THE RISING STORM

John Foxx was the original lead vocalist, composer, multi-instrumentalist and frontman of the innovative and adventurous Ultravox!, who progressed from their Roxy-influenced art-rock debut through spiky, punk-inflected glam to prototypical synth-pop a la Kraftwerk. Despite its quality, none of this material made a significant commercial impact. When Island dropped the band in 1979 after the third album, Foxx went solo, forefronting his virtuosity on the electronic keyboards which were the mainstay of the UK’s New Romantic scene during the early eighties. His ensuing albums forged an almost opposite progression, from the industrial Europop of Metamatic to the pastoral The Garden and the decidedly romantic The Golden Section, the tunes becoming progressively more melodic and the accompaniments more refined and luxuriant. The new Foxx sound fitted exactly the early eighties electronic zeitgeist, yet commercial success on the grand scale still eluded him (ironically, unlike his former band who went from strength to chart-topping strength under their new frontman Midge Ure). 1985’s In Mysterious Ways proved to be his last venture in music for ten years, as he concentrated on his other talents in abstract art, photography and graphic design.

Never has an album more deserved the description “New Romantic”. The defining features of In Mysterious Ways are glorious washes of overlaid polyphonic keyboards, pulsating monotone synth bass lines pitted against throbbing (mostly) human-generated drum patterns and Foxx’s highly poetic lyrics intoned in his aching, lonesome voice. Most of the brittle rhythms and atonal tendencies characterising the earlier albums are expunged, and the album’s wistful, soft-focus feel befits its title. The harmonic structures seldom extend beyond the three basic major chords, but the melodies are exquisite, the faster rhythms slyly danceable, the bridges Beatlesque in their modulations and the words as warmly romantic as a sexy night under the duvet. The leadoff track “Stars On Fire” is the rockiest, with a shuffle beat and strident arpeggioed keyboards, the middle eight and final choruses boosted by fuzzed chords before a swirling Farfisa organ takes over for the coda. The trio of “Lose All Sense Of Time”, “Shine On” and “Enter The Angel” are dominated by the trademark monotone bass locked seamlessly into the four-beat percussion; “Time” features slashing guitar chords on the bridge, “Shine” fades out to a languorous double-tracked saxophone coda and “Angel” with its singalong lyric has soulful call-and-response ensemble female backing on the choruses. The songs on what was the original second side become progressively more lush and romantic, passing through a slowed-down orchestral reprise of “Enter The Angel” and culminating in “Morning Glory” whose multitracked keyboards and soaring vocals are layered as sweetly as marshmallow.

John Foxx returned to music in 1995, still ploughing his electronic furrow on his own independent label, but his subsequent compositions have been dark and minimalist. Retrospective examination of his work has favoured the more aggressive sound of the Metamatic period, and the sweet romanticism that characterised my favourite of his albums, In Mysterious Ways, is nowadays largely ignored.

“Stars on Fire”

CD Reissue | 2008 | Edsel | amazon ]
Vinyl | 1985 | Virgin | ebay ]

Few periods in pop music have a more distinctive and immediately identifiable sound as the ’80s. And after hearing most of the garbage that choked up the airwaves (and still on those nostalgic 80s shows/stations) it seems that’s about the only thing it had going for it. But well buried in the gut wrenching cesspool of cheesy synthesizers, lifeless drum machines and teased hair an ugly breed of bottom feeders worked in futility to claw their way out of the muck. Among them was one particularly grotesque strain – an ungodly rocknroll hybrid that can be best described as Punk-Blues. Don’t ask if it’s even a real genre (for what it’s worth, All Music is now using it), but there was a rash of like-minded roots-bashing bands in the 80s that would aptly fit that tag. Of course the origins can be traced way back to Howlin Wolf’s earth shattering electrified blues onto the cranked-up snarl of the Pretty Things, CCR and Capt. Beefheart—and so on…

Some essential albums:

Gun Club Fire of Love (1981)

The first album to successfully wed the harrowing delta howl of Son House with the intensity of punk rock. Basically they did to the blues what Cramps did to rockabilly. Brimming with reckless slide guitar and twisted southern gothic lyrics that’ll have the PC crowd pulling out their hair, this is an original and utterly astounding blast of pure energy.

