I was introduced to Japandroids and Murder by Death recently by SiriusXMU (see recent post on Radio). Japandroids have been around about 15 years with three full-lengths, EPs/Singles, and hundreds of live shows around the world. Murder by Death has been making music for 20 years now with eight LPs. Just goes to show you, that there’s always new music to discover. Let’s discuss these bands a little and focus on their latest releases.

Japandroids

Japandroids formed in Vancouver, B.C. in 2006. The band is made up of Brian King (guitar/vocals) and David Prowse (drums/vocals). Remember that if you listen to them; it’s just two guys! They sound like a full band and can fill an arena with surging guitar, rousing vocals, and pounding drums. They are known for their extensive touring and energetic live performances. They pump up classic rock with punk energy.

Their debut album, Post-Nothing (love the title) made a splash and earned a “Best New Music” nod from Pitchfork. The follow-up Celebration Rock was well received and named by Rolling Stone as one of “The Coolest Summer Albums of All Time.” Exhausted from touring they took about a three-year break and came back in 2017 under a new label with Near to the Wild Heart of Life.

They’ve expanded their sound on the latest release by slowing it down a little and adding some acoustic to the mix. It’s a cleaner, less garage-band sound than the earlier albums. But, by no means have they lost their edge as the title song makes clear in opening the album. King echoes his singing, “the future is under fire, the past is gaining ground,” and speaks of leaving home and going far away; a realization of his relocating to Toronto and Mexico. The second song, “North, East, South, and West,” is a chanting anthem about “criss-crossing the continent, all aglow;” a sing-along to their many miles on the road. Prowse takes the lead on singing the soaring “Midnight to Morning” and continues the “so many miles” refrain and curse that “the bottle” can bring to the road-warrior. “Arc of Bar” jams with a little funk and synths in a lyrical brew of hustlers, whores, whiskey, and mosquitoes. It’s a solid record from beginning to end.

D² Rating ◼◼◼◩☐

Trivia ? – Where did the band name come from?

Answer: A combination of two previous band name ideas: Japanese Scream and Pleasure Droids

Murder by Death

Murder by Death took their name from a 1976 movie and formed in Bloomington, Indiana and now call Louisville, Kentucky home. They don’t lend themselves to one musical label. You could call them indie-rock, alt-country, or folk rock. Americana may be the best one-word description for they do represent the confluence of traditional American music. Their instrumentation of banjo, mandolin, accordion, violin, and particularly the defining cello, cements that Americana feeling.

They released their first album in 2002 and kept up the pace every couple years and made their eighth record in 2018. Adam Turla (guitar, vocals) and Sarah Balliet (cello, keyboards) are the two founding members still with the band. (They also got married along the way.) His emotive baritone and her warm, yet vibrant, cello are the essence of the band. That essence is shining bright on the latest release, The Other Shore.

“Bloom” was my introduction to the band. I was hooked immediately with its bouncy intro, interplay between guitar and strings, and Turla’s story about darkness and blooming. “I Have Arrived” is another upbeat number and jubilant in its message of reunion. The first song “Alas” rings of the heartland, both sorrowful and moving, speaking of, “I need to stay, but alas, I must go.” “True Dark” is a lofty song despite its theme of darkness.

I really like this. It’s a different band for my collection. “Americana” is often too country, too folky, or too much violin for me. Murder by Death blends traditional music with uplifting rock and the vocals, lyrics, and cello instill a range of emotions.

D² Rating ◼◼◼◼☐

Trivia ? – Murder by Death has an annual tradition of playing a show at the hotel in Colorado made famous in The Shining. What is the name of the hotel?

Answer: The Stanley Hotel

https://www.youtube.com/watch?v=nD1x0WzJvSw

Remember listening to AM and FM radio? Probably not for some of you. For me growing up in L.A., that was my initial introduction to music (along with my older brother’s record collection). Starting with AM’s KHJ Top 40, followed in high school by the cooler FM stations KLOS, KMET, and later the famous KROQ, for the new wave. College in Santa Barbara brought KTMS and in San Luis Obispo the college radio station KCPR (where “Weird Al” Yankovic got his start). How times have changed. As in all things watched and listened to, streaming services have brought sharing, choice, and quantity to the consumers. There are still options for listening to the radio; they’re just in different formats. Satellite and Internet radio deliver commercial-free music in a number of musical genres, both old and new tunes.

Internet Radio

My first exposure to Internet radio was indie rock channel WOXY.com, originally based in Oxford, Ohio, later in Austin, Texas. In 2004, they became one of the first commercial radio stations to transition from land-based FM to Internet-only. They had to shut down in 2010 due to financial difficulties. I was sorry to see them go. They introduced me to lots of new bands: Deerhunter, Twilight Sad, We Were Promised Jetpacks, Civil Twilight, and lots more.

I luckily discovered Strangeways Radio shortly thereafter. Another indie music channel that actually started out online. They were a great source of new music and still are under a different arrangement (they ended their online station in 2015). They search streaming services, such as Spotify and SoundCloud, and offer songs in multiple formats. They provide daily blogs about new music, Spotify playlists, and Mixcloud mixes. Indie Rock/Pop, Post Punk, New Wave, Dark Wave, Shoegaze, and more are part of the package.

SomaFM first formed in San Francisco in 2000 and is still running as an online channel solely supported by donations from listeners. Congratulations. They have over 20 unique channels to choose from, including Indie Pop Rocks, Heavyweight Reggae, Left Coast 70s, and Underground 80s. My favorite has always been Bagel Radio (“What an alternative rock station should sound like.”). Right now they’re playing Yo La Tengo. Today’s playlist included Thee Oh Sees, Charlatans U.K., Guided by Voices, and The Doors and Deep Purple. They mix it up!

