JARBABY: Grave Disaster
cassette (UNREAD RECORDS)
Unread
Records is a fine little cassette/lathe-cut/private underground
music label run by Chris Fischer of Omaha, Nebraska. Chris
is from Lancaster, Pennsylvania, but he moved to Omaha
because that's where classic tape label Sing Eunuchs!
was from, so you know he's hardcore. Jarbaby is a dude
from Normal, Illinois, and this cassette has a pretty
serious 'early Shrimper' or, yes, 'early Sing Eunuchs!'
vibe. Bashed-out solo post-punk young-man folk. I should
say right off the bat that I can tolerate at the most
one out of every, say, three or four hundred solo singer-songwriters
I see or hear whose names don't happen to be "Bob
Dylan" or "Nick Drake." So you might say
this isn't REALLY my kinda thing, but Grave Disaster
does have a visceral quality that makes it connect more
than the usual back-of-a-coffeehouse-in-a-college-town
or opening-for-Franklin Bruno-in-a-college-town fare.
Mister Jarbaby has a fine way of singing sweet sad love
songs but screaming out the words here and there and pounding
his guitar like he might break a string, which makes the
whole thing kinda tense and nervy. Plus, the third track
on here is a super-distorted guitar-and-keyboard instrumental
that'll really wake you up. The tape could've used a few
more interludes like that in my opinion -- somewhere along
the second side the tape starts to slip into the singer-songwriter
bog a little bit, at least for me. I like pretty much
all the songs that have overdubs though, and I also like
the way that between the songs there's stuff that Mr.
Jarbaby just taped off of the TV or from his record collection,
and then he comes on himself and sings a song, sometimes
after imitating the thing he just recorded off of the
TV or whatever. It's that kind of underground off-the-cuffness
that elevates Grave Disaster, like a lot of Shrimper
and Sing Eunuchs! stuff, out of the dullness that pervades
this genre. And dig the painted-on cardboard envelope
thing the tape comes in......
LINKS:
UNREAD
RECORDS
METAL EXTRAVAGANZA
mix tape (MEMOREX)
I got
Kevin Wasteoid from here in town to make me a tape of
METAL, you know, death metal, black metal, doom metal,
grindcore, extreme metal, Scandinavian church-burning
bassist-killing metal, etc. etc. A year ago he played
me some music by a German band called Bethlehem and it
blew my mind. The thing that struck me was that it wasn't
just the extreme high-speed Iron Maiden-on-fast-forward
automaton metal that I'd been hearing - that was in there,
but Bethlehem also had this almost languid and deeply
melancholy "quiet" side, where a church-sounding organ
would come up in the mix even higher than the guitars
and the vocals would take on an almost operatic quality
(the scene in an opera where the villian is onstage alone
and has a psychotic breakdown under a forlorn spotlight).
But of course it was still heavy too, with plenty of speed-riffs
and slow-azz Black Sabbath riffs too, and a truly unforgettable
singer. I begged Kevin to make me a tape of Bethlehem,
and he promised to. In the Lincoln music scene, things
like this usually take about a year,
and sure enough, like clockwork, he dropped off the tape
at my job just a couple weeks ago. He ended up only putting
about five songs by Bethlehem on there, and filling out
the rest (a 120-minute tape, one of those shitty neon-colored
Memorex tapes) with tracks by TONS of bands. Let's see,
there's Discordance Axis, who are very good and make their
5-8 songs on here sound like ONE endless stop-start-scream-frenzy
song, a real black tunnel of apocalypse riffing. Cannibal
Corpse have a great singer, with a laid-back death-belch,
and also have very good riffs. Rorschach I don't remember
in any immediately distinguishable way. Flesh Parade kick
off side two and are really excellent, sounding a bit
like Discordance Axis - I put this side on while I was
driving down 17th Street to work, and to hear this EXTREME
screaming music going on while looking at all the people
in all the cars, slowly trudging their way to somewhere
further along, I really felt like I was FLYING above them
for at least a few seconds. (Yes, that's right, the liberating
powers of rock-and-fucking-roll, once again.) Gorguts
is a band with a singer who sounds like their name. They
