Song of the Day: 'Mr. Grey' by Martha Davis

A lot has happened since the last time I checked in with the Motels. In 2018, Martha Davis and the boys released "The Last Few Beautiful Days," an album that sadly was fueled by the opioid-related death of her daughter Maria. (The record's opener, "Punchline," addresses Davis's relationship with her younger daughter, Patricia, with whom she is no longer in contact. "I've basically lost both of my daughters," she says. "It breaks me.")

And no sooner did I fall in love with that LP comes news of a new solo record. Recorded over the past decade with longtime friend and off-again-on-again Motels sax player Marty Hourard, "I Have My Standards" is a concept album of jazz covers with a twist -- they're all originals written by Davis.

“I have been talking about releasing ‘I Have my Standards’ for years.” said Davis. “I debated on whether to release it during the Pandemic. But after long consideration of the impact and challenges Covid was having on the music industry, it was the best opportunity to stay in touch with my very patient fans.” Davis continued. “I wanted to find a way to offer a glimmer of hope and stay connected while we are all hanging out at home.”

From the 1970s through 2010, Martha has been writing the songs compiled on the new album, including today's song of the day, "Mr. Grey."

“The video was kind of shot, ‘Pandemic style’ earlier in May. No one together in a studio or room, shot with whatever equipment was on hand and beautifully created & executed by my amazing friends Teresa and Fred Dekker. Not to mention Billy Reed and his amazing skills creating the album cover. This video could not have been possible without so many, who supported my decision.”

The digital download and streaming music releases are available wherever you get your music. 

Song of the Day: 'Counting' by the Motels

This one's for anyone who's ever been alone on a Friday night.

Song of the Day: 'Ringtones' by the Motels

Pretty good article about Martha Davis in the Orange County Register, written in conjunction with her four-day mini tour of Southern California. (Agoura Hills and Dana Point are tonight and tomorrow.) Although it kind of skip from when she shuttered the Motels after "Shame" (1985) and re-opened with new members for 2008's "This," it does capture the essence of one of our most underappreciated singer/songwriters, whom I've always thought of as a female Bob Dylan. Below is a track from the Motels's "If Not Now Then When" (2017), a recent collection of 27 rare tracks and demos including outtakes from Davis's solo albums "...So the Story Goes" (2004) and "Beautiful Life" (2008). Checked out the new Motels in 2008 and 2014 and feel overdue for another visit soon.

Song of the Day: 'Take the L' by Martha Davis and the Motels

It's hard to put into words just how magnificent the Motels were last night at the Irdium in Times Square. Coming off their supporting role with the Go-Go's this summer, Martha Davis and the boys shifted into headliner gear without missing a beat, seducing the audience with a set list that included their best-known songs -- "Suddenly Last Summer," "Take the L," "Total Control" (the most haunting song of all time) and "Only the Lonely" (go back and listen to this one and you'll understand why it's stood the test of time) -- new songs ("Lucky Charms," hinting at a promising new LP), and choice albums tracks, like "Party Professionals," "Apocalypso" and "Counting," which had me hearkening back to my high school years, when Friday night would roll around and the phone would never ring. (Some "Shock" would have been valued, but I digress.)  Martha Davis is a middle-aged woman now, nursing a bad knee, yet still exudes twice the charisma and vocal prowess of any woman half her age. How she hasn't gotten roped into the world of Broadway is anyone's guess. (Cyndi who?) 

Song of the Day: 'Total Control' by the Motels

I would argue it's one of the best songs of all time. Martha Davis remembers "Total Control" this way:

“I wrote the lyrics to be sung as a punk version before one of the brothers (Jeff?) wrote the chord progression and I slowed down the lyrics to match the chords. That’s why that song is so cool….it’s full of rage but it’s beautiful.” 

Song of the Day: 'Take My Breath Away' by Martha Davis of the Motels

Martha Davis recalls:

I got a call from Giorgio [Moroder]... “Hey Martha, I would like you to sing on this song” and he sent over a cassette of “Take My Breath Away.” I don’t consider myself very A&R-ish but when I heard it I said, "damn, that’s a hit!" I went in and sang the song, but then, Terri ended up doing it and having it featured in Top Gun. There’s a big part of me that is glad that I didn’t do it because I’m a writer and I think I would have been known more for that song than any other. 

