The Beatles Arrive in DC (February 1964)

Posted on February 12, 2024 by Tyler

Jeff Krulik posted this British Pathé archival video to his social media, and I thought it was so cool and timely that I would share it here, too.

I’ve also pasted below the text from the original post by the Whippany Railway Museum, because it doesn’t deserve to languish on Facebook whenever that site finally dies. Enjoy, and if you’re in Michigan, keep an eye out for a special screening of A Hard Day’s Night in Mt. Pleasant this Spring!

It Was 50 Years Ago Today (Tuesday)… February 11, 1964…

After their initial, historic appearance on The Ed Sullivan Show on Feb. 9, 1964, the Beatles and their entourage had plans in place to fly to Washington, D.C. on Tuesday, Feb. 11th. This was ahead of their first full concert in America at the Washington Coliseum later that evening, but a heavy fast-moving snowstorm early in the morning of the 11th crippled the New York City-area airports, forcing a last-minute change. It was decided to transport the group via the Pennsylvania Railroad.

Beatles lore says the train was named The Congressman, (attributed to 1010 WINS radio DJ “Murray The K”), but PRR did not have a train with that name… it was The Midday Congressional they travelled on, with an 11 AM Southbound departure from NY Pennsylvania Station (see the attached pdf. of the PRR timetable dated Feb. 9, 1964). The train would have been pulled by one of the road’s famed GG-1 electric locomotives… which one though, has been hard to track down.

Penn Station that morning was mobbed with fans, clogging the pathways and arteries of the vast building. Police were out in force in a vain effort to keep the overzealous teens at bay. All this chaos in the midst of the ongoing demolition of “Old” Penn Station.

A streamlined Richmond, Fredericksburg & Potomac Railroad Pullman car , the ‘King George’ (built circa-1946 and used in PRR pool service) was chartered expressly for the Beatles use by their manager, Brian Epstein. With most of the New York press corps crowding into the car along with the Beatles, there was nowhere for the group to hide. For nearly 4 hours as the train headed South, they were at the mercy of anyone who imposed… including “Murray The K” (the self-proclaimed “Fifth Beatle”) , who with his constant non-stop chatter, was someone the band found to be somewhat over the top.

The group talked and mingled with everyone they came into contact with… John Lennon and Paul McCartney sauntered through the entire train, interacting with the regular passengers, signing autographs and posing for pictures.

Considering the significance of their first live American concert, the Beatles were fairly relaxed. It wasn’t until the train pulled into Washington Union Station that the impact hit them. An estimated 3,000 kids had braved 8 inches of snow and jammed the platforms, awaiting the arrival of the train. At first the crowd made it impossible for the Beatles to disembark, with fans and press battling for position… a cascade of popping flashbulbs, and complete pandemonium. The police, totally unprepared and outmanned took cover on the sidelines as Paul McCartney led the entourage toward the exits. Somehow they made their way out and into the waiting limos.

After the concert that night at the Washington Coliseum , and following an evening’s rest, the morning of Feb. 12, 1964 found the Beatles posing for photos near the U.S. Capitol before boarding a Northbound PRR train (possibly The Midday Congressional again, with an 11:45 AM departure out of Washington). For the return trip, their manager Brian Epstein and his staff flew back to Manhattan, while the Beatles rode in a PRR 1920’s-era heavyweight sleeper-converted-to-lounge-car. Just prior to departure, Paul and Ringo stood in the vestibule posing for the press, while Paul waved a red signal flag.

A repeat of the trip down, the ride back up saw mobs of press who refused to give the band a moments peace. No matter how hard the Beatles tried to discourage conversation, there was no letup from the non-stop questions, the unending clicking of cameras, and the calls for them to “be a good sport”. Beatles’ Producer George Martin (also onboard for both runs over the Pennsy) called it “…some kind of giant three-ring circus, with the boys as stand-ins for the trained seals.”

There was some comic relief… George Harrison was lifted into a baggage rack of the car and pretended to nod off. Ringo jokingly swept out the car with a broom and grabbed the camera cases of press photographers, putting them around his neck, and then walked up and down the aisle, shouting, “Exclusive ! Life Magazine ! Exclusive ! I have a camera !”. Another shot shows George wearing a PRR Car Attendant’s uniform jacket and hat, carrying a tray of 7up and Coca-Cola.

In a series of photos, Ringo (who was clearly the favorite of the newsmen) was photographed showing off a Seaboard Railroad timetable, and later still, he’s seated with PRR Car Attendant John Ragsdale who pointed things out along the route and served Ringo drinks. 9-year-old Linda Binns managed to find her way to Ringo and spent an hour talking with him. See her current story here: http://www.timesdispatch.com/…/article_56666ef5-aa05…

Ringo spent a lot of time photographing scenes of the snow-laden American landscape as the train rolled along. Beatles photographer Dezo Hoffman said: “While so far having only seen the skyscrapers of New York…now they stared, fascinated at the complete contrast of wooden shacks and scrap-yards lining the railway tracks. There were transistor radios in the carriage and every station was either playing Beatles records, broadcasting Beatles interviews, or announcing news about The Beatles.”

