The Faint - Danse Macabre (2001)

Saddle Creek Records ■ LBJ 180

(Originally LBJ-37 on same label)

Released August 21, 2001

(This compilation released November 1, 2012)

Engineered and Produced by Mike Mogis and The Faint

Side One:	Side Two:
Agenda Suicide Glass Danse Total Job Let the Poison Spill from Your Throat Violent	Your Retro Career Melted Posed to Death The Conductor Ballad of a Paralyzed Citizen

Though it ended up one of the most brief hiatuses I've taken, early June's was instigated by a work-related trip to Council Bluffs, Iowa, which happens to be right next door to Omaha, Nebraska. I currently live in an area where there are barely handfuls of record stores for a good 60+ miles, so hitting a larger college town (like I myself used to live in) was a blessing and a curse: I flew back with a shoulder bag filled with vinyl, and a suitcase veritably lined with CDs. While there, I took occasion to visit the store that the Saddle Creek label operates there in their hometown, inspired more than anything by the associations it has with Cursive, a fellow fan of whom I discovered I was working with (who also shared a love for The Format and a handful of others--and ended up passing me a copy of Cursive's The Ugly Organ on green vinyl!). While I was in there, I did walk out with a copy of Cursive's I Am Gemini, having failed to pick it up already, and (rather amusingly) did finally get a copy of Whiskeytown's Strangers Almanac, an album by a band from the area I last lived in, but thought I should really pick up a record the label itself put out (I Am Gemini being on CD). The Ugly Organ wasn't there (and, as mentioned, I serendipitously acquired it later in the same trip anyway!), so I wandered about until I ran into this.

I remember around the time this album came out, the band was pretty darn hot around the internet, though I was still in my formative musical explorations. I did glance at them, but moved on before anything took hold, eventually picking a copy of the album up on CD many years later. When this edition was released, I first stumbled into the CD/DVD version last year, and suddenly realized I'd really missed something. That was what pushed me to add to it this vinyl version--it's actually the "deluxe edition" which contains not only a second 12" of bonus tracks (remixes and b-sides) but also that self-same 2xCD+DVD set I already have, albeit in far more inconvenient format for a portable medium.

When it originally came out, the record used a different cover, but the rights to use it were thoroughly rejected--even more than a decade later, which is why it continues to use the cover above. Though this new cover was used for the later pressings, for this deluxe reissue it was re-tinted in neon pink instead of its original blood red. It's a weird colour, very eye-catching, and actually feels more appropriate in a strange sort of way--though the red, black, and white colour scheme of the original issue fit nicely with the cynical overtones of the record and its goth-y vibe, the pink hits on the fact that those are not the whole, and it's a ridiculously danceable record (or so I would guess, being as I lack the skill at such activities, personally).

Donald Fagen - The Nightfly (1982)

Warner Bros. Records ■ 23696-1

Released October 29, 1982

Engineered by Roger Nichols (Chief), Daniel Lazerus (Overdubs)

Assistant Engineering by Wayne Yurgelun, Mike Morongell, Cheryl Smith, Robin Lane

Mastered by Bob Ludwig

"Note: The songs on this album represent certain fantasies that might have been entertained by a young man growing up in the remote suburbs of a northeastern city during the late fifties and early sixties, i.e., one of my general height, weight and build.

D.F."

Side One: Side Two: I.G.Y. Green Flower Street Ruby Baby Maxine New Frontier The Nightfly The Goodbye Look Walk Between Raindrops

While I definitively eschew any such categorizations as best I possibly can, I remain fascinated with the lines that are drawn around any work or artist to render it "untouchable" by certain groups. A work or an artist may be unmentionable to fit comfortably under the umbrella of "serious music fan" or "metalhead" or any of the other myriad communities associated with music--some very carefully defined, and others so loose as to be questionably meaningful. I like a lot of artists that cross those lines quite heavily--the first albums I ever owned mystify people to this day, and the first mix-tape I ever had made for me (by my father, partly from my requests, and partly from his own insertions) was a slew of Dr. Demento tracks from various decades and styles ("The Martian Hop", "The Cockroach That ate Cincinnatti", etc) mixed with Paul Revere and the Raiders ("Cherokee Nation"), the Coasters ("Poison Ivy", "Mother in Law", "Yakety Yak"), Tommy James and the Shondells ("Crimson & Clover", "Crystal Blue Persuasion"), and a few odd other tracks I'll occasionally recall out of the blue.

