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infancy.
WILFULLY OBSCURE: REM A gale force surge of fresh air that sounds untouchable and out of place today as it did when it made it's bow in 1983. The formula? A tapestry of oblique prose, minor-key melodies and forward thinking, yet disarmingly warm charm. Murmur's un-superfical notions must have presented itself as a stark anomaly for it's era. WILFULLY OBSCURE: DADDY IN HIS DEEP SLEEP Well this one really hits the sweet spot. Wish I could tell you more about Daddy in His Deep Sleep other than A) Scott Miller of Game Theory/Loud Family renown produced their album, and B) the band may have hailed from the vicinity of San Jose, CA, but don't hold me to that.Alone with Daddy contains nine satisfying servings of collegiate indie rock informed by the like of Let's Active, Buzz of WILFULLY OBSCURE: THE PENGWINS ep + 2 (1988, Circle) Although the Mad About the Band ep was a product of the late '80s, The Pengwins run actually spanned 1976 to the early '90s. Hailing from the environs of Fort Worth, Texas the five-piece Pengwins composed deftly honed power pop (or thereabouts) that could typically slot somewhere between the Plimsouls and Rubinoos, though WILFULLY OBSCURE: GLORITONE I throw the term "left of the dial" around a little too much, so here's an album that runs a bit contrary. This rather pummeling power trio were gestated in the mid-90s in the parched desert sands of Tempe, AZ, and with their airwaves-ready debut, Cup Runneth Over being co-opted by the likes of RCA Records, you 'd think Gloritone might have gained a sizable toehold. WILFULLY OBSCURE: ZUMPANO The sprite "Wraparound Shades" boasted on their debut 1994 single exuded the kind of warmth and moxie any pop-fanatic could ever ask for. It would later be included on Look What the Rookie Did, while the flipside, "Orange Air," would remain exclusive to the single. The 1996 7" on the Sloan-owned and operated Murder Records" would be theirfirst
WILFULLY OBSCURE: ALDA RESERVE Alda Reserve - Love Goes On (1979, Sire) Yes, this is indeed a Sire Records product from a classic, turn-of-the-decade era, but A) the label did seemingly little to promote this record, and B) Alda Reserve were no punk/wave trend-hoppers. At most, they vaguely recall Off Broadway or Polyrock, but truth be told, there isn't a skinny tie insight
WILFULLY OBSCUREPOWER POP CRIMINALSWHYDOTHINGSHAVETOCHANGEDOWN UNDERGROUNDPOWERPOP OVERDOSE Brock Pytel isn’t exactly a household name, so if I may impart a crash course, he was half of the singing/songwriting force behind Montreal’s Doughboys, a rollicking, skate-punk friendly setup who were lucky enough to benefit from his talents in the late ‘80s.The other half of the Doughboys, Jon Kastner, went onto slightly greater renown, steering his band to a major label in the '90s WILFULLY OBSCURE: THE DB'S The dB's - 1983/84 demos. One of the key purveyors of the "new south" sound, alongside REM and Let's Active, The dB's hold a special place in the hearts and minds of those "left of the dial" types in the early to mid '80s that were ready to embrace a fresher alternative to the venerable, yet often unfulfilling and insipid Top 40 world. WILFULLY OBSCURE: OFF BROADWAY (USA) Like contemporaries Shoes, Off Broadway were airtight and economical, but throaty frontman Cliff Johnson lent the band a sturdy, muscular forte. The quintet's linear but groove-savvy attack was perfectly evidenced on their debut, 1979's On, featuring a bevy of dynamite signature pieces like "Bad Indication," "Stay in Time," and "Full Moon Turn My Head Around." WILFULLY OBSCURE: CLOCKS You don't hear much about bands from Wichita, KS, and that went double for me, given The Clocks (not certain if the "The" was officially part of the band's name - it isn't on the album sleeve) were a couple years ahead of my time. The album's lead-off cut, "She Looks a Lot Like You," purportedly made a measurable splash on MTV during the channel'sinfancy.
WILFULLY OBSCURE: REM A gale force surge of fresh air that sounds untouchable and out of place today as it did when it made it's bow in 1983. The formula? A tapestry of oblique prose, minor-key melodies and forward thinking, yet disarmingly warm charm. Murmur's un-superfical notions must have presented itself as a stark anomaly for it's era. WILFULLY OBSCURE: DADDY IN HIS DEEP SLEEP Well this one really hits the sweet spot. Wish I could tell you more about Daddy in His Deep Sleep other than A) Scott Miller of Game Theory/Loud Family renown produced their album, and B) the band may have hailed from the vicinity of San Jose, CA, but don't hold me to that.Alone with Daddy contains nine satisfying servings of collegiate indie rock informed by the like of Let's Active, Buzz of WILFULLY OBSCURE: THE PENGWINS ep + 2 (1988, Circle) Although the Mad About the Band ep was a product of the late '80s, The Pengwins run actually spanned 1976 to the early '90s. Hailing from the environs of Fort Worth, Texas the five-piece Pengwins composed deftly honed power pop (or thereabouts) that could typically slot somewhere between the Plimsouls and Rubinoos, though WILFULLY OBSCURE: GLORITONE I throw the term "left of the dial" around a little too much, so here's an album that runs a bit contrary. This rather pummeling power trio were gestated in the mid-90s in the parched desert sands of Tempe, AZ, and with their airwaves-ready debut, Cup Runneth Over being co-opted by the likes of RCA Records, you 'd think Gloritone might have gained a sizable toehold. WILFULLY OBSCURE: ZUMPANO The sprite "Wraparound Shades" boasted on their debut 1994 single exuded the kind of warmth and moxie any pop-fanatic could ever ask for. It would later be included on Look What the Rookie Did, while the flipside, "Orange Air," would remain exclusive to the single. The 1996 7" on the Sloan-owned and operated Murder Records" would be theirfirst
WILFULLY OBSCURE: ALDA RESERVE Alda Reserve - Love Goes On (1979, Sire) Yes, this is indeed a Sire Records product from a classic, turn-of-the-decade era, but A) the label did seemingly little to promote this record, and B) Alda Reserve were no punk/wave trend-hoppers. At most, they vaguely recall Off Broadway or Polyrock, but truth be told, there isn't a skinny tie insight
WILFULLY OBSCURE: SENSELESS THINGS 2019 Powerpopulist Faves: R. Stevie Moore, The Bevis Frond, Lolas, Tommy Sistak, The Stan Laurels, The Unswept, Doug Tuttle, The Turnback, Day & Dream, Jordan Jones, Trip Wire,, Mikal Cronin, Gaspar Sanz, David Woodard, The Ace, Mondello, The Speak, The Good Water, The Kaams, Alain Pire Experience, Lauran Hibberd, The 7 & 6, seablite, jeanines, The Ugly Beats, More Kicks, Lucille Furs, WILFULLY OBSCURE: CLOCKS You don't hear much about bands from Wichita, KS, and that went double for me, given The Clocks (not certain if the "The" was officially part of the band's name - it isn't on the album sleeve) were a couple years ahead of my time. The album's lead-off cut, "She Looks a Lot Like You," purportedly made a measurable splash on MTV during the channel'sinfancy.
