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Game Theory: Real Nighttime [Deluxe Edition] [Digipak]

Track List

>Here Comes Everybody
>24
>Waltz the Halls Always
>I Mean It This Time
>Friend of the Family
>If and When It Falls Apart
>Curse of the Frontier Land
>Rayon Drive
>She'll Be a Verb
>Real Nighttime
>You Can't Have Me
>I Turned Her Away
>Girl w/a Guitar
>Any Other Hand
>Faithless
>Baker Street - (previously unreleased, live)
>Red Baron, The - (previously unreleased, live)
>If and When It Falls Apart - (previously unreleased, live)
>Beach State Rocking - (previously unreleased, live)
>She'll Be a Verb - (previously unreleased, live)
>Curse of the Frontier Land - (previously unreleased, live)
>Metal and Glass Exact - (previously unreleased, live)
>Girl w/a Guitar [Complete] - (previously unreleased, live)
>I Turned Her Away - (previously unreleased, live)
>Lily of the Valley - (previously unreleased)

Album Notes

Personnel: Scott Miller (vocals, guitar, percussion); Nan Becker (keyboards, background vocals); Dave Gill (drums, electronic percussion, gong); Fred Juhos (background vocals).

Liner Note Authors: Pat Thomas ; Byron Coley; Carl Newman.

Recording information: Iowa State University, Ames, IA (07/22/1984-07/31/1984); Marsh Arts House, Amherst College, Amherst, MA (07/22/1984-07/31/1984); Montage Recording Studios, Newark, CA (07/22/1984-07/31/1984); The Berkeley Square, Berkeley, CA (07/22/1984-07/31/1984); The Coyote Club, Wichita, KS (07/22/1984-07/31/1984); The Detroit Metro Danceteria, Canton, MI (07/22/1984-07/31/1984); The Elks Club, Bozeman, MT (07/22/1984-07/31/1984); The Metro Lounge, Cincinnati, OH (07/22/1984-07/31/1984); Iowa State University, Ames, IA (09/05/1985); Marsh Arts House, Amherst College, Amherst, MA (09/05/1985); Montage Recording Studios, Newark, CA (09/05/1985); The Berkeley Square, Berkeley, CA (09/05/1985); The Coyote Club, Wichita, KS (09/05/1985); The Detroit Metro Danceteria, Canton, MI (09/05/1985); The Elks Club, Bozeman, MT (09/05/1985); The Metro Lounge, Cincinnati, OH (09/05/1985); Iowa State University, Ames, IA (09/10/1985); Marsh Arts House, Amherst College, Amherst, MA (09/10/1985); Montage Recording Studios, Newark, CA (09/10/1985); The Berkeley Square, Berkeley, CA (09/10/1985); The Coyote Club, Wichita, KS (09/10/1985); The Detroit Metro Danceteria, Canton, MI (09/10/1985); The Elks Club, Bozeman, MT (09/10/1985); The Metro Lounge, Cincinnati, OH (09/10/1985); Iowa State University, Ames, IA (10/09/1985); Marsh Arts House, Amherst College, Amherst, MA (10/09/1985); Montage Recording Studios, Newark, CA (10/09/1985); The Berkeley Square, Berkeley, CA (10/09/1985); The Coyote Club, Wichita, KS (10/09/1985); The Detroit Metro Danceteria, Canton, MI (10/09/1985); The Elks Club, Bozeman, MT (10/09/1985); The Metro Lounge, Cincinnati, OH (10/09/1985); Iowa State University, Ames, IA (10/17/1985); Marsh Arts House, Amherst College, Amherst, MA (10/17/1985); Montage Recording Studios, Newark, CA (10/17/1985); The Berkeley Square, Berkeley, CA (10/17/1985); The Coyote Club, Wichita, KS (10/17/1985); The Detroit Metro Danceteria, Canton, MI (10/17/1985); The Elks Club, Bozeman, MT (10/17/1985); The Metro Lounge, Cincinnati, OH (10/17/1985); Iowa State University, Ames, IA (10/22/1984); Marsh Arts House, Amherst College, Amherst, MA (10/22/1984); Montage Recording Studios, Newark, CA (10/22/1984); The Berkeley Square, Berkeley, CA (10/22/1984); The Coyote Club, Wichita, KS (10/22/1984); The Detroit Metro Danceteria, Canton, MI (10/22/1984); The Elks Club, Bozeman, MT (10/22/1984); The Metro Lounge, Cincinnati, OH (10/22/1984); Iowa State University, Ames, IA (10/30/1986); Marsh Arts House, Amherst College, Amherst, MA (10/30/1986); Montage Recording Studios, Newark, CA (10/30/1986); The Berkeley Square, Berkeley, CA (10/30/1986); The Coyote Club, Wichita, KS (10/30/1986); The Detroit Metro Danceteria, Canton, MI (10/30/1986); The Elks Club, Bozeman, MT (10/30/1986); The Metro Lounge, Cincinnati, OH (10/30/1986); Iowa State University, Ames, IA (11/06/1985); Marsh Arts House, Amherst College, Amherst, MA (11/06/1985); Montage Recording Studios, Newark, CA (11/06/1985); The Berkeley Square, Berkeley, CA (11/06/1985); The Coyote Club, Wichita, KS (11/06/1985); The Detroit Metro Danceteria, Canton, MI (11/06/1985); The Elks Club, Bozeman, MT (11/06/1985); The Metro Lounge, Cincinnati, OH (11/06/1985).

Photographer: Robert Toren.

Released in 1985, Real Nighttime wasn't Game Theory's first album -- they'd self-released the home-recorded Blaze of Glory in 1982, and a pair of EPs had been fashioned into the 1984 LP Dead Center -- but it was the first record that truly fulfilled Scott Miller's ideas and ambitions for his music. With Real Nighttime, Miller and his bandmates had a bigger budget to work with, as well as a talented and sympatico producer, Mitch Easter, who tightened up the music and helped Miller work out the angles of his sweet-and-noisy smart pop. While Easter's studiocraft helped Game Theory improve their game, Real Nighttime more importantly contained the best and most cohesive set of songs Miller had written to date, and this loose song cycle following a young man's journey from romantic bliss ("24") to soul-crushing disappointment ("I Turned Her Away") plays like the indie pop answer to Pet Sounds. Like that album, Real Nighttime gave Game Theory a great canvas for experimentation; the ominous clouds of slide guitar on their cover of Alex Chilton's "You Can't Have Me," the caffeinated guitars and drums of "Friend of the Family," and the interplay of fuzztone and Farfisa on "Rayon Drive" showed Game Theory were learning new ways to color their surroundings, especially as the more aggressive numbers turned around quieter pieces like "If and When It Falls Apart" and "I Mean It This Time." And while Miller was clearly the leader of this band, the outstanding percussion work from Dave Gill, the evocative keyboards from Nan Becker, and the solid, propulsive bass of Fred Juhos played an invaluable role in making these songs work. Game Theory made good records right out of the starting gate, but Real Nighttime was where they proved they could make truly great ones, and it's not just one of the band's finest works, it's a watershed work in '80s paisley underground pop. ~ Mark Deming



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