#Paisley Underground Scene

[twinkandwink]

King of the Paisley Underground Scene in LA and an influence to many bands  I finally got to see The Rain Parade live. I can now tick this off my to do list. 

We were treated to a super long setlist, although the last song got cut to make way for club night!

Pics & vids Tracks - 1 Hour 1/2 Ago (see previous post for full vid of I Look Around)

The Rain Parade -  Strangebrew Bristol 14th June 2024

[savage-kult-of-gorthaur]

THAT WESTONE THUNDER BASS GUITAR IS BIGGER THAN SHE IS.

PIC(S) INFO: Spotlight on "the uncommonly obscure" COMMONERS, a reported sixties rock revival band (file under "mod revival" & "power pop" as well), playing somewhere in L.A., c. 1983. 📸: unknown.

Source: www.picuki.com/media/3139706065952049435.

[therecordchanger62279]

HOW I SPENT MY SUMMER VACATION

     Records, and cassettes are too expensive. Compact discs are getting harder to find, and the packaging is bare bones, with prices too high for those as well. So, I spent the summer on YouTube listening to a very long list of albums I very much wanted to explore. Some I had heard once and never again. Some I’d only read about. I wanted to further my musical education, expand my horizons, and just hear things that were fresh and new – at least to my ears.

     The whole thing began when I bought Taylor Swift’s The Tortured Poets Department: The Anthology when it was released in the Spring. I was so overwhelmed by how good it is that for the next several weeks I immersed myself in her entire catalog. I bought several of the titles on CD, and listened to the remainder as digital downloads. I plan on writing a separate piece about the experience I had listening to her entire catalog in the space of just a few weeks. For now, I can say I understand why she’s the best selling, most beloved artist in the world. I’m only sorry I waited so long to discover why.

     After Taylor, I moved on to another artist who’s been on the scene for more than a decade, and who remains an enigma of sorts to even those who’ve been along for the ride since the beginning. Lana Del Rey, I soon learned, has eight of the best albums anyone has recorded over the past 12 years. Taylor Swift’s albums play like short stories in a literary anthology. Lana Del Rey’s albums are indie films with each song a separate scene. Neither is casual listening. I discovered on the first listen to each that I would need to really invest the time to appreciate the artistry that just overflows from both artists. As I said, more on both soon.

     In the meantime, I began to ask myself which records were still out there that I’d also wanted to hear, but never had? Which albums had I heard just once, and made a note to investigate further, and just never did for one reason or another? And in the process of searching these out, I also discovered several new albums that had slipped out this year completely under my radar that were by artists I’ve followed, and enjoyed for years. The music magazine I was reading wasn’t doing a very good job keeping me informed about these because they were too busy rewriting old stories about bands and artists I’d long ago abandoned, or about whom I already knew what I wanted to know. That’s why I let my subscription expire, and decided to do my own digging.

     One title at a time began to surface, and thanks to the magic of YouTube, I was able to hear all of these titles as often as I wanted. Below is the list with a few comments about what I heard.

Holly & The Italians – Holly Beth Vincent (1982) This is Holly Vincent’s solo album named after the band she’d recorded her debut record with a year earlier. A terrific Pop/Rock record, but almost impossible to find these days.

Home In the Heart of The Beat – Beat Rodeo (1986) One of those bands working the Roots Rock side of the street. It commands big money from online sellers these days. It’s a solid, if unspectacular effort.

Do You Wanna Ride? – Adina Howard (1995) I first heard this in one of the shops I used to frequent, and though it was an R&B/Hip-Hop record (not usually my thing at all), I liked her voice, and a couple of the songs stayed with me. When I searched it out all these years later, I expected it to be long forgotten, but it seems time has enhanced its appeal, and Howard still has a career in the business even though it was 9 years before she followed it with a second album. It holds up well, and I added it to one of my playlists.

Happy Nightmare Baby – Opal (1987) Long out-of-print, Opal was part of the Paisley Underground movement of the early 80s in Los Angeles. Kendra Smith from The Dream Syndicate, and David Roback crafted a sound that eventually evolved into Mazzy Star when Hope Sandoval replaced Smith. It’s dreamy Pop I find irresistible. I also investigated a few tracks – all I could find – from Kendra’s two solo albums, both also long out-of-print, and both quite worth a reissue.

This Is Big Audio Dynamite – Big Audio Dynamite (1985) Mick Jones put this band together after being sacked by The Clash. I have their second LP, 10 Upping Street from 1986. I like this debut, but I think the follow-up more fully realizes their efforts to meld Punk, Dance, Reggae, and Hip-Hop into one big musical melting pot.

