Song Of the Day: April 1, 2005
Perhaps they were actually trying to buy in to the then-current power pop trend. Perhaps it's a case of blind pigs and their occasional truffles. For whatever reason, Blue, a band almost completely devoid of punk-rock influences deliver a Little Hit on this single from a lackluster 1979 LP, Fools Party
. The Rocket Record company is, of course, Elton John's label, which would explain his production credit. While they were mostly a tame, ultra-professional rock band with about as much edge as Firefall, Blue's output does have it's moments. Their self-titled US LP on RSO is available in used record stores nationwide for around $5, and is very nice Badfinger-esque pop; a 1982 UK 45, "Don't Wanna Make You Cry" has many of the same charms as "Danger Sign."
Ah...pathos. Where would pop music be without it? And the only thing better than pathos is pathos with loud guitars. Here's a stupid story about a guy who is such an ineffectual dweeb that he loses his girlfriend to a horse. But the singer totally sells it, lumpy English and all; the moment before the last chorus where all the instruments drop out behind the vocals is heart-stopping. I first heard this on a sampler CD of various Swedish bands, then picked up the cheekily-titled Rubber Soul
CD via Not Lame
(whose CEO, Bruce Brodeen was the chief US champion of Swedish pop acts like TPD, Beagle, The Wannadies and Eggstone that emerged in the 90s), but the former is ugly and the latter has gone lost so no picture, just perfect pop.
By the way, speaking of Swedish bands, I saw Soundtrack Of Our Lives last night. If there is a better live rock band in the world, I sure wish they'd stop by.
Song(s) of the Day, March 30
One of the most confounding, inexplicable bands of our age. Idiot-savant history professors with an abiding love of the Beatles. Ferocious velocities, keening harmonies, and what they hell are they going on about now? Their debut LP, Strum and Drum
is almost certainly in your home, isn't it? The Sex Clark Five
continue to take military strategy and Merseybeat into space; I'm sure they'll tell us all about it the next time they're in the neighborhood. Genius.
Song Of the Day: March 29, 2005
is revered by power pop fans for his work with the Moberlys and Rockinghams. He is afforded some cred by lovers of Killed By Death-Style punk for his 1977 B-side "She Got Fucked." He is ignored by virtually everybody else. His biggest Little Hit would be the wonderful "I Want To Be Yours" single from 1983, but we've gone even deeper in the realm of the obscure to bring you this track from a Seattle compilation LP, where Basnight appears alongside bands like The Fastbacks, Pudz and Fartz.
Songs of The Day, March 27 & 28
It is SO difficult not to just turn out a string of superlative-laced babble when discussing the best Flying Nun bands...Sneaky Feelings, unlike their Dunedin friends The Chills, The Verlaines, the Stones, etc. were less influenced by The Velvet Underground than by the Byrds and Elvis Costello, and as such they placed a very high value on the art of songcraft. Their first LP, Send You
(1984), is one of my favorite records ever, a great mix of the more song-oriented West Coast bands of the 60's with some guitar work that recalls Felt or Television. The strange thing about that record is that in 1992 Flying Nun released a CD version with three extra tracks that had been recorded in 1990. The even stranger thing is that they fit in seamlessly, making a truly great record even better. "Ready Or Not" is the only one of those three extra tracks not included on the Sneaky Feelings' anthology CD, Positively George Street
. That also seems odd to me, as the intro alone makes me swoon, and I think it's one of the best things they've ever done.
Subsequent Sneaky Feelings releases showed them getting a bit more twee, relying perhaps less on hard-strummed rhythm guitar than on keyboards and such, and at the same time taking their melodies in a more effervescent direction. Our other Sneaky feelings track is "Wasted Time," the B-side of "Coming True" from the fine Sentimental Education
LP; it hearkens back to their earlier sound.
All three of the Sneaky Feelings LPs are worth owning in their own right, including the 3rd, Hard Luck Stories
. The anthology is the only CD currently in print, but Flying Nun seems to try to re-issue old catalog material every few years, so there's a good chance you'll be able to get the proper LPs in their original form at some point.
If you're not that familiar with the wonders of Flying Nun Records, or if you are, and you want to hear more, or basically if you've liked looking at Little Hits for any reason, I implore you to buy this
. It's the album that introduced me to the label when it became the first FN record to be released in the US. It's still my favorite compilation ever.
