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Archive for the ‘Minutemen’ Category

Demetri Martin–“Who Am I?” (New Yorker, February 28, 2011)

Posted in Angst, Black Flag, DC3, Demetri Martin, Funny (ha ha), Gone, Hüsker Dü, Meat Puppets, Minutemen, Motorhead, New Yorker, October Faction, Overkill, Painted Willie, Saccharine Trust, Saint Vitus, SWA, Tom Troccoli's Dog, Van Halen, Wurm on April 6, 2011| Leave a Comment »

SOUNDTRACK: THE BLASTING CONCEPT Volume II (1985).

I listened to this collection of (then) old and new SST artists almost nonstop the summer I bought this.  I remember my friend Al disliking it quite a bit–except for Hüsker Dü, of course.  (I wonder if he would change his mind about any of it now).

This LP was a kind of transition record from the standard bearers of SST (Black Flag, Hüsker Dü, The Minutemen) to the then new young bands (DC3, Angst, Gone).  The Allmusic review dismisses the disc out of hand, but I think that the disc has held up very well.  I didn’t follow SST records too closely in the 90s so I’m not sure what they were doing, but for whatever reason, most of the bands that the average listener hasn’t heard of were dropped (and sadly most of those discs are long out of print, some never released on CD at all–MP3s do appear to be available). The exception of course is any band that Greg Ginn played in (which is most of them, actually), which he of course has kept in print on SST.

SAINT VITUS-“Look Behind You” This song opens the disc and seems to introduce right away that SST is no longer just a punk label.  This is a very metal sound with a wah wahed and fuzzed out guitar all the way through.  It’s mixed in a weird way (which could be SST), which undermines the real heaviness and actually adds some cool effects.

DC3-“Theme From an Imaginary Western” as mentioned, an awesome track.

SWA-“Mystery Girl” a fuzzy distorted track.  It’s heavy, but not very heavy.

BLACK FLAG-“I Can See You” is one of those Black Flag tracks that is all about Greg Ginn’s weird guitar.  He plays a simple melody out of tune with crazy guitar solos over the top.  Rollins is on vocals which are mostly spoken here.  It’s a bizarre throwaway kind of song that I really like.

GONE-‘Watch the Tractor”  This is a wonderful instrumental.  High speed with a great riff that propels about half of the song.  The other half is a heavy kind of mosh that breaks up the proceedings nicely.  This is one of the few bands that no one has heard of from thee days of SST that actually have the album still in print (because Greg Ginn is on it).

WURM-“Death Ride” is not a very good song, but one which I always liked for its simplicity and stupidity. The screamed chorus is really catchy.

OVERKILL-“Over the Edge”  This is not the famous metal band Overkill, but a different metal band named Overkill who got shuffled aside by the (arguably) better, bigger one.  This is the only song I know from this Overkill (now known as Overkill L.A.) and I really like it.  It has a great riff and vocals like Lemmy.

SACCHARINE TRUST-“Emotions and Anatomy” is one of several odd, improvised tracks on this compilation. It seems like perhaps everyone is playing his own thing and the lyrics are some strange little rant.

PAINTED WILLIE-“The Big Time” is more raucous style of song, reminiscent of earlier SST recording.  The most interesting part comes at the end with the falsetto voices threatening to take over the song.  They play a kind of sloppy punk-lite that would likely be very popular today.

ANGST-“Just Me” After DC3 this is my second favorite unknown song on the album.  It has a great bass line with some angular guitars over the top.  It actually sounds a lot like later Hüsker Dü, and there’s nothing wrong with that.

MEAT PUPPETS-” I Just Want to Make Love To You” I’ve like the Meat Puppets for ages.  And this absurd cover of the blues song is one of the oddest songs this odd band has recorded.  The solo sounds like it comes from under a volcano.  It’s not a great song (and should probably be two minutes shorter), but it is kind of fun.

MINUTEMEN-“Ain’t Talkin’ ‘Bout Love” The always awesome Minutemen engage us with this awesome cover of Van Halen’s “Aint Talkin’ ‘Bout Love.  In 1 minute they undermine all of the overblownedness of the original.  Check out the live version here.

HÜSKER DÜ-“Erase Today” This is simply fantastic.  This is an early punk song of theirs.  Catchy and fast and wonderful.

OCTOBER FACTION-“I Was Grotesque” Another weird improv piece.   It’s filled mostly with drums and strange rantings–kind of beatniky.  Here’s a live show from the band from 1984.

