This band managed to exist in San Francisco between 1966 and about 1972, play on bills with huge names of the time (vintage posters reproduced in the booklet prove this), get praised in the British press by Jimi Hendrix and be courted by several major labels…yet also called it a day without releasing a single record. They also happened to consist, until towards the end, entirely of women (and, even then, the core instruments, other than the occasional second drummer, some horns and a guitarist, were in female hands – and those changes were in the final days…).
Sadly, this means that this document of the work of: Denise Kaufman (vocals/guitar/harmonica); Diane Vitalich (drums/vocals); Marla Hunt (organ/piano/vocals); Mary Gannon (bass/vocals) and Mary Ellen Simpson (lead guitar/vocals) is drawn entirely from work tapes and live recordings – the group never set foot in a recording studio! It was nice to hear a better quality mastering of “Boy, What’ll You Do Then” by Denise and Company (which I have on a Girls In The Garage comp, mistitled), which Ms. Kaufman did (with a group of men, though she swings a mean mouth organ on it) in 1966, as the only studio recording on here involving a member of the band. On the plus side, everything else contained is by the original group, before the changes that occurred from 1969 on.
There is quite a range on here, from the anti-capitalist sarcasm of “Glue” to the dissonant rocker “Stones”, with stops at the sardonic “Waller Street Blues”, the delicate “Music”, the passionate “Looking For My Man” and the odd but stirring cover of Parliament’s “I Wanna Testify”. All told, 16 selections appear, documenting an eclectic outfit that blends blues, jazz, rock and folk into a skillful and moving document that transcends the occasional dodgy sound mix (oh, to have had “Glue” recorded with proper vocal balances to make the interweaving clearer and the ferocious irony of the middle commercial more biting…) that the source material leaves us with.
Now, if only this had been available by the time groups such as The Runaways came along – it might have made things easier. But we have it now, and that’s what’s important, ultimately…
Erase Errata, At Crystal Palace lp (Troubleman Unlimited, 16 Willow Street, Bayonne, NJ, 07002; band at 3288 21st Street #188, San Francisco, CA, 94110, USA)
The spirit of The Slits runs through the angular, vaguely loping quality of this oddly funky affair by the San Francisco all girl quartet (or is it quintet? The little insert lists a fifth member with no function credits...), though the alternately droll and declamatory style of Jenny's vocals suggest that Siouxsie Sioux and Mark E. Smith had a love child.
Having only heard one song by this outfit before (their gleeful dissection of Mariah Carey's “Glitter”), I was expecting harsh No Wave noise. There is some of that in play here, but melody and a good beat (albeit a fractured and challenging one) are also to be found, though it is not going to charge up the charts and give Britney a run for her money (sadly). An exhilirating rush of a record, with clear production, that would wear out your Doc Martens on the dance floor in no time... Oh, and owls on the cover - I should give it to my collector sister... :)
Gossip, Undead IN NYC lp (Dim Mak Records, P.O. Box 348, Hollywood, CA, 90078)
This is another band of whom I have heard much, but had not had ANYTHING cross the barrier of my ears before now. I suspect I may have wanted to start with one of the studio records, in retrospect. This trio (Beth on vocals, Kathy on drums and Brace on guitar) tear through lo-fi noisy blues/punk, and the sound quality is raw (even before the cover of I Wanna Be Your Dog came on, I was thinking of The Stooges' various bootleg recordings). Even in the poor mix, Beth's vocals have major punch, but it is difficult to listen to because of the murk. If this WAS a soundboard recording, I would be quite surprised, but it appears to be official, as the label that issued it has history. Perhaps it is only the LP that sounds that way, and the CD is worlds better. I, of course, would not know...
In short...rough, a good document of the moment in all probability, but I would probably have been better off, as might you be, to start with a 7” or studio album.
Electrelane, On Parade 7” (Too Pure Records, 17-19 Alma Road, London, SW18 1AA/625 Broadway, 2nd Floor, NYC, NY, 10012)
This band put out one of my favourite CDs, Rock It To The Moon, a couple of years back. That title was somewhat ironic, as the music was generally laid back and extended. There were vocals, but they were buried and essentially another instrumental texture.