The Longest Day (1984) / Boston, Ma. (1985) – The Del Fuegos Sort of an Americana, or Roots Rock Garage band maybe best remembered for a Miller High Life beer commercial. Like Beat Rodeo, both are pretty strong efforts, but there’s nothing spectacular that would’ve helped them sustain a longer career. Still, both albums merit a reissue.

Sheet Music – 10cc (1974) The band’s second album, and the one most highly regarded by critics. I have their debut, and this one is just as good. I’m happy to have finally heard it.

Your Saving Grace / Rock Love / Recall the Beginning…Journey to Eden / Number 5 – SteveMiller Band (1969-1972) These four early albums were missing from my Steve Miller collection. I’d never owned or even heard any of these, but after picking up Children of the Future, their debut, and Brave New World, their third album earlier this year (Sailor – which I’ve had for years - was the second) I thought it was time to catch up. These are all Psychedelic Rock records with a bit of Pop, and a helping of Blues done in Miller’s laid-back affable style. He would make far more commercial records beginning with 1973’s The Joker, but these are all essential to anyone who loves the sounds of San Francisco in the late 60s.

     In an effort to round out my knowledge of the New Wave of British Heavy Metal movement of the late 70s/early 80s in England, I listened to a half dozen bands and/or records that are considered cornerstones of that movement. Each of the titles listed below had their good points and bad. I didn’t consider any of them to be essential additions to my collection, but I included them all in a playlist of the period, and I can close the book on researching that particular movement now. Angel Witch, Grim Reaper, and Diamond Head were the best of the six.

Angel Witch – Angel Witch (1980)

Lightning To the Nations – Diamond Head (1980)

See You in Hell – Grim Reaper (1983)

Death Penalty – Witchfinder General (1982)

All For One – Raven (1983)

Crusader – Saxon (1984)

Be My Slave – Bitch (1983) The Bitch is Back – Bitch (1987) / Betsy (1989) Bitch was a Los Angeles Heavy Metal band with a sexy lead screamer named Betsy who left to cut a solo album a year after the band’s final LP. She’s still on the road fronting her own band today. These records sound dated today by contemporary standards, but they’re welcome additions to my playlist that chronicles the L.A. Metal scene of that period.

Bent Out of Shape – Rainbow (1983) This is the last Rainbow album I had not heard, and because I’ve always been a fan of both Ritchie Blackmore and Rainbow, I wanted to hear it. It’s not their best album, but if you’re a fan, it’s certainly worth having. I preferred the band with vocalist Joe Lynn Turner rather than Ronnie Dio, but I know that’s a minority opinion. Any record that features Blackmore’s guitar is worth hearing.

Memories Have Faces – The Loons (2024) The latest from San Diego’s premier Garage/Psych band fronted by Ugly Things publisher Mike Stax. This is one of their best records.

Smoke & Fiction – X (2024) A surprise new album from America’s greatest ever Punk band as they embark on their final tour. There are better X albums, but this one is a must for fans.

Ask The Ages – Sonny Sharrock (1991) The final record from the brilliant Jazz guitarist. Great band with Pharoah Sanders, Charnett Moffett, and the legendary Elvin Jones on drums. Bill Laswell produced. I was never able to locate a copy anywhere, but YouTube had it. Great record. If it ever gets a reissue, I’ll pick it up.

Miley Cyrus (20 track career spanning playlist compiled by The Guardian) I only knew of Miley from her Hannah Montana days, and of course I know of the controversy that’s surrounded her since. But I didn’t know the music, and I had no idea where to start. But I found a list on The Guardian website picking her 20 best songs, and that’s where I started. There were four tracks I really loved, and another half-dozen I thought were impressive. The rest weren’t bad by any means, but they weren’t particularly memorable either. I like Miley. I like her strong vocals, and her attitude about controlling her own career, and being who she is. I admire her for breaking free of the Disney graveyard where so many child stars are buried, but she’d have to be more consistent, and develop her songwriting more to keep me interested.

Show Stopper (1983) / Renaissance Man (1984) / Jukebox (1986) – Jamaaladeen Tacuma Tacuma is one of the premier electric bass players of his generation. I heard the first two records here when they were issued, and always intended to add them to my collection. But his label, Gramavision went bust, and I was never able to find them again. He’s putting them out again through Bandcamp, and they’re on YouTube as well. These are excellent albums, and if they’re ever reissued on CD, I’d certainly pick them up.

Steps Ahead (1983) / Modern Times (1984) – Steps Ahead When I was managing an NRM store in the 1980s, I had some musicians working for me who were devoted to Steps Ahead. I heard both of these records in-store quite a few times, and always meant to pick them up. But I waited too long, and they went out of print when the label collapsed. They’re around now as expensive imports, I believe. They still sound good to my ears, and with guys like Mike Manieri, Steve Smith, and Bill Evans in the band, their brand of Jazz Fusion satisfies.

