Tag Archives: walk in silence

Walk in Silence XXVII

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Dang, how are we on volume 27 already? Or more to the point, how are we not at a higher volume, considering I started the series in 1988? Heh.

Either way, I’m happy to return to making mixtapes more consistently again. I’ve made it a point to give my listening habits a bit more breathing room — and paying attention once more to when a song or album catches my attention, and letting my brain latch onto it instead of just flitting onto the next shiny. I know it’s helping that I made that choice on purpose to tie in with my MU4 novel project, but the real point was to reconnect with why I love to listen to music so much. I’d lost track of that for a while.

[Note: One song is missing from this Spotify version of the mix, “Splinter” by Chatham Rise, which sits between Miss Grit and Beck as track 9.]

Crashing Back to You

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I’m…kind of bored with what I’ve been posting here. And if I’m bored, then you probably don’t pay too much attention either. I feel like I’ve been repeating myself here for a bit too long. Using the same overused descriptions for every album or song I’ve been posting. Mentioning new releases and sharing a video but not really talking about them. And I’m sure I’ve told you the same personal music-related stories twice or thrice over already.

So.

I have an idea of how to change Walk in Silence into something that I think I’ll enjoy, that I think you will enjoy. It’ll take some time, planning and buffer-building to get it done, but once it’s ready, I think you’ll be entertained.

So in the meantime, I will be taking all of June off to get this plan in motion. At the end of the month I’ll get back to you and let you know when it’s ready to go live again. Sound good by you?

Cool. See you then.

Keep Coming Back

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I mentioned over at Welcome to Bridgetown that I find myself once again returning to the 80s (surprise surprise), via an old story I started my senior year in high school and attempted to revive numerous times over the ensuing decades. This is the story that went through so many different titles, versions and mutations that it has its own report binder here in the file department of Spare Oom.

And here I am, half-seriously coming back to it. Again.

I mean, this is the same story that also inspired my much more recent nonfic book idea that shares the name of this blog, Walk in Silence. The college rock era of the late 80s will always be near and dear to my heart for many reasons.

So why bring up this old story again, you ask? To answer that, I’d need to explain why it failed so many times in the past, and it’s called roman à clef. Each time I resurrected it, I made the mistake of wanting to write it as a self-insert piece of fiction, and therein lies the problem: my life back then wasn’t nearly as exciting as I often make it out to be. A lot of silliness and a lot of gloominess and everything in between, but not enough to make it an excitable read. So what’s different now? Well, thirty years on I’ve learned a thing or two about how to write fiction and realized roman à clef is not what was needed here. I knew what I wanted to write, but real life self-inserting wasn’t the way to go.

I’m not taking this project too seriously at the moment, as I’m already focusing on a few other things, but I’m letting myself devote an hour or two a day for it anyway, making notes and revisiting mixtapes and looking at discographies and chronologies. I’m also resurrecting a writing style I haven’t used since those same 80s days: using music to inspire and influence certain scenes, Michael Mann style. The difference here is that I’m not leaning heavy on memory here. I’m taking ideas from the songs I loved and expanding on what images and thoughts they inspire and evoke in me. Sure, there’ll be a few self-inserts in there — there always are in my books — but it won’t be as obvious this time out. And I’m making an expanded mixtape that’ll have both the obvious (say, “Under the Milky Way”) and the deep cut (such as the below Love Tractor song). That, of course, is the most fun part of this project so far.

I have no deadline for this particular story, but I am looking forward to spending more time on it if and when I can!

Wrapped Up in (Music) Books

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The music bio bookcase in Spare Oom — I am actually in one of these! And yes, that is a Groot doll and Ezra Bridger’s light saber.

Over the last month or so, I’ve been making a significant dent in my music bookcase in Spare Oom, and I’m happy to say I’ve got it under much better control now. Only the bottom shelf is full of Books To Be Read now, and I’m being harsh in culling what I no longer want to keep. This of course will give me more room for newer purchases! And the circle goes round and round…

Right now I’m on a binge of punk and post-punk bios and histories, having just finished John Doe and Tom DeSavia’s Under the Big Black Sun, and I’m currently reading its sequel, More Fun in the New World. I’m probably going to dig through a bunch of the trades after that.

