While I was familiar with Ireland’s The #1s, I first heard Conor Lumsden, drummer for The #1s, playing under his Music City moniker when he appeared live on WFMU's Todd-o-phonic Todd show way back on October 27, 2018. It was exciting to hear somebody creating and playing ‘70s power-pop at such an ambitious and authentic level.
From time to time, I would check in for any Music City activity, but suspected that Conor made an Irish exit like so many other promising acts from the post-recession, pre-Covid era (2010-2019). The surfacing of this album here in early 2026 is a true surprise, but comes with the albatross of sky high expectations based on the promise of the “Pretty Feelings” single. The influence of American power-pop drives everything, while also creating the album’s momentum as it heads off into some different directions.
The debut covers ground from powerful pop rockers (“When the Day Comes By,” “Do I” “You Remember”) and brittle Big Star laments (“Little Flavour,” "A Matter of Time") through that late ‘70s/early ‘80s sound when heartland rock, new wave and AOR were clashing and converging together on radio and soundtracks (“Pretty Feelings") to some soaring ballads (“Autumn Song,” “Something on Your Mind”) that bring the album to a smooth landing.
Besides the natural comparisons to cosmic Chris Bell and the grounded Tulsa/L.A. Shelter/American Recording Co. sounds of Dwight Twilley & Phil Seymour, Music City is one of the few modern acts that could appeal to listeners of the Greg Kihn Band. 38 Special and maybe even Scandal on rock songs like “Common Sense” and “The Conversation.” Upon initial listens I thought the album leaned a little too heavy into dense AOR during the middle stretch, however Lumsden is not afraid to reach for the brass ring. It would be cool to see him paired up with rising star Billy Tibbals for a West Coast jaunt and hear these songs in a live setting.
Music City is at its best with the straight-ahead power-pop that gets the album off to a captivating start. “When the Day Comes By” is propelled by Plimsouls-esque rhythmic guitar work throughout before exiting off to an exquisite Rickenbacker 330 solo. Further, its persisting melody and wrap-around chorus recalls the best of the Beat and solo Paul Collins. The two last ballads are standouts and close the album on an extremely strong note. “Autumn Song” casts a hallowed and hushed Big Star atmosphere. Meanwhile, “Something on your Mind” is evocative of the sophisti-pop of Joe Jackson, Ted Leo, and Eric Carmen replete with piano elegance and quotes of “When You Walk into the Room” from Fiachra Mac Oireachtai-all under a spectacular sunset of Beach Boys backing harmonies.
The graphic designer and musician from Dublin has ambitiously crafted and patiently developed aspects of workaday life into his grand statement. Music City has now delivered the album that many were doubtful would ever happen. On a similar level of surprise, The #1s came back with a single in 2025. If this pattern continues to hold, maybe we will even hear from the Pacifics once again.
Chisel: Ted Leo (guitar), John Dugan (drums) & Chris Norbord (bass)
Two members of Chisel (Ted Leo & Chris Norborg) caught the Breeders at the crossroads between their Safari EP (familiar then to "in the the know" listeners) and the breakthrough of Last Splash that has gone on to become recognized as an essential album of the '90s (and a favorite of Olivia Rodrigo and Ratboys). This interview originally appeared in WVFI's Luxury ("today's barometer of youth culture") in fall of 1992.
WVFI's Luxury Vol. 1, Issue 1-Fall 1992 WVFI is the college radio station for the University of Notre Dame
In October (1992), a pair ofLuxury staff reporters (Chris Norborg and Ted Leo) had the opportunity to meet with the Breeders backstage at Chicago's Cabaret Metro in the midst of the band's fall tour supporting their second album, Safari. Pod, their first album on the British 4AD label has just been re-released in America. The Breeders feature Kim Deal of Pixies fame on vocals and guitar and the drummer from England's Spiritualized (Jon Mattock). Kim's twin sister, Kelley Deal (guitar) and Josephine Wiggs (bass) were present for the interview. Another interviewer from the University of Wisconsin was also present.
Luxury Operative Chris: What's the drink you guys were drinking that everyone was getting sick off of? I read this thing in I think it was Melody Maker. Well, what was in it? Kelley Deal: It's vodka, Kahlua and Bailey's. Chris: Kahlua? Kelley: Yeah, it's really tasty. Chris: Oh. Kelley: There should be warnings... Chris: Oh, it's really dangerous... Josephine Wiggs (British accent): It's dangerous because it...it tastes like a milkshake, but it's three shots of spirits in the same glass. Chris: Who was it who was really suffering from it? Kelley & Josephine: Tanya, Tanya threw up twice. Chris: Oh, no. Kelley: I mean, her body weight... Chris: Is she still ill now? Kelley: No, I think she's all right now.
