album Review- Justin Sullivan

You have likely already heard me ex till the virtues of New Model Army. In the US, there main claim to fame came during the Reagan years when they were denied visas to come here because they had ‘no artistic merit’. I was lucky enough to be introduced to them in the early 90s. Decades later, I am still a fan, primarily for two reasons. They have a pretty solid “greatest hits” record. While a couple songs dominate their history, they have a set of songs as good as anyone. The second reason is that the band continues to make interesting music. Though they aren’t charting undiscovered territory anymore, they still bring passion to their records. In my undoubtedly naivety, it’s hard to imagine they couldn’t have broken bigger in the States (then again, Sony also took the gamble on them in those exciting anything can happen post-Nirvana years). They certainly shared roots in anthemic punk (Clash, Jam, Undertones) with bands like U2 and the Alarm, but their roaring guitars could have gotten them across with the more FM rock friendly alternative sounds of the day like The Cult, Killing Joke and Sisters of Mercy. 2021 brings lead singer Justin Sullivan’s second solo album (roughly 20 years later from his solo debut). The band follows a similar template as (and features members of) NMA, but instead, has an “unplugged” feel. Like many of his gothic brethren, age only helps make him sound more like a wisened sage. The benefit of this is that focuses on Sullivan’s voice and lyrics, which have always been good, and in this case, he seems to be telling personal stories. The drawback is that the songs work better independently (say on a playlist) but have a repetitive effect on an album. This one won’t be for everyone but it is the kind of album that some people may really love. Also likely contains the best (and possibly only) song about Roald Amundsen written this year, but you will have to look that one up yourself.

Southern Culture On the Skids- Album Review

One might classify Southern Culture on the Skids as a gimmicky 90s band as one would say, Squirrel Nut Zippers. And the truth is everyone had a unique ‘gimmicky’ sound. You could probably list nearly a dozen bands that fit the bill (Supersuckers, Deadbolt, Bad Livers, Rev Horton Heat, Los Straitjackets, Jon Spencer Blues Explosion, Legendary Shake Shackers, Nashville Pussy and so on). For SCOTS, their sound in the most simplified terms are a Cramps inspired band but as if the Cramps were Southern fried (and not just Nashville but a bit of Athens, Georgia).

They popped up with some colorful EPs and then when major labels were signing anything to throw it against the wall and see what stuck, they released 1995’s Dirt Track Date for Geffen Records. Dirt Track Date stands out even now as a classic of the genre- whatever kind of surf meets rockabilly meets roots rock genre that might be.

I haven’t followed the band that closely but they never rested. Largely releasing records on their own label, they don’t quite grab headlines. “At Home with..” was released this March with little fanfare.

Maybe that isn’t surprising. SCOTS are no longer the new guys, and the album is essentially a Covid record- forced to record in the studio because touring wasn’t an option.

But in this case, we really have a hidden gem of the record. Perhaps, it’s a bit subdued if you haven’t listened to the band in some time, but it works to the bands advantage. When you consider the Cramps final records failed because that band wouldn’t try to recreate themselves, a mature SCOTS brings humor to a more traditional sensibility.

At Home sounds like the an Up and Comer and less the work of a band that has crisscrossed the country on endless tours and a dozen-plus records in. It actually holds together over the breadth of the album with the only real misstep (in my opinion) being an unusually SCOTS-ed but faithful cover of Traffic’s Dear Mister Fantasy.

New Music Initiative: Ryan Glenn

2021 has not been a banner year for music for me. Certainly not to the extent 2019 and 2020 were. Now that may be because of Covid or just my own experiences. But don’t let the memes fool you. There’s always good music being made, and if anything i am just forced out of my comfort zone.

Anyway on the search for new music, I discovered Ryan Glenn. Unlike most of the artists I listen to, he’s on the early side of this career- 19 years old out of Denton, Texas and just releasing his first album. He is joined by members of the Old 97s, Bowling for Soup and Two Tons of Steel.

