The Moray Eels Eat the Holy Modal Rounders (1968)

http://www.mediafire.com/?koe1rj053pabwi8

From the linear notes:

"There was an article in the LA hippie paper about a confrontation between two local guru types in MacArthur Park. Their followers--by this time, there were tens of thousands of young and not-so-young people following hundreds of self-styled gurs du jour, from Mei Lyman to Charles Manson--were looking for a peace and love-style version of the old west shoutout on Main Street. Both would-be avatars were about thirty. One was swaddled head to toe in robes, diffraction gradings, body paint, beads and peacock feathers. The other one was completely naked, except for an incense-on-a-stick-thingie that he had stuck up his asshole and lit. It had gone out.
The two avatars faced each other, smiling.

'You're beautiful, man,' said one.
'No, man,' said the other. 'You're beautiful.'
'No, I'm not,' came the reply. 'You're beautiful.'
'No, brother. You're the one who's beautiful.'
'I think I'm going to throw up,' said one of the cops.

Doomed as doomed can be."
-Peter Stampfel

Slowdive- Pygmalion (1995) and Pygmalon Demos (1994)

http://www.mediafire.com/?gzyknf2nmjy

While i listened to a lot of embarrassingly bad music in high school (inevitable, but especially so growing up in an isolated small town), i managed to make friends with a gal in--ironically--east Ohio who turned me on to brit pop, shoegazer, and noise rock.

One of my favorite high school bands, believe it or not, was Slowdive. I heard their UK-only final release Pygmaleon early on in college. I paid $18 for it on a whim  and it was one of the best musical finds of the year. Their signature album "Souvlaki" is pretty cool and it has that seminal shoegazer sound--dreamy, reverby, epic, melancholic. But Pygmaleon was different--sparse, uncomfortable, disjointed, and eerily pretty.

This is the kind of album that happens as a band breaks up. Some members want to go in a new direction, the others don't like it, so you get an incomplete band making a record in pieces without the same commercial enthusiasm or backing of the label. Sometimes great things happen in that space (see Big Star: 3rd).

Fifteen years later, and it still stands out as an interesting listen. Might i also add that i would take this CD over any Mojave 3 record. 

If you find yourself especially smitten, or a bigger-than-average Slowdive fan, listen to the Pygmalion Demos:
http://www.mediafire.com/?um1ms1lcuri

Big Star- Sister Lovers (1974) {CF Edit}

http://www.mediafire.com/?tm12klsl5gzcpmo

There was an American band in the late 60s and early 70s who made quite a name for themselves by playing rock and roll. Their records were good, but they never quite reached the critical mass that The Byrds, The Beatles, or The Rolling Stones did.

By the time their third album was coming around, they had signed to Stax Records, which was falling apart and going bankrupt. The band was splitting up, and the singer Alex Chilton was having his own personal issues to deal with. He did what every musician should do, which is deal with his stuff openly and on tape.

Sister Lovers (so-named because he and the drummer were dating two sisters; this cd is also known as "Third") was Big Star's third record, though many consider it Chilton's solo outing, recorded with session musicians, the band's drummer, and an ambitious producer who wanted to carry the session through to fruition.

Sister Lovers is a bizarre collection of songs that ping-pong between sheer bliss, caustic sarcasm, utter detachment, total loneliness, and tongue-in-cheek. In a way, it was indie rock way ahead of it's time, and Sister Lovers nails the sonic experiments, loose arrangements, and sheer coolness that a lot of homemade rockers tried to sound like. Even in 2011, it sounds like it was recorded last month, which says a lot!

A lot of crazy-huge bands (R.E.M., Yo la Tengo) refer to as one of the most influential of all time.

I could go off on how I like each song, but everyone in the world has beat me to it. So there.

Rykodisc finally released the "official" version of Third/Sister Lovers, including bonus tracks, in 1994 or so with a setlist picked by Chilton. I have to say that i liked and didn't like it. For one thing, it's very hard to cobble any kind of cohesion together out of the songs, that make Pet Sound's diversity sound relatively tame. For another, it is 17 songs long, which is far too many, in my opinion. It also includes a handful of cover songs that range from campy to utterly atrocious.

So-called purists will get all huffy, but i made my own tracklist that has a more natural listening arc to it, and i also made my own album art (since the reissue is pretty fugly). To me, it's the strongest tracks put in an order that a skeptic would really appreciate.


(A little aside: This is Chilton's year, as people are performing Third live all over the place. This poster was from North Caroline, i believe, but a superstar cast was doing this in New York City also. Flattering or self-serving?)

