Bin of Rock: Mary's Danish

Bin of Rock: Mary’s Danish

If ever there was a band that was cursed with bad luck, it would’ve been Mary’s Danish. Formed in L.A. in 1987, the six piece rock band with two female vocalists immediately started grabbing attention for their genre-bending sound. Managing to mix in funk, soul, rock, blues and punk together in a tasty little dish, the band began attracting major label attention. Having a guitarist, Louis Gutierrez from The Three O’Clock and friends in the Red Hot Chili Peppers didn’t hurt either. Soon the band had signed a deal with Chameleon Records, a subsidiary of Elektra Records.

They soon entered the studio and began working on their debut album; There Goes the Wondertruck was released in the fall of 1989 and the band immediately exploded on alternative radio with “Don’t Crash the Car Tonight.” The band were enjoying the fruits of their labor and everything seemed to be paying off for them. But they were soon stuck in a quandary that also struck Dramarama; they were on a label that was not being supported as well as it should’ve been. Shortly after “Don’t Crash the Car Tonight” became a hit, the label’s funding was cut off, leaving the band high and dry.

Searching around for another label, vocalists Gretchen Seager and Julie Ritter contributed backing vocals to the amalgam of musicians known as RHCP’s breakthrough Mother’s Milk record. Then in 1990, the band signed with the upstart Morgan Creek label, a branch of a movie company looking to get into the music business. Little did the band know at the time, but this would be the beginning of the end for them.

The label rushed them into the studio with then hot producer Dave Jerden and the result was Circa, released in 1991. If there has ever been a schizophrenic heard on record, then this was it. The record is all over the place musically and artistically. But that’s not a bad thing but as the years have passed, time has not been too kind to the record. While tracks like the classic “7 Deadly Sins,” “Yellow Creep Around,” “Beat Me Up” and “Hellflower” have stood the test, others like “Hoof,” “Axl Rose is Love,” “Mr. Floosack” and “Venus Loves Leonard” do not go anywhere and makes the record seem less great each time one listens to it. The band managed to score another hit with “Julie’s Blanket (Pigsheadsnakeface)” the record failed to click with the record buying public, leaving the already struggling Morgan Creek to come up with a new plan.

The band were quickly sent back into the studio, this time with their manager, former pop star Peter Asher as their manager. Having already produced other clients like Linda Rondstadt, it seemed like a good thing. When American Standard was rush-released in the spring of 1992, it sported one of the worst album covers of all time, a large American hat with a hamburger on the top dripping ketchup. What the significance was has been lost to the ages but the horrific cover does not give an inkling as to what’s inside. The record was the band’s best and while critics for some reason trashed it, allmusicguide giving it one and a half stars, the music still stands up more than Circa. The record is more focused and straightforward than its predecessors and is more radio-friendly, so to speak. Songs like the single “Leave It Alone” and “Porcupine” groove around and were some of the catchiest songs of the year. Others like “The Living End” and “Gotcha Covered” were more intricate and soulful. The drumming of James Bradley Jr. (JBJ) is absolutely phenomenal and one of the band’s trademarks. Bassist Chris ‘Wag’ Wagner, more restrained than on Circa, still lets his influences show and together the rhythm section holds the band in check. The record closes with an unlisted cover of Bobby Fuller Four’s “I Fought the Law” with guest Chad Smith on drums, originally done for the “Buffy the Vampire Slayer” movie soundtrack.

Once again, the record failed to connect with the buying public through no fault of the band’s. The label was incapable of promoting their way out of a paper bag and they knew but they kept pressing each of their artists for more product. By the middle of 1993, the band realized they were stuck; Morgan Creek wanted them to re-sign but in the meantime, side projects of various members were getting major-label attention and the band was at a crossroads, not knowing what to do or where to go. Finally, by the end of the year, they made the painful decision to call it quits and go their separate ways.

Rhythm guitarist Dave King and JBJ formed a new band, Rob Rule and signed a deal with Mercury Records, releasing their self-titled debut in 1994. Besides scoring a minor hit single with “She Gets Too High,” the record failed and the band split. Lead guitarist Louis Gutierrez, bassist Chris Wagner and vocalist Gretchen Seager formed a new band, Battery Acid and soon inked a deal with Geffen Records. But they never even got off the ground as they were kept down by contractual quagmire and ultimately split without releasing a record. Vocalist Julie Ritter started a solo career on an indie label. The band reunited for a one-night only show in 1999 that was a huge success; the same year, JBJ reemerged as the drummer for Crazy Town, the rap-rock hybrid that brought the world “Butterfly.” JBJ luckily quit the band as they were drowning in drug addiction and moved to Sweden where he now has a bustling family. The rest of the band are still playing around; Julie has released several solo albums and Gretchen and Louis, who got married have formed a new band that plays occasionally.

