Wednesday, February 1, 2012

This One Time at Bandcamp...



I hate sending MRML readers to MySpace because it's a near-dead social networking site that gets worse with every upgrade. But MySpace still manages to have information AND sample songs for just about every musician ever born and so I'll still link to it at times. iTunes is a clunky place to visit and fairly unfriendly but since it offers a place to actually BUY music, I'll link there often too. I'll also frequently link to mail order places like Amazon and Interpunk, even though their selection varies widely. Of course, I also send people to musician's homepages or, on occasion, their Facebook page. Damn, I know there's a million more destinations but I'm always left wondering, do they help 'support the artist'?

One of the sites I'm most comfortable linking to is Bandcamp, which is becoming a better musical destination all the time.

Right now the homepage is still too focused on getting bands to sign-up and not enough on user-friendly features. There still needs to be more curating (some of which is done at sites listed here). I know some people dig just poking around but there are way more potential customers who will appreciate some further organization, such as being able to subscribe to certain genre tags. Regardless, I know from now on I'll try to make Bandcamp one of my go-to links for bands. Here's hoping more and more artists will pitch their tent there.

So readers, whether music sellers or musical consumers (or both), what do you make of Bandcamp and the various ways to make music available on-line?

Tuesday, January 31, 2012

Tilt: Self-Titled 7" (1992)



During their almost-decade long lifespan, nineties pop-punks Tilt never hit it big. They never seemed to escape their reputation as a second-string band Lookout Records (see HERE) band (even when they emigrated to Fat Wreck-Chords early on). Their lack of strong success is wholly unfair considering the quality of the band's work, though it's interesting to note that their strongest asset may have also been their Achilles Heel.





While 'Blondie was a Band', Tilt pretty much was Cinder Block. Block (with occasional help from her spouse/guitarist Jeffrey Bischoff) wrote all the band's songs, penned all their distinctive lyrics and brought the forceful vocal style that dominated the band's sound. This is not belittle the fine noise Bischoff alongside bassist Pete Rypins and drummer Vince Camacho created but Block was the 50 Foot Woman and they were the motorists below. Perhaps Block being such a towering figure brought out some ugliness familiar to women who choose to stand out. More on that tomorrow...


Tracklist
A1         Addiction     2:10    
A2         Redemption     2:12    
B1         One Day     2:20    
B2         Locust       2:20





What do you think of Tilt and Cinder Block? Let us know in the COMMENTS section. (where you'll find the S/T 7" link).



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Monday, January 30, 2012

Cringer: Karin (1990) Now with link!



I've heaped praise on the departed Lance Hahn before (see HERE). Now I'd like to offer up an important single from Lance's first band, Cringer. Karin was the band's only release for Lookout Records (more HERE) and came during a brilliant run of singles (the less said of their lone album the better) they put out during 1991-1992, before morphing into the darker, moodier J Church.




Your thoughts on essential Lookout Records singles or Lance Hahn or Cringer can  be left in the COMMENTS section (where you'll find the Karin 7" link)




Support Lance's Legacy: J Church Homepage J Church MySpace J Church at No Idea J Church at Interpunk J Church at Amazon J Church at Wikipedia J Church at Discogs We Love Lance Hahn page
Lance Hahn obit at Pop Matters

Sunday, January 29, 2012

Green Day: Radio Daze (Live, 1992)



Green Day were polarizing. From the beginning the knock against them was their lack of punk boanfides; no breakneck tempos, no yelled vocals and the lyrics were not only comprehensible but they were clearly about...girls. But Lawrence Livermore and his Lookout Records label (more HERE) stood by the band, as did a lot of record buyers. When the band signed to a major label, the same people who'd derided them as being 'too pop' now called them 'Greed Day'. It's no wonder they abandoned the punk underground. What's more interesting is how much they carried the punk flag, coming around to an anti-establishment view not so far removed from that of the punk politicos they'd left behind.




Like a lot of folks, I wanted to hate Green Day but I ordered those first two singles from Blacklist mail-order back anyway back in 1990 and have refused to renounce them ever since. Yup, I own every Green Day album (well minus live/greatest hits/B-sides collections). I'm not ashamed of this fact, though it's taken me a few years to state it openly. And it started with those opening chords to "1,000 Hours". The lyrics were, as I'd been arned, kinda dippy but the tunes were so strong that they reminded of the really early Beatles (with a hefty does of Buzzcocks thrown in).


(Slightly dodgy footage but I think I'm in there somewhere.)


So here to unite us (maybe?) on the virtues of the band, is a radio show recorded live on May 28, 1992 in the WFMU studios, East Orange, NJ, which Mike Dirnt says is, "A real good Green Day bootleg".




01 Don't Leave Me
02 409 in Your Coffeemaker
03 Welcome to Paradise
04 2,000 Light Years Away
05 At the Library
06 80
07 The Judge's Daughter
08 Christie Road
09 Only of You
10 Who Wrote Holden Caulfield?
11 Going to Pasalacqua
12 16
13 Paper Lanterns
14 C Yo Yus
15 Longview
16 One Of My Lies
17 Dominated Love Slave
18 All By Myself
19 Knowledge
20 Words I Might Have Ate

Hey give us your honest take on Green Day's career in the COMMENTS section, (where you'll find the Radio Daze  link).


Support the band

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Saturday, January 28, 2012

The Dahlmans: I Love You Baby (But I Hate Your Friends) 7", 2010



There's a certain thrill  when obscure greatness gets recognized. While some were bothered when Sixpence None the Richer made The La's "There She Goes" the monster hit it should've been or when Gnarls Barkley made The Violent Femmes "Gone Daddy, Gone" known to the word but not I. To me,  such all-too-rare events offer proof that a great song is irrepressible. Sure, I'd prefer that the original becomes the known quantity, like the Ramones "Blitzkrieg Bop" did but to hear something hidden gaining validation is a powerful thing.

A smaller scale example of this phenomenon would be Swedish 'Primtives-meets-Ramones' band, The Dahlmans cover of "I Love You Baby (But I Hate Your Friends)". The song, written by Andy Shernoff of The Dictators first appeared (I think...)  on a 2006 album by Kitty and the Kowalskis (which I head about here). It's a pretty solid album but that song just leaps out and infects your brain. So, while The Dahlans, who have superb taste in covers, may not make this song a pop sensation, making it as the A-side of a single helps bring the unknown to light.





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