I love reading things like this because I’m such an obsessive music fan. I was never one to be part of any ‘scene’ (I was way too broke to be part of one anyway), but I always like learning about their histories. For instance, in the Doe/DeSavia books, I learned that the death of LA punk in the early 80s wasn’t just the encroachment of hard drugs like heroin, but also due to the arrival of frat bros and skinheads from Orange County wanting to start shit during Black Flag shows. [This second point is confirmed by multiple musicians in both books, who saw it firsthand.] The scene died because it wasn’t fun anymore and because outsiders appropriated it into something unlikeable.

It’s things like this that make me rethink my own musical history, Walk in Silence-style. Ian Underwood’s Smash! (about the 90s punk resurgence) made a good point about the fact that there were rarely any decent punk bands in the late 80s because the scene was so dead and/or dangerous. This would, in turn, explain why my experience with college radio at the time was almost exclusively post-punk, new wave, industrial, experimental and often Eurocentric, with a hefty cornucopia of unconventional hard-to-label bands in between. I do remember the punk bands of the time, but they were few and far between, and often super-local.

It would also explain the 90s in pretty much the same way: the resurgence of American punk with Nevermind and Dookie (among numerous other albums and bands) competing with the newly-minted Britpop/Madchester scenes. And moving further, the eventual mainstreaming of alternative rock by the mid 90s, mixing sounds from both sides of the Atlantic with a splash of easier-on-the-ears alt.rock like Collective Soul, Dishwalla and Third Eye Blind. And like the original LA punk scene, the early-to-mid 90s alt.rock scene was a lot more inclusive, from Bikini Kill and the riot grrl scene to the trip-hop sounds of Tricky and Portishead.

And even then, the frat bros entered the scene like cockroaches, injecting their testosterone into it all, thus Marilyn Manson, Korn and Limp Bizkit and so many other ‘alternative metal’ bands with down-tuned guitars and grinding bass riffs. (As someone who worked at a record store in the late 90s, I can definitely confirm that most of the purchasers of meathead metal were in fact the bros, with many of the alt.rock stations then following the money.)

Which, in response, brought in a wave of twee music from Belle and Sebastian, Sufjan Stevens and Bon Iver. Inject the sounds of late 90s/early 00s techno into that and you’ve got chillwave. Inject reverbed guitars and you’ve got the next waves of shoegaze. Add a bit of proggy nerdiness and you’ve got post-rock.

Everything in circles. Everything influencing and inspiring everything else. Despite the ups and downs and the explosions and implosions of the music industry, there are influences and inspirations between bands, fans and musicians that feed the next waves. And the interesting thing is that often they aren’t aware of it happening; a lot of it really is all about ‘hey, this sounds kind of cool, I think I can play something like this.’

[Note: if you’re curious about which book I’m in, I donated a silly suggestion for Michael Azerrad’s Rock Critic Law. Look for the one featuring Joey Santiago.]

Walk in Silence 0

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PROLOGUE:

I’ve been listening to college radio and alternative rock for thirty years as of this week.

Currently, I’m kind of cheating and switching between the XMU station on SiriusXM, RadioBDC, and a host of college stations via their streaming feed, but the point remains — the singer here (Paul Westerberg at his alcoholic best/worst on Let It Be) is barely making it through the song without stumbling.  You can hear the liquor in his voice.  It’s a classic song of generational discontent, as Wikipedia points out.  I heard the same thing back then, in my bedroom, late at night, and I felt the same thing: who the hell let him close to the mike?

But truly, that was exactly what endeared me to the alternative rock genre, and still does to this day.  The fact that studio time was given to a musician of middling proficiency and questionable talent amused me then, and impresses me now.  Well — at this point, anyone with a laptop, a few microphones and some cheap recording and mixing software can lay down their own music.  And thanks to the internet, they no longer need to jockey for position at the local radio station or bar; they can upload their latest song on Bandcamp hours after making the final mix, and let their small tribe of listeners know it’s out there.

