Jive Time Turntable

Sparks “Propaganda” (Island, 1974)

Sparks can sort of be seen in a similar light to Queen, although they ape their accents to sound quasi-Brit and ditch solos for lyrical cynicism. Maybe that’s why they have a bit of an underdog quality.

On “Propaganda,” Sparks are instrumentally tough and create simple ditties built around pop piano. The fat is cut with minimal solo’s allowed, so propulsive and repetitive tracks rule, from the mile-a-minute “At Home At Work At Play,” to the tempo-shifting “B.C.” They also make great use of the studio on “Achoo” and “Who Don’t Like Kids,” silly tunes which are grandly displayed. Why weren’t these guys signed to Discreet?

Well, despite lyrics appearing distrustful on some tracks, they were actually earnest sounding on “Never Turn Your Back on Mother Earth,” and delivered bonafide pop on “Something For The Girl With Everything.” It’s hard to really put a finger on where Sparks might be placed on your shelf, but I bet it’s somewhere near 10CC and Zappa. Especially this album, since they were still operating in top form as a band in 1974 and had not yet transformed into a New Waver two-piece… Enjoyable! -Wade

Mi Ami “Steal Your Face” (Thrill Jockey, 2010)

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

Sly & The Family Stone “Small Talk” (Epic, 1974)

After some seriously paranoid and political detours, Sly and company went back to basics on “Small Talk,” and that title may sadly be synonymous with how reviewers of the time saw this album. Something like a throwaway.

While not as immediate as previous albums or singles, “Small Talk” can still be taken in as a major pleasure. Still adventurous in the studio with overdubbing, Sly assembles small talk of all sorts (including that of an infant) to crowd your speakers on the title cut, and grooves continue on in a meandering fashion all the way to the end of side one, finishing up with a hard slab of familiar drum patterns on “Can’t Strain My Brain.”

On the flip, single “Loose Booty” (sampled to kingdom come) will be instantly recognizable to first time listeners whether you catch the vocal or drum samples. The greatest example of this popular rip would go to the Beastie Boys on “Shadrach.” Infectious and danceable, this would be one of the last bits of Sly’s output to reach high on the charts. As for the rest of side two, the grooves here are more upfront and are ready-made to be spun at a house party until you hit some slow jams… and strings accompany the final track “This Is Love,” and while it’s not exactly as sumptuous as some Philly-soul record counterparts it gets the job done just fine.

While not as heavy as a riot, this later period Sly release is still something worth bringing up in conversation. And hey, you’ve already heard it, whether you know it or not! -Wade

Nina Simone “Nina Simone and Piano” (RCA Victor, 1969)

In Sartre’s “Nausea” there is a moment when the protagonist, disgusted by the emptiness of life, snaps back to reality while hearing a beautiful voice on a jazz record; it grounded him and he felt flush with relief to live back in the moment, where life and love still exist.

That existentialist paperback was published about thirty years or so before Nina Simone put out “Nina Simone and Piano,” but I’ve always synced the two together, since this disc has some of the most touching arrangements I’ve heard pressed under her name, or ever really. She chooses to play skeletal arrangements of Randy Newman and Johnathan King… It’s the stark instrumental work she shows and the sureness of her voice that makes these pieces work so well.

And while on the topic of existentialism, “Who Am I” and “Another Spring” will make even the most devout unbeliever sit on the edge of their seat. This is not an album to play in the background; more like something you take, like a pill, to ensure a more healthy life. “Another Spring” in particular is a roundabout of emotion, brought on by an elder faced with winter and possible death, feeling for the moment she will emerge to the warmth of the new season. It ends joyously.