also have a high screamy counterpart singer, which I'd
like to mention is one cliché about this genre; a lot
of the bands, especially the American post-hardcore skate-kid
metal bands, have one low death-belch singer and one super-high
screamy singer. It gets a little old, but it's usually
easy to forgive when wrapped up in the intensity of the
music. Cattle Decapitation is a side project of The Locust,
sounding quite a bit like The Locust (except again, they
have more of a low/high vocal dichotomy, unlike The Locust,
who are pretty much all high). Dystopia I don't recall
individually, oh wait, I think they're the ones who have
a sort of snotty surf-dude-ish singer instead of a high
screamy singer. And then there's Wasteoid, Kevin's own
band from right here in Lincoln, who recorded some stuff
at their practice space which Kevin was kind enough to
stick on here. They're really good, standing right up
with almost every other band on this tape, although again
they've got the low/high thing going on in extremis. Impaled
is next, then Mastodon, then Damad (if I'm reading Kevin's
writing correctly), then Napalm Death. I must've quit
paying close attention right through here, because 120
minutes is a long time to be listening to a bunch of extreme
metal, and I don't recall any of these last few bands
individually, not even the legendary Napalm Death, who
I've of course heard before. Finally, Kevin had the good
taste to end the tape with about two-and-a-half songs
by Virgin Steele! Terrible, screamy, slightly doomy (Helloween-influenced????)
80s cock metal! YES!!! MEEETAAAALLLL (up your ass)!!!!!!!!!!!!!
Thanks Kevin. -- Matt Silcock
NEWTON: Stain cassette
(BREATHMINT)
I got
this cassette direct from the man himself (Newton) at
a show he played at Omaha's Gunboat venue just a few weeks
ago. Newton is a guy from the Philadelphia area named
Mat and he's a FREAK, okay? Freaky in a good way, of course
of course, via intelligence, energy, and good humor. One
way he uses those characteristics is by dressing up as
a giant bumblebee with guitar pedals duct-taped to his
chest and playing broken toy keyboards while writhing
around, screaming into mics through distorted guitar amps,
etc. He and his bandmate (wearing a green orderly jumpsuit
and a labcoat) did this at Gunboat, and after the show
Mat went outside, right there on 38th Avenue & Farnam,
and started lighting off all varieties of fireworks he
had bought earlier that day in illegal-firework mecca
Missouri. This was quite a blast in several ways, and
it made neighbors come outside and the cops even showed
up and the kindly Mr. Newton gave them all of the rest
of his illegal fireworks, no questions asked. And anyway
sometime between the rock and the fireworks he gave me
a copy of this cassette which he's selling on tour. The
flip side of it has a little message sticker that says
"WARNING: Never attempt to insert cassette this side
up. Turn over before using." Newton was very adamant
that I heed this warning or there would be trouble. Someone
else looked at it and said, "Oh, that's an answering
machine tape. It's probably just a loop of about 30 seconds
of music." That wasn't as fun and mysterious as Newton's
warnings.
The next day, I played it in my car, right side up, and
heard some very nice beeping and crashing sounds, not
unlike the show I'd seen the night before, except coated
in that glistening room ambience that always sounds so
good in my car. Funny song titles too, like "Star
Spelled Backwards Scares Me." I couldn't tell if
it was looping back to the start every thirty seconds
or not; the sounds were all real similar but they seemed
to be changing in unpredictable ways. I wanted to be sure
I'd heard the last song, "I own the Black Dice 10
inch where they use that An Oxygen Auction drum beat,"
and after about six or seven minutes of the same stuff
I'd decided that the music was definitely looping every
15-30 seconds and I'd probably, you know, heard it. It
reminded me of Vigilance! by Harry Pussy. Great
sounds, though, I wish it really was a full-length tape.
With this kind of shit, 20 or even 10 minutes qualifies
as a full-length, so it's not that hard to do. Why you
noise-scene jokers, I orta.... I still haven't had the
guts to put it in my tape deck WARNING side up.
