The Sugarcubes - Hit - Live 1991

 

#The Sugarcubes #Bjork #alternative/indie rock #post-punk #new wave #avant-pop #dream pop #1980s #1990s #music video

I wonder how many people that like Bjork’s solo albums followed her from as far back as when she was in The Sugarcubes. Actually, I’d even be curious to know how many people knew she was ever even in a band before her solo career at all. I’m willing to bet that the number of people that fall into either category is small, and probably growing smaller as The Sugarcubes fade farther into the past. That supposition is a shame because there are three albums here that show a totally different side of her; the best being this one, Stick Around For Joy. Even by this point back in 1991 Bjork’s unique vocal style was firmly solidified, and due to the music presented here, was even more outgoing and varied than on a lot of her solo albums. What’s more is that due to the amusing nature of the music and the interplay with the other vocalist, she sounds like she had a lot of fun and that feeling is easily translated to the listener. The other vocalist is a male vocalist who is used in mostly spoken word sections to contrast and accentuate Bjork’s vocal parts. His vocals are honestly a little amusing due to his cartoon-like delivery, but it fits within the context of the music fairly well.
Musically the band presents a very unique style that would make it hard to find an artist whose style is similar to this. Those that are only familiar with Bjork’s solo work will need to know that this is nothing like her current outputs; there aren’t any electronics or heavy world-music influences at all. What we do get is very upbeat and energetic music that pulls from everything from Jane’s Addiction to The B52’s and even a little bit of The Cure circa Kiss Me, Kiss Me, Kiss Me. Despite the name dropping of such diverse acts, the band manages to take those influences and combine them into one homogenous mixture instead of a hodge-podge of conflicting sounds. The vibe this creates is overwhelmingly happy and childlike in such a good way. Seriously, the only mood that is conveyed throughout this entire album is one of childlike happiness. It is close to impossible to not feel a little bounce and a little happier while listening to this album. Songs such as “Hit” take the groovy vibe of Jane’s Addiction’s “Been Caught Stealing” and adds synth-horns, Bjork’s vocals, and a ten-times dose of energetic fun. Much like, “Hit”, the rest of the songs are all built around the competent rhythm section which accounts for a lot of the groove factor. The bass player consistently lays down funky bass lines that are complimented by the distinctive and busy beats of the drummer. Over the top of the solid rhythms are keyboards, handclaps, cheers, chimes, guitar riffs, and a number of other sounds which the two vocalists use to their advantage while playfully singing over it all.
I honestly hadn’t listened to this album in years before repurchasing it on a whim (and for cheap) a few weeks back, but I’m so glad I did. I had forgotten about what a fun and easy experience it is while listening to this album. Admittedly, this could be a very hard album for some to get into, even for those that love Bjork’s solo albums, due to the bouncy, child-like nature of the entire output, but it is worth the initial effort. Just keep in mind that even those going from Bjork to this could find a very significant leap to be made, but it’s a leap that is worth attempting.  From: https://www.sputnikmusic.com/review/25645/The-Sugarcubes-Stick-Around-for-Joy/

 

 

Disappear Fear - Priceless

#Disappear Fear #Sonia Rutstein #folk rock #folk pop #alternative folk #indie folk #power pop #worldbeat #singer-songwriter #1980s #1990s

Hi Sonia, we’re thrilled to have a chance to learn your story today. So, before we get into specifics, maybe you can briefly walk us through how you got to where you are today?


I was five years old when my Aunt Laura took me out of kindergarten to attend the Flower Mart near the Washington Monument on Charles Street in Baltimore. It was around noon and for the first time, I saw Louis Armstrong perform, Hello Dolly. I was quite short so looking up at him I was looking directly into the sun rays was like swords of light into my eyes around the black outline of a man playing the trumpet and singing.
It was the first time I saw the sound from a radio come alive. It was REAL. I believe at that moment I decided I wanted to make music that could be heard on the radio and to be real on stages around the world. It made me feel good and that’s what I wanted to do, make folks feel good. I started writing songs when I was 14 and playing downtown at the dingy and famous Peabody Bookstore. my mother would drive me to the gig and my sister and I were paid $50 for two 40 minute sets.
It was a whole lot better than the $1.40 an hour I was making pizza and sundaes at the Beef Inn. So making music was my dream and has become my destiny but that is a bit of how it started. How I got to where I am I am today… was practice practice practice a bit of luck, a lot of naivety, determination, and perseverance. A publishing company in London heard my first record and flew me and my sister (singer/business partner) over to England and we signed our first publishing deal. We continued to play and amass a nice following in the USA and now around the world.

Can you talk to us a bit about the challenges and lessons you’ve learned along the way? Looking back would you say it’s been easy or smooth in retrospect?


