Yesterday Metric released news of their next release and it is available for pre-order with a few extra goodies for those who like their music to look as good as it sounds. You can pre-order Pagans In Vegas here.
Also available is a “cassette” of their latest EP The Shade.
For those of you who just can’t wait to hear what it all sounds like Metric have released a video for their latest song as part of the announcement to the masses.
No one quite did early garage rock like The Sonics. They were a musical mess of fuzzy guitar, earth pounding drums, screaming vocals and lyrics that were dirty and just plain asinine at times. This was the early sixties and while The Beatles were singing “Love Me Do” The Sonics were belting out “she’s gonna make you itch / ‘cause she’s the witch” (from the song “The Witch”) and as the Stones sang about “Mother’s Little Helper” these guys were blasting out a tune named “Strychnine.” It was a sound that reverberated from the 60’s and had enough impact to influence everyone one from The Stooges to Nirvana. The fact is that they were punk long before anyone even coined the phrase.
That The Sonics are not a household name is more at testament to poor timing than quality of expression. They were loud and crass before it became popular, and when they tried to move in a more commercial direction, that sound changed again and the band wasn’t thrilled about their new path anyway. Their debut, Here Are The Sonics!!!, was released in 1965 and by ’68 they called it a day. However, punk in the 70’s and grunge in the 90’s brought renewed interest in the band. Nirvana and later the White Stripes and Hives hailed them as influences while cover versions of their songs were played by the Flaming Lips, The Fall, L7, The Cramps, LCD Soundsystem and more.
If you are considering giving these guys a try the best place to start is with Here Are The Sonics!!! which provides the best overall example of their sound. On vinyl, you have a few choices, but your best bet is actually the 1998 mono edition released on regular vinyl. Mono being how it was originally recorded, it sounds far better. The great thing is that it is still widely available, NEW, for around the twenty dollar mark. A re-united Sonics has been touring and recently released a new album, This Is The Sonics.
They should have been shattered upon the rocks of apathy and cast into the dark pit of ambiguity, but instead they released a record every bit the equal of their debut. Big Star’s #1 Record was critically a success but poorly distributed resulting in sales that didn’t even come close to the high expectations the band had of themselves. The result saw a heart broken singer /songwriter Chris Bell quit the band altogether. Yet Alex Chilton took Jody Stephens and Andy Hummel into the world of yet another perfect power-pop record.
Ranked #403 on Rolling Stones “Top 500 Albums of All Time” Radio City was filled with great bursts of electric guitar reminiscent of the Kinks, vocal harmonies inspired by the Beach Boys, and lyrical stories that captured the artistic simplicity of Lennon / McCartney through a Memphis filter.
Songs like “September Gurls” “Back Of A Car” and I’m In Love With A Girl” didn’t just capture a moment in time; they spoke the universal truth of teen longing and confusion in dream crushing detail. “Sittin’ in the back of a car / music so loud can’t tell a thing / thinkin’ ‘bout what to say / can’t find the lines” from “Back Of A Car” has Chilton’s vocals expressing multiple emotions with such knowing intimacy you would swear you were witness to an event.
It is near insanity to think that this amazing and powerful record is still not given the recognition it deserves as it easily stands beside the all time great albums. Actually, you may accuse me of hyperbole, but #1 Record and Radio City combined is one of the best one-two punches to be released in all rock music.
In terms of vinyl, Radio City has several options available to you. The obvious choice is to go back to the original 1974 release. Used copies of the stereo edition will set you back at least $150 while the mono version sells for over $370.
A 1986 reissue of the album sells for a much more reasonable $20.00 with a German reissue on white vinyl going around $30.00. They also came with an alternate cover.
There is a twelve year gap to 1998 when Stax first re-mastered Radio City. You can pick used copies in the twenty dollar range.
However, your best bets come from the five vinyl editions released since 2009. Stax released a regular vinyl edition, while Classic Records Proprietary issued a re-mastered 200 gram vinyl. These are highly coveted and sell for anywhere between $50 and $150 on the reseller market.
In 2010, a red vinyl edition was released in the UK and Europe, and has an asking price of over $30.00.
