The Los Angeles music scene in the early 1980's was a place of diametric opposites in the early 1980's; the punk scene had become a form of conformity with cartoonish thugs churning out loud for the sake of being loud and held tightly to fashion while the last gasp of the bloated, cocaine driven superstar acts were still massive commercially but beginning to suffer a massive comedown culminating in a crash 'n' burn thanks to the visual media of MTV.
The Rain Parade were formed in 1981 by a pair of roomates- one California native (Steven Roback) and a transplant from Minneapolis (Matt Piucci). The pair were devouring music of the '60's, and found their creative calling within the sound of their The Byrds, The Doors and Love; bands that are the spiritual and geographical older brothers of The Rain Parade. The band drew inspiration from those groups and added the lilting drone of The Velvet Underground to the mix and created something that was entirely out of step with the rest of the L.A scene. The band was rounded out by Steven's brother David, Will Glenn, and Michael Murphy and within their first year together self released the incredible single you're about to enjoy. In a recent interview with The Austin Chronicle, Matt Piucci said of the times "When we started playing in Los Angeles, if you weren’t sweating like a pig in a ripped T-shirt and screaming at the top of your lungs, then you weren’t cool. It wasn’t valid. And we thought that was bullshit. We thought it was very punk of us to play waltz tempos slowly with acoustic guitars at punk clubs. We thought that was punk because nobody else was doing it."
Weird coincidence, I later learned that right before Ethan got it (the house that the studio was built in), my wife (who I was yet to meet) had lived there. Good karma"
Much has been made of the so-called 'Paisley Underground", and while the other bands associated with that scene drew on some obvious '60's influences, none matched the sheer blissed-out visionary droning brilliance of The Rain Parade. At this time, the only other band that was even performing were the still developing Bangles, who were known earlier as The Colors, then The Bangs, then by their more famous name. Bangles leader Susannah Hoffs was a neighbor of the Robacks and they all attended Pacific Palisades high school.
Matt's sitar is heard in all its glory on the b-side, the lysergic sugar cube bomb that is "Kaleidoscope".
One of the thrills of my life as a musician was sharing the stage (my band played on the same bill) with the recently reformed Rain Parade, last December at Cafe Du Nord in San Francisco. I stood in awe listening to these magical sounds which I never thought I'd be able to hear live. Several times I had to politely ask people "please talk to me later, as this is a big deal for me to LISTEN to this set!!!" I watched in awe as Matt laid out the same whammy bar moves on the same Gretsch Tennessean as on the videos I've seen of the group back in the early '80's. Check out these two performances of "No Easy Way Down"; the first from 1983, the other 2012. -Derek See
By 1968, the hits had all but dried up for Tottenham's Dave Clark Five. With a run of massive hits recorded between '64-'65, this group was considered STRONG competetion for the Beatles, and many teen magazines speculated the Beatlemania was gonna wane and the Dave Clark Five would come out on top of the world. While history tells a far different tale, the DC5 released many fabulous records, well past the heyday of the British Invasion.
Buried on the b-side of a track that must have seemed like a relic from a bygone era (the downright putrid "Red Balloon") in the heady days of 1968, there's a gem lurking that is not only one of my favorite numbers from this group, but also one which I consider one of the ultimate freakbeat statements, ever. Driven along by Dave Clark's always powerul, upfront drumming and powered into the ether by some downright nasty single guitar notes played with attitude and fuzz tone on "10", "Maze Of Love" is a track that's every bit as forceful as other legendary English psych/ beat records. The boys had undoubtedly been digging the Jimi Hendrix Experience. This is how the song was heard in its release everywhere except for the US, and the picture sleeve shown is a Spanish issue.
For some reason, Epic Records in the US was given a completely different mix of the song. The track is slowed down (perhaps due to an error in mastering), making it sound far heavier, and the vocal is single tracked as opposed to the double tracked vocals as heard on the worldwide release. There's an overall echo added as well (especially heard on the vocals) giving the song a murkier sound. I love both versions, and my pal (and super duper DJ) Major Sean is on record as preferring the US version. When I DJ it, though, I always play the UK mix. The US mix is far rarer, as this single died a death commercially (I've only seen promo copies, never yellow label stock copies).
Cat Stevens - First Cut Is The Deepest + The Moody Blues - Tuesday Afternoon, Peak Hour (Bouton Rouge 1.6.68)
Spike Priggen (AKA "Cookie" of Bedazzled.tv and Scopitones.com) will be DeeJaying at Sidecar on 5th Avenue in Brooklyn every other Thursday starting January 10th. I'll be "spinning" everything from Freakbeat to Dub, up to and including Glam, Bubblegum, Pop-Psych, Sunshine Pop, Garage Rock, Girl Groups, British Invasion, Punk, New Wave, Northern Soul, Ska, Funk, Soundtracks & other great musics of the 60's, 70's, 80's and beyond. Also expect to see some obscure Mod Retro Video action, courtesy of Bedazzled.tv on the monitors. Link to FaceBook Event page.
Great Move interview and amazing bit of them live. "We have tight trousers, you know?"