Just In Case You Forgot! The Jeff Beck Group – Truth (Mono)

April 4, 2015April 4, 2015 / ds barrett / 1 Comment

Back in the day, when young stoners would start discussions about the finer points of Led Zeppelin, someone would always stop the conversation with a single word – Truth. A small hush would hit the room as someone would explain that Rod Stewart was once cool… maybe twice ha ha… then tell the huddled few about the Jeff Beck Group. Discussion goes toward how Page ripped Beck off by showing him “this proto-type for Zeppelin” even going so far as to perform the same cover of “You Shook Me” on their debut. (Same Howlin’ Wolf song, but way different interpretations.) By this point I would drift away from all the “conjecture bullshit”, and find a good speaker to sit close to as the buzz wore off.

I have never been one for conspiracy theories, and all the talk about Beck vs. Page has always kinda bored the crap out of me. If there is any talking to be done, it should be by the music itself. So here it is – Truth, the first Jeff Beck Group record, has been re-released on mono – exactly as it was recorded, and exactly how it should be heard.

I’ve had friends ask me about mono vs. stereo and all I ever say is this; what format was the album recorded for? In the late 60’s the switch was taking place, and it started with a bunch of mono records being transferred to stereo after the fact. That is a good portion of the reason that the Beatles have re-released sets in stereo and mono and each had to be re-mastered for the individual format.

Mono means that all music is being put out through a single channel. You could have multiple speakers but the same identical sound, with equal distribution, will come out. In stereo, music is going out multiple channels allowing different sounds to come from multiple speakers. Hence, you might hear a vocal out of the right side and a guitar out of the left.

Anyway, both are cool, and both have an impact on how you hear the music. My personal gauge is how the music was originally released.

For the longest time Truth has only been available in the stereo format, but this newest import has been re-mastered from the source tapes back to its original mono origins. Whew.

With all the Zeppelin re-issues going out, I thought that someone should mention that this classic record, which to me plays as almost a companion piece to Zep I and vice versa, is out there to be had.

But act quick! Amazon in Canada is nearly sold out. Northern Volume still has a copy or two, but it could get difficult to find in a hurry.

Please Billy … or William… Whatever, Just Shut the ^%$& Up! Smashing Pumpkins – Siamese Dream

April 2, 2015April 2, 2015 / ds barrett / 1 Comment

A very long time ago I learned that you had to separate the artist from the art. Let’s face it, some of today’s biggest talents are, um, ah… well, afflicted with acute asshole disease. ‘Smack talk’ amongst themselves (other celebrities) is generally the first sign that they need help, but it just doesn’t stop there. Take Jack White; first he starts dissing Dan Auerbach of the Black Keys for “stealing his sound” and then he publically goes after Meg White who is soft spoken, shy, and knows will never say anything back. (He would later apologize for both.) Of course there are dozens of other instances, let’s not forget “rider-gate” a few weeks ago, but let’s get to Billy.

A couple months back mister Corgan was quoted as saying that Kurt Cobain was his only peer, and that everyone else just basically sucked in comparison. Then he anointed himself king by pointing out that his he had a more ‘enduring body of work’ than Pearl Jam. As if that wasn’t enough, he went on a tirade about how much better he was than Dave Grohl and the Foo Fighters, this despite the fact that the Pumpkins haven’t released a relevant album since the 1990’s. Then only a week or two ago, an audience broke out into “Happy Birthday” during his show. Instead of simply taking the compliment, he chastised them because he wants to be called “William” now.

Now first off, over the long history of the Pumpkins, I’ve got to give Corgan props. He has always tried to give his fans something to cheer about in terms of releasing B-Sides and collectibles across various formats over the years. Hell, seven years before Radiohead dropped In Rainbows to fans in a “pay what you want” initial campaign, Corgan put out Machina II/The Friends and Enemies of Modern Music over the internet for free. So in terms of fan treatment as a business decision, he mostly gets it. But in actual live situations… where a microphone sits in front of him for the purpose of talking…

Well, William – Dude… of all the 90’s era rock acts I have ever seen, I only walked out on 1 – The Smashing Pumpkins at Lollapalooza. I went expecting a great show by your band. Believe me, L7, The Breeders, George Clinton, and the Beastie Boys brought it that day. However, Billy, you just had to open your mouth to talk. You rambled some shit about the country you were visiting (Canada), and then kept at it. Instead of playing, you kept speaking in a condescending tone to your audience. I knew that day I wouldn’t go to another Pumpkins show, because you just can’t put your ego aside when your outside the studio.