John Lennon, and wife Cynthia tried in vain to make the best of things. Cynthia, disguised in a black wig and sunglasses, sat in a separate compartment to avoid the attention of the press.

One photo shows Paul chatting with George Harrison’s sister Louise (who had emigrated to America some years prior), while later still, 3 female fans approached Paul as he experienced his first hamburger (you wouldn’t see him do that today !). Take note of the PRR china plate that McCartney is using… it’s decorated with the Pennsy’s famous ‘Mountain Laurel’ pattern.

Upon arrival back in New York, the platforms were again mobbed with fans when the train pulled into Penn Station. An estimated 10,000 people were on hand in and around the PRR’s colossal station. At the last minute, just before pulling into the station, and in an effort to elude the fans, the Beatles’ car was uncoupled from the train and switched onto an isolated platform. A plan to take the band up a special elevator was foiled by fans, so the Beatles had to charge up the closest set of steps and jumped into a taxi idling on Seventh Avenue. They were already overdue for a rehearsal at Carnegie Hall, where they were scheduled to appear twice that evening.

Unsolicited Reissue Review: Supergrass – ‘Life on Other Planets’ (2002 / 2023)

Posted on September 11, 2023 by Tyler

Issue 5 of Postcards from Irving is now out! Check out my virtual lecture LIVE tomorrow night with Friends of the Cabildo at 6pm CT! More on those soon, but first…

Well we jumped all night on your trampoline,
and when you kissed the sky, it made your sister scream.
You ate our chips and you drank our Coke,
and then you showed me Mars through your telescope…
“Grace”

One of my favorite Supergrass moments occurred halfway through the band’s headline set at the 9:30 Club on February 12, 2006. Gaz Coombes sat down at a keyboard (normally the province of his big brother Rob, whose full-time membership in the band was half a decade along at that point, yet I still refused to accept as such) and diddled out the opening measures of “Funniest Thing.” It only took one measure, though, for the audience to erupt. “What great songwriting,” I thought, amazed at how one measure of one hook was enough for the crowd to recognize a deep-cut.

Considering how instantly memorable so many of their 2000’s-era songs are, it’s amazing what a disappointment all of the band’s 2000’s albums were when they arrived. I should qualify that, though, by clarifying that disappointing for Supergrass would be tantamount to an under-40 goal season for Alex Ovechkin. Life on Other Planets is still great. It’s just that, for “everyone’s second favorite band,” something HAD to give after the millennium turned and everything started to suck. Those of us who’d plied ourselves on those double-disc bonus editions of the In It for the Money CD knew that the band wasn’t going to keep up their golden streak forever, and like a LOT of bands who blew up in the ’90s and survived the Great Music Industry Cave-In, the new decade wasn’t going to make things easy. Though I didn’t realize it back then (since it took me quite a while to appreciate their 1999 self-titled album), the band spent five years debuting and amazing us with as good a trio of First-3 albums as any band in rock history. Gaz and Danny being in bands together since age 14 did give them a good handicap going into 1995, but I digress.

Revisiting this album, on vinyl for the first time (because I wasn’t rich, living in a major city, or a country with UK vinyl distribution in 2003) has been a true pleasure. True to form, reissues are all about ~~money~~ enabling people to appreciate the album in its purest form as if they’d be able to when it first escaped into the world. I wrote about this a lot in my Master’s Thesis, which I am sincerely mortified to ever go back and read.

Also, far be it from me to tell a great band who had the good sense to quit when they needed to quit (and whose inevitable reunion tour was cut short by an ahistorical pandemic) that they can’t squeeze a little fund-age out of willing fans. Yes, those somewhat redundant Record Store Day single reissues irk me, but that’s also because I already have OG pressings of most of them (being a nerd who had some expendable income and lived for some time in a major city WITH killer record shops that made it their mission to provide distribution for UK vinyl in the early ’10s).

Anyways, Life on Other Planets wasn’t so much that Supergrass were trying to pry a new “mature” iteration of themselves (like Blink-182 were successfully selling of themselves at the time), but a bit of a come-down was needed both in ferocity as well as in outlook/quality. It didn’t feel like the same Supergrass, largely because it wasn’t. I won’t lie; I still feel ambivalent about Rob Coombes’ stature as the fourth member, owing to the same pretenses that have kept Jason White out of Green Day and kept Pat Smear out of Nirvana (i.e. pointless rockist delusion). The ‘grass were cursed to be immortalized as a trio, despite how one of their best 90’s hits, “Sun Hits the Sky,” prominently featured Rob tickling the keys in his stoic way.