WILFULLY OBSCURE: TEENAGE FANCLUB Submitted for your approval is a collection of twelve, early-ish demos surrounding the aforementioned first T/F albums, A Catholic Education in 1990, and Bandwagonesque following a year later. The source of these tracks are unknown, but it looks like they've been in low circulation at best. In most cases they're markedly different than the WILFULLY OBSCURE: SPIFFY Spiffy - two singles (1996, Junk; Elastic) The All / Descendents family shrub has more forks in it than any given cafeteria utensil bin, and one of the most overlooked offshoots is Spiffy, a short-lived quartet that featured the talents of '80s Descendents alumni Tony Lombardo and Ray Cooper who reprised their respective bassist andguitarist
WILFULLY OBSCURE: THE RASPBERRIES Frustratingly, beyond their four LPs: Raspberries (1972), Fresh (1972), Side 3 (1973) and Starting Over (1974) the group left behind little to no aftertaste to savor, save for the typical allotment of best-of compilations. No glorified reissues with expanded bonus material, and nothing in the way of outtakes or live performances fromthe band's
WILFULLY OBSCURE: THE PENGWINS Although the Mad About the Band ep was a product of the late '80s, The Pengwins run actually spanned 1976 to the early '90s. Hailing from the environs of Fort Worth, Texas the five-piece Pengwins composed deftly honed power pop (or thereabouts) that could typically slot somewhere between the Plimsouls and Rubinoos, though not terribly derivative ofeither.
WILFULLY OBSCURE: V/A V/A - Scared to Get Happy - An Addendum (aka "the sixth disc"). Just as a quick disclaimer, I am not sharing any part of the newly released Scared to Get Happy compilation box set on Cherry Red Records. Onto the text. When it rains, it pours, and this is the type of torrential onslaught that only comes once every ten years or so. WILFULLY OBSCURE: LOVE BATTERY Though they were never an overwhelming favorite of mine, I enjoyed Love Battery's body of work for Sub Pop, especially 1993's Far Gone.Two years later when Straight Freak Ticket dropped, on a major label no less, I was less than freaked out in terms of my adoration for it. Love Battery were still plenty wiry and had even retained an air of their dense arrangements, but the psych-punk WILFULLY OBSCURE: NUMBERS The Toronto based Numbers were a straight-up power pop quartet that released their one and only album, Add Up at the crest of that genre’s movement in the late-70s/early 80. Arguably, their moniker was accurate, in that their approach was pretty much bywell, thenumbers.
WILFULLY OBSCURE: OCTOBER 2008 Maybe Kevin Ridel was destine to toil in obscurity. You think he would've had a good thing going when he moved to L.A. in 1989, accompanying Rivers Cuomo in the precursor to Weezer, Avant Garde, but he didn't quite gravitate into the lineup of the world-class rockers to be. However, by 1995, Kevin was fronting a powerhouse of equal proportions, Ridel High, who released the single in question. WILFULLY OBSCUREPOWER POP CRIMINALSWHYDOTHINGSHAVETOCHANGEDOWN UNDERGROUNDPOWERPOP OVERDOSE Brock Pytel isn’t exactly a household name, so if I may impart a crash course, he was half of the singing/songwriting force behind Montreal’s Doughboys, a rollicking, skate-punk friendly setup who were lucky enough to benefit from his talents in the late ‘80s.The other half of the Doughboys, Jon Kastner, went onto slightly greater renown, steering his band to a major label in the '90s WILFULLY OBSCURE: CLOCKS You don't hear much about bands from Wichita, KS, and that went double for me, given The Clocks (not certain if the "The" was officially part of the band's name - it isn't on the album sleeve) were a couple years ahead of my time. The album's lead-off cut, "She Looks a Lot Like You," purportedly made a measurable splash on MTV during the channel'sinfancy.
WILFULLY OBSCURE: SENSELESS THINGS NME and other credible news sources reported yesterday that Mark Keds (actually Mark Myers ), frontman for London, UK's Senseless Things (among other less renown acts) passed away on January 10, unexpectedly from what I understand. Yet another filament of my adolescence had abruptly blackened out. If you've familiarized yourself with S/T, you WILFULLY OBSCURE: OFF BROADWAY (USA) Like contemporaries Shoes, Off Broadway were airtight and economical, but throaty frontman Cliff Johnson lent the band a sturdy, muscular forte. The quintet's linear but groove-savvy attack was perfectly evidenced on their debut, 1979's On, featuring a bevy of dynamite signature pieces like "Bad Indication," "Stay in Time," and "Full Moon Turn My Head Around." WILFULLY OBSCURE: TEENAGE FANCLUB Submitted for your approval is a collection of twelve, early-ish demos surrounding the aforementioned first T/F albums, A Catholic Education in 1990, and Bandwagonesque following a year later. The source of these tracks are unknown, but it looks like they've been in low circulation at best. In most cases they're markedly different than the WILFULLY OBSCURE: REM A gale force surge of fresh air that sounds untouchable and out of place today as it did when it made it's bow in 1983. The formula? A tapestry of oblique prose, minor-key melodies and forward thinking, yet disarmingly warm charm. Murmur's un-superfical notions must have presented itself as a stark anomaly for it's era. WILFULLY OBSCURE: DADDY IN HIS DEEP SLEEP Well this one really hits the sweet spot. Wish I could tell you more about Daddy in His Deep Sleep other than A) Scott Miller of Game Theory/Loud Family renown produced their album, and B) the band may have hailed from the vicinity of San Jose, CA, but don't hold me to that.Alone with Daddy contains nine satisfying servings of collegiate indie rock informed by the like of Let's Active, Buzz of WILFULLY OBSCURE: ZUMPANO In the beginning there was lightand a little bit later, Zumpano.To know Zumpano is to not so much know the man that bares the group's namesake (that would be drummer Jason Zumpano), rather one Carl Newman (aka A.C. Newman). As frontman for the Vancouver B.C. piano/organ pop quartet, Newman helmed Zumpano on two delectable, but often passed over albums for Sub Pop WILFULLY OBSCURE: GLORITONE I throw the term "left of the dial" around a little too much, so here's an album that runs a bit contrary. This rather pummeling power trio were gestated in the mid-90s in the parched desert sands of Tempe, AZ, and with their airwaves-ready debut, Cup Runneth Over being co-opted by the likes of RCA Records, you 'd think Gloritone might have gained a sizable toehold. WILFULLY OBSCURE: LOVE BATTERY Though they were never an overwhelming favorite of mine, I enjoyed Love Battery's body of work for Sub Pop, especially 1993's Far Gone.Two years later when Straight Freak Ticket dropped, on a major label no less, I was less than freaked out in terms of my adoration for it. Love Battery were still plenty wiry and had even retained an air of their dense arrangements, but the psych-punk WILFULLY OBSCUREPOWER POP CRIMINALSWHYDOTHINGSHAVETOCHANGEDOWN UNDERGROUNDPOWERPOP OVERDOSE Brock Pytel isn’t exactly a household name, so if I may impart a crash course, he was half of the singing/songwriting force behind Montreal’s Doughboys, a rollicking, skate-punk friendly setup who were lucky enough to benefit from his talents in the late ‘80s.The other half of the Doughboys, Jon Kastner, went onto slightly greater renown, steering his band to a major label in the '90s WILFULLY OBSCURE: CLOCKS You don't hear much about bands from Wichita, KS, and that went double for me, given The Clocks (not certain if the "The" was officially part of the band's name - it isn't on the album sleeve) were a couple years ahead of my time. The album's lead-off cut, "She Looks a Lot Like You," purportedly made a measurable splash on MTV during the channel'sinfancy.
