concert. The oddest part of the evening was that prior to the concert I interviewed Ian for my fledgling fanzine -- and he predicted such an event. This was their first time in Peoria, and Ian was nervous about a young crowd that wasn't accustomed to a lot of punk rock shows of that ilk. The interview actually went over better than the concert -- not what I would have guessed as much heading in to the evening.

10. Archers of Loaf, Butterglory @ The Blind Pig, Champaign, 1995
I interviewed charming Archers’ guitarist Eric Johnson before the show, and that dialogue to this day ranks as my favorite interview. (Eric -- who looked and even sounded a bit like the Dana Carvey of Wayne’s World -- told me he preferred vinyl to CDs due to the “popcorn sounds”.) The Archers were spectacular, as one would expect of their Vee Vee era days. Butterglory was actually great, too.

9. R.L. Burnside @ The Highdive, Champaign, 2000(?)
Sometimes you just know you're watching a legend ply his trade, and on this night, it was certain. R.L. performed sitting down in a chair, backed by only a drummer. His take on the blues -- electric and distinctly rural -- was even more captivating in a live setting.

8. Dirty Three @ The Highdive, Champaign, 2003
Sometimes the best concerts are those that sneak up on you. I own not a single recording by Australian trio Dirty Three. But if they ever play in town again, I am so there. Violinist Warren Ellis is a brilliant performer, and of course having Jim White on drums (he’s the reason I went after seeing him perform with Smog) is to die for. The entire set was jaw-droppingly good.

7. Yo La Tengo @ Lollapalooza, Chicago, 1995
Yo La shared the second stage with the Coctails and Brainiac, among others. This was my first time seeing them live, and they’ll probably never compare favorably again. After all, this was Electr-O-Pura era Tengo (still my favorite period), when Ira Kaplan would get crazy on the organ and guitar, and the songs still rocked through and through. After the show, James McNew gave me his telephone number, and two weeks later I called him up to do my first-ever interview. He was great on the phone, but his band was better in person.

6. The Jesus Lizard @ American Legion Hall, Peoria, 1995
Another of several shows on this list booked by my friend Jon. This show was actually caught on tape in a documentary about the Chicago music scene titled Out of the Loop. (I know, sorta odd that the filmmaker would travel downstate to film a Lizard show, but whatever.) David Yow was up to all his usual tricks at this show, and prior to the concert I had an interesting exchange with bassist David Wm. Sims while he was shaving in the men's room. The best part of this show (other than the Lizard's outrageous rider)? Above the stage it read "For God and Country", and Yow made a point to continually reference the slogan throughout the show. Matter of fact, if memory serves, there was also a reporter at the show from Rolling Stone. For one evening, Peoria was the epicenter of the indie rock world.

5. Shellac, Brainiac, Melt Banana, Gaunt @ Fallout Comedy Club, Chicago, 1995
Shellac in their prime, when the "Fuck Canada" and "Fuck Wicker Park" jokes were still funny, when Todd Trainer being lifted off the stage while sitting on his drum stool was still fresh, when At Action Park was the best punk rock record I had ever heard. Steve Albini didn't seem so damn old in 1995. (Maybe that's because he had yet to work with Bush.) His band was in top form on this night; I shant forget their rendition of "Wingwalker", in which Trainer went bonkers on the cymbals. But the rest of the bill was interesting as well. This was my second time seeing Brainiac, who never disappointed in a live setting. I also recall the guitarist of Melt Banana have extensive trouble with his guitar strap. Several times during their set, his strap came unhooked, and twice he had to play the bulk of a song while laying on his back. Anyway, this concert trumps the time I saw Shellac open for Fugazi, solely because by the time of that amazing bill (at a roller rink no less!) I had already seen both bands on multiple occasions.

4. The Magnetic Fields @ Old Town School of Folk, Chicago, 2000
I consider 69 Love Songs to be among the five-best albums recorded in the past decade, so it should come as no surprise that Stephin Merritt's performance of his 69 songs -- done in order over the course of two nights -- is near the top of my list. The Old Town is a lovely, diminutive theater (where you can drink and sit in an assigned seat!). With his able backing crew of Claudia Gonson, John Woo, and Sam Davol, Merritt charmed the capacity crowd. But this concert was a bittersweet one, because I went to it with my soon-to-be-ex. We had both fallen in love with each other and The Magnetic Fields at about the same time. Our relationship, however, was on its last gasp at this time, and so it was somewhat disheartening (yet strangely accurate) to listen to Merritt's "love" songs while we were falling out of love with each other. We left the concert knowing that we were through, even if we didn't verbalize that sentiment till a couple months later. Oddly enough, Merritt's subsequent records (as both the 6ths and Magnetic Fields) haven't done much for me. Maybe I've chosen to subconsciously bury the Fields just as I've buried the ex?

3. Neutral Milk Hotel, Superchunk @ Lounge Ax, Chicago, 1998
I’m not sure why I drove to Chicago to see this considering the duo played in Champaign just two days later. It was a smart move in retrospect, as this remains the only show I got to see at the Lounge Ax before the legendary club closed it doors. Superchunk was typical: full of bounce, sounding and looking the part of the indie rock veteran, delivering the classics with all the verve one would expect. But I was there to see Neutral Milk Hotel, whom I did not think could possibly live up to the infamy of their recordings in a live setting. I was terribly wrong, as the ramshackle Salvation Army-esque backing band quickly charmed the audience and provided a perfect backdrop for Jeff Mangum’s otherworldly tales. It’s a shame that he’s faded into relative obscurity over the past six or so years. Maybe some day…

2. Dungen @ The Empty Bottle, Chicago, 2005
Hands down the best performance I have ever seen by a rock band. Sure, it was just a few months ago and maybe the proximity of the concert is affecting my judgment ... but I don't think so. Dungen is jaw-droppingly good on stage: Four amazing musicians playing -- to borrow a cheesy sports cliche -- as a team. Their between-song banter was humble and humorous, showing their true lack of concern for the rock star image they are owed. And they ended their set with an encore of epic proportions: a fifteen-minute jam that switched gears several times and included an amazing bliss-out on organ that was like "Whiter Shade of Pale" on LSD. The best way to summarize just how much I liked this band's performance: I absolutely fucking hate the flute. But when Gustav Ejstes pressed his lips to his flute, I sorta, kinda liked it. A lot.

1. Nirvana, Mudhoney, Jawbreaker @ some gym in Iowa City, Iowa, 1993
No concert will ever top this one, for a whole host of reasons. First, there’s the circumstances of how I ended up there: ditching high school and a mandatory marching band performance -- without telling my parents -- to drive the five hours to the concert. (Oh, and I got caught -- big time -- by both the school and my parents.) Then there’s the lineup. I had no idea who Jawbreaker was at the time, and honestly they were fine but merely kept the stage warm for Mudhoney, who tore apart my right ear drum. (I had a pleasant ringing in my ear for three days.) I still have my “Mock Cooter Stew” Mudhoney t-shirt, and wear it on occasion to M’s chagrin. Nirvana was brilliant. The setting -- a gymnasium -- was a little ironic, but Kurt was in top form on this night. Really, the performance is a blur, in a good kinda way. I won’t say that this concert changed my life, but the entire experience surely set me down the road I still find myself wandering along today.

So there you have it. I'll get back to posting mp3s shortly.

POST NO. 51: BEST OF 2005, PART THREE

2006-02-19T16:41:00.000-06:00

Welcome back to my recap of my favorite songs from 2005. If you missed parts One or Two, click away. I'll follow up this post later this week with a brief discussion of my favorite albums of the year.

Songs are listed in no particular order, other than the order in which they appeared on the mix. All songs are from records that I purchased -- no iTunes downloads, no mp3s cribbed from blogs, no feeling guilty over not owning the album's actual artwork. Barring a few reissues of recently recorded music, all songs appeared on albums whose original release was in 2005.

The Noiseboy's Best of 2005, Volume Three

Dead Meadow - "Let's Jump In"

Feathers is far more layered and trippy than anything Dead Meadow has released so far. The addition of a second guitarist gave the band "more surface area," singer/guitarist Jason Simon told me in an interview last year. Indeed, more emphasis has been placed on melody this time out, and the results are quite interesting. I think Dead Meadow have opened doors to new audiences by heading in this direction, and done so in a manner that hardly seems to sacrifice much of their muscle. "We always considered ourselves to be a heavy pop band that maybe leaned to the harder sound early on as a way of protecting ourselves while playing out," bassist Steve Kille told me. "What a better way for three skinny guys to create art than to hide behind loud guitar and heavy drums?" They aren't hiding any more. Hawkwind is still a heavy influence, but so too is British shoegazer. Me likes.

Shipwreck - "Cavern"

Not the Shipwreck from Albuquerque; rather, these dudes are from my hometown of Champaign, and formed from the ruins of The Buzzards, who may just be the best band to ever cover Gram Parsons' "Kiss the Children". Shipwreck is much more of a traditional "rock" band than their predecessor, but their range of influences still venture from Will Oldham to Ummagumma. Their debut record, Origin, shows great promise. Now if they can only get themselves inked to a record deal.

My Morning Jacket - "Anytime"

Yes, I know that I'm in the minority when it comes to not being all that impressed by Z. The songs on Jim James' newest just don't stack up to his previous two releases. The less-claustrophobic sonic atmosphere may make MMJ more approachable, but it doesn't necessarily make them better. I think the critics missed the boat on this one, but regardless I really dig this song.

Okkervil River - "Black"

This song reminds me of Bruce Springsteen in a big way, and I love love love it. It's got that same reckless, driving energy that made Born to Run so essential.

The Mountain Goats - "This Year"

I'm glad that John Darnielle finally struck a brilliant chord after so many near-perfect songs.

Sufjan Stevens - "Chicago"

Stevens has received enough hype this year. But I'm partial to Illinois because I've lived in the state nearly all of my life. And while he does come across a bit too fey (too often) on the whole, he sure does know his way around a melody. I don't know if this album will hold up over time, but this song in particular stands a good chance.

Antony and the Johnsons - "Hope There's Someone"

If anyone received more hype than Sufjan over the past year, it was probably Antony. There isn't much room for grey area here; you either love him or hate him. What makes Antony's music more than camp -- more than simply style -- is the anger that breathes right under the surface of his best songs (see the second half of this song, for example). Once I accepted his unique voice, I was hooked.

Devendra Banhart - "Cripple Crow"

Sure, he's a modern hippie. But I can't fault him for his eccentricities, especially when his music is attempting to reach outward without regard for the inevitable smirks, slaps, and shallow disdain for something striving for honesty. Not enough songwriters are expressing thoughts like this in the year 2005: "Our pain dissolves with believing / that peace comes." And this song is a great example of Banhart growing out of his T. Rex shell into a pretty little butterfly.

The Drones - "Shark Fin Blues"

If Richard Thompson fronted Drive Like Jehu, we'd all have a new favorite band. And if The Drones could pull that off over the course of an entire album, they would be my new favorite band. Sadly, they struck out on Wait Long By the River & the Bodies
of Your Enemies Will Float By. But misses aside, "Shark Fin Blues" is still my favorite guitar rock anthem of '05.

Andrew Bird - "A Nervous Tic Motion of the Head to the Left"

Andrew Bird's attempt to mimic The Shins-gone-country. What can I say? I'm a sucka.

Jens Lekman - "I Saw Her in the Anti War Demonstration"

This was released first on a Secretly Canadian EP in 2004, and then re-released in November 2005 on a compilation full-length titled Oh You're So Silent Jens. I include it here only because it is a fabulous song and it's sadly quite possible that you've yet to meet the truly wonderful Jens Lekman.

Cass McCombs - "City of Brotherly Love"

Welly welly well, maybe you'll find this one a bit too melancholy and downtempo. But I find it to be quite splendid, and since it's M's favorite song of '05, I just had to include it.

The Hospitals - "Happy Jack"

I broke two of my own rules to include this song. For starters, I don't own the source recording; I downloaded it. For seconds, this is a cover that surely has Keith Moon rolling over in his grave. Since The Hospitals make this song their own with their bizarre rape of the original recording, I don't feel much guilt about including this. Such disregard for legends should receive applause. This was released on a limited-edition 12-inch by a German (I think) label and is way out of print. Enjoy. (And if anyone knows where I can track down a copy, please let me know.)

Nagisa Ni Te - "Anxiety"

Japanese folk-rock duo Nagisa Ni Te (which translates to "on the beach") rock out on their four-song EP, Dream Sounds. I love the jangly Velvets rumble, the slightly off-key vocals, and the occasionally jumpy bass line. A surprise find for me, and highly recommended if you're into older Yo La Tengo.

The Clientele - "Since K Got Over Me"

Finally, we reach my favorite song from 2005. How can a song with a wink to Phil Spector -- listen for it at the one-minute mark -- not find its way on to my Best of 2005 list? But what separates this song from others is that it was written by Alasdair MacLean, quite possibly the greatest guitar player that no one ever talks about. MacLean's biting lyrics and exquisite use of melody have always been his band's calling card, but never has he sounded this confident, as if he's fully aware that this pop song will utterly crush his ex's heart.

Shout Out Louds - "Oh, Sweetheart"

I found the Shout Out Louds' 2005 major-label U.S. debut to be a bit of a bore -- a cautious, more rockin' attempt at overseas success for the Swedes. Howl Howl Gaff Gaff simply repackaged many of the band's earlier releases, like this tune from a 2004 EP that I fell in love with. Since that EP was only scarcely available as an import, I include it here.

The Kills - "Love Is a Deserter"

If there is a "last place" song on my Best of 2005 mixes, then this is it. I was totally disappointed in The Kills' sophomore album, No Wow, especially given how much I enjoyed their debut. Honestly, listening to this song now, I wish I would have left it off the mix. It's not bad, for sure, but it's not that great, either.

Spoon - "I Summon You"

At least we end on a high note. Every Spoon album has that one sentimental song that gets you weak in the knees, and Britt Daniel has written none better than "I Summon You". On a side note, I want to marry Jim Eno, just so he can play the drums for me 24 hours a day. Anyone else feel the same way?

Thanks for reading my Best of 2005 entries. I had a lot of fun putting the mixes together on my stereo (note: NOT COMPUTER). All in all, I probably spent 20 or so hours ranking songs and fretting over what would not make the list. Hopefully, you found a few new faves in the process. And please, share your lists with me as well.

POST NO. 50: BEST OF 2005, PART TWO

2006-02-12T14:23:00.000-06:00

Welcome to week two, mix two, of my Best of 2005 recap. For week one, click here. The same disclaimer holds true for this volume.

Songs are listed in no particular order, other than the order in which they appeared on the mix. All songs are from records that I purchased -- no iTunes downloads, no mp3s cribbed from blogs, no feeling guilty over not owning the album's actual artwork. Barring a few reissues of recently recorded music, all songs appeared on albums whose original release was in 2005.

