Jive Time Turntable

Ric Ocasek “Beatitude” (Geffen, 1982)

ea9234a756d1d56c2875efae1a5Very much a studio creation and a work evoking distillation and sanitation, “Beatitude” might as well be Ric with Kraftwerk as his backing band, if they’re willing to add stadium-worthy guitar, lovers bass and shmoozy sax all over. Since The Cars made a bit of a weak Rock effort (with a capital R), going New Wave was probably Ric’s most viable option, and it has to be said, he didn’t hold back during his solo year.

A drum machine (affectionately named “Miss Linn” in the liner notes) beats metronomically, and a series of vocoder chirps kick off Ric Ocasek’s first solo effort. Seems like a great foil for his brand of punchy New Wave… “Jimmy Jimmy” and “Prove” are pure electro-pop nuggets of the freshest variety. And “Connect Up To Me” looks like it would fit next to Gary Numan’s “Cars” or anything by Wang Chung on FM band. Well, maybe a radio edit, it’s all sequencers and drums with Ric riffing over chimes and crisp keys, going for about seven minutes plus… It’s not even a dance track, necessarily.

This is New Wave in it’s truest capital form, far from the streets, floating somewhere in space. Interestingly enough, it’s when New Wave as a genre gets further from it’s source material (punk template, let’s blur no lines), when it’s clean, detached and empty, that it really becomes it’s own thing. Play this with Gary Numan’s “Dance” or Japan’s “Gentleman Take Polaroids” for maximum posh. And watch out for rockets! – Wade

The Sonics “This Is… The Savage Young Sonics” (Norton, 2001)

This+Is+The+Savage+Young+Sonics+This+is+The+Savage+Young+SonicOh boy! I’m sure most of us are familiar with Tacoma’s pride and joy, The Sonics, but this release is a real special collection of demos. It’s like opening up a shoebox of baby-pics, or popping in a VHS of your kid walking for the first time, then running bases, or putting on a play. Really cute stuff.

That comparison isn’t too far off from the truth either, since it was some of the members Proud-Father recordings that are enclosed. For starters, we have the barely together but pleasant early studio (or living room? Sock-hop?) work of “A-Rab,” and plenty of standards like “Rumble,” “Mashed Potato Time,” “Louie Louie” etc; etc;

Live recordings, radio ads and homemade demos all collected here make for pleasant listening, all of a growing garage band before they had their attack-stances down. And it’s a great time to pick it up, since the Sonics just released their first album after nearly, oh, fifty years. Look at how good they turned out. -Wade

Record Store Day Sale!

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Here’s a peek at tomorrow’s Stranger Ad. Hope to see you all on Saturday, April 18th. ¡Feliz Dia de los Discos!

The Fall “Grotesque” (Rough Trade, 1980)

Grotesque_coverHot on the heels of the immortal “Totally Wired” single, The Fall dropped “Grotesque” and really outdid themselves. Right out of the gate you get the rocking “Pay Your Rates” and a 180 turn into the chipper sounding “English Scheme,” a seemingly jolly number with an absolutely dirty electric keyboard bouncing throughout.

Mark E. Smith really becomes Mark E. Smith here as well: “New Face In Hell” and “C ‘n’ C-S Mithering” spews broken working man poetry over obscene instrumentals embellished by kazoos and backing tapes of who-knows-what. Side one ends with a more straightforward rocker, “The Container Drivers.” It may seem odd, but then Mark has cited Bo Diddley and Link Wray as some of his favorites, right alongside Damo Suzuki. He’s not afraid to not be weird and rock proper.

Side two kicks off with a militant rumble in “Impression of J. Temperance” and works it’s way in a similar fashion (apart from the incomprehensible mess of “WMC-Blob 59”) toward the closer of “The N.W.R.A.” or “The North Will Rise Again.” Being from Manchester and proud of it, Mark E. had to end with a near ten-minute opus to declare it. Rough and tough, Manchester and Mark E. may be synonymous in most ways. You can say that for The Fall too. -Wade

TV On The Radio “Return To Cookie Mountain” (4AD, 2008)

61Q190HN53LDrones, loops, samples, plus plenty of live instrumentation create the defined sound that TV On The Radio engulf themselves in. Tracks can be made in a hip hop foil, but don’t really convey the feel, and they rarely rock out (except on the well-arranged radio fodder of “Wolf Like Me” and few other album tracks), so what is it exactly that they do?

On the opener for “Return To Cookie Mountain,” fractured samples create an eerie and depressive mood for vocalist Kyp Malone and troupe to spill their souls on. In truth, “I Was a Lover” really could be the centerpiece of the album, but they decide to hit us with it first. Samples stutter, horns and sitars create a morose atmosphere and lyrically, it’s all about cycles, days going by. Maybe getting a grip when it looks like good days are long gone. This cycle of sound and repetition flows through the whole of “Cookie Mountain,” and gives something for Kyp to ride his observations over.

Repeated listens may reveal meaning behind their mostly esoteric lyrics; all in all it’s very self-conscious stuff. TV On The Radio can be lumped in with the Arcade Fire / LCD Soundsystem camp, where an inability to stop being cognizant prevents them from being a conventional pop group, or a sweaty id-driven rock band… If a group can be carried on sound alone though, TV On The Radio have a unique niche locked down at some musical crossroads that’s worth a look. -Wade

Neil Young “American Stars ‘N Bars” (Reprise, 1977)

American-Stars-n-Bars-thumb-500x500The cover art here was the first thing that caught me. Neil has fallen, his face smooshed down on some glass floor. But from your vantage point you can see all the action above his head; an obscured girl with a bottle, bright stars and crescent moon. Pretty disorienting, and it doesn’t give clues to the content inside…

On this album, Neil stirred up songs that were really intended for other projects and put them on a single platter, making this a looser album made in a pinch. When it was first released that was probably the main gripe of critics, lack of consistency. So, steel guitar and country twang take up a bit of the first side (The Old Country Waltz, Hold Back Your Tears), with spots of heartland rock breaking through (Saddle Up The Palomino, Bite The Bullet). Side two has more of the same; zig zags of country and rock songs, especially the guitar showcase of “Like A Hurricane,” probably his most impressive longplayer after “Cortez The Killer.” Maybe even better. Another great standout on this side is the affecting “Will To Love,” which could put a tear in your beer.

