Being a pop culture staple now, many album lists cite “Double Nickles on a Dime” as The Minutemen’s number one release with a bullet. And being that it’s a double album chock full of material, it may seem like the only pieces of vinyl by them you would have to pick up to get a feel for who these guys are.
A few better and much more timely reviews are available from rock-write gods Richard Meltzer and Byron Coley on the topic of this full length, “What Makes A Man Start Fires?” – but I’ll tackle it anyway. After “Paranoid Time” and “The Punch Line,” this LP draws the line between the Pedro boys and a lot of the punk-funk material being released across New York and a whole lot of Europe. The songs are longer, change grooves more and more frequently and have a quality many of those groups lacked; combustion.
Yes, The Minutemen were a rock band and not just a West Coast post-punk outfit per se, or at least not in total. Songs, songs not tracks, like “Fake Contest” and “The Anchor” for a start, have undeniable grooves, and they could be extended dance numbers, but their short, punchy lengths and D Boon’s trebly guitar and spouting keeps them right in their very own proper rock context.
Meltzer: “…they told riffs, both unviable and viable, where to get off; used em’ only as suited their fancy, by which I don’t mean they were fancy ass fashioners, I mean they stripmined their musical souls…” and Coley on upping funky post-punkers: “…brings the band one conceptual step closer to the mainstream and demonstrates a firm grasp of (and delight in) the genre that previous demi-funk sorties inferred.”
For borrowed start/stop grooving of R&B and homemade rock, this is their most fleshed-out effort… and it was probably their transition point! How many groups pull that off? -Wade
London was home to many interesting musical artists of the late 70s, and The Flying Lizards may be one of the most shadowy outfits of the day. Made up of experimental musicians interested in pop music, their ranks included emerging music journalists David Toop and Vivien Goldman (the latter being a sort of Marianne Faithful type) and a number of improvisers.
On this self-titled debut, excursions into dub, sound collage and dressed down disco make a great backing for frilled or deadpan lyrical deliveries. “Her Story” simply describes itself as a love song with no need for further investigation, while “Russia” just lets the beat ride, sounding a bit like a Talking Heads “Remain In Light” outtake.
While the Lizards do experiment with pop forms, one of their only efforts to succeed at charting was their enigmatic cover of “Money.” Quote unquote singer Deborah Evans stripped down monotone delivery is prominent and in stark contrast to the shambling instrumentals and backing run-down by the Lizards, turning the cover into a cult favorite. It even meanders into an extended, dubby, musique concrete mess of sorts.
Many members of the Flying Lizards dispersed further underground or into obscurity. This debut is a real lynchpin of new music from post-punk London and still sounds exciting today. -Wade
As well known as SST may be in America courtesy of releases by the near unswayable Black Flag and underground rock staples Minutemen, Meat Puppets and Sonic Youth, much of their roster still goes unnoticed. And even when Saccharine Trust got name-dropped by Kurt Cobain they still managed to slip into the ether.
Not that SacTrust really made it easy on themselves; their brand of rock isn’t as dope-smoking friendly as their more popular San Pedro brethren or the Puppets. Their first release “Paganicons” is actually about as conventional as it gets for them, and it’s still a challenge; but this EP is also tight interplay, great changes and aberrant lyrical prose from front to back.
Vocalist Jack Brewer comes across as if he’s just breaking through pubescence (that would change), or belting out his voice for the first time in his life, and his way of delivering just-so stories differs greatly from any other known punk rock affiliate of the day. And accompanied by a killer rhythm section, one of the final guitar heroes of our age, Joe Baiza, really trucks along with lines that would evolve into some of the most inventive playing put on disc, or on stage for that matter.
Going track by track would really be redundant, since each one is a great story or feeling conveyed. The voices at work are really unlike any other outfit before or prior, and their touring reactivation in the U.S. and Europe has finally gained them much deserved attention in recent years. – Wade
Digging through the “P” section of a record file and finding a metal canister these days isn’t too uncommon. And if you are just getting into PiL, then it will probably be exciting, since the contents inside this “Metal Box” are some of the strangest, most vehement studio works to ever surface on vinyl.
While their self-titled debut willfully trailed off from the typical punk rock template of the day to show off experiments in dirges, spoken word excerpts and even some studio flirtations on it’s closer “Fodderstompf,” the three plates inside “Metal Box” show just what some open-minded troublemakers could do when they were allowed to goof off with corporate money backing them. The general idea behind PiL’s strange packaging was instead of releasing a bloated double album, they would be producing a bundle of “singles.” And we aren’t talking 7” singles. Which really meant that these “punks” were actually more into contemporary moments of the day that were released on dub-plates and extended disco edits.
