YOUR
INSIPID RECORD COLLECTION #4
PUT
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Marc
Almond, SHADOWS AND REFLECTIONS lp
Brix
and the Extricated, PART 2 lp
Dream
Syndicate, HOW DID I FIND MYSELF HERE? lp
Explosions
In The Sky, THE WILDERNESS 2xlp
Jad
Fair & Kramer, THE HISTORY OF CRYING lp
Lemon
Twigs, DO HOLLYWOOD lp
Limpwrist,
FACADES lp
Monks,
HAMBURG RECORDINGS 1967 ep
Noise
Addict, 10 000 KIDS WITH GUITARS 2xlp
Pere
Ubu, 20 YEARS IN A MONTANA MISSILE SILO lp
Planetarium,
S/T 2xlp
Laetitia
Sadier Source Ensemble, FIND ME FINDING YOU lp
Jackie
Shane, ANY OTHER WAY 2xlp
The
Waterboys, OUT OF ALL THIS BLUE 2xlp
John
Waters, MAKE TROUBLE 7”
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THANK YOU TO RECORD PURVEYORS(Bill, Sunrise Records,
ZAP, Brian’s Record Option, Now & Then)
AND HERE’S A MESSAGE TO THOSE WHO SAY ‘YOU STILL LISTEN
TO VINYL?’ (yes) OR ‘THEY STILL MAKE VINYL?’ (apparently) OR ‘HAVEN’T YOU HEARD
OF STREAMING OR DOWNLOADING?’ (yes, beautiful and valid choices, with which I
occasionally experiment, but my heart belongs to the RCA pup)
yirc.blogspot.ca
if
you are the type who sends (preferably non-explosive/non-boobytrapped)
correspondence via post, ‘e’ me for the address.
(c)
Tim Murphy (editor/writer/caterer/fluffer), late 2017, for Does A Bear Woof In
The Woods? Press
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Marc
Almond, SHADOWS AND REFLECTIONS lp (BMG)
At 60, Mr. Almond’s voice has
thickened and deepened, but that is a distinct advantage on this collection, as
he croons his way through somewhat melancholy, but not bathetic, selections.
It consists, with one exception, of
covers of 60s songs from artists as diverse as Timi Yuro and The Yardbirds.
Three or four of them are vaguely familiar to me, but many of them may either
be cult classics or songs that simply did not chart in North America.
These pieces are lush and
well-arranged without being grandiose, and considering that the basic tracks of
several are done by two people, seem quite organic. Unlike some of his originals
in this style or his previous covers of Jacques
Brel, the strings and other exotic touches are restrained, and the backing
vocals are similarly tasteful.
Even the one original is in the same
tone and mood. Though he may have missed the boat in terms of the
lounge/exotica trend, it is an enjoyable and engrossing LP for the most part.
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Brix
and the Extricated, PART 2 lp (Blang)
After years running a store, and
occasional forays into online music releases, Brix Smith Start returns with an LP at last. Even better, the rhythm section consists of
her former Fall-mates, Steve and Paul Hanley, and Steve Trafford, one of her
two co-guitarists, was in another line-up of the Fall.
It is a tasty collection of
indie-pop-rock, with a hearty attitude and energy, and includes re-visits of
Fall tracks LA, Hotel Bloedel and Feeling Numb. Given that the latter two
were created from songs she wrote before meeting Mark E Smith, she has a very
firm claim on them, and LA and Hotel Bloedel had her on lead or co-lead
vocals in the original takes. They’re fairly faithful to the original takes,
though a little more pleasant in pitch and sound than the previous
interpretations.
In terms of the new compositions,
‘Damned For Eternity’ has a sprightly garage-pop strut to it, and ‘Moonrise
Kingdom’ is sparkly and shimmering, a bit like late Lush.
Guitar-driven, with strong hooks, and
vocals that are both endearing and forceful. A brilliant return to form and the
spotlight, which proves it is never too late to be a rock diva again.
And no, there does not appear to be a
Part 1 out there.
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Dream
Syndicate, HOW DID I FIND MYSELF HERE? Lp (Anti-)
Nearly thirty years after its last album,
original members Dennis Duck (drums)
and Steve Wynn (guitar/vocals), as
well as Mark Walton (bass, who
replaced Kendra Smith after the first
album) and Jason Victor (guitarist
who worked with Wynn on the latter’s
solo material for years), release this eagerly anticipated new one.
The inclusion of Chris Cacavas on keyboards adds a psychedelic and vaguely jazzy
component to several tracks, and Linda
Pitmon, Steve’s wife, adds additional percussion to a couple of songs.
The eight songs stretch out over
nearly fifty minutes, so the arrangements are very relaxed and expansive. The
tempos are a little less frantic than The
Days of Wine And Roses, and the title track is an intricate affair of
nearly eleven minutes, while 80 West
has some passages that recall Neil Young
at his most corrosive.
Steve’s
voice retains the Dylan-meets-Lou-Reed quality of the past, though a bit warmer
and more playful with the passage of time.
The music is rootsy and prone to tasteful white noise and fuzz. Dennis’
drumming in particular is more subtle and laid-back than in the past.