Breeders 1992: L to R: Jon Mattock (drums), Kim Deal (guitar), Tanya Donelly (guitar), Josephine Wiggs (bass), Kelley Deal (guitar)
University of Wisconsin interviewer: I haven't really read much about you guys, except that...I mean the British press fawns all over you guys and is totally like psycho about it, but like, I mean, that's a cool photo through, with the red, that's awesome, But, um, they build you up and then they carry you guys down...I mean obviously not you all, but the British press... Kelley: They do, yeah. Josephine: Yeah there is a tendency to do that, probably because they're bored. UW interviewer: Like the band Suede. Kelley: Plus, England is so small, You could probably fit it all in Texas or something. UW interviewer: Sure, probably. Luxury Operative Ted: Or Indiana. UW interviewer: I'm from Texas, from El Paso. Kelley: I think we're going to play there next leg of the tour, this is the band's recreational vehicle. UW interviewer: Yeah it's beautiful, I was going to mention... Ted: Cool, yeah. Kelley: My dad is driving us around. UW interviewer: Yeah? Ted: Alright. Kelley: And my mom just joined up with us yesterday, that's why this place is so nice and clean, isn't it nice?
Kelley Deal and Josephine Wiggs in Mr. Deal's RV Photo from the BreedersArchive
Chris: Speaking of your father, I was going to ask you, You and Kim, before the Pixies or anything, what did you guys do? You guys played together a while, didn't you? Kelley: We did, we've played ever since we were in high school. We played at this bar called Mo's Lounge in Ohio, we did disco stuff. Ted: Oh yeah? Kelley: Yeah UW interviewer: Covers or originals? Kelley: Covers. We had this keyboard player who would do...These old ladies would yell out 'You redheaded F---!' cause the guy had red hair. It was just gross, awful, Think about it, you know, you have those memories, where you blush, ugh! But anyway, after that we just did some stuff around Dayton. We got out of the disco, and more into the kinda drug-era thing. Josephine: (laughs) But we weren't into drugs. Kelley: And, we opened up for Steppenwolf, and John Cage stuff, you know. Chris: Did you win a contest or something? Kelley: No, (unintelligible name) was in that heavy metal band, they're still going on, aren't they? And so we'd play around, it was just Kim and her acoustic guitar and her and me singing, just a little acoustic duo, you know? And so we drive up to this gig, and it's all motorcycles. Ted: Oh wow! (others chime in cries of surprise) Kelley: But it really turned out good, I mean they really liked us. We were pretty surprised about that. A bit relieved, too. UW interviewer: What about Ivo Watts-Russell? what's that guy like? Kelley: He is so nice, he's great. Josephine: Yeah, he is a really nice guy I don't know, he's just really calm, and quite often, when things feel as though they're in a complete state of chaos, I'll just ring him up, and say 'Look, here's what's happening and stuff.' And he's just got a real good view on things. Chris: Is it the same way with Vaughan Oliver? I know he does the album covers for most of the 4AD stuff, like v23 is that what it is? These people, how integral are they, the image that they create with the records like with Pod and stuff like that? Josephine: I think the the whole 4AD image is a very recognizable style, and I think Vaughan had a lot to do with that, because they made a decision, that we were going to have an in-house designer, and I think that the whole unity that there is with the label, with one guy deciding what's going to get put out, and it's all stuff that he likes, and you've got one guy who's doing all the artwork, gives it a real sense of unity that I think is really cool. I think people like it, like the Coca-Cola brand name, it's something instantly recognizable and people like that. UW interviewer: And now with those distribution deals, you don't have to pay thirty dollars to get a record anymore, like Dead Can Dance and all that stuff, you can get it. It's kinda nice.
Safari ep-Design by Vaughn Oliver
Last Splash-Design by Vaughn Oliver
Chris: Do you expect to be recording again soon? Kelley: December. Yeah, we're doing a few new songs tonight. Chris: Oh yeah? Kelley: Yeah, we've got what, seven new songs to do, they're all like a minute, minute twenty or so. Chris: So you've got an LP coming out soon? Kelley: In the spring. (Editor's Note: Last Splash was released on August 30, 1993) Josephine: Yeah, if we get it recorded in December, it'll be ready for the spring. Ted: What label will that be on? Josephine: It'll be 4AD and over here we got license through Elektra. Ted: Do you find it's easier working with indie labels like 4AD? I mean, how involved in the dealings with Elektra have you been? Josephine: To begin with, Elektra didn't really know what we were about, because of the weird origins of the band, and there's horror stories. Kim, when Safari was released, sat at home thinking 'Oh, the record's coming out in two days time, and I haven't done any press for it.' So, she rang up the press department at Elektra and said 'I am available, you know. I'm not lazy about doing press stuff,' and they said, 'Oh, we thought it was a reissue of an old record and we weren't going to do any press.' They had no idea we had a new record coming out, and that's kind of scary. Ted: Yeah, that's awful. Josephine: I think it has to do with the fact that it is a big organization. They have got so many other names to be dealing with. Kelley: Or with Glastonbury, remember, when we had to tell them that we were doing a....Was it Glastonbury? Josephine: Yeah it was. Kelley: They said, 'You're not going to play there, why should we be advertising? Josephine: Yeah, somebody from Spin rang up, asking if she could interview, or review the gig or something, and they didn't even know that we were playing at Glastonbury. UW interviewer: Did this anger you? Josephine: It's just annoying because it means that there are people who's job is to be doing that and they're not doing it. But, then, every walk of life is like that. If you go into any office there's people not doing anything or reading the paper. So, you can't get too uptight about it. Kelley: I think we should just be thankful that 4AD is a major player, and not smaller, because this gives you a good indication of what could happen if we were solely dealing with Elektra. Josephine: If you, as we occasionally do, talk to bands who are trying to get deals and stuff, if you get a deal, when you're just starting out with an independent label who hasn't got much money and stuff, they can't give you a big advance, but they will take care of you and they will interested, and will prioritize you as a band, whereas, if you sign to a major company, the chances are, you're just going to get lost. Kelley: But then again, and I've heard Kim say this, she's like 'Forget all this indie label stuff' because of Rough Trade. Ted & Chris: Oh yeah...yeah. UW interviewer: Is that why they released Pod again or is it because you guys wanted to be like Temple of the Dog and kind of like re-release it and you know... Kelley: We weren't told they were re-releasing it. We don't have the slightest idea why they wanted to re-release it. Josephine: I thought it was about that you couldn't get it anymore. Since Rough Trade went down you couldn't get it anymore. And then when the Rough Trade stuff was auctioned off, Elektra bought the masters.
