Mouse and the Traps could very well be one of the most prolific bands that you have never heard of before. Formed in Tyler, Texas in 1965, the group released only one album although they did release several singles as well. They got their name due to the fact that lead singer Ronnie Weiss had a nasal, mouse-like vocal delivery (a little like Bob Dylan say some), after going through several other names such as Positively 13 O'Clock.
During their early period the group met Bugs Henderson and recorded "A Public Execution", which would become their biggest hit, reaching number 121 on the Billboard charts. They also recorded several covers including a rip-roaring version of the Count Five's "Psychotic Reaction". These were mostly done for the Fraternity Records label, which also released their own original music. The band dissolved in 1969 after barely three years however they have reunited for shows in 1972 and most recently in 1986. While their contribution was small, their influence remains today.
While most consider "Maid of Sugar, Maid of Spice" their best overall recording, it did not reach the success of their previous effort, "A Public Execution", which was extremely akin to Bob Dylan's music of this time. That song became a hit in many places, including Ottawa, Ontario, where it was covered by many local musicians. However, since that song is too much of an homage/parody of Dylan, I have decided to use "Maid..." instead as it is more representative of the true sound of the band.
With a rocking punk-like riff and an in your face vocal delivery, this overly loud classic literally sounds like it was recorded in someone's garage. Perhaps that is why it has been hailed as a masterpiece of the Garage Rock movement, being prominently featured in Lenny Kaye's "Nuggets" series as well as several other compilations. An all out assault for sure, this is a perfect example of Garage Rock at its finest.
It constantly comes as a shock to me that so few have heard of Os Mutantes. Considering their lengthy career and catchy sound it is certainly a surprise. Most likely their lack of recognition is due to their never having left Brazil, their inspirational homebase. However, if one gives them a chance they will find an extremely unique musical experience like no other.
Os Mutantes formed in Sao Paulo, Brazil in 1965 as the brainchild of Arnaldo Baptista (bass, keyboards, vocals), Sergio Dias Baptista (guitars, vocals) and Rita Lee (vocals). After meeting with Gilberto Gil, a musician in the Tropicalia movement, they began to showcase their music around Brazil. Unfortunately at this time their music was considered counter-cultural and was deemed negative by the government, who subsequently had Os Mutantes arrested and exiled.
They continued to make music throughout the early 70's, eventually moving to a more progressive rock sound. However they could not remain a cohesive unit as Arnaldo left the group due to personal differences with the other members as well as an LSD habit that he couldn't kick. He eventually attempted to commit suicide by jumping out a window, which left him in a six week coma.
They reunited in 2006 and continue to make music today. Their influence is widespread throughout the music industry. Kurt Cobain called for a reunion tour of the band in 1993. Beck's song "Tropicalia" on his album "Mutations" is a tribute of sorts to the group and David Byrne (Talking Heads) has worked diligently to release the band's music on his Luaka Bop label.
Bat Macumba is widely regarded as their most popular effort however it still remains criminally underheard in this country. With a catchy guitar hook and a funky keyboard as well as an amazing lyric, this song has a little bit of everything. It is almost impossible not to feel something when listening to this excellent piece of work.
Album : People's Instinctive Travels and the Paths of Rhythm
A Tribe Called Quest is often called one of the most groundbreaking acts in Hip Hop and for good reason. Not only have they attained great commercial success, they have also garnered much attention critically. From the release of their first album they have been at the forefront of a jazzy hip hop movement which also features the work of artists such as De La Soul. Their work is well documented in the industry and stands as a prime example of a more smooth, intelligent sound than some of their contemporaries.
Formed in 1988, A Tribe Called Quest is the brainchild of Q-Tip, Phife Dawg and DJ Ali Shaheed Muhammad. Originally part of the Native Tongues Posse, which also featured De La Soul, Leaders of the New School and the Jungle Brothers, Tribe signed a demo deal with Geffen Records in 1989 and the rest is history. Throughout the 1990's, their output, particularly 1991's "The Low End Theory" and 1993's "Midnight Marauders" cemented their place in the history of Hip Hop.
Following the release of 1999's "The Love Movement", the group disbanded and ventured off into solo efforts. Among these were Q-Tip's album "Amplified" and Ali Shaheed Muhammad's group project, Lucy Pearl. While quite successful on their own, Tribe seemed destined to reunite, and indeed did at Rock The Bells 2004. They have also played several shows since 2006 as well as the Bumbershoot Festival. Q-Tip released another solo album, "The Rennaisance", in 2008.