The Noiseboy's Best of 2005, Volume Two

Silver Jews - "Punks in the Beerlight"

David Berman has never recorded a more direct, rocking tune than this dark ode to his days as a drunk. In some parallel universe, this song was a Top 40 radio hit and scores of kids rallied around the Silver Jews and their T-shirts popped up in Hot Topics the world round. How can you go wrong with this: "So wanna build an altar on a summer night. You wanna smoke the gel off a fentanyl patch." And of course, the anthemic chorus: "Punks in the beerlight, burnouts in love!" Man, this song is like a tribute to the Swingin' Seventies CBGB's scene. And I love it! (Postscript: If you haven't watched the brilliant video for this song, get on it now!)

Spoon - "Sister Jack"

Speaking of bands with an obviously ignored radio hit on their hands, how about this one? Many of my friends wondered how "I Turn My Camera On" could be left off my Best of 2005 list. And I responded with this question: How can the best-sounding "classic" Spoon song ever penned not make it on your Best of 2005 list? Plus, I love the fist-pumping lyric: "I was in a drop-D metal band we called Requiem."

Devendra Banhart - "I Feel Just Like a Child"

If you don't "get" this song, then you don't "get" Devendra Banhart. I thought Cripple Crow was weaker than either of last year's offerings -- mostly because it was just too fat around the edges -- but this song is just Devendra doing his own beautiful thing. Never has he channeled Marc Bolan with such success.

Smog - "The Well"

Bill Callahan wisely dropped the parenthesis from his band name for his newest release, A River Ain't Too Much To Love. But on the record, he also foregoes electric guitars in favor of a back-porch acoustic album. The songs are solid, but overall the record lacks the immediacy of some of his best work of recent. My choice from this record was a toss-up from the album's strongest pair of songs, "Say Valley Maker" and "The Well". Ultimately, Jim White's drumming on "The Well" won the coin toss. He sure is a swell drummer.

Six Organs of Admittance - "Home"

I went with the "pretty" Ben Chasney song for my mix not because it was necessarily the best on an album that fluctuates between longish dirges and short and sweet John Fahey-inspired blues, but because I couldn't justify taking up 10+ minutes with School of the Flower's title track.

The Magic Numbers - "Love Me Like You"

There are two things that I like about this band: 1) the fact that they don't mesh with the standard "look" for a major label artist (they are what they are); and 2) this song. The rest of their self-titled album didn't do much for me, but this tune belongs amongst pop's royalty.

Clap Your Hands Say Yeah - "In This Home on Ice"

Upon swallowing Pitchfork's hype and purchasing this record, I spent a good week loving it. On first listen, I heard a pleasant throwback to the days when Unrest ruled the school. But the album quickly faded in my rear view mirror. This song, however, stayed in the backseat a bit longer. I love the energetic Rocketship-esque keyboards and the melodrama, proving that I am still just as much a sucker for indie pop at age 30 as I was at age 20.

Suburban Kids with Biblical Names - "Funeral Face"

These Swedes are hopping on the coattails of Jens Lekman in an oh-so-obvious way, but who fucking cares? I was so stoked for their full length, No. 3 (released on Labrador Records), and it let me down in a big way. But this single is a very nice consolation prize. Hopefully they'll fare better with their next album, as the promise of their debut EP, No. 1, has yet to be realized.

The Fiery Furnaces - "Here Comes the Summer"

I'm not the biggest fan of this dude and dudette. But this song just floored me. If every song they wrote was this direct, then Matt and Eleanor would be King and Queen of the world. It sort of frustrates me that they can't harness their ambition for just one record and give us a collection of pop songs this good.

Animal Collective - "Grass"

The chug-chug-chug of electric guitars buried underneath thumping toms; the primal yelps coupled with woo-ooo-ooo's; obscure melodies squeezed of their last breath; the urgency with which the lyrics are delivered; the far-out-to-sea-on-a-lazy- boat-in-the-midst-of-a-big-storm feel of the entire song; all makes for one engaging, brilliantly-skewed song from Avey Tare, Panda Bear, and company.

Oneida - "Did I Die"

Speaking of daring NYC ensembles, how about Oneida and their latest, The Wedding? Don't even try to tell me that you heard anything like "Did I Die" in 2005. This one strokes my psych-rock side while also satisfying my occasional craving for the obtuse, difficult indie rock of my youth. Song-of-the-year as far as I'm concerned.

Dungen - "Panda"

Technically, this song has no business on my mix, as Ta Det Lugnt ended up No. 2 on my Best of 2004 list. But since so many of my friends had yet to hear Dungen as of late 2005 -- apparently still scared off by their Swedish tongue -- and since the album saw its re-release domestically in '05, I had to include "Panda" here. Plus, Dungen put on the best live show I've ever seen from a rock band when I caught them at the Empty Bottle in October. They are not to be missed, folks.

Witchcraft - "Chylde of Fire"

Everyone's got a little Sabbath itch to scratch from time to time, no? These Swedes sing in English and channel Ozzy and Roky in equal doses. I know it's more tribute than original, but I got a sweet tooth so lemme have it.

Bonnie "Prince" Billy and Matt Sweeney - "My Home Is the Sea"

It's possible that Will Oldham is too prolific for his own good. But I for one think that his 2005 collaboration with former Chavez gunslinger Sweeney gave ole Bonnie a breath of fresh air. Sure, not many of the songs on Superwolf rank among his best, but this one sure does, with Matt playing Ned's role to great results. I really dig the psychedelic ending, which I'm guessing is all Matt's doing.

Wooden Wand and the Vanishing Voice - "Dogpaddlin' Home to Live with My Lord"

I didn't get to hear James Toth's other 2005 album, Harem of the Sundrum & the Witness Figg, before I made up my Best of '05 list. But I think I like this song from The Flood better than anything on his other release, despite the fact that I like the other record more as a whole. The mood and lyrics of this song remind me of Richard Davies for some reason.

Akron/Family - "Shoes"

There sure is a lot of NYC on this mix. Akron/Family were among my favorite new discoveries last year, and thinking about them now reminds me to pick up their album with Young God Records' founder Michael Gira, aka Angels of Light. Anyone heard it?

Sigur Ros - "Saeglopur"

I enjoyed Sigur Ros' breakthrough 1999 album Agaetis Byrjun, but I don't listen to it very often. In fact, I think it had been at least a couple years since I'd last listened to it when I ran it through the headphones this fall. I was attempting to decide if I wanted to order Takk, their 2005 release that was receiving lots of praise. I reinvested in the band after remembering why I fell in love with them in the first place, and I'm glad I did. Takk is exceptional at times, and while I'm sure I won't listen to it all that often either, it's great to have around when the mood strikes.

The Clientele - "E.M.P.T.Y."

It's good to see The Clientele return to the form that won them my musical heart in 1999. Strange Geometry is a sadly overlooked gem from the past year. Any self-respecting fan of Felt and The Left Banke needs to rush ye to a record emporium in a hurry and pick this up.

That concludes volume two of my Best of 2005 mixes. Next week: the third and final offering.

POST NO. 49: BEST OF 2005, PART ONE

2006-02-04T15:37:00.000-06:00

I'm dishing out my Best of 2005 selections in three healthy portions. Every year, I make a "Best of" mix for my friends, and this year I purchased a good deal of music, necessitating a three volume mix. I'm going to offer ya'll the same mix for download. This week, we begin with volume one.

But before we start, a prelude is needed. I'll eventually share my Top 10 albums of the past year. But first, I'd like to focus on songs, rather than records. Since I became so involved in blogging this year, I've been concentrating more and more on individual mp3s, er... songs. And that in turn got me more interested in making mixes once again. Then, in November, they let me back on the airwaves. So once again, "singles" have become a point of fascination more so than albums.

Anyway, my goal in life has never been to make MONEY -- just to make enough money to be able to spend some money on RECORDS. That goal didn't change in 2005, despite starting the year on a ridiculous effort to curb my spending. I anointed the burden my "Year Without Music". (Yes, I actually thought I might be able to go an entire calendar year without buying more than one record per month. Ha!) What you're holding in your hands right now is Exhibit No. 1, proof that I failed miserably in my yearlong fast. (I did make it about five-and-a-half weeks, give or take a week. Still, I would make a poor Buddhist monk.) I live to buy records -- guilty as charged -- and I have now accepted this fate.

Music journalists will often write that such-and-such year was a truly awesome year in music, or an absolute snooze fest. But I don't listen to 'em. Sure, 2005 may not hold water compared to, say, the year Punk broke in 1977 or Beatlemania in 1964. But fuck, if we're going to compare every year to the standard-bearer of all years, then why don't we just stop looking forward and instead make out with our copy of Never Mind the Bullocks? My point: Every year is a pretty swell year in music, if you know where to look. It's up to the excavator to uncover the gold. But I do admit that some years the process of finding the booty can be trying, to say the least. I mean, I don't have unlimited funds after all. (If anyone wants to hook me up to that end, drop me an e-mail.)

I spent a good deal of the year looking backward, purchasing records by obscure '60s garage rock bands from Holland and collecting psych-rock compilations from Asia and Latin America. But I also purchased a bunch of albums recorded over the past year or so. Due to such non-2005 purchases, I sadly can't tell you if the new Beck or Broken Social Scene is worth a shit. Sorry.

One final note: I don’t claim to be a music critic, but I am a music fanatic. These songs may not be the best of the best in your book, but they sure made my year more enjoyable. Maybe they'll work some magic for you as well.

Cheers,
The Noiseboy

Songs are listed in no particular order, other than the order in which they appeared on the mix. All songs are from records that I purchased -- no iTunes downloads, no mp3s cribbed from blogs, no feeling guilty over not owning the album's actual artwork. Barring a few reissues of recently recorded music, all songs appeared on albums whose original release was in 2005.

The Noiseboy's Best of 2005, Volume One

Animal Collective - "Did You See the Words"

Sung Tongs didn't grab me on first listen, but AC's newest album, Feels, is full of a certain warm energy that lends the album both an immediacy and a coherency that's simply potent. If a demographically diverse grouping of third-graders could be cobbled together, locked in a hut for a year quietly practicing their chosen instruments, and then loosed on society in a free concert for the masses, "Did You See the Words" is what they would sound like.

Akron/Family - "Running, Returning"

Another NYC band whose folksy cacophony struck me dumb this year. Supposedly, they put on one hell of a live show, which I'll find out for myself in a month when they play in town.

Cass McCombs - "Sacred Heart"

One of the 2005's finest feel good tunes. I know the lyrics are somber, but the songs still makes me feel giddy. I think it's those '80s synths and the guitar crescendo heading out of the chorus. Sorta makes me think of The Chills and East River Pipe in an oh so good way. Why Cass McCombs isn't as popular as the Pope I just don't know.

Stephen Malkmus & the Jicks - "No More Shoes"

I wrote Stephen Malkmus off years ago, and then he goes and pulls this shit on me. If this is what growing old sounds like, then count me in. Who knew the dude could still rock like this?

Oneida - "Lavender"

A fucking phenomenal record from one hell of a band. Oneida's The Wedding is a dizzying, daring assemblage of aural delight. Two thumbs up!

Black Mountain - "Don't Run Our Hearts Around"

I love me some dirty, Hawkwind-esque riffage. In my interview with Black Mountain from early last year, frontman Stephen McBean told me that he loves the Grateful Dead as much as any band this side of Bay Area speed metal purveyors Exodus. If you listen to this behemoth in that context, it all makes sense.

Jackie-O Motherfucker - "Hey! Mr. Sky"

Unlike the rest of Flags of the Sacred Harp, this song perfectly captures that archetypal Palace Brothers lull.

Magnolia Electric Co - "The Dark Don't Hide It"

Sometimes I think Jason Molina does nothing besides wander along train tracks with an eighth whiskey in his ass pocket, howling at the moon. I didn't like What Comes After the Blues as much as MEC's studio debut, but even a mediocre record from diminutive Molina stands taller than efforts from his peers.

Andrew Bird - "Fake Palindromes"

I've never been much of a fan of Andrew Bird or his Bowl of Fire, but The Mysterious Production of Eggs caught me by pleasant surprise. Here's one for you vocabulary buffs: surely, this is the only time the words formaldehyde and fratricide have been used in a rhyming sequence in a song.

Jose Gonzalez - "Crosses"

Technically, the album that this song is from, Veneer, came out in 2003. I bought it in 2004 as an import, and Hidden Agenda reissued it in 2005. Since precious few knew about it prior to last year, it makes an appearance here. Double-tracked vocals can get annoying, unless they're sung by the Swedish-born son of Argentine parents. This record is well worth owning, so go forth and purchase.

Okkervil River - "For Real"

I saw these guys play the tiny upstairs of Mike & Molly's when they were just freshman. My how they've grown into handsome juniors. Black Sheep Boy, despite rave reviews upon release, is not getting the sort of year-end list respect it deserves.

Wolf Parade - "I'll Believe in Anything"

Pitchfork loves these guys. Wee! I don't think Apologies to the Queen Mary is as good as advertised, but when these boys from Montreal hit their stride, they strut with their chins high.

The Living Blue - "Tell Me Leza"

A big step forward for this Champaign-Urbana quartet. "Tell Me Leza" is proof that morphing into a Flying Nun-influenced power-pop band will get ya a hit record! The full length, Fire, Blood, Water, is a more raucous affair, lacking some of the polish of this single, but not hurting for guts.

Destroyer - "An Actor's Revenge"

Dan Bejar teams up with those zany kids in Frog Eyes to re-record selections from his 2004 album Your Blues. Personally, I enjoyed the synthetic strings and analog keyboards of Blues, but it sounds good in rock 'n' roll redux, too.

Jennifer Gentle - "I Do Dream You"

Listening to this Italian duo's take on Syd Barrett is like being high on the wacky weed and getting a wedgie from an Oompa-Loompa. Garage rock Single of the Year, hands down!

M. Ward - "Hi-Fi"

Following up 2003's Transfiguration of Vincent is a tall order, so I don't fault M. Ward for failing. Besides, "Hi-Fi" is one of the best songs he's penned.

Iron & Wine - "Evening on the Ground (Lilith's Soung)"

Sam Beam proves he isn't a pussy. Folks, that's a distortion pedal!

Dead Meadow - "At Her Open Door"

If not for those pesky Swedes in Dungen, Dead Meadow would have won Concert of the Year honors from Jukebox Upchuck. Seductive stoner rock? You betcha! Romancin' the bong never felt so right.

Next week: volume two of The Noiseboy's Best of 2005.

POST NO. 48: EXCUSES FOR THE EXCUSES

2006-02-03T08:57:00.000-06:00

I don't remember the last time I made a post that wasn't an excuse, so, uh, excuse that. Here's the scoop: I'm scaling back my blogging considerably in 2006. I need to refocus my time and energy on more productive ventures, like actually listening to more music instead of spending so much time writing about it. What that means for the blog is that my posts will be less frequent, and when I do post I'll probably share more music with you, but with less accompanied writing. If that turns you off, sorry. But there's a stack of books I'd like to read, and a stack of albums I need to listen to, and that pesky problem of a significant other to pay attention to (I kid!), and dinner to make, and exercise to force upon myself, and the occasional NCAA basketball game I must watch (and isn't baseball season right around the corner?), and a radio show to host, and mixes to make for friends, and apparently a bathroom to clean (who knew?), and, well, you get the idea. YES, I'm trying to have a life outside of the blog. I'm nearly 30, so I do deserve one of those.