There’s a lot of excellent indie rock out there if one chooses to actively look for it.  Some listeners like myself spend far too much time and money on it, but we love it just the same.  Again with the internet: many college stations stream their shows on their website, so someone like myself, now living in San Francisco, just over a mile from the Pacific Ocean and a view of the Golden Gate Bridge just outside my window, can listen to the broadcast of Boston College’s WZBC.

The only thing missing, in my mind, is having a blank cassette at the ready, in case one of my favorite songs comes on.

That’s one of the original facets of alternative/indie rock, really…the ability to look in the face of popular culture and loudly and proudly profess that you’re not going to play that game, at least not by those rules anyway.  One of the whole points of the genre, harking back to the original UK punk wave of the late 70s (and much further back, depending on which rock genre you’re thinking about), was to make sounds under one’s own rules.

It was about a certain style of anarchy –a personal anarchy, wherein one fully embraces who they are and what they want to be, where one stops trying to fit in where they obviously don’t belong, where they find their own path without outside influence.  Be what you want to be, and fuck ’em if they can’t deal with it.

*

Every music fan has that story:  where did you first hear that new song, that favorite band, discover that new genre?  Every fan has a story where they heard a song or found a new radio station or a new genre for the first time where it just clicks: YES!  This is the thing that has pierced my soul, has connected with me in such a deeply personal way that I will never hear it the same way again!

Okay, maybe not in so many words: often it starts out with a distraction.  Yeah, I kind of dig this track.  It makes you stop and notice it.  You may not know exactly why just yet, but you’re not going to dwell on that right now.  But its primary job has been fulfilled: it’s gotten your attention.  You may be intrigued for the moment but forget it a half hour later, or it may stay with you for much longer, so much that you’ll end up looking for it the next time you’re at the local music shop.

Or, if you were like me in the middle of the 80s, you’d have a small ever-circulating pile of half-used blank tapes near your tape deck, and if you liked the song that much, you’d slam down the play and record buttons and let ‘er rip.

This is the story of how I got from there to here.

*

 Let me start with this: I was part of the inaugural MTV generation.  I was ten going on eleven.  I remember when I first saw the channel when it was offered on our newly-minted Time Warner Cable system, the first cable service in my hometown.  I remember the beige-colored box with the light brown label on top, listening all the channels we’d be getting.  I remember seeing MTV for the first time.  [For the record: my first MTV video was .38 Special’s “Hold On Loosely”.]  And most of all, I remember it was channel 24.  Even before we got cable, I’d already made plans to park my butt in front of the television and soak in the musical goodness.  Any music I heard from about 1982 onwards was considered Something Awesome in my book, especially if it had a video.  But even if it didn’t, that one network opened up something within me that turned music from a passing interest into an obsession.

Around the same time, I had pilfered the radio that had been gathering dust in the kitchen (an old model I believe must have been purchased at one of the local department stores a few decades earlier), and it was now at my desk.  I’d made little marks on the dial where my favorite stations were.  I’d fallen in love with rock radio.

Was it different from the sort-of-occasional listenings of records from our family collection, or the albums we’d take out from the library, or whatever was playing on the car stereo during family roadtrips?  In a way, yes.  Even then I’d gotten into the habit of listening to certain radio stations, but not to such an obsessive extent.  I’d gone from ‘now and again’ to ‘every single morning’ to ‘pretty much all day long’.  Other boys my ages were probably watching sports or playing outside or whatever it was we supposed to do, but I was perfectly happy sitting right next to the radio and enjoying each new song that came on.

The obsession with countdowns started around this time.  That was the fault of one of my older sisters who’d taped various songs off the radio at the turn of the decade, and had recorded part of the year-end countdown on the rock station we all enjoyed, WAQY 102.1 out of East Longmeadow.  A year or so later the torch was passed to me (well, more like I snagged it as she headed off to college).  WAQY had a contest in which, if you sent in the correct countdown list, they’d pick a random winner and give away every album that was on it.  Who was I to turn that down?  With an insane amount of focus and intent for a preteen, I wrote each artist, song on lined paper and duly mailed it in.  Never won, of coure, but that didn’t stop me from listening with rapt attention.

