Tall Dwarfs - The Short and Sick of It (1992)

'The Short and Sick of It' combines the Tall Dwarfs' first full-length, 1985's 'That's the Short and Long of It,' and the 1986 'Throw a Sickie' EP for your listening pleasure. So, whoever requested the debut, this is your lucky day! That is, if you actually remember requesting it in the first place; it has been a few weeks. Why was it called 'That's the Short and Long of It,' you ask? Well, one side of the 12" LP featured 10 songs that played at 33rpm, and the other side featured 2 songs (one a surprisingly successful 6-minute, "Wall of Dwarfs" reworking of "Nothing's Going to Happen") that played at 45rpm. Short and long. Get it? Anyway, if you've ever heard a Tall Dwarfs release, you know what to expect. And check out Alec Bathgate's wonderful solo album, Gold Lamé, while you're here; it deserves more listeners.

[Link Removed]

On the subject of requests...

No, I haven't forgotten them; some of these albums just take a little hunting to find. I believe that as of right now, these are all pending requests. If I've forgotten anything--or if you would like to add something to the list--please let me know in the comments section.

UPDATE: We have now acquired all of the albums listed below. See, that didn't take too long. Look out for them soon!

- Ariel

Able Tasmans - Store in a Cool Place
Able Tasmans - Somebody Ate My Planet
The Bats - 4 Songs EP
Jean-Paul Sartre Experience - Love Songs
Stephen - Radar of Small Dogs

On an unrelated note, if you downloaded the Verlaines' Juvenilia from this blog, you probably noticed that the final track, "C.D. Jimmy Jazz and Me," was not the original b-side to "Death and the Maiden" but the 'Bird Dog' version. Alright, you probably didn't notice. Well, I finally found the original version, which you can download here if you feel so inclined: C.D. Jimmy Jazz and Me. I uploaded a complete copy of 'Juvenilia' as well, so I can remove that annoying disclaimer. Enjoy!

Dolly Mixture - Demonstration Tapes (1983)

"Dolly Mixture was like the Shangri-La's minus the gum-cracking Queens accent. Or the Go-Go's if they had any class. Or the Raincoats without the weirdness and electric violins." - Lois Maffeo

One of the most aptly named bands ever? Alright, I've never even had Dolly Mixture candy, but I have heard Dolly Mixture the band, and these girls performed a glorious blend of infectious pop hooks, classic girl-group harmonies, and an utterly charming sense of joie de vivre; and not without their share of punky sass, either. To these ears, Dolly Mixture wrote the most catchy, concise three-minute pop songs of the punk era this side of the Undertones. 'Demonstration Tapes' collects their entire recorded output from 1979 to 1983, sans singles unfortunately, but you still get 27 songs and 73 minutes of pure pop bliss. "He's So Frisky," "How Come You're Such a Hit With the Boys, Jane?" "Side Street Walker," "Angel Treads;" I could go on, but that would cut into valuable listening time! Though remarkably influential--just listen to Talulah Gosh or the Shop Assistants, to name two--Dolly Mixture's relative lack of success is one of the cruelest jokes in music history; if you've never had the pleasure of the Dolly's company, pick this one up immediately. - Ariel

More information here.

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Mumps - Fatal Charm (1994)

The Mumps are a pet favorite of mine that seem to have been unfairly swept under the carpet of pop history; this is despite their CBGB’s pedigree and two posthumous collections, mind you. ‘Fatal Charm’ was the first of these, released in 1994, and it contains their entire recorded output from the 70's. As terminally clever as it is catchy, the Mumps’ special blend of glam, bubblegum, and punk is simply a joy to listen to, and tremendous fun to boot. Early Sparks is a good reference point. Add a touch of flamboyance and a healthy dose of retro-kitsch-- before the B-52’s mined similar territory to great success--and you’ve got the Mumps, charismatically led by the dearly departed Lance Loud of “An American Family” fame. And need I mention the songwriting genius of Kristian Hoffman? The second reissue, 2005’s ‘How I Saved the World,’ adds a bonus disc of live video to the mix; if you enjoy these songs, buy it! In an alternate universe, “Crocodile Tears” and “Anyone but You” are recognized as pop classics; they already are in my world, anyway. I’ve reproduced the ‘Fatal Charm’ liner notes below; I think the final paragraph is a particularly poignant summation of the Mumps’ appeal. Enjoy! - Ariel

More information here.

