Roll Out The Barrel Of Polka Records

 

 

 

 

 

Yah sure, yoobetcha! Today I'm talking about Polka!

It's odd to think it, but at this point there are possibly entire generations of youngsters who don't even know what polka is. Weird, when you think how culturally pervasive it was as recently as forty or fifty years ago. In the 1940s, '50s and '60s, band leaders, jazz musicians, country swing groups, and even household name crooners worked polkas into their repertoires, because it was such a popular art form!

Especially in the small rural communities here in the upper Midwest, it was a go-to form of social engagement to catch up with the community on Saturday night. Not to mention a key component to shaking off the stress from the previous week–on the farm, at the factory, what-have-you–and limbering up for that quickly encroaching Monday morning, where the reins of the ol' weekly drudgery would be dangling, waiting to be strapped on again.

 

What was once a major component of the country's popular culture has been diluted from the main stream, settling in stagnant pockets along the fringe known as "niche culture". Polka has gone from pop to outré. I mean , there was a time when Lawrence Welk was as big as Elvis Presley (albeit to septuagenarians)! Being from Minnesota, it's always been a kind of minor thread stitched into the fabric of my existence. I'm not sure when I first heard it or became aware of it. I'm sure being a lifelong "Weird Al" Yankovic fan helped cement it into my consciousness; but even aside from that, it had been steadfastly present in most of the corners of my life since I was a tot. My grandmother used to watch reruns of The Lawrence Welk Show, Saturday evenings on PBS, and occasionally my parents would drag me to some supper club or bar, like Bass Camp, in Minnesota City, where there would be a guy with an accordion and another guy with a tuba, rolling out the barrel, so to speak.  And maybe because older folks in Minnesota and Wisconsin embraced polka as part of their cultural identity, and much of my childhood was spent with senior citizens, it was difficult not to be aware of it while growing up here.

 For a long time I assumed it was just a Midwest thing. Of course, being a child who had never traveled much further than LaCrosse, WI, until I left for college, how was I to know that Polish, German and Scandinavian settlers had scattered across the country, setting up pockets of polka-happy peoples from upstate New York to Southern California? I was also under the early impression that polka music was a German thing, since nine times out of ten when I was subjected to it, the perpetrators were garbed in lederhosen and some sort of Tyrolean wool hat with a crimson feather jabbed into the hatband. They generally had the look of the stock "European villagers" from Universal monster movies. There was more than one instance where I sat patiently waiting for the Frankenstein monster to stagger through a wall and chase the oompah men away. Sadly, this never happened.

It was decades later that I learned that this is not the case. But go to any of the Gasthauses or Bierstubes in or around the Twin Cities area, and you'll be certain to see the expected polka band with the lederhosen and the Tyrolean hats, as if it's as German as Käsespätzle mit Weißwurst. Not to say it isn't recognized in parts of Bavaria, but it seems we Americans broadly associate it with Germany more than any given German might. Is it of Polish origin? A coworker once thanked me for playing polka music in the workplace on the shared office Pandora account, because it was "the music of her people." "People", it turned out, meant Polish. I don't know how Polish she actually is, she seemed predominantly Republican American, to me. But no, it isn't traditional Polish folk music. Polka is actually Czech in origin. Has it been embraced by Germans and Poles and incorporated into their own forms of folk music? Absolutely!

 Polka has also been wholeheartedly embraced and adopted by cultures throughout the entire world. Or at the very least other cultures have developed similar forms of music along parallel lines, prominently featuring the accordion and syncopated 2/4 time signature. Don't believe me? Listen to Mexican Norteño music. Around 2006 I was working as an "Entertainment Specialist" for a certain big box retailer. The store I worked in was in a Latino-affluent part of Saint Paul, and we not only carried CDs by Taylor Swift and Green Day, but also a lot of music from the likes of Los Tigres Del Norte, Los Huracanes Del Norte and a bunch of other Del Nortes.  The constantly cycling music video loop that would play on the TVs in the store's electronics department, would have Latin artists interspersed with whatever Rihanna and Justin Timberlake videos were all the rage at the time. The first time I heard it, I thought to myself "Hey, this sure sounds a lot like the polka music I used to hear as a kid." An experience similar to when I had been taking film studies classes in college, and suddenly I'm watching Emir Kusturica films and hearing Serbian music that sounded similar as well! And more recently, being exposed to the similarly different sounding work of Balkan brass band Fanfare Ciaocarlia, and the Serbian hornmeister Boban Markovic, that may have different instrumentation and play at different tempos than your standard polka fare, but has a similar spirit to it. At least similar enough to me to trigger the same synapses that make me think about the oompa-pa'ing I was exposed to as a child.