Satellite Radio

SiriusXM is no secret to anyone. It’s what many of us listen to when we’re driving around. My go-to channel is Sirius XMU (channel 35, “emerging artists, indie classics”). I’ve discovered tons of new music here, including Dry Cleaning and Districts (see previous posts) and Murder by Death and Japandroids (see upcoming post). Although, they are venturing a little into rap and pop (Run the Jewels, Billie Eilish), they are still a great source for new indie music. As you’d expect from the name, Lithium (channel 34), is the place for Nirvana, Stone Temple Pilots and the best of ’90s grunge and rock. First Wave (Channel 33) is ’80s new wave central, including all those one-hit wonders. I just wish they’d dig a little deeper. I can only hear “Friday I’m in Love,” “How Soon is Now,” and “The Killing Moon” so many times.

SiriusXM includes lots of choices for classic rock. First, if you’re a die-hard super fan of a certain group you’re in luck: Elvis Presley, Beach Boys, Beatles, Bob Marley, Pearl Jam, Springsteen, Grateful Dead, U2, Tom Petty, and more all have a channel devoted to their music. There’s also a channel (310) that only plays songs from Rock & Roll Hall of Fame inductees (look for my upcoming post on this year’s awards ceremony in early November). For all-around classic rock, Classic Vinyl (Channel 26) and Classic Rewind (Channel 25) have you covered. The are very similar but “Vinyl’s” focus is ’60s and ’70s, while “Rewind” picks up the timeline with the ’70s and ’80s. And, speaking of going a little deeper into song selection, Deep Tracks (Channel 27) does just that. For instance, instead of “Stairway to Heaven” for the zillionith time, they will play “Going to California” or “Four Sticks” off Zeppelin’s fourth album. They also play singles, B-sides, and concert recordings.

It’s really cool that I’m still turning on the radio to a couple of DJs I listened to in the ’70s and ’80s. Jim Ladd was on KLOS and KMET through the ’70s and early ’80s. Since 2012 he has hosted the Freeform Radio show on Sirius XM Deep Tracks. Richard Blade was a KROQ DJ from 1982 to 2000 and has been a prime presence on Sirius XM First Wave since 2005. A musical full-circle of life!

Trivia ? – Who is usually credited with the invention of radio?

Guglielmo Marconi in the mid 1890s. (Thunderstruck by Erik Larson is a great read (as are all Erik Larson books) weaving Marconi’s wireless communication breakthrough with the story of a contemporary murderer.)

Remember Husker Du? Sugar? Did you know Bob Mould has 15 studio albums, including recent releases. He is indeed still rocking…loudly, and even bringing sunshine to his music.

Husker Du formed in 1979 in St. Paul with Bob Mould on guitar/vocals, Grant Hart on drums/vocals, and Greg Norton on bass/vocals. After a few early punk albums, they released Zen Arcade in 1984, still with a loud punk edge, but with some softer moments. Along with alternating vocals between Mould’s baritone and Hart’s higher pitch, the melodic punk was a unique and irresistible combination. Zen Arcade consistently lands on the lists of the ’80’s best albums. The band would continue to balance melody and noise in four more LPs until their break-up in 1988. Take a listen below to “I Apologize” off of one of those albums, New Day Rising.

The first of Bob Mould’s solo stints followed in 1989 with Workbook. It’s quite a change. The acoustic guitar is the instrument of choice with some nice mandolin and cello, as well. It’s a personal, beautiful sounding album and a career highlight. The single “See a Little Light” and “Brasilia Crossed with Trenton” are noteworthy songs.

After an additional solo album in 1990, Bob Mould formed another rock band, Sugar. Copper Blue in 1992 would turn out to be the best-selling album of his career. It’s a knockout rock album from start to finish. “A Good Idea,” “Changes,” “Helpless,” and “Hoover Dam,” are all so catchy you can see why the album is regarded as one of the best of the ’90s. Check out “A Good Idea” below. There was one more Sugar album before he went back to a solo career.

In the late ’90s and early-mid 2000s, there were more solo albums, a break, and even a WTF dance/electronica experiment. In 2008, Bob Mould started a remarkable string of consistent work by releasing a new album every year or two right up to 2020. Take your pick: District Line, Life and Times, Silver Age, Beauty & Ruin, Patch the Sky, Sunshine Rock, or Blue Hearts. You can’t go wrong with any of them; all are fast, guitar-oriented rock. This era of work is so consistent it’s difficult to distinguish one from another. They do all sound the same. That’s why I thought I’d focus on the one that is a little bit refreshingly different: Sunshine Rock. Even the title foretells something a little lighter and brighter.

In addition to the title song, Sunshine Rock includes “Sunny Love Song” and “Camp Sunshine.” Indeed, a softer shining sound and songs about summer love and summer camp. Keyboards, strings, and cello accompany the usual buzzsaw guitar providing some pleasing melodies. There’s still plenty of surging, loud guitar on the punk “I Fought” and rockers “What Do You Want Me To Do” (listen below) and “Irrational Poison.” There’s also a trashy cover of Dutch band Shocking Blue’s “Send Me a Postcard.” (Shocking Blue…mostly known for the 1969 classic song “Venus.”)

I saw him in concert in March, 2019 at The Teragram Ballroom in L.A. First time for the artist and the venue. It was a non-stop deluge of pedal-to-the-metal guitar. At 61 years old (in 2021), the guy is still a punk rocker. The wall of guitar sound was LOUD. I think it surpassed my heretofore loudest concert: Boston in 1976 at the Arlington Theater, Santa Barbara (with Sparks as the opener now the subject of a rockumentary). I typically don’t wear earplugs, but something must have told to me to for Bob Mould.

D² Rating of Sunshine Rock ◼◼◼◩☐

Trivia ? – Bob Mould has two stars (one for his solo work and one for Husker Du) on the outside mural of the famous rock nightclub in Minneapolis. What is the name of this influential venue?