A great smattering of Neil Young material, “American Stars N’ Bars” touches on many a feeling from previous albums like “Zuma” and “On The Beach,” really well at that. I guess he had too many good ideas falling out of his head and this is where they ended up. – Wade

LCD Soundsystem “LCD Soundsystem” (DFA, 2005)

R-472821-1118681571.jpgTen years old! And hardly a blemish on this self-titled LP by everyone’s favorite party group of NYC hipsters. James Murphy (alleged Mark E. Smith impersonator, former Six Finger Satellite sound guy) did most of the work on these tracks, with a little help from his friends and future live players.

Spotted with hits, tracks of mashed up genres come together in a mix of dance, punk and psychedelia drenched in electronic residue. After the release of the totally-meta “Losing My Edge” single, Murphy still had opportunities to sport irony and pretension. “Daft Punk Is Playing At My House” kicks side one off and from there takes you to the bonafide pop of “Tribulations” and the Suicide-esque pummel of “Movement,” which probably has the most lyrical heft of the record’s time:

“It’s like a movement/without the bother of the meaning
it’s like a discipline without the discipline of all the discipline”

Bands have to try so much harder these days, not to succeed, but to avoid pastiche. Or in LCD’s case, work to rise above it and approach music making in earnest. What can all this familiar music mean? Or, what can it be perceived to mean? Real or imagined, these are the pitfalls that LCD manages to dance around. And you get to dance around too, especially on “Thrills,” “Disco Infiltrator,” etc;

Hardly being lumped in with other dance-rock diminished returns of the day (and there were a lot of them, oh boy), LCD’s first release manages to harken back and still sound fresh. And moments like “Never As Tired As When I’m Waking Up” shows that Murphy is just as good a songwriter as he is a studio head. He loves his music, and if you like his long list of refs and citations, chances are you probably will too. -Wade

Record Store Day Sale!

Join us Saturday, April 18, 10 AM to 9 PM, for our biggest sale of the year! In celebration of national Record Store Day, all used records and CD’s will be 2o% off! (Additionally, all new vinyl will be 10% off!) Plus, receive a special limited-edition, hand-screened “Day of the Record Store” poster with any purchase. Spend $50 or more and get FREE T-shirt! (While supplies last).

Thank you for supporting Jive Time and all of our local, independently-owned record stores on Record Store Day and every day. Brick and mortar (and vinyl) is alive and well in Seattle!

Ariel Pink’s Haunted Graffiti “Before Today” (4AD, 2010)

homepage_large.8df288c5Previous releases and performances by L.A. iconoclast Ariel and his rotating players (which sometimes included R. Stevie Moore and John Maus) had a feel of pop songs gone astray, drifting into listless hiss, or maybe fragments and collages akin to Throbbing Gristle. But eventually he found the musical foils necessary to breathe new life into his bedroom rock and roll fantasies, and the results really culminated on the 4AD released “Before Today” and haven’t stopped since.

Many tracks are reworked and given a new sheen, like “Beverly Kills” and the totally anthemic “Round and Round,” and each side includes interesting choices of cover songs such as garage rocker “Bright Lit Blue Skies” and the African guitar pop instrumental “Reminiscences.” Ariel and co. string together Jackson Family-funk, power pop and soft rock songs, all of high quality. The most important change isn’t even the recording fidelity, but the fact that this may be Haunted Graffiti’s first release that comes across as a genuine album… Each track is put in it’s proper place from front to back, and despite all the genre leaps it feels like a real cohesive piece of work.

Most of these numbers would be oddly enjoyable to the average listener, but if there is any real insight into Ariel’s head it can be detected on “Menopause Man,” a sub-grooving number about being who you are, with emphasis on gender identity. Shades of Genesis P-Orridge maybe? Perhaps a few notches off… Anyway, all tracks within come across as slightly askew pervo-pop, but “Before Today” is an example of how punchy and professional Ariel and his Haunted Graffiti are these days. -Wade

Black Moth Super Rainbow “Dandelion Gum” (Graveface, 2007)

Black-Moth-Super-Rainbow-Dandelion-Gum-album-cover-artworkComing out of nowhere (actually, rural Pennsylvania), Black Moth Super Rainbow are quite an enjoyable anomaly. Working with samples, synths, vocoders and a living, breathing rhythm section, BMSR produce a sort of electronic psychedelic pop informed by all sorts of contemporary sounds.

On “Dandelion Gum,” a mid-period release, it all comes together in the best possible ways. “Jump Into My Mouth and Breath The Stardust” is meditative with it’s acoustic guitar samples and sounds somehow folky, despite vocoders heavily transforming vocals. “Melt Me” is a pure sugar rush for your speakers with fat electronics, maracas and a killer bass line. And “Rollerdisco” sounds as if it was disco-edited library music from a PBS channel; hipped-up space age material reminiscent of Stereolab.

Side one is chock full of these meshed, unique tracks. Side two has a few detours; many of the songs are simple demos or snippets. One is even called “Untitled Roadside Demo,” and just off the cuff you can tell that the players here have found something special with each other. Recommended if you’ve ever liked a Ghost Box release, The Books, or library music in general. – Wade