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The biggest surprise here, though, is
the re-appearance of Kendra Smith.
After she left the band, and following a relatively low-key solo career and a
stint in Opal (which became Mazzy Star shortly before she left,
though she is on none of those records), she disappeared into the woods of
California off the grid.
Evidently, she could be reached,
however, as she contributes vocals and lyrics to the closing track, Kendra’s Dream, whose title is reflected
in the somewhat meditative music. Her voice has become even deeper over the
years, resembling Nico more and more.
She did not elect to re-join the group, but this piece was a welcome treat.
Perhaps we can hope she will produce more in future.
In short, if you like rootsy Americana
with a kick, you will probably adore this record.
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Explosions
In The Sky, THE WILDERNESS 2xlp (Temporary Residence)
When this band started out, they were roughly in the post-rock category, given that they did longer pieces without vocals, but they were very much a two guitar, bass and drums outfit at that point, albeit featuring drums that were more in the military/press style in the early days. As time has gone on, and especially on
this three-sided release, they have expanded outward to include more
electronics and altered sounds, especially on the drums.
There isn’t much in the way of the
epic guitar noise of some of their past records – it is much quieter and
introspective, occasionally almost orchestral a la Rhys Chatham in terms of
six-string sounds.
A gentler, if not necessarily
soothing, experience, and an interesting evolution that has been gradually
unfolding – a bit like how Eleventh Dream Day evolved from Neil Young freakouts
to a more sedate, spacey feel.
Jad
Fair and Kramer, THE HISTORY OF CRYING lp (Shimmy-500)
In their first collaboration for over
twenty years, these gents throw a few curves. First of all, it has electronic
elements, though not in a high-tech way, with guest tasteful guitar solos from
Paul Leary of the Butthole Surfers. Second of all, and most shocking, Jad
actually sings! Tunefully! (with backing from Kramer)
The liner notes inside this LP
document the discussions said to have resulted in this platter. Some of it
sounds improbable, but they are both odd fellows, so it’s possible it did
happen that way. It’s an enjoyable read, at which I laughed out loud several
times.
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Twelve tracks of odd pop. If you are
looking for the noisy clatter of Half Japanese, you will be disappointed, but
it is endearing and sweet, and has had heavy circulation on my Radio Shack
imitation-wood turntable. How could you not love titles like ‘I Miss My Analog
Warmth’ and ‘I Won’t Eat ‘Til You Come Back To Me’?
If you search on Vimeo, you will find
several trippy videos made to promote this record, such as ‘Red Red Sun’, the
opening track, which definitely has the prettiest vocal.
Shimmy-500 has a strict policy – 500
colour vinyl copies, vinyl only, no fucking CD’s (shocking, but I quote) and no
downloads (until the vinyl sells out). So if you don’t have a record player,
you may have to limit yourself to those videos, or (gasp!) befriend one of
those scary people who still plays the big CDs.
Lemon Twigs, DO HOLLYWOOD lp (4AD)
Between them, Michael and Brian D’Addorio play virtually all the instruments and voices (including violins, cellos and trumpets), barring one guitarsolo, some electronic percussion and backing
vocals, and pay modern tribute to some of the best, knowing pop of the 70s, be
it The Partridge Family, Sparks, Wings or
Big Star, in a very relaxed fashion (to the extent, like the Beach Boys, that there is patter captured in some of the songs).
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In fact, there is even
tape hiss, which means it is not a digital affair (it was apparently recorded
in the front room of their producer’s home).
Every possible Seventies cliché, from
prog synthesizer flourishes to the falsetto styling of Russell Mael, with brushes at the catchy melancholy of Emitt Rhodes (which only makes sense in
the multi-instrumental overdubbing context), is here, but in the service of
well-written and quirky songs. My personal faves are the sugary confection of
“I Wanna Prove To You” and the T-Rexy oddity of “A Great Snake”.
They have a new EP out now, on which
there is an actual band, as opposed to this demo sound. I hope it retains much
of the same mad fizz that the LP displays.
Limpwrist,
FACADES
lp (La Vida Es Un Mus)
Nine years since their last LP, this
hardcore quartet return with their most polished and even catchy/hooky work
ever, including a track which exceeds the
As usual, their material focuses on
liberation, queer politics and a call to arms against the conformity and
conservatism of the gay community, with selections such as the title track and
‘Wrap Yourselves In Me’ being especially pointed in this regard.
Side A, though it does not list a
producer, is presumably done by the band itself, while the B-side, consisting of three longer
selections, is produced by the guitarist, Scotty Moore, and mixed by Don Pyle,
which may account for its greater clarity.
I may be getting accustomed to the
speed and ferocity of their delivery, but it seems that the tunes and vocals
are easier to discern now than I found them to be in the past.
The record comes with a big ‘zine
which contains the lyrics of Side A’s tracks, and numerous testimonials,
polemics and history lessons as well.
It’s fierce, in both senses, and
definitely worth having, even if, as Hunx puts it, ‘you don’t like rock ‘n’
roll’. J
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Monks,
HAMBURG
RECORDINGS 1967 ep (Third Man Records)
This band of American GIs based in Germany
had a certain built-in destruct mechanism, inasmuch as once they were posted,
they would probably have had to break up. They put out one classic album, BLACK
MONK TIME (1965), and a couple of singles after that.
