Great (and very good) albums by short-lived bands

I was listening to Apple by Mother Love Bone the other day, and was reminded once again what a great album it was and what a shame it is that Andrew Wood couldn't stay off the smack. Such is life, as the great philosopher once said.

It put me in mind of really good albums by bands that didn't last long, and the fact that this either deprives us of more musical genius or fixes the band in time as something that never degraded, whichever way you want to put it. Then I thought, "Hey, I have a blog - why don't I ramble on about this and ask for opinions?" So here are ten albums by bands that didn't last very long that I consider great or even just very good. My criteria is strict: these bands must have released one or two albums. Three albums simply implies a longer career. In the case of Boston, it took ten years for those three albums to come out. And remember, these are only albums I actually own. So with that in mind, here they are, in no particular order:

1. Mother Love Bone, Apple, 1990. This is truly a great album, released not long after Wood died. It really captures the early grunge sound, even though it's influenced by classic rock a great deal. Wood gives us surreal yet beautiful lyrics, and Stone Gossard's guitars are fantastic throughout. The band easily moves from powerful rockers like "This is Shangrila" and "Holy Roller" to power ballads like "Stardog Champion" and "Man of Golden Words" to bittersweet love songs like "Stargazer" and "Crown of Thorns." It's a brilliant album with only a few missteps (I could lose "Captain Hi-Top"). It's out of print, but you can find the compilation that includes their EP, Shine, which also is pretty danged good. Pearl Jam, to which Gossard and Jeff Ament went, wishes they were as good as Mother Love Bone.

2. Horse Flies, Gravity Dance, 1991. I'm counting the Horse Flies, because they've only released two studio albums, but they have done two movie soundtracks, so if you want to say I'm cheating, oh well. I have spoken often of my love for this album, and whenever I listen to it, it almost demands that I stop driving (which is where I usually listen to music) and pull over and just sit there. It begins with the strangely tragic "Life is a Rubber Rope" and moves on to the horribly funny "Roadkill" (which is indeed about eating things you find on the side of the road) and the weird "Needles on the Beach" (again, self-explanatory). The two highlights are "Two Candles," which is a beautifully haunting paean to lost love, and "Your Eyes are Elevators," which ends the album on a wonderfully bizarre bluegrass note. The Horse Flies are a weird band with a strange melange of styles, but for the most part, they make it work.

3. Think Tree, Like the Idea, 1992. This weird Boston-based band released a couple of albums in the early Nineties, but they were far too weird to ever have any kind of mainstream success. They combined a kind of mystical Zen thing with raunchy and irreverent lyrics and twangy electronic music that, they were proud to mention, was done without the help of a computer. With songs like the wonderfully corny "Monday A.M. First Thing" and "Porcupine Coat" to the serious but still weird "Everything is Equal" and "Eye for Eye," they covered a lot of ground on this album. It's still one of my favorites, and I'm very glad I happened across it in a record store in Auckland, New Zealand, of all places.

4. Temple of the Dog, Temple of the Dog, 1990. This is the only "supergroup" on this list, as this was a band that was never meant to release more than one album. It was put together after the death of Andrew Wood (see above) and takes its name from a lyric in a Mother Love Bone song ("Mr. Golden Words," if you're interested). They released one album, but man, it's a good one. The two tributes to Wood, "Say Hello 2 Heaven" and "Reach Down," are actually the two weakest tracks on the album (although they're still good), and the album really gets going with "Hunger Strike," which features Eddie Vedder before Pearl Jam took off. This is a superb album that happened to come together at a perfect time, and I'm certainly glad Chris Cornell and the members of Pearl Jam never tried to recapture it.

5. Liquid Jesus, Pour in the Sky, 1991. I'm trying to figure out if Liquid Jesus ever released a third album, as this would disqualify them. But I can't, so I'm going to count this, their second album, as their last one. The only people I've ever known who have heard of Liquid Jesus (two of them) hated them, so maybe I would be in the minority, but I think they were excellent, and this, their only studio album (like Jane's Addiction, after whom they were clearly modeling their career, their first album is live), is very good. "Finding My Way" kicks off the album, but it really gets good with "W.H.Y.B.," a song from their first album. They also give us a powerful upbeat love song in "Better or Worse" (featuring Bruce Hornsby on piano, which is slightly odd) and some very good rock tunes like "No Secret" and "The Colorful Ones." They mixed a lot of different sounds and styles, using a mellotron on at least one song ("Feelings Flower"), which gave them a neat sound but probably hurt their chances of being commercially successful. Maybe you heard them on the Pump Up the Volume soundtrack!

6. Amanda Ghost, Ghost Stories, 2000. I wouldn't call this a great album, but it is very good. Ghost has an odd, bluesy voice, and she sings some great songs on this, her only album (so far; apparently she's working on one). She could easily sing in a dark bar, leading pathetic patrons onward to something beyond their sad lives. The album starts off very well, with "Filthy Mind," "Idol," and "Glory Girl" the three best songs on it, but the quality doesn't dip too far for the rest of the disc. There's a great deal of sadness in her voice, but a great deal of hope as well. It's a wonderful combination.

