Notes from the Paisley Underground: The Salvation Army - Happen Happened (1982/1992)

Michael Quercio was one of the pivotal figures of the paisley underground, not only because he gave the scene its moniker (which most, including himself, eventually came to hate because of its emphasis on image over musical substance), but also as the leader of The Salvation Army, a punky garage-pysch band who would later become the more overtly psychedelic and equally important Three O'Clock. If you're only familiar with the latter, then Happen Happened will come as something of a surprise because The Salvation Army had a much darker, grittier sound than the later, renamed version of the band, and the album itself happens to be one of the most vivid documents of the early days of the paisley scene in L.A., and some, including Rain Parade guitarist Matt Piucci, consider it the finest slice of neo-psych to emanate from the paisley underground. The origin of The Salvation Army begins with Quercio, then using the pseudonym Ricky Start, sending some home demos of his fledgling band in to Rodney Bingenheimer, the legendary Los Angeles-area disc jockey and unofficial curator of the growing alternative music scene that was soon to explode in the U.S. Inspired by Bingenheimer's enthusiasm for the band's sound, Quercio and band-mates Troy Howell and Johnny Blazing recorded a few professional-quality demos at a local studio, which ended up netting them their first big break. Quercio: "Our original 45 was released in the fall of 1981. We were all still in high school or just graduated. It was on the Minutemen’s label which was called New Alliance. There was a place where a lot of bands played called Alpine Village in Torrance that’s kind of like a German biergarten. Anyways, D. Boon from the Minutemen saw us there and after our show he came up and asked if we had anything and we had just made this little demo tape that we made with money we saved up from our parents and stuff. He liked two of the songs and said he wanted to put them out and he put them out on his label as a 45."

Michael Quercio

Soon after the release of The Salvation Army's debut single, Blazing was kicked out of the band (for flubbing up the photo session for the picture sleeve of the 45) and was replaced with Gregg Louis Gutierrez, a guitarist whom Quercio knew from his college days. With the new lineup in place, the band recorded a follow-up EP; however, it never saw the light of day because fate came knocking before it could be officially released. Quercio had sent Rodney Bingenheimer an advanced copy of the EP, which the disc jockey began promoting on KROQ. Lisa Fancher had just started her own record label, the seminal L.A. underground mecca Frontier, when she heard one of Salvation Army's songs on Bingenheimer's show Rodney on the Roq. She signed the band immediately and put them in a studio to work on a full album. It was during these sessions that Danny Benair, former drummer for The Quick and Choir Invisible, would join the band, replacing Troy Howell, whose limitations behind the drum kit were becoming more and more apparent. The compilation Befour Three O'Clock collects the first single, unreleased EP, and the result of the sessions for Frontier, Happen Happened, The Salvation Army's final recording before changing their name to The Three O'Clock. It begins with one of Quercio's earliest recording sessions, which yielded the excellent 1981 "Happen Happens / Mind Gardens" single. This early version of "Mind Gardens" is built around a simple Punk-inspired chord progression and Quercio's snarling vocals, and represents quite a contrast to the album version recorded the following year, which loses much of its directness beneath all the reverb and jangle. Despite this, The Salvation Army's sole original album is full of great Nuggets-inspired tracks such as the blues-psych cover of The Great Society's "Going Home," a song featuring a swaggering guitar-based hook and one of Quercio's better early vocal performances. Happen Happened is one of the most essential releases related to the paisley underground, as it both a great album and a rare snapshot of the scene's early roots in the L.A. hardcore/punk movement.

Swell Maps - Jane from Occupied Europe (1980/2004)

In many ways, the early post-punk movement was a reaction to the overly simplified aesthetic (as well as ideology) of a UK punk scene that had quickly become a caricature of itself by the end of the 1970s. While the term "post-punk" has, over the years, become synonymous with the moody, scratchy, dub-reggae and funk-influenced approach of bands such as Gang of Four, the movement was/is actually quite diverse. This is best exemplified by Swell Maps, who integrated the original Punk D.Y.I. aggression with more "arty" influences such as kraut-rock legends Can, and did so while casting a thick layer of cheeky irony over everything. While their debut, A Trip to Marineville, wasn't always able to integrate these different sonic palettes together seamlessly, their follow-up and swansong, Jane from Occupied Europe, stands as one of the most singular-sounding albums of "The New Wave." From the first few seconds of "Robot Factory," the lead track, it is clear that we have entered uncharted territory. With eerie psych organ, strange clicking effects, and distant mumbled voices, the song sets the tone for what's to come. Standout track "Cake Shop Girl," with its combination of guitar crunch and Kraftwerk-style synth-lines practically writes the book on integrating punk and pop, a book bands like The Meat Puppets would be memorizing soon enough. Though it proved to be the end of Swell Maps, Jane from Occupied Europe is, without a doubt, an essential document of post-punk's first wave. Bassist Jowe Head: "The best Maps experiences included the thrill of feeling empowered by our realization that we could seize the means of production without needing a deal from a conventional record company or management. Also, we had a hell of a lot of fun together! We used to laugh so much it hurt sometimes."