Answer: First Avenue

Cover songs are a fundamental part of rock ‘n’ roll history. Think about your favorite songs. Chances are there’s a cover song (or two) on the list. Some cover songs serve as the introduction to new bands that catapult their careers. Some become iconic songs in their own right surpassing the impact of the original. Some mirror the original closely, while others are a completely new take on the song. Many bands have included cover songs as a mainstay in their concert set lists.

Here’s my top 20:

#20 – “La Bamba” by Los Lobos (1987). Ritchie Valens made this Mexican folk song into a rock ‘n’ roll number in 1958. Los Lobos had a huge hit with the song in 1987 by incorporating traditional Mexican music into an updated, popular rock sound. The song won the MTV Best Video Award which featured Lou Diamond Phillips (who played Valens in the film named after the song).

#19 – “Nothing Compares 2 U” by Sinead O’Connor (1990). This Prince song was the perfect vehicle for Sinead O’Connor’s voice. It’s soaring beauty transforms the song and became her breakthrough worldwide hit. At first the song didn’t quite make my list, but I gave it another listen. Plus, it’s my wife’s favorite.

#18 – “Wichita Lineman” by Ghost of an American Airman (1993). Glen Campbell made this Jimmy Webb tune into an American classic in 1968. These Irish rockers straightforward version reminded me of how timeless the song is in 1993. Take a listen to “Bring on the Mystery” or “When the Whistle Blows” to hear how the band sounds when they’re playing their own songs.

#17 – “I Don’t Need No Doctor” by Humble Pie (1971). Ray Charles turned this song written by Nick Ashford, Valerie Simpson, and Jo Armstead into a hit in 1966. Humble Pie remade the soulful original into a nine-minute rock jam on the live album Performance Rockin’ the Fillmore, highlighted by the raspy vocals of Steve Marriott and guitar by Peter Frampton.

#16 – “Road Runner” by the Sex Pistols (1979). Jonathan Richman first recorded this song in 1972, but its inclusion on the long-delayed 1976 debut album with his band The Modern Lovers (containing future members of The Cars and Talking Heads) put the song on the radar. The Sex Pistols made a mess of it on their The Great Rock N’ Roll Swindle album with Johnny Rotten leading off with “I dunno the words.” This may not be worthy of an outstanding covers list, but I’m putting myself back in the punk days when Rotten’s snarling “road runner, road runner, faster miles an hour” was mimicked…in a good way.

#15 – “Soul Kitchen” by X (1980). X took this organ-y song by the Doors and punked it up on their classic 1980 debut album. It’s a fitting tribute since the Doors keyboardist Ray Manzarek is at the helm producing the album.

https://www.youtube.com/watch?v=8_ZZf4qN07s

#14 – “I Know (I’m Losing You)” by Rod Stewart (1971). Rod Stewart borrowed a song from Motown (The Temptations) and changed it into an extended jam on the exemplary album Every Picture Tells a Story.

#13 – “You Really Got Me” by Van Halen (1978). Van Halen used this Kinks’ standard as its first single and it launched them to early fame. The song detonates from the first moment and it’s an early showcase for David Lee Roth and Eddie Van Halen.

#12 – “I Fought the Law” by The Clash (1979). This song was first made popular in 1965 by the Bobby Fuller Four, but was written in 1958 by Sonny Curtis and recorded in 1959 with The Crickets when he replaced Buddy Holly in the band. The song is a perfect vehicle for The Clash’s rebellious attitude and Joe Strummer’s hoarse pleadings. (Honorable Mention: The Clash version of “Police and Thieves” by Junior Murvin)

#11 – “Johnny Was” by Stiff Little Fingers (1979). Stiff Little Fingers included this Bob Marley cover on their appropriately-named first album Inflammable Material. They would continue to visit reggae beats throughout their long career.

#10 – “Summertime Blues” by The Who (1970). The Who covered this Eddie Cochran number in 1970 on the definitive live album Live at Leeds and included it in their live sets for years to come. (An all-time concert experience for me: October 12, 2000, Cabo Wabo, Cabo San Lucas for Sammy Hagar’s annual birthday show on his “homecourt.” He calls for a special guest and John Entwistle lumbers down the stairs and joins him and the band for three songs; “Summertime Blues” being one of them. A packed, sweaty, tequila-fueled communion.)

#9 – “Woodstock” by Crosby, Stills, Nash, and Young (1970). CSN&Y released their cover in 1970 the same year that Joni Mitchell put out her original. Where Joni’s song is a stark piano solo, CSN&Y led with Neil’s guitar, Stills’ vocals, and the band’s exquisite harmonies to craft an enduring rocker from their Deja Vu album.

#8 – “Take Me to the River” by Talking Heads (1978). Talking Heads kept the soul of the Al Green song, but made it their own – pop, punk and quirky . The band’s first hit.

#7 – “Let’s Spend the Night Together” by David Bowie (1973). Bowie takes this Rolling Stones song from the 60s to the 70s , from a spacey rocker to a lascivious glam fest. (Honorable Mention: Bowie’s Pinups album also from 1973 made up entirely of covers of English bands from the mid-60s. Bands covered include the well known (The Kinks, The Who, The Yardbirds) and the not so well known (Pretty Things, Easybeats, and Merseys).

#6 – “Respect” by Aretha Franklin (1967). Talk about a cover song! Aretha made this Otis Redding tune a powerful anthem for the ages. Her signature song and always high on the best song of all time lists.

#5 – “Hurt” by Johnny Cash (2002). This one is nuts. Johnny Cash covering Nine Inch Nails. Achingly profound.

#4 – “The Man Who Sold the World” by Nirvana (1993). Nirvana puts the acoustic spin on this Bowie track giving it a whole new dimension. A highlight from the MTV Unplugged in New York sessions.

