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Beiträge
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Perfekter als die Vorbilder aus den sechziger Jahren oder müder Abklatsch?
Wie ist Eure Meinung zu Bands wie:
The Rain Parade
Plasticland
The Three O‘ Clock
The Vietnam Veterans
The Things
The Vipers
Game Theoryu.s.w. :zauber:
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Blog: http://noirberts-artige-fotos.com Fotoalbum: Reggaekonzerte im Berlin der frühen 80er Jahre http://forum.rollingstone.de/album.php?albumid=755Highlights von Rolling-Stone.de11 coole Zitate aus „Und täglich grüßt das Murmeltier“
So klingen die größten Schlagzeuger ohne ihre Band
Welches Equipment verwenden eigentlich…Pink Floyd?
Musikalische Orgasmen: 6 Songs voller Höhepunkte
Dies ist (laut Fans und Kritikern) die beste Folge von „Friends“
Studio-Magier: Die 8 besten Musikproduzenten
Werbungkenne ich alle nicht.
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rock 'n' roll..., deal with it!Der Platz für die Überschrift hat offensichtlich nicht ausgereicht.
Es sollte heißen:
Der Paisley-Underground und „Neo-Psychedelia“ der achtziger Jahre
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Blog: http://noirberts-artige-fotos.com Fotoalbum: Reggaekonzerte im Berlin der frühen 80er Jahre http://forum.rollingstone.de/album.php?albumid=755Rain Parade haben für mich drei geniale Platten gemacht. Galten bei Kritikern als Anwärter auf the next big thing, waren dafür aber wohl zu gut. Bessere Beatles/Byrds/Syd Barret angehauchte Musik hat und wird es wohl wahrscheinlich nicht mehr geben. Revolver trifft Fifth Dimension und die frühen Floyd Singles. Absolut hypnotized. Nach Auflösung dieser Genius Band lebte ihre Musik weiter in den Bands Opal aus denen später Mazzy Star wurde und Viva Saturn.
Plasticland haben auch sehr schöne Musik gemacht. Kenne zwar nicht alles, aber Wonder Wonderful Wonderland.
Ebenfalls unter diese Überschrift gehören die famosen Green On Red, besonders mit ihrem Frühwerk Gravity Talks, die Long Ryders sowie das Dream Syndicate. Einen Querschnitt dieser Szene, die bewies dass die 80iger nicht nur Schrott waren, stellt die Platte Rainy Day dar. Hier trafen sich Musiker von Rain Parade, Dream Syndicate und den Bangles zu einem trance-psychedelia Ausflug ohne gleichen.
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Captain Beefheart to audience: Is everyone feeling all right? Audience: Yeahhhhh!!! awright...!!! Captain Beefheart: That's not a soulful question, that's a medical question. It's too hot in here.„vietnam veterans“ : klasse band (starke covers : „i walked with a zombie“, „days of pearly spencer“, „hey gyp“).
plasticland sind auch zu empfehlen.
von den restlichen kenn´ ich zu wenig, umeinen kommentar abzugeben.
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BAD TASTE IS TIMELESSNachtrag zu Rainy Day. Auch Three o`Clock waren dort vertreten. Den Gesang der Band fand ich etwas gewöhnungsbedürftig.
Wem die Beachwood Sparks gefallen sei Rain Parade wärmstens ans Herz gelegt.--
Captain Beefheart to audience: Is everyone feeling all right? Audience: Yeahhhhh!!! awright...!!! Captain Beefheart: That's not a soulful question, that's a medical question. It's too hot in here.
AnonymRegistriert seit: 01.01.1970
Beiträge: 0
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Perfekter als die Vorbilder aus den sechziger Jahren oder müder Abklatsch?
Wie ist Eure Meinung zu Bands wie:
The Rain Parade
Plasticland
The Three O‘ Clock
The Vietnam Veterans
The Things
The Vipers
Game Theoryvietnam veterans aus frankreich waren sehr gut! sehr authentisch..mit ihren teilweise recht langen psychedelic stücken.
