TRILOGY OF TUNES #1: The Motels

TRILOGY OF TUNES #1: 

THE MOTELS

Recommended titles by THE MOTELS

THE MOTELS/CAREFUL 

(First 2 albums on 1 CD)

ALL FOUR ONE/LITTLE ROBBERS

(3rd and 4th albums on 2 CDs + bonus tracks)

ESSENTIAL COLLECTION

An Appreciation: MADNESS Part One

An Appreciation:

MADNESS
(Part One)

Graham "Suggs" McPherson
Chris "Chrissy Boy" Foreman
Mike "Monsieur Barso" Barson
Lee "El Thommo/Kix" Thompson
Cathal "Chas Smash" Smyth
Daniel "Woody" Woodgate
Mark "Bedders" Bedford

Madness may be best known in the U.S. for their 1983 hit single "Our House", but they had quite a history before and after that hit.  Now known as one of the UK's greatest singles band of all time, Madness also recorded some of the greatest albums of the '80s and achieved success far beyond what anyone could have predicted.  They have become a musical institution in their homeland and their music is synonymous with London.  They 

I first became aware of Madness in 1979 by seeing their debut album, One Step Beyond, in the record bins. Being musically curious, the cover struck me immediately: these guys looked like they'd be fun to listen to.  I was vaguely aware of the Ska movement in the UK but I wasn't drawn to the band because of their musical style.  In fact, when I plopped down my allowance and bought the album, I had not yet heard a single note by them.  I was buying it based on the album cover alone (which I did a lot in my younger days).

"Hey, you!  Don't watch that, watch this!  This is the heavy, heavy monster sound.  The nuttiest sound around...."

When I laid the needle on my newest purchase, those immortal words from the mouth of Chas Smash came leaping from my turntable like an atomic explosion.

"So, if you've come in off the street and you're beginning to feel the heat, well, listen buster, you better start to move your feet to the rockinest, rock-steady beat of Madness!   Oooooone Step Beyooooond!"

And then the music started... my 16 year old ears were floored by this circus-like music that was immediately joyful and energetic.  The rinky-dink keyboards, the blarring sax, the revved-up Reggae beat... so this was Ska?  I was an instant Madness fan and I'd only heard the first 45 seconds or so of the first track on the album! What followed excited me right down to my core: these guys played music that may have had Punk's energy but mixed Pop, Rock, Reggae, Ska and classic music hall into one amazing wall of sound.  The production by Clive Langer and Alan Winstanley was flawless and I would buy practically anything they produced from this point on...

ONE STEP BEYOND...

(The Salvo two CD reissue adds loads of non album tracks.)

Lyrically, Madness were very British.  Being a young American, I wasn't able to relate to some of the lyrics, but that didn't stop me from loving what they had to say.  How many other bands at the time had a song about someone who stole underwear ("In The Middle Of The Night")?  I could definitely relate to songs about relationship strife ("My Girl") and I really dug the Ska'd out version of "Swan Lake' as well.

One Step Beyond contains many of Madness' most popular tracks including "My Girl", "Night Boat To Cairo", "Madness", "Bed & Breakfast Man" and many others.  While the title track and a few other songs were covers, most of the album was written by various band members and they were just as great!  Shortly after I purchased the album, L.A.'s great alternative radio station, KROQ, picked up on the songs "One Step Beyond", "Night Boat...." and a few of the other album tracks, turning Madness into the first Ska band to gain a huge following in SoCal (followed closely by The Specials, English Beat and Bad Manners). 

I bought every single from the album including "Un Paso Adelante" the Spanish version of the album's title track. Each of the singles had non-album b-sides that were absolutely fantastic.  This was a band that seemed too good to be true.  And at such a young age (they were all in their early 20s), they shouldn't have been this good.  But sometimes, the right musicians come together to create something special and these six gents (plus Chas, who would become an official member after the debut album was recorded) were certainly the right men for the job.

The following year, amidst the break-up of my first real teenage relationship, Madness were there to ease the pain with their first 'new' single of '80, "Baggy Trousers", a track that would be the lead-in for their second album.  I bought the 7" vinyl at Licorice Pizza and it solidified my love for this band.  In my mind, they could do no wrong.  Alongside The Jam, Squeeze and Split Enz, Madness were MY band throughout high school.

And as expected, KROQ picked up on "Baggy Trousers" around the time of the U.S. release of their sophomore album, Absolutely, in October of 1980. I remember how awesome it was to hear while driving in a friends car on one of our many record shopping treks.  Being young never sounded so fun.

I remember being stuck in Driver's Ed class after school on October 10th, just waiting for the moment that I could leave and head over to Licorice Pizza.  I had started working at Jack In The Box and had set aside money to buy the album.  My birthday was only a few days away, but I made sure NOT to ask for the album because I didn't want to wait that extra three days to listen to it!  So, when Driver's Ed let out, I hopped on my bike and headed straight for Licorice Pizza and bought Absolutely...

ABSOLUTELY

(The Salvo two CD reissue of the album adds all the non album tracks plus a full concert from the Absolutely tour)

Regardless of how passionate I felt about One Step Beyond, I loved Absolutely even more.  The band's Ska beat was still there, but they had matured and more influences had begun to creep into their sound.  Every song was an absolute gem: "E.R.N.I.E.", "Embarrassment", "Disappear", "In The Rain" (which had been a b-side of an earlier single), "The Return Of The Los Palmas 7" and many more.  The album was so great that it nearly brought tears to my eyes. I still have so many fond memories of listening to the album under the headphones and soaking it all in.  The album received more plays in that first month than One Step Beyond did over the course of the entire year.  I don't think I listened to anything else for quite awhile.

