Showing posts with label M.O.T.O.. Show all posts
Showing posts with label M.O.T.O.. Show all posts

Sunday, March 3, 2013

Sometimes I Get The Feeling



Whenever I go to New Haven and drive close to I-95 it makes me think of IKEA, even if I'm not actually going to IKEA, probably because I'm almost always needing batteries for my camera and IKEA's got good ones for $1.99, plus their batteries are bright yellow which makes them easier to see when your camera dies at a show and you have to change batteries in the dark. Have you ever gone to Wal-Mart and tried to buy batteries? Shit's like $6.79 for a 4-pack, when you could go to IKEA instead and they're all over that shit. That's why when the Swedes come with their tanks they're gonna roll right through Arkansas and take that Wal-Mart asshole with them, except the screws will pop out of the tanks every so often and they'll have to jump out and use those little hex wrenches to put 'em back in. And then roll over the top of that asshole from Wal-Mart a few more times. I own like six pieces of furniture from IKEA, I don't own any furniture from fucking Wal-Mart, just things like the little 99 cent bottles of ibuprofen and stuff, they're good for that.

MOTO's got a new LP out, "No Sleep 'Til Turku", it's got a gatefold sleeve and was recorded in Finland, which is pretty close to Sweden even though probably none of you could pick out either one on a map anyway. It's a damn solid record, too, especially if you liked the "Kill MOTO" material (for instance), where some of it's kinda quiet and poppy while some of it rocks harder than the rest. Only 500 pressed, though if you're not able to find a copy you can still buy the files on CD Baby for 5 bucks or something, which seems like a pretty good deal. There's a track down below that I ripped from the vinyl, just for you.

Friday night's show at Cafe Nine with M.O.T.O. and Medication was like a dream bill, even if the two bands sound nothing like each other. But there's a reason for everything that I say, although it doesn't seem like it sometimes, especially like right now for instance. (Am I gonna bother explaining what I mean, then? No.) Medication's set was almost a complete turnaround from any other time I've seen them: not only were there two new songs-- and I can't think of any other Medication set I've seen that included even one new song-- but Kryssi, from Mt. Movers/Colorguard, was on second guitar instead of Stefan. Then halfway through the set Mikey broke like 8 strings at once and had to borrow a guitar, a lime-green Jaguar/Jazzmaster-looking thing, which looked and sounded totally different from his usual gold top Les Paul. There was hardly any of the extra reverb on "Fog", for instance (I'm guessing Mikey couldn't find the switch), so it came out sounding a lot chunkier. Not like Foreigner's "Hot Blooded" or anything, which would've been a pretty neat trick, but still a lot chunkier than usual. One of the new songs is called "Far", and it's actually somewhat of a screamer, which was a different thing in its own right. Afterwards I listened to some newer Medication demos on Mikey's iPhone-type thing, and then completely forgot what they sounded like by the next morning, other than he's recording the vocals differently now so that they sound like the Everly Brothers or Brian Wilson, which is totally friggin' amazing.

I've been lucky enough to see MOTO at Cafe Nine three times now, and Friday's set was maybe the best out of all of them, because the band was tight (as if they'd actually practiced or something) and so all the songs sounded like they were supposed to, and pretty much ripped. They played "Magic Words", which I don't think I've ever seen them play before, and some other oldies like "Dick About It", which is the kind of song that Paul doesn't write as much anymore, with a rock history lesson hidden inside of it (in this case it's two Beatles rips, although most people are only smart enough to cop to the first one). There wasn't a singular moment like the last time when Paul finished off the set by coming out and singing "Ghosts" by himself, but rock 'n roll isn't always about those Hallmark Card type moments ("afterwards we all went out into the night air, still singing all the words aloud and celebrating the new friendships that we'd just made," as the content-focused blog always puts it). Sometimes rock 'n roll is Paul not being able to read the set list because it's all the way down on the floor and in 4-point type, or having to change key in the middle of a verse because he's got a cold called "I'm fifty years old now, motherfucker". Those drink straws with the ends of the paper still stuck on them, those are annoying, too. I took out "Bolt!" and played it right after I got home, so now I know which song it is that Mikey is always talking about.


