Reviews

Midnight Cruiser

Dan Melchior Loud Version LP

I think I’m turning into my dad. The man loved a lame high-concept cover album. JOE JACKSON jumpin’ and jivin’ through some swing tunes, RICKIE LEE JONES doing stuffy-nose jazz covers of kids songs, DREAD ZEPPELIN being an embarrassment to humanity—just absolutely his shit. I’d been subjected to so much of that kind of stuff growing up that when it dawned on me that this record was a collection of blown-out (“loud”) covers of MELCHIOR’s own back catalog (plus a couple of fresh covers), my eyes reflexively rolled right out of my head. But stripped of my sight, a heightened sense of hearing kicked in, and I think I came out really loving this record. The noisy production gives the taut, bare-bones numbers I loved from This is Not the Medway Sound (an under-appreciated record!) a fuller, looser vibe, while the relatively stripped-down versions of full-band tracks like “Hungry Ghost” really push MELCHIOR’s songwriting to the forefront. It’s kinda a shame that I don’t have any kids, because I can easily see myself foisting this on a car full of tweens who are neck-deep in Nintendo Switches or whatever and dad-splaining to them, “Now, DAN MELCHIOR has been making music for over twenty years, and on this record he’s playing louder versions of some of those older songs…,” and so on and so forth for the full 30-minute runtime of the album.

Dan Melchior Band Outside In LP

Dan Melchior’s vast discography boasts an enviable hit-to-miss ratio, even when compared to catalog hogs like John Dwyer or the late Jay Reatard. It might seem odd to place Melchior in such company, but they are closer contemporaries than initially meets the eye. Regardless, Melchior continues to release several LPs worth of material a year and most of it—whether home-recorded experimental blues stitch-ups or full band get-down engagements—is uniformly excellent. Outside In is perched somewhere between acid-fried garage boogie and a sort of modern choogle that pulls from all sorts of far-flung sources. Both the title cut and “Chinese Wine” have a Zamrock vibe; desert guitar moves join with sheltering sky FX as they zip across the panning spectrum. “Brownsville” and “Courtesy Flush” gild garage lilies with ENO-esque sound treatments. “Pheasant Plucker” is not only a fun tongue-twister to roll around your mouth, but also a rocker that kicks up dust like the BROKE REVUE, Melchior’s perpetually underrated old outfit. Outside In came out a ways back, but it’s luster ain’t faded none.

Dan Melchior Band Welcome to Redacted City LP

Instantly likable collection of post-punk-seasoned indie rock tunes from UK-born, TX-based DAN MELCHIOR. Songs like “Going Outside” and “Watching TV” conjure the carefully-written but loose energy of PARQUET COURTS or TERRY with strummed guitars, PIXIES-style surf licks (like on “The Right Influencer”), and the occasional warbly synth note. The only issue is that the pleasant music and wry, clever lyrics can fade into background music if you are looking for something more energetic. The whole affair is pretty low-key and relaxed, but that could be your perfect Sunday morning jam. Twenty-one songs is a lot though, and with some of them nearly crossing the seven-minute mark, like the repetitive “Incel Country,” the same effect could have been achieved in half the time. Maybe listen to one side at a time, but recommended for smarty-pants indie rockers.

The Mystery Dates Who Are the Mystery Dates? LP

From San Antonio circa 1982, here come (or there went?) the MYSTERY DATES. Overall, for the time, the recordings are really good and seem to capture the energy of the band and how groundbreaking the sound was at the time. At times, it’s very hardcore. Other times, it’s traditional, melodic punk. And then sprinkled in there, you get power pop and new wave, along with some quirky bits (think B-52’S, CRIME, FLIPPER). Very cool. This isn’t just some garbage someone unearthed and decided to put out. This is legit. Eighteen tracks.

The Vamps Used to Be Cool LP

A glaring omission in typical proto-punk conversations, the VAMPS began penning their original jams in the early ’70s and are regarded by some as “the first punk band from San Antonio, Texas.” Playing a soulful take on ’60s garage, classic R&B, and looser rock’n’roll acts of the era, the band’s music was adept but delivered with a marked irreverence for critical expectations. These early-to-the-game dudes left us with the eight smooth tracks on this archival LP collecting their four 7” releases. Fusing smoky blues (“I Need Somebody”) and CHUCK BERRY-style piano jump (“Nowhere to Go”) into their world-weary and organic rock stylings, they forged a compelling sound that has aged particularly well. Whether intentional or not, singer Frank Pugliese’s vocal intonation is strikingly Johanasen-ian, making the NEW YORK DOLLS one of the group’s most apt comparisons, though the STOOGES influence is also particularly obvious. Cementing their relevance in the history of the burgeoning punk movement, they landed a gig as the sole opener at one of the SEX PISTOLS few US gigs at San Antonio’s Randy’s Rodeo venue in 1978—the stuff of legends. Standout songs on this comprehensive compilation include the wildly catchy title track (whose sentiments are all-too-relatable for myself and most others who would be interested in this record) and the scathing cool of “What’s Your Excuse,” but every tune here is solid, and I can safely deem this an excellent and essential slab for fans of the oldies.