Tag Archives: Capitol Records

YOUR NEXT FAVORITE BAND: The Star Spangles

Back in 2003, I was going to school during the day and working overnights as a security guard. It was lonely, boring work that involved a lot of sitting around and listening to late night radio. On Saturday nights, I’d snuggle up next to my $2 pocket radio and listen to Little Steven’s Underground Garage. Those were halcyon days, or rather nights, and it was during this period that I discovered many great artists thanks to Steven Van Zandt and his show. One of those bands was The Star Spangles.

I can still remember the first time I heard The Star Spangles. Their song “Which One of the Two of Us Is Gonna Burn This House Down?” was featured as the Coolest Song In The World on Little Steven’s show. Despite the impossibly long title, the song was a lightning quick burst of punky-pop. And it totally knocked me on my ass. Over the next week or so, Little Steven played the song a few more times, as well as the band’s other single “I Live For Speed.” I immediately got a digital copy of the band’s album BAZOOKA!!! and found that all songs were fantastic.

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You might recall that the early-to-mid 00’s (the aughts) was a period known as the Garage Rock Revival. This was a heroic return of basic, balls-to-the-walls rock that spawned a series of great albums by a half-dozen or so bands. These bands typically hailed from New York/East Coast and featured “The” in the band name. The Hives. The White Stripes. The Vines. The Strokes. The Star Spangles were cut from the same cloth, though their sensibilities skewed heavily towards punk. Their lead singer, Ian Wilson, had a sneering Sid Vicious quality and a Nick Cave haircut.

BAZOOKA!!!, as stated, had two great singles but it was the deeper cuts that really impressed me. The kinetic “LA” with its gritty, chugging guitar riff seared itself into my mind. This song should have been in a Grand Theft Auto video game and made the band a huge overnight success. Similarly, “Crime of the Century” with its Keith Richards-esque riff should have burned up the rock charts…had their been relevant rock radio in 2003-2004. Timing and changing musical taste worked against The Star Spangles, which happened to many bands in this era. Indie rock was getting huge and The Star Spangles were seen as a quaint throwback.

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The band did appear on Letterman and toured a bit, but for the most part they dropped off the map. I was a bit crushed, but as the 00’s wore on it became obvious that the Garage Rock Revival wasn’t going to last longer than a few years. Only the super-talented Jack White was able to survive the Revival’s sad collapse.

I cherished BAZOOKA!!! but had written the band off for dead when sometime in 2006 I found out that The Star Spangles were back! Their follow-up album, DIRTY BOMB, was self-released and featured a new band lineup. Both of these facts filled me with a sense of dread, would the second record stack up to the great first release? Happily, DIRTY BOMB turned out to be wonderful.

Though DIRTY BOMB is a bit less polished than BAZOOKA!!! it’s also a bit more complex and, in my opinion, the better of the band’s two albums. Still featuring a heavy dose of punk, DIRTY BOMB had a few slower songs as well as the (awesome) country-tinged “Someone In You.” The album was also more commercial and poppier, especially tracks like “This Side of the Sun” and “I’m On A High.” Both of these songs should have made a big impression on the music world.

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The band’s propensity for fast songs full of hard charging guitars and killer lyrical hooks remained, and I had renewed hope that the band would continue to record and tour. But sadly, DIRTY BOMB was the band’s swan song.

What the hell happened to The Star Spangles? Part of the reason I’m writing this post is to hopefully find out. The band’s web presence is limited now. You can find DIRTY BOMB on iTunes and CD Baby, but BAZOOKA!!! has now vanished falling out of print. According to the band’s threadbare Wikipedia page, the band had a “falling out” with Capitol Records in 2006. What happened exactly? Would the band be a household name if they’d managed to stay on Capitol Records? DIRTY BOMB’s pop-heavy sound could have easily landed the band on the radio if they’d just had a bit more promotion.

The band’s lineup change probably had something to do with the band’s failed commercial prospects. Originally The Star Spangles featured Nick Price on bass and Joey Valentine on drums, however on DIRTY BOMB Chris Orlando and Todd Martin replaced them. Only lead singer Ian Wilson and Tommy Volume remained in the band for The Spangles whole run, which has led me to believe them to be the Mick & Keith of the band. I assumed that Wilson or Volume would go onto to do other projects, but after an extensive search online I’ve turned but zilch. Did both of these guys fall of the Earth? Did they get straight jobs working in cubicles? If they’re working in the music industry they’re doing so under different names…of they need to hire a better marketing team. Anyone with information please either comment below or email me at DefendingAxlRose@gmail.com.

As I’ve gotten older, I’ve come to accept that sometimes really great bands only put out one or two albums. Rather than be greedy and whine about all the great songs/albums I didn’t get from them, I try to focus on what the band did put out. Honestly, fate and a fickle music industry was stacked against The Star Spangles.  Dropped by their label and faced with a lineup change, we had no right to expect a second record and we got one. I’m satisfied with that, though I do wish these guys were still around.

Do yourself a favor and check this band out because they’re fucking fantastic.