Still, there is no denying the power of the music. You rock… you put out some great records. Furthermore, as artists go, I like what you have done. I may not have followed you on the musical journey past the Machina albums, as it wasn’t really to my taste, but I appreciate your statements about the growth of artists… it’s just that I have a problem with people whose arrogance leads to self proclamation. “I’m better than – fill in the blank”, just makes you sound like a dink. There is no need to raise yourself on the backs of your peers. You can certainly have an opinion, but remember that sometimes it makes you sound both petty and idiotic.

The result is, now when I put on your records around friends, we don’t discuss how fantastic the music is, we start by rolling our eyes about what obnoxious crap you did recently.

Siamese Dream is a fantastic work, and when it came to a special edition vinyl, I had to grab it. I have no regrets about what music sits in my collection, and I’ll continue to buy your music if I find it interesting. I’m still a fan, but please Bil… William, I’m begging you man – SHUT THE FUCK UP!

Oh, I get it! David Bowie – Aladdin Sane

April 1, 2015April 2, 2015 / ds barrett / 5 Comments

Ziggy invades America, less a space alien and more a genuine rock star. While it is easy for most of us to see the classic The Rise and Fall of Ziggy Stardust and the Spiders From Mars as the peak of a string of amazing records, it was Aladdin Sane that solidified his rock god status and was the real beginning to his conquest of the States.

So now it has been 42 years since its release, and I’m searching through the various vinyl editions that can be had, when I come across these pieces of magical wax.

Here I was thinking that a 180 gram re-master would be the best thing I can get, but… what the hell is the story with this little gem.

You see, I got it new at a very nice price which to me meant it was a 2013 version, but it has bonus material from the 2003 30^th anniversary set. Well, it seems that it has sailed over from Japan and is a promo copy for 2013 that is not dated. According to Discogs, the only two coloured vinyl disc version of Aladdin Sane to see official release came from Japan on an “undetermined date.” What is weird about it, is that for such a cool limited imported promo pack, the price on e-bay has remained relatively low. In fact, there seems to be a few such Bowie albums on the market that fill a similar niche. If your a Bowie fan that wants stuff on vinyl, check it out.

http://www.ebay.com/itm/David-Bowie-The-Rise-and-Fall-of-Ziggy-Stardust-2XLP-COLOR-VINYL-W-2-INSERTS-/251898411747?pt=LH_DefaultDomain_0&hash=item3aa650bae3

Where Have You Been All Of My Life? The Dirtbombs – Ultraglide In Black

March 30, 2015April 28, 2015 / ds barrett / 1 Comment

Something about ‘garage rock’ makes it so timeless. Maybe it’s the fuzzed out guitars or the berserker energy with which the six-string is played, but it certainly rocks the house when done right.

Perhaps that’s why I got so excited the first time I heard the Dirtbombs. They had even more than I could’ve imagined going for them. Backing the vocals and guitar ‘riffage’ of Mick Collins is a band that boasts dual bass guitar and dual drums and every song they power through is uniquely their own, even when they pull off a great cover.

Which is exactly what Ultraglide In Black is, a covers album (with one original). Every bit as powerful as anything the White Stripes have done, Ultraglide in Black looks back at some classic R&B and soul and channels it through the ghost of the Jimi Hendrix Experience and MC5.

If you take a song like Stevie Wonder’s “Livin’ For The City” which thematically deals with systemic racism, the original comes off musically with a gospel and hopeful air. Under Collins, the Dirtbombs version is anger and seething. It strips away the hope and with the help of both a sinister sounding bass and guitar the songs conclusions ‘of just enough’ sounds angry and futile.