That guest list is a bit revelatory as Glenn is definitely stuck in the 1950s but he’s definitely got modern sensibilities.

The influence is classic early 50s country, a fair amount of rockabilly, and pre-Elvis in the army rock n roll. Critics pick up on his vocal hiccup and write Buddy Holly, though I would suggest (not that they are wrong, but) the first thought for many will be Hank Williams 3.

In fact, Far-away Rose is about as close as you can get to combining the influences of Hank and Hank 3. (Or combining the sounds of Buddy Holly and Weezer’s “Buddy Holly”). The subject matter probably puts him closer to 2022 to 1952- but then that probably shouldn’t be a surprise.

I’m really impressed. I hope we hear more from Ryan Glenn.

Iowa State Fair Free Stage Review 2021

 Each year, I do a little write up on the bands playing the Iowa State Fair. Everyone knows all the jokes, but there is generally a reason behind them- the bands can usually be put into two categories- hot rising country band or past-their-prime rock band. 

But I don’t write about the Grandstand bands but the Free Stage bands who take those descriptions to the next level. Not that I couldn’t write about the headliners. 

The Mike Love Band (dba The Beach Boys) is making their near annual trip here (with openers Hanson) and will have John Stamos in tow. 

Five Finger Death Punch is the rock band du jour to get the main stage treatment. 

Chris Stapleton with opener Nikki Lane (and Colter Wall on the free stage earlier in the day, I believe ) makes a solid night for Outlaw Country. 

Also of note, the current Doobie Brothers line up closing the fair features Michael McDonald.  

Besides Wall, Niko Moon, Jake Hoot and Blanco Brown look to further launch their careers on the free stage

Enough niceties. Let’s dish. 

The Lettermen

I remember: The Lettermen have been performing at state fairs since I was too small to ride the rides. You think they would have graduated by now, amirite?  Hey oh!

I learned: Like so many of these early rock bands, there is only one of the members of  this trio still living. Their credentials- 20 top 100 singles (1962-1971) and 11 gold records. It’s the kind of longevity that makes the Stones look like young pups. 

The band has essentially been Tony Butala’s since 1976 and in 2019, Butala semi retired so at some point, this may just be a franchise deal, though I’m sure you can’t beat them for harmonies. Meanwhile, Mick Jones is attempting the same thing as Butala with the Foreigner name. 

Skid Row

I Remember: You. Ha!  Skid Row were one of the more talented of their hair band brethren. A little bit more crunch than their peers. They took three albums to the charts. You will likely remember the first album and Slave to the Grind. 1995’s Subhuman Business got to 35, but even with positive reviews, things had changed, Sebastian Bach left and the chart run was done. To be fair, despite their talent and music sea changes, I think Bach’s mouth would have sunk them sooner rather than later anyway.

I learned: Skid Row is just the same band without Bach (and who can blame them). They released albums in 2003 and 2006 and a bunch of new songs in 2013-14. They opened for Kiss’s Farewell Tour in 2000. The band has had three vocalists Johnny Solinger, Tony Harnell (TNT) and current screamer ZP Theart (Dragonforce). 

Tony!Toni!Tone!

I remember: Too poppy in the time of gangsta rap. They were quite fun. Four charting albums (88-96). Ten Hot 100 songs. Three Top 10 songs. Everyone should remember “Feels Good” and “If I had no Loot”. Loot took the unlikely Ice Cube sample “You can New Jack swing on my nuts” and threw it into an all out party song. 

Also that pop country Walker Hayes song “You Broke Up With Me” is the same melody as T!T!T!s hit. 

I learned: You may not recall Raphael Saadiq as part of the band, but he would have his own success. The current band- founder DWayne Wiggins, his brother and his cousin- tours and had one last chart trip- backing Alicia Keyes for her #8 “Diary” in 2010. 

