record collection

Beauty Found in Desolation or Of Monsters And Men – Beneath The Skin

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With metaphors of mountains and wolves threatening to turn Beneath The Skin into a lost scene from The Lord Of The Rings, a sudden heartfelt turn takes place that puts it all in context. This isn’t a record about pomposity; it’s an album about finding life affirmation.  It takes time to get past the catchy single “Crystals” and its images of gold, silver and crystal eyes to find the depth and heart in Beneath The Skin.

“Organs” sees vocalist Nanna Bryndis Hilmarsdottir lamenting “I am tired of punching in the wind / I am tired of letting it all in” as she bears witness to the changing nature of self as a relationship falls apart. That confusion continues in “We Sink” as Himarsdottir finds no solace; “It’s warm, the skin I’m living in / It creates and shapes what is within / So please look away, don’t look at me / As we sink into the open sea.” It’s her realization that sometimes things just don’t get better which makes the song that much more poignant.

Behind the words are an atmospheric blend of alt-rock guitar crunch, acoustic soul and keyboard flourishes that build drama around the lyrical images. It is a folk-rock sound that is reminiscent of Mumford and Sons and City and Color to name just a couple, but those similarities do nothing to interfere with the albums’ emotional resonance.

That said, Beneath The Skin provides a lasting and hopeful end as “Winter Sound” concludes “You and I will not be shaken by the winter sound.” Desolate perhaps, but Of Monsters And Men prove that beauty can be found in desolation.

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Out on June 9th, Beneath The Skin comes out on all the usual formats and has some pretty cool special options on their website. Check it out.

By D.S. Barrett

Comes With Big Explosions or Muse – Drones

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It’s hard to gain respect when you are the world’s most bombastic band. Ask ELO or Queen about critical reception and there will always be those critics who point out the over the top nature of such artists. On top of this Muse can’t shake the fact that vocalist/guitarist Matthew Bellamy phrases his singing like The Bends era Thom Yorke and plays flashy guitar reminiscent of Brian May. Thing is, if you were to describe the ingredients of a great sounding record, you could do much worse than those guys.

The only thing that can save artists from the line of ‘artistic achievement’ and ‘unholy disaster’ is a group of songs that both the band and their fans can embrace as “really f’in cool.” So now you have Drones, an album that uses the mechanical bringers of death as a metaphor for the loss of humanity, identity and empathy. It shoots for the stars and attempts to play more like a rock opera on the movie screen than a mere record put out in 2015.

Odd as it seems, they make it work. Sure you get the impression that they listened to a few popular 80’s records along the lines of The Power Station and Foreigner to update their previous sounds, but damn, it’s fun and they sell it with conviction. You might accuse them of being pretentious; an honest criticism in their case, but the basic fact is that Drones is entertainment. Think of it this way, not every war film made is about the consequences of violence; some are released so that people can watch big explosions and stuff popcorn in their face simultaneously…  and there is nothing wrong with that.

So when Bellamy sings “men in cloaks / always seem to run the show / mercy / from the powers that be” you can either roll your eyes or turn up the volume, but there is just no way you can ignore it.

Now for the purchase details.

Muse does know how to treat their fans and make a few bucks. You can buy Drones on all the usual physical mediums or you can buy this gorgeous gem.

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In a tri-fold cover, the deluxe edition contains two 180 gram red vinyl discs, CD, DVD, download card and two litho art prints. It’s pricey and you’ll need to cover shipping… but damn, it looks pretty sweet.

Self Sabotage Genius or The Replacements – Pleased To Meet Me

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Pleased To Meet Me should never have worked, yet it stands tall as a masterpiece. Lead guitarist Bob Stinson was out because of substance problems and the remaining band members were stumbling at best. Paul Westerberg’s songs were all over the map, and still the album is full of such gems that you can hardly tell that they had begun to disintegrate.

Recording at Ardent Studios in Memphis with producer Jim Dickinson, it really shouldn’t have been a surprise to anyone that the band sound was less their typical brilliant boozy swagger and more an awesome well practised piece of power-pop. Of course, like his hero Alex Chilton, Paul Westerberg attempts to self sabotage his own career aspirations with tunes designed to be hated. The reaction therefore is that fans and critics alike see it as a ‘sign of genius’ – ‘a change of direction’ and rightfully heap praise.