The last re-master is still the easiest to get, and sounds great. In 2014, 4 Men With Beards released Radio City on 180 gram vinyl and you can still find copies under $30.
So many choices, and yet I would advise you to just stroll over to your local independent record store and see what they have. The 2014 reissue is still widely available.
Many many many (did I say many) alt-rock luminaries have a love for Rush. So, in honour of the Canadian rock gawds 40th anniversary, Sebadoh have recorded a cover of the Rush hit “Limelight” from the 1981 album Moving Pictures. The original batch of 978 picture discs sold out.
However, the good people at Joyful Noise have done another printing on clear vinyl for those of you who feel you missed out the first time. You can order it here.
You can also check out the original recording of “Limelight” by watching the video above.
Sitting alone on the bus bound for Toronto I looked down at my feet and exclaimed “Oh shit!” louder than I should have. People turned to see this large man who looked more biker than student, wearing a pair of headphones shaking his head at his own stupidity. Sandles… I was wearing sandles to a freakin’ big ass concert at the Exhibition Stadium. Worse, it was general admission floors and I realized that I had made a huge mistake.
I hook up with my girlfriend at the bus station, and meet with my roommate at the show as Blues Traveller put on a set that was entertaining to the few people who had arrived. I had expected a large crowd for Soundgarden who were still touring Badmotorfinger but that didn’t really materialize either. Despite low turnout for their set Cornell and co. put on a great performance. When they left the stage, that’s when things started getting weird. The crowd started filling in, but it wasn’t too bad until Pearl Jam walked on and the opening chords of “Go” rang out. Finishing the last dates supporting Ten, and having just finished the as yet unreleased VS. Pearl Jam was at the top of their popularity. Suddenly every kid who had a seat relinquished it and started breaking for the floor. Security was helpless as hundreds of people started to rush the stage.
I was perhaps 50 – 60 feet from the band when this started and within just a few seconds I was thirty feet from them; except I had not taken a single step. It was a current of kids turning into rapids. My girlfriend started to stumble. At that moment a mixture of fear, anger and adrenaline took over. I grabbed my future wife, said excuse me to the first couple people, and with no other choice just started pushing through the crowd sideways. Each step I became angrier and despite the music I could hear screams of pain in the distance. Finally, the three of us came into a bit of a clearing when some poor kid, who had my height but was twig thin, ran straight into me.
BANG!
He looked down, went white and murmured, “I’m sorry.”
I didn’t have to look down to know what had happened. His Doc Marten kicked my big toe nail, and ‘pop’ my foot was now a bloody mess. All that adrenaline went straight to my chest and I bellowed “GET THE F#!K OUTTA MY WAY!!!” He disappeared in a shot. We went to a concession stand got a few napkins and then watched the rest of Pearl Jam’s set from the furthest seats of the stadium. Pearl Jam finished with a rousing rendition of the Who’s “Baba O’Riley” and left the stage. As they did so did the Pearl Jam fans. Hundreds just left.
We made our way back to the floor which was now civilized and found ourselves pretty much where we were standing before all the chaos.
Neil Young took the stage with the legendary STAX band Booker T & the MG’s and knocked through a set that pulled from both his acoustic and electric sides. The crowd was mostly in awe at the aging veterans who were putting on an awesome spectacle. For the first encore Young pulled out his harmonica and began to play the familiar whistle opening to the late Otis Redding classic “(Sittin On) The Dock Of The Bay” (Booker T &b the MG’s play on that Redding original). Unlike other covers by artists like Michael Bolton, Young didn’t use the song as some opportunity to emote through musical masturbation of vocal range, instead he stuck to the true dreamy nature of the original. Then he went electric again and broke into the Dylan stomper “All Along The Watchtower.” When the band finished everyone left the stage.
For the second encore Young & the MG’s were joined by Pearl Jam for “Rockin’ In The Free World” which delighted fans both young and old.
My girlfriend decided to drive me home when the radio started announcing several injuries due to the crush of people. I looked at my foot, considered myself lucky for only losing a toe nail, and popped Harvest Moon into the tape deck. That was the last time I ever went to Exhibition Stadium. It was torn down in 1999.
