Monthly Archives: July 2017

Tim Hinely: THE INSPIRATION BEHIND… Moving Targets’ “Faith” (1986)

Kenny Chambers discusses the key track from his band’s Burning in Water LP.

BY TIM HINELY

Ed note: We continue our series devoted to tunes that hold special places in our hearts and in our collective experience as devotees to and lovers of timeless indie rock. To kick the series off, we asked Eric Matthews, of both solo and Cardinal fame, to talk about his classic number “Fanfare,” from his 1995 Sub Pop hit It’s Heavy in Here. Next was Bill Janovitz of Buffalo Tom pulling back the curtain on one of his early gems: “Taillights Fade,” from 1992’s Let Me Come Over, cut with fellow bandmembers Chris Colbourn (bass) and Tom Maginnis (drums). After that we dipped way back to 1970 for the proto-power pop of Crabby Appleton’s “Go Back,” penned by frontman Michael Fennelly, and then fast-forwarded to 2000 for John Conley talking about his band the California Oranges and their pop gem “John Hughes.” Then it was back to the ‘90s courtesy Allen Clapp, who talked about “Something Strange Happens.” Now we drop in to 1986 and the Boston punk scene….

As far as I know Boston’s Moving Targets, led by main songwriter Kenny Chambers, had only cut a handful of songs before recording their massive debut, Burning in Water (Taang Records, 1986). Though they’d been bouncing around in one form or another since the early ‘80s—they emerged from the ashes of a band called Smash Pattern—the only recorded output they had was a few songs on the Conflict Records compilation Bands That Could Be God. I have to say, I was completely blown away the first time I heard Burning in Water. At the time, I was moving away from hardcore and listening to more mid-tempo, melodic stuff, and this record just hit that sweet spot. The band got a lot of comparisons to Husker Du, which I do hear as an influence, but I like Burning in Water more than any Husker Du record, which is saying something as I love Husker Du.

It was tough to only pick out one song, but I decided to ask Kenny Chambers about the soaring and powerful “Faith.” Kenny was more than happy to hit me back and tell me about the origins of the song and the recording of it. The band: Chambers on guitar and vocals, Pat Leonard on bass, Pat Brady on drums.

What was the initial inspiration for the song?
“Faith” was born during my time in the band Smash Pattern (Chuck Freeman on drums) in 1984. I’m sure there was some Mission of Burma influence coupled with a case of Old Milwaukee that we consumed at every practice. When the ‘targets came together again 1985 we started playing it.

Did it take long to finish writing it?
The song took a short while to put together. I wrote it whole then added a couple more parts on the following couple of weeks.

Any idea how your long time fans feel about it (i.e.: would it be considered a “fan favorite” or anything?)
I think any fan of the band likes that tune.

Was it a staple of your live sets even years later?
The Moving Targets had “Faith” on most set lists from 1985 to 2007. I don’t think that we ever got tired of playing it.

Is there anything about the song you’d change?
I wouldn’t change anything about it. The band played it well and Lou Giordano did a fine job of recording it and coaxing a good performance out of us.

Tell me a little about the recording of it – where and when, how long did it take, any watershed moments or glaring problems, etc.?
Recording the Burning in Water album was kind of a blur. We were so excited and it went so quickly (all of the basic tracks in a day and a half) that I personally don’t remember recording most of the songs. I know it sounded great in the studio with Lou and Carl Plaster and we were happy with everything. The only problem with recording was trying to adapt to a cleaner amp sound. Lou pushed the cleaner sound and I was used to total distortion. In hindsight, Lou was right on the money. The record sounds sharp.

How do you feel about it now?
I still think it holds up today.

Early Chambers photo by David Henry / via Wikimedia

Current Chambers photo from Versus the Goat podcast page

 

 

Fred Mills: Random #vinylporn Musings Nos. 18a & 18b

Why listen to shitty-sounding streaming music on Spotify for free when you can pay for the privilege and have something to show for it?

BY FRED MILLS

This week, as June turned into July, in between the Health Care Follies revue, bleeding facelifts, and a preview of looming voter fraud/suppression tussles, we still received some happy #vinylporn news, that the Sony Music record pressing plant in Japan was getting its turbines cleaned up and dusted off in anticipation of cranking out the wax once again. Most of the media coverage, though welcome, was pretty matter of fact and superficial, to be honest, with reports simply pulling out a few lazy statistics about the contemporary “vinyl resurgence” (I officially proclaim that term to be a cliche now – if something has been “resurging” for more than 5 years, I think it’s officially an “ongoing trend”) and quoting some random hipster journalist. (Yes, NPR, I am available for comment. Call me.)

I’m waiting for The Onion to tackle the topic soon, since the last vinyl item I recall from them is from 2011, “Cool Dad Raising Daughter On Media That Will Put Her Entirely Out Of Touch With Her Generation” http://www.theonion.com/…/cool-dad-raising-daughter-on-medi…

However,Britain’s The Guardian did a pretty decent job with their report “Records come round again: Sony to open vinyl factory in Japan” – check it out HERE – and also dig the photo of a Japanese pressing of Let It Be, since that is literally the only genuinely relevant, context-wise, photo I’ve spotted in all the Sony Japan coverage.

The one thing that all the reports overlooked, or at least could have mentioned as an intriguing and relevant sidelight, is that back in the day, Japanese pressings were considered the gold standard by many, if not most, collectors. After a certain point you could certainly get audiophile reissue pressings from Mobile Fidelity and a couple other Stateside labels catering to a niche market (typically jazz and classical), but Japanese releases still had a certain allure and cachet, both for their reissues and new releases – and, sometimes, for their exclusive nature.

For example, there was the stunning live-in-Japan Miles Davis release Agharta, and Santana’s classic live rec Moonflower, both of which I put considerable energy into tracking down. They weren’t cheap, either. A lot of folks probably forget that Cheap Trick’s Budokan album gained traction initially as a white-hot import-only release – that was the only way you could hear it. I would venture to say that folks prized Japanese pressings for their heavy-weight/virgin vinyl provenance (something that US labels abandoned early on – RCA and Dynaflex pressings, I’m lookin’ at YOU for making all that possible long before the oil shortage affected the record industry), the ongoing use of heavy-stock tip-on sleeves and poly-lined inner sleeves (ditto), and not-essential-but-still-cool extras like outer OBI strips and liner notes or lyrics not included in other countries’ pressings. Gee – it’s almost like in 2017, labels that really care about releasing a quality product with classic touches like 180gm and/or colored vinyl pressings and thick-stock gatefold sleeves, are taking their cues from the heyday of Japanese vinyl… you could even propose that Japan, often a pioneer in technological trends back in the day, pioneered the art of… wait for it… #vinylporn.

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As long as we are on the #vinylporn topic, I noticed this week that Atomic Disc in Oregon is having a sale on pressing records. I have no idea what the going rate is at other plants or what a “good rate” might be, but currently, 300 copies of an LP on black vinyl will cost you $1750, which comes out to only about $6 a platter. The price is only $3.20 per copy if you get 1000 copies. (Yeah, do that math quickly, and then think about that $29.98 list price major label LP you bought last week.) A download card included will cost an extra $100, and if you want colored wax (of course you do) it will be $2149.

As you might imagine, my punk band Bo Oswald & the Biohazard Boys and I plan to press our debut, Binky The Troll – a Rock Opera, on splatter vinyl. That bumps the cost of 300 copies up to $2689, but hey, we care about YOU, our fans, so no price is too great… see ya in the record bins.