Again, I bought each of the singles that were released and slobbered over the b-sides. I bought UK magazines just to find out info on the band.  Even though they had made quite a splash, there wasn't a lot printed about Madness in American music magazines, which I found downright unforgivable. But in the end, it was all about the music... and that is what mattered most.

When 1981 dawned, I'd heard rumblings of a Madness movie.  A movie?  While I didn't quite know ALL the details, I was intrigued. The movie that finally emerged, Take It Or Leave It, had the boys in the band recreating their early days when the band was just coming together. Of course, I didn't see the movie until a decade later when someone lent me their VHS copy (which may or may not have been a bootleg...). The movie was funny, a bit awkward (was there a script?) and filled to the brim with pure Madness. While it may not have been A Hard Day's Night, it remains a great snapshot in time when the band were still filled with youthful energy...

Take It Or Leave It (Complete)

In April of '81, the band released "Grey Day", a new single that continued their move towards a mature Pop sound. The single broke the band's ties with their Ska past while still managing to retain their unique sound.  Though not a ballad, "Grey Day" was a more relaxed affair with darker lyrics and a Dub vibe.  In essence, it was almost a shock to the system after the two rambunctious and energetic albums that preceded it.  Did this mark the end of their jovial youth and their first steps into adulthood?  In a sense, yes. It also showed that Madness were unafraid to move forward, which many bands are hesitant to do once they hit a winning formula.

Around this time, I read that Madness were on tour in the U.S. and were making a stop in Reseda at a venue called the Country Club.  Being 17 and not having a driver's license, I asked my friends if they wanted to go. Of course, nobody wanted to make that drive so I had to deal with the disappointment of not seeing one of my fave bands play live. When the gig got closer, I found out that they had been sold out and second show had been added two nights later.  I think that sold out quickly as well.  I was bumming big time....

In May of '81, I managed to tag along with my brother Mike and our friend Rick Intveld to go see  Rockabilly favorite Robert Gordon live at the Roxy in L.A.  While we were waiting in line outside of the Roxy, Rick says "Hey, that guy looks like Suggs from Madness".  I turned to see this guy walking past us and froze: was that Suggs? I looked at Rick and my bro and wondered if I should call out his name to see for sure.... so I did.  Immediately, this tall chap turns around and scans the crowd, trying to see who called his name. Yes, it was Suggs!  I didn't fess up then and there, but I followed him to the front of the line and who did I manage to see?  Along with Suggs, there was Bedders, Chrissy Boy and perhaps Monsieur Barso (I can't believe I can't remember all the members in attendance standing there in front of me).  I went up and spoke with them, all of whom seemed extremely nice and either surprised or annoyed that someone recognized them.  They were in town for their Country Club gigs and were checking out Robert Gordon since they had the night off.

While I'm chatting with the guys, Suggs points me in the direction of sax player Lee El Thommo Thompson, who I then go and chat with for awhile. He was a top bloke.  He asked if I was going to the show at the Country Club and I said 'no' cuz it was sold out.  We chatted a bit more and then the doors of the Roxy opened and we went inside.  About 30 minutes later, I passed him on the way to the restroom and he leans over and says to me "Steve plus one".  I wasn't sure what he meant.  He repeated "Steve plus one" and told me I'd be on the guest list for the Sunday night show at the Country Club!  And lo and behold, when  Rick and I showed up on Sunday, there I was: on Madness' guest list.  So, May of '81 is when I saw Madness live for the first time and they blew me away. They did stuff from the first two albums plus tracks that were yet to be released including the song "Pac-A-Mac", which really stood out for me.

(Of course, three years later at an in-store autograph signing, Lee Thompson had no recollection of our meeting at the Roxy or getting me on the guest list, but that was OK.  The fact that he did it was pretty damn cool.... and the memory has remained an extremely fond one for 30+ years...)

Later that year, out comes the album 7, which showed the band moving even further away from the Ska sound, but it seemed more like a natural, organic shift rather than a conscious decision.  With two years of touring behind them, the band were better players and they were now being influenced by music and cultures outside of jolly old England.  Madness had matured very quickly and were practically seasoned pros at such an early stage in their career.  The songs on 7 still had charm, wit and delicious melodies but the band were becoming masters at their game: fantastic arrangements, more introspective lyrics (without being pretentious) and a more spacious production, which really allowed each member's musical contributions to shine.  From the aforementioned "Grey Day" and "Pac-A-Mac" to the singles "Shut Up" and "Cardiac Arrest", 7 was an amazing album from start to finish.  It may not have been as 'nutty' as their previous albums, but it was every bit as fun-tastic. While I think Absolutely and One Step Beyond might be considered better albums, 7 remains my favorite Madness full length platter.

