alternative

A Parenting Lesson & the Vic Chesnutt reissues…

/ ds barrett / Leave a comment

img194

It can be difficult to explain pain to people. Words wrapped in metaphors trying to communicate the signals of nerve endings setting your brain alight. Both physical and mental anguish causing a torment that it often seems no one can relate with. I’ve visited these worlds from time to time; laid in a hospital bed and stared at the ceiling with a morphine high; taken pain killers to merely dull the excruciating; ingested medications to keep you from being overwhelmed by the thoughts manufactured by the prescriptions given for the original injury. I was a fan of Vic Chesnutt before I really understood these things, but I found a whole new appreciation once a calcified disc had pierced my sciatic nerve.

Recovering, I spent a great deal of time with Chesnutt’s early catalogue. Hearing it as if for the first time. It had become a part of the soundtrack of that time in my life. Songs that could be depended upon to show up right when I needed a good cry or laugh. His songs had given my own screwed up existence a voice I could recognize.

IMG_20170414_135104698

Driving through the east coast of Canada over a three-week trip, Drunk, West of Rome, and Is The Actor Happy were in constant rotation. At one point, I had to stop the car in Fundy National Park as a porcupine had decided to point its quilled ass in my direction. Just as Chesnutt sang those ever so visual lyrics from “Dodge” … “I showed my behind so frequently, my dear old mother wouldn’t recognise me” the damn beast pulled its ‘pedestrian right of way’ bullshit, giving me its own version of the middle finger salute. A few seconds up the road a moose gives us a completely ambivalent look as if telling us that this particular occurrence happens everyday. A kind of “get over it” gaze of communication. Fuckin’ nature! Get over yourself!

IMG_20170414_134921754_HDR

Fast forward seventeen years and my first born says “you’ve had this band on a lot, who is it?”

“Artist. Vic Chesnutt.”

“You going to see him in concert?”

“No. That really isn’t possible anymore. He died around the same time as Grandma and Grumpa.”

“From cancer like them…”

Now, I’ll be honest with ya… I kinda suck at this whole parenting thing. My thirteen-year-old son is the most empathetic child I have ever met. Having worked with and around kids since I was one myself, I can say this without the interference of parental pride. He is a soul that feels things deeply, and this conversation can’t end well. So basically, I’m stuck. He’s thirteen. Old enough to find out about things on his own. Dilemma, do I use this as a teachable moment, or just let it pass. As I said, I do suck at this.

“No.”

“A disease?”

“Are you sure you want to keep asking?”

“Why?”

Sigh. “This conversation could go to places you don’t like.”

“Was it a disease.”

How exactly do you answer this? I’m not a therapist. My own father wasn’t exactly the model of ‘after school special/ Dad of the year/ or ‘Dawson’s Creek’ perfectly scripted answers.

“Yes, but not in the way you are thinking.”

“Then what?”

Not sure how long I stared at my toes before I replied. It felt like enough time to have studied and gotten a psychology degree, but as I looked up my son was still standing in front of me with polar bear pajamas and a determined look.

“He overdosed on prescribed medications. Most people believe he committed suicide.”

“But…”

He teared up. I teared up. My nine-year-old walked down the stairs, looked at us, scoffed, went back up the stairs and started building his next Lego battle.

IMG_20170414_135257966_HDR

I began speaking. Or maybe it was stammering. Perhaps pleading. Somewhere in the mix of trying to find words I talked about depression, physical pain, Canadian vs US health care, debt and back to depression. You know what… not a bit of it sufficed.

“Isn’t it wrong to do that, you know, kill yourself?”

My head began to hurt. “I don’t have a good answer for that. Some people will hold up a Bible and tell you it is a sin. Others will talk about how selfish it is to hurt the people you love by ending your own life. Personally, I don’t buy into that. I believe that mental illness… depression; it takes away the hope you have for a good future. It only leaves you with the impression that your pain needs to end, and that you are a burden on those who suffer through it beside you.”

“That doesn’t make sense!”

“What?”

“The burden thing. Mommy pays for you to be home with us. You’re not a burden. So what if he owes money.”

“Part of being an adult is the desire to be self sustaining. That our own life should not impede or lower the people we care about.”

“THAT DOESN’T MAKE SENSE! When Grandma and Grumpa got sick you moved and took care of them didn’t you?”

“Yes.”

“Were they a burden?”

“No. I was exactly where I needed to be. Where I wanted to be. However, they didn’t see it that way. Grandma saw me leave my family to take care of her and it really bugged her.”

“That’s what I mean, if you were sick I would want to be with you.”

“I understand that. But it would suck to need or ask for help. That is how depression works. You forget that people really want to be there for you. You don’t want to ask for help. You don’t want to hold people back from their own lives. You just want to end the pain.”

He thought on it for a while.