Musicmagic – Return To Forever (1977) The final studio record from the band before they reunited more than a decade later. I never thought their work for Columbia was as good as what they’d done on Polydor, but this one was better than I remembered.

The Verbier Festival Debut Recital 2008 – Yuja Wang (2023) This was released as a download 13 years after the fact. Yuja was the ripe old age of 21 when this was recorded. She was astonishing even then, and has gone on to become the world’s premier pianist – in any genre.

Friends & Strangers – Ronnie Laws (1977) I first heard saxophonist Ronnie Laws when he released his 1976 Fever album. I liked his brand of funky Jazz as well as his tone on the sax. This record, like the other two I’ve heard, is quite good.

The Brecker Brothers (1975) Very highly regarded debut from the Breckers – Michael on sax, and Randy on trumpet. It’s funky, and the playing impeccable. I found it a little slick, and short of great tunes, but it’s worth a listen or two.

Multiplication – Eric Gale (1977) Smooth Jazz from a guitarist who brings a bit of an edge to his work. He’s an excellent player, and I like this one as much as his Ginseng Woman, and Touch of Silk LP’s.

Short N’ Sweet (2024) / E-Mails I Can’t Send (2022) – Sabrina Carpenter I’d never heard of Sabrina Carpenter until I saw a caption on a photo of her with Taylor Swift. She hasn’t got Taylor’s voice or her gift for songwriting, but this is catchy Dance/Pop with hooks everywhere, and attitude to match. I like her use of acoustic guitars on a few tracks. They lend a light, airy, almost Brazilian feel. It’s lightweight, but not aimed at somebody my age. Still, I can understand her popularity. And the newer one is the better of the two.

Back To Black – Amy Winehouse (2006) I figured I was probably the last person on Earth who’d never heard this. I always meant to, but when she died, I figured there was no point. That was a mistake because she was every bit the major talent everyone claimed she was, and in retrospect, it’s easy to feel the loss – even if it is 13 years since she passed.

Hit Me Hard and Soft – Billie Eilish (2024) A simple case of curiosity here. Her appeal is understandable. She obviously connects with her young audience. Her voice is slight, but she’s a good songwriter. Her songs are more melodic than most of what you hear these days. I picked this album because she told the press that it was the most like her of any record she’d made so far. I think she’ll be around awhile.

Ectopia – Oregon (1987) Recorded for ECM, Oregon had more of a New Age sound than the Jazz that label is known for. But whatever you call it, it’s an engaging listen.

Cloud Dance – Collin Walcott (1976) A member of Oregon, Walcott cut this album for ECM more than a decade before Ectopia. It’s similar, and a nice companion to that one as well as the three Codona albums on the label that also featured Walcott.

Spellbinder (1966) / Dreams (1968) – Gabor Szabo I’ve been a Santana fan since their 1969 debut record, but I had never heard Gabor Szabo, Carlos Santana’s biggest influence on guitar. These are two of his 60s albums – likely ones Santana knew well. It’s easy to hear what Santana incorporated into his own style, but I think it’s a case of the student surpassing the teacher.

Warm Leatherette – Grace Jones (1980) I’m a fan of Jones’s Nightclubbing album. This one preceded it, and sounds like the template for that one.

Room of One’s Own (1996) / Under the Milky Way Express (2000) – Rachel Z Rachel Z’s music has been difficult to find, and I’ve been looking since she released her excellent Sensual album this past February. The earlier title is her second album, and it’s impressive. Her stuff is melodic, and she’s got a nice touch on the keyboard. The other album is her fourth, and it’s all Wayne Shorter tunes. That one convinced me she’s a major talent. I’d like to see a reissue program for her catalog.

Faces at the BBC (box) (2024) This is 8 CDs worth of BBC archive recordings from the early 70s. I’ve only heard about a CD’s worth so far, but it’s a must if you loved Faces – and who didn’t? Truly one of the great bands of the period.

Out of the Mist (1977) / Illusion (1978) – Illusion I missed this completely first time around. I only discovered it now thanks to one of the YouTube vinyl community channels I follow by the name of Near Wild Heaven. This band was a branch of the Renaissance tree with members of that band leaving after its debut. They gave the name to a new group of musicians, and formed Illusion. The debut is an excellent Progressive Rock record – truly a lost treasure. The self-titled follow-up is almost as good, and I can only think the reason this band failed to make any real impact was because they were late to the party. By 1977 the music world was laser focused on Disco, Punk, and the kind of corporate Rock where all the bands had logos. Progressive Rock was consigned to the dustbin, and its practitioners were outcasts. Of all the records listed here, Out of the Mist is the one I would most like to see given a proper reissue. I might even overpay for it. It’s that good.

