Nashville - Josh Rouse

It's rare that you can pinpoint the exact moment that an artist went from being good to great in your eyes. The change is usually gradual, protracted and in a lot of cases, non-existent. It's quite a stunning thing to see the change happen instantly. For me, Josh Rouse's moment came with the release of his fourth album, 1972. I'd known and liked Josh Rouse's music for a while but it wasn't until my Dad played me an advanced copy of 1972 in the car one day that I realised how good he was. It wasn't just straightforward singer/songwriter stuff anymore. He'd taken on board new influences and sounds and made an album with a real groove to it. It was Shuggy Otis by way of Freedy Johnston, yet completely original sounding at the same time. 1972 was a huge leap forward for Josh Rouse. Then, two years later, Nashville came out.

Confession - The Last

To a lot of people the mere mention of music from 1980's LA conjures up images of huge excess. Drugs, booze and hairspray, all in huge, unmanageable quantities and bands like Mötley Crüe revelling in the mess of it all. However 1980's LA was a far more diverse than that and played host to far more than just hair metal. Hardcore was in full force on the tough streets of Los Angeles, with bands like Black Flag and The Germs tearing audiences apart with their faster, angrier breed of punk. Indie labels like SST and Bomp! were gaining a foothold and churning out records that would have far more cultural impact than was apparent at the time. On top of all of this, the often overlooked paisley underground scene, with bands like The Three O'clock and Rain Parade was taking 60's psychedelia and shaping it into a whole new beast.

The Last were one of the few bands to bridge the gap between the LA punk scene and the more pop orientated paisley underground. Hugely admired by both sides of the fence, they have been cited as an influence by the Bangles and in Andrew Earles' great Hüsker Dü biography, Bill Stevenson, drummer for the Descendents, Black Flag and producer/co-conspirator for numerous other punk bands said: “The biggest influence on The Descendents was a band called the Last who were from our hometown, Hermosa Beach.... Songs by the Last were the blueprints for the South Bay Pop Punk sound. The Descendents got the credit for it, but the Last did it.” The band recorded two influential albums between 1979 and 1980, the first of which was released on Bomp!. However apart from a collection of rarities that the band released on a small french label in 1985, the band all but disappeared from view for the next few years.

Rock Family Trees At The Barbican

Pete Frame's wonderful Rock Family Trees series is a treasure trove of information for music nerds and lovers of pop trivia. A collection of Frame's painstakingly hand drawn work is now being shown at the Barbican Library in London, with another lot to go on display next summer. 

I wrote a preview piece on it for LeCool.com, which you can read here.

Welcome The Problems - Colossal

It's often easy to label a band based on the company they keep. You assume that if they tour with certain bands or sign to a certain label, then of course they must be of a similar style. Whilst that's true of many bands, there are always going to be a few exceptions. Colossal fall into the latter category. To call them a punk band would be far too easy. Punk is too simple a definition for exactly what their music is. The truth is, there isn't really a easy definition for Colossal. The band described themselves as a “rock, post-punk, jazz, and pop, indie rock outfit” which is about as good a description as any. There is even a hint of Math Rock to their complex rhythms and stunning technical ability, though they forgo the rigid structures of that particular niche genre for a looser, jazzier feel. But their music is something more than the sum of all those different elements. There is a melancholy soul to their album “Welcome The Problems”. Perhaps its because the band come from Elgin, illinois and my preconceptions about the place have coloured my view, but to me this album is the perfect soundtrack for walking through suburban streets in the winter.

Weak - Seaweed

My first encounter with Seaweed came about during a period in my musical taste that is by no means individual to me. Since Nirvana's Nevermind became a touchstone of modern music in 1991, it seems almost every teenager with a passing interest in rock, goes through a phase of listening primarily to grunge. Nirvana's influence is so lasting that kids that never even shared a planet with Kurt Cobain are still wearing t-shirts with his face on. I for one made sure I had all their albums and singles and any bootlegs I could get my hands on. This, of course, failed to satisfy the record collector in me and as I looked further into Nirvana's history I decided to pick up any records I could find by other bands on the Sub Pop label (Nirvana's first home). Amongst 7 inches by Gas Huffer and B-sides collections by Mudhoney, I found Seaweed's single Bill.