Plasticland: Die songs , die ich kenne..waren sehr interessant…
Vipers: Feine band aus der nähe von new york..hatte mal die otta the nest..war ein wenig schwach produziert..
Three o clock: hab eine platte..die GRAUSAM ist.. vermillion…biilligster pop..überproduziert..schrecklich..wenn sie einer geschenkt haben will: selbstabholer in HH.
Game theory:enn ich zu wenig von
Rain Parade: hab 2 alben..findich nicht soooo toll. Dream syndicate sind ERHEBLICH besser!!! finde die songs einfach zu langweilig..vor allem die crashing dream.Ansonsten: Miracle workers, thee fourgiven, mod fun, chesterfield kings, fuzztones, fleshtones, the cynics, slickee boys, droogs, the nomads, watermelon men, the daisy chain, cheepskates,stommachmouths, eleonar rigby, the creeps, subtones, tommyknockers, naz nomad & the nightmares ( =The Damned), Dukes of stratosphear (=XTC), the headless horsemen, the chevelles, the stems,butterfly collectors..und viele mehr..
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der beatlebum hat oben sehr kenntnisreich und recht zutreffend die einzelnen sachen charakterisiert. dem ist nichts hinzuzufügen. ich tendiere je nach gemütslage zwischen dream syndicate und rain parade, wobei ich abe rletzteren auch den vorzug gebe. freue mich, dass der bum auch die rainy day genannt hat, die ich leider verhökert habe, wie so vieles, aber um die scheibe tuts mir leid. kendra smith + susanna hoffs, näh war dat schön! so locker und flockig und leicht psychedelisch. bum, wir müssen da mal einen kleinen…..
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FAVOURITES@ otis :
hab´die rainy day lp und will sie loswerden !
interesse ?
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BAD TASTE IS TIMELESSja klar will ich sie! habe dir gerade gepnt!
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FAVOURITESNicht unbedingt mein Spezialgebiet und vor allem seit über 10 Jahren nicht mehr gehört, aber nichtsdestotrotz schöne und interessante Musik. Pflichte den anderen Beiträgen so ziemlich bei. :sauf:
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Shot a man in Reno just to watch him die...Der folgende Artikel zum Thema ist zwar etwas lang und in englischer Sprache aber trotzdem sehr lesenswert:
TELL ME WHEN IT’S OVER:
The Paisley Underground Reconsidered
by John L. Micek
PopMatters Music CriticIf you ask Steve Wynn for one of his favorite memories from his days
playing on the Los Angeles club scene back in the early eighties, you
might be surprised by his answer.
It’s not sharing the bill with such legendary combos as The Rain Parade
or Green on Red, or touring the nation, or even recording an album in
1982 that’s come to be viewed as a seminal document of the time (The Days
of Wine and Roses — more on which later).
No, when Wynn, the former Dream Syndicate leader (now a solo artist),
thinks about the brief flowering of West Coast bands that became known as
The Paisley underground, he thinks about a day trip to Catalina Island
off the coast of Southern California.
The year is 1982. It’s a glorious Fourth of July weekend, and members of
the Dream Syndicate, Rain Parade, Salvation Army and the Bangles (before
the big hair and „Walk Like an Egyptian“) are all in attendance. It is a
day of sun, surf, barbecue and camaraderie.
„It was the defining moment,“ Wynn recalled not long ago. „We were all
just happy together. We were all into the moment.“
So why should one memory, now 20 years gone, still hold any importance?
Why should the activities of a semi-obscure group of bands still hold
sway two decades after they first took up their instruments and committed
songs to tape?
The answer is twofold.
First, Wynn’s story should resonate with anyone who even vaguely
remembers their early 20s: that magical time when your friends are your
family, when every sensation is the first one, and (if you’re a musician
just starting out) rock is the food and drink that gets you through the
day.