See?! We're all connected! Maybe the UN could benefit from a Polka Summit.

I've come around to polka. Not that I ever hated it, but as a child I felt more like I was subjected to it, rather than enjoying it. So why the change in attitude? 

 There's zero pretension to the music. Look at the album covers I've interspersed throughout this article; no one is posturing as if this were the game changing moment where the world wows at how cool they are. Not to say there can't be egos within the polka community, but ain't nobody gracing any of these album jackets referring to themselves as "The Boss", "The Edge" or "The Papa Roach." There's no reason for any of these people to be making any of this music for reasons other than fun and/or love of the game! No one here is too cool for school. With musicians calling themselves "Whoopee John", "Li'l Wally", "The Six Fat Dutchmen" and "Uncle Fuzzy And The Cousins", you know they're not taking themselves too seriously. 

Secondly, it's so goddamned happy!Yeah, if you've heard three polka songs, you've probably technically heard all polka songs, but try not to enjoy yourself while listening to it! There could be a tune called "Gonna Hang Myself With An Electrical Cord Because My Wife Is Shtooping The Mailman Polka" and darn if it wouldn't be as jaunty a half-step tune as any other given polka number!

I'm not saying everyone should love it, and even for someone like myself who enjoys it, a little can go a long way. But if you've been polka shy, or don't even really know what it is, I recommend giving it a try.

You can watch Dick Sinclair's Polka Parade, broadcast from Minneapolis's own KTLA in 1957 here. Try to tamp your vomit down when looking at those Farmer John's Meat Products!

You can listen to the recently wrapped but delightfully unhinged archives of WFMU's Dance With Me Stanley with DJ Stashu Program here. 

If you want to see what else is out there as far as weekly polka radio shows, upcoming events, etcetera, you can check out the MPA - Midwest Polka Association here.

You can take a peek at local PBS affiliate's Funtime Polka program here.

Park Pics

 Here are some photos I took with my Canon EOS Rebel SL1 100D, last Wednesday, July 3rd. IN COLOR!

These were taken in Eagan's Central Park. The traveling carnival had pulled into town for the 4th of July weekend, and the rides, booths and other structures had been assembled the night before, but things weren't yet where they were going to be stationed when open to the public. I got some nice shots of a heron lazily strutting through a pond and some other birds. 

I like photography, it gives me a reason to look at things from multiple perspectives and reference points. I think my favorites are probably the pictures of the FUN SLIDE, the koi pond - because the surface looks like polished marble, with the sun shining on the bubbled black-green surface, and the one with the robin with its back to me. 

A View To A Sill

 

Wowee zowee, it looks like nearly a year has gone by without me posting anything on this blog. That's of little consequence, I guess. It's not really for anyone but myself. And truthfully most blogs have long been abandoned for social media accounts. I for one am no longer in possession of any. It became a life quality issue.

I've been dealing with some significant medical issues recently. I won't go into detail; but it has given me motivation to find a distraction, and maybe getting back into the habit of blogging is what I need to help clear and/or distract the mind. 

Even all of this seems a bit too melodramatic and revealing for my comfort. I'm hoping that this doesn't become another "Plan on posting again soon!" post, only to remain the only new post here until I check in again in a year. 

Here's to the future, as dubious as it seems with all the things everywhere being what they are right now.

NOURS Magazine - Kyozo Hayashi

 

Well there I was, rooting around on Archive.org, as I am wont to do, and I came across a collection of Japanese gamer mags put out by NAMCO in the 1990s. I can't read a word of it, but am immediately seized by awe at the covers. 

At first I was, "How?" Was it an early use of computer graphics? Seemed too smooth. Are they amazingly deceptive trompe-l'oeil paintings? Is it done with paper cut outs? Then my mind begged, "Who?"