Too pop for punk, too "old school" for the New Wave. Mumps were a 70's era New York rock band, out of time. Everything about us was contradictory or cockeyed in a fashion era in which motorcycle jackets, mohawk hairdos, torn clothing and lots and lots of chains were the order of the day, we were the band most often seen in jackets, dress shirts and ties. Our high vaunting musical ambitions were matched with low ranking musical expertise, we had a lead singer who could sweat better than he could stay in key, and besides the fact that three of us were gay in a hetero-heavy field which only acknowledged homosexuality as being a passing marketing ploy in David Bowie's career. The only thing shared between us all was our weird combination of superiority and insecurity.

Included on this compilation you'll hear just about everything Mumps ever recorded both our singles, a smattering of early rehearsal tapes, demos, an alternate version, and even one number "Stupid" which was recorded for a compilation record of New York bands that never got released and which now sounds, to me at least, to be among the best things we ever committed to tape.

Now from beyond the grave, Mumps are back. What's our worth in this day and age? Coming from a point in time, before MTV, that is as good as prehistoric, there is of course the archeological factor. (....Jurassic Punk?) Then there is also the timeless factor. Allowing myself only a moment on the soap box, our music spoke to the true misfit class of American teenager. Not the poetic James Dean type dream outcast, but the real, nerdy, nobody wants ‘em, Forgotten Teens. You know the type. Too square to be down with the homeboys too idiotic to be up with the intellectuals, too insecure to be the center of attention and too impatient to just sit at home and wait until they get to be 21. Mumps music, and this of course was based on the tunes and lyrics mostly of Kristian Hoffman, spoke to the disenfranchised, kids who wanted to fit in any place but fit in no place instead. These Mumps miscreants came to our shows, loved my sweating and sour notes, were bewitched by Kristian Hoffman's pouting piano presence, thought Toby Duprey was the hottest guitarist ever, Paul Rutner was the toughest drummer around and Kevin Kiely was what the Venus De Mila would have been had she been a teenaged runaway male in the 2Oth century who played bass. The record of course is, as far as I'm concerned, first of all is for the former members of Mumps, something to show for the seven years spent in hard labor on the chain gang of rock and roll. But secondly this record is for the dorky youth. For kids who are dumb, unpopular, and considering a lifetime fraught with serious adjustment problems...Mumps the word.

- Lance Loud '94

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Alec Bathgate - Gold Lamé (1996)

By now I suppose I've been outed as a complete and utter kiwi-phile, so enjoy this thoroughly enjoyable and charming little record from that other member of the Tall Dwarfs. Hint: the one whose initials aren't C.K. 'Gold Lamé' is a veritable goldmine of '60s pop hooks, complete with gorgeous melodies aplenty and a joyful dose of quirkiness; all recorded in glorious Flying Nun fashion on a four-track in Bathgate's garage. If you've enjoyed--or in the unfortunate chance that you haven't, please indulge yourself--previously posted albums by the aforementioned Tall Dwarfs or Chris Knox, do pick this one up. - Ariel