„It was a surprisingly supportive scene,“ said Steven Roback, who
co-founded the Rain Parade with brother David. „Part of it was
preestablished friendships between David and I and the Hoffs family. We
grew up together, lived two blocks from each other. In fact, I performed
in seventh grade musical with Sue [Susannah Hoffs of the Bangles] as the
lead.“
The camaraderie between the bands was at least as important as the music
they were making. For a period of several years, the Paisley Underground
groups crossed paths on tour, shared the same booking agents, and worked
on each other’s projects.
The epicenter for the scene was the two-story, Los Angeles apartment kept
by desert rockers Green on Red. The band’s barbecues provided a place to
schmooze, drink and swap musical ideas. It is a place recalled with great
fondness by the Paisley Underground’s various members.
Rain Parade guitarist Matt Piucci puts it this way: „We met the Dream
Syndicate through a (Green on Red) barbecue,“ Piucci recalled. „They had
this place up in Hollywood. From there, we met the [Bangles‘] Peterson
sisters — Ooh yeah! They were very sweet girls.“
The bands that made up the Paisley Underground provide a direct link
between the early American underground and the modern alternative rock
and alt.country that was to follow a decade later.
„It was a marriage of classic rock and punk,“ explained Pat Thomas,
co-owner of San Francisco indie Innerstate Records and the Underground’s
unofficial historian. „It was a precursor to SubPop and the whole
alternative country movement. You’ve got bands like the Long Ryders.
Fast-forward 10 years, and everyone thinks that Son Volt is God’s gift to
country rock.“
Indeed, the harsh guitar noise of the Dream Syndicate echoed later in the
Pixies and Nirvana (Kurt Cobain once cited the Syndicate as an influence)
and the twangy guitars of the Long Ryders and Green on Red later provided
a blueprint for alt.country pioneers Uncle Tupelo.
„Uncle Tupelo started as we were unraveling,“ former Long Ryders bassist
Tom Stevens said. „We played St. Louis once, and I don’t know if (Uncle
Tupelo leaders Jeff Tweedy and Jay Farrar) were out in the audience
taking notes or what.“
Although they disagree about exactly when they were officially christened
(listening to the various musicians tell stories about the era is not
unlike playing a child’s game of telephone), Wynn and the others do agree
that it was former Salvation Army leader Michael Quercio who gave the
movement its name.
Quercio — who later went on to form the Three O’Clock and Jupiter Affect
– — jokingly dropped the Paisley Underground reference during an
interview. It stuck. And again, depending on whom you ask, the communal
moniker was either a godsend or an albatross.
„We viewed it as joke,“ Stevens said. „We didn’t like to be pigeonholed
on the one hand. On the other, if people were writing about us and
spelling our names right, it was okay.“
Wynn is slightly more charitable.
„I don’t think [Quercio] thought it would stick like it did“, he said.
„As dopey as it was . . . it was helpful to have a banner over it. It
didn’t really hurt anyone.“
Those involved in the scene also agree on something else: the umbrella
label failed to take into account the diverse bands that made up the
Paisley Underground scene.
On the one hand, there was the desert rock of Green on Red and the
country-punk of the Long Ryders. On the other was the dreamy pop of the
Rain Parade and the Salvation Army/3 O’clock. The Dream Syndicate,
meanwhile, blended psychedelia with the anger of punk and the mystique of
the Velvet Underground.
„These bands in L.A. had extremely diverse musical personalities. Some of
them were extremely hard rocking, and that’s why the Paisley Underground
is truly a misnomer,“ Roback said. „The whole thing was a spontaneous
resynthesis of many influences, which happens periodically, colored by
the personalities of the people and the times. Rain Parade was very much
a recasting of our punk interests in more musical terms, inspired by our
fascination with music history.“
Indeed, if you spend any time talking with its constituents, it rapidly
becomes apparent that the Paisley Underground’s members are music junkies
in the truest sense of the word. Wynn and Piucci, in particular, are
repositories of vast stores of rock history. Combine that knowledge with
a punk D.I.Y ethic, and the scene explodes.