7 (SEVEN)

 (The Salvo two CD reissue adds a plethora of non-album tracks) 

A funny thing happened in late '81 when the band released "It Must Be Love" as a single in between "Shut Up" and "Cardiac Arrest".  Why was it funny?  Well, the single was a track NOT on the album!  While it sounded like it could have been recorded during the 7 sessions, "It Must Be Love" was a stand-alone single and earned the band major airplay all around the world but there wasn't an album to support it until the following year when it appeared on the band's 1982 compilation Complete Madness. I always thought that it was a bold move to release this single and it paid off for the band, becoming one of their best loved songs. While it was not an original (it was penned by singer/songwriter Labi Siffre, who appeared in the video), most folks in the U.S. think of this track alongside "Our House" and "One Step Beyond" as the most popular Madness songs.

To coincide with the release of the Complete Madness collection, the band released a new single in '82 called "House Of Fun", which became their first (and, so far, only) UK #1 single. The song combined the more mature arrangements of 7 with a jaunty tune that could have fit on Absolutely.  It was both 'nutty' and 'mature' at the same time with the subject matter dealing with the attempted purchase of condoms by a young man coming of age.  As the title suggests, it was definitely one of their most 'fun' singles to date. 

Later that same year, the band released the non-album single "Driving In My Car", another fun tune that may not have reached the heights of their previous seven inchers but was a slice of Pop genius, especially when El Thommo's sax break would pop in and out of the recording.  In a way, the song was a link between their earlier nutty sound and a more serious direction that they would follow on their next album.

The band's last release of '82 was a song that would eventually become their biggest U.S. hit and the song that has become their most well-known song: "Our House". It cemented their reputation not just in Britain but all over the world.

My appreciation of MADNESS will be continued in Part Two

ASIA: New guitarist announced after departure of STEVE HOWE

ASIA 

announces that 

SAM COULSON 

will replace the recently departed 

STEVE HOWE

If 2012 was a year to remember for ASIA, with the release of the acclaimed studio album ‘XXX’ marking the band’s thirtieth anniversary, then 2013 is set to be another. John Wetton, Geoff Downes and Carl Palmer are delighted to announce that not only do they have an incredible talent in place to step into Steve Howe’s shoes, but also that their first international show with newcomer Sam Coulson will be a high profile performance at Sweden Rock 2013. Sam is a wonderful player, world-renowned amongst guitar virtuosos. Additionally, a new studio album, to be entitled ‘Valkyrie’, will be recorded for Frontiers Records during 2013 continuing the band’s relationship with the label.

John Wetton said, “ASIA is ready to take its next steps along this remarkable road. We cannot wait to perform again for the fans and also to unveil some of the new material, of which we are very proud”. Geoff Downes said, “We look forward to writing another chapter in Asia's history”. Carl Palmer commented, “We’re all looking forward to the next decade of great ASIA music”.

ASIA formed as a supergroup of stunning pedigrees, bringing together songwriter, lead vocalist and bassist John Wetton [King Crimson, UK], keyboardist Geoff Downes [Yes, The Buggles], drummer extraordinaire Carl Palmer [ELP] and Steve Howe [Yes]. Their self-titled debut album was the biggest selling album in the world in 1982 and monopolized the Number 1 slot in the Billboard charts for 9 weeks. The album is still in the top 3 Geffen sales of all time, with Guns ’n’ Roses and Whitesnake! With tracks like mega-hit ‘Heat Of The Moment’, ASIA helped to create the MTV phenomenon. The band’s work perfected the use of videos that encompassed stories and messages, examples being the work for ‘Wildest Dreams’, ‘Only Time Will Tell’, ‘The Smile Has Left Your Eyes’ and ‘Don’t Cry’. ‘Heat Of The Moment’ is still a radio fixture and has been in top TV and films including ‘40 Year Old Virgin’, ‘South Park’, ‘Cold Case’, ‘The Matador’ and countless others.

In 2006 the original band reunited for a tour of USA, which was followed by four world tours and several continental tours. The reunited band has played over 300 shows and released three new studio albums, three DVDs and a number of live albums. The track ‘An Extraordinary Life’, from 2008’s album ‘Phoenix’ was chosen as the theme music for America’s Got Talent. This is a band with plenty more to say.

With a new guitarist in place, Sweden Rock confirmed and more high profile live dates to come, plus a new album slated for release, the ASIA trajectory continues: onward and upwards!

IAN McNABB/Head Like A Rock (Deluxe Expanded 2CD Edition): Available February 5, 2013!

IAN MCNABB

HEAD LIKE A ROCK

(Expanded 2CD Edition)

2.5.13

Who is Ian McNabb, you ask?  Well, first off, you should be ashamed of yourself for not already knowing.... but since you asked...

Ian McNabb is one of the UK's finest singer/songwriters.  From his amazing releases in the '80s with The Icicle Works to his inspiring solo work in the '90s and beyond, McNabb has not released anything resembling a bad record.  While Oasis, Blur and The La's may have garnered all the praise in the days of Britpop, Ian McNabb was making records that were better and far more consistent than those made by his commercially-accepted contemporaries. 

One of those albums, Head Like A Rock, is receiving the deluxe treatment from Cherry Red, which is pretty awesome.  There's a remastered version of the album plus a bonus CD that contains 9 bonus tracks.

Read the sell sheet info below and get yourself caught up.  Its McNabb time!

After the Icicle works split up Ian went solo and signed for Andrew Lauders This Way Up Label after releasing the well-received Truth and Beauty McNabb was allegedly inspired to a rockier sound by the engineer who mastered that record, telling him "Aye, Ian, your rocking days are behind you." Legend has it that McNabb went back to his home in Liverpool, and recorded a demo of what would become the coruscating opener of Head Like a Rock, "Fire inside My Soul".