Thinking back, that’s probably what fueled my music obsession the most — between the countdowns and MTV, as well as radio in particular, I was glued to my desk or the living room couch, wondering what song or video would come next.

That went on for most of that decade, really.  From about 1981 or so onwards, I would always have a radio on, or I’d watch a good hour or so of MTV, just soaking everything in.  I really wasn’t too choosy about what songs came up, as long as they caught my interest.  That was partly due to listening to whatever my sisters were listening to in the 70s.  I could take Chicago’s easy-listening comeback albums the grandiose prog rock of Rush, and the guitar jangle of early REM.  A lot of the rock stations back then were more adventurous in their playlist, mixing past and present genres without a second thought.  Within the span of an hour I could hear the Beatles, Led Zeppelin, Dire Straits, Van Halen, and maybe even an Ozzy or an AC/DC track.  In the early days of FM radio, there was always some element of free-form.

I was given a massive playlist to choose from, and I devoured pretty much all of it.

Current Book Status: Oh wow I thought I’d be outta here by now

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I kind of hinted at this on my LJ yesterday, but I may as well make it semi-official here: I’m planning on releasing Walk in Silence, the book, in April of 2016.

So, what does this mean?  Well, for me, it means that I have six months to get my sh*t together, get a final version written, edited, formatted and ready for publication.  Yes, I will be doing the same as ADoS and self-releasing it through Smashwords and Amazon.  This, on top of working on the final revision and edit of The Persistence of Memories, other projects, and the Day Job.

Why April 2016?  Because that will mark thirty years (April vacation 1986, to be precise) since I’d discovered college radio and kickstarted an obsession that hasn’t gone away. I think an anniversary release would work nicely.  It’ll be tough, but I think I can do it.  It’s not a strict deadline, but that’s the one I’m aiming for.

So what’s the current status of the book, anyway?   That’s…a good question.  I have about six or seven different versions in various states of (in)completion, copious notes, a hell of a lot of reference material, but nothing actually complete.  Sure, it’s kind of crazy for me to think I can get it from complete disarray into a finished product in six months.  Especially when the theme of the book kept changing — I was originally going to write about the ‘college rock’ sound of the mid to late 80s.  Then I was going to write just about my obsession with it.  Then I was going to compile a history of the sound.  And then I realized that none of them really quite connected with what I wanted to write in the first place.  So while I distanced myself from it and worked on the ADoS release in the interim, I kept the project in the back of my mind and let it percolate.  What did I really want to do with it?

I can’t rightly say what it’ll exactly be about at this time, but now that I have time and inclination to complete this project, I’m happy to say I have a much clearer idea, and will be starting in on it this weekend.

In the meantime, don’t be surprised if you start seeing more 80s-themed posts and videos here within the next few months!  🙂

Writing Walk in Silence, the book

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You may have seen my occasional tweets, or my weekend updates at my trusty old Live Journal, in which I’ve been voicing my surprise at how quickly Walk in Silence, the book, has been coming along.  As of today, I’m a few pages in to Chapter 5, in which I talk about key events of 1986 that bring me closer to my long-standing obsession with alternative rock–in this case, MTV’s addition of The Monkees, Monty Python’s Flying Circus and 120 Minutes, as well as my discovering college radio during spring break.

I chose to plot this book similar to how I’ve seen a number of creative non-fiction books written: the opening prologue introducing the ultimate key moment of the entire book (my discovering college radio), and in the ensuing first few chapters explaining how I got to that point.  In this case, this includes my other musical obsessions, namely the Beatles, listening to radio in general, and being a part of the first generation of MTV viewers.  Other things pop up, including Miami Vice, classic rock, American Top 40, and other decidedly non-alternative points.  Now that I’m back to that same prologue point, I can move forward focusing mostly on the alternative sounds from here on in.

