Game Theory - Lolita Nation Reissue (Omnivore Recordings)

Game Theory is one of my favorite bands from my college years, bar none. And this is my favorite album by them, though Real Nighttime is a close second. This sprawling (27 tracks on one disk alone) reissue is a sumptuous feast for both old fans and new. Band leader and vocalist/songwriter/guitarist Scott Miller was lost to us in 2013 of unknown causes, and his lost genius is captured here in all its glory. Those of us in the know back in the 80s reveled in Miller’s slightly twisted sonics with shades of psychedelia, chamber pop, and power pop. Toss in new wave if it fits better, for none of these labels completely describes what Game Theory pulled off back in 1987. Emerging from UC Davis, Miller and his revolving troubadours meshed together widely disparate influences such as Big Star, The Sex Pistols, and Joy Division. Featuring the talents of guitarist/vocalist Donnette Thayer, keyboardist Shelley LaFreniere, drummer Gil Ray, and bassist Guillaume Gassuan, this version of the group tossed listeners into a trippy, head-spinning masterpiece of a record. The sometimes messy, always compelling songs draw me in again and again, and I never grow tired of the way everything is sequenced together so perfectly. MItch Easter is also a master producer, and with Miller as his acolyte, they really pulled out the stops creatively. Sometimes the two are one, as evidenced by how much some of the songs sounds like Let’s Active! I mean that as a high compliment, as I was a proud member of the Let’s Active Fan Club back in the 80s, run by two enthusiastic gents from Connecticut. I know, back to Game Theory and this record and enough Mitch mania. But seriously, these two guys are musical geniuses and their work together is some of the finest in my record collection.

I have the formerly very expensive original copy of this CD and have nearly worn it out, just as I wore out the vinyl before it. It still sounds fresh to this day, and this long overdue reissue is greatly appreciated! The original 27 tracks are joined by a second disk of alternate mixes, live recordings, and radio sessions. In addition to a long sought after 8 minute version of “Chardonnay” and alternate mixes of other album tracks, there are covers of David Bowie, The Modern Lovers, Sex Pistols, Elvis Costello, The Smiths, The Stooges, Joy Division, The Hollies, and Public Image Ltd. classics. Lolita Nation is now available as a double CD, digital download, and a double LP (first pressing is on translucent dark green vinyl). Extensive liner notes feature Okkervil River’s Will Sheff, interviews with the band and original album contributors, and previously unseen photos.

And on to the music, which is the whole point of this review, right? Where to start, where to start…well, the first disk starts off with the odd short piece, “Kenneth, What’s the Frequency?”, filled with sound effects, odd voices, and a musical theme which reappears in other places. The song merges straight into the angular “Not Because You Can”, and it feels like one song. There are some trademark perky keyboards and fine guitar work before Scott starts singing just after the 1:44 mark, his distinctive voice a form of nerd glory. I mean that kindly; nobody sounds like Scott. Maybe he owned one of those love it or hate it voices, but it surely was its own instrument. You always knew who you were listening to, there was never a question of it being anyone else. “Shard” and “Go Ahead You’re Dying To” are musical snippets, brief flashes of an idea and gone before you know it. They lead into the sizzling rocker “Dripping With Looks”, a song that starts off slow and then blasts into orbit when the song is nearly over. It has all the typical Game Theory tempo changes, and switchbacks between fast and slow. But in the end, it kicks butt! It also has some really nice harmonies, which temper the loud guitars. “Exactly What We Don’t Want to Hear” is just lovely. I really dig the quickly played piano and acoustic guitar, topped by Scott’s trademark whine and some cool lyrics. It jumps into another of my favorites, “We Love You Carol and Alison”, a song Scott was supposed to perform but never did at Shelley LaFreniere’s wedding. This song is pretty close to the music Mitch was creating with Let’s Active on the other coast; it is chock full of chiming guitars and is a prime piece of chamber pop. The keyboard is ultra cool and really drives this song. “The Waist and The Knees” is another knockout tune, showing a heavier side to the band and is six minutes of piledriving rock and roll. “Nothing New” (aptly named) echoes some of the album’s earlier musical themes and is another song clearly influenced by MItch Easter. Cool stuff! “Look Away” is Donnette Thayer’s show, written and sung by her. It reveals the band’s rockier side and fits in well here. “Slip” has a nervous rhythm percolating underneath Scott’s vocals, driven mainly by drums and keyboards. “The Real Sheila” is a song that stays with you, and contains one of the more memorable performances on this album. “Andy In Ten Years” is a strangely subdued song, followed by more snippets and the mid-tempo instrumental “When They Have to Let You In”. Some of the snippets are gorgeous, like “Museums of Hopelessness”, but it disappears after 11 seconds, sometimes frustrating the listener. “One More for Saint Michael”, which is reprised in a live version on the bonus disk, is mostly Scott talking and half singing over an acoustic guitar. I am reminded of Dylan for some reason. And then we have “Chardonnay”, which also is repeated in an extended, 8 minute version on the bonus disk. I love the acoustic guitar and the effects on the other instruments. “Last Day That We’re Young” is a combination jam and extended rocker, and is the 26th song on the first disk. The disk closes with “Together Now, Very Minor”, a watery and rather trippy piece that seems on the surface like an odd choice to close out an album. However, it is a slow shutting down and putting away of energy expended on this long album, so it is fitting.

So on to the second disk. Do fans need an extra long version of “Chardonnay”? Is it essential? Maybe not, but it’s fun and is a great song. Plus it’s great to have an ultra rare version on here. I am more impressed with the alternate version of “Dripping With Looks (Rough Mix w/Alternate Vocal)”. The song is fully formed, though some of the instrumentation is not as fully fleshed out. It is also interesting from an historical perspective. “Carrie Ann (Live)” does not start out sounding remotely close to the Hollies hit, though when Scott finally chimes in with vocals and Donnette does harmonies, it works pretty well (though nowhere close to the original I love so much). “Tiny Steps” is an Elvis Costello cover, and I cannot speak to whether it captures the spirit of the original. “We Love You Carol and Alison” is reprised as a radio session, and is quite subdued and soft compared to the original. But it’s a powerful song, and that comes out regardless of the volume level. It really is the central song of this whole song suite, as the album title is included ‘Asking this Lolita nation to bow and serve’. The Iggy Pop cover “Gimme Danger” is an interesting take and is quite beautiful. “Love Will Tear Us Apart” quite surprised me, mostly because it is much lighter than the bleak original, yet it manages to emanate the same melancholy. Since we lost Bowie recently, I’d be remiss if I didn’t mention the band’s live cover of “Candidate” from Diamond Dogs. Scott loved Bowie’s music, and this is a fitting testament to that adoration. The Smiths cover “These Things Take Time” is also wistful and sad, while “Roadrunner” is a faithful rave up. In radio sessions, Scott covers “God Save The Queen” by the Sex Pistols and “Drive-in Saturday” by Bowie. The acoustic renditions are heartfelt and really effective. I also really like “Together Now, Very Minor” in a radio session. Finally, the second disk ends quietly with “Choose Between Two Sons”, quiet and sweet as it finally fades away.

Omnivore has done a great job with this reissue, and it’s something that will please old fans as well as new listeners checking the band out. Well worth picking up for anyone who likes unusual, melodic, and deftly played indie rock with shades of chamber pop and psychedelic flourishes.

Check out the album here and see more information on the band here.