M.O.T.O. -

"Hard On Rock 'n' Roll"

Medication -

"Factory Made"



























Sunday, December 9, 2012

It's So Big It's Fluorescent



I'm not sure how many of you have gotten around to checking out Willimantic Records yet, but it's worth paying a visit; that's where I found this extra copy of M.O.T.O.'s "Hammeroid!", at least, to replace my old scuffed-up copy, as well as a couple of other long-out-of-print Tulpa items... which only makes sense, since Tulpa was Joe's label (Joe's the guy who runs the record store now). M.O.T.O.'s first three vinyl releases were all on Tulpa, if I remember correctly, and while you can find the songs from all three of them on the "Single File" CD, I felt like posting "It's So Big It's Fluorescent" anyway, because it's one of my all-time favorite Masters of The Obvious tracks, for obvious reasons -- it's catchy as hell, and every time I listen to it, it cracks me up.




M.O.T.O. -

"It's So Big It's Fluorescent"








Monday, May 21, 2012

Grass Don't Grow On A Busy Street



Paul Caporino of M.O.T.O. played two solo shows in Connecticut this month, and I didn't go to either of them, which I realize is pretty shitty on my part... so to make up for it, here's one of the better M.O.T.O. singles. The a-side to "Spiral Slouch" is made up of studio tracks, while the b-side is lo-fi home-recorded stuff, although I like the b-side better myself. I think it's funny how Paul sometimes keeps the TV on in the background while he records songs at home. You can actually buy the home-recorded tracks through Paul's mega CD Baby conglomerate-- they're part of the "St. John The Bastard" cassette, 99 cents per song or only $6.66 for the whole thing! -- so I'll make them listen-only files for now. "Wind It Out" is all yours, though.




M.O.T.O. -

"Wind It Out"

"Birthday Present To Myself"


"Worm In The Sky #2"









Sunday, September 4, 2011

You Don't Have To Be A Dick About It



One of my favorite parts of any M.O.T.O. song is the neat little Beatles rip that starts off the cassette version of "Dick About It"-- something that isn't as apparent on the 7" version, which disappointed me a bit when I first heard it, in like 1988 or whenever it was. The original version also has a fine speck of a guitar lead that Paul ended up turning into an entire song, "Blast of Silence", decades later. He tends to be resourceful like that.

When M.O.T.O. played at Cafe Nine a few weeks ago, Paul began the set by playing "I Like Fucking" solo, without the backing band; the place was pretty still at the time (hardly anyone was there anyway, as it was a Wednesday), so hearing the chorus as it reverberated around the room was pretty funny. The opening band then hopped up on stage to back Paul up after that, and they seemed to know the songs pretty well, or at least better than the drummer that Paul had borrowed the last time he played in New Haven. M.O.T.O. ran through a few songs from the new "Pack Your Troubles In Dreams" album, as well as a bunch of hits -- "Fucking Job", "Primeval", "Dance Dance Dance", "Crystallize", etc -- at one point even doing "I Won't Give It Up Until You're Mine" as a duet with the Ham Steak guy, with whom Paul did a split 7" once. Then when the band left the stage, Paul played one more song, "Ghosts", by himself. (I heard Tommy Perkins got to hop on the drums for a bit a couple of nights before, when M.O.T.O. played Philadelphia.)

Besides the original "Dick About It" from "Bolt!", here's also the original 4-track version of "It Tastes Just Like a Milkshake" (from 1993-- covered by Nobunny in 2010).