The Motels' 'Apocalypso' Wins Best Reissue At Independent Music Awards

Congrats to the Motels, whose shelved 1981 LP, "Apocalypso," just won the "best reissue" prize at the 11th Annual Independent Music Awards. The album is a revelation -- rawer and more intense than when it was re-recorded as the hit "All Four One" in 1982 -- and was the inspiration for my Bruised Fruit CDs music-trading site, as I culled my rare music into collections (b-sides, bonus tracks, soundtrack contributions, demos) in hopes of finding someone who had the original third Motels album and would be willing to swap. (It never materialized.) Today, Bruised Fruit CDs is mostly dormant. Nearly everything I ever hoped would be released digitally has come out. But I still remain on the lookout for Clare Grogran's "Trash Mad," The Boss' "Electric Nebraska," the Waitresses' "Bruiseology" and Jimmy Destri's "Heart on a Wall." I hear from my pal Tracie Young that her shelved sophomore LP will be released by Cherry Pop in the coming year, at which point I can die happy, buried in a pair of parachute pants and a Chess King zigzag top.

Music Box: The Motels 'Apocalypso' (Lost 1981 Album)

Before I forget, wanted to mention how excited I am that the Motels' shelved 1981 album, "Apocalypso," is finally getting an official release on Tuesday. As superfans know, Capitol Records -- who had been major supporters of the band's first two well-reviewed but minimally purchased records -- were really looking for the band to break into the big time with their third effort, especially with the New Wave invasion beginning to dominate the charts. When Martha and the boys turned in "Apocalypso," the label didn't hear a hit, so told them they'd release it, but they wouldn't promote it.

Undaunted, the band regrouped -- Martha and lead guitarist Tim McGovern, who had replaced Jeff Jouard on the second LP, broke up romantically and professionally -- and re-recorded the album, this time letting producer Val Garay (riding high on the success of "Bette Davis Eyes") take the driver's seat, a position he had relinquished in the face of McGovern's domineering presence. It paid off. Rechristened with the tongue-in-cheek name "All Four One," the album would become the band's biggest, fueled by the Top 10 single "Only the Lonely," plus video favorites "Take the L" and "Forever Mine." The Motels would continue to succeed with this more-polished sound for two more albums -- "Little Robbers" and "Shock" -- but being the obsessive-compulsive collector of music that I am, the mysterious "Apocalypso" -- rejected for being "too weird" and "not commercial enough" -- has long cast a shadow on my CD rack, a shadow about to be removed by Omnivore Recordings, who bravely took on this long-overdue project.

I say bravely because it's no secret that CD sales are in the crapper, so I admire labels that still release things for the love of music rather than only focusing on the bottom. To be honest, I've been pretty shocked by how many things I thought would NEVER be released on CD that have come out recently, including all of Debora Iyall and Romeo Void's albums, Tracie's "Far From the Hurting Kind," Marilyn's "Despite Straight Lines" and Tom Tom Club's "Close to the Bone," although these are first-time digital outings rather than previously unreleased efforts. Now that "Apocalypso" is coming out, my list of dream shelved albums is dwindling down to Clare Grogran's "Trash Mad," Susanna Hoffs' "Wallace Album" (which I have on bootleg), The Boss' "Electric Nebraska" and Tracie Young's second LP, which is reportedly being released by Cherry Pop.

Because I'm so obsessive, I actually already have most of the songs that were deleted from "Apocalypso" when it became "All Four One" ("Schneekin," "Lost but Not Forgotten," "Who Could Resist That Face?" and "Sweet Destiny"), but it will be a relief to have them all, digitally remastered and sequenced, along with the early ("weird") takes of the songs that ended up on "All Four One," all on one disc. I'm especially eager to see the liner notes, as Martha Davis is a great storyteller and I would love to hear her memories of this artistic "failure" that would change the course of her life forever.