Their original, very fierce sound was
driven by minimal drums, organ, electric banjo, and lyrical/vocal bad attitude.
They actually had something of a following in Germany, and even appeared on
some pop music programs, though the audience tended to look bemused after they
performed, and it was very difficult to dance to.
By this point, they had mellowed a
bit, perhaps because of a desire to be more successful or maybe just an
evolution as they aged. “I’m Watching You” was an extra track produced during
the same sessions of the 1967 single “Love Can Tame The Wild”/”He Went Down To
The Sea”, while the other four tracks were recorded after hours in a club they
frequently performed at, and even included an instrumental.
It is far less fierce than that first
LP, but it’s still an interesting little collection of oddities, and probably
the very last vestiges of the group’s unreleased material, so definitely worth
having for completists.
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Noise
Addict, 10 000 KIDS WITH GUITARS 2xlp (Numero Group)
Aussie kids who started out in the mid-90s
as just into their teenage years and barely being able to play – comparisons to
the Shaggs are not entirely unjustified – and ending with a sort of adolescent
Pixies/Sonic Youth pop thing going on, and even incorporating a female
guitarist on their last tour (leavening the bro overlay), which isn’t that
surprising given a demo produced by Thurston Moore.
Their little homage to Evan Dando,
entitled “I Wish I Was Him” (appearing here in both acoustic and electric
versions), shows ambition, naivete, jealousy, and a bit of a pout.
On the subject of naivete and ambition,
they cover Jonathan Richman’s deeply twee “Back In Your Life” (for contrast,
they also do “Let’s Lynch the Landlord” by The Dead Kennedys).
Much as the Ramones inspired so many youngsters
in the 70s, this band shows what happens when you have a steady diet of
Pavement, Lemonheads, Sonic Youth and the Pixies and decide to fake it until
you make it. Charming and odd, in equal measures.
I don’t happen to have any chalk
handy, but the promotional material on the label’s website suggests the cover
can actually be used as a blackboard, so perhaps you could write “I Love Kim Gordon”
about a million times on the cover. And the 16 page
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Pere
Ubu, 20 YEARS IN A MONTANA MISSILE SILO (Cherry Red)
From the very first track, one can
tell one is in the presence of a much more energized Pere Ubu – possibly
because it’s now a nonet, with three guitarists. In fact, it sounds a bit more
like the until-recently-reactivated Rocket
From The Tombs, except with the mutant EMS synths squatting on the
property. It also comes in at under 35 minutes, the shortest Ubu record in
recent memory.
“Monkey Bizness” has a repetitive
guitar figure, probably inspired by Kristof
Hahn’s time in Swans, and a
growling vocal that sounds more like Tom
Waits and Captain Beefheart than David Thomas’ more typical piercing
whine.
The next couple of tracks have more of
a speak-sing thing going on, though his voice is very clear and energetic, and
even amused. The bizarre synth noises float around in the background behind the
intricate guitar interplay and riffing.
“The
Healer”, on the other hand, is almost like a folk-rock or Genesis ballad, with
whooshing synths, a clarinet, a wistful vocal, subtle steel guitar noises, and
very little in the way of percussions. Its mood is promptly broken by the brief, guitar-driven stomper "Swampland", which has moments not entirely unlike The Stooges if they used synthesizers.
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“Plan From Frog 9” sounds more like
the last couple of records, with percolating sequencers and synth beeps and a
woozy rhythm to it.
“Howl” resembles Martian blues, with a
crawling tempo, odd clarinet and chugging and crying guitars. And yes, David
actually howls impressively here.
“Red Eye Blues” continues in that
mode, except with twangy guitars and a much faster pace.
“Walking Again” moves along at an
ominously slow clip, with much moaning and a corresponding drone to the music.
One synth sort of creaks, while the other occasionally plays a very small range
of notes. Dare one speculate it is a joke on their notoriously difficult album The Art Of Walking?
“I Can Still See” opens with a
forcefully thumping drum, odd electronic sounds, and an only moderately faster
tempo. Once in a while, a female voice, who is presumably Roshi, speaks or
sings the title line. There is not much tune to speak of – just more
speak-singing, with a vaguely melancholy or troubled tone. As it moves along, a
noisy guitar starts to play a vaguely metallic, or even PiL-like, lead, which
is the closest thing to a hook.
“Cold Sweat” is not a James Brown
cover. That would have been fun, and it would certainly have changed the
plodding feel, but it continues on this closing number. The steel/slide guitar
and clarinet provide a bit of a tune, but not much.
After 16 albums and nearly 42 years, it is
nice to see David Thomas and his collaborators have new tricks up their sleeves
and can manage some energy and vim, even if the album does rather lag with
three dirges in a row.
RIP Paul Hamann – either he or his
father engineered virtually every Ubu recording.
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Planetarium,
S/T
2xlp (4AD)
A collaborative effort between Sufjan
Stevens, the Christian indie-pop darling; Nico Muhly, most noted for string
arranging for various artists; Bryce Dessner of The National; and drummer James
McAlister.
