the big reveal: POSTER CHILDREN Toreador Squat

With thanks to Josh D of The Wizard's Super-Special Rock and Roll Good Times Jamboree! for the actual cassette and transfer, I am excited to bring you a World First - or at least a Power of Independent Trucking first - as previously discussed: 

POSTER CHILDREN TOREADOR SQUAT
with exclusive liner notes from the band!



I have been on a semi-serious hunt for this record (tape) for twenty years, or, as long as I've known of its existence. We've previously blogged the Poster Children here, and I extended my plea to readers of my blog. Lo! #1 - faithful reader Josh D rose to meet the challenge, and went way over and above the call of duty in finally ending my two-decade quest by ripping his original 1988 copy of this cassette. Thanks Josh!

So... now that I have this record, let's do some reading about it on the Internets. Why not - a good way to kill time while soaking in the first-time listen to this wonderful burst of Midwest pop/postpunk.

But... where's the discussion? Why does nearly every website that even bothers to mention this record simply recycle the same verbiage every other site uses? Needless to say, there is virtually nothing written about this record beyond very uber-basic background info, and minimal at that.

So I took the bull by the horns and went direct to the source. I emailed the band and Lo! #2, they responded. And they love the blog! And after a very basic brief about what I was doing, they opened up the cooperation floodgates. I was amazed, impressed and eternally grateful. Thanks Rick and Rose!

To make a long, boring, technoweenie discussion short, this record (tape) was the band's first release, if you can call it that. Recorded in an attic in Champaign, IL in early 1988 on a Portastudio 4-track cassette recorder, these songs were the Poster Children's calling card in the very early days of their career. Selling the tapes locally at shows and indie record shops, the band quickly developed a following and, well, the rest is history.

Not a whole hell of a lot of these tapes were made. I honestly didn't think I'd get a response to my plea, knowing the age of the tape and the age bracket of those who would have bought or been given a copy back in 1988. That Josh D responded, and with an actual, original tape (and not some mp3's from a generated dub of a dub), still floors me.

Because of the complete dearth of information on the Internets, Rick Valentin (guitars/vocals) and Rose Marshack (bass) - the two original and primary Poster Children - agreed to 1) let the blog host lossless copies of this record, and 2) write the "liner notes"! Needless to say I was thrilled. It is so very rarely that a band is as personable, reachable, fan-friendly and just plain *nice* as these guys are. And they don't mind giving their music away! That is to say, Rick felt it wouldn't be appropriate to charge people for this record these days.

That said... as I did last time I blogged a PC record, I encourage all listeners to visit the band's "Hat" on their website and drop some cash in the hat via PayPal, whatever amount you feel necessary, if you like. By all means don't feel obligated to do so, but it's a nice gesture. I will be doing the same even though I've purchased every PC album released since this tape.

Enough appetizers. Let's get to the main course. And this being The Power of Independent Trucking, as is my wont, I cleaned up the tracks quite a bit, as the straight-off-the-highspeed-dub tracks did need some massaging. I indicated the same to the band when I initiated contact about this endeavor.

Rick's response to my initial hesitant query:

I think this is a great idea! I've been trying for years to get the original four-track master from the guy who recorded Toreador Squat and I don't think it's gonna happen, so having a cleaned up version of the cassette would be the next best thing...

I'd be fine with you hosting it on your blog and I'm sure we can dredge up some memories of the recording for liner notes...

And then after some back-and-forth, this:

As far as Toreador Squat goes, I definitely feel like these are bonus-type tracks, the kind of thing fans would like but not necessarily something I would feel right charging for.

Thanks for getting the ball rolling with this! Getting these tracks cleaned up and digitized was something I've had on my to do list forever but never got around to (and probably never would have!)

And then Rose emailed me indicating she loved my blog so much she shared it on Facebook ;)

So, shall we?



(notes by Rick Valentin except where noted)

The cover and title of the cassette came from a type of paper bag. Rose hand-drew the insert -- this was before we discovered Zipatone and before we had Photoshop. There are a bunch of [Thomas] Pynchon references in the credits (The Paranoids, a muted post horn, W.A.S.T.E.) -- we were really into The Crying of Lot 49 at the time (and really anti-Fountainhead, hence the Ayn Rand un-credit).

Trashcan Records was a cassette-only label run by Jim Slusarek and Chris Corpora which released a couple of compilations of Champaign music and put out individual “albums” by a few local bands. Jim set up his Portastudio and microphones in our attic rehearsal space and recorded us playing our instruments live, then we added vocals afterwards. Chris would make duplicates of the master on his tape deck and we’d package up the tapes and sell them at shows and in local record stores.

These recording sessions were in the spring of 1988, just a few months before we recorded the bulk of Flower Plower with Iain Burgess, so the a lot of the tracks are duplicated on FP but there are a few that never made it into the Iain sessions, I’m not sure why, probably because we ran out of time/money.

01 Hollywood USA 
 I think the original title for this song was "The Cowboy Song" and (in our minds) it was some kind of combination of rockabilly and Naked Raygun.

02 The Bump Bump Song
We always had a problem with new songs, we wanted to play them right away but they usually didn’t have finished lyrics so we’d have to name them by some musical characteristic rather than the subject. This song had “bumps” in the rhythm so it became the "Bump Bump Song".

03 Rain On Me
The one thing I notice on this track is the hi-hat (or lack thereof). During the Flower Plower sessions Shannon (drummer) was feeling left out of the overdub process so he added a hi-hat over his drum part, which I notice every time I hear the song - it’s kind of nice to hear the original drum part on the cassette version.

04 Detective Tracy 
 Rose’s dad (a jazz trumpeter) always liked this song because it had that goofy break where we did the walking bass and guitar parts. The lyrics came from a weird combination of classic Dick Tracy comic strips and dealing with religious zealots in college.

05 Carrie Look Ahead 
This is one of the songs that fell by the wayside by the time we recorded with Iain Burgess. I think it was because we had a newer “quiet” song ("She Walks" [ed: available on Flower Plower]) and didn’t want to record too many soft numbers with the man who had engineered [Naked Raygun's] All Rise and [Didjits'] Hey Judester.
ROSE: I've always wanted to re-record "Carrie Look Ahead", named after a type of digital logic adder! 