Revisiting with album with the gift of context that I didn’t have in 2002 has verified a lot of things I felt back then. The band didn’t try to fire all their weapons in a different direction like they did in 1997 then again in 1999 with those first three records. They just set their phasers to stun and gave us, as Rob Tangari commented, a thoughtful tour through fifty-plus years of British pop music traditions. On a few occasions, this resulted in genuinely amazing hit singles like a late-comer track inspired by their engineer’s charity-collecting daughter:

In other occasions, it was a bit drab. In some, it was fun but barely hiding the Bowie worship in ways they had previously owned their Bowie worship. No matter how erratic it was, it was a necessary window into the band’s mortality. The singles collection that came between this and Road to Rouen (another flawed album that still somehow does everything well, just in that subdued, Warning, “check out our acoustic guitars!” way) was an even split between cashing in relevance and justifiably marking a decade of being a singular band. For me, the 10th anniversary singles collection was redundant, but I caved and bought it in Bologna when I found a copy that had the accompanying video collection/documentary DVD. I managed to find a computer that would read Europe-region discs (oops) and made it about halfway through the documentary before turning it off, because it was fucking boring.

Somehow, though, this constituted another one of my favorite Supergrass moments: realizing that bands didn’t need to have insane, rubberneck-inducing stories to make great or interesting music. Gaz and Danny were always marketed as rock n’ roll brats during their ’90s heyday, but realizing that maybe that was pretense/bullshit made those Great-First-Three even greater. The early 2000’s served as a good moment of reckoning for (surviving) bands slapped with the Britpop label. Blur cleared the haze, splintered and put out their best record (in my opinion). Pulp released an LP that was fine and then broke up. Suede put out a couple of quite good clunkers before going on hiatus. Oasis had been burnt out for nearly a half-decade by 2002. Supergrass, in spite of everything, proved their mettle by remaining beautifully Supergrass for another half-decade on their own terms.

New Publication Alert: Suede/Madrid/Psychogeography in ‘Riffs’

Posted on February 17, 2023 by Tyler

I must apologize for my own tardiness in updating this on my own site, BUT my new article “Trash in Everything We Do: Suede’s Singles and Psychogeography in Madrid” was published last week in Volume 6(2) of Riffs: Experimental Writing on Popular Music.

Though I spent much of 2022 putting it together, the piece itself felt almost nineteen years in the making, and I’m proud of how it turned out. Thank you to the editors (Sarah Raine, Iain Taylor, Nick Gehbhart) for including me in such a great issue, and special thanks to my friend Lara and her brother Abrahan for their valuable input.

You can read the article here.

You can check out the whole issue (highly recommended) here in PDF form.

I am working on getting my hands on a few copies of the physical journal, too. Reach out if you would like one.

2009 Photo from outside Club Supersonic in Chamberi.
I made no mention in the article of how incongruous it was to see Debbie Harry on the sign. She was obviously influential to Britpop artists, but it’s still odd to me.

The Blur Collector (Part 1)

Posted on June 28, 2022 by Tyler

Somewhere, buried deep within my summer to-do list, is a low-priority item to re-tally my Blur collection. The collection includes all physical items of audio and video (still haven’t pulled the trigger on that elusive laserdisc) as well as promotional items and reading materials focused on the band. I’m already eagerly awaiting a stateside release announcement of Graham Coxon’s forthcoming autobiography, so I can put it next to Alex James’ first book. Also, this reminds me that I need to get my hands on Alex James’ second book (the one about cheese).

On a recent trip to Ohio, I stopped into one of my favorite massive independent (there really should be no other kind, and before long there likely won’t) bookstores and discovered the On Track series by Burning Shed publishing. To my shock, Blur were one of the first artists included. Essex musician Matt Bishop took on the enviable unenviable task of writing about every song Blur have ever released and likely some they haven’t.

The first comprehensive song-story book I ever owned was Niall Stokes’ U2 compendium, which Thunder’s Mouth Press released in the interim between Zooropa and Pop. At the time, I didn’t know I would ever write about music and place (ostensibly) for a living, but needless to say, it was inspirational. Every song does have a story behind it – an ethos would no doubt inspire Continuum to start the 33 1/3 series in 2003. Even the most obscure B-sides and demo tracks may have more interesting stories than the biggest hit. When I first read Into the Heart, I had a rudimentary understanding (at best) of what B-sides even were.

Bishop’s book on Blur has been enjoyable thus far. My lack of musical theory background does hinder it at moments where the musician-author gets fanboyish and technical over Graham Coxon’s chords and swerves, but I have nothing but love and respect for anyone willing to take on a task as unforgiving and headache-inducing as writing comprehensively about every single one of a superstar band’s recordings. And that’s coming from ME.

What I love most about going through Bishop’s vignettes has been how it’s given me a new lease on just why I like accumulating Blur materials. I never sprang for the 21 box, as I already owned most of the albums and, being in grad school, I couldn’t justify the expense on CD’s. A decade later, YouTube’s rampant monetization has made an endless rabbit hole of obscure recordings available at the push of a button. That being said, it’s overwhelming when you have literally anything better to do with your time, especially away from a keyboard or off of your phone. I still feel like I’ve heard less than half of Blur’s recordings, and I’ve been a fan for over 25 years. I’m fine with that, though, because I’m learning new things on almost every page of Matt Bishop’s book. As much as a handful of my favorite bands are less known, I love being a Blur super-fan, because there are always more recordings and more material out there to discover. I can’t even imagine what Beatles completists must go through.