The Lost Record (2024) / Bright Lights (2021) / The Deep End (2019) – Susanna Hoffs Her latest along with her two previous releases. Those last two are albums of covers – something she does well, but more important is her knack for picking great, and lesser-known numbers by very talented songwriters. The Lost Record, an album of originals, was resurrected from the ashes of an aborted 1994 session, and it’s the best of the three. But if you like her work, there’s nothing here you won’t enjoy.

Big Science – Laurie Anderson (1982) This got so much press and so many plaudits from critics when it was released more than 40 years ago, that I think I deliberately avoided hearing it. When every critic is on to something none of my friends are talking about, I generally stay away. So, it was sheer curiosity that made me give it some time all these years later. What did I discover? I was right to avoid it all those years ago. There wasn’t a single track on it I ever want to hear again.

Tori Amos (a YouTube hits compilation playlist) Another artist whose popularity, and cult following always puzzled me. I listened to a few things when she was all the rage, and just didn’t get it. But I figured I’d try again, and see if maybe I was wrong. Though I respect her talents at the piano, and she has some nice melodies, the lyrics are often hard to hear because of her mannered vocals that tend to grate after a while. Just not my thing. But I did try.

Viva – Lone Justice (2024) Thirty-eight years have gone by since their last record, and subsequent breakup. But they’re back, intact, though I’m not sure for how long. They sound the same as they always did. But a new LP with just one original, and a mix of covers is puzzling. It almost sounds like a rehearsal just to test the waters to see if they were comfortable. Not a failure by any means, but I think we all expected more. Still, we can hope there’ll be a follow-up that will blow us all away.

At Home – Shocking Blue (1969) A Pop/Psych gem. They were so much more than just “Venus.” I intend to search out the rest of their catalog. They really had some magic.

Strawberry Alarm Clock – Strawberry Alarm Clock (1967) Sounds like the “Summer of Love.” Lightweight, nice melodies, silly lyrics, but if you were there, irresistible nostalgia.

Evolution – Sheryl Crow (2024) First new album by Sheryl I’ve heard since 2005’s Wildflowers which I bought, and sold back. I think the muse deserted her which led to a Christmas album, a collection of covers, a live record – all things artists do when the well runs dry. This new one is solid, but there’s nothing remarkable here, and I wouldn’t expect to return to it.

TexiCali – Dave Alvin & Jimmie Dale Gilmore (2024) A sequel to their last pairing, Downey to Lubbock, and this one is even better. It will probably land in my Top 5 for 2024.

The Border – Willie Nelson (2024) When this began playing, if I hadn't known going in who it was, I never would've guessed it was Willie Nelson. His voice is much rougher, and deeper than when I'd last heard him on record just a few years ago. Of course, as it continued to play, his old voice surfaced now and again, and there was that old guitar, and his phrasing. Once I got comfortable with the changes in his voice, I was able to hear the songs, and this is as fine a set of songs on one Willie album in some time. Recommended.

Across the River of Stars – Beachwood Sparks (2024) If you've never heard their brand of Southern California hippie pop psych, this isn't the place to start. At under thirty minutes, and without anything definitive here, this feels like a minor effort. Fans will want it, but Tarnished Gold, and Desert Skies are more substantial.

MoonDial – Pat Metheny (2024) All acoustic, very quiet Jazz guitar. Metheny describes it as a late night into morning record, and that's accurate. Not many guitarists can do this, and hold your interest for an hour, but Metheny isn't your average guitarist. Recommended.

Driven’ To Drive – Joe Ely (2024) This is essentially the same record Joe Ely has been making his entire career. If you're a fan, there's nothing here you won't enjoy. If you don't know his work, begin with The Best of Joe Ely, and work backwards. If you get hooked, circle back to this one.

Survivor – Vanessa Williams (2024) I only got through the first five tracks of this before I dismissed it. She's still got that voice, but somebody (maybe her) decided to update, and modernize her approach to appeal to a younger audience. But she's working the same side of the street as artists less than half her age, and it isn't likely she'll convert younger fans with this. All she's managed to do is alienate the older ones. I thought of someone like Tony Bennett who courted a younger audience by working with Lady Gaga. But Tony did what he'd always done as if to say, "This is me, and this is what I do. I hope you like it." That's what I wish Vanessa would've done. Stick with what you do best. But do it better, and maybe use younger songwriters, and fresh arrangements if you want a new audience. Disappointing.

Brasil – Lee Ritenour & Dave Grusin (2024) I've been listening to a lot of Brazilian music recently, so the timing on this couldn't be better. Ritenour and Grusin are masters at making records, and this will put you exactly where you want to be - on a beach, with a drink in hand, and a cool breeze blowing across the sand as you watch the sunset.