It is a grandiose and lush cycle of
songs more or less inspired by the solar system and phenomena therein, with
electronics and orchestration fighting for prominence, and occasional
flourishes of guitar. It is probably the only time Stevens’ voice is heard
through vocoders and autotune, not always to its advantage,
Some trimming might have been to its
advantage, as it comes in at close to 80 minutes long, but it’s definitely an intriguing
production.
Laetitia
Sadier Source Ensemble, FIND ME FINDING YOU lp (Drag City)
Laetitia produces more electronic-tinged,
proggy pop with Latin overtones, aided by her new, awkwardly named group of
collaborators.
That alto voice – the repetitive but
catchy structures – it’s not entirely unlike Stereolab, her previous band. It
could hardly fail to be reminiscent of it, just because of the lyrical and
musical components. The main difference is a much more laidback, mid-tempo
feel, and a lack of strings or horns, which often adorned later material by her
former group.
If you feel an absence of
Marxist/Situationist lyrics set to mellow, vaguely jazzy pop, you will get your
fix here.
Jackie
Shane, ANY OTHER WAY 2xlp (Numero Group)
For many years, Jackie Shane (born 1940) was an enigma. After a performing and
recording career spanning 1957 to 1971, with some of it spent by the
American-born artist in Canada, featuring a handful of singles, one of which
was a regional hit here up North (twice), and a live album to her name, she
disappeared from sight. Rumours flew as to what occurred, including murder and
AIDS. Around 2005, it became known she was still alive, as someone tracked her
down in Tennessee; by the next year, though, the number was disconnected.
This record, whose title track was the
hit, documents most of her output, though there are a few oddities out there
not included.
For the early 1960s, she was
astonishingly outspoken, including the knowing turn on ‘tell her I’m gay’ in
the title track, especially on the live album (though it was released in 1967,
it consists of material from 1963 or so, and no-one else in showbiz was being
quite that bold in terms of innuendo and overt attitude). In fact, the live
tracks are probably the highlight, as her singles were mostly released from
hasty sessions over several years. Except for her final single in 1969, the
material was covers, though her monologues are her own. She did, however, have
a hand in both production and arrangements, so her stamp can be detected, and
even in the lower ranges, her voice is both gripping and soulful.
The record includes an enormous
booklet full of vintage photos and posters, capturing, among other things, an
obnoxious Toronto Star column from
1967 in which they cornered/asked her if she was a boy or a girl, in response
to an alleged question from audience members. It is full of anecdotes from both
Ms Shane, who has now resurfaced, and others on the Toronto scene then, most of
whom are respectful of her transgender identity.
As both history and r&b, this
release is eye-opening and crucial.
Tuns,
S/T
lp (Royal Mountain Records)
So a Superfriend, an Inbred, and a Sloan
walk into a bar...and proceed to make music before anyone can presume this is
the setup to a hackneyed, if oddly Gaelic, joke.
Matt
Murphy (guitar/vocals),Mike O’Neill
(bass/vocals) and Chris Murphy
(drums/vocals) create a catchy and focused set of 9 songs in 27 minutes.
I would say it’s sort of Dad pop-punk,
but unfortunately they’re all younger than me, so I can’t.
What it is is mostly jangly power-pop
trio material with excellent vocals (lead and backup), whose brief but fully
formed songs will stick in your heads for days, like the best songs of their
respective bands (though the average listener is sadly not going to remember
the Inbreds much or have even heard of the Superfriendz – Sloan is still going
strong, however).
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The
Waterboys, OUT OF ALL THIS BLUE 2xlp (BMG)
In which our hero discovers hip-hop,
disco, r&b and goofy love, relatively late in life, in addition to his
usual concerns with mysticism and the like.
One thing which comes to mind in
listening to this sprawling 96-minute release (there is apparently a bonus disc
edition that adds another 40 minutes) is that, like Patti Smith whom he
celebrated in A Girl Called Johnny,
is that he is very much in love. Whereas Patti expressed her sentimental and
slightly goopy side primarily with her children on Dream Of Life (yes, there is “Frederick” on Wave, but it had a catchy, lively tune), Mike Scott here celebrates his new-found romance and marriage with
Japanese artist Rokudenashiko, in a
song named after her and in another (Payo Payo Chin) with an endearing
expression from her native language. Both are adorable, admittedly, but it is
somewhat of a departure.
The strings and horns that adorn
several tracks give it a bit of the Van Morrison feel he has had in the past,
and he continues to produce music full of pomp, in the best possible way.
However, this time it has beats and electronic stuff added. An intriguing
release, at its best.
John
Waters, MAKE TROUBLE 7” (Third Man Records)
This is the commencement speech he
presented at the Rhode Island School of Design, in which he makes a case for
his being the perfect speaker (bad taste in clothes, marijuana, criminal
history) and a role model for artists and other creative people (he wakes up
every morning and does what he loves). And this being a studio recording,
rather than the original, means we get to avoid annoying whoo-hoos, possibly
insincere and fawning introductory remarks, coughing, sneezing, camera clicking
and general crowd noise (which even if they aren’t on John’s hate list, are on
mine).
Just a few of his gems (which I would
have preferred ever so to the boring organ solo played at my graduation – I
don’t recall there BEING a speaker...).