06 And So It Goes... (The Skanky Song)
[ed: Recorded live at Mabel's, Champaign IL 3 May 1988]
I wouldn’t have remembered this song if it wasn’t on tape. I’m not sure what the deal is with the vocals - it sounds like a Bob Mould impersonation that went horribly awry!

07 Jeremy Straight
This was our attempt at a Naked Raygun song, complete with "Oh-way-ohs".

08 White Noise (Black Light)
[ed: re-titled "Question" for Flower Plower]
In the early days of the band, I would bring in a song into practice that I’d written myself or worked on with Rose -- I think this is the first song we wrote together as a band and it seemed better than any of the songs I wrote myself so “jamming” became our predominant method of songwriting after this.

09 The Un-Reggae Song 
This one was a Joe Jackson-y ska-ish song with some David Byrne-isms thrown in. So we were about 15 years ahead of the New Wave revival! Or more likely about 5 years behind the times...

10 Carvers of New York City 
For some reason I always thought of this as our attempt at a Cheap Trick type of song but I’m not really sure why I thought that - maybe because I was singing at a higher pitch than normal? The lyrics came from randomly selecting words and phrases from an article in the Atlantic Monthly - there was a story about people carving fake African figures and masks.

11 State of Mind 
This was a song from the band Rose and I were in before PC, The Evidence. It has more of the Minutemen/Hüsker Dü thing we were into at the time.

12 The Weenie Song 
Another weenie song that didn’t make the Flower Plower cut as our songs got more aggressive overall.

13 Five Minutes
Another Evidence song, definitely of the attempted Hüsker Dü variety.

14 The Half-Time Song 
I don’t think this one had lyrics until the recording session. When we played live I would just jabber and hope that no one could hear. The center section is me talking to a baby kitten, Bob, that Chris had just adopted.

- - - - - -

Tracks 1-4, 7-9 were re-recorded with Iain Burgess later in 1988 and released on Flower Plower.

Track 10 was re-recorded with Steve Albini in 1990 and released on Daisychain Reaction.

Tracks 5-6, 11-14 were never re-visited or released beyond this cassette.

Original transfer from the 1988 cassette by Josh D, as mentioned above

Remastered (though it does bring out some of the flaws in the high-speed dubbing process) in September 2010 by the Analog Loyalist. HINT - it sounds much better in headphones ;)

Oh, you want the files? Lossless FLACs are here. 

See flac.sourceforge.net for a FLAC decoder or suggested players.

With the most sincere thanks to Rick, Rose, drummer Shannon and Josh, I bid you all to enjoy!

postpunk on the prairie: PEGBOY

This post has been a long time coming.

As the 1980s came to a close, the legendary Naked Raygun utterly dominated the Chicago punk rock scene. Their fierce blend of Buzzcockian pop sensibility, Misfitsish "oh-wey-ohhh" vocals, and the amplifier-crunching colossal guitar attack - courtesy of John Haggerty - set the stage for the postpoppunk revival of the 1990s. And for the most part, Raygun missed it.

1990 came around with John feeling burnt out on Raygun. So he quit and started over again. Teaming up with former Bhopal Stiffs Larry Damore (vocals) and Steve Saylors (bass), and joined by his brother Joe (ex-Bloodsport and Effigies) on drums, Pegboy was born.

Why should you care? Because no band, or rather no progression of bands (in this case, Naked Raygun -> Pegboy), best represents the old-skool "Chicago sound". The second (or was it third? #2 and #3 came within a week of each other) gig I ever saw was Naked Raygun in 1989, and to this day I remember that night like it was yesterday, it meant so much to me.

And in 1990, your humble blogger also attended Pegboy's debut gig at Chicago's Metro.



Paring down the sound to basics - wall-of-crunch guitars, gruff vocals, throbbing bass, and flailing drums, with songwriting to match, Pegboy was perhaps the greatest punk band to ultimately make it out of the Chicago scene. Oh many will disagree with me, and on some days I would disagree with myself as well, but Pegboy just did their job, day-in and day-out, not particularly messing with the formula.

In 1990 the foursome asked legendary Chicago punk producer Iain Burgess to record a 4-song demo. The resulting recording was so powerful it was released as-is, as the band's debut on newly-formed Touch and Go offshoot Quarterstick Records (coincidentally, also Quarterstick's debut release as well). Three-Chord Monte opens with the anthemic "Through My Fingers", which is John Haggerty's sound to a T. Possibly the greatest Chicago punk song ever, at least in the top 5. And the other three tracks on the EP are none too shabby either.

THREE-CHORD MONTE
1990 Quarterstick Records



01 Through My Fingers
02 My Youth
03 Fade Away
04 Method

- -

1991 saw the band release their debut LP, also recorded in Chicago by Iain Burgess, entitled Strong Reaction. With more of the same stellar playing and songwriting, this record just solidified the impact generated by the EP and presented the band to the world. Tracks "Strong Reaction" / "Field Of Darkness" (also released as a 7" single) / "Superstar" are the standouts, with the rest nearly as melodically strong. It's hard to locate a single bit of filler in the bunch, this record truly is one of the greatest Chicago punk sets EVER. Larry isn't the world's greatest singer, but it works here, and works wonders.

STRONG REACTION
1991 Quarterstick Records



01 Strong Reaction
02 Still Uneasy
03 Not What I Want
04 What To Do
05 Locomotivelung
06 Superstar
07 Field Of Darkness
08 Time Again
09 Believe
10 Hardlight
11 (untitled)

- -

Sometime following Strong Reaction, founder bassist Steve Saylors left the band. Yet with songs to record and a name to keep out there, to build on the goodwill created by the EP and debut LP, the band returned to the studio anyway, this time with Big Black / Rapeman / legendary engineer Steve Albini on bass. Albini also engineered the recording session, and the resulting EP Fore really digs down deep into the angular crunch of the band. Perhaps the band's hardest-sounding record, nonetheless the songs are great. And the cover art just has to be seen to be believed, who'd have thought they'd see Albini in golf attire ;)

FORE
1993 Quarterstick Records



01 Never A Question
02 Witnessed
03 Minutes To Hours
04 Jesus Christ

- -

Abini on bass was obviously only a temporary solution to the needing-a-bassist problem, with Albini's new band Shellac (not to mention his busy engineering career) demanding most of his attention. So, with Naked Raygun now in indefinite hiatus, legendary bassist Pierre Kezdy suddenly was free and Pegboy wisely snapped him up.