Not only was the release a brave idea (or at least an opportune idea agreeably pushed along by Virgin, due to Ex-Sex Pistol John Lydon’s celebrity), but their approach in the studio was also informed by the production of those styles. It’s all just done about… atypically. Lydon, bassist Jah Wobble and former Clash guitarist Keith Levene were joined by a number of drummers to produce exciting, monotonous rock (“Albatross,” “Poptones”) derelict disco (“Memories,” “Socialist,” “Swan Lake”) and some simple sketches made to stretch across your speakers (“The Suit,” “Radio 4”). Taking these records out of their protective tin can be a chore, and the constant shifting of styles slapped together across each track can make make this parcel a bit of a challenge.
But approached one disc at a time, over time, “Metal Box” can be one of those truly rewarding albums that surprises you with every few listens. Luckily, this very strange slab of experimental pop has been reissued by the label 4 Men With Beards, and in it’s proper protective casing at that. -Wade
Two DC boys spawned out of some post-hardcore Dischord zone ended up in San Francisco with their strings and a Michigan-bred drummer in tow. Well into the 21st century, this power trio tapped into dissonant music stylings of all sorts and let it rip with rocked-out fury.
Mi Ami seemed set upon bringing the punk/noise axis a bit closer to dance, free jazz and world music, and if that sounds like it’s a repeat of The Pop Group or DNA or some other post-punk unit, then the description doesn’t quite work. See, what we have here on “Steal Your Face” is not as anti-rockist as those new wave forerunners. Daniel Martin-McCormick’s guitar playing can be a banshee in a snowstorm, or a series of direct hits with a serrated edge. Bassist Jacob Long maneuvers as a strained tightrope while Damon Palermo places his beats in a busy and danceable fashion.
And many of these tracks are danceable; “Latin Lover” is the closest thing to dance floor fodder you’ll find on the disc. Rending guitar shreds at all the right moments to lose your head to while the attacking rhythm onslaught keeps things grounded. But all the while, McCormick’s unique style of singing may be a turn off to some listeners; his vocals send up hardcore flags… Not that you’ve heard a hardcore-kid rip a Whitney Houston lyric before. And he makes his vocal delivery count just as much as his exciting guitar flaying.
Then a churner like “Dreamers” will have you seeing another interesting side to this group, one that has many interesting tangents to explore. Many of the numbers here can be expansive, sparse or confusingly full on first listen, and once collected together under an album dubbed “Steal Your Face,” well… Maybe they are more indebted to fleshing out sound in a manner more similar to the Dead rather than PiL?
Later albums of Mi Ami went sans-bass player and opted for a two man dance operation that’s a very different animal, but their energy and work ethic has spawned many prolific dance projects still ongoing. “Steal Your Face” is their last great statement as a modern power trio. – Wade
Modern Rock’s possible reality as natural progression post-Hip Hop/Drum and Bass? A product of over-saturated media youth?
Hella fall short of being a traditional rock group by only having two members, but tradition isn’t a relevant factor when the stuff these guys push feels so immediate. Debut album “Hold Your Horse Is” would be as good a place as any to start with their brand of hyper-fast prog rush. An electronic doodle kicks off the album that brings to mind 90’s gaming console sound chips, before the live element crashes through with “Biblical Violence” and from that point never lets up.
To produce the sort of manic nowness of your active day, Hella’s self taught drummer Zach Hill actually uses (in a relative sense) slow punctuated beats… but fills the space between by hitting the skins and cymbals as fast as superhumanly possible, creating a striking sound that’s not start/stop but rather start/gogogogogogo/start et al. While Hill flogs his kit, guitarist Spencer Seim plays spastic melodies, creates strange drones and chips away at you with repetition. And whenever necessary, they make neck-breaking changes. It happens a lot.
As crazed as all this may sound, the overall tone here is not violent or oppressive but rather triumphant, it can be used sonic pick-me-up; like chugging a pot of coffee to get through a heavily scheduled day. Does that help you? “Hold Your Horse Is” is about as focused and concise as their albums get and a solid debut… After this, the duo felt free enough to experiment in more electronic territory and at one point expanded their roster.
This album is near-live instrumental music synced to modern times, man made jams informed by all sorts of media blitzkriegs, and a document that is as good a tool to your life as amphetamine might be, if that’s your drug of choice. -Wade
Before becoming an equally interesting pop group, Scritti Politti were actually a band brought up like Amon Duul… As a commune collective. But the performing three-piece core were more than a political message in a musical vehicle; they had one of the tightest rhythm sections of the post-punk vanguard in their native UK.
