I have a shit ton of 7"s. This is simply an excuse to get off my lazy 21st Century ass and make them more easily listened to as 1's & 0's. I then share. It's a symbiotic relationship. I may even toss in an occasional lp or something.
If it's your OOP record and you don't want it posted, Just let me know. I'll gladly take it down. I'm easy.
This isn't a box.
It's a record.
It's square though.
(at least the cover is.
the record itself is
a flat disc shape.
Not a square.)
the cover could
in a pinch serve
as one side of a cube
of some sort
then it would be part
of a box.
All signs point to this 12" slice of rhythm & new wave point being a New York City creation. I'm basing this on the label address and where it was recorded. Of a minor bit of interest is that it was produced by session musician (for folks like Brian Eno) and touring band member for Talking Heads, Busta Jones. (He also played bass with Jerry Harrison's side project the Escalators)
Of further minor interest will follow in the next post and concerns the drummer, Lisa Wexler.
A quick google turns up that she is the daughter of Jerry Wexler, famed executive and producer for Atlantic Records. I did not put those dots together until just now, but isn't actually the thread I'm looking at to link to the next post....
Here's the other release by Someone & the Somebodies.
It's 12" elongated player.
It's from Boston and is the avant-Nu Wave people warned you about.
Unfortunately for them while they do a fine job with a reworked version of Lee Dorsey's song "Working in a Coal Mine", they'd get overshadowed by Devo presenting their own version as a single ahead of their "New Traditionalists" lp which is unfortunate even more so because they actually do a better cover.
I also spent a considerable amount of time trying to figure out where exactly was the singular time I saw Someone & the Somebodies was.
The best I can figure is as either part of an epic week in August of 1982 where my friends and I saw the Clash twice, Elvis Costello & the Attractions at the Cape Cod Coliseum and ended with the Talking Heads at the Orpheum.
We actually found the Talking Heads to have been the least show of the week and I remember that the opening band was kind of boring. That was where I'm thinking it may have been there.
I mean, I know it was at the Orpheum anyway. But I also got to thinking that in 1984 we also went to the Orpheum to see Siouxsie & the Banshees which was also kind of dull and I got momentarily confused. Online databases were a bit of a bust, so here we are.
I can't say as I actively dislike S&tS.
But I'm more or less kind of indifferent to them.
I mean, I have the records as part of my effort to complete a Modern Methods records discography, but they're not going to be the first ones out of the stacks when I'm playing them.
The third compilation of local Boston bands brought to you by the auspices of Throbbing Lobster.
A number of heavy favorites here for me. Chiefly the Turbines who I saw as much as I fucking could and the inaugural vinyl appearance of Classic Ruin's "Geraldine, I Need Money More Than I Need You" which is a song of epic proportions and beauty.
There are also a few bands that released nothing else. So there's that archival value to it as well.
This is just otherwise a nice state of the city map of a small sector of the Boston Music Scene at the time.
As it is, I don't actually have this Lp, though I did make this digitalitization. I ordered a bunch of stuff from a dude on Discogs who fucked my order up and then a week later proceeded to send me somebody else's order on top it. This was in it. But being the upstanding citizen I am I straightened things out and sent the package on its way to the proper purchaser pausing only to make this dub for my trouble and personal enjoyment.
I never saw this band. I'm really not sure to what I'm supposed to make of them.
There's certainly a very tongue in cheek quality to them. I mean, they come across as the very horny teenage love child of Bryan Ferry and, I don't know, Duran Duran (?), but the songs are tight and well assembled. If you don't pay attention to the lyrics they're a nice tight New Wave-y Pop band, listen and the band's name makes much more sense.
That's the essence of the Sex Execs
I do however know one thing for certain. "Tammy-itis" is an earworm of epic proportions. I've already listened to it a few times while typing this. It's a pleasure and curse.
The second elongated player by Boston's own O Positive.
A bit tighter and with some of the edges sanded down. Much more commercially minded release. They'd go on to make one record for Epic which didn't get much support and would limp along until the middle of the 90s before hanging it up.
I have much less invested in this one than the previous.
I'd moved on to other things by the time this was released.
Looks like I went on some kind of nostalgic binge for local Boston area things at around the same time so the SSC to post folder has a bunch of them clustered together from around the same creation date.
O Positive and their particular brand of emotive chorus pedal abuse were a pretty big fucking deal in the area when they first appeared. The women I hung out with were certainly quite enamored of them and their sound. I ended up seeing them more than I really cared to at the time, but I went with my friends and there was beer. I like beer.
It's hard to tell which was the bigger song for them at the time of this release, "With You" was certainly a panty dampener but "Weight of Days" was a pretty normal closer.