Moving on, 1994 saw the band's second LP Earwig come down the pipe. This time the band traveled to provincial France to record in Iain Burgess's newly built residential studio, and the resulting record is stellar. More of the same classic Haggerty guitars, and a more tuneful Larry (did he get vocal coaching?), mean this record will also get stuck in your ears. "You" is one giant slagpile of melody, and with perhaps a tighter vocal melody this might have been a hit. They also pull off a reverential Mission of Burma cover ("That's When I Reach For My Revolver", here shortened to simply "Revolver"), throw Clint Conley's original vocal track on top and you'd not know you weren't listening to the Burma musicians. And as far as I know, "Over The Hills" is Haggerty's first-ever acoustic track and it's spectacular.

EARWIG
1994 Quarterstick Records



01 Line Up
02 Sinner Inside
03 Gordo
04 Sideshow
05 Spaghetti Western
06 Revolver (Mission of Burma)
07 You
08 Blister
09 Wages Of Sin
10 Mr. Pink
11 Over The Hills
12 Louisiana

- -

The band basically dropped from the scene for a while, then came back in 1997 with the as-of-now final LP Cha Cha Damore, recorded by a returning Steve Albini. Featuring the same Damore/Haggerty/Haggerty/Kezdy lineup as the prior LP, this time the band returns to the more focused pop/punk of their earlier efforts, a choice that benefits supremely by Albini's recording methodology. The drums here sound amazing - as good as they've ever sounded on a Pegboy record - and the songwriting remains stellar. And the surprise cover this time? Cheap Trick's "Surrender", done with love and an obvious passion for the original.

CHA CHA DAMORE
1997 Quarterstick Records



o1 Dangerwood
02 Can't Give
03 You Fight Like A Little Girl
04 Dangermare
05 Dog, Dog
06 Liberace Hat Trick
07 Dangerace
08 Hey, Look, I'm A Cowboy
09 In The Pantry Of The Mountain King
10 Surrender
11 Planet Porno

- -

The band functionally disbanded in 2000 yet never officially gave up the ghost - they did pop up now and then for the odd one-off gig, but then in 2007 played the Touch And Go 25th Anniversary gig, and in 2009 toured in the summer with new bassist "Skinny" Mike Thompson replacing Pierre Kezdy (who had rejoined the reactivated Naked Raygun).

So I present to you all of the above, in compendium style, as is the wont of The PoIT. I'm only missing three tracks in their entire discography - the "Field Of Darkness" / "Walk On By" 7" single (what I've been able to track down online is pretty crap sounding), a Thin Lizzy cover "Emerald" from a 1995 Thin Lizzy tribute, and the 1996 "Dangermare" split single with Kepone.

Three RAR files as usual, gotta download each one.

edit: Removed link.

Enjoy!

postpunk on the prairie: Rapeman

In 1987, Steve Albini had had enough.

Big Black had outlived its purpose - singer/guitarist Albini, guitarist Santiago Durango, bassist David Riley and drummer Roland all believed that they'd taken the Big Black concept as far as it could go within its constraints. And besides, Sant was entering law school that fall, so it was a convenient time to call it a day after a farewell tour and the obligatory final LP.

Then Albini got bored. Restless. Itchy to play out again - there was yet music to be played. And no band to do so!

Conveniently enough, Austin, Texas postpunk legends (in their own time) Scratch Acid had just broken up and had a phenomenal rhythm section just waiting to be taken. Rey Washam (drums) and David Wm. Sims (bass) hightailed it up to Chicago and joined Albini for his new project.



Calling themselves Rapeman after a very graphic Japanese serial comic (a name guaranteed to gain the hearts and minds of Albini's heretofore-underground female fan base), the trio gigged around Chicago and the American Midwest, played Europe, and recorded a few songs.

Then, they broke up. For the usual reasons, according to Albini - someone just didn't get along with someone else, the usual bullshit.

Certainly it didn't help matters that the name was keeping them off the radio (not that they were looking for that angle, mind you) and causing them endless frustration in touring Europe. So they too just called it a day - but in this case, listening to the music in retrospect you get the feeling that they were just getting started, that they'd just skimmed the surface of the power, the noise, the energy the trio was certainly capable of making. The sentence that was just beginning to write itself starting with the word "Rapeman" just didn't seem to have a period at the end of it.

Of course this wasn't the end for any of the members - Albini went on to sustain a prolific engineering career recording a gajillion (roughly) records for bands across the musical spectrum, and also performs indie-riffic music to this day with his latest project Shellac (with Todd Trainer and Bob Weston). David Wm. Sims rejoined Scratch Acid alum David Yow in the Jesus Lizard, and Rey Washam flitted about the underground scene with stints in Ministry, the Didjits, Tad, and quite a few other lesser-known acts.

Rapeman (Rx for short) did not leave much of a recorded legacy in its wake. With just two 7" singles, a 4-track EP and one full-length LP marking their existence, it's difficult to ascertain where they would have headed had the band continued. That being said, Rx finds Albini in true song-writing mode for the first time (as one wag put it, he actually learned to write songs!) and their recorded work showpieces the classic Albini guitar shards moreso than Big Black ever did.

The first Rapeman release was the 4-track EP Budd. "Budd" the song is about the sad sorrowful ending of one R. Budd Dwyer - just search the internets for the story. "Budd" and two other tracks were recorded live at Chicago's Exit on Bastille Day, 1988, while the last track "Dutch Courage" was "recorded dead at CRC, Chicago, Juneteenth, 1988".

Next came the "Hated Chinee" / "Marmoset" 7", a taster for the upcoming LP.

