Tuesday, January 13, 2009

The Compilation Compost


Being a young music lover with a spartan budget, I typically ended up snagging compilation albums in the hopes of finding something new and improved.  

More often than not, I'd end up regretting the purchase.  

Too often, compilation albums are nothing more than a means for a record company to squeeze every last dime out of a song or artist before moving on to the next flavor of the month.  

But sometimes... sometimes you could strike gold.




- Rat Music For Rat People (Front), 1982 - Go! Records #GO 003

Not too long after I first began purchasing my own music, I stumbled across Rat Music For Rat People.  The title excited me.  Would there be songs about giant rats and their unwilling food source? 

Not as such.  

But the band listing was almost as interesting as the title: Black Flag, Dead Kennedys, Bad Brains, Circle Jerks... haha!  A band named Flipper?  Neat!  D.O.A., Crucifix, TSOL, Avengers, and The Dils.  

It was a risky purchase.  I knew of four of the ten bands, but had only actually listened to Black Flag and the Circle Jerks.  And it was a live album.  Even then I knew that live albums were never to be trusted. Unless it was Johnny Cash.  You could always trust Johnny Cash...

In the end, I swung the deal on the merits of the Dead Kennedys name.  That was sure to irk the hippie vampire.  

It ended up a wise purchase - and a sucker buy at the same time.  


- Cracks In the Sidewalk (Front), 1980 - New Alliance Records #NAR-001

The next four or five compilation purchases I would make were, for one reason or another, flat-out amazing...    

Cracks In the Sidewalk introduced me to the glory that is the Minutemen.  And the cover art genius of Raymond Pettibon.

From then on, I would buy every single album that featured a Pettibon cover.   
Did someone say sucker buy?  

The artists: Minutemen, Black Flag, Saccharine Trust, Kindled Imagination, Artless Entanglements, and Sharp Corners.  

Like any self-respecting (i.e., recovering) punk, I've still only heard of the first three bands.  


- Let Them Eat Jellybeans (Front), 1981 - Alternative Tentacles Records #Virus 4

Let Them Eat Jellybeans! would be the start of a long held appreciation of the Alternative Tentacles label.  It was also the high point of my compilation buying streak.

To this day, the track listing still blows me away.  It is amazing that Alternative Tentacles was able to put together the line-up:

Flipper, Ha Ha Ha -- D.O.A., The Prisoner -- Black Flag, Police Story (with Dez!) -- Bad Brains, Pay to Cum -- Dead Kennedys, Nazi Punks Fuck Off -- Circle Jerks, Paid Vacation -- Really Red, Prostitution -- The Feederz, Jesus Entering From The Rear -- The Subhumans, Slave to My Dick -- Geza X, Isotope Soap -- Bpeople, Persecution, That's My Song -- Wounds, An Object -- The Offs, Everyone's a Bigot -- Anonymous, Corporate Food -- Half Japanese, Fun Again -- Christian Lunch, Joke's On You -- Voice Farm, Sleep 

Great, great stuff.  


- The Blasting Concept (Front), 1983 - SST Records #SST 013

After snacking on Jellybeans, I immediately picked up The Blasting Concept.  After digesting that one, I would run out and buy the Minutemen's Double Nickels on the Dime double LP.  It might well be the strongest back-to-back-to-back purchases I would ever make.

Four tracks by the Minutemen, three tracks by Black Flag (featuring all three of the Flag's lead singers up to that point), two tracks by the Meat Puppets, and individual cuts by Saccharine Trust, Overkill, the Stains, Würm, and the mighty Hüsker Dü; what was not to like?  

Not too damn much.


Unless you consider that SST Records would eventually bloat itself into a coma, Alternative Tentacles would ugly itself with petty infighting, New Alliance Records would die with Minutemen lead singer D. Boon, and Rat Music For Rat People would spawn two banal sequels.  

Go, Team Punk!



Links of Interest:

* Cracks In The Sidewalk, 1980 - Cosmic Hearse Blog
* Let Them Eat Jellybeans!, 1981 - Lucid Media Blog
* Rat Music For Rat People, 1982 - Stealingofanation Blog
* The Blasting Concept, 1983 - The Blasting Concept Blog


Sunday, January 11, 2009

Zoogz Rift: Mix Tape Hero


Having stumbled across a post at an excellent blog the other day, I got to thinking about one of the more rewarding artists in my ever-bloating music library: Zoogz Rift.

Zoogie Whatsit?  

Oh yeah...

Described by crotch-less music critics as 'imaginative', 'stimulating', 'irritating', 'vitriolic', 'reactionary', 'paranoid', 'patience-defying', 'scrupulously obscene', and 'iconoclastic',  Zoogz Rift is as much an original as his self-admitted influences Captain Beefheart, Frankie Appaz, John Cage, Salvador Dalí, Lou Albano, Jerome 'Babe' Horwitz and Ayn 'The Lariat' Rand.  

And if you know at least four of the names on the above list, you are well on the path towards being a self-important, latte-drinking dolt. Congratulations!  I'll be sending out membership forms as soon as possible.

