The La's - The La's (1990)

The story of The La’s is a compelling one. The Liverpool band which formed in 1983 had all the potential to become a great band and have a very successful career, but they ended up only recording one studio album in 1990 titled “The La’s”. Since then apart from sporadic reunions and occasional live appearances, the band has pretty much ceased to exist, for reasons only singer-songwriter Lee Mavers would know? It just so happens that their one and only release is a classic album that influenced an entire generation of British musicians, and arguably helped change the course of British music away from 1980s synth pop towards what became known as Britpop in the 1990s, not to mention the indie wave that came after that and continues to this day. The bands style as showcased on the album is largely influenced by skiffle, 1960s mersybeat, and 1950s rock and roll, and is based around a jangle pop sound of chiming guitars and infectious melodies. Lee Mavers in an interview described the band’s sound as “rootsy” and “raw and organic”. Mavers unique singing style also brought a Liverpudlian element to their sound, with his Scouse growl ensuring the band sounded more Liverpool-like than the cities most famous group. The album contains a mixture of all out beat songs such as “I Can’t Sleep” and “Failure”, melodic pop pieces such as their most famous song “There She Goes”, and acoustic folk numbers such as “Liberty Ship” that harks back to the days of skiffle.

 

The story of the albums making is an interesting story, and pretty much some ups why the band has since failed to capitalise on their great debut. The band spent three years in the studio recording and re-recording this album, using several producers in the process as well as a constantly changing line up, as they strived to get the authentic sound desired by Mavers. Mavers was a perfectionist after a 1960s sound, and obsessed over the making of this record to the point that in one instance it was reported that he rejected a vintage mixing desk claiming that it did not have the right sound because it didn’t have “original sixties dust”, fair enough I guess? Several versions of the album were recorded, with the officially released version being disowned by Mavers who said it was a version he did not want made public. Why he believed this I don’t know as the album sounds pretty good to me, and its influence on British music over the last twenty odd years is plain to see. It might even be that the authentic rootsy sound desired by Mavers might not have had the same impact as the clean melodic sound that you hear on the record, who knows. In the end Mavers obsession in perfecting this record probably ended up prevented him from capitalising on its influence and moving the band’s career forward. It is also surly one of the reasons why the band has been missing in action all these years, even though apparently they still exist in the form of Mavers appearing with a constant rotation of other musicians when they do play. Despite this, “The La’s” is an album I recommend to anyone who’s into 1960s British pop, indie, or people who just love a good melody. This might possibly end up being the only studio release from this group, but even twenty-three years on its influence is plain to see, and it’s sound still relevant.

 

A

 

- Sam

The Chills - Kaleidoscope World (1986)

A compilation in the truest sense, Kaleidoscope World covers everything recorded by icons of the Dunedin Sound, The Chills, up until 1986. Yes, everything. In this 18-track compilation, we have the three Chills tracks from the Dunedin Double EP, both sides of the Rolling Moon single, both sides of the Pink Frost single, The Lost EP, both sides of the Doledrums single, and both sides of the I Love My Leather Jacket single. Bizarre to think that at this point in the band’s career (six years in), they had yet to release a full-length LP – even with the likes of the single “Pink Frost” behind them. It wouldn’t be until 1987 that The Chills would actually put an album together, with the release of Brave Words.

So, we kick off with the earliest Chills recordings, found in 1981’s Dunedin Double EP, one of which is the title track of this compilation. “Kaleidoscope World” is a breezy, light and innocent enough track, positioned somewhere between sunshine pop and indie pop, featuring a modest amount of Martin Phillipps’ jangly guitar work and a nice overlay of keyboards. The lyrics seem a world away from the likes of “Pink Frost” – ‘I’d look at you, and perhaps you’ll smile at me / Loving my kaleidoscope world’, and the song continues in this vein. It’s a pleasant enough cut, but it’s plain that the band hasn’t quite found their sound yet. However, Phillipps would return to this sort of style in 1990’s Submarine Bells, albeit with greater proficiency and aided by much, much better production value. The next two tracks from this era, "Satin Doll" and "Frantic Drift" both seem to be variations on “Kaleidoscope World” with keyboards again having a large presence, and guitar taking a back seat. The tracks don’t really progress though, and just seem stuck in one gear.