Take, for example, an alternate, rocked out version of “Far Out,” which was, for at least a decade, available only via the 1999 “No Distance Left to Run” DVD-single (oh right…they made those, didn’t they?) and file sharing piracy. I knew that “Far Out” was recorded late in the Parklife sessions and remains the only Blur album track on which Alex James sang lead, but I didn’t realize they recorded any other version of it. The 1994 release was a cool aside but hardly an album highlight. The 1999 alternate version release is something else entirely. As off-kilter as this can be at times, I still love it:

Bishop also goes into details about the Parklife recording sessions based off of Steven Street’s camcorder footage, which disappeared from YouTube after being posted many years ago. Fortunately, somebody downloaded the footage from STreet’s website and re-uploaded it to YouTube, so I will embed it here. As I say about any streaming audio or video, enjoy it until it disappears again.

Tyler’s Favorite Records (1996): Ash – ‘1977’

Posted on January 3, 2022 by Tyler

The first time I saw Ash, I was in middle school. The band were a trio on a bizarrely packaged tour promoting their (arguably*) second and (inarguably) best record, 1977.

The second time I saw Ash, they were a quartet, and I was wandering around Irving Plaza under the directive to promote a tour-only EP they put out to help boost attention for their album Free All Angels. I was interning for their label at the time, and I was downright indignant that none of their singles had gotten any real attention in the US, especially “Burn Baby Burn,” a scorcher that had all the ingredients of pop chart success (including a couple of high-profile UK awards) but barely even scratched the United States.

Six years later, while record shopping in London, I found an original vinyl copy of 1977, lamenting to the clerks that Ash were one of my favorite bands, but no matter what they did, they could barely even get arrested in America. The clerk replied that they couldn’t get arrested there anymore, either, citing how they hadn’t really put out any great records in a while. In the interim, they had released Meltdown (2004) and Twilight of the Innocents (2007), neither of which, despite the gaudy cover art of the former and the title of the latter’s opening track, really caught fire.

I don’t remember if the band announced it before or after that London record shop conversation, but Ash had floated the idea of stopping making albums altogether to focus on singles. It seemed like a bizarre move at the time, though history has certainly not proven it misguided. Ash were within their right to do whatever the hell they wanted, but looking back now as an American fan of 25 years, I can sympathize with their frustration at the time.

I’ll never forget bumping into an old college radio friend (who ran WERW-AM from 2001-2002) at that Irving Plaza gig, watching his face light up when the band broke into their early single “Jack Names the Planets.” He repeatedly commented that he hadn’t heard, or even really thought about, that song in forever. Ash had spent their first decade (and four records) as a band being touted as “the next big thing,” and by 2003, even most music nerds in the states barely had any idea who the hell they were.

I think the importance of 1977 is self-evident in how the band have centrally the band have incorporated the year 1977 into their brand. I would argue that no record had a greater impact in simply helping remind Americans – who were, despite Weezer’s golden era and the ‘punk revival’ led by Green Day and Rancid, deluged with grunge’s watered-down cousin Modern Rock – that bands were still playing power-pop and garage-laden punk across the pond in 1996.

I’m going to assume I was watching MTV (or possibly M2 during a “free sample” weekend on my local cable provider) relatively late one night that year when the video for “Goldfinger” came on. I remember being intrigued. There weren’t a whole lot of other bands who sounded like that: sugary tenor vocals, grungy guitar that didn’t feel very “grunge” to me, and willing to take that commercial suicide-risk of resting their instruments almost completely several times per verse.

It took a sequence of life-changing events to arrive there, though. I had already seen the video for “Goldfinger” once, and likely heard it on the radio a couple of times, when I ran into a record shop in town adjacent to mine to see if they had a single for Stabbing Westward’s hit single “Shame” (an infectious bit of industrial-pop-metal with a music video so stupid I could write a separate essay on why). The clerk had no idea what I was talking about, but some dude in a leather jacket turned to me from down the counter and asked “Are you coming to the show tonight?” I had never had anybody ask me about coming to a show, much less a guy who looked like he could have been in a band as bad-ass (to 13 year old me, anyway) as Stabbing Westward. Stunned, I replied that I didn’t know. The labret-pierced Alt-Rock dude told me they had a bunch of copies of the single at Toad’s Place.