The band may have disbanded over fifteen years ago but the music is still out there in MP3 format and several records have actually been re-released and are available on sites like Amazon. Listen to the music and you’ll realize how good it all was and how neglectful it was for such a shitty record label to not be able to get this band across to listeners.

http://new.music.yahoo.com/singleVideo/?vid=2144488 (Leave it Alone)
http://www.truveo.com/Dont-Crash-The-Car-Tonight/id/3521625130

Forgotten Songs of the '60s: Love

Forgotten Songs of the ‘60s: Love

Love is one of the most underrated rock bands of all time. Not only were they one of the first rock bands led by a black man, but they were also one of the first signed to a major label and one of the first to dabble in psychedelia. Arthur Lee and his cohorts had many highs and lows throughout the decade, including one of the decade’s most influential records, 1967’s Forever Changes. But by the end of the decade, the band was struggling, torn apart by rampant drug use and infighting. After a massive shift which saw Arthur replace everyone in the band, Love returned in 1969 with Four Sail. The band may have been down by this point but Arthur was more than willing to prove that they weren’t out.

The best song on Four Sail as well as possibly one of the best songs of the band’s career, “Always See Your Face” starts out slow and melodic before Arthur comes in with the aching, pleading lines “Won’t somebody please, help me with my misery” before the rest of the band joins in and slinks along and begins building up, slowly but surely.

Then at the breakdown, everyone comes together and the song reaches its climax and one reaches a state of pure pop bliss that is unlikely to be erased by any other song for quite a while. It’s just a shame that the song was never able to get its fair shake at recognition until 2000 when it appeared in “High Fidelity” and people everywhere most likely heard it for the first time and it’s since become one of Love and Arthur Lee’s most important songs.

Sadly, Arthur passed away in 2006 but the song will live on as long as people are willing to dig up old songs from the sixties and rediscover them and respect in the 21st century.

http://www.youtube.com/watch?v=OkWVrLfiJKs

An Interview with Chuck Cleaver

The Ass Ponys were one of the strangest bands to come out in the '90s. Full of songs about people carving 'I Love Bob' into their arms and boys thinking about having their peckers sucked by a guy who only wants a cigarette under a bridge are not normally things you'd hear on the radio. But by God they pulled it off with 1994's memorable "Little Bastard." Life was not very kind to the band in the next few years with lineup shifts, closing labels and the whatnot and ultimately, the band disbanded in 2003. Their legacy exists in the eyes of the those who were there. Chuck has started an excellent new band, Wussy, who just their third record. Mr. Cleaver took some time out to answer some questions and here they are.

When did the band get started?

Late 1988, early '89...our first show was in Newport, KY at a now defunct club called The Tophat. We made $15.00 cash.

What happened with Dan, I remember reading that he left to become a glassblower or something?

At the time he quit, Dan said he wanted to learn to blow glass. I'm pretty sure he didn't follow through. Not sure what he's doing these days.

When did Okra/Safe House shut down and how did you guys deal with that?

Dan Dow, Bela & everyone else at Okra were and remain the salt of the earth. A completely wonderful, honorable experience. The guy at Safehouse was/is a fucking crook. Nuff said.

How did you get signed by A&M and were you expecting it at all?

We'd recorded the album and were gonna put it out on our own. A friend of ours at a local radio station said he knew some "label people" and wondered if he could send a cassette to a few of 'em. We said okay so he did. a few weeks later this guy Jeff Suhy from A&M called me (all that was on the cassette was the band name and my phone number). He said that it had been laying around on his desk for a couple weeks and that he was intrigued that there was no press material, photo, etc. - just a cassette with a name and number. So he finally listened to it and continued to do so for the next 10 days or so. He said he liked it the way it was and had pitched it to the big wigs at A&M and that they'd given it the okay and that he wanted to meet with us. I thought it was a joke and didn't pay much attention...but we actually did end up meeting with him and it came out exactly the way we recorded it.

What was "success" like and how did you deal with it?

Not sure we were a success. Hard to say. We were pretty much confused the entire time we were there but in retrospect I'm glad to have done it.

Why did John leave and how was the transition with Bill?

John had a baby daughter at the time and we were gone so much that she didn't know him when he came home. Understandably it freaked him out so he hung it up. It was tough but we understood and supported his decision. Dave knew Bill, so the transition was relatively quick.

Did you guys know you were going to get dropped and how did you deal with it?

