Over the past few years there have been a rash of reunions from much-loved bands of the 80s and early 90s, but it hasn’t just been confined to the big names like The Pixies, Slint, Polvo, and so on; smaller bands with no national recognition, but with reputations and scores of nostalgic fans in their own towns, have gotten in on the act as well. Austin band Glass Eye — whom I had not heard of before pulling their album off the shelf – reunited a few years ago to play some shows in their hometown in celebration of the release of a long-lost album called Every Woman’s Fantasy. Looks like they haven’t done much since 2006, but I’m sure this reunion and album release was a thrill for their fans. (I know I could come up with a pretty long list of 80s and 90s Boston bands you’ve never heard of that I would love to see reunite for a show or two.)
I’m listening to Hello Young Lovers for the first time right now*, and digging it. There are at least two singers — a man and a woman — with very different styles and approaches both to songwriting and singing, resulting in a diverse sound that I imagine rewards repeated listens. (If I said “Was (Not Was) meets Throwing Muses,” would that turn you off? OK, then forget I said that.) Looks like most of the KCMU posse were big fans; maybe some of them made it to Austin for the reunion?
* Pro tip: for many of these posts, especially the more obscure ones, if you do a web search for “band name” and “album title” in quotes, you will most likely find a blog that has posted the album for free download. Given that most of these albums are literally impossible to find physical copies of, I don’t see an ethical problem with that.
“KCMU welcomes Glass Eye to the Central Tavern: March 3rd 1990.”
“The odd and delightful sounds of Glass Eye return to KCMU.”
“Hard not to like these guys. Let’s keep ‘em in H for a while.”
“This band has one of the most creative approaches to rock ‘n’ roll. They’re back to the original line-up – not that you could find any real difference in sound between any of them. The same, complex drumming and bass work. Beattie’s and McCarty’s songwriting + singing still contrasts like mad so you can find a great variety. [I swear I wrote my part before I read this!] ‘Charhead’ is great, but there’s not a weak track to be found. Have fun.”
“Lyrics can still be quite creepy (‘The Penguin’); overall, jazzier than before. More horns (& piano).”
“Never cared too much for ‘em + still don’t.”
“I will buy any of these people a beer anytime, anywhere!”
“‘Charhead’ utmost in rockin’ — Glass Eye Style.”