And then we have the LP Two Nuns and a Pack Mule, perhaps the best all-around album an Albini band has ever recorded. "Produced" by Fluss - Albini's cat, a clear indication of Albini's thoughts on what a producer should do, these ten bile and pile-driven tracks are about as good a showcase of the Albini songwriting style as you'll find. Abrasive, funny, sharp and cutting, these tracks address topics such as future Shellac drummer Todd Trainer's monobrow (err, the track "Monobrow") and a pair of female panties given to Albini, on Big Black's final tour, by Sonic Youth's Kim Gordon (the track "Kim Gordon's Panties").

Lastly, in 1989 the band released one final effort as part of the Sub Pop Singles Club monthly series of limited 7" releases. The instrumental tracks "Inki's Butt Crack" and "Song Number One" are as good as anything on the album or EP and could be an indication of where Rx would have gone had they continued.

I'm including all the above bar the "Hated Chinee" 7" (since I don't have it, and AFAIK the tracks are identical to the album versions) in one file linked below.

Here goes - enjoy!

RAPEMAN
Up Beat: The Mostly Complete Discography 1988-1989

BUDD EP
(1988 Touch and Go Records T&GLP#34)



01 Budd
02 Superpussy
03 Log Bass
04 Dutch Courage


TWO NUNS AND A PACK MULE
(1988 Touch and Go Records T&GLP#36)



01 Steak And Black Onions
02 Monobrow
03 Up Beat
04 Coition Ignition Mission
05 Kim Gordon's Panties
06 Hated Chinee
07 Radar Love Lizard
08 Marmoset
09 Just Got Paid
10 Trouser Minnow

Rx's descriptions for each track:

1. We don't hate vegetarians, we just think they're funny
2. Singular eyebrow as a fashion statement / Drunkasexual
3. Puny but angry
4. Professed goal of space program: conception and birth in space
5. Blatant Coachmen ripoff
6. Lotten flucking ruck
7. Golden earring tribute / reptile tendencies
8. Lincoln Park Zoo Nocturnal Mammal Building / failed hummer
9. Bonus Edgar Blossom muchas gracias
10. Men suck

"INKI'S BUTT CRACK" b/w "SONG NUMBER ONE"
(1989 Sub Pop Singles Club SP40, limited edition 1500 black vinyl, 1000 clear vinyl)



01 Inki's Butt Crack
02 Song Number One

"Inki's Butt Crack" is credited on the label to (Spencer, Moore, Mascis) - as in Jon Spencer, Thurston Moore, and J Mascis - but this is a joke. The song is a variation on Mendelssohn's "Hebrides Overture (Fingal's Cave)".

edit: Removed link.

postpunk on the prairie: Poster Children

I'm not willing to leave just yet, thinking of Tar keeps me grounded.

Leave where? The Prairie State, of course. Land of Lincoln. Perhaps in 100 years it'll be also known as Land of Obama.

Illinois.

Home of the forever snakebit Chicago Cubs, the perennial bastard stepchildren White Sox, rising Bulls and Original Six member Blackhawks.

Not to mention the Monsters of the Midway, the Bears.

But let's go about 150 miles south down Interstate 57, to the thriving metropolis of Champaign/Urbana. Home to the most disgusting summertime smells this side of rural Iowa thanks to the multitude of hog farms surrounding town, and also home to the University of Illinois, Champaign/Urbana plays host to their very own Poster Children.



A poppier Tar? Perhaps. A more-fun Hüsker Dü? Maybe. But definitely some great guitar songs, and just a great postpunk/DIY band the likes of which are sorely missed these days.

PC started in 1987 or thereabouts when University of Illinois students Rick Valentin and Rose Marshack started up a Joy Division covers band they called Cries and Whispers, after the early New Order track. When they decided to write and perform their own material, they found a drummer and the name Poster Children.

They self-released a cassette amongst the Champaign glitterati in 1988 entitled Toreador Squat (your humble blogger has never heard this, but knows someone who claims to have a copy buried somewhere - if anybody has it I would kill for a copy!) and then recorded a lot of tracks that summer with Chicago-based postpunk producer extraordinaire Iain Burgess. Not having a home for these tracks, they sat on them for a bit, gigged a lot, recorded some additional tracks with Steve Albini in 1989, and then finally released an 8-song assemblage of these two discrete sessions later in 1989 as the LP Flower Plower.

Meanwhile the band was on drummer #2, drummer #1 having left to pursue academic interests. Then after releasing Flower Plower, drummer #2 left to pursue his own music, who was replaced by drummer #3.

In 1990 drummer #3 left, and as the PC website states, "the available drummers in Champaign had been tapped out, so Chicagoan Bob Rising was welcomed into the band". Bob (and future Hum bassist Jeff Dimpsey on addtional guitars) then joined Rick and Rose in recording what would become the band's 2nd true LP, again with Albini running the boards.

In the meantime the band had hooked up with Minneapolis indie label Twin/Tone. Twin/Tone financed the recording and, eventually, released the record which was entitled Daisychain Reaction. The release was delayed by a year or so due to Twin/Tone's financial difficulties, and then after the collapse of indie distributor powerhouse Rough Trade late in 1991 (a collapse which led to a massive reorganization amongst the American indie label scene), the label itself also ran into a spot of trouble.

Meantime Nirvana broke, grunge broke, and the majors were going berserk looking for the "next Nirvana". After hosting plenty of suitors, the band signed with Sire/Warner Brothers and re-issued Daisychain Reaction in 1992.

Plenty of further recordings were made (both for Warners, and then back to the indie scene), and eventually the band settled on drummer #7 who plays with the band to this day.

Like the Minutemen before them, PC are massive DIY proponents. They book their own tours and manage themselves (essentially), take no tour support, and are a self-supporting machine that finances their own existence. They program their own websites and multimedia extravaganzas on their various late 90s/early 2000s CD releases. They run themselves.

Featured here is Daisychain Reaction, and tagged on are two additional tracks from the DCR sessions that were released by Sub Pop as a limited edition 7" in 1990. I hope you enjoy!

And finally, like Tar's Toast record, I reviewed this as well for my college newspaper. And of course I still have a copy of that review, from the newspaper's December 13, 1991 edition. So without further ado....