“Doesn’t his music make you sad now?”

“Some of it always did. Some of it makes me laugh, some of it makes me cringe, sometimes he can make me laugh and cry in the same song. But I’m not really answering your question, right.”

“Yep.”

“Since grade one, you’ve had friends that have moved away.”

“Yeah.”

“When you think of them do you only think of the fact that they’re gone, or do you think of the fun you had when they were here?”

“The fun.”

“A person shouldn’t be defined by how they died, but by how they lived. Vic Chesnutt was an artist who I really appreciated. His music means a lot to me. Look, I’m not great at talking about this. It sucks that he died, especially how he died. But I still love the music he gave us to enjoy. I don’t hear his death, I hear his voice.”

That thought gets left hanging, and it just doesn’t feel like it should end on this note.

“You know, when I play my battered up old 12 string.”

“The one you bought from a weird old guy, and is difficult to tune because the neck was broken.”

“Yeah. I think of Chesnutt every time I play it.”

He catches me on this and calls me out. “You said the same thing about that guy in The Lemons and Wilco, and that lady Victoria.”

“Yeah. And it’s all true. I think about all those people. It’s just that they all have a unique voice. Not singing style. It is an overall, way of phrasing ideas that connects with me. I love that old piece of crap guitar because it doesn’t sound like any other guitar I’ve heard from anyone. Sometimes when I play it, I feel a whole range of emotions. All of them, coming from different places and all moments I wish I could bottle and stay in a little longer than is actually possible. The music ends, and even when I try to play it again, it just isn’t the same. The music that I keep playing, and paying for, it does that too. Those artists… Vic Chesnutt… they help me find moments that connect to … I don’t know… connect to living. To not being alone. Sometimes you can find moments like that on your own, but other times, it’s great artists that pull out those moments and share them.”

“You’re sounding all weird Dad.”

“I suppose I am.”

Anyway. The Vic Chesnutt reissues have caused a bit of a stir in the house. So far, the three that have arrived sound absolutely perfect. My complaint, has nothing to do with the quality, but rather the shipping costs. Despite much lower priced options available, most companies still choose methods that can nearly double the transaction price. For some of my favorite records I went and purchased the coloured vinyl. However, others will have to wait until they become available at my local record store before I can purchase them. Essentially, shipping is pricing me out of the market. Seeing the chat rooms, I’m not the only one.

P.S. West Of Rome will be out on Record Store Day 2017… next week folks.

Advertisement

Power or Pub Rock… screw the labels: Spoon – Hot Thoughts

/ ds barrett / Leave a comment

spoon hot thoughts

Very few bands garner my ever elusive “buy unheard” designation. That place where you drop cash on release day or do that advance order thing. With the popularity of music streaming sites and advance listens on popular music mag web pages, there isn’t much need for the mystery purchase. Regardless, Spoon remains one of the ‘only’ rock bands that actually matter. Whether it be their debut Girls Can Tell, the best-selling Ga Ga Ga Ga Ga, my personal favorite Gimme Fiction, or even the half-hearted They Want My Soul, Spoon has remained not only one of the most consistently great bands of this new(ish) century, but also one of the most intriguing.

They don’t often give away the subjects of their songs, usually choosing to keep their cards close to the chest, but when they do… well damn! “Let them build a wall around us, I don’t care I’m going to tear it down…” are lyrics found on “Tear it Down” and coming from a bunch of Texans, it might as well be a declaration of war against ‘Forty-Five.’ Of course, the lyrics are veiled enough that one might see it another way… BUT COME ON – it was written during the f@#king Presidential Primaries.

The thing is, Britt Daniels could write just about anything and it would still allow you enough room to project just about anything you damn well please onto the lyrical theme. “Do I have to talk you into it?” is just open enough to be up for any interpretation. “For your love, my first caress/ your friends have came and went/ Coconut milk/ Coconut water/ You still like to tell me they’re the same/ and whom I to say.” “First Caress” could be a direct shot at a former lover, or a bunch of crap written in a journal that sounded good together… in all honesty it doesn’t matter, the end destination is a great ride.

Which is kinda (kinda isn’t a word, I know… but stay with me here) the point. Great rock ‘n’ roll can be open to interpretation; meaning everything to the writer and something completely different and equally important to the listener.  Yet, somehow these two places have common ground, and when I find Spoon to be at their greatest is when these diverging points mix seamlessly. The deeper meaning is secondary to the emotional reaction you have to it. Fuck the definitions and labels… how does it make you feel?