The most important thing to me was/is to be true to myself. It is a high price to pay. But it is the only way I can sleep well at night. As a kid, I would see all this glitter and gold on TV Stevie Lawrence and the Las Vegas guys, and that sort of thing and it seemed so phony. I wanted REAL. So folk music with harmonies and guitars that didn’t need a bunch of electricity just authenticity seemed the way to go. My sister Cindy and I had already been singing together for 25 years so starting our own band, disappear fear was a logical step.
But female and out lesbian independent singer-songwriters were not at all present in the local national or international pop or rock or folk music scene. There were out gay performers in the gay market but we wanted to be 100% inclusive so we had to show the world and essentially audition at every club and radio station we stepped foot into and we did just that. Once the folks started coming out we had the upper hand we could call the shots and make the show really great. We did get ripped off financially. There was a club in downtown Baltimore we had a CD release concert and our contract said we got 80% of the door and the owner got 20% of the door and the whole bar tab. We had a counter at each door entrance that calculated our earnings to be $2600.
But at the end of the night, the dude gave us $500.00. we told him that he had shorted us and he said, “that’s enough money for two girls in one night”. The police station was right around the corner and we did file a report but nothing happened and we went back out on the road so no follow-up. Once also in Baltimore, we had a 2 monthly contract with a bar for every Wednesday night. The first night we packed the place and then someone yelled, “KiSS iN” and all these lesbians started kissing. and we got fired at the end of the night. The owner said he, “did not want THOSE kinds of people in his club”. We took the case to court and we met with The Council for Human Relations- they offered us in settlement $2000 to amend the $ we lost but they did not apologize for their homophobic and blatant prejudice.
We did not accept the settlement. At this time. I was still working for the Rape Crisis Center in Baltimore City. My dear friend. Lynnel said to me, “Sonia -show business is crazy and cutthroat. You can either spend your time chasing down the bad guys or move on”. We moved on. Touring in the southeast in the early 90s the sound guys wouldn’t even look you in the eye. They wanted a dude to talk to tell them what was needed for that night tech-wise. And it was not limited to the south it was prevalent across the country. And then on the other end of the career spectrum struggles - once you start making a little money the evil wanna-be’s wanna beat and take advantage of you. I find it is best, to be honest. In the celebrity-mania culture that we live in it is valuable to know the difference between dream and reality. You can’t really buy success - your heart and soul know the difference.

From: https://voyagebaltimore.com/interview/daily-inspiration-meet-sonia-disappear-fear-rutstein/

Alice Donut - Madonna's Bombing Sarajevo

 #Alice Donut #punk rock #psychedelic punk rock #hard rock #alternative/indie rock #1980s #1990s

Alice Donut is a psychedelic punk rock band originally from New York City. Formed in 1986, the band spent the next ten years touring relentlessly throughout North America, Europe and Japan, building a perversely loyal following. Creem Magazine described Alice Donut shows as “the most decadent punk rock-fueled all-out orgies I ever witnessed.” Between 1987 and 1996, Alice Donut released seven full-length albums and 15 EPs, singles, and other releases on Jello Biafra’s Alternative Tentacles label and various other labels. 2004’s Three Sisters, their first record after their hiatus, was recorded as a four-piece with Tom Antona on vocals, Michael Jung on guitar, Stephen Moses on drums and Sissi Schulmeister on bass. Original guitarist Dave Giffen rejoined the group for Fuzz, which was recorded in Brooklyn’s BC Studio with longtime co-producer Martin Bisi and released in 2006. Both Three Sisters and Fuzz were released by Howler Records.
The band’s style and lyrics are eclectic. Their music is a mixture of hard rock, punk, and post-punk and typically features melodic, guitar-heavy, odd-metered, and rhythm based pieces and is often punctuated with brass instrumentation. Many of the members are traditionally - or classically -trained musicians, though rarely on the same instruments they play in the band. Alice Donut’s lyrics take on what they view as the perversities, odd details, and petty humiliations of life. Their lyrical subject matter focuses on topics including depravity, domestic violence, sexuality and eggs.  From: https://alternativetentacles.com/artists/alice-donut/

Alice Donut was one of the core bands of Alternative Tentacles back in the late '80s and early '90s. Their first album catches them at their rawest, but also their most fun. Musically, Donut's style has much in common with the psychedelic punk style of the Butthole Surfers, but I regard Donut as being the more straight-up fun-to-listen-to of the two. The Surfers are great, but in a different way. Alice Donut's work is better informed by a sense of humor and a lively attitude than the Surfers, who usually come off as being much darker and more serious. However, this does not mean that Alice Donut does not pack some weight - in keeping with many Alternative Tentacles bands, Alice Donut follows in the footsteps of the Dead Kennedys with their lyrics - heavy sarcasm, but always socially and politically relevant.  From: https://www.amazon.com/Bucketfulls-Sickness-Horror-Otherwise-Meaningless/dp/B00005YELH 

XTC - Dear God

 #XTC #new wave #post-punk #progressive pop #art rock #pop rock #baroque pop #art punk #power pop #psychedelic pop rock #1980s #1990s

Andy: “This was the B-side to ‘Grass’, but radio stations started to flip it over. The lyrics really got up some people's noses, and it became a big radio hit. Whoever first flipped it probably saved us.”

Andy (on the band demo): “A lot has been written and wrangled over with this song, and, you know, it hasn't deserved it. I just tried to wrestle with the paradox of God and the last dying doubts of belief that had hung, bat like, in the dark corners of my head since childhood. I'll just say one more time this song failed to crystalize all my thoughts on the subject in under 4 minutes. Human belief is too big a beast to bring to the floor in such a short time.

“This tune had a few incarnations. It started as a kind of skiffle rag with a much bluesier melody but after several blacksmith like bending and bashing sessions (oddly, in my kitchen) it gradually morphed into its well known shape.

“On the run up to the Skylarking sessions with Todd Rundgren, we congregated at Dave's tiny terraced house, in Swindon's Stanier Street, to record a few band demos on his four track reel to reel. So, awash with much tea and ginger biscuits, we tackled this and ‘Summer's Cauldron’, trying to get something presentable for Todd. Dave found a very ‘House of the Rising Sun’ arpeggio guitar figure to ornament my rather pedestrian acoustic strumming, while Colin anchored away with the Linn drum pretending to be a future Prairie Prince. The Mellotron had been living at Dave's for a few months (where he would tend lovingly its Heath Robinsonesque guts) so we decided this would supply the strings, I'd asked for something a bit Gershwin in the middle, a pinch of ‘Summertime’, a soupçon of ‘It Ain't Necessarily So’. You know, ‘Dat Ol' Debbil Be A Coming Missy’, orchestral blues bend. I remember that Dave's front room floral wallpaper seemed to gaze down at us with almost temperance meeting scorn, as we stirred up our sinful sounds that afternoon.