„We all came out of punk,“ Wynn said. „We had a huge musical awakening in
1977, and it just blew everything else away. In 1975, you couldn’t do
that. But by 1982, it was second nature.“
That melding of styles also lends the music a certain timelessness that
is lacking in other records of the period. Indeed, the Dream Syndicate’s
The Days of Wine and Roses or Rain Parade’s stellar debut, Emergency
Third Rail Power Trip, still sound refreshingly modern and could easily
occupy the same indie airspace as the Strokes or the Anniversary.
„I think it’s because they wrote good songs,“ Chicago Sun-Times rock
critic Jim DeRogatis said of the scene’s staying power. „It’s
illuminating to compare the ’60s revivals of the era — the West Coast
Paisley Underground and the East Coast garage scene. The bands from the
former stay with the fans much more than the latter because they wrote
strong material that stood the test of time, while the latter were
largely devoted to covers and style (and fashion) over songwriting.“
But by 1985, the scene had disintegrated amid personnel changes, disputes
over songwriting, and the old demon: record deals gone bad.
„Unfortunately, they were all united by the fact that they all took turns
for the worse when they were signed to major labels,“ DeRogatis wrote in
his seminal work on the scene, Kaleidoscope Eyes.
„In the days before Nirvana, they proved there was money to be made if
the bands were left to their own devices,“ DeRogatis wrote. „It’s
possible that corporate meddling was to blame. The bands may have lost
heart as, with the sole exception of R.E.M., American guitar music was
unable to achieve both critical and commercial success.“
For a brief, flashing moment, it appeared that the American underground
had conquered rock. And through the prism of two decades, the members of
the Paisley Underground remain fiercely proud of their legacy.
„The reason the L.A. scene has endured is because the music was really
good,“ Roback said. „I mean things did get a little absurd when these . .
. A&R people started showing up at gigs and throwing money around. But
these people were all very talented, and regardless of the label, capable
of great things. For about three or four years, all of those bands were
on a serious roll, producing great music, which was all different . . .
The rest is mainly hype.“
But the artistic achievement was important enough for Innerstate’s Thomas
(whose own New York band, the Rochester-based Absolute Gray, provided the
Underground with its East Coast branch office) to spend several fruitless
months attempting to compile a still-unreleased Paisley Underground boxed
set.
He began compiling the set in 1997 at the behest of executives at
Rykodisc in England. „I got a phone call out of the blue“, he recalled.
„And they were looking for the phone numbers for some of the key members.
I was working at a record store and the owner was good friends with the
head of A&R at Ryko and he convinced him why I should have the job.
Finally, they flew someone out to meet with me, and by 1998, I had the
job.“
What followed is a textbook example of the whims of the record business.
After spending six months compiling photographs, tracking down old
B-sides and compiling live cuts, the rug was suddenly pulled out from
under him.
„Ryko got bought out by Island, and they fired the big bosses,“ he said.
„Pretty much every project got canceled. Every few months, someone from
Ryko will call and ask what’s up, but I’d be surprised if it ever sees
the light of day.“ He’s briefly toyed with releasing the set on his own
label, but the costs of such a project would make it prohibitive. „To do
it all top-notch would cost about $30,000,“ he said. „If we were to do it
ourselves, it would cost about $10,000. What needs to happen is that
someone needs to take the bull by the horns. I’ll get excited when and if
that happens.“
Several hundred miles north of Thomas‘ Oakland offices that has already
begun to happen.
Founded little more than a year ago, the Portland, Oregon-based indie,
the Paisley Pop Label, has dedicated itself to keeping the spirit of the
Underground alive. In its brief existence, the label has released demos
and outtakes by former Windbreaker s Bobby Sutliff and Tim Lee, an
Absolute Grey live set, and, more recently, a collection by former True
West members Gavin Blair and Richard McGrath called The Foolkillers.