This weekend I will finally post my Best of 2005, so look forward to that for the time being.

POST NO. 47: ESTIMATED TIME OF DELIVERY

2005-12-29T14:49:00.000-06:00

Still working on my Best of 2005 post between trips to the parents. Sorry dear readers, but perfection takes time. I should be ready to post something toward the end of next week.

In the meantime, if you're in the mood for imperfection, check out this for a good laugh: Little Steven is pairing with ESPN for a New Year's Eve bash. I can't even describe how repulsive this idea is to me, which is odd since I love both sports and music. But, the idea of Stuart "Boo-ya!" Scott introducing the New York Dolls, The Troggs, and The Mooney Suzuki makes my skin crawl. Blech!

Happy New Year and all that jazz...

POST NO. 46: BEST LEFT-BEHIND SONG OF '04

2005-12-09T17:47:00.000-06:00

As I'm pouring over this year's releases and ranking them -- or at least attempting to -- I'd like to give props to a single from 2004 by UK group Johnny Boy that most of the USA probably has no idea even exists. (I sure didn't prior to a few months ago.) This is the best slice of Spector-cum-Jesus & Mary Chain ... ever? Seriously, this song is fucking tops. Too bad it officially came out last September, cause it would be a lock for my Top 10 for this year. Pitchfork ran a news bit on this duo a couple months ago that said they were shopping labels. (Like, hurry the fuck up and release an album already!) If they can write an album's worth of tunes half this good, they'll be the most-hyped band since The Strokes -- and with good reason.

~~Johnny Boy - "You Are the Generation Who Bought More Shoes And You Get What You Deserve"~~

POST NO. 45: EXCUSE THE ABSENCE

2005-12-05T22:09:00.000-06:00

The usual excuses: busy at work, busy at play, busy at home, busy with the holidays. Busy, busy, busy! All I've been listening to lately is obscure garage rock and Codeine. Go figure. Anyway, I'm slowly but surely compiling my Best of 2005 list. So sit tight.

POST NO. 44: XGIVING SMORGASBORD

2005-11-20T14:45:00.000-06:00

All apologies for my prolonged absence, and apologies in advance for another forthcoming prolonged absence due to the holidaze. I've been busy over the past three weeks helping a new low-power FM station get on the air here in Champaign-Urbana. I'll be hosting a show on the station every other Wednesday evening, and for the time being you can listen online if you're so inclined. (I'll pass along those details later.) That's been taking up a LOT of my free time, hence no blogging. But enough with the excuses. Here's a slew of songs to keep you company until next week.

~~18th Dye - "Trains and Boats and Planes"~~

We start with a song inspired by my radio show. Last week I co-hosted with the fellow DJ that will be alternating shows with me. He spun a tune by Berlin's 18th Dye, whom some of you indie rockers may remember from Matador's hey-day in the mid-Nineties. They were an oft-overlooked group that recorded some of the most memorable, explosive, and obtuse indie rock of the past decade. Here's the b-side of their 1995 limited-edition seven-inch for The Flower Shop label: the Burt Bacharach/Hal Davis-penned tune, "Trains and Boats and Planes." That's not the gorgeous Heike Radeker on vocals; instead it's a guest spot from Signe Hoirup Wille-Jorgensen, whom I know nothing about.

~~Gene Clark with the Gosdin Brothers - "Tried So Hard"~~

I've long wanted to purchase this album, which as its self-title suggests features Gene Clark with the Gosdin Brothers. And I still don't own it; however, I've got a copy on loan. Recorded in 1967, it was Clark's first release after quitting The Byrds. For his backing band, he chose some current -- Mike Clarke and Chris Hillman -- and future -- Clarence White -- members of The Byrds, as well as Leon Russell and The Leaves' Bill Rinehart. Oddly enough, Clark left The Byrds before they recorded their fourth album, the exceptional Younger Than Yesterday, which also happens to be the title of my radio show.

~~Yo La Tengo - "Tried So Hard"~~

The reason I've long wanted to get the Clark album is because I loved Yo La Tengo's cover of "Tried So Hard," from their 1990 record Fakebook. Anyway, for comparison's sake, here's Tengo's version.

~~Magnolia Electric Co - "Werewolves of London"~~

While we're on the subject of covers, here's Jason Molina's version of Warren Zevon's 1978 hit "Werewolves of London". This is off of the new Magnolia Electric Co EP Hard to Love a Man.

~~Van Morrison - "Like a Cannonball"~~

Why I've never purchased Van Morrison's Tupelo Honey, I just don't know. I guess I can blame it on the lack of decent used record stores in town, which has prevented me from filling up back catalogues on some key artists. My good friend Jon, who is the one loaning me the Clark record, accompanied me to Springfield to visit downstate Illinois' best used record shop, Recycled Records. It's not long on post-1990 albums, but it's got a wealth of older records. I picked up Tupelo Honey for two bucks, in near-mint condition. And damn does it sound good! My late-Sixties, early-Seventies Van Morrison collection is now complete.

~~Shady Lady - "Save Me"~~

I certainly wasn't looking to round out my Shady Lady back catalogue when I ordered this LP from Anopheles Mail Order (run by the estimable Karl Ikola). In Ikola's description, he compared this L.A. band to the New York Dolls and promptly peaked my interest. Recorded sometime between 1970 and 1972, "Save Me" is not entirely representative of the band. Shady Lady does sound a bit like the Dolls (if dumbed down), but the record, Raving Mad, was a bit of a disappointment. Still I love this cut, which is pretty fucking weird, and sounds as if a strung-out Stefen Shady is fronting Spacemen 3. Sorry for the poor fidelity.

~~Justin Heathcliff - "You All Should Think More"~~

I've written in the past about Japan's Justin Heathcliff, but now that I've heard his self-titled 1971 album in its entirety, I'm going to expend a bit more effort in convincing you to track it down. (Try Forced Exposure, as they have it.) Click here to read what I wrote back in September, and for a little while I'll keep the old mp3 from that post active, too. This is Beatles-esque psych-pop at it's best!

~~Witchcraft - "Chylde of Fire"~~

Sweden's Witchcraft are back with a new offering to lay at the altar of Sabbath. Firewood follows up last year's self-titled debut, and is just as fun if you're into that whole Seventies gloom-and-doom hard rock thing. (I am.) Witchcraft takes every step possible to ensure that their recordings sound vintage, and I think you'll agree that they've accomplished that goal. What I really like about them is that one can hear more arcane influences in singer Magnus Pelander's lyrics. Like, say, Roky Erickson. Good stuff!

~~John Cale and Terry Riley - "The Protege"~~

I recently picked up another album that's been on my list for a couple years, the 1970 collaboration between John Cale and minimalist composer Terry Riley. Church of Anthrax is a mostly instrumental record featuring Cale and Riley tickling the ivory (piano, organ, harpsichord), with splashes of guitar, viola, bass, soprano sax, and drums thrown into the mix. The album doesn't sound much like anything either has done on their own, but it's worth owning if you're into the sort of oddball rock-"jazz" recordings of Robert Wyatt. This particular tune isn't as wild as it gets, but it's certainly a highlight among the record's six songs (and makes for a good music bed, too!).

That's it for this week at Jukebox Upchuck. See you after you've put on a few pounds, watched too much football, and become incredibly sick of your family.

POST NO. 43: PROTO-PUNK, EH?

2005-11-07T21:18:00.000-06:00

They could beat the crap outta Broken Social Scene. They're way cooler than Do Make Say Think. And their name doesn't roll off the tongue of every hipster as does The New Pornographers. They're self-billed as Canada's first proto-punk band -- obviously a distinction without much dispute. Ladies and gentleman, meet SIMPLY SAUCER!

I finally got around to ordering their posthumous album Cyborgs Revisited, reissued a couple years ago on Get Back. I was timid to say the least about ordering a record from a band from the mid-Seventies that goes by the name Simply Saucer, for obvious reasons. Plus, they had been written up on another blog whose whereabouts escape me now, and in that write up the blogger mentioned that numerous music press had deemed Cyborgs to be the best Canadian album ever recorded. Anytime I hear "best ever" I cringe, because I know that I tend to throw around those words from time to time when I don't know what in the hell I'm talking about; I'm just blindly in love with whatever I'm listening to at that moment (and probably haven't given said record much context).

But the write up on Anopheles mailorder again caught my eye, and this time I indulged myself. In addition to more praise, Anopheles described the songs on Cyborgs as "head-psych-jammers that butt forehead to forehead with Metal Machine Music." Certainly, not a description that one stumbles across every day. So I threw my $12 on the table and walked away with a Simply Saucer record.

I've listened to it the grand total of two-and-a-half times. I have yet to master it's domain, but so far I'm really digging the group's all-over-the-map tendencies. I can hear why these guys have been compared to the following bands: Pink Fairies, Stooges, VU, Hawkwind, and Can. They're spacey at times, too, employing analog electronics to fuck up the place.

What the esteemed listener gets with Simply Saucer is a mixed bag, a band that can sound sort of like Deep Purple one minute, and Pere Ubu the next. Since this album is just an unreleased recording session -- who knows if it was ever intended for release -- it's hard to say if this best represents what Simply Saucer was all about. (All these guys from Hamilton, Ontario ever officially released was a seven inch.) But I do know that it's quite easy to see why Simply Saucer is considered a band that was ahead of their time. Regardless of the fact that they fell into a crack for 15 years until this album was originally released in 1990 (and then promptly fell into another crack for more than a decade until its re-release), Simply Saucer is worth a bit of inspection.

"Nazi Apocalypse" is a really fucking cool song, even if it doesn't find the band at their strangest. You can imagine a young, impressionable Thurston Moore hearing this song in 1979 and having a light bulb click on above his head. And for contrast, I'll also run with "Bullet Proof Nothing," which lathers on the Lou Reed like cheap shaving cream. It's hard to believe that both songs come from the same album, let alone the same band.

~~Simply Saucer - "Nazi Apocalypse"~~

~~Simply Saucer - "Bullet Proof Nothing"~~

To read what others think of Simply Saucer, go here or here or here.

POST NO. 42: THE ORIGINAL ANIMAL MAN

2005-11-02T18:16:00.000-06:00

The original animal man was not this dude, nor was it the former Alex P. Keaton or this furball. No, folks, it was Kim Fucking Fowley, possibly the most un-sung zero of the under-over-ground rock and roll producer sect of the Swingin' Sixties and the Stoned Seventies. He had his hands on everything from Cat Stevens and The Runaways to Soft Machine and "Papa-Oom-Mow-Mow". When he wasn't playing the part of Phil Spector-cum-Joe Meek, he was lending a helping hand to The Byrds and The Beach Boys, or better yet writing his own "obscuro" material. The man is a genius, and he's finally getting his due thanks to the compilations Underground Animal and Impossible But True, the latter of which comes more highly recommended.

Here's a few tracks from Impossible But True to showcase Fowley's warped genius. We start with "Animal Man," released in 1968 shortly after Fowley turned down an offer from Frank Zappa to become a permanent member of the Mothers of Invention. Then we'll cruise back in time to 1963 to hear "Popsicles & Icicles," a song produced (but not written) by Fowley for an all-girl group called The Murmaids. He hoped they would become the female equivalent of The Beach Boys. The single reached No. 3 on the Billboard charts, but obviously the girls lacked the staying power of the Wilson brothers.

Finally, I give you one of my favorite garage tunes of all time, the 'N Betweens' "Security". The song is a brilliant adaptation of the Otis Redding original, and while the 'N Betweens flopped, this cover has stood the test of time.

~~Kim Fowley - "Animal Man"~~

~~The Murmaids - "Popsicles & Icicles"~~

~~'N Betweens - "Security"~~

For more on Kim Fowley, see his home on the web, which appears as if it was designed in the year 1997.

POST NO. 41: WHAT SWEDEN CALLS "COUNTRY"

2005-10-30T17:47:00.000-06:00

The Chrysler may not have the most tantalizing of monikers to import into America from Sweden, but you'll forgive them for the oversight when you hear their charming take on melancholy indie pop. The group -- considered a country act in their homeland -- marry whimsical, carefree, Belle & Sebastian-styled pop with the loose-goosey, drunk-at-the-pulpit, country-folk of Lambchop. The fuel that drives The Chrysler is hardly high octane. These Swedes prefer coasting when at all possible, content to soak up their dour mood in solace.

Anders Rudstrom and Pelle Lindroth -- both exceptional songwriters with a taste for quirky lyrics -- seem to be second cousins to Richard Davies. Like Davies, they often reach for the sophistication of grandiose melodies, but ultimately play the shy boy in the end. Expect the group's sullen tone to be affixed to your unconscious by lots of melodica, piano, organ, and horns.

Last year, I mentioned their EP, Blue Gold, on my Top 30 Records of 2004. Their new offering in the States, Failures and Sparks, actually predates Blue Gold by a year. It was The Chrysler's 2003 debut, and it's now being reissued in America by Galaxy Gramophone. While it isn't likely to blow many minds, it is an enticing full-length debut that proves once again that imports often trump domestics, moniker aside.

Here's one of the album's more countrified tunes, which just so happens to remind me of The Shins.

~~The Chrysler - "Along the Freefall"~~

I'm more partial to this tune, however, which reminds me of Clinic spliced together with The Concretes.

~~The Chrysler - "Damn Straight Evil"~~

For a bunch of additional songs, see their site.

POST NO. 40: NOTHING DREADFUL HERE

2005-10-27T08:25:00.000-05:00

What if I told you that Bomp! Records was releasing a new record by a Cleveland foursome? You would probably assume that Greg Shaw's esteemed garage rock label had stumbled upon the latest batch of Cleveland kids to channel Rocket from the Tombs and the Dead Boys. But you'd be dead wrong. The Dreadful Yawns share no common DNA with Stiv Bators, nor with the bulk of the Bomp! catalog. But lest we forget, Greg Shaw first identified a promising folk-rock group from Los Angeles in the late-Nineties named Beachwood Sparks. And before he passed away last fall, he struck gold a second time in the genre of Americana with The Dreadful Yawns.

Channeling The Byrds, International Submarine Band, The Flatlanders, and Buffalo Springfield, these Clevelanders wrap up the past in a 21st-century quilt much like peers Yo La Tengo (see Fakebook), Acetone, Iron & Wine, Bedhead, and, yes, Beachwood Sparks. A nod to VU, occasional splashes of Spiritualized-like psychedelia, a communal sound not unlike The Band, and some truly remarkable, classic songwriting combine to make The Dreadful Yawns self-titled offering one of the year's best under-the-radar records. These guys will scratch your Uncle Tupelo jones like an old black dog attacking a pesky flea. Thanks Greg, for shaking out America's rug one final time and catching this rugged nugget of dirt before it hit the floor.

~~The Dreadful Yawns - "Darkness Is Gone"~~

~~The Dreadful Yawns - "You Sold the Farm"~~

Now that I think about it, I hear some good ole fashioned Teenage Fanclub-gone-country in these tunes, too. And isn't that a lovely Neil Young-ish moment there in "You Sold the Farm"? Damn, a band that reminds me of so much, yet sounds like not much else when taken as a whole. Visit the boys here, and pick up a copy of their album -- it's good from the word go.