Safe at Home - The International Submarine Band (1967) Gram Parsons before he joined The Byrds for Sweetheart of the Rodeo. This is very similar to that album - particularly the original version that featured several Parsons vocals that Roger McGuinn replaced when Parsons left the band due to a dispute over shows booked for South Africa. From the evidence here, Parsons already had in mind what he wanted to do with his brand of Country music, and he would fulfill that promise with The Flying Burrito Brothers. Interesting as a curio, and as a blueprint for the Country-Rock house Parsons would build.

     That’s the list so far. What looked to be a dull year musically has suddenly become quite interesting. Stay tuned for more.

[theunderestimator-2]

The Long Ryders in the final moments of their performance at Islington Assembly Hall in 2019, as captured by Tom Gold during their tour to support an album of new material about 30 years after their breakup, getting back in the world they helped create.

Originally associated with the early-’80s Paisley Underground scene, these LA-based punk rock-influenced garage rockers with a Neil Young flavor to their psychedelic roots rock sound reached their high point by the mid-’80s. They embarked on their first international tour to Europe in 1985, where they were greeted with sold out shows, amazing crowd receptions, an NME cover and a dozen record companies at their London hotel door after their second show, then headlined a Barcelona festival in front of 100,000 people in 1986. 

However, back in the US, things had gone from hot to cold in about three weeks, after fans accused them of selling out for doing a beer TV commercial that killed the band stone dead and furthermore, turning down the offer to open for U2 on the North American leg of their Joshua Tree tour was a major opportunity blown that didn’t exactly help. They found themselves broke and facing a dead end after two members left the band, so by late 1987 they eventually called it quits, predating the alt-country movement that would gain in popularity by the mid-'90s by a full decade.

(via)

[bandcampsnoop]

3/23/23.

The Dream Syndicate have been a growing favorite over the past decades. My friend Rick was always pushing them, and while I never resisted, I never really embraced the band. However, I can state unequivocally that "That's What You Always Say" was an immediate favorite. "Halloween" soon followed. Then my friend Eric played "The Days of Wine and Roses" at one of our many listening parties.

Then I bought "The Complete Live at Raji's" and got the chance to see the band live. Wow.

I'm probably not telling anyone anything they don't already know. But this reissue of The Day of Wine and Roses by UK-based Fire Records is special. The extras are just incredible. People often list other "Paisley Underground" bands like The Three O'Clock, The Bangles, Green on Red and Rain Parade when discussing The Dream Syndicate. And while I have no doubt those bands were part of a scene, they don't necessarily sound like one another.

To me, The Dream Syndicate recalls the work of True West, The Wipers and Television. Steve Wynn started bands here in Davis, California (with Kendra Smith and later Scott Miller), but he formed The Dream Syndicate in Los Angeles.

[hyperberlin]

･ﾟ✧HYPER ｡.｡:∞♡♥ DREAMS^2 :･ﾟ✧- PRODUCTION WORKSHOP An atmosphere of curiosity and sonic exploration filled our bedroom at Hyper Dreams as we hosted a series of music production workshops - with an emphasis on Ableton basics, this workshop was designed to be an open invitation to everyone curious about music production and has been captivated by the hyper sounds.

The workshop cultivated a safe space where participants were encouraged to ask any type of question they had in mind.

The workshop was held by Richard Barr aka Wikihow Adventure Cruise, a good friend and frequent collaborator. Richard is a singer, producer, and experienced Ableton trainer. Over the previous four years, he had carved out a name for himself, releasing a colorful spectrum of emotional pop and trap-infused emo anthems under his solo project, Wikihow Adventure Cruise.

He was closely involved with the Gochu Village collective, releasing a monthly radio show on Hong Kong Community Radio featuring underground SoundCloud artists. In 2022 he founded the Fog Juice collective with fellow Berlin musicians Lokik, Simoncello, Good Girl Aggie, and the animator Allen Paisley, hosting live shows and building a scene in Berlin for hyperpop and adjacent artists.

[randomvarious]

Today’s compilation:

Slash: The Early Sessions 1983 Punk Rock / Rockabilly / Americana / Alternative Rock / New Wave

Slash Records opened its doors in 1978 as a label that was committed to documenting Los Angeles' then-exploding punk rock scene. And very early on, they managed to secure two of the city's biggest, most influential, and most critically acclaimed acts: Germs and X. Plus, they also put out the soundtrack to the famed LA punk documentary, The Decline of Western Civilization. So, needless to say, they were extremely integral to the whole cultural movement.

