Paisley Underground Series, #28: 28th Day- The Complete Recordings (2003) MP3 & FLAC

"You sing a song of love and crucify all the words. You pray to god for hope
when all the while, you're going backwards."

Hailing from Chico, a small Northern California college-town that was one of the lesser-known corners of the eighties-era paisley scene, 28th Day was several cuts above the plethora of neo-psych and Jangle-Pop bands that then littered the landscape, as they featured Cole Marquis' darkly evocative guitar-work (reminiscent of Karl Precoda of The Dream Syndicate) and a young Barbara Manning who would later go on to become a well-loved and semi-legendary fixture on the S.F. music scene. While 28th Day was fated to only remain together long enough to release a self-titled mini-album on Enigma Records (produced by Russ Tolman of True West), in doing so, they managed to leave behind what is simultaneously one of the best neo-psych albums of the eighties, and one of the most under-appreciated albums associated (albeit marginally) with the paisley movement. 28th Day was Manning's first tour of duty in a band and Marquis was not much more than a neophyte himself as they set about searching for their distinctively folky, post-punky, psych-drenched sound. Marquis: "We were so green in the beginning, we could hardly play, but we all believed in what we were doing. We were having fun, and we didn't hold anything back. We made up for the lack of skill with energy, fear, alcohol and faith." What skill deficiencies the band may have had at the time seem completely irrelevant on songs such as "25 Pills," the lead track on 28th Day, a somber Jangle-Pop gem about drug addiction that pushes close to the brand of melancholia that Joy Division specialized in. And then there's the beautiful "Burnsite," featuring Marquis and Manning's hauntingly intertwined vocals and a paranoia-inducing arrangement (including screams from Manning) that it occasionally reminiscent of David Roback's Opal. Nevertheless, what sets 28th Day apart is their ability to mix in a song such as "Lost," a folky garage-rocker that should have become a paisley anthem, but instead was fated, like the band itself, to footnote status. Manning: "How Do I explain it? We were very young. It was our first band. We thought we were the best band in the world. We started to hate each other. Isn't it only natural?"

Paisley Underground Series, #17: True West- Hollywood Holiday (1983) / Drifters (1984) MP3 & FLAC

"The rain it's fast and hard, pooling like quicksilver on the ground, ran for the shelter of a nearby door, and I watched the drops come down."

Along with bands such as The Dream Syndicate, Game Theory, and Thin White Rope, True West originally hailed from the small but very influential music scene that thrived in the college town of Davis, CA. during the late seventies and early eighties, and like those other bands, they ended up gravitating to the Paisley Underground scene based in L.A. in order to find a wider audience and a record deal. True West's sound was a fertile blend of psych-tinged roots-rock, Jangle-Pop, and a touch of the dark, spidery dual-guitar interplay of Television, a combination of influences that made them quite unique among the Paisley crowd. After a brilliant self-released EP (which would eventually be grouped with additional tracks and released as the even more brilliant Hollywood Holiday), the band was invited by EMI to record some demos with Tom Verlaine; however, the sessions didn't go well, and EMI passed on them. By the time True West finally released their first proper LP, the slightly less brilliant but still quite enjoyable Drifters, they were beginning to undergo personnel changes that would eventually rob the band of much of their momentum. Though a third album appeared a few years later, True West were never able to hit the significant heights of their earliest recordings again. Because these recordings remained out of print for more than twenty years, Hollywood Holiday is very much one of the forgotten masterpieces of the Paisley scene. While its production sounds a bit thin in places, the austerity serves True West's aesthetic well, as their later recordings tended to polish the dark, almost Post-Punk grime out of their sound, thus making them seem, at times, like just another Jangle-Pop band. A perfect example of what made True West so distinctive is their cover of "Lucifer Sam" from Pink Floyd's psychedelic masterpiece, The Piper at the Gates of Dawn, which manages to capture both the twisted whimsey of the original and to inject it with a little early-eighties paranoia courtesy of lead vocalist Gavin Blair, whose voice possesses none of the child-like naivete of Syd Barrett's. Coupled with the intertwining guitars of Russ Tolman and Richard McGrath, the song traverses new-found depths of acid-drenched darkness. "And Then the Rain," True West's signature song and easily one of the best things to come out of the Paisley scene, is a tense piece of Jangle-Pop melancholia that wallows beautifully in its doom-filled verses. My personal True West favorite is "Look Around," the lead track on Drifters, which features a killer Power-Pop-style hook and some memorable, inspired vocals from Blair. Although the phrase "lost classic" is used far too often by music reviewers, Hollywood Holiday and Drifters exemplify this notion. Eerily similar to the fate of Big Star ten years earlier, True West was as talented as any neo-psych band of the era, but commercial success would prove frustratingly elusive and, as is so often the case, an early demise soon followed.