Song Of the Day: March 26, 2005
Other than the Embarrassment, Klyde Konnor may have been the best Kansas band I ever saw, and isn't it odd that they were both from Wichita? Klyde Konnor had a lead singer with a Syd Barrett infatuation, a bass player who wore flares, and a drummer who looked way too straight to be hanging out with the other two. They also had great harmonies, weedy guitar, and often amazing psychedelic pop songs. They didn't venture up to our end of the state too often; I remember one night they played three sets at a frat bar while a handful of us looked on with rapt attention, while Philistines screamed "woooo" at TV sets in adjacent rooms. The reaction to Klyde Konnor at legitimate music venues was slightly, but only slightly, more encouraging.
Klyde Konnor's first "release" was a cassette of not-terribly interesting college rock. I'm not sure what happened in the the two years between it and the next tape, I Always Forget
, but somehow, singer/guitarist/songwriter Mike Coykendall found an interesting and distinct voice during that period. The songs were still frequently reminiscent of a certain band from Georgia, but the hooks were much, much stronger than ever before, and little instrumental and lyrical touches were creeping in that suggested that Klyde Konnor was ingesting something other than Coors beer. Their next album 1989's Wallpaper, confirmed it. Brilliant, twisted pop; like a very Midwestern Robyn Hitchcock. Their final missive was the ridiculously ambitious Hypnopotamus (1990), a double cassette that sprawled and occasionally meandered, but contained enough gems to make it more than worthwhile. The band wound down when Coykendall split the Midwest for San Francisco where he formed the Old Joe Clarks. He's currently resides in Portland, and is working on a solo record.
It should be noted that all of these releases were originally available only on cassette. (There is now a CD of Hypnopotamus. Contact Mike Coykendall at PO Box 86236, Portland, OR, 97286) I've got way too much going on right now, but someday I'd like to put together a compilation of all of the late 80s bands who never had the financial means to release anything other than cassettes. I know there are dozens of them out there, because there were plenty of them right around Lawrence. If you know of any from your neck of the woods, drop me a line.
Song Of the Day: March 25, 2005
Straight Eight recorded several LPs smack in the middle of the UK powerpop era, so it isn't surprising that they got it right at least once, and here it is; "I'm Sorry" is catchy, driving, smart, and commercial like the best of its peers. Unfortunately, while they looked the part and had the basic sound, most of the other material I've heard, including the No Noise From Here
LP (produced by Pete Townshend) and a couple of other 45s is competent but unexciting. The only discography I could find online was on a NWOBHM website
. Can anyone explain why something called the New Wave Of British Heavy Metal would include a band that recorded something as pop as this?
Song Of the Day: March 24, 2005
Another example of the production genius of Rob Younger and Alan Thorne. When we think of punk rock records, we usually tend to think of anything other than guitars, bass and drums being a distraction, sounds that dilute the forcefulness that we want/need. This record has a lot of odds and ends thrown into the mix: piano, organ, acoustic guitars, but these foreign elements seem to actually drive the song harder, while simultaneously making it more vivid. The result is the Australian vision of the Ramones making a record with Phil Spector. Of course, the production would be for naught if the song weren't so good. Therefore, we should mention that it was written by former Lemonheads bassist Nic Dalton and Robyn St. Claire of the Hummingbirds (more about them later). They were also together in Love Positions and Godstar; you can read more about them at Dalton's web site
, which has more annoying pop-up windows that any other site I've seen.
Song Of the Day: March 23, 2005
Whenever someone announces a new compilation of vintage power pop two things happen inside my addled brain. The first is that I get excited about the possibility of hearing some tracks I've never heard before. The second, and I'm not arguing that this is in any way rational, is that I get a little snotty toward the project and it's steward. "What makes him such an expert?" "That's not even rare!" "Their other 45 is way better." "This'll probably be crap." And most importantly, "Why don't they ever ask me?"
Such were my feelings when I spied Yellow Pills: Prefill
in the shop today. "Curated" by former fanzine editor Jordan Oakes, it's a handsomely packaged double CD on Numero Records, a label that has done some very interesting compilations devoted to indie soul labels. "Yeah but are the tracks any good?" I was sneering as I popped it in the CD player at my desk. 45 minutes later I was heading over to the ATM to get some cash to take it home. It's just terrific. If you're a fan of the genre, you know what to expect here: lots of pronouns in the song titles, fake British accents, silly shirts. Easily one of the best compilations of its kind, right up there with the best of the Teenline
series from Hyped2Death. The only thing better would be a CD-R of all my favorites. Wait, I have several of those...