M.O.T.O. -

"Dick About It"

"It Tastes Just Like a Milkshake"



Friday, January 7, 2011

Rock And Roll Won't Pay You Back



It looks like the "home taping" graphic is taking over as the main M.O.T.O. logo-- maybe Jolt Cola sent a letter... I wouldn't have even known there was a new M.O.T.O. single, except that I was poking around on the Windian web site (probably looking up Crushed Butler or something) and happened upon this EP, which came out merely a month ago. I've had the lead-off track ("Kissing All the Wrong Asses") on my computer for a year now and after a couple dozen plays it still hasn't worn out its welcome yet, but the other songs here have got the goods, too. "Redivider" stands up pretty well with all of the other M.O.T.O. catchy oi!-chant stuff, "Here Comes Our Rock" is a one-minute-and-thirty-second spitball ("Here comes our rock flying by your head"), and "From The Seat of My Pants To You" slows it down a bit and almost sounds like a Spoon song, maybe "Plastic Mylar" or something. You'll note the "borrowed lyric as song title/song titles continue as one sentence" gimmick is in effect on the b-side, as well. No more swiped Tom Petty riffs, though, that's always a drag.




M.O.T.O. -

"Kissing All the Wrong Asses"


Sunday, March 21, 2010

I Don't Go Outside 'Cuz People Stare

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I first started buying M.O.T.O. tapes from Paul Caporino in the mid-80's, back when they were still known as Masters of the Obvious. You'd have to understand that bedroom rock wasn't as prevalent back then as it is now, so the few home-recorded tapes that ended up falling into my hands were either A. Dying Gymnast-styled loner-core or a bunch of hippies in a room making "topical" unlistenable improv noises. Something as accomplished and effective as Masters of the Obvious seemed like a miracle in comparison, even if the songs sounded like they were recorded through a pillow. Not only were Masters of the Obvious songs catchy as hell-- great for someone who had been cutting his teeth on Cheap Trick and The Replacements, like I was-- they had all these clever little in-jokes and references (both lyrically and musically) to Hüsker Dü, Tom Petty, Bob Dylan, bad 70's radio hits, and so forth, which made them unusual for novelty rock in that they held up to repeated listenings.

"Rock, Roll & Dismember" was probably the best of those '80s M.O.T.O. tapes, which Paul had the foresight years ago to have transferred them all to CD-R, though when I saw him in New Haven a couple of years ago "Rock, Roll & Dismember" wasn't one of the CD-R's that he had with him (I ended up buying about 7 or 8 of the CD-R's anyway). So, I set about transferring my own original tape copy, with the intention of ripping only about 5 or 6 songs to post here, but I got a little bit carried away and ended up ripping the whole thing. I won't post the full tape here, though, because you can probably still mail-order a CD-R copy direct from Paul for 5 bucks if you can manage to catch up to his current address.

"Rock, Roll & Dismember" is hilarious because the two lead-off tracks, "Sentimental" and "In The Cool", are total lounge-pop-- complete with Paul in full croon-- which is guaranteed to run-off the uninitiated. If you stick it out you'll be rewarded, though, because tracks 3 through 8 are probably the best six consecutive tracks of any home-recorded tape ever, including "Candy Apple Wig" which is an almost note-perfect Hüsker Dü rip (a Replacements rip, "One Good Dose of Nyquil", would appear on a M.O.T.O. cassette a year later). Following up those six tracks with the whitewashed folk/pop of "Smarmy" to close out side one is practically enough to make me fall to the floor laughing.

Most of the lyrics are a riot, too, especially stuff like "Blow Employment" and "Love Commando", or "Tiny Hateful Dog" where Paul runs through a whole list of shit that bugs him ("all these people got a three-dimensional picture of Jesus Christ or Elvis/all of them people got patio furniture and don't understand ironic humor"). Another thing that's funny, with all the 60's and 70's rock references here, is how some of the sounds on this 24-year-old tape can be referenced to the newer stuff that's coming out now; "Equipment of Love" could be the Fresh & Onlys, and "Make Love to the Government" could be Box Elders (I'm not including those songs here so you'll have to take my word for it). Plus, if you could handle those Tyvek demos that I posted a couple of weeks ago, you'll have no problems dealing with the recording quality. Chalk it up as all being part of the charm.