#3 – “All Along the Watchtower” by The Jimi Hendrix Experience (1970). Many Bob Dylan songs have been covered. This may be the best. The opening lyrics of, “There must be some kind of way outta here,” followed by the epic guitar. Dylan’s lyrics and Hendrix’s guitar. Classic. I know I tend to overuse the term “classic,” but this song deserves it.

https://www.youtube.com/watch?v=qmGFFJtkDXA

#2 – “(What’s So Funny ‘Bout) Peace, Love, and Understanding” by Elvis Costello & the Attractions (1979). I love this song! Elvis Costello pumps up the beat on this Nick Lowe song. A rollicking peak of his live shows for 40 years.

#1 – “So You Want to Be a Rock ‘n’ Roll Star” by Patti Smith (1979). This has always been my favorite cover song and I’m sticking to it. Patti Smith grabs this 1967 folky, jangly Byrds song and supercharges it into a punk masterpiece.

https://www.youtube.com/watch?v=PxHDxmEnY6Q

Please share some of your favorite covers.

WHO. At this point in their career, what more do they need to say. The WHO album came 13 years after Endless Wire which came 24 years after It’s Hard. While, the Who were a touring force over this time period, they only produced two albums in 37 years. How do these two later albums hold up against their canon which includes some of the greatest all-time rock albums.

To begin, we should start with 1982’s It’s Hard. It’s a pretty good record, including the opener “Athena” (“it’s a girl, it’s a girl”), an excellent rumbling John Entwistle number, “Dangerous,” and the concert anthem “Eminence Front.” Most reviews at the time had it as an improvement over the previous release, Face Dances. So in 2006, Endless Wire was met with curiosity and hesitancy. Twenty-four years is a long time (although as chronicled in other parts of this series, the Psychedelic Furs and Ride went 29 years between albums).

Was it on purpose that the first song on the first album in 24 years harks back to their heyday, specifically “Baba O’Riley?” I don’t know, but the opening synths on “Fragments” do just that (no matter how many times we’ve heard it, especially in concert, the intro of “Baba O’Riley” is still a magical moment). Endless Wire is divided in two; nine songs in the three-to-four-minute range and then a ten-song mini-opera, Wire & Glass. It’s a hit-and-miss album overall. Several songs ring true Who with the Pete power chords alternating with acoustic and Daltrey’s classic lead vocals, showing a more growly side after years of singing the band’s challenging tunes. These songs include, “Mike Post Theme,” “Black Widow’s Eyes,” “Two Thousand Years,” and “It’s Not Enough.”

The mini-opera is part of a larger rock opera Pete was working on at the time. It has its moments for sure, but the songs are mostly in the one-to-two-minute range. The ironically-named “We Got a Hit” is indeed a good song, but it clocks in at 1:18 (check out the video at the end of the post). You want it to keep going (they must have realized this, for on the deluxe CD edition there is an extended version, along with a DVD, Live at Lyon). “Mirror Door” rocks with that WHO controlled fury and is the meatiest song at over four minutes. The last song “Tea & Theatre” has become their closing song on the recent tours. It’s gentle, and in concert Roger and Pete actually sip some tea and reminisce. (They’ve come full circle since the smashing guitars days.) “The story is done, it’s getting colder now, a thousand songs still smolder now, we played them as one, and we’re getting older now.” “Before you walk from the stage, will you have some more tea?” Sounds like the swan song, doesn’t it?

D² Rating ◼◼◼☐☐

That’s why WHO in 2019 was such a surprise. Double that, when I heard the first single (and first song on the album), “All This Music Must Fade.” The first words you hear from Roger are, “I don’t care, I know you’re going hate this song.” For me, just the opposite! The song is a rousing welcome back (listen to it below). It would be almost impossible to maintain this high level throughout the album (that’s what makes Who’s Next such a classic; one of the few albums ever with no weak songs.) The next song (and second single) “Ball and Chain” is a bluesy stomp about Guantanamo Bay and continues the fine start to the album. Other highlights include the grand, lush “Hero Ground Zero” and another return to synths in “Street Song.” “Rockin’ in Rage” exemplifies the ageing theme of many songs (or let’s face it, when you’re 75, dying): “Well past my prime, denying the curtain, waiting on time.” A few songs that drag the album down are Simon Townshend’s acoustic contribution “Break the News,” “I Don’t Wanna Get Wise,” particularly the vocoder effects, and the last song, “She Rocked My World;” a completely out of place lounge-y, tango-like number.

As on Endless Wire, the remaining two Who are ably supported by Zak Starkey on drums (yes, son of Ringo) and Pino Palladino on bass. Joey Waronker (drums) and Heartbreaker Benmont Tench (keyboards) complement the band on Who. Pete and Roger were never together in the studio. That just seems wrong, but is a clear sign of the times that creative team efforts can be accomplished separately and remotely. Plus, as has been well documented, the two have a testy relationship at times. Pop Art fans will enjoy the collage cover, designed by Peter Blake, who also did the Face Dances cover, and will always be known for Sgt. Pepper’s.

Who sounds like the Who, but isn’t just a re-packaging of earlier sounds. It’s a varied, contemporary work that is influenced by their past, while reflecting the present (yes, a perfect embodiment of the POPTRANSMISSION slogan). Do 75-year-olds making music together for over 50 years get a ratings break when they continue to surprise us in the sunset of their careers? Maybe. They deserve it.

D² Rating ◼◼◼◩☐

Trivia ? – What was the Who’s first single?

Answer: “I Can’t Explain” in 1965

Trivia ? – (This band deserves two questions) What is the Who’s highest charting single in the U.S.?