Chris: I wanted to ask about the "Safari" video shoot, was that fun, or was it a mess? What was that like? Josephine: Well it was fun at the time, yeah. Chris: I love that video, it's one of my favorites. Josephine: The one bad thing about it was that we were on this white shape on the floor. I think that was part of the reason that it was so static, was because we couldn't really walk around on it because it would make marks. So it was like 'you've gotta stand real still, you mustn't move your feet!'-so of course everybody is like this. Kelley: Yeah. (laughs) Josephine: But, you know, it was good fun. Kelley: I was kinda bummed out about the size of the studio, because, well, have you seen the original, the Black Sabbath one? Ted: I haven't seen the Breeders video, sorry. I haven't watched MTV in a while. Kelley: It's huge, the space, and their little bodies take up half the screen. Chris: Which Black Sabbath? Kelley: "Paranoid," it's on that tape, MTV Closet Classics, anyway, they're about half size. Then when we got into the studio we were like 'I dunno, it seems kind of small...so, what are we going to look like on TV?'...That was one cool part about it. Josephine: Yeah, it was, it was. Because the size of the TV screen is like this, and the size of the figures is like this on the Black Sabbath video, cause they did it in a huge warehouse... Ted: So, what's your favorite Black Sabbath song? Josephine: (after a pause) I don't know, I guess "Paranoid."
The Breeders at a Cincinnati Reds baseball game-Sept. 2023
UW interviewer: So, have you been listening to a lot of music on this tour, or.. Kelley: Well, our RV, we had a catastrophe, it's so weird, every night it's like some new thing. The first thing that happened, we blew both tires out on the one side while going a mountain in Pennsylvania, I think it was. Josephine: No Maryland. Kelley: Yeah, and it was the middle of the night, like two in the morning and we blew out two tires, and so it took all night to get that fixed. And the next night at the hotel, in Washington DC, our first gig out of Ohio, somebody broke into the RV and stole two Walkmans, some tapes and stuff. Josephine: and a guitar... Kelley: Yeah, an acoustic, so..no, we haven't listened to much music. (laughs) UW interviewer: Is it out of line to ask about, like other bands, like the Throwing Muses, your opinions of any of the current stuff they're put out, like the Red Heaven? Kelley: I haven't really listened to it. Josephine: I was really surprised by the production on it, it really took me aback the first time I heard, it, especially the drums, But, having heard a few things since then, I'm kind of more used to it now. Her voice is great on that album, I think it's the best her voice has ever sounded, real, real good. Chris: What do you think of a lot of other new bands now, like PJ Harvey? Josephine: I saw them do a show a little while back and I kind of understand all the attention they've been getting, they put on a great show, they're very intense.
After another lengthy and insightful question from the other interviewer, our dynamic Luxury crew ran out of tape and sadly the interview came to an end.
Photos depict Chisel as the Mummies from a Halloween show!
Chisel live at Chicago's Empty Bottle in Feb. 2023 Photo by author James Kennedy
This Taos, New Mexico-based female-male duo attempt to do something just beyond their reach as they strive to make records as good as their country-rock-folk influences. In the process, they strike upon an overall simpatico sound that is bucolic and boundless as their adopted rugged and sweeping terrain. Deciphering the 21-century Southwest, built upon layers of natural and human history, and delivering it musically in private press style can be as treacherous as traversing the Sangre de Cristo Mountains. It’s definitely easier for weekend cowpokes to simply offer fool’s gold replica rehash at the ol’ Bandcamp trading post. Bucking the trends, Trummors have been radiating their otherworldly Southwestern sound for the past decade, putting down roots and recording some hidden gem albums like Moorish Highway along the way. I actually recall David Lerner some 20 years removed in time and space as the bass player in the group Ted Leo & the Pharmacists. The night I saw him in Phoenix, he looked like Chris Bell from Big Star with Ted Leo playing the role of Alex Chilton. Dropping out "way out west" does make sense after endlessly touring the big country in a Dodge-y van as a road warrior Pharmacist for 5 years. Furthermore, New Mexico seemingly presents an alluring option to the quotidian patterns, the constant trackings of the digital age and the unceasing political turmoil of these times. The wraparound vast blue sky is indeed different in the Southwest where the wide open vistas can offer perspectives and possibilities for those who look up.