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Beatles For Sale: My Rant Against The American Reissued Beatle Albums

Last month The Beatles American albums were re-issued in a large, expensive boxset. Back in 2009, when the remastered CD’s were issued, I gladly handed over my hard-earned currency for better packaging and most importantly, higher sound quality. While no doubt an opportunity to get my money again, the remastered Beatles albums gave me something I didn’t already have: better sound.  The sound quality, especially on the first few albums was vastly superior. Rather than shitty fake stereo mixes, fans were given pure mono as God, and George Martin, had intended.

"All you need is ca$h"-The Rutles

“All you need is ca$h”-The Rutles

These American re-issues are another story altogether. As far as I’m concerned, this is a disgusting money-grab with no redemptive quality for fans. The Beatles so-called American catalog exists because of corporate greed, which is the same motivating factor behind that bastardization’s re-issue. For those of you unfamiliar with what happened to the Fab Four’s albums in America, buckle-up because it’s gonna be a bumpy ride.

In 1963, after failing to break into the US, The Beatles were poised to finally conquer the Yankees. Capitol Records, the American counterpart to the band’s UK label EMI, was sitting on small pile of Beatle records. Rather than do the logical thing (i.e. issue the albums as they had been issued in England), Capitol decided to issue all new albums. Instead of releasing albums with 14 songs, as they’d done in England, The Beatles American albums were comprised of 12 songs.  And instead of simply cutting the number of songs down, the songs were swapped around in a confusing jumble.

Another major issue was The Beatles singles. In England it was considered bad form to sell people one song twice, so any song issued as a single was never included on major albums. Thus, songs like “She Loves You” and “I Want To Hold Your Hand” were never included on any British Beatles album.  Since this was not the practice in the US, Capitol Records reconfigured the American Beatle albums to include the band’s popular hit singles.

Further clouding the waters, a small independent label called Vee-Jay had the American rights to the band’s first album from 1963 to 1964. Vee-Jay got the rights to this material after Capitol Records initially passed on the Beatles in America. Thus, the band’s album PLEASE PLEASE ME was being circulated prior to Capitol’s involvement as INTRODUCING…THE BEATLES.

That’s how the American Beatles catalog got so messed up. This is how we got records like THE BEATLES IV which contains songs from BEATLES FOR SALE, HELP!, and music from the “Ticket To Ride” single. All of the Beatles records up to 1967’s SGT. PEPPER’S LONELY HEART’S CLUB BAND are a confusing mosaic of the band’s British output. The madness (mostly) ended with SGT. PEPPER due to the band’s insistence that their albums appear the same everywhere due to the artistic vision they had for that album’s concept.

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The American albums became something of a footnote when they were abandoned completely in the 1980’s when the band’s albums were first put onto CD. Were American fans puzzled when the British albums were released digitally? I’m sure they were, but that was decades ago. In the meantime, people like myself grew up only knowing the proper British albums. Which brings me back to the American reissued albums: who is this supposed to appeal to? Who is supposed to be forking over their money for these? Older fans who might actually remember these albums have by now long adapted to the British releases. Younger fans have never known anything but the British albums. And at this juncture in history, I think it’s safe to say that the vast majority of Beatle fans who wish to own the band’s music already do…and anyone buying the band’s records for the first time would surely buy the recognizable, iconic, British albums.

It felt strange rebuying the albums in 2009, but at least I was getting something new with the improved fidelity. But let’s be honest, the 2009 remasters were a double-dip, plain and simple.  So if the 2009 digital remasters, which I’d argue are worth the money, were a double-dip then these American reissued albums are a triple-dip. This is a product aimed squarely at the hardcore Beatle fan, the one that has to own everything with the band’s name on it.  This is a product meant to be purchased and placed on a shelf still in it’s plastic wrap.

Perhaps if I had the money, and the inclination to continue hoarding physical media, I would fall into that camp/trap. But alas, an 800 mile-cross-country move has changed the way I look at money and the owning of material goods. With this American albums reissue, The Beatles have crossed over into the horrible George Lucas/Star Wars money-grab territory.

I’m a Beatles super-fan, I’ve owned multiple copies of each of these records. Hell, I’ve owned LET IT BE in four different formats (cassette tape, vinyl LP, original CD, remastered CD).  But even as a superfan, I can see no reason to own these reissued American releases.  I don’t need different, less-iconic artwork and a swapped around track listing. In short, I don’t need these albums. I never knew them and I don’t feel it necessary to start now.

This reissue ruffles my feathers because it smacks of desperation—the last act of a band with nothing left to sell me. But that’s not true, there is one thing I’d love to buy from The Beatles. One thing that I’ve never experienced that the band continues to deny me. I speak of the lost documentary Let It Be, the legendary film the band made while writing and recording LET IT BE the album. I’ve never seen this footage, largely because it captures the breakup of the band and paints the musicians in a less-than-favorable light.

I understand that I have capitalism to thank for my Beatles albums, and that their corporate masters have every right to keep selling the same material from now until doomsday. But I wish they’d exhaust the vaults completely before they just pump out the same material over and over.

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