Label owner Jim Huie (himself a frequent collaborator with former True
West guitarist Russ Tolman) also moderates a Paisley Underground mailing
list. It is, he says, his way of keeping the faith.
„If the Paisley Underground built upon the ’60s, then it’s certainly
possible that a younger crowd might take inspiration from the Dream
Syndicate and the Long Ryders.“
For his part, Wynn said he’s glad that the Paisley Underground’s legacy
has endured and picked up new fans.
„It’s attached to a lot of strong feelings from people“, he said. „I
don’t know how many are people who were there at the time and how many
are 25-year-old kids who are discovering it for the first time . . . I
think it still sounds kind of non-formulaic in ways that other music does
not. It still does stand out.“
30 April 2002--
Captain Beefheart to audience: Is everyone feeling all right? Audience: Yeahhhhh!!! awright...!!! Captain Beefheart: That's not a soulful question, that's a medical question. It's too hot in here.http://launch.groups.yahoo.com/group/stevewynn/messages
You may have to sign in.
Message: 1
Date: Fri, 9 Dec 2005 17:08:01 -0000
From: „Clive Jones“
Subject: New Paisley Underground Book PublishedSome of you on the Wynn list may be interested in a new book on the Paisley
Underground I have just published. The price is £12 plus postage with
payment by Paypal accepted – please e-mail me privately if you would like a
copy. This is basically a collection of archive articles from magazines such
as „Bucketful of Brains“ and „The BOB“ with new introductions to each band.
There are 280 pages with 8 full page black and white photographs – page size
is 9.25 x 6.25 inches. The section on the Dream Syndciate is the largest in
the book, taking up 50 pages. Details are listed below.Regards
Clive (clivej at btinternet.com)
TELL ME WHEN IT’S OVER:
NOTES FROM THE PAISLEY UNDERGROUND
Bands featured include: Dream Syndicate, Rain Parade, Long Ryders, Green On
Red, Three O’Clock, True West, 28th Day, Wednesday Week, Mazzy Star, Clay
Allison and Opal.Authors featured in Tell Me When It’s Over include: Pat Thomas,
Nigel Cross, Jud Cost, Fred Mills, Jon Storey and Paul Ricketts.
FOREWARD
It Was 20 Years Ago Today – Pat Thomas
DREAM SYNDICATE
Introduction – Pat Thomas
Under the Spell of the Dream Syndicate – Nigel Cross
The Dennis Duck Davey the Worm Interview – Nigel Cross
Dream On: Steve Wynn Gets Down & Dirty – Pat Thomas
The Dream Syndicate at Roskilde – Pat Thomas
The Dream Syndicate Are Back – Gurbir „Bob“ Dhillon
Days with the Syndicate – Pat Thomas
California Dreamin‘ – Karen Schoemer
Cutlerly Examined – Pat Thomas
Steve Wynn & the Sex Industry – Paul Ricketts & Clive Jones
THREE O’CLOCK
Introduction – Jim Huie
The Three O’Clock Story – Jay Schwartz
It’s Only As Real As Real – Dave Swanson
TRUE WEST
Introduction – Greg Potter
Blasting Out Of California – Colin Hill
A Simple Twist of Fate – Pat Thomas
LONG RYDERS
Introduction – Rick Gershon
The US Invasion Starts Here – Nigel Cross
GREEN ON RED
Introduction – Fred Mills
Gravity Talks – Nigel Cross
Angst & Surreal Menace – Fred Mills
It’s a Long Way from Mel’s Diner – Fred Mills
No Free Lunch – Fred Mills
The Prophet’s Tale – Jon Storey
WEDNESDAY WEEK
Introduction – Paul Ricketts
Sweetness on the Edge – Joe Beine
The Calico Underground – Paul Ricketts
28TH DAY
Introduction – Clive Jones
Barbara’s Angle – Paul Ricketts
New Beginnings – Barbara Manning
Chico’s Femme Fatale – Pat Thomas
Playing as Therapy – Kurt Wolff
Water under the Bridge – Clive Jones
Brothers & Sisters – Clive Jones
Junkyard Angel – Jud Cost
RAIN PARADE
Introduction – Nigel Cross
Emergency Third Rail Power Trip – Nigel Cross
Still Eight Miles High – Nigel Cross
Grains of Sand & Words of Wisdom – Nigel Cross