Intrigued, I convinced my Dad to take me to New Haven for the gig that night, a supportive gesture that has no doubt changed the path of my entire life. Stabbing Westward happened to be touring with Ash and I Mother Earth. Even at the time, that lineup seemed strange to me. If I ever meet Tim Wheeler, my first question would be how the hell that happened. I would assume some record company glad-handing, since a teenage Irish power-pop trio did not pair well with a brooding industrial quintet from Los Angeles (that weren’t even on the same label), but it may have just worked out that they played some festival together and Stabbing Westward invited them on board. If there weren’t just enough digital evidence to prove that the two bands played together in the Midwest that Fall, I would probably doubt my own memory. Brian Phelps’ new book about Toad’s place lists Stabbing Westward and I Mother Earth in their official band index, but not Ash. I don’t have any ticket stubs, photographs, or concrete third-party documentation that this show ever happened. I don’t have a copy of the “Shame” single, either, which makes me think labret-piercing dude was lying to me.

I’m certain that 1977 wasn’t the first album I evangelized to anyone who would listen, but boy did everybody I know get an earful about Ash around the time. I remember showing the CD insert to my friend Alison (no idea why I had it with me), who gave me a blank cassette to copy their music onto just because they looked like a cool band. My 8th grade art teacher, who played us Echo and the Bunnymen tapes while we drew, allowed me to put 1977 on in class. All I remember was my friend Jeff joking that the intro to “Kung Fu,” which sampled a fight scene from a Sammo Hung film, sounded like his house when he pissed of his parents. I even scanned the album cover (my first time I can ever remember using a scanner) for a class project explaining how Compact Disc technology worked.

I can’t quite compare 1977 to anything else I remember hearing as an adolescent. The naivete and strings on “Oh Yeah” and “Let It Flow” both felt equally sincere. “Girl from Mars” featured moments of the nastiest guitar distortion imaginable for a pop group, but was still somehow the most sugary punch on the album. Though it wasn’t my priority as a listener at the time, Rick McMurray’s drumming is incredible on this record (and, without combing through dozens of retrospective reviews, I’m unsure whether he got enough credit for such). The band tacked several minutes of drunken vomiting as a “hidden” track onto the fireworks-laden finale of “Darkside Lightside” – a bit of buffoonery that they probably laugh off/regret now, but still the edgiest shit in my whole music collection at the time (provided I hadn’t bought that One Fierce Beer Coaster cassette yet). It seemed punk as fuck, although the band’s connection to punk was about as specious as their connection to Britpop.

1977 would be a first-ballot record in the Power-Pop hall of fame no matter what year it had been released, but releasing it in 1996 doomed the band in several ways. A decade later, after the Libertines had revived the British garage movement, the Arctic Monkeys kicked up a (well deserved, now that we know about the staying power of Alex Turner and Company) shit-storm of hype on the heels of their first record – a storm that Ash may have gotten a solid chunk of had they been born a decade later.

Or not. It’s pretty clear that American music fans are fickle about which British artists to which they’ll lend a moment of their time. Considering how ginger and toothless so much British crossover success has been, it’s hard to imagine a moment in the post-punk era where Ash would have gotten as big as they seemed on the heels of even their best work. Even Two Door Cinema Club, whose Millennial fans nearly trampled me to death at Coachella in 2013, didn’t seem to lead a new crop of indie-dance-pop fans down that Irish rabbit hole.

I kept up with the band for the remainder of that decade, though I’m ashamed to admit I hadn’t paid too much attention to their new singles-oriented output. Not that I had necessarily written them off (unlike another Irish band of note, they had put out some good material since 2000), but I couldn’t stop returning to 1977 whenever I did revisit Ash.

This changed, though, when I took my first trans-Pacific flight in 2019. On the way to Sydney from Los Angeles, somewhere over Oceania, I got restless and started browsing the airline’s music catalog to sample through the tinny, shitty proprietary headphones they passed out in their pre-COVID way. This was how I found out that Ash had, despite their promise not to^, released a new LP called Islands. I clicked play on the first track “True Story,” and enjoyed it quite a bit, but it didn’t strike me as a “return to form” where their teenage bursts of energy were concerned.

Then, “Annabel” started.

NOW THE PATH AHEAD IS GONE
NOW THE FIGHT IS REALLY ON

What a catchy opening! I felt my heart rate going up.

I CAN SEE REAL TROUBLE IF WE WAIT
DON’T HESITATE

My eyes were nearly welled up with tears even before the chorus hit. What a fucking amazing song.

ANNABEL
HAVE NO FEAR
YOU CAN BE
MY GUINEVERE

Oh god yes! Tim Wheeler is still a master popsmith. I wanted to fight somebody over this.

IN THE STORM I WILL
DRAW YOU CLOSE
IN THE TEMPEST
IN THE SNOW

I hit “repeat” and listened to “Annabel” at least 10 times before moving onto the third track, the admittedly corny yet memorable “Buzzkill.” I felt like such an idiot for falling off with this band, especially since I’d been a fan since I was thirteen. Tim Wheeler hadn’t lost his ability to write an amazing song, and Ash hadn’t lost an ounce of relevance. I put “Annabel” firmly within my list of 10 favorite songs of the decade, and it felt great being able to do that nearly 25 years after Ash became one of my first favorite bands.