LINKS:
BREATHMINT
RECORDS
REPTILE cassette (NO
LABEL)
Reptile
is a band featuring the guy (in the labcoat) who was touring
and playing with Newton when our paths crossed in Omaha,
Nebraska, as recounted in the previous review. This guy
(why don't I ever just ask "what's your name?")
also gave me a cassette, explaining "This is my other
band. We dress up as lizards when we play. I've got tons
of these cassettes to get rid of." Cool! Okay, so
they dress up as lizards, or, to be specific, as a snake,
a lizard, and a turtle (it's a trio), but how's the music?
Well, it's stumbling, heavy, screaming, lumbering rock
music. It almost sounds like cavemen playing covers of
early Antioch Arrow songs, but where Antioch Arrow was
45 RPM, Reptile is down around 16 with the occasional
33. And that's only if cavemen sang their lyrics with
the post-hardcore "bloodcurdling scream" and
"death belch" vocal techniques. (Oh wait, these
singers are reptiles, what am I talking about cavemen
for?) Not bad, not bad at all, with five crazy songs that
clock in at not very much of a long time. (Twelve minutes
tops?) I don't think they're really a band anymore, but
they were there for awhile, and they have a website (see
below) that'll give some more info.
LINKS:
HTTP://BITE.TO/REPTILE
WILL SIMMONS: Him
With His Head In His Hands 7-inch (UNREAD RECORDS)
I
again have to rescind some of the more disparaging comments
I made previously about the indie singer-songwriter genre,
'cause this is a really good 7-inch. Simmons is a cat
who lives in Pittsburgh, though he's not from there, and
writes and records gem-like little acoustic songs. There
are six songs on this 7-inch, three on each side. It also
comes with some nice liner notes by Quayle Smithers ("Rock
Archivist") that I read before putting on the record,
and that really added to the whole experience. All six
songs are just guitar and voice, except the last one,
"For Vollis Simpson," which sounds like it has
an accordion is chugging along even though the liner notes
reveal that it's just 'a sample of "Gasn Nigun"
by Margaret Leverett (© 2000 Traditional Crossroads).'
The first
song is "Happy Birthday Cake for Kevin," with
sweet lyrics sung over a chiming rock guitar riff (that
just happens to be played on an acoustic in a bedroom).
When the song ends with a slow fade as Simmons repeats
the title a few times, sure it sounds kinda maudlin, but
then I imagine it being on some theoretical future volume
of The Smithsonian Anthology of American Folk Music,
30 or 70 years from now, and it suddenly sounds heavy
all over again.
On the
next song "One Man to Know," Simmons slows down
the tempo quite a bit and sings, in a sweet jazzy style
that I much prefer to the bombast of someone like Ben
Folds, surrealisms like "...only able to surface
after / breaking through the skin of water / tumbling
when divers only / take another glance at your father
/ he is only one man to know / he is only one man to know..."
"Praying
for Pittsburgh" certainly starts out a little maudlin
too but it's topical which has always been part of folk
music and either way, 30 seconds in it doesn't matter
anymore because of the soft chiming spareness of Will's
guitar playing, his fine singing, and his imagistic cut-up
lyrics. And in fact every song is short and direct, hanging
in the room like little sun-breaks through the blinds,
even the ones on Side Two that are even slower and in
minor keys. Good stuff from Pittsburgh manufactured in
New Zealand for an Omaha label. (I think it's a lathe-cut
seven-inch.)
LINKS:
UNREAD
RECORDS
THE GOLDEN AGE OF
UNDERGROUND RADIO WITH TOM DONAHUE cassette (DCC COMPACT
CLASSICS, a divison of CBS RECORDS, INC.)
Trust
me,anytime I'm at an Alco in Nebraska City, Nebraska and
I see a cassette clearance rack where there's a various
artists tape with songs by Donovan on it selling for 29
cents, I'm gonna buy it. Hell, I'd buy any tape for 29
cents, sight unseen, just to play the odds. It'd be more
fun than buying lottery tickets -- just think, two bucks
and you get eight different tapes, surely at least one
of them is gonna be by Black Sabbath or Peter Gabriel-era
Genesis or Merle Haggard or maybe some good blues like
Lightnin' Hopkins or Muddy Waters....or Spanish Flamenco
guitar or Montrose or The Best of 80s Metal or or or...