LIT

I remember: The Popoff brothers had ridiculous hair but were able to chart two albums in the Top 40 (1999, 2001) in those post grunge years. “My Own Worst Enemy” was their one big hit, though they took seven songs to the Alternative chart- the last in 2004. For some reason, I more remember the record company promoting the hell out of it than anyone actually liking their music. 

I learned: Perhaps I was a bit harsh on Lit. They always struck me as  ripping off the late 80s Orange County bands. Guess what?  They were a late 80s Orange County band whose success took twelve years. The band is still intact (minus the late drummer) and last released These Are The Days in 2017 which is a detour into country rock. 

Color Me Badd

I remember:  Oh you know. So let’s get it out of the way. I wanna sex you up. Har har! George Michael, Kenny G, Vanilla Ice and Rick James supergroup. Hey oh!

But seriously- three Top 3s, nine Top 40 songs ( a chart run from 1991 to 1996) and an appearance at the Peach Pit 

Of course, the indelible image in my mind is from 2018 when during a concert, when Bryan Abrams appeared on stage, yelled “I’m MFing Color Me Badd” and shoved Mark Calderon to the ground. 

I learned: The route after chart success was a weird one - solo careers, Reality shows (Mission: Man Band) and collaborations with the Insane Clown Posse. As far as I can tell, it’s just Calderon and hired hands at this point. Wiki helpfully adds the Abrams incident may have been caused by alcohol. 

Tag Team

I remember:  I love everything about Tag Team. DC the Brain Supreme was 27 when him and his high school friend Steve Rollin’ hit the charts in 1993, but they looked like middle aged men at the time. 

Whomp went to #2 (kept from #1 by Janet Jackson’s “That’s the Way Love Goes”). Such a big hit, it took the accompanying long player into the Top 40 and the song held the record for longest run in the Top 10 until Toni Braxton came along four years later. It would have been the biggest song of the year, if Whitney hadn’t covered an old Dolly Parton tune. 

You probably don’t know that the band has had three songs chart on the Top 100, but you can probably guess they are Addams Family and Mickey Mouse related take offs of their hit and both charted in 1994. 

Of course, last year, Tag Team had one of the most talked about commercials of the time appearing in a Geico ad,but for me nothing tops the circa -2010 rumor that Barack Obama was in the Whoomp video. It’s of course preposterous, but it just cements how great of party that song evokes.

I learned: Tag Team just might not have enough hits, which is why they are paired with Color Me Badd. I was surprised to find that the band had resisted reuniting for the subsequent decades and their record label went belly up because of the usage of early 80s Italian disco band Kano’s “I’m Ready”. But things look to be back on the upswing for the duo once again. Not the reunion we wanted, but the one we needed. 

Riley’s LA Guns

I remember: LA Guns were probably most famous for their alumni (Axl Rose and the Hollywood Rose predecessor) but Ballad of Jayne went Top 40 and three Top 50 albums were enough to get them out of that shadow. 

I learned: As you can guess, the name means there is contested rights over the name. On one hand, Tracii Guns isn’t part of this band and that is surely enough for most to not consider these the real Guns, but from a lineage point of view, Riley’s La Guns is the closest to the real thing. 

Riley who played with WASP in their latter heyday was the drummer for the Guns in their best selling, best charting years, and  Riley has kept the band going past Tracii’s departure and continuously recording new albums. Also adding legitimacy is bassist Kelly Nickels who played on the three charting Guns albums and wrote “Ballad of Jayne”. 

Country Gold featuring Leroy Van Dyke

I remember: Leroy’s classic country show is an Iowa State Fair perennial.  When I was a kid, I heard “The Auctioneer” and was blown away. If you don’t like that song, I question just how American you really are. The other song closely related to Van Dyke is equally enjoyable if less frenetic “Walk on by” (not to be confused with the Bacharach/David/Warwick/Isaac Hayes/Stranglers song). 