WILFULLY OBSCURE: SENSELESS THINGS NME and other credible news sources reported yesterday that Mark Keds (actually Mark Myers ), frontman for London, UK's Senseless Things (among other less renown acts) passed away on January 10, unexpectedly from what I understand. Yet another filament of my adolescence had abruptly blackened out. If you've familiarized yourself with S/T, you WILFULLY OBSCURE: OFF BROADWAY (USA) Like contemporaries Shoes, Off Broadway were airtight and economical, but throaty frontman Cliff Johnson lent the band a sturdy, muscular forte. The quintet's linear but groove-savvy attack was perfectly evidenced on their debut, 1979's On, featuring a bevy of dynamite signature pieces like "Bad Indication," "Stay in Time," and "Full Moon Turn My Head Around." WILFULLY OBSCURE: TEENAGE FANCLUB Submitted for your approval is a collection of twelve, early-ish demos surrounding the aforementioned first T/F albums, A Catholic Education in 1990, and Bandwagonesque following a year later. The source of these tracks are unknown, but it looks like they've been in low circulation at best. In most cases they're markedly different than the WILFULLY OBSCURE: REM A gale force surge of fresh air that sounds untouchable and out of place today as it did when it made it's bow in 1983. The formula? A tapestry of oblique prose, minor-key melodies and forward thinking, yet disarmingly warm charm. Murmur's un-superfical notions must have presented itself as a stark anomaly for it's era. WILFULLY OBSCURE: DADDY IN HIS DEEP SLEEP Well this one really hits the sweet spot. Wish I could tell you more about Daddy in His Deep Sleep other than A) Scott Miller of Game Theory/Loud Family renown produced their album, and B) the band may have hailed from the vicinity of San Jose, CA, but don't hold me to that.Alone with Daddy contains nine satisfying servings of collegiate indie rock informed by the like of Let's Active, Buzz of WILFULLY OBSCURE: ZUMPANO In the beginning there was lightand a little bit later, Zumpano.To know Zumpano is to not so much know the man that bares the group's namesake (that would be drummer Jason Zumpano), rather one Carl Newman (aka A.C. Newman). As frontman for the Vancouver B.C. piano/organ pop quartet, Newman helmed Zumpano on two delectable, but often passed over albums for Sub Pop WILFULLY OBSCURE: GLORITONE I throw the term "left of the dial" around a little too much, so here's an album that runs a bit contrary. This rather pummeling power trio were gestated in the mid-90s in the parched desert sands of Tempe, AZ, and with their airwaves-ready debut, Cup Runneth Over being co-opted by the likes of RCA Records, you 'd think Gloritone might have gained a sizable toehold. WILFULLY OBSCURE: LOVE BATTERY Though they were never an overwhelming favorite of mine, I enjoyed Love Battery's body of work for Sub Pop, especially 1993's Far Gone.Two years later when Straight Freak Ticket dropped, on a major label no less, I was less than freaked out in terms of my adoration for it. Love Battery were still plenty wiry and had even retained an air of their dense arrangements, but the psych-punk WILFULLY OBSCURE: TEENAGE FANCLUB Submitted for your approval is a collection of twelve, early-ish demos surrounding the aforementioned first T/F albums, A Catholic Education in 1990, and Bandwagonesque following a year later. The source of these tracks are unknown, but it looks like they've been in low circulation at best. In most cases they're markedly different than the WILFULLY OBSCURE: SPIFFY Spiffy - two singles (1996, Junk; Elastic) The All / Descendents family shrub has more forks in it than any given cafeteria utensil bin, and one of the most overlooked offshoots is Spiffy, a short-lived quartet that featured the talents of '80s Descendents alumni Tony Lombardo and Ray Cooper who reprised their respective bassist andguitarist
WILFULLY OBSCURE: THE DB'S The dB's - 1983/84 demos. One of the key purveyors of the "new south" sound, alongside REM and Let's Active, The dB's hold a special place in the hearts and minds of those "left of the dial" types in the early to mid '80s that were ready to embrace a fresher alternative to the venerable, yet often unfulfilling and insipid Top 40 world. WILFULLY OBSCURE: THE RASPBERRIES Good thing for the quartet of Eric Carmen, Wally Bryson, David Smalley and Jim Bonfanti, their reputation is unequivocally and undisputedly sealed, whether they were the collective brainchildren of a musical movement or otherwise.They may not have been poster-boys for the pop charts, but with four near-perfect albums to their credit the Raspberries legacy is still ripe for discovery for the WILFULLY OBSCURE: GUITARS & DRUMS (FEAT. MICHAEL GUTHRIE Tuesday, February 22, 2011. Guitars & Drums (feat. Michael Guthrie) - Believe it or Not ep (1983, EAR) Prior to recording the excellent 1981 cult-classic power-pop platter Direct Hits, Michael Guthrie of the band that band bore his namesake was cranking out beat pop in Germany in the mid-60s with his brother Herb in this little known combo. WILFULLY OBSCURE: CITRUS GROOVE Citrus Groove were a California four-piece who caught the tail end of the "Madchester" scene without a moment to spare. To my relief, their thing was more Soup Dragons than Happy Mondays. The two tracks that bookend Sunswayed are welcome exceptions to this rule, with "Angel" impressing me as the long lost cousin to The Only Ones "Another Girl,Another Planet."
WILFULLY OBSCURE: SQUIRREL BAIT Thought I'd pass along a link, that from what I understand has just recently been making "the rounds" as it were. Die hard aficionados of Louisville proto-emo punks Squirrel Bait have likely heard bootlegs of a nine song demo that preceded the band's self titled ep in 1985, and Skag Heaven which arrived a year later. Thing is, a poor rip of it had been circulating online for far too long. WILFULLY OBSCURE: THE PENGWINS Although the Mad About the Band ep was a product of the late '80s, The Pengwins run actually spanned 1976 to the early '90s. Hailing from the environs of Fort Worth, Texas the five-piece Pengwins composed deftly honed power pop (or thereabouts) that could typically slot somewhere between the Plimsouls and Rubinoos, though not terribly derivative ofeither.
WILFULLY OBSCURE: NUMBERS The Toronto based Numbers were a straight-up power pop quartet that released their one and only album, Add Up at the crest of that genre’s movement in the late-70s/early 80. Arguably, their moniker was accurate, in that their approach was pretty much bywell, thenumbers.