Harmonic Convergence Dropout City starts boldly by exploring some unmarked trails on the opener “Late Arrival” which leads into some dissonance that is as jagged as Organ Mountains Desert Peaks National Monument. The partners proceed to circuitously find their way back to the main trail before returning "home sweet dome" to kerosene lamps, Navajo rugs, Michaelangelo and Taos records. The 3/4th waltzing “Oh Laura” is achingly reminiscent of the long forgotten Idaho Falls in presenting a loping, lilting and lamenting tale of a Western drifter set against the vast horizon. In other spots, they evoke the Ladybug Transistor tuned to the Honky Tonk Radio Girl on WFMU. Sometimes, their unhurried pace seems a little too removed from the onward rush of life on songs like “Rollin’ Boulders” and spurs one to mutter, “Giddy up Giddy Up” and reach for the nearest disc by the Dickies. The tempo picks up on “What You Had” and things start to fall in place on the back stretch of the album. This number rides the steel guitar rails and is straight down the pike with its sage wisdom of “No sense of returning...to where you've been.” “Silver City Blues” sounds like the BMX Bandits kicking up dust a la the Radio Sweethearts and incorporates the bass playing of Brent Rademaker from Beachwood Sparks. Another highlight is Anne Cunningham taking the lead vocals and reins on “Tulsa Country” that was written by Pam Polland of Gentle Soul and recorded by the Byrds-the bedrock band of this sound. “Peacock Angel” ventures deep into a hazy mirage and features their intertwined “harmonic convergence” vocals inspired by Gentle Soul, Chuck and Mary Perrin and the Everly Brothers records of yore. Their coinciding vocals mostly convey a good natured and welcomed optimistic outlook and are augmented with a host of proficient musicians from the West Coast Cosmic Country scene. Not to be missed are the pronounced and sweetly plaintive steel guitar lines which run fluidly throughout the record. Both pedal steel and slide guitars embellish their sound with lovely accents, while filling the spaces between the distant stars and the Western sun. Dropout City is branded with Trummors’ rustic yet dexterous Western borderlands twang that reminds listeners of adventures which still await in the Land of Enchantment.
One night in fall 1993 I turned on WVFI-640 AM (then “broadcasting” through a carrier current system to the residence halls at Notre Dame via electrical outlets). Right after the Ventures' cover of "Sukiyaki," Ted Leo expounded upon "The Show” by Doug E. Fresh and Slick Rick’s vocals on the B-side, where Slick Rick covers Taste of Honey's 1981 version of “Sukiyaki." Later, Leo mentions Ludella Black of Thee Headcoatees before he plays the Smugglers' version of “Miss Ludella Black” by Thee Mighty Caesars. Through his commentary, references, humor and music, it was like that “New York station” both cosmopolitan and subterranean- way beyond the realm of the typical student and/or college radio DJ in '93. Later in his show, he would spin more Ventures and April March’s “Voodoo Doll” single.
Lookout Mountain Rock
Outside of his legendary work in Chisel, I consider his trio of Lookout Records albums his strongest and most immediate, not only for their Big Star riffs, but also for the mod and Moby Grape moves as well. It all came together in 2004’s “Shake the Sheets” which matched up succinct stripped-down songs with graduate school idealism, street-level politics and a heart extended towards the disenfranchised, the discounted and the downtrodden. Playing the album in a context of a Southwestern college town, with its atmosphere somewhat already attuned to the consideration of the common good, this stack of songs naturally fit in like the mountains on the horizon.
This all brings us to this year 17 solo album The Hanged Man. The muffled production sounds, at times, like it’s already in need of remastering and the front cover art is too much like the sideshow art previously employed on Attack of the Smithereens way back in 1995. Before it reaches its midway point, the album starts to drag and plod with overwrought songs like “William Weld in the 21st Century” and “The Nazarene.” Musical traction is lost within the overextended length and weight of these back-to-back songs. (If this was Lou Reed in an experimental mood, we would just give him a hall pass and go on to praise his pierced together sheet metal guitars in the next sentence.)
However, who am I to criticize as Leo has suffered through some truly disturbing life circumstances and there are way more serious matters to attend to in life than subjective opinions regarding the production and packaging of recorded sounds. By confronting his confusion, internal strife and past circumstances beyond control through his gift of music, Leo's encouraging others with similar experiences towards possible healing and reconciliation. It takes an artist of a certain elevated & noble level to take his/her own pain and suffering and transform/transcend it through art and actually make life better for others-- it all leads to the definition of soul.