7. Scissor Sisters, Scissor Sisters, 2004. This is cheating, as the Sisters are just beginning their career and probably have plenty of albums left in them (even if they don't, they surely have a third album in them!), but technically, right now they have only released two. Both are good, but their debut album is a bit better. "Laura" kicks off the album with foot-stomping goodness, and their cover of "Comfortably Numb" is excellent. Other excellent songs abound: "Lovers in the Backseat," "Tits on the Radio," and "Filthy/Gorgeous" are all interesting with great beats. The album loses a bit of steam at the end, but that's okay. The best song on the album is "Take Your Mama," and that alone would make this a worthwhile disc. Luckily, there's plenty of other great tunes on it.

8. Ruby, Salt Peter, 1995. This is an odd album, but for the most part, it works. Ruby has a gruff and angry voice, and the music, which is that mid-1990s electronica stuff, has a hypnotic power. Ruby's vicious lyrics come through nicely on such songs as "Flippin' Tha Bird," "Paraffin," and "Swallow Baby," and she also slides into ethereal-ness (ethereality?) on the album's final track, the seven-minute "Carondelet." This isn't a great album, but it's quite good. Ruby did release another album, but that's it. I wonder what she does with herself.

9. Stress, Stress, 1991. I have mentioned this band occasionally, but I can't find anything about them on-line. I believe this is the only album they ever released, but I can't be sure. Anyway, this is a pretty darned good album, with a weird psychedelic Beatles thing going on, with a blend of Eastern mysticism with flower-power hope and just enough rocking to give it an edge. "Indian Summers Dream" is an excellent song, as is "Lordy Lord," which is sweetly nostalgic. I imagine this is long out of print, but it would be a nice purchase from a dark used record store.

10. King Swamp, King Swamp, 1989. Does anyone remember King Swamp? I saw their video for "Is This Love" and really enjoyed it, so I bought this. It turns out to be a good album full of strong rock songs with a good bluesy edge, and even some hard dance beats (like in "Year Zero," a song about working the fields). There's not really a clunker in the group, although some are better than others. "Original Man," "Widders Dump," and "Motherlode" are highlights, and the album ends wonderfully with "Sacrament," a powerful ballad with a haunting chorus. It's too bad they weren't more popular, and after a second album, they broke up and disappeared.

Those are just ten albums I own that I think are pretty darned good by bands that didn't last too long. I have some others, but they aren't as good. I always enjoy owning albums by bands that didn't last, especially if I like them, because I feel like I'm pulling a fast one on all the losers who didn't get in on them. Of course, it's probably that I'm the loser for not liking better bands, but I can live in my delusions, can't I?

Anyone have any good albums by short-lived bands they'd like to champion? That's why we have blogs, after all!

Great songs, according to me (Part 21)

We're into the third hundred of great songs, according to me, so crack open a can of Schlitz and sit on down to read! There's really nothing better to do on a fine spring weekend than check out what songs some bonehead in Arizona are great, is there? IS THERE?????

As usual, in case you came in late, you can check out my first two hundred selections: the archive of the first 15 parts; Part 16, Part 17, Part 18, Part 19, and Part 20. Now, let's get it on!

201. Gallows Pole (by Led Zeppelin on the album Led Zeppelin III, 1970): It's been a while since we had a Zep song on the list, but let's kick it back up with a song about whoring out your sister! Yippee! The starkness of the lyrics in "Gallows Pole" is nicely accompanied by the slowly building frenzy of the music, which of course culminates with the hangman banging the condemned's sister. Page really shows off his chops here, as he goes from plucking his guitar to full blast honky-tonk. Whyever is Plant on the Gallows Pole in the first place? It's a mystery for another day!

202. Genie (by Marillion on the album Marbles, 2004): If there's a slight weakness to this song, it's that Steve Hogarth's vocals aren't what they used to be - he can't quite reach the higher registers, and he should stay away from them. However, it doesn't wreck the song, which is a tragic tale of a man who is scared to take risks and find happiness even though he has a woman (the genie, presumably) willing to show him the way. It starts quietly and builds majestically, until you can hear all the fear and sadness because of that fear in Hogarth's voice. A tremendously beautiful song.

203. Gentle Groove (by Mother Love Bone on the album Apple, 1990): I really can't stress enough how brilliant Mother Love Bone was on their one album. I've mentioned them before, and whenever they come up again on this list, I'll tell you again how brilliant they are and how you should track down this recording (the original of which is out of print but which is available packaged with their EP, Shine). "Gentle Groove" is just one of their typically wonderful songs, as the guitar comes in slowly but powerfully, and Andrew Wood's nasal voice with its hint of nastiness wraps around bizarre lyrics that are far more than the sum of their parts. When he reaches the end and sings, "And nobody's gonna take my love away, and nobody's gonna slow my gentle groove," you're pretty sure he's talking about drugs, which makes his death all the more stupid and pointless. All of the songs on the album have some added poignancy because Wood was an idiot, but they're still excellent rock-n-roll, and this one is one of the great ones.