WILFULLY OBSCURE: ALDA RESERVE Alda Reserve - Love Goes On (1979, Sire) Yes, this is indeed a Sire Records product from a classic, turn-of-the-decade era, but A) the label did seemingly little to promote this record, and B) Alda Reserve were no punk/wave trend-hoppers. At most, they vaguely recall Off Broadway or Polyrock, but truth be told, there isn't a skinny tie insight
skip to main | skip to sidebarWILFULLY OBSCURE
POWER POP * PUNK * EMO * INDIE ROCK * SHOEGAZER SUNDAY, SEPTEMBER 29, 2019 SAVE ME, I GOT MY FALLING ARMS AROUND YA...A
2011 album, and a shortly preceding ep from one of my best musical discoveries of the last couple years. **Please do not reveal artist in comments!**Hear
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CHINA CRISS - _FINE AND ALSO RARE CHINA_ (2008) Here's another act that amazingly I haven't brought up before until now. I knew who CHINA CRISISwere as far back as
the mid-80s, but never made a concerted effort to investigate them until I started finding their records in used bins. For Brit new wavers, they were the yin to the yang of most of what was happening during their 1982-89 peak. Bearing a markedly disciplined and mid-tempo tact, Crisis' smoother sonic palette was no doubt interpreted as high-brow by some, but it worked to their advantage, because their early run of albums (_Difficult Shapes..., Flaunt the Imperfection_, etc) stand up remarkably well three decades after the fact. In fact, C/C went so against the dayglo-techno pop grain they even hired Steely Dan's Walter Becker to produce their second LP, _Flaunt the Imperfection_. New romantic yacht rock? Well, not exactly, but pretty damn refreshing after hearing Depeche Mode and Duran Duran ad nauseam. _Fine and Also Rare China_ is a cobbled together collection of demos the band sold on their tour in 2008. Thought this might be fun to share since their official catalog is still available, and I'm not at liberty to host much or any of it. Spanning 1979-97, _Fine and AlsoRare China_
leaves out early prototypes of many of their more renown songs - "King in a Catholic Style," "Black Man Ray" and "Working With Fire and Steel," among others. What's here however is still pretty respectable, including nascent takes of early gems "African and White" and "Seven Sports for All," plus the _Diary of a Hollow Horse_-era "Northern Skies." Surprisingly much of this collection is contemporary to the band's hibernation period (relatively speaking), when they were keeping a low profile in the '90s. Established customers will find a lot to love here, and even if _...Rare China_ isn't a perfect introduction to the band it's an enjoyable listen. 01. African and white (demo 79-80) 02. Its Not Over Here (live demo 96-97) 03. Northern Skies (album demo 88) 04. Real Tears (home demo 93) 05. Seven Sports for All ((home demo 79-80) 06. Christian (home demo 79-80) 07. Song 4 Andre 3000 (home demo 92) 08. Thank You (home demo 93) 09. Wishful Thinking (live in Liverpool 85) 10. Slow Houses (home demo) https://www26.zippyshare.com/v/99oYjQUk/file.htmlPosted by spavid
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FRIDAY, SEPTEMBER 27, 2019 THE EXPRESSION - S/T (1984, OZ/A&M)Had
a request for this one years ago, but only spotted a copy of it recently. Not a bad $3 find in the wild, but hardly a revelation. THE EXPRESSION were native to Sydney, Australia and sorta resembled another down under band, the considerably more popular Icehouse. This is rather polished synth pop with the most exotic attribute evidencing itself via some occasional fretless bass. We're treated to a few relatively memorable cuts - "With Closed Eyes," "Dawn, Day and Sleep," and "Right to a Slice." Nothing particularly offensive or embarrassing mind you, and to the Expression's credit I'll take this combo over ABC or Go West in a heartbeat. Enjoy (or not). 01. Present Communication 02. With Closed Eyes03. Total Eclipse
04. Keep Appointments 05. Right to a Slice 06. Dawn, Day and Sleep07. Decisons
08. You and Me
09. Nothing Changes
10. Satisfied Strangers https://www74.zippyshare.com/v/JFF9sQgZ/file.htmlPosted by spavid
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SUNDAY, SEPTEMBER 22, 2019 IT'S A STICKY CONTRADICTION...The
bonus disc, and only the bonus disc of an expanded reissue of a stellar 1978 debut LP. **Please do not reveal artist in comments!**Hear
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SATURDAY, SEPTEMBER 21, 2019 THE CARS - _CANDY-O: THE MONITOR MIX_Sorry
once again for waiting until the weekend to hook you up with something new. This whole past week felt a little abnormal, and it didn't help that it began with the rather jarring and unexpected news that RIC OCASEK , frontman for THE CARS , record producer, and solo act in his own right died of heart failure Sunday, September 15th at the age of 75. I don't think I've brought him up before on this site, and save for the band itself only when using The Cars comparatively speaking. That being said 1983's _Heartbeat City_ and it's associated singles were a big component of the entry drug that got me hooked on rock music, thus placing me on the most significant trajectory of my life. At one point or another I owned all of the band's albums, and had recently invested in a series of expanded reissues . Still, they were never a top-tier favorite of mine despite the fact I rarely objected to much of anything they did. I saw them on their 2011 reunion tour that summer in Toronto, and was mightily impressed. I knew it was probably a once in a lifetime opportunity. In recent years I wasn't waiting around for another reunion album. Or tour. Or anything. Besides getting the occasional Cars or (less occasionally) Ocasek solo track stuck in my head, I never kept tabs on him or any of the other surviving members (co-frontman and bassist BENJAMIN ORR passed away from natural causes in 2000). Still, the news on Sunday made a dent with me. In addition to the Cars catalog, I got to know him through interviews and his production work with unrelated artists like Weezer, Motion City Soundtrack, and Guided by Voices. A life fantastically well lived, even if he had been a bit dormant for the last few years of it. I'd say a well earned retirement. The general consensus is that the Cars self-titled debut was their high-watermark, and it's not hard to understand why given its sheer consistency and it's reputation as a crossover new wave/AOR record that appealed to the mainstream and those with an edgier appetite. _Candy-O_ followed a year later, and despite not generating as many singles as it's predecessor it doubled-down on the band's mildly offbeat penchant and was responsible for such fan favorites as the punchy "Got a Lot On My Head" and the noir power pop of "Double Life." Prior to heading out to L.A. to recording the album, Ocasek and Co. tracked some demos at Northern Studios, in Maynard, MA near their native Boston. Four of these demos wound up on the expanded version of _Candy-O_ that dropped in 2017...but these weren't part of the so-called Monitor Mixes. Cars/Ben Orr-centric blog sweetpurplejune goes into a rather thorough extrapolation on what the mixes are all about and how the tapes went missing for decades, so I'll try to sum it up in a nutshell. The album proper was record at Cherokee Studios in L.A. As the aforementioned site explains, a "monitor mix" is a set of quickly recorded pre-production demos usually cut live in studio as a dry-run of sorts before the formal recording of an album commences, so the engineer/producer has a reference for setting levels in the recording studio and such. It's a common practice, especially for big budget studio sessions, which naturally, this was. In short, the monitor mix of _Candy-O_ is a de-factor alternate version of the album in question. There are differences between these takes and the finished products, albeit not always dramatic. In fact that's largely the case with the brunt of what's here, with some of the most discernible deviations being rooted in GREG HAWKES keyboard parts. One particular anomaly among this set of recordings is a the one and a half minute take of "Sho Bee Doo," just a fraction in length of the final album version, highlighting the song's eerie "coldwave" synthesizers. We get variations of all eleven LP cuts, the b-side of "Let's Go" ("That's It") and "Slip Away," a track that literally slipped away for almost two decades before it found a home on the band's 1995 double disk anthology _Just What I Needed_. Again, if you decide to download this, you'll be shortchanging yourself if you don't take a peak at the informative backstory laid out over atsweetpurplejune
,
which goes into way more detail than I did here. While you're at it, please consider buying the remaster of _Candy-O_ here. Rest in
peace Ric!
