The Green Pajamas - "Kim The Waitress" (forgotten song)

"Kim The Waitress" was originally released as a non-LP single in 1986 by the prolific, Seattle-based cult band The Green Pajamas.  Never heard of them?  Me neither, but you might remember "Kim The Waitress" from the more popular 1994 version from Material Issue, off their 1994 LP "Freak City Soundtrack".  Their version received a fair amount of airplay at the time, but that was really their only hit and Material Issue split up shortly after that.  Bonus points if you knew that there was also a 1994 version released by Seattle-based Sister Psychic, off their LP "Surrender You Freak".

What does this have to do with Danette's birthday?  I remember ca. 1997 (before we were together) discussing this song with her.  Although the Material Issue version was released in 1994, but I think it was still a current song on the radio.  I had liked the song immediately, but Danette was somewhat puzzled by the theme.  Exactly what is it about the waitress and men's fascination with them?  Well, it's not really about her as a waitress, although the job description does require that they be nice to you.  Combine that with alluring and possibly mysterious feminine presence, and you get the kind of male obsession that the song aptly captures:

Pressed lips and slender hips
Turning, in my head
Writing poems in a corner booth
That I'd die, if she read
Seeing her in but a silver cross
Lying on her bed 
...
Sometimes she comes with coffee
Reaching over, pouring
I'd like to gently pull her to me
Kiss her, with no warning
Seeing her on some sunny summer Sunday morning
...
She doesn't come around anymore
And that bothers me (I'm unhappy)
It bothers me (I'm unhappy)
It bothers me (I'm unhappy)

Though I don't stand a ghost of a chance with her
She's pretty (and it bothers me)
So pretty (and it bothers me)
So pretty (and it bothers me)
And it bothers me (I'm unhappy)

Sure, that's not yet quite stalking but you can probably see it from there.  Although Danette has never been a waitress, she's been the object of this sort of attention many times before (and often discovering this well after the fact).  And there I was explaining this point of view to her, all the while already my feelings for Danette becoming not entirely unlike the song's protagonist.  It wasn't entirely clear how to say "...and guess what? I feel this way about you."  So while not a typical love song, that's how I've come to link this song to Danette.

Material Issue made one slight change in the lyrics that made the song darker than was written by The Green Pajamas.  The chorus was originally:

No one can save us
But Kim The Waitress

Material Issue changed it to:

No one can save us
From Kim The Waitress

Thereby transforming Kim from the unintentional hero to the unintentional villain.  Turns out there was a real waitress named Kim, and when she learned of this song much later in life she apparently took it in good humor.  However, unlike the song writer I ended up together with the object of my fascination.

The Green Pajamas: "Kim The Waitress", 2009 live version

Material Issue: "Kim The Waitress"

Sister Psychic: "Kim The Waitress"

The trailer for a short film based on the song, by Scott Eriksson.  The full film is also available, but it explores the darker avenue of this song (e.g., "and it bothers me").

Prior Danette Birthday postings, the beginnings of a loving but irreverent mix tape: 

2012: The Cure - "High"
2011: Blink 182 - "Josie"
2010:  Dead Milkmen - "Punk Rock Girl"

The Naked and Famous - "Passive Me, Aggressive You" (LP Review)

Quick -- how many bands do you know that hail from New Zealand?  I count three; I'll treat Split Enz & Crowded House as one band, but I'll also include the Flight of Conchords as a band (which I admit is debatable).  The third, and surely deserving of your attention, is Auckland's The Naked and Famous (TNAF).  The local alt-rock station (96.1) started playing "Young Blood" in high rotation over a year ago and after poking around on Youtube, I decided to buy their 2010 debut LP "Passive Me, Aggressive You".

My iTunes play counts don't lie: I really like this LP.  I recall on the first listen, on every track I recounted the various moody, 70s & 80s synth pop influences (e.g., Roxy Music, Joy Division/New Order, Depeche Mode) but there were so many that I eventually decided if you incorporate dozens of different influences and update them by 20+ years then you've really created something new.  Another thing they offer is they rock a lot harder than any of their influences -- they must have every distortion pedal that exists in New Zealand.  The other distinguishing characteristic of the band is that Aaron Philip Short & Alisa Xayalith work the shared, male/female lead vocals to perfection.

I recently I bought their first two EPs and while not bad, they don't give any hint of how well this LP would come together.  Their next LP, "In Rolling Waves", is due in less than a month and the advance single ("Hearts Like Ours") is already out.  We'll see if they can catch lightning in a bottle twice.

