1980: The Soft Boys - Underwater Moonlight
College rock begins here, with Robyn Hitchcock and The Soft Boys. These guys were a riot. Didn’t have an original idea in their heads. Lyrics were gross. Couldn’t hack it with the punks ’cause they couldn’t leggo the Byrds riffs, but they sure did a mean “Mystery Train.” Gave Cambridge a jostle in the late ’70s, then gave up. Donated a guitarist to Katrina and the Waves.
Underwater Moonlight is the better of the only two ‘real’ records The Soft Boys ever made, a sprawling amalgam of punk, pop, psychedelia, and Hitchcock’s own sicko vision. The Boys sang, often in fiery yet immaculate three-part harmonies, of love and war and sex and death and things that go bump in the night, always with a keen sense of ironic detachment (or so you hoped). Close scrutiny of the lyrics results in scrunched-up noses; this is the same expression I have seen on the faces of unwillings exposed to Ween or The Flaming Lips.
If Moonlight now sounds somewhat dated, the songs are not to blame. The album was recorded all wrong -- the production is a bit suffocating, reminiscent of what John Cale did to The Stooges. Fortunately, the 2001 Matador reissue added an entire disc of dusty studio tapes (more than a little crud, but the best moments -- “She Wears My Hair,” “Goodbye Maurice or Steve,” and the awesome take on Roxy’s “Over You” -- are looser and fuller than anything that made the record).
I’ll admit it -- I’m a sucker for melody, certainly something indie rock has delivered more consistently than has That Other Stuff. You can draw a line from The Soft Boys to R.E.M. to Pavement to Modest Mouse to Tapes ’n’ Tapes -- all catchier than anything the kids are dancing to today. But in the words of Louis Armstrong, “There are some people, if they don’t know, you can’t tell ’em.” That, to me, is what indie rock is really all about. We know we’re right. Certainly, The Soft Boys knew. “They say I’m weird,” sang Hitchcock, “but cleanliness of the soul is more important, don’t you think?”
1965: Albert Ayler - Spirits Rejoice
Once in a great while, an album comes along that’s filled with so much god-awful beauty and spiritual intensity that every majestic note contained therein cuts deep into the dark places of your soul and leaves you with nothing more than the promise of sweet deliverance...
Albert Ayler’s Spirits Rejoice is that kind of album. At least it is to me.
Spirits Rejoice emerged in 1965, around the time when the Stones were singin’ idiotically simple (albeit great) pop songs about frustration and discontent. On the other side of the Atlantic, we had Bob Dylan completely blitzed out of his gourd on mountains of speed, cranking out 15-minute rhapsodies that were more on the order of Ginsberg’s Howl than anything broadcasted on popular radio before or since. Meanwhile, Elvis was thundering his way through Tinseltown, galvanizing the silver screen with nothing more than his hillbilly charm and swagger. Never mind the fact that he couldn’t act worth a lick. When he gyrated his hips, girls everywhere screamed their lust-filled heads off – and when The King let his pipes loose with a serenade, it was then when history was in fact being made, because it was then when an aw shucks, po’ dunk truck driver became more popular than Jesus Christ. It was undoubtedly a seminal peak in the musical and cultural landscape. Boundaries were being crossed and possibilities seemed endless. In some cases, art was being made. And in rarer instances, something more than art was conceived – which is where Albert Ayler enters the picture.
See, Spirits Rejoice is a milestone, dig, a one-of-a-kind album that taps into the belly and heart of Americana, if not the Godhead itself. Moreover, you’ll never hear anything like this album today. Like those precious recordings on the Smithsonian folk and blues collections, the music in Spirits Rejoice encapsulates the hardships and joys and spirit of a very specific time and place in American history. And as far as innovations go, Spirits Rejoice adds a new entry into the annuls of jazz by combining Louis Armstrong’s brand of traditional New Orleans brass jazz with the wild, manic, almost uncontrollable swing of hard bop; which, incidentally, for awhile there, were two completely opposing factions within the parameters of jazz music. In fact, Tommy Dorsey dismissed Charlie Parker and Dizzy Gillespie as musical communists (which is an insult I’m not exactly sure I completely understand beyond being a shitty thing to say to any red-blooded American during McCarthy-era America). Anyway, Ayler fused these two forms of music so beautifully that it soon became ridiculously obvious that both camps were hopelessly ignorant in their attitudes about who holds the philosopher’s crown when jazz styles were concerned. I mean, it’s all just a heap of notes thrown together anyway. Whether it’s bop, punk, rock, rap, or whatever -- as long as it possesses some real vibrancy and swings hard and strong, why cheapen any form of expression by placing it into specific demarcated categories?