Order your copy HERE. And here's the original version of "So L.A.," whose dark subject matter benefits from the grittier production and rawer vocals, but definitely sounds like the first album rather than a Top 40 outfit. (Sounds like the suits actually knew what they were doing -- and while one could argue against a sellout, Martha's not complaining when the royalty checks roll in.)

No Reservations

On Saturday night, Michael and I had the thrill of seeing the wonderful Martha Davis and her Motels perform at B.B. King in Times Square. Having seen both the Go-Go's and X live in the early '80s, the Motels were always the missing corner of my L.A. new wave music triangle. I wasn't sure that this day would ever come -- Martha had a cancer scare years ago and then seemed to vanish for awhile -- but it was definitely worth the wait. Looking and sounding good at 57, Martha came out rocking with the one-two punch of "Dressing Up" and "Kix" from the Motels' classic 1979 eponymous debut. (If you don't own this one, you're really missing out.) The show was then a mixture of old songs, new songs and reworked versions of old tracks that were recorded for last year's "Clean, Modern, Reasonable" -- three things, incidentally, Martha assured the crowd that she is not! (However, I will say when I gave her a smooch after the show she seemed rather clean to me.) 

 I didn't take notes, but off the top of my head they also did "Total Control" (a true classic), "Closets & Bullets," ""Counting" (reworked) and "Celia" (all from the debut); "People, Places and Things" (my fave) off "Careful"; "So L.A.," "Take the L" (reworked) "Only the Lonely" (off "All Four One"); "Suddenly Last Summer" (off "Little Robbers"); "Last of the Bohemians," "The Day That Won't Go Away" (dedicated to Kiefer Sutherland); "Where Oh Where," "I'm Better Now" and "Nothing" (off 2008's "This" -- which I swear sounds like it could have been the follow-up to "Policy") and the title track form "Beautiful Life" (her 2008 solo effort). The omission of anything from "Shock" was my only set-list grievance ("Shame" was her last big chart hit, after all), but you can't do everything ... and "Remember the Nights," the band's other Top 40 hit would have been nice, too.

  After the show a gaggle of new wave queens (led by yours truly) swarmed around everyone's favorite Motelier to get a photo and autograph (I don't think I've seen that many album covers in 20 years!). Martha seemed tickled by all of the love and attention -- and at one point started laughing at the way all of her fans followed her around the club. ("This is hilarious -- I feel like I'm in "Spinal Tap"!) A good time was had by all.

   

The Motels' tour continues in California (see dates here). In case you missed it, check out my interview with Martha on Towleroad here.

Not only the lonely can play

Music Box: The Motels

In the band's early '80s heyday, I thought the Motels were nothing more than a poor man's Pretenders, and didn't pay them much attention. Years later, I came to realize that Martha Davis was one of the New Wave's most evocative presences, with her smoky vocals, her crazy eyes and her dark and moody lyrics that frequently examined the dark side of Los Angeles. Although the band's MTV hits -- "Only the Lonely," "Suddenly Last Summer" and, especially, "Shame" -- were certainly enjoyable, I think the real turning point came in 1986 when I saw Jonathan Demme's underrated "Something Wild." There's the robbery scene in the grocery with Ray Liotta and Jeff Daniels -- every second more tense than the next -- and the Motels' "Total Control" plays robotically in the background. It's such a brilliant film moment made even more perfect by that song. It was then that I had to race out and get every song they ever recorded and what a joy it was to discover the band's first five studio albums (1979's "Motels," 1980's "Careful," 1982's "All Four One," 1985's "Shock") and Martha's 1987 solo debut, "Policy."

All these years later, Martha Davis and her Motels are still making interesting music. (Check out their latest releases here.) And I'm still discovering some of the old stuff. It seems their most successful album -- 1982's "All Four One" -- was reissued years ago with many of the original takes from when it was first submitted to the label -- and rejected -- in 1981 as "Apocalypso." I only found out about the reissue with these bonus tracks last night and have been searching the Web looking for a copy. (I think I've succeeded!) Now if we could just get Martha to play live in the Big Apple someday soon ...

I would sell my soul ...

"Shame" on every little thing that we do ...