In fact, this album is Collins interpretation of ‘Black America’ through the songs of the artists he grew up with. You get Sly Stone’s “Underdog”, Curtis Mayfield’s “Kung Fu”, Phil Lynott’s “Ode to a Black Man” and Marvin Gaye’s “Got To Give It Up,” blasting out the speakers with this tremendous power that Mick Collins finds for every damn song on the record.

As you finish Ultraglide In Black, you find yourself wondering why this album has sat under the radar for most people. It isn’t just a great record worth of songs, it is a classic record that should be in everyones collection.

You can get it here.

Remember that time Bart crashed into Meg or The White Stripes – Elephant

March 28, 2015 / ds barrett / 1 Comment

With Record Store Day 2015 fast approaching I thought I’d go back to one of my favourite RSD releases, The White Stripes – Elephant.

While the White Stripes put out a lot of great material during their career, nothing opened up quite the way Elephant did with “Seven Nation Army.” It thundered to the point of making you rock whether you wanted to or not. It was a hair swinging, face slappin’ opening statement. Things only got cooler when you saw them chasing The Simpsons around to the driving fury that was “Hardest Button to Button”, and yet like Led Zeppelin before them, they could slow it down on a dime with a slow blues or acoustic number that had you grab for your headphones to hear the nuances and emotional depth.

https://www.youtube.com/watch?v=vs5vHRn1zDU

This limited edition version was released for RSD 2013, as a tenth anniversary celebration and to draw attention to the fact that Jack White was the ambassador for Record Store Day that year.

Album one was a black and red split piece of vinyl while record two was white.

Another little weird thing was that sides were given letter designations except for the front of the white vinyl which was marked “Side 3”, rather than “C”.

The album was re-mastered directly from the original analog tapes making the vinyl a true representation of what White wanted people to hear.

Discogs now has this album listed for $75.28 while e-bay stores are asking in the $50.00 range.

Of course the only thing that really matters is, that this album is awesome and that it is gives you the urge to keep turning the volume up. If you can find a vinyl copy – I HIGHLY RECOMMEND IT!

Noel Gallagher’s High Flying Birds – Chasing Yesterday

March 27, 2015 / ds barrett / 2 Comments

One doesn’t order a record off the Noel Gallagher menu and expect to be served a pretentious fine dining experience that includes things you can barely pronounce. Instead, Gallagher is a well seasoned steak served with a bed of rice and veggies you can get at your local supermarket; and in this age of ‘pop’ bullshit where the radio plays only songs that are written by committee, a good old fashioned rock ‘n’ roll record is welcome.

Gallagher’s greatest gift has always been a recognizable hook backed with hummable lyrics and melody that could have been lifted from the Fab Four in ’65. Since Oasis bid adieu, NGHFB’s sound has been a little beefier than the previous band and comes without the let down of huge expectations. You get the feeling that Gallagher is enjoying himself again without the baggage that came with his former band and the sibling tension that rode with it. If he isn’t, he certainly is exorcizing the past. Like the Beatles post break-up, there seems to be messages littered throughout Chasing Dreams to the glorious past. Along with the obvious album title, songs “The Dying Of The Light”, “While The Song Remains The Same” and “You Know We Can’t Go Back” all play to the theme of times gone by, while other songs go back to Gallagher’s bread winning formula of songs for life affirmation.

As formula as one might accuse him of being, no one quite does it as well as Noel Gallagher. When he rocks out on “In The Heat Of The Moment”, “The Mexican” and “The Ballad Of The Mighty I” you can’t help but smile. Sure, like the song said, “you can’t go back”, but that doesn’t mean you can’t appreciate what you have in the here and now.

If you pick this up on vinyl it also comes with a CD. Enjoy!

Which Bleach is Bleach? Nirvana –Bleach

March 25, 2015 / ds barrett / 1 Comment

I wonder if any album ever recorded for so little has returned so much?

If the myth is true, those “500 American dollars” have generated a whole frickin’ industry around one record.