Standout songs: "All Of This" (live version), "Punching In A Dream", "Young Blood" (live version), "Girls Like You" (live version), "The Sun"* (live version), "Jilted Lovers", "No Way"

Skip 'em songs: "Eyes" (they carry the John Hughes soundtrack influence too far here...)

Final score: 9/10

Bonus link: lots of good stuff on their Youtube channel



*="The Sun" makes it clear that their LP collection contains "Kid A" too.

Rachel Goswell - "Waves Are Universal" (LP Review)

I love the shoegazing of Slowdive, and I also love the dream-pop, alt-country of Mojave 3 (formed from the remains of Slowdive).  Rachel Goswell is one of the two vocalists of both bands, and she achieves angelic perfection on songs like Slowdive's dreamy "Shine" and Mojave 3's smoky "Love Songs on the Radio".  Nothing against Neil Halstead, the other (and primary) vocalist for both bands, but listening to "Shine" makes you think "why doesn't Rachel sing on more songs?"

Well, 2004's "Waves Are Universal" is Goswell's first (and only) solo LP.  Just what I wanted: twelve songs with just Rachel -- alright!

Turns out, it's kind of boring.  I don't know if it is the song writing (Halstead was the primary song writer for Slowdive and Mojave 3), the production, or what.  None of the songs are bad, but none really stand out either.  I think some of the reviews (e.g., Pitchfork, AllMusic) give her a pass out of respect for her prior work, but if you read between the lines they see many of the same faults that I see.  Her vocals are guarded, and she's backed up by what sounds like a second-rate Crazy Horse. 

Stand out songs: none.

Skip 'em songs: none.

Songs that appear: "Coastline", "Save Yourself", "Warm Summer Sun", "Hope", "No Substitute"

Final score: 5/10.  Again, not bad, but far below what I hoped a Rachel Goswell solo LP would be.

The Brains - "Money Changes Everything" (the song remains the same)

Last night Danette and I went to see Cyndi Lauper at the excellent Portsmouth Pavilion.  Neither of us were huge fans of hers but being children of the 80s, when our neighbor Steve offered us free tickets we couldn't say no.  Cyndi Lauper put on a good show and with "Kinky Boots" she's enjoying a second wind.  But last night's show was about revisiting track-by-track "She's So Unusual", her 1983 breakthrough LP.

The LP (and thus the concert) opened with "Money Changes Everything", which if I had a favorite Cyndi Lauper song, it would probably be this.  But last night I discovered this was actually a cover, and the song was originally done by a little-known Atlanta-based new wave group called The Brains.  "Money Changes Everything" was their initial 7" single released in 1978, and then appearing again on their 1980 debut eponymous LP.   Releasing two LPs and an EP, The Brains never enjoyed much success as a band, and aside from Cyndi Lauper covering their song, their next biggest footnote was upon breaking up one of their members joined The Georgia Satellites. 

Random thoughts:

1. While I love the late 70s garage sound on original version, Cyndi's version might actually be better.
2. I'm certain that I'll have immediate recall of the fact that "The Brains are the original artist for `Money Changes Everything'".  This piece of trivia has surely overwritten something important in my memory, like my work phone number, the names of long-term colleagues, places I've lived, etc.  But surely I'll hold on to this fact like my life depended on it...
3. Does that opening keyboard riff sound familiar?  It reminds me of the guitar riff in "Pretty in Pink" by The Psychedelic Furs; the original 1981 version, not the more polished 1986 soundtrack version.  Our friend Joy asked for more "Pretty in Pink" references, so there you go.

The Brains: "Money Changes Everything"

Cyndi Lauper: "Money Changes Everything"

Psychedelic Furs: "Pretty in Pink" (1981), "Pretty in Pink" (1986)

The Beastie Boys - "The Mix-Up" (LP Review)

Remember listening to "Ill Communication" and "Check Your Head" and thinking "wow, those instrumental fuzzy/funk/fusion/faux-soundtrack jams sure are cool; they should do a whole LP of them"?  The Beastie Boys sort of delivered that with 1996's "The In Sound From Way Out" but that was a just a collection of instrumentals from IC and CYH with a couple of b-sides thrown in.  It wasn't until 2007 when The Beastie Boys finally gave us "The Mix-Up", an LP consisting of entirely of new instrumentals. 

To be honest, the wait was kind of a disappointment.  "The Mix-Up" is not bad, but somehow it is missing the magic hinted at in the earlier LPs.  Is it because the songs themselves aren't as inspired?  Did they wait too long to do this project -- would this have sounded more fresh in 1997 rather than 2007?  Or do the instrumentals simply sound better when juxtaposed with the Beastie's hip-hop (and occasionally punk) tracks?  I will say "The Mix-Up" is better than the similarly-themed 1995 "solo" LP "Mark's Keyboard Repair" from Money Mark, the unofficial fourth Beastie who also appears here.

