I loved CHiPs when I was little, even had CHiPs pyjamas. Friday nights were the best. When CHiPs finished we then got ace replacements like Nightrider and the A-Team.
A lot of bands were doing Beach Boys influenced stuff in the 90s. The Moles, The Fauves, Mercury Rev, Flaming Lips, Primal Scream, My Bloody Valentine, Boo Radleys etc. etc. etc. It was all pretty enjoyable.
This one was totally unexpected and beautiful.
It's a forgotten song now but one of the best Brian Wilson tributes.
I've always been perplexed by Green Mind and some people's opinions of it since it came out. I mean surely we all thought it was pretty crap after the astonishingly exhilarating electrifying insanity of You're Living All Over Me and the masterfully crafted devastation of Bug's mess of noisy slacker grunge and the sweet slacker-daisical vision of The Wagon single. Weren't we all disappointed with the lack of fuzzed up loudness on Green Mind? Once they'd released this half baked effort I thought they were finished as a cool, credible and influential cult group. I mean if you weren't absolutely killing it or pushing the envelope musically it was time to move on to somewhere else. There was an abundance of excitement, innovation and peak musical creativity in this era. There was no point hanging around listening to sub standard artistical statements.
I mean J Mascis can be found talking about Green Mind on the youtubes saying: "Maybe it didn't work out as well as it could have"
Yet some people liked it and five years ago many more were getting misty eyed and nostalgic about the 30th anniversary of Green Mind. I didn't get it and thought they'd all lost their minds. Somewhere in the back of my mind though lurked some doubts that maybe I'd been wrong all along about this album. So finally I had a little re-listen and while I haven't had a full revelation or complete reversal of opinion, I've had a surprisingly significant change of heart. I'm pretty sure before I traded in my Green Mind cd in the early 90s I thought it all sucked except for the first and last tracks but now of those eight despised songs How'd You Pin That One On Me is the only one so irritatingly offensive that I have to skip it.
I get why the album was all so startlingly weird and disappointing at the time. A lot of the grunge noise and dreamy haziness had been stripped away for acoustic guitars, stark loud drums and an unnecessary close up focus on J's vocals. On those previously mentioned records the beauty was when J's warm lethargic but melodious vocal hooks were couched in just the right amount of distorted guitar overload for their classic signature languid maelstrom sound.
It's Water that has become my new favourite forgotten Dinosaur Jr. song. In a way it's a precursor to the Neil-isms and crushing melancholia aesthetic which was the blueprint that would be deployed on their 1993 classic Where You Been. Water's got that cool lazy slacker sound. Wait for that 2:28 moment when it accelerates into gorgeous melodic ecstasy. It's J's best trick and it's irresistible.
Blowin It/Live For That Look [1991]
Dinosaur Jr. do the segue song thing once again and it's pretty glorious. I mean I still have my reservations about this record's production but these conjoined songs are undeniably top Mascis tuneage.
*God what next? Am I gonna give Without A Sound another go next to see if maybe my disappointment about that cd was wrong too?
One of their finest pure pop moments. Still sounding remarkably fresh today.
This recording is an absolute anomaly for Dinosaur Jr. For one single only they were a five piece. Lou's gone but we've got Donna Dresch on bass, Don Fleming on guitars, J doing his thing and two drummers: Murph in one channel and Jay Spiegel in the other.
The Wagon was later remixed by J Mascis with some parts totally edited out for the cleaned up version that appeared on the Green Mind LP the following year..
So I was still in high school when the first couple of Swervedriver EPs came out. These were Rage classics that we taped on VHS months before we could ever get our hands on the records. I mean we lived in the bush mate! This tune to me and my mates was just a grungier, more testosterone fuelled version of You Mad Me Realise. Which didn't make it any less great. I mean it rocked like a high octane drag racing mutha fucka didn't it.
Rave Down [1990]
Then five or six months later came the Rave Down film clip and EP.
Creation Records were on a fucking role with Loaded, Come Together, Glider, Ride, Play, Fall, Nowhere, Slowdive and these first two Swervedriver EPs.
