Lifter - Melinda

Band: Lifter
Album: Melinda
Year: 1996
Style: Alternative / Grunge
Similar Bands: Foo Fighters, Nirvana, Gwen Mars, Stone Temple Pilots, Soul Asylum, Imperial Teen, Toadies, Fig Dish
"One-Word" Review: Staggering Grunge-rage
Based Out Of: LA, Cali
Label: Interscope Records, UNI Distribution

Melinda - Cover & Liner Photos

Melinda - Lyrics & Tape

Melinda (1996)

1. Yardcow 4:06
2. Headshot 3:13
3. Something Borrowed 4:32
4. 402 4:08
5. Big & Tall 3:08
6. Hector (For Winnie) 4:11/
7. The Rich, Dark, Sultry Red of Hate 4:19
8. Beach 3:37
9. Monkee 4:03
10. Shutout 3:42
11. Shine 5:05

Album Rating (1-10): 8.0

Members & Other Bands:Mike Coulter - Art Direction, Guitar, Vocals

Jeff Sebelia - Bass, Art Direction (american fashion designer)

John Rozas - Drums
Paul Q. Kolderie - Producer
Michael Lavine - Photography
Steve Sisco - Mixing Assistant
Sean Slade - Producer, Keyboards
Andy Wallace - Mixing
Howie Weinberg - Mastering
Bryan Huttenhower - A&R
Scott Cymbala - Management
Jake Ottman - Management
Brian McPherson - Legal Representation
Frank Riley - Booking
Edward Louderback - Art Direction, Photography
Mark LeRoy - Design
Michael Lavine - Photo
Carl Plaster - Drum Tech

Unknown-ness: I bought this tape when I was in high school, but have no recollection of why I bought it, or what the music is like. I’d instinctively assume it is grunge or alternative, just by the date, and knowing what I was into back then, but who knows…it could be a bit punk, it could be a bit indie-pop. And based upon the pictures in the liner notes, I’d think it to be ironic indie-pop.

Album Review: “Yardcow” starts with a chugging guitar and snotty slacker vocals. Then the song explodes with a bass and fuzzed guitar wall of sound in intervals. For me, this feels like high school, even though I have no memory of this album. This reminds me of the Toadies “Possum Kingdom,” with less overproduced catchiness and more guitar solos.
“Headshot” storms right out with buzzing, distorted guitars which quickly quiet down to a bass driven sing song (but fun) vocal melody. The chorus is a little embarrassing, as it feels like it is trying to be too hardcore or metal or something, kinda like Soundgarden. Later on, the verse and buzzing guitars join teams in a very balanced array of music.
“Something Borrowed” gives me the feeling of a Live song as it begins. It is slow and methodic, as it sulks along, head down. Bass announces that the song will pick up, and it does slightly, it has the same methodic trudging, but it is shinier with a louder and catchy guitar section. The sections switch back and forth from loud to soft like a bipolar personality. It reminds me of Imperial Teen’s song “Eternity.” “402” is the supposed “hit” of the album, and it begins as a tired and naggy slow whine, that is perfect pace of a zombie sway. Heavy guitars enter the scene, and the vocals carry the same pace, just louder. The lyrical complaints are that life it too much, and the singer wants to return to a simpler life. The angst is in full swing, and this is a perfect capsule of music of the mid 90’s.
“Big & Tall” has a bouncy bass line to begin itself, with a nice, interesting vocal melody overlapping. The vocal melody is simplified when it gets to the chorus, but it still remains fun. The end repeats a few too many times, and the song ends with increasing feed back, which abruptly cuts off.

“Hector (For Winnie)” comes back like a ballad, with a slow time signature, and plodding tempo. The tempo is constant, but the noise increases as the song moves along. It’s a bit more straightforward version of Alice In Chains’ “Rooster.”
“The Rich, Dark, Sultry Red of Hate” continues the dragging tempo to on side two. Then, suddenly, the guitars kick in and a Nirvana-ish melody and tempo take over. As the song ends, the melody and tempo slowly spiral down the drain. “Beach” has an acoustic, mumbling campfire feel to it initially. There are both unsurity, and confidence juxtaposed in the slow composition. And violins too.
“Monkee” reminds me of “Counting Blue Cars” in the beginning. It gains a hard edge in the chorus, back to the Toadies style, but the rest is a calm Deep Blue Something. It changes gears about 2:30 to fuzz and distortion guitars with a bit of a violin in the background.
“Shutout” is driving, and bass driven with slacker vocals strewn overtop, as it approaches the chorus, which is where the song picks up volume and energy by uttering the title in repetitive-echo with louder guitars for support.
“Shine” returns to the sad ballad format, with a mournful, fluid guitar sound and wavering Dave Pirner-esq vocals. The guitars pick up for a fuzzy instrumental section, and return to the anti-lilting ballad.

