VARIOUS – REVOLUTION COME AND GONE (SUB POP)

VARIOUS - REVOLUTION COME AND GONE (SUB POP)

With its name taken from the Beat Happening track held within this was a sharp Sub Pop Europe compilation that came out in 1992 chock full of many great names from the second (some might say third) wave of the label and a few of the heavyweights all being showcased at the top of their game.  In the process of being such a great collection in a way it displayed the label in a better light than it perhaps was but this was always the Sub Pop way of hype.

The first of the twenty one tracks is “Jinx” by Tad.  This was the song that featured in Singles where Matt Dillon installed a new stereo in Bridget Fonda’s car which Chris Cornell came out to dig before it eventually became too loud and smashed the car windows.  There is definitely some kind of metaphor in that moment but equally the fact that the song did not make the cut for the soundtrack album.  Everyone always thought that Tad should have made it bigger but in contrast to those who did, there was something sadly one dimensional and generic about the band.

A band that did kind of make it was Mudhoney who appear here with their cover of “The Money Will Roll Right In” by Fang.  This is a genuinely great song and probably the first ever Mudhoney track I owned on CD, something that I probably should not admit (although “This Gift” was the first Mudhoney song ever heard).  Around this time Nirvana were also dropping a cover of this song into their live sets but the Mudhoney version is the superior take, probably even better than the Fang original.  As it glows early with a warm bubble of rising distortion swiftly a wave grunge guitar swoops in as Mark Arm begins sarcastic vocal duties in his trademark manner.  It works on all levels.  This band, what was not to love?

On that subject Courtney Love manages to crowbar her way into proceedings with “Dicknail” by Hole.  It’s a chiming, dark song that doesn’t sound pretty and actually suggests some degree of molestation.  Not necessarily their finest moment but certainly a ragged example of where Courtney’s shriek can take things, not least when it falls apart towards the end as she insists that she “was a good girl” and fooling no one in the process.

The track that really stands out on the release is “No No Man Pt 2” by Steven Jesse Bernstein.  Taken from his Prison album there really is nothing else like it on this record (or indeed on the Sub Pop roster at the time).  After listening to deluge of fuzzed up grunge guitar bands suddenly out of nowhere appeared to be the ravings of a crazy man calling on the end of the world and mankind with it.  There was a true urgency to his voice that did not feel forced or disingenuous and the music (from Steve Fisk) that accompanied his words felt like some kind of sick upbeat juxtaposition.  It was unnerving but awesome, condemning but cool.  All too quickly the song passes and leaves in a flurry and the record never quite feels the same.

Around the time that this was all happening Channel Four used to show many interesting shows through the night including a show called Made In The USA hosted by Laurie Pike who would travel across America and looking at the local public access cable stations.  When she arrived into Seattle it was at the height of the media frenzy of grunge where the big bands were now off on a high career trajectory and Sub Pop were left scrambling around trying to hold onto the pieces.  As part of the show she interviewed Jonathan Poneman and Bruce Pavitt who said, with tongues in their cheeks you feel, that the leading lights of the label destined for stardom were now the Supersuckers and Earth.  I don’t think they could have chosen two more contrasting acts as the Supersuckers were always a balls out heavy punk act (as displayed here by “Caliente”) while Earth were a slow drone act whose on aspirations were dense and doom.

The title track of the compilation proves subtly one of the most exciting moments of the record as the wayward structures of the Beat Happening suggest an alien world that I want part.  Equal parts retro and futuristic the minimal blasts rub up against some kind of fuzz surf sound declaring wonder at some insular, special and unspoilt by the outside world.  Kind of opposite to what was happening to the Seattle scene at the time.  Then again Calvin wasn’t from Seattle.

The Walkabouts produce an equally inspired nod to a better, more collective system with their country tinged cover of Dylan’s “Maggie’s Farm”.  I have to concede that this was my first exposure to this song (ahead of the original) and even if the music did not necessarily resonate with me (as with much of The Walkabouts career) the words certainly did.

In addition to the well known acts there are some surprise unknown hits here including Florida’s Rein Sanction who deliver “Creel” in startling beautiful fashion as they demonstrate just how effectively great hulking guitars of distortion can be harnessed and set against blessed but lethargic voices to make the kind of comforting sound the slackers of the period felt warm with.

Another similar such example is the blissed out effort from Truly entitled “Heart And Lungs”.  With this song they managed to conjure up an image and how it feels to be dragged around in haphazard fashion.  Featuring Hiro who originally played in Soundgarden a few years after the dust settled the band were briefly touted as being the latecomers that might win.  Unfortunately this suggestion proved only fleeting as not all songs sounded as good as this one.

In the same manner the Six Finger Satellite contribution “Weapon” proves something of a misleading exert in a bowling and bouncing piece of relentless yob rock that didn’t really represent their records that proved somewhat robotic and synth heavy in comparison.  This was a band that later got a second wind and part time jobs in cooler outfits (such as The Make Up) but few of their tracks ever snatched at the devastation of “Weapon” and its wah drenched breakdown.  This is one of the few bands on this record I managed to see live and it was a tense affair.