Now, if you are looking to pick this up on vinyl, then you have boat loads of choices… including a lucky lottery version. You can pre-order clear, purple and red. You can special order a pink copy from Urban Outfitters (1000 available). There is the regular black at your local record store….OR…

IMG_20170331_190759515

If you did a pre-order from their label Matador, you may be one of the lucky !!!TWO!!!! to have received golden ticket green vinyl edition. One is being sold in the UK and the other in North America.

spoon green

I’d love to tell ya I’ve heard them all, but that just isn’t so. The pink Urban Outfitters is spinning on the turntable sounding like a mix between Duran Duran and a Texan version of Elton John (seriously… “I Ain’t The One” is just about as heartbreaking as “Sorry Seems To Be The Hardest Word”). Which is to say, it sounds fantastic and I’m assuming the others do too… but you know… you’ll have to buy it to find out.

Damn fine Wine: Enter The Vaselines

/ ds barrett / Leave a comment

vaselines 2

You know you’ve had a couple drinks (bottle of Cave Springs Riesling Dry) when you find yourself dancing around the house to the beautiful lo-fi emanations of The Vaselines. Released recently by Sub Pop, via Newbury Comics on “Baby Poop” yellow wax, (which is actually a rather stunning mix of yellow, green and black) it makes you wonder why the f@#k no one had bothered to do it earlier. Truthfully, because I wouldn’t lie to you, most of the indie that came out in the nineties (or 80’s as in this case) seems to be meant for vinyl and The Vaselines especially so.

The-Vaselines-Enter-the-Vaselines-3LP-Vinyl-Exclusive-2242401_1024x1024

There is just something about an acoustic/electric guitar and accordion mixed in a very simple rhythm that is just so damn appropriate to the crackle and pop of a turntable and a good set of speakers. Scratch that, even a cheap old paper pair of laminated shit sounds like bliss when Frances McKee is singing about “Molly’s Lips”. Then you add the (oh so) timely nasal and barely on key Eugene Kelly pontificating how inappropriate it is to die for religion (“Jesus Wants Me For A Sunbeam”) and you have reason to pull out boogie shoes… even if the music doesn’t really have ‘night at the disco’ as a prominent theme (or sound). However, the best stuff isn’t found in the familiar songs that a certain Seattle band covered, but rather in the deep cuts found in the supplementary discs.

Let’s be clear, this isn’t the first time The Vaselines have been repackaged for release… but I’ll be damned if this isn’t the best of the lot. Sure, you got the CD copy of 1992’s, The Way of The Vaselines, put out quickly to capitalize on the Nirvana covers on Incesticide, but really, this particular compilation from 2009 is all about an influential band in their prime. While they might be forever linked to the aforementioned band, The Vaselines have far more in common with the sounds of Australian bands Smudge and Godstar than grunge. Down under there was a far better understanding of “who gives a damn about mix” dynamics and instead “just play the f@#king song” than anything out of Europe or the States (except for Sebadoh, because they are the lo-fi version of rock GAWDS).That said, my point is rather odd as The Vaselines are a Scottish band. Regardless, this three disc set covers their entire early output with demos and live sets. The live stuff sounds as if it is being played in front of no more than 30 arts patrons… which is pretty much exactly how I would want to see them.

way vaselines

You see, (in my mind at least) The Vaselines are not epic rock gods in the classic sense, but rather, a simply epic band in the most direct of ways. There is no place for superfluous crap… just honest and straight forward songs that get straight to the heart of the matter and are done. If all you have heard is a few covers you owe it to yourself to (at very least use Spotify if you must) give them a listen.

As for the vinyl, and the new 300 copies out through Newbury Comics sounds great, you’ve only got two choices. The original 2009 Sub Pop release of Enter The Vaselines is still available at record stores. Then again, if you have a few days and are not worried about waiting for delivery, that “baby poop yellow” version is pretty sweet looking and sounds great too.

Big Star + Rock Hall = An Inductee That Would Really Matter… or… Big Star – Complete Columbia: Live at University of Missouri

/ ds barrett / 2 Comments

88875195041_JK001_PS_01_01_01.indd

 

A friend asked me “Why, of all the albums being released on Record Store Day 2016, are you waiting in line for a 90’s live album from a 70’s band?” The tone and nature of the question was meant to be mocking, as he loves to have lively music debates, particularly ones that push my buttons. However, instead of just reacting, I took a deep breath and thought about it. Then, just to be annoying I told him I would ‘write the answer.’ (hehehe…)

The reasons are three-fold.