“Surely, for this tune, we will burn in Hull.”

Andy (on the skiffle version): “Found this a while back laying cowering in a corner of a cassette. It's pretty much me feeling-out the tune with blah blah type lyrics. Little did I know that this piece of brain blurt would be the tip of the iceberg to so much more acceptance for XTC in the U.S. Thank you God.”

From: https://xtc.fandom.com/wiki/Dear_God

Andy is a militant atheist. It's amazing how people see what they want want to, no matter how clear the message is. The idea that he must believe in god because it's addressed to god is just silly. It's a lyrical device...take a literature course. For those who refuse to see the song for what it is and how it was meant, here is a quote from Andy about the song: "it [Dear God] failed in part, because it wasn't as caustic as I would've liked it to be. It should've been a nail in throat of the public, but instead some took it as a declaration of faith when I wanted to make it clear that I don't believe in God - and that even if there is a He or a She they have nothing to do with organized religion." Just watch the video for Dear God. Andy is attacking the massive twisted tree (religion) that people are desperately clinging to, which is exactly what he is doing in the lyrics. I really don't see how he could be any clearer.  From: https://songmeanings.com/songs/view/103714/ 

Mary's Danish - Hoof

 #Mary's Danish #alternative rock #power pop #indie rock #funk rock #pop punk #1980s #1990s

“I’m caught between hideous and forgotten,” bemoan Mary’s Danish in one of the finer tunes from the lamentably forgotten band’s far-from-hideous and impossibly eclectic catalog — a catalog whose eclecticism is especially notable considering its relatively small volume. Mary’s Danish, which came together in Los Angeles in the late ’80s, was itself a diverse lot — in personality and background — that served up funk, pop, punk and country. The blending of the last two genres clearly betrays the influence of X, from whom lead singers Gretchen Seager and Julie Ritter also inherited intricately woven harmony vocals. They were joined in Mary’s Danish by bassist Chris “Wag” Wagner, drummer James Bradley Jr., guitarist David A. King and second guitarist Louis Gutierrez, who had played in the Three O’Clock. All were accomplished musicians with an uncanny pliability, but their secret weapon was frequent sax sideman Michael Barbera, who added jazz and R&B flavor to the mix. Mary’s Danish were as varied thematically as they were sonically, with religion, domestic violence, social criticism and biting self-analysis all receiving narrative attention.
'There Goes the Wondertruck' ably introduces the band’s offbeat stylistic fusion. The bizarre narrative of “Mary Had a Bar” does not seem to be a band theme song, and “What to Do” is not a Stones cover. It’s not revealed what “BVD” stands for, but “It’ll Probably Make Me Cry” does just that. The catchy college rock favorite “Don’t Crash the Car Tonight” impressed some in the West Coast music biz, including Peter Asher, who became the band’s manager.
Five of the six live tracks on 'Experience' are more fully realized versions of songs from There Goes the Wondertruck, particularly a frenzied, beefier “Blue Stockings” and the high lonesome croon of “It’ll Probably Make Me Cry.” The disc’s studio track, a riotous take on Hendrix’s “Foxey Lady,” slyly recasts the classic rock staple with a letter-perfect Led Zeppelin quote inserted into the bridge.
With funding from pseudo-indie Morgan’s Creek, Mary’s Danish beefed up the production values to adequately match their expanded palette of musical ideas. A veritable omnibus of musical styles, 'Circa' encircles just about every genre imaginable. The metallic crunch of “Mr. Floosack” leads into the introspective back-porch southern rock of “Hoof.” The folky instrumental jam “Down” begets the Devo dada of “These Are All the Shapes Nevada Could Have Been.” It’s easy to get lost within the stylistic shifts of Circa, where “Julie’s Blanket (pigsheadsnakeface)” is the only straight-ahead rocker. As few of the 17 tunes exceed three minutes, the five-minute “7 Deadly Sins” seems positively epic. Despite its attention deficit, the presence of songs as clever as “Beat Me Up” and “Cover Your Face” helped make this label debut a promise of big things to come.  From: https://trouserpress.com/reviews/marys-danish/

XTC - Then She Appeared

 #XTC #new wave #post-punk #progressive pop #art rock #pop rock #baroque pop #art punk #power pop #psychedelic pop #1980s #1990s

XTC are one of those odd bands that defied convention and actually got better as time went on. Usually a band makes a big splash at the start of their career and continue to make continually less impressive albums as their career progresses. XTC did it the other way round: they started off as a reasonably good power-pop act and actually steadily improved over time. True, there was a slight stumble with Mummer and The Big Express, but they had reached incredible creative heights with Skylarking and by the time of Nonsuch they had reached a point where they had outlasted almost all of their peers and were still making music at least as good as what had been released before. Andy Partridge was still at his height as a songwriter, Colin Moulding was gaining confidence and penning gems like “Bungalow” and Dave Gregory’s guitar and keyboard work was giving the whole band a musical maturity which marked them as a band of rare quality.
Despite it equaling Oranges & Lemons’ chart success, Nonsuch has become increasingly overlooked as a key album in XTC’s career, as it wasn’t cited as an influence on the second wave of Brit-pop that reached its crescendo in the middle of the last decade, nor was it hailed by the more heavyweight music press in the same way that Skylarking, and to a lesser extent Oranges & Lemons were. For years the only copies of Nonsuch available in the UK were as a part of a substantial remaster and reissue programme by their former record label.
While Nonsuch has never enjoyed the sycophantic praise smothered over it by lesser acts as their early albums have, or enjoyed the press recognition of being a lost classic in the same way that Skylarking has, it remains one of XTC’s most well-rounded and broad albums. Over two decades on from its original release Nonsuch finally seems to be getting the recognition it deserves for being not only a great XTC album, but one of the finest British pop albums of the 90s. Oddly enough there seems to be a major reissue of it due in the not too distant future, as apparently Steven Wilson of Porcupine Tree fame has been following his success of doing similar work for the likes of prog rock acts like King Crimson and Yes, by working on a full bells and whistles version of Nonsuch.
From: https://www.backseatmafia.com/not-forgotten-xtc-nonsuch/