01. Let's Go
02. Since Held You
03. It's All I Can Do04. Double Life
05. Shoo Bee Doo
06. Candy-O
07. Night Spots
08. You Can't Hold On Too Long09. Lust For Kix
10. Got a Lot On My Head11. Dangerous Type
12. That's It
13.. Slip Away
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at 6:56 PM
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WEDNESDAY, SEPTEMBER 18, 2019 THE BLACK WATCH - _THE VINYL YEARS 1988-1993_ (ATOM, 2019) & "CRYING ALL THE TIME" 7" (2019, HYPNOTIC BRIDGE) - A BRIEF REVIEW If you remember the 1990s you weren't really there - oops...wrong decade. If however, you remember THE BLACK WATCH, a veteran, four
decade-long indie rock endeavor from Los Angeles it's very likely you familiarized yourself with the band via some of their best known releases, including 1994's _Amphetamines_ and a little further into the decade '99s _The King of GoodIntentions_
.
In total, the JOHN ANDREW FREDRICK-helmed contingent, with it's varying lineups, has produce no less than 17 albums, ten or so EPs and singles, seemingly released among a dozen different record labels. In fact, the Watch's discography has become so unwieldy and elephantine it was all recently corralled in MP3 form on a handy USB drive . So what the hell am I actually getting at here? Mr Frederick has been making music longer than some of you have been alive. Though the compact disc made it's way into the market place in 1982 (or thereabouts) the ubiquity of the format didn't quite extend to the majority of independent and lower-rung artists until as late as a decade afterward. The Black Watch were no exception, as their debut album, 1988's _St. Valentine_, and their S_hort Stories_ ep following a year later were vinyl and cassette only affairs. Save for blogs like mine, these titles have languished out of print an un-digitized for thirty years (wow!) The newly minted CD/digital collection, _The Vinyl Years 1988-1993_ , remedies this travesty in one fellswoop.
Though the Black Watch's origins date back to the Reagan-epoch, Fredrick and Co. never sounded like they were a product of the era - not an obvious one anyway. No wonky keyboards or cheesy affectations for these guys. From the get go, the BW formula wasn't an equation that could be easily quantified. Without (re)inventing the wheel the band's forward-leaning indie rock had a faint Anglophile bent, but not overbearing. A pensive, thoughtful undercurrent was a vital calling card as well, yet not one to be couched in an elitist or erudite subtext. And reverberating through every nook and cranny was rich, full bodied musicianship - resplendent ringing guitars anchored to a crack rhythm section, with Fredrick's passionate (albeit not excessive) vocals gliding over the top of all of it. _The Vinyl Years_ is twenty songs in length, with exactly the first half dedicated to the band's 1988 debut full length _St. Valentine_.
It's almost unfathomable that songs as engaging and proficiently executed as "These Dreams," "Ghosts From the Past," and the commanding title piece were the product of a baby band_. _Certainly there was probably some serious woodshedding that preceded this album, and subsequent to this BW made some considerably more sophisticated records, but _St. Valentine sounds _uncannily like the work of a seasoned band with a good five years or so of preparation to show forit.
Next up is the _Short Stories _ep from '89, a record cut from the same accomplished fabric as it's predecessor. But check this out. The Black Watch adds violin to mix, and incorporate it so seamlessly that even when rubbing against serrated axe chords on "Dream in Blue" it doesn't sound a stitch out of place. Elsewhere, the chiming leads on "The Ginger Man" predict the charm of soon-to-be-contemporaries the Ocean Blue, and "All Over Again" is a gutsy, indie-rock keeper for the ages. _The Vinyl Years _is rounded out by a handful of track from subsequent singles that arrived shortly thereafter, including a driving, violin-laden stomp through "Eleanor Rigby," and "Just Last Night" is another ace original in the then nascent BW cannon. I'm not saying the Watch's early material marked their apex, but this band sounds more inspired in the few first years of their inception than U2 did by the time they got to _War_. Pretty damn remarkable, and as thoroughly essential as anything they would go on to do later. The Vinyl Years is available from Atom Recordsor Amazon
.
On
the opposite side of the coin we have brand new Black Watch in the form of a three-song 7" on Hypnotic Bridge. "Crying All the Time! (Psyche mix) - which by the way doesn't necessarily scream "psychedelic" nonetheless it has it's own share of headiness going for it, not unlike recent Swervedriver and Less of Memory. We're treated to two new b-sides as well, both indicative of how far this band has come since those astonishing-in-of-themselves early albums. The single is available direct from Hypnotic Bridge , and copies appear to belimited.
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at 9:21 PM
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SUNDAY, SEPTEMBER 15, 2019NO CLUE.
Jangly
(sorta) dream pop from 2008. **Please do not reveal artist in comments!**Hear
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at 9:00 PM
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SATURDAY, SEPTEMBER 14, 2019 LONG AWAITED RE-UPS, PLUS, WATCH THIS SPACE! It's been awhile since I've tended to dead links, so here we go again, based on your requests. Check this post later again this coning week for some additional links, and feel free to make a requestor two. Thanks!
Swallow
- S/T and Sourpuss
Senseless Things
- Empire of the Senseless Versus - Let's Electrify! ep(MP3 or FLAC
)
Crash
- Everything Under the SunMaterial Issue
- Issues Vol. 3
Wondermints
- 1988 demos
Off Broadway
- live 1980 and
unreleased
John Wicks & The Records- Rock'ola
Facecrime
- Sex & Revolution epModern Minds
- compilation cd
The Flys -
Waikiki Beach Refugeesand Own
Cheticamp
- Aeroplane Vs. AutomobileInner Sleeves
- End it All 7"
Marnies
- Electric Wire 7"
Outside World
- tape
Baxters
- Era Buffet
Eurogliders
- Pink Suit Blue DayPhantom Planet
- rarities
V/A - Children of Nuggets- Discs 1 , 2
, 3
, 4
V/A
- Give Me the Cure
V/A -
Iowa Compilation Vol 1& Vol 2
V/A
- Punk USA
V/A
- Austin, TX "So What" Tribute to the ReplacementsThe Gloria Record
- Grace the Snow is Here 7"Poi Dog Pondering
- 8 Songs Tape
Outrageous Cherry
- Stereo Action Rent Party Lovers Under Pressure- The Elvis Years
and Island tape
Eleventh Dream Day
- s/t ep
Gaunt
- Whitey the Man ep
Marshal Fields
- EP
Virgin Release
(pre-Marshal Fields) - Turn it Down 7"14 Iced Bears
- In the Beginning
Sand Rubies
- Release the HoundsThe Misstakes
- National Pastime
Datura Seeds
- Who Do
You Want it to Be?
and S&P
Junk Monkeys
-
Firehouse , Kick
out the Jelly ,
Five Star Fling ,
Bliss
I Can Crawl
- Desert
Go Four 3
- Six Friends
Swing Set
- Life Speeds Up
Glass Eye
- Marlo and Huge
Epic Rumors
- The Feral Child
Enemies in the Grass - Blind Crossing ep & 7"Human Television
- demos
say-so
-
1986 demo
American Standard
- Wonderland and Trial Size 7"Chopper
- 4play ep and s/t
LP
The Sneetches
- Sunnyside Down 7"
Naiomi's Hair
- Tara
and Bag Truck tape
Overflow
- The Worm 7"
Oversoul Seven
- Fool
Revelation and S/T
Lilys - A Brief
History... ep and
Services...ep
Bangtails
- Hypnotic Downpour epHeliotroupe
- Anything Under the SunFat Tulips
- Starfish
Get Smart -
Words Move 7" and
Action Reaction
The Side Effects
- s/t ep
V/A
- Enigma Variations 2 Alternate Learning (ALRN)- s/t ep and
Painted Windows
The Edsel Auctioneer-
Voice of the Harolds, Simmer
, Slouch 7"
Study of the Lifeless- s/t LP
Poole
- two eps
JFA
- Nowhere Blossoms
The Reels
- s/t LP
Twice Shy
- All the Right NoisesTwo Helens
- Reflections in RedNotekillers
- Zipper 7"
Angst - s/t ep
, Lite Life
, Mending Wall
, Mystery Spot
Painted Willie
-
Upsidedowntown , My
Fellow Americans ,
7" ep
Danny and the Doorknobs- Poison Summer
Suburban Sprawl
- Ice
Suburbans
- The Pop Life
Fudge -
Ferocious Rhythm...