But it didn't take very long for Slash to begin to expand past their pure punk product. In '81 they added the rootsy rockabilly Blasters to their ranks, followed by punks-turned-country-rockers Rank and File—whose leading members, brothers Chip and Tony Kinman, had previously fronted legendary Cali punk band The Dils—and then in '83 came Chicano rockers Los Lobos and Milwaukee folk-punks Violent Femmes. And they also had neo-psych/paisley underground staple The Dream Syndicate and blues-rock punks The Gun Club on their subsidiary, Ruby Records, too.

So, this 1983 greatest hits sampler from Slash catches the label somewhere in the midst of that expansion, trying to coherently bridge a gap between Americana and punk rock, showing that these two styles that can seem *very* disparate can actually be woven together quite effectively.

But I'm not sure that they actually pulled it off here, as there seems to be something of a theme to each side of the record: the A-side consists of the Americana stuff and the B-side has mostly the punk stuff, and despite some of these bands' affinity for mixing the two things together, you don't really get much of a taste of it here.

And it also appears that the A-side, outside of what is by far the album's most well-known track, the alternative cult classic, "Blister in the Sun" by The Violent Femmes, hasn't stood the test of time, whereas the B-side, with two cuts from X, one from Germs, and another from The Dream Syndicate, still goes pretty damn hard to this day, 40 years later.

X's two offerings, which come off of their pair of hallowed back-to-back albums, 1980's Los Angeles and 1981's Wild Gift, feature the dynamite boy-girl vocal team-up of John Doe and Exene Cervenka that sees them both exchanging lines and also generating great harmonies. And both songs are produced by ex-Doors keyboardist Ray Manzarek too.

The Germs song, "Caught in My Eye," is an outtake from the recording sessions for their lone, mythic album, (GI). It features some excellent punk guitar-tone to go along with frontman Darby Crash's scratchy vocal. It's also on a posthumous 1981 Germs compilation EP called What We Do Is Secret and is produced by none other than the queen of punk rock herself, Joan Jett.

And that B-side's only non-punk track, "Tell Me When It's Over" by The Dream Syndicate, is great too. It's the opening track on their landmark debut album, The Days of Wine and Roses, and it's just this thing of jangle-thick, early 80s underground, post-punk beauty.

Took some time for me to really get into this record, but the B-side here is absolutely tremendous. A solid, brief look at some of the early years of this unique LA punk/indie/alt/Americana label.

Highlights:

Violent Femmes - "Blister in the Sun" X - "Los Angeles" Germs - "Caught in My Eye" The Dream Syndicate - "Tell Me When It's Over" X - "White Girl"

[rockmusicassoc]

#GreatWomenOfRock The Pandoras: founded by the late Paula Pierce as part of the LA Paisley Underground scene, from 1982-1991 almost 20 women joined her in the garage rave-up, including Kim Shattuck, future leader of the Muffs, who stepped into Paula’s role in a later-day reunion of the band that featured former members Melanie Vammen, Karen Blankfeld-Basset, and Sheri Kaplan. #Pandoras #KimShattuck #RockHonorRoll 3/22

[serpentinesheldonserpentine]

I often disappear into a music listening bubble of 40’s and 50’s R&B mixed with auditions from perspective employees. Which is a convoluted way of saying this one slipped by me.

So much has happened musically since Third Rail Power Trip and with David’s death I filed this band to the corners of my musical memories.

And while it’s been a few years since the Paisley Underground was a “thing” ( remember when the Bangles were called The Bangs and were sorta part of that scene?), I am excited to put this recording in regular rotation.

You won't find a lot that’s new, but listening to Last Rays is like finding an old pair of 501’s that still fit and have a twenty in a pocket. It’s a comfortable feeling and one that recalls happy times.

Thanks to @guessimdumb and @sugarforsalt

Rain Parade - Last Rays of a Dying Sun (2023)

Rain Parade with their first LP since 1985 - their hazy psych sound is intact and still compelling.

[in-his-autumn-before-the-winter]

The Bangles

I’m going down to Liverpool to do nothing

[felons-of-fashion]

(via https://www.youtube.com/watch?v=f-_G7A0RbjU)

[sinceileftyoublog]

The Dream Syndicate Album Review: Ultraviolet Battle Hymns and True Confessions

(Fire)

BY JORDAN MAINZER

“I’m not trying to play my hand,” Steve Wynn sings on “Trying To Get Over”, a jangly tune from their latest album Ultraviolet Battle Hymns and True Confessions. It’s a mission statement for the band, one apropos of their tendency to bounce around aesthetics and styles. If in the 80′s they were somewhat pigeonholed into the Paisley Underground scene, ever since the band reunited ten years ago, they’ve remained unpredictable. 2020′s The Universe Inside sported 20-plus-minute run times and songs whose ideas occupied seemingly disparate areas. Two years later, with the same lineup and even a couple of the same outside collaborators, Wynn and company have released an album that still stands to toy with your expectations, but within a strictly pop realm.