Masters of the Obvious -

(all these files are now listen-only)

"Cornholed by Reality"

"Blow Employment"

"Understand"

"I'm Infected"

"Tiny Hateful Dog"

"Candy Apple Wig"

"Love Commando"

"Jot On Whiteout"

"Smarmy"


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Friday, February 20, 2009

We Get Blinded By Useless Things



"Footprints of God" was a compilation of all Northeastern Ct. bands (save for Masters of the Obvious, though at least their song was recorded in Ct.), which got switched up and later became referred to as "Footprints of God Vol. 1" after Vol. 2 came out; you know, kinda like how World War 1 wasn't called WW1 until after WW2 happened. Besides marking M.O.T.O.'s first appearance on vinyl, Vol. 1 features dull-witted liner notes by Kevin Kraynick, who used to edit Damp fanzine but now just sits in New York somewhere Googling himself all day (hi, fucker).

The M.O.T.O. track on here, "Crystallize My Penis", with its rousing "Crystallize! Crystallize! Hey! Hey! Hey!" oi!-metal coda, stands as one of the high-water marks of '80s indie rock, which shouldn't be surprising to anyone who's heard it before (it's on M.O.T.O.'s "Single File" CD, also). Paul still uses it twenty years later as a set-closer, which is something I didn't realize when I saw M.O.T.O. last year and kept calling for it all night, until one of the other band member's girlfriends shouted me down ("Shush, they're saving it for last!").

Without the M.O.T.O. track, Isolation Farm's "Useless Things" would be the real find here. The dry, punkish delivery-- somewhere between Lou Reed and Ira Kaplan pretending to be Lou Reed-- just kills me, and I'm sure "Useless Things" would be remembered today as a KBD classic along the lines of Peer Pressure's "Sound of The '80s" had it been released 8 years earlier... but it wasn't. Although, considering that Willimantic is about as far out into the sticks and away from the center of the Ct. punk scene at the time as you could get, culturally it pretty much was eight years earlier.

A. Dying Gymnast was Scott Munroe, of course, and he used to make tape after tape of delusional drum-machine hardcore just like this. I wish I still had some of those tapes, because they were a hoot. You didn't have to look to far to find bands writing lyrics like "Fuck You, I'm God" back in the late '80s, but with most of them it was just a nihilistic put-on; with Scott, it was how he talked during everyday conversations, and it sure was creepy sometimes.

I saw Scott perform as A. Dying Gymnast just once, and after he played "Fuck You, I'm God" he threw his guitar down and bolted from the stage, leaving his guitar to die alone under a pile of feedback. Later, Scott formed a couple of "real" bands and toned his act down a little bit, though he was always up to something different. Scott still leaves comments on this blog from time to time (although I think now he really has gone off with his Orange Juice records, once and for all), so if you want you can search around for those, and maybe even find another A. Dying Gymnast story or two.

Over the years I've somehow accumulated three copies of this gem, so if anybody out there wants one... eat shit. No, for now they're still available for real cheap right here. Light it up!


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M.O.T.O. -

"Crystallize My Penis"

Isolation Farm -

"Useless Things"

A. Dying Gymnast -

"Fuck You, I'm God"

(these files are now listen-only)





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Saturday, December 27, 2008

Put Fluent In Clichés Upon My Tomb



My favorite M.O.T.O. song at the moment, meaning it's probably the best song in the world right now.


M.O.T.O. -

"I Talk In Clichés"

(this file is now listen-only)


Friday, October 31, 2008

She's Gone Nuts



Since it's October 31st, I guess the obvious thing to do would be to post a "Halloween" record. I actually have a Halloween record that I could post, believe it or not, but since that would be sort of typical and boring, I think I'll save it for Thanksgiving or something.