(1) He advises the would-be artist to make
sure to pay attention to what causes chaos and is disapproved of, because that
is where true creativity emerges.
(2) Re-invent yourself as a new version of
your worst enemy – the insider. Waters, after all, is an insider, and is as mad
as a hatter. He regards ‘Hairspray’ as his most subversive film, as it
infiltrated mainstream America. ‘Pink Flamingos’? Preaching to the converted.
(3) Humour is the best defense. Make an idiot
laugh, and they may stop and listen before they do something stupid (to you).
(4) We need some rich people. Who’s going to
back our movies and buy our art? Hate the poor...of spirit.
(5) So what if your daughter tattooed her
whole face? Maybe she’ll open a fancy tattoo parlour in Paris.
So many bon mots.
‘Go out in the world and fuck it up in
a wonderful way.’
It is a surprisingly warm and cuddly
speech for something that essentially encourages subversion and being yourself,
no matter how frightening that might be to even Mr. Waters himself. And he
encourages parents to love and support their children, as his did, even if,
again, they scare the shit out of you.
There is a digital download available,
and a book of it as well, but this 7” has the great advantage of his amused and
rounded tones, which you would not get from the publication.
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RECITALS/REISSUES
ROCK
Kate Bush, BEFORE
THE DAWN 4xlp – Documenting
one of the shows from her mammoth 2014 Hammersmith Apollo residency (her first
‘tour’ since 1979), it is a gorgeous sounding release with an equally stunning
booklet. She cheats moderately, in that her synth and piano parts were mostly
pre-recorded and then played during the show, and anyone looking for a greatest
hits package live would be disappointed, as it is a very conceptual performance
and focuses on The Ninth Wave from Hounds
of Love and recent material in a loose narrative/theatrical framing.
However, she is in excellent voice, if somewhat lower than in her first shows,
and supported by a sympathetic and skilled band, including her son Bertie. Also available on 3xcd, for an
admittedly more reasonable price.
Gun Club, LIVE AT
MANILA CLUB, FLORENCE, ITALY NOV. 26 1983 lp
– Jeffrey Lee Pierce,
Patricia Morrison, and crew rage through roots rock, with the sort of force
that tends to rip up roots. Mostly FIRE OF LOVE and LAS VEGAS STORY material.
Patti Smith
Group, JAZZ WORKSHOP BOSTON JAN. 9, 1976
2xlp
–
In which our sweet and
sensitive flower horrifies the radio station that broadcast the show, by using
naughty language. In the end, John Cale literally brings the roof down by
putting his bass through the ceiling during ‘My Generation’.
Velvet
Underground, LIVE AT BOSTON TEA PARTY,
JANUARY 10, 1969/JULY 11, 1969 2xlp (each) – Well recorded sets at what practically
became their home base during semi-self-imposed exile from NYC. It was
interesting to hear “Jesus” live (pretty much a Xerox of the studio take), and
to hear a tiny bit of ‘The Murder Mystery’ tossed into a long take on ‘Sister Ray’. Maureen, as usual at this period in
concert, shines on the drums as she never really got to do on record.
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RECITALS/REISSUES
ROCK
Dorothy
Ashby, THE HARP IN A MINOR GROOVE 2xlp – The
liner notes say she was not the only jazz harpist, though one cited was in a big
band, not the bass/drums/flute/harp lineup heard here. She plays glistening
guitar-like lines, or piano-like chimes – not much in the way of the dramatic
glissandi many people think of with the instrument. Traditional jazz, in the
sense of being melodic and, when it’s a cover, hewing close to the original -
but very catchy and hypnotic, and the harp does add a touch of the exotic.
Jerry Yester
and Judy Henske, FAREWELL ALDEBARAN
lp
– In its use of
electronically altered vocals (the destructive sounds of a rogue comet – now
THAT’s an interpretive challenge!) and a mellotron choir with a heart full of
mischief and bile, this very odd 1969 record might have stood out, but instead was
ignored at the time, and out of print for many years. This is its first official
re-release on vinyl, and its first-ever release on CD format (again,
officially). While “Snowblind”, on which Judy growls like a feral Grace Slick
(her low range can rattle speakers), got a little airplay and is not entirely
unlike other radio fare of the time (and features Zal Janovsky from the Loving
Spoonful, who also owned a restaurant in my town for years, on guitar and bass),
other material such as the mocking “St Nicholas Hall” (I don’t imagine it’s on
the Pope’s iPod) and the deeply troubling “Lullaby” (apparently, the mother of
one of the pair called and asked if everything was all right, after hearing the
song) sounds out there today. But at least it’s OUT THERE, today. J
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DEIGNING
DIGITAL DISCUSSION
Hidden
Cameras, OUR HOME ON NATIVE LAND cd – Joel Gibb, after years of
grandiose orchestral ‘gay church music’, strips way down to sparkling
folk/rootsy style, including a remake of ‘He Is The Boss Of Me’ from ECCE HOMO,
as well as excellent covers of ‘Dark End Of The Street’ (which I mainly know from
Diamanda Galas’ take – the Cameras’
video for this was directed by GB Jones,
and is mostly shot around morose and somewhat isolated buildings in the Toronto
area that were slated for demolition) and the NFB film theme ‘Log Drivers
Waltz’, as well as catchy originals ‘Had A Feeling About You’ and ‘The Day I
Left Home’. And a great album title, to boot. J
Gene Howard, LOVE IS A DRAG cd – In 1947,
the producer of this record happened to be in a gay bar, and heard a male
singer do standards probably intended for women to sing, without changing the
words. 15 years later, he convinced the singer and band, said to all be
straight, to record this set. It’s probably a good thing he was alive during
the time this re-issue was being planned, as only he knew all the names
involved. It was said to be a great favourite of Liberace, Frank Sinatra and
Bob Hope at the time, but it could barely be found, as it was initially on a
gay exploitation label. Back then, no names appeared on the record in terms of
the musicians involved, but that has clearly changed. You know you want to hear
“He’s Funny That Way” (yes, they do resist any camp or knowing turn) and “Mad
About The Boy” sung a la supper club by a straight man, backed by
guitar/clarinet/drums/bass/piano. A bit of an oddity, but a very nice one.