I learned: Van Dyke is now 91. Walk On By was number one on the country chart for 19 weeks and held the record for 52 years until Florida Georgia Line came along. 

Vocal Trash

I remember: I will mention this band since my wife loves them and they are another perennial Iowa State Fair act. The idea of taking trash and making music out of banging on trash cans isn’t a new one but they have certainly owned the concept. Steve Linder started the band in 2000, so while it doesn’t quite predate say, Stomp or Blue Man Group or other experimental bands, they have certainly made their own way to numerous state fairs and blazed their own path. 

I learned: Certainly, this band has more in common with entertainment options like Riverdance, Broadway shows and the like. When I finally saw them, they were a bit disappointing as they have definitely evolved to include guitars and electronics made out of recycled materials. While they are still high energy, it is a different vibe from if you see their early performances on YouTube 

All those cover bands 

I remember: State Fairs have their staples- corn dogs and mullets. In Iowa, that means Hairball- 20 years blending Kiss, Alice Cooper, Motley Crue, Queen and various larger than life arena rock legends with all of the songs of those days from Ozzy to Journey, AC/DC to Guns N Roses. 

I learned: Since you can’t beat the combination of arena rock and state fairs (and you can't), why not book Hairball and the Rock of Ages band. 

While both bands would probably tell you they are very different (Hairball’s experience tends towards the era’s on stage excess) it’s hard not to group them together somewhat. 

I was curious to see who is in the Rock of Ages band and was surprised by a recent lineup. Constantine Maroulis leads the band, best known as Drew from the musical which he won a Tony and yes, you might remember him from the fourth season of American Idol. The band includes Tommy Kessler (member of Blondie since 2010) and Winston Roye (member of Soul Asylum since 2012). 

Besides those two bands, there is also “I am.. I said” a Neil Diamond tribute. While this makes me think of Will Ferrell, I can’t really think of many more beloved singers in the current day than Diamond, and I’m basing that on public sing-a-longs. In this case, the band isn’t technically "a tribute" in that they don’t try to recreate a Diamond show, but playing his biggest hits. Of interest, the band consists of the sons of that State Fair perennial Bobby Vee who had a half dozen Top 10 hits himself 

Dinosaur Jr- Sweep It Into Space

Everyone knows Dinosaur Jr right? There’s the unlikelihood of Mascis and Barlow coexisting for very long. The improbability that new music from the band would be (maybe except a song or two) worthwhile. But here we are fifteen years and five albums in. If you could be exposed to only the band’s 21st Century output, you still no doubt would be in awe of them. My comment on the current band still stands for the new record Sweep It Into Space. It sounds as if J, Lou and Murph can just step into a studio and effortlessly crank out 12 tunes that sound just like a Dino Jr album. For example, I’m not sure if I Met The Stones is metaphorically talking about the planets or a blog entry about Mick and Keef. Which is my problem with the current incarnation of the band. I don’t find the songs particularly memorable (this album even less so than the prior) and though maybe catchy choruses were always secondary, this is the band who gave us The Wagon and Feel The Pain. But at the end of the day, I don’t have a problem putting this album on and slipping away for 40 minutes. A lot has been made about Kurt Vile being in the producer’s chair. I don’t really know that I notice much difference but Mascis’s guitar does sound good and has a robust sound.

Olav Larsen & the Alabama Rodeo Stars- Stream of Conciousness

I don’t think I can mention Olav Larsen without bringing up the cliche. At least, until he’s more well known. He is, as his name might suggest, African-Norwegian and he makes the most authentic Americana music. I mean, they are the Alabama Rodeo Stars. Of course, a description like that isn’t going to get anyone to listen (at least repeatedly) if the music wasn’t any good, and believe me, the music is that good. The new album Stream of Consciousness has Olav finding duet partners for nine songs. I don’t know if I can find a better RIYL than alt country. But I know that doesn’t help much, even if he seems tangential to a lot of great artists. Perhaps, of course, because the band doesn’t stick to one extreme. At their quietest, I can’t help but hear some Lyle Lovett (and probably a good bit of Prine). Yet, sometimes they seem to go down paths that only get travelled by bands like Freakwater or Giant Sand, bands that seem to be in a different direction altogether. Still, I think this is a pretty interesting disc and would recommend to any fan of Alt-Country however they see that.

