Ah, my non-existent audience, how I’ve missed you so! I’ve decided to change up my style, being a little more detailed than I used to be, in an attempt to hopefully make this musical journey more exciting and meaningful. Well, regardless, i’m back, and just as I promised when last we met, I’ve brought an album with me! We’ve gone back into the past years of the 1960’s, and we’ve travelled around quite a bit, huh? From the wild underground of the Motor City during it’s artistic rise to fame, to the hip Mod scene of France during a cultural explosion, as well as to the open wilderness and expanses (not to mention the cramped studios of the numerous independent record labels that came to life and died during the mid-sixties) of Washington State. Now it’s time to go on yet another journey. This time, we’re going to the sun drenched state of California.
The year is 1984, and west coast cities like Los Angeles and San Francisco have become hot beds of musical activity. Pushed underground by Pop, Hair Metal, and the rise of MTV, the Alternative, Punk, and Post-Punk worlds exist in a strange sort of harmony. This is most evident in the so-called “Paisley Underground” movement. You had pop-rockers like The Bangs (who went on to become The Bangles), alternative champions like The Three O’Clock, progressive experimentalists such as The Dream Syndicate, and solemn alternative country/folk rock musicians like The Long Ryders, all in one musical scene. And you also had the bands who were more influenced by the Punk side of things, specifically Garage Punk. Bands like…
It’s About Time
The line-up that made all of the tracks on the album, but disbanded immediately after. Left to right, keyboardist Gwynne Kelly, guitarist/vocalist Paula Pierce, drummer Casey Gomez, and bassist Bambi Conway
The Pandoras! Originally formed as a mess-around band for a couple of bored college girls with a love for 60’s music, they quickly realized just how exciting their retro-act was to people, and began taking things seriously. They were “discovered” by Greg and Suzy Shaw, founders of “Bomp! Records”, and lovers of underground rock (especially for rock influenced by the 60’s). I’m not sure how they met the Pandoras exactly, but I do know that at that time Bomp was doing their “Battle of the Garages” competition, where they’d accept songs from Rock/Punk bands nationwide, compiling them into albums, and giving the “best” acts of the bunch a record deal. The Pandoras made the cut on the third volume, which focused on LA bands and the rougher side of the Paisley Underground, and may have been how they all got together. Regardless, the Pandoras had already cut an EP by then (“I’m Here, I’m Gone”) with Moxie, who they were unsatisfied with.
Their first EP. Fun fact: It has a curious error in that the label says "45 rpm", while in actuality it is 33 1/3.
Joining Bomp and the Shaws, they cut this album on Voxx (the publishing division of Bomp), and then went on to join the entertainment giant Rhino to cut their next album, “Stop Pretending”, which toned down their rough sound and unsuccessfully attempted to make mainstream chart waves. Unsure of how to proceed, the band suffered from almost constant line-up changes, with the only steady member being guitarist/singer Paula Pierce. After Paula died from a brain aneurysm 1991, the band finally fell apart (as a bit of trivia, bassist Kim Shattuck and keyboardist Melanie Vammen went on to form the punk band The Muffs). Now that the album has context, it’s time to hear the music itself…
1. “Hot Generation” – A cover of the classic Psycho-Surf Rock number (which I believe was originally done by The Sunsets), The Pandoras stay pretty faithful to the original’s 60’s sound. With good vocals (gotta love that wave break in the middle), solid drumming, and fun guitar work, this song is sure to make you want to throw your board on the rack and hop in your Woody for the beach!
2. “You Don’t Satisy” – A really gritty rocker with punch to it. This is a brutally rough number, with an awesome Punk feeling to it. If you like riff-based rock in the vein of The Kinks, you’ll be right at home here. Also, I love the electric organ in the background! At this point in the album, you should know exactly what The Pandoras are all about.
3. “It’s About Time” – The eponymous track of the album, this one takes it’s cues from early Folk/Psychadelic Garage Rock, being focused on good harmonics supplemented by the electric organ and fuzz guitar work that you should be used to by now.
The first line-up of The Pandoras. Left to right, drummer Casey Gomez, keyboardist and rhythm guitarist Gwynne Kelly, guitarist/vocalist Paula Pierce, and bassist Deborah Mendoza.
4. “I Want Him” – Striving for the analogue sound with this one, it’s simple, rough, and a bit distant-sounding. It’s got the makings of a classic Garage tune, being rough for the majority, save for the harmonics during the chorus.
5. “James” – A little more focused on the electric organ this time, we’re introduced to another rocker about love and lust. This one has a short fuzz guitar break that spices things up, and the harmonics in the second half help to keep things interesting. The ending is very fun as well, with the guitar kicking in while Paula shouts at the listener. Fun fact: If you listen to this in stereo, not long after the beginning, you can hear Paula’s voice go from one speaker to the other. This was unintentional, and happened because she had a habit of moving her head from side to side while singing live. I’m just inexplicably full of random information like that, huh?
6. “He’s Not Far” – My personal favorite track off this album, it focuses more on a slow and haunting beat than the previous songs. It takes advantages of harmonics and short bursts of guitar work to create a simple yet compelling sound, and the solo in the middle complements the lonely tone of the song perfectly without losing that Garage Rock sound.
