Much-revered track from the Paisley Underground avatars’ second record is a favorite among both fans and peers. Frontman Matt Piucci explains.
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.” Prof. Hinely subsequently touched down in 1981 to take a retrospective look with Mike Palm at the title track to Agent Orange’s groundbreaking debut Living in Darkness.
At the time of the Rain Parade’s 1984 mini-album Explosions in the Glass Palace, the California psychedelic argonauts had slimmed from a quintet to a four-piece, founding member David Roback having split following the previous year’s Emergency Third Rail Power Trip to form Opal. With guitarist Matt Piucci now helming the group—which included at the time bassist Stephen Roback, drummer Eddie Kalwa, and violinist/keyboardist Will Glenn—the group seemed more focused than ever.
That five-songer was recently reissued, in fact, and its sonic strengths are legion. BLURT’s own Michael Toland, reviewing EITGP, wrote that there’s “not a loser in the bunch. “Blue” and “You Are My Friend” present more perfectly crafted pop, while “Prisoners” and “Broken Horse” delve into overtly acid-drenched mini-epics. The EP ends with the anthemic powerhouse “No Easy Way Down,” then as now the band’s definitive track.”
Indeed, the record has held up over time and still stands as one of THE classic artifacts of the early ‘80s Amerindie underground. It certainly cemented the group’s reputation, and following a lineup shuffle that found Kalwa being replaced by drummer Mark Marcum and guitarist John Thoman joining the fold, the Rain Parade signed with Island Records and released a powerhouse of a live-in-Japan album, Beyond the Sunset.
Appearing on both EITGP and the live record is the haunting, midtempo ballad “Blue,” a touch-of-jangledom gem that became a fan favorite, so much so that it got picked up by at least two other bands. In our latest “The Inspiration Behind…” episode, Piucci discusses that and reveals the song’s origins.
The tune’s lyrics bear reprinting here, for as you’ll read, “Blue” has a very specific memory attached to it for Piucci.
Down that street
Just like people you might meet
On her face
The loneliness she can’t escape
Who could ever take her place?
Her little one
Seemed like life had just begun
On the phone
Then we knew we were all alone
But all our tears wouldn’t bring her home.”
What was the initial inspiration for the song?
I worked at Peter West Datsun on Santa Monica as a cashier before Rain Parade started touring. The gal that worked with me was named Charlotte, she was my only real colleague there. First turned me on to the Thriller album, which I like. One day she didn’t show up. They found her dead in the trunk of her car a week later. Never found out what happened.
Did it take long to finish writing it?
Not really. I was in the process of stealing a chord progression from Michael Quercio and had been messing with the music. The words came all at once.
Any idea how your long time fans feel about it (ie: would it be considered a “fan favorite” or anything?)
I would not know for sure, but an English review of Explosions said it was the weakest song. Americans seem to like it better. Both the Blue Aeroplanes and Buffalo Tom thought enough of it to record it, and it seems to get a good response.
Was it a staple of your live sets even years later?
Still play it today in basically every group I am in.
Is there anything about the song you’d change?
Dan Stuart [Green On Red] said that I should have played the rhythm guitar on a Tele and not a Ric. He is probably right.
Tell me a little about the recording of it – where and when, how long did it take, any watershed moments or glaring problems, etc.?
Piece of cake. Not sure where exactly. Explosions was recorded at several places. Steven’s bass riff after the first instrumental break is wonderful.
How do you feel about it now?
Still makes me cry sometimes…