For a time in and around middle school, my taste remained confined by the distance I kept from my father's turntable and thus the questionable volume of music available to someone who didn't look to spend limited allowance-type funds on it. The local library had its share of odds and ends, and I checked some out from them here and there, but two in particular ended up sticking with me for quite a while, as my non-existent owned music meant whatever I had checked out was what I was listening to, short of hitting the radio. Those two albums were--bear with me now, and feel free to look back at other albums I reviewed (and thus own) and drop jaws or shake heads as needed--Billy Joel's Storm Front and Donald Fagen's Kamakiriad. These (and the few albums I would gradually purchase) were strangely important: listening to the same songs from each over and over would have been tiresome with the limited (and tedious) programming capabilities of my cheap (discman-style!) CD player at the time, so I ended up listening to both albums straight through many times.

Intermission V [End of "E" Part 1, Or: Intermission MCMXXVIII]

Ah, "E". If it isn't a big enough giveaway to see how uniform the image above is, it ought to be. Considering 5 of those are the same artist, 3 are another artist, 2 are one more artist...well, it's not really a shock how little there is. How many artists do you like that start with "E"?

Now, I did almost buy the new Electric Six album on vinyl when I saw them a week ago, and that would've made a difference to be sure. A Dave Edmunds album wouldn't be out of the question, either--heck, I've got plenty of Nick Lowe's Edmunds-infused albums, and Rockpile's Seconds of Pleasure, so it wouldn't be too surprising, either. Edsel's records were never released on vinyl, to be fair--though I sure as heck would not turn down their split with Jawbox. Some Brian Eno? Heck yeah. Eyedea & Abilities' By the Throat? Actually, may do that. I look at Bill Evans records pretty regularly, as I do at The Extra Lens (John Darnielle's non-Mountain Goats side project). I almost picked up a copy of Explosions in the Sky's Those Who Tell the Truth Shall Die, Those Who Tell the Truth Shall Live Forever.

But, all that aside, it's pretty well destined to be a pretty shortlisted letter all the same.

Man, to be honest, if I could get my hands on The Elephant Kashimashi's stuff on vinyl--those first two albums, or one of those singles...but, well, those are ridiculously difficult for an American with limited funds to get a hold of. Alas!

Alejandro Escovedo - Real Animal (2008)

Back Porch/Manhattan Records ■ 50999 5 824111 1 9

Released June 10, 2008

Produced and Mixed by Tony Visconti

Engineered by Mario McNulty

Assistant Engineering by Tim Price

Mastered by George Marino

Side One: Side Two: Always a Friend Chelsea Hotel '78 Sister Lost Soul Smoke Sensitive Boys People (We're Only Gonna Live So Long) Golden Bear Nuns Song Side Three: Side Four: Real as an Animal Hollywood Hills Swallows of San Juan Chip n' Tony Slow Down Falling in Love Again I Got a Right

I could completely obscure how I know the name Alejandro Escovedo, but that would really just be disingenuous, wouldn't it? Truth be told, he does a duet with one Ryan Adams on Whiskeytown's Strangers Almanac--one of my favourite records in the world--on a track called "Excuse Me While I Break My Own Heart Tonight". A snide reviewer once noted that Adams's music was inferior and a listener might be better off with Escovedo's, seemingly unaware of this connection or, I later found out, a bit of a friendship between the two. That interview was what really pushed me to check Escovedo out for himself: in it, Adams said Escovedo shared an "outsider's" perspective on love, being less defined by it than most and thus able to record it that much more acutely, in a strange way. He mentioned a song ("She Doesn't Live Here Anymore"), referencing it as astonishingly sad and evocative emotionally--which was something that appealed to me a lot in Adams's stuff, particularly that which he did with Whiskeytown.¹

I was out on a business trip in Iowa and Nebraska, which meant a lot of trips to the record stores in Omaha, where I found quite a few things of interest (to the point that I started to stress the space I'd quite deliberately left in my luggage for music to come back with me). One of those "things" was Real Animal: Escovedo's third-to-last album at the time (back in June this year), on sale and predating the CD I'd picked up just previously but not much listened to (2010's Street Songs of Love).

On Failures:

Well, I've successfully failed to maintain an entry a day, a week, and shortly a month, it seems. It's not for lack of interest--it's now for serious lack of time. I've usually got chunks of one filtering slowly into a draft stage, but I've got a lot on my plate at the moment. Now, you're most likely not reading regularly anyway--I don't think anyone does--and indeed have no reason for this to affect your reading one way or the other, be you familiar, unfamiliar, or accidentally present. It is, however, the state of things. I intend to write as much as I am able, that simply seems to be, unfortunately, not an awful lot. That my collection's growth outpaces my writing isn't helping, of course. Still, Alejandro Escovedo's Real Animal has been spinning off and on for a few weeks as I attempt to get that entry together.