POSTER CHILDREN
DAISYCHAIN REACTION
Twin/Tone Records

Hailing from the cultural mecca of Champaign/Urbana, Illinois (home of the University of Illinois), Poster Children have hooked up with producer/"musician" extraordinaire Steve Albini (Big Black, Rapeman) to create one of the best grunge/power pop albums of the year in Daisychain Reaction. Taking their cue from the thriving Chicago musical scene, the Poster Kids manage to blend gut-wrenching guitars and a keen sense of melody and rhythm into a sound unequaled by any other band I've heard lately. Singer Rick (they don't use last names) can sing with a scream that would wilt the Pixies' Black Francis like a parched flower ("If You See Kay" - try saying that out loud), and yet he can also sing peacefully and gently ("Where We Live"). Their press kit says Steve Albini used such studio trickery as live lemurs (?) on one track, but I'll be damned if I can find them. [2009 interruption - the mentioned lemurs feature in "Space Gun".] Great idea, though - what good are lemurs for otherwise? Lyrics such as "I am the Paranoid King" (from "Frustration" are typical of the Poster Children, as many of their song sing of fear or tension. Poster Children do for upbeat grunge what New Order did for club music - they make it worth it and fashionable to listen to it again.

Not the greatest writing, but hey, I was much greener behind the ears back then.

- - - - -

DAISYCHAIN REACTION
(1992 re-issue on Sire)



01 Dee
02 Cancer
03 If You See Kay
04 Love
05 Freedom Rock
06 Space Gun
07 Water
08 Want It
09 Carver's
10 Chain Reaction
11 Frustration
12 Where We Live


"THINNER, STRONGER" b/w "POINTED STICK"
(1990 Sub Pop Singles Club SP88, limited edition of 4500 copies)



01 Thinner, Stronger
02 Pointed Stick

- - - -

Both these records are out of print, so before downloading (link below) I suggest you pay a visit to the band's website and click the link to drop some cash in the hat, since you did not obtain these records in a record shop. It'd be a nice gesture at least.

Get the above 2 records (single RAR file)

postpunk on the prairie: TAR (part II)

Apologies for the update delay, life does intrude occasionally for your humble blogger.

Events have conspired to force me to suspend indefinitely my Joy Division/New Order postings. I can't say exactly what, but it's actually a pretty funny reason. Someday there's an incredible story to be told.

So instead we're going to revisit a prior featured artist, Tar. Why? Because I can.



Some time ago we featured Tar's 3rd full-length record, Toast. That record is still in print.

The records featured today are not, however, having gone OOP with the fading away of label Amphetamine Reptile.

Before they had developed their signature Tar sound (ref. Toast), they sounded a bit more derivatve of the scene they arose from: 80s Chicago punk, specifically Naked Raygun's sound and Big Black's vocals. After an EP, a couple 7" singles and their first record, they lost a bassist, gained a new one and kept developing. And as is common, suddenly they hit the magic note one day and created their own unique sound, first evidenced in full with 1991's Jackson - the band's second full-length.

And you frankly can't discuss Tar without discussing drummer Mike Greenlees' steady use of the ride cymbal (that "ding ding ding ding ding" cymbal sound that comes up on every Tar song at one point or another), it's so 1970s you can't help but laugh.

So allow me to present the following:

1988 - "Play To Win" / "Mel's" 7"
(No Blow Records, NBLW 01)



01 Play To Win
02 Mel's

Recorded by Steve Albini, this is the band's self-released debut. Very much of its time and place in the Chicago punk scene, it sounds more Naked Raygun than anything else. Perhaps a weird melding of early Slint and Naked Raygun with a touch of sub-Big Black vocals?


1989 - HANDSOME EP
(Amphetamine Reptile, 89160-1)



01 Static
02 Mumper
03 Same
04 (untitled)
05 Downtime
06 Seam
07 Mel's

"Static" and "Downtime" recorded by Iain Burgess, and the rest by Steve Albini, this record further lays on the Raygun styling and is perhaps the most "accessible" Tar record. "Mel's" in particular is a standout, featuring terrific dynamics and the push/pull of guitarists John Mohr and Mark Zablocki closing out the record brilliantly.


1990 - ROUNDHOUSE
(Amphetamine Reptile, 89197-1/2)



01 Les Paul Worries
02 Cold
03 Glass Grief
04 Pick One
05 Black Track
06 Bad Box
07 Mercury Block
08 Gag Reflex
09 Thermos
10 Jurbo

Churning guitars and often-buried vocals mark this Iain Burgess-produced record. Perhaps the most "dense" of Tar's records, nevertheless it's a nice transitional record - transitioning from the sub-Raygun earlier works to the more driving, dynamic and unique Tar to come. I never used to rate this record, always thinking it paled to the later Tar, but having revisited this a LOT lately, I've come to love it. "Les Paul Worries" (video) is great, great - and is it about the worries of guitarmaker Les Paul, or worries about the guitar itself? Singer John Mohr says both (scroll down). And the start/stop guitars in "Thermos", where the (very slight) finger noises on the fretboard precede and follow each start/stop effect, gets me every time.


1991 - JACKSON
(Amphetamine Reptile, amrep 004)



01 Short Trades
02 Cross Offer
03 Walking The King
04 On A Transfer
05 Trauma
06 Dark Mark
07 Goethe
08 Tellerman
09 Land Luck
10 Viaduct Removal

Perhaps the best overall Tar record, this Steve Albini recording is the summation of the "classic" Tar sound. Thick guitars, pummeling bass, and John Mohr's unique vocal stylings, "Short Trades" kicks things off nicely and they don't let up until the record's over.

All the above in three RAR files, gotta grab 'em all as usual....

Part I / Part II / Part III

enjoy!

postpunk on the prairie: the Jesus Lizard

Man, we're on a roll here with the Chicago postpunk, might as well strike again while the iron is hot - with perhaps the best of 'em all...



Today, I bring you the Jesus Lizard. Only the best live band I've EVER seen, bar none.

Vocalist - and I use that term lightly - David Yow fights his way through each song as if he were choking on booze and razor blades. Oddly enough, he's one hell of a nice guy in person, clearly a case of a stage persona vs reality thing. Bassist David Wm. Sims (who's blog I have linked to on the right) muscles each song forward with some of the best bass playing I've ever heard, guitarist Duane Denison layers each song with sheets/shards of furious - but tasteful - guitars, and drummer Mac McNeilly (the heart and soul of the band) anchors it all down with, again, some of the greatest drumming I've ever heard.