Enter a larger label and the recording work of Steve Albini, and you have a slightly different picture. The drums are far more prominent, and there are definite lyrics - hardly belted, but certainly audible. The music certainly rocks more, though it is not metallic or even Nickelback (what IS my fixation with that band? Could it be the beard of the lead singer? G-d, I hope not...). The B-side is almost of more interest than the A-side, being a nearly
unrecognizable cover of Bruce Springsteen's “I'm on Fire”, put forth with a certain irony and without a single lyrical change. That, and the presence of icons such as Radclyffe Hall and Sylvia Beach and what looks like a butch gathering from the 1920s (with one very bored femme) on the sleeve, would go some distance to explaining why the CD was to be found at Glad Day Books, anyway. An interesting transformation into a slightly more conventional band...
Mind of Asian, Akai Hana 7” (band at 202 1-36-23 Kamitada Nakano-Ku, Tokyo, Japan, 164-0002 Sakuragi, [email protected]; Sound Pollution, P.O. Box 17742, Covington, KY, 41017, USA)
I find myself at a disadvantage. Hardcore is not exactly my most familiar genre; its Japanese manifestation is outside my experience, though I'm aware from reading that it is a large scene there (I've heard a dozen or so Melt Banana songs, but four minutes is not enough time to absorb context *grin*); and such performances by girls from that land were not in my collection before this (my taste in Asian female combos tends more towards 5678s and Shonen Knife). Throw in the fact that this record is predominantly in Japanese, and delivered at blistering speed (based on my experience with Behead The Prophet and xLimpwristx, I need a lyric sheet for hardcore in ENGLISH...there is a handy printing inside this 7” of the English words...in Japanese, even if I knew the language, I might still have difficulty...), and you have one confused Timmybear. Ferocious and uncompromising, and on extremely red but transparent vinyl. It is certainly a rush, but I am beginning to think the genre just might not be for me...
(A couple of recommendations: Essential Logic, FANFARE IN THE GARDEN: AN ESSENTIAL LOGIC COLLECTION 2xcd, Kill Rock Stars (Lora Logic from X Ray Spex's solo project, eclectic and jazzy); ESG, STEP OFF cd, Soul Jazz Records (the return of the f/punky sister (and now daughters) act from Brooklyn)
It is always a delight to hear a sensitive folky blues record, full of gentility and restraint. And then there's this for contrast...
A record that begins with the narrator taking on the voice of G-d and berating humanity for its seeming glee and zeal in destroying itself (“What part of 'Thou shalt not' don't you understand?”), in the piece “Don't Kill” will clearly not be lacking in nerve and outrage, and following up with an assault on sexualized and pre-packaged-rebellion marketing in “Why Go Halfway” indicates it was not a fluke. This was an artist BORN to be on Righteous Babe,
because if anyone channels the twisted rage and dark humour of Ani and has a biological ballsac, it would be him, and the aggressive, yet largely acoustic, delivery is so reminiscent of the label's early days, in a good way.
William Elliott Whitmore, Hymns for the Hopeless lp (Southern Records, P.O. Box 577375, Chicago, IL, 60657, USA; Southern Records, P.O. Box 59, London, N22 1AR, England)
Certain records have titles that pretty much sum them up, and much additional commentary is not needed. Suffice it to say that, if you like the twisted murder ballads of The Louvin Brothers, but want to hear them delivered with pristine production and in a voice reminiscent of (the young) Tom Waits, this would be a good option for you. Banjo, mandolin, the occasional organ drone, a drum or two here and there - and lyrics alternating between redemption and damnation. Certainly not a record to put on on the day you lose your job, your wife and your pickup truck (unless, like me, you find music by a narrator even MORE miserable than yourself cheers you up) - but a beautifully dark document way out of its time and completely ignorant of any current trends in the industry. I have to say I don't quite hear the Minor Threat the artist says is a major influence, though... :)
(Brief recommendations: Holly Golightly, TRULY SHE IS NONE OTHER lp, countryish psychedelic soulpop (Damaged Goods); Raveonettes, CHAIN GANG OF LOVE cd (Columbia) - all in one key, and damnably loud Fifties pop heaven...)
