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
,
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
work out the angles of his sweet-and-noisy smart pop. While
Easter
's studiocraft helped
improve their game,
more importantly contained the best and most cohesive set of songs
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,
gave
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
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
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.
made good records right out of the starting gate, but
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