POST NO. 39: AN AUDITORY CLEANSING

2005-10-23T18:43:00.000-05:00

Break out the Q-tips, cause today's post is about Champaign-Urbana's The Living Blue. We've all heard about how sophomore albums are a bitch. But in the case of The Living Blue, it's the junior album that's tossed them into a pressure cooker. Fire, Blood, Water finds The Living Blue (formerly known as The Blackouts) jumping from a tiny indie to an established indie in Minty Fresh. Higher expectations, national tours, and a real press push will nullify any of the band's previous excuses: it's time to walk the walk dudes.

And strut they do! Hear the switchblade staccato lead guitar lick on "Serrated Friend," which sounds as if The Pretty Things got hijacked by G.G. Allin. And then check out the three-minute mark of the same song, as the group rides a crest of thumping toms into an acid-psych break that would do Dead Meadow proud. If you like your dirty bluesbreakers to have a sensitive side, too, see "Greenthumb," which is reminiscent of The Cynics when they try to sound like a rough and ready jangle-folk version of The Byrds.

Some music journalists -- hell, most of 'em -- can't tell the difference between The Hives, The Strokes, and The Mooney Suzuki: it's all "garage rock." But real fans of the genre know that there's more varieties of garage rock than flavors at a Baskin-Robins. The Living Blue are out on the fringe, assembling their influences -- ranging from psych and freakbeat to Television and '80s SST -- into something unique by today's standards. Listening to Fire, Blood, Water is like watching Blue Cheer fuck the brains outta Mudhoney. And it's HOT. Get your voyeur on:

~~The Living Blue - "Serrated Friend"~~

~~The Living Blue - "Greenthumb"~~

~~The Living Blue - "Wishlist"~~

Visit them on the web, but be sure to check them out live. Like any great garage rock band, they do their best work on stage, not in the studio. Over the next week, they'll be in Denver, Seattle, Portland, and the city of angels. Check out their site for more info.

POST NO. 38: WHATEVER HAPPENED TO MY MORNING JACKET?

2005-10-19T08:29:00.000-05:00

A funny thing happened on the way to the new My Morning Jacket album, Z. Jim James decided to go all Zooropa on us. The stylistic shift is so prominent at times on Z that I question whether RCA slipped James a Flaiming Lips roofie before he headed into the recording studio.

For starters, gone are the electric guitars in all their glorious southern rock bombast, and missing is the reverb that coated It Still Moves like honey fresh from the hive. For seconds, James has adopted a more synthetic, atmospheric stadium rock sound, a la U2 or Mercury Rev. What he used to accomplish with natural reverb he's now accomplishing through keyboards and effects pedals. And for thirds, James fucking cut his long, flowing mane! The nerve!

Possibly, the departure of founding guitarist Johnny Quaid has had a noticeable affect on My Morning Jacket. I have to wonder if Quaid left because he wasn't comfortable with this new direction. I know I'm not. Songs like "Off the Record" are simplistic to a fault and come across with a sort of stale, bland coolness, as if James is trying too hard to impress both the alt-radio crowd and the hippie jam band sect.

Oh, there's still plenty of sweet soul in James' voice, which is the only thing that now drips with reverb. "Anytime" is one of the best songs James has penned, and "Lay Low" could rent a room on It Still Moves. Combine those two with the album's closing one-two punch, "Knots Come Loose" and "Dondante," and you've got the makings of a humdinger of an EP. But I just can't get into the rest of the album; it just feels like plastic where previous efforts felt like pine. And there's nothing that guest appearances by M. Ward or Andrew Bird can do to rescue it.

For a sampling of old and new, check out "Anytime" (the old) and the Flaming Lips-like "Wordless Chorus" (the new). I actually like "Wordless Chorus," but it just doesn't feel like "home". It's basically James' usual stab at reggae, but redone for a 21st Century electronica-dub sampler. And what is up with all that yelping at the end?

~~My Morning Jacket - "Wordless Chorus"~~

~~My Morning Jacket - "Anytime"~~

Truth be told, I was so in love with It Still Moves that I'm not sure that anything Jim James could have pulled out of his hat would have compared favorably. So I suppose you should take my minor rant with a grain of salt, or whatever. Find MMJ on the web here.

POST NO. 37: PEARLS BEFORE SWINE

2005-10-17T08:10:00.000-05:00

The story of Tom Rapp's sensational pair of folk albums -- 1967's One Nation Underground and 1968's Balaklava -- really begins with Bernard Stollman. Stollman founded ESP-Disk in the early-Sixties out of what he felt was necessity -- there was simply too much good music that would never be recorded and released without his help. In truth, that might have been a stretch of Stollman's imagination, but who can fault the naïve music fanatic? Through his label, such luminaries as avant-garde jazz musicians Pharaoh Sanders and Sun Ra, folk-rock radicals the Fugs and The Holy Modal Rounders, and proto-punks The Godz found their way to the confused, startled masses. Pearls Before Swine -- essentially Tom Rapp and a small ensemble of musicians flavoring his folk songs with banjo, oscillator, clavinette, English horn, and other such decidedly non-rock instruments -- might have been ESP's most accessible artist, which is saying something. Thanks to a reissue by ESP-Disk, you can now hear The Complete ESP-Disk Recordings of Pearls Before Swine, which amounts to One Nation Underground and Balaklava on one CD.

Rapp's songs speak to gentle psychedelia and fierce, vindictive folk-rock in nearly equal measures. A line can certainly be drawn directly from Rapp to Dylan and other popular folk-rock acts of the time, hence lending Pearls Before Swine at times a more welcoming sound. "Another Time" is reminiscent of the somber folk of Nick Drake; "Playmate" is ripped right out of Dylan's songbook; "There Was A Man" is a classic folk song in the Joan Baez mold; and "Suzanne" is a subtle reinvention of the Leonard Cohen song. But Rapp was far more "out to sea" than Dylan and his more commercially viable brethren ever hoped to be. The fact that Rapp's music has fallen on mostly deaf ears over the decades is not a testament to its quality; rather, Rapp's vision for his art was a complex one that included far more raw, reactionary emotion -- and often times sophistication -- than, say, Blonde on Blonde. Not to mention acid-induced fuck-with-the-brain calamity.

See the five-minute long "I Shall Not Care," whose song credit includes early-Twentieth Century sentimental poet Sarah Teasdale and "Roman/Tombs." The song begins as a harmless Simon & Garfunkel-esque acoustic folk tune. But listen to the lyrics, a lift from Teasdale: "When I am dead and over me bright April shakes out her rain-drenched hair, though you should lean above me broken-hearted, I shall not care." Try squeezing that onto an AM radio dial in 1967. The song then abruptly cuts to a second segment as if someone had bumped the needle on the turntable. Scatterbrain electric blues with howling organ screech for 30 seconds as Rapp channels a long-lost jam session from The Band. That gives way to the song's core: a droning, percussive, middle eastern rant, which steers the listener as off-course as possible. A minute-and-a-half later, The Band kicks back in before fading back into the song's opening statement for the final minute.

Sure, Rapp may be boldly esoteric and downright psychedelic at times, but that doesn't mean that he's a flakey freak folker whose music comes across as simple curiosity in the year 2005. Rather, he's quite poignant and relevant -- even still. Take with you this lyric from the fiery anti-government jam "Uncle John": "You stand up on the platform with the flag wrapped all around you. You tell us that the Bible says to fight for it -- we're bound to. But the red's for the blood we lose. The white's for the gauze they use to cover burned-out blackened men. The rest is for the bodies numb and blue." Hard to argue with that, regardless of date.

The following are hardly Rapp at his most accessible, but they're interesting songs nonetheless.

~~Pearls Before Swine - "Uncle John"~~

~~Pearls Before Swine - "I Shall Not Care"~~

For more info on Tom Rapp and Pearls Before Swine, see this or this or even this.

POST NO. 36: A DELAY IN PROGRAMMING

2005-10-13T11:46:00.000-05:00

Sorry I've been missing in action lately. Lots of good reasons: I'm helping to build a radio station, work has been keeping me busy, there's playoff baseball on TV and my Redbirds are once again in the hunt, and there's been a flood of good concerts in my humble little town. Why just last night I caught The Mountain Goats, and over the past few weeks I've seen Catfish Haven, Sufjan Stevens, Saturday Looks Good to Me, and Dungen--to name but a few. (That doesn't even count the ones I missed: Xiu Xiu and Sleater-Kinney chief among them.)

In case you're curious, Dungen is without a doubt the best rock band on planet Earth right now. Seriously, their live show is simply psychedelicious. I took a rookie with me -- a guy who isn't necessarily a big psych rock fan and who had never heard Dungen -- and he was blown away, too.

Coming up, I've got Spoon and Cat Power (pictured above) to look forward to. Unfortunately, Cat Power isn't touring with her new Memphis session musician backing band. Still, she'll be playing material from her forthcoming release, The Greatest, due out in January. The title track makes me incredibly anxious for the real deal. Check it out:

~~Cat Power - "The Greatest"~~

Everyone is saying that this song is Chan Marshall gone Dusty Springfield. At any rate, it certainly is a striking song with Chan's familiar worn-in feel, and you gotta love those "Moon River"-ish strings! Peep Cat Power on the web.

Coming next week: My thoughts on the new My Morning Jacket record, a bit about the new album by The Living Blue, and a second look at '70s garage rock from India.

POST NO. 35: A SWEDISH RENDEVOUS

2005-10-04T08:12:00.000-05:00

I've been smitten with Sweden's Dungen since Day One. I'm a sucker for hook-driven psych rock, especially when it's given a folk nod every other song. So, discovering Dungen (pronounced "Doon-Yun") has been sort of like falling in love with psych rock all over again. There are few modern bands that do psych rock quite so well, or with such a genuine interest in not updating the sound, look, or feel of vintage turn-of-the-Seventies psych. I suppose that could classify Dungen as a dreaded retro-rock band, but whatever. They're fucking great in my book, and my book is the only one that I read with any regularity.

While their debut self-titled album (released in 2001) and their third album, last year's excellent Ta Det Lugnt, have been in print over the past few months, their second album, released in 2002 and titled Dungen 2 (on vinyl) or Stadsvandringar (on CD), has been out of print and a costly buy on eBay. It's finally seeing a U.S. release on CD today, thanks to Astralwerks. So, here's a sample from that album, which I would say as a whole is a bit more mellow and dreamy than Ta Det Lugnt, but equally as good and not without its rockin' moments. As a bonus, I'm also including a song from the domestic re-release of Ta Det Lugnt, as that version of the CD comes with a bonus five-song EP that is also available in limited quantities as an independent 12-inch.

~~Dungen - "Stadsvandringar"~~ (from Dungen 2 LP, otherwise known as Stadsvandringar CD)

~~Dungen - "Jamna Plagor"~~> (from Ta Det Lugnt bonus EP)

The latter tune showcases the band's continent-hopping obsession with garage psych, as it feels flavored more by Latin or possibly Brazilian psych. Good stuff! If you're into seeing bands perform live, you might want to check out Dungen as they tour the States over the next couple weeks. See the "news" section of their site for dates. I'll be at the early show in Chicago -- just look for the slightly balding, bearded, tall dude standing near the front of the stage rockin' out.

POST NO. 34: A TRAILER PARK IN MISSOURI

2005-10-03T09:09:00.000-05:00

Sorry that I've been out of commission the past week. The tooth problem is resolved, and hard food can be consumed once again. I'll be busy this week, too, trying to get a new community radio station on the air. But I hope to make at least a couple posts, including this one. While I'm apologizing, I should also admit that I probably write too often about bands from the Secretly Canadian/Jagjaguwar stable. But fuck, they do have a good number of exciting bands under contract: Antony & the Johnsons, Jens Lekman, Magnolia Electric Co., Richard Swift, Black Mountain, Oneida, Nagisa Ni Te, Okkervil River, and Richard Youngs to name a few. The A&R guy over there should get a gold star. Plus, Secretly Canadian also reissued those Swell Maps albums this year.

Well, add another log on the fire: Chicago's Catfish Haven. I know...that doesn't sound like something you'd care to listen to, right? Catfish Haven is probably named for a trailer park in Missouri and grew up worshiping Joe Cocker. Well, you're right (at least on the trailer park end of things). Keep reading, though. It gets better. The trio consists the strong-armed strumming of acoustic guitarist/vocalist George Hunter, the paint-by-numbers bass work of Miguel Castillo, and the ample drumming of Ryan Farnham. Tis nothing fancy by Yes standards, but collectively this group's sound just fits snuggly together like a 12-pack of Milwaukee's Best. To continue the beer comparison, Catfish Haven are hardly the Tucher of beers, but you don't need to flavor them with an orange slice to enjoy them, either. Rudimentary rock & soul is too generic, but that's the best quick descrip that I can come up with.

They've released just an EP, Good Friends, but have plans for another 7-song EP in January followed by a full-length in the spring. I just caught them in concert last week and was completely floored by how much the band's sound has progressed since their debut EP, and how consuming they are in person. That's not to belittle their recording -- which as you'll hear shortly is fantastic -- but some bands simply are LIVE bands first and foremost. Not just because I could see that the singer wears a pair of snakeskin cowboy boots falling apart at the sole and pulls his shoulder-length hair back in a pony tail, but because they own the stage while they're on it. Like Sam Cooke (in Harlem, not at the Copa) as channeled through the Silver Bullet Band, Catfish Haven just oozed energy and blue collar soul. It takes guts to play this kind of music for unassuming indie rock snobs, and to pull it off convincingly. The only modern band I can think of that's attempting something similar (if somewhat more chic) is Spoon.

Turn it up! Way up!!

~~Catfish Haven - "Please Come Back"~~

See them on the web or definitely catch them live this month if you're lucky enough to live in Oskgosh, NYC, New Haven, Detroit, Cleveland, or Chicago. And if you live in Champaign-Urbana, join me in pleading with the local promoters to bring them back, now!

POST NO. 33: TOOTH TRIVIA

2005-09-25T17:53:00.000-05:00

How about some rock star tooth trivia? You'll be hard pressed to find a musician with worse teeth than Shane MacGowan. But, other musicians have suffered when opening their mouths in public, too. What founding member of Buffalo Springfield lost his bid to become a member of The Monkees to Peter Tork because the producers didn't like his teeth? If the picture above wasn't a large enough clue, here's the answer: Stephen Stills. It's true, so file that nugget away for future reference.

I think things worked out well enough for Stills in the long run. Hopefully, things will work out well for me, too, as I've got an unfortunate appointment with an oral surgeon on Monday. Now I don't have bad teeth, but I do have one in particular that needs to go, due to a deterioration that's been going on for years. And while I'm getting the gas, the doc is also going to yank out a remaining wisdom tooth. So, I doubt I'll be in much of a mood to write about music over the next few days.

In the meantime, here's a sugary sweet pop tune from Mouse & the Traps to give you a surefire cavity. I've written about these guys in the past, so click here for that. For now I'll just restate that I can not get enough of this tune. The organ is simply fabulous, and the song itself has Number One Hit written all over it. How it failed to climb the charts is just beyond me. Anyway, enjoy.

