Yo La Tengo
By All Music Guide
By All Music Guide
oise rock and sweetly melodic pop, shading its work with equal parts scholarly composure and fannish enthusiasm. Prolific and mercurial, Yo La Tengo ultimately transcended its myriad influences to ensconce itself as a beloved institution of the indie community.
The core of Yo La Tengo (Spanish for the outfielders cry of Ive got it!) was comprised of singer/guitarist Kaplan and his wife, drummer/vocalist Georgia Hubley. After forming the band in 1984, they placed an advertisement seeking other musicians to round out the lineup, requesting applicants who shared their fondness for the Soft Boys, Mission of Burma, and Arthur Lees Love. A number of bassists and lead guitarists passed through the bands roster during its formative years, but after bowing in late 1985 with the single The River of Water, backed by a cover of Loves A House Is Not a Motel, Yo La Tengos membership appeared to stabilize with the additions of guitarist Dave Schramm and bassist Mike Lewis prior to the sessions for 1986s full-length
oots pop debut, Ride the Tiger, produced by former Mission of Burma bassist Clint Conley.
However, both Schramm and Lewis exited in the wake of the records release, leaving Kaplan to assume lead guitar duties. Bassist Stephan Wichnewski signed on for 1987s New Wave Hot Dogs, a more assured outing that brought the groups Velvet Underground obsession to the fore via a cover of the early VU composition Its Alright (The Way That You Live). Not only did Kaplans introverted, half-spoken vocals and buzzing guitar work closely recall Lou Reed, but Hubleys rock-steady drumming and breathy backing turns simultaneously conjured memories of vintage Maureen Tucker. Even better was 1989s President Yo La Tengo, recorded with producer and guest bassist Gene Holder; opening with the droning squalls of the stunning Barnaby, Hardly Working, the record spotlighted the groups sonic schizophrenia by including two Jekyll-and-Hyde versions of the track The Evil That Men Do -- one a gorgeous instrumental, the other a blistering feedback freakout.
Schramm returned to the fold for 1990s Fakebook, a remarkable acoustic folk-pop journey through Kaplans record collection and a virtual family tree of Yo La Tengo reference points. A wonderfully low-key collection of covers ranging from forgotten nuggets (the Kinks Oklahoma U.S.A., the Flamin Groovies You Tore Me Down, Gene Clarks Tried So Hard) to absolute obscurities (Rex Garvin & the Mighty Cravers Emulsified, the Escorts The One to Cry, the Scene Is Nows Yellow Sarong), Fakebook also included a handful of outstanding new originals as well as luminous retakes of the previous records Barnaby, Hardly Working and New Wave Hot Dogs Did I Tell You? The superb That Is Yo La Tengo EP previewed 1992s May I Sing With Me, the first effort to feature permanent bassist James McNew (formerly of Christmas). A return to
oise typified by the hot-wired nine-minute feedback saga Mushroom Cloud of Hiss, the record balanced out its extremist tendencies with the occasional sidestep into melodic beauty (Detouring America With Horns) and infectious indie pop (Upside-Down).
A move to the Matador label predated the release of 1993s Painful, another winner informed by the atmospherics of shoegazer drones and dream pop. Bookended by radically opposed renditions of the track Big Day Coming -- the first an organ-driven mood piece, the other an edgy guitar outing -- the record pushed Yo La Tengo in a multitude of new directions, significantly expanding the trios palette of sounds and textures. Released in 1995, Electr-O-Pura continued the progression, zigzagging from dead-on British Invasion re-creations (the sparkling Tom Courtenay) to shimmering folk (the Hubley-sung Pablo and Andrea) to bracing sonic experimentation (Decora). After 1996s Genius + Love Equals Yo La Tengo, a two-disc compendium of B-sides, compilation tracks, rare singles, and unreleased material, the trio resurfaced in the spring of 1997 with I Can Hear the Heart Beating as One; And Then Nothing Turned Itself Inside Out followed in early 2000.
The group also performed a three-night stint as the backing band for Ray Davies on his 2000 U.S. tour, and in 2002 released The Sounds of the Sounds of Science, a soundtrack to the undersea documentaries of French filmmaker Jean Painleve. That fall, they released the Nuclear War single, which featured several versions of Sun Ras epic, and that winter performed their second annual Hanukkahpalooza, an eight-night musical festival at Hoboken, NJs Maxwells, which also featured a special limited-edition EP of Christmas songs. Yo La Tengo released Summer Sun in spring 2003, and that year Georgia Hubley performed in Mirror Man, an avant-garde rock opera by Pere Ubus David Thomas.
In 2005, Matador Records paid homage to the bands 20th year as recording artists with the career-spanning compilations Prisoners of Love: A Smattering of Scintillating Senescent Songs: 1985-2003 and A Smattering of Outtakes and Rarities 1986-2003. The band returned the following year with the strong all-new album I Am Not Afraid of You and I Will Beat Your Ass.