The bit that surprises me the most is how far I’ve gotten in such a small time.  This is definitely a rough and relatively short first draft, as the word count is only at around 12k, but given the chronology I’ve given myself, I still have a ways to go.  I music collection did not expand nearly as much until around 1986 or so anyway.  Once I hit that Defining Moment, I was not only buying new alt-rock music, but catching up with the older stuff as well.  A good portion of this book will actually focus around 1986-1989–both around the time the genre started gaining more ground, as well it being a time of personal growth for me.

I haven’t given myself a hard deadline to get this first draft finished, but I have made a tentative guess that I should be done with it by the end of summer, perhaps sometime into early autumn.  By far the fastest I’ve ever written any book, first draft or no.  I think I’ve chalked this one up to the fact that I’ve been thinking about this stuff since the time the music came twenty some-odd years ago, and that I’ve been doing light research on it for at least five or six.  At this point I’m putting it all in focus and getting it all down on the screen.   Do I know how long the future drafts and revisions will take?  I’m not thinking about that right now, to be honest.  I just want to get it all out at this time; I’ll start fixing it on the next go-rounds.

Making it official…

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Just posting here for posterity to say that I’ve just now (well, about 7:10pm PT, so a short time ago) officially started work on the BOOK of Walk in Silence. There’s two reasons for this:

1. I’m about twenty chapters away from finishing off the major revision of the Mendaihu Trilogy, and have noticed that I’ve been getting a lot more work done via my tablet just before bed than in the hour or so I usually give myself after dinner, so those last twenty chapters will be worked on there.

2. I’ve been itching to start something new for a good couple of years now, especially now that I’m on a good creative roll, and I’ve decided I just can’t wait anymore. It’s high time for me to kick this project into high gear.

Of course everything is in place: many of my reference books are about five feet away in a bookcase, I have SiriusXM’s “Classic College Radio” channel playing, I have a bottle of Dr Pepper open, and I’m finishing off my pint of Ben & Jerry’s Boston Cream Pie ice cream. [I can’t really say that it should be Mountain Dew and Harvest Cheddar Sun Chips–those are official Mendaihu Universe snacks, not WiS snacks. Not that I’m trying to set a new, fattening and sugary precedent here.]

SO! Be it known that as of 7:10pm PT on 4/29/2014, I’ve started officially working full-time on the book Walk in Silence. I will of course keep you all updated and post any interesting snippets or bits and bobs that may not get into the book but are definitely worth sharing.

Wish me luck! 🙂

Fly-by: Coming Soon

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Hey there!  Sorry for the delay in posts…it’s been quite the busy month here in JoncWorld.  What with tax season, preparations and travel for a week’s vacation back to New England, some serious revision work going on, as well as other personal events, I’m afraid I’ve been lax here at Walk in Silence as of late.  I aim to change that (again).  So!  A short list of possible upcoming posts….

–Radio Radio: College radio versus Progressive radio in the 80s

–The Audience-less Live Album:  A (brief) subgenre, or shameless re-recording?

–Wanting My MTV: Free-form, New Wave and other subgenres on pre-1984 MTV

–Teenage Thunder: An overview of Sigue Sigue Sputnik (no, really!)

–Collecting in the Digital Age: Building an mp3 collection of classic albums and tracks

 

I hope to start writing these within the next week or so, after the Easter holiday.  Stay tuned! 🙂

WiS: We’ve Got a Fuzzbox and We’re Gonna Use It!!

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I’ve been wanting to write this post since the two remastered cds came out in the middle of last year, and now I can finally do so! We’ve Got a Fuzzbox and We’re Gonna Use It!!, aka Fuzzbox here in the states, was a cute and punky quartet out of Birmingham UK, and one of my first music crushes when I started listening to alternative rock. They’d been brought to my attention right about the same time as Sigue Sigue Sputnik in the glossy music mag Star Hits, and upon seeing their crazy-colored and spritzed hair and Goodwill-chic punky fashion, I was completely hooked–which in all honesty wasn’t really hard, considering it didn’t take much to rebel in a small town like mine. They made me realize punk wasn’t just about rebelling against society, like American punk had suggested–it was also about doing your own thing, however out there it might be, and not giving a shit about what other people thought about it.