So yeah, they're pretty good.

Formed in Chicago in 1989 from the remnants of Steve Albini's Rapeman project (Sims) and Austin, Texas legendary punk act Scratch Acid (Yow and Sims), the Lizard began relatively inauspiciously with the 3-men-and-a-drum-machine debut EP PURE on Touch and Go. Having taken the drum machine approach as far as it could go, they recruited super drummer man Mac and unleashed the new 4-piece Lizard via a classic 7" single featuring a medley of Chrome songs ("TV as Eyes" and "Abstract Nympho") simply-titled "Chrome", backed with an original track "7 vs. 8".

Then they ran off a series of absolutely fucking stellar/devastating/ridiculously amazing/fantastic records on Touch and Go through 1993, and then began a slow gradual slide into irrelevance after signing to a major label in 1995, ultimately breaking up in 1999 after earlier losing drummer Mac to other projects (he was replaced by former Laughing Hyenas drummer Jim Kimball for the last couple years of the Lizard's life). 1994's DOWN was their final Touch and Go LP before jumping ship, and I don't know if the separation had already begun between tJL/Albini/T&G but it really sounds like the last LP of an era.

More tJL info here, here and here (official Touch and Go page about 'em).

All their Touch and Go output was recorded by the legendary Steve Albini, who, being the indie purist he is, refused to work with them again after they signed to the major label Capitol Records.

The latest news - "latest" being a relative term, of course, when Jesus Lizard news was few and far between until a month ago - is that the Lizard is reuniting with the original lineup (Yow/Denison/Sims/McNeilly) to play a few gigs in the fall. Oh how I'd pull my own Tight 'n Shiny to see those gigs!

Changing it up a bit here, rather than posting entire album(s), I'm going to compile the greatest tJL compilation ever. We're going to flat-out ignore the Capitol Records era, and focus exclusively on their indie years on Touch and Go 1989-1994, and better yet, I'm going to do it chronologically.

Here's a quick Touch and Go-era discography hit, we'll get to our exclusive compilation below....

- - - - -

1989: PURE (EP) T&GLP#43



Blockbuster / Bloody Mary / Rabid Pigs / Starlet / Happy Bunny Goes Fluff-Fluff Along


1990: CHROME (7") T&G#53



Chrome / 7 vs. 8


1990: HEAD (LP) T&GLP#54



One Evening / S.D.B.J. / My Own Urine / If You Had Lips / 7 vs. 8 / Pastoral / Waxeater / Good Thing / Tight 'N Shiny / (None Other Than) Killer McHann


1991: MOUTH BREATHER (7") T&G#66



Mouth Breather / Sunday You Need Love


1991: GOAT (LP) T&GLP#68



Here Comes Dudley / Mouth Breather / Nub / Seasick / Monkey Trick / Karpis / South Mouth / Lady Shoes / Rodeo in Joliet


1992: WHEELCHAIR EPIDEMIC (7") TG087



Wheelchair Epidemic / Dancing Naked Ladies


1992: LIAR (LP) TG100



Boilermaker / Gladiator / The Art of Self Defense / Slave Ship / Puss / Whirl / Rope / Perk / Zachariah / Dancing Naked Ladies


1993: PUSS / OH, THE GUILT (split single with Nirvana) TG083



Puss (the Jesus Lizard) / Oh, The Guilt (Nirvana)


1993: LASH (EP) TG121



Glamorous / Deaf As A Bat / Lady Shoes / Killer McHann / Bloody Mary / Monkey Trick
(tracks 3-6 live)


1993: (FLY) ON (THE WALL) (7") TG128



(Fly) On (The Wall) / White Hole


1994: DOWN (LP) TG131



Fly On The Wall / Mistletoe / Countless Backs Of Sad Losers / Queen For A Day / The Associate / Destroy Before Reading / Low Rider / 50¢ / American BB / Horse / Din / Elegy / The Best Parts

- - - - - - - -

Enough background.....

FOUL
the Jesus Lizard 1990-1994, Compiled
(a Power of Independent Trucking exclusive)

Part I
Part II



01 Blockbuster (live soundboard recording 4 December 1992, 9:30 Club, Washington, DC - far better live than the 3-piece studio version)
02 Chrome
03 One Evening
04 S.D.B.J.
05 My Own Urine
06 If You Had Lips
07 7 vs. 8
08 Waxeater
09 Tight 'N Shiny
10 Then Comes Dudley
11 Mouth Breather
12 Nub
13 Seasick
14 Monkey Trick
15 Wheelchair Epidemic
16 Boilermaker
17 Gladiator
18 Whirl
19 Rope
20 Dancing Naked Ladies
21 Glamorous
22 Destroy Before Reading
23 Low Rider
24 The Best Parts

This compilation just plain rips. If there's enough demand I can post the individual records, but they're all still in print (the albums, that is) on Touch and Go, and there are plans afoot to issue remastered editions (and, from what I've heard, remastered the right way by none other than Shellac's Bob Weston) before the year is out.

postpunk on the prairie: TAR

If you haven't noticed yet... the blog has featured a LOT (relatively speaking!) of albums released in 1993 on Touch and Go Records.

Coincidence?

Perhaps. But your humble blogger - in retrospect - is amazed at the quality and quantity of fine records released that year. It's as strong as a year as I can remember, for indierock releases. I was going to run a list of some of them but I don't want to lose focus... ;)

And being perhaps the greatest ever American indie label, it's no surprise so many quality records - from 1993 or any year since T&G's early 1980s inception - came out on this fine label.