Some records are great sounding and personal. Some records are great sounding and important. Then there was Exile In Guyville which was all that and so much more. 1993 was an awesome year for music seeing releases by Nirvana, Smashing Pumpkins, Breeders, U2, Belly, Porno For Pyros, Sloan, The Cranberries, Blur, Counting Crows, PJ Harvey and so many more. All those records and yet Spin and the influential Village Voice both picked Guyville as the number one record of the year.
It wasn’t just that Phair was writing about sex as bluntly or as graphically as any ‘guy’ had before her. It wasn’t just that a so-called feminist view hadn’t been placed in music to the extent that she now had. It was that Exile In Guyville had seventeen kick-ass songs that talked about the female experience without having to make proclamations. This wasn’t Helen Reddy singing “I Am Woman” or Courtney Love warning you that “someday you will ache like I ache.” Instead Phair’s vocals are so matter of fact you feel that anger and sarcasm would be out of place. These are the stories of women in love, lust, distress and having sex told in a style where shock seems both out of place yet warranted.
Spin recently ranked the Top 300 albums since 1985 and Exile In Guyville ranked #7. The only albums to rank Higher were:
Radiohead – OK Computer
The Smiths – The Queen Is Dead
Daft Punk – Discovery
Prince – Sign O’ The Times
Wu Tang Clan – Enter The Wu-Tang
Nirvana – Nevermind
Quite the company eh!
So when I talk about wanting to have not only albums I love, but also essential albums in my vinyl collection – Guyville fits both bills.
Strangely, Exile In Guyville has only two vinyl options. The original 1993 Matador release came with two basic black vinyl discs and an insert detailing the album info. You can find used copies on the internet for about $50.00.
In 2008, ATO Records released a 15th anniversary edition that was re-mastered and placed on two 180 gram vinyl pieces. With them also came a bonus 7” of unreleased B-sides and a copy of the re-mastered CD. Oddly, the reseller markets are asking over $60.00 for the 2008 reissue. It is still available at local record stores and online retailers for much less.
If you haven’t heard it – listen here. Then BUY IT!
Back in the mid 80’s when the crimping iron was king and glam-rock-metal kids wore makeup in the fashion of Poison, a movie came out that was so bad it was absolutely brilliant – Maximum Overdrive. The villain was a big rig truck wearing a Green Goblin mask, the hero was Emilio Estevez, and the director was none other than the master of horror himself, Stephen King. Trucks, lawnmowers and even vending machines turned homicidal in a film King himself would admit to being done as he was “coked out of his mind.” Ultimately it was a film that stretched “suspension of disbelief” beyond any reasonable limit.
Well, I certainly can’t say what or even if The Darkness was ‘on anything’ but it certainly takes a sense of humour to enjoy this record. The Darkness always seemed to have their tongue planted firmly in cheek, but now I have my doubts. You see, I’m not quite sure if this is a band that takes itself seriously or not anymore; and I’m not sure if their intention is rock supremacy or parody; I just know that the guitar “licks” are straight from the era of Whitesnake, White Lion and vocals are over the top cliché. The big hair 80’s had music was catchy, the subjects silly and spandex was thought to be cool.
From track number one “Barbarian” the axe swings a heavy blow against… well… it swings a mighty blow, and the falsetto screams of… well… screams. “Reducing the feeble citadels to ashes and blood stain / enslaving the sweet women folk / while every man is slain” is hilarious in its “epic-ness” as a description of story rather than storytelling itself.
Things get even more… um… colossal (that sounds good) throughout the record as The Darkness take on sounds of Queen doing the soundtrack for Flash Gordon. We are told to “open up your mighty wings and fly” in that high pitch testimonial climax on “Mighty Wings.” Regardless, it has all those metal moments of high drama and sound. You can imagine waves crashing, lightning flashing, broken hearts and quests for the nature of existence.
It isn’t that The Darkness have put out a bad record, it’s just that like Maximum Overdrive it stretches the “suspension of disbelief” beyond my capacity. Do they know they have broken the forth wall down and have in essence become a musical episode of Disney’s Phineas & Ferb? Is Last Of Our Kind a parody, and if so, who is it a parody of?