Disappear Fear - Is There Anybody Here

 #Disappear Fear #folk rock #folk pop #alternative folk #indie folk #power pop #worldbeat #singer-songwriter #1980s #1990s

Beneath Disappear Fear’s veneer of catchy tunes, poppish folk rhythms, and the sophisticated harmonies of blood sisters Sonia Rutstein and Cindy Frank, beats a heart of hardcore social feminist consciousness. Born and raised in Baltimore, the sisters formed Disappear Fear in 1987. As the name implies, they call for unity and an end to injustice, and seek to break down the prejudicial barriers that keep people apart. Rutstein composes most of the songs and her compositions have been compared to those of Phil Ochs, Joni Mitchell, and Bob Dylan. Their harmonies and approach are reminiscent of the Indigo Girls. After three critically acclaimed self-released albums and an EP, the duo signed to Philo Records. In 1995, their self-titled album for Philo Records received a Gay & Lesbian Alliance Against Defamation award for Outstanding Album. In June 1996, they released Seed in the Sahara. That same year, Sonia also began pursuing a solo career, returning to Disappear Fear only for occasional guest appearances for almost a decade.  From: https://www.allmusic.com/artist/disappear-fear-mn0000154744/biography

K.D. Lang - Pullin' Back the Reins

 K.D. Lang #alt-country #cowpunk #country rock #folk rock #country pop #alternative rock #singer-songwriter #Canadian #1980s #1990s

When K.D. Lang released her first major-label album in 1987, she caused considerable controversy within the traditional world of country music. With her vaguely campy approach, androgynous appearance, and edgy, rock-inflected music, very few observers knew what to make of her or her music, although no one questioned her considerable vocal talents. Her self-reliant stature has never wavered over the course of her career, even when she abandoned country music for torchy adult contemporary pop in 1992 with her fourth album, Ingénue, which featured her biggest hit, "Constant Craving."
Born in Alberta, Canada, Lang was first drawn to music while she was in college, when she became acquainted with Patsy Cline while preparing to star in a collegiate theatrical production based on the vocalist's life. Soon, Lang immersed herself in Cline's life and music and decided that she would pursue a career as a professional singer. With the help of guitarist/co-songwriter Ben Mink, she formed a band named the Reclines in tribute to Cline, in 1983. They recorded a debut single, "Friday Dance Promenade," which received some positive notices in the independent press. Their album A Truly Western Experience followed in 1984 and received even better reviews and national attention.
All of the Canadian attention led to the interest of a number of American record labels. Sire signed lang in early 1986, and she recorded her first record for the label later that year. The resulting Angel with a Lariat was produced by Dave Edmunds and appeared in July 1987. The mix of '50s-styled ballads, kitschy rockabilly, and honky tonk numbers on Angel with a Lariat had heavy support from college radio as well as cutting-edge country stations. Though it was a mainstream hit in Canada and an underground smash in the U.S., Nashville resisted Lang, especially because of her tongue-in-cheek concert appearances.
Shadowland, her second Sire album, made her debt to Patsy Cline explicit. Recorded with Cline's producer, Owen Bradley, the album lacked the campy humor of Angel with a Lariat, which helped it succeed in traditional country circles. Shadowland became a sizable word-of-mouth hit, both in modern country and alternative music circles. The following year, Lang released the harder-edged Absolute Torch and Twang, which increased her mainstream American country audience in addition to being a college radio and Canadian hit. The attention made lang a minor celebrity, which meant that when she launched a protest against meat eating in 1990, it became a media sensation.  From: https://www.allmusic.com/artist/kd-lang-mn0000852997/biography

XTC - Respectable Street

 #XTC #new wave #post-punk #progressive pop #art rock #pop rock #baroque pop #art punk #power pop #psychedelic pop #orchestral pop #1980s #1990s

The 1980 release Black Sea represents the last stand of the punchy, angular new wave that had won XTC strong critical and college radio support. Still arranging with an ear toward the stage they'd soon retire from, they continued working in the Drums and Wires style that had christened their previous release. Black Sea brims with XTC trademarks: engaging guitar hooks, cleverly rendered lyrics, and frenetic, creative melodicism. The material represents the pinnacle of XTC's early incarnation - a counterpoint to contemporary punk imbued with style, rhythmic punch, and melodic charm.  From: https://www.roughtrade.com/us/product/xtc/black-sea-1/vinyl-lp

Respectable Street

Andy Partridge: “Actually inspired by my neighbour who spends half her life banging on the wall should I so much as sneeze. Not knocking people who have ‘respectable’ ideals (I know I must have a few), more of a song of people with double or hypocritical values. You know the sort, blind drunk one night, church the next. Or the mother who urges her daughter to go out and have fun dear, isn't abortion wonderful. If their daughter got pregnant they would beat her senseless.”

Andy: “The BBC felt the lyrics on the song on Black Sea would upset people. They asked if I could rewrite it and, being a good boy, I did. Contraception became ‘child prevention’ and abortion became ‘absorption’. Still they wouldn't play it. Here's that old peoples, pre-chewed version.”

Andy: “The A&R man decided the BBC wouldn't play this with words like ‘abortion’ and ‘contraception’, so he took out all the words he didn't like. It wasn't a big hit, though, because the BBC still didn't play it. A couple of bands have covered it, and they always get the chords wrong. The second one's a seventh, formed from the E-string up. They always miss it.”
Dave Gregory: “It's not really a guitarist's chord, that one.”
Andy: “Nope, but it's a Partsy one.”

