(Translated from my original Italian text by ChatGPT and Piero Scaruffi)
Born out of the ruins of the Paisley Underground, James Morelands Leaving Trains debuted with Well Down Blue Highway (Bemigsbrain, 1984), a work that in reality mostly drew on the psych-blues legacy of X and Gun Club (Bring Down The House, You Can't See), although perhaps the true Moreland was the one sobbing through the verses of Creeping Coastline Of Lights and I Am In A World Crash With You.
A punk anger unexpectedly drives Kill Tunes (SST, 1986), which includes two of their classics: She's Looking At You and Black. This marks the decisive turning point in Morelands career: his real background comes to light, that of the Saints and especially the Heartbreakers.
The following years album, Fuck (SST, 1987), was actually recorded by a different lineup, with only the singer remaining. The leaders imprint is most noticeable in the further shift toward hardcore (Temporal Suit), keeping the adrenaline level high. Equally wild and enjoyable is Transportation D. Vices (SST, 1989), with Cement, Dude The Cat, Any Old Time, and You're Never Gonna Love Me Anymore. Everybody Loves A Clown is a bitter self-portrait.
The single Rock 'n' Roll Murder is in fact one of the masterpieces of 1990s hardcore.
Moreland thus arrived, still captive of the anonymity of bands that fail to break through, at Sleeping Underwater Survivors (SST, 1991), with a second lineup change. Songs are more structured, yet still psychological, like I Love You, Relapse Recover, and Room At The Bottom, suddenly boosting the singers profile, who also proves capable of crafting original arrangements in What Was Left Was Bed. The new guitarist, Bobby Belltower, adds to the anguished atmosphere.
It was not much, as confirmed by The Lump In My Forehead (SST, 1993), a work that vainly attempts to capitalize on the bands fleeting popularity with satirical tracks like Bob Hope and Gas, Grass Or Ass. Ideologically children of the hardcore subculture but musically orphaned, the Leaving Trains fail to produce truly memorable melodies, riffs, or arrangements. Moreland is more interested in exorcising his personal demons in cryptic litanies like Women Are Evil.
The album The Big Jinx (SST, 1994) somewhat revived the bands fortunes, featuring lively power-pop hooks (Stowaway, Ice Cream Truck, Sex War, Sluts For Hire). Moreland pretends to embrace the role of party musician, but in reality he remains a psychiatric case (A Woman's Clouds).
Over the years, Moreland grew harsher and more disheveled, eventually cursing God and becoming Americas worst misogynist. A modest cult following ensures sold-out live shows, but on record all the shortcomings of a punk who was never truly a musician come to light. His epitaph is written in the EP Loser Illusion Pt 0 (SST, 1991): "Fuck You God. I'm Alright Living In Hell." He has every reason to be satisfied.
Their career reaches a peak of pathetic absurdity with the EP Drowned & Dragged (SST, 1995) and dreadful songs like Die and Dream Until You're Sore.
Moreland, a punk transsexual, runs for President of the USA in the 1996 election campaign.
Favorite Mood Swings (SST, 1997) is an anthology of his entire career.
(Original English text by Piero Scaruffi)
Smoke Follows Beauty (SST, 1996),
recorded with guitarist Melanie Vammen
(of Muffs),
drummer Allen Clark (of Lazy Cowgirls) and
bassist Tim Ferris,
has little to commend itself beyond the title-track.
Moreland is a glam-rocker who is afraid of glam-rock. His punk anger comes
through as fake. His melodies come through as half-baked.
Emotional Legs (Steelcage, 2002), another late glam effort, sees
Moreland flanked by half of the Muffs.