Wednesday Week
“Used to Believe” sounds like Falkner (Jason that is) in which the chorus rides those immersive aquatic 1001 strings from “You Only Live Twice.” There is also a stunning moment that is flecked by one of those spinning out, coiled and braided guitar solos before going back into this song already in progress. Also surging forward is “The Future (Is Learning To...)” where Leo reaches the summits of his Lookout years with a rousing chorus buttressed by verses of Century 21 Joycean word play that wraps around to hold up the towering melodies. With its jaunty marching cadence, “Run to the City” covers the attraction (work & culture) and repulsion (unaffordable housing & damaging commutes) of coastal cities with a switch of a preposition.
While he is quite the enigma, Leo has been consistently “small-c” catholic in scope and “small-m" methodist in his adherence to noble DC DIY tenants. Yet, I don’t understand his incessant Twittering which seemingly goes against his discerning denouncements of our current culture’s desire to (over) document everything and miss the moment or his frequent plugs to read the writings of Jaron Lanier (where the computer scientist states the obvious about the blatant misuse of technology). There have been shows where too much talk broke up the continuity of the rock. Other times, he’s ridden the edges of a guitar sound propelled by his fluid fretboard power that satisfyingly clanged and spiraled up to the stratosphere. Still, he has more than earned his platform and has the right to believe that the ordinary working person has much more agency than what is seemingly possible-especially in these current conditions where unchecked power pretty much rides roughshod or gets easily pardoned.
What if We Give it Away?
While critics will rightfully cite that Leo is "Steppin’ Out" in full-on Sophisti-pop mode and dress—most directly on the deceptively simple, swank and sanguine “Can’t Go Back." Leo, himself, might mention tragic figures like the late- Scott Miller again or conflicted souls like Emitt Rhodes among his seemingly infinite continuum of musical influences. For the most part, The Hanged Man reminds me of This Sounds Like Goodbye by Ken Stringfellow and other moments hearken back to his experimental first post-Chisel solo album tej leo(?), Rx / pharmacists, which has also stood the test of time.
With the Clash as his North Star, Leo has never been afraid of breaking form in order to stay away from formula. Sure, he has had his share of missteps and misfires, but he has continually pushed his limits, challenged listeners and diversified. His back catalog features several stylistic ventures into disputed musical territories-especially when he signaling the schisms and conveying distress. The remarkable guitar tones and crackling production of “Little Smug Supper Club” is actually reminiscent of Don Gehman-produced Scarecrow-era John Mellencamp. This mini-epic not only questions the level of devotion to beliefs, but also the beliefs themselves by those who live the lifestyle. Or in other words the dangers of repetitively reconfirming predisposed assumptions and beliefs.
Like a Phil Ochs for the lost Generation X, Leo has long been attuned to deciphering
shifting atmospheres and the evolving
present. He can also be sagacious about the past, which he amplifies in the twangy form of “Lonsdale Avenue.” This standout song masks displacement and the ultimate loss of life on earth, but rings to remind us to use life’s challenges as catalysts to both deepen our understanding and continually evolve. The Hanged Man presents a circling back to his experimental first solo album, some semblance of home, and Leo's continued quest for the impossible dream. In short, he's beginning to see the light, that can only be brighter after all the darkness.
It's a Mod, Mod, Mod, Mod World-1993 mix tape by Ted Leo
The Aislers Set-How I Learned to Write Backwards
If Last Match was their Mountain High foray into Spectorpop, this is their River Deep departure album that hides in the ambiguous urban shadows of the Shangri-Las while the production looks for the infamous 304 Holloway address of Joe Meek. “Catherine Says” christens the album like a Chris Bell confessional with its “Look Up” sentiments (albeit in the third person). From there, “Emotional Levy” delivers slanted tiers of shifting rhythms and assured handclaps—all leveled off by idiosyncratic lyrics fluctuating between disenchantment and enchantment. This magnetic mix of withdrawn vocals enshrouded in reverb pulls the listener away from everything familiar to where doubt clouds the sunshine like salt in water. “Languor in the Balcony” returns to the guitar-driven pop sound that prefigured this album to deny any land of no return feelings. With its "Paint It Black" inspired intro and the Southwestern-tinged horns evocative of those heard in the Hollies’ “You Need Love,” “Mission Bells” rings in as an ornate sonic treasure with dichotomous lyrics unraveling between tangling guitars and buoyant keys that climbs to a plateauing modulation that never fails to bring a smile. All my epilates are futile in further describing what may be the most stirring single I may hear this year. Rather than presenting just the finest times, “Sara’s Song” scrap paper captures those, “As the bass pours through the baseboards” mundane and repetitive moments surrounding the weary kiln of workaday life. Musically, this seems to come from the ominous “Valley of the Saroos” by Joe Meek's “Blue Men” with only sleigh bells lifting the song up long enough to see hope fade like a contrail from a jet plane in a light polluted night sky. The albums continues with its vacillations of tentative and confident lyrics embedded in the sonically analogous music and sequencing. “Through the Swells” opens things up to third person observations of the sometimes fascinating merging and converging of people as much as it questions what impels people to do it all (i.e., the everyday patterns) again and again. A joyous guitar solo worthy of the Yellow Balloon figures as the brief musical centerpiece of the song. Ultimately, this half-hour album encompasses all the asymmetrical fragmentary moments between aspirations dissipating to what actually happens and transforms it all into something and grander, stronger and more eloquent. Isn’t that what music is supposed to do sometimes?