Gun Club – For the Love of Ivy

Vinyl | 1981 | Ruby | ebay ]

Gun Club Miami  (1982)

Extremely dark with a more pronounced country feel than its predecessor, no other rocknroll album has captured the unsettling eeriness of pre-war blues/country. Complaints abound regarding the mix, but it never bothered me in the least. Ranging from haunting, desert-road-weary C/W of “Mother of Earth” to unforgettably fierce covers of “John Hardy” and Jody Reynold’s “Fire of Love.” One of the greatest albums ever. Really.

Gun Club – Mother Of Earth

Vinyl | 1982 | Animal | ebay ]

Also recommended: Death Party EP, the Las Vegas Story

Poison 13 s/t (1984)

Led by guitarist Tim Kerr (Big Boys, Jack O Fire etc), Austin’s Poison 13 were like a snottier version of the Gun Club with equally slicing slide guitar wreckage and buzzsaw power chording. “Biggest Mistake” may be the quintessential punk-blues cut. Their reworking of Willie Dixon’s The Seventh son is nothing less than genius. Not a weak cut.

This album, along with their fine 1985 EP First you Live and early demos, was released on the Subpop collection Wine is Red, Poison is Blue.

“Poison 13 – My Biggest Mistake”

Vinyl | 1984 | Wrestler | ebay ]

Alex Chilton Like Flies on Sherbert (1979)

Chilton strung out on smack slobbering over a stack of Chess and Sun 45s. It may be an acquired taste, but this charming disaster of a roots-rock album is loaded with amazing tracks like “Hey, Little Child” and “My Rival.” This album’s endured a far longer residence on my turntable than any Big Star release.

Alex Chilton – My Rival

Vinyl | 1979 | Aura | ebay ]

Also recommended: Tav Falco and the Panther Burns Behind the Magnolia Curtain (Chilton on guitar) and Blow Your Top EP

The Scientists Heading for a Trauma (1985)

Off-kilter, noisy swamp-rock from this crew of Aussie minimalists. Funhouse era Stooges violates CCR while Suicide pukes in their faces. Something like that. Frontman Kim Salmon groans and shrieks over barrages of hypnotizing fuzz guitar. “Murderess in a Purple Dress” is a force to be reckoned with. Also includes a nice rendition of Beefheart’s “Clear Spot.”

The Scientists – Swampland

The Scientists The Human Juke Box (1987)

Human Jukebox shows the Scientists willfully wiping away any last trace of commercial potential they might have had by unleashing this severely damaged six song album. Making their earlier recordings almost seem polished, this masterwork of trash shifts from the grinding, cheap-piano-driven “Brain Dead” to the delightfully droning blues crawl of “Shine.”

Since their songs appeared on different albums, often overlapping, Sympathy for Record Industry’s CD collections are a perfect source for their best tracks.

The Scientists – Human Jukebox

CD Reissues | Sympathy for the Record Industry | search amazon ]

Alan Vega S/T (1980) / Collision Drive (1981)

Speaking of Suicide (Vega actually described his former band as “New York City Blues”), the headband-clad madman released two great solo albums with (gulp) drum machines. No need to fear, in Vega’s able hands it works brilliantly. It’s more on the rockabilly side (I’ve heard it described as electro-billy), but tracks like “Bye Bye Bayou” show him sloshing around in the same swampland the Scientists inhabited (Scient. even covered Vega’s “Raver”). Raw guitars (albeit rather mechanical – in a good way) managed to sneak on board, but Vega keeps a foot firmly grounded in the bleak territory Suicide roamed.