, Southside Speedway, singles
Twitch Hazel/Technical Jed- 2x7" ep
V/A
- Peppermint Stick ParadeHypnolovewheel
- singles
Doughboys -
Turn Me On and
Crush singles
Big Drill Car/Chemical People- split 7"
Gentleman Jesse & His Men - Singles and RaritiesSmashing Orange
- The Glass Bead GameDiscount
- Love, Billy ep
Posted by spavid
at 4:53 PM
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WEDNESDAY, SEPTEMBER 11, 2019 CRUMBS OF INSANITY - _SPIRAL STARE_ TAPE (1989)For
a change I decided _not_ to make you wait until Friday for some new tunes. It didn't hurt that I had this one digitized and ready to go. My initial draw to these Buffalo suburbanites was the involvement of one MARK FREELAND (R.I.P.), a unique and talented savant-garde multimedia artist who made several records under his own name in the '80s-'90s. It wasn't until I looked at CRUMBS OF INSANITY'S roster on the cassette inlay that I learned Freeland merely played percussion in this particular combo. Nonetheless, not a regrettable purchase, albeit not the essence of what the man was responsible for. The Crumbs were actually spearheaded by DAVE RAPP, whose parlance vaguely hovered in the vicinity of Boy George at times. No shortage of hedonism is implied on these five cuts, with the Crumbs stopping short of any frivolous maneuvers. Decked out in a white-boy, Caribbean melange of reggae-lite and new wave inklings (maybe a hint of Haircut 100 on "Keys"), I'm not sure what the band's ultimate objective was, or even if there were other releases surrounding this one. World domination wasn't in the cards I'm afraid. Some of the material here strikes me as a tad underwritten, but I'm generally not apt to complain about what I'm hearing, particularly on side one (selections 1-3). At some point I'll indulge you with some of Mark Freeland's proper studio delectation's.01. Great Fire
02. Sentimental Drifter03. Keys
04. Waves of Love
05. Lame Duck
https://www21.zippyshare.com/v/EeKy14Xc/file.htmlPosted by spavid
at 8:12 PM
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SUNDAY, SEPTEMBER 8, 2019 OIL TANKERS AND THE NATIONAL GUARD... From 2000. This artist's only proper album outside of soundtracks and scores. Some say it's a classic. **Please do not reveal artist in comments!**Hear
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at 9:02 PM
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STEALER - S/T (1982)The
album jacket depicted to your left may strike you as either innocuous, or perhaps even slightly off-putting. Nothing about it screams "indie" or "post-punk, or in fact anything particularly visionary. In some respects these assumptions are right on the money as STEALERwere _not_
indie kids, punk, or on the cutting edge of much of anything. In fact, the foursome in question were marketed as hard rock and AOR. Probably not the most enticing of musical propositions, and hardly the stuff of this blog's aesthetics, as it were. "Hard rock," especially the pedestrian variety thereof, reeks of stock riffs, unimaginative FM playlists, antiseptic arenas, and all-too familiar themes of love, partying, and blue collar concerns. Yet once in awhile I'll stumble across a forgotten hopeful of this ilk that stands out from the pack just enough to perk my ears up, and in this case even get me a littlestoked.
Stealer were major label casualties (we can thank MCA for the hiring/firing) who issued this lone self-titled platter. While firmly in the AOR mold, the band (whose whereabouts remain unknown) had a stronger melodic prowess than the brunt of their competition. Bearing a loose resemblance to early Loverboy/Foreigner with occasional tinges of Cheap Trick, their flirtations with power-pop aren't as frequent as I'd prefer them to be, but I'll gladly take what I'm hearing on "Never Again," "If You Want Me" and "Your Heart Will Burn." If it's more meat and potatoes hard rock you're craving the opening "On My Own Again" is a screamingly obvious (should've-been) airwaves anthem," and the even hotter second song in, "E.S.P." is a punchy, melodic gut check that genuinely outdid anything along the aforementioned Loverboy/Foreigner continuum, tame as that may sound to many of you. The only bum item on _Stealer _is the concluding "Johnny," which regrettably could pass for a limp Bad Company ballad. Compared to say, any of my Big Star, Husker Du, or Posies entries, _Stealer_ may rank as a comparatively low priority, but I wouldn't be making it available for consumption if I couldn't vouch for it. Go into this one with an open mind and you'll be pleasantly surprised. Btw, pickings are woefully slim online for shedding any relevant light on this one. Best I could find were an album critiqueand a thread on
a hard rock forum
.
01. On My Own Again
02. E.S.P.
03. If You Want Me
04. Ready or Not
05. Never Again
06. I've Got to Fight07. Hold Tight
08. Your Heart Will Burn 09. Tell Me It's Love10. Johnny
https://www97.zippyshare.com/v/Hav4cF0E/file.htmlPosted by spavid
at 3:29 PM
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FRIDAY, SEPTEMBER 6, 2019 ELTON MOTELLO - POP ART 7" (1980, PASSPORT) ELTON MOTELLO was the stage name of ALAIN WARD, and somewhat confusingly it was also the name of his band in total. The UK-based Ward kicked off his career in a glam/punk combo, Bastard, before taking up the Motello mantle in 1978, a year which saw the release of their debut long player, _Victim of Time_. That album's follow-up _Pop Art,_ came down the pike two years later and also spawned a single of the same name. The 45 in question served as my intro to E/M, and after surveying the deft chops and somewhat sardonic modus operandi of the A-side, I'd put Ward in the same league as B.A. Roberston, Donnie Iris and for that matter, Bram Tchaikovsky. In short, a frontman brimming with character and sass, the likes of which we're in dreadfully short supply of these. The flip, "20th Century Fox" isn't the Doors song, rather another cheeky original with a mildly grandiose sweep, a la something Motello's contemporaries The Motors might have turned in had they not been so straight-faced. There's a lot of music floating around the halls of Wilfully Obscure, and amidst my numerous stacks and racks I may have the _Pop Art_ LP I spoke of a moment ago, so who knows, maybe that one will materialize on here later. Feel free to imbibe thistwo-songer for now.