V/A Carnivals, Cotton Candy and You: An Orange Sky Records CompilationAfter his vanguard Vendetta publication was put to rest in the ever-expanding print zine graveyard last year, Ben has quietly shifted his energy to the captain's chair of the pop commonwealth of the Dionysus Records Empire. Orange Sky Records is now the non-stop connection between the West Coast mystique and the swirled sounds of the UK. This essential direct flight, over the Great Lakes and Eastern routes of Rainbow Quartz, has been missing since Poptones grounded some of the jet-setters in their fleet. First, this comp. does what a good comp. should--it directly exposes listeners to new groups and sounds that spurs them to search out their other material. It begins with a leadoff bang and wastes no time in introducing new favorites with "If That's What You Want" by the Sights. This catchy-as-cleats song fast-forwards them 10 years or so (or a half-decade back to their roots) from their recent Grand Funk pounding grounds and pops like a catcher's mitt. The Electromagnetic's "Stargazer" hovers over the Stone Roses going on a "Like A Daydream" Ride that landed me in front of the computer wanting to hear more. Honeyrider appears with their best and brightest moment I have heard from them. Orange-picked from their debut album, "Summer's Almost Gone" captures all the good they are capable of with its high tide of cresting harmonies and good vibrations all over the place. The Witch Hazel Sound then arrive with their highly layered, sweeping, shimmering pop sounds clear coated with High Llamas/Sean O' Hagan-ish impressionist music-referential lyrics. The album concludes on a high with the Terrapin Gun giving the low down on their "Postcards from L.A." While McGuinn and McGuire may no longer be roaming the West Coast, they chronicle today's shaggy haired, between the pearl buttons, desert booted ramblers following their footsteps and also blazing their own trails under orange pacific skies.
Gore Gore Girls-Up All Night
While there have been more bands than troopers on the interstate highways of Ohio trying this approach, the Gore Gore Girls ultimately surpass the also-rans and wanna-bes because they combine and successful play both factions--rock and roll. "Up All Night" has them going beyond the usual B-movie inspired rock trappings with some primo Grade A rock 'n' roll. Amy's tough and tender voice reveals hints of Chrissie Hynde and Ronnie Spector while Melody provides rigorous "stroker ace" stability on bass as they motor across Supersnazz's "Diode City" while giving only a quick glance back to the Smears in the Garage. As heard on "Standing on Corner," spacious production is the order of the night here and it captures all the outstanding vocals coming from far and wide. Before the night is over, the lost art of fun can be heard on the galloping and hand-clapping doo-wop of "Your Last Chance." John Hentch's organ solo, Amy's Spector-ish lead vocals backed by the street corner harmonies, the past and the present all converge to enthralling results. While you're wide-awake be sure to stick around for the bonus track. You can catch up on sleep some other night. Your only excuse is having to take off early for one of their shows--as they span the wide world of rock 'n' roll!