Stand Out Track: Big & Tall

Links:

Forgotten Treasures
West Net

Allmusic
facebook
LA Times '96 article
Oldies 1150

Fever Tree - s/t

Name: Fever Tree
Album: Fever Tree
Year: 1968
Style: Psychedelic Folk Rock
Similar Bands: Association, Strawberry Alarm Clock, Bee Gees, Blind Melon, Doors
"One-Word" Review: every-style-60's-pop
Based Out Of: Houston, TX
Label: UNI, Universal City Records, MCA

Fever Tree - Cover & Record
Fever Tree - Back & Record

Fever Tree (1968)

1. Imitation Situation 1 (Toccata And Fugue) 2:32
2. Where Do You Go 2:25
3. San Francisco Girls (Return of the Native) 3:58
4. Ninety-Nine and One-Half 2:45
5. Man Who Paints the Pictures 2:32
6. Filligree and Shadow 3:51 /
7. The Sun Also Rises 2:41
8. Day Tripper / We Can Work It Out 3:27
9. Nowadays Clancy Can't Even Sing 3:00
10. Unlock My Door 3:45
11. Come With Me (Rainsong) 3:45

Album Rating (1-10): 7.5

Members & Other Bands:Walter Andrus - Engineer
Scott Holtzmsn - Producer
Vivian Holtzman - Producer
Dennis Keller - Vox (The Bostwick Vines)
Michael Knust - Guitar (The Bostwick Vines)
Rob Landes - Keys, Woodwind, Organ, Harp, (Rob Landes Trio)
John Tuttle - Percussion (The Bostwick Vines)
E.E. Wolfe - Bass (The Bostwick Vines)
Frank Davis - Assistant Engineer
Mic Leitz - Assistant Engineer
Mike Shields - String/Horn Assistant
Jill Gibson - Cover & Liner Photo
Harry Golightly - Liner Photos
David Angel - String/Horn Arrangement
Gene Page - String/Horn Arrangement
Diane White Hudson - Dust Cover Sketches
Martha Armstrong - Calligraphy

Unknown-ness: I’ve never heard of this band. But from the psychedelic tree in the background, the costumes the band is wearing, and the energy in the name Fever Tree, I’m guessing this is a solid Psych-Rock band from the mid-late 60’s. It could be lighter than I expect, but I always hope for the best when it comes to a descent band name and exciting cover art.

Album Review: “Imitation Situation 1 (Toccata And Fugue)” is introduced by a thunderous drum rattle, and followed by a segment of Bach’s “Toccata and Fugue” as suggested by the parenthesis in the title. Grand echoing vocals are then brought in, and lonely vocals are repeated until the music drops off into a buzz, and the next song begins immediately.“Where Do You Go” is a dirty, fuzzy 60’s garage band. It is powerful, and hard hitting for a folk band. Then the music hits a still spot where the bass and light drums play and a flute is added over top. This instrumental section builds nicely into a resurgence of the vocals. The electric guitar is very catchy and just an over all delightful sound. The song winds down like the quick burst of energy is overSan Francisco Girls (Return of the Native) is their “hit,” sounding like the Bee Gees of that time period. It has a nice way of building into a psychedelic garage song. The vocals are proud and confident, and when combined with the music, remind me of a male counterpart to a less chaotic Janice Joplin. The song resets itself with lighter vocals again, and flute echoing in the background. Again the bridge builds, but instead of hitting the chorus, it slinks back into a psychedelic zone out.“Ninety-Nine and One-Half” begins with a scream, and enters typical psychedelic classic rock territory with raspy vocals and continuous wailing electric guitar. It has a nice trippy groove to it, a style that was rekindled by Blind Melon in the 90’s. “Man Who Paints the Pictures” is a driving psych song with booming drums, electric guitar and strong, confident vocals. It reminds me of Ween’s “Stallion pt. 5” with its driving tempo. But the guitar’s sound and flute lock its footprint firmly in classic psychedelic rock. “Filligree and Shadow” is a lighter, trippy renaissance fair folk number. It is very much along the lines of the early Bee Gees or Strawberry Alarm Clock. It possesses a marching, drummer boy cadence with a dark side. The dark is balanced by the light of the orchestral strings in the background. The song breaks down into bass hum and other noise overtaking the proud, bold chorus which is still audible in the background in a messy chaotic swirl.

