TEENAGE HOUSE PARTY BY SANDY NELSON

Teenage House Party by Sandy Nelson...I love this album cover. Look at that spread on the table!

Sandy Nelson is a famous drummer and bandleader of the early 60s whose name would be found prominently in the fictional "Encyclopedia of Surf Rock."  His drums can be heard on many hits including "To Know Him Is To Love Him" by The Teddy Bears, which is probably played on Sirius XM Radio at least twice per day.  As All Music Guide critic Richie Unterburger puts it, Nelson's recordings "might have helped inspire aspiring musicians as things to play along and learn with, if nothing else." Unterburger argues that legendary drummer Keith Moon was "no-doubt influenced" by Sandy Nelson's "reckless style." 

Released in 1963, Teenage House Party wasn't one of Sandy Nelson's most famous records, but it's a whole lot of fun.  Like many albums of the early 60s, House Party  is a short one, clocking it at around 27 minutes.  But in those 27 minutes are 12 very danceable rock 'n roll numbers.  Part of the kitsch of this record is the addition of overdubs of teens partying—quite conservatively, I might add—which definitely makes the record live up to it's title.  It's funny and kind of cute.  I like to picture the Peanuts characters in their early teens dancing to this record.  

Since this will be the only Sandy Nelson article I intend to write, I'm going to include a "best of" album with all his early hits, including the Top 10 hits "Teen Beat" and "Let There Be Drums."  

Teenage House Party by Sandy Nelson

The Very Best of Sandy Nelson

SINGLES GOING STEADY: "THERE ARE NO WORDS" BY TODD RUNDGREN

Appearing on Rundgren's 1970 debut album Runt,  "There Are No Words" is exactly what it sounds like.  It is layers of Todd's vocal harmonies in the form of "ahhhs," "ohhhs" and "ooohs."  Cynics will likely refer to it as a throwaway track.  Such hypothetical cynics would be making it painfully obvious that they have never created—or even attempted to create—music.  Anyone who has will more than likely understand how incredible this piece is.  From a Harmonic perspective, this song is unreal.  The dissonance that Todd achieves in the first 30 seconds of the piece feels impossible.  As a songwriter—not like you should be impressed by that—I couldn't help but wonder "How did he come up with that?"

There is a creepiness in the first half of "There Are No Words" which may dissuade listeners with a narrow musical palette.  If that's you, I suggest you keep listening.  Around 30 seconds, the eeriness transforms into something unspeakably beautiful.  Though there are no words, I can't help but feel like Todd Rundgren is trying to tell listeners something.  Runt is a terrific record, but Rundgren's lyrics make him appear to be very self-conscious.  "Who's That Man"  makes him sound jealous.  "Believe In Me" is a confession about being misunderstood.  The first half of "There Are No Words" is the "misunderstanding" part of Todd Rundgren and the second half is the sensitivity or his compassion, heart and/or soul.  However you interpret it, it is a gorgeous song.  I know it's sacrilege, but I'm not sure The Beatles ever had harmonies as incredible as this.  I'm sure they'd give Todd a thumbs up—he is the guitarist in Ringo Starr's All Star Band, for what it's worth. 

"There Are No Words" by Todd Rundgren

Now is the perfect time to confess that I've been using the words "song" and "piece" interchangeably.  I have always wondered whether "There Are No Words" is a "song" or a "piece."  As I learned in college (more on that college here ), there is an actual difference between the two. 

Courtesy of Merriam-Webster:

• Piece (of music): A musical Composition; a musical work that has been created.

• Song: A short poem or other set of words set to music or meant to be sung.

You understand the difference now.  A piece would usually refer to something instrumental and a song is a "set of words" that is sung.  

So what is "There Are No Words"?  It is sung, but there are no words.  So is it a piece? 

Forget I even brought this up.  I think it's important to listen to Runt by Todd Rundgren because it's an amazingly varied and possibly perfect album.  At the very least, listen to "We Gotta Get You A Woman," the hit that put Todd Rundgren on the map.  

Runt by Todd Rundgren

Temporary Room by Stagnant Pools

Temporary Room by Stagnant Pools

If your niche lies in the noise-rock, shoegaze of bands like My Bloody Valentine, Jesus & Mary Chain, Sonic Youth and Caribou, you're going to want to pay attention to Stagnant Pools and their debut album Temporary Room.

Stagnant Pools was formed by brothers and Indiana natives Bryan and Douglass Enas, who play guitar and drums respectively.  And that's it.  No bass, no synth and hardly any guitar effects besides loads of Kevin Shields-style distortion.  Temporary Room makes the Enas's familial relations absolutely apparent.  The songs are soldered with so much genetic chemistry that it's as if it was the creation of one person.  But it's not.  And despite being a caffeinated noisy cocktail, you can't accuse these brothers of overplaying.  This indicates an impressive level of discipline, but more remarkably, a natural command of songwriting and songcraft.  It might not sound like pop music, but these brothers know their way around a pop hook, keeping the music deceptively simple and very catchy.

Even for fans of the genre, it can take four or five songs to get into Stagnant Pools.  It's easy to write the first third of Temporary Pools as admirable—albeit ordinary—indie rock.  But beginning with the majestic title track, Pools simply dominates, spilling out great track after great track.  It's addicting stuff and while Stagnant Pools aren't innovators with their sonics, Temporary Room makes for one hell of a debut.  

Temporary Room by Stagnant Pools