Dale Jenkins - Undesirable Element 1985

Arriving to the world for the first time, really—beyond the ears of the deep-digging few—Dale Jenkins’ Undesirable Elements, issued privately in the Washington, D.C. area circa 1985, is a homespun effort deserving of the audience and attention it never received upon initial release.

Undesirable Elements—here expanded as Undesirable Element with appended bonus tracks—is a desolate and deconstructed album that touches on the subtleties and extremes of the human condition, and the nuances in between, across gnarled bits of proto-punk via abrasive, fuzzed guitars and refracted mutant strains of British post-punk through a distinctly American underbelly sensibility.

Drum-led and in-the-red, Undesirable Elements is a loose concept album of sorts, from the sympathetic pen of an innately skilled commentator. The album displays polemical disdain for the behavior of humans, insular views, and blindly moving forward on simple suggestions while carrying a keen eye into the many textures of the mindscape of man. While you may hear occasional tears aiming at the trends of the times, Jenkins’ direct, intensely personal, and lyrically sophisticated material, combined with his charged attack, is in a realm all its own. Jenkins’ lyrics are nearly cinematic, like bite-sized scripts, or character vignettes, filled with wizened, introspective, and radicalized perspectives. The self-contained home-recording maverick was searching, sensitive, subversive, topical, yet several steps from the soapbox. guerssenrecords.bandcamp.com

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Mink DeVille - Le Chat Bleu 1980

After the critical acclaim of their self-titled debut and Return to Magenta in 1977 and 1978, respectively, Willy DeVille and his band took another look at the sassy, street-tough rock & roll they'd dished up and took the first step toward the swinging Spanish soul the band's subsequent albums would strive for and the crooning R&B heartbreaker DeVille himself would become as a solo artist. Le Chat Bleu is angel-headed hipster rock. The Doc Pomus influence on the opening track, "This Must Be the Night," with its cascading harmonies and 1950s girl group melodies, is a doo wop fantasy for the punk age. That influence was more than that as Pomus and Willy DeVille co-wrote three songs together for this stellar effort. Far more reverent than the Ramones and nowhere near Robert Gordon's stilted revivalism, Mink DeVille could sing and play rock & roll sweetly and razor sharp, kind of like a lollipop on the edge of a dagger. The first of the DeVille/Pomus soul ballads is included here. "That World Outside," with producer Steve Douglas' lilting tenor saxophone that twists itself around each line and breezes through the chorus, is pure Pomus, with DeVille carrying a vocal he'd never attempted before. This was the beginning of something for the band, and the end of something else. Piss and vinegar were not enough to fuel the band's muse any longer -- it also took polish, sensitivity, and a deep commitment to subtlety and drama, and this ballad contains them in spades. The other two, "You Just Keep Holdin' On" and "Just to Walk That Little Girl Home," burn as brightly. Of the rockers, "Savoir Faire" and "Lipstick Traces" contain the wooly garage stomp of the earlier records and keep their switchblade honesty and punky edge. Contrary to popular belief, this album is not the sound of a band losing its innocence as much as it is the sound of a rock & roll band finding its identity. AMG.

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Abner Jay - True Story of Abner Jay 2009

The semi-legal/semi-bootleg label Mississippi Records released this collection from raconteur and one-man-band troubadour Abner Jay. Songs such as "Cocaine" and "Vietnam" are equal parts protest folk, country-blues ballads, and outsider treatises. Jay sings his hard-times tales with deep soul and the haunted lilt inherent to men of vision. The songs are all stomped out by Jay and Jay alone--on electric banjo, harmonica, and bass drum--and illuminate both the artist's pure talent and his strikingly idiosyncratic aesthetic. THE TRUE STORY OF is about as fine a collection as one could hope for from this nearly forgotten American oddity. AMG.

