Categories
Albums

Best albums of 1991: #2 Teenage Fanclub “Bandwagonesque”

Teenage Fanclub is yet another band that I have MuchMusic’s “CityLimits” to thank for the introduction. And I know I’ve written about this very subject many times but it’s true. The late Friday night alternative music video show on Canada’s music channel was instrumental in my education, especially once I had set my sights on music from the left-hand side of the dial. The Fannies video for “Star sign” was what first caught my eye, the jangly psychedelics in sound and image had me tangled immediately and irrevocably in its hypnotic snare. Other videos followed, a few of which are below, and they found themselves on the video cassette tape nets in which I was collecting as much music as I could catch. So when MuchMusic started using the introduction from “The concept” as part the show’s opening, I smiled knowingly every time.

I learned much later that the band formed in 1989 in Bellshill, Scotland. Founding members Gerard Love, Norman Blake, and Raymond McGinley were all talented guitarists, songwriters, and vocalists in their own rights and each contributed mightily to the band’s finished products, especially as time wore on. But even in the case of today’s focus, the incredible third album, “Bandwagonesque”, each member listed above and even the drummer at the time, Brendan O’Hare, had their own written song(s) on the card that the writer sang on the recording and would take up the mike when performed live. (For you Canadian music fans out there, this might remind you of a certain homegrown band of east coast origins by the name of Sloan.) And not only did each sing their own songs but they also found voices on all of the tunes, harmonizing in a way that some might compare to The Beach Boys but those in the real know might liken to Big Star*.

“Bandwagonesque” was a huge leap for the quartet. Their two previous outings were practically throwaways, in-jokes and shambolic cacophonies. In fact, their sophomore album, “The king”, was hastily recorded and deleted from circulation the day after it was released. And the though the third album was still comical and taking humorous kicks at the music industry (just take a look at the name and album cover**), it shows hints at the maturity, musicianship, and longevity of group that still releases music to this day.

The album actually did just as well in North America as it did in Europe and Britain, a feat they were never able to repeat. Many of its singles hit it big on college radio and some even managed to latch on to the newly established Billboard modern rock chart. Indeed, “Bandwagonesque” placed highly on a great many music magazines’ end of year lists, famous placing number one on Spin Magazine’s list over “Nevermind”, “Out of time”, and “Loveless”. I can’t say I disagree with Spin’s assessment (though I am sure in hindsight their pick would be changed), as wouldn’t a bunch of artists that were influenced by the group, like Death Cab for Cutie’s Ben Gibbard, who released a cover of this complete album back in 2017.

My three picks for you from “Bandwagonesque” are all songs with which I fell in love through repeated plays of their videos but really, each of the eleven tracks on the album are pure noise rock perfection. If you’ve seen the cover and heard the name but never taken the plunge, get on it. You won’t be sorry.


”What you do to me”: “What you do to me… I know, I can’t believe. There’s something about you, got me down on my knees.” Those are the lyrics. That’s it. Granted, these are repeated throughout, some of the lines more than others. But these four lines really tell the story and evoke exactly the passion felt by one Norman Blake. The track is just a shade over two minutes with lots of rip roaring and crunchy guitars, hair hanging long over the face, masking the angst there, while the whole band gets involved with harmonies. And then, if listening to the version in the video below (which of course, was my introduction to this song), the band leads right into instrumental track, “Satan”, which is just an explosion and mess of instruments letting loose the passion previously restrained.

”Star sign”: As I mentioned above, Teenage Fanclub were jokesters, not taking themselves, nor anything, really, too seriously. Here, they poke fun at superstitions and good luck charms and astrology. “Hey there’s a horseshoe on my door; big deal. And say there’s a black cat on the floor, big deal.” But bassist Gerard Love does so with such verve and panache, you can’t feel beaten at, even if you might swear by these things. “Star sign” was the first track to be released off the album and was my intro to the group. The video reflected a retro 60s vibe but the sound was of its true time and space, reverb and feedback gives way to thumping drum fills and driving guitars and of course, plenty of harmonies. Powerful vibes throughout, man. Yeah, it stuck.

”The concept”: This very track, the six minute opener of the album, appeared at number seven when I counted down my favourite tunes of 1991 a few years ago. You can go back and re-read that post if you’d like, but I’m going to plagiarize a good part of it here: “[The song] starts off the album with a scream of feedback and that iconic first line: “She wears denim wherever she goes, says she’s gonna get some records by the Status Quo.” Its first two minutes set the stage for the rest of the band’s career, mellow rocker with jangly guitars just this side of fuzz and Blake’s gentle rock star vocals with the three part harmonies the band would become known for at the chorus. Between the verses, the guitars become just that much more raunchy and then, at the three minute mark, the song becomes completely instrumental and the guitars follow the drums into a loose jam, at one point, a violin bow is even brandished to further accentuate their point.”