The first person narrative has long been a device in rock music. So whether it is self proclamation (“Get Back Up”) or explanation (“Say What You Want”) or reclamation (“Piece Of Cake”) the only question to ask: Is the Barenaked Ladies road still worth travelling?
It sort of depends on where your music tastes start and stop. Silverball leans heavily on the pleasant sounds of the eighties, happily playing in a mix of Huey Lewis & the News, Katrina & the Waves, and the Live Aid era pop that saw the dangerous (Jagger & Bowie) become outrageous as they danced in the streets. Sure, “Get Back Up” is a song that looks at the band as having nothing left to prove, but that doesn’t mean nothing left to say.
In the Barenaked Ladies world growing older doesn’t mean much more than gaining perspective. When Robertson sings “maybe we got much better at looking at the others heart” on “Hold My Hand” it’s a gentle reminder to a partner that not only is everything golden, but that he wouldn’t have it any other way. It’s these kinds of personal reflections that give the record a good natured charm.
Silverball is good, really good in fact. It’s well produced, the lyrics are meaningful and you can play it in the background on a Saturday afternoon with a few friends gathered in your backyard as the bbq burns a few hot dogs. Which really, if Silverball has a point, it’s that after all these years it’s just fine to live for the little things.
There was a point a few years ago when I was pretty well convinced that the only American ‘rock’ band left that really mattered was Spoon. Starting with 2001’s Girls Can Tell, Spoon put together a string of four back to back records on Merge, with each new brilliant album being slightly better than the last. Their sound wasn’t based on 60’s surf, 70’s classic, 80’s synth, or 90’s alt-rock… it was, just a groove that made your head nod and forced you to pay attention. You see, Britt Daniel and Co. are more subtle than to give you an obvious influence and instead channel elements of opposing song writing giants to play off of. You get a bit of Costello, a smidgen of the Clash, a hint of the “wall of sound” with a touch of Bowie and then mix in a heaping of original creepy grooves and the result is Spoon.
2007’s Ga Ga Ga Ga Ga is the fourth and finest of the Merge years taking on all the elements of their previous work and then adding a kind of studio wizardry that arrives from the production of Jon Brion. Britt Daniel can be as depressing as all hell, but the vibe is so intoxicating that you feel compelled to be entertained by the misery. He sings “I want to forget how conviction fits, but can I get out from under it” on “The Underdog” but despite the hostility of the lyrical delivery it plays against type with hand claps and horns “for the Lords of Austin have returned.” (Yes that is a Lord of the Rings reference!)
So, with all this enthusiasm, you know I have to add this to my vinyl collection. Of course the choices are limited to only two. The first is a still widely available regular black vinyl that comes with a download card.
The second, released by Newbury Comics in 2014, is a very limited run of 500 in 180 gram red translucent vinyl that also includes a download card. As you can see, it is gorgeous.
While you can get the standard black for about $20.00, you can expect to pay at least $50.00 on the reseller market for the Newbury edition. Just hoping I can find a copy on a trip to the U.S. so I don’t have to pay a ton in shipping costs.
I don’t know if any of you caught the music news this week but the big announcement wasn’t a release by “fill in your favourite band” but rather that indie record stores are about to start “Vinyl Tuesday.”
In conjunction with and modeled on the example of Record Store Day, Vinyl Tuesday is set to bring you new and limited vinyl each week. As stated by the American Association of Independent Music in their press release, “there will be several types of vinyl releases.”
1) Catalog releases which can mean releases made specifically for Vinyl Tuesday or a regular release
2) Commercial and promotional vinyl releases
3) Rare cases where vinyl hits the streets before any other medium
4) Vinyl made specifically for the Record Store Day / indie shoppers
5) Vinyl that is being released after other formats
Basically, all the same stores that have been participating on RSD are going to be joining the Vinyl Tuesday craze. The only thing not mentioned in the press release (or anywhere else) is when vinyl Tuesday is set to start.
Now… where the hell do I get the cash to pay for this?
barrettbites 