It was hard to compartmentalize in 1996, especially considering how young I was, but Ash were truly singular within the international pop-rock landscape. They were never meant to be clumped in with Britpop; they just happened to be British citizens putting out great pop music in the mid-Nineties. I misguidedly considered them punk because I didn’t have a much better frame of reference (having no idea who Teenage Fanclub were back then). Now that we’re not so shackled or silo-ed by calcified ideas of genre, it’s great to be able to enjoy the brilliant 1977 without scraping to figure out exactly where it fits. Ash still don’t, and one thing is for certain: they were always, and remain to this day, simply ASH. I’m so grateful they decided to be a band.

LINER NOTES
*I refer to 1977 as Ash’s second album, even though it was technically their first album recorded and released as a full-length LP. Their “first” album Trailer, which came out before 1977, was a compilation of singles, b-sides, and EP tracks to get fans excited for the band’s next LP, hence the title. For reasons of congruity, I’ll refer to 1977 as their second album, mainly because it’s always felt that way to me.
^ I was so out of touch with the band in 2015 that I had completely missed out on their return to the LP format, Kablammo! that year. I’m not proud of this.

The “Not by The Cure” Song-a-Day Challenge

Posted on November 1, 2021 by Tyler

Happy November, everyone. To many, that means we’ve just passed another Halloween celebration. Also to many, that means that Dia de los Muertos is fast approaching. To infinitely fewer, that means a new Song-a-Day challenge from Sonic Geography.

I should elaborate; I retired from building these things months ago. A pair of my friends from DC who began a supportive Facebook group during the pandemic shutdown in 2020 gladly took over delegating the responsibility once I told them I was stepping down from the monthly task. But, never content to let sleeping dogs lie, I decided to reverse my “retirement” for a month. This is hardly a Jordan/Hašek/Eminem/Jay-Z move on my part; I merely had another set of Not-By song cues ready to go last year that I never got around to building into a full month.

With no further ado, I give you: THE NOT-BY-THE CURE song-a-day challenge for November!

There’s no real November connection I can ascertain for The Cure. Robert Smith was born in April, and Faith came out in April 1981, so it’s not like there’s a major anniversary here. Why can’t we just use November to celebrate the existence of one of the greatest and most unique British rock bands of the past fifty years, anyway?

So, please do download the image to your phone, play along, use the hashtag #NotbytheCure, and just try to see in the dark. Just try to make it work.

Tyler’s Favorite Records (1982): Roxy Music – ‘Avalon’

Posted on August 20, 2021 by Tyler

If you enjoy reading about my favorite records and live in Central Michigan, then you can come hang out and hear me play my favorite records TONIGHT at the Larkin Beer Garden (next to the Dow Diamond in Midland). I’ll be spinning from 6 until 9 or so! [/PSA]

It would stand to reason that Milo Goes to College would be my top record of this year, considering what a watershed era it was for American punk music (and I have a Descendents tattoo), but instead, my favorite album released in 1982 was a largely maligned “comeback” record by an egomaniacal, dinner-jacket-wearing crooner. Granted, most of the maligning I’ve seen in online communities around Roxy Music’s masterpiece Avalon is done by what I can only assume are bitter Eno loyalists. I absolutely enjoy those early prog-fire albums the collective did in fancy space costumes – I’m technically in the middle of Michael Bracewell’s tome Remake/Remodel: Becoming Roxy Music as I write this. You just can’t heap praise on Avalon without dealing with the fact that “Virginia Plain” and “Editions of You” also exist in the same universe. In 1998, Rolling Stone saw fit to choose the Eno-free Siren (an entirely okay mid-70’s glam-pop album with maybe three or four great tracks) to stand above the rest of the band’s catalog on their “RS 200” list.

I should write, with utter transparency, that I haven’t reached Simon Morrison’s 33 1/3 book on Avalon yet in my reading queue (but I cannot wait to dive in). Because this is my website, I reserve the right to come back to this post and amend it accordingly if Morrison helps me discover that I’m completely full of it. But, there’s something refreshing about sitting down without the discursive baggage equivalent to at least three or four episodes of ‘Behind the Music’ on a record you love. Considering how much time I spend thinking and writing about music, it’s somewhat refreshing to just colo(u)r a record in verbal kindness because it’s wonderful and you love it.

That’s the hill I’m going to die on regarding Roxy Music’s 1982 album Avalon. It’s ten tracks, (partially instrumental) of thoughtful, temple-massaging, everything’s-gonna-be-alright slow jams which permanently established the 80’s iteration of Sophisiti-pop (later re-branded as the invented joke-genre Yacht-Rock) and retroactively established Bryan Ferry as the Godfather of New Wave. Perish the thought that a college radio colleague was about to apply that label to Morrissey ahead of Moz’ inevitably-cancelled Syracuse show back in 2004. I stopped him and said that Ferry deserves that title, if we insist on slapping it on somebody. So many of the “New Wave” tropes we took for granted pre-dated Duran Duran and MTV. Most of them even pre-dated Bryan Ferry, but I can’t think of one British musician of the post-Rock n’ Roll era who more encompassed so many of the New Romantic aesthetics.