After some internet sleuthing, utilizing the only clue I had – the signature "Kyozo" under the little umbrella mark on the lower righthand corner of a few of the covers – the only hint I was able to glean that pointed to an answer was a couple of copies of the above-pictured book for sale on eBay. Kyozo Hayashi is an artist and designer who seemingly specializes in working with clay figures for his work. 

I absolutely love the meshing of Art Deco and Pop Art in Kyozo's aesthetic. At some point the art direction seems to have been revised to fit a more "normal" newsstand gamer mag aesthetic, with Manga-style art or pictures of the characters from the games the magazine was reviewing that month. It makes sense from a marketing standpoint, but man, these covers are works of art!

If you want to go spelunking in the cave of NOURS digital back issues, the gateway to your cavern is here.

As for Kyozo Hayashi himself, he was born in 1939 and graduated from the Industrial Art department of the Nagoya Municipal Polytechnic High School. He began his clay illustration career around 1967, and received multiple awards for his design work and had a number of traveling art shows in the late 1980s. He appears to have an Instagram account, where he primarily showcases digital illustration these days. 

Sinister Folk

 

"Sinister Folk" collage on paper.

Most of my creative output takes the form of a painting or a drawing, but sometimes I get the urge to harken back to my punk flyer days and do some collage work. This particular one was done sometime around 2018 - 2019. 

I'd been submerging myself in the Finders Keepers records catalog at the time, and reading a lot of folk horror, like Randalls Round by Eleanor Scott and collected works of M.R. James. Growing up in rural-adjacent small town Minnesota, I've always been subjected to, and interested in, folk horror. Lots of legends about haunted fields, farms with grisly backstories, even some odd shenanigans involving long dead relatives. 

I also stumbled upon the pre-solo Terry Jacks material when he was in The Poppy Family, with his then-wife Susan Jacks. Songs like "Shadows On My Wall" and "Where Evil Grows" definitely had a hand in inspiring this cut and paste effort. 

Above: click to hear the eerie and amazing "Shadows On My Wall"

Above: click to watch Terry and Susan Jacks lip sync to 

"Where Evil Grows" on the Kenny Rogers Show, 1971.

Moon Pies For Misfits

 

Above is a painting I finished a while back. It's an acrylic on canvas piece I've titled, "Moon Pies For Misfits." You may or may not be aware I have a certain yen for the titular confection, and I guess the picture is autobiographical to a degree.  

Yes, I am aware that the band Hot Water Music has a tune called "Moonpies For Misfits," but I've not heard it. 

I wanted to make sure the scene outside the window was very sunny, bright and commonplace, and the interior, the focus of the picture, was dark and off-kilter. Not sinister, not "bad", just different. The point of view here, without giving too much away or forcing a viewpoint on the looker, is that on any given day, every street everywhere is filled with home filled with people who are out of sight, doing who-knows-what. And sometimes you get a peek into those sequestered little worlds and they can seem like magic, with strange rituals and codes of commonplace all their own. I'd like to think the central figure here, as odd as he may look aesthetically, is happily going about his business being himself, pursuing his own interests, and maybe rewarding himself with a Moon-Pie. Maybe he feels ostracized by the world outside his window, maybe not. But everyone needs a treat now and then.

Starting In The Wrong Direction

 

This post is done in conjunction with the tape uploaded onto Mixcloud here. 

Starting In The Wrong Direction indeed. I made a lot of mixtapes growing up, and often forced them on my friends. Go ahead, ask 'em. I dare ya. CD burners weren't an affordable mass market thing until I graduated high school, and iPods probably only existed in William Gibson novels at that point, so tapes were the working man's (or high schooler's) mix medium of choice. I probably made a tape a week. It was like a compulsion. I guess it sort of still is, which might explain why I currently do my online radio show thing. When I look back, I realize there hasn't been a time–with the exception of my pre-teen years when I didn't really have access to music beyond what my parents listened to at home–when I didn't do this sort of thing. Even when I was a tyke in the 1980s I would set my little boom box next to the tv to record things like episodes of The Green Hornet and Batman, or when Superman II was the Sunday night movie, I made sure to turn the tv on and record the audio to tape (or at least as much of it that would record until the tape ran out) so I could listen to it after school the next day. Later I would do the same thing with Art Bell's Coast To Coast AM when I adopted severe insomnia in high school, and would then subsequently drive around my hometown in my 1987 GMC Jimmy, listening to the taped episode chunks. 

