Steve Wynn was a student at the University of California, Davis when he formed his first band, a five-piece outfit called the Suspects; they were one of the first new wave bands in the area, and the membership included vocalist Kendra Smith (they met in a Rhetoric class), guitarist Russ Tolman, and Gavin Blair on drums. The band was short-lived but released one single in 1979, "It's Up to You" b/w "Talking Loud." (After they broke up, Tolman and Blair would later form True West.) Wynn's next project was another band that quickly faded out, 15 Minutes, which included members of another UC Davis band, Alternate Learning (led by future Game Theory and Loud Family frontman Scott Miller); like the Suspects, they left behind one single, 1981's "That's What You Always Say" b/w "Last Chance for You." Wynn left Davis for Los Angeles, and after a short stint with a project called Goat Deity (bandmates Kelly Callan and Kristi Callan would later form Wednesday Week), Wynn decided it was time to start a band of his own. He placed an ad looking for a bassist and got a reply from Karl Precoda, who was also a powerful guitarist. Wynn and Precoda became the band's guitar players, Kendra Smith was recruited to play bass and lend occasional vocals, and Dennis Duck (born Dennis Mehaffey), a veteran of the Pasadena group Human Hands, completed the quartet on drums. Borrowing their name from one of John Cale's pre-Velvet Underground projects, the Dream Syndicate made their debut on February 23, 1982 at a Hollywood club called Club Lingerie.
Shortly after their first gig, the Dream Syndicate recorded a four-song EP released on Wynn's Down There label, which was well received in the West Coast music press. The good reviews coupled with the band's powerful live shows, with extensive guitar interplay from Precoda and Wynn, created a significant buzz around the Dream Syndicate, and they struck a deal with Ruby Records, an offshoot of the celebrated L.A. indie label Slash Records. Produced by Chris D. (aka Chris Desjardins) of the Flesh Eaters, the first Dream Syndicate album, The Days of Wine and Roses, was released in October 1982, and was greeted with rave reviews as the band became one of the most talked about new groups in the American underground. The acclaim led to offers from several major labels, and the Dream Syndicate signed with A&M for their second album. By the time they went into the studio to start work on their major-label debut, Kendra Smith had left to form Opal with David Roback (formerly of the Rain Parade), and David Provost took over on bass. With Blue Öyster Cult producer Sandy Pearlman at the controls, the Dream Syndicate spent seven days a week in the studio for five months slowly crafting 1984's Medicine Show, which was significantly more polished but also darker, more indebted to hard rock, and suggested Wynn had swapped out Bob Dylan for Neil Young as his most significant influence. Critics and fans alike were puzzled by the album's sound and scale, and its modest sales didn't make a dent in the significant expense of the recording. Before the band could tour in support of the album, David Provost left, and bassist Mark Walton came on board. After releasing a live EP, 1984's This Is Not the New Dream Syndicate Album, A&M dropped them. Precoda soon left and Wynn briefly retired the group, cutting a stopgap project with Dan Stuart of Green on Red, The Lost Weekend, under the name Danny & Dusty.
The Dream Syndicate's hiatus didn't last long, and Steve Wynn, Mark Walton, and Dennis Duck regrouped with guitarist Paul B. Cutler, who had played with the Consumers and 45 Grave (and coincidentally engineered the debut EP on Down There). Cutler's sharper and sleeker guitar style meshed well with the noir-influenced narratives that now dominated Wynn's songs, and 1986's Out of the Grey (initially released by the BMG-distributed Bigtime label) was warmly welcomed by critics and proved the band had found their second wind. Producer Elliot Mazer, who had previously worked with Neil Young, Janis Joplin, and Gordon Lightfoot, lent his talents to the Dream Syndicate for 1988's Ghost Stories, released by Restless Records, and the band toured extensively in Europe, the U.K., and the United States in support. In 1989, Restless released Live at Raji's, an exciting set cut at a club show shortly before the recording of Ghost Stories, but it turned out to be a swan song for the second edition of the Dream Syndicate, who broke up shortly after its release. A documentary on the band's final American tour, Weathered and Torn, was released in 1992. Wynn went on to a solo career as well as recording and performing with a number of side projects, including Gutterball, Smack Dab, and the Baseball Project. A few posthumous Dream Syndicate albums appeared after they called it quits, including 1993's 3 ½ (The Lost Tapes: 1985-1988), a collection of unreleased outtakes, and 1994's The Day Before Wine and Roses, taken from a 1982 live radio broadcast of a show that took place the day before they started work on their first album.
