The Toll - The Price Of Progression (Geffen GHS 24201) (US 1988) (Vinyl 24-96 & 16-44.1)

The Toll - The Price Of Progression
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Cat#: Geffen GHS 24201 | Country/Year: US 1988

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Info:

Toll, The - The Price Of Progression

Label: Geffen Records
Catalog#: GHS 24201
Format: Vinyl, LP, Album
Country: US
Released: 1988
Genre: Rock
Style: Alternative Rock

Tracklist:

A1 Jazz Clone Clown
A2 Jonathan Toledo
A3 Smoke Another Cigarette
A4 Soldier's Room
A5 Word Of Honor

B1 Anna-41-Box
B2 Tamara Told Me
B3 Living In The Valley Of Pain
B4 Stand In Winter


Notes:

PRINTED INNER SLEEVE WITH LYRICS

Barcode:

0 7599-24201-1 2

Discogs Url: http://www.discogs.com/release/2394128
Wikipedia Url (band): http://en.wikipedia.org/wiki/The_Toll

Originally formed as Nothing Yet in 1983 in Columbus, Ohio by cousins Brad Circone and Rick Silk, went through 12 drummers and 2 bass players before the lineup solidified in mid-1984 with the arrival of Mayo and Bartram. The Toll's reputation as an intense live act grew, and with narratives improvised lyrically by Circone, the band's loyal following came to realize that any song's mood could change radically from one night to the next. Circone effectively approached the lyrics as a writer might see the characters in a short story, and from one night to the next any subject in a song might change from a victim to victor, from hero to dark villain, depending on whatever he (Circone) experienced on a given day. This meant that the rest of the band had to pay attention to the lyrics intently. "I couldn't very well keep the feel of the song if I'm playing something upbeat and happy, but Anna's husband came home drunk and was threatening to hurt her…there'd be no continuity between words and music," remembers Bartram.

After several years of touring during which the band booked and promoted itself through a 22-state circuit without the aid of management, the Toll's intense live reputation drew the attention of The Psychedelic Furs bassist Tim Butler. Butler got the band booked as a last-minute replacement at New York City's The Ritz, which was the first show to bring major label interest. Initially signing a demo deal with Chrysalis, the Toll recorded several songs with Butler as producer.

Chrysalis did not get the band signed, as Geffen's Michael Rosenblatt, on a tip from the band's entertainment attorney, flew on one days' notice to East Lansing, Michigan to see them. After the 45-minute set was concluded, Rosenblatt offered the band a two-album contract which the Toll accepted.

The Toll's first release, 1988's The Price of Progression, featured three songs over 10 minutes long. These songs were lyrically improvised through the narrative sections exactly as the band did live, even to the extent that out-of-tune guitars were left as they would have been live.

Geffen released one of these narratives, 'Jonathan Toledo', as the first single from the album. They planned to fly over 90 major industry figures, primarily high-profile media, to the band's first show in Columbus after the release of the album. Unfortunately, Circone shattered his heel at a show in Pittsburgh the night before the Columbus gig, tearing the heart out of Geffen's marketing plan.

Geffen proceeded as if the showcase had taken place and hoped that the 'Toledo' release would acquaint AOR radio and MTV with the band by showcasing what made them different. Even as a full-length song clocking in at over 10 minutes, 'Toledo' still achieved breakout rotation on 90+ P1-level stations, and was spotlighted on MTV's '120 Minutes'. The video sat in breakout rotation on MTV for 6 weeks, and at one point held a record for the longest non-Michael Jackson video ever played on MTV. Unfortunately, when the song was unable to achieve the breakthrough that Geffen expected, the single was pulled.

Geffen needed an alternative single and although 'Stand In Winter' (which featured slide guitar performances by Mick Ronson) was heralded by Rolling Stone magazine as 'The Toll's 'Sweet Child O' Mine', Geffen opted for 'Soldier's Room' on the advise of a single radio station in Texas.

When 'Soldier's Room' failed to leave its mark, the Toll were pulled off the road and told to start its second record. They proceeded to record and submit 'The Parable Of Pariah', a complete concept record, within two weeks of returning home. Equal parts inspired and unfocused, the project was rejected by Geffen.