The album itself comes to a close with a rare bit of overdubbing on “The Desperate Ones,” all whispers, talk of moths near flames, sunsets and the dreams that fall behind with them. A real treat for those looking to reconfirm their purpose or validate their lives, “Nina Simone and Piano” may give more affection than you have ever allowed yourself to receive… -Wade

The Replacements “Sorry Ma, Forgot To Take Out The Trash” (Twin/Tone, 1981)

Sort of akin to The Minutemen by the way that they shove Americana and classic rock staples into one or two minute bursts early on, The Replacements show hints of what would follow this hardcore-scoped LP. Except instead of using Creedence or Blue Öyster Cult for snatches they channel Johnny Thunders in a way, plus Big Star… but you know that already! What you may not know is that “Sorry Ma, Forgot To Take Out The Trash” holds up well on its own and if they had chosen to stick to this rough-edged (but NOT straight-edge) sorta hardcore aesthetic, they still would have done just fine.

Most of the album sounds like a mess of days gone by full of tedium; boredom leading to speeding, cigarettes and a need for kicks. Case in point: tracks “Takin’ a Ride” and “More Cigarettes” describe those moments of ennui and relief while “I Bought a Headache” shows that the answer isn’t the same each time, not when it comes to instant gratification… You can’t be pleased all the time, folks.

So is this The Replacements wearing hardcore clothes? Nah, it’s more like the core components of what you would hear from them later, stripped down to its bare essentials. Like their crosstown rivals Hüsker Dü, they had to crawl before they could walk and rub shoulders with the hardened punks of the day. This disc is a speedy and satisfying ride that usually gets skipped on the way to “Let It Be” or “Tim.” So turn around and grab this one. You’ll recognize these guys when you put it on and read the liner notes. -Wade

Nick Lowe “Jesus of Cool” (Radar, 1978)

After Nick Lowe broke up with his country-rock/pub band, Brinsley Schwarz, in 1975, he spent a couple of years mainly producing other artists’ work, most notably Elvis Costello’s debut album (he’d go on to produce Costello’s first five albums).

In 1978, Lowe returned to performing with his debut record, also the first album released on the new Radar label. Apparently the title was too much for American audiences, so on this side of the pond, the album was called Pure Pop for Now People. Although that title is pretty lame, it IS somewhat of an apt description for this album. Marking a sharp departure from his work with Brinsley Schwarz, this actually does sound like a missing Costello record.

This is what pop music should sound like. Songs like “Shake and Pop” should be played in every dance club in America. The sound is fresh and could be released today to equal acclaim. Very highly recommended. —Joe

Brian Eno & John Cale “Wrong Way Up” (All Saints Records, 1990)

When one pushes synthetic sounds to the realm of unreal and back again, what else is left to do? Brian Eno’s work behind an engineering board had taken him far and far out by 1990… The exciting world music he had envisioned did not match the world music found in the New Age marketing-niche of the previous decade, and albums bearing his name seemed to carry his signature thumbprint, even when thoughts of strong structure more or less faded away with each LP.

On “Wrong Way Up” the studio still acts as the lead instrument, but song structures make a return. And who better to help Eno return to strange but impactful songwriting than musical-foil John Cale? All sorts of beats and chirps assembled throughout these tracks are meshed through Cale viola, not to mention any sort of instrument the duo could get their hands on. What they come up with most of the time are musical figments riding chopped and screwed grooves.

Lyrics are not esoteric but definitely familiar to fans of either Eno or Cale; impressionistic views presented in a pop context. The results can be surprisingly affecting like on “Cordoba” when repetitious mentions of buses and stations highlight an obvious separation, or on choice single “Spinning Away” with it’s constant citing of colors and shades.

Eno and Cale are to pop what they were to Rock… That is, artsy. And like Duchamp’s urinal, placed the wrong way up. -Wade

Factory Records: From The Hip

Like any first time infatuation, you tend to ignore the flaws in someone or something special and love a person or idea wholly, your affection unrequited… The Manchester label Factory Records was my all-time favorite while coming of age. And some releases from Factory just don’t quite have the staying power I thought they had a bit less than a decade ago.

The obvious issues (Martin Hannett’s unique but overrated production values, The Happy Mondays as a flagship band) are pretty well known by now. Thanks to the film “24 Hour Party People” and a number of books, the best of all being James Nice’s history-in-place-of-legend “Shadowplayers: The Rise and Fall of Factory Records,” I can skip the flogged subjects of Joy Division and Tony Wilson and shed some light on the smaller groups of the label.