From the get-go, Ultraviolet Battle Hymns is adept at capturing feelings that simultaneously exist across the spectrum of emotions and aesthetics. Opener “Where I’ll Stand” juxtaposes looped synthesizers with a slow-burning, fuzzed-out guitar sway, the forward march of krautrock with the skyward melodies of dream pop. “Damian” fits in tremolo guitars with pseudo funk, a strut rife with horns from Marcus Tenney. “Beyond Control”, a co-write with keyboardist Chris Cacavas, begins with clanging, concave percussion, Wynn deadpanning lines like, “Everything must go” as if he’s emptying out a house during an estate sale. It then richly subsumes your ears, its drums adopting a motorik pattern like it’s an arena rock song. These contrasting moods and production choices--from the heavy reverb of “The Chronicles of You” to the unexpected minimalism towards the end of “Every Time You Come Around”--typify the band’s eighth record.

It’s fun to imagine when these songs were written. How Did I Find Myself Here?, The Dream Syndicate’s first album since their reformation, came out in 2017, and they’ve released three more since then, including Ultraviolet Battle Hymns. Despite the stylistic differences between these albums, it’s likely many of the songs were written during sessions for the previous record(s). Or, at least the seeds were planted during jam sessions. Indeed, if there’s one tying thread in The Dream Syndicate’s albums and songs, it’s a sense of looseness that suggests a logical improvisation. You can hear the wooziness of Tenney’s horns start to emulate the haze of the guitars on “Hard To Say Goodbye”, or the rest of the band follow Cacavas’ jaunty, rave-up keyboards on closer “Straight Lines”. Even Wynn’s rhymes and wordplay unfurl naturally. “Parlor tricks and swizzle sticks / The sour mix ain’t gonna fix a thing,” he sings on “Damian”; “A pair of jacks / A paradigm,” he speaks on the clacking, mysterious “My Lazy Mind”. What is he talking about? He’ll never tell.

[allmusic]

AllMusic Staff Pick: Close Lobsters Foxheads Stalk This Land

Largely overlooked 1987 debut by this Scottish jangle pop group was adjacent to trends in U.S. college rock at the time, but was also adjacent to the psychedelic undertones of the paisley underground and the melancholic rural pop of New Zealand's Flying Nun scene. Standout single "I Kiss The Flowers In Bloom" is a hit that never happened, setting the scene for waves of indie pop that followed while standing head and shoulders with any of the band's peers that rose above obscurity.

- Fred Thomas

[velmatv]

The Three O’Clock - ‘Her Head’s Revolving’ - 1985

The Three O'Clock is an American alternative rock group associated with the Los Angeles 1980s Paisley Underground scene. Lead singer and bassist Michael Quercio is credited with coining the term "Paisley Underground"[1] to describe a subset of the 1980s L.A. music scene which included bands such as Dream Syndicate, Rain Parade, Green on Red, the Long Ryders and the Bangles.

[daggerzine]

Celebrity Mixtape Party #3 with celebrity musical guest Jonathan Segel!

Big thanks to our Stockholm correspondent for giving a listen to mixtape number three. I had as much fun reading Jonathan's musings as I did making the mix.

The Neats - 6 

I had a thing against this band because of their use of a capital-Lamdba as an A on their band logo, so I always read it as “The Nelts” and by the time I finally understood it was “The Neats” I wasn’t interested. This song is an obvious love poem to 96 Tears, with the organ sound and spy-riff guitar. Nice Pebbles-type music, the lyrics are stupid.

The Chills - I Think I Thought of Nothing Left To Think About 

Chills are great, I have always been a fan of the NZ scene, so many good bands. “Driving yet melodic” as they used to say

The Mantles - Don't Cross Town 

Nice simple melody guitar intro. Indie band quality recording, good for those in the know (I’m not, though.) Again, the classic guitar/organ with the bass and drums. These guys sound like they learned how to play in order toto form this band.

Magazine - Touch and Go 

Nice edgy new wave from Magazine! This is classic stuff, heard on KDVS when I was in high school, making rock music what it needed to be. Listening now, I can hear the glam in it as well.

Naked Raygun - Rollerqueen 

Bass driven rock music with droney scream vocals, I guess it was considered punk at the time. But it’s a love song! About a big legged lady, no less. From the punk styles that used Marshall amps, yet claimed to hate the big rockers of the 70s.

The Names - Floating World

Back to the classic 80s organ/chugging guitar/arpeggios with a chorus pedal. I’m glad people made records like this, nobody would tolerate singing like this these days unless it was from teenagers. “let’s go away, far.” 