Instead, I'll go with the other safe bet, which is a M.O.T.O. record. I originally bought this record (from someone who obviously didn't keep it in a plastic bag the whole time) because for years the early version of "El Stop" was one of my favorite songs on the "Bandit 69" tape, or whichever M.O.T.O. tape it was on back in the 90's, but once I played the b-side I found out that I like "She's Gone Nuts" even better. No matter what, though, M.O.T.O. songs will always be the catchiest songs you've ever heard in your life.




M.O.T.O. -

"She's Gone Nuts"

(this file is now listen-only)


Saturday, April 12, 2008

I Wasn't Paying Attention

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A last-minute cancellation of a M.O.T.O. show on Friday night in Providence turned out great for me, as the show was moved to Cafe Nine, which is a hell of a lot closer. And so, last night (or earlier today, actually, since M.O.T.O. didn't finish playing 'til almost 2 a.m.) I was able to take in a whole set of glorious M.O.T.O. goodness. Thanks for sucking, Providence!

Other than a couple of songs from The Vültüres that were awesome and sounded like the Melvins (the rest of their set was too thrashy), the only opening band worth mentioning was Hand Grenade Serenade, who ironically were the band I expected to like the least. Hand Grenade Serenade are yet another band with that crazy leftist politico thing going on, but they sounded friggin' great, and I said to myself, "Gee, this is a pretty damn good song" more than a couple of times while they were playing.


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Hand Grenade Serenade's overt Clash-isms aren't as apparent live as they are on their CD, and the first comparison that popped into my head with them was Dillinger Four, which is what I almost always think when I hear a band that mixes politics with pop punk. Their best songs, though, have these cool 90's emo-type parts with some metal breakdowns mixed in, and are like a cross between Texas Is The Reason and Man Without Plan, seriously.

When I talked to the singer, Andy, after the show, he just looked at me funny, like "That's not it, dude," and said they get compared more to Fugazi when I mentioned the part about Texas Is The Reason, but then it all clicked later as I was driving home. I had the Hand Grenade Serenade CD in the CD player, and since I was on I-95 the song that goes "Now I'm driving down 95" on the first Man Without Plan CD popped into my head. It was so similar to the HGS song that was playing that it was kinda spooky.

Well, it was raining hard and my ears were still ringing and I was pretty tired, but that's how I remember it, at least.


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Hand Grenade Serenade -

"Lost"

"Clap For The Clap"

(these files are now listen-only)



As for M.O.T.O., they were on their way from a NYC show at the Knitting Factory to a couple of big shows up in Boston over the weekend, so Paul brought a whole bunch of stuff to sell. I was hoping he was going to have some copies of the Italian import "Turn Your Head And Cough" LP that just came out, but only 300 copies were made and the damn thing's sold out already. Paul's also been re-releasing a lot of the early M.O.T.O. cassettes on CD-R, and he had eleven different CD-R's with him. I grabbed a few of those, as well as a copy of the "Midnight at The Guantanamo Room" 45 on clear vinyl, which looks to be one of the 15-year-old originals and not a re-press. Someone must've found a box in a back room, or something.

Last night's M.O.T.O. was the stripped-down version, featuring Sir Dennis Eton Spaag (Bass MOTO) and Paul (Guitar MOTO), plus a volunteer drummer from one of the opening bands. That made things a little sloppy, of course, but it was still great, and there was plenty of fist pumping and head banging and air guitar going on in the crowd (which by that time was pretty much just me, the other bands on the bill, and a few of the Cafe Nine regulars).

Anyway, here's some stuff from a live M.O.T.O. performance on a college radio station, which is one of the M.O.T.O. CD-R's that I picked up at the show. Dig the classic "retro M.O.T.O." Sharpie-drawn artwork! Paul's got the straight edge!





M.O.T.O. -

"I Can't Stop It"

"Getting It Up For Physics"

"Choking On Your Insides"

(these files are now listen-only)


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