My immersion into the world of Factory came with a box set that purposefully gave you a taste of their half-baked experiments right alongside their direct hits called “Factory Records: Communications 78-92.” This presentation gives a warts and all, “well we did it, so what?” kind of vibe that allows you to better accept Factory as an experiment in popular culture and not just another punk label. A number of groups on the four discs are standouts… Either by having a single then immediately bailing, or just by having some out-of-the-blue quality. Breaking away from this box set to explore other singles will have it’s rewards… It just depends on how blind you’ll be willing to be to Factory’s erratic, hit or miss output.

The Original Shadowplayers: These groups all went under Martin Hannett’s production scalpel early on and received a treatment of the same sound he employed on Joy Division albums. As a result, these groups superficially come across as JD copyists. Further listening shows that this wasn’t the case.

acr_r-11397-1160163049A Certain Ratio – The thin boys had a bit of influence on their own and the most consistently solid back catalog. After the drummerless single “All Night Party,” which couldn’t be more dour and Velvet Underground derived, they enlisted proficient funk drummer Donald Johnson and successfully forged post-punk funk. From their cover of Banbarra’s “Shack Up” and the ethereal disco-noir single of “Flight” to the albums “To Each” and “Sextet,” they were quite a formidable, danceable and arty unit. Trumpets sound, whistles blow, Jez Kerr’s bass slaps n’ pops and they even left an impression on the Talking Heads during a tour. Prime.

115380972Crispy Ambulance – Made up of kids from more of a prog-rock background than punk, Crispy Ambulance albums sound little to nothing like their stablemates. They build expansive sonic environments on albums such as “The Plateau Phase” (which was met with harsh reviews) but their best moment is on the affecting single “Live On A Hot August Night.” That single contains “The Presence,” probably the best slab of Mancunian Kraut-damage you can come across.

fac_45_lgSection 25 – It’s hard to say which one of these groups had the most critical bashings in the music press, but I bet it was Section 25. After their debut single “Girls Don’t Count,” they went on to record their first album which came very, very late due to Factory taking leisurely time on the album art. “Always Now” was released after Joy Division was long defunct but in retrospect contains a number of great tracks like the PiL-ish “Dirty Disco” and “Be Brave.” The album also has more of a psychedelic feel than anything Factory was producing at the time. Section 25’s brush with success would come later, midway through the 80’s with their future-forward dance track “Looking From a Hilltop.”

Other notables include Tunnelvision’s single “Watching the Hydroplanes,” which is good for a listen or two, maybe, and The Names on the single “Nightshift.” Further investigation won’t hurt, but you may get a little ambivalent.

Always in the Background: Straight post-punk wasn’t totally in Factory’s M.O. Many groups came from avant-garde fascination or more from dance music, even during the label’s earlier periods. Tony Wilson and Rob Gretton (who typically had better taste) differed when it came to musical interests, and one often lamented the other when a group worth signing was spotted… And those groups would often be signed with little marketing sense of the moment. Without being a flavor of the month in terms of sound, these groups would make beautiful albums inside and out, but in most cases only found a limited audience.

FBN10CDThe Durutti Column – Making pensive and delicate music, Vini Reilly’s Durutti Column was always a struggling affair. Reilly was a bedsitter, often sick and couldn’t take too many touring commitments, but always produced interesting albums. Arguably, the best run for Vini came when drummer Bruce Mitchell of prog-rock group Greasy Bear joined him for the production of the album “LC.” The Durutti Column would continue on in one form or another, and Vini would eventually lay down guitar work for solo Morrissey output. What a match.