Bryan Ferry in 1975 (Photo by Anwar Hussein for Rolling Stone / Creative Commons Usage)

It will undoubtedly strip me of cred to admit this, but the first time I remember hearing “More Than This,” Bill Murray was singing it in Lost in Translation. For those of you who haven’t seen Sofia Coppola’s elegant, insufferable romp through Tokyo, I would advise against it unless you enjoy watching privileged people being sad (Lost in Translation walked so Eat Pray Love could run). But, like a lot of mid-2000’s cinematic pablum whose apparent directive was to make young gen-xers (later renamed “millennials”) feel deep, it featured some quality tunes. From what I remember, the film brought Kevin Shields back from the dead, too, fourteen years after he dropped his own masterpiece Loveless (my 8th-favorite album of 1991). The most memorable moments of Lost in Translation all centered around music: Murray singing Roxy Music to express his disillusionment, a very young ScarJo crossing a bridge in a cab to Loveless highlight “Sometimes,” a stripper dancing to the teaches of Peaches (“Fuck the Pain Away”), and of course a pretentious ending slathered in “Just Like Honey.” The latter (putting a hip song over the credits just because you like it) felt like a device employed by countless student filmmakers in order to show off their musical taste (guilty), not something that Nic Cage’s cousin, born into Hollywood royalty, needed in order to wrap up her movie.

I’ll return to the topic at hand.

Some people ridicule that fantastic falconry cover, but I can’t imagine Avalon without it. As much as this was a departure from a lot of Roxy Music’s 70’s fare, the image fit into their singular fantasy world, drawing from the Arthurian legend and not using a sultry female model (or models) to get their point across. I would imagine that Morrisson’s book will address this, too, but I’m willing to wager that Ferry was seeking his own Avalon upon which to recover from the 70s, ultimately building a musical one. Either way, it’s appropriate, because Avalon is much more reflective and infinitely less horny than “classic” Roxy Music. Rather than playing like a raucous night out at some club, it feels like an ex-clubber approaching middle age, taking their coffee out onto the back patio and thinking about all of the mistakes they’ve made. It’s overwhelmingly tasteful music that still manages to be funky and doesn’t abuse saxophones like 98% of the coke-recovery (or coke-relapse) jams that followed in the decade. Andy Mackay deserves recognition on that feat alone.

I think I’m going to stop here. I did some light Googling in order to fact-check myself, and I wound up spending about twenty minutes reading up on Welsh mythology. Listen to Roxy Music’s Avalon. If you have a record player, buy it on vinyl. Get home from a particularly long day, put the needle at the beginning of Side 2, prepare a hot compress or grab a cold drink during “The Main Thing,” and make sure to lay down with either source of comfort by the time the mysterious, drifting into to “Take a Chance With Me” begins. It’s bliss.

For those of you interested in my Top 10 Albums of 1982:

Roxy Music – ‘Avalon’
Descendents – ‘Milo Goes to College’
Angry Samoans – ‘Back from Samoa’
Discharge – ‘Hear Nothing See Nothing Say Nothing’
Bad Brains s/t
Zero Boys – ‘Vicious Cycle’
Orange Juice – ‘You Can’t Hide Your Love Forever’
Youth Brigade – ‘Sound and Fury’
Yazoo – ‘Upstairs at Eric’s’
Cocksparrer – ‘Shock Troops’

Sonic Geography BONUS (Blur Megamix)

Posted on May 6, 2020 by Tyler

A mix so good that the algorithm flagged me at least twice while I was broadcasting the records on Instagram Live! My favorite band of all time (depending on the day you ask me), and certainly the band I traveled the farthest (and spent the most money, but that’s beside the point) to see.

This mix includes a few of my favorite deep cuts, a handful of hits (and variations on hits), and interesting b-sides (for being the best British guitar pop band since the Kinks, Blur had a relatively weak b-side catalog). I’d like to think it shows off a solid handful of the band’s eclectic catalog of strengths. Either way, it’s a fun way to spend an hour. I’m kind of amazed I forgot to play “End of a Century,” though.

“I Know” (B-Side to the “She’s So High” 12″)
“Hanging Over” (B-Side to the ‘For Tomorrow’ 12″)
“Moroccan People’s Revolutionary Bowls Club” (from Think Tank)
“On Your Own” (7″ clear single)
“Girls and Boys” (Pet Shop Boys Remix) (12″ Single)
“Music is my Radar” (12″ Single)
“There’s No Other Way (Rock Mix)” (12″ RBK dance single)
“Stereotypes” (7″ pink single)
“Trailerpark” (from 13)
“You’re So Great” (stealth Graham single from Blur)
“Freakin’ Out” (actual Graham single, off the eponymous 7″)
“Trouble in the Message Centre” (from Parklife)
“Under the Westway” (from ‘The Puritan’ 7″)
“Chemical World” (from Modern Life is Rubbish)
“Look Inside America” (b-side from the ‘M.O.R.’ jukebox single)
“On the Way to the Club” (from Think Tank)
“Ong Ong” (from The Magic Whip)
“Yuko and Hiro” (from The Great Escape)

“13” Turns Twenty

Posted on March 15, 2019 by Tyler

Happy Friday, everyone. I recently noticed that Blur’s everything-falls-apart masterpiece “13” came out twenty years ago today (March 30 in the States, to split hairs). I’d be remiss if I let that landmark slip by without mention here, because I completely missed the anniversary of their self-titled album (my entry point as a fan) two years ago.

