A Roller Coaster Ride! or The Vaccines – English Graffiti

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The Vaccines brand of rock ‘n’ pop has recently been conjuring comparisons to The Strokes but that is both a little obvious and not quite hitting the target. Like most bands that have a quest for timelessness in their music; they are roller coasters that shift left when you think right and ultimately bring excitement to both the peaks and valleys.

In the past they were using a bit of 60’s pop music reminiscent of the early hits of the Kinks, but with English Graffiti they seemed to have filtered it through the 80’s synth pop. “Dream Lover” is a hybrid of Brit-Pop that has more Duran Duran than Oasis in the sound. Then they get you thinking that they will let the good times roll with “20/20” which crosses the Kaiser Chiefs with Motion City Soundtrack.

With energy levels about to go through the roof they abandon it all for a Moody Blues moment in “(All Afternoon) In Love” and later in “I Want You So Bad.”

Lyrically they are pretty quick to turn a phrase and go for the biting one liner, rather than look for a character to drive the story. Album opener “Handsome” provides a pretty good case in point as they drop the line “you think that you look good in whatever they sugarcoat you in.”  The song is all sarcasm and snot with a big F.U. to whomever is trying to sell bullshit for image.

The real point The Vaccines make more than any other is that they want to keep rockin’. English Graffiti isn’t life altering or earth shattering it’s just a fun rock ‘n’ roll record that you play on your way to the amusement park… and really, what more can you ask for.

Beautiful Wreckage of Human Fallacy or Rhett Miller – The Traveller

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If the characters in the Old 97’s albums like to party than the characters in a Rhett Miller record wake up to regret it. The line “there’s happiness and then there’s this, whatever it’s supposed to be” from “Jules” is pretty indicative of the confessional rides being taken. Apologies, regret, forgiveness and the need for redemption play out to a background of foot stomping and sorrowful alt-country/Americana.  Of course, it helps that the music is being provided by the alt-country genius of Black Prairie, who have been setting that genre ablaze for a few years now.

Rather strange it seems is the instant dynamic that falls into place between Miller and his new cohorts. After all, Black Prairie is four members of The Decemberists and a couple musical friends who are exploring a different musical style rather than people who live fulltime making music in Nashville.  They do it so well you forget they are in another band at all.

Soft acoustic guitar, a light violin and an accordion permeate over a ghostly atmospheric vocal as played out on “Dream vs. Waking Life” underscoring the hearts desolation at a relationships end. Then later you get the playful banter of a piano carrying a storyteller until the violin starts to do the call and answer thing on “Reasons To Live.” In every case the music is central in creating an atmosphere for Miller’s various levels of turmoil.

The Traveller may not be a concept album in the traditional sense but it runs the gambit of emotional expressions felt when a relationship implodes by reason of human fallacy. No one quite describes self-wreckage the way Miller does, and Black Prairie makes it sound that much more poignant.

The Traveller is available at all the finer music stores and you can pick it up on vinyl here.

Two Glasses Of Wine, One For You and One for the Voice coming from your Stereo or Josh Rouse – The Embers Of Time

 

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There was a point in the early 2000’s that looked like Josh Rouse would become more of a household name. He had released three albums in a row that showed the promise of a great songwriter who was gaining a larger audience and critical praise with each subsequent record. Under Cold Blue Stars, 1972 and Nashville had built a foundation for a promising and what looked like a long career. Then… well, it’s difficult to say. His Brill Building observational song writing just seemed to start blending and newer material started to quickly find a home in the CD collection marked “I’ll listen later.” You know, the albums that eventually find their way into the used bins at the local record store. As a fan, I just couldn’t follow him in his newer direction and I stopped paying attention.

So, a month ago Rouse releases The Embers Of Time and it wasn’t until this week that I finally decided to give it a spin.

WOW!

There it is!