That was undoubtedly one of the questions coursing through Ayler’s fevered brain when he was blowin’ every fiber of his poor misbegotten soul through that tenor axe of his, because Spirits Rejoice is an amalgam of so many different musical styles – marching band, R&B, blues, soul, vaudeville, etc. – that the overall effect sounds like a blast of undeniable Truth. Jazz-writ extraordinaire Ralph Gleason wrote something along those lines in what was essentially Albert Ayler’s obituary in his column in Rolling Stone magazine. That Ayler was more focused on seeking eternal truths and beautiful melodies than he was with technical aptitude or how many thunderous notes he could cram into a single scale (which, incidentally, was the prevailing rage at the time). In fact, by most conventional definitions that many jazzbo’s adhere to, Ayler was far from the greatest jazz cat to touch a horn. Regardless, the closest sax player I can think of that matched Ayler’s aim was John Coltrane; and truth be known, Coltrane crushed Ayler by the simple fact that Coltrane had more of an impact than Ayler by his prolificacy. But what the hell? That ain’t sayin’ much cuz Coltrane was laps ahead of damn near everyone in music. And as far as technical virtuosity goes, heavyweights like Sonny Rollins and Charlie Parker creamed Ayler, who albeit had a beautiful tone and fingers as nimble as say, Stevie Ray Vaughn, could nonetheless not keep up with those giants. And again, who could? Even when considering those who frontiered new platitudes and concepts in jazz composition, guys like Ornette Coleman and Charlie Mingus and Sun Ra beat Ayler by a long shot. But this ain’t a slam on Ayler; with all said and done, he ain’t no crumb. Moreover, as far as I’m concerned, Spirits Rejoice can stand toe-to-toe with any of the established masterpieces by those aforementioned legends and hold its own. Coltrane and Ayler's similarities stem from their ability to express such raw emotive passion on wax (which makes the likes of emo poster child Connor Oberst seem like a sniveling, whiny punk by comparison).
Ultimately, however, what we have with Spirits Rejoice is essentially a lament on the plight and deliverance of the oppressed and downtrodden. When you’ve been pushed down and kicked in the teeth for so long, you are left with only two viable options: fight back or embrace your oppressors with love, and Spirits Rejoice is an emblem/tableau about choosing love in the face of pain, abuse, and hate. It’s a beacon of what could be, and what should be, no matter what the trappings of our environment are – and that, my friends, is ultimately why this precious little album means so goddamn much to me. It’s a constant reminder to choose LIFE no matter how dire your circumstances are. I mean, I have little doubt that Ayler’s life was no picnic. He was an African-American living in a volatile time. Plus, he was a penniless musician, his nigh obscurity punctuated by the fact that he died at the age of 34. Furthermore, suspicious circumstances surround his death. His body was found floating in the Hudson River, and nobody to this day knows how his body got there or what he died of. Perhaps the pain in his life finally got to him. Everybody has their breaking point, and a man can only take so much wretchedness before he breaks down for good. And poor ol’ Ayler was undoubtedly up to his ears in agony. But despite all his troubles, I believe Ayler had a lotta love in his heart; Spirits Rejoice articulates this love — love for people, love for God, love for life – deeper and more eloquently than any other album I’ve ever heard in my life.
1967: Genesis - In The Beginning
This is the greatest album Phil Collins ever made. That is due in large part to the fact Phil Collins doesn't appear on In The Beginning at all, nor anyone involved in the band that brought you "Invisible Touch" for that matter (all due respect to Peter Gabriel). This Los Angeles chapter of Genesis released one album back in 1968, about a year before the now-famed British Genesis' debut, and then dissolved into comparative obscurity.
As a standard rock quartet, their dynamic centered around lead guitarist Kent Henry and frontman Jack Ttanna, with a nicknamed rhythm section and occasional, much-welcomed vocal relief from Sue Richman. Ttanna had already gained some notoriety as a member of The Sons Of Adam in the mid-'60s, despite that ensemble's miniscule studio output totaling to a couple commercially released singles. However, that was simply not enough to carry the promotion of the Genesis project, as it puttered out to little recognition at its selectively issued debut. Musically, the album was too reserved for true psychedelic rock and too eclectic and studio-happy for folk.