It's an illness.

First thing's first. Looking at what I was consuming at the time this was made, I see a lot of angsty white dudes. The emphasis is on dudes, because even though I was definitely listening to female artists at the time, this particular cassette is loaded up with dudes only. While not exclusively caucasian, the ratio is definitely in their favor. My tastes have changed and/or evolved over the years; and while I still listen to punk rock, I'm now definitely more interested in the formative stuff than the 1990s Epitaph/Fat Wreck version of the genre than I was then.

Second thing's second. The cover. Yes, it's a small child with a massive handgun. The child is me. I was three. This was in 1984. This is the environment I grew up in. This picture is still hanging in my parents' house for all to see if you want to stop in to take a peek. Word of warning, you may get shot if you do.  In case you are thinking it's a fun little Photoshop thingy I whipped up, I'll post the original below.

See! Told you. We have fun together, don't we?

When I was finally old enough to realize exactly what this was and who my parents were, and was able to question them about it, they assured me that the gun wasn't loaded at the time. I have to take their dubious word on that. Either way, the point had been missed entirely and that kind of illustrates our relationship from that point on.

Don't worry, I'll get back to the tape here in a sec. Gotta unpack some stuff first. Scroll ahead if you have to, I won't know the difference. If this isn't what you clicked through for, and want to tap out now, I completely understand.

I figure there are two paths my life could have taken, growing up in the environment that I did: either I could be the guy with the perpetual three day beard, wearing the same grubby baseball cap at all times except when in bed or the shower, working in a factory or warehouse (nothing against factory or warehouse workers), instantly set off or offended by anything I wasn't immediately familiar with and breathing heavily over a picture of Lauren Boebert; or, I would attain reading comprehension and find Joe Strummer and grow up to be a rational person. Not that there aren't perfectly great people working in factories and warehouses, and that there aren't people who like Joe Strummer that aren't buckets of beer battered dicks. I'd like to think the outcome would have been inevitable, but who can say. I'd like to say I'm a decent person but I guess I can't say so objectively. Wouldn't you say? You'd have to ask people I know. Just not my enemies, those guys are jerks.  

As the music, and, potentially the cover (photocopied at the Winona Public Library, no doubt) might suggest, I harbored a fair amount of frustration at the time, but tried to temper things with a heavy dose of self-deprecating humor. 

But enough of my bullshit! On to the tape! You might notice varying volume and audio qualities. I didn't make any effort to really spruce things up. There's even a 20 second dead air gap at the end of Side A that I left intact. When you're the only one listening to the thing, it's easy to either fast forward to the end of the tape so the dashboard tape player does the auto flip thing, or, just let it run out so you can manually flip it, which I did when I was listening via boombox while playing basketball on the driveway. I wouldn't want to rob you of that experience, so I left it in. You're welcome.

You'll note the tiny, crooked scrawl on the back of the homemade cover. It's a trademark of mine. I adroitly failed to plan my spacing well and even forgot to write down a few songs included on the actual tape. Guess there's a reason I never made it in the world of graphic design.

SIDE A starts with a recorded station ID blurb from Winona's KG-95. Even in the 1990s they largely played 10cc, Vanessa Williams and other "light FM" stuff, occasionally mixed in with Sugar Ray and Smash mouth and whatever else was popular but not too heavy at the time, to maintain their listening numbers, I guess. I thought it was funny to preface a tape with punk and alternative tunes with it. Unfortunately it meant sitting with an index finger hovering over the record button, listening for it to broadcast.