The Architect’s Tale – Jud Cost
CLAY ALLISON / OPAL / GOING HOME / MAZZY STAR
Introduction – Steve Lines
The Birth of Clay Allison – Nigel Cross
Clay Allison : Tantric Pop for Now People – Nigel Cross
Opal : A Way of Life – Pat Thomas
Opal : The Trance Thing – Pat Thomas
Starsailing with Opal – Jon Storey
Going Home : Hope & Sylvia – Nigel Cross
Mazzy Star : A Sense of Detachment – Paul Ricketts
Mazzy Star : At the Dentist – Jud Cost
POSTSCRIPT
Recommended Discography – Pat Thomas & Clive Jones
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Captain Beefheart to audience: Is everyone feeling all right? Audience: Yeahhhhh!!! awright...!!! Captain Beefheart: That's not a soulful question, that's a medical question. It's too hot in here.
AnonymRegistriert seit: 01.01.1970
Beiträge: 0
4./5.2.06 in Rom: Festival mit u.a. Paul Collins Beat/The Avengers/ White Flag
21.-24.6.06 in Rotterdam: Festival mit u.a. Chesterfield Kings, Lyres, The Thanes, The Remains, Phantom Surfers
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First Night reviews
The Times January 12, 2006
Pop
Green on Red
David Sinclair at the Astoria, WC2
Never the most reliable team of performers in their day, Green on Red
have nevertheless turned out to be men of their word. Having failed to
play a show at the Astoria in May 1987 – the point at which the singer
and guitarist Dan Stuart was declared clinically insane and the group
fell apart – the group finally returned to honour the booking on Tuesday
night. They even played the same set of songs that they were planning to
feature 19 years ago.
With so much water having passed under the bridge, Stuart felt obliged
to preface the show with a lengthy and often comical monologue at the
end of which he apologised for „all this reunion s***“. This was nice,
but unnecessary. For if ever there was a band that always conducted its
affairs with a cavalier lack of concern for tactical or business
considerations, while performing music that came straight from the
heart, it was Green on Red.The band, which originated in Tucson, Arizona, pioneered a heroic brand
of Americana music before the term was even coined. They released a
succession of brilliant but commercially neglected albums in the 1980s,
which fused elements of country, blues and rock, while blazing an
erratic trail around the concert halls of Europe. Their shows could
either be a display of transcendental genius or a very earthbound
shambles.The core line-up of Stuart, keyboard player Chris Cacavas, bass player
Dan Waterson and guitarist Chuck Prophet was joined by Jim Bogios,
replacing the original drummer Alex MacNicol, who died last year. Older,
wiser and somewhat more wizened they may be, but the years rolled away
as they embarked on an opening sequence which included the perennial
drinking song Hair of the Dog. Stuart, all gruff snarl and gargoyle
eyes, spat out the lyric, while Cacavas leavened the mood with a jaunty
honky tonk piano part.Stuart was an amiable frontman but it was Prophet who stole the show
with a succession of elegant, dramatic and tightly scripted guitar
solos, most notably during the slow, bluesy Jimmy Boy and the soaring
finale of Sea of Cortez.While the danger and unpredictability that was part of their original
appeal had given way to a more seasoned professionalism, it meant that
the songs actually sounded better than ever. And when Stuart sang the
familiar chorus line, „Time ain’t nothing when you’re young“ from his
new perspective, there was a genuine surge of affection for these
unlikely survivors from another era. Let’s hope it is not so long before
their next outing.http://entertainment.timesonline.co.uk/article/0,,14936-1980585,00.html
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