Answer: “I Can See for Miles” at #9 in 1967

https://www.youtube.com/watch?v=x-3RpxakYi8

https://www.youtube.com/watch?v=9G2FnqydvQg

I like reggae. It really does hit the spot sometimes, especially on hot summer days. Its repetitive nature, however, makes it a small dose diversion for me. But it’s repetitive by design. The staccato chords of the guitar (or piano) playing on the offbeat of the dominant rhythm section. It’s instantly recognizable. So, while it may sound much the same, that’s the very nature of the music. Hundreds of reggae songs use the same beat.

Reggae is quite an experience live in concert. In addition to the guitar, bass, and drums, horns are often part of the mix, along with backgrounds singers, and keyboards. The band is often 10 members strong. Long dreadlocks, shades, colorful clothing, and a spiritual vibe. It’s a visual and audio spectacle. In a live music setting, that constant rhythm engulfs you and you can’t help but get into that bouncy trance. So different from a rock concert.

Reggae originated in Jamaica in the late 1960s, evolving out of ska and rocksteady. Bob Marley and the Wailers went through this musical transition in their early days and became the international symbols for reggae with the release of Catch a Fire and Burnin’ in 1973. On the heels of the The Harder They Come film starring Jimmy Cliff in 1972, the Wailers became the most successful reggae band ever by embodying the traditional roots style emblematic of reggae music in the 1970s. They became even more popular when Eric Clapton covered their “I Shot the Sheriff” in 1974. Bunny Wailer and Peter Tosh, both Wailers, went on to thriving solo careers. Burning Spear, Gregory Isaacs, Culture, Black Uhuru, Dennis Brown, The Mighty Diamonds, and Toots and the Maytals, are some of the well-known artists from this heyday of reggae.

Their influence was immediate and has never waned. British punks discovered reggae (my two favorite punk covers: Bob Marley’s “Johnny Was” by Stiff Little Fingers and Junior Murvin’s “Police and Thieves” by The Clash.) UB40 and Steel Pulse brought the reggae tenets from Kingston to London. Dancehall became a different style of reggae in Jamaica. Latin America artists embraced reggae and modified it for Spanish-speakers with hip-hop, such as reggaeton from Puerto Rico. Numerous white bands have delivered a reggae sound draped in a California rock style, such as Rebelution, Iration, The Expendables, and Slightly Stoopid.

If you have a chance to see one of these roots reggae groups in concert go for it because we are losing the classic reggae generation. In fact, we’ve pretty much lost them. Bob Marley and Peter Tosh died way too young. Gregory Isaacs, Bunny Wailer, and Toots Hibbert left us more recently. Those that are still alive are well into their 70s. Powered by Jah and ganja, reggae is a unique musical form that embodies Rastafarianism’s cultural and spiritual beliefs. It’s remarkable that a small island in the Caribbean can create such a lasting and influential musical genre.

Below, I’ll offer a couple of bands, that while both have made significant contributions to reggae, they are not as well known as Marley or Toots. I’ll give a little background, highlight an album, provide a video, and a ticket stub from a concert for each group. But first, the trivia question:

Trivia ? – What is the best-selling reggae album of all time?

Answer: Legend, a greatest hits collection by Bob Marley and the Wailers, released in 1984.

Wailing Souls

Wailing Souls first formed in 1966 in Kingston as The Renegades, becoming Wailing Souls in 1968. The two founding, constant members Winston “Pipe” Matthews and Lloyd “Bread” McDonald apprenticed under reggae legend Joe Higgs, who trained Bob Marley. The early 80s was their peak as roots reggae standouts with album releases Fire House Rock, Inchpinchers, Wailing, and On the Rocks. They’re known for their four-part harmonies which are wonderful to hear in person. Fire House Rock is probably their best record with the somber chants of “Kingdom Rise Kingdom Fall” and sing-along vibe of “Act of Affection.” I highlight it in this post with the title song.

D² Rating ◼◼◼◩☐

Israel Vibration

“Wiss,” “Apple Gabriel,” and “Skelly,” met as children in a rehab clinic, all victims of the polio epidemic that spread through Jamaica in the 1950s. (I’ll never forget seeing them in 2010; the two lead singers singing and dancing with their arm crutches.) They formed Israel Vibration in the early ’70s. After a few albums of growing success, they moved to New York City in 1982 for medical care and the pursuit of solo careers. After striking out on the solo circuit, they discovered there was still interest in them as a band. They got back together and released a comeback album of sorts in 1988, Strength of My Life. “Payday,” “Perfect Love and Understanding,” and the title track are noteworthy songs. The album is spotlighted here with the bouncy “Cool and Calm.” (More sad news for reggae fans…”Apple Gabriel” died in March, 2020 of a stroke and longtime polio infections.)

D² Rating ◼◼◼◩☐

As we return to attending concerts, I’m sure we’ve all looked back at what was our last concert. Mine was Courtney Barnett at the Fremont Theater on February 1, 2020. I saw Elton John for the first time in September, 2019 at the Honda Center in Anaheim. What a show in the true sense of the word. But Elvis Costello and Blondie was the most memorable concert for me in recent memory, not only for the music, but the special circumstances surrounding the event.

My brother, who lives in the Seattle area, was having a big birthday in August, 2019; one of those that ends in zero. I thought an experience together would be a better present than more stuff or gift cards. So, I took a look at concerts in the area. It didn’t take much searching for me to land on the Chateau Ste. Michelle website and its solid lineup of summer concerts. Elvis Costello and Blondie on August 10, 2019 in Woodinville, WA. That could work! Next thing I know I’m closing the deal on Ticketmaster. Third row, dead center. This is gonna be good.

Blondie opened the show with “One Way or Another.” A classic from Parallel Lines. The set included four other songs from that breakthrough album: “Hanging on the Telephone,” “Sunday Girl,” “Fade Away and Radiate,” and “Heart of Glass.” The love-fest moment of the show was “The Tide is High.” They even threw in a cover of Lil Nas X’s “Old Town Road.” The finale was the new wave pop perfection of “Dreaming” and the moving chorus lines, “dreaming, dreaming is free.”