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The Crazy World of Arthur Brown - Strangelands 1988

Recorded in the late 1960s, but not issued until the late 1980s, this is Arthur Brown's missing second album. Had it appeared right after it was recorded, it would have bewildered listeners to no end. Brown was no longer weird in an accessible and entertaining fashion -- he was just weird, period. It's as if he decided to do his debut album over again, but concentrated almost exclusively on the hellish dissonance bits that linked, opened, and closed some tracks, rather than the songs themselves. Loosely arranged as a suite divided into the four parts of "The Country," "The City," "The Cosmos," and "The Afterlife," it's untuneful and demented stuff that owes at least as much to free improv jazz as psychedelic rock. It's also much heavier on the operatic vocal histrionics and unfathomably metaphysical lyrics, with few of the R&B-grounded organ riffs that helped put his debut album into the Top Ten. The one song that sounds as if it could have -- just barely -- fit onto the first Crazy World album is "Planets of the Universe," with its floating organ and lilting, melodious vocals, although these unexpectedly cut into a busk of "Dem Bones." A distraught, lo-fi cover of the '50s death rock hit "Endless Sleep" ends the strange, sprawling, messy affair. AMG.

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Alexander Tucker - Don’t Look Away 2018

Don't Look Away completes a trilogy of solo albums from experimental singer/songwriter Alexander Tucker which began with 2011's Dorwytch and continued with Third Mouth the following year. These albums marked a shift from the enigmatic artist's earlier style, which was far more abstract and freely flowing, to more traditional forms of songwriting. Since those two albums, Tucker has devoted much of his time to Grumbling Fur, a project with Daniel O'Sullivan which has explored Eno-esque avant-pop in addition to heady minimalism (as Grumbling Fur Time Machine Orchestra). Don't Look Away immediately sounds closer to Grumbling Fur's poppier aspects than Tucker's prior solo albums -- there are drum machines and synths (which still manage to sound warm and organic), and the melodies are much catchier and more stirring than before. The wistful folk-pop of "Visiting Again" and the vaguely cosmic "Ghost on the Ledge" are two particular highlights. While Don't Look Away is undeniably more focused than his past works, Tucker still finds beauty in imperfections, and continues to assemble his samples off-grid. Moments like the wobbling echo to the drum machine at the end of "Objects" or the slightly detached feel to "Yesterday's Honey" point to where things start to slide off the rails, but it never sounds sloppy or disorganized. There are also some more overtly experimental tracks, but even these fit into the flow of the album rather than disrupt it. Apart from a handful of brief instrumentals, there's "Gloops Void (Give It Up)," a dark, misty beat/drone collage filled with floating delay effects and filtered vocals from Factory Floor's Nik Void. Ending the album is "ISHUONAWAYISHANAWA," which repeats its nonsensical mantra over a lush acoustic guitar rhythm and cascades of billowing flutes, which gradually become intertwined with the increasingly twisted vocals. Maintaining a healthy balance of sunshine and rain, Don't Look Away is the best example yet of Tucker's singular approach to music. AMG.

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Camisa de Vênus - Batalhões De Estranhos 1985

Influenced by the precursors of Brazilian rock, Raul Seixas, and British punk bands like the Sex Pistols, the Clash and the Buzzcocks, Marcelo Nova, a DJ at Rádio Aratu FM (Salvador, BA), rounded up guitarists Karl Hummel and Gustavo Müllen, bassist Robério Santana, and drummer Aldo Machado to form Camisa de Vênus in late 1980.