Their stripped down, jazzy approach is well evidenced on this particular track from their first album. "Luck of Lucien" also allows us a great insight into the vocal delivery of Q-Tip, one of the best mic men in the business. This song also features the vocal stylings of one Lucien Revolucien, a highly influential French MC who the song was most likely named after. This is a definitive example of early Tribe at their best and a welcome addition to this ongoing list.
Kevin Fever
For Further Information on A Tribe Called Quest please check the following links....
Now this is one that I'll bet a few people have heard before, perhaps even the most well known of all the songs I have written about so far. Popular is not just a teen anthem, it is THE teen anthem, at least for the teens in the mid-1990's who were still reeling from the death of Kurt Cobain. The quest for popularity amongst teenagers certainly has its place in pop culture history, from films like Heathers to television shows like Beverly Hills 90210, it always seems to rear its ugly head. This song by Nada Surf is the perfect audio example of that pop culture phenomenon.
Formed in the early 1990's by Matthew Caws and Daniel Lorca, Nada Surf was a band just struggling to get along in the era of grunge and flannel shirts. After splitting with original drummer Aaron Conte, Caws and Lorca recruited Ira Elliot, former drummer of the Fuzztones, a popular NYC band during the 80's. With their lineup set and demo in hand, the trio headed off to promote themselves.
A chance meeting with former Cars frontman Ric Ocasek led to him getting his hands on their demo and subsequently producing their first album, "High/Low". Following a hectic 19 day recording session the album was finished and the band was off to play a tour with fellow alterna-rockers Superdrag. It was while on this tour that the song "Popular" was released, and it quickly set the charts on fire, peaking at Number 11 on the Billboard 100. It still stands today as their signature song.
The song itself is a great piece of music with an incredibly catchy chorus and an intricate lyric pattern that lends itself more to spoken word than singing. The bleak attitude of the 1990's teenager is encapsulated perfectly within the minds of the fictitional characters populating the song. Everything from dealing with boyfriends, cheating girlfriends, jocks and nerds is covered here in earnest detail.
While Nada Surf never really had another hit like "Popular", they continued to work together as musicians and have released three critically acclaimed albums since 2002, "Let Go", "The Weight Is A Gift", and "Lucky".
Kevin Fever
To read more about Nada Surf please check the following links....
Kaki King is one of the most unique and creative artists to come along in the last 20 years of music and the scary thing is she is actually getting better over time. Bringing an incredibly wild fret-tap and slap bass technique to her guitar playing she has revolutionized the post-rock genre as we know it. Playing With Pink Noise, while not her most well know effort, is most certainly the prime example of her sound, her style and her incredibly gifted musicianship.
While she has only been around since 2003, it seems that Kaki King is always doing something. Beginning with the release of 2003's "Everybody Loves You" and culminating with 2008's "Dreaming of Revenge", King's output over the last 5 years has been nothing short of sensational. Using the guitar to create percussion sounds while channeling drum loops and echoes, King created a style uniquely her own with her earlier albums while maintaining a close tie to acoustic roots.
With the release of 2006's "Until We Felt Red....", King moved to a style designed to mark her as more than just a solo instrumentalist. By adding vocals to many of her songs, King actually surpassed her previous efforts and gained even more critical acclaim and accolades from the music press. With more praise under her belt King moved on to work with artists as diverse as Foo Fighters and The Cure. The sky is the limit for this talented young artist and it is my hope that soon I will be able to write another article praising her work.
In February 2006, King was named as a “Guitar God” by Rolling Stone Magazine, becoming the first ever female to make this list in the history of the publication.
Kevin Fever
For more information on Kaki King please check the following links....
Clocking in at just under 11 minutes, Marquee Moon is most certainly Television's magnum opus and stands as a testament to their incredible musicianship and songwriting ability. From droning, dual guitar opening to it's grand crescendo conclusion, this piece is easily the most recognizable song from the band, however most would be hard pressed to name it, or any other for that matter, as Television remains one of the most dismissed groups of all time.