It was my first time seeing Blondie! One of those “better late than never” moments. I’m so glad I did. I didn’t realize that Deborah Harry was 75 years old! She looked good and sounded awesome. The band also included two other original members, Chris Stein on guitar and Clem Burke on drums. Blondie is still recording with album releases in 2011, 2014, and 2017. I love it when bands like this are still making and performing new music and not totally relying on the hits from their heyday. They included the song “Fun” from 2017’s Pollinator in their set to prove the point.

It’s always fun to look back at the previous times you’ve seen an artist in concert. This was my fourth Elvis Costello concert: the Armed Forces tour at the Arlington Theater, Santa Barbara (2/14/79), the Spike tour at the Santa Barbara Bowl (9/10/89), and the solo Secret, Profane, & Sugarcane tour (4/12/10) at the Performing Arts Center, Cal Poly San Luis Obispo.

When Elvis hit the stage it was on of those concert moments we’ve all had; about 10 seconds in you say to yourself, “oh man, this is going to be frickin’ great”. “Pump it Up” as that first song certainly lived up to its name. Also performed off the This Years Model album were “This Years Girl” and (“I Don’t Want to Go to) Chelsea” (except on my U.S. edition album which didn’t contain “Chelsea” because it was “too British!” What?) He revisited his classic debut My Aim is True with “Watching the Detectives,” “Alison,” and (“The Angels Wanna Wear My) Red Shoes.” He had a good mix of slower and faster songs. He put down the guitar for a spell and sat at the piano accompanied by two soulful female singers. “Clubland” and “I Can’t Stand Up For Falling Down” were a couple more highlights.

The back-up band was The Imposters which is basically The Attractions without the bass player. They propelled the music to a lofty place and never missed a beat. They also played a couple songs from the most recent album, 2018’s Look Now. My favorite Elvis song, (“What’s So Funny ‘Bout) Peace, Love and Understanding,” (written by Nick Lowe) put a perfect bookend on the evening for me.

What a great concert! But you know, I’ve been to lots of great concerts. Some are extra special due to the environment and company. Sharing it with my brother and his wife. Flying up to beautiful Seattle. Going to a new venue, this time an always inviting winery amphitheater. Sitting right in front of Deborah and Elvis. Having some really good photos to remember it by. And yes, seeing two iconic artists from the 70s still going strong.

D² Rating ◼◼◼◼◼

Please share a special concert of yours, or if you’ve got tickets to a show this summer, let us know.

Trivia ? – What is Elvis Costello’s real name?

Answer: Declan MacManus

One of my favorite things to do in life has always been a trip to the local record store. As an early teen it was DoReMi on Pico Blvd. in West L.A. As a high-schooler it was the original Rhino Records on Westwood Blvd. near UCLA. At UCSB, it was Morninglory Records in Isla Vista and buying punk/new wave 45s at Rockpile Records in Goleta. And finally making a trip to Amoeba Records in Hollywood in the ’90s.

It is Boo Boo Records in San Luis Obispo that has been my record store destination for 40 years now. From 2004-2019 I worked close by so I could wander in more frequently. My routine of regular visits to the store is well established over the years. I never envisioned a world without it. Then came streaming music services. Music became something to easily share with others instead of owning and collecting a physical product. Then came COVID-19. As retail stores closed around the country how could Boo Boo’s hang on, especially with the ownership model of music fading so fast. Could we lose our local record store? Thankfully, no. Boo Boo’s was able to change with the times, adjust during COVID, and maintain their core principles of customer service. What better way to celebrate the upcoming Record Store Days and our local record store’s success, than to talk with Mike White, owner of Boo Boo Records.

DD: Mike, thanks for joining me today. Let’s hear the story of Boo Boo Records; the who, how, when, and where?

MW: My story and that of Boo Boo’s begins in 1974. I started at Cal Poly then and Ed Taylor and Glenn Forbes came up to San Luis Obispo that year. After selling records at swap meets they decided to open up a store. The first location was out by the Railroad. I would go into the store a few times a week to check out the new arrival used bin. After awhile they began to recruit me to start working there, but it wasn’t the right time. In ’78 they moved to the current location downtown and asked me again. I was still going to Poly, but in a better position, so I took them up on the offer. After graduating I stayed on as manger and became a partner in ’85. Those were really the halcyon days of the music industry.

DD: So, where did the name come from?

MW: That’s a tightly held secret.

DD: Ah, I like it! I won’t say anything.

MW: (Silence)

MW: Again, a tightly held company secret.

DD: Wait, you’re serious, aren’t ‘ya? You’re not going to tell me. OK, it’s good to have some mysteries in life.

MW: Well, all I can say is that it has to do with the Cosmic Chicken. That’s what is on the classic T-shirt with the lettering HOCC, Home of the Cosmic Chicken.

DD: I’m learning things today.

MW: Yeah, this is some real 70’s stuff here. That’s Cosmic with a “Z” by the way.

DD: OK, let me correct the record, Cozmic.

DD: I know you’ve had some good in-store live shows over the years. What are some notable acts?

MW: Dave Alvin, Jack Hammond, Jackie Green, and Jack Johnson. Jack Johnson had a lot of fans then, but he wasn’t the huge star yet that went on to headline festivals. We had 200 people in the back room. Matt Costa always drew a big crowd, too. The biggest show that didn’t happen was Sublime. We had them scheduled right before lead singer, Bradley Nowell, died. They were giving us reports of their progress getting up here while we had a big line waiting outside. Turns out they never made it out of L.A. and he died shortly after.