Or this
tape, a compilation of 'underground' pop rock tunes from
the Summer(s) of Love, with actual airchecks by Tom Donahue
on San Francisco's KSAN from 1968-1971 edited in between
songs. It's a gas, with Donahue's laid-back patter complimenting
strange psychedelic rock like "Fresh Garbage"
by Spirit and the fantastic long version of "Time
Has Come Today" by the Chambers Brothers. "So
You Want To Be A Rock And Roll Star" by the Byrds
is a classic 2-minute ode to guitar glory, just as "Get
Together" by the Youngbloods stands as a glorious
moment in mellow chime rock, thanks to the interlocking
guitar chording and Jesse Colin Young's sweet tenor voice.
Krist Novoselic from Nirvana made fun of "Get Together"
at the beginning of "Territorial Pissings,"
so people my age aren't s'posed to like it, but he was
just referring to that ridiculous Freedom Rock commercial.
I'm sure he's since heard it at a party and said "damn,
who's this?" and then when the chorus ("come
on people now, smile on your brother, everybody get together,
let's try and love one another right now") kicked
in he said "oh shit, this is the song I made fun
of! I've never heard the whole thing before! I kinda like
it!" Or something to that effect.
"Shoot
Out On The Plantation" by Leon Russel and "Delta
Lady" by Joe Cocker aren't too special but when coming
in the middle of all this underground rock historical
context, they don't sound too bad, just the way that not
every song you hear on the radio is equally great but
they are all of a piece. And then, the side closes with
the one song I really bought the tape for: "Atlantis"
by Donovan.
I
have previously only heard this song once in my life,
when I was about 14, living with Mom and Dad and Sis in
Tabor, Iowa and waking up to my clock radio alarm, which
was set to Sweet 98 FM, which played oldies every Sunday.
One Sunday the alarm woke me up while this strange song
was playing: a guy talking over a wistful art-folk-psychedelic-rock
backbeat, saying something about "strange continents,"
"new life"....."HAIL ATLANTIS!!" And
then the band kicks in for a big ride-out chorus, as heavy
as something like "Go Now" by the Moody Blues
or "Hey Jude" by the Silver Beatles, with big
vocals going "Way down....on the other ocean..."
on and on...and that's the song, just an intro and then
the chorus, fading out slowly into eternity.
I never heard the song again, and I never thought to buy
it in a record store, but every now and then I would think
of it, and then about 10 years later I was playing guitar
for Opium Taylor and drummer Matt Focht was also fascinated
by the song after having heard it once somewhere. We'd
have conversations: "Matt, do you have the song "Atlantis"
by Donovan?" "No, but I love that song, I heard
it when I was 14 and I haven't heard it since!" "I
know, I've only heard it once too!" Every record
store we stopped at, and we stopped at one in almost every
town, Matt Focht would scour the Donovan section, always
coming up empty. Where was "Atlantis"? It seemed
like it would be easy to find, on any old Donovan greatest
hits collection. But as far as I know Matt never found
it. Now he lives in Brooklyn, New York and whaddayaknow,
I find it on a 29 cent cassette at an Alco in Nebraska
City, Nebraska. I'll admit it's not quite as majestic
as I remembered it being on my clock radio during blissy
sleep-fog that morning of sixteen years ago. But it's
still pretty damn great -- my favorite part is Donovan's
amazing spoken intro -- is that his real accent, or is
he just showing off to be cute??!??
Side
two opens with another great Donovan song, "Hurdy
Gurdy Man," the most notable use of the tremelo effect
pedal in rock history. (Runner up: "Crimson and Clover"
by Tommy James and the Shondells, another unfairly dismissed
great band, "Mony Mony" notwithstanding; "Cr.
& Cl." was an extremely psychedelic pop single,
and in the pictures on one old LP I've seen, the band
has a look that could pass for the 13th Floor Elevators.)