Ted Leo-Hearts of Oak
While ships are coming in from every direction to embrace his classic, yet fresh sound, Leo’s latest comes off as more angular and a bit more attacking to long time listeners going back to his Chisel years. Newcomers may ask where this all came from and Leo may cite the plate tectonics of life, the nobler aspect of punk, literature, Billy Bragg, Curtis Mayfield, Dexy’s Midnight Runners, Joe Strummer, Emitt Rhodes, Thin Lizzy and even Adam and the Ants, but with his eclectic and extensive zest for sounds, I wouldn’t put it pass him to even be moved by Bread. Cue Bread’s “Down on my Knees” and tell me you don’t hear the resemblance between what Ted Leo is doing now. Set atop these salient and subterranean influences, “Building Skyscrapers in the Basement” dramatically opens the curtain to this album like a battle hymn with a melody sounding like it descended from on high from ol’ Erie. The first single “Where Have all the Rude Boys Gone?” attests to his talents of enlarging personal memories while evoking listeners to some of their own with the lacerating chunky guitar, shuffling percussion and a peculating electric piano bringing the onrush. The albums then hit some choppy waters with a few songs that neglect to check out at noon when they are better suited to a succinct 2 and 3 minutes. (The Pharmacists are some accomplished, intricate and innovative musicians, but I prefer they save most of the stretch-outs for their live shows.) The lyrical aspects here, rather than penetrating on several levels, seem to weigh down songs like “I Am a Ghost” and “The High Party” with unwieldiness. Initially, I questioned the entire “Hearts of Oak” concept. Is he referring to the some nautical nomenclature deftly interwoven as a salute to those who refuse to give-in to the lowest common denominator and the power structures and strictures that sadly keep repeating themselves everyday? I could be weed-whipping in the dark, but I’m going surmise that Leo’s giving a much needed and countervailing voice and song to all squelched out by the tiresome system. Ultimately, it is his sheer conviction that irons things out. Without resorting to sloganeering, Leo offers an open challenge to listeners to keep fighting to make things better on personal, public and political levels. “The Ballad of the Sin Eater” with its blunt and deadpan chorus at first sounded annoying as the ubiquitous rage-rock song blaring from the next car over or the knocking and spewing diesel pickup in the rearview mirror, however I have come around to like this herky-jerky travelogue of the ugly American. It ultimately delivers and resolves at the fastening phrase of “Manifestation of Doubt”-- bringing empowering resolution to the escalating cacophony. The album then really hits its stride with a trinity of songs near the three/fourth point. The poignant “The Anointed One,” the vibrant pop-poetry of "Bridges, Squares" and “Born to Run” jams into “The Eton Rifles/Guns of Brixton/Spanish Bombs” historical socio-political urgency of “Tell Balgeary, Balgury is Dead” all reveal themselves to be the finest in Leo’s canon. Next, the tunneling and clanging guitar of “2nd Ave, 11AM” and the Chisel-like and soulful “First to Finish, Last to Start” finish things on a strong note. While it may have been impossible to surpass the breakthrough of “Tyranny of Distance,” “Hearts of Oak” is a commendable follow-up. This recording borders on brilliance more often than not while it deftly and resoundingly succeeds in the precarious act of mixing an undercurrent of politics with vanguard independent pop.
The Kent 3-Spells
Never fitting in with any sub-strata (with built-in devotees) the Kent 3 have been taking the dark ol' state routes off the Western musical map for the last decade. Their should-be-legendary albums are too musically adventitious to fit in the usual RnR/garage/punk/ slots while too spry, agile and lyrically keen to fit in with their lumbered region predominated by gang grunge. (They could even be considered the eccentric, but lovable older uncle of the impressive Northwest pogo/bubble/new wave punk scene.) While they offer no manifestations of cheap hope, happy endings or pretensions, they do offer some vivid vignettes with coursing lyrics--informed as much by Frederick Exley as they are by that Pickwick poet Lou Reed. This is street poetry for undercover punks not on the streets. These are vigorous yet free-flowing songs for uniting those who will never be united. “Spells” can rouse listeners to the short-cut depths of the contradictory and skewed turn-of-the-century West--that takes place off the I-10 between open dumpsters and closed unidentified warehouses. Its surf-rock drumming, trebly, but tough guitars, and literate Beat-inspired lyrics are splattered on the blacktop and reign-in everything from a low desert midnight mass to a brackish Pacific Northwest mountain pass. While this band only published praises might be found between the smudged ink lines and faded pages of a Fiz zine, attuned ears and a miner's light on the lyrics etched into this compelling and convincing album might finally give this band some long awaited due. Oh yeah...how many bands in 1998 remembered that Bob Seger did not always suck like a Chevy Truck commercial and once put out some "Heavy Music”?
The Out Crowd-Go on, Give a Damn
The chiming opener “Good Morning” from these jolly rogers caught me by surprise with its Subsonics playing Searchers covers—up in the ionosphere aura. This song floats on a jingle-jangle carpet ride out to an apogee of a Holly-esque "Everyday" inspired guitar solo before the drums roll around to bring it all back home again. “Good Morning, deserves to be in the same sky high echelons as “Here Comes Your Man” by the Pixies. They come back to quarterdeck and precede to swashbuckle the shackles with their shaking shards cutting through on guitars submerged in appealing and lavish reverb. Surefire drumming and guitars imbued with echoes of R.E.M., Suede, Cast/the La’s and the Dentists (or the Chills and the Clean to place the comparisons in antipodean terms) are the “X” marks the spots of “Time Enough.” With his voice quivering like Clay Reed of the Subsonics, “The Gospel” according to Matt Hollywood is a palimpsest cranked with fractured detached visions of waiting for the man somewhere between attachment, the gang plank and salvation. So whether you’re on crumbling lands, high seas or in deep space, this is a treasure worth searching for between the current major label wreckage.
Honeyrider-All Systems Go!