DD: Talk a little about the children’s reading time you had for years; I believe every Wednesday morning. What did you call those?

MW: We called it Music Time. We just celebrated the 20th anniversary before COVID-19 hit us. We started it when lots of us were having kids at the time, including our current Mayor Heidi Harmon.

DD: Yeah, I saw her back there in the store engaged with the kids. She did that for years, right?

MW: Yes, she’s been involved the entire time. It was really her baby; she was very influential in starting it. One of my favorite days in the store.

DD: Yeah, how can you not have a smile on your face with that going on in the back room?

MW: Yeah, for sure. It was also great to get Moms and kids into the store. People who maybe hadn’t come into a record store for years. The event broke down barriers and got the kids in early in life. They loved the posters all over the place.

DD: What’s a big adjustment for you over the years? I’m thinking the introduction of CDs at the expense of vinyl, and of course, when streaming and sharing took over from owning a physical product.

MW: The major adjustment for CDs was reorganizing the bin space. CDs created a huge spike in the business. A great format and way more manageable.

DD: I’m still buying them.

MW: Yeah, me too.

MW: We were up against the big box stores, too. How to compete with the buying power of a Best Buy? It made us up our game and drill down to what’s important to our customers. It’s customer service that sets us apart. Then Amazon came along. That was a big one. It was a double-edged sword. On one hand, how do you compete with that? On the other, we became a seller on Amazon. We started our online presence there. Kind of a “if you can’t beat them, join them” type thing. And of course, the advent of streaming was concerning. We had to adjust.

DD: More merchandise?

MW: Yes, we always had accessories like blank cassette tapes, posters, and T-shirts, but we had to beef that up and make them a true part of the store. We also started carrying iconic gift items like bobbleheads. I love bobbleheads.

DD: I’ve got a couple collectible ones.

MW: The upside of streaming services is that they exposed so many more people to music. We offer an environment with a tactile, personal experience to enjoy music. We’re a community hub with excellent employees and great community support.

DD: What were the biggest challenges in dealing with COVID-19 and the uncertainty and everchanging restrictions?

MW: It was a very scary time which forced some adjustments. We had to close our doors on March 19th and were able to reopen on June 1st at a reduced capacity. We had to figure out how to pay rent and who to keep on as we knew we’d have to lay off some folks. The good news is that everybody is back. We’re open for business now until 5:00 p.m. instead of until 8:00 p.m. or 9:00 p.m. like we were before. This helped us get our staff back. It’s also a single shift as opposed to the double shift for the later store hours which presents some staff challenges. One positive that came out of all this was our online game really increased. Lots of people bought gift certificates to help us also. Our online services are still there and are now a part of our business. We were also able to get a PPP loan which really helped, as well. We’re pretty much back to normal now. Spring break was extraordinary.

DD: Wow, great to here that! What’s your outlook for the future – does vinyl keep growing, do CD sales keep shrinking, and what’s this I hear about cassette tapes making a comeback?

MW: Vinyl is still on the upswing. CDs are hanging on, but at some point it may not be worth it to keep dedicating the floor space for them. Used CDs (and DVDs) do keep coming in and we continue to sell some. Cassette tapes are for real. It’s a niche thing. I just bought about 200 personal mixed tapes from a guy. It’s like a 70’s – 90’s history of rock and roll with neatly printed song lists. I put them out on the floor for $1 and they’ve been selling.

DD: Any special plans for Record Store Day this year? I understand there are are two days this year: June 12th and July 17th.

MW: You’re correct on the dates. RSD will be very different again this year, similar to the what we had to limit ourselves to last year. We can’t do it up as a true Record Store Day with the live music, shirt screening, and other special activities. It’s typically a joyous all day-celebration of the local record store. This year it will have to be limited to the vinyl releases. There were three record drops last year and this year as we said they’ll be two. These are limited-edition only-on-vinyl releases made available on that day. We’re expecting a line around the corner again this year. We’ll be open early at 8:00 a.m. with five people allowed in at a time for five minutes each to shop in the RSD limited-edition vinyl section.

DD: Ok, let’s hope we’re back to the RSD party next year. Well Mike, that’s the questions I had for you today. Thanks for your time. Is there any other little story you’d like to share?

MW: We had Bruce Springsteen in the store.

DD: Wait, what?!

MW: Yeah, it was a rainy day and he had on a hat pulled down low. The two employees at the front counter recognized him and came back to me and said, “Mike, we think Bruce Springsteen is in the store.”

DD: Oh man, this is great! I’m picturing that moment.

MW: Yeah, he has family in the Bay Area and was on the road from there. He said he asked someone on the street here if there was a record store around. They pointed him to Boo Boo’s where he parked across the street and came in.

DD: I’m loving this!

MW: He spent 30 minutes in the store and bought about 10 cassettes – the Harder They Come soundtrack, early Rod Stewart, Woody Guthrie, and other folky stuff. This was right before the Nebraska album.

DD: Wow, maybe his visit to Boo Boo’s informed that album.

MW: That’s what I’ve always thought and I’m sticking to it.

DD: Nothing can top that story. What a way to end. Thank you Mike!

Check out your local record store on Record Store Day and pick up a collector’s album by one of your favorite artists: here’s a link to the 2021 RSDs list of album releases.

https://recordstoreday.com/SpecialReleases

The B52s. What comes to mind right away? Fun? Dancing? Party? The Beach? Outer Space? All of the above? Yes, in honor of coming out of our COVID shells and the beginning of summer, what better band to celebrate with than the B52s. So, let’s go to the Funlex, put our Hot Pants on, and get Pumping. It’s The Jetsons meet Gidget. It’s Supercalihalitosis. It’s the B52s!