1. Bad Religion - American Jesus: BR were huge for me in high school. They showed me there could be punk music with intelligence to it. The confluence of angry and smart was important for me, because I was surrounded by a lot of angry, but not so much smart. There was a year or two where I was heavily into the Fat Wreck / Epitaph stuff of the mid-90s but it really wore out quickly. That whole scene seemed like an alternative music version of frat jock culture, and really mirrored the stuff that most of the people I knew who were heavy into that claimed to oppose, and Bad Religion I guess are one of the few bands from that scene that have aged well for me. While a lot of the early BR stuff sounds like 23 minute albums full of the same song on repeat, and was maybe a little too thesaurus heavy, it helped guide me. This may be not only the best Bad Religion song, but one of the best songs ever recorded, in my opinion. I wore a BR anti-cross logo shirt to school regularly, completely oblivious to the effect it had on the people around me. I had two shit kickers threaten to beat me up at the bus stop one day. A hometown local punk fixture who was infamous for getting wasted and dancing around at concerts with his clothes off while other people chanted "Naked Nick!" made fun of me for listening to Bad Religion because he didn't like The Gray Race album, and also scoffed at me for reading MAD Magazine at lunch one day. He suggested that it was cooler to read National Lampoon because "it's like MAD but with tits in it." Touché. None of this is anything I lose sleep over, they're just fun little tidbits I'm throwing in.

2. Mudhoney - Acetone: Not my favorite Mudhoney album by a long shot, but I've always had a special love for this tune. I wasn't into grunge at all, not even Nirvana (don't hit me). Mudhoney were lumped in with that movement but were definitely more Stooges-esque, which is great. Even though I had no idea who the Stooges were at this point in time. 

3. The Specials - Bonediggin' : It's kind of a weird choice. I guess it's kinda Misfits-y with the bass line and the graveyard subject matter. Also this was the 1990s comeback album released when punk and ska bands were allegedly making bank on the Warped Tour so the Descendents, the Specials, etc were all getting back in the studio to try and capitalize on that. I say weird choice in the sense that I thought I would've used on old school Specials song, but I guess I was listening to this cd a lot at that point.

4. Fugazi - Waiting Room: The opening bass line to this tune is the first one I learned to play when I started bass lessons in 1998. This song somehow got into moderate rotation on the local "alternative" station 105.5 The Buzz, out of LaCrosse, WI, and as a result, found the owner of Winona's Face The Music special ordering many copies of the 13 Songs album. I know this because I stopped in to purchase it after school one day and he told me that. Memories. I knew who Fugazi were before I was aware of Minor Threat.

5. Davíd Garza - Kinder: When I was a teenager I would spend a lot of Friday and Saturday nights playing basketball by myself on the driveway while listening to KQAL, Winona's college radio station. Some student DJ working the weekend shift at the time really liked the Disco Ball World single from this album when it came out, and as a result it was played quite often. I liked it. It sounded different that anything else I was hearing at the time. I found a copy at Winona Pawn & Gun for like $1, and I still listen to it all the time.

6. The Aquabats! - Chemical Bomb: I didn't know at the time they were all a bunch of mormons. Maybe it doesn't matter. I don't know what their politics are. I was/am a fan of comic books and enjoy this band's shenanigans. This one was particularly funny and I put it on multiple tapes.

7. Archers Of Loaf - White Trash Heroes: What's not to like.

8. Los Straitjackets - Lurking In The Shadows: At this point I was starting to receive the Norton Records catalog in the mail, probably from being on the Something Weird and Sinister Cinema mailing lists, maybe? I don't know. I was definitely starting to get into surf and rockabilly and old school r&b, as indicated by at least one of the other inclusions on this tape. Los Straitjackets and Man Or Astro-man kind of bridged the classic surf and modern indie/alternative rock gap for me and I was/am pretty obsessed with them.

9. Goo Goo Dolls - Flat Top: Yeah, I know. Roll your eyes if you must. Still, if this song were recorded by DOA or Circle Jerks, it would probably be considered a punk classic. Say what you will, at one point they were a pretty rockin' rock band who played rock music songs for rockers who liked to rock out. Rock.

10. ? And The Mysterians - Midnight Hour: As previously mentioned, was starting to discover gems from the past thanks to mysteriously receiving the Norton catalog in the mail one day. Started ordering Link Wray repro 7"s instead of buying NOFX albums, and I think I made the right decision (for me).

11. Die Toten Hosen - Disneyland (Stays The Same): Die Toten Hosen are huge in Germany. Like U2 huge. I first was made aware of them via some documentary on the Warped Tour in the 1990s. My wife (then my girlfriend) had lived in Germany and her parents went back often. On one trip her dad brought this cd back because he accidentally purchased it, thinking it was something else. This is the only album I've heard by Die Toten Hosen but it's pretty great. Their name translates to "The Dead Pants". Why, I don't know.

