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SUBURBAN LAWNS

A playfully subversive new wave pop band with a sharp, arty edge, Suburban Lawns enjoyed an impressive burst of popularity for their catchy yet angular melodies and the sometimes deadpan, sometimes antic vocals of vocalist Su Tissue, who sang of various aspects of contemporary culture ranging from computer dating and UFOs to the Supreme Being. Suburban Lawns was formed in Long Beach, California in 1978 by two students at the California Institute of the Arts: Sue McLane, who took the stage name Su Tissue and handled lead vocals and keyboards, and William Ranson, also known as Vex Billingsgate, who sang and played bass. After the two began working up songs, they brought aboard guitarists Frankie Ennui (born Richard Whitney) and John Gleur (real name John McBurney), and drummer Chuck Roast (aka Charles Rodriguez). Suburban Lawns soon began making a name for themselves on the Southern California club circuit, and in 1979 the band self-released their debut single, "Gidget Goes to Hell" b/w "My Boyfriend." The A-side's satiric title and lyrics earned it plenty of airplay on stations willing to spin independent singles, and filmmaker Jonathan Demme made a low-budget music video for "Gidget Goes to Hell" that gave Suburban Lawns a nationwide audience when it was aired on Saturday Night Live...

"SUBURBAN LAWNS"

Produced and recorded by E.J. Emmons and Troy Mathisen

1981     LP     I.R.S. RECORDS     SP70024

PRINTED IN U.S.A.   ORIGINAL PRESSING

SINGLE COVER + INNER SLEEVE

HEAVY CARDBOARD COVER

Barcode and Other Identifiers

Barcode: none

LABEL: I.R.S. - MULTICOLOR LABELS w/LOGO at BOTTOM - B/W TEXT 

Catalog on cover: (spine & inner) SP 70024    

Catalog on labels: 0-70024-A / 0-70024-B

Matrix / Runout (Side A, Etched): AM-IRSP 070024-A  P2••

Matrix / Runout (Side B, Etched): AM IR SP 070024-B  P1•

On labels: rim text reads "© 1981 I.R.S., Inc.....Manufactured and Distributed by A&M Records, Inc.......All Songs Suburban Industrial Music BMI"

On Back Cover: Suburban Industrial Records

 © 1981 International Records Syndicate, Inc.

Manufactured and distributed by A&M Records, Inc.

tracklisting

Side 1: FLYING SAUCER SAFARI - PIONEERS - NOT ALLOWED

GOSSIP - INTELLECTUAL ROCK - PROTECTION - ANYTHING

Side 2: JANITOR - COMPUTER DATE - MOM AND DAD AND GOD

UNABLE - WHEN IN THE WORLD - GREEN EYES - JAM THE CONTROLS

grading

RECORD EX but (please, read above description)

SLEEVE VG+ but (please, see pictures and read above description)

In the '60s and '70s, it seemed it was the birthright of every British art student to form some sort of pop group (ranging from the Beatles to Gang of Four), but it wasn't until the late '70s and the rise of the new wave scene that the same thinking began to spread in a big way on American college campuses, where would-be painters and sculptors discovered learning a few chords and penning some oblique lyrics could lead to shows at off-campus bars, with free beer, brief romantic partnerships among fans, and the envy of their peers as their reward. Talking Heads were the biggest and (arguably) best art school band of the era, but Suburban Lawns were one of the most successful examples on the West Coast. Between 1978 and 1983, Suburban Lawns gigged frequently on the West Coast new wave circuit, and put out two successful indie singles ("Gidget Goes to Hell" and "Janitor") before they cut their self-titled debut album for I.R.S. Records in 1981. On vinyl, Suburban Lawns sound unrelentingly "clever" and a bit too self-consciously quirky for their own good, but there's more than enough surreal humor in the lyrics of tunes like "Flying Saucer Safari," "Computer Date," and "Intellectual Rock" to compensate, and the musicians had impressive skills to pull off the breakneck tempos and acrobatic guitar figures that dominate these songs, sounding taut and jaunty at each turn. And though Vex Billingsgate's "Local television announcer gone berserk" vocal style had its charms, Su Tissue's three-way cross between Nico, Yoko Ono, and a performance poet working on two hours sleep was not only a touchstone of the era, but a witty and singular sound in its own right. Suburban Lawns manages to sound like the archetypal '80s new wave album and an arty pop project that doesn't bear close resemblance to anything else at the same time, and either way you look at it, it's an off-kilter triumph...(AllMusic)