 Label boss Andrew Lauder then suggested that McNabb go to record in America, which McNabb was sceptical about. He facetiously suggested to Lauder that his new material sounded like Neil Young and Crazy Horse, and if Lauder could get Crazy Horse to play on the record, he would go to America. A few phone calls later, McNabb found himself in a Los Angeles studio with Crazy Horse drummer Ralph Molina and bassist Billy Talbot. This cast-iron rhythm section appeared on four of the ten tracks on Head like a Rock, including the No. 54 UK hit "You Must Be Prepared to Dream". The album's other single, "Go into the Light", did not feature Crazy Horse and peaked at UK No. 66.

Head like a Rock was subsequently nominated for the 1994 Mercury Music Prize, and although M People would end up taking the award home, the attendant publicity surrounding the award-nominated album propelled Head like a Rock into the UK album charts, where it peaked at No. 29.

An Appreciation: THE RESIDENTS

An Appreciation: 

THE RESIDENTS

If you’ve never heard The Residents, then I can guarantee that you have NEVER heard any band (or any THING) quite like them.  To say The Residents are unique is like saying that fire is hot or that cooked broccoli and cheese smells like soiled baby diapers: it’s the goddamned truth!  Words cannot describe them, but a quick spin of their music doesn’t do them justice: they are a band that needs to be LISTENED to instead of just merely ‘heard’.  In fact, they are a band that needs to be absorbed into one’s system.  They are a band that constantly challenges the listener, sometimes even confuses them, but they are also a band that rewards the listener with music that is both dark and brooding as well as warm and inviting.  They are as childish as they are pretentious.  They are avant-garde and uncommercial yet strangely melodic and addicting.  They are like no other.  They are The Residents…

My first introduction to the band was in print.  Being turned onto the Punk/New Wave scene in ’77, I immediately decided that I would listen to every new/current artist with a THE in front of their name.  Being a kid of limited funds (a weekly allowance was all I could muster in ’77), I would at least be able to buy new music magazines that I could pore over and make purchase decisions based on reviews and recommendations.  The Residents fit the bill: they seemed like they were interesting and they had a THE at the beginning of their name.  Perfect.

Their biography is filled with truths, fibs, lies, half-truths and sworn affidavits, but I won’t go into all of that.  You can Google their story on numerous websites. But what I will say is that the band’s four members were never named and their identities were kept secret.  The anonymity of the band members helped to ensure that their art was based on the music and presentation and not by what they looked like.  While I didn’t quite understand it at the time, now I think it was a brilliant move.  They were years ahead of their time without even knowing it.  Try remaining anonymous and selling loads of albums in 2012!  Aint gonna happen…

It wasn’t until 1979 that I bought my first Residents LP.  It was an import collection on Virgin Records called Nibbles.  I was very keen on owning SOMETHING by them so I could have a listen but I couldn’t decide whether to fork over extra money for an import or just buy one of their five albums.  I walked into my local Licorice Pizza one day and saw Nibbles mismarked at a domestic price and that sealed the deal for me. I quickly walked home with my import copy of Nibbles safely tucked in a white paper bag that was emblazoned with the then-familiar Licorice Pizza logo. I was excited to finally get to hear them (reminder to young readers: the internet was not available so I was unable to illegally download their albums at the time.)

Alas, I must admit that as a 15 or 16 year old in 1979, I was not quite prepared for what I heard.  My excitement was immediately replaced by ‘what the fuck?’  I remember my heart dropping and realizing that I had just wasted my whole allowance on a collection of worthless songs by a talentless band.  I was actually angry because I could have easily bought something else.  I went to school the next day and bitched about it to my friend Phil Caballero.  He was one of the only guys I knew at this young age (15 or 16) that actively pursued experimental music, so he was eager to hear them.  I brought the album to him the next day and 24 hours later, he told me he loved it and would gladly buy it off of me.  I happily took his money and moved on.  I must admit that I did feel a little regret in selling it because some of the tracks were intriguing (I especially loved the “Chew gum! Chew gum!” chant from the “Six Things To A Cycle (Excerpt)”.  I mean, there was no doubt in my mind that they were unique but they certainly wouldn’t make any of the mix tapes I made for friends.

I took my money and probably bought some new Punk or Power Pop album and continued down my path of New Wave bliss. Though there was that regret, I think I was glad that I had cleansed myself of The Residents and their often tuneless racket.  But little did I know, that wasn’t the last I’d be hearing from the unfab four…

A year later (1980), out comes The Commercial Album. I began reading lots of great press on the album, but I tried to avoid the temptation to waste my money on these untalented knuckleheads.  Fuck The Residents.  Not going to spend my hard earned money on them!  I was working at Jack In The Box and had more money at my disposal, but I was still going to avoid them.  But then I read that XTC’s Andy Partridge made a guest appearance on the album!  Andy Partridge likes The Residents?  Hmmmm…. Being a huge XTC fan at the time, that was enough to make me curious again….

