Top ten "oldster" bands still putting out great records
At the risk of alienating and outraging vast swaths of music fans, there's really no polite way to refer to bands with a career spanning fifteen years plus as a whole. So here are ten "oldster" bands -- written by a self-proclaimed oldster -- that kept making great records long after their hipster days were over.
Rather than merely rest on laurels and rock-star status, these bands, some of them influential and plenty famous in their own right, have weathered the perils of fortune and both good and bad record reviews, deserved and otherwise. (Check out Yo La Tengo on this list, which is scheduled to play the Westword Music Showcase on June 18. Tickets are still available. -ed.)
10. Pierced Arrows
Fred and Toody Cole have been married since the late '60s. Fred had already had a semi-successful career as a rock-and-roller in the Lollipop Shop before discovering and making punk rock. In the early '80s, the Coles formed the Rats, a noteworthy punk band in the classic vein melded with a bit of Fred's garage-rock origins. But it was in 1987, when the Coles started Dead Moon, that their belated legendary status became solidified. When Dead Moon broke up in 2006, the Coles didn't spend much time losing steam, and instead headed forward in their current band Pierced Arrows. Anyone who's seen that band can safely say that Fred and Toody haven't exactly mellowed with age, and a quick listen to its 2010 album, Descending Shadows, is enough to convince anyone with a functioning sense of the spirit of rock and roll that the most individual and ferocious music is often made by people who refuse to give up their dreams and surrender their creative urges despite age, having children and relative lack of widespread commercial success.
Key track: "Paranoia"
9. Meat Puppets
Had Michael Azerrad written another chapter of his already sprawling account of thirteen of the most important and influential bands of the American rock underground, Our Band Could Be Your Life, one would hope it would be on this respected and storied Phoenix outfit. The self-titled debut album sounded like punk made by people who were inspired by that movement without necessarily wanting to follow directly in its footsteps. After touring around the country on the early hardcore circuit, the Meat Puppets more or less decided the most punk thing to do was to give the stylistic middle finger to all of the people who heaped abuse and phlegm upon them by releasing a countrified psychedelic followup in Meat Puppets II. A bona fide classic in its own right, Meat Puppets II can't be strictly placed in any genre other than its own, especially for the time of its release -- more akin to its contemporaries Green on Red and a possible influence on Thin White Rope. But, really, a marvel of inventive songwriting and soundscaping from beginning to end. The Pups' second chapter came in 1994, when the song "Backwater" became a pop hit at a time when the recording industry was still in disarray in the wake of that whole "alternative" thing of the early '90s. This year, Meat Puppets released Lollipop, a strong sign that Curt Kirkwood and the rest of the band have lost none of its ability to write solid pop songs injected with elements of the weird and the warped to keep things interesting. Subversive with a palatable exterior.
Key track: "Shave It"
8. Yo La Tengo
Ira Kaplan has been a music journalist who penned articles for numerous publications. He was also involved in the legendary, and still extant, small club Maxwell's in Hoboken. For that alone, Kaplan may have had his own sort of influence on the development of underground music in America. But when he started Yo La Tengo in 1984 with his wife, Georgia Hubley, the band would go on to be one of the most critically acclaimed bands of the last thirty years. The group's debut album, Ride the Tiger, bore the stamp of its producer and session bassist, Clint Conley, of one of Yo La Tengo's main influences, Mission of Burma. In 1993, Yo La Tengo began its long-term relationship with Matador Records with the release of Painful, debuting a sound the group has evolved since -- spacious introspection punctuated by sonic intensity to match the emotional impact of the moment. Twelve albums into its career with the release of Popular Songs in 2009, one hears the influence of this trio across a wide spectrum of underground rock today, whether the musicians know it or not.
Key track: "Pass the Hatchet, I Think I'm Goodkind"
7. The Church
Often thought of as an '80s band, The Church had been releasing interesting albums since its 1981 debut, Of Skins and Heart, before its breakthrough release, 1988's Starfish. Good thing these guys didn't bother with the idea that just because you don't keep having worldwide hit singles doesn't mean you should stop developing as a band and give up music entirely. If anything, much of the Australian band's best material has come since 1988, including 2009's noteworthy release, Untitled #23. Not being content to write the same formula again and again and challenging themselves as songwriters and artists, the bandmembers have continued to inspire themselves with what they can do as songwriters and with the diversity of talent within the group. Anyone who saw that 2009 tour for Untitled #23 can attest to the fact that the Church hasn't really lost its power and charisma as a live band.
Key track: "Happenstance"
6. Mercury Rev
Shortly after forming Mercury Rev in 1989, Jonathan Donohue ended up joining The Flaming Lips for a couple of albums and some touring but ultimately returned home to New York. From its 1991 debut, Yerself Is Steam, to its latest albums, 2008's Snowflake Midnight and Strange Attractor, Rev has forged a path of constant exploration of sound and story-telling that has included Grasshopper inventing the Tettix Wave Accumulator -- a customer synthesizer/sampler used on recordings but impractical to use live. Rev's seemingly wide-eyed wonder at the possibilities open to anyone willing to take chances and play around with how sound is created, manipulated, recorded, performed and presented, visually as well as sonically, is obvious in its performances and albums. This ability to reinvent itself without necessarily throwing out what has always made this band interesting -- a core of solid pop songwriting informed by concepts out of the avant-garde -- continues to make the latest Rev releases worth seeking out.
Key track: "Dream of a Young Girl as a Flower"