Blur’s mid-90’s rivalry with Oasis (manufactured as it was to sell copies of NME), formulates one of my favorite lectures I include in my European Geography (GEOG 371) course. Popular culture reinforces geographic assumptions, especially the sense of place that permeates any discussion of “the North” and “the South” in England. Not since The Beatles vs. The Kinks had there been such a raw encapsulation of that dichotomy. For the record, I do prefer The Kinks, too (and not because of any predilection for Southern England; I just enjoy their music more than most bands in the first place).

Anyway, in 1997, Blur were shedding their Britpop skin and embracing Graham Coxon’s love of American indie rock, perhaps best manifested as the wonderful “You’re So Great.” As I said, Blur was my entry point as a fan, so I didn’t fall in love with the band’s foppish (in a self-aware way) era. Like many of my friends who were listening in this era, I remember being less enthused at 13 when it landed in 1999. “Coffee & TV” felt like the only marginally accessible song on the album, which didn’t matter much to critics, but to a teenage American, it felt like a bit of an affront. I recall putting the CD on at some friends’ house in Syracuse while we sat around as a party dwindled; by the time “1992” got to it’s third-level of noise, walked over to the boombox and turned to me and said “I’m, uh, gonna change it.” If you want to get a decent impression, feast your brain on this:

Knowing what we know now, though, makes the accomplishments of 13 all that more remarkable. Namely, the band had long since shed any sonic accouterments of what had ostensibly made them huge, defied every music writer in the UK, and more or less entered into the worst collective period of their lives. Again, I was too young and under-educated in life to recognize half of this album as a heady mix of cries for help and the other half as gleeful conflagration of their rental castle-mansions. I’ll never forget reading a story on Blur in SPIN in the wake of the trans-Atlantic success of “Song 2” that really harped on how much the members hated one another. It seemed pretty sensationalized (because it was), but I can only imagine how much resolve it took the four of them to remain a band. In 1997, Graham Coxon sang that “DT’s [delirium tremens] and coffee helps to start the day,” and in 1999 he sang “sociability is hard enough for me” to chronicle a years-long battle to overcome alcoholism. “Coffee & TV” sounded convincing enough, and one of the all-time great videos to dramatize his ‘coming home’ certainly helped this case. Stateside, it remains in contention against “Girls and Boys” for the vaunted title of ‘Blur’s most successful single that doesn’t go “WOO-HOO.”‘

Anyway, since it’s 2019, there are a multitude of ways to hear 13 in its entirety if you’re interested in doing that today. Twenty years ago, Blur played most of the album live at the Hippodrome Theater in London, and a fan named Claire Welles taped the gig off the radio. A little over a year ago, she digitized it on YouTube. Considering the teeming oceans of Blur material on the site, it’s only accrued 556 views so far. I’ll embed it here if you’d like to add to that count.

One dynamic that I can’t get out of my head while listening to this was how so many of those cheering fans, like so much of Britain on BBC1, were hearing songs like “Trailerpark” and “Battle” for the first time ever. I believe that Napster, Limewire, and Kazaa were all active by this point, which had fundamentally changed the lifespan of anticipated music’s release. Gone were the days of that hot new single arriving at the BBC on a CD encased in some briefcase with a combination lock.

Damon Albarn, right on brand, didn’t sound too enthused to be performing these songs, but again, the fact that the band still existed in 1999 was remarkable. Considering the worldwide success Albarn had waiting in the rafters with James Hewlett at this point, it’s even more understandable that it feels like he’s punching the clock here. Still, you can’t help but imagine he begrudgingly knew how insane and special this new album was. And no matter what your feelings are on Albarn, he headlined Glastonbury two years back-to-back (2009-2010) with two different bands.

Alright, I’ve said enough. Happy 20th anniversary to 13, hope you all have a great weekend, and if you’re anywhere near Oak Ridge tomorrow night (Saturday 3.16) come see me and Nina Fefferman (UTK Evolutionary Biology) talking science with comedians Shane Mauss and Dave Waite at the Grove Theater. It’s close to selling out, but there may be tickets for sale at the door! More info in my previous entry or at Shane Mauss’ site here.

Sonic Geography

The Gradually Accumulating Work of Cultural Geographer Tyler Sonnichsen

Category Archives: Britpop