Here's a track from one of them. The Shake Shakes were from California, and made two 45s. You don't want the other one. I think the way the opening guitar riff pulls back behind the beat ever so slightly lends the song a certain gravity. Maybe it could be slotted onto the next Yellow Pills: Prefill
, although the very idea of a second volume seems too good to be possible.
Song Of the Day: March 22, 2005
It was a very difficult choice between this track and another, later Fits single, "Down In Splendour." "Splendour" is one of the most perfect pop songs I can think of, easily the equal of Badfinger's best downer-clouded bliss. (You can hear it on their excellent 2nd LP, Melt
.) However, I chose this one because about 2 months before that ChooChoo Train single
, my life raft was the debut Straitjacket Fits EP "Life In One Chord." That record marked the first appearance of "Sparkle," but it wasn't plucked as a single until the issue of the band's first full-length LP, Hail
. It's a good one too, sort of like the early Smiths if Morrissey had been content to sing along with the music rather than across it.
Straitjacket Fits boasted two great songwriters: Shayne Carter (Bored Games, Doublehappys) and Andrew Brough (The Orange). Have you ever known one of those two-songwriter bands where one guy is perceived as the artistic visionary who spearheads the band, and the other guy is allotted a few songs per set/record out of deference or persistence or underlying threats? It can create plenty of inter-band resentment if everybody hates the other guy's songs. But perhaps even worse in terms of souring band politics is when everybody likes the other guy's songs better than the visionary's. I wonder if that isn't what happened here. Andrew Brough has 5 songwriter credits between the bands first two albums, but also two of their three singles from the same period; while some of Carter's material is absolutely brilliant, he just never had the easy way with a pop hook that Brough does. I wonder if this is why Andrew Brough left the band just as they signed to Arista in the US. Certainly his absence didn't help their lackluster third LP, Blow
, which is a terrible name for a record. You should never hit hack rock critics a lob like that.
Brough is currently in the highly recommended Bike. Carter is doing a Straitjacket Fits reunion tour
in New Zealand, in which Brough has elected not to participate. The video for "Down In Splendour" can be seen on Second Season: Flying Nun DVD II.
Song Of the Day: March 21, 2005
A glance at the covers of Weird Summer's first two albums, Homer
and Cry For the Moon
would probably inspire you to plop them right back into the dollar bin where you found them. They look just like literally dozens of other mid-80s lo-budget releases from Collegetown, USA. But if you bothered to take them home and perform some experiments on them you might be surprised at the depth and subtlety of this Champaign, Il. band. You might think, "Wow, that singer has a great voice," and turn the jacket over to find the name of Bob Kimbell whose voice is similar, but pitched slightly higher than, Michael Stipe's. (I know people have a lot of different opinions re: Stipe, but I think the tonality of his voice is gorgeous.) You might also notice that the guitar interplay of Kimbell and Nick Rudd (Turning Curious, Blown) recalls Felt and the Byrds. And after a couple of spins you might be amazed to find that all of the songs are really really good, with fetching melodies, thoughtful lyrics, and simple but effective arrangements.
I was a pretty ravenous consumer of fanzines during the latter half of the 80s, and I don't remember anybody mentioning Weird Summer. I didn't know they existed until Parasol
Records re-issued their first two albums as a single CD
Our other New Favorite Song...
is Charlotte Hatherly's "Bastardo
." It's funny and sad and we keep playing it over and over in rotation with the Futureheads.
Song Of the Day: March 20, 2005
Terrific punk rock single, or goofy knock-off of the Rezillos "(My Baby Does) Good Sculptures?" Who says it can't be both? This is one of many fantastic records that first came to our attention via the Teenage Treats
compilations of rare UK punk/powerpop/mod/DIY.
Song Of the Day: March 19, 2005
Whenever anyone mentions Something Pretty Beautiful it always seems to be in one of two contexts. The first is that Julian Cope's brother is in SPB; and he must be very disappointed that they never became as famous as the Teardrop Explodes, so much so that he can't be bothered to comment on Krautrock or Stonehenge. The second is in the context of demonstrating that not everything Creation Records touched turned to gold. "Yeah, I'll give you Teenage Fanclub, the Jesus and Mary Chain and My Bloody Valentine, but what about Something Pretty Beautiful?"
We don't care. At Little Hits you can be in our Hall Of Fame if you have that one song that makes us laugh or cry or try to sing like Frankie Lymon. Or in this case Scott Walker. It's a big grandiose pop number, brimming with the possibilities of spring and the notion that things will get better, however eventually.