~~Mouse & the Traps - "Cryin' Inside"~~

For more on Mouse, see this.

POST NO. 32: DIFFERENT STROKES FOR SINGER-SONGWRITER FOLKS

2005-09-21T09:10:00.000-05:00

Ever heard of Richard Swift? Me neither. He's not the former frontman of a fading indie rock band. He's not a media-hyped alternaboy on a major label. And he's not some long-lost relic from the Seventies. No, you see, he's Richard Swift. And what he does is write pop songs with an undeniable good-for-the-soul hook. He'll appeal to those who know Ron Sexsmith by heart, but while the two share some similarities, in many ways they're quite different. He'll also be of interest to fans of Josh Rouse and Andrew Bird and Tom Waits and Randy Newman (yes, you heard me right). Matter of fact, I'm going to go so far as to say that if you enjoy lo-fi singer-songwriters like M. Ward or hi-fi singer-songwriters like Harry Nilsson, you will dig Richard Swift.

Why such a dichotomy? Well, because Swift's new album, The Collection Vol. 1, packages together two of his albums, The Novelist (an EP from 2003) and Walking Without Effort (from 2005). And the two albums, while sharing some common DNA, are completely different in skin tone. The Novelist sounds as if it was recorded by Joe Meek in the 1950s. The compressed, small-sound production and elements of old-timey jazz lend the album a pre-War feel, yet Swift's songs are grandiose bedroom lullabies that seem to be always attempting to burst the bubble. The end result places the listener in a time-warp confectionery stacked to the ceiling with pop goodies.

As yummy as that may sound, Walking Without Effort -- a fully realized gem that updates Swift's references from the Twenties to the Seventies -- is where the action is. For modern reference that's about as dead-on as it gets, if you could imagine Ron Sexsmith fronting Josh Rouse's 1972 album ... that's Walking Without Effort. Others might simply declare Swift a Jakob Dylan clone, but if you listen closely, I think you'll find such language foolish. But hey, you decide for yourself. Here's an offering from Walking Without Effort, followed by a selection from The Novelist.

~~Richard Swift - "Beautifulheart"~~

~~Richard Swift - "Lady Day"~~

Once again, props are due to Secretly Canadian, who continue to turn up interesting acts as if they're growing them by planting magic beans in potted soil at their laboratory in Bloomington, Indiana. If these two songs didn't sell ya, don't worry. No two Swift songs are really alike. And luckily for you, you can hear more of his songs at his home on the web. You can also catch him on tour right now (playing tomorrow night in Atlanta with The Poises before doing some dates with Earlimart).

POST NO. 31: NO ODD COUPLE

2005-09-20T08:11:00.000-05:00

The pairing of southwestern Americana band Calexico with indie folk darling Iron and Wine is a no-brainer, so it comes as no surprise that the resulting seven-song EP In the Reins is receiving favorable press. The songs were written by Sam Beam, and hence they remain familiar to fans of Iron and Wine. Calexico is essentially here to give Beam's songs some spice -- to toss a few cattle skulls in front of the barbed-wire fence. So, on "Burn That Broken Bed" -- the longest song on the album at a shade over five minutes -- we get a warm bass line, a windy atmosphere provided by the electric guitar, and a lone, effects-drenched trumpet. Of particular interest is the album's opener, "He Lays in the Reins," which briefly blends Tuscon-based flamenco singer Salvador Duran's voice into the sonic mix. The bold move -- consider Duran's operatic voice in stark contrast to the gentle upper register meanderings of Beam -- actually works, giving the song further south of the border flavor and a touch of dark bravado otherwise missing.

But even with the unique embellishment, "He Lays in the Reins" still sounds like a dolled up Iron and Wine song. Only two songs here truly sound like a successful fusion of two artists. The first is "A History of Lovers," which sways to a fairly uptempo beat, features a full horn section, and sorta rocks in a country & western sense that's unlike Beam's own work. The second is the backwoods bluesy stomp of "Red Dust," which one could fairly call a tad funky. While the rest of In the Reins is memorable, I would have preferred that Calexico had an even heavier hand as heard on these two songs. If Sam Beam is going to open his music up to interpretation, why not go for broke?

~~Calexico with Iron and Wine - "He Lays in the Reins"~~

Visit Sam Beam and Calexico, or see October tour dates for the pair here.

POST NO. 30: EVERYONE'S FAVORITE BILINGUAL BEARDED HIPPIE BOY

2005-09-19T08:17:00.000-05:00

What separates Devendra Banhart from the pack isn't his modern hippie chic or his wacky Marc Bolan-esque voice. It's his songs, stupid. Devendra Banhart's songcraft is remarkable by any decade's standards, and he slips effortlessly from middle-eastern psych-folk to adult-AM folk to harmless, boy-meets-girl ballads to Spanish-sung ethnic folk to mystical freak-folk to trippy, happy folk-rock. He's a chameleon by design, and the fact that he's so capable of adapting to disparate musical environments is what makes his music so entertaining. Sure, he's enlightening, too -- "deep" at times and silly at others. But he's simply got -- pardon the phrase -- bigger balls than most anyone else, present or past, in the category of folk music.

If the media coverage of Devendra or his "movement" has soured you on him, please attempt to wipe your hard-drive clean and erase any perceptions. In doing so, you might just find his new record entirely approachable. On Cripple Crow, he plays up his playful self more frequently, and the results are an accessible album that's full of subtle depth. That depth comes from a slightly fuller sound, compliments of the collective of musicians that Banhart surrounded himself with while recording in Woodstock. I think time will prove this record to be his best, so far. It's certainly his longest, for better and worse.

I couldn't choose just one tune to represent a 22-song album, so here's a couple that showcase Banhart's ever-expanding sound. The first, "Canela," is a pretty piano ballad. The second, "Long Haired Child," is the most rockin' song Banhart has recorded to date, complete with -- ohmygosh -- lead guitar!

~~Devendra Banhart - "Canela"~~

~~Devendra Banhart - "Long Haired Child"~~

Neither of these songs are truly representative of Cripple Crow as a whole, so if you're a newcomer to Banhart they might not serve as the best introduction. To see Devendra get his T. Rex on in person, check out the video for "I Feel Just Like a Child," also from this record.

POST NO. 29: JUKEBOX UPCHUCK PLAYS PUSSY

2005-09-16T10:18:00.000-05:00

And we wrap up our tour of the Love, Peace & Poetry series with the British volume. My gut told me that the British volume would be weak because there's already so much material available on the second Nuggets box. But it's actually fairly solid (if a bit more mellow), which is a testament to how much good garage rock was released in Britain that we just don't know much about.

We start with the song "Comets" by Pussy. Released in 1969 on their album Pussy Plays, "Comets" is an instrumental freakfest full of fucked-up theremin and what sounds like a sample of a cow mooing. It's quite easy to see why this one was forgotten over time, as there's nothing memorable about the tune in a pop sense. However, it's a good example of just how far some bands of that era were willing to push the envelope. Pussy feels right at home alongside Red Crayola and Can.

Red Dirt's "Memories" is like the second coming of The Beatles by comparison. The group's self-titled 1970 record was originally released on Fontana, but apparently fell into the void of the unknown shortly thereafter. It's a mellow slice of psychedelia which reminds me of Pearls Before Swine jamming with Richard Thompson. Good stuff!

~~Pussy - "Comets"~~

~~Red Dirt - "Memories"~~

Pussy's album can be had from Forced Exposure. A few expensive copies of Red Dirt are available over at Gemm.

Note to those of you waiting for me to get back to some modern music: Next week I'll be looking at new releases by Devendra Banhart, Richard Swift, and Iron & Wine with Calexico.

POST NO. 28: BRAZILIANS DO IT BEST

2005-09-15T08:11:00.000-05:00

To most fans of '60s garage rock, it's not too strange to discover that there was a rock and roll scene in Brazil forty years ago. Plenty of people are familiar with Os Mutantes, who were not only one of Brazil's most stunning bands, but also one of the world's best (if least known). But I was shocked to learn of the depth of the Brazilian garage rock scene, as evidenced by the Brazilian volume of the Love, Peace and Poetry series. The quality of this volume is second to none in the series, even if it's not quite as diverse as the Asian volume.

I love singer's who stick with their foreign tongue -- especially in psychedelic music. Something about having no idea what they're going on about only adds to the mystery, which in turn strengthens my enjoyment of the music. I suppose it adds an artificial trippyness, if you will. My favorite foreign language is Portuguese (even though I can't speak a lick). Why, I don't specifically know, other than I find the language to be incredibly sensual. So I really find Brazilian psych rock to be the ultimate mindfuck.

Take, for example, Os Brazoes. "Tae Longe De Mim" ("So Far of Me") is an easygoing tune recorded in 1969 that's heavy on percussion, funky rhythm guitar, and a hollow, jug-like bass line. The tune sounds a lot like other Brazilian offerings, blending Tropicalia with rock. But what sets it apart is the warped, lead fuzz guitar, which squeals over the top of the song in periodic bursts. Os Brazoes spent some time as a backing band for other Brazilian songsmiths, including well-known composer Tom Ze and singer Gal Costa.

By contrast, Bango was more of a heavy psych-rock band in the mold of their American and British counterparts of the day (although, I'd say, better than most). On "Inferno No Mundo" ("Hell in the World"), a backward vocal intro quickly gives way to some superb harpsichord work which flavors the biting guitar and bass -- both fuzzed out -- with just enough of a playful streak to make the song tempting to those turned off by the song's rugged shell. These guys are routinely mentioned as the best of Brazilian psych, and the self-titled 1970 album from which this song was plucked is available for purchase on CD nowadays.

~~Os Brazoes - "Tao Longe De Mim"~~

~~Bango - "Inferno No Mundo"~~

The web was of little assistance in tracking down further info on either of these bands. If you're looking for a good starting point for Brazilian garage and don't want to gamble on this record (you fool!), the best place to start is still the compilation Everything Is Possible: The Best of Os Mutantes on David Byrne's Luaka Bop label.

POST NO. 27: NOT QUITE WHAT PAUL SIMON HAD IN MIND ON "GRACELAND"

2005-09-14T08:24:00.000-05:00

Today's post is a quickie as our tour of the Love, Peace and Poetry psychedelic rock series continues with the African volume. Easily the series' weakest link -- most likely because the continent offers a smaller sample size of garage rock -- the African volume is bizarre, and truly stretches the definition of "garage rock" past its boundary. Most of the music on this volume -- including today's offering -- comes from South Africa. And a good deal of the South African contributions are by white-skinned British musicians. Or, in the case of Freedoms Children, Scottish musicians.

Freedoms Children were considered to be the best of South Africa's psych rock bands. The following is from their 1969 album Battle Hymn of the Broken-Hearted Horde. (Just listen to the song; it's even weirder than the title of the album.) To quote a nice blurb I found on the world wide web: "[Battle Hymn...] has all the wonderful excesses of early progressive rock; the deep 'meaningful' poetry, spoken words, majestic organ-playing, sound effects, choirs, long guitar solos, etc."

~~Freedoms Children - "Kafkasque"~~

For more than you could ever hope to know about these guys -- including more mp3s -- click here.

POST NO. 26: ASIAN BEAT

2005-09-13T08:11:00.000-05:00

Today's post finds us in Asia for a look at the Asian volume of the Love, Peace and Poetry series. (See yesterday's post for more background.) The Asian volume is probably my favorite simply because the range of sounds is spectacular: from the "Turkish Jimi Hendrix" (Erkin Koray) to the swinging sounds of sixties Cambodia to Japan's The Mops (easily as bad ass as anything the States had to offer in '68). There's plenty of great stuff to sample here, so I'm going with two songs whose sounds are so far apart that you could park Keith Moon's drum set in-between them.

We start with Justin Heathcliff, who is one of the few artists on this comp to sing in English. Heathcliff was actually prolific recording artist Osamu Kitajima's attempt at striking gold in 1971. Considering Kitajima adopted a British-sounding name for this release, one has to wonder if Heathcliff was hoping to pull the wool over his countrymen's eyes. On this tune, he adopts the sound of trippy California sunshine pop -- or, possibly Donovan -- and creates an incredibly likeable slice of subtle psychedelia. Heathcliff reverted to his real name for future recordings, which saw him veer into ambient, world music, and new age. In a small way, he was sort of like the Japanese version of Brian Eno in that he tried his hand at popular rock music before making his name in unpopular music.

For our second offering, we head to India to meet The Fentones, who released "Simla Beat Theme" on an Indian garage rock compilation in 1971. To quote the liner notes: "Simla was the name of an Indian tobacco company in the 1960s-1970s who wanted to appeal to the youth market [imagine that!] of the time." The company released two "Battle of the Bands" comps of Indian bands merging their traditional music stylings with that of Western garage rock. Not a single sitar or tabla is heard on the album. The Fentones' instrumental contribution is an infectious psychedelic number heavy on trance-inducing rhythm and atonal guitar.

Justin Heathcliff - "You Know What I Mean"

~~The Fentones - "Simla Beat Theme"~~

To see what Justin Heathcliff has been up to lately, go here. Next to nothing is available on the web about The Fentones. Tomorrow we're heading to Africa!

POST NO. 25: KALEIDOSCOPIC ROCK

2005-09-12T08:19:00.000-05:00

I have to thank my former fellow blogger Jon (over at getLevitation) for turning me on to the Love, Peace and Poetry compilation series, which collects psychedelic garage rock circa the late-'60s and early-'70s from around the world. There are eight volumes of the series available on both LP and CD, and you can find them all at Forced Exposure. Turn Me On Dead Man also has a list of the volumes on his site, which is well worth exploring if you dig garage rock. (Check out his online radio show too!)

I've been listening to all eight volumes for the past two months, and I'm so excited about them that I don't even know where to begin. As you'll find out as I hop continents for the rest of the week, there was a good deal of garage rock going on around the globe to parallel -- and in some cases, surpass -- the offerings of American and British bands so painstakingly detailed in the Nuggets series. I was planning to do an in-depth review of each volume, but that proved to be too time consuming. Plus, there isn't much information available concerning a lot of these bands, as their records were incredibly rare even in their day. But, I do want to spend this week highlighting an interesting song or two from five of the volumes.

We'll start with the Mexican volume. The only band among the 17 that are featured here that I was already familiar with was Dug Dug's, whom I stumbled upon in April. Even more impressive, to some degree, is Kaleidoscope, who are represented here by the song "Hang Out" from their 1969 self-titled album (which was originally pressed to only 200 copies). Like a brilliant blend of The Sonics with The Music Machine, Kaleidoscope's R&B-infused garage rock makes use of a potent farfisa riff (doubled up on kazoo!). Unlike most of the remainder of the Mexican volume, this particular song is sung in English.

~~Kaleidoscope - "Hang Out"~~

Kaleidoscope's self-titled album was reissued a few years ago in a limited pressing (surprise!) and can still be had for a good price on both CD and LP if you know where to look. For a bit more info on the band (who shouldn't be confused with their British contemporary), see Richie Unterberger's review at Allmusic. Tomorrow were heading to the largest continent on planet Earth...