So, at the tail end of 1980, while at Rene’s All Ears on Melrose in Hollywood, I bought The Commercial Album.  What a concept, I thought: 40 one minute songs!  I quite liked the idea that all pop songs are made up of a musical idea that is roughly one minute long yet repeated three times in the course of a formulaic pop song.  And then the fact that all ‘commercials’ were roughly one minute long, it did make sense to me (or so I thought… I had turned 17, you know). With the songs on The Commercial Album, The Residents ran with both of those ideas and created an album of one minute songs that could serve as either the basics of a pop song (with all the fat trimmed off) or as commercials.  I mean, I may not have described it properly here, but I’m trying to think with my 17 year old brain and it makes sense to me.

When I heard the album, The Residents suddenly made perfect sense to me.  They were still completely weird and, regardless of the album’s title, uncommercial, but taken in bits and pieces, their music finally clicked with me.  Unlike anything before or since, The Residents won me over big time.  The odd sounds, the strange vocals…. But the thing that struck me was the melodies: there were plenty of them floating around…. I didn’t care whether it was a haunting keyboard sound, an out of control guitar or a garbled vocal… I was struck by these out of the world melodies that would play in my head long after the needle left the record.  My friends couldn’t hear the melodies because they couldn’t get passed the utter weirdness all around (much like me a year before) but I was in love.

I then made it a point to go back and buy their previous albums.  Since I now understood where they were coming from, musically, I was certain I’d be able to comprehend what had come before… and I was right!  From Meet The Residents to The Commercial Album, there were more musical ideas than 10 bands could fit into that time span (roughly six years of releases).  Although they weren’t accomplished musicians in the early days, their ambition and passion was what made The Residents who they were.  In a sense, they were yeas ahead of the Punk movement because they showed the listener that making interesting, thought-provoking music could be made by anyone who possessed that same ambition and passion.  The Residents created music for the love of art.  In the early ‘70s, it seemed as if they couldn’t play their instruments but by 1980, they had overcome their limitations and in total control of every note that they recorded.  To be honest, they were probably proficient musicians from the very beginning but chose to forget everything they knew and start from scratch. Over the course of their first half-dozen albums, The Residents became just as influential as the art that inspired them.

One of the things that I didn't notice until much later was the fact that rhythm is such an important part of The Residents music. There always seems to be some type of percussion (real and/or electronic) keeping the songs alive. And with The Residents, is it ever in 4/4 time? When the music feels like it's going to lose control, the rhythm, which can often-times be subtle, holds everything together.. Even when a song has little to no percussive instruments, there is a distinct rhythmic tone to the vocals... not unlike reciting a nursery rhyme. While listening to some of the band's music (particularly the Not Available album), I was drawn to the simple rhythmic patterns and began to concentrate more on those than the actual melodies.  I found myself tapping out those rhythms on my steering wheel and on my desk at home and in the office.  The Residents' rhythms are hypnotizing.....

My love affair with The Residents has remained as strong as ever.  Their first decade of recordings still amaze and amuse me.  I must admit that I haven’t cared much for their music since they ‘fractured’ sometime after the Mole trilogy in the mid ‘80s, I will always listen to what they have to offer.  Their identities still remain secret (unless you really troll the internet and piece things together), but it does seem that the band ‘split’ (i.e.: one or two members left) in ’83 or so, losing some of their charm.  But that is just me.  Perhaps I just need to delve back into their more recent material and it will finally click again? I've heard a few tracks lately that really made me want to sell my siblings so I can afford to buy the band's more recent titles!

The band has reissued their music numerous times over the years on CD.  In recent times, they’ve been issuing the albums with their original album cover artwork and no bonus tracks (or so it seems). What the are doing is releasing the albums as originally intended before they had to make cuts due to the audio limitations of vinyl (the more you tried to fit on an LP side, the worse it sounded). While this would normally frustrate me (What?  A reissue with no bonus tracks?), it does make perfect sense when you look at the albums as pieces of musical art.  Will any of Van Gogh or Picasso’s paintings ever be re-released with extra brush strokes?  I think not.  So, listening to The Residents oeuvre as it was originally intended to be heard might be the best way to enjoy them again… or for the first time! With that being said, there are some differences in the reissues, so pay attention!

I won’t pretend that I fully understand the artistic statements that The Residents have made over the years, because I’m far too dense for that.  What I look for is songs, melodies and something that piques my interest, challenges my senses and leaves me completely satisfied while also wanting more.  Often times, I’ve had to listen to certain tracks numerous times in the same sitting and immerse myself in a world that was completely different to anything else I had experienced.  Some people might wonder where on earth I could find the melodies in a song by The Residents, but they are there by the bucket load.  The band does not deconstruct music to the point of being unlistenable like other experimental artists do: they merely create a truly unique musical universe that is entirely different to the one Simon Cowell has created in the modern age.  But where Cowell creates music that is disposable and completely lacking in flavor and originality (McMusic, anyone?), The Residents’ music and art still stands the test of time.