Song Of the Day: March 18, 2005
More Australian guitar pop from the 80s. One might think that once he or she has amassed all of the great 45s from the more prominent indies like Citadel and Waterfront and Greasy Pop and AuGoGo that there couldn't possibly be much left. One would be very very wrong. Here's a tip of the iceberg from the perhaps-inappropriately named Spliffs; their breathless pop doesn't suggest marijuana nearly so much as grape soda. This is from their first 7", a three-song disc in an oversized pic sleeve. Three other singles and an LP, House Of Seven
Song Of the Day: March 17, 2005
Some of the best sixties punk records are barely comprehensible, especially if they're by a Texas band. These San Antonio kids already had one future classic, "I'm In Pittsburgh (And It's Raining)" to their credit by the time they waxed this 45 in early '67, but this one is a giant leap sideways. Actually several giant leaps sideways in one song. After weaving all over the road doing 50 in a 30 mph zone it pulls over and barks nonsense at you, then roars off again. Sort of like "7 and 7 Is" but with no attention span whatsoever.
Song Of the Day: March 16, 2005
We're big fans of this Boston combo's massive rendition of the Sparkle Moore rockabilly obscurity "Skull and Crossbones." In fact we'd go so far as to say that this EP easily blows anything the Cramps have done since they left IRS out of the stagnant, slimy water. While Jack Hickey's guitar steals the show, it's worth noting that frontman John Hovorka made several strange DIY records in the early eighties that bear no resemblance to this. There was a full-length LP that followed called Magic Fingers and Hourly Rates
on New Rose (France), which I sold about 15 years ago for the price of a pack of cigarettes. Wish I hadn't.
Song Of the Day: March 15, 2005
What's more mod than having a Batman sticker on your Rickenbacker? The Reactions were a swell Cleveland combo who made a pair of singles and a solid EP for Homestead before they decided that their dreamed-of youth explosion was never going to ignite. This was their first effort, a great flower-pop song with just enough dirtiness to the jangle that even mean guys like Byron Coley and Gerard Cosloy liked it. Current whereabouts: Dave Swanson has been involved with the New Salem Witch Hunters, and Swanson and bassist Brian McCafferty are garage-folk-rocking out in the Rainy Day Saints. The RDSaints will release a second LP this year on Get Hip
. For more details check the excellent Clepunk
site, dedicated to Ohio's long and amazing history of great punk bands.
Song Of the Day: March 14, 2005
While to my knowledge neither of the major political parties ever formed an exploratory committee regarding the Presidential chances of Curtiss A, he nevertheless felt it necessary to nip any such notions in the bud via this number which sounds a bit like some journeyman soul shouter fronting the Damned. If you're geek enough to handle it, Twin/Tone Records
has an incredibly detailed website, where they provide information on their early releases including to the exact number of copies sold. Several of these early records were by Curtiss A (real name, Curt Almstead), and feature his punk/R 'n' B fusion that surely must have made him at least a local legend. He made three LPs for Twin/Tone during the 80s which were once fairly ubiquitous in Midwestern used-record stores, but are no longer so common, especially the first, Courtesy
Song Of the Day: March 13, 2005
Please excuse the sound quality; this file was converted from a nearly twenty-year-old cassette that had been dubbed off of a flexi-disc. The Garden Path were an interesting footnote in the mid-80s explosion of cool Australian bands, a little bit loud guitar pop, a little bit psychedelic, a little bit garage. I'm currently in the process of tracking down their Greasy Pop
LPs. If memory serves there was also a spinoff thing by the name of the Dust Collection, but I could be making that up. This song would be on my A-list of tracks for a CD compilation of the best stuff from the Bob flexi-discs, along with R.E.M.'s version of "Femme Fatale," Robyn Hitchcock's "Surgery," and the Feelies' awesome cover of "Dancing Barefoot."
Song Of the Day: March 12, 2005
Both sides of this Oklahoma 45 are great, so it was hard to pick one. Very little information afforded by the sleeve, other than they appear to have been a three piece. Insert shows band looking like fairly typical purveyors of skinny-tie pop, perhaps a bit like fellow Okies 20/20 whose relatively modest success the Jacks would probably been grateful to duplicate. Currently kind of pricey as these things go, as it is a fairly recent discovery of the collecting fraternity and is of very high quality.
