AMPLIFIED PILLOWS - Leaving Trains (Steel Cage Records)

I will admit to having little exposure to Leaving Trains before listening to this CD. I remember seeing their name listed (probably on this website) as supported to a Rob Younger gig in LA a few years ago, but not much more.

The fact that I have not been familiar with their work before listening to this album is definetly my loss. The Leaving Trains, like bands such as The Fall, have evolved (in performance and recording terms at least) into the vehicle for singer/guitarist (and political activist) Falling James' musical explorations.

The Leaving Trains began their formal existence in the late 1970s. Since that time, the only consistent element in the band has been Falling James. The Trains' music is rooted heavily in the LA psych-rock tradition, with equal doses of blues era Grateful Dead, breakneck Ramones and Tom Verlaine melodic sensibilities.

"Amplified Pillows" is the band's first live recording, and comprises four separate sets covering four separate line-ups. The majority (14 out of 22) of the songs on the album are performed by the recent (and James' favourite version of the band) line-up of Dennis Carlin on drums, Melanie Vammen on guitar and Andrew Buscher on bass.

The album begins with "Creeping Coastline of Lights", part methodical garage blues, part New Christs, all class. The frantic "Judy Don't Mind" (Dennis Carlin) demonstrates (not for the only time on the album) James' fondness for fast paced Ramones rock'n'rolling, but with a LA tweak that brings to mind The Dickies, and even something of The Monkees. "Kids Wanna Know" is more of the Ramones (mixed with the surfside excitement of Birdman's "More Fun"), while "She's Got Bugs" has the comic relief of the Cramps and a descent into guitar chaos reminiscent of The Who's live "Tommy" performances.

"Dude the Cat" degenerates into a disturbing rendition of "Hey Jude" that would cause concern to even the most inebriated karaoke performer (though the Trains' take on the oft-murdered Beatles hit is coated heavily with irony). The quiet, melodic pop of "Dumb as a Crayon" is a well-conceived relief from the hair swinging excitement of previous tracks – though "The Worst" is a return to the world of short, sharp Saints/Ramones style chords. The final track from the first live set, "My Lost Danielle", is a rattling tune with more than a little Radio Birdman in its controlled chaos.

The latter part of the CD is taken from two performances in the late 1980s. Six songs are taken from a 1989 show in Holland, while the last track, "Kinette", is taken from a Philadelphia show in 1987. "We Don't Have A Vote" illustrates James' political leanings, an ideologically charge rant against the imperfections of the United States political system. The Holland gig is definitely a lesser quality performance, with James' vocals more in the realm of Mark E Smith than the punk baritone of the LA set.

Most bands will claim that their 'real' abilities are best observed live, rather than via studio recording. Unfortunately, relatively
few live albums capture successfully a band's live performance (The Who's "Live at Leeds" remains a – if not the – high watermark in live recordings). This album is as good a live recording as I've heard in a long time. I'm ashamed to not have investigated this band before now.

- Patrick Emery (I-94 BAR)