Several songs from Parable did survive to make the band's second release, 1991's Sticks & Stones and Broken Bones The band made a conscious decision not to record any of the songs as narratives, believing that, once the audience realized that any song could become a narrative on any night, the uniqueness of the band would shine through. Unfortunately, Geffen did little to promote the record and, along with some 30-40 other bands, dropped the Toll in 1992. The band split up shortly after that, reuniting once to play a benefit in honor of legendary Columbus performer Ronald Koal after his death in 1993. rateyourmusic



As luck would have it, the only time I recall The Toll ever playing within spitting distance of Detroit, the night they touched down at Lili’s in Hamtramck - a tiny Polish enclave just east of the city - I was sitting in an ICU waiting room in Oakwood Hospital with my mom while the old man stared down the Reaper for the third time, 40 years of Winstons, three packs a day, really doing a number on his ticker and his Blue Cross/Blue Shield card.

One quick listen and it’s obvious why the suits at Geffen had absolutely no idea what to do with “The Price of Progression,” flummoxed by what just may be the most sprawling, disorienting, and startling debuts of the 80’s. It’s also one of the best, but here’s a confession: even armed with a lyric sheet, I’m hard pressed to figure out what these guys are on about most of the time.

But they certainly weren’t fooling around. Despite hailing from the college town of Columbus, Ohio, whose football team deserves a special place in this scribe’s heart for routinely feeding the evil empire in Ann Arbor their lunch every fall, I’ve a hunch this album wasn’t trotted out at many dorm parties or frat mixers across the Ohio State University campus. I’ve never tried, but something tells me you’d end up in traction if you tried to dance to “Anna-41-Box,” no matter how much Jagermeister you suck down.

Singer Brad Circone seems beamed in from either an impossibly glamorous future or an impossibly retro past, equal parts street preacher, carnival barker, and alien peacenik sworn to warn foolhardy Earthlings about the follies of false pride, hypocrisy, spousal abuse, and organized religion in three 10-minute-plus narrative epics he improvised in the studio (“Jonathan Toledo,” “Anna-41-Box,” and “Living in the Valley of Pain”). All three vacillate wildly between lucidity and utter madness, powered by hard-hearted near-tribal rhythms and Rick Silk’s rubber room guitars he’d evidently used to paddle down the River Styx, ultimately snapping back into place mere seconds before Circone bursts an aneurysm and the wheels come off forever.

Cocky over the success of Guns ‘N Roses and Edie Brickell, Geffen were confident they could break the band by releasing “Jonathan Toledo” in its entirety as a single and according to bassist Greg Bartram it nearly worked when the song was added to 95 FM stations around the States and the video went into breakout rotation on MTV. Chalk it up to attention deficit disorder or a tragic case of snoozing and losing, but the song went tits up in both formats when both sides blinked. Circone busting up his ankle in Pittsburgh the night before Geffen was to fly in over 100 journalists to a gig on the band’s home turf resulted in a bit of a sticky wicket as well, the brain trust evidently unfamiliar with a similar stunt attempted by Dave Robinson with Brinsley Schwarz.

To these tin ears, though, it’s the shorter numbers, where Circone sticks mostly to the script - save for a rallying cry to kick off album opener “Jazz Clone Clown” and a short disclaimer before “Word of Honor” – that should’ve earned the band their bones as compact, tough, no-nonsense purveyors of hard-hearted riffs and chiming power chords, powered by an engine room you could set your watch to. “Word of Honor” certainly rages, struts, fumes, and boils as well as anything The Clash ever did before they started believing their own press and “Jazz Clone Clown” swells anthem-like, full bodied and robust, in a way U2 would sacrifice their collective left testicle for.

“Tamara Told Me” sways and preens like “Exile”-era Stones, Silk battling Bartram and drummer Brett Mayo to a dead draw, the mind reeling to think what this rhythm section sounded like that night in the tiny room that was Lili’s. Silk stakes his case throughout “The Price of Progression” for membership on the long list of great guitarists no one’s ever heard of, making more than enough racket to loosen plaster, drywall, bricks, and mortar.

Geffen ignored the feedback asking for “Word of Honor,” “Smoke Another Cigarette,” or “Stand in Winter” (christened The Toll’s “Sweet Child O’Mine” by no less an authority than “Rolling Stone”) in favor of a song recommended by one station in Texas, “Soldier’s Room,” which tanked like “Jonathan Toledo” before it. And, although “The Price of Progression” quickly sold through its first pressing of 80,000 copies, the label pulled their tour support rather than letting the band ride the groundswell, sending them off to the studio to record what would eventually become “Sticks & Stones and Broken Bones.” ottoluck@rateyourmusic



=Hardware=
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Date of rip: 2010-08-09
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