In 2012, after several European tours in which Steve Wynn performed Dream Syndicate material with his group the Miracle 3, he unveiled a new lineup of the band at Festival BAM in Barcelona, Spain. This edition featured previous members Wynn, Dennis Duck, and Mark Walton, as well as guitarist Jason Victor, who had played with Wynn in his solo projects. The revived Dream Syndicate staged several concert tours, mostly in Europe, before returning to the studio to cut a new album. How Did I Find Myself Here? was released by Anti- in September 2017, and featured guest vocals from Kendra Smith. The album also introduced the group's fifth member, keyboard player Chris Cacavas, previously with Green on Red. The album was well-reviewed, and the group toured extensively in America and Europe. In 2018, the Dream Syndicate took part in an unusual recording project called 3x4, in which four of the major Paisley Underground acts of the '80s -- the Dream Syndicate, the Bangles, the Rain Parade, and the Three O'Clock -- covered each other's songs, with the Dream Syndicate tackling "Hero Takes a Fall," "You Are My Friend," and "She Turns to Flowers." The same year, for Record Store Day, they brought out a limited-edition collection, How We Found Ourselves … Everywhere, which featured one studio outtake from the How Did I Find Myself Here? sessions, as well as four live performances. May 2019 brought another studio album from the band, These Times; their touring behind the album included several dates opening for the reunited Mott the Hoople.
Just short of a year later, in April 2020, the Dream Syndicate delivered another studio album, The Universe Inside, whose exploratory tone suggested a mid-point between psychedelia and jazz. 2020 also found the Dream Syndicate backing guitarist Chris Schlarb on four cuts of Houses of the Holy, an album from his experimental rock/jazz project Psychic Temple. The band gave fans the definitive look at their 1986 release Out of the Grey with the 2022 collection What Can I Say? No Regrets...: Out of the Grey + Live, Demos & Outtakes, a three-disc which featured a remastered version of the original LP along with a wealth of live recordings, outtakes from the recording sessions, songwriting demos, and an abundance of covers, from Alice Cooper to Dolly Parton & Porter Wagoner. The group signed to the Fire Records for the release of 2022's Ultraviolet Battle Hymns and True Confessions, which once again saw them exploring new territory, with Wynn citing the Motorik rhythms of Neu! and the ambient soundscapes of Brian Eno as key influences on the songs. Adding to the album's diverse sonic palette were guest appearances from Marcus Tenney on trumpet and sax, and Stephen McCarthy of the Long Ryders on backing vocals. Fire continued illuminating the band's past with an expanded reissue of The Days of Wine and Roses titled History Kinda Pales When It and You Are Aligned: The Days of Wine and Roses - 40th Anniversary Edition. The set collects nearly all the bonus tracks that had been on previous reissues while adding a healthy selection of live tracks culled from Duck's tape archives.
Biography by Mark Demming for ALLMUSIC
There's also another band with the same name:
2. An ensemble dedicated to the realization of La Monte Young's work, composed of:
John Cale (strings), Tony Conrad (strings), Angus MacLise (percussion), La Monte Young (vocals), Marian Zazeela (vocals)
The rest of this article describes the first group; for the second, see https://en.wikipedia.org/wiki/Theater_of_Eternal_Music .
While attending the University of California, Davis, Wynn and Smith played together (with future True West members Russ Tolman and Gavin Blair) in The Suspects. Moving back home to Los Angeles, Wynn recorded a single under the name 15 Minutes (as in “of fame”) as his intended farewell to music. He did not follow that course. Rehearsing in a band called Goat Deity, Wynn met Precoda, who had answered an ad for a bass player, and the two joined to form a new group, with Precoda switching to guitar. Smith came to play bass, and brought in drummer Dennis Duck, who had played in the locally successful, Pasadena-based Human Hands.
Duck suggested the name "The Dream Syndicate," a reference to Tony Conrad's early 1960s New York experimental ensemble (better known as The Theater of Eternal Music), whose members included John Cale.