- Zoogz Rift (center) & The Amazing Shitheads

With a discography spanning 27 years and 763 albums, some might suggest that Zoogz Rift tilts a bit towards the prolific.  But don't you believe them.  Heck, don't even believe me!  Don't believe in your television, your dog, your fashion sense, your favorite record reviewers, or your schools; simply believe in yourself.  

And the fact that Zoogz Rift is best listened to in self-created mix tape form.

I'm not sure what it is about his music.  I own and cherish approximately 10 Rift albums.  With the possible exception of Amputees in Limbo (SST Records #122, 1985), I find it very difficult to listen to any of his albums in their entirety.  Yet I listen to each of them on a regular basis.       

The closest comparison I can make to the music of Rift would be to that of Beefheart, but only on a superficial level.  Structurally and lyrically, Rift shares a lot with the good Captain.  But while Beefheart & The Magic Band stayed within the blues framework, no matter how far out there they travelled, Zoogz Rift & His Amazing Shitheads veered over a much wider range; jazz, rock, punk, new wave, twerp pop, you name it.  

I guess it boils down to the duel edge of eclecticism.  If done well - and in small doses, musically eclectic outfits can be a rewarding challenge (see The Suburban Lawns).  More so than even the best of straight-forwards.  But if you are going to make an entire career out of being as varied as possible, expect a tight rope walk.  

And long falls when you take a misstep.          


One thing that I can say about Rift and his band that might sell them to those on the fence:  Snag Idiots On The Miniature Golf Course (reissue: SST Records #123, 1987) and check out The Great Apes Ate Grapes.  Tell me that isn't one of the greatest little songs you've never heard.  

On and on, Rift & The Shitheads create some of the more memorable riffs you'll ever get stuck in your head: My Daddy Works for the Secret Marines, Evil Eye (both off Amputees in Limbo), Sit Down & Shut Up (off of Ipecac), Dense Rain-Black Forest and Asphyxiated (from Villagers)... 

Wonderful Mix Tape material.   




Links of Interest:

* Enough Zoogz Rift to choke the Son of Sam's dog - Feelin' Kinda Froggy Blog


Tuesday, January 6, 2009

PiL: The Commercial Zone Funhouse


After releasing Flowers of Romance in October of 1981, Public Image Limited found itself in a state of entropy.  

Whether it was darker drugs revealing fangs, John Lydon's lessened involvement due to outside interests, or power plays by both guitarist Keith Levene and on-again-off-again drummer Martin Atkins, the Limited Corporation mirage that all parties had strived so hard to present as viable since their foundation in 1978 threatened to splinter.  

Frankly, when one considers all that the band had to go through in their first few years, it is a surprise they survived as long as they had:

* A seemingly never-ending legal tussle between Lydon and former Sex Pistols manager Malcolm McLaren set the table for...

* A crippling lack of funds, which resulted in guerilla production, performance and management methods that more often than not pissed off fans and...

* A hostile press which attacked the band - and in particular Lydon at almost every opportunity.  Pay back for Lydon acting such a jerk to them during the Pistols days?  You betcha.

- Public Image Ltd., Phase One - (L-R) Keith Levene, Jah Wobble, Johnny Rotten

When you also factor in the loss of founding member and bass sculptor Jah Wobble in 1980, the four baseless police raids in a little over a years time, the infamous American Bandstand, Tom Snyder, and Ritz nightclub appearances - not to mention Warner Brothers Records dropping the band in early 1982 and the band's fateful decision to forgo touring, a state of entropy was probably to be expected.  

After all, these were 20-something year old kids on the proverbial chopping block.  The most grounded of adults tend to crack under such immense pressures; asking and expecting it of someone so young is a cracked mirror reflection of our own seemingly low-key and unimportant lives.
 
The 20th century taught us to throw entertainment figures on lavish pedestals. And we complied.  Lucky Lindy, Houdini, Frankie, Elvis, Bobby Zimmerman, The Beatles, The Sex Pistols, Little Michael, Madonna, Britney, Princess Diana's Car & Anna Nichole's Corpse... on and on and on; an endless parade of cultural icons for our purchasing pleasure.  

You know they are cultural icons because keychains, tee-shirts, and Rolling Stone Magazine would never lie.   Would they?  

Then again, who is at fault?  The con man who sells the snake oil, or the sucker who constantly buys it?

- Commercial Zone: Limited Edition (Front), 1984 - PiL Records Inc. #XYZ007
 
To the members of Public Image Limited, the snake oil was becoming a hemlock.

The partnership between band (and corporate) visionaries Lydon and Levene began to deteriorate to the point of no return during early 1983.  The official story is that arguments over mixing the This is Not a Love Song 7" single (Virgin Records #VS 529, September 1983) would lead to Levene's departure from the group.  Of course, He said/She said also points towards Levene's escalating drug problems, Lydon's selling out the 'PiL Ideals', and Atkins' spiteful power plays as the true culprits.  Who really knows.   

It has been argued that Keith Levene's departure from Public Image Limited significantly impacted the creative output for the remainder of the band's run.  Isolationists... er, I mean Purists will even suggest that PiL essentially died with Levene.  