“The Sun Also Rises” is a piano based number at the outset. Then it diverges into a psychedelic lounge singer number. “Day Tripper / We Can Work It Out” Instrumental folk guitar picking and single note bass eventually come together (no pun intended) to begin their cover of Day Tripper. It is slowed down a bunch and made more orchestral. The vocals are pretty close parody to the Beatles. The lyrics are forced right into “We Can Work It Out” without much of a choice for one verse. Slowed down and with brass and more orchestral renderings of the popular (and my favorite) Beatles song.“Nowadays Clancy Can't Even Sing” is a psychedelic carousel waltz. It bobs from side to side, and is crooned like the very best lounge singer with everything to lose.“Unlock My Door” is a quiet balladeer’s song storytelling of desire toward a specific love. Acoustic guitar bombards the middle section, sounding like progressive music a little. After that rant, it returns to delicate echoing finger picking and retelling of the first verse. “Come With Me (Rainsong)” begins with a wash of rain and quiet piano. Gentle guitars are added. The vocals are solemn and comforting, sounding like a religious song written for a Jesus type to sing.

Stand Out Track: Where Do You Go

Links:
Discogs
Rate Your Music
Allmusic
Wikipedia
Psych Interview w/ Knust
German Fan Site
Landes's Church
Landes's Site
Oldies.com
Keller's Message about Knust passing

Birdland - s/t

Name: Birdland
Album: s/t
Year: 1991
Style: Dirty Brit-Pop
Similar Bands: Primal Scream, Jesus & Mary Chain, Stone Roses, Psychedelic Furs
"One Word" Review: Fuzzy-Brit-Rock
Based Out Of: Birmingham, UK
Label: Radioactive Records, MCA, UNI Distribution Corp.

Birdland Image on Tape Cover (by Tom Sheehan)
Birdland Image inside tape (by Kevin Westenberg)

Birdland Liner Notes & Tape (by Tim Paton)

Birdland (1991)

1. Shoot You Down (3:12) (youtube video)
2. Sleep With Me (3:50) (youtube video)
3. Don't Look Back (4:58)
4. Paradise (2:35)
5. Wake Up Dreaming (2:37)
6. Rock N Roll Nigger (6:27)/
7. Everybody Needs Somebody (3:42)
8. Letter You Know (4:09)
9. Beat Me Like A Star (4:11)
10. She Belongs To Me (3:32)
11. Hollow Heart (2:19) (youtube video)
12. Exit (5:42)

Album Rating (1-10):

7.0

Band Members & Other Bands:

Robert Vincent- vox (Zodiac Motel, Torn Bloody Poetry)
Lee Vincent - guitars (Zodiac Motel, Capriccio, Psychic Drive)

Simon (Syd) Rodgers - Bass

Neil Hughes - Drums

Gene Kale - Drums (Zodiac Motel)
Philip Tennant - Producer & Engineer
Paul Sampson - Producer & Engineer
Wayne Morris - Executive Producer
Stephen Marcussen - Mastering
Ronald Morris - Management
Triad Artists - Agency
Vartan - Art Direction
Kosh Brooks Design - Design
Tom Sheehan - Cover
Kevin Westerburg - Studio Photo
Tim Paton - Beach Photo

Taki Ono - Japanese Tour Poster

Unknown-ness: This far removed from purchasing the tape, I do not remember how I heard of Birdland, or why I bought the tape. I can only guess that I heard one of their songs somewhere...most likely on a CMJ Music Monthly compilation, and soon after, I saw this tape for sale. It has been a very long time since I heard the tape, so I forgot what to expect. So, based on the look of the young blond kids wrapped up in the US flag, I was expecting some kind of angsty Brit-Pop. The inside image reminds me of Suede, so I was ready for a thick, dreamy sound.