Then "Darkness, Darkness" by the Youngbloods,
which isn't as good as "Get Together." "I'd
Love To Change The World" by Ten Years After is a
pretty great song though I'm not sure what Alvin Lee means
by "everywhere it's...
dykes and fairies" or whatever that line is. I think
he's complaining about them. "On The Road Again"
is my favorite Canned Heat song and I'm so stoked it's
on here...I've been looking for that tune on record as
long as I've been looking for "Atlantis," but
I didn't even recognize it by its title when I bought
this cassette. It's the one that goes: (low voice, blues
melody, call-and-response background vocal): "In
the rain and snow..." It has this amazing electric
pulse to it, as if the
overdriven blues-chug harmonica licks are dicing
and slicing over a tamboura being droned on throughout.
And I love that singer's falsetto.
"What
About Me" by Quicksilver Messenger Service is, I
think, an old radio hit, because I swear I've heard it
before. From hearsay I've gathered that Quicksilver had
an extrapolative psychedelic jam side, with guitarist
John Cipollina spoken of in awed tones, but this song
is total pop, almost literally indistinguishable from
a Jefferson Airplane song sung by Marty Balin. Pretty
good song, really -- no extrapolative psychedelic jam
section, but there are a lot of lyrics that rail against
The Man.
"Do You Know What I Mean" is an old funky rock
classic by Lee Michaels, singing soulful vocals and playing
Hammond organ, accompanied by only a drummer. Sort of
like a much more 'inside' and R&B-referencing Silver
Apples! The last song is "Scottish Tea" by the
Amboy Dukes, which being recorded in 1968 must have Ted
Nugent on guitar! It's an instrumental, and there's definitely
a lot of guitar playing -- it ends being a little shrill.
Throughout
the tape are the endearing time-capsule song introductions
and public service announcements by Tom Donahue. (Who?)
Stuff like "Donovan has a new single that a lot of
people should be able to get into..." or "I
wanna get to one other cut here that is in our vast collection
of unreleased records...we sure do have a lot of 'em these
days...record companies need to catch up!" or how
about his closing statement, "And that's the way
it was and that's the way it is....and it's always changing
and it is always the same. How's that for psychedelic?"
How indeed, Tom!
See
how much fun can be derived from 29 cents (plus state
sales tax) at an Alco in Nebraska City, Nebraska?
FRANK
WRIGHT: Your Prayer CD (ESP/ZYX)
After
the reissue
on CD of the Frank Wright Trio (ESP-ZYX), the Center
of the World reissues, and the Actuel box set which featured
a 20-minute track by the Reverend, I thought I'd had enough
of this guy for awhile. For some reason I still found
myself buying his ESP followup, Your Prayer, when
the ZYX reish turned up used at the Antiquarium (Omaha,
NE). Even after getting it at home, I was saying "Man,
I really don't need this, I coulda put the eight-fifty
towards that Grateful Dead Anthem of the Sun album…"
but then I noticed, for the first time, the presence of
one Arthur Jones in the lineup, on alto sax. Jones is
the guy who I was introduced to by his many incredible
appearances on the Actuel box set. This guy is a first-class
alto sax player who mixes an almost Lester Young-ish vibe
with an ability to truly rip paint of walls (you should
see the room where my stereo is). He takes the first solo
on the CD, and about five notes into it I was completely
satisfied with my purchase. Turns out this album was his
first recorded appearance, from May 1967, and the opening
track, "The Lady," is his composition. There's also ripping
trumpet by Frenchman Jacques Coursil, banging drums by
longtime Wright cohort Muhammad Ali (not the boxer but
the brother of Rashied), and Steve Tintweiss himself is
the bassist. Finally, the tenor sax style of (the Reverend)
Frank Wright continues to boggle my mind. His tone goes
from zero to absolutely convulsive and epileptic in much
less than 2.5 seconds. He makes Pharaoh Sanders sound
like Sonny Stitt and Sonny Stitt sound like Kenneth G
himself. Approach with caution - at this session all the
horn-players seemed to have their secret 'ass-rip' key
fully depressed throughout. (The 15-minute title track
closes the album and it's a small masterpiece, climaxing
about 11 minutes in when the horn players after several
blowing interludes over a frantic rhythm from the bass
and drums all start moaning together with their voices
instead of their horns…)
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