Since it first hit the market in 1989, Bleach has gone on to sell 1.7 million copies and is Sub Pop Records biggest seller to date. So how much vinyl is out there?

Well, according to discogs, at least 60 vinyl versions have hit the streets worldwide since ’89. It is super easy to find a new copy at any time. However, recently some pretty cool editions have hit the North American market. Sub Pop released a Deluxe 180 gram double white vinyl gate fold edition back in 2009 that includes a live performance from 1990. Going through chat rooms, it seems that a few of these had complaints about skipping. Personally speaking, my own copy sounds fantastic, so I would just keep the receipts if you’re interested in pursuing one. Discogs has it listed at $34.10 and e-bay vendors are trying to get $100.00. Which is funny because it can be had brand spanking new for about $30.00 at Amazon and local retailers.

The other edition that has started selling for outrageous amounts of money is the most recent release that was put out in limited fashion by Newbury Comics just last year. Two editions of the re-mastered Bleach, one is a clear white splatter while the other is a maroon black splatter, were released in quantities of 750 each and hand numbered. Again, it sounds absolutely fantastic, but the re-sale market is crazy for these. Discogs has the clear/white selling for 61.43 and the maroon/black at 74.98. E-bay on the other hand is asking $100 for one or $150 for both.

Of course, if you are off your rocker nuts with money to burn… the coloured vinyl (specifically the aqua) released by Sub Pop in 1992 can and does sell for over $500 a pop.

Other colours can be had for less… which is kind of a relative term when you spend hundreds on a single collectible record.

OH MY GOSH… a review of something new! Modest Mouse – Strangers To Ourselves

March 24, 2015 / ds barrett / 1 Comment

Let’s face it, Modest Mouse is never going to get any better and cooler than they were a few years ago when Johnny Marr joined up for an album and tour, and every album subsequently will be judged against the success of We Were Dead Before The Ship Even Sank. Sure early albums like The Moon & Antarctica were great records that built their reputation, but both the commercial and critical success of We Were Dead… makes it the career highlight.

Perhaps that’s why we see an 8 year wait between records, although, it really doesn’t seem like that long ago, but I digress…

Modest Mouse has always balanced themselves on a thread between ambitious and eccentric. At their best they have this quirky genius thing going on and the other side of the coin is this pretentious arty bullshit that isn’t nearly as smart as they seem to think it is.

So, which side of the line did the coin land on?

Thankfully, they landed face side up with Issac Brock finding that sweet spot between trippy stories and letting his top notch band find the grove to emotional resonance. Yes it is quirky and full of quick turns and humour, but it also has musical lift that keeps things moving.

Take their first single “Lampshades on Fire”, one could easily look at it as more of the same from Modest Mouse, a simple next step from their previous offerings. However, this first look at the new record is more like a statement that grounds the band. It pulls a funky grove and lyrical twist without things drifting off into a world of self-absorption. The rest of the record takes shape around that idea. Brock & co. Never allow things to get out of hand which I found to be a bit of a deterrent on earlier records.

Anyway, the vinyl advance order came with a 7” of “Lampshades on Fire” as well the 180 gram double vinyl of Strangers to Ourselves. It was worth the purchase price and should get plenty of time on the turntable over the next few months.

“Make Everyday Your Record Store Day” Fade Into You – J. Mascis & Failure – The Posies

March 22, 2015 / ds barrett / 1 Comment

Recently I saw an article about Record Store Day and how very small independent labels aren’t seeing a benefit. One owner said that if every day was treated more like RSD than perhaps it would get better results. The other complaint is that big labels waiting to release on Record Store Day squeezes the smaller labels out in terms of printing the records to begin with.

From a record buyer point of view, I’m not sure I get the complaints about big vs. small labels, but I do get that treating all releases like they are part of Record Store Day may pay dividends. In this world where many people just don’t see the value in paying for something they can download or stream for free, music has the feeling of being as disposable as the toys you get for free with the kids menu at the fast food chain. Play with it for a week than toss it, because if you didn’t pay for it, it just doesn’t mean shit anyway.

