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I went back to work today so, I guess I'll resume this as well. All of my previous posts were recorded in my basement on a
cd recorder and then transferred to my computer. A process that's become kind of tiring. So, for the first time I'm using a program that I bought and my trusty Stanton turntable, and I'm recording and editing directly to my computer. Also, in an attempt to put a nicer post together I'm going to include front and back cover scans for now on. I may have edited the tracks too close ? Let me know how it sounds?I was surprised to see that this was reissued on
cd. I'll put links at the bottom so that you can go pick this up. Listening to this, I here a mixed bag of influences. On some of the more
powerpop tracks they kind of remind me of Nerves,Beat,
Plimsouls, and at other times a little more straight ahead rock n roll. At any rate this record is definitely worth your time. My favorite is Tell it all, after that I would go with I can see it now and the slightly darker sounding popular girl . At the bottom of the record It says
unauthorized duplication is punishable by a slow, painful death. I thought that was pretty funny. In 1981 The Wigs from Milwaukee recorded and released their widely
undiscovered classic, "File Under: Pop Vocal."If you were there, you either got it or you didn't. If you got it, you appreciated a band that trimmed rock music of its Les Paul/Marshall fat. You dug that they took the punk rock ethic, discarded its trendy accessories and made it their own. And you understood how song lyrics could be brilliantly stupid.If you didn't get it, you might have had a hard time dealing with three guys wielding enough ego to buck every popular trend and musical convention in an attempt to breathe some life into pop/rock music. Or you didn't understand how they could mock your idols and then turn around and mock their own. Yet, when they took the stage, you couldn't take your eyes off them.Maybe it was Marty and Jim at the front line that caught your eye, each fiercely competing for the spotlight while still egging each other on with their twin vocal-guitar assault. Or maybe it was Bobby nervously twitching away at a drum kit too small to possibly be producing that kind of thunder.The Wigs were cocky, but just shy of effusive - totally offensive, and yet utterly charming. They traded in melodies that could be extremely sweet, yet delivered with too much muscle to be simply lumped in with other more saccharine power pop outfits.For a band that straddled so many fences, there was no in between with The Wigs. To see them on a good night was to witness giants. On a bad night, you most likely demanded your three dollars back."File Under: Pop Vocal" cast The Wigs as
trailblazers on many levels:* In its first week, it charted higher on college radio than The Police's "Ghost In The Machine," released on the same day. Of course, this was before charting on college radio meant you were a superstar.* It sold enough copies to land it on the top of regional sales charts, fifteen years before
Hootie and The
Blowfish turned a similar indie feat into a major label career.Despite the record's initial success, The Wigs felt they had hit a career wall. On a curiously foggy night in July 1982, the band bid farewell to more than 5,000 rabid fans, ending their Midwest career by setting an attendance record at Milwaukee's
Summerfest music festival.After regrouping on the west coast, The Wigs quickly endeared themselves to Los Angeles audiences and music industry executives, one of whom
orchestrated a deal that sent the band to Denver for seven brutal months of recording what was to be their second album. The dry, raw production style so totally befuddled record label executives, they demanded the producer add echo and other devices to make it sound more marketable and "of the moment." In a bizarre twist of events, the production company was seized by the state for back taxes owed, and the master tapes were destroyed before the remix could commence. True to The Wigs' history, ten years after the fact, that dry production style became commonplace in the music industry.The Wigs returned to Los Angeles only to find a music scene infested by hairspray and spandex. Ever committed, they pressed on and turned in a well-reviewed performance in the now classic 80's romantic comedy "My Chauffeur," both on camera and in the soundtrack. This piqued the interest of CBS Records, who put the band in the studio with an up and coming producer.
Dissatisfied with the results, the record company upped the ante by teaming the band with some veteran recording pros fresh off successes with Prince and Rick Springfield. These sessions produced tracks that pleased all parties.(In the midst of all this activity, the band signed on with a powerful manager, one Stanley
Polley who, in an
uncharacteristic lapse of pop culture history, The Wigs failed to note was the much-loathed party who allegedly swindled
Badfinger out of royalties and, as some assert, the reason two members committed suicide.)As the paperwork was being drawn up to commence recording of The Wigs' major label debut, CBS became embroiled in a hostile takeover attempt and suffered the worst round of firings in the company's history. Gone were the staff members who shepherded The Wigs' signing. Gone was The Wigs' major label deal.Ultimately, it was compromise that killed The Wigs. The musicians who spent more time pissing people off than trying to endear them went to extremes to please those in power to further their career, in spite of the gut instincts that told them wrong decisions were being made on their behalf. From song selection and production techniques, to the restructure of the band itself, too many compromises sucked out too much life and personality for the band to survive.Then what? Then Marty found fifteen minutes of fame on the short-lived, but infamous “New
Monkees” television show, Jim retreated into a career in the film industry before re-emerging as a session vocalist and songwriter, and Bobby returned to Wisconsin to play drums in a relatively sane environment.Now, more than two decades after “File Under: Pop Vocal’s” release, Marty and Jim have undertaken a remix of the original tapes, for a first-time ever release on CD. It’s been a five-year labor of love, but they promise the results will be well worth the wait. Amazingly, the tracks that
didn’t make the initial record survived, allowing the band to restore the album to their original vision - and everyone else can fuck off
.
REFERENCES - WIGS
MYSPACE http://www.myspace.com/thewigs.
STREETWISE RECORDS 1981
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***DOWNLOAD***
I must tell you, my collection isn't exactly littered with Ralph Records releases. I used to have a few of the Residents singles but, I got rid of them long ago. This however is a definite keeper. I love the choppy guitar work on Someday You'll be king. The B side really doesn't do anything for me. But, you can judge for yourself. Go check out their website. They have music for sale. Originally known as MX-80 Sound, this US avant rock band was formed in Bloomington, Indiana, by Bruce Anderson (guitar/vocals), Dale Sophiea (bass) and Jeff Armour (drums). In late 1975 they were joined by Rich Stim (vocals/saxophone/guitar) and Dave Mahoney (drums). A single and EP on a local label were followed by their debut Hard Attack for Island Records. By this time they were based in San Francisco. Hard Attack achieved considerable attention; the avowed experimentation of the group (Captain Beefheart and Frank Zappa were often cited by critics) was matched by a lyrical subject matter that fitted into the "new wave' ethos of the period. The sound quality was also suitably murky. Signed to Ralph, the label run by the Residents, they produced two more albums (1980"s Out Of The Tunnel and the following year's Crowd Control, the latter recorded without Armour) and appeared on several compilations, but their career tailed off in the early 80s.
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