Like many people, the album I first attach to a band tends to have the greatest impact. While I heard songs by Big Star from time to time, it wasn’t until the release of Columbia that I had a complete work in front of me which represented the band as a whole. A world opened up. Here was a collection of songs that didn’t need to be ‘epic’ stories of human struggle (ie. Bruce Springsteen) or carry images of Mordor (ie. Led Zeppelin) to have powerful depth. They also didn’t include anthem-like clichés to get people fist pumping in the air (pick your own example, as there are so many). “In The Street”, “Back Of A Car” and “September Gurls” leapt out of my speakers and made my own angst seem to matter. These songs were simple coming-of-age tales detailing everyday experiences without the ‘syrup’ provided by many of the ‘so-called’ classic rock bands of the day. Instead, Big Star gave us the kind of tunes that made you want to pick up a guitar and learn to play. Furthermore, you found yourself singing, not in some vain attempt to impress or attract anyone, but as an outlet to express yourself. Which is perhaps why I had been hearing covers of their songs by other artists as time went on; The Lemonheads, Matthew Sweet, The Bangles, The Posies, Teenage Fanclub and later Beck were all doing renditions of the songs of Alex Chilton or Chris Bell. The Replacements even wrote a song entitled “Alex Chilton”, dropping the line “never go far, without a little Big Star.” All of it was packed into this one album.

Next, this wasn’t an example of a band cashing in on fame. Big Star never had the kind of fame you could cash in on. Columbia was quite literally a concert put together by fans for fans and later released in a similar fashion. Two campus radio staffers at the University of Missouri quite literally asked Big Star alumni Jody Stephens if he would be willing to do a reunion show, and got a yes if Alex Chilton was up for it. Surprisingly, Chilton agreed and, with the addition of the Posies Jon Auer and Ken Stringfellow to cover for Chris Bell (deceased) and Andy Hummel (left the music business), the band played an amazing set to (merely) an estimated 200 people. Yet even with a small venue, they managed to attract much of the music world. That show got glowing write-ups in all the major music magazines of the day. It was pretty unanimous amongst the press that those not lucky enough to be in attendance had missed something special. Fortunately, this record gives us a glimpse of a show that has attained somewhat legendary status.

Finally, Columbia solidifies my absolute belief that Big Star should be in the Rock ‘n’ Roll Hall of Fame. All three of their initial studio releases (#1 Record, Radio City, Sister Lovers/Third) land consistently on various magazines’ Top Albums of all-time lists; all three are referenced by multiple generations of artists as being influential in their music; and all three are revered by fans lucky enough to have heard them as being close to their hearts. More importantly, their music has endured through the most insanely bad luck of any band in rock history. Their 1971 debut #1 Record was hailed as triumphant by music critics, but due to poor distribution and marketing by Stax, no one could find a copy to purchase, even when songs were played on the radio. Follow up Radio City suffered a similar fate, with Columbia records refusing to distribute the record because of a disagreement with their newly acquired Stax label. By the time Big Star released the gorgeous yet challenging Sister Lovers/Third, the band had completely disintegrated with only Alex Chilton and Jody Stephens remaining. They went their separate ways and that should have ended the story… but it didn’t.

Fans exchanged cassettes with Big Star tunes. Those in the know kept talking and searching until a market was created for re-releases. More than two decades removed from their first record and people were seeking them out based on little more than conversations and scratchy recordings emanating from a tape deck. By the early 90’s, Ryko had reissued Sister Lovers/Third and a put out a compilation of Chris Bell’s solo material, I Am The Cosmos. Then Columbia was released in 1993.  A tribute album was recorded by a virtual who’s who of 90’s alt-rock artists (ironically, it also suffered from bad luck and wasn’t released until years afterward). When Columbia was released, it may still have been hard to find the first two Big Star records in stores, but here were the songs; live, rough and glorious in their presentations. All members were taking on vocal duties, with Jon Auer doing an incredible job on the solo Chris Bell single “I Am The Cosmos.” As the 90’s continued, That 70’s Show used “In The Street” as their theme song and a new generation started to discover the band. Finally, their albums could be found in record stores.

Somehow, without radio backing or touring, people were seeking out this music.

Which brings me to the Rock Hall…

If, as I believe, rock ‘n’ roll is about more than money or popularity, then Big Star should be inducted and Columbia is a perfect example of why. Here is a band whose art transcended obscurity by nothing more than word of mouth and shared recordings. Without the help of corporate money and radio exposure, their music found a way to not only be heard, but in fact influence generations of future musicians. Hell, the entire sub-genre of “power-pop” can’t even be considered without Big Star being mentioned as its greatest practitioners. It is hard to picture the sounds of the 90’s alternative music scene without the influence of songs that Alex Chilton and Chris Bell provided. Then, you add the Big Star reunion to the mix.

Complete Columbia: Live at the University of Missouri 4/25/93 exemplifies the very idea that great music will find fans and that record sales are not as important as the art itself. On-stage that day in ’93 were two musicians who had created some music playing with two other musicians that had been directly inspired by it. Twenty years separating their careers, yet you could hear just how much Big Star had meant to the future of rock music. They weren’t just another band that you hummed along to distractedly on a transistor radio; they were the band you sought out and told anyone and everyone willing to listen that Big Star were “FUCKING AWESOME!!!”

So my friend… you ask me why I’m arriving early on RSD 2016 to line up for a copy of Columbia… or even, why they should be in the Rock Hall… well, it’s because Big Star created music that really matters… what other reason is there?