204. Get Out The Map (by Indigo Girls on the album Shaming Of The Sun, 1997): Sure, this is a typical Indigo Girls songs, which means I'm going to like it anyway, and although it doesn't have that special something that lifts other songs by our two favorite folk lesbians above the others, the reason it's a great son is because it sounds sad but is really quite joyous, and when Emily sings, "I'm gonna love you good and strong while our love is good and young," you just can't help but smile. It's also a song that makes you want to literally get out a map and just hit the road. So that's why it's great.

205. Get The Funk Out (by Extreme on the album Pornograffiti, 1990): Yes, it's an Extreme song on this list! While that may invalidate my opinions in the future for anyone who happens to stop by here, I would challenge you to actually sit down and listen to this song before you start bashing me. Great horns, fun guitar, goofy lyrics, and a plea for hedonism. What's not to like? It's just a wacky rock song by big-hair guys who don't take themselves too seriously. Nuno Bettencourt has some great chops, and Gary Cherone has a fantastic rock star voice (his awful Van Halen album notwithstanding), and you can't help but bop your head and sing along at the top of your voice. Don't resist!

And just wait until I get to songs from their 1995 release, Waiting for the Punchline. Why? Let's just say the words "forgotten" and "classic" will be thrown around a lot.

206. Gett Off (by Prince and the NPG on the album Diamonds And Pearls, 1991): Prince is enjoying somewhat of a renaissance these days, but that doesn't mean we should forget his past! Diamonds And Pearls, unfortunately, isn't really that good of an album, but "Gett Off" kicks major ass. Only Prince could make a flute funky, I believe. He has that great greasy vocal working for him in this song, and it has that early-1990s wheeze to it (like in House Of Pain's "Jump Around"), and of course, great lyrics about how hot some girl is and how nasty she likes her sex. Come on, it's Prince, what do you want? People tend to forget about this great dance tune when they think of Prince, which is a shame. It's excellent.

207. Ghost (by Indigo Girls on the album Rites Of Passage, 1992): Holy crap, this is a great song. As usual with the Girls, it's the lyrics that drive it, although the music is powerful enough. It's another Emily song, which is a bit surprising because I tend to like Amy's songs more, but Emily can certainly write kick-ass songs about lost love. Her voice aches as she begins with "There's a letter on the desktop that I dug out of a drawer, the last truce we ever came to in our adolescent war" and when she reaches "You kiss me like a lover then you sting me like a viper" you can almost imagine her weeping as she sings. It's a marvelous evocation of love gone by, a love that probably wasn't that healthy but is missed nonetheless.

208. The Ghost Of A Smile (by The Pogues on the album Hell's Ditch, 1990): Hell's Ditch is a decent Pogues album (of course, I'm a fan, so I think they're all good), but it doesn't reach the heights of their classic albums. That's not the fault of this song, though, which is light-hearted enough, but contains just enough edge to push it to greatness. Shane is smitten by a girl, who can get him to do anything she wants, but he also tells her "Don't wait too long, or I'll be gone." That simple little lyric, coupled with the slight increasing urgency of the music, twists this sweet song just enough to make you realize how ephemeral love can be, and we need to seize it while it's there. Beautiful.¹

209. Give It All Away (by World Party on the album Bang!, 1993): Wow. I just found out, looking for a web site about him, that Karl Wallinger and World Party have a new album out. Just another thing I have to pick up. I mean, it's only been 9 years since the last one. Take a few more years off, Karl! Anyway, Bang! is a good album, helped by this song, in which Karl rocks out a bit more than usual, and gives us biting lyrics about (what else) man's destruction of the earth. Sure, it's a theme he really likes, but it's still relevant, and his anger and sadness comes through very well on this song. How can you argue with lyrics like "It seems to me you're killing all the things you love the most"? See? You can't.

210. Give It Revolution (by Suicidal Tendencies on the album Lights ... Camera ... Revolution, 1990): Mike Muir must have a lot of anger in him, what with the name of the band and then the songs they write. But that's okay, because we reap the benefits with loud punkish thrash metal with some excellent lyrics and bass lines to die for. And, of course, songs about revolution! I love songs about revolution, because it means I'll have a soundtrack for when I take over (after which, like the French one, the revolution will become a dictatorship, but I'll be a good one, I promise), and this song will be near the front. It's just a kick-ass tune, and with lyrics like "Well you can put a bullet in my head but you can't kill a word I've said," you know you want to join the fight! The whole album is brilliant, thanks to this song and a host of others.

Well, that's it for this installment. I know you're always excited and interested in peeking into my twisted musical mind, and I like to accommodate! Enjoy!

¹ Yeah, I used "ephemeral" to describe a Pogues song. You gotta a problem with that? I'm a snooty English major, after all.