On February 23, 1982, The Dream Syndicate performed its first show at Club Lingerie in Hollywood. A four-song EP was recorded in the basement of Wynn's house, and released on his own Down There label, and the band quickly achieved local notoriety for its often aggressively long, feedback-soaked improvisations – obvious sources were The Velvet Underground (the Dream Syndicate might be styled an early adopter of Velvets revivalism) and Television, but echoes of the Quicksilver Messenger Service and Credence Clearwater Revival could also be discerned. "It was an overnight thing," Wynn recalled of their success. "There was no dues paying. It was very weird, and it screwed us up in some ways."
The band was signed to Slash Records, whose subsidiary Ruby Records released its debut and by far best album, The Days of Wine and Roses in 1982. The next year saw the UK release of the album's anthemic lead track, "Tell Me When It's Over" (Rough Trade), as the A-side of an EP that also included a live cover of Neil Young's "Mr. Soul."
Kendra Smith left the band and joined David Roback, formerly of the band Rain Parade. They first recorded a single Fell From The Sun on Serpent Records (US) under the name Clay Allison, which was released in the UK by Rough Trade under the moniker Smith, Roeback and Mitchell before transforming into Opal. She was replaced in the Dream Syndicate by David Provost.
The group signed to A&M Records, which released the disappointing album The Medicine Show (1984). Recorded in San Francisco with producer Sandy Pearlman (Blue Öyster Cult, The Clash), it was a time-consuming effort whose arduous genesis contributed to the temporary breakup of the band. They opened tours for R.E.M. and U2 and released This Is Not The New Dream Syndicate Album - Live (1984), the last record to feature Karl Precoda on guitar (who soon after left to pursue a career in screenwriting) and the first appearance of bassist Mark Walton. The band left A&M after the label rejected its demo for "Slide Away" (later released on the semi-official It's Too Late To Stop Now).
In 1985, Wynn and Dan Stuart of Green on Red wrote 10 songs together that were recorded with Dennis Duck, among others, and released by A&M as Danny and Dusty : The Lost Weekend.
After a brief hiatus, Wynn, Duck and Walton joined with Paul B. Cutler (of the proto-Goth 45 Grave) to form the final version of The Dream Syndicate; they recorded two more studio albums, Out Of The Grey (1986), produced by Cutler, and Ghost Stories (1988), produced by Elliot Mazer (producer also of several Neil Young albums, including Harvest and Time Fades Away). A live album, Live at Raji's, was recorded (also by Mazer) before Ghost Stories but released afterward. There is disagreement among fans as to which lineup was the best, but in every permutation the band produced guitar-driven rock music at a time when Lou Reed, David Bowie, Miles Davis and many others were fooling around with drum machines.
Posthumous releases include 3 1/2; The Lost Tapes 1985-1988, a collection of unreleased studio sessions, and The Day Before Wine and Roses, a live radio performance recorded just prior to the release of the band's first album.
* Initial line-up: Steve Wynn (vocals and guitar); Karl Precoda (guitar); Kendra Smith (bass); Dennis Duck (drums).
* Final line-up: Wynn, Duck, Paul B. Cutler (guitar), Mark Walton (bass).
Blind Willie McTell
The Dream Syndicate Lyrics
Jump to: Overall Meaning ↴ Line by Line Meaning ↴
Saying, "This land is condemned
All the way from New Orleans
To Jerusalem."
I traveled through East Texas
Where many martyrs fell
And I know no one can sing the blues
Like Blind Willie McTell
Well, I heard the hoot owl singing
As they were taking down the tents
The stars above the barren trees
Were his only audience
Them charcoal gypsy maidens
Can strut their feathers well
But nobody can sing the blues
Like Blind Willie McTell
See them big plantations burning
Hear the cracking of the whips
Smell that sweet magnolia blooming
(And) see the ghosts of slavery ships
I can hear them tribes a-moaning
(I can) hear the undertaker's bell
(Yeah), nobody can sing the blues
Like Blind Willie McTell
There's a woman by the river
With some fine young handsome man
He's dressed up like a squire
Bootlegged whiskey in his hand
There's a chain gang on the highway
I can hear them rebels yell
And I know no one can sing the blues
Like Blind Willie McTell
Well, God is in heaven
And we all want what's his
But power and greed and corruptible seed
Seem to be all that there is
I'm gazing out the window
Of the St. James Hotel
And I know no one can sing the blues
Like Blind Willie McTell
The Dream Syndicate's song "Blind Willie McTell" is an ode to the legendary blues musician who had a significant influence on the growth and development of blues music. The song describes a journey through various parts of America, where the singer witnesses and hears about the sufferings of the African American community.