Keep checking in, I haven't abandoned ship!

Emperor - Prometheus: The Discipline of Fire & Demise (2001)

Candlelight Records ■ Candle064LP

 

Released October 23, 2001

Produced by Ihsahn

Mixed by Thorbjorn Akkerhaugen and The Emperors
Mastered by Tom Kvalsvoll and The Emperors

Side One:	Side Two:
Eruption Depraved Empty The Prophet	The Tongue of Fire In the Wordless Chamber Grey He Who Sought Fire Thorns on My Grave

I've only touched on black metal here once before, and that was a rather curious and unique example of the genre. Diabolical Masquerade are not at the forefront of most minds when naming bands that fit the bill for the genre--more likely, you will hear Immortal, Mayhem, Burzum, Darkthrone--and Emperor.

I picked this album up from the sadly defunct store Musik Hut in Fayetteville, source of not only much of my metal from years past (on vinyl or otherwise) but also of my "black X" collection, and even a few other oddities indicative of how odd that store actually was. It was intended as a metal/punk/industrial store, but did carry plenty of other and "normal" stuff.

As with much of metal (other than Morbid Angel and Decapitated, and a handful of others)--such as At the Gates--even the classics (like Emperor here) were introduced to me by a single soul, to whom I tend to give credit for most of my metal awareness. He and I still talk metal now and then, of course, but also the odd other chunk of music, since neither of us is married to it in exclusivity.

Eels - Shootenanny! (2003)

 SpinArt Records ■ spart 128

 

Released June 2, 2003

Produced by E

Reorded and Mixed by Greg Collins; A4, A6 by Ryan Boesch
Additional Engineering by Greg Burns, Alicia Guadagno

Mastered by Bernie Grundman; A6 by Dan Hersch

Side One:	Side Two:
All in a Day's Work Saturday Morning Good Old Days Love of the Loveless Dirty Girl Agony	Rock Hard Times Restraining Order Blues Lone Wolf Wrong About Bobby Numbered Days Fashion Award Somebody Loves You

The list of artists I've so far covered that I've listened to longer than Eels is relatively short and largely composed of the least surprising artists for me to have known for a long period of time.¹ I actually made my way into Eels fandom on the cusp of my freshman year of college, at the suggestion of my then-girlfriend, who owned Daisies of the Galaxy (in its infamously, hilariously self-censored version) and Beautiful Freak, both of which I owned before too terribly long after that, alongside their two closest temporal relatives: 1998's Electro-Shock Blues and 2001's Souljacker, which was still the most recent album at the time. A year later, this album was released, and you can bet, by then, I was picking it up right around the release date.

My Eels records are--somewhat shockingly--apparently the most valuable records I own. I don't own a ton (the others are the 2x10" Electro-Shock Blues and the last album, Wonderful, Glorious on the same format, but in a different colour, as well as End Times with its "A Line in the Dirt" 7" companion), but people will apparently pay a lot for them. It's less that it's shocking for quality or popularity, and more for the fact that it has felt more like the Eels crowd is shrinking than growing, so why they would remain so expensive when the audience is (I think?) dwindling, I don't know. Still, right now the only vinyl copy of this record listed at any sites I'd ever check to see if I want to pick up a record I can't readily find² is at one of three sites, and they start from $125 US. Yowza! That's almost ten times what I paid for it a decade ago!

Echo and the Bunnymen - Crocodiles [US Release] (1980)

Sire/Korova Records ■ SRK 6096

Released July 18, 1980

Produced by The Chameleons (Bill Drummond, David Balfie) and Ian Broudie (Tracks A4, B1)
Engineered by Hugh Jones and Rod Houison (Tracks A4, B1)

Side One:	Side Two:
Going Up Do It Clean¹ Stars Are Stars Pride Monkeys Crocodiles	Rescue Villiers Terrace Read It in Books¹ Pictures on My Wall All That Jazz Happy Death Men

¹Not present on original UK release, but included on a bonus 7" with early pressings

While Paul Westerberg's strange "side solo act thing" Grandpaboy is still echoing through my head at the moment, a mild spur toward writing here has convinced me to take up the reins and launch in again, after a good many weeks of just not feeling it and not wanting to half-ass it instead. Of course, that kind of approach can occasionally work, but this is intended to be a joyful thing, not a chore, and everyone I know wasn't even keeping up after I started slipping more toward weekly entries, so it isn't as if I've left a relative gap for anyone paying attention (PS: if I have, you should probably tell me. If someone else is interested, there's far more reason to stick to doing this more regularly!)

