When R.E.M. stopped by The Colbert Report a few weeks ago, the host admonished the band for being a little too political in the past. He went on to say, “People want to hear songs about girls!” To which Michael Stipe deadpanned, “I’m not big with the girl songs.”

Game Theory prime mover Scott Miller is apparently big with the girl songs. At least he names an awful lot of work after girls. Erica, June, Amelia, Leilani, Penny and Marcia have all been titular. The track listing for the band’s magnum opus Lolita Nation goes on to register “We Love You, Carol and Allison”, “The Real Sheila” and “Chardonnay”.

Let me state right now that all conjecture was wrong; everything I wrote before 1996 was the result of being spurned by my one true love, Maureen McCormick.

A paean to female wit and charm, Lolita Nation is an epic. A seething, swerving, imperfect compound as beguiling and seductive as the title suggests. Loosely categorized as a concept album, this double-length release is of similar character to the likes of Todd Rundgren’s A Wizard, A True Star or perhaps Brian Wilson’s Smile. That is to say; exploration, experimentation and innovation mingle with exemplary song-craft and instrumental virtuosity.

Private heaven blonde
Small pond of the demimonde
(Dripping With Looks)

Game Theory is part spawn of California’s Paisley Underground scene and the jangly stylings of producer Mitch Easter (Marshall Crenshaw, Let’s Active, R.E.M.) and his ilk. Erecting good songs with elements of psychedelia, folk music and crunchy guitar rock, it’s no surprise they posted a fair amount of college radio airplay in the late ’80s. Along the way Miller makes many a nod to Alex Chilton, James Joyce and all points in-between.

For 72 minutes, Lolita Nation - Game Theory’s third release - is best appreciated in its gapless entirety. Much of the holistic appeal is a result of the pacing and dynamic from track-to-track; some of which are mere seconds of tape loops, found sounds and god-knows-what-all. When a full-on rock assault like “The Waist and The Knees” pops up, or the shimmering gem “Together Now, Very Minor”, the listener is rewarded for hangin’ tuff through the more challenging bits.

Sure, there is Miller’s voice. Thin and high - though expressive - it’s not perfect and could be a deal-breaker were it not for the drop-dead gorgeous chord progressions and nimble sense of melody. Furthermore, the band rocks under Easter’s steerage. Mixed large, the rhythm section in particular is hardened and crisp with drummer Gil Ray and bassist Guillaume Gassuan showing considerable aplomb. Odd time signatures and wacky changes come at a moment’s notice and neither player falls out of the pocket.

Andy you’re banging on the keys
But you can’t flesh out a tune
You can lower your sights and read your rights
But you can’t get good in an afternoon

“Andy in Ten Years” is a breezy swing that wouldn’t sound odd on an Aimee Mann record. Featuring rueful accompanying vocals from guitarist Donette Thayer, it seems a meditation on artists’ struggle with negativity and motivation. (Thayer’s descant vocals are excellent throughout the record and a big part of Lolita’s identity.)

Listeners are dared to let their backbone slip on the instrumental “Where They Have to Let You In” which integrates pretty typical ’80s pogo pop with a plodding, heavy funk-rock jam. Likewise in odd combinations, Shelley LaFreniere’s percolating synth lines on Toby Ornette slip in and out of a beautiful carosello waltz.

I know why they call a starship ’she’ now
Volunteers the man needs volunteers
It’s a special mission for a special deputy
Up jump an eager pup saying
Put in put in put in put in put in put in put in
Put in a good word for me

The torrent of free association vocal riffs, “One More For St. Michael” chugs and beckons with an insistent Greek chorus. It all sprouts from a dissonant acoustic guitar riff pushed along by a snappy marching snare drum. “We Love You, Carol and Alison” peals and rings with a middle break that may have you scanning backwards for another listen.

The album climaxes with “Chardonnay” and “Last Day That We’re Young”, tenacious rockers praising and wrapping-up all prior meanderings. They are cheerful and victorious anthems seemingly designed for pumping fists in the air. Then comes the calming afterglow of “Together Now, Very Minor”. It is mesmerizing as a melancholy farewell through whirring Leslie speakers.

And please don’t pay attention to
A thing I do or say
It’s a ploy to drag you out
And take it all away
All away

If you dig melodic hooks, heavy rhythms and smart arrangements, there is a bounty here for examination. The lyrics are poetic, the mood evocative and appropriate. For an artifact of a sometimes less than graceful late ’80s music scene, Lolita Nation is thick and rich and holds up well to repeated spins.

Alas, she is long out of print and hard to find; the master tapes contractually out of Miller’s possession. Game Theory would go on to release one more record after Lolita Nation before morphing into The Loud Family in 1993. Look up some of these other releases to get a taste (The Tape of Only Linda is excellent and reminiscent), then… get thee next to a Lolita fan.

Game Theory and The Loud Family @ 125 Records

© Stephen Mockensturm 2008 for Listen In. Some Rights Reserved.

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