*That’s a subject for a whole other post maybe…

**The album cover was designed by one Sharon Fitzgerald but once Gene Simmons caught wind of the moneybag motif, a cheque had to be written to acquiesce the Kiss frontman’s trademark.


Check back two Thursdays from today for album #1. In the meantime, here are the previous albums in this list:

10. Ned’s Atomic Dustbin “Godfodder”
9. Spirit Of The West “Go figure”
8. Chapterhouse  “Whirlpool”
7. Blur “Leisure”
6. Levellers “Levelling the land”
5. The Wonder Stuff “Never loved Elvis”
4. R.E.M. “Out of time”
3. Primal Scream “Screamadelica”

You can also check out my Best Albums page here if you’re interested in my other favourite albums lists.

Categories
Tunes

100 best covers: #60 Gnarls Barkley “Gone daddy gone”

<< #61    |    #59 >>

I’m sure that all of you recall a little ditty called “Crazy” by Gnarls Barkley. I distinctly remember seeing the video for it for the first time late one Friday night in 2006 on The Wedge and being drawn in and mesmerized by the Rorschach style ink blots that formed and re-formed images of the performers and such. And man, was that song catchy. I immediately went on the hunt for the album on which it appeared, “St. Elsewhere”, and learned that Gnarls Barkley was the duo of R&B wonder vocalist CeeLo Green and Midas touch uberproducer Brian Burton (aka Danger Mouse). Of course, “Crazy” went ubiquitous and intergalactic as a hit but the rest of the album was quite excellent too – a compelling collection of genre-bending and genre-defying tracks – and produced two more singles, the last being the double A-side release of “Who cares?” and this very song, a cover of Violent Femmes’ “Gone daddy gone”*

Now, to close these posts, I typically give my opinion (and solicit your own) on whether I prefer the original or the cover but I am going to get this out of the way right now. Though the cover is quite excellent, I am going with the original here. It appears as track nine on the iconic self-titled debut album by the Milwaukee based trio. It is just over three minutes of punk and folk mashup and with a jazz-type song structure, including not one but two xylophone solos performed by bassist Brian Ritchie. In fact, I love how each performer takes their turn in the solo spotlight in such a short barn-burner and no one misses a beat.

It is amazing though and a testament to the range of music influences that surged through “St. Elsewhere” that CeeLo and Brian chose to cover a lesser known Violent Femmes tune from over thirty years prior and did so, faithfully. The cover is thirty seconds shorter and using digital sounds rather than organic instruments, managed to even speed it up some. It introduced a whole new audience to a great track and like many successful covers, the new audience fell for it, not necessarily even aware of its origins. And man, does that CeeLo have a voice!

Thoughts?

Cover:

The original:

*Interestingly, Violent Femmes’ original is also a cover of sorts, including a complete lyrical verse of Willie Dixon‘s “I just want to make love to you”. Hence, the shared writing credit.

For the rest of the 100 best covers list, click here.

Categories
Vinyl

Vinyl love: Weezer “Weezer”

(Vinyl Love is a series of posts that quite simply lists, describes, and displays the pieces in my growing vinyl collection. You can bet that each record was given a spin during the drafting of each corresponding post.)

Artist: Weezer
Album Title: Weezer
Year released: 1994
Year reissued: 2016
Details: Mobile Fidelity, limited edition, numbered 011775, 180 gram, transparent blue

The skinny: Just over three weeks ago, fellow blogger Super Dekes over at Thunder Bay Arena Rock posted a review of Weezer’s self-titled album (also widely-known as ‘the Blue album’) and mentioned how he had finally gotten a copy of it on vinyl the previous summer. Coincidentally, I had tracked down a vinyl copy of it myself that very week and when I told Deke so, he suggested I also write a review. Well, I figured one of my ‘Vinyl love’ posts would work just as well, so here we are. I actually saw Weezer live before I heard this album. They opened for shoe gazers Lush at Toronto’s Warehouse in the summer ’94 and at the time, I was only vaguely aware of “The sweater song”. Nonetheless, I was blown away by their set – all crunchy guitars and Beach Boys harmonies – and told Rivers Cuomo as much when I spotted him at the merch table. A friend of mine in university later dubbed a copy of the album for me to cassette and I played the hell out of it. This debut is still Weezer’s most successful piece of music in my books, a classic, and though I spent a few dollars more than did Deke, it was well worth it to procure this limited edition Mobile Fidelity release. They do such a great job all round, what with the remastering, the pressing, and the immaculate packaging. Splendid.

Standout track: “The world has turned and left me here”