To keep with the ‘art’ theme, I will be your curator and offer you some insight into their current reissues, all of which fall under their so-called 'classic period'. Collectors should take note that two of the titles offer a little bit more than even I first realized: 

MEET THE RESIDENTS (1974)

When I first saw this cover in the album racks back in '75 or so. I thought it was a comedy album... something along the lines of Firesign Theater or National Lampoon.  I couldn't possibly imagine that anyone serious would desecrate the Beatles' image and album cover in such a manner.  Well, it took a few more years for me to hear the album and it all sounded oddly appealing... BUT I can't imagine what my 11 year old self would have thought about it when the album was first released.  Meet The Residents has always been a haunting album for me.  Stranger than Beefheart and Zappa, it sounds like the work of a group of friends realizing that making music doesn't always mean playing by the rules.  Imagine throwing a bunch of hippies into a studio armed with an old piano, a guitar and a pile of children's toy instruments: something interesting is bound to happen, right?  Well, The Residents created an album that sounds exactly like that scenario, only better.  The album is mostly instrumental, though voices do make very memorable appearances throughout the album. This reissue of the album uses the mono mix, which is far more haunting than any other version.  Yes, I'm a stereo guy and will always choose stereo over mono but I have to admit that mono makes Meet The Residents sound like an album that might scare young children.  And that is not a bad thing.

THE THIRD REICH ‘N’ ROLL (1976)

While the band claim that Not Available was actually the second album they recorded, they withheld its release and chose to issue their third album in its place.... which makes it the second album in their discography.  Are you following me?  On The Third Reich 'n' Roll, The Residents take the classic Rock music that inspired them and turn it on it's head.  Two long medleys ("Swastikas On Parade" and "Hitler Was A Vegetarian") make up an album that offended many with its depiction of Dick Clark (holding a carrot) as the leader of...er... the music nazis?  With swastikas gracing the album cover, it was banned in Germany and elsewhere.  The music contained on the album consists of the band's Residential takes on '60s Top 40 music, turning many of them into slightly frightening dirges that will amuse some and offend others.  Rumor has it the band took the original recordings and played on top of them, but removed the originals for copyright reasons, only leaving their unique interpretations for the public to hear. While only snippets of each of the songs weave in and out of the medleys (mixed with sound effects), the listener is left with an unsettling feeling.  Is pop music all it's cracked up to be?  Some call these recordings 'parodies', but there's something more going on here than meets the ear. Instead of this being a tribute to all that was good about Rock, it may be an album that deconstructs the myths of Pop culture while building a new piece of art to take it's place.  While this may not be the best place to start your Residents collection, it stands as one of their most well-known albums. You may not be able to listen to these songs the same once you've heard The Third Reich 'n' Roll.

FINGERPRINCE (1977)

Returning to their own original material for their third full length release, Fingerprince was the album that cemented the band's 'sound' and paved the way for future releases.  Originally intended as a three sided LP, that plan was eventually dropped and the proposed 'third' side of the album was released later as the Babyfingers EP. For this reissue, the album's original tracklisting has been reinstated and all tracks from the original three sided concept are here and accounted for. The first third of the album is made up of short songs, all of which show a band full of ideas who are now capable of presenting them in 2 or 3 minute bursts of creative energy. This is not to say that they've gone 'commercial': not in the slightest.  The Residents don't do things by halves and each song is unique and full of strange little hooks that worm their way into your brain.  The second third of this release features the four songs from the Babyfingers EP.  Of the four, three of them continue the trend of the first seven tracks (short songs) while the fourth, the eight minute "Walter Westinghouse", is one of the band's most popular tracks.  It actually sounds more like it was conceived at the same time as their Not Available album, but it just follows the same storytelling pattern.  The final third of the album is the 17+ minute "Six Things To A Cycle", which musically resembles the Meet The Residents album but is far more advanced and, dare I say it, far more interesting.  Its like circus music from a pediatric insane asylum.  I was going to say 'circus music from hell' but there's nothing evil about it.  But the song is oddly fun and, though one may not always find the time to sit through 17+ minutes of it, I recommend a complete listen to let the whole thing sink in.  Fingerprince is one of my personal fave Rez albums and this restored version ties up loose ends nicely. 

DUCK STAB (1978)

While Fingerprince may have seen The Residents begin their move beyond the long musical suites that dominated their first few albums, Duck Stab was their first foray into the world of ‘pop’ music albums: a collection of 2-3 minute songs.  The original Duck Stab was a seven track EP, but those songs were eventually joined by a further seven from the cancelled Buster & Glen EP, creating this 14 track album. And for the uninitiated, this may be the place to start your Residents collection.  It’s just as unpredictable as their earlier albums but the melodies are more immediate.  The lyrics are more understandable, yet even the nursery-rhyme delivery cannot hide the fact that they are hard to understand (if that makes any sense).  You can hear every word more discernibly, yet the subject matter will leave you scratching your head.  “Constantinople”, “Hello Skinny”, "Bach Is Dead", “Sinister Exaggerator” and “Laughing Song” are a few highpoints.  Duck Stab is one of the most popular of albums from The Residents and deserves to be listened to by anyone who enjoys something a little left of center.  Actually, a lot left of center!

NOT AVAILABLE (1978)

According to The Residents, Not Available was the second album they recorded (in 1974) but they held back it's release because it was too personal and they filed it away, using their Theory Of Obscurity as the reason.  This meant that the band would not release the album until all members had forgotten its existence. But alas, their next project, Eskimo, was taking longer than expected so they chose to release it to appease their growing fanbase.  Yeah, whatever. The arrangements, production and instrumentation of the album was far more advanced than the three albums that had been released since this was supposedly recorded. All I can say is that Not Available is an incredible piece of work and remains my absolute favorite album of their classic period. The album is their equivalent of a Prog Rock concept album: four long songs that tell a story followed by an epilogue. But what that story is about, I do not know.  All I DO know is that each of the four tracks are filled with little musical vignettes that contain some of their best melodies.  Yes, it's strange and completely different than you'd expect, but get past the weirdness and its an amazing listen. And imagine my delight when this restored version ended up with 8 minutes of additional music!  We're not talking bonus tracks here, though.  A few of the tracks had been edited down from their original length in order to fit on the vinyl LP format, but the recordings have been restored much to my delight.  I never knew that the album had been edited so it was a great thrill to be able to hear this music for the first time. It was fascinating to hear the album in a whole new light.