BUT…

Instead of offering some downloadable shit sounding garbage, you offer a unique product that plays on multiple formats of a listener’s choice.

Musicians make a product that is collectible, so that fans don’t just want to hear your song, but also feel they must have what you’re selling. Give it colour, give it flash, and make it really damn cool.

On Black Friday/Record Store Day back in November 2014, I missed out on J. Mascis doing a cover of the 90’s cult classic “Fade Into You” by Mazzy Star. It is a phenomenal song that you have probably heard play in the background of some moving scene from a number of various movies and TV shows. Seriously, a quick internet search came up with 39 instances in which it was used.

Anyway, Mascis released a very limited amount as a 7” inch single and every record store in the city was sold out of their few copies by the following day. I was able to eventually find a copy, but that was after months of searching. Now yes, I could hear it on Spotify, or buy it from itunes, but I’m a fan. J. Mascis and his band Dinosaur Jr. They are not some disposable artists who I toss on a mix and forget about, they are legendary artists who continue to make relevant music and deserve to make a living from it. In turn, they have not only supplied great music and performances, but done events and created product that their fans believe in. Some of it is released on RSD and some not, but it is all very cool.

Hell, Mascis and fellow Dinosaur Jr. member Lou Barlow signed a poster for my 5 year old son after an acoustic show a few years back, which is the kind of gesture that can help to create lifelong fans who are vocal about purchasing the music of the bands they love. (It also had nothing to do with RSD.)

My point of course though, isn’t just about RSD. Earlier this year the Posies re-released their debut record Failure on vinyl for the first time. It was put out by Omnivore Records as a limited print on yellow 180 gram vinyl. Failure had been long out of print and highly sought after by fans. So now, a person can test drive this record on Spotify if they don’t know the music, but if like me, you are a fan, here is a very cool copy in your hands, and a download card so you can take your music on the road to play on your ‘whatever’ device. Again, it is very cool product that doesn’t wait for a special day to be released.

http://omnivorerecordings.com/music/failure/

Each week I see new releases on vinyl being put out in cool new ways, and when an artist I love matches up with product I can hold in my hands for a great listening experience, then I drop some coin and pray they sell enough music to continue making a living off this crazy music biz. The only difficulty for people who like vinyl is finding all the cool things out there, but then again, that is also part of the fun.

“The Waiting Is The Hardest Part” – Juliana Hatfield Three: Whatever, My Love

March 19, 2015 / ds barrett / 1 Comment

One of the hardest things about getting those limited edition… well, anything, is waiting. If you want that 1 of “500 copies” or “1000 copies” only on some blue translucent vinyl with green polka dots – you will either wait in a line on Record Store Day, pre-order from the artist and/or label, or take part in a crowd funding campaign that promises you product in the end. Any way you slice it – there is going to be a wait.

This also doesn’t take into account the waiting list that exists to produce vinyl. In many cases CD and digital downloads are available months before an artist can get their vinyl produced. The reason for this is that only so many vinyl print machines are left since the demise of vinyl record sales back in the early 90’s. No one expected the resurgence of vinyl in the last few years, so now everyone is going to those few places that produce records with all their jobs. Both major labels with extensive back catalogues and indie labels trying to produce cool new product for vinyl collectors are fighting for time at the press.

So here we are in 2015, and the Juliana Hatfield Three have released Whatever, My Love for us music fans. In fact, if you want the CD copy or digital download you can get it right now. Hell, you can stream it for free on Spotify. It just that my preference is vinyl, so I’m now waiting until summer nears conclusion for my pre-order to arrive in the mail.

http://www.alr-music.com/julianahatfield3/

Now the vinyl edition comes with a download card and offers a choice between clear or purple marble, and it looks really awesome, so from my collector viewpoint, I’m getting something really cool. The album itself sounds like the natural follow up to Become What You Are from back in 1993 (which it is) and has a really easy going feel that I think has been missing from her music in the last few years. However, the record company might have done me a favor by giving me a download code now, so that I’m not without owning the tunes until August. Guess I’m stuck streaming for now.

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