Unrest - Vibe Out 

“Vibe out”, vocoded. Bass riff central again, eventually we get to the almost-in-tune girl vocal pair, which I have to say, makes me happy. There’s something about it that makes me happy, especially the suspensions. All strummy strum, downstrokes on the bass, with that pair of crooners melodicizing.

Slant 6 - 30/30 Vision 

Ok now we’re in proto-math rock territory, awesome riffs and key changes, great sounds from the guitars and bass. Spoken vocals, again, the almost in tune girl melodics that just get me. Great build to new sections! Faster pace, and a weird phrase for the chorus “30/30 vision” then back to the slow bass riff. I think I would have loved these guys live, never saw them!

New Order - Ceremony 

The most pop track so far, most of these bands with the bass-riff intros probably copped it from these guys. This is a great track (and I’m not a super NO fan) with great simple melody and strong guitar and bass parts. I obviously stole something from this song for a song on the second CVB album, “Chain of Circumstance”.

The Sound - Unwritten Law (7" version) 

Back to the garage, cool guitar riff on two janglers going slightly stretched tuning wise. I haven’t heard it before. “a hand is a hand a knife is a knife”. Where did these guys come from and where did they go?

Happy Refugees - Enshrined In a Memory 

Another 7”, again I’m not in on this band, sounds cool, sort of Fall-ish delivery but with the REM jangle. I’m gonna get good at music trivia.

Television Personalities - Reaching For The Stars 

I know these guys, had many albums, so my trivia knowledge is influenced by KDVS. And

The Three Johns - Brainbox 

Nice strong song, good recording, complete with the major key anthem fade out.

The Pooh Sticks - Time to Time 

Welsh post punks garage rocking it

The Primitives - I'll Be Your Mirror 

More 80s bands mirroring the Velvet Underground?

Biff Bang Pow - 7 Seconds 

Like UK’s own Paisley Underground. I guess most of this tape is 80s/early 90s Brit snark mixed with a bit of acid.

Party Day - Carousel 

Early Goth! This type of bass and to a certain extent guitar, are why I thought the Cocteau Twins were goth at the start, same early 1980s era.

Mick Trouble - Tales of Hank Marvin 

(Mick trouble, really? Tales of Hank Marvin! The throwback nostalgia to Hank, doing up the old strummy guitar. It also reminds me a bit of TV P’s)

Bad Sports - Can't Just Be Friends 

This is like a love note note 7”. Every time I go you can put me on your stereo.

The Unknowns - Not My Memory 

Early 80s when the new wave was crashing and nobody knew what the genre enclosed. I like the way he clucks like a chicken.

Julian Cope - I've Got Levitation 

Man, Julian Cope. Was high. That super crack midrange snare is like hyped up Rolling Stones, with this blues progression. He was into cutting high and low end to squeeze more volume out of analog gear. Punchy! You can sort of see where this is going in terms of UK drug and rave culture.

Abecedarians -They Said Tomorrow/Wildflower 

I liked these guys, DIY post punk Californians. Sort of into the texture as much as the notes. Moar reeverb!

Red Zebra - The Art of Conversation 

Don’t know them, I think…Belgian punkers. Sounds pretty emo these days. Nice gothy chorus on bass and digital delay on guitar. And freaky ending!

Wire - The 15th  

Monks of Doom covered this song relatively recently on What’s Left For Kicks (2006) so that version almost supplanted this version! Wire is so weird, they’re always great but somehow unknowable. Like what are they actually talking about? Is it as dire as they make it sound? Love their style with all the direct downstrokes on the guitar and the organ.

The House of Love - Road 

Taking the goth and post punk signifiers to the bank via high end production. Emo vocals moving out of the underground. This was toward the end of the A&R

Rote Kapelle - San Francisco Again (partial) 

This is obscure. Cool indie (SF, I guess?) boys and girls

Veronica Falls - Bad Feeling 

Unknown, cool song, more recent indie Scottish boys and girls?

Close Lobsters - Sewer Pipe Dream 

80s Scots, jangly Enigma Records stuff. Nice song, good sounds with the jangles and the fuzz. 80s compulsory snarky lyrics, as usual.

....and here’s the mix!

https://soundcloud.com/user-292047766/jonathan-segel-mix?ref=clipboard&p=a&c=1

[mitjalovse]

While The Dream Syndicate and The Bangles belonged to the same scene, The Paisley Underground, they followed the rules of many 80's semi-alternative musicians. When I say the latter, I try to say that you cannot really consider them to be mainstream. Sure, some of them, such as The Bangles, had some hits, but they also continued to be seen as the outsiders. To give you another example – Mazzy Star may have had a period of success during the 90's, though they slowly retreated back towards their own selves and their latest works travels within this vein. Of course, they resemble many of their peers who weren't really highly famous, yet they became known for a couple of songs that may or may not show their true soundscapes.