A. Pop Art
B. 20th Century Fox
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at 5:53 PM
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SUNDAY, SEPTEMBER 1, 2019 I CAN'T EXPLAIN WHAT I CAN'T SEE.This
band's 1979 fourth album was almost as classic and gratifying as their first three. Almost. **Please do not reveal artist in comments!**Hear
Posted by spavid
at 11:47 PM
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SATURDAY, AUGUST 31, 2019 THE AND - _DAY_ (1997, J-BIRD) With their origins dating back to the mid-80s, even then in the pre-search engine era, I'd think it a fools errand for any band to dub themselves with such an indistinguishable moniker as...THE AND. Really, do you
mean to tell me _all_ the good band names were claimed by 1983 when these Wisconsinites released their first 45? Needless to say, uncovering any pertinent knowledge regarding this band was close to an impossibility, save for their Discogs page linked above. _Day's_ copyright date is 1997, and none other than BUTCH VIG is listed as producer for half of these songs. Several of the titles on _Day _overlap with their Reagan-era singles. The problem is I can't decipher if we're getting the 80s versions of "How Busy is He?," "Role Models" and "Marshmallow Through a Keyhole," or re-recordings of them. The latter (and more satisfactory) portion of the album skews towards the aforementioned songs with "How Busy.." sounding like something Off Broadway USA might have conjured up. Just the kind of skinny-tie power pop MTV might have aired at 3 AM, and ditto for "Who Do You Kiss." "Marshmallow..." is a synthy confection that's also worth the price of admission. Elsewhere, The And hop around from resembling a competent bar band to Big Country, with each of their tunes boasting something of a unique persona. As you might surmise, "I Fall to Pieces" is the Patsy Cline number, with the band doing a fairly robust read of it at that - a lot more fun than Screeching Weasel's rendering of it I might add. Finally, I track ten on this CD is mysteriously omitted from the track list on the tray card.Enjoy.
01. I Fall to Pieces 02. The World Ain't Round 03. Your Wish (Is My Desire)04. Heart Fall Away
05. She's Not Alone
06. Marshmallow Through a Keyhole07. Role Models
08. Hide Your Eyes
09. Who Do You Kiss
10. (title not provided)11. How Busy is He?
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at 2:11 PM
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FRIDAY, AUGUST 30, 2019 RAREFACTION - _MODERN MAN_ MLP (1986, JAFFA)Yet
another cold case, a Canadian one to be exact. Despite the noir album jacket, RAREFACTION were relatively conventional practitioners of snyth-n-guitars modern rock. More new wave than indie, but despite a lack of mystique still pretty appealing. At their most stimulating this five-piece resemble what the Comsat Angels were attempting around the same time (think, _7 Day Weekend_-era). "Open Up Your Heart," "All the Broken Seams," and the title cut are all fairly exemplary, and even when they stumble occasionally on _Modern Man,_ I can't think of anything egregious enough going on here to dissuade you from giving this a whirl or two.01. I Dreamt
02. Open Up Your Heart03. Ordinary Man
04. Abstract Minds
05. All the Broken Seams06. Night Crawler
07. You In Me
https://www72.zippyshare.com/v/V2XsYzBI/file.htmlPosted by spavid
at 9:07 PM
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SUNDAY, AUGUST 25, 2019 YOU WANT A BETTER RISK? Artful and immersive indie rock from 2015. I love the sound of a band stewing in their own creative juices. **Please do not reveal artist in comments!**Hear
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at 8:55 PM
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TAPPI TÍKARRASS - _MIRANDA_ (1983) (FEAT. BJÖRK, PRE-SUGARCUBES!)Of
all the records I've shared that I don't possess a physical copy of this is certainly one of the rarest. TAPPI TIKARRASSwas the
band BJÖRK GUÐMUNDSDÓTTIR'S (yes she has a last name too) joined before going onto international renown in the SUGARCUBES . If you've ever wanted to hear her as a wee little tyke, or at least in her mid-teens, dive in. Singing entirely in Icelandic, Björk wasn't TT's original frontwoman, but to my knowledge she sings on all recordings made with the group. Not as avant as the Sugarcubes or even nearly as shriek-y, Tappi Tikarrass were surprisingly diverse - not straight up punk (albeit borderline at moments) or boilerplate new wave, yet defiantly left of center. There's nervy aggression aplenty (e.g. "Skrið" and "Drek-Lek") but just as much, if not more residing on the opposite side of the coin with "Íþróttir" and "Get Ekki Sofið" damn-near approaching the tenor of ballads, particularly that first one. Personally, I prefer this coed troupe when they stake out a middle ground (or sorts). "Beri-Beri" and "Kríó" are the choicest specimens in that realm, the first being a delightful stab at disco-lite wave pop, with "Kríó" angling in the vicinity of the B-52s of all things. Wow. The first 13 tracks comprise the _Miranda _album proper while the remainder are derived from unknown sources. Found a fairly spot-on critique of this record here with more background details than what I've revealed in this relatively paltry write-up. There also a batch of early 'cubes demos that I offered way back when that you're welcome to revisit.
01. Miranda
02. Skrið
03. Kríó
04. Íþróttir
05. Tjet
06. Lækning
07. Drek-Lek
08. Beri-Beri
09. Hvítibjörn
10. Sokkar
11. Með-Tek
12. Get Ekki Sofið
13. Mýrin Andar
14. Afi (Björgvin Gíslason) 15. Worlds Collapse (Bless)16. Yonder (Bless)
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FRIDAY, AUGUST 23, 2019 DR. PHIBES & THE HOUSE OF WAX EQUATIONS - _WHIRLPOOL_ (1991, 50 SEELSTREET)
When I plucked this one off the bargain rack, I was reasonably given the impression the band in question was Whirlpool...but upon further examination I was several syllables off. By all accounts (namely the one I was able to peruse courtesy of the Guardian),
Britain's long since departed DR. PHIBES & THE HOUSE OF WAX EQUATIONS were something of a force of nature to witness live. For most of us however, two scarcely distributed indie albums will have to suffice,_Whirlpool_
being the first of them. It would seem much has been made of their psych leanings, albeit Dr. Phibes sidestepped the whole Madchester miasma completely, and didn't bear much in common with the Spacemen 3, or even glorious drone merchants Loop. No, the Phibes vibe was more in tune with the architecture of say, the Family Cat or Compulsion, with less pop appeal mind you. Epic length ventures abound on _Whirlpool,_ but the overarching effect isn't the stuff of drug-induced profundity so much as clangy, amped-out indie rock. Guitarist/frontman HOWARD KING JR. makes for a throaty mouthpiece, yet "Mr Phantasy" and "When Push Comes to Shove" offer ample evidence that when emphasis is expended on melody his trio transcends the power quotient for something genuinely poignant. As much as I wish there more tunes like the aforementioned populating _Whirlpool,_ it's hard to knock Dr. Phibes enveloping sonic prowess. A second album,_Hypnotwister
_dropped in 1993.
01. Eye Am the Sky
02. Marshmallow Madness03. Mr Phantasy
04. Mirrors
05. When Push Comes to Shove06. Dovetail
07. Dreaming (Insomnia)08. Sugarblast
09. Eye Am the Sky
https://www52.zippyshare.com/v/oiOQa9ZD/file.htmlPosted by spavid
at 9:21 PM
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SUNDAY, AUGUST 18, 2019 THERE AIN'T NO ASYLUM HERE.An
ingenious covers album that just may encourage you to check out someof her originals.
**Please do not reveal artist in comments!**Hear
Posted by spavid
at 9:00 PM
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THURSDAY, AUGUST 15, 2019CALLING IT A WEEK.