This collection of singles on “Early” begins with Scritti finding their footing on rigid tracks like “Skank Bloc Bologna” and “Messthetics” which utilize odd rhythms that are very un-rock like. It’s hard to really grasp what their sound is, but the production here makes everything seem dank and bass lines are always high in the mix, bubbling to the surface next to itchy guitar lines, drums and chimes.
But the real gems in this collection are from their single “4 A-Sides” which kicks off the second vinyl of this double LP. Not quite rock, punk or pop, disparate styles are fashioned together in such a way that seems so natural, you may miss all the great lyrics vocalist/guitarist Green Gartside brings to the mix. Part of Scritti’s appeal is that vocals accompany the music here and not the other way around; listen closely and Green’s ideas of breaking down language blends perfectly with their sharp and wound up style.
And closing out, you get to hear the beginnings of their second stage as a sort of soul group infused with socialist theory and even more interesting linguistic axioms… Smooth, smooth music for language nerds. “Early” is a great assemblage of instrumental workouts and word play like very little else! -Wade
After the punk fallout of the late 70’s in the UK, many groups that didn’t go the route of repetition instead went down more interesting avenues, leaving the “rock” part of punk behind to amass dub, free jazz or funk and disco stylings into their rep. Most acts didn’t try as hard as The Pop Group.
Their first album “Y” is a stew of ideas that may not sit well for everyone, but is definitely worth investigating if you have a tough pair of ears. Early on you get the track “Thief of Fire” which is actually about as conventional as this adventure gets, and it’s pretty kooky. Almost jangly, almost disco-esque guitar glistens against rough and tough funk basslines and metronomic beats. Until the track turns itself inside out with feedback, tribal drums and atonal sax… All the while vocalist Mark Stewart (who stands about seven feet tall) yelps and screams as anarcho-politico. For how much everything seems to fall apart, the Group remain in control and bring it all home.
Other tracks with tight playing include “Snowgirl,” side one closer “We Are Time” and “The Boys From Brazil” on the flip… All this angular playing may bring up thoughts of Beefheart’s Magic Band with more ill will. Most of their other audio adventures are woven together through free playing, sound collage, and dub editing. The almost pretty “Savage Sea” rests just below unsettling, nearly ambient, while closing cut “Don’t Sell Your Dreams” hardly abrades, ending with a plea and sparse arrangements.
Impressive as both a live and studio act, The Pop Group still manages to amaze after more than thirty years, and their recent reformation cues renewed interest in this disc. Fans of early genre bending music by the likes of PiL, The Minutemen, The Fall or The Birthday Party should take note. -Wade
Springing out of the black and white world of The Specials, Fun Boy Three arrived in the early 80’s alongside shiny 2.0 versions of Scritti Politti, The Associates and The Human League.
These groups former years were experimental and dour, but their later careers showed a shared ambition of breaking into pop charts while retaining an experimental and subversive edge. Being on the UK’s Top of the Pops was suddenly more important to the underground than ever, whether it was under personal or political motivation, and it would be a battlefield.
With Fun Boy Three’s “Waiting,” their second-wave Ska roots take a backseat to showcase the studio mastery of David Byrne who at that time was on top of the world after “Remain In Light”-era Talking Heads and work with the B-52s. The Fun Boy Three are accompanied by horns and strings to give them a sophisticated sheen that never clashes with Byrne’s love and use of African instrumentation, and the Boys’s bring their political sloganeering and working class statements to the mix.
The big hit on this disc? What might be seen as a cover of the Go-Go’s “Our Lips Are Sealed” was actually collaboratively written by Go-Go’s guitarist Jane Wiedlin and Fun Boy Three’s singer Terry Hall, but the Go-Go’s had put out their version first. In any case, it was a hit heard around the world, especially across the Atlantic and back again. They had their shining moment as chart-infiltrators during an incredibly interesting time in UK pop music. -Wade
Bring up L.A. Punk to folks without a map or a schematic showing what scene-did-what, and they are likely to tune out. Plenty of great groups came from L.A. but there is a certain point when and where an element of sameness set in after the initial waves of Hardcore, when the rot took hold cross-country and suddenly the genre niche could really bum people out with predictability.
So to clue you in, The Germs were around during the Punk heyday and grew around a suddenly fertile Hollywood scene. While the Hardcore-era film “The Decline of Western Civilization” shows them being monstrous alongside footage of Huntington and Hermosa Beach surf-jock (-jerk) bands, and their equally monstrous fans, the Hollywood area had a particularly dirty n’ glammy, ambiguously sexual thing going on that was just about as exciting as how different a lot of these Hollywood groups sounded (Bags, Screamers, Vox Pop).