From: http://chalkhills.org/reelbyreal/s_RespectableStreet.html

Mary's Danish - Beat Me Up

#Mary's Danish #alternative rock #power pop #indie rock #funk rock #pop punk #1980s #1990s

A fine band that never quite delivered on its immense promise, Mary's Danish blended power pop, punk, country, and funk into a sometimes scattershot but always unique sound that at times was among the most exciting sounds in what was then still called alternative music and sometimes sounded like the group was constitutionally incapable of picking a style and sticking with it for longer than a song at a time.
The seeds of the group were planted when college friends Gretchen Seager and Julie Ritter decided to form their own band in the middle of an X concert in their hometown of Los Angeles in late 1985. Seager preferred the band's punk edge, Ritter their country leanings, and both admired the vocal interplay of John Doe and Exene Cervenka, all of which would appear in their own band, which they named Mary's Danish after a line in an early songwriting attempt. Ritter's guitarist boyfriend David King and his bassist friend Chris "Wag" Wagner were drafted into the group at an early stage, but the group wouldn't settle into its permanent lineup until drummer James Bradley Jr., who had previously played with Anita Baker, and second guitarist Louis Gutierrez, formerly of Los Angeles paisley underground legends the Three O'Clock, joined in 1988.
The newly cemented group signed with Chameleon Records in 1989 and released their debut, There Goes the Wondertruck, later that year. Powered by the alternative radio and 120 Minutes favorite "Don't Crash the Car Tonight," the debut and a live follow-up EP, Experience, sold well enough to attract the attention of both superstar manager Peter Asher and Morgan Creek Records, a newly formed label headed by producer David Kershenbaum and spun off from a successful film production company. Eager to score an "alternative" band when that genre was becoming the next big thing, Morgan Creek threw quite a bit of money at Mary's Danish to record and release their second album, Circa, in 1991. Unfortunately, the neophyte label dropped the ball on promotion, and although the singles "Julie's Blanket" and "Foxey Lady" (a winningly sarcastic treatment of the Jimi Hendrix classic) got a lot of MTV airplay, the well-reviewed album didn't sell as well as There Goes the Wondertruck. The label prematurely rushed the group back into the studio to record 1992's American Standard, and the lackluster results showed it. Top management at Morgan Creek apparently had no idea of how to run a record label, and their poor track record caught up to them; after haphazardly burying American Standard through incompetent promotion and distribution, the label self-destructed, leaving Mary's Danish in legal limbo. Fed up, the group called it quits in 1993, with King leaving to form a new band, Rob Rule. Ritter embarked on an alt-country solo career, while Seager and Gutierrez, who had married and were expecting a child, formed the punkier Battery Acid.  From: https://www.allmusic.com/artist/marys-danish-mn0000383632/biography

Chris Isaak - Wicked Game

 #Chris Isaak #rock & roll #rockabilly #Americana #roots rock #singer-songwriter #1980s #1990s

Chris Isaak fashioned himself as a throwback to the early days of rock & roll, devising a fusion between Elvis Presley's rockabilly croon and Roy Orbison's moody, melancholy balladeering. Unlike his roots rock peers of the 1980s, Isaak didn't care for the earthier elements of rock & roll. He offered a stylized, picturesque spin on the spare, echoey sound of pre-Beatles rock, creating an atmosphere that was equally sweet and sensuous. Certainly, "Wicked Game," the sultry single that became a career-defining hit in 1989, captured his seductive side, a trait that would re-surface on the subsequent "Baby Did a Bad, Bad Thing," a darkly lit rockabilly tune from 1995 that was later included in Stanley Kubrick's 1999 film Eyes Wide Shut. Those two songs crystallize the shadowy sexiness lurking within Isaak's music, but much of his body of work found him exploring the lighter side of the first wave of rock & roll with a knowing yet loving playfulness. This sense of understated showmanship helped Isaak ease into side careers as an actor and television host, plus it was central to the live shows that kept him on the road in between a steady stream of records.  From: https://www.allmusic.com/artist/chris-isaak-mn0000775323/biography

Lithium X-Mas - Hip Death Goddess

 #Lithium X-Mas #psychedelic rock #art rock #indie rock #rock #psychedelic punk #1980s #Ultimate Spinach cover

Psychedelic art-rock pioneering band from Texas, Lithium X-Mas,was formed in Dallas, Texas, in 1985. They emerged from the punk scene that included the likes of Nervebreakers, Butthole Surfers, Vomit Pigs, and Horton Heat. The band played a diverse array of venues, from seedy warehouses to psychedelic theme parties to Dallas' legendary, upscale Starck Club. Lithium's first forte was the excavated cover song, bringing their own twisted spin to tunes such as Nilsson's 'Jump into the Fire,' Lemon Pipers' 'Green Tambourine,' and Ultimate Spinach's 'Hip Death Goddess.' Forward looking, but still informed by deep excavation of eclectic record collections, Lithium's fans included Sonic Youth, with whom they shared bills and who advertised them on their guitars; Nirvana, who were inspired by the name for some of their source material; the Butthole Surfers, whose drummer King Coffey signed them to his record label; and many others.  From: https://www.forcedexposure.com/Artists/LITHIUM.X.MAS.html

X - See How We Are

 #X #John Doe #Exene Cervenka #alternative rock #punk rock #folk rock #folk punk #Americana #rockabilly #blues rock #1980s #1990s