Song Of the Day: March 11, 2005
Lois Maffeo is a national treasure, and the three 7"s she made with Patrick Maley (drummer and YoYo Studio guy) under the name Courtney Love (two on K
, One on Feel Good All Over) are all to be prized. (Someone really ought to round them up on a CD.) Her peculiar haunting melodic sense and beautiful wordplay have touched us many times, but this song is probably our favorite.
No relation to that other Courtney Love, that one whose band sounded like Sonic Youth until grunge took over and she realized she'd hopped on the wrong carousel. The one who represented the very apex of alternarock self-absorption with "Doll Parts." The one who sold millions of records and landed a spot on Spin'
s "Top 100 Alternative Albums" list. The one who was so traumatized by the death of her husband that she no longer appears to be able to write songs. The one who at present amounts to nothing except a punchline of a joke that is now more pathetic than funny.
Song Of the Day: March 10, 2005
I was blasting this in the car on the way to school, and it reminded me that it really needs to be on Little Hits. In another instance of horrible timing, this brilliant 45 came out during the period when there was an absolute glut of 7-inch discs by bands wanting to be the next Pavement or Stereolab (both great bands, but one of each is probably enough) or Sebadoh or Slint (one of each is about 50% too many). Perhaps that's why it was unceremoniously dumped at the used record shop
by the kid from the college radio station
. This would be a terrific record just on the strength of it's melody and chorus hook. What really pushes it over the top are some very finely wrought lyrics with considerable humor and admirable attention to detail.
"My Danger" was written by one Tom Beaujour; I don't know much about him, but I can divulge that his bass-playing/singing/songwriting comrade, Mr. Marcelo Romero, spent some time in the Wishniaks. But that is a story we will tell later. Shake Appeal also have a full-length CD on Go-Kart
called You're Too Rich
. Meanwhile, copies of this very single are available on the Deep Elm
website for a buck. Think I'm gonna order another handful.
I just wanted to make a quick post to tell all of you who have left comments how much I enjoy it, and to encourage everyone to feel free to throw their two cents in any time they'd like.
Song Of the Day: March 9, 2005
Folks who live for that UK powerpop sound as featured on the Shake Some Action series of CD compilations absolutely lose their composure over the Tours "Language School" 45. And it is indeed a great record. But, man, this one's awfully good too. I have a suspicion that we haven't heard the last of vocalist/singer Ronnie Mayor on Little Hits...
BTW, I would highly recommend the Shake Some Action CDs, especially the UK volumes, to our visitors who liked our selections by the Donkeys, Dazzlers, Tonight, etc. Does anyone know where to find track listings for those discs online?
Song Of the Day: March 8, 2005
Shamrock J. says that the vocals on this song are just about the punkest thing he can think of, and we appreciate what he means. Tuff and teenage. At Little Hits we have a special place in our hearts and on the stereo for that particular breed of 60s teenagers who had cheap gear and a sneering lead singer, but still carefully rehearsed their three-part harmonies. The Intruders were from Pittsfield IL and managed just the one disc before psychedelia kicked in and they were forced to change their name to something ridiculous (not The Something Ridiculous). The scan is from the late 90s re-issue on MCCM records; they also did a re-ish of one of the all time fuzz monsters, Gonn's "Blackout Of Gretely," which must be heard on Rhino's Nuggets Box. This was one of a very, very small percentage of garage 45s that was originally issued in a pic sleeve.
Song Of the Day: March 7, 2005
It's hard to imagine now how profoundly R.E.M. shook the indie world in the early-to-mid 80s. After Murmur
it seemed that college students all over the US instantly formed hundreds of bands with thin, trebly guitars and vocals mumbled and slurred to the point where one couldn't make out how precious the lyrics were. Many of them found their way into a recording studio with either Don Dixon or Mitch Easter. Bands like One Plus Two, the Connells, Turning Curious, Blue TV, Kilkenny Cats, and Dreams So Real all made pleasant but generally insubstantial contributions to the racks of well-intentioned indie stores, and I should know because I bought all of them. Unfortunately the proliferation of this very derivative style caused some fine bands who had one or two things in common with Stipe and friends to be tarred with the R.E.M.-alike brush by lazy fanzine writers.