Josh T. Pearson- Last of the Country Music Gentlemen (2011)

http://www.mediafire.com/?mxhwsl5d6xrh04l

Some musicians achieve this cult status that will elevate anything they do to a place of legend. I wonder if Josh T. Pearson isn't approaching that place. I sense that the hype surrounding this record--not the record itself--smacks of hipsterdom. You can be sure that Josh Pearson's first record in ten years is a huge deal. MOJO and The Times already gave it 4/5 stars. Hmm.... So how is it really?

I was and remain an enormous fan of Lift to Experience, but was less than convinced by Pearson's acoustic output following the band. I know the legend, the stories of the bassist's wife dying while on tour, the drummer getting mailed an actual boot as a way of being kicked out of the band, the singer's dad being a preacher who refused to work since God would give him the means to live as a test of his faith. Et cetera, et cetera.

But when I first saw the album art for Last of the Country Music Gentlemen, i realized just how at risk Pearson is of becoming a media pawn. Why does he need to be seated with a shotgun next to hot models who contrast greatly with his "authentic" image? For someone who has notoriously shirked from fame, this is either a good omen or a bad one...

As for the music, it's all acoustic finger picked guitar and a voice. The lack of instrumentation works in his favor and makes it sound huge and powerful, even at its quietest. It goes from being as beautiful and transcendental as Jeff Buckley to reaching the dirtiness and unforgivingness of Vincent Gallo. I can't decide if it's beautiful or repulsive, which I guess is a good thing. It's definitely an uncomfortable listen-- I keep imagining Mark Kozelek listening to it, sulking, feeling out-emo-ed.

"I'm Josh, and this is my band."

The first song, "Thou Art Loosed," is an intensely beautiful song that sets the rest of the album up deceptively, so that when i listen to it start-to-finish, I feel this immediate rush followed by a long letdown (comedown?).In a way, LotCMG doesn't feel that out of the ordinary, and it's not anything that any old washed-out, unrecognized country singer couldn't have made. And then in a way, when you listen closely, you wonder how someone could make you feel so beautiful and filthy at once.

* * * *
This interview excerpt is from My Old Kentucky Blog:

My Old Kentucky Blog: Are we hearing mostly first takes?

Josh T Pearson: The first three are on Last Of The Country Gentleman are. You know, the songs are so goddamned long. Once you get up over ten minutes, I wasn’t about to do it again. But if you get to minute five and it’s not working, just do it again. I agonized over the takes, rather than the recording process or the mic setups. Being such a personal record, I’m not going to lie, it was tough. Sometimes it would take ten minutes just to recover from a take, sometimes a few hours. I hope I don’t have to go through that again. I actually went gray overnight.

MOKB: Now that it’s done, and it met your standards, how do you feel about the record?

JTP: I don’t know, man. It seems like a terrible thing to do…to be happy about such a sad record. This record is definitely for other people. I can’t listen to it. I think it’s a good work, but I hope I don’t have to look at it for a very long time. It’s just too personal. If I was outside of myself and heard it, I’d think the guy was a real dick for doing it because it’s just too bare and honest.

Filip Zelway- Phamilial (Twilight Edit)

* NOTE: This is the first link i have posted that was removed due to "copyright infringement. I translate this as: Nonesuch Records (or Mr. Zelway himself-- the band he plays for has a sharp dislike of not making money) has a stick up its collective arses about sharing digital music. Hence, the vehement misspelling of Mr. Zelway's name (which is actually cooler than his real name! You paying attention, Fil?). You'll get the drift, no? I am reposting the link with a different title. 

http://www.mediafire.com/?oojevqqczlxrif9

Hey dude- have you heard of this really cool band that no one has ever heard of called "Televisionead" (actual name revoked: see note above)? Well, it turns out that their drummer, Filip Zelway took a page from James Iha's book and put out his own cd of songs that sound as far as possible from the chaotic behemoth of exacting sound that probably weighs on his shoulders every day.

Basically, think NICK DRAKE. This cd is so quiet, so acoustic and finger picked that it gets poo-pooed like young hipsters (Pitchfork) and embraced by aging yuppies (NPR). But it deserves a little more credit than that: it's basically just a really pretty record, packed with songs about his family members (hence the title). Musically, it's the equivalent of eating macaroni and cheese on a rainy day: it's really simple yet satisfying.

It's not groundbreaking by any means, but it just might grow on you. A very good early morning Sunday record.


*(Note: I omitted my least favorite songs which are borderline cheesy. For that reason, i call this the Twilight Edit-- not after the vampire franchise, but after the time of day when this record seems most appropriate).