This terrific song sounds like it might have fit on the the Stones Between the Buttons. The Groovies are known by the knowing, but are not known by too many. Especially in all their weirdly antagonistic formations. But let’s get over that and let them play!
Nirvana’s genius turn, taken by this loud trio, and turned into something else. No words, for one. And relatively quiet for what they do. You could criticize them for that, but they get loud other times.
Lovely.
I’d heard of the Silver Jews, but I never listened to them. I had no idea that Berman started his first band with Stephen Malkmus, who soon after started Pavement, one of the most successful of the 90s indie bands.
I like Pavement a lot, on record. I saw them twice live and didn’t think things held up. The tension that made the records strong was lost on stage. But the records are really good.
And when David Berman died this week, and I read more about him, I was sorry I hadn’t checked him out sooner. He was a satirist, a romantic of sorts (as satirists often are), and even more shambolic than Pavement. What I wasn’t prepared for when I put on American Water, his 2008 record that is generally considered his masterwork, was how much it felt like Pavement.
But I’m not here to figure out where dividing lines are. Malkmus plays and sings on American Water. Pavement was never a hit, but they were selling albums and playing lots of shows at this point. It’s hard not to imagine that Malkmus was suggesting getting a little more dynamic, putting more into the mix, whatever. I don’t know.
What I know is that American Water is a pretty good record, and my favorite parts were those that Malkmus wasn’t singing, wasn’t playing. Berman’s voice is not that of a singer, but his words are those of a lyricist who comes from poetry. They’re good! And the songs aren’t always songs, but they’re useful settings for the words and some guitar solos that can capture you for a moment, and then seem to forget why they’re there.
So, trying to figure it out I visited Pitchfork and found a near perfect record review/appreciation by a guy named Mike Powell. It was only written 19 years or so after the elpee came out, but that doesn’t matter. Listen to the album, read this review. I’m not sure how much there is to all of David Berman’s musical career, but this is a great place to start.
Digging into the Smog Veil catalog, right up top is this 2018 release. A contemporary band with a name that Moyer would love, at least once he looked it up on the Urban Dictionary, led by a bass player with a reputation for disruption named Cheese Borgers (who does shipping and social media for Smog Veil), this is a pretty good party tune made by aging rockers in Cleveland, who still know how to rock it.
Laughner was a member of Rocket From the Tomb and Pere Ubu, influential, more heard of than heard bands from Cleveland. He said he wanted to be to Cleveland what Brian Wilson was to LA and Lou Reed was to New York, but instead died in 1977 at age 26 mission unfulfilled.
A record company called Smog Veil has just released a five-LP box set of all known Laughner recordings, mostly self recorded in the late night by himself. The NY Times has a story about the release today.
While you read it, here’s Ain’t It Fun! Laughner’s hit, which was later covered by Pere Ubu (if that’s a cover), the Dead Boys and Guns and Roses.
I just finished a 10 day challenge to name my Top 10 influential albums in 10 days, and then nominate 10 poor sods to do the same.
The lesson of this exercise is you have to cut a lot of good stuff out. So from now until whenever I stop, here’s some other albums that meant a lot to me. With a song from each.
The album this song came from was the first rock/pop album I ever owned. It also has a great version of The Battle of New Orleans, but I think this bit of cheese has legs. I’m not saying it’s a great song, but for a 10 year old? Killer.
This was my first pop music album. Influential? Yep.