(one of the nifty things about running your own blog is that you're beholden to nothing. Zippo. I declared early on that the blog would have several recurring features such as the "variations on a theme" producers meme, the "5 songs" meme, etc. But there's no rules here, no schedule. Nothing but my wily wiles to guide me. And if I want to post nothing but snippets of Benny Hill jokes, for 30 days straight, by all means I'll do so. So, long story short, if you're waiting for the "variations on a theme" or "5 songs" series to continue, just settle down. There. Feel better? Good. Now pay attention... ;) )



Which brings us to TAR, formed in the teeming metropolis of DeKalb, Illinois (75 miles west of Chicago, thick in the cornfields, home of Northern Illinois University and Cindy Crawford). I don't have a clue how to describe TAR but that they're rhythmically awesome, they're guitarishly amazing, and they were one of Steve Albini's favorite bands ever. I know this because Mr. Albini told me so himself, when I found myself standing next to him at TAR's last-ever gig at the fabled Chicago venue Lounge Ax (RIP...) in November 1995. The gig was pre-announced as their last ever gig, so all the indie/postpunk Chicago luminaries (and, I suspect, others from all around our fine world) were there. It was a stellar gig, opened by Arcwelder, and closed with TAR auctioning off their handmade aluminum guitars from the stage.

Albini is perhaps a tad more qualified than most to assert "favorite band" status on TAR because he recorded the majority of their releases.

TOAST, the band's 1993 Touch and Go LP, is being featured here only because I can't stop listening to it myself. No other real reason - their prior record JACKSON may be better, or it may not - but that I like it and "Barry White" kicks some serious butt.

Believe it or not I even reviewed this record for my college newspaper in 1993 and even more terrifying, I still have a copy of that review, from the paper's September 17, 1993 edition:

TAR sticks to you like... well, tar

By YOUR HUMBLE BLOGGER
Editor-in-Chief

TAR
Toast
Touch and Go Records

Chicago's neo-Nirvanaesque TAR has kept a busy pace this year with three releases: Winter's "Teetering" 7-inch single, April's Clincher EP, and now Toast, their third full-length album. Toast is much in the same vein as their past two LPs, Roundhouse and Jackson: Walled guitars, shouted vocals, brisk drumming, throbbing metallic bass, muddy-yet-clear Steve Albini production. The album's ten tunes show off what makes TAR one of the best neo-grunge groups around.

The first tune, "Altoids, Anyone?" opens the disc with a full-frontal-assault of guitars. Nice, powerful, aggressive music. Aggressive is a good way to describe TAR's sound, actually. If you feel like kicking the shit out of a wall, or smashing your head against a (punk) rock, put on TAR instead and just yell. Works wonders for the mind. Anyway, "Barry White", the next song, has kind of a groove-type thing working for it. Good for shaking your booty to while letting off steam. Same goes for "Quieter Fellow", the next ditty, which isn't really quieter.

The rest of the songs are much in the same vein as the first three, and they are choice. "Mach Song" stands out in my mind, for some reason. The last song, "Theme", is really two songs separated by 12 minutes of total silence, reminiscent of "Endless Nameless" from Nirvana's Nevermind. The second part of "Theme" is quite brilliant, actually, It's about 2 minutes of weird guitar sounds and indecipherable vocals. Pretty cool.

If you want good frustration-releasing music, check out TAR. Especially since Nirvana's taking so long to put out their next one, which I just found out is delayed 'till October.

For the record, that "second part of 'Theme'" that I described above in the review is tracked separately in the download below, as "(untitled hidden track)". So no need to have a 14-minute song on your iPod ;)

enjoy....

- - - - - - - -

TAR
Toast



(1993 Touch and Go TG106CD)

01 Altoids, Anyone?
02 Barry White
03 Quieter Fellow
04 Satritis
05 Clincher
06 Giblets
07 Testor's Choice
08 Standpipe
09 Mach Song
10 Theme
11 (untitled hidden track)

edit: removed link.

postpunk on the prairie: Seam

There once was a time when I wanted to be SEAM.

(Musically, that is.)

Still do, actually.

Something about this longstanding Chicago band captivated me at very first listen, and kept my rapt attention with everything I ended up hearing from them. If I have to pick my top three indierock bands, Seam easily makes the list, and would be in strong competition for the #1 spot.



Led by Bitch Magnet alum Sooyoung Park on vocals/songwriting/guitars - and fleshed out by various different bassists/drummers/second guitarists depending on the album - the band's penchant for huge somber-to-in your face dynamics, Sooyoung's barely-audible vocals, terrific minimalist songwriting, and just stellar guitars, it's truly a shame they never got more recognition.

While I never hope to solve that recognition thing with the 35 readers this blog has, if even one person recognizes this band's utter brilliance, my mission is done.

With every band I was in, and with nearly every song I wrote for a duration some time ago, I wanted to sound like Seam. That's the level of influence these guys had (and still have) on me. But my songwriting skills are nowhere even close to matching up, and I include myself in the inability of any band I've been in to perform them well. So of course I had to live vicariously through just listening instead (though here you can hear an utterly pathetic-yet-still-cool garage cover an old band of mine did of their first LP's track "Shame", with yours truly on bass guitar).

As far as I know Seam is still a going concern, but they've not released an album since 1998's THE PACE IS GLACIAL, and haven't played a gig (as far as I am aware) since 2007. Sooyoung's since relocated to the West Coast, and other band alum are scattered about Chicago either in other bands or doing who knows what.

But to hell with that - featuring here on this very blog are the finest works they've released, the stellar 1993-to-1995 run of an EP and two LPs.

First we feature 1993's KERNEL EP. With a remake of a song initially appearing on their debut LP HEADSPARKS (the aforementioned "Shame") but this time much more subdued than the original (my old band's cover version I linked above is based on the original), a cover of a Breaking Circus track "Driving the Dynamite Truck", again much more subdued/dynamic than the original, and two new tracks "Kernel" and "Sweet Pea", Seam comes roaring out with passion and energy.

Later that same year they blasted everything away - rewrote the book, if you will - with the utterly fucking phenomenal LP THE PROBLEM WITH ME - a landmark record, in my eyes. The first full-length to feature my favorite aspects of the band as mentioned earlier, there's not a duff track in the bunch. Blasting off with "Rafael", slowing the pace a bit with "Road To Madrid", flying off the handle again with a remade "Sweet Pea" (the E Bow guitar here is utterly stellar, that keening sound throughout the track that sounds almost like feedback), building and releasing tension all the way through to the closer "Autopilot" (what a song!) - this album is utterly unstoppable.

