Well, Jay Reatard is now dead, and that sucks. He was great to begin with and was getting even more interesting. The tracks on this comp are mostly his signature raw rockers that really stick in your head. Several alternate takes on tracks also found on Blood Visions. The physical release of this contains a DVD with several live shows, but you're not missing much by downloading only the great music here.
Four years ago, I flew from Portland to New York to see my favorite band, New Zealand's garage-pop trio the Clean, play three shows at a glorious pit called Cake Shop. The openers were Crystal Stilts, a Brooklyn group with no records out whose moody and noisy music pushed all the right buttons. I quickly befriended the group, especially guitarist JB Townsend and his then-girlfriend Frankie Rose, whose own band Vivian Girls were soon-to-be favorites.… more »
It used to be easier to pretend that an album was its own perfectly self-contained artifact. The great records certainly feel that way. But albums are more permeable than solid, their motivations, executions and inspirations informed by, and often stolen from, their peers and forbearers. It all sounds awfully formal, but it's not. It's the very nature of music — of art, even. The Six Degrees features examine the relationships between classic records and five… more »
File under: Blistering punk, scrappy garage, other assorted oddities
Flagship Acts: Jay Reatard, Ty Segall, Reigning Sound, Eddy Current Suppression Ring
Based In: Memphis, Tennessee
Memphis label Goner Records was born out of - and has been sustained by - happy accidents. The first occurred in 1993 at the second-annual Garage Shock festival in Bellingham, Wash. Japanese rockers Guitar Wolf showed up to the fest uninvited, accompanying fellow Japanese bands Jackie & the Cedrics and the 5.6.7.8's (the… more »
You can never accuse John Barrett of having his heart in the wrong place when he explains the genesis of what would eventually become Bass Drum of Death: "Basically, the whole purpose of me ever [playing songs] live was because I could get free drinks and make a little money and girls would talk to me. It worked a lot better than if I was just going out normally." Indeed, while their debut LP GB… more »
It used to be easier to pretend that an album was its own perfectly self-contained artifact. The great records certainly feel that way. But albums are more permeable than solid, their motivations, executions and inspirations informed by, and often stolen from, their peers and forbearers. It all sounds awfully formal, but it's not. It's the very nature of music — of art, even. The Six Degrees features examine the relationships between classic records and five… more »
Jay Reatard’s first solo record, Blood Visions, was a big step forward for the noisy, bloody rocker. A furious jerked-out full-frontal attack of noise and hooks, it served notice that Reatard meant business. He spent the year after the recording of the album making singles for a variety of labels like In the Red, Goner, Squoodge, P. Trash, and Stained Circles. Singles 06-07 collects them all and throws in a DVD of live performances, including his infamous night at the Cakeshop in October of 2007. The singles contain all of the energy and abandon of the album, but Reatard tempers his previously monochromatic art-attack with some well-timed sonic sophistication and songwriting variety. That’s not to say he’s suddenly traded in his Flying V and sweat for a pipe and slippers, but it does mean that on a few songs he trots out some acoustic guitar and dials his howling yelp down to a vulnerable whine. He covers a Go-Betweens song (“Don’t Let Him Come Back”), essays a tender love song (“Searching for You”), and even jangles a little (the super-poppy “I Found a Place”). This surprising subtlety only tells a small part of the Reatard story. He still rocks like a man possessed much of the time on songs like “Night of Broken Glass,” “Turning Blue,” and “It’s So Useless.” Indeed, Reatard is still creating storming modern garage rock-new wave nuggets; he just does it with less clatter and more precision and focused power now. Looking back at his 2006 and 2007 music makes it obvious that Reatard has taken an impressive step forward, and this points to more great records down the road. – Tim Sendra