Yet another spinoff from Godspeed You! Black Emperor, this time predominantly based around cello and percussion, with the occasional touch of bass, violin and harmonium. The first record is very pretty and soothing; the second record has a bit more bite, though none of the frightening dynamic extremes of the band of origin. A lovely evening listening experience, and proof that anarchists can make melodies of love and delicate angst after all.
Set Fire To Flames, Telegraphs in Negative/Mouths Trapped In Static 2xlp (Alien8
Recordings)
This, on the other hand, is decidedly NOT pretty; or, rather, while it has passages of great beauty, it is also disturbing. Like its predecessor, Sings Reign Rebuilder (2001), this documents the work of various Godspeeds and their friends in makeshift recording facilities, over long hours, in various states of chemical alteration and with unconventional instruments at their disposal (the tapes, metal and microphone stands return). This time, there is more melody and not as much clanging, but, as you might expect from a release whose art draws strongly from mental health literature and the like, it is hardly reassuring or hummable. A bit overpowering, particularly if you are home alone and you suddenly hear footsteps or clanging or scraping noises before you realize it is from the vinyl that is lurking ominously on your turntable. Still, in small doses, impressive and almost majestic...
(Brief Recommendations: Angus MacLise, THE CLOUD DOCTRINE 2xcd (tapes, electronics, AND poetry); Various Artists, AZADI! 2xcd (benefit release for Revolutionary Assocation of the Women of Afghanistan); Broadcast, HA HA SOUND lp (SOMEONE listened to United States of America); Explosions in the Sky, THOSE WHO TELL THE TRUTH SHALL DIE... lp (loud instro stuff); The Silver Mt. Zion Memorial Orchestra & Tra-La-La Band with Choir, THIS IS OUR PUNK ROCK... 2xlp (beyond description); Do Make Say Think, WINTER HYMN... 1.5xlp (ditto); Molasses, A SLOW MESSE 2xcd (genius and beauty))
I first encountered MusicBear on a self titled CD a few years back, on which he did sensitive folky stuff. Then he found his inner dancin' bear, which I briefly found disconcerting (though I absolutely ADORED his song 'Teddy Bear' - well, I would, wouldn't I? :) ), because of my deep prejudice against disco (which I am trying to overcome, if only because one of my close associates is a disco fiend/scholar whose passion impresses me).
This, however, is one fun record, if only for its covers of “If I Only Had A Brain/Heart/Nerve” (I'd forgotten it said 'and then I'd woof some more'!) and a song I did not know but want to find, “It's Only A Wee Wee”, by Peter Alsop. I could have done without “Any Dream Will Do” - I mean, I can appreciate a showtune (yes, take my Bear card away...), but I draw the line at Webber. :)
However, the reworking of his earlier “Music Makes A Man of Me” as a rhumba still sends shivers down my spine in the new version, and “Daddy and the Coach” (which is really about a boy encountering homophobia - the sick side of me hoped it was about a Daddy and a Coach in another context, but, hey! you can't have everything...) is too close to home, but still touching. His vocals make even the most perky dance floor number distinctive. In short, two woofs up in a polyester suit with wide lapels, and a paw up in the air aiming at the disco ball...
It's been a long time (on record) since they rock and rolled - been a long time since they did some hole...
Sorry - couldn't resist. Everyone's favourite faggot pop band (this IS a pop record, as the few attempts at speedy thrashier numbers don't work well) prove that it is sometimes better to wait for things, and also branch out (be it the Cher-like vocal distortion (and dancey beat) of “No Protection” or the country overtones of “He Whipped My Ass In Tennis”). It was also neat to hear Patrick's lead guitar in a studio context (rock on, Bear brother - again, I
apologize), and it is sad to hear he is moving on from the project. “Alpine Skiing” was reminiscent of their earlier filthy stuff, and I fear I've grown up or something, as it bored me. Otherwise, a super nifty slice of power poppers!