Then we segue into 1995's ARE YOU DRIVING ME CRAZY? - a refinement, if you will, of what they perfected with THE PROBLEM WITH ME. It's much the same spectacular sound/songs/dynamics but with added new twists, and a more developed sense of pacing. Had I never heard THE PROBLEM WITH ME this album instead would be tops - but the band had a hard act to follow, and while they didn't top it, they may have matched it with this one.

I've seen Seam quite a few times and each gig was spectacular - I even taped them once. I will upload that gig at some point to the blog.

So enjoy - and as usual, these records are (as far as I know) all still in print on Touch and Go, so for Chrissakes go buy 'em after sampling 'em here!

SEAM
Kernel / The Problem With Me / Are You Driving Me Crazy

- - - - - - -

KERNEL



(1993 Touch and Go TG112CD)

01 Kernel
02 Sweet Pea
03 Shame
04 Driving The Dynamite Truck


THE PROBLEM WITH ME



(1993 Touch and Go TG118CD)

01 Rafael
02 Bunch
03 Road To Madrid
04 Stage 2000
05 Sweet Pea
06 Dust And Turpentine
07 Something's Burning
08 The Wild Cat
09 Autopilot


ARE YOU DRIVING ME CRAZY?



(1995 Touch and Go TG142CD)

01 Berlitz
02 Hey Latasha
03 Port of Charleston
04 Rainy Season
05 Two Is Enough
06 Haole Redux
07 Tuff Luck
08 Broken Bones
09 Sometimes I Forget
10 Petty Thievery

all the above split into two RAR files, need to download both to extract....

edit: removed link.

postpunk on the prairie: Arcwelder

Today we add yet another meme to the blog - postpunk on the prairie (i.e. the American Midwest). Since your trusty blogger originates from this heartland, he is quite familiar with the musics of the region.

What exactly is postpunk on the prairie? That's an easy one.... how about music that comes from the Midwest? Let's say that middle third of the US that lies between the East and the West. In terms of the blog, it's good old alternative/indie music that originates from Midwestern acts. For whatever reason (boredom? too many cornfields?), the US Midwest was - and continues to be - a very fertile ground for aspiring indierockers.




Today we feature a wonderful album from a lesser-known Midwestern postpunk act, Arcwelder. Hailing from Minneapolis (postpunk hotbed of acts such as Hüsker Dü, Replacements, Soul Asylum, Jayhawks, etc), Arcwelder is from the "third wave" of the Minneapolis punk scene, having started in the late 1980s and continuing through today.

With melodies galore, sub-Bob Mould vocals, blistering guitars, and just damn good songwriting, the album we feature below was Arcwelder's first "mass market" release - mass market in that it wasn't just put out on a tiny regional label, but instead on Chicago superindie stalwart Touch and Go - granddaddy to many indie labels itself.

Produced by Brian Paulson, Arcwelder's third full-length LP Pull is stellar - just hear it for yourself below. And allow me to quote some random reviewer on amazon:

This is no question one of the best indie/alt rock albums of the early 90s. I rank it up there with Superchunk's Foolish, Seam's The Problem With Me, Nirvana's Nevermind, and Pavement's Crooked Rain Crooked Rain. There must be something in the water in the Twin Cities, because Arcwelder have picked up where the Replacements and Hüsker Dü left off. With the Graber brothers (Bill and Rob) switching back and forth on guitar and bass, and drummer Scott Macdonald sharing vocal duties with Bill, Arcwelder mixes it up a little yet maintains a consistent post-punk, melodic power. Songs "Truth" and "Raleigh" are as good as any anthem in the power-pop canon. "And Then Again" is a heartfelt, nostalgic gem and my personal favorite. "Criminal" adds a wonderful rhythmic twist to plow ahead, while the subtle piano solo on "Finish My Song" makes me think of an overcast Minneapolis winter day. The album overall maintains a certain gloomy edge, but there is too much hope, potential and excellent songwriting to become bogged down in a quagmire. If you feel that indie rock is dying (as I do), go get this CD -- it will recapture the past glory.

(I plan to feature at least two of the above-mentioned albums in later blog posts - the author is spot on with his comparisons here.)

And from Trouser Press:

Like the sizzle of hot sparks hitting cold metal, Minneapolis' Arcwelder splatters impassioned vocals over a chilling backdrop. There's a frayed fury that lingers behind even the strongest hooks, the same tension-building mix that in the past has proven explosive for bands like Naked Raygun and Hüsker Dü, to which Arcwelder has most often been compared. With vibrant melodies that jump out of penetrating grooves, Arcwelder's albums also tend toward more subdued soundscapes. If the Hüsker match doesn't always apply, Arcwelder's singing does owe something to Bob Mould's disaffected tone. Drummer Scott Macdonald and guitarist Bill Graber share vocal duties — sometimes harmonizing, but often taking on differing melodies.

Completed by brother Rob Graber (bass/guitar), the trio debuted in 1988 as Tilt-a-Whirl and released its first album, This, under that moniker two years later. But the manufacturers of the carnival ride threatened to sue, and Tilt-a-Whirl became Arcwelder.

Armed with such terse pop constructions as "Raleigh" and "Remember to Forget," Pull again hits with harsh Big Blackened aggression and rhythms that churn and grind. A few tracks slow the pace, yet still seethe with anguish: see "What Did You Call It That For." Though the repetition of lyrics and riffs gets monotonous, the vocal interplay adds a caustic beauty to the basic melodies of "Finish My Song," "Lahabim" and "And Then Again."

Your humble author has seen this band at least twice that he can remember. Once in Chicago, opening up for Tar at the legendary Lounge Ax in 1995 for Tar's last-ever gig, and once in Minneapolis in 1999 at the 400 Bar. Both shows were terrific and if they ever make their way to where I reside currently, you can bet I'll see 'em again.

So on with it.....

ARCWELDER / Pull



(1993 Touch and Go Records TG108CD)

01 Truth
02 What Did You Call It That For?
03 And Then Again
04 It's A Wonderful Lie
05 Raleigh
06 Cranberry Sauce
07 Criminal
08 Will When You Won't
09 Remember To Forget
10 Lahabim
11 Just Not Moving
12 Finish My Song
13 You

nota bene: this LP is still available worldwide on Touch and Go. So buy it and support this fantastic band.