Everything that made me listen before is back plus other influences popping out that I hadn’t seen before. This time, not only has his brand of folksy Americana brought in reminiscences of Carol King and James Taylor, but now you get Paul Simon and Stray Gator era Neil Young added to the mix. Simple observations of a trip to the bar or losing sleep become a musical conversation about how things are going with an old friend. It gets to the point where you pour two glasses of wine, one for yourself and another for the voice coming from your stereo. Sometimes reconnecting leaves you wondering why you ever parted ways in the first place.

The Embers of Time can be found on all the usual music formats including vinyl.

The Greatest Air-Guitar Record Ever! or Green Day – Dookie

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Love it or loath it the 90’s punk revival didn’t go mainstream because of Nirvana, Sonic Youth or any of the other champions of noise from 89 to 93. The exact day it started was February 1st 1994 with the release of Dookie, and it was a monster. It sold 10 million copies in the year following its release and has sold another 10 million since. It was fast, it was fun, it was angry, and it was everywhere! It was the kind of record you knew would be HUGE on a single listen, and believe me, that isn’t an easy thing to say as a critic. Arguably, Dookie may even be the greatest air-guitar record ever!

So from a vinyl perspective, it is an obvious and essential part of the collection, but what is available and where the hell do you start?

Well believe it or not, your options are quite limited. You can find a used copy from 1994, of which a dump load of unofficial copies were also released, or you can buy new and there have only been three “official” re-releases since 2008. The first two are re-issues printed in the US and Europe on black 180 gram vinyl and are still widely available.

The last one is slightly more interesting than the others. It is a limited edition green translucent vinyl that had only 1000 copies printed and were sold exclusively at Hot Topic stores in the US. While the limited Dookie sold out long ago, most Hot Topic vinyl is sold under $30.00.  Resellers are asking over $50.00 for the green vinyl now. Of course, if you have a giant whack of cash, you could buy an original 1994 green translucent vinyl or autographed copy for several hundred dollars on the resale market… but … um… that’s a bit out of my price range.

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If you are looking to get a copy, your best bet is still the 2008 180 gram version which sounds great and can be purchased at very reasonable prices at all the usual places.

 

The Age Of Expiration or Brandon Flowers – The Desired Effect

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Brandon Flowers best asset has always been his ability to convey emotion with even the most basic of lyrical content. Look at the Killers “Andy, You’re A Star” which soars like an epic even if the words are no more than jocular reminiscence.  So now you have Flowers second solo outing which he has referred to as “what the Killers second record should have sounded like” and expectations begin to run high. BUT – that has always been what Flowers does, he shoots from the hip and sometimes he hits the mark and sometimes… well, not so much.

The Desired Effect comes off as being influenced by the biggest stadium rockers of the 80’s. “Dreams Come True” points towards Born In The USA Springsteen and it is followed by “Can’t Deny My Love” which is reminiscent of Security era Peter Gabriel. However both are bogged down with lyrical metaphors that drip of modern country music formula.

Things pick up by “I Can Change” which runs off a sample of Bronski Beat’s “Small Town Boy”, but I’m unsure if the rise in my attention was really due to Flowers song or his chosen sample. There are moments of playfulness (“Still Want You”), tenderness (“Between Me and You”) and renewed love (“Untangled Love”) but again the images seem to conjure little more than a closing sequence of Friday Night Lights mixed with a soundtrack of “the best songs you didn’t hear in the 80’s.”

The Desired Effect has the unfortunate problem of being bogged down in the sounds of a time long past without a twist of something new. It’s a perfectly pleasant listen but it also comes with a quick expiration date.

Black Gold For The Masses or Lou Reed – Transformer

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Commercial success and critical acclaim together or apart are not really the true measure of an artist’s work. History and public acceptance can ‘transform’ the perspective and create a re-evaluation, or revisionist history towards how the art is viewed. No other work quite typifies this more than Lou Reed and his second solo effort Transformer.

With the Velvet Underground, Reed became a beacon to the outsider experience and while album sales were low, critics and musicians had found a kind of anti-hero on whom to heap praise. Once the Velvets broke up, Reed continued his stories and of counter-culture misfits but to a more commercialized effect on Transformer. Produced by David Bowie and his guitarist Mick Ronson, Transformer would be heavily influenced by Bowie’s ‘glam’ movement and blur the same androgynous lines. However, Reed would use his own brand of wry observation and deadpan delivery to create characters that lived with and amongst his crowd as opposed to embodying the characters space as Bowie did with Ziggy and Aladdin.