The opening lines showcase a symbolic arrow pointing towards the doorpost that condemns the land from New Orleans to Jerusalem, indicating the long-standing history of oppression and discrimination towards African Americans. The singer then describes traveling through East Texas and witnessing the martyrs who fell and alludes to the fact that no one can express the pain and suffering of these people better than Blind Willie McTell.
The lyrics continue with the mention of the hoot owl, barren trees, charcoal gypsy maidens, and the big plantations burning, describing the harsh realities of slavery and the pain and suffering of the African American community. The mention of the woman by the river with a young handsome man, dressed like a squire, and a chain gang on the highway adds to the imagery of America's troubling past. The song concludes with the idea that God is in heaven, but the corruptible seed of power and greed continues to reign on earth.
Overall, "Blind Willie McTell" is a haunting and poetic tribute to one of the most significant blues musicians in history, highlighting the struggles and hardships faced by the African American community.
Line by Line Meaning
Seen the arrow on the doorpost
Saying, "This land is condemned
All the way from New Orleans
To Jerusalem."
The singer has seen a warning on a door, stating that the entire land is doomed from New Orleans to Jerusalem, expressing the feeling of hopelessness and grim atmosphere of the area.
I traveled through East Texas
Where many martyrs fell
And I know no one can sing the blues
Like Blind Willie McTell
The singer has been to East Texas where many people have sacrificed their lives for a cause, and he believes that no one can express the pain and loss of those people like Blind Willie McTell through his blues music.
Well, I heard the hoot owl singing
As they were taking down the tents
The stars above the barren trees
Were his only audience
Them charcoal gypsy maidens
Can strut their feathers well
But nobody can sing the blues
Like Blind Willie McTell
The singer hears the hoot owl's melody as the tents were being dismantled and the stars are the only witness. Moreover, despite the fact that gypsy maidens are good at performing, he believes no one can express the sadness and pain of the situation like Blind Willie McTell.
See them big plantations burning
Hear the cracking of the whips
Smell that sweet magnolia blooming
(And) see the ghosts of slavery ships
I can hear them tribes a-moaning
(I can) hear the undertaker's bell
(Yeah), nobody can sing the blues
Like Blind Willie McTell
The artist imagines the destruction of plantations, the cracking of whips, and the smell of magnolia flowers, all of which represent the pain and suffering of slavery. Furthermore, he hears the moaning of tribes and the bell of the undertaker, which indicates the end of their struggle; however, he believes Blind Willie McTell is the only one who can sing and express their pain better than everyone else.
There's a woman by the river
With some fine young handsome man
He's dressed up like a squire
Bootlegged whiskey in his hand
There's a chain gang on the highway
I can hear them rebels yell
And I know no one can sing the blues
Like Blind Willie McTell
The artist observes a woman with a man along the river, where the man is pretending to be a wealthy person with a bottle of illegal whiskey. Besides, he hears the yelling of the chain gang on the highway, which is full of rebels. The artist thinks that no one can express the pain and sadness caused by these situations through their music better than Blind Willie McTell.
Well, God is in heaven
And we all want what's his
But power and greed and corruptible seed
Seem to be all that there is
I'm gazing out the window
Of the St. James Hotel
And I know no one can sing the blues
Like Blind Willie McTell
The singer states that, while everyone wants the goodness and equality that God represents, all that is left in this world is power, greed, and corruption, which has led to an unfair society. He is looking out of a window in the St. James Hotel and concludes that no one can express the sadness and pain of the current state of society better than Blind Willie McTell.
Lyrics © BOB DYLAN MUSIC CO
Written by: BOB DYLAN, MIKAEL WIEHE
Lyrics Licensed & Provided by LyricFind