Arty doesn’t always equate to interesting and noise is no substitute for real intensity. I was big fan of Gun Club, but this solo EP from Jeffrey Lee Pierce just doesn’t cut it. By the third track Mary mentioned “he’s doing a little bit of everything.” I wish he had focused on music like “Love & Desparation” from the second side instead. That’s a great song, but most of this is annoying noodling around that shouldn’t even qualify as B-side filler.
We seem to have an endless supply of 12 inches. Almost all of them are Mary’s; she’s quite the completist collector. Here is another piece of pop art from New Order. This version of “Shellshock” is almost 10 minutes long. “Original version appears on the original picture soundtrack Pretty in Pink” is printed on the typically minimalist back cover. The flip side has an instrumental version of “Thieves Like Us.” Why do we keep these things? Is my wife leading a secret second life as a DJ for ’80s dance parties?
I was thinking this record was on the Delicious Vinyl label, but this is the original release which came out on Rick Rubin’s Def American. Turns out Delicious signed Masters of Reality and re-released their eponymous debut a couple years later. It’s better than I remember. There’s a weird vintage rock and roll vibe, but that’s how it sounded 20 years ago when it was new. It reminds me of Cream with a dash of Queens of The Stone Age. And there are in fact real connections to those bands. Ginger Baker would later play with the group, and singer Chris Goss has a side band with Queens front man Josh Homme.
Delicious Vinyl has one of the coolest logos of all time, but I dig the industrial looking Def American graphic on the liner pictured below.
I apologize. And with that out the way let’s talk about the only record I have by The Leaving Trains that I didn’t buy. This one must have been a promo we got when I worked at a chain record store in a shopping mall. You can see from the last pic that the label, SST, ran a display contest. “Win a Plane Trip to a Trains Show.” I guess back in 1987 that would have motivated some folks, but there is no way a chain store in the mall was going cover a wall with record cover reprints, or “flats” as they were called, of an album titled Fuck that just happened to have “FUCK” printed big and bold on the front.
A couple decades later a title like that seems more like a cheap attention-getting gimmick than it did to me at the time. It might work now, but I’m pretty certain this did nothing to help them sell records then. It’s not my favorite of the three LT records I have, but there are some great garage-punk-rock, body-moving songs on this album.
I think I got this from Bob Schick when I was visiting Richmond. He was (is?) a buyer at Plan 9 Records (now “Music”) and always had more promo stuff than you can imagine. Anyhow, this is a fantastic single. When it was new I was turned off by the retro vibe, but I’m over that now. Bring the retro back! Make it double retro… or something like that. This is the only Elastica music I own, and it’s only two minutes long.
Tip: Elastica makes a great starting point for your next Jango station.
At 250 Miles Per Hour was put out by a German label with a seriously painful name, Crippled Dick Hot Wax. Jerry Van Rooyen had a habit of writing original scores for strange late ’60s movies that were either horror or soft porn, and sometimes both. Maybe even weirder than that is the fact that this sub-sub-genre of swinging music has a solid cult following.
How did I hear about it? No, mom, I wasn’t watching “The Castle of Bloody Lust” when Mr. Van Rooyen’s grooving jazz caught my attention. It was a comedy from 1998 that featured William Shatner called Free Enterprise. The producers, wisely, chose to re-use Rooyen’s kicking number “The Great Train Robbery” to open the movie. I recommend the movie and the tunes. I play this CD all the time, all the time.
My favorite song is the exquisitely short “Fabienne Is Going Wild.” It’s barely over one minute and it’s the best strip music I’ve ever heard. If it were any longer people’s clothes would start flying. Check out the clips.
“The Blues is number one. The Blues… is number one.”
Oh man I love this record. I can thank Bob Schick for turning me on to Orange. He told me to listen to the “fast violins” in the extended intro to “Bell Bottoms.” And the violins do indeed make it special. It sounds like an intense orchestral score in lockstep with a minimalist art rock blues trio, complete with some chanting, shouting gang vocals near the end. That’s how the album opens and I can’t imagine it being any better, but my favorite song on the record is the second one, “Ditch.” It has a great guitar hook that makes me want to get down in the ditch with them and start digging.
The band shortened their name to just Blues Explosion a few years ago, but I keep this record under “S.” Jon Spencer’s earlier band Pussy Galore did nothing for me, and to some degree I’m still surprised that the smart-ass vibe of JSBX doesn’t take the steam out of music. But believe me it doesn’t.
“Tiger Phone Card” is the prettiest and groovinest song I’ve heard in a long time. And the band Dengue Fever is, loosely speaking, consistent with this week’s theme of psychedelic music. Fresh and familiar strikes again, and I can’t get enough of it. This video is of a live performance at The Viper Room. They are playing at The Black Cat in DC tonight y’all! Oh, please, please come to The Orange Peel in Asheville, NC!
Hear the album version of “Tiger Phone Card” and many other great songs at Dengue Fever’s MySpace.
I think the pic I took of this record is a little out of focus. Or, maybe it’s just the psychedelic hangover I have from Wonder Wonderful Wonderland by Plasticland. I never have played this record much, but I thought I would like it more than I did. And I gave it at least a couple spins all the way through on both sides. Wonder Wonderful Wonderland has its moments, but I just can’t get into it, again. There are other “neo-psychedelic” records in our collection that I think have held up better.
Title: Best Of The Music Machine (Featuring Sean Bonniwell)
Year: 1984
Format: Vinyl 12 in.
Rating (1-10): 7
Owner: Tracy
Acquired: 1984 – Probably mail order from some place like Midnight Records in NYC.
Keeper: Yes
Since I mentioned The Music Machine in my last post I thought I would post this Best Of The Music Machine (Featuring Sean Bonniwell) record next. It’s been a while since I’ve heard it and it’s more rocking than I remembered.
This album was released by Rhino in 1984. That’s like some label today re-releasing music that was popular, or at least existed, in the late 1980s, for a new audience. I was in high school when I bought this re-issue, so it’s not like I was being nostalgic. I suppose there may be some teenagers out there who would be excited to discover music from 1988, but it seems weird to me.
Most people think the seeds of heavy metal were sewn in the late 1960s, but I think The Music Machine got there a few years earlier. They have some heavy riffs, tricky song structures, dark lyrics, and –best of all– they wore all black clothing, dyed their hair black, and wore a black glove on one hand only. The notes on the back cover describe them as being “in the vanguard of the punk rock boom.” Maybe, but after another round of listening I’m convinced The Music Machine was proto-metal. And that’s what I’m talking about.
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