Gary Numan- Intruder

“Underrated” is one of those terms that everyone throws around, but Gary Numan seems appropriate to use it. The first four Numan/Tubeway Army albums are as solid as you might hope from any artist in a roughly two year period.

Although Numan famously had a second career in aviation, he really never stopped making albums. As opposed to most artists with a 40-plus year career, there really aren’t any gaps.

Artists have embraced Numan throughout the years, the most visible being Nine Inch Nails, but also a disparate group that includes Fear Factory, the Orb, Marilyn Manson, Tool, Nirvana and J Dilla.

I dipped back into Numan in the early Aughts but did not stay with his new material. What I missed was the buzz that began to generate with 2013s Splinter and continued with 2017s Savage- theme albums that inhabited a post-apocalyptic atmosphere. Electronic sounds of course informed by plenty of Influences from all over the world.

One Intruder won’t replace say, Replicas, but it’s an intriguing listen. I’m struck immediately by two things. First, it feels very much like a Numan album in that it would surely be recognizable to any time traveler who might have happened across it in the Tubeway Army days

Second, there are a ton of electro influenced albums out there. After the success of Nine Inch Nails, similar albums flooded the market. It’s not just NIN of course, and it’s not just one genre, but just a ton of post NIN/Marilyn Manson/Smashing Pumpkins electro rock, and Numan doesn’t get any special treatment because he predates them all.

That said, despite a bit of lack in song-to-song variety (maybe more in time than instrumental variety, every song is a bit of a downer) it is a pretty solid genre album. If anyone can pull off the detached outsider from another world, it’s Numan and the music competently backs him up.

While it has too many flaws to be considered in the same conversation as Low or Station to Station, or even Holy Wood, it is an interesting piece of work.

What I am Listening to: Farmer Jason

 If these posts are ostensibly ‘what I am listening to this week’, then I guess I better mention Farmer Jason.

Having conversation about 2019’s Stand Tall, a close friend told me that if I liked Jason and the Scorchers and had small kids, I should check out Jason Ringenberg’s kid albums as Farmer Jason.

Needless to say, they have been a hit. 2003’s Day at the Farm with Farmer Jason has been an every day listen for the last six months with my newly turned five year old.

You can’t beat songs about the farm with kids and if I have to listen to kids’ songs, make them by someone with as much wit as Jason Ringenberg.

I would suggest that we are reaching the upper age limits of this record, but it’s been a hoot. Each song starts with an educational monologue which gets repetitive, but the songs are infectious and fun.

2006’s follow up Rockin in the Forest is a bit more *ahem* evergreen. It isn’t terribly different than his recent solo adult work. “Arrowhead” is a plaintive historical statement. While Punk Rock Skunk, Opossum in a Pocket and Moose on the Loose betrays that this is the same guy who led a band best known for ripping through Absolutely Sweet Marie and Take Me Home Country Roads.

I don’t know that I would listen to Rockin in the Forest if I didn’t have kids, but I also don’t know that I wouldn’t.

Outside of a Christmas album, the last we heard from Farmer Jason before his alter ego returned is 2012’s Nature Jams which is credited to Farmer Jason and Buddies with each song has a friend of Jason’s guesting.

Mike Mills, Tom Petterson of Cheap Trick, Iris DeMent, Brandi Carlile, Todd Snider and (most unexpectedly on Manatee) Hank Williams III and Tommy Ramone are some of the A-Listers who help out.