Notes from the Paisley Underground: Various Artists - Warf Rat Tales: Unabridged (1983/2005)

At the dawn of the 1980s, the L.A. underground music scene was comprised of a heady mix of bands and styles that included punk, post-punk, cow-punk, neo-psych, power-pop, jangle-pop, rockabilly, and everything in between. In addition to its quite unprecedented musical diversity, what also set this underground scene apart from others before it and those since was the genre-defying camaraderie between the various bands involved. As such, it was not unusual to see someone like Chris D. of The Flesh Eaters- ferocious purveyors of an exceedingly dark blues-punk hybrid that made them legends among the hardcore crowd- befriend and support a band such as The Dream Syndicate, who were in the process of spearheading a psych-revival that would come to be known as the Paisley Underground. Many of these relationships were forged through shared ties with the indie record labels that mushroomed in and around the scene whose rosters often reflected the amazing variety of the L.A. underground itself, a phenomenon that helped give rise to the era of the indie compilation as the best way to promote the music.

A storied example of this was Warfrat Records, a tiny artist-run label, whose recordings were made in a (literally) makeshift studio called Lyceum Sound, which was actually a sound-proofed two-car garage (we're talking egg-cartons on the walls here) that had been rented out by members of The Last as a rehearsal space. The "studio" was originally conceived as a much preferred return to sonic austerity for The Last after having had their sound subjected to the sterilizing effects of the professional recording process on their debut LP, L.A. Explosion!  Eventually, Lyceum Sound played host to bands such as The Gun Club, Rain Parade, The Long Ryders and Savage Republic to name but a few, all of whom engaged in something like recorded rehearsals. As The Last's manager Gary Stewart remembers, the WarfRat record label was born out of necessity: "I didn't so much dream up the WarfRat label as I was forced to start it, as a way of releasing a single [...] that was getting some airplay on Rodney Bingenheimer's Sunday night radio show." The compilation WarfRat Tales was intended as a way to promote many of the bands who regularly passed through Lyceum Sound as well as to pay off some bills (according to Stewart, the album accomplished only one of these objectives).

The album itself is one of the better comps to emanate from the L.A. underground, and has the added advantage of being primarily comprised of unique "demo" performances that are often superior to the more polished versions available elsewhere. The opener, "Try to Rise," a creepy, campy psychedelic rocker by The Last that sounds a bit like Frankenfurter of The Rocky Horror Picture Show fronting The Doors, sets the tone for this consistently great and intensely moody set of songs. Another highlight is "Stop the Clock" by the Earwigs, a strange mash-up of punk, ska and early new-wave that functions as a tension-filled time-capsule of cold war paranoia. WarfRat Tales also features some wonderfully scruffy cuts from Paisley Underground mainstays Rain Parade, including a stunning rendition of "This Can't Be Today," later re-recorded for their debut LP, Emergency Third Rail Power Trip. Perhaps the most essential track is "Creeping Coastlines of Light" by The Leaving Trains, a twangy, moody, transcendent slow-burner that is the equal of anything recorded by the scene's more well-known "roots" bands such as The Long Ryders and True West. WarfRat Tales is worth revisting because it offers a significant glimpse into an amazingly vibrant music scene long since gone; however, what makes it truly distinctive is the way its austerely-recorded tracks capture the passion and camaraderie that made the L.A. underground what it was.

Swell Maps - A Trip to Marineville (1979/1991)

Even though brothers Nikki Sudden and Epic Soundtracks (not their real names in case you were wondering) had been tinkering in a band together for several years under the name Sacred Mushroom, it was not until the rise of the British Punk scene of 1976-1977 that they (along with several friends) began gigging and eventually found their way into a studio as the Swell Maps. The Maps had a hand in creating the D.I.Y. ethos of early punk, as bassist Jowe Head recalls, "We didn’t actually invent the DIY punk scene, because The Buzzcocks released “Spiral Scratch” before that. They had management though, so I don’t think that they really count! Also, Television Personalities and the Desperate Bicycles were getting their own labels together at the same time. We all became aware of each other, and supported each other's efforts- it was a shared sense of pride and pioneering spirit!" When the Maps finally got around to recording a full-length after a 1978 John Peel session created some buzz around their first single, "Read About Seymour," the result was A Trip to Marineville, a mad scatter-shot of an album that manages to offer some of the most challenging music of the British punk movement, but be forewarned: for the most part, this is not punk of the simple three-chord-thrash variety. Mixing in surf guitar, kraut-rock flourishes and some glammy overtones, there is simply nothing else from the original (post) punk era that sounds quite like Swell Maps. This is especially evidenced by songs such as "Gunboats" and "Adventuring in Basketry," which demonstrate the band's obsession with kraut-rock legends Can, creating a unique mash-up of anarchic sonic textures that Swell Maps would explore to even greater affect on their next album (and swan-song), Jane from Occupied Europe. Along with Wire, Swell Maps practically invented the template for art-punk, and are, in many ways, undeserving of their "badness to madness" reputation. Nikki Sudden: "We knew we were good, and despite what is still being written about us we could actually play. Listen to the records and you'll hear that we had a very good idea of what we were doing. Epic and I came to regret all the in-jokes we put about, but the music still stands up [...] We weren't 'conscious innovators' though. We just did what we did."