All in all this is a very pleasant romp and chock full of weird sense memories of things like the bathroom at Spit/Metro or the smell of the Paradise from days long long gone when I was young and dumb and didn't know enough to appreciate it.
And here we are at a distance looking back with gray hairs not even fully remembering it, just the vague feeling of remembering.
I should probably eat something.
Melancholy nostalgia is usually a sign of low blood sugar.
This is a continuation.
I'm halfway through ripping those cds I mentioned in the previous post.
I'm also still listening to the previous Lp and stalling before I switch to this one for while I type out this current post. It helps.
Seems like Warner Brothers gave them one more chance.
It's another strong effort. Does not fall prey to the dreaded sophomore slump.
I'd be hard pressed to consider which track ought to have been the single. Warner Bros. went with "Solid Rock" though I might have gone with "Imitation Life" or even "Pretty Mala" since it's a nice upbeat pop song on what's actually a slightly darker album overall. As I remember it, local radio station WBCN played "Send Me an Angel" a bunch at the time long before Clear Channel came along and ruined radio for everybody.
But alas. Nada.
Another dollar record and this one without even a compact disc reissue.
They lasted on Warner Brothers for one more Live Ep (which I don't have. I used to have it in my Discogs wantlist, but I'd get inundated by so many copies in the daily email that I had to take it out)
I won't pretend I understand the ins and outs of the music business. If I probably wouldn't be doing this stuff. I'd be off on my private island banging supermodels before wandering into my state of the art home studio and shitting out another mega-hit. Or at the very least I wouldn't have to work a regular job.
But I don't and I do.
So here we have the debut record on major label by Robin Lane & the Chartbusters. It's a really fucking great pop record. It has "When Things Go Wrong" on it and that song is one of those that I usually have to play a few extra times whenever it comes on.
It should have been a huge fucking hit.
I dare to you to google up the top 100 hits of 1980 and tell me that Rupert Holmes and Christoper Cross made better records than this. I mean, Olivia Newton John had the #3 song. I call bullshit.
Plus half of the Chartbusters were in the mid-70s incarnation of Jonathan Richman & the Modern Lovers. That's a pedigree.
So needless to say, but said anyway, I really really like this record. I couldn't explain to you why, but I do. It actually saddens me a bit that you can find copies for a dollar. (Though for some reason, people are asking crazy money for a 2002 reissue on compact disc). It's consistently good all the way through.
Very little is to be found on the interwebs about this band. I had a link at one time that can't be bothered to find right now. In the end it doesn't really matter.
What does matter is how fucking good this seven inch is.
I mean, every once in a while I buy something blind. Simply based on random factors like date or one familiar name on an otherwise obscure sleeve. This was recorded by Don Zientara who recorded basically everything in and around Washington DC worth listening to.
The music nerds might say this is some sort of post-punk nonsense with saxophone or something silly like that.
I just say this one is Gold.
All four songs. Gold.
"Pinned Under a Jet" is arguably the hit, but damn, I wish there was an lp hiding somewhere or a few stray compilation tracks, but sadly no...
Chorus pedal abusing New Wave trio from Boston with at least one member being an Irish expat which explains why some further releases by the band were on an Irish label.
It's still the good stuff.
At least for me, I guess. It has a certain nostalgic appeal that brings back a time and a place and sense memories of the parking lot of the Channel right on Boston harbor where I'm pretty sure I probably saw them at least once for some all ages show. I should have kept a show diary...
Nine tracks by nine bands recorded live at a place called the 288 Club in Albany, NY.
This one is another keeper. Only a few of these bands released anything else in their lifetimes and it covers a nice gamut of New Wave to Pop to Synths and Punk with a stray Rockabilly track thrown in for good measure. All of whom would have disappeared without a trace but for records like this one. (Certainly the Tragics and Capitle should have been comped on some punk rock exploitation record a long ass time ago, but they haven't to the best of my knowledge.)
And really all are pretty damn good and I would certainly have enjoyed this as much then as I do now and even now it's hard for me to pick a highlight.
Shane Champagne Band. The A-side is a nice power pop number of the sort that the world was knee deep in at the time. Really ought to have been comped multiple times over, but there you go.
B-side "Love my Baby Like a Car" is a step or two closer to what might be termed "punk" but in the way that Television and Blondie get lumped into the popular thought process as "punk" as opposed to Black Flag. Still very pop, but different.
I like both sides. You make it famous and valuable.
At the same time that Gary Shane and David Champagne were tearing it up with the above Ms. Tennie Komar put out this single. I have a love/hate thing with it.
First off, it's terrible.
Secondly though, it's terrible in a very hilarious way. (Well, at least the B-side is) Both being songs penned by one Jon Goldman.