1549929Swamp Children / Kalima – A sort of latin jazz side project by members of A Certain Ratio and siblings Ann and Tony Quigley (names that seem to personify white people jazz), projects Swamp Children and later Kalima made swinging and sophisticated dance music with a modern spin. If it wasn’t for the obvious ACR connection, they would otherwise be lost in the shuffle. That would be a shame, because they put out some great albums, especially “So Hot” and the “Four Songs” EP, respectively.

fac92_reach_for_loveMarcel King – Once the lead singer of popular soul act Sweet Sensation, by the time Marcel had fallen in with Factory, hits were not on his side. Sweet Sensation also had an ACR connection, with members of the group being older siblings of Donald Johnson. Rob Gretton had high hopes for Marcel’s only output for Factory, “Reach For Love,” but it failed to connect with most Factory followers of the day. Marcel had turned into a tragic figure through heroin addiction and homelessness by the time the record was cut, but the single is still a great slice of electro-soul.

Oddities: Wrapping up are a few other artists that seem to be swept under the label’s rug, maybe for aesthetic reasons (or lack of a good Tony Wilson anecdote). These names are recognizable, probably because they got big after their respective Factory stints…

Village+Fire+JamesVillageFire57015James – When I first heard the track “Hymn From a Village” on my Factory comp, it was probably one of my favorites. It also doesn’t seem to fit anywhere; it’s not really forward thinking pop, still angular but in an emerging indie sound kind of way before it was a norm… Check out their “Village Fire” EP for greater understanding. James became semi-well known in the U.S. thanks to the inclusion of their song “Laid” on the first American Pie movie… Obviously a way different group by that point. What a weird career arc.

OMD-Electricity-32299Orchestral Manoeuvres in the Dark – Another band that got big and made it into a Motion Picture Soundtrack (Pretty in Pink, alongside Manchester groups New Order, The Smiths), OMD put out their very first single “Electricity” with Factory and were also produced by Hannett. In this case the production worked well with this definitive New Wave group, but apparently they didn’t care much for it. Later, at a Factory reunion show of sorts called G-Mex, OMD stripped down to a duo and only used their own original equipment to perform a thoughtful retro set for Manchester crowds… This was after their massive pop success of “(If You Leave)” and to their chagrin, they were introduced to the crowd as “two rich bastards from L.A.” by popular music scribe Paul Morley. Their association with Factory didn’t really continue much after that.

All-Time-Surprise-Favorite:

52ndStreet_front52nd Street – Without too much thought, either. Mostly known for the electro-funk single “Cool As Ice,” which has since ended up on a ton of compilations, my fave release from this jazz-funk ensemble has to be “Look Into My Eyes” b/w “Express.” This piece of vinyl has a great infectious vibe that is good natured and seems like it could have been played out at the Paradise Garage or something… 52nd Street also had (surprise!) an ACR connection by hiring Donald Johnson’s younger brother to perform bass duties. Due to that lineage, 52nd Street fell into Rob Gretton’s hands and into Factory’s convoluted history.

That about wraps it up, but there are still many acts to be rediscovered (ESG! Crawling Chaos! The Distractions!)… Once again, I’d say that the tome of “Shadowplayers: The Rise and Fall of Factory Records” and a copy of “24 Hour Party People” are probably the best and most enjoyable guides on this subject. Happy hunting! – Wade

Charles Mingus “Blues & Roots” (Atlantic Records, 1960)

What might be seen as a regressive move from the current post-bop experiments of the time to doing extended takes on blues and church songs was actually a great percolation of styles in Charles Mingus’ hands. What we have here are six tracks that play off of blues sensibilities quite well, makes you want to dance more often than not and comes across as quite modern.

Nine players appear on this record (with one swapped for piano on the final track) and what’s presented are layers of the same parts played just about at once, making rather simple, swinging music with plenty of room for subtle shifts and surprises. Opener “Wednesday Night Prayer Meeting” is a case in point, with joyous horns and a galloping rhythm charge set by Mingus. Most of the tracks presented herein are fairly loose (though not disorganized) and give a snap shot of ground-breaking performers taking a break and having a good time recording an album more suitable for a party rather than something set up for your rapt attention.