12. Swervedriver - Duel: Imagine, if you will, a world where there could be songs that didn't consist solely of 16th notes, lyrics that amounted to something other than"fuck you", and melodies dabbling with textures and other audio input. The tightrope wrapped around, one slip and you tumble down. Very relatable at that age and I guess even today.

13. The Misfits - Rat Fink: What needs to be said, really. Never was really into the whole violence-fetish thing Danzig has going on, but the b-movie/Famous Monsters stuff hooked me. 

14. Armchair Martian - Brodeo: A merging of alt rock and country/folk leaning indie rock. Never got into Wilco or the Jayhawks or anything like that. What I remember of this band was that it was basically the frontman Jon Snodgrass and a constantly changing backing band and that all of the output sounded same-y enough where if you kind of enjoyed one song, you'd probably kind of enjoy the other ones. Once I saw a kid wearing an Armchair Martian t-shirt at the mall in St. Cloud when I lived there. It was weird.

15. The Lemonheads - The Great Big No: KQAL played a lot of Lemonheads as well. It's hard not to like, though I've never really tried not to like. it.

16. The Hellacopters - Hey!: No idea where/how I first heard The Hellacopters. Maybe it was on some comp or something. I had no access to classic rock, all my parents listened to was then-contemporary country of the 80s and 90s, and on occasion The Eagles. I liked that The Hellacopters were pumping out hard driving rock and roll with a sort of Dead Boys edge to it, but also referenced things like Sabbath and fuzz rock (once I learned what Sabbath and fuzz rock were).

17. Sloppy Seconds - Take You Home: This band was big for me too. They were clearly Ramones-inspired but didn't seem to desperately want to sound like NOFX or Screeching Weasel, which seemed to be the two poles of punk polarity at the time. They referenced a lot of "junk" pop culture like b-movies and stuff. They had a controversial 7" with a song called "I Don't Wanna Be A Homosexual" which caused a stir, but it isn't really anti-homosexual, it's written from the POV of a narrator who is afraid of accepting the fact that he is in fact gay, and by the end of the tune comes to kinda maybe grips with that? This song isn't that song. I forgot to add this song to the track list on the cover. 

This side of the tape is sort of rounded out with a clip from an Art Bell Coast To Coast episode. I couldn't tell you which one. Also some dead air. 

SIDE B

1. The Dickies - Golden Boys: I was obsessed with this album when it came out on the now defunct Triple - XXX Records. Even though I like the whole album a lot, my favorite is this Pat Smear cover. Maybe their most/only political song, and it's not even theirs.

2. Jan & Dean - Horace, The Swingin' School Bus Driver: This might be a jarring inclusion amidst the other material, but here it is regardless. Music can be fun and funny and entertaining, apparently. I was learning things.

3. Seaweed - Crush Us All: I found this band and this album without ever hearing them. I don't remember how. Maybe I saw their name on a gig poster with another band I liked, or they were mentioned in the Thank You section of a CD liner booklet for an album I liked. I guess the consensus is that their early stuff is the really good stuff and this was a major label transition or something. I like half the songs on this CD. At the time when I found this, probably a used copy at Face The Music again, I was asking people "You heard this band Seaweed?" and no one knew what the hell I was talking about, like maybe I was making it up. Then the internet happened and I moved out of my small town and it turns out other people knew them too. I remember listening to this song a lot when driving to school in the mornings.

4. They Might Be Giants - Narrow Your Eyes: Wry, smart, thought-provoking, mining multiple genres while staying singularly themselves. 

5. 22 Jacks - So Sorry: This CD was also constantly in my Discman after it came out. 22 Jacks consisted of Joe Sib from Wax, Steve Soto from The Adolescents, and some other people. They were more of a Cheap Trick-ish power pop/rock band than a pop-punk band, which is great. The closer the "scene" got to New Found Glory and Simple Plan, the further I got away from it. 

6. Local H - High-Fivin' MF: Clearly another band that merged punk and classic rock but didn't go straight grunge with it. Some of the songs on this album sound like hardcore songs, including this one, but it ins't over in a minute and thirty seconds. I knew a guy named Curtis in high school who loved Local H, but professed to only like the songs that never got played on the radio. 