Television formed in New York in late 1973 amidst the burgeoning punk scene of the time. Originally the brainchild of Tom Verlaine and Richard Hell, Television sounght to create more intricate melodies than their punk brethren. Unfortunately it was not meant to last as Hell proved to be a detrimental influence to the band, bound and determined to never fully appreciate the art of good music. Eventually he left the band and formed The Heartbreakers, and later The Voidoids (though that article is for a different day).
Verlaine, second guitarist Richard Lloyd, drummer Billy Ficca and Bassist Fred Smith soldiered on and emphasized composition and sound over stage aesthetics and it worked to perfection. Although a hit at such popular New York venues as CBGB's and Max's Kansas City, their sound was immediately recognizable and unique in comparison to the landscape they were working in at the time. Although they played as a band for several years, it was not until 1977 that their first album was released. Though it was not considered commercially successful by any stretch, it garnered praise from critics throughout the industry. Roy Trakin, writer for SoHo Weekly may have put it best when he said...
"forget everything you've heard about Television, forget punk, forget New York, forget CBGB's ... hell, forget rock and roll—this is the real item."
Make no mistake about it, Marquee Moon is not only the quintessential Television song, it is a must-have album. From start to finish there are absolutely NO poor efforts here. It is a landmark album, well worth the price of admission for you paying customers out there. The song itself stands as a signature piece, still performed in concerts today. From Tom Verlaine and Richard Lloyd's dueling guitars to Billy Ficca's manic drumming, this is an exquisite piece of music history and a shining example of late 1970's post punk.
Kevin Fever
To learn more about Television and Marquee Moon please check the following links....
Originally released as the first single from Wire's second album, Chairs Missing, I Am The Fly marks a major shift in musical style for the band. Their first album, Pink Flag, by comparison was a minimalist punk effort, with little to no emphasis on synthesizers and creating soundscapes. I Am The Fly would be the first chance the public would have to hear the "new" Wire sound, the sound that would shape their future.
Originally formed in 1976, Wire were part of an exploding UK punk scene which also included The Clash, The Damned, and The Sex Pistols, among many others. However while most of these groups chose to continue with their style of sound, Wire had much loftier ambitions. They saw a style of music that encompassed part of the elements of punk with real orchestration and experimentation with instruments not normally associated with punk rock. The result of this change was "Chairs Missing", and it's followup, "154".
I Am The Fly is quite possibly the best example of Wire's shift in sound. It retains the punk attitude and snarl while also encompassing the use of synthesizers and a much more balanced sound. The song was a hit in the UK and is considered one of Wire's best. For a band that is routinely called "one of the most important rock groups of the 70's and 80's", it is a prime example of a band at it's finest hour.
Wire continue to play to this day. Their first three albums were re-released in 2006 and garnered them a renewed interest. Many who had never heard Wire before were immediately taken with the group's unique sound and style In July 2008 they released Object 47, their first new album since 2003's "Send". In August 2008 they co-headlined London's Offset Festival with Gang of Four.
In closing, I hope you enjoy this piece of early post-punk excellence and take the time to examine Wire further, as they are an extremely underrated and influential group. From their trailblazing sound movements to their landmark plagiarism case against Elastica, Wire has always been doing things just a little differently...and it always works.
Kevin Fever
For Further Reading on Wire please check the following links...
El Watusi, a masterpiece of Boogaloo music and the Nuyorican Movement, is notable for several reasons. It was the first Latin single to crack the Billboard Top 100. It inspired a dance craze (named after the song) which inadvertetently inspired Adam West to create "The Batusi" for an episode of the campy 1960's Batman show. It is featured in countless films such as Carlito's Way, JFK and The Wedding Present and is quite possibly the most famous one-hit wonder of all time. So why the hell did Ray Baretto hate it so much?
Baretto began his musical career as a percussionist following a stint in World War II where he first heard the music of Dizzy Gillespie and, more specifically, his percussionist Chano Pozo. Baretto fell in love with the music and realized that it was his true calling in life. He began to play in local clubs around the New York area to hone his skills on the conga drum. He even worked briefly for Charlie "Bird" Parker and Tito Puente. Eventually he became a local house musician, regularly appearing on tracks from labels such as Prestige Records, Bluenote Records and Riverside.