POST NO. 24: I COULDN'T AGREE MORE

2005-09-09T08:18:00.000-05:00

It might not have been the most eloquent of speeches, but the message was dead-on. And for saying it on national TV, I say:

It's been a long couple weeks for me. (And believe me, in light of recent events, I say that with a sense of perspective that plants my tongue in my cheek.) I've gone under the knife in a minor surgery, suffered through major tooth pain (both unrelated oddly enough), and like a majority of this country, I'm still struggling to process all of the disturbing images that I can't seem to stop watching on the television. Throwing cash at the problem just doesn't do much for me, even though I've already made a donation. I need a break, and I'm taking today off. I leave you with one of the best anti-government songs of recent note.

~~The Gris Gris - "Necessary Separation"~~

Visit Gris Gris on the web here. Watch the video clip of Kayne West here.

POST NO. 23: THE RECLUSIVE UNBUNNY

2005-09-08T08:17:00.000-05:00

The fact that I've seen Unbunny perform twice in the past three years puts me in exclusive company with: 1) those who have been struck by lightning on more than one occasion; 2) those still alive that witnessed the Cubs win a World Series (in person); 3) those who didn't say "Aaaah" (at least to him or herself) several times while watching March of the Penguins; and 4) Unbunny groupies (some say they exist!). The entire two years or so that singer-songwriter Jarid del Deo -- he that is Unbunny -- lived in Champaign-Urbana, he played the grand total of two shows within city limits. And I was at one of them.

Then, Jarid moved away to New England for a couple years before swinging back through Champaign-Urbana a few weeks ago en route to Seattle, where he now resides (again). On his way through town, he stopped for an in-store appearance at Parasol Mail Order, which also houses Parasol Records and its subsidiary, Hidden Agenda, who had the honor of releasing Unbunny's last album. Snow Tires, released in 2004, ranked No. 28 on my Top 30 Records of '04. Looking back, I placed the album a bit too low on the list. Since 2004 ended, I haven't listened much to The Sadies, the Drive-By Truckers, The Soft Pink Truth, or Nick Cave and the Bad Seeds -- all records that I ranked higher at the time. So, if I could turn back time I would scoot Unbunny up a few notches as it really has had more staying power than some of its peers on that list.

Seeing Jarid a second time "in concert" only affirmed my belief that he's one of the best unheralded singer-songwriters in an army of thousands. Here's what I said about him in my review of Jarid's break-up record, Snow Tires: "Albums borne out of a cathartic need to create can either be stimulating or suffocating for the listener. In this case, Jarid del Deo ... has struck a tiny nerve that's inside us all. It's one that we prefer to pretend is nonexistent but can't help but agitate from time to time when we revisit photos tucked away in shoe boxes or mix tapes long since forgotten. He makes toying with that nerve a point of curiosity that doesn't quite kill the kitten. And with that success, Snow Tires picks up where Elliott Smith left off."

It's no lie. And if you happen to be lucky enough to be able see him do his thing live -- don't miss out! He may sound like a bummer on this album -- Is it possible to sound cheery on a break-up record? -- but in the flesh he's anything but. Check out the following tune, and purchase the record at Parasol Mail Order for the bargain price of $10. (His previous record, Black Strawberries, is also quite good!)

~~Unbunny - "Casserole"~~

Unbunny lives at this address on the web.

POST NO. 22: BEARDS AND KILTS

2005-09-07T20:16:00.000-05:00

Even Arab Strap feels like a pick-me-up after being consumed by coverage of Hurricane Katrina for the past week-plus. I can't remember if I purchased Arab Strap's debut, The Week Never Starts Round Here, direct from Che Mailorder in England, or from Other Music. Either way, I bought it shortly after it came out, as an import on the Chemikal Underground label. (Matador then re-released the album about a year later in 1998.) I bought this disc after being taken by a one-sentence blurb in the mailorder list. How may times have you purchased a record with a similar lack of knowledge and shot yourself in the foot? I know the count is high for me. But this time it worked out.

Arab Strap sounded like nothing else in my record collection at the time. I've heard them described as "post-folk," which doesn't mean much to me. Instead, I'd describe their older music as pub rock for obnoxious barstool philosophers (which also needs some explanation). Their music is the kind of "rock" that a pair of disgruntled dudes would make together after a long night of drinking. Sure, it's "folk-ish," but only in a warped sense. Multi-instrumentalist Malcolm Middleton is essentially a bedroom songwriter. He uses whatever is at hand -- drum machines, acoustic and electric guitar, violin, and organ -- to create the often creepy, somber sounds that encase Aidan Moffett's tales of debauchery, drugs, and regret. But Moffett's off-kilter spoken delivery and blunt tales are really the group's drawing card. If it sounds like he's drunk, pissed, and depressed all at once, it's likely because he is.

But to pigeonhole these guys as a screwy novelty act is to make one huge mistake. After witnessing them live, it's easy to see that there really is a good deal of musicianship and songwriting (as well as effects pedals) to be had if one looks beyond the group's lazy, slobbish appearance. See "Deeper" for example, an awkward tale of young romance set to a Slint-like sonic landscape. Meanwhile, "I Work in a Saloon" is downright cheery by comparison. Utilizing a simple high-hat driven drum beat and a folky acoustic guitar accompaniment, the song weaves the tale of a bartender working in a room "full of conquests". That sort of cocky, macho character is present in most of Moffett's songs. I've often wondered if there's anyone Moffett hasn't slept with where he lives; if so, she must be the only truly happy person left on Earth.

"Driving" reminds me of classic Richard Thompson in regards to Middleton's guitar work, and possibly it's Thompson's grasp of a drunkard's vulnerability that truly informs Moffett's writing. Except, instead of one source of grief (Linda Thompson), Moffett finds inspiration everywhere he looks.

I'm tempted to go with the big "hit" from this record, the Trainspotting-esque "The First Big Weekend," but I think I'll leave that for you to discover on your own. Instead, here's "The Clearing," a rather unique song for the album, one that seems a bridge to the band's latter work. And, as a bonus, here's a brilliant song from their 1997 Chemikal Underground EP, The Girls of Summer. Together, these should give you a good idea of where these guys came from.

~~Arab Strap - "The Clearing"~~

~~Arab Strap - "Hey! Fever"~~

Visit them on the web. If you have no fucking clue what he was singing about, click here for help.

POST NO. 21: BEANTOWN BUST

2005-09-06T07:45:00.000-05:00

The LSD-fueled counter-culture movement in Haight-Ashbury had record executives scrambling to find new source material in the late-'60s. Once it was apparent that the San Fran and L.A. scenes were tapped, the industry turned its eye to the East Coast. MGM's bright idea was to sell a nation of eager buyers on a new hippie music scene -- the "Bosstown" scene -- in Boston. Problem was, Boston didn't really have a counter-culture music scene at the time -- at least not one of note. But that didn't stop the record label from taking out ads in mags around the country to push the "Bosstown Sound". Meanwhile, Bostonians themselves scratched their heads. The rest of the record-buying public had the same reaction, and the MGM-fronted Bosstown Sound -- which included the bands Beacon Street Union, Orpheus, Tangerine Zoo, Phluph, Earth Opera, and Ultimate Spinach (I'm not making this up!) -- was a total failure.

Today's subject is Beacon Street Union, who were signed to MGM in 1967 by Wes Farrell, he of Partridge Family fame. Their debut, The Eyes of the Beacon Street Union, was released in March of 1968 and was promptly ripped in just about every music publication in the country. It was the first of many pin pricks that would soon pop the Bosstown bubble.

I can see why the press ripped it; the album is confused, disjointed, and full of a lot of cut-rate psych-rock that does little (if anything) to differentiate itself from West coast bands of the day. And Beacon Street Union was obviously suffering from a bit of heavy-handed production courtesy of Farrell. Case in point, their cover of Chuck Berry's "Beautiful Delilah," which is a complete rip off of The Kinks' 1964 version, right down to Ray Davies' nasally whine. And that's not the only mind-boggling cover selection: the band also tackles Sonnie Terry and Brownie McGhee's blues standard "Sportin' Life" in a straightforward, lounge-y fashion. Hearing those two songs back-to-back, smack in the middle of standard fare psych rock is a bit disorienting.

However, I'm glad I stumbled upon this record at my friend's garage sale for a few reasons. "Sadie Said No" is a Remains-influenced garage rock number that wins despite some weak production. And "Speed Kills" -- originally released as the B-side to the group's debut single -- is a pretty cool, Kinks-inspired pop song. But the most important reason that I'm glad to have found this record: I didn't know squat about the Bosstown Sound experiment prior to researching Beacon Street Union -- and knowing is half the battle.

~~Beacon Street Union - "Sadie Said No"~~

~~Beacon Street Union - "Speed Kills"~~

For more on these dudes, see this. And for more on the Bosstown Sound, go here.

POST NO. 20: NOW THIS?

2005-09-02T15:06:00.000-05:00

First Fats Domino, who was rescued from the submerged 9th District of New Orleans, and now this:

Family and friends of musician Alex Chilton (lead singer for 1970s power-pop band Big Star and 1960s rock group the Box Tops) have not been able to locate him since late Monday when he was last heard from alive at his house in New Orleans after the initial storm before the phones in the area went down. His sister in Memphis and friends are very worried because people are now dying in New Orleans from exposure and he has still not been able to get to a place to contact his family and friends. It is believed he may possibly be waiting to be evacuated in the French Quarter, which was within walking distance of his home.

Taken from the NOLA blog.

UPDATE: ACCORDING TO SEVERAL SOURCES, CHILTON HAS BEEN AIR-LIFTED OUT OF HIS HOME IN NEW ORLEANS AND IS SAFE AND SOUND.

POST NO. 19: WHEN THE LORD GET READY...

2005-09-01T20:58:00.000-05:00

...ya gotta move.

Sad news today, as if we needed any more. Modern Delta blues legend R.L. Burnside passed away in a Memphis hospital this morning at the age of 78. If not for the work of dedicated folklorist George Mitchell in the late-'60s, and the Fat Possum record label in the '90s, R.L. Burnside's music might have been forever lost. As the following song will attest, he was truly a unique, gifted vocalist and guitarist. (Yes, this is the song that was written by Mississippi Fred McDowell and covered by The Rolling Stones on Sticky Fingers. But R.L. possesses the song in a way that Mick Jagger could only dream of, probably in no small part because it was McDowell himself who taught Burnside the blues.)

~~R.L. Burnside - "You Gotta Move"~~

R.L. is often seen as a curiosity even to dedicated blues fans because of his connection with indie rock and specifically the Jon Spencer Blues Explosion. I remember scratching my head as I attempted to assign his 2000 album, Wish I was in Heaven Sitting Down, to the resident blues reviewer at the weekly paper. I was told that he just "didn't get Burnside and wasn't that interested in southern blues." I still can't comprehend that statement.

I was lucky to see R.L. on tour in 1999 with his nephew (I believe) Cedric Burnside on drums. The old man sat down on a chair, sipped his drink, and delivered a long set with the power and certainty of a sack of bricks to the face. Witnessing him live at 70+ years was truly like having a window open to a world of long ago. I wonder if folks get the same impression when they see B.B. King nowadays?

R.L. is survived by his wife Alice Mae, 12 children, and numerous grandchildren. If you're interested in making a donation to his family, see the Fat Possum web site.

On a somewhat related note, thank goodness that it was just announced that Fats Domino, who lived in the flooded 9th District of New Orleans, is now safe and sound. His manager had feared the worst after Fats decided to ride the storm out.

POST NO. 18: CONTORT YRSELF

2005-09-01T08:17:00.000-05:00

I'm late to the James Chance fan club. As far as no wave artists are concerned, James Chance & the Contortions -- who also went by James White & the Blacks -- had the NYC scene by the balls in 1979. His hybrid of James Brown, John Zorn, Pere Ubu, and free-jazz skronk was truly a thing to behold. Chance's stylings predate Jon Spencer's similar schtick, and hence should make James Chance & the Contortions of interest to fans of the Blues Explosion.

Continuing with the theme of records that I snagged at the garage sale, I picked up The Contortions debut Buy in its original pressing on the ZE Records label. It's heads and tales better than the Contortions live album, Lost Chance, that I picked up last year. You can hardly tell a difference in Chance's delivery from record to live setting; he's an uncontrollable urge in each case. But, I prefer the more song-oriented Buy to the less-structured live recording. It's definitely recommended listening for anyone into modern bands like The Watchers, Erase Errata, the Ex Models, and the like.

~~James Chance & the Contortions - "Contort Yourself"~~

For a more general overview of the no wave scene circa 1980, click here. For a compilation from ZE Records from the era, see this. The "definitive" no-wave comp (produced by Brian Eno), No New York, can still be found, too. ZE has also reissued Buy on CD.

POST NO. 17: LOTHAR AND THE HAND PEOPLE

2005-08-31T08:09:00.000-05:00

I recently enjoyed one of the best record hauls of my life at a friend's garage sale. He was unloading records for a friend, and had probably 800 or so in tow. Due to my own scheduling conflict with the sale's actual date, I got "first dibs" on the records, and walked away with a box of 50 under my arm. Several of the records were but a dollar, with the most expensive one coming in at $4. It was a diverse grab-bag too: from excellent and near-mint copies of Chad & Jeremy, Wayne Fontana and the Mindbenders, Sir Douglas Quintet and other '60s groups, to first-generation punk like Chelsea, The Dictators, and The Rezillos, to country classics like Gram Parsons, Guy Clark, Dolly Parton, and Webb Pierce, to oddball releases like Plus' The Seven Deadly Sins, Terry Riley's A Rainbow In Curved Air, and electronic music pioneer Morton Subotnick's Silver Apples of the Moon. I'm going to spend the remainder of the week -- starting with today -- looking at a few of my more striking finds that I've had time to digest.

Lothar and the Hand People were strange, to say the least. Based in New York (after forming in Denver), the quintet was a mediocre garage band who just happened to employ the services of a theremin, which they named Lothar. The theremin -- along with moog and non-traditional percussion -- gave the band a palette unlike their contemporaries. The fact that the band was signed to Capitol Records, for which they released a pair of records in 1968 and 1969, is just fucked up. (Look at the following picture, the cover to the record I picked up, and tell me if it looks like a major label release.)

Their debut album, Presenting...Lothar and the Hand People, is an inconsistent, flawed affair, mostly because of the group's split-personality. Part of the time, they're a sort of primitive Devo-cum-Mothers of Invention, and the rest of the time they shoot for a more straightforward garage rock sound typical of the time's average bands. Still, they're fucking weird and quirky as well, which I suppose is why I find them so charming.

"Machines" sure does predict the 21st Century with ease, even if the idea of machines controlling our lives wasn't an original one. And their cover of "Bye Bye Love," which was turned into a household tune by The Everly Brothers, showcases their warped personality as they add a theremin melody over the top of the traditional cover. It's hardly remarkable as a great cover, but worth noting nonetheless if for no other reason than the odd choice of selecting such a non-hip tune to cover in 1968.