I also crowdsourced some music for my kids because I know some musicians have a career moonlighting with kids records. Between that and our regular listening habits- I thought I’d share some thoughts

I suspect everyone knows They Might Be Giants have been prolific in their Kids records (Five in 13 years). Adults have likely heard them on Mickey Mouse shows on Disney. Needless to say, these songs are huge in my household. Of course, as niche as TMBG are in their ‘adult’ records, it seems like it could be a blurry line between the two separate projects.

We are fans of the Amazon Prime series Pete the Cat. More musical than most, I always find it interesting that (for the first season, at least) Pete’s “parents” are Elvis Costello and Dianna Krall.

Jad and David Fair made an album called 26 Monster Songs for Kids in 1998 for Kill Rock Stars. I think it’s too out there for my boys currently but we will see.

In a similar direction, if you are so inclined check out the Wee Hairy Beasties. The kids don’t love it or hate it, but from an adult perspective, it is one of the most enjoyable Rated G records I have heard. Who are the Beasties? Well, they are the already genre-defying have-done-it-all Sally Timms and Jon Langford of the Mekons with Kelly Hogan and eccentric Chicago folk band Devil in a Woodpile.

There is surely more music now than one can imagine and don’t be surprised if a lost favorite (say Velocity Girl’s Sarah Shannon) is making kids music (in the Not-It’s in this case).

I did do something I normally wouldn’t, and did send Jason Ringenberg a short fan letter via social media for bringing so much joy in the last six months (and indeed 35 years) and was nice to have him have read it and thank me for it.

What I am listening to : Los Camaroes

 I would say I’m not particularly good at listening to World Music. Americans, in general, probably aren’t, as evident that we group up all non-English language music as “World Music”.

But most of that has to do with exposure. It’s hard enough for most any artist to get airplay in the first place. It has been helpful that established musicians like Peter Gabriel, David Byrne and Paul Simon moved the needle some. So needless to say, my World Music collection is pretty attuned to Rock ears. Fela Kuti, of course, and bands like Antibalas Afrobeat Orchestra and OrchestraBaobab come to mind. Plus, of course, tons of reggae and ska, which generally gets thrown into the broader net of “World Music” if you want to throw that in there.

Fortunately, we live in unprecedented times and have access to so much music. One just needs to be ambitious to look. I generally am not that ambitious, but also taking advantage of the times, have dipped my feet in with friends’ recommendations. (As a side note, I used to catch the International show on the local college station, which was always interesting and certainly a different variety from what might normally get promoted on say, NPR)

So my ventures into what less concise programmers would call World Music is not only influenced by my likes but by friends, and to date, has been heavy on MPB (a genre of post- bossa nova Brazilian popular music with jazz and rock influences).

Anyway, definitely doing my best to keep my ears open. A great resource is Analog Africa- a German (via Tunisia) label that has been re-releasing some great “lost”African records from the past. For me, right now, I am really digging the Cameroonian band Los Camaroes. Resurrection Los from 1979 is considered a classic and I am really enjoying it.

It is pretty cool what they can do with guitar sounds and a dance beat, and I doubt I can describe it in anyway that does it justice, but Western ears will hear Jazz, Blues and Funk tinges as well. Check them out

What I am Listening To- David Bowie- I'm Only Dancing (The '74 Soul Tour)

 There’s so much to listen to with David Bowie. Even if you have listened to it all, there’s so much, that it’s an endless cycle to go back and relisten. Now with streaming, anyone can sit down and do it.

Even when I considered myself well versed in Bowie, I still had room to go, and I remember those times vividly. Dipping into Low and Heroes (seems the other day, but probably 20 years ago) and more recently Let’s Dance and Scary Monsters.

As it stands now, there really isn’t a major album that I don’t have a lot of familiarity with- except the two 80s clunkers and to a certain extent, Diamond Dogs and Young Americans.