Germs recordings past their Slash single and some bootlegs were scarce, and once “G.I.” hit it showed that during their relatively short life, The Germs had grown into an impressive instrumental unit. Once you get past (accept, appreciate) Darby Crash’s inability to annunciate vocals, you can hear that Pat Smear really had guitar chops and that Lorna Doom was a great bass player. Witness “Land of Treason” or “Strange Notes” to see how versatile these kids can be at such breakneck speeds set by drummer Don Bolles, who still leaves room to breathe in his playing despite such velocity / ferocity.
But then if you do bother to bring up lyrics, Darby does bring food for thought on just about every track once you decipher what he’s mush-mouthing about. And hey, how many dime-a-dozen Hardcore bands could come up with “Manimal” or the nearly ten minute “Shut Down (Annihilation Man)?” -Wade
After scoring success with his debut album My Aim Is True, Elvis Costello wasted no time in recording a follow-up. This Year’s Model takes everything that made his first album great and multiplies it several times over. The catchy melodies and intricate wordplay remain firmly intact but they’re given an extra dose of energy by EC’s famous backing band The Attractions, composed of Bruce Thomas on bass, Pete Thomas on drums, and Steve Nieve on keyboards. It’s a firecracker combination that doesn’t let up for even a second during the album’s 39 minute duration.
“No Action” opens the record with such intensity that it’s almost exhausting just to listen to. Elvis begins by snarling, “I don’t wanna kiss you, I don’t wanna touch/I don’t wanna see you ’cause I don’t miss you that much.” Every member of the band comes in at full-throttle and it’s a perfect slice of punk energy that demands your attention and leaves you feeling like you just stepped off a roller-coaster when it ends just two minutes later. I can’t think of a better way to introduce The Attractions and it lets you know immediately that this album will be louder, rougher, and more intense than the first.
The record contains a couple well-known hits, most notably “Pump It Up”, which everyone has heard at some point. Even by today’s standards it still sounds fresh and energetic, making it a well-deserved classic in Costello’s vast catalogue. “Radio, Radio” was a controversial diatribe against corporate radio and its predictable “play it safe” attitude toward music, while “(I Don’t Wanna Go to) Chelsea” rides a killer guitar riff that firmly ingrains it in your mind after just one listen. “The Beat” and “Little Triggers” are both prime slices of pop while “Hand in Hand” and “Lip Service” are trademark Costello songs whose dark lyrics are cleverly disguised by an upbeat melody. “Living in Paradise” is one of my favorites and finds Elvis in a state of jealousy and frustration before concluding, “You better have your fun before it moves along/And already you’re looking for another fool like me.” Perhaps The Attractions’ finest hour comes in the form of “Lipstick Vogue”. Pete Thomas’ drums open with a furious solo and intensity that only heightens as Steve’s organ chimes in as the song blazes by with a punk ferocity that’s impossible to ignore. Every track here is impressive and there’s not a trace of filler or wasted space.
It would have been hard for any artist to follow My Aim Is True and Costello took a big risk by going with a louder and more forceful sound. However, it works perfectly and there’s no denying that The Attractions are a major key to this success. They take Costello’s songs and elevate them to incredible heights. Each musician is amazingly skilled and they all get equal chances to shine here. If Costello’s first album proved him to be a naturally-gifted songwriter then This Year’s Model proved that he was here to stay and wasn’t afraid to take his sound in new directions. His first album was stellar and this one, in my humble opinion, is even better. Don’t miss it. —Lunar
Both sides begin with synth pop of the highest order – in fact, one could make a strong argument that the two variations on “Joan of Arc” are the greatest new wave singles of all time, the “Maid Of Orleans” version’s musique concrete intro and waltz time signature making it an astoundingly atypical hit single. “The New Stone Age” is a startling and dirty rocker whose sound may not have much in common with the rest of the album but certainly set the depressed, hurt tone perfectly (and the experimentation with near atonality foreshadows the more ponderous passages of the record). The one-two punch of “She’s Leaving” and “Souvenir” are just gorgeous, however.
What sets this apart from nearly every record of its type and time, though, is the way either side goes out. Tracks like “Sealand” and the title cut wouldn’t feel out of place on a Brian Eno record, while “Georgia” begins with Kraftwerk robotics and ends in an ambient whir. “The Beginning and the End” is a perfect mix of the two sides of Orchestral Manoeuvres in the Dark, a lush vocal piece that is nevertheless indebted more to Gregorian chant than any sort of rock or pop fore-bearers. This record is perhaps the ultimate statement of synth pop/new wave as an artform, and a must for anyone even remotely interested in the genre. —Andrew