I think the LP got a pass in many reviews when it came out because the Beasties were elder statesmen by then and we were happy to have anything new from them.  Here's a 2007 track-by-track review from someone who loved the LP, but I'm more inclined to agree with the Pitchfork review.  This isn't a bad LP, but it isn't essential either: just 12 mostly interchangeable background listening tracks that would not have generated much buzz if the name "Beastie Boys" wasn't on the LP cover.  On the other hand, I'm not sure they were trying to make a grand statement either: there is kind of a "just another funky weekend in the Beastie garage" feel to the LP.  With the death of MCA in 2012, presumably The Beastie Boys discography is complete (modulo some unreleased material that might eventually be released) so you have to enjoy what you have.

Standout tracks: none.

Skip 'em tracks: none.

Full LP: YouTube, Grooveshark

Final score: 6/10

Houndmouth - "Houndmouth" (LP Review)

To borrow from the Tappet Brothers, the last several reviews have been "classic", and by "classic" I mean "old".  Time for something contemporary...

"Houndmouth" is the eponymous 2012 debut by the Indiana-based band, Houndmouth.  This four song EP successfully mines the alt-country, folk, blues, roots music genres: there's not necessary anything new on this EP, but they execute it very well.  Lisa (via Herbert) actually turned me on to this band, kindly dropping the CD in the mail to me a few months ago. 

If you're going to do country music, you need a song about going to jail.  Just in case there was any doubt, the opening song is "Penitentiary":

Come on down
To the Penitentiary
Oh momma the law came crashing down on me

Excellent stuff.  The other standout track is "Krampus", nicely featuring the vocals from Katie Toupin and Matt Myers.  "Houston Train" is also good, with "Oil Spill" being the weakest of the four songs.  I must not be the only one that feels that way since "Oil Spill" is the only track off "Houndmouth" that was left off their 2013 full-length LP "From The Hills Below The City" (which I haven't had a chance to get yet).  A quick search shows that they're booked on a lot of major summer festivals (Lollapalooza, Newport Folk Festival, UTOPiAfest); these guys are poised for success in the future.

Standout songs: "Penitentiary" (studio, live November 2012), "Houston Train" (live UTOPiAfest 2012, live November 2012), "Krampus" (live, live acoustic)
 
Skip 'em tracks: none.

Final score: 8/10 

Husker Du - "Candy Apple Grey" (LP Review)

"Candy Apple Grey" is Husker Du's 1986 major label debut after four critically acclaimed LPs (and one EP) on Reflex Records and SST Records.  This means there are two general reactions to the LP: many long-time fans accused them of selling out, and major magazines (e.g., Rolling Stone) fawned over the LP in an effort to make up for ignoring their 1982-1985 output.

In retrospect, most reviewers feel the truth is somewhere in between (e.g., Punknews, Culture Fusion).  This is a good LP that should be in your collection, but it lacks the intensity and consistency of LPs like "New Day Rising" and "Flip Your Wig".  It is tempting to put the blame on the big, bad major label but apparently the real villain is the increasing rivalry between Grant Hart and Bob Mould.  Perhaps the Warner Brothers deal kept the band together longer than they would have if they had remained on SST. 

Parts of "Candy Apple Grey" would be at home on any of their previous releases: "Don't Want to Know If You're Lonely", "Sorry Somehow", "Crystal".  Some represent a more poppy, college radio sound that hints at their later solo releases, like "Too Far Down", "Hardly Getting Over It", "No Promise Have I Made".  Those songs are fine, but the weakest moment on the LP are songs like "Dead Set On Destruction" and "Eiffel Tower High".  Those two songs, while not terrible, have a kind of awkward self-awareness; I can imagine Bob and Grant saying to themselves "hey, in the next 30 minutes I need to write a song that rocks harder than {Bob's|Grant's}!".

Standout songs: "Don't Want to Know If You're Lonely", "Sorry Somehow", "Too Far Down", "Hardly Getting Over It"

Skip 'em songs: "Dead Set On Destruction", "Eiffel Tower High"

Final score: 7/10.  WB Husker Du pales in comparison to SST Husker Du, but it is still better than most bands.

Bonus link: MTV review of "Candy Apple Grey" (featuring Martha Quinn), complete with May 1986 tour dates in case you invent a time machine and want to catch them live (after killing baby Hitler, of course).