X was an American band whose tales of urban decay, corruption, and sleaze, delivered with skilled musicianship and unique vocal harmonies, marked them as important contributors to the punk movement. The original members were singer Exene Cervenka, bassist and singer John Doe, guitarist Billy Zoom, and drummer D.J. Bonebrake. Later members included Dave Alvin and Tony Gilkyson. Formed in 1977, X released Los Angeles in 1980. That effort and the follow-up albums Wild Gift (1981) and Under the Big Black Sun (1982) drew critical raves, as X broadened punk’s do-it-yourself ethos with excellent musicianship (Zoom, who had once played with rock-and-roll pioneer Gene Vincent, blazed through country, rockabilly, heavy metal, and punk licks with dispassionate aplomb, while Bonebrake added a background in jazz), the unusual harmonies and sophisticated songwriting of onetime husband and wife Doe and Cervenka (the latter an active poet), and careful production by Ray Manzarek, formerly of the Doors. In the process, X became prime movers of the Los Angeles punk scene chronicled in the documentary The Decline of Western Civilization (1981). Capable of matching the fury of other punk bands, X excelled at melancholy ballads and flirted with pop music throughout its career, though its efforts to reach a broader audience on a major label were largely unsuccessful. The band toured and recorded sporadically throughout the 1980s and ’90s, but members were increasingly occupied by side projects and solo efforts. Doe, Cervenka, Alvin, and Bonebrake formed the Knitters in 1985. Intended as a one-time project, the Knitters performed a selection of folk and country tunes, along with acoustic versions of songs from the X catalog. Cervenka dedicated much of her time to poetry, publishing numerous collections and recording a series of solo albums. Doe turned to Hollywood, scoring small parts in films such as Road House (1989) and Boogie Nights (1997) and landing a recurring role in the supernatural television series Roswell (1999–2002).  From: https://www.britannica.com/topic/X-American-rock-band

Talking Heads - Once in a Lifetime

 #Talking Heads #David Byrne #new wave #alternative rock #post-punk #art rock #avant-funk #experimental #funk rock #worldbeat #1980s #music video

As the 80s began, the future of Talking Heads was uncertain; that they would soon record their defining song, 1981’s Once In A Lifetime, would have seemed impossible to a group then on the verge of burning out. In Remain In Love, Chris Frantz’s 2020 memoir, the drummer remembers talking to a journalist on 19 December 1979, following the final gig of their tour in support of their third album, that year’s remarkable Fear Of Music. “He opened with the question, ‘What are you going to do now that David [Byrne, singer] is leaving the band?’ David had already spoken to him privately and told him this. Tina [Weymouth, bassist] and Jerry [Harrison, guitars and keyboards] and I explained to the journalist that we knew nothing about it and left it at that. Everyone was exhausted.” The group took some time to take stock and explore individual solo projects and interests. David Byrne used his downtime to work with Brian Eno (who’d produced the previous two Talking Heads records) on the groundbreaking album My Life In The Bush Of Ghosts, eventually released in February 1981. Meanwhile, Weymouth and Frantz took a long holiday in the Caribbean, where they pondered the group’s future and soaked up musical influences that would set them in good stead. Feeling Byrne had become too controlling, they looked to redress the balance; rather than rely on their frontman bringing material to the group, Weymouth and Franz suggested they emulate the music that was exciting them – early hip-hop, Fela Kuti’s Afrobeat grooves, West African highlife pop – and embark upon jam sessions, with the intention of “sampling” themselves and working the results up into new material. Frantz and Weymouth invited Harrison to their New York loft for informal jams, recorded on Frantz’s boombox. When it became apparent they had the beginnings of some promising tracks, they reached out to Byrne and Eno, both of whom had previously told Frantz they were not interested in making another Talking Heads record. Once the reluctant pair had been separately coaxed over and joined in, things began to get interesting. “By nighttime we took a break to listen back. You could hear all kinds of interesting parts germinating, mutating and evolving,” Frantz recalled. “There was no denying that Talking Heads still had a great chemistry going on and the beats were good. You could dance to it!” Excited by the loft jams, recording sessions were booked at Compass Point, the studio where Talking Heads recorded their second album, 1978’s More Songs About Buildings And Food, in Nassau, The Bahamas. One of those jams, a hypnotic and relentless instrumental called Right Start, might very well have been abandoned. Instead, it was worked up to become one of the best Talking Heads songs of all, the transcendent Once In A Lifetime. Talking to NPR for a 2000 edition of All Things Considered, Brian Eno revealed that he “immediately misheard it and I still mishear it to this day, I always think the one of the bar is in a different place from them. This might seem like a rather irrelevant technical point but actually it means that the song has a funny balance within it, it has two centers of gravity – their one and my one.” This unusual quality, along with the insistent bass line – played by Weymouth after she thought she heard Frantz shouting the riff at her during a session – made Byrne think it had potential for lyrics. The song was saved from the discard pile. And what lyrics they were. Byrne had become increasingly interested in the end-of-days rhetoric of evangelists and looked to channel that energy, as he told NPR: “So much of it was taken from the style of radio evangelists. So I would improvise lines as if I was giving a sermon in that kind of metre. In that kind of hyperventilating style. And then go back and distill that.” While many have interpreted the lyric as an extended jab at the materialistic 80s, Byrne himself has suggested the song implores the listener to take stock of their lives. “We’re largely unconscious. You know, we operate half-awake or on autopilot and end up, whatever, with a house and family and job and everything else. We haven’t really stopped to ask ourselves, ‘How did I get here?’”  From: https://www.thisisdig.com/feature/once-in-a-lifetime-talking-heads-song-story/

Butthole Surfers - Tongue

 #Butthole Surfers #experimental rock #alternative rock #punk rock #psychedelic rock #noise rock #psychedelic punk #1980s #1990s