ESKIMO (1979)

A concept album was not a new thing for The Residents.  The Third Reich ‘n’ Roll and Not Available were two examples of the band’s ability to successfully record full albums based on a theme (although I still don’t understand Not Available at all. But then again, I don’t understand The Wall or Tommy either). On Eskimo, the band decided to recreate the life of an Eskimo using only minimal music and vocal chants and grunts (to simulate the Eskimo’s native language).  From the arctic chill that opens the album, Eskimo literally and figuratively transports the listener into a different world.  Does the album actually simulate the real life of an Eskimo?  Well, that’s debatable.  I think it is successful in making the listener BELIEVE that they are experiencing the life of an Eskimo, but even by 1979, were walrus hunts still a part of the average Eskimo life?  Hell, I don’t know but it makes for an amazing album.  The album’s songs cannot easily be removed from the context of the album: the listener (assuming they are not an Eskimo) needs to leave their real world behind and experience the album from start to finish. The album can be a challenging listen at times, but the same can be said of The Beatles' White Album! If you find yourself with a serious lack of time, then track down the song “Diskomo”, which took musical passages from the album, added a Residential disco beat and condensed the whole thing down into a quick and easy listen.  (“Diskomo”, which was a single, is NOT included on this reissue of Eskimo since it was not part of the original album). As a side note, the album's cover was the first time the band was depicted with the four eyeball heads, which has become their trademark ever since.

Strangely enough, their next release, The Commercial Album, took a completely different musical turn and was the polar (pun intended) opposite of Eskimo.  But that’s another story….


And there you have it.....

Here are a few random YouTube videos if you want instant Residents gratification. If you want to listen a little more intently, click on the Spotify link where I've compiled some of my fave tracks from these albums.

Click HERE to listen to a compilation of tracks from these albums on Spotify!

Peace, love and eyeballs,
Stephen SPAZ Schnee

DAVID COURTNEY: One of the UK's most under-rated artists

Can you name one song by David Courtney?  If not one that he recorded under his own name, can you name a tune he wrote for someone else?

If the answer is 'NO' then that's a real shame because Courtney was (and still is) a gifted British songwriter that deserves your attention. He's written tracks for many artists and has remained a songwriter first, although he released some mighty fine albums under his own moniker. While he did have great success by discovering and co-writing much of the early Leo Sayer material, his name, so far, has only been remembered by those who pay attention to liner notes and have a knowledge of rock's more obscure artists. And lets be honest, we know that a good portion of bands on those obscure lists can be loads more talented than the bands that had a substantial commercial breakthrough.

Apart from working with Sayer, Courtney is responsible for co-writing all of Who vocalist Roger Daltrey's first solo album, Daltrey, in 1973 either with Sayer or with British pop star/actor Adam Faith.

Speaking of Adam Faith, Courtney was responsible for getting the British icon back into the studio after nearly 20 years away.  The album that they worked on together, I Survive (1974), was worlds away from Adam's teen pop recordings from the the early '60s.  I Survive was the work of two artists intent on creating a new image for Faith, one which would show that he was a serious musical artist and not one that lived on past glories. More like Ronnie Lane's earthy recordings or perhaps The Kinks and David Bowie's more acoustic-based '70s work, I Survive was an eclectic showcase for all involved. The album featured guest appearances from Paul & Linda McCartney, Ritchie Blackmore, Russ Ballard, Bob Henritt and Martin Birch.  I Survive wasn't the commercial success that everyone hoped for, but the album received positive reviews and has withstood the test of time. The 2010 reissue on Angel Air Records features two additional bonus tracks. 

As for David Courtney's own solo releases, he may not have been prolific but the handful of titles released under his own name are well worth any music fan's time.  The early Kinks and Bowie references can be applied here as well, but there's also a tip of the musical hat to Bob Dylan, music hall, '60s pop, tin pan alley and so many other genres that weave in and out of each song.  While they are certainly the work of the same artist, Courtney's albums don't stand in one place too long.

David Courtney's First Day was his 1975 debut solo album and is a wonderfully unique release that features loads of great tunes that are filled with more musical ideas than most artists' entire career.  The orchestral opening ("Silverbird") makes way for the Spector-esque production of "Don't Look Now" followed by the Bowie-goes-Country vibe of "Everybody Needs  A Little Loving". And that's just the beginning... The album works because Courtney is a great songwriter who knows his way around a hook but prefers to do things his way and doesn't always conform to the standard songwriting or arranging formula.  With musical assistance from David Gilmour, Tony Burrows, Russ Ballard, B.J. Cole and many others, David Courtney's First Day is thinking man's Pop Rock. The album received great reviews and made an impression in the Pop charts as well. The Angel Air Records reissue adds seven additional tracks.