A Perfect Storm… or Sonic Youth – Goo

/ ds barrett / Leave a comment

goo1

It can be difficult to quantify the importance of a single LP, not only as a piece of art, but also on its impact on the zeitgeist. Music being a quite subjective form of expression usually gets defined by observers in two very different, if not opposing standards – sales (numbers sold) and contextualization… being the present, historical and critical importance perceived by music writers and individuals alike. Every so often the two standards align within a moment that one can point at and yell (in their best Charlie Brown voice) “THAT’S IT!!!”

Goo acted as such a watershed. While being the most commercially accessible album Sonic Youth had produced to date, it changed how other artists saw themselves and their art within the music world. Without compromising their artistic vision, the band had joined a major label and sounded just as fucking insanely awesome as ever. Following Goo, Nirvana signed with DGC on Kim Gordon’s recommendation. Neil Young released Weld on the advice of Thurston Moore. Hell, they even made Steve Albini’s cries of sell outs to all major label acts seem like a distant voice lost in a strong wind. After all, if Sonic Youth were recording for DGC, then how bad could it be?

Just look back at the classic documentary 1991: The Year That Punk Broke. For many, this was ‘the’ introduction to the world of 90’s alt-rock having just witnessed Nirvana, Dinosaur Jr. Babes in Toyland and more pre-grunge explosion (grunge is such a useless word). Thing is… the real subject and focus of the film is Sonic Youth and their tour in support of Goo. Everyone in the film went on to either moderate or phenomenal success.

punkbroke

Like any band that has the repertoire of Sonic Youth, arguments will always ensue about where albums rank against one another. Dirty was more commercially successful and Daydream Nation got more critical laurels, but Goo was proof positive that Sonic Youth could take their brand of indie-avant-rock into the public consciousness. Basically, if you’re a music-geek, then Goo is essential.

If you’re looking to pick up a 12” version there are a few options. Your first is the original LP from 1990, some limited quantities came with a bonus 7” of “Kool Thing” and are decently priced at under $40 through discogs. They were limited at the time to 3000 copies so some e-bay resellers are asking as much as $200 for “near mint”… so do some research if you’re looking for it.

The most coveted edition is the 1996 Mobile Fidelity 200 gram vinyl. As per usual, MF did the recording at half cutting speed to ensure sound quality and did a limited run. Of course, this also means a high price on the resale market with vendors asking for over $200 in many cases. Again you’re looking at tags like “near mint.”

goo2

The next option is for music enthusiasts and can be purchased “new.” In 2005, Goo was re-mastered and put out as a four LP set. The first two discs contained the album proper on Sides A, B and C while D had ‘B-sides and outtakes.’  The second set of records contained demos and unreleased material.  Also included was a 16 page booklet. This can be special ordered through most record stores or ordered direct through the bands website.

goobox

This year Goo got another re-master and re-release. This time out it is on a single disc. You can find the standard black vinyl at all the usual outlets, or a pink/white swirl through Newbury Comics. The coloured vinyl edition is limited to 1000 copies and sounds pretty damn good against the CD.

pinkgoo

Any way you look at it, Sonic Youth provided a road for other bands to follow, and Goo was a significant part of what would follow in the 90’s alt-rock era. It’s worth the price of admission.

New Replacements vinyl box – The Sire Years to be released on March 29th

/ ds barrett / Leave a comment

replacements sire

For some hard core fans, The Replacements are the world’s greatest rock ‘n’ roll band. Hyperbole aside, they are definitely one of the most important and influential acts from the 80’s.

The last few weeks have given Mat’s fans a few interesting developments to cheer about. First, Paul Westerberg and Juliana Hatfield introduced the world to their recent collaboration The I Don’t Cares. On March 1st, a new biography by acclaimed rock critic Bob Mehr entitled Trouble Boys: The True Story of The Replacements saw the light of day. Just this past week a new interview in Spin had Westerberg clarify that the Replacements reunion “DID NOT” end with them breaking up again; implying that we may indeed see them reunite in the future. Finally, Rhino records have announced a new vinyl box set – The Replacements: The Sire Years.

The set includes four records the band recorded on Sire between 1985 and 1990: Tim (1985), Pleased To Meet Me (1987), Don’t Tell A Soul (1989) and All Shook Down (1990).

Tim saw Westerberg explore different aspects of his song writing prowess. Songs like “Swingin Party” and “Kiss Me On The Bus” had a more playful ‘house party’ feel that was contrasted by the anthemic “Bastards Of The Young” & “Lay It Down Clown.” Eventually, Rolling Stone would hail it as #136 in their ‘Top 500 Albums of All Time’ and Alternative Press ranked it as 4th in the Greatest Records recorded between ’85 and ’95 list.