TOM TROCCOLI’S DOG-“Todo Para Mi”  This song has a cool riff. Although Troccoli’s voice is questionable at best.  It more or less devolves into a nonsense jam and is too long at 6 minutes.  It’s not a great way to end the album, but maybe it’s last for a reason.

[READ: March 21, 2011] “Who Am I?”

I have been hearing about Demetri Martin for a few years now.   How he’s the hot new comic. And yet I’ve never come across anything he’s done (even though I think Comedy Central repeated his shows practically on the hour when they first aired). So this short piece is my first exposure to him.  I’m going to assume it is not a fair representation of his comedy as he is normally a stand up and writing is not the same as stand up.  (That’s not to say it’s not good, just that it’s not his natural medium).

This was a short piece in the New Yorker’s Shouts and Murmurs section. It asks and answers the titular question “Who Am I?” (more…)

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Jonathan Franzen–”My Father’s Brain” (New Yorker, September 10, 2001)

Posted in Death, Depression, fIREHOSE, Jonathan Franzen, Marriage Trouble, Memoirs, Minutemen, New Yorker on November 16, 2010| 1 Comment »

SOUNDTRACK: fIREHOSE-“fROMOHIO” (1989).

After the punk of The Minutemen, you wouldn’t expect the sound of fROMOHIO to come from Mike Watt and friends.  This is fIREHOSE’s second album and the opening song, “Riddle of the Eighties” is quite poppy, but with a countryish flair.  In fact, much of the beginning of the disc sounds like Meat Puppets-inspired-southwestern punk.  Track two, “In My Mind,” has a wonderful latin/Mexican feel to it (singer Ed Crawford has that whole southwestern vibe down quite well, even if they are from Pedro).

The disc also has what I’ve learned is that peculiar SST Records sound–almost nonexistent bass, despite what Watt is accomplishing.  Actually the bass is there, and it’s mixed fine but it’s lower than you might expect for what the kind of punk they’re playing.

Even track three “Whisperin’ While Hollerin'” which is all about the bass (with funk bass and cool blasts of guitar over the top) doesn’t have a lot of low end in it.  The bass sounds crisp and clear (which is good), just not very deep.  “Mas Cojones” is a weird one.  Funk bass with disco guitars over the top and some odd spoken word from Watt.

The highlight is “What Gets Heard,” a great funky fast bassline with angular guitars and vocals by Watt.  Near the end of the disc, “Some Things” is another solid song, really typical of this period: great bass, great guitar work and yet still a lot of punk.  There’s also some fun, unexpected bits.  There’s a pretty acoustic guitar solo called, “Vastopol” and two (!) drum solos: “Let the Drummer Have Some,” and the wonderfully titled, “‘Nuf That Shit, George.”  Finally, “Liberty for Our Friend” is a great folk singalong, and I dare you not to singalong by the end.

Its all packaged in really short songs (most around 2 minutes, with later songs running longer).  fIREHOSE was a successful SST band that burnt out rather quickly.

[READ: October 22, 2010] “My Father’s Brain”

This is a story about, yes Franzen’s father’s brain.  But it’s not in any way what I imagined it would be like.  As the piece opens, Franzen receives an autopsy report about his father’s brain from his mother.  It comes in a package with other items, and the occasion of the package is, hilariously enough, Valentine’s Day.  (And the darkly humorous anecdote of his mother sending this on Valentine’s Day is spoken quite often to friends and really anyone who will listen).

We pull back from the incident to look at Franzen’s family in toto and the story becomes a far more personal/familial story than I imagined it would.  We learn about his parents’ unhappy marriage and all of the complaints that his mother had about his father.  Franzen’s mother would regularly send Jonathan letters bemoaning her husband’s lack of concern/empathy/sense of humor.  And then soon enough, the letters started expressing fear that Franzen’s father simply couldn’t be left by himself–for his own safety and the safety of the house.  Frazen’s father was eventually diagnosed with Alzheimer’s.

The bulk of the middle of the article is given over to the science of brain study.  Although this article is 10 years old I was surprised that I thought they were just learning about the brain were evidently known back then (for instance, how faulty our memories are).  He also gives an argument that I have felt–not about Alzheimer’s specifically but about the “diagnosing” of people in general–that science or the medical community wants to quickly label people to make it easier for them.   He feels this way several years before his father is diagnosed and is a bit resistance to the initial diagnosis; however, when he finally sees him, he agrees with the assessment. (more…)

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