Not that there are tracks you can’t be pulled into, however; killers like “Moanin’” and “Tensions” have so much going on that repeated listens will be inevitable to take in all the action presented to you. For tracks that are so rich, the swing is also pretty undeniable. Mingus seems to be at a crossroads here, between the blues of his past and the modern tug of his jazz progressions. The result is a record you can’t help but wear a smile to. -Wade

James Brown “Live At The Apollo Vol. II” (King Records, 1968)

By the time this double album hit shops, people were pretty well aware of James Brown the entertainer. But this live album reveals the emergence of James Brown the innovator; his tight work ethic wrung his Famous Flames into one smooth-running combustive engine capable not only of groove but also of vibe.

James Brown and his Famous Flames run through some pretty standard r&b and soul fare on side one with versions of “Think” and “That’s Life” which only hints at what’s to come with chicken scratching guitar lines and Brown’s lockstep vocal commands. Too many changes run the gamut in these numbers to really give the groove for which Brown would become known for with the Flames and later, his J.B.s backing band.

Side two is where the funk becomes prevalent and shows the future course Brown and Co. would be taking. A medley takes up most of this side comprising tracks “Let Yourself Go” “There Was a Time” and “I Feel All Right,” which is presented as one seamless, repetitive groove-maker feeding off of audience participation. Meanwhile, the Famous Flames act as one autonomous unit set to Brown’s strict preferences throughout these performances. Classic cut “Cold Sweat” comes in on command from their funky fuehrer and closes out side two.

The funk continues on side three, but not quite in the same lose-yourself-to-dance futurist vein as the previous side. Classic “I Got You (I Feel Good)” arrives in an incredibly abbreviated 30 second form and opens into the splendid and eventually entrancing “Prisoner of Love.” Side four closes with old familiar numbers leading up to the finale of “Please, Please, Please…”

James Brown really was one of the hardest working and most forward-looking men in show business, and also one of the hardest taskmasters, as evidenced by the near-peerless playing you’ll hear from this document. -Wade

We So Funkafied

Seattle Hip Hop fans: Check out the new Mac Slug video, We So Funkafied, filmed here at Jive Time Records and in Everyday Music on Capitol Hill! Loving the Jive Time hero shot at the four minute mark!

UFO “UFO 2: Flying” (Beacon Records, 1971)

Taking a break from all your Free Jazz and Krautrock to dig up some old cheap Hard Rock can often be rewarding. Especially when you pick up an album like UFO’s “Flying”, because the term Hard Rock can be a bit misleading when it comes to finding mind-bending material like this.

The ground these guys cover is just amazing, and that’s not a pun on just how spacey their brand of rock can be. What starts off as a straightforward assault on “Silver Bird” later gives to the nearly twenty minute “Star Storm”, which features some flexible rocking that will make you think Thirteenth Floor Elevators one moment, Ash Ra Temple the next and at one point even Land of 1000 Dances! UFO also used the studio as an instrument to create some serious panning, which makes this record ready for a nice stereo or a good pair of headphones.

If side one doesn’t make you consider that these Brits did just as well as their more hep Avant counterparts in Germany just yet, then keep going. Muted guitar plucks anticipate a proto-punk rhythm section that absolutely sears once they fall in on “Prince Kajuku” and then it’s time to flip to side two.

Strangely, side two starts with “The Coming of Prince Kajuku” which seems a bit backwards, but the rocking here is solid and it’s probably the most direct track on the album… To counterpoint that, you reach the crown jewel of this LP, “Flying”. The track is one long space-blues downer that goes hard and seems set on staying that way… until you hear the cowbell. Studio use with panning is once again prevalent, as well as delay and reverb, but it never handicaps the tune. Quite the opposite. The production throughout this whole record is great as a matter of fact, from the warm full bass tone and crisp cymbals to the often desired incendiary guitar sound that avoids cheese.

Early UFO albums could fall somewhere between Hawkwind and Iron Butterfly, but “Flying” in particular punches in a lot of styles that will definitely surprise. -Wade