Pleased To Meet Me contains some of the most recognized Replacements numbers including their nod to Big Star luminary “Alex Chilton” and the life affirming “Skyway.” The video for “The Ledge” had the distinction of being banned by MTV for its theme of suicide. While Tim still contained elements of the band’s more punk origins, Pleased To Meet Me had moments where you could mockingly envision men in smoking jackets drinking martini’s. Paste magazine ranked it at #70 in their Top 80 of the 80’s list.

Don’t Tell A Soul was the first record to feature Slim Dunlap on guitar after Bob Stinson’s unceremonious departure. In contrast to the two previous more adventurous records, this was pretty much a straight forward rock ‘n’ roll album featuring the Replacements only ‘real’ hit single “I’ll Be You.” Although lacking some of the historical accolades of other albums, Don’t Tell A Soul was both a ‘tongue in cheek’ nod to lack of success while at the same time an attempt to achieve what they so despised. “Talent Show” and “Achin’ To Be” both stand out as highlight tracks.

The Replacements’ epilogue came just as the band was beginning to get mainstream attention with All Shook Down. “When It Began” was nominated for an MTV video award and the LP as a whole found the band nominated for Best Alternative Music Album at the 1991 Grammy’s. Featuring a slew of guests including John Cale (The Velvet Underground), Benmont Tench (Tom Petty & the Heartbreakers), and Johnette Napolitano (Concrete Blonde); All Shook Down saw the disintegration of the band in a glorious sounding finale.

Unlike many recent vinyl retrospectives The Replacements: The Sire Years is downright affordable, with retailers asking just over $70.00 for the four LP set. Any indie/alt rock fan looking to include some Mats tunes on the turntable should be extremely happy with this release. However, act quick… the set is limited to 8700 numbered copies, with some pre-orders containing a bonus 7” of “Can’t Hardly Wait” (Tim version) with “Portland” on the B-side.

 

 

 

 

 

 

 

 

 

The Ultimate Rock ‘n’ Roll Smoothie… or Dressy Bessy – King Sized

/ ds barrett / Leave a comment

dressy bessy king sized photo

When I was a child sitting cross legged on the floor watching Saturday morning cartoons mere inches from the TV screen, I was obsessed with fun songs. The show didn’t seem to matter as much as the cool theme in front of it. The sounds of Speed Racer, the Banana Splits, Josie & the Pussy Cats, Scoobie Doo… even Hong Kong Phooey were running through my head as I raced up and down the street on my banana seat bicycle. Certain songs would just grab me by the cranium and shake themselves into my consciousness. Obviously, it wasn’t about some deep emotional connection; there was just a gut instinct that made me want to jump, shake, run, ride, and sing even if I had no talent at such things. They just put a smile on my face.

Fast forward a few decades and some bands continue to pull that out of me. Dressy Bessy is one of those groups. They just allow me to spend a bit of time in a ‘happy place’, and their new album King Sized is another notch in a good time measure stick.

First you have Tammy Ealom, whose vocals could be compared to the more fun version of the Breeders Kim Deal. Then you get John Hill whose rhythm guitar jangle from Apples In Stereo takes the lead with Dressy Bessy. What you get is joyous mix of power-pop, indie and 70’s – 80’s pub rock, all tossed into a blender and arriving in your speakers as the ultimate rock ‘n’ roll smoothie.

Lead single “Lady Liberty” suggests that life is just too damn short to live with negativity as Ealom sings “there’s no room for angry people / trying hard to get along / there’s nothing if not taking role, folding cards / if only Lady Liberty could say it all / I’ll bet she would.” Sure, there is a message, but it’s subtle and comes out in rainbow coloured bursts. Even empowerment tune “Get Along, Diamond Ring” with Ealom’s protagonist exclaiming “don’t give, give me, give me no diamond ring – ‘cause I don’t want it” isn’t angry as much as a simple statement given with rolled eyes and raised brow; a boundary not to be crossed.

Fact is, while Dressy Bessy is celebrating their 20th anniversary this year, they’ve been on my bucket list for most of those. Between their music and videos I get the impression it would be an awesome experience.

Unfortunately, a decent fan base south of the border hasn’t translated into any visits north. Hopefully King Sized will afford them the opportunity to play NXNE festival in June, or even better, a solo spot at one of T.O.’s (Toronto) smaller venues…, because… well… it’s one show I would want to be near the stage for.

 

King Sized will be released Feb 5th

Warning: This album might make kids want to form a band… or Hinds – Leave Me Alone

/ ds barrett / Leave a comment

hinds leave me alone

It doesn’t hurt to have hi profile friends (Black Keys, Libertines, the Strokes, Black Lips) and to be opening for some very popular bands. Then to get major label distribution (Sony) so that your music gets promoted and is easily available once the word is out is even better. However, the only thing that will really result in lasting appeal are a great bunch of songs. You either write them, have them written for you, or have things crafted so densely under production that singing the dictionary sounds like a hit ready for the mini-pops to cover. The later is usually what you see when youth get major label money and the results are generally fan bases popular amongst the pre-teen kids waiting for the next single by Selena Gomez or Cody Simpson.