Since they were form the South, occasionally made use of Rickenbacker guitars, and worked with Mitch Easter, The Windbreakers were often dismissed as one of these imitators. This was absolute blasphemy. The Windbreakers were a fine southern pop band in the tradition of Big Star and the dB's with two great songwriters: Bobby Sutliff, whose swoony melodies and aching upper register recalled Chris Bell, and his partner Tim Lee, who played a world-weary everyman character not too far from Peter Holsapple at his most conversational. After a half-baked 7" EP in a fairly standard new-wave/skinny tie pop vein they lost a couple of band members and made their first great record in 1983, a 12", 6-song EP called "Any Monkey With a Typewriter." Many others were to follow; solo LPs and Windbreakers LPs, and even solo LPs made as the Windbreakers. (1987's A Different Sort
is the work of Tim Lee without Mr. Sutliff.) Run
, the album from whence we get "Visa Cards..." is perhaps their best. This track gives you some idea of the glorious range of psychedelic guitar sounds they could conjure up; their heartbreak came in bright colors.
Bobby Sutliff is scheduled to have a new album this year on Not Lame
; tracks I've heard suggest that it might be the most winsome collection of his career, with a gorgeous version of the Carter Family's "The Storms Are On the Ocean" providing a highlight.
Song Of the Day: March 6, 2005
Beginning with Haircut 100's "Love Plus One," Nick Heyward's career has seen its share of artistic triumphs, but it's possible that The Apple Bed represents the pinnacle of his acheivements. This album, which was released on Creation in the UK, was licensed to the defunct Big Deal records in America and can probably be found for cheap in many record stores with huge sale bins. This particular track reminds me of Crowded House, and features a particularly memorable chorus.
Song Of the Day: March 5, 2005
Todd Newman and the Leatherwoods-To Win You Back45, Reverb Jr. Records, 1988
Former Topekan and current Minneapolitan Todd Newman has made records for a variety of labels including Medium Cool, the Bus Stop Label, and Barber's Itch, sometimes using the Leatherwoods moniker, sometimes not. This 1988 45 on Cody Ochs's Reverb Jr. Records is typical of Todd's ability to take advantage of an opportunity; both songs contained lyrics that assured that they would never be played on the radio. Nevertheless, Mr. Newman has amassed a fine discography and can count Paul Westerberg amongst his collaborators and Gerard Cosloy amongst his fans. He's just a ridiculous guitar player; give him the cheapest crap guitar and a functioning amp, and he can work magic. Just ask Ed Rose.
Song Of the Day: March 4, 2005
Since they were a Chicago band, and were active as the 70s became the 80s, it seems safe to assume that the Kind had heard and enjoyed Cheap Trick. I've seen one other Kind 45 and an LP on this same label, but this is the one you want. The versions of these songs on the LP are a bit smoother, and not quite as exciting. The Kind were a pretty good club draw back in the day, and there are still plenty of copies of this one floating around the Chicago area. Mark Henning (ex-Zoom) scored this one for me.
Song Of the Day: March 3, 2005
Steve Mitchell was relating a story of a discussion he once had with Clare at Sarah Records. She told him it was annoying that people so frequently said that the best Sarah single was the first one, "Pristine Christine" by the Sea Urchins. "Well, it is," Steve repiled. And he might be right. It's pretty hard to top something like that. That said however, my favorite Sarah single is the grandest one, St. Christopher's "Say Yes To Everything." I remember getting this home and thinking how remarkably huge it sounded compared to most of the other Sarah 45s, with the big electro drums, tympani, and crashing bass notes on the piano. Fortunately, St. Christopher, a band who went so far as to name one of their EPs "Bacharach," composed a song that would have made their chief influence proud. The result is undeniably "indie", yet atypically bold, big, and ambitious.
Song Of the Day: March 2, 2005
It was the Bandables' misfortune to present their strongest material at a juncture in US rock history where their most obvious strengths cut no mustard with hipsters. They had two talented songwriters. They had nifty boy-girl harmonies. They had smartly strummed and jangled guitars. They were cute. In 1990 the latter alone immediately wiped them off the cool radar, as the influence of the early 70s was about to re-emerge via grunge, and bands like Pussy Galore were spazzily raved on by every Forced Exposure-wannabe fanzine. Can you imagine what it must have been like to be a pop band in New York at that time? 10 years earlier they might have been hanging with the Bongos and dB's and perhaps received a bit more attention (although they did release a swell 45 as early as 1984), but such are the cruelties of the calendar.
Jerry Kitzrow and his mates are planning a Bandables retrospective for release later this year. We'll try to keep you posted. Should be very cool.
The Little Hits Current #1 Song
Hey! Everybody should go check out the video
for the Futureheads' cover of Kate Bush's "Hounds Of Love" at the NME site. It's just frigging adorable.