Butthole Surfers is a Noise Rock band formed in San Antonio, Texas in 1981, well known for it's bizarre and often disturbing lyrics, heavy synthesizing, and macabre live shows. They also use a lot of Black Comedy in their lyrics. The Surfers began in 1980, when lead singer Gibby Haynes met guitarist Paul Leary while going to college in Texas, where they became friends due to their shared overall weirdness and interest in strange music. They published a magazine, Strange V.D., with a lot of pictures of strange diseases and illnesses, long before they actually started playing in 1981. Throughout The '80s, they built up a cult following in the college rock world through their melding of Punk Rock and Psychedelic Rock, plus a multi-media stage show (including a naked female dancer and grotesque film clips projected on a giant screen) that was an assault on the senses, all capped off with a twisted sense of humor. Their mainstream commercial breakthrough finally came in The 1990s, when big labels were scrambling to sign Alternative Rock acts in the wake of Nirvana's success. After a decade of releasing their music on small indie labels such as Alternative Tentacles and Touch and Go, the Buttholes signed with Capitol Records; their second Capitol album, 1996’s Electriclarryland, contained their first big hit "Pepper.” Afterwards, they became featured on many movie soundtracks, such as William Shakespeare's Romeo and Juliet and John Carpenter's Escape from L.A.  From: https://tvtropes.org/pmwiki/pmwiki.php/Music/ButtholeSurfers

BoDeans - Good Things

 #BoDeans #alternative rock #roots rock #folk rock #heartland rock #indie rock #1980s #1990s

BoDeans all began when Kurt Neumann and Sam Llanas met at Waukesha South High School in 1977. How did the duo’s band get its name? Sam often explains that he got the name from The Beverly Hillbillies character Jethro Bodine. For Kurt, BoDeans conjured up the image of rock n’ roll icons Bo Diddley and James Dean for a familial name, similar to The Smiths and The Connells. Early on, Neumann and Llanas were often credited as Beau and Sammy BoDean. In 1983 “Da BoDeans” began playing around Milwaukee’s East Side music scene along with a hired drummer and bass player. The band practiced in the garage of Mark McCraw, a mutual friend who soon became their manager and provided financial support during the early years. In 1985 labels began to make offers, and the band chose to sign a contract with Slash/Warner Records. After signing, the label suggested that they shorten their name to simply “BoDeans.” Under the guidance of producer T-Bone Burnett, they entered Hollywood’s Sunset Sound Factory in October to record their first album. Burnett focused on capturing the band’s natural sound without many additional overdubs. The band later expressed their regret for not being able to spend more time on the production, but high studio costs kept the sessions concise. The critically acclaimed debut Love & Hope & Sex & Dreams was released in 1986. BoDeans mix midwestern roots rock with elements of adult contemporary pop, fashioning a sound that earned critical acclaim during the ’80s and commercial recognition during the following decade.  From: https://k-zap.org/music_profiles/bodeans/

Lone Justice - Sweet, Sweet Baby

 #Lone Justice #Maria McKee #cowpunk #country rock #roots rock #Americana #rockabilly #alt-country #1980s

If there ever was a band that broke up way way way too soon, it would be Lone Justice. The band’s blend of rock meets country, that was often referred to as cowpunk, defined one of the most original sounds of the 1980s. At the heart of the band lay a golden voiced singer that performed with the spirit of Bruce Springsteen meets Janis Joplin meets Dolly Parton. But beyond her thrilling vocals bled the heart of a substantial songwriter who would eventually leave the band for a very successful and critically renowned solo career. It was sad that the band broke up, yet in retrospect, the band actually broke up twice. After the band’s initial record release entitled Lone Justice in 1985, all members of the band left the group with the exception of Maria McKee. Their sophomore debut in 1986 entitled Shelter consisted of an entirely new band and was produced by Steven Van Zandt. Yet the spirit of Lone Justice could still be heard throughout the recording.  The reason is simple; Maria Mckee. After the release of the Shelter album, the band was disbanded once again. The legend of Lone Justice came to a quick end. Geffen records would release a Live at the BBC Radio Concert in 1993, and a greatest hits package with unreleased bonus tracks in 1998. In 2014, Lone Justice fans were presented with a CD of demos entitled This Is Lone Justice: The Vaught Tapes 1983. There are bands in rock history that make their mark based on just one song or album. Lone Justice was one of those great bands that turned heads the second they hit the concert stage. And like we said before, that power resonated from the heart, soul, and spirit of their phenomenal lead singer Maria Mckee.  From: https://www.classicrockhistory.com/11-best-lone-justice-songs/

Sonic Youth - 100%

 #Sonic Youth #noise rock #alternative rock #experimental rock #indie rock #post-punk #avant-garde #no-wave #1980s #1990s

Sonic Youth emerged from the experimental no-wave art and music scene in New York before evolving into a more conventional rock band and becoming a prominent member of the American noise rock scene. Sonic Youth have been praised for having "redefined what rock guitar could do,” using a wide variety of unorthodox guitar tunings while preparing guitars with objects like drum sticks and screwdrivers to alter the instruments' timbre. The band was a pivotal influence on the alternative and indie rock movements. After gaining a large underground following and critical praise through releases with SST Records in the late 1980s, the band experienced mainstream success throughout the 1990s and 2000s after signing to major label DGC in 1990 and headlining the 1995 Lollapalooza festival. In 2011, following the separation and subsequent divorce of vocalist bassist Kim Gordon and vocalist guitarist Thurston Moore, the band played its final shows in Brazil.  From: https://en.wikipedia.org/wiki/Sonic_Youth