It isn’t often that you see the exact opposite play out, but ‘holy crap’ it has and the effort has produced an outstanding record. Riding out of a sunrise with a sound that crosses the lo-fi glory of Sebadoh with the energy of the 5.6.7.8’s and the dreamscape of Best Coast, Hinds have created an LP that can relate as much to early rock ‘n’ roll as it does to modern alternative/indie sounds. All that and they’re still on an indie (with major distribution).

What is most appealing with Leave Me Alone are the moments that have the dual vocals of Carlotta Cosials and Ana Garcia Perrote playing off one another in a playful case of a mutual admiration society. The album opens with “Garden” which has them teaming up with vocals that are not the usual ‘call and answer’ or traded lines found in duets as much as a ‘sing-a-long’ jam with friends just having a great time. Live you often see bands have these moments but capturing it in a studio environment is rare. Which makes it all the more remarkable that they pull it off on a full albums worth of material.

Hinds do have a few tunes that capture the whole ‘dark and brooding’ thing, but their overall enthusiasm seems to jangle right past despair with a good nod and a wink. Thing is, it’s really hard to be in a negative mood listening to Hines… like a good friend they show up when you’re down and say nothing more than “get off your ass and let me buy you a drink” and everything feels better.

Great rock ‘n’ roll records don’t have to be complicated affairs. They don’t need to have producers with a track record, a billion dollar studio, or a video directed by a Hollywood ‘A list-er’. Leave Me Alone is a reminder that great music can come from kids with nothing more than the standard guitar, bass and drum mixed with a few crappy amps and a willingness to let the songs speak for themselves. In fact, I’m willing to bet that a few kids will hear this record and start bands of their own, and that would be about the highest compliment any band can get.

Beck… without the Beck? Or Scott Pilgrim Vs. the World Soundtrack

/ ds barrett / 2 Comments

spvwco

Writing songs for fake bands can turn out some pretty good tunes. The Monkees and Spinal Tap built careers around that shtick, and let’s not forget the memorable Citizen Dick in Singles and… well, it’s a very long list. One of my favourite is Sex Bob-Omb from Scott Pilgrim vs. the World. While I admit to being a fan of the movie, it’s the soundtrack that I became pretty obsessive over for a few months back in the day. First it contained that awesome Plumtree song “Scott Pilgrim” that had originally inspired the books. Then you had some top notch Canadian content with Metric and Broken Social Scene stealing their… um, scenes; by appearing as rival band Crash & the Boys. However, it was the Beck songs written for Sex Bob-Omb that had my son and I singing along on the summer road trips.

By writing garage inspired tunes for a fictional act, Beck took a step back towards a more lo-fi sound and created an EP worth of memorable tunes. The energy and enthusiasm expressed in the soundtrack material was similar to what had drawn me to Beck on Mellow Gold. It was playfulness with words mixed with catchy hooks and surrounded by pawn shop guitar sound. (Seriously folks, check out Beck’s live appearances with that wonderful cheap piece of shit 60’s Silvertone. The sound is raunchy, broken and incredibly brilliant. Honestly, I own one myself and love it.)

With the deluxe edition, you get both the Sex Bob-Omb recordings and Beck versions. While the two are quite similar to one another, Beck has a nonchalance in the delivery that allows lines like “Jesus in the rear view / and the highway patrol is up ahead / in my garbage truck…truck” to move past silly and into ‘fun rock-out’ territory. Unfortunately, ‘deluxe’ was digital download only, so the extra three Beck recordings are not on vinyl or CD.

The original vinyl pressing from 2010 was on red translucent wax. Due to demand, there was a 2013 reissue that is identical to the initial release. You can still find copies out and about at record retailers, so don’t go nuts in the reseller market and pay ridiculous prices.

Being a Beck fan, I picked up the LP and just bought the three extra tracks from itunes. It isn’t my usual thing, but when your kids are singing along to your ipod mix on the trip to see the grandparents… well, it feels like money well spent.

Aimee Mann: She isn’t the Ramones… but she is pretty damn cool! (A first concert story)

/ ds barrett / 6 Comments

DSCN7998

Back in university there was only one major thing I was envious about regarding my roommate/friend – his first concert. The first band he ever saw live was the Ramones; only the ‘coolest’ band to have ever graced the planet earth. Oh, you can mention ‘better’ or ‘more popular’ bands like Led Zeppelin, the Beatles, the Smiths, the Cure, etc and so forth… but unless you can tell me you saw James Brown live at the Apollo, or the B 52’s in an Athens dive as your first show, he had you beat.