Despite all this, In The Beginning is not without its shining moments. The Richman-sung "Gloomy Sunday" compliments her Grace Slick vocals with lush, baroque strings and a morosely plucked acoustic guitar to great effect. In light of the 16-minute-long original album closer "World Without You," with its insane, extensive guitar solo (starting off slow with sparse individuality but progressing aptly within and about the context of the song, taking the listener on an epic journey more moving than most of the Mars Volta catalogue), and "Ten Second Song," which features a dueling psych axe battle, it seems that Kent's skills were underused over the course of the album. History agrees.
The production doesn't help the cause either, as the degraded master tapes make a few tracks sound fairly muddy (or possibly just poorly mixed), adding a few bonus record pops on the CD (which could also arguably add to the "authentic analog experience" of the forgotten classic, usually found by misguided Googlers and hopeless geeks like myself). But I think there were some good ideas here, as the previously unreleased, thoroughly phased bonus track attests. Ttanna wrote some worthy tunes, and Henry's talent would immediately go on to international stardom in Steppenwolf. If only they gave it one more try to work out the kinks (please don't read a pun there), things may have turned out differently. As is, In The Beginning feels like something left unsaid.
1997: Jonathan Fire*Eater - Wolf Songs For Lambs
Jonathan Fire*Eater’s story is unfortunately all too common in the music business: band releases strong EP, band signs to major label, band releases major label debut, band is never heard from again. DreamWorks released Wolf Songs For Lambs on the heels of mountains of buzz, only to see the record fizzle despite critical acclaim. Yet it’s hard to imagine Jonathan Fire*Eater failing in 2007. In the blog era, the Washington, D.C. band’s brand of carnival organ-driven garage rock would surely find fast popularity through word of mouth; nowadays, bands with fewer hooks and more abstract approaches to rock music easily sellout clubs and find their songs playing on teenage TV dramas.
“When The Curtain Falls For You” begins the album, acting like a declaration of principles. It fades in with a slinky guitar playing mysterious minor and major chords, followed by a martial beat on snare. Then comes Stewart Lupton singing “What do children do with these colors so hallow/ Yes, I know their will is true” in a Mick Jagger bark. This is followed by a glorious mess of organ, which, mixed with the aforementioned ingredients, creates something resembling organized chaos.
Indeed, “When The Curtain Falls For You” is the record’s strongest track, but it’s followed by 13 other songs that go down like vodka at a dirty burlesque. The garage rock of “No Love Like That” recalls ? and the Mysterians, while “These Little Monkeys” steadily thumps like a cross between Motown and This Year’s Model-era Elvis Costello. Meanwhile, “The Shape Of Things That Never Came” (a reference to Ornette Coleman) is yet another song that should have been a hit.
Instead of having hits, however, Jonathan Fire*Eater broke up shortly after the album's release, while three of its members – organist Walter Martin, drummer Matt Barrick, and guitarist Paul Maroon – formed The Walkmen. It’s easy to recognize Jonathan Fire*Eater’s influence on that band’s breakthrough record, Everyone Who Pretended To Like Me Is Gone, with its reverb-heavy production and cocksure percussion. That record manged to find an audience (thanks to an 8.7 rating on Pitchfork and an appearance in a Saturn commercial); Wolf Songs, on the other hand, makes its presence felt in cut-out bins. What a difference five years makes.
1978: Squeeze - Squeeze
Most begin and end their Squeeze shopping list with one record: 1982's compilation Singles: 45s and Under. But for the adventurous and chronologically-minded fan who wants to dig deeper into Squeeze's catalog, it might seem like their 1978 self-titled debut is a good place to start. Unfortunately, it isn't.
Sure, it's their debut record, features the band's most prominent lineup (including Jools Holland, most well-known for his work in television), and was produced by John Cale (who had become quite a prominent record producer by 1978), but when Squeeze went into the studio, Cale made them scrap the songs they'd written and write new ones on the spot. Squeeze did as they were told and wrote a batch of 11 new songs -- they're really not that bad, but they aren't Squeeze. The fact that "Bang Bang" and "Take Me I'm Yours," the only songs Squeeze managed to keep from the original bunch, are the best songs on the album really makes the listener question Cale's ‘advice.’