Rave Down's a glorious fuzzed up heavy psychedelic noise-rock tune of the highest order. All sorts of swirling waves of sound, layers of textured noise, driving riff-a-rama, wild drumming and hooks galore.
Blistering, bouncy and blissed out... the best!
Peak 90s rock.
Zedhead [1990]
Another stellar rocket fuelled noise rock work out.
Sandblasted [1991]
Just over six months later came the third ep. Epic noisey psychedelia with dream-gaze passages and gorgeous hooks. They really packed it all in here!
*I still kinda don't get why they weren't the premier noisey shoegaze band after My Bloody Valentine because at this stage they were very fucking killing it and had the highest strike rate of all the gazers of shoe. I saw both Ride and MBV live in Melbourne in '91 but Swervedriver didn't even tour down here until much later in like 94 or 95 when I finally got to see them at the Corner Hotel in Richmond.
Back to the good ole days when I was twenty. Me and my mate Tony would stay up late, drink and smoke, when the girls had gone to bed, listening to all the new and groovy sounds on the cd player. I'd totally forgotten the epic grunge-gaze and kaleidoscopic sax-haze of Never Lose That Feeling/Never Learn. Alan Moulder sprinkles some magic at the mixing desk.
What a jam.
Glorious.
Cars Converge On Paris [1993]
Unbelievably this tune, one of their greatest, was exclusively tucked away on the import only US version of The Last Train To Satansville cd EP.
Cars Converge On Paris might be Swervedriver's most psychedelic moment. Like a hazy mirage the desert highway with a mesmerizing intergalactic bass that swirls to infinity and vocals, drums & guitars falling upwards backwards in a disorientating dreamy daydream.
Glorious.
Last Train To Satansville [1993]
Speaking of which here it is one their most famous video moments. An edited down version of Last Train To Satansville. A classic 90s guitar pop tune from these eternally underrated grungy shoegazers. A get home from the pub late and watch Rage classic.
Duel [1993]
Ok ok I can't stop now. There's just no way you can go past this remarkable historic tune.
It's another one of their singles but this isn't the video because the original six and half minutes shouldn't ever be cut down. I mean it starts out pretty blissed up right from the get go but the sprawling euphoria keeps growing then it just keeps on expanding into wide screen ecstatic peaks so that by 1:35 the elation is reaching unbearable levels. The dreamy psychedelic exhilaration gets overwhelming then later in the comedown lulls it becomes a bit melancholy that is until it starts its upward trajectory again. Then the take it down now fade-out gradually winds down to a a splendid sonic seaside scenario.
One of the the most sublime guitar tunes of the 90s.
Cult glammy power pop tune from forgotten or perhaps never remembered 70s Long Island group. The twerps from Milk'n'Cookies recorded some of the most astonishingly poxy vocals ever committed to vinyl. These scuzzy wimps of late-bubblegum had a way with a hook though and their themes of adolescent lust are universal, timeless and a whole lotta fun.
You gotta love that they got funded to make a entire LP of this shtick which was one of Island Records most unsuccessful records ever. This record still winds people up to this very day which just adds to their aura.
Another toppermost poppermost cheerful singalong tune from Britain in the 70s. Duelling pianos in a sorta faux funky glam mode that's surprisingly excellent. It's gonna get stuck in your head for days, sorry.
Gotta love Gilbert O wearing a jumper with his initial on. G for Gilbert O.
Gilbert O even attempts in the video to bring a girl from the audience into the limelight like what The Boss and Bono would do ten years later with much more success ie. dancing and pashing. Gilbert O could only manage to to put his arm around her for a second and move her a few steps towards his piano before she shyly retreated, oh well Gilbert O.
Wide open skies trippy Californian folk and soft rock stylings heading into breezy jazz zones somewhere between Joni, The Croz, John Martyn and god knows what.
Not much info about our one album wonder Tom MacDonald from Nevada City anywhere but check out his vibe on the cover. Our breezy jazz-folk man of mystery is not havin' any of this sex rejection bullshit. Come on ladies! You need to check out his naked body. He's feelin so damn good about himself you need to offer up your body for some sweet sweet love-making. His mullet shall not be denied.
