ON FIRE is available along with Galaxie 500's two other full-length albums on the 4-CD box set GALAXIE 500 (Rykodisc 10355).
Galaxie 500: Dean Wareham (vocals, guitar); Naomi Yang (vocals, bass); Damon Krukowski (drums, percussion).
Additional personnel: Ralph Carney (tenor saxophone); Kramer (organ, background vocals).
Recorded at Noise New York, New York, New York in 1989. Includes liner notes by Kramer and Byron Coley.
Originally released on Rough Trade.
Arguably the band's best effort, ON FIRE typifies Galaxie 500's slow, dreamy, three-chord song craft. In tone, style, song structure and their attempt at achieving an almost drone-like meditative quality, the band clearly worship at the altar of the Velvet Underground. Drummer Damon Krukowski, bassist Naomi Yang and particularly guitarist/vocalist Dean Wareham, who probably dreams of Lou Reed floating to him in the night singing chorus after chorus of "Pale Blue Eyes," follow impressively in the footsteps of their mentors.
The tone may vary slightly, from delicate, haunting melodies such as "Tell Me," to the open, floating spaces of "Snowstorm," and the desperate cries of alienation of "Strange," but the predominant mood is one of quiet, murky introspection. Though detractors may accuse the band of sounding somewhat monochromatic, there's a definite charm to Galaxie 500's simple, atmospheric pop songs and Wareham's surreal lyrics and unadorned, unaffected voice; his poignant treatment here of George Harrison's "Isn't It A Pity" is particularly notable.
Having already made a fine account of themselves on Today, the three members of Galaxie 500 got even better with On Fire, recording another lovely classic of late '80s rock. As with all the band's work, Kramer once again handles the production, the perfect person to bring out Galaxie 500's particular approach. The combination of his continued use of reverb and the sudden, dramatic shifts in the music -- never exploding, just delivering enough of a change -- makes for fine results. Consider "Snowstorm," with Krukowski's soft-then-strong drums and Wareham's liquid solo and how they're placed in the mix, leading without dominating. Yang's vocals became more prominent and her bass work more quietly narcotic than before, while Krukowski adds more heft to his playing without running roughshod over everything, even at the band's loudest. Wareham in contrast more or less continues along, his glazed, haunting voice simply a joy to hear, while adding subtle touches in the arrangements -- acoustic guitar is often prominent -- to contrast his beautifully frazzled soloing. Leadoff track "Blue Thunder" is the most well-known song and deservedly so, another instance of the trio's ability to combine subtle uplift with blissed-out melancholia, building to an inspiring ending. There's more overt variety throughout On Fire, from the more direct loner-in-the-crowd sentiments and musical punch of "Strange" to the Yang-sung "Another Day," a chance for her to shine individually before Wareham joins in at the end. Again, a cover makes a nod to past inspirations, with George Harrison being the songwriter of choice; his "Isn't It a Pity" closes out the album wonderfully, Kramer adding vocals and "cheap organ." Inspired guest appearance -- Ralph Carney, Tom Waits' horn player of choice, adding some great tenor sax to the increasing volume and drive of "Decomposing Trees." Later CD pressings included the bonus tracks from the Blue Thunder EP. ~ Ned Raggett minimize