Realistically, I won't be posting again until Monday morning. Keep yourselves amused in the meantime. 👽Posted by spavid
at 10:10 PM
3
comments:
TUESDAY, AUGUST 13, 2019 A BRIEF REVIEW - THOSE PRETTY WRONGS - _ZED FOR ZULU_ (2019, BURGER) & ROB LAUFER - _THE FLOATING WORLD_ (2019) The title of THOSE PRETTY WRONG'S second LP, _Zed for Zulu_,
is a nod to something known as the NATO phonetic alphabet(which in 2002
Wilco finagled the same cultural reference to their _Yankee Hotel Foxtrot_ album, but I digress). The music enshrined within the record is decidedly less esoteric however. The Memphis by way of L.A. duo TPW was initiated in 2012 when ex-BIG STAR drummer/Ardent Studios figurehead JODY STEPHENS and ex-FREEWHEELERS frontman LUTHER RUSSELL worked on the Big Star documentary, _Nothing Can Hurt Me._ The collaboration on the movie inadvertently parlayed into a music outlet of their own, Those Pretty Wrongs, and an album of the same name followed in 2016. Despite their setup as a duo, TPW subscribe to an insular aesthetic, one which often angles in the vicinity of forlorn, loner folk more than angsty rock. Abundant throughout this album_,_ Stephens and Russell can't help but echo Big Star's quieter traipses (think _#1 Record's_ "Watch the Sunrise,"on _Zed's_ "Tonight, Tonight, Tonight). In fact, "Tonight..." even evokes shades of Chris Bell's "You And Your Sister," but generally speaking, the Wrongs opt for a discernibly genteel and straightforward tact, more in tandem with say, early CSN&Y and even Nick Drake than Chilton and Bell's idiosyncratic calling cards. In fact, the going on _Zed_ has a tendency to veer a little _too_ plaintive, flirting with songwriting so linear that it's hard not to predict the latter half of certain couplets. If anything else, Stephens and Russell compensate with alternating tempos and moods imbuing somber tones to the doleful "Hurricane of Love," and "Life Below Zero," while applying comparatively lighthearted strokes to buoyant "Undetow," and even manage to flex some power pop musculature on "You and Me." _Zed for Zulu's_ benign tenor lends itself to a breezy, afternoon sway in the hammock, providing the pillow to comfort our collective aching heads in the Trump-era. You can pre-order it straight from Burger Recordsor Amazon
.
People are fickle about singer-songwriters, especially ones they're wholly unfamiliar with. This is precisely why so many of them get lost in the shuffle. Hopefully that isn't the case with ROB LAUFER , who actually isn't a newcomer, rather he's taken an extended coffee break (since 2010's _Excruciating Bliss_ to be exact). His belated latest, _The Floating World_is his fifth
album, and whether virgin ears mistake it as a debut or otherwise, it makes for an often stunning introduction. Bearing a vocal aplomb that's passable at times to Fountains of Wayne's Chris Collingwood, Laufer's music isn't the stuff of topical, white-collar power pop. More to the point, he's a sophisticated songsmith with musical chops and an arranging acumen that's anything but everyday. You won't find much in the way of extremes wafting through this _Floating World,_ though there are nuances aplenty. "Bolt of Blue" and "Space and Time" are a pair of deftly crafted, up-tempo numbers, bustling with brisk rhythms and substantive prose that split the difference between groove and infectiously melodic prowess. The denser "As Long As You Belong" richly channels George Harrison by way of Laufer's equally proficient contemporaries Rhett Miller and Jason Falkner, while the pedal steel accented "Highway Machine" is contemplatively bittersweet. And if it's a consoling comedown you're craving the piano-ballad title track is the type of catharsis this beleaguered world should all get on board for. _The Floating World_ drops on August 23rd, and will be available fromBandcamp ,
iTunes
, and
Amazon
.
Posted by spavid
at 2:24 PM
2 comments:
SUNDAY, AUGUST 11, 2019 WOKE UP SCREAMING, GOD I HOPE I'M NOT BLEEDING.Debut
from 1993. I've never been able to figure out why, but it seems as if everything this band ever committed to tape has been lauded in one circle or another...except this album. No complaints here. **Please do not reveal artist in comments!**Here
Posted by spavid
at 8:51 PM
2 comments:
SATURDAY, AUGUST 10, 2019 THE DUGITES - S/T (1980, DELUXE)Damn
where had this band been my whole life? Um, try Perth, Australia circa the late '70s/early '80s before I was really paying attention to music. All legit rationale for ignorance aside, the co-ed DUGITESwere a
better-late-than-never discovery, who I just happened to stumble upon while browsing someone's file list on my fave peer-to-peer, Soulseek. LYNDA NUTTERS straddled the mic for this ace new-wavey quintet over the course of three records, this being the first. She conveys an ever so faint hint of '60s girl-group kitsch to the Dugites formula, but writ large they struck a delectable merger of synth and power pop. Blondie are an obvious (and frankly lazy) comparison, but Nutters and her compatriots (including keyboardist PETER CROSBIE, whom she was married to for a period) were not tarted up, nor was the band particularly in-your-face, so to speak. At least for this particular record, the emphasis was on tunes, and immaculately catchy ones at that, chockablock with indelible hooks, buoyancy and charm for kilometers. "In Your Car," "Goodbye," and "Mama Didn't Warn Me," are all par excellence examples of The Dugites chosen pop niche for their now bygone era, and the land down under was all the richer for it. Am really grateful to have encountered this one. Rock on Vinyl blog provides a more exhaustive diatribe on this record than I have, and are even offering a lossless FLAC rip of it.01. In Your Car
02. South Pacific
03. Mama Didn't Warn Me04. Goodbye
05. Gay Guys
06. 13 Again
07. No God, No Master 08. No One Would Listen09. Amusing
10. Six Weeks
https://www34.zippyshare.com/v/gwkTEpm7/file.htmlPosted by spavid
at 1:16 PM
6 comments:
THURSDAY, AUGUST 8, 2019 DAVID MARKO & THE TRADE - _MY BABY'S A PIRANHA & OTHER SELECTED LOVE SONGS_ (1982, MCCLINTICK) Despite it's strikingly miscellaneous cover art, this record boasted significantly more definition than I was expecting. The name DAVID MARKO & THE TRADE has the ring of a power pop band, and indeed this trio is guilty as charged, albeit I don't think these guys slotted in too comfortably with the skinny tie brigade. If anything they hail the old school here, as so much of _...Piranha_ is steeped in the first couple of Raspberries albums, early Rubinoos, and perhaps even the Scruffs. Marko and Co. emanate a rather wholesome vibe, screeching just shy of a precious halt on the winsome "Hold Me" and "The Last to Know." The beefier "Eden Again" is more in line with this disk's '82 copyright, but when all is said and done these guys were classicists who never really intended to rock the boat. David Marko & The Trade are virtual no-shows on the search engines, and their whereabouts are an unknown quantity. Perhaps my copy of this album was missing an insert? Enjoy.01. Maybe Baby
02. radio
03. Hold Me
04. I Think I Love You05. Leave Me Alone
06. The Last to Know07. Eden Again
08. Her Song
09. Kathy Ann
10. Love Me Tonight
https://www9.zippyshare.com/v/uZ2Fls3Y/file.htmlPosted by spavid
at 9:02 PM
1 comment:
SUNDAY, AUGUST 4, 2019 ANYTHING YOU WANNA DO, AND SHE'LL DO IT LIKE A FOOL...A
recent reissue of a 1993 classic, though I think I appreciate theoriginal mix more.
**Please do not reveal artist in comments!**Here
Posted by spavid
at 8:56 PM
1 comment:
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