There were always a ton of bootlegs, and even if you might have missed those, many seem to be getting released. Some hitting the market as Record Store Day promotions, others shared on streaming locations like Spotify.

Anyway, my current Bowie needle is pinned to I’m Only Dancing (1974 Soul Tour Live). It is the bridge from the two albums above from glammy Diamond Dogs to soulful Young Americans. It occupies a similar timeframe as David Live.

David Live is a rather unloved album, of course. It’s been remastered surely but my memory is of a rather unremarkable album of an otherwise once-in-a-generation performer.

I have to admit that part of what draws me to I’m Only Dancing is the unlikely covers -Knock On Wood, Love Me Do, It’s Only Rock N Roll, Foot Stompin, Shimmy Like Kate and otherwise Classic Bowie songs given makeovers.

I won’t suggest it’s for everyone. The David Sanborn solos might not go over well with those who’d otherwise loved Mick Ronson’s guitar. Still, if you’re picturing this as Bowie as a bloated crooner, you should check out say, Diamond Dogs or Suffragette City, to see how Bowie deftly navigates the genre changes while Slick, Alomar, Garson, Davis and the fantastic backing vocalists get things rocking. I find this a very interesting point in the most interesting of artistic careers, and a nice jumping on point for Bowie’s soul phase.

Tags: what i am listening to

Belle and Sebastian - What to Look For in Summer

Released in the final weeks of 2020, no doubt, the live album What to Look For in Summer is one of my favorite discs of the recent months.

Having presumably heard it all by the late 90s, Belle and Sebastian grabbed me hard. While most of my musical tastes like the Smiths were literate and fey, they were also undeniably rock based. Belle and Sebastian made music like they were in world where bands like Led Zeppelin and the Clash never existed.

Predicting where this band who started as a rather faceless collective would be 25 years later would have been next to impossible.

For me, the changes threw me for awhile, but I came to appreciate the new sound. It’s not a particularly unique insight. No one would have expected such an interactive live band.

But here over 23 songs from various locales, their personality shows through in what is a truly wonderful two disc set.

For me, the reason I love this album is that it has the same characteristics of what made the early band so good- wide-eyed, playful troubadours. Think Donovan or any number of late 60s/early 70s songwriters.

Do musicians still have that first album innocence in their live shows 30 years later. The Stones, the Kinks, U2, The Who, Robert Plant? (I don’t know. I’m asking. I never thought about it before).

So with a mix of vocalists and songs, and the band claiming inspiration from the great live 1970s Prog albums, no doubt the grand moment is as one might expect A seven and a half minute version of The Boy With The Arab Strap.

That said, with many possibilities, the song I’m going to share is an unlikely one. Step Into My Office, Baby was the opening single from the Trevor Horn produced 2003 album Dear Catastrophe Waitress- a sharp movement into the bands current style.

I don’t hate it- it’s got that poppy 1960s style like maybe something Divine Comedy would do, but I don’t love it, either- it’s a list of bad office sex jokes that seemed stale even before Matt Lauer and MeToo- even if the song generally flips the gender roles. However, it has my favorite moment of the set- a giddy moment like much of the rest of the set where the band switches out the lyric “burned out after Thatcher” with the new resident of 10 Downing Street.

Album Review: Nick Cave and Warren Ellis- Carnage

 I’m not sure what the expectations for Carnage (the 2021 album by Nick Cave and Warren Ellis) should be.

Released in the new release dead zone of February, it is the first release credited to the duo that hasn’t been motion picture related.

Of course, the lockdown created havoc for many things. Would this have been the germ for a Bad Seeds album or is this meant to be thought of differently as say Grinderman was.

Inevitably, music journos can overthink such stuff. Carnage has come out to near universal acclaim and it may be all of the above.

While there are no killer single cuts (where would you start-the opener “Hand of God” some sort of perverse dark jazz meets goth electronica is certainly the most arresting) or particular theme, Carnage seems a continuation of Ghosteen. While at the same time, it’s not a million miles removed from the duo’s soundtrack work (which I suppose as atmospheric as Ghosteen was, that’s no surprise either).

