From the 1981 album of the same name, originally released by the punk-as-fuck Posh Boy label.
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.” Next came Allen Clapp (of the Orange Peels and Allen Clapp & His Orchestra) and 1994’s “Something Strange Happens” followed by Kenny Chambers, of Moving Targets, on that band’s ’86 classic “Faith.” Now Prof. Hinely lands in 1981 to take a retrospective look with Mike Palm at the title track to Agent Orange’s groundbreaking debut Living in Darkness.
At this point I’ve done several of these song inspiration interviews and I was thinking “Hmm….who could I ask next?!” Then it dawned on me, Agent Orange’s Mike Palm. He’s still at it, touring like crazy and heck, even skateboarding, too. Palm seems like the eternal Southern California teenager, seemingly always chasing the sun wherever he may go. His band’s classic debut, Living in Darkness, was released 36 years ago, but sounds as fresh today as it did then with a perfect mix of punk, surf and power pop. The title track is one of my favorites from that record and judging by what Palm states below, a lot of folks favorite as well (maybe even eclipsing their classic debut single “Bloodstains”). Some new material by these guys would be very welcome, but in the meantime go back and listen to said debut if it’s been a while (their two others, 1986’s This is the Voice and ‘96’s Virtually Indestructible, while not the equal of the debut, are no slouches either). Before hitting his next skate park with the band, Palm gave us a few minutes and weighed in on that song.
BLURT: What was the initial inspiration for the song?
MIKE PALM: I was pretty much sleeping all day, and either playing shows or going to clubs every night. There used to be an all night record swap in the Capital Records parking lot. It was great. I hardly ever went out in the day.
Did it take long to finish writing it?
I really can’t remember how long it took to write from start to finish. I do remember it came together smoothly, music and melody first, then the lyrics. Once I got it going it almost wrote itself.
Any idea how your long time fans feel about it (ie: would it be considered a “fan favorite” or anything?)
Everything off of the first album is kind of mandatory. It’s the album title track, so I guess that makes it significant.
Was it a staple of your live sets even years later?
It still is. We only cut it if we need to play a shorter set, like at a festival or whatever.
Is there anything about the song you’d change?
Tell me a little about the recording of it – where and when, how long did it take, any watershed moments or glaring problems, etc.?
It was recorded in L.A. at a studio that was owned by the guy who later wrote “Papa Don’t Preach” for Madonna. We cut all the basic tracks in one night, then went back the next night to do minimal overdubs and vocals. When we pulled the track up on the second night, we realized that one of the microphones on the drums was broken, and the rack tom part was missing. They wanted to replace it with hand claps, but I hated the idea. It was a full-on stand-off that held up the session for a long time, until i compromised and let them use metal trash can lids from the alley out back.
How do you feel about it now?
It’s the longest song in our live set, so sometimes it feels like a marathon, but it has a good resolve that ends with a strong positive feel. It works well near the end of the set, just before “The Last Goodbye”. but that’s another story…