It can't be easy for Alec Bathgate. As the "other" Tall Dwarf he always seems to stand in the shadows of the more extroverted Chris Knox. It would be simple enough to dismiss Bathgate as the Jim Messina to Knox's Kenny Loggins (or, more charitably Bruce Foxton to Knox's Paul Weller). And yet, those judgements wouldn't be fair. Perhaps, an XTC analogy might better do the trick in this case-if Knox is the Tall Dwarfs' Andy Partridge, the more low-key Bathgate is certainly their Colin Moulding. As the Tall Dwarfs' primary guitarist, Bathgate has always made major contributions to Tall Dwarfs lps. And that's to say nothing of his songwriting talents-"Pictures on the Floor" from Louis Likes His Daily Dip, "Mr. Brocoili" from Weeville, and 3EPS' "Bee to Honey" are but three of the many jangling gems he's brought to the table. When Knox began his solo career in 1989, the Tall Dwarfs went on the back burner for a couple years, and it wasn't until 1996 that Bathgate followed suit with a solo album of his own. Gold Lamé not-too-surprisingly sounds a lot like a Tall Dwarfs record, with shiny strummed tunes augmented with Casio keyboard, quirky looped beats, piano, xylophone, and the works. Firmly entrenched in the sounds of the '60s, Gold Lamé draws inspiration from the usual suspects-the Beach Boys, the Kinks, and, of course, the Beatles (Bathgate's George Harrison to Knox's John Lennon?? Oh forget it....)

[Michael Jourdan, allmusic.com]

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Television Personalities - Mummy Your Not Watching Me (1981)

As a more inconsistent affair than its predecessor, I can't endorse this album as fully as 'And Don't the Kids Just Love It.' That's not to say that 'Mummy...' isn't recommendable, however, or that there aren't worthy songs present amidst the weaker tracks. In comparison to the largely ramshackle, barebones aesthetic of 'And Don't the Kids Just Love It,' however, I feel its neo-psychedelic textures often detract from, rather than benefit, the often great songs. This album also signals a shift in ambiance from its predecessor, towards a darker, more deranged mood, though I would be loathe to refer to 'And Don't the Kids...' as "twee," which this Allmusic.com reviewer insists on doing; while wistful at times, it was hardly free of gloominess. All in all, "If I Could Write Poetry" and "Painting By Numbers" are top-notch tracks, and if you even remotely enjoy the previous album, I don't see why you should pass this one up. - Ariel

The second full-length Television Personalities release (and the first product of Daniel Treacy's Whaam! label, later renamed Dreamworld after George Michael's manager offered them a pot of money to change the name) adds a full-time bass player to the original trio and sets the Wayback Machine ahead about 18 months from the debut's Swinging Carnaby Street sound. The darker, more psychedelic Mummy Your Not Watching Me is considerably less twee than And Don't the Kids Just Love It, covering Treacy's increasingly self-effacing lyrics in a wash of keyboards and phased guitars. There are a few songs that still show the influence of the earlier Television Personalities sound, including the wistful "Magnificent Dreams" and a remake of the single "Painting By Numbers," originally released under the name the Gifted Children, but the key track is the lengthy "David Hockney's Diaries," an acid rock drone that introduces an entirely different texture into the band's sound that Treacy would explore further on the next several albums. This is a transitional album that has tended to be shortchanged by both reviewers and fans, but there's much to recommend here.

[Stewart Mason, allmusic.com]

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Television Personalities - ...And Don't the Kids Just Love It (1980)

For those few unfortunate enough to be uninitiated, here is the legendary debut full-length from the Television Personalities, Dan Treacy's inspired pastiche of 60's Carnaby Street pop sensibilities filtered through the grimy lens of post-punk Britain. Gloriously under-recorded and infused with a palpable sense of joie de vivre—but offset by moments of aching vulnerability—‘...And Don't the Kids Just Love It' is at once an expressive portrait of its time and an earnest homage to a passed age, and equally effective at both. I've always found this tension at the heart of the album—the stylistic posturing combined with an entirely modern, unselfconscious delivery—to be one of its most fascinating aspects, and listening to it the aural equivalent of peeking at someone else’s diary. This is an album chock-full of introspective pop songcraft at its finest. I don't know how many of you actually read these italicized ramblings, so in the merciful interest of those who do, let's wrap this up, shall we? The album's capper, "Look Back in Anger," is an all-time favorite of mine, and if you've managed to avoid the Television Personalities until now—and shame on you for that—do yourself a favor. Look out for this album's follow-up, 'Mummy Your Not Watching Me', to be posted soon. - Ariel