Getting dropped was always a matter of when so it was no big surprise. We were all bummed at different levels but eventually everything settled back into obscurity.

How did Checkered Past come into the picture?

Interestingly enough, good old Jeff Suhy got us in touch with the Checkered Past guys and we were able to make the best two records we ever did. Again, a totally wonderful experience.

When did the label close down and how you guys deal with that situation again?

I think they quit right around the time Lohio came out but I'm not completely sure. We were accustomed to closing labels down so it wasn't all that big of a deal.

When did John come back and how did that work out?

We kicked Bill out for being a douche a year or so after Lohio came out and John came back shortly thereafter. It worked out really well but I was so burned out on AP and everything else at the time that it never really found legs.

Finally, what is the official status of the band, is there any chance for a reunion?

We're pretty much done. Shake-It will eventually re-release all of our stuff at some point + a live thing. Don't know about a reunion. Maybe.

How did Wussy get started and how it is going?

Lisa and I played a few shows as a duo and liked it so we found Mark and Dawn and Wussy is the result. It's going very well at the moment, thanks.

http://www.youtube.com/watch?v=BpMGvRWZ4gs&feature=channel_page (Earth to Grandma)
http://www.youtube.com/watch?v=4VTBam8YzQg&feature=channel_page (Little Bastard)

Forgotten Album of the Month: House of Freaks

Forgotten Album of the Month: House of Freaks

When Richmond, Virginia’s own House of Freaks emerged in 1987 with their blend of drums, guitar and vocals with no bass, it was seen as a different kind of rock music for a different kind of audience. With the release of 1988’s Monkey on a Chain Gang, the band set themselves apart from the rest of the pack with their introspective lyrics and musical approach.

The voice of Bryan Harvey is one that is hard to forget, especially with the dynamic drumming of Johnny Hott behind him. From the start of the record, with the double whammy of “Crack in the Sidewalk” and “40 Years,” the lyrics just hit you and won’t let up. “40 Years” in particular is incredibly introspective with its remembrances of the 40th anniversary of WWII as well as time lost and won. When one listens to the music, it’s hard to believe it was created by only two men; “Lonesome Graveyard” stands out in this instance with Bryan’s guitar staccatos all over the place and Johnny’s subdued pounding driving the rhythm.

Among the record’s many standouts, the restrained fury of “Black Cat Bone” will ring in your head long after the record’s finished. The chorus, where Bryan shows his true power is absolutely astounding and will make one wonder why the record wasn’t a bigger hit.

Ultimately, the quirkiness of a two-man band helped them garner some notoriety but once people discovered the music, they realized that they were listening to something totally different from the rest of the ‘80s music scene. It wasn’t until the record’s follow-up, 1989’s Tantilla, that they started getting the recognition they deserved; this new discovery ended up scoring the band a major-label deal with Giant, which ultimately fizzled out after one record, 1991’s kooky and interesting Cakewalk.

After a few more years, the two went their separate ways but continued to remain friends, even living close to one another in Richmond. The band were thrust back into the spotlight in 2004 when this album and Tantilla were re-released by Rhino Records in deluxe editions. Sadly, Bryan Harvey, his wife and their two young daughters were tragically and senselessly murdered by two thugs on New Year’s Day, 2005. While he and his family met a tragic fate, his memory and that of the music will continue to live on as long as people are willing to experiment musically.

http://www.mefeedia.com/entry/40-years/12755616

Forgotten Songs of the '70s: Nilsson

Forgotten Songs of the ‘70s: Nilsson

When Harry Nilsson released Nilsson Schmilsson in 1970, the world was immediately hooked. The success of the Badfinger cover “Without You” broke Nilsson worldwide. But that wasn’t all that the record had to offer.

Buried among the first side is “The Moonbeam Song,” one of the most gorgeous, understated ballads ever recorded up until that time. Set against the sparest of accompaniment, Nilsson’s vocals are at their softest and most beautiful. The lyrics, when heard again and again continue to raise the spirits of anyone who hears them.

Among the most interesting lyrics heard in the song is the immortal line “And on a fence with bits of crap around its bottom.” Lines like this stick with you and never leave. The words are just so beautifully stated that you will find yourself humming along to the song every time you see a moon.

With the success of “Without You” and “Everybody’s Talkin’” the song was bound to be lost to the ages. But luckily, it was used in the 2000 John Cusack film “High Fidelity” and was rediscovered by a whole new generation who promptly fell in love with it. And once you hear it, you’ll never forget it. That’s the testament to the songwriting and spirit of Harry Nilsson.

http://www.youtube.com/watch?v=lbnGUzzfRXo&feature=channel_page