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DEIGNING
DIGITAL DISCUSSION
Andy Northrup,
MAKING MY WAY cd – A
tasty collection of rootsy/country rock from this Alberta
singer-songwriter/actor, his third release. The lyrics are often on the
melancholy side, but are usually framed in hooky and lively tempos and beats.
He has a lovely, warm voice, and, yes, he also happens to be easy on the
Bearish eye. On which point, though there’s only one song with an explicit
gendered pronoun, he is queer, but it’s a collection of touching numbers that
could have universal appeal.
Baby Dee, I AM A STICK download – This
artist has produced a variety of material, from vaguely classical instrumentals
to lively piano-pounding material verging on the blue. She has been known to
play piano/organ/harp/accordion, but focuses here mainly on keyboards. If you
like cabaret a la Tom Waits, you will probably love this intricately arranged
set. The vocals are a bit idiosyncratic, sometimes even approaching David
Thomas territory (which isn’t surprising, given she is from Cleveland), but
this is probably some of her best singing. It is also available on CD and might
still be on LP, but finances led to me finally making this wonderful and valid
choice for the digital download format.
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DEIGNING
DIGITAL DISCUSSION
Little Annie,
TRACE download – This
chanteuse has also displayed considerable range over the years, from tape
collage material to guesting on post-rock records to just piano and vocals.
Here, the material focuses on the jazzy, though ‘Bitching Song’ has a creepy
electro-dub groove, and her fractured vocal style occasionally approaches
Billie Holiday territory. In fact, I could genuinely picture the late jazz
legend singing ‘My Old Man Trouble’. Lyrically, the record is less soothing,
but the music frames it and softens the blow enough to broaden the appeal.
Pylon, LIVE download – I
would have first heard Pylon around 1983, when this recording was made, thanks
to ‘The New Music’ playing the video for ‘Beep’. They did not last much longer
after this, though they subsequently reformed for another album, and toured a
bit some years later, until the unfortunate death of the guitarist in 2008.
This captures them at their ferocious, funky, punky-dancey height, and even
includes some tracks that were never done in the studio, such as a very
idiosyncratic take on ‘Batman’ and an original called ‘Party Zone’. All the
‘hits’ are here too, such as ‘Beep’, ‘Crazy’, ‘Cool’, and ‘Stop It’. Sadly, not
‘Read A Book’, which I used as the title of the literary section of my old
‘zine NOISE QUEEN – but one cannot have everything. ‘Chomp’ and ‘Gyrate’ were
re-issued a few years back on DFA, with bonus tracks, if you wish to seek out
their studio material.
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ADULT
BOOKS #2
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THANK YOU TO NOVEL IDEA, RICHARD,
AND EVEN AMAZON FOR MY LITERARY FIXES.
Nothing more
rapidly inclines a person to go into a monastery than reading a book on
etiquette. There are so many trivial ways in which it is possible to commit
some social sin. (Quentin
Crisp)
That’s
when I want – some weird sin – just to relax with – yeah, some dumb weird sin. (Iggy
Pop)
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DOG EAR A BOOK, GO TO JAIL. IT’S
THE LAW
Ed. Stephanie Chambers et. al., ANY OTHER WAY: HOW TORONTO GOT QUEER
Robert Forster, GRANT AND I: INSIDE AND OUTSIDE THE
GO-BETWEENS
David Keenan, ENGLAND’S HIDDEN REVERSE
Duke Miller, Aaron Louis
Asselstine, JT Twissel, WRITING FOR THE ABSENT READER
Curran Nault, QUEERCORE: QUEER PUNK MEDIA SUBCULTURE
Christopher Samuel, CONFORM, FAIL, REPEAT: HOW POWER DISTORTS
COLLECTIVE ACTION
Ed. Dave Stewart and Laura Chapin,
FEAR FROM A SMALL PLACE
John Waters, MAKE TROUBLE
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DOG EAR A BOOK, GO TO JAIL. IT’S
THE LAW
Ed.
