8 April 2013 (Day 98) – Cleveland Rocks

Back to work after the weekend and another day of intensive work and some meetings.  I decide that a need something cerebral whilst preparing a PowerPoint presentation for public seminar I’m    delivering later in the weekend so plump for;

(266) The Beta Band – Heroes To Zeroes (2004)

This Scottish band was noted for its unique approach to music encompassing intriguing instrumentation, harmonies, sampling and songwriting.  Rock connoisseurs (OK, make that rock snobs) everywhere adored them, including Americans. They were the act John Cusack’s character in the movie adaption of High Fidelity bet could sell a few copies with just a single play of an album in his shop.  The song he played was Dry The Rain from their debut album The 3 E.Ps.  Heroes To Zeroes was their fourth and final album and whilst not as good as its predecessors (I suspect this was the band’s attempt to produce something along more conventional lines) has much to recommend it. 

After that and still wanting more of the same I went for an album by The Electric Eels.  I don’t know whether I was unconsciously influenced by my Spinal Tap wanderings backstage yesterday at Rod Laver Arena, but The Electric Eels were one of the acts at the epicentre of a punk movement that centred on Cleveland at the same time other well known American acts were forming in New York City.  The music created by these acts was more obtuse than that produced elsewhere which probably accounts for its relative obscurity today.

Although these acts produced music that represented a challenge to the then musical order, they unwittingly kept Cleveland’s reputation as one of the cities central to the development of rock alive.  It was in Cleveland that a record shop owner named Leo Mintz reputedly invented the term “rock ‘n roll” to replace the term “rhythm and blues” in an attempt to make such records appealing to white audiences.  He also worked closely with local DJ Alan Freed (later to be caught up in and disgraced by radio payola claims) to popularise the term through putting on special dances and shows.  A range of disparate acts have also emanated from Cleveland or its surrounds on a regular basis including Devo, Chrissie Hynde, Screaming Jay Hawkins, The Black Keys, Marlyn Manson, Trent Reznor/Nine Inch Nails, Tracey Chapman and The O’Jays.  The city was also immortalised by Ian Hunter in his song Cleveland Rocks (aka the theme song for The Drew Carey Show) but more  importantly, is now the home to the Rock And Roll Hall Of Fame.  Ironically, in view of its past induction history, it will probably never admit any of the acts I’m about to celebrate.

(267) The Electric Eels – Their Organic Majesty’s Request (recorded 1975/released 1998)

This is a rough sounding release, effectively a compilation of all of the tracks that had been released on two previous albums.  Some of the tracks, notably Agitated, Anxiety, Jaguar Ride and the Stooges sounding Cold Meat are more likely to appeal to fans of the NYC scene.  The final two, and much slower tracks, As If I Cared and Almost Beautiful You reward repeated listening, each containing stabs of menacing guitar chords that would surface in future albums by the likes of The Residents and their ilk.  The remainder of the album is an acquired taste.

(268) Rocket From The Tombs – The Day The Earth Met …… (recorded c. 1975/released 2002)

This is a much more conventional sounding punk album from a legendary band that would give birth to both of the relatively better known Pere Ubu and Dead Boys.  I’m reasonably sure the band never got into a recording studio and these live recordings is practically all that exists.  Despite that, this is a thrilling listen, including embryonic versions of tracks that would be recorded by each of the subsequent acts.  (Sonic Reducer and Ain’t It Fun would be recorded by The Dead Boys and Final Solution and 30 Seconds Over Tokyo by Pere Ubu.)  A bunch of covers reveals their influences, including The Stooges’ Raw Power and Search And Destroy, The Velvet Underground’s Foggy Notion and an abortive attempt at The Stones Satisfaction.  

(269) Pere Ubu – The Modern Dance (1978)

A piercing line of white noise and minimalist bass heralds the start of Non Alignment Pact, one of my all time favourite tracks.  Based on The Stooges I Wanna Be Your Dog it careens down the road ridden by the unmistakably gruff vocals of Dave Thomas.  The title track, Life Stinks, Chinese Radiation and Real World all follow in the same vein.  It is as mysterious and intriguing today as when it was originally released.

(270) Peter Laughner – Take The Guitar Player For A Ride (1994)

A member of Rocket From The Tombs and a founding member of Pere Ubu, Laugner’s premature death at the age of 24 in 1977 robbed the world of a singular talent.  This album, which was compiled from a variety of sources including demos, home and live recordings explains why. It is also an extremely rare CD; I fluked mine for a couple of dollars from a second hand store clearly unfamiliar with the contents including Slyvia Plath, a solo version of Neil Young’s Only Love Can Break Your Heart, a live version of Richard Thompson’s Calvary Cross which at least matches the original and ferocious solo recordings of Rocket tracks Amphetamine, Life Stinks and Ain’t It Fun.  A poignant solo version of Me And The Devil Blues, reputedly recorded only a few hours before his death, ends this album on a sombre note.