Gary Strickland sure knows how to make something out of everything—everything that’s important if we were not all under the workaday burdens of jobs, bills, slogging clocks and black diamond mountain slopes of doubt. He has all his priorities straight with girls, summer and the beach on the top. Brimming with energy and ex-cit-a-tions, the melodic sensibilities offer an instantly familiarity, yet remain distinctively Honeyrider. Originally released on England’s Damage Goods Records, this debut album (which rounded up many of early singles) is now licensed domestically by Orange Sky Records and augmented by some recently recorded live tracks. “Endless Summer” kicks off the album and immediately declares “California’s Where the Action” as its manifesto with citrus colored covers. From there, this “endless weekend” album goes off and running into a tide while Jesus & Mary Chain, Soup Dragons, Daytonas, Helen Love, and Barracudas songs play on the mix tape. “Radio Heatwave” recalls those “Shake Some Action” comps of rare power-pop—namely the Marshals’ song “AM” with the DJ break-in. The swirling Madchester menagerie “Space Girl” and the ultra-poppy “Galaxy Girl” are warmly welcomed reminders of the possible fun to be had when the sun goes down and the stars go up. Suspending his listeners over all that’s is good like those colorful cable cars stretching over King’s Island, he cast the illusion (or maybe the reality) that writing songs like this is an effortless walk along the beach. Hit play and you have a soundtrack that could blast through this winter and spring you right into the sunlit love of next summer.
Visqueen-King Me
Everything runs it course--people and bands break up and web pages disappear out of the blue. After over 20 years, the Fastbacks sadly disbanded while they were making some of the finest music of their storied career. Thankfully life and music go on and Kim’s trademark bass and voice can now be heard in Visqueen. While, Kim’s talents flourish like a rhododendron under the towering evergreen talent of Rachel, this is clearly Rachel Flotard’s day in the rare Seattle sun. Acidic and ambivalent lyrics top off crunching guitars and crushing drumming. At times, the sound recalls Flop struck by the lightening bolt of Red Five and the jolt of Jane Wiedlin’s Frosted. The uber-melodic “My House” puts down the welcome mat to their most Fastback sounding construction. Once inside their sonic hallway, they will turn on “Omaha” which features the cool chorus of: "We're Mutual Like Omaha" that will hit home for anyone who spent some time in the ‘70s. If this were still 1996, the band would be to right next to Weezer on David Geffen’s payroll. Actually, any of these songs could possibly dash up the charts this summer at alt-rock radio stations—still open to colossal hooks and harmonies. However, if Clear Channel’s smudged transom remains tightly shut, the band knows that just detailing the little joys and pains of life and delivering them in catchy king-sized melodies is what really reigns supreme in the end.
The Lost Patrol-Off Like A Prom Dress
While driving through the desert at night on the way to a free Nancy Sinatra show at the casino down on the Ak-Chin Reservation, “Off Like a Prom Dress” went on the car stereo. While the tape rolled and the Firestones spun, the dichotomy of a harsh landscape with the spare beauty became immensely apparent. After a rush through the parking lot and some expected out-of-place metal guitar wankery, the band finally kicked in with a serviceable version of “You Only Live Twice.” However, they failed to capture the glimmer and shimmer of the original opulent Bond theme and I thought of the more evocative version found as an exclusive on the Lost Patrol web site. Despite the noble efforts of Clem Burke (Blondie) on drums, Sinatra’s band sunk into an underwhelming “Blues Hammer-ish” song written by the bass player and my mind drifted back to the dreamy and elegant silver disc from the Lost Patrol. On their latest escapade, the emphasis is really on the vocal numbers. For me, “Off Like a Prom Dress” really embarks near the end--starting with the gliding “Firefly” which recalls Denise James’ Poptones record that unfortunately few heard. “…And Then Goodbye” etches the Shadows at their most florid and is just asking for some lucky film to scoop it up as its theme or soundtrack. “Bon Voyage” floats along on a rockabilly undercurrent while the mandolin-driven folksy “I Am Here” brings things back to land. With the casino glowing in the rearview marrow, I clicked in the Lost Patrol tape as the car pushed forward into the Indian ink dark of the timeless desert and the pinpoint guitars led me home.
The Lottie Collins-Runaway to the Mexico/Pouvatel 45
After seeing this fun bunch come clear across the Pacific to blast things right open for Nardwuar and the Evaporators a couple of years ago, it was exciting to see this domestic 45 in the local record racks with the intriguing title of “Runaway to the Mexico.” (Behind this release is the new Tempe-based I Don’t Feel A Thing label who have also released a snazzy single from Tiger Shovel Nose-one of Momoko Yoshino’s (ex-Sunnychar!) numerous bands.) However, my excitement dove to disappointment (like finding bills and a jury duty notice under a CD package in the mail) when I didn’t hear that Dickies and the Barracudas waterslide sound of their “Electric Surfer Girl” single from 1998. While I have not heard their split 7’’ with the Ewoks on Magic Teeth, that particular single left me convinced they could develop into one of Japan’s finest--which is no easy feat in a land brimming with more great bands per capita than anywhere in the world. Anyway, this pulls the lo-fi, played-out, rote, pedestrian rip-chords with the usual mega-phone-ish vocals that Supercharger bashed out a decade ago. Things improve when they out-smuggle the Smugglers on “Pouvatel.” If they ever get around to making a full-length, I hope they hang 40 near the splash of the Soup Dragons EP rather than towing the piss-take shallow end of the rock ‘n’ roll pool.