Some more similar-minded bands: the Birthday Party and Nick Cave’s early work – Pussy Galore – Blood on the Saddle –  the Gibson Bros – Tav Falco and the Panther Burns – Honeymoon Killers – the Fall – Charlie Pickett — and of course the Cramps.

Alan Vega – Bye Bye Bayou

Original Vinyl | search ebay ]

The 90s was also redeemed by a largely unnoticed (that is until the White Stripes came around) resurgence of the style, with great bands like the Gories, the Oblivians, The Chrome cranks and the Cheater Slicks giving the stale US punk scene a much overdue kick in the ass. Stay tuned for part 2.

I was a late bloomer to Neil Young’s music and still no expert. But I’m curious about this synthesized 1982 departure called Trans. What’s the score on this one?

(34 votes, average: 6.26 out of 10)

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“We R In Control”

CD Reissue | 1999 | Polydor | buy ]
Original Vinyl | 1982 | Geffen | ebay ]

One of the best from the 80s underground, right up there with top albums by the Dream Syndicate, the Wipers, the Meat Puppets, the Minutemen and the Replacements. The Long Ryders had more of a genuine 60s sound though and this record, Native Sons, was their first album (not counting their debut ep, 10-5-60). This group hailed from Los Angeles California and was led by Kentucky native Sid Griffin, a man well versed in the history of rock n roll. Griffin headed out to LA when he heard about the city’s thriving punk scene. Over time Griffin would meet up with guitarist Steve McCarthy, bassist Barry Shank, and drummer Greg Sowders. Prior to the Long Ryders Griffin and Shank had been in garage revival band the Unclaimed. Over time Tom Stevens would become the group’s full-time bass player and this period would see them gain a respectable live following. The group would eventually become the Long Ryders and fuse 60s style garage rock and folk-rock with a country-rock feel. Native Sons was a brilliant debut lp and in some ways similar to the Byrds’ Younger Than Yesterday, in its unique fusion of folk, country, pop and psychedelia. Also, Native Sons’ album cover strongly recalled Buffalo Springfield’s shelved album, Stampede.

There is real importance in Native Sons though, as the Long Ryders among others, put country-rock back on the map and made the style credible again. In the mid 70s groups like the Eagles were responsible for tarnishing the genre’s reputation, turning something that was intelligent and underground into glossy creampuff pop. So it took a few years and a couple of great albums by groups like Jason and the Scorchers and Rankand File to restore country-rock’s credibility among the underground. On Ivory Tower, Griffin managed to get Gene Clark in the studio to provide backup vocals. Ivory Tower ended up being one of the great lost 80s tracks, downbeat and moody, sounding like a really terrific fusion of mid 60s Byrds and the early 70s solo work of Gene Clark. Sweet Mental Revenge, the album’s only cover (Mel Tillis), was an excellent reading notable for its appealing vocals and fuzz guitar work – a style that is referred to today as cowpunk. Another superb track, the humorous Fair Game, is closer in spirit to blue grass and foreshadowed Griffin’s work with the Cole Porters. I Had a Dream and Wreck of the 809 are underrated gems that listeners often forget about. These tracks display the Long Ryders’ garage band roots and are full of jangly guitars, aggressive vocals, feedback and lots of fuzz. This album is an absolute joy and a must for paisley underground fans and 60s rock junkies.

The Long Ryders were one of the great American underground groups of the 80s. They made recordings that have proven to be timeless and inventive, records that balanced intensity with humor. Besides writing great songs, their talent lies in the ability to take from the past and create something totally fresh and original. Their live shows were spectacular and the group garnered much respect from their peers. All three of their original albums are highly recommended.

“Ivory Tower”

CD Reissue | 1993 | Frontier | buy from amazon ]
Original Vinyl | 1984 | Frontier | search ebay ]
MP3 Album | download at amazon ]

There is nobody quite like Bobb Trimble in the world of rock n roll. Trimble released two great underappreciated records in the early 80s (private press – real lo-fi). His vision is very deep, personal, and absolutely original with a strong outsider, late night feel. His music was totally out of sync with the times but Bobb waved the psych flag high and proud and managed to find an audience among 60s record collectors.