Paula with her Vox Teardrop guitar
7. “Haunted Beach Party” – A groovy Psycho-Surf Rock style instrumental, this sounds like something The Cramps would’ve gotten a big kick out of. This is probably the track that uses the electric organ to best effect, and the driving drumming alongside the thrashy guitar work only helps to keep your heart pumping.
8. “The Hump” – Distant and raw, this one was recorded to have that done-in-one-take feeling of a live track. This is a cover of The Invictas’ minor hit, and keeps the wild Garage feeling that it had. I especially like the change of tone from the minute mark on, and it does a lot to add depth to the piece.
9. “I Live My Life” – Not the wildest of their songs, The Pandoras obviously made this one under the influence of the Folk/Pop Rock bands of the 1960’s that influenced their Paisley Underground brethren so much. This one sounds like something The Bangles would have put out. It’s a bit simple, but the guitar riff that comes in after the chorus is a nice touch, and the harmonica break is cool.
The "classic" line-up featured in most pictures, formed just after this album's release. Left to right:bassist Julie Patchouli, guitarist Paula Pierce, drummer Karen Blankfield, and keyboardist Melanie Vammen
10. “Want Need Love” – A great rocker with a really fun chorus, followed by a cool guitar riff. The main riff for this one sounds just a little like “Steppin’ Stone” by The Monkees/Paul Revere and the Raiders, which is fine by me! All in all, this is a fantastic song to sing (or shout) along to. In the second half, you might notice the voice going from speaker to speaker again, a fun reminder that these tracks were essentially recorded-as-played, with few enhancements or touch-ups.
11. “It Just Ain’t True” – The keen-eared Garage Rock fans among you might recognize this song from somewhere. This one is actually a remake of “It’s a Cryin’ Shame” by The Gentlemen, a song with a colorful spectrum of influence (“It’s a Cryin’ Shame” served as the basis for “What I Like About You” by The Romantics, and is essentially the same song with different lyrics. Of course, The Gentlemen were never credited for it. Take a listen for yourself, if you can find the original, and see what you think). Up-beat and light compared to the other rough tracks, this number is a nice change of pace for the album!
12. “High On a Cloud” – Another very rough and wild track with brutal vocals, the Psychadelic sounding electric organ and relentless fuzz guitar work sound perfect when combined together. This is probably the roughest I’ve ever heard a female vocalist get while still keeping things fairly harmonious (and without getting into Metal territory). This track is a great cover of The Traits’ fun yet obscure Psychadelic original. I personally like The Pandoras’ take on the song better, if only for the unrestrained brutality of it, and the supplements like the fuzz guitar break and harmonics during the chorus only help. They really nailed the analogue sound on this one!
A televised performance, you can find it on youtube! Note their album below the bass drum.
13. “Cry On My Own” – Probably the slowest song of the album, it’s another that sounds like it was influenced by 1960’s Pop/Folk Rock. It’s got a great sound, with the harmonics and electric organ in the background, but fans of The Pandoras’ rougher songs might find it a little boring.
14. “Going His Way” – A fantastic song, and the last track of the album, this one stands out as particularly unique. Though it starts off as a simple riff-rocker, it changes it’s pace with a cool Psychadelic music meltdown, before returning to the riff and finishing things off with one last punch. Paula’s voice works perfectly with the rest of the band, being just rough enough to sound dirty, while still being just clean enough to retain finesse.
A window into the world of both the 60’s and the 80’s, The Pandoras are an interesting band, and serve as the perfect example of the underground scene of their time. Pressured to adopt a more mainstream sound, The Pandoras, along with their musical peers in the Paisley Underground, struggled to find a place in the rapidly changing world. In just a few years, the bands of the Paisley Underground seemingly faded away, with only a few (such as The Bangles) able to stay together. But they all had their chance to express themselves, their “one album” that stood out as remarkably pure, and would go on to define them and what they stood for in the years to come. “It’s About Time” was The Pandoras “one album”, their chance to play the music they wanted to play, without worrying about money or fame. Not only as a wonderful arrangement of music, but also as a reminder of a time in musical history that has been largely forgotten, “It’s About Time” manages to succeed and impress on every level. I highly recommend it, and I truly hope it doesn’t disappoint you.
A young Paula Pierce. Do you remember posing with one of your first guitars?
I should note that the Paisley Underground is seeing a bit of a resurgence, with a few original bands coming back together. In fact, the Paisley Underground poster at the top of this post is for one of their reunion events. Definitely check them out some time!
Well, I had a great time revisiting a wonderful album today! But now it’s time for me to go. When I return, I’ll bring yet another album with me. After two great albums by two great bands, I think it’s time for another compilation! I’ve already touched on the all-female scene with Girls in the Garage and Ultra Chicks, so that only leaves the guys…
Now, I'll part with a fun bit of trivia. When The Pandoras teamed up with the Shaws to create "It's About Time", they created the album cover as an homage to a band from the 60's. Can you guess which one? I'll give you a hint...
They covered "Gloria" by the band Them, which was later covered by The Belles for "Melvin"! We've come full circle! Ahhh!