Jazz and soul undertones (“Nightclub Jitters” & “Skyway”) mixed with punk pathos (“I Don’t Know” & “Red Red Wine”) and the aforementioned power-pop gems (“Alex Chilton” & “Can’t Hardly Wait”) help to create an album that demands devotion.

So it seems strange that since its initial release in 1987, Pleased To Meet Me didn’t see a re-master and reissue until 2008. For vinyl there are only two choices, finding an original used copy, which will cost you $50 and up

Or

the 2008 Rhino reissue on 180 gram vinyl. New and unopened copies of Pleased To Meet Me start around the $40 mark and even get some resellers asking as much as $100. While there is a new Replacements 2015 box out right now, there has been no vinyl release date set as of yet.

Your best bet is to hit your local retailers and see if you can track down the 2008 vinyl reissue while you still can.

The Hard Rock Blue Print or Aerosmith – Toys In The Attic

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Say what you want about Aerosmith, and I know that opinions vary wildly, but they were at one time the most important rock ‘n’ roll band in the U.S. of A. Too heavy to be power-pop, too light to be metal they were the popular bridge between the so-cal sounds of Fleetwood Mac and the raw power of Black Sabbath. The path that Aerosmith helped to create in the ‘70’s is what every glam-hair-metal band rode in on the 80’s. Furthermore, Toys In The Attic was the blueprint used by many of these bands trying to find mainstream success. A couple all out naughty rock tunes (“Walk This Way” & “Sweet Emotion”), a ballad (“You See Me Crying”) some quirky humour (“Big Ten Inch Record”), deep cuts to give a bit of depth (“Uncle Salty” & “No More No More”) and you have the recipe used by everyone from Faster Pussycat to Bon Jovi.

Of course Toys In The Attic sold close to 8 million records, so finding a copy isn’t a problem. The real issue is finding what is worth owning from a fidelity point of view. While original copies are plentiful, finding a great copy while crate digging can be hit and miss. Looking at discogs, you can see a virtual ton for under $5.00, but warning, buyer beware. This was about the time record companies began to release material on crappy vinyl. Standard was 120 gram, and some companies began to cut back to as low as the wobbly 80 gram. Inspect it first, or only buy from a reputable vendor. As for the reissue and re-mastered market, you got a couple really good options.

I don’t usually recommend CD’s, but in 1993, Columbia released a limited and re-mastered edition of Toys In The Attic on a super bit mapping 24k gold disc as part of their legacy collection. After buying it back in the 90’s, I sold my original CD copy and retired my old worn out vinyl edition. The sound from the gold CD blew them away. Still it can get a bit pricey finding one in great shape. Resellers have them listed anywhere from $30 to upwards of a $100.

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Still, being a bit of a vinyl enthusiast I picked up a new 180 gram limited edition (5000) copy on Record Store Day 2013. This is also a newly re-mastered edition. With the two playing back to back I noted a couple of small differences. The vinyl seemed to have a much warmer sound on the bass and drums while the CD put a bit more emphasis on the vocals and guitars.

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Honestly, I’m on the fence this time. I’ll take the vinyl on a great system with headphones, but the CD sounds awesome on everything that has a decent set of speakers.

Anyway, the RSD vinyl is still widely available for under $30 for anyone who is thinking of taking that route. I have no regrets with mine.

Get It While It’s Hot – Metric Pre-Order starts now!

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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.

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Also available is a “cassette” of their latest EP The Shade.

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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.

Punk Before Anyone Coined The Phrase or The Sonics – Here Are The Sonics!!!

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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.

One of the Most Awesome Records Ever or Big Star – Radio City

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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.

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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.

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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.

Living In The Li… well you get the point! Or Sebadoh – “Limelight”

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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.

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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.

 

Musical Memories – Get The F#!K Outta My Way! Aug 18, 1993: Neil Young w/Booker T & the Mg’s / Pearl Jam / Soundgarden / Blues Traveller

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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.

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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.

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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.

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The Best Album of 1993 or Liz Phair – Exile In Guyville

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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.

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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!