This outfit (two girls, one boy) has evidently existed for about five years, and I'd encountered the name here and there, but had not heard them. Musically, they are reminiscent of a number of acts on their new label - somewhat angular but catchy arrangements, combined with political lyrics that are, nevertheless, not mere polemics.
I am especially taken with “More Gender, More of the Time” and “We'll Take It”, as examples of how sexual,personal and world politics are combined and compared by the band. I also find it amusing that the record begins with an uncredited chant of “Life Stinks” by Pere Ubu (and closes with an unlisted, yet at least acknowledged, excerpt from The Dicks). In fact, a combination of the strident politics of the latter with the angular oddity of the former might be a route into the cd, actually...
Rothko.Blk w/Bear, Wish For A World Without Hurt cd (Trace Recordings)
This album was inspired, if such can be said, by the tragic events of September 11, 2001, especially the somber title track (darkly romantic piano chords periodically interrupted by washes of noise). It is in a glitchy style, with distorted sounds, crackles, turntable manipulation (that may or may not be created using real turntables - it's hard to tell) and electronic elements. It's certainly not technopop or aggressive dancefloor grooves - it is highly ambient (a largely useless word, as, I mean, if you played Einsturzende Neubauten in a machine shop, it would be ambient, because the noise of metal and saws would fit in...but, as it has come to mean somewhat unobtrusive and enveloping, I am using the term in that context...) and gentle, though not soothing, given its origins. Still, an accomplished and moving piece...I found the title track caused me to tear up when I first listened to it, I am not ashamed to admit...
(Brief recommendations: Kevin Aviance, ENTITY cd (drag queen attitude, but not all that glamourous - fierce in more ways than once...); Daphne Rubin Vega, ROCKET MAN cd-ep (various renditions of the Elton John number, by a chanteuse of whom I had not heard, but who seems much more tolerable than most divas (my divas include Yoko, Diamanda, Nico and Jayne, but do NOT
incorporate Celine, Mariah, Whitney or Barbra...and, no, you CAN'T have my gaycard back...)).
A band that never got out of Los Angeles in the mid-70s, and whose members are more known for what they did subsequently (Danny Wilde for The Rembrandts (theme from 'Friends', anyone?) and Danny Benair for The Three O'Clock (MORE known - not necessarily WIDELY known...)). It is a mixture of power pop, glam and camp (“No No Girls” opens with the chords from “Chopsticks” - “Somewhere Over The Rainbow” is in a Queeny style...). This consists of demos and live tracks (many produced by Kim Fowley) - they released an album, but they might as well not have for all it got promotion. The title is apt, but it does not have to stay that way.
Various Artists, Daddy Is Santa Really Six Foot Four? cd (Bar None Records, P.O. Box 1704,
Hoboken, NJ, 07083)
If you remember those ads from the back of comic books and thought it would be cool to send your poetry to someone who would set it to music, this is the thing for you this Yuletide season - a collection of mentally unstable merriment and horror-filled hosannas (there's also enough sugar to induce diabetic comas at twenty paces) that were commissioned by would-be songwriters/poets from those largely fly-by-night organizations. I confess I'm saving most of this for the season, when people allow me to be in charge of the tunes (I'm usually nice, because most Christmas music I have on CD is conventional...but not THIS year *muwhahahahaha*); however, I could not resist “Santa Came On A Nuclear Missile” (even I draw the line at something this twisted...but then I cross it...) - and “Rocking Disco Santa Claus” got my foot twitching (spasmodically) - while “Randy The Lil' Elf” and “Maury the Christmas Mouse” were catchy (Maury, though? MAURY!? Think why this is so wrong...). The rest, I'm reserving for bleary Boxing Day, when no-one is sober enough to stop me (except me, and I hardly WOULD)...
(Brief recommendations: Libertines, DON'T LOOK BACK INTO THE SUN 7” (today, so 70s Clash); Junior Senior, D-D-DON'T STOP THE BEAT cd ( disco - glam - today); Demolition Doll Rods BIG ROCK CANDY MOUNTAIN 7” (glam - draggy - today); Michael Yonkers Band, MICROMINIATURE LOVE (from 1968, but so 1970s-Pere-Ubu-and-other-art-damaged-outfits reminiscent))