Fuzzbox was only together for a short time, releasing only two albums and a handful of singles (like most punk bands were wont to do during the 80s, it seems) before going their separate ways, but they were just so damn fun to listen to that it didn’t matter.

Credit: last.fm - l-r, Tina, Vix, Magz & Jo

Credit: last.fm – l-r, Tina, Vix, Magz & Jo

Fuzzbox started sometime in 1985 with four friends who’d decided to start a band. And like any punk band worth their salt at the time, mastering your instrument wasn’t exactly high on the list of priorities. Consisting of Vickie Perks (aka Vix) on vocals, Tina O’Neill on drums and sax, and sisters Maggie (aka Magz–vocals, keys and guitars) and Jo Dunne (bass, guitars and keys), they immediately jumped in on the occasional open mike night at the local bars and learned their chops onstage. It’s said Maggie was the creator of the band name, announcing that they did in fact have a fuzz distortion guitar pedal they were about to use.

Their debut single was the gritty and poppy “XX Sex”, with shockingly direct feminist lyrics about exploitation and sexism in the media. They followed up with a ridiculous and silly summer single with labelmates The Nightingales and Ted Chippington with “Rockin’ with Rita”, and by summer’s end they were given a spot on the highly influential NME C86 compilation with “Console Me”. They prefaced their debut album that October with a jittery and bass-heavy single about unrequited love, “Love Is the Slug”, my musical introduction to them via MTV’s 120 Minutes.

Credit: fuzzbox.angelfire.com

Credit: fuzzbox.angelfire.com

Bostin’ Steve Austin (released as a self-titled album here in the states, but with the same cover) was released in December of 1986, featuring a dozen gems about the girls’ life in Birmingham–not just containing the teen heartbreak of “Love Is the Slug” and “Jackie”, it also contains the confrontational “XX Sex” and “What’s the Point” (their follow-up single released in January of 1987) and “Preconceptions”, as well as a weirdly hypnotic cover of Norman Greenbaum’s “Spirit in the Sky”. The quality of the music here is surprisingly tight, even when it hints at sounding on the verge of disintegrating into a distorted mess. Vix’s lyrics alternate between playful, angry, and emotional, and despite the simplicity of the melodies there’s a lot going on musically. The stop-start of “You Got Me”, the building tension in “Love Is the Slug” and even the 60s-girl-group pastiche of “Hollow Girl” works perfectly.

Bostin’ Steve Austin got a ridiculous amount of play on my tape players between early 1987 and mid-1989–this was the side of punk that I gravitated to, the revelation that I didn’t have to try fitting in with the in-crowd anymore. I didn’t really need to do much, of course–wear some of my college rock tee-shirts, my grandfather’s green trenchcoat, and let my hair grow out of its quintessentially 80s spiky ‘do (but not to the point of longhaired metaldom), and start writing music reviews for albums hardly anyone else in my school listened to.

Meanwhile, Fuzzbox disappeared for a short while, and would reappear in early 1989 with a completely new and unexpected look and sound. I admit I wasn’t entirely sure how to approach it at first, having twitched and thought “oh god, they’ve become Jem and the Holograms.” But there was something about it…something about the slick late 80s production, the chart-ready poppiness, that called to me. I began to realize that this was the forbidden candy for me as a fan of college rock, the ultimate test: do I dare admit that, after labeling myself an alternative music nerd and a nonconformist, that I actually enjoyed this admittedly catchy music?