Of course, his first concert outshone mine easily. I’m embarrassed to say, but that first for me was in the freezing cold at Nathan Phillips Square featuring Platinum Blonde. Sure, there are many bands that could rank worse as a first show, and it wasn’t a bad night either, but “It Doesn’t Really Matter” isn’t exactly “Rock ‘n’ Roll High School.” A few years later, with one four year old at my feet, and another child on the way, I vowed to make sure that my kids would get a cool first concert; something ‘worthy’ of telling college roommates about in a childish game of ‘mine is better than yours.’

So it was that in 2008, a couple things had lined themselves up. Local record store Sonic Boom (Scott Pilgrim vs. the World filmed a couple scenes in there) had acoustic concerts every so often in the basement of their Bloor Street location. I attended a Nada Surf show with the ‘former roomy’ and when it finished I saw the bands singer/songwriter Matthew Caws hanging out with some kids. Not ‘kids’ as in a middle-aged definition of people of the teenaged variety… but honest to goodness children. Not being the most perceptive of individuals, it only dawned on me right then, that… well, um, a record store is a safe and… dare I add, perhaps even ‘cool’ place to see a concert.

!!!LIGHTBULB!!!!

Five months after watching Nada Surf, and barely 8 weeks after my second child was born a quick e-mail announced that Aimee Mann was going to be playing a set at Sonic Boom. Since the early 90’s I had become a pretty big fan of Mann’s music. She had put together a consistent string of outstanding records that caught a great balance between power-pop (Big Star), new-wave (Elvis Costello, Nick Lowe), and the alt-rock scene of the times. Bachelor #2 was a staple in my house as the new millennium began and 2005’s concept album The Forgotten Arm seemed to be just more proof that she should be a household name. In other words, Mann had become an essential part of my life’s soundtrack. Alas, critical praise doesn’t always result in record sales. Of course, and from a purely selfish perspective, it also meant that seeing a ‘bucket list’ artist in a strange different style venue was about to happen.

So it was that during the early evening May 9th, 08 my wife and I took the boys out to see Aimee Mann. Needless to say, the youngest was in a car seat hanging out with my wife just in case he expressed any discomfort with the noise level. However, my 4 year old and I were sitting cross-legged in front of the small riser where he began to ask me a thousand questions about the small soundboard and the instruments on stage. He had a poster clutched in his hands and was smiling from ear to ear. Since his birth he had seen me playing guitar and singing songs and was now completely enthralled by the prospect of seeing a real music artist. Mann didn’t disappoint. Playing a few selections from @#%&*! Smilers, which was due for release a couple weeks later, she had everyone in a great mood. By the end of the set my son was convinced that Mann was the world’s greatest songwriter, and that she was smiling at him between songs. (I didn’t have the heart to tell him she was looking at where she was placing the capo on her guitar… and that the neck of the instrument was pointed in his direction.)

After the set, we waited around for about 30 minutes to see if we could get the poster signed. I’m not usually one for signatures, but I figured a momentous occasion like a first concert would be a great opportunity for my kids to have a keepsake. So we looked at the vinyl and cassettes which shared the basement with the stage, and kept an eye on the door for her exit. Unfortunately, whoever was interviewing her after the show was getting a really good chat, because she just never came out of the backroom in time for my son to get it signed. The baby needed to get home, and so we jumped into the rusty old minivan with a poster, our memories and a great first concert story.

Eighteen months later, my first born would get his second concert poster signed by a confused looking J. Mascis and a very gracious Lou Barlow after a Dinosaur Jr. acoustic set at Sonic Boom. (I mean come on, how many times do alt-rock legends get five year-olds walking up for an autograph.) Since then we’ve been to a bunch of small sets or shows. Both my boys (now just about to turn 12 and 8) enjoy going to shows at Sugar Beach where they can play in the sand before a band breaks into song.

Over the years, I’ve seen Mann perform a couple times, each time more impressive than the last and yet she still remains on my bucket list for a couple reasons. One, I’d eventually like to get to one of her annual Christmas shows. But, even more importantly, I’d like to have the kids go to a full concert that they’ll actually remember without daddy reminding them of when playing music on the stereo. When she last came to Toronto with The Both we were away on holidays and missed the chance. All joking about bragging rights aside, taking my kids to a concert isn’t about bravado, it is about bonding. Doing those things that allow memories to grow and be sustained.

So my old roommate has the Ramones… and that is pretty cool. But, on some future day when they’re at college and a friend asks “what was your first show?” both my children will be able to give a sly grin and reply – “Aimee Mann… and I wasn’t even in kindergarten yet.” The older one can even add “and, it’s on youtube. You can see my dad and I on the floor waiting for the music to start.”

Thanks for the memory Aimee