Then 1982’s Rolling Moon release, first the A-side. Now this is the Dunedin Sound. Great track, the keyboards seem to have a real purpose and energy here, along with the vocals. The guitar work has come to life as well, (jangles, jangles everywhere) and by jove, the drums aren’t bad either. The outro here is a highlight, typical showcase of the Dunedin Sound. Then the two B-sides, first off is “Bite” – here’s The Chills’ dark, punk underbelly. “Bite it through / Bite it through / Get inside you / Bite, bite, bite” is repeated mercilessly, and the jangles have become absent, replaced by gnarly guitars and thudding bass. Second is “Flamethrower” – this is a live track, and I really dig the way it builds, starting with what would become the typical Chills sound, then accelerates into a suggestion of punk rock, followed up by a rollicking drum outro and messy, heavy guitar.

Then the Pink Frost single from 1984. Oh man. What an absolute knockout 45” release, even the relatively unknown (to me anyway) “Purple Girl” is a surprisingly excellent addition to the A-side. “Pink Frost” is just a flawless, captivating track. The phenomenal jangly guitar intro sets the track brilliantly, but it soon makes way for the plodding bass line, coupled with the escalating smooth guitar riff that builds into the meat of the song, meanwhile the drums are doing great, solid rhythmic work too. Enter Phillipps’ haunting vocals that float over the rest of the song, and manage to echo through your head even after the song’s conclusion. It does a masterful job at capturing the confusion and helplessness felt after the death of a loved one, through an overdose it seems - "Thought I was dreaming / So I didn't hear you screaming". Is this the best 45” release put out by a New Zealand artist? I’m starting to think so. “Purple Girl” is nearly an instrumental track that features a repetitive, heavy guitar riff, followed by some familiar-sounding jangles and a… saxophone? Handclaps? The track suddenly becomes a jam, and somehow it completely works.

Next is The Lost EP, 1985 – these tracks show Phillipps’ attempts at trying to carve out a new sound for the band, with tracks like “Bee Bah Bee Bah Bee Boe” featuring an acoustic guitar and an accordion, and functioning almost like a pub singalong. “Dream by Dream” is probably about as experimental as The Chills got, with a mess of distorted guitars crashing in towards the end of the track, concluding with the band members signing off with a “goodnight” to each other, and then a deep voice bellows “GOODNIGHT, CHILLS”. It’s the sort of offbeat thing I’d expect from Split Enz.

The two tracks in the Doledrums release in 1984 are probably the most understated in this compilation. “Doledrums” sort of harks back to “Kaleidoscope World” and is in a way a predecessor for “Heavenly Pop Hit”, featuring a return of energetic keyboards and jangly guitar. “Hidden Bay” is far more upbeat, almost with a punk rock undertone, but also includes keyboards that guide the track along really smoothly and pleasantly.

The final two tracks, from 1986’s I Love My Leather Jacket single, aren’t too shabby either. “I Love My Leather Jacket” has more of a pure-rock base, as the guitars steadily carry the track with keyboards only making sustained appearances in the intro and outro. “The Great Escape” is one of my personal favourites from the entire compilation. It kicks off with a chilling, melodic guitar riff that slides in and drifts through the track, followed shortly by Phillipps’ vocals that just linger over the song, reminiscent of “Pink Frost”. (this track seems eerily like a sequel to it)

Overall, this compilation contains some really solid staples of the Dunedin Sound era, most of which were new to my ears. There are a few tracks which aren’t so impressive, but you take that considering the amount of time this compilation covers in the band’s life. Anyone curious as to what the Dunedin Sound was, or what The Chills actually sounded like (outside “Pink Frost” and “Heavenly Pop Hit”) should definitely start with this compilation, without a doubt.

B

-Karl