However in 1961 Baretto released El Watusi, which would become his signature song, biggest hit and constant thorn in his side. Baretto felt the song typecast him into a standard Boogaloo artist and did not allow him the freedom to explore his jazz roots more openly. Indeed the song is quite representative of the Boogaloo style and is actually considered one of the original songs from this genre of music. It is also a landmark in the Nuyorican Movement, a style pioneered by exclusively Puerto Rican artists.
Baretto continued to play into the 1980's and beyond, performing session work for groups such as The Rolling Stones and The Bee Gees, but he never shed the label of El Watusi. Although he may have looked on this as a bad thing, the millions who have enjoyed this song over the years would think differently and thank him for his contribution if they had the chance. Sadly, Ray Baretto died on February 17th, 2006. He was 76 years old.
The song itself is a joy to behold, filled with excellent conga beats, a driving piano line and some excellent wind playing. The fact that it is still played so frequently in television commercials and films to this day is a testament to it's originality and uniqueness. It is well served as an addition to this archive. Here's hoping everyone enjoys at least one listen to this masterpiece by a truly under-appreciated musical genius.
Kevin Fever
For Further Reading on Ray Baretto, Boogaloo and the Nuyorican Movement check the following links....
We should probably let the lyrics for this song speak for themselves....
the bloody cops are bloody keen to bloody keep it bloody clean the bloody chief's a bloody swine who bloody draws a bloody line at bloody fun and bloody games the bloody kids he bloody blames are nowehere to be bloody found anywhere in chicken town the bloody scene is bloody sad the bloody news is bloody bad the bloody weed is bloody turf the bloody speed is bloody surf the bloody folks are bloody daft don't make me bloody laugh it bloody hurts to look around everywhere in chicken town the bloody train is bloody late you bloody wait you bloody wait you're bloody lost and bloody found stuck in fucking chicken town the bloody view is bloody vile for bloody miles and bloody miles the bloody babies bloody cry the bloody flowers bloody die the bloody food is bloody muck the bloody drains are bloody fucked the colour scheme is bloody brown everywhere in chicken town the bloody pubs are bloody dull the bloody clubs are bloody full of bloody girls and bloody guys with bloody murder in their eyes a bloody bloke is bloody stabbed waiting for a bloody cab you bloody stay at bloody home the bloody neighbors bloody moan keep the bloody racket down this is bloody chicken town the bloody pies are bloody old the bloody chips are bloody cold the bloody beer is bloody flat the bloody flats have bloody rats the bloody clocks are bloody wrong the bloody days are bloody long it bloody gets you bloody down evidently chicken town the bloody train is bloody late you bloody wait you bloody wait you're bloody lost and bloody found stuck in fucking chicken town
While not neccesarily considered music, the art of performance poet John Cooper Clarke has made for some interesting experiences over the years. This song, one of his most recognizable, is full of wild and vivid imagery. The music, although mainly a loop pattern, starts off with the zest of an irish-jig from hell and continues on in a very dark fashion. Clarke weaves a sordid tale of his view of an extremely messed up town, or perhaps a "bloody" messed up town as per the lyrics. The music is played by his backing band, "The Invisible Girls", featuring Martin Hannett (Joy Division's producer).
John Cooper Clarke, known as the "Bard of Salford" gained prominence in the UK punk scene of the late 1970's and regularly performed with such acts as The Sex Pistols, The Buzzcocks, Elvis Costello and The Fall. He also appeared in the film "Urgh! A Music War", one of the more influential post-punk films ever made. His knack for brilliant lyrical verses in his poetry has lead to him developing a large cult following while staying significantly out of the mainstream spotlight. His work has inspired several current bands, most notably The Arctic Monkeys and specifically their frontman Alex Turner.
The following is a quote from an interview conducted by The Daily Record
"There was this skinny guy with mad hair and drainpipe jeans. He was the support act and his name was John Cooper Clarke," Alex recalled. "I had heard his poem, I Wanna Be Yours, before because an English teacher at school had read it to our class. But after I saw him live, I really got into him. I just love the way he articulates - the little words he uses and the way he delivers them. I really got into him. He was a big influence."
The remainder of this excellent interview can be read here....
Clarke continues to perform to this day and "Evidently Chickentown" almost always finds a way into his sets. This song has found it's way into pop culture a few times, most notably on The Sopranos and in the film "Control". A challenging piece to be sure but well worth the listen and attention that it so richly deserves.
Kevin Fever
For Further Reading on John Cooper Clarke check the following....