Stephanie Chambers et. al., ANY OTHER
WAY: HOW TORONTO GOT QUEER (Coach House Press Books, 2017)
This book opens with a foreword that
discusses Jackie Shane, whose most
famous recording gives it its title, and documents an interesting moment in the
evolution of queerness in Toronto the Good. Jackie was astonishingly forward
and confident at a moment in time when it was still illegal to be gay in
Canada, not to mention transgender.
It sets the tone for a book that
collects first-person anecdotes, histories, political activism and official
responses to the evolving queer culture in Ontario’s capital city, and allows
these diverse voices to speak for themselves. For once, it is not the story
only of white men (or women).
One particularly telling item, I was
convinced it had to be a parody. It was a sociological invasion of a gay bar,
ca. 1955-1956. The language and tone was deeply patronizing and objectifying,
and I somehow pictured pith helmets and khaki outfits on the part of the
interlopers. Describing Queens in terms that are normally reserved for
observations of gazelles or chimpanzees was tasteless. An earnest exploration of a culture
steeped in artifice, misdirection, and survival strategies in a straight world
is almost destined to come across as too funny for words, which the
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DOG EAR A BOOK, GO TO JAIL. IT’S
THE LAW
article does. Given that it wasn’t published until 1962 or so, it was
already somewhat dated when it emerged.
On the subject of transgender issues,
the section about what people had to go through to be considered for surgery
was infuriating and illuminating at the same time. I was certainly aware of the
need to live as ‘the opposite sex’ for a time, but one doctor seriously
over-stepped bounds by demanding that if a person was married, they had to get
divorced before he would consider working with them.
It might have wanted to expand outward
slightly to discuss Project Guardian in London, Ontario from the early 90s, but
I can understand why it chose not to. It does cover the bathhouse raids from
1981 and the Pleasure/Pussy Palace police actions very thoroughly, with primary
sources and participants cited.
All told, a very approachable and
diverse study of the formation of identity and community, which avoids academic
language or attitudes quite effectively.
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DOG EAR A BOOK, GO TO JAIL. IT’S
THE LAW
Robert Forster, GRANT AND I: INSIDE AND OUTSIDE
THE
GO-BETWEENS (Omnibus Press, 2017)
This volume explores the lives of the author and his friend Grant McLennan (1958-2006), both within
and without the band they formed together in 1977 in Australia.
It is not sparing of the truth, without being catty or sensational, though
it is a bit disappointing that there isn’t more deep insight into why Grant did
not get along well with Lindy Morrison,
the band’s drummer from 1980 to 1989. It is true that they had very different
styles, judging from contemporary and subsequent interviews, but introverts and
extroverts have gotten along famously in the past. I suspect, though the book
doesn’t really address it much, that there was some measure of jealousy, as
often occurs in power dynamics within a relationship, even when there is no
romance as such involved.
Unlike
many rock biographies, there are few pictures included, but those can be found
in David Nichols’ The Go-Betweens,
another excellent book, if you are so inclined. Forster’s memoir provides the
final few years missing from Nichols’ publication, which was updated once after
the group reformed with a different line-up.
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DOG EAR A BOOK, GO TO JAIL. IT’S
THE LAW
A witty and touching biography of a group and a relationship, which I
recommend highly.
David Keenan, ENGLAND’S HIDDEN REVERSE (Strange Attractor Press, 2016)
This book is a dense portrait and history of the bands Current 93, Nurse
With Wound, and Coil, experimental groups/projects with considerable
cross-contamination and collaboration, working in a range from folk to
industrial noise, sometimes within the same band.
It
is heavily illustrated and consists almost entirely of primary documents,
reminiscences and interviews, with the occasional use of varying accounts to
show how complicated documenting projects which mostly worked underground and
within closed circles can be. NWW and Coil rarely played live, and Current 93
did so intermittently, because of David
Tibet’s bouts with illness.
Along the way, it also
mentions other fringe acts in their environs, such as Whitehouse, Lemon Kittens
and Psychic TV. The anecdotes regarding the latter tend to reinforce, either directly or indirectly,
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DOG EAR A BOOK, GO TO JAIL. IT’S
THE LAW
This
is a second edition, the first having appeared in 2003; as a result, the voices
of Jhonn Balance (1962-2004) and Sleazy (1955-2010) from Coil are basically ghosts as
we read them now, which gives the book a melancholy overlay.
However, it is a very informative book, and while it would certainly help
if you were a fan of at least one of the groups, I could see it appealing to
those adventurous spirits who like to learn about things that were previously
outside their experience.
Duke
Miller, Aaron Louis Asselstine, and JT Twissel, WRITING FOR THE ABSENT READER (John’s Motorcycle Storage and Rare
Book Disposal, 2017)
Other than Tom Verlaine and Richard Hell
doing a poetry book together in the Seventies, I can’t think of many split
volumes of short writing.
However, these three authors have compiled
pieces done in a blog into a single volume, split between them, though Aaron
and Duke take up the most pages.
It’s
an intriguing and surreal collection. Aaron tends to write dark stories leavened with humour; JT’s material seems the
closest to ‘mainstream’, a blend of noir and modern urban fiction (which is an
accurate depiction of most city life nowadays); Duke's selections show a Beat influence, especially that of Burroughs
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DOG EAR A BOOK, GO TO JAIL. IT’S
THE LAW
in terms of both
cut-up and morbidity.