~~Lothar and the Hand People - "Machines"~~

~~Lothar and the Hand People - "Bye Bye Love"~~

The group went on to release Space Hymn in 1969, whose title track was a hit. To my knowledge, I haven't heard the album or the song, but Julian Cope loves it so it can't be too bad. A web site was created to promote the re-release of Presenting by Razor & Tie. Check it out to read an article about the band from 2000.

POST NO. 16: BREAK-UP SONGS FOR IVY LEAGUE FUCKS

2005-08-30T08:18:00.000-05:00

"Sad songs for Ivy League fucks" -- that's how my ex-girlfriend once described The Clientele. I found the description to be humorous, as she wasn't really serious in her seemingly harsh assessment. There's certainly something about The Clientele's sound that suggests sophisticated snobbery. Much as with '80s cult faves Felt -- whose music paved the way for The Clientele -- this trio from London creates a textural, mesmerizing style of indie pop steeped in the soft psychedelia of Donovan, Love, and to a lesser degree Nick Drake. I've always said that The Clientele are best listened to as the spigot is sealed tight on a summer rainstorm. Certainly, Clientele frontman Alasdair MacLean does little to dissuade the notion that the best art is created from a still sadness. But unlike other groups who mope through routine remorse with a predictable lack of flair, The Clientele's music often speaks to a subtle warmth. I credit that to MacLean's beautiful guitar work, which is something to behold in person.

Pitchfork leaked a song from their forthcoming album, Strange Geometry, which will be released in less than a week in the UK and on October 11 in the States. And, in case you missed it, here it is again. It's a pleasant surprise: an energetic slice of melodic pop goodness that stands in contrast to their previous album, The Violet Hour, which seemed stuck in the doldrums almost to a fault. Notice the little melodic twist on guitar/glockenspiel -- which Pitchfork correctly identified as a wink to "Sloop John B" -- that appears periodically.

~~The Clientele - "Since K Got Over Me"~~

Not to sound like a jerk, but if you can't find something to like in this tune, then I feel for you. Visit The Clientele or sample some more of their songs. I'd highly recommend picking up the compilation of their early singles, Suburban Light.

POST NO. 15: GOT ORANGE JUICE?

2005-08-29T08:15:00.000-05:00

Oh how I've waited to get my grubby little hands on these songs! Finally, the kind folks at Domino have secured the rights to release the bulk of Orange Juice's Ostrich Churchyard, a 1992 compilation of songs recorded in 1981 that were intended to be the group's debut album on Postcard Records. Copies of Churchyard have always been available, if you were willing to hand over a healthy chunk of change. Now, for a reasonable price you can purchase The Glasgow School, which collects a majority of Churchyard along with the group's earliest singles (on Postcard) and repackages them in a cool gatefold CD with liner notes from drummer Steven Daly.

So, why should you care? Well for starters, this is where Edwyn Collins got his start. He's that wacky guy that had the hit single, "A Girl Like You," in 1994. ("I've never known a girl like you before..." Picture me singing it out loud with a coy, goofy look on my face.) But the real reason you should care is because every Scottish band of the past 20 years worth their indie cred swears by Orange Juice. (In case you're wondering, that list likely includes Belle & Sebastian, Camera Obscura, The Pastels, Life Without Buildings, The Jesus and Mary Chain, Primal Scream, Teenage Fanclub, The Orchids, et cetera.) This record is essential listening for anyone who's ever wondered (out loud, preferably) whether any other singer from the '80s could possibly beat Morrissey at his own game. Oh yes, it can be done! These Scots are the bridge between the Velvet Underground and twee pop. Believe it, and it shall be!

~~Orange Juice - "Lovesick"~~

~~Orange Juice - "Louise Louise"~~

For a longer review of The Glasgow School (and some additional background on Orange Juice) go here. The photo of Edwyn Collins was taken from Phillipe Carly's collection of photographs of new wave bands.

POST NO. 14: I WANNA DESTROY YOU

2005-08-26T08:19:00.000-05:00

Sorry Robyn Hitchcock fans, this post isn't about The Soft Boys. Instead, it's about a solitary soft boy, one Dan Bejar, who when not moonlighting on New Pornographer recordings has a lovely little band of his own called Destroyer.

If you've only recently discovered Destroyer, in either its electronic symphony version or its Frog Eyes-as-backing-band version, you may be surprised to learn that Destroyer was once a cabaret-styled rock band. Thief, released in 2000, is the proof. I like The New Pornographers as much as the next guy -- and I'm fond of Carl (A.C.) Newman's solo work, too -- but in my mind Bejar has always stood shoulders above his Vancouver brethren. His imagination -- which displays itself in both his awkward commentaries and his grandiose melodic flourishes -- simply sets him apart.

Who else but Bejar could take a collection of ballads and mold them into raucous, rockin' anthems screaming for a packed stadium audience? Dig this...

~~Destroyer - "Canadian Lover/Falcon's Escape"~~

~~Destroyer - "City of Daughters"~~

Still not convinced of this record's brilliance? Well, if you won't take my word for it, then maybe you'll listen to The Mountain Goats' John Darnielle, who calls Thief "a masterpiece". Read an older interview with Bejar here, or visit him at Merge Records, where you can hear some more recent mp3s. Unfortunately, Thief is out of print (the last time I checked); but you can find a few copies for sale over at Gemm.

POST NO. 13: THE NOISEBOY'S ROOTS

2005-08-25T08:25:00.000-05:00

Remember three years ago when we were in the midst of a garage rock revival thanks to The Strokes and The White Stripes? Sure you do. That was a great time! We broke out our black leather jackets and tight, torn jeans, mussed up our hair, went out to the local dive bar, and got shitfaced every weekend! Man, my right ear is still ringing from the madness!

My moniker, The Noiseboy, was originally chosen as my DJ name several years ago when I began spinning in bars around town. Dating back to my early days as a bar DJ -- I was a college DJ before that, which is an entirely different creature -- I spun primarily garage rock, mixing in traditional rock and roll, '70s hard rock, punk, mod, and a bit of what I termed "grits" (outlaw and olden-times country). The name was inspired by '70s rock scribes Lester Bangs, Richard Meltzer, and Nick Tosches -- who jokingly referred to themselves as "the noiseboys" -- and then hung around when I needed an identity (tell me about it!) for Blogger.

My DJ days are hardly over, even though it's been well over a year since I gave up my regular gig at Mike & Molly's. In November, I'm going all the way back to my college roots to find a niche on the radio dial. As a wink and a nod to ideal of escapism that permeated the late-'60s/'70s, and in honor of Marc Feld aka Marc Bolan aka T. Rex, my show will likely be titled Life's a Gas.

So today, I offer a tribute (yes, my tongue is firmly planted in cheek) to the debut of "The Noiseboy" with a song from the original garage rock revival circa the late-'70s/early-'80s. One important thing missing from the heralded 21st Century garage revival is the sound itself: fuzz-tone guitar, Farfisa organ, sleazy attitude, and frenzied energy. That wasn't missing from the '80s revival; they got it right that time around as evidenced by bands and artists like The Chesterfield Kings, The Fleshtones, Billy Childish, and The Cynics.

Chief among those bands was Boston's The Lyres, who were led by a prep-school dropout by the name of Jeff Conolly. Conolly collected two things: Farfisa organs and records. He earned his longtime nickname "Monoman" because of his obsessive collecting of vinyl, which you can read all about in Brett Milano's book Vinyl Junkies (highly recommended if you're pulling jury duty!). After his late-'70s punk band DMZ split, Conolly started The Lyres and headed into the studio during the summer of 1980 to record a handful of songs that were never given an official release. For your enjoyment, here's one of 'em (taken from the Lyres album AHS 1005).

~~The Lyres - "She Pays the Rent"~~

For more on The Lyres, go here or here.

POST NO. 12: I DO DREAM YOU

2005-08-24T14:03:00.000-05:00

The short film Syd Barrett's First Trip -- which is exactly what it sounds like, Super 8 footage of Barrett's earliest descent into hallucinogens -- isn't really worth a rental if either: a) you're not into Barrett-era Pink Floyd or Barrett's solo material; or b) you think that psychedelic pop is nothing more than a convenient excuse to get stoned, smack a xylophone with a hammer, and pretend that listening to a guitar being played backward sounds totally awesome, dude.

The same could probably be said about Jennifer Gentle as a band. Considering that they took their namesake from a Barrett lyric that appears in the Pink Floyd song "Lucifer Sam," it's safe to say that Jennifer Gentle has probably already rented -- hell, might even own -- Syd Barrett's First Trip. After listening to the Italian group's domestic debut for Sub Pop, Valende, I'd go so far as to say that they actually know where Syd lives. They've likely visited the Patron Saint of psych-pop once or twice, enjoyed some magic mushrooms with him, maybe even swiped his songbook.

Valende is either the most promising slice of psychedelia to bloom in the oughts -- a rather clever wink and a nod to the stranger seventies -- or it's an annoying, frustrating collage sure to test even the most patient of listeners. That wasn't an either/or proposition: it actually is both things. A majority of the record remains somber and abstract, is mellow at times to the point of no return, and plays up the duo's childlike, spastic sense of disillusion. Personally, the singer's off-kilter voice doesn't bother me, but I suspect I just have thick skin. Check out the brilliant rave-up "I Do Dream You," a dead ringer for The Clean covering Faust at their most playful. Makes me wonder if Jennifer Gentle is really Clinic's weird second cousin. For comparison's sake, I'm also including "Circles of Sorrow," whose pace -- like a majority of the album -- never stretches beyond a belly crawl. It's dainty melodies -- flavored with glockenspiel, hushed vocals, a dreary violin, warm bass tones, and a repetitive acoustic guitar line -- drift around as if buoyed in a sleepy sea. I never thought that I would ever type this sort of comparison, but the song sounds like Piano Magic head-butting The Clientele.

~~Jennifer Gentle - "I Do Dream You"~~

~~Jennifer Gentle - "Circles of Sorrow"~~

Visit these wackos at their home away from home.

POST NO. 11: MUSIC FOR MOOGS

2005-08-23T09:54:00.000-05:00

In case you missed the news, Robert Moog, creator of the you-guessed-it, died on Sunday at the age of 71 in his home in Asheville, North Carolina. His cause of death was brain cancer. The news sends a tingle down my spine, because I was actually in Asheville on Sunday.

For more info on Bob, you can start at his site. Many of you are probably already familiar with electronic music and know of Moog's impact on modern music. Today, I'll pay homage to his brilliant invention with an oldy but goody: the Silicon Teens.

Their 1980 album on Sire Records, Music for Parties, is a total blast. We can trace twee pop's roots back as far as we'd like, but there's no doubt that this record had a little bit to do with the development of keyboard-based indie pop in the '80s and especially the '90s. The Silicon Teens were actually one man, Mute Records founder Daniel Miller (pictured above). Using various vintage synthesizers -- including the moog -- and drum machines, Miller dusted off some of his favorite tunes from the '50s and gave them a revamp that any 11 year-old kid with a crush on Cyndi Lauper would love. From "Let's Dance" to "Oh Boy!" to "You Really Got Me," Miller cruises through a long list of oldies (and a couple originals) with amusing results. I've chosen his cover of Chuck Berry's "Memphis Tennessee" along with the instrumental "Red River Rock," which Johnny & the Hurricanes had a top-10 hit with in 1959. Oddly enough, the Silicon Teens version of "Red River Rock" was used in the soundtrack to the Steve Martin/John Candy comedy Planes, Trains, and Automobiles.

~~Silicon Teens - "Red River Rock"~~

~~Silicon Teens - "Memphis Tennessee"~~

This was the lone full length for the Silicon Teens. There isn't much available on the Teens online, but you can read up on Miller's influence on technopop here.

POST NO. 10: WHAT COMES AFTER VACATION?

2005-08-22T13:21:00.000-05:00

I'm back in the saddle again after a wonderful vacation. Believe it or not, I did NO record shopping on this trip out east, despite spending a couple days in Asheville, North Carolina, which I would highly recommend visiting if you haven't been there. I've got a sunburn to nurse, a couple hundred e-mails to sort through, and a cat that needs some attention.

Thanks for the kind words in my absence. I'm glad to be home again...and to welcome me (and you) back, here's a clip from Magnolia Electric Co.'s newest record, What Comes After the Blues. Magnolia Electric Co. frontman Jason Molina really reminds me of Bruce Springsteen; he's got The Boss' knack for both a simpleton appearance and a smalltown pathos. And like Springsteen, Molina makes up for any height disadvantages with a deep well of a soul and an appreciation for rock and roll's roots.

But I'm done blowing hot air up Molina's tailpipe; the truth is that I really wanted to like What Comes after the Blues every bit as much as I liked Molina's last studio album with a full band (and his last as Songs: Ohia), Magnolia Electric Co. I spent hours wandering alone on the train tracks with this album in my iPod. But damn it if I couldn't find it in me to like this new one as much as his last. Curse Molina for setting the bar so damn high.

Molina has finally settled on a backing band -- his own Crazy, Heartbreakin', E-Street, Bullet Band -- and the lineup carried over from Magnolia to Blues. These cats can play, knowing when to squeal and when to hush, never stepping on the toes of Molina's emotive, warbling voice. The main ingredient that's missing on Blues is a cupboard full of exceptional tunes. Sure, we get the bluesy brawn of "The Dark Don't Hide It," the ramshackle folk of "Northstar Blues," and the shuffling, heartbroken soul of "Leave the City." And Molina is still penning those memorable one-liners, the kind that ring true in a "well, duh" sorta way, but are poignant nonetheless. (He reminds me of Townes Van Zandt in this respect. And I consider that a high compliment.) But, there's no song on Blues that resonates as loudly as "Hang on Magnolia" or "I've Been Riding with the Ghost" from his previous album. I suppose that means that Molina isn't perfect, which sure does fit his persona to a T. I should probably just stop my bitching and quit searching out the faults.

~~Magnolia Electric Co. - "Leave the City"~~

Visit Molina and Co. at their home on the range, where you can download bootlegs of various live shows and swap them with your friends just as if you were fans of Dylan or the Dead! Visit the site of their exceptional label, Secretly Canadian, for some more tunes from this record.

And one last thing: I'm removing the link to the mp3s from my first 9 posts shortly...so if you haven't listened to those tunes yet, hurry up slowpoke!

POST NO. 9: VACATION (ON THE BEACH)

2005-08-11T10:00:00.000-05:00

Okay, so I mostly chose Neil Young's classic 1974 album On the Beach for today's selection because that's where I'm headed: to the beach. I'll be on vacation for the next twelve days, so you won't be hearing from me for a while. For that, I apologize. But, this vacation is 28-plus years in the making. I'm due. I'll be spending a week on the "Crystal Coast" (as they call it) in North Carolina, and then a few days in the Smoky Mountains. Jealous yet?

But On the Beach is worth writing about regardless of my vacation plans. I'm often surprised by the number of music nuts -- even Neil Young fans -- who haven't heard this record. Possibly it's Young's other hits-laden '70s releases that have overshadowed On the Beach, but more likely On the Beach has been doomed to relative obscurity (along with several of Young's other late-'70s recordings) because it was out of print for ages. The fault lies squarely on Young's shoulders: his stubborn preference for 180 grams of virgin vinyl over 1s and 0s kept this gem off the shelves.