At the time it seemed no Sub Pop article was complete without a mention of the Reverend Horton Heat.  Here was a gun slinging king of surf guitar that would leave the listeners ears ringing, feeling as if they had gambled the contents of their life away.  Then the song was called “Marijuana” and all was rebellion.

Without question the nastiest track on the album is “Fucked ‘Em All” by The Dwarves.  It is quite possible that this was the most overtly nasty act ever to grace the label which eventually saw them being dropped by Sub Pop after they released a press statement in 1993 announcing the (fake) stabbing to death in Philadelphia of HeWhoCannotBeNamed.  It wasn’t well received even though this track was.  As a teenager though I delighted in such a song with lyrics as “I fucked one in the basement, I fucked one in the hall, I fucked on a toilet seat, in a bathroom stall”.  I was just so aggressive and misanthropic, taking the negative attitude of those around me (my peers and fellow school inhabits) and raising it a notch or two.  Fortunately there was comedy in there too as the conclusion that “it seems like balling bitches is all I ever do, hey you better watch your ass, fuck that too” went past offensive and onto absurdity.  With such transition on these things a person either goes mental or laughs in appreciation.  This record has its place, has its purpose.  Over the course of a minute and a half this was Sub Pop has its most blunt and offensive.

Cleverly positioned the truly exhilarating “Rails” by Bullet Lavolta maintains the sudden jolt in pace.  Bullet Lavolta appeared to be one of the tighter, more dynamic bands on the new roster.  Hailing from Boston their guitarist Clay Tarver later went on to form Chavez but they never produced anything like this.

Also from that area (Massachusetts) was Green Magnet School who sounded like the Afghan Whigs with a charred wall of dense noise coupled with math noodles.  This sound came too early, this was not grunge, it was too energetic and seemingly light in comparison.  Their track “Throb” is a huge towering piece of work that does stand out on this compilation.

On the subject of the Afghan Whigs they appear on this record with “Miles Iz Ded” as Greg Dulli wore his trademark heart on his trademark sleeve and displayed why the band was above the standard of the roster and why they were one of the acts later signed to big things.  This was before the sharp suits but the R&B influence was already in their blood.  Sounding effectively painful as Dulli begins yelling “don’t forget the alcohol” the sonic stabbing motion that accompanies proves earnest and emotional.

Seaweed was another immediate band on the label for me with their relentless surges and repetition that gave the band a real excitement and density.  Their contribution “Baggage” is a very bouncy track with genuine flow in the vocals and sharp construct.  Then they seal the deal with a fine hook and pay off at exactly the right point.  They had a career.

For good measure Mark Arm returns sounding slurred fronting “Seattle super group” The Monkeywrench and singing “Call My Body Home” joined in the band by Steve Turner and Tim Kerr amongst others.  It’s a wheeze as the song audibly descends and secretes a fun atmosphere and desire, displaying a sense of play that was sadly missing from so many careerist acts frequently the region at the time.

In similar style Love Battery chip in with “Foot” as the trebly beginning emerges from lush feedback and subtly builds passive aggressively until the yelling hits with the chorus and the hook at the noodling intensifies to Sabbath levels.  Love Battery was always notable for housing Jason Finn on drums that later turned up in the Presidents Of The United States Of America.

Codeine was always weird.  I must concede I never go into them as Slo-core failed to resonate with me as it played out like a soft version of Swans, a band I definitely never clicked with.  With drugs though, this had the chops to fit in the downbeat areas of the scene.

As the compilation races to a conclusion “Woe” by Mark Lanegan serves as a tender and tasteful moment of clarity and sadness in amongst so much noise and chaos.  This track came from his record The Winding Sheet while he was still very much rocking it as part of Screaming Trees before his various other musical digressions.  Fresh and raw this is definitely one of his finest tracks.

Earth close the record with their dark and brooding trudge rock that towers over proceedings like a dark cloud.  For seven minutes painful repetition flows seemingly with the intention of clearing the room and allowing staff to clean up and go home.  This was Earth before their sound became cool and christened doom, before acts such as Sleep harnessed their sound and gave the audience a little (just enough) to work with to make it digestible.  And definitely before post-rock.  Dylan Carlson was without doubt fucked up when he recorded this song, definitely thinner than he is now.  If you can get away, go for it.

It’s funny to note that the final two tracks on this compilation came from records/releases that Kurt Cobain featured on.  This was definitely a product of the house that Kurt built.

You will not find a better collection of Sub Pop tracks anywhere.

Unable to find the correct case for this disc the other day I put it (temporarily) in the case for In Bed With Madonna.  That’s a major disappointment waiting to happen.

Thesaurus moment: revelations.

Sub Pop