The first full album by Television Personalities, recorded after a four-year series of often brilliant D.I.Y. singles recorded under a variety of names, including the O-Level and the Teenage Filmstars, is probably the purest expression of Daniel Treacy's sweet-and-sour worldview. The songs, performed by Treacy, Ed Ball, and Mark Sheppard, predict both the C-86 aesthetic of simple songs played with a minimum of elaboration but a maximum of enthusiasm and earnestness and the later lo-fi aesthetic. The echoey, hissy production makes the songs sound as if the band were playing at the bottom of an empty swimming pool, recorded by a single microphone located two houses away, yet somehow that adds to the homemade charm of the record. Treacy's vocals are tremulous and shy, and his lyrics run from the playful "Jackanory Stories" to several rather dark songs that foreshadow the depressive cast of many of his later albums. "Diary of a Young Man," which consists of several spoken diary entries over a haunting, moody twang-guitar melody, is downright scary in its aura of helplessness and inertia. The mood is lightened a bit by some of the peppier songs, like the smashing "World of Pauline Lewis" and the "David Watts" rewrite "Geoffrey Ingram," and the re-recorded version of the earlier single "I Know Where Syd Barrett Lives," complete with deliberately intrusive prerecorded bird sounds, is one of the most charming things Television Personalities ever did. This album must have sounded hopelessly amateurish and cheaply ramshackle at the time of its 1981 release, but in retrospect, it's clearly a remarkably influential album that holds up extremely well.

[Stewart Mason, allmusic.com]

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The Chills - Secret Box (2001)

This is a big one, folks. As a preface, no, this is not a personal rip; Martin Phillipps--god bless 'im--only pressed 500 copies of this incredible, mindblowingly expansive collection. Naturally, they sold out in advance. I've only just begun to dig in, but this is essential listening for Chills fans (which of course you all are.) Tracklistings are included. Enjoy!

NOTE: For those of you who requested the Jean-Paul Sartre Experience's 'Love Songs' and the Able Tasmans' 'Store in a Cool Place,' fear not! The ever-amazing Gozz will be posting them in a timely fashion; expect both albums--and a lot of other goodies--in the coming weeks.

- Ariel

Spread out over these three discs' 83 selections are B-sides, outtakes, rarities, demos, radio sessions, tribute LP covers, a '60s-revival Coke jingle, soundtracks, and most important of all, 31 live versions of songs never released in any form. These unheard, vintage tracks span disc one and half of disc two, tripling the insight on the 1980-1987 Chills. They're loads more aggressive (aided by the sweaty club environments) than the band's supernatural early singles and EP collected by Kaleidoscope World. It all comes as a bit of a barrage, since Martin Phillipps' prolific pen was never more frenzied, spitting out one keyboard-laced, great post-punk pop track after another. His long-standing contention that the band should have released two, possible three classic LPs before 1987's "debut" Brave Words (nine lineup changes, including the death of a key early member, hurt) is finally, fully supported by this evidence. Even some of the later shimmering tracks, such as the ghostly "House With a Hundred Rooms" and onrushing "Oncoming Day," had their start in this harder, edgier epoch, as the original incarnation of the former as 1982's "After They Told Me She Was Gone" and the 1985 Bucketful of Brains flexi version of the latter exhibit. The demos and radio sessions are as much fun, while only the consummate Chills head will have all the later B-sides and compilation tracks. True, this is specifically for fans, as the merely curious are better off starting with a comprehensive best-of like 1994's Flying Nun double-CD Heavenly Pop Hits. There one encounters the more silvery-burnished, better-recorded, more stable Chills of 1987-1992. But even those who buy Secret Box will discover a greater energy than normally associated with the Chills name, who betray more of their '60s garage and psychedelia and '70s original punk roots here than at any time in the future.