Certainly not light reading, any of them,
but an interesting compilation that is definitely worth checking out.
Curran
Nault, QUEERCORE: QUEER PUNK MEDIA
SUBCULTURE (Routledge, 2018)
This short but informative document
explores the roots, practice(s) and legacy of queercore, a movement largely
based around music in the general public perception, though also recorded and
transmitted through ‘zines and film.
It is published by an academic press,
but it manages to be very accessible and does not require a degree in queer
studies to be appreciated and understood.
It also does not pull any punches in
occasionally critiquing some of the movement’s composition and make-up, and
productively examines the responses to those limitations around race, class and
strategy.
At the moment, the volume is only
available in a rather expensive hardcover and electronic format, but it will
come out in paperback in 2018.
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DOG EAR A BOOK, GO TO JAIL. IT’S
THE LAW
Definitely worth reading and learning
from. Many thanks to Richard for
providing me with his review copy so I could, in turn, promote this important
work. Straight boys aren’t entirely useless after all.
Christopher
Samuel, CONFORM, FAIL, REPEAT: HOW POWER
DISTORTS COLLECTIVE ACTION (Between the Lines, 2017)
(Disclosure: I know the author, and cannot
pretend to be entirely objective regarding his intellect and insight. Have had
many an interesting discussion)
I do have a university degree, but I was never very good at
academia, especially when it comes to jargon – it often seemed unnecessary, or
I would look up a phrase and think: ‘But I learned this in Grade Eight!’. This
book is not lacking in specialized language, but it makes a point of explaining
them fairly well, and dare I say it, queerly (defining the concept of habitus, used by Bourdieu, a philosopher
Dr. Samuel cites throughout, as like the thought process behind programs such
as What Not To Wear, in which
subjective norms and aesthetics are viewed as inherent and universally
desirable, was a good touch – as a Marxist, this sounds like cultural hegemony,
which I characterize as ‘we have always done it this way, and it will never
change’).
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DOG EAR A BOOK, GO TO JAIL. IT’S
THE LAW
In exploring the LGBT+ movement and
alterglobalization, through the likes of the G20 protests in the latter
instance, the volume examines the problems, challenges and benefits of
assimilation vs. liberation/anti-capitalism vs. neoliberalism and cooperation.
As someone who has not been very good
at success, since internalizing society’s values and conventions is very
awkward for me, I appreciated the analysis Chris gives to reform and radicalism
and their relative costs and benefits.
Anyone who knows me might be surprised
at this, but I do think conformity has distinct advantages. Not necessarily
conformity to the habitus, though you can’t get much done if you utterly ignore
it, because you will be literally unspeakable, as the publication’s arguments
state, but some degree of unity and agreement on tactics. Mindless destruction
will also leave you outside of the discourse.
In the end, creativity and flexibility
are possible tactics to address the contradictions and complexity of activism
and progress today. As Madeleine L’Engle said: ‘A sonnet has a set structure,
but there is freedom within it to say what you want.’
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DOG EAR A BOOK, GO TO JAIL. IT’S
THE LAW
Ed. Dave
Stewart and Laura Chapin, FEAR FROM A
SMALL PLACE (Graphcom Publishing, 2017)
I feel it is best to disabuse you of any
presumptions at the outset. You will not find killer potatoes,
radiation-mutated giant lobsters, or zombie Anne Shirleys within the pages of
this book.
You will encounter a wide range of horror/terror/weird/eerie stories by
people either born on Prince Edward Island, adopters of the sod, or expatriates
with a tie to the red mud nevertheless.
There is even a story based on real
events from the Island’s lively and contentious past. It is nowhere near the
sleepy, quaint place some people feel it to be. I suppose its size and small
population fool unwary tourists and observers.
Some of the stories fall more into the
realm of the surreal or the existential nightmare that everyday life can
resemble, but not to worry – there are also some bone-chillers, gross-outs and
Twilight Zone visitations to balance them out.
In short, give this literary
collection a chance, all the while aware that the Lake of Shining Waters may be
that way because of luminescent horrors that lurk beneath its placid surface.
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DOG EAR A BOOK, GO TO JAIL. IT’S
THE LAW
John
Waters, MAKE TROUBLE (Algonquin
Books, 2017)
The book form of the download and 7” of
John Waters’ commencement speech at the Rhode Island School Of Design.
It has to recommend it the demented
illustrations by Eric Hanson, as well as the fact you can hold it in your hands
and enjoy it, unlike the digital download. Yes, you can, I suppose, hold the
sleeve of the 7”, or even the record, but the first just looks kind of awkward
and the second, unless you have phonographic hands, would be pointless.
Plus, of course, for those without a
turntable or who do not wish to pay for or steal the digital file, and for
those of us who still go to libraries, this is also very useful and accessible.
As John Waters said elsewhere, “If you
go home with someone and they have no books – don’t fuck them!”
Go to your local library, especially
if you live in a small conservative town where people are offended by the words
Vagina Monologues, and ask them to
get it! I did. Or, if you have no books, perhaps you should buy this in the
name of your sex life.