Perhaps.  Perhaps the charges are nothing more than a case of sour grapes.  The same type of sour grapes that saw the PiL debut release and first line-up slandered to high heaven by a large segment of fans as not being 'Punk' enough.  And the same type of sour grapes that contemporary Lydon champions chew on during their 'Never Judge Eras' slants.

It is always best to judge for oneself.              
  
- This is What You Want...This is What You Get (Front), 1984 - Virgin Records #V2309  

Five of the recordings that the band had been working on at the time of Levene's departure would eventually be rerecorded for the eventual (and official) This is What You Want... This is What You Get album (released: July, 1984).  

In a preemptive strike, Levene would release the original recordings in the United States as Commercial Zone in November of 1983.  In August of the following year - and a month after This is What You Want... was released, Levene pressed 30,000 copies of the tweaked Commercial Zone: Limited Edition long player for European release.  
Lydon and Virgin Records, Public Image Limited's record company at the time, were not pleased.  Virgin going so far as to order all pressings of Commercial Zone: Limited Edition destroyed.

Thankfully enough copies of the album survived, as it offers fascinating contrast to the 'official' releases of the immediate post-Levene period -- This is What You Want... and the Live in Tokyo album, which was recorded mere months after Levene left.  

- Live in Tokyo (Front), 1983 - Virgin Records # VGD3508

One suggestion:  Follow the link, check out the blog that hosts it, then download Live in Toyko.  Afterwards, burn the mp3s onto a compact disc and promptly throw it out of a window.  Or force your Hannah Montana loving daughter to listen to it as punishment.  

It is about the only satisfaction you'll be able to muster after listening to such crap.
    
If you dig it, so be it.  Who am I to question anyone else's opinions.


I could end this with a joke about how it doesn't matter what you think, because everyone knows that PiL died after Wobble left; thereby making the entire piece a contradictory farce.  

Haha!  Isn't that a riot?  

Just like Johnny Rotten!!



Links of Interest:

* Fodderstompf -- A Communications Company.  Not a website.
* Commercial Zone (U.S. Pressing) -- Commercial Zone Blog
* The Ritz Nightclub Riot! -- The Mayfly

Note:  As an example of the emotions that Public Image Limited brought out in people, I've thrown out a link to the infamous Ritz nightclub riot.  I've pieced together various sources in an effort to replicate the events of the evening in as accurate form as possible. 

Enjoy.

Friday, January 2, 2009

King Sunny Adé & His African Beats

- Juju Music (Front), 1981 - Island Records #ILPS 9712

After the death of Bob Marley, certain record executives began scratching their heads in effort to replicate the money-making potential that a 'Voice of the Third World' could provide.  Granted, Marley never lit up the charts during his lifetime - but what did that matter?  Money was to be had.

They tried the living Wailers - and various other reggae talents, but that didn't work.

Peter Tosh's stance on the shit-stem would never allow it.  Bunny Wailer was too square.  Prince Far-I was too Heavy.  Burning Spear was too... well, I'm not sure why Burning Spear never caught on.  If anyone had a legit shot at chasing Marley's Ghost, it would have been Winston Rodney.  Too bad the sheer quality of the man's work diminished after Marley passed. 

Nope.  The suits decided to turn towards Africa itself.  

Who is more Third World than Africa, Bud? 
Um... I don't know.  Parts of Asia seem pretty bad.
Yeah.  But you can't shake your ass to xylophones and gongs. 
Why not, Bob?  My wife shakes her ass to lasagna cooking!  
Ha Ha!  No, seriously...
 

Arista Records opened the door by signing Nigerian Afrobeat sensation Fela Kuti.  Not to be outdone - and to forever prove to the world just how innovative they were, Island Records' Chris Blackwell, in turn, signed Nigerian Jùjú star King Sunny Adé. 
 
The clever little marketing execs had all bases covered, going so far as to dub Sunny Adé the 'African Bob Marley'.  Record reviewers would soon follow suit.  

Too bad neither of them helped the cause.

Whether or not it had to do with slumping sales figures, failed expectations or - as reported, Adé's refusal to include English into his music, Island Records would cut ties with him in 1984 after three powerful long-players.  

Say what you will about moronic record executives, but the short-lived marriage between King Sunny Adé and the mainstream produced brilliance; the Juju Music, Synchro System, and Aura albums are now considered Adé's trinity.

- Aura (Front), 1983 - Island Records UK #ILPS 9746

While those three albums are an excellent place to start, Adé's self-released Ijinle Odu (1982) and Ajoo (1983) brings the jùjú picture into better focus for the uninitiated.  

Someone once said that if you listen to King Sunny Adé & His African Beats and do not find yourself bopping to the rhythms, you must be dead.  

Or chronically white.


Nope.  No angst here.


Links of Interest:

* Juju Music, 1981 -- Bravo Juju Blog
* Ijinle Odu, 1982 -- Snap, Crackle & Pop Blog
* Ajoo, 1983 -- No Condition is Permanent Blog