![\"The](\"http:\/\/agitreader.com\/wp2\/wp-content\/uploads\/2015\/07\/dream_syndicate-the_days_of_wine_and_roses.jpg\")
<\/a>Rock music, as we\u2019ve come to appreciate it here in the 21st century, is defined by the guitar. The backbeat remains vital, but the guitar is the genre\u2019s foundational instrument.\u00a0And there are few records that display the power of the guitar as both a sonic force and a songwriting tool better than The Dream Syndicate\u2019s The Days of Wine and Roses<\/i>. Originally released in 1982, the debut full-length by the Los Angeles quartet is as pure an example of six-string-driven rock as one could hope for. It is also as perfect a distillisation of what a guitar rock band\u2014not an individual guitar hero or, ugh, axe-man, mind you, but an ensemble\u2014is capable of. As a single artistic statement, it stands alongside a few others at the pinnacle of what emerged from the nascent American indie underground of the 1980s.<\/p>\nHitting at a time when new wave, with its attendant synthesizers, was making the guitar appear retro and almost quaint, and the emerging hair metal scene was in the process of reducing it to a prop as much as a musical instrument, Wine and Roses<\/i> is all the more a revelation. In fact, The Dream Syndicate stood somewhat askance from much of what was happening musically in the early 1980s, mainstream or otherwise. First-wave punk was wrapping up by this point, and while the band had plenty of energy and heart, they weren\u2019t about to get lumped in with hardcore. They certainly weren\u2019t dark or brooding enough to be goth, although \u201cHalloween\u201d may have been. And though considered one of the flagship units of the vaguely defined Paisley Underground scene, The Dream Syndicate\u2019s mix of ragged glory Youngisms, Television-inspired guitar interplay, and a touch of the NYC avant-garde (they are called The Dream Syndicate after all) was unlike anything produced during that brief flash of retro-jangle. The influence of Neil Young on the band and the album can\u2019t be overstated, and the strum and clang of the Velvet Underground, to say nothing of Lou Reed\u2019s deadpan street-poet delivery, isn\u2019t difficult to locate either. But to this day, the album sounds far too evergreen to fit into any one scene or under one umbrella of influence. It\u2019s the kind of record bands hope to make when they boldly attempt to sound “unlike anyone else.” Almost every one of them fails at this, and it\u2019s doubtful that The Dream Syndicate was even attempting such a thing, yet they triumphed.<\/p>\n
The quartet is perhaps best known today as an early vehicle for singer-guitarist-songwriter Steve Wynn, and his talents as a songwriter are at the heart of this record. Wynn writes for the guitar, exploring all of its compositional possibilities, while also allowing lead guitarist Karl Precoda to play rock & roll Jackson Pollock, giving him enough room to splatter his leads all over the song canvases that Wynn offers him. Yet for all of the guitar talk here, none of it would work the way it does without the rhythm section of Kendra Smith (bass) and Dennis Duck (drums), who provide the solid foundation that such six-string interplay necessitates. Add to all of this the production work of Flesheaters frontman Chris D. (who released the original version of The Days of Wine and Roses<\/i> on his Slash subsidiary, Ruby Records, and whose own band\u2019s records sound remarkably vital more than 30 years on) and you have an overlooked and under-appreciated stone cold classic.<\/p>\n
It\u2019s one of indie rock\u2019s great mysteries that this album drifts in and out of print so often. It\u2019s spoken of with such reverence, yet it remains oddly outside of the Our Band Could Be Your Life<\/i> canon. One could blame it on the Syndicate never really repeating the majesty of Wine and Roses<\/i>. Or maybe they just seemed too ordinary, as indie rock really doesn\u2019t have a better average Joe than Steve Wynn. Then again what could be more mythical than a band whose bass player would leave to form Opal and then vanish before that outfit hit pay dirt as Mazzy Star?\u00a0Sure, they\u2019re not the Velvet Underground, but there\u2019s a lot of history between those grooves\u2014the kind that should elevate them beyond the obscure and be intriguing to a whole new generation of listeners.<\/p>\n
The previous reissue of Wine and Roses<\/i>, done by Rhino in the early 2000s, contained the band\u2019s entire debut EP, Down There<\/i>. It\u2019s unfortunate that this Omnivore release couldn\u2019t be amended with that essential piece to the puzzle, but there are still a number of fascinating unreleased bonus cuts here, including an alternate version of \u201cArmed with an Empty Gun\u201d (a song on the band\u2019s sophomore LP Medicine Show<\/i>), featuring the soon-to-depart Kendra Smith on bass.<\/p>\n
In the end, The Days of Wine and Roses<\/i> is an anomaly. It\u2019s an album that looks to the past for inspiration, but is neither retro nor particularly well-suited for the era in which it was released. It\u2019s a record written by an artist, in Wynn, who\u2019s relied on a rather unassuming, mild-manner persona over his lengthy career, yet it\u2019s filled with dynamic full-band interplay built on the individual personalities of all four members. In many ways, it\u2019s nothing more than a simple rock record: two guitars, drums, bass, vocals. But it\u2019s also filled with bursts of arty noise and odd segues from tight roots inspired tunesmithery to lengthy jams. On the surface The Days of Wine and Roses<\/i> seems like it should fit neatly into one of the many slots we\u2019ve craved out for understanding the history of American underground rock, but it just doesn\u2019t work, and that\u2019s precisely what makes it so special.<\/p>\n","protected":false},"excerpt":{"rendered":"
Rock music, as we\u2019ve come to appreciate it here in the 21st century, is defined by the guitar. The backbeat remains vital, but the guitar is the genre\u2019s foundational<\/p>\n","protected":false},"author":7,"featured_media":0,"comment_status":"open","ping_status":"open","sticky":false,"template":"","format":"standard","meta":{"jetpack_post_was_ever_published":false,"_jetpack_newsletter_access":"","_jetpack_dont_email_post_to_subs":false,"_jetpack_newsletter_tier_id":0,"_jetpack_memberships_contains_paywalled_content":false,"_jetpack_memberships_contains_paid_content":false,"footnotes":"","jetpack_publicize_message":"","jetpack_publicize_feature_enabled":true,"jetpack_social_post_already_shared":true,"jetpack_social_options":{"image_generator_settings":{"template":"highway","default_image_id":0,"font":"","enabled":false},"version":2}},"categories":[4],"tags":[516,1444,1365],"class_list":["post-3671","post","type-post","status-publish","format-standard","hentry","category-past-perfect","tag-omnivore-recordings","tag-past-perfect","tag-the-dream-syndicate"],"yoast_head":"\n
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