The band formed in 1976 in Athens, GA. Their friends R.E.M started up there a few years later really putting this college town on the musical map. The original line-up was Fred Schneider (vocals), Kate Pierson (vocals), Cindy Wilson (vocals), Ricky Wilson (guitar), and Keith Strickland (drums). Their self-titled debut in 1979 started the party right away with its first single “Rock Lobster.” How do you describe that song? That’s a hell of a beach party. The album introduced the band’s strange sounds and Fred’s deadpan singing rotating with the luscious voices of Kate and Cindy. The second album Wild Planet and its lead single “Private Idaho” was met with similar exuberance. (The first two albums were recorded at Compass Point Studios in the Bahamas, highlighted in my previous post on the Talking Heads.) The band took a hiatus after the death of Ricky Wilson in 1985 returning in 1990 with Cosmic Thing. With the party-house anthem “Love Shack” and the wonderful “Roam”, it was a big success. The follow-up in 1992, Good Stuff, had its moments (for me, “Revolution Earth”), but was somewhat of a letdown and missed having Cindy Wilson on board. It took 16 years for them to record again. So, not quite 20 years (I had to change the title of this article in the series), but still a long layoff from recording.

The name and cover photo of the 2008 album, Funplex, lets you know right away that the B-52s never left. (While they had a long layoff from the studio, they have continued touring throughout the years.) Song titles, such as “Hot Corner,” “Love in the Year 3000,” “Dancing Now,” and “Keep This Party Going” are proof that they are still their quirky, spacey selves. Would we ever really want this band to change? The highlight for me is the dreamy bliss of “Juliet of the Spirits” and its soaring female vocals with Cindy back in action. I love the cool, 60’s vibe of “Deviant Ingredient.” Keith Strickland shines on guitar, particularly “Ultraviolet,” “Too Much to Think About,” and “Keep This Party Going.” Originally the drummer, he switched to guitar after Ricky Wilson died. The off-beat rhythms and tag team of Fred’s nasal yelps and the ladies’ smooth harmonies are the dominant features of the band. This release reminds you that the unique guitar sound from Keith adds yet another layer to their distinctive music. If you like the B52s, but haven’t thought much about them since the 80s or 90s, pick up Funplex and let the summer begin. Listen to “Juliet of the Spirits” below as a good teaser.

D² Rating ◼◼◼◩☐

Trivia ? – Kate Pierson has made some memorable guest appearances, most notably several songs with R.E.M. What song of Iggy Pop’s does she sing on (the song became the biggest commercial hit of his career)?

Answer: “Candy” off the Brick by Brick album

Shoegazer. A name given to bands from the U.K. in the late 1980s and early 90s who stood motionless during live shows with their heads down due to heavy use of foot pedals. The bands were characterized by an ethereal mix of obscured vocals, distorted guitars, and feedback. Their music was a LOUD blur of sounds where the vocals or instruments did not stand out from one another. Major influencers on these bands were Jesus and Mary Chain (these guys seem to embody exactly what I’ve just described as shoegazer, so there’s no fine line), Cocteau Twins, The Cure, and Siouxsie and the Banshees. You can hear these influences in bands Slowdive and Lush. My Bloody Valentine’s 1991 Loveless album is considered the epitome of the shoegazer movement. It sounds like a warped record on some songs in a dreamy-loud dynamic. I have never seen them live, but their reputation is no-earplugs-are-good-enough loud. (MBV also went 20+ years between Loveless and 2013’s m b v album.) If Loveless is genre defining, then Ride’s 1990 Nowhere is the next best example.

Ride is Mark Gardener (lead vocals, rhythm guitar), Andy Bell (vocals, lead guitar, and keys), Steve Queralt (bass), and Loz Colbert (drums). They formed in Oxford in 1988 and Nowhere was their debut album. It was on many best-of lists and is one of The 1,000 Albums You Must Hear Before You Die. “In a Different Place” is a mellow beauty that turns into a rousing chorus. “Vapour Trail” was the single and most well-known song. Andy Bell (who would later join Oasis and Liam Gallagher’s Beady Eye) sings along with the song’s distinctive swirling two 12-string Rickenback guitars. 1992’s Going Blank Again is also a classic with my favorite Ride songs “Leave Them All Behind” and “Chrome Waves.” The bass intro and acoustic intro, respectively, make these enduring tunes.

Ride’s next two albums were not as well received. By 1996, the band was showing signs of an upcoming split as Tarantula was written half by Gardener and half by Bell, instead of the usual collaborative effort. The final indignity was when the label took the album off its catalog one week after it’s release. Ouch.

So, it was with cautious optimism that I purchased Weather Diaries when it came out in 2017. It had me right from the start with the electrifying riffs of “Lannoy Point” and chiming guitars on “Charm Assault.” “All I Want” is a mellow, echoing tune, while “Home is a Feeling” greets you right away with its lush title. And add another great California song to the list; “Cali” delivers summer images with Ride soaring along with a touch of The Byrds on top.

What makes Ride’s resurgence even more special is that two years later they showed that they still have more good music in them. Often, these comeback albums are a one and done. This is Not a Safe Place picks up where the band left off with a similar sound, but possibly a little more varied with guitar assaults, catchy pop, and synths all in the mix.

The shoegazing tag became a somewhat derogatory term. I’m sure the bands didn’t like the label, either. In the 90s, Grunge (Pearl Jam, Alice in Chains) and Brit Pop (Oasis, Blur) crowded out these bands from the music scene. Some played along with the new trends and went with a more pop sound (Lush) while others faded away (Pale Saints). Ride has evolved and broadened their sound while keeping the band’s underlying sonic textures. It’s a great story of redemption from the record label erasing your last album to a welcoming reception for Weather Diaries. Check out a couple tunes…

D² Rating ◼◼◼◼☐

Trivia ? – What was yet another Shoegazer band that went 20+ years between albums and returned with a stellar self-titled album in 2017?

Answer: Slowdive