Oddly, it was “Walk On The Wild Side” a song that spoke of transsexuality, oral sex and drug use that propelled the album to heights neither seen by the Velvet Underground or Reed himself in previous efforts. It wouldn’t be until the 1990’s that “Perfect Day” would become an underground hit.

On its release in 1972, Transformer was given mixed reviews by critics who claimed it was overly “art-y” and overly sexual. History of course has shed new light and Transformer has made just about every magazines ‘Best All-Time’ list.

Despite, or maybe due to its recognition, finding vinyl editions of Transformer is pretty easy, but figuring out what works best for you might get a little more difficult. You can find used copies pretty much anywhere. I’m sure a lot of people bought Transformer to get similar material to “Walk On The Wild Side” only to find that it wasn’t like that. As for new, eight official vinyl editions have come out since 2004 with four in just the last three years. On RSD 2012 a straight re-issue was put out in record stores, and is still the most common new copy you will find. In 2013 – 2014 unofficial green and blue versions were released in the UK. Finally, a few weeks ago Newbury Comics put out a Limited Edition half black and half gold version. There were 1200 copies printed and each was gold stamp numbered.

Due to the sheer amount of what is available, you can get most copies of Transformer for less than $30.00 (including the unofficial UK copies). Only the Newbury edition is commanding high prices on the resale market, and that’s pretty damn silly, because you can still get a copy from Newbury for less than $30.00. The split colour looks awesome and indeed sounds great.

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You can get it here. Anyway, with his recent induction into the “Rock Hall” you can expect some renewed interest and copies of Transformer may begin to disappear. You might want to give that some thought if you’ve been sitting on the fence.

 

Technicolor Horror Story or Faith No More – Sol Invictus

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So much more than just another ‘alt-rock’ or ‘metal’ band Faith No More could pack influences into music so tightly I would have no other choice but to call it ‘genre skipping.’ Crazy as that sounds they do it in individual songs. Funk, hip hop, metal, and even easy listening soft rock balladry naturally bounce around so well you’ld think they were a basketball.

Add that to the fact that Mike Patton is the best living rock vocalist on the planet (seriously, he has a vocal range that stretches six octaves) and you have a powerful explanation as to why music fans are salivating at the mere thought of a new Faith No More record.

Eighteen years between records and Faith No More not only picks up from where they left off, but do it as if both a love letter to fans and kiss off to anyone else. In fact, the feel of Sol Invictus is far more reminiscent of Angel Dust than the commercially lauded The Real Thing. The result is an album that just seems to go in whatever direction the wind is blowing at any given moment. Which isn’t to say that Faith No More lets anything get away from them, but rather that the transitions seem natural.

The title track opens with a bit of a circus atmosphere before breaking off into atmospheric melody. “Superhero” takes medal riffs and builds them towards a climatic cliff that is followed by the sinister “Sunny Side Up” which comes off as the proclamations of a narcissist. Characters are littered throughout Sol Invictus creating a type of epic short story one might imagine as the work of Flannery O’Connor or Richard Bachman. Listening to “Black Friday” as it describes living in the “age of the mercenary” comes with the realization that hope is a matter of perspective. Faith No More may not have created a pop masterpiece, but they have made a record that tells dark stories of broken people in vivid sonic colours. Sol Invictus is an album that stays with you long after the needle has lifted, and compelling enough to keep you up long after your head hits the pillow.

For you fans of vinyl, Faith No More have given you a couple options. Sol Invictus can be ordered in clear (limited edition) or black 140 gram vinyl and of course their web store also has a variety of bundles to make a true music geek happy.