There are a few truths to unravel. First, even as prolific as he has been throughout his career, Cave really has never suffered much in terms of quality. Second, the listeners preference will determine enjoyment. Just read reviews to see what Cave albums are favorites. You will see a wide variety. While you would hardly consider Cave a Neil Young personality, there’s an incredible depth in his albums.

So, Carnage is a worthwhile album by any definition. Admittedly, it’s another step away from what I like best about the Bad Seeds. I doubt I will revisit it often. Yet, undeniably is still an arresting piece of art. Ultimately, it’s not for the fans to speculate, but for the artist to make their art, and this surely feels like the piece that Nick wanted to make now.

Things I am listening to: Buzzcocks

 Almost instantly on the first listen, Buzzcocks became one of my favorite bands. Their short lived career (76-81, three albums) places them in a category of bands that for a time could do no long (as far as peers, I’d throw The Jam and English Beat in there as well).

They also felt like the first punk band to reform after a break and release new material (I know, I know, the Damned, Wire and others might have a claim but it also never felt like they went away, and others who weren’t particularly memorable).

Which brings us to Trade Test Transmissions. An album that to my ears is as good as anything they had done, or at least as good as any band’s fourth album.

The album exists in a weird space. Primarily, because it was largely unheard; but also because reviews for it are all over the board. Allmusic gives it three stars, which means one day I will probably have to write a post to defend it, but others agree with me as it being essential.

One of the strengths of the comeback was Steve Diggle taking vocal duties on a few songs and providing a counterpoint to Shelley a la Mould/Hart, Strummer/Jones Mascis/Barlow and other duos.

From there, I followed the band religiously and bought all the releases as soon as they came out.

Besides a few rests and line up changes, the Buzzcocks mk. 2 are now just over 30 years and six albums in.

I have to say that my appraisal of each post-TTT album is the same- mild disappointment, the cover work generally fairly generic and if I associate a personality with an album it’s that of one of the specific label that they were on at the time. There was a carousel of labels too (IRS, GoKart, Merge, Cooking Vinyl). Yet of course, the truth in a world of Buzzcocks inspired melodic punk, you could always do worse than Shelley and Diggle.

Even with Shelley’s death in December of 2018, the band continues on.

With the benefit of hindsight, I can reevaluate the bands work. 1996’s All Set is actually a strong set of songs. Perhaps not as good as it’s predecessor, but pretty close.

The band recorded with Neill King- who engineered the breakout albums by Green Day and other Buzzcocks influenced bands like Rancid, Jawbreaker and the Muffs.

It seems absurd that a band with that name and that age would be able to replicate the success of their followers but the demise of IRS records shortly following the release would have certainly not helped things.

99’s Modern doesn’t have the tunes, but sonically it’s a great listen. The band incorporated a lot of new wave electronic elements.

03’s self titled album brought the band back to something more akin to the bands original sound. It’s hard to say why this album doesn’t click for me since there’s so much energy. Is it so competent it’s boring?

Flat Pack Philosophy (2006) similarly misses the Mark, but the band mixes their sound up between songs that it at least feels like a more interesting listen.

The bands last album to date (The Way 2014) is likely the weakest. The album reminds me of all of the 90s indie bands that had listened to some Husker Du records and dutifully set out to make their own (often inferior) product.

All of this is irrelevant of course when it comes to Late For The Train- a six disc boxed set that tries to capture the Mk. 2 Buzzcocks live performances.

The band was always a bunch of frenetic
Punks with a solid catalog. The band picked the best of the new material and it fit seamlessly with the Greatest Hits.

If for some reason, you have not checked out the second incarnation (a term I use loosely - Buzzcocks mk 2 has had three main “lineup” changes -89-92, 92-08, 08-current) this is a great starting spot.