That's really the trouble with this record. Since its their debut release, the goofy and amiable songs on this record are unfairly compared to the rest of the band's catalog of literate, sophisticated pop, the kind of songs that aren't on this record. It does have its highlights -- "Bang Bang" and "Take Me I'm Yours" are catchy and enjoyable, and "Wild Sewerage Tickles Brazil" is an instrumental silly enough to have been recorded by The B-52s -- but the rest of the songs are as lyrically and musically slight as you'd expect from a band who had to write a brand new set of songs before recording an album.
Listeners who want more Squeeze in their lives would be better served by picking up a copy of the band's second LP, Cool for Cats. This record is a more realistic introduction to Squeeze's catalog, while their debut should really be considered their bastard child, much like how Squeeze, the album the band named themselves after, was the bastard child of The Velvet Underground's catalog.
1997: The Damned - Damned Damned Damned
Before punk won the hearts and minds of the jaded and socially exiled, it destroyed rock ‘n’ roll. It condensed lavish guitar solos into throbbing, four-note whines. It transformed drawn-out psych jams into bursts of rhythm and power chords. Mystical/neo-romantic poetry decayed into 90-second cultural reprimands. Punk empowered anyone with a voice, a pawn-shop drum kit, or enough sheer nerve to join a band. Suddenly, the individual mattered again; rock music ceased its tenure as a phenomenon and became a creation, deities fell and became androgynous vampires, the glue of rock crusted away, to be replaced by three chords, spit, and a safety pin. On both sides of the Atlantic, punk was a welcome and revered deviation from mainstream rock, if not a shocking one. The early progenitors of UK punk held a new banner for chaos, disorder, and social challenge, and their musical output remains startling, yet earnest even today. Their ranks included The Clash, The Buzzcocks, The Sex Pistols, and irrevocably, The Damned.
Occupying the sonic bridge from early 1970s glam rock, The Damned were perhaps the most flaunting members of early punk. Each player -- Brian (guitar), Rat (drums), Captain (bass), and Vanian (voice) -- had a penchant for the limelight, merging glam’s bratty strut with punk’s lewd power. The Damned were in as many ways pioneers, as they were the first punks in the UK to record a single and the first to share a stage with their US counterparts. Damned Damned Damned was also the first UK punk LP, beating the Sex Pistols’ more illustrious Never Mind the Bollocks by several months. Without foresight or agenda, it became a model for punk rock releases, signing to the then fledgling independent label Stiff Records and garnering an underrated producer in Nick Lowe. It was Lowe who kept the record’s production down, giving it a gritty, organic quality that contrasted with the Pistols’ sharp lucidity.
The songs themselves fit and pound and surge; they holler out anti-anthems like “Neat Neat Neat,” “Fish!,” “Stab Your Back,” and “Born to Kill.” There’s the haunting narrative of “Feel the Pain” that reads like a gothic rendition of The Velvets’ “Venus in Furs.” These songs don’t resound the way The Sex Pistols’ and The Clash’s first albums did; that is to say, Damned Damned Damned offers nothing that could be stitched to a leather jacket or spray-painted on the walls of Parliament. Instead, there’s a deeper, embedded aesthetic at work. Within the unrelenting backbeat, the howling guitars, the bounding, precise bass, and David Vanian’s undead-Elvis croon we find expressions of both torture and absurdity.
Take “New Rose,” the album’s first single: it begins almost as a romp on a 1950s sock-hop before it delves into lines like, “I don’t deserve somebody this great/ I’d better go or it’ll be too late.” “I Fall” follows a similar bent: “I'm a falling angel, falling down/ Be a falling angel, won’t you come round?/ Don’t be scared to follow, it’s no crime/ You’re a falling angel before your time.” And it’s here that The Damned reveal an emotional authenticity that exceeds the occasional social posturing of the other early, memorable punk albums. The 30-year anniversary edition of Damned Damned Damned, with its two (slightly redundant) bonus discs, serves to further capture this spirit. Disc 2 compiles John Peel sessions, B-sides (including a double-time take on The Beatles’ “Help”), early singles, live tracks, and demos. Despite the scattershot recording of Disc 3’s live gig at London’s 100 Club, it succeeds in bringing forth The Damned’s sheer power and disregard for rock ‘n’ roll.
That said, there’s no one device that makes Damned Damned Damned worthy of a massive year-30 anniversary reissue, which could perhaps explain its general regard in punk history as a near-classic that failed to inspire the masses the way that Never Mind the Bollocks or The Clash did. Rather, the sum of its parts and the blood on its hands made this a punk’s punk record, an unmolested expression of all things worth fighting for: love, power, brutality, and the contrary right to destroy all of it.