Lost masterpiece may sound like hyperbole, but I can back it up. While some have also called it the 80’s Forever Changes, I might not quite go that far. While Love’s baroque psych pop classic from 1967 was certainly under-appreciated at the time, pretty much anyone who loves that kind of music knew the album 20 years later. 29 years after the release of Lolita Nation, I don’t think the same can be said of Game Theory’s ambitious double album. Perhaps The Pretty Things’ S.F. Sorrow is a more apt comparison.
So why was it lost? There’s all kinds of theories. In shopping for labels, the band were often told that Scott Miller’s fragile, wispy vocals, reminiscent of Alex Chilton from Sister Lovers-era Big Star, were unmarketable, as were their insistence in using keyboards and synths, which had recently fallen out of fashion. Yet they were not hugely out of step with popular jangle pop of the time by The Smiths and R.E.M. (with whom they shared producer Mitch Easter, starting with Real Nighttime (1985) and Big Shot Chronicles (1986). While their albums were distributed by Enigma, which put a sticker on Lolita National that read, “Likely the strangest pop record of the ’80s…a double-album dreamscape through the world of Game Theory, a world of modern music at its most bonecrushingly psychotic and most achingly beautiful,” they were actually signed to Scott Vanderbilt’s Rational label. Enigma were simply unmotivated to put resources behind promoting the albums, focusing instead on the likes of The Smithereens, who had a minor hit with “Blood And Roses.” Continue reading