Credit: www.independent.ie - clockwise from top left: Vix, Maggie, Tina, Jo

Credit: http://www.independent.ie – clockwise from top left: Vix, Magz, Tina, Jo

Gone was the thrift-shop fashion as well, replaced by glitz and glamour. The fuzziness of their sound was also gone, replaced by shiny synthesizers and sequencers. They now had an outsider as a cowriter of songs in the form of session musician/producer Liam Sternberg. And yet…

…and yet, there was something about this new album, Big Bang, that I just could not give it up. I was older and now in college, and yet the music hinted at the readymade poppiness of 80s Top 40, the kind that was throwaway and yet catchy and likable at the same time. The Brummie humor was still there, hiding in the lyrics of lead single “International Rescue”, a loving ode to the Gerry Anderson tv classic Thunderbirds (and, in the video, a humorous nod to Jane Fonda’s Barbarella as well).

Credit: musicstack.com

Credit: musicstack.com

Big Bang kicked off with the irresistibly poppy “Pink Sunshine” (and also released as the second single) and my immediate reaction was to wonder where the hell my punk goddesses had gone off to…but I soon understood what they were doing. This wasn’t about rebelling, not anymore. It was about being an adult now, having gotten over the teenage growing pains. These were the Brummie girls stuck in their jobs, dealing with the drudgery of the real world and letting it all loose at the end of the working week.
There’s a lot of flirting and emotion going on with this album, and that’s part of what makes it so irresistible. There’s the rocking sci-fi of “Fast Forward Futurama”, the heartbreak of “Self!” (featuring the guitar work of none other than Queen’s Brian May!), and the gorgeous dancefloor bliss of “Versatile for Discos and Parties” (quite possibly my favorite track off the album). There’s even a brilliant cover of Yoko Ono’s “Walking on Thin Ice”, retaining the song’s mystique but giving it additional emotional beauty. The album ends on a very somber yet lovely note with a track called “Beauty”, which sounds like nothing else they’ve ever recorded.

Big Bang‘s shameless pop wasn’t shameless at all–it was a loving tribute to the dance pop of the decade, one that was about to come to a close. The sound of 80s pop would age, and often not for the best, but when it was done right, it was still fun to listen to. A few years later, once I discovered anime movies and series, from Urusei Yatsura and Silent Möbius and later to the Gall Force series and Sailor Moon, I began to realize that, thanks to Big Bang, I now had begun a long-lasting love affair with Japanese Pop (aka J-Pop). I began seeing the album as an unintended but spot-on paean to the J-Pop so prevalent in the credits and montages in anime, and that made me love the album even more. It’s pure pop, but it’s still irresistibly fun.

In 1990 they would release a final single, “Your Loss My Gain”, written for a never-realized third album, and while it seemed they were progressing in a more mature pop direction, they soon split up. They all went their separate ways. Only Vix remained in the music industry, recording under various band names including Vix n’ the Kix. Three compilations would surface a bit over a decade later: two albums of demos and outtakes called Fuzz and Nonsense and Rules & Regulations to Pink Sunshine: The Fuzzbox Story, and a greatest hits collection amusingly titled Look at the Hits on That (a very Fuzzbox-worthy pun title). And in 2010, Vix, Maggie and Jo reunited with the help of Vix’s backing band for a one-off single, a cover of M’s classic track “Pop Muzik”. Sadly, Jo would pass away from a cancer-related illness in 2012, but a year later, Vix decided it was time to rerelease the band’s 80s discography. Bostin’ Steve Austin would finally have its debut on compact disc, and Big Bang would contain all the remaining 80s tracks, including the “Your Loss My Gain” single.

We’ve Got a Fuzzbox and We’re Gonna Use It!! was a band that influenced not just my listening habits but my way of life when I was growing up in the late 80s; it was a refreshing view of punk-as-freedom rather than punk-as-anger, and helped me realize that the music I listen to, then and now. My tastes still lean towards the alternative, but I’m not above the shamelessly pop, especially if it’s done well. In relistening to Bostin Steve Austin I now hear a lot of the intelligence and fearlessness in the lyrics, which makes me appreciate it all the more. And as an added bonus, they’re there if all I want is some great and fun music to listen to.

Check it out:
Bostin Steve Austin: Splendiferous Edition, at Amazon.co.uk
Big Bang!: Orgasmatron Edition, at Amazon.co.uk
“Pop Muzik” single on iTunes