The sound of Iron Curtain Innocence is unique, but somehow timeless, and it defies much of the genre categorization I have often found simple. The songcraft takes a few spins to rest comfortably in your head (music that wants to belong deep in your psyche), but when they take hold they root in deep.

Bobb seems to craft his albums around one song; in this case it’s “One Mile From Heaven.” This track recently got to me in a way like my all time favorite, “God Only Knows.” It’s not the spiritual references, I don’t think, though both tracks indeed have ethereal qualities. It’s just one of those records that makes you want to cry for no reason at all, when it hits you in the right spot, at the right time.

On Bobb’s 1982 Harvest of Dreams it’s “Premonitions.” Both songs appear twice at the beginning and end of side 1, with separate, but similar versions. The effect of this technique is quite grabbing, and it gets you diving back into Bobb’s world whenever you get the chance.

Some consider Harvest of Dreams the greatest psych album after 1975. It’s full of beautiful dreamy tunes like “Take Me Home Vienna” and the killer opener “Premonitions – The Fantasy.” “Selling Me Short” is superb, and it’s exciting to hear Trimble explode in anger nearing the song’s chaotic fuzzy ending.

Before these records saw release on Secretly Canadian, they had been bootlegged by Radioactive Records, also known as Fallout Records (please do not buy Fallout or Radioactive!). But thanks to the work of good people like Kris Thompson and Douglas McGowan both of Bobb’s albums are finally legitimately available in CD and vinyl reissues. Excellent stuff and highly recommended.

“One Mile From Heaven (Short Version)”

Aside: Is it just me, or are there Wizard of Oz references sprinkled throughout this record?

CD Reissue: 2007 Secretly Canadian | Buy From SC | Buy From Amazon ]
Vinyl Reissue (w/ free digital download) | Buy From SC | Search eBay ]

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While we’re a little ahead of the era, I’d like to throw in this post-70’s classic from The Soft Boys. Full of great songs, that get to you slowly, and jangly guitars, Underwater Moonlight is their masterpiece 2nd record and (excuse my indulgence) it fucking rocks.

First off, any album that opens with I Wanna Destroy You would make the cut any day. A serious blast from the speakers and dual guitars stabbing all over the place, a great harmony line sings the title, but Robyn Hitchcock says the “You” part with an ‘F off’ sensibility, and thus bridges the gap between The Byrds and punk rock. By Kingdom of Love, we’re in for the ride. It may take a few listens to get used to these tracks, but they will become anthems to you; each track on Underwater Moonlight is a treat. There are Television-like bass and guitar runs, breakdowns and some gnarly licks like in the bluesy I Got The Hots. Lyrically, Underwater Moonlight is extremely weird and surrealist. Take this bit from Got The Hots for example: “When you see her your eyes awake, electric bulbs on a birthday cake. Would you care for a lump of steak?” But the lyrics never sound dumb and they won’t embarrass you, just don’t try figuring them out.

Insanely Jealous is a powerhouse track with an almost 80’s dance beat sound to its pulsating high-hat pinching rhythm. Tonight and the surf-inspired instrumental workout, You’ll Have To Go Sideways are personal favorites and Old Pervert beats with intense authority, showing some Capt. Beefheart influence. It’s an album that will slowly work its way into your psyche and eventually become a simple classic.

The 2001 Matador re-release includes a 2nd disc chronicling the rehearsal takes leading up to Underwater Moonlight. These are not throw-away tracks by any means (especially Only The Stones Remain) and it’s a beautiful reissue. This may not mean much to you, but this is an album that I carried around with me for a whole summer, dinging up the case, dripping paint on it somehow, and making it all the more VG+++ in my mind.

“Insanely Jealous”

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