TAKE THAT, FOUR OF A KIND! or Queens Of The Stone Age – … Like Clockwork

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To say that …Like Clockwork was a loved record would be an understatement, it was pretty much universally praised as a great record. In hindsight Josh Homme was screaming to the world that Queens Of The Stone Age were now the greatest hard rock band since “fill in your own blank.” Almost two years since its release and “I Sat By The Ocean” can be heard almost daily on the radio. Josh Homme must have had an inkling it was great before it was even released because he handed fans an abundance of options to not only purchase it in multi formats, but four different vinyl versions as well. Three of those wax options were on the very day of release.

1) 2x vinyl 12” that plays at 45rpm with a red cover

2) 2x vinyl 12” limited edition (10000 copies) 150 gram vinyl plays at 45 rpm with a blue album cover

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3) 2x vinyl 12” limited edition 180 gram vinyl plays at 45rpm with an oversized gatefold cover containing a 20 page book

Then, with the album already selling very well came Record Store Day/Black Friday and the band put out option #4; the so called Black On Black Friday Edition. Limited to 2400 copies the cover art was in black and inside was a 180 gram vinyl record.

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Now the funny thing about these options, are the crazy prices that vinyl resellers are asking for them.  In some cases, sealed copies of the black cover and the blue cover editions have asking prices of over a $100.00 but used copies can be found for under $35.00. Funnier still were that I found people asking $35.00 for a new copy of the standard red cover edition and the deluxe book set for another $100.00. The reason I find this funny is that the bands own website still has these for sale for less money. WAY LESS! The standard vinyl is $19.99 and the deluxe is $44.99 American.

Honestly, if you’re looking at purchasing …Like Clockwork on vinyl, go to your local record store before you start thinking about the online re-sellers. Great sounding new records are still available. I’ve even seen a couple of the blue covers kickin’ around at regular prices.

Life Without A Road Map or Palma Violets – Danger In The Club

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The post brit-pop world is full of bands both worthy and lacking. Sometimes, like the children of self-made millionaires, it seems that the swagger and bravado earned by Mommy and Daddy has been transferred to the kids by a sheer sense of entitlement. In the case of Palma Violets it is like Jr. moved out making a decent splash in the process, but somehow just hasn’t figured out where to go next. Maybe it’s from nursing a 180 hangover, or maybe they never left the party that stopped being entertaining hours earlier, whatever the case, Danger In The Club sounds sincerely indifferent.

This attitude is best exemplified in “I’m Walking Home” which has a great bass line riff with vocals that lack emotional depth. “My babies got a new man, I’m walking home” doesn’t come off like a old blues singer with broken heart, but instead like a guy who misplaced his bus ticket and now has to walk a couple blocks.

“Danger In The Club” is musically all playful and drunken but again gets lost in vocals that are rather mundane. Which only points to the fact that while 180 pointed to Palma Violets as a possible peer or promising child of The Libertines, Danger In The Club comes off as something like a band looking for directions.

If You’re Late For Dinner… or Clap Your Hands Say Yeah – Eponymous

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I have no idea what it was like in your house growing up, but in mine being ‘late to the table’ was a sure way to lose out on after dinner goodies. However, this whole ‘vinyl revival’ thing makes it so you can be years late to the table and still enjoy a great dessert.

Such is the case with the fabulous self-titled debut by Clap Your Hands Say Yeah. It has been 10 years since their initial offering and in celebration the band is re-issuing their out of print eponymous record with an additional recording of songwriter Alec Ounsworth doing a solo acoustic live show.

Just in case you may have forgotten Clap Your Hands Say Yeah popped onto the scene in spectacular fashion garnering rave reviews on both sides of the ocean and beyond. Names like Modest Mouse, Neutral Milk Hotel, Ride, and the Talking Heads have been used to describe them (Ounsworth’s voice does resemble a higher pitched David Byrne) but really they are a really well balanced stew of many influences. You can hear various styles dating from the 80’s to the present, which just means it is pretty hard to them pin down from one song to the next. Listen to it with friends sharing a couple bottles of wine and you could have an interesting conversation about what you hear and how good it is.

Out on June 2nd, the wax re-issue will be pressed on gold translucent vinyl and both the CD and LP versions will include download cards of the original release and live material.