[Jack Rabid, The Big Takeover]

Disc 1: Sonic Bygones
Disc 2: Salvaged Bullion
Disc 3: Singular Booty

Swell Maps (Singles Edition!) - Read About Seymour (1977) + Dresden Style (1978) + Real Shocks (1979) + Let's Build a Car (1979)

These singles are all culled from the various Swell Maps outtakes/rarities/best-of collections that have been flooding your local record store of late; I decided to collect them in this fashion because there is no one collection that has all of the complete A-sides and B-sides, and additionally, there would just be way too much overlap with the main albums if I posted a complete compilation. I've endeavored to present these tracks in the order that nature intended them to be, with the exception of "Real Shocks" because I can't find its B-sides. But three out of four is not bad! I think I've bored everyone enough with my Maps devotion already, so I'll just let these songs speak for themselves. Loudly. Enjoy!

If you like what you hear, please visit Secretly Canadian and purchase their Swell Maps reissues.

- Ariel

Read About Seymour (7")

- Read About Seymour
- Ripped & Torn
- Black Velvet

Dresden Style (7")

- Dresden Style
- Ammunition Train
- Full Moon

Real Shocks (7")

- Real Shocks

Let's Build a Car (7")

- Let's Build a Car
- Big Maz in the Country
- ...Then Poland

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"Let's Build a Car"

Swell Maps - Jane from Occupied Europe (1980)

As promised, here is the Swell Maps' second full-length 'Jane from Occupied Europe,' as gloriously cacophonous a record as its predecessor. While I was writing my last post, I forgot to mention just how successfully evocative the Swell Maps' album artwork was. The sounds within 'Marineville' seem to leap forth from the blazing, barely contained fury of its cover, and with 'Jane' the songs perfectly capture the sense of desolation that accompanies its art, echoing the eerie, quiet aftermath of destruction. But enough about that; to the songs! "Border Country," "Helicopter Spies," and my personal favorite "Cake Shop," would all have fit quite nicely on 'A Trip to Marineville,' sharing that album's sense of reckless, charming naivete and anarchic joy, and the freaked-out, kraut-punk bliss of "Big Maz in the Desert" and "...Vs. the Mangrove Delta Plan" is the stuff of post-punk perfection.

This record hangs together more fluidly than 'A Trip to Marineville,' and while that album's fragmented schizophrenia may be the reason why it's my favorite of the two, I cannot deny the brilliant, unified work that is 'Jane from Occupied Europe.' It is at once a coherent piece and an album on the verge of collapse as sounds drift in and out seemingly at random, creating nightmarish dreamscapes of beautifully dissonant noise. I've gone on enough; simply put, you need this album and the Swell Maps in your life. Coming up next will be most of the singles released by the Maps during their existence, including the immortal "Read About Seymour" and "Let's Build a Car."

- Ariel

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Swell Maps - A Trip to Marineville (1979)

Spectacularly beautiful noise courtesy of the dearly departed Nikki Sudden and Epic Soundtracks--not to slight the contributions of Jowe Head, Phones Sportsman, Biggles, and John 'Golden' Cockrill (as listed, honest)--'A Trip to Marineville' is the Swell Maps' first LP after a string of classic singles("Read About Seymour!") This is an album and band I wouldn't want to imagine my life without: a sheer sonic explosion of down 'n dirty experimentalism, minimalist fury, and krautrock-influenced grooves; all performed with a jaggedly raw energy and chaotic, kitchen-sink aesthetic unmatched by any band of its--or perhaps any other--time. "Vertical Slum," "Midget Submarine," and the "Full Moon in My Pocket/Blam!!/Full Moon(reprise)" suite are all bonafide classics to me; do yourself a favor and let the Swell Maps occupy a special slice of your existence if you haven't already. Their second full-length, 'Jane from Occupied Europe' is forthcoming, and I'll probably post a few essential singles too. Stay tuned. Long live the Maps! - Ariel

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"Midget Submarine"