Album Review: The album has all the fuzz and catchy rock hooks to make them a clear contender for dictionary definition for a 90's Brit-pop band. The first song, "Shoot You Down" feels so very familiar, I think it sounds like Psychedelic Fur's "Pretty In Pink." It has a very catchy chorus of "Shoot You Down" plus a great earlier, fake chorus of "Waiting For You" which is sung along the same melodic line. It has a great build up going into the chorus, and it lets you down gently. The thick sounding guitar, and quick paced, call back vocals make this a true anthemic pop single. Track 2, "Sleep With Me" presents its poppy-hook with a combination of the bass + guitar interacting and guiding each other. The chorus reminds me of a lighter version of a Sex Pistols song. At the same time, it feels like a modernized, fuzzed-out oldie. The song ends in an exhausted whoosh. "Don't Look Back" has a driving drum beat, and shady-sly British vocals. The chorus is a repetitive chant of the title. The song builds with aggression to near shouting, elements that make punk exciting, but this still comes off as rock. As it ends, everything builds louder musically then completely shuts-down. A quick fade in and out fuzz-guitar teaser comes and goes, and the next song is off and running. "Paradise" is another quick paced song. The bass & drum track carry it along with the all-too familiar British (pseudo punk) rock melodies creating the hooks, along with Bap Bap Bada-Bada's. "Wake up Dreaming" is a song seeped in that alternative guitar sound that sounds as if its being played inside a steel drum. The main chanted chorus is repeated relentlessly "if I see that girl tonight." Rock N' Roll Nigger (apparently a Patti Smith cover) begins as a slow anthemic drudging march. It picks up a with bouncy guitar, and quickened drum pace, and launches into an angry speed ballad, shouting the lyrics, almost unintelligibly. Throw in the guitar solo, and you've completed your criteria for a ballad.

Side 2 starts with a Futureheads sounding intro, until the Psych Furs guitars pick up, and the gruff & choppy, pseudo-punk vocals come in. The chorus melody of "Everybody Needs Somebody" is quite catchy, and as in all the songs, simple and repetitive. The singer shows a very interesting break in his normal vocal caricature in the follow-up phrase 'What did you do to her?,' specifically in the word 'Do.' It is a cute almost pubescent squeak, which adds depth which was not there before. "Letter to You" starts out as a boring alternative throw-away song, better suited for the Gin Blossoms. The chorus is not bad, but it does not fit on the album with its lack of quality. A spacey, echo-guitar loop starts "Beat Me Like A Star." It picks up on powerful anthemic qualities in its declaration throughout. The tempo slows down mid-song, re-evaluating itself, and then marches back into the proud verse and chorus combo. It ends with the repetitive chanting 'I'm Coming On' and the guitar quietly slinks away to end it. "She Belongs to Me" is a quick paced pop song, set in motion with the loud guitar hook that repeats a couple of times through out the song. The jealous tone of the song's lyrics is not echoed in its delivery. Instead the singer sounds like he is just happy to be with the girl, rather than feeling threatened by other guys. "Hollow Heart" is an extremely fast, quick pop-punk number. It loops itself up and down along its 3-chord musical scale. The final song begins like a Ted Leo number. The mix of slight Irish music with rock. It then becomes a jangly rock number, same familiar sounding alternative guitar, and a spoken word-like verse. The song then morphs into a U2 song. The chorus is very good: "We were so wild that year." It is a short chorus, but very catchy, and the music is built up all around it, as if that line alone was to be placed on a pedestal.

The album is very solid. All the songs are very listenable, and with the one exception, very cohesive. It has the dirty club rock sound and fuzz that was very popular in the early 90's, where sloppy play was the norm. It is a shame, having read their history, that their career fizzled out before it really took off. Such is life for some unfortunate bands.

"Stand Out" Track:

Shoot you Down

Links:

Birdland Wikipedia

Birdland on Tigerbomb

Birdland Fan Site

Birdland Allmusic

Birdland Info

Video for Paradise

Psychic Drive Myspace

Psychic Drive Ep review