Thankfully, in 2003, Reprise Records finally got Young's okay to reissue the album on CD. And while I don't have Young's blessing, I'm going to share a song with you today. It's impossible to find a dud on this album, so I can't go wrong with choosing the record's opening song. Go ahead and pick up a copy of this today, before Young changes his mind again and pulls On the Beach from the shelves.

~~Neil Young - "Walk On"~~

Be sure to say "hi" to Neil, and if you're a vinyl junkie you can pick up his recent greatest hits album on LP.

POST NO. 8: A LITTLE BIT OF HI-FI

2005-08-10T10:02:00.000-05:00

I wasn't quite as taken in by M. Ward's 2005 full length Transistor Radio as I was by his 2003 release, Transfiguration of Vincent. But, when considering Ward's music, saying that I didn't like his new record as much as his last one is like saying to an A student, "Sorry, but this paper only rates a B+".

Ward has been compared to everyone from Townes Van Zandt (don't see it) to Tom Waits (okay, getting warmer) to Grandaddy (nice try, but no cigar). He's also been called "somber adult alternative," which makes me cringe. (Do I really listen to "adult alternative"?) I peg him as more of a Ron Sexsmith type, a bittersweet singer-songwriter with a bit of a quirky streak. Or, maybe better yet, Sexsmith jamming with Calexico. But even that comparison misses the mark. Ward's skewed vision of the world -- as evidenced on songs like "Big Boat," "Deep Dark Well," and "Four Hours in Washington" -- is one of a traveling minstrel, a slightly-deranged yet charming wallflower who has seen it all (including things you and I just can't see).

It's that warped, Tom Waits-like imagination that is Ward's calling card and the fuel for his pleasant blend of Americana pop. The fact that more people don't know about this guy is truly a shame, because his recordings are consistently superb. But look no further than the guest list of musicians on this recording -- Jim James of My Morning Jacket, John Parish of PJ Harvey fame, Howe Gelb, and Vic Chesnutt -- to discover how Ward is viewed by his peers.

~~M. Ward - "Hi-Fi"~~

For more on M. Ward, visit his home on the web.

POST NO. 7: NOT THOSE OUTSIDERS, THESE OUTSIDERS

2005-08-09T08:20:00.000-05:00

There's at least five known bands that have gone by the name The Outsiders, and my guess is there's probably another 10 or more if you want to snoop around for older regional groups that never released a proper full length. The two you might be familiar with are the British punk rock band led by Adrian Borland, who went on to form The Sound. Then there's The Outsiders from Cleveland who scored a hit in 1966 with the song "Time Won't Let Me." This isn't either of those Outsiders.

These longhairs -- and I do mean long -- were from Amsterdam, Holland. So in a sense, they were truly outsiders to the late-'60s garage rock scene. Their contribution to the second Nuggets box, "Touch", is a spastic single released in the Netherlands in 1966. The trademark of that song is the raw guitar sound of Ronny Splinter and the vocals of multi-instrumentalist Wally Tax, whose smooth voice and unorthodox approach stands in contrast to the throaty screamers often employed by garage rock groups of the day.

I ran across a copy of their 1968 full length CQ on CD through Karl Ikola's Anopheles mail order, and promptly snatched it up to sit on the shelf near fellow Dutch garage rockers Q 65. The record really blew me away, and I was even expecting it to be good. It's part intense, primitive rock 'n' roll, part bizarre psych-rock, and part trippy, mellow folk-rock that recalls early Can and the Velvet Underground.

I'm not going to blather on and on about this dandy of an album; you can click the links below if you want to read more about the band. But I will go above and beyond the call of duty and post three mp3s from CQ to show you just how enthusiastic I am about this album.

~~The Outsiders - "Happyville"~~

~~The Outsiders - "Misfit"~~

~~The Outsiders - "You're Everything On Earth"~~

For more on the band, pick up a copy of Richie Unterberger's book Unknown Legends of Rock 'n' Roll for an entire chapter on The Outsiders, or see this, this, or this. You should be able to order CQ from Forced Exposure.

POST NO. 6: A HAIRY REISSUE

2005-08-08T09:04:00.000-05:00

I'm told that Gary Higgins fits into the ever ambiguous category of beard-folk, a subgenre of freak-folk, otherwise known as psych-folk. (On a side note, can you be a member of the beard-folk set if you don't have a beard? I guess not. But, what happens if Sam Beam and Devendra Banhart shave off their chin hair tomorrow? Is their license to practice beard-folk revoked?)

Sad-folk would probably be a more appropriate description for Higgins. My first few spins through the Drag City reissue of Higgins' 1973 album Red Hash have left me slightly underwhelmed. It's not that Red Hash is without its intriguing moments; rather, the mood and pacing of the record is a constant flat line -- a steady, somber crawl. The entire album is a melancholy affair. It's sort of like listening to a Nick Drake record that features the valleys but not the occasional peak.

Still, take any of these songs on their lonesome, and there's much to love. The acoustic guitar picking and strumming of Higgins and Jake Bell is at times hypnotic. When the guitar is coupled with the sonic backsplash of cello, mandolin, piano, and flute, it lends the music a timeless feel, as if we were eavesdropping on a "prog-rock" band from the 15th Century. Higgins occassionally pitches his tent in the early-'70s singer-songwriter camp as well, as on "Cuckoo," when Higgins sings "I've really gone insane / Can't even spell my name / The cuckoo is in pain, again / Please don't die on me, Mr. Cuckoo, please". Not exactly a chipper song.

But as I said, from start to finish Red Hash is downright glum and often haunting a la Nick Drake. In that sense, Higgins' modern equivalent is probably Iron & Wine. Matter of fact, if Sam Beam hasn't yet heard Higgins' album, I'd be shocked. The two color their folk with the same box of 64 crayons. Nods also could be made to Six Organs of Admittance -- who are partly responsible for rediscovering Higgins after all these years -- Devendra Banhart, and cult weirdos Skip Spence and Pearls Before Swine.

Higgins is one of those "lost" artists. Like Jackson C. Frank, Higgins' recorded output amounts to a handful of songs. Also like Frank, Higgins disappeared from the scene faster than he arrived. Supposedly, Red Hash was hastily recorded just days before Higgins was to enter prison (marijuana possession). An attempt at a self-release was thwarted after only a few records were sold. (Which explains, I suppose, why we haven't heard much from him or about this record since 1973.)

~~Gary Higgins - "I Can't Sleep"~~

~~Gary Higgins - "Stable the Spuds"~~

There really isn't much more info available on Higgins, but Vinyl Mine has posted an mp3 from Higgins' recent live appearance on WFMU. If you don't already, you should check in with Vinyl Mine frequently -- it's a great music blog.

POST NO. 5: BARELY REAL

2005-08-06T09:37:00.000-05:00

Low is still going strong after more than a decade. And as the century turned, the brothers Kadane successfully morphed Bedhead into The New Year. But whatever in the world happened to Codeine, the third piece of the mighty slowcore triumvirate? Codeine arguably got the slow/sadcore ball rolling when they released their Sub Pop debut, Frigid Stars, in 1990. After releasing a great EP, Barely Real, in 1992 and their second full length, The White Birch, in 1994, Codeine was never heard from again.

By the release of Birch, original drummer Chris Brokaw had left the band to focus his attention on his other band, Come. Original members Stephen Immerwahr (bass/vocals) and John Engle (guitar) recruited Rex drummer Doug Scharin (also of H.I.M. and June of 44) to join the group. But that lineup only lasted for one full length as well.

Brokaw played guitar for Come until they split up as the century turned. He also formed Pullman with Bundy K. Brown and Doug McCombs. He then spent some time backing former Come frontwoman Thalia Zedick on her solo career, performing with Steve Wynn, and drumming for The New Year, before starting a solo career of his own. He released three full lengths under his own name between 2002 and 2004. (Anyone heard 'em?)

Immerwahr went on to play bass in a band called Raymond, of which it's nearly impossible to find any trace of on the world wide web. And I have no idea what happened to Engle, which is a shame since his guitar work with Codeine was just short of brilliant.

With Slint and The Pixies reforming, maybe it's time to give a shout out into cyberspace for a Codeine reunion. Pretty please?

~~Codeine - "Barely Real"~~

(From the EP of the same name.) For a more detailed bio, hit up Sub Pop or this fan site, which also offers several mp3s.

POST NO. 4: THE OLD WAY OUT IS NOW THE NEW WAY IN

2005-08-05T08:49:00.000-05:00

Just why The Go-Betweens' back catalogue has gone so overlooked by the masses in America is beyond me. The group did much better in terms of recognition (and earning their niche in history) in their home countries of Australia and the UK, but across the pond, it seems like we tend to neglect the group. Even their turn-of-the-century reunion hasn't seemed to resonate all that much with younger folk. I made it to The Go-Betweens' Chicago stop on their original reunion tour a few years back, and while the crowd was enthusiastic, the venue was far from sold out. Possibly, the group's lyrics are too esoteric; certainly, their songs are less immediate than many of their perceived peers, like Echo and the Bunnymen and The Smiths. And for certain, they're hardly a "sexy" band.

Maybe my perception of a lack of respect is just dead-wrong. But I don't know anyone other than my long lost friend Tom who has a true appreciation for this band. (Maybe I just know the wrong people?) Still, we Yanks don't have much interest in investigating the foreign bands that influenced the modern, import indie pop that we enjoy, like Belle & Sebastian, The Clientele, The Lucksmiths, The Shout Out Louds, or what have you.

By the time The Go-Betweens released Spring Hill Fair, their third studio album, in 1984, they had already cemented their reputation amongst critics. The year prior, the band added a fourth member, Robert Vickers, on bass, moving singer-songwriter Grant McLellan to lead guitar duties. The results were an even more vibrant, layered sound, as evidenced on the pristine "Bachelor Kisses," the jumpy "Unkind and Unwise," and the frantic "Man O' Sand to Girl O' Sea." But remaining constant is The Go-Betweens' knack for literate storytelling as well as their preference for subtlety, even in the relatively tame tones of McLennan's lead guitar work. In an interview with Melody Maker from back in the day (which is recounted in the liner notes), McLennan says "People often mistake subtlety or reticence for naivete or wimpiness. ... You just can't have those qualities if you want to be in the charts." Or, possibly, remembered fondly by Americans.

Here's my favorite Go-Betweens song on this album (and overall), written by McLennan's bandmate, Robert Forster, a John Lennon to McLennan's Paul McCartney.

~~The Go-Betweens - "Draining the Pool for You"~~

Visit Grant and Robert here. For an extensive band bio, click here.

POST NO. 3: STIV BATORS GOES POP!

2005-08-04T08:36:00.000-05:00

As an aside to his work in the Dead Boys, Stiv Bators' solo career was fairly decent, if short-lived. But, considering that this man once was involved in the writing of such brash punk classics as "Sonic Reducer" and "Ain't Nothing to Do," Bator's legacy as a Dead Boy casts a long shadow -- and rightfully so -- over his pop leanings as a solo artist. That said, Bator's Disconnected, originally released on Bomp! in 1980 as the Dead Boys were disintegrating, is an often overlooked power-pop gem that Bomp! reissued in 2004.

Bators' '60s influences come to the surface on this recording, which finds the music more accessible and his vocal tracks far more subdued. Much in the same way Iggy Pop's brand of nihilistic rock became pedestrian once he hit the studio as a solo artist, so too is Stiv Bators' effort tame and almost charming at times on Disconnected. "Evil Boy" was co-written by Dead Boy Jimmy Zero, and stands as one of Bators' strongest songs regardless of era. While the chorus finds Bators repeating "I'm an evil boy," he does so in a coy, whiney style that's nonetheless addictive. It's pretty funny, actually. Other highlights include the exceptionally catchy "Make Up Your Mind," the brooding swagger of "A Million Miles Away" (no relation to the Plimsouls song of the same name), the frantic drums-guitar interplay of "Swingin' a Go-Go," and the playful "Ready Any Time."

In hindsight, it's easy to see how a band like The Replacements might have taken notes while listening to this record. Disconnected is worth investigating for fans of the Dead Boys as well as folks who find much to like in '80s power-pop. It's worth the price of the disc simply to read the insightful (and downright amusing) liner notes from former Bators' bassist Frank Secich, who recounts Stiv's "car surfing" days with ease.

~~Stiv Bators - "Make Up Your Mind"~~

For more info on Stiv, see this fan site or visit Bomp!.

POST NO. 2: THE LORD GOD BIRD

2005-08-03T09:59:00.000-05:00

Surely you're already familiar with Sufjan Stevens, winner of the 2004 award for most confusing first name to pronounce for a singer-songwriter employing spiritual overtones yet cashing in on the indie music community at large (i.e. most likely to appear at Cornerstone and still be praised by the God Almighty of indie press, Pitchfork). Kidding aside, Soof-e-yawn (as I've been told is correct) just released album No. 2 in his tour of the fifty states, and it's about my home state of Illinois. A wise marketing move on his behalf, no doubt attempting to capitalize on the media blitz surrounding the Fighting Illini's title game against those talented Tar Heels.

But this post isn't about that Sufjan endeavor; instead, it's about the town of Brinkley, Arkansas, a cozy village of 3,600 east of Little Rock. The folks over at NPR challenged Sufjan to write a song about a town of their choosing; in exchange, they'd prep him for a future album and give the song a spin on the radio. A pair of NPR reporters traveled to Brinkley, intereviewed the locals, and handed the tapes over to Sufjan, who then chose to focus on a symbolic, nearly-extinct bird known to hang out in the mucky lakelands surrounding the community. The "great god bird," otherwise known as the "lord god bird" or the "ivory-billed woodpecker," became the basis for Sufjan's song, which once again displays his knack for "getting" the communities he sings about without ever having actually lived there. Listen for yourself:

~~Sufjan Stevens - "The Lord God Bird"~~

Read more about this story here. Visit Sufjan Stevens on the web here.

POST NO. 1: BELLE & SEBASTIAN

2005-08-02T18:08:00.000-05:00

Welcome to my new(est) music blog. I figure third time's a charm. The formula is simple this time around: let the music speak for itself. Hope you enjoy.

My friend Tim made his first venture into the world of Belle & Sebastian records last week -- purchasing Sinister and Arab Strap -- and mentioned a few days later that he was enjoying them. So, I told him that I would make him a mix featuring songs from all of the group's other releases. An easy enough task, for sure, although choosing which song to pluck from the single I'm Waking Up to Us proved to be trouble. I ended up going with the title track, as to me it stands out amongst the rest of Belle & Sebastian's catalogue. The woodwinds coupled with the string section give the backdrop a decidedly baroque feel, yet the song itself is torn right out of the Love songbook. Stuart Murdoch does his best Arthur Lee impersonation on this tune, both in terms of vocal delivery and lyrical content.

If you're not someone who blindly purchases everything B&S releases, this particular EP -- unlike some of the band's more recent EPs -- is well worth the cash. All three songs are both exclusive and quite good, a reminder of the group's EPs of old.

~~Belle & Sebastian - "I'm Waking Up to Us"~~

Visit B&S on the web here.