7. The Clash - Armagideon Time: Proof rock music can have a conscience. I think I like about 40% of the Clash's output, particularly the first album. The stuff I do like, I REALLY like a lot.

8. Fountains Of Wayne - Denise: I probably picked this one because it matches the energy of the other songs on here. FOW were a great power pop band. It was dumb that they won the Grammy for Best New Artist after that Stacy's Mom song came out in 2003 ON THEIR THIRD ALBUM. People name drop Big Star and The dB's as inarguably great power pop bands, FOW seem to get branded yuppie rock. I don't like every song they've released but they have some great stuff.

9. Frank Black And The Catholics - All My Ghosts: This one is a little embarrassing for a couple of reasons. First off, I'm not a Pixies guy. I used to have a copy of Doolittle and still have a greatest hits cd around somewhere. I knew who the Pixies were at this point, primarily because of a local band of "too cool for school" kids who played at the same all ages club in town every week who idolized them and would whip out their rendition of "Here Comes Your Man" regularly. Maybe associating the band with this particular group of peers left a sour taste in my mouth, maybe that's unfair. Regardless, I listened to Surfer Rosa and didn't like it. I listened to Trompe le Monde and Bossanova and liked bits and pieces of it. Even though I sort of knew who the Pixies were, I didn't know who Frank Black was. No foolin'. I heard this song on KQAL a couple times but always missed the back announcing, so for some reason I thought it was a song by the Swingin' Utters. No idea why. So I emailed them, probably at some hotmail or aol account, and asked which song of theirs this was and what album it was on. Someone from the band emailed back saying they had no clue what the hell I was talking about. Memories. Later I learned this was Frank Black and what the name of the song was. I guess I still kind of like it. There's always a song or two on his solo albums I think are OK, but I guess my favorite bits of the Pixies were Kim Deal parts.

10. The Cramps - Ultra Twist: Still one of my top 5 bands.

11. Naked Raygun - Wonder Beer: I was a teetotaler in high school and college. Rarely drink these days as well, so I didn't buy this album because it mentions beer. In the early days of geocities websites, I was often on music sites, especially ones dedicated to old school punk and new wave, and this band was mentioned often. I went to find something by them somewhere and think I bought this one because it had a Mad Max looking cover. I concur that if there are in fact gods, that they must be drunk.

12. Summercamp - Ninety Nine: This band put out one album. They went to record a second and the studio burned down and took all of the tapes with it. They decided to break up. I think that's all accurate. This is another power pop band. I still enjoy this one.

13. The Humpers - Mutate With Me: I still have this 7". One of those weird bands on Epitaph comps that you knew had albums on the label in the 1990s, but you almost never saw any promo for them. Like Red Aunts and New Bomb Turks. Anyway, this is more the New York Dolls and Television version of punk than Pennywise or whatever. Their Dionysus stuff is really great too.

14. Social Distortion - Don't Drag Me Down: Not my favorite band, not my favorite album by them either, but it was what was new at the time and this definitely has the punch to soothe a riled, just-getting-off-work-from-Target-at-10pm teenage me.

15. "Weird Al" Yankovic - Everything You Know Is Wrong: No matter what I'm into musically, I never was and never will be too cool for Weird Al.

16. The Mr. T Experience - My Stupid Life: MTX seemed like the band to gravitate to on Lookout! since other bands like The Queers and Screeching Weasel kind of gave off a meathead-conservatives-in-the-guise-of-a-Ramones-tribute-band vibe. Turns out I was kind of right. Not in the same way that they were. MTX had a sense of humor and were sort of a less annoying/smarter Green Day.

17. SNFU - Fate: I went through a big SNFU phase. Probably because they were from Canada and it seemed exotic, also because their songs were freakin' weird and abstract and I liked to try and figure out what the hell Chi Pig was talking about. Also I'm pretty sure someone on The Kids In The Hall wore a SNFU shirt during a skit, which would naturally send me searching for them.

18. Guided By Voices - Cut-Out Witch: GBV put out a lot of stuff. For every really amazing song there's about 30 clunkers. This was one of my favorite really amazing ones back then.

19. Rocket From The Crypt - Ball Of Fire: Never not great band. 

That's all.  Bye!