100%: This is a mournful song with a creepy undercurrent, made sadder and more tender by the way the lyrics address a dead friend in the present tense. This present tense isn’t in denial — maybe there is the tiniest glimmer of denial in “I been waiting for you just to say the zaftig girl is mine” but beyond that the lyrics more consistently acknowledge that this charming friend who “[rocked] the girls” was “shot dead,” that they’re “blasting the underworld,” that they are undeniably and irrefutably dead. Instead, to me (a person very much prone to projecting) that present tense feels like a natural progression for a friendship that’s been suddenly impacted by tragedy. That tragedy is violent — a shooting — but there’s also a dark little predatory feeling throughout the song. Musically, it’s both driving and alluring. The song is the musical incarnation of a violent eighties horror in which some cool zombies pursue their victims. A stark contrast to the lyrics! But fitting when you consider how the song mourns these friends’ pursuit of girls, which isn’t necessarily predatory, but does feel decisively prowling. The most mournful lyrics are still aggressive. The lyrics consider revenge, and sure that is violent, but capturing pain by saying “I stick a knife in my head thinking about your eyes” is such a very specific, physical, disturbing manifestation of grief. Not dishonest at all! But rarely articulated.  From: https://medium.com/@pkeene27/capsule-reviewed-dirty-by-sonic-youth-a1986ef54850

Pretenders - The English Roses

 #Pretenders #Chrissie Hynde #new wave #alternative rock #pop rock #hard rock #pop punk #British/American #1980s

As a woman breaking into rock, Pretenders founder and lead singer Chrissie Hynde offered a much-needed upset to the genre’s domination by men. Even as she deplored her perceived lack of commercial “beauty,” she was able to use this ostensible deficiency to her advantage — thus establishing herself as a serious songwriter and musician. She told Fred Schruers in a 1981 Rolling Stone story, “They’re not looking at me like I’m some sex symbol or girl with huge tits bouncing around the stage. And this thing [her guitar], this isn’t an extension or a phallic symbol.” Hynde has also insisted on being uncompromisingly straightforward in her music. Newsweek contributor Jim Miller noted her attack on the sexism prevalent in rock lyrics: [Her songs] are memorable not only for the skilled way in which Hynde reworks stock riffs, but also for the matter-of-fact, unsentimental manner in which sex is described from the viewpoint of a woman with appetites and a will of her own. Her best lyrics, at once tender and tough, are a bracing change from rock’s stock erotic fare, which often features a macho stud laying waste to the enemy.  From: https://www.encyclopedia.com/people/literature-and-arts/music-popular-and-jazz-biographies/pretenders

XTC - Ball and Chain

 #XTC #new wave #post-punk #progressive pop #art rock #pop rock #baroque pop #art punk #power pop #psychedelic pop #1980s #1990s

XTC were a long-running cult favourite Alternative Rock band from Swindon, UK, active between 1976-2006. From 1982 to 1998, the band had the following core members: Andy Partridge (vocals, guitar), Colin Moulding (vocals, bass) and Dave Gregory (guitar, keyboards, string arrangements, backing vocals). The band's other two initial members were keyboardist Barry Andrews and drummer Terry Chambers. XTC throughout their existence were based around the two main songwriters, Partridge and Moulding. Their initial style was a frantic, hyperactive variation of New Wave that added in elements of Funk, Punk Rock, Ska and Reggae. This stylistic fusion found favour with the contemporary Punk Rock movement, and the band gained some success with its first two albums. Andrews' resignation from XTC in 1979 and replacement with Gregory proved to be a pivotal moment in the band's career, as Gregory's sixties-influenced guitar style steered the band towards its later sound, and his invaluable contributions to the band's albums helped drive Partridge and Moulding to new musical heights. For a while after Gregory's arrival, the band got slightly more attention from the mainstream and managed to score a few hits, such as the goofy, Moulding-penned single "Making Plans for Nigel" and Partridge's "Senses Working Overtime" and "Sgt. Rock is Going to Help Me". The band retired from touring definitively in 1982 after Partridge suffered a severe mental breakdown, forcing their world tour to be cancelled. They remained studio-bound for the rest of their career, making occasional live appearances on radio and television. In response to the loss of touring income, Chambers left and moved to Australia. Partridge, Moulding and Gregory didn't bother to replace him, instead recruiting session drummers on an album-per-album basis. Once Chambers left, the group completely changed their style, with the dreamy, pastoral folk-rock of Mummer arguably serving as their New Sound Album. From that point on XTC became a full-blown Psychedelic Rock band, taking production cues from The Beatles and The Beach Boys, jangly guitars from The Byrds and idiosyncratic, humorous lyrics critical of society from The Kinks. Soon afterwards, XTC recorded the album commonly regarded as their masterpiece, Skylarking. Besides critical accolades, Skylarking managed to gain them a controversial hit single as well, the Beatlesque rock of "Dear God", where Partridge basically embarked on a long Nay-Theist Smite Me, O Mighty Smiter rant, railing against God's horrendous, callous treatment of humanity. God was so incensed by Mr. Partridge's display of testicular virility that he personally purchased 250,000 copies of Skylarking. Around the same time, XTC recorded some outright Psychedelic Rock Affectionate Parodies, under their alter egos The Dukes of Stratosphear. As The Dukes, the band released an EP, 25 O'Clock (1985), and an album, Psonic Psunspot (1987), where they were all credited under Stage Names (Partridge was Sir John Johns, Moulding was The Red Curtain and Gregory was Lord Cornelius Plum) and did their damnedest to pass the material off as genuine Sixties psychedelia. The EP and album were initially available on vinyl only, but simultaneous with the album the two were compiled as Chips from the Chocolate Fireball on CD only. It wasn't until 2009 that the original works were released on CD separately, with bonus tracks and credited to XTC as The Dukes of Stratosphear. The Dukes were also jokingly thanked in the Skylarking liner notes for allowing XTC to borrow their instruments.  From: https://tvtropes.org/pmwiki/pmwiki.php/Music/XTC