Other recent musical obsessions:
The Direct Hits - a band I discovered from my buddy (and book contributor) Elizabeth Ivanovich's old radio show at Stanford. Best known for their mod-classic single "Modesty Blaise" I picked up their sole collection years ago, and have recently rediscovered it. There's nothing on them at AMG and I think they probably just got lumped in with all the other mod revival groups of the early 80s, but they're way better. They write fantastic melodies reminiscent of Graham Gouldman's songs for The Hollies, the mod-psych of 60s Move and Revolver-era (specifically John's songs) Beatles, but their biggest influence is The Who. They're excellent players too, with tight harmonies, and lyrically they cover all the moddish concerns. The titles convey their flavor: "Modesty Blaise," "A Place in the Eighties," "Christopher Cooper" (sort of "David Watts" out of "Nowhere Man" with backwards guitar), "The Old Curiosity Shop," "My Car," "What Killed Aleister Crowley," "Henry, the Unhappy Inventor" (a Who-ish suite obviously inspired by "A Quick One" - and it doesn't suffer from that comparison), "Toy Soldier" and "Just Like An Abacus" to rattle off a few. Highly recommended for folks who love mid-sixties Britpop. They have one collection titled
The Magic Attic.
The Wackers - Wackering Heights. I'd been interested in Bob Segarini's work ever since the legendary (in my circle anyway) Power Pop issue of Bomp, and his early work with The Wackers has finally been re-released. Part of the Quebec power pop scene of the early seventies (the other big power pop scenes in America at that time were in Cleveland [Raspberries] and Memphis [The Ardent scene that produced Big Star / Rock City etc.]). Three and four part hamonies, more like CSN&Y than the Beach Boys with with loose country-rock grooves. Really pretty stuff - late Byrds to early Eagles in sound. Lush melodies and the usual hippie rock lyrical concerns. Emmett particularly likes the baroque pop "Body Go Round."
"Modesty Blaise" and "Body Go Round" have been posted for your listening pleasure.
AMG's Devil's Playlist for today
Jilli, do you have an opinion on these picks?
*******
Fields of the Nephilim - Preacher Man
I still remember the long line of silent, sullen fans in dusty cowboy hats and weathered chaps with spurs that resembled razor blades on a pinwheel, wrapped around the outside of the Nectarine Ballroom like a curl of smoke. I was in town to pick up the Dead Milkmen's Bucky Fellini on cassette, but went home with a copy of Fields of the Nephilim's Dawnrazor instead. Sure, there were more popular goth bands in the late '80s ( Christian Death, Sisters of Mercy), but none of them dressed like extras in a spaghetti Western and had glowing yellow eyes. Specializing in the kind of post-apocalyptic Old West imagery that would later pop up in songs like Nick Cave's "Red Right Hand" and Tom Waits' "Black Wings," "Preacher Man" combined a ferocious backbeat, Morricone-esque slide guitar, and hoarse doom metal vocals that swallowed lyrics like "when he talks, connected scars reopen" into one of the best night-driving songs ever recorded. If your day job was in Heaven and you commuted between both worlds, this is the tune the local DJ would kick off your commercial-free ride home with. - James Christopher Monger
**********
Peter Murphy - The Line Between the Devil's Teeth (And That Which Cannot Be Repeat)
Outside of Bauhaus, Peter Murphy is a crooner, but the sexual demeanor, which made him a punk rock god in the early '80s, is still very much a part of his solo material; it's just less abrasive. Next to "Shy," "The Line Between the Devil's Teeth" is one of the louder, danceable tracks on his fourth album, Deep. One might consider it a more polished version of Bauhaus' "In the Flat Field" while others could argue that Murphy's approach mirrors the seared sophistication of David Bowie's mid-'80s albums Tonight and Never Let Me Down. An intense mix of synthesizers, percussion, and guitars kicks off this hyper-stylized track and a thrusting, primal chorus throws "war" and "work" against a man's state of mind. He's sneering when he pronounces "Devil," and it's downright slinky and nasty. The song might sound a bit dated today compared to the raw timelessness of the Bauhaus catalog; however, Murphy's shifty lyrical pattern is just as ferocious and edgy as anything he ever did with his old band. What I like best about this track is how unabashed Murphy is about being a performer. To me, he keeps his punk rock status while giving his two digits to the man. Who cares if he's dancing? - MacKenzie Wilson
Jilli, do you have an opinion on these picks?
That I really need to find a copy of Dawnrazor on CD. And that The Line Between the Devil's Teeth is fabulous live.
Cor: Blind Boys of Alabama was season one. Season three had the Neville Brothers' version.
Edit: In season two they use the original.
Cor: Blind Boys of Alabama was season one. Season three had the Neville Brothers' version.
D'oh! I had it backwards in my mind.
In my dreams the Wire folk ask my band to cover it for Season 4. We're right here! And cheap!
I would totally put in a good word for y'all if I knew any of those guys.
I would totally put in a good word for y'all if I knew any of those guys.
Thanks! I know the guy who was Ziggy's cock stand-in but I'm afraid he has little pull with the higher ups there.