When it came to following up such a monumental release, Courtney went back into the studio in 1976 with most of Argent and cut his second solo album, Midnight Madness.  The album was completed and ready for release but Courtney felt it wasn't worthy of being the follow-up to First Day so he shelved the entire project.  Four years later, he went back into the studio and recorded the Shooting Star album (named after the hit single he wrote for the pop duo Dollar).  Shooting Star was a synth-laden affair yet it still managed to retain all the charm of his previous output.  Sadly, he chose not to release the album and shelved it as well. He eventually released the albums in limited quantities but they were extremely difficult to get ahold of.  Thankfully, Angel Air Records has compiled both albums on one CD and that release is due in January 2013.

In 2012, Courtney released the album The Show Must Go On, which was a musical journey through his long career and contains new recordings of songs he did with Sayer, new material and some classics from the albums listed above (including a few from Adam Faith).  While not a 'hits' collection. The Show Must Go On is both an introduction to the man's great work and a step forward while looking back.  Like all his releases, it's top notch and contains songs that will make you wonder why on earth he has remained in the background for so long.  

David Courtney.  Remember that name.  

PROG ROCK PARADISE:Double CD sets remind listeners of Poland's mighty Progressive Rock scene!

When the average music listener thinks of Prog Rock, most likely the bands Yes, Genesis, Emerson Lake & Palmer and King Crimson spring to mind first.  The more 'educated' music fan (ie: geek) will probably throw in names like Van Der Graaf Generator, Gentle Giant and maybe some more modern acts like Marillion and Dream Theater.  But, like any music scene, things get exciting when you look beyond the U.S. and UK shores and start digging deeper into bands from other countries like Italy, Germany and Poland. While English lyrics may grace most of the releases, some of the bands do sing in their native tongue. But isn't it the music and musicianship that matters most?

Metal Mind Productions is a Polish label and one of the finest Rock/Prog/Metal labels in the universe. Whether you love Thrash Metal, Death Metal, classic Heavy Metal, AOR or Prog, Metal Mind has something you'll slobber over.  Yes, they did sign a band by the name of Anal Stench (insert your favorite 'stink' joke here) but they also handled some amazing reissues by AOR and classic Metal bands like Giuffria, Boulevard, Lillian Axe and Tank.  In fact, their catalog is so varied that its always exciting to see what they release next.  You may not love everything on the label, but there's something for everybody to love.

Some may love to scan the radio dials and look for something 'new' to listen to.  Others may want to read Rolling Stone or Pitchfork to stay on top of the latest musical trends.  Me?  I just love to hear as much as possible in any way that I can. And yes, I am very blessed to be able to listen to a lot of different things each week, whether they are new artists or reissues. With that being said, Metal Mind is a label I'll always pay attention to.  I don't like all of it, but I appreciate the fact that they exist and they are great at doing what they do.  With each of their releases that I'm lucky to get a hold of, I listen and I learn.

Being a relative newcomer to their catalog, I was over the moon when they released a batch of 2CD sets that contained a pair of albums by some of Poland's greatest Prog Rock artists: SBB, Collage, Satellite and Believe. These 2CD sets are reasonably... no, make that incredibly... priced and should be snapped up by anyone wishing to expand their musical horizons, Prog Rock or otherwise.

SBB

SBB are one of Poland's longest-lasting Prog bands, originally forming in 1971.  While they did split up in 1980, they've reformed a few times over the years and made that reformation semi-permanent in 2000.  Metal Mind has released two separate double disc sets: Iron Curtain/ Memento Z  Banalnym Tryptykiem and Nastroje/Ze Slowem Biegne Do Ciebie. Both sets provide a great overview of the band's later work and offer up a plethora of great Prog moments.  

COLLAGE

For anyone into the '80s and '90s Prog Rock scene, Collage were one of the best of the best.  Like a mixture of both Fish and Hogarth eras of Marillion, Collage's sound mixes the lush and moving sounds of classic '70s bands with clean, well-produced modern Prog shine while tossing in loads of stunning melodic hooks.  With great vocals and musicianship, Collage sound just as wonderful today as these nearly 20 year old recordings sounded when first released.  My current favorite is the Moonshine album, which contains many 'wow' moments.  Metal Mind has released two different double CD sets, both of which are pretty amazing: Changes/Moonshine and Basnie/Safe.

BELIEVE

While Collage may have broken up, the band's members have gone on to create more great Prog.  Believe was formed by former Collage guitarist Mirek Gil, who takes the band in a similar lush direction.  The playing is superb, the production is warm and open and the songs are top notch.  Sometimes, it's hard to understand why a band from Poland can't make waves in the U.S., but I suppose there is always time.  The double CD set World is Round/Yesterday Is A Friend offers up some magnificent music that is as moving as it is melodic.

SATELLITE

Continuing with Collage offshoots, Satellite was formed by that band's drummer, lyricist and co-writer Wojtek Szadowski. With the help of new bandmates and some of his Collage pals, Satellite's music picks up where his old band's Moonshine album left off. Mesmerizing melodies drift in and out of expertly arranged Prog movements, never sounding old and tired.  Frustrating as it seems, Satellite are constantly compared to Collage, although they do tend to travel above and beyond the musical boundaries that he helped create nerely two decades ago.  The two double disc sets include the albums A Street Between Sunrise And Sunset/Into The Night and Evening Games/Nostalgia.