In the next year, Hummel departed for a period in Europe, and the band preferred to wait for him rather than replace him. In March 1982, the band really began their activities, recording a single five months later, "Meu Primo Zé," which scored a hit in Rio/São Paulo. Soon, they were recording their first LP for Som Livre, Camisa de Vênus. Released in October 1983, the album had good repercussions; but their record company complained about the group's aggressiveness, trying to change their name. The band abandoned Som Livre and departed for two years on the road without a label behind them. In late 1985, Camisa de Vênus signed with RGE, who reissued Camisa de Vênus and released the band's second LP, Batalhão de Estranhos, keeping their crude formula. The album's success was immediate, and the two first albums yielded gold records. The third one also bet on spontaneity, being recorded live in March 1986. The album had the hit "Sílvia." A few months later, the band left RGE and signed with WEA, recording Correndo o Risco. A different album, this one even featured an orchestra in "A Ferro e Fogo," but it didn't scare away their fans, selling 200,000 copies. In 1987, they recorded a double album, Duplo Sentido, which sold 40,000 copies. The album, featuring the participation of their idol, Raul Seixas, in "Muita Estrela, Pouca Constelação," evidenced different concepts and directions, making it clear that a separation was near. And indeed Nova left the band with Müllen, and, inviting keyboardist João Chaves, bassist Nadinho Feliciano, and drummer James Müller, formed the band A Envergadura Moral. In 1988, the band recorded Marcelo Nova & A Envergadura Moral. In the next year, Nova recorded an LP with Raul Seixas, A Panela do Diabo, which was Seixas' last album, as he died on August 21st. A Envergadura Moral also recorded (with Nova) the album Blackout in 1991 (Continental), taking a break after its release. In 1994, the group teamed again, with Marcelo Nova, Karl Hummel, Robério Santana, guitarist Luís Sérgio Carlini, keyboardist Carlos Alberto Calazans, and drummer Franklin Paolillo, recording the live CD Camisa de Vênus ao Vivo: Plugado! (1996, Polygram) and Quem é Você? (1997, Polygram). AMG.

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David Olney - This Side Or The Other 2018

A celebrated singer/songwriter with over 20 albums to his credit, David Olney has been described as "Nashville's answer to the Bard." In addition to his own albums, Olney was a highly respected songwriter who co-wrote with or been covered by Johnny Cash, Del McCoury, Steve Earle, Emmylou Harris, and Townes Van Zandt, among others. Though a folksinger at heart, he incorporated wide-ranging inspirations from honky-tonk to rock into his standard repertoire. Born in Rhode Island, Olney moved to Nashville during the early '70s and became a major player in the city's underground folk/country scene. He signed a contract with the folk label Philo several years later. Though his first half-dozen albums were recorded before the end of the decade, Olney's output during the '80s slowed considerably. He returned to Philo in 1995 with High, Wide and Lonesome, recorded with an impressive cast of roots-rock all-stars -- Rick Danko, Garth Hudson, Sneaky Pete Kleinow, Rodney Crowell, and Brian Ahern, among others. Real Lies followed in 1997, and included contributions from John Prine and Garth Hudson, while 1999 brought Through a Glass Darkly. Olney remained prolific throughout the coming decade, delivering studio albums like Omar's Blues (2000), The Wheel (2003), and Migration (2005), while his increasing popularity as a touring artist in Europe yielded three different live albums, all recorded at various locations in Holland. He began the next decade with 2010's Dutchman's Curve, followed by a series of thematic EPs -- Film Noir (2011), The Stone (2012), and Robbery & Murder (2012) -- that were later compiled into a box set. Also around this time, he started a weekly interactive streamcast video series called Hear & Now, on which he performed a handful of songs and shared the stories behind them. Between his weekly videos and busy touring schedule, Olney found the time to release a studio album, When The Deal Goes Down, in 2014. Another studio release, Don't Try to Fight It, arrived in early 2017. David Olney died while in the midst of a performance at the 30A Songwriters Festival in Santa Rosa Beach, Florida on January 18, 2020. He was 71 years old. AMG.

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Baikida Carroll - Door Of The Cage 1995}

Baikida Carroll has long been one of the top trumpeters in freer forms of jazz, but he has rarely had opportunities to lead his own record date. This 1994 CD is a happy exception, and it features Carroll playing free bop and atmospheric ballads in a quintet with tenor saxophonist Erica Lindsay, pianist Steve Colson, bassist Santi Debriano, and drummer Pheeroan akLaff. The ten compositions are all Carroll's, and they cover a variety of moods and grooves. The music overall is more accessible than one would expect, making this an excellent introduction to Baikida Carroll's music. AMG.

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