Apr 072008
 

Pylon was that other band from Athens, GA – you know, the one that wasn’t the B-52’s or R.E.M. The ones that made a couple of singles and albums, got some love from hipsters, made no money, then disappeared into the mists of rock history. Now the ultra-cool DFA Records (of LCD Soundsystem fame) has re-released their first album, which has long been unavailable on CD. This is a perfect opportunity for a Critical Upgrade.

This isn’t a case where the band has had their critical stock price fall over the years. It’s more like they just kind of fell off of everybody’s radar. Though they came out of the same scene as their more famous Athens contemporaries, they don’t sound much like either one. They have a much more hard-edged post-punk sound, one that at the time was most often compared to the Gang of Four.

The Athens scene was very dance-centered, and this music definitely works on the body, but it’s doesn’t have the party atmosphere of the B-52’s. One reason is the lyrics. Vocalist Vanessa Briscoe wrote cryptic songs that remind me a lot of the early Talking Heads lyrics – topics like reading, driving, gravity, volume, work, all approached elliptically and sung about in a detached but intense style that’s hard to get a fix on. I find the approach mysterious and oddly alluring, but it was not one that drew in large numbers of listeners. The fact that they were on DB Records, not a major label like their peers, did not help their commercial prospects.

Instrumentally they were more direct. When I met them on their first tour, they said soundmen loved them because their set-up was so easy to mix – one trebly guitar, one deep bass, no background vocals, and drummer that hit hard enough that he hardly needed the PA. Neither of the gigs I saw back then was well-attended, and I believe that was sadly typical for them. After a couple of albums they were gone, and a so-so reunion album in 1990 (Chain) did nothing to revive their fortunes. I understand they’ve been playing a few gigs around this re-release but that they’re no longer a going concern.


So as not to compete with DFA, these tracks are vinyl transfers from my collection. You might want to boost the bass on them a bit. The mastering on the new CD is very nice, and the tracks sound even better on Gyrate Plus (so called because it includes their early single “Cool”). Here are a couple of album tracks (“Volume” and “Stop It”), the B-side of that single (the awesome “Dub” with its chant “we eat dub for breakfast”), and a follow-up single not included on the DFA re-issue (“Beep”). Enjoy.

Pylon, “Volume”

Pylon, “Stop It”

Pylon, “Dub”

Pylon, “Beep”

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Apr 042008
 

Thought I’d share a few songs that have been bouncing around my head the last 24 hours. Enjoy!

Thanks for bringing up those duds on Arthur, Sammy. They reminded me of my second-favorite song on that album and led me to an outtake I’d never heard before.

The Kinks, “Australia”

The Kinks, “Mr. Shoemaker’s Daughter”

This bonus track from The Smoke’s first album smokes. Too bad the rest of that album, excluding “My Friend Jack” song, which is pretty good and which we all know from psych comps, is as generic as that sort of ’60s psych-pop got.

The Smoke, “Playing with Magic”

I’ve provided a couple of the poppier songs from the latest Stephen Malkmus album, Real Emotional Trash. You might dig them. I would have given you the epic, jamming title track, but that might have been giving away 50% of what works best on the album.

Stephen Malkmus & The Jicks, “Out of Reaches”

Stephen Malkmus & The Jicks, “Gardenia”

Some of you know how much I like Jeffrey Lee Pierce’s Wildweed. Not a “great” album but a cool one.

Jeffrey Lee Pierce, “Cleopatra Dreams On”

The Tom Verlaine tracks come from a relatively recent album solo album, Songs and Other Things, that’s as strong as anything I’ve heard from him in years. In other words, it has a pulse.

Tom Verlaine, “From Her Fingers”

Tom Verlaine, “The Day On You”

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Apr 042008
 

Mr. Moderator posted a thread back in October about albums with no duds.

In that vein I would like to nominate The KinksArthur. And I’m going to start with the assumption that there is only one song on this album that could be considered a dud,

She’s Bought A Hat Like Princess Marina.

If you think there are others, feel free to offer them up. Sadly you’ll just be making a fool of yourself, but you know, free-world and shit.

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Apr 042008
 


You may recall that, during the buzz that surrounded Rock Town Hall’s First Annual Rock and Roll Foyer of Fame Partial Lifetime Achievement Award ceremonies, we also touched on the Rock and Roll Hall of Fame and Museum‘s annual induction ceremony. At the time, we had hoped to hear back from an old friend, Howard Kramer, who’s been a curator there almost since the Hall’s inception. Howard’s a busy man but a man of his word. I knew Howard through his years working with the Dead Milkmen. He was always a hard-working, friendly, straight-up guy, and the years that have passed since we last met face to face have not seemed to change him. We hope you enjoy this behind-the-scenes look at a rock job probably any one of us would love to try on for size! When Howard asks if our definition of cool is as geeky as his, you too may think to yourself, Damn straight! Without further ado…Howard Kramer!

RTH: You’re the main curator of the Hall of Fame, right? What’s your exact title? How did you land there? Have you been there since the beginning?

HK: I’m not the “main” curator. My boss, Jim Henke, is the Chief Curator. My title is Curatorial Director. I’ve been here since December of 1996, about 15 months after the museum opened.

RTH: Do you want to share a bit of your background in rock prior to the Rock and Roll Hall of Fame?

HK: In general, my background was working with musicians. I’ve been an artists manager, a booking agent, and a tour manager. I also was a radio DJ at various points. I’m very proud of having worked with the Dead Milkmen. We had a lot of fun back in the day.

RTH: How do you acquire pieces for the Hall? Are there key criteria you follow? Roughly, how much of the collection is pieces you seek out vs pieces that are offered?

HK: We mostly acquire things by going directly to the source. If an artists doesn’t have stuff, invariably someone within their organization does. Occasionally, I’ll go to collectors, but the best stuff is usually still in the hands of the performer. The criteria are pretty simple; How well does this illustrate an element of someone’s career?
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