It gets labelled on Discogs as"New Wave/Punk" which I personally find as a bit of stretch based more than likely on the sleeve than the music. Certainly tight tiger print pants and heels might seem pretty Nu Wave, but the music is pretty suburban rock. Don't be fooled.
"Roll Me Over" which may or may not be a paen to anal sex (though more likely given the context a more vanilla doggy style tribute) It's well worth sampling some of the fine verse Mr. Goldman chose to apply his talents to for Ms. Komar to implore your ears with:
So this one's been sitting in the "to post" folder only a day less than the previous one.
We're back from Costco and a couple hundred dollars lighter, but won't have to leave the house for a while now. We're restocked and good to go.
So it's a day off and I actually got up early so that I'd be awake during normal business hours and could run some errands. It's one of the things you have to do when you work nights. You either stay up late or get up early to do normal people shit.
Thank (insert deity of choice) for stores open 24 hours and living in the city.
A quick google comes up with a few interesting things about this otherwise obscure 12".
The band started off as one called X-15 who had a song called "Vaporized" on the local compilation "Seattle Syndrome" in 1981. At some point they changed the name to Life in General.
It's been sitting in the SSC to post folder since December 21, 2017 mostly because I was kind of thinking I'd get to L in the alphabet a lot faster than that. But today seems like as good a day as any since we're long past even vaguely trying to keep up with alphabets and such and that folder is rapidly getting larger and larger so I should do something to clear it out a bit.
I probably haven't even listened to it completely since then either
I like it.
I'm also pretty sure that in the meantime from "Vaporized" until this was recorded they likely had heard a couple of Bauhaus records which is most obvious in "Respite Lost" where the singer tries his best to channel him some Peter Murphy.
That's not a value judgement. Merely an observation.
One of the nice things for you is that following a nearly a month of Peter Jefferies this and Peter Jefferies that I'm switching gears with a whole new batch of shit that I've been obsessing over.
I've got boatloads of new stuff I want to post. I think I'll start with this.
I've been a fan of Velvet Crush since the first time I heard the "One Thing Two Believe" single on Bus Stop. I played "In the Presence of Greatness" over and over. I sought out other records on the label which introduced me to the Elephant 6 Recording co and those bands and all sorts of stuff that defined my musical life in the 90's.
The main dudes in Velvet Crush, Rick Menck & Paul Chastain have been collaborators for eons and through multiple projects. All of which I quite enjoy.
Here is an early one with Nick Rudd who had been in a band called Weird Summer.
I also discovered another previously unreleased song on Youtube called "A Lesson Learned"
That same year, Mr. Menck put out the first record as the Choo Choo Train without Mr. Chastain, who would join on subsequent releases.
This wonderful fucking pop record was also inexplicably left off of the alleged "Complete Recordings" (as well as a song that appeared on a UK flexi) I guess, the makers of that now rare and expensive compact disc have a very different concept of what constitutes "complete"
Doesn't matter. I have it. You can listen to it. All is good.
Anyway, if you scroll back to August one of the other Choo Choo Train records is there.
You need some more pop in your diet.
(Meanwhile, I still need to find a copy of the Drats! "Fashion Con" double 7" in my bid to secure a complete discography. Life is always a series of challenges....)
This is the Compact Disc version of it which differs a little bit in content from the original cassette, but I haven't quite gotten around to getting the handful of Xpressway cassettes I've got digitized yet. But some other kind soul on another blog has. Thank them.
I'm just going to throw together a month's worth of posts with minimal typing.
Enjoy the respite from my babbling starting off with a bunch by Peter Jefferies and collaborators/co-conspirators. He's kind of fallen off my radar for a long while. Even the person who ran his unofficial page lost interest in 2016.
Nevertheless this is some really fucking good stuff.
He was always great live and shared a table with me while we watched Alastair Galbraith play at the Uptown Bar and Grill. I bought my copy of the Plagal Grind Ep directly from him at that same show.
(and no, I don't currently have a physical copy of "Randolph's Coming Home" I wish I did. It's a great single)
For fuck's sake, this one is almost twenty fucking years old. Where does the time go.
It's our good buddy, Stewart Anderson of Boyracer fame doing his solo thing as he did before moving to the States. This one is lots and lots of noisy staticky distorted lo-fi fuckery of the highest order. It's the lovely sound of gleefully not giving a fuck once the record button is pressed.
I Can't Grow Peaches on a Cherry Tree (1966) This is a 1960's Folk Rock duo by Al Gorgoni and Chip Taylor who together and separately wrote a shit ton of songs in the 60's. Chip Taylor being himself responsible for "Wild Thing" which I shouldn't have to remind you of. It's already in your head and irritating you just reading that. (He's also the hand behind "Angel of the Morning" which almost negates any good he ever did.)