When I think of post-punk, my first thought is still pretty consistently of Gang of Four. It's not fair, of course: one of the things I even like most myself is the insane variance of styles and approaches bands that appeals to me most about the genre (and its sometime-close relative, post-hardcore). Echo & the Bunnymen kind of exemplify one of the far bounds of what I think of--mostly because they aren't a sound I think of at all. Much like The Boomtown Rats or the Talking Heads and punk,¹ I'm aware of the classification and even the justifications, but I think of them more as popular, familiar, readily grasp-able bands. Mainstream or pop, even--not in that bizarre, disparaging sense most use those terms in now, just in the sense of more familiar instrumentation and song-writing, even if with a clear identity. I can't pin down what it is that makes my brain draw the lines where it does, except perhaps to say that here I think it's the dominance of Ian "Mac" McCulloch's voice, particularly over Will Sergeant's guitar, but that's just a guess, as it's an instinctive thing.

Intermission IV [End of "D" Part 1, Or: Intermission MCMXXVII]

It has been much slower than before--my last intermission (not counting John's little deviant one) was four months ago. It's been a busy year suddenly--two new jobs, and more hours at one of them than I had at the one I started with when this blog started six months ago, a trip out of town, a new turntable, and a variety of odd occurrences in their own little ways have had their effects on my ability to keep this thing up-to-date. Of course, the addition of many records to my collection as I find new stores, make trips, and feel a collector's passion ignited isn't helping either. You may even notice I have seven artists uncovered in that collage above, and only two of them are singles. Some (Dead Kennedys) I've been looking for, some I've known for a while, and some I've been meaning to look further into than I have--and one was part of my large purchase of records from the Arctic Rodeo label in Germany.

It's a bit of a weird letter, D. It does tend to include an awful lot of metal--dark and death alone start with "D" so it does kind of fall to reason, even if only one of those bears out in my own collection of records. I wouldn't be averse to a copy of Death's Symbolic or Dark Tranquility's The Gallery, but the former has only received narrow European pressings, and the latter is not unreasonable for the various 2xLP etched incarnations, but is a lesser desire. A little more Dead Kennedys would not go amiss (Plastic Surgery Disasters, perhaps--skipping the copy of Frankenchrist I once saw was silly of me), and I occasionally ponder copies of Depeche Mode's Black Celebration and Deep Purple's Fireball when I see them. I could easily rock some Dinosaur Jr. or happily a copy of The Dismemberment Plan's Emergency & I ($75 and up! Somewhat lower and I might be watching it...). I've had an eye on Doomtree's self-titled release for a while, after stupidly passing up on it when it was released. Finding either Drive Like Jehu album would be cool, too--especially snagging a copy of Yank Crime that includes the 7" it originally did!

E's a short letter, unsurprisingly, with a whopping four artists hiding in it, only one of which might be surprising to people who know me--or, at least, unfamiliar. It does happen to contain my most valuable record of all, though--at least, based on what people will apparently pay for a copy!

If you feel like it, take a vote on the first artist to appear under that letter's umbrella: Echo and the Bunnymen, who may, at this point, be most famous for "The Killing Moon", which was already a single, but was also featured in the theatrical cut of Donnie Darko.

Drive-By Truckers - Go-Go Boots (2011)

ATO Records ■ ATO 0093

Released February 15, 2011

Produced, Engineered, and Mixed by David Barbe

Mastered by Greg Calbi

Side One: Side Two: I Do Believe Go-Go Boots Dancin' Ricky Cartoon Gold Ray's Automatic Weapon Everybody Needs Love Assholes The Weakest Man Side Three: Side Four: Used to Be a Cop I Hear You Hummin' The Fireplace Poker Where's Eddie The Thanksgiving Filter Pulaski Mercy Buckets

I came in to the Drive-By Truckers at a curious time: I was still working at Borders, and participated in the (extremely limited--about five stores) testing for vinyl sales. It was around 2008-2009, and the selection was largely limited, leaving me unsure of what actually led to titles appearing there. Certainly, it was a store in the Southeast (although a unique town within the state and region), and the Truckers do not suffer the absence of a following there. It did lead to my very mild introduction to Ryan Adams, which has served me well, though I didn't actually do anything with it for years. I saw our copy of DBT's 2008 album Brighter Than Creation's Dark. The art by Wes Freed was intriguing, and the title, too--I was reluctant, as I was still overcoming a lot of my resistance to "twang" in music, and the band's name was a dead giveaway for containing just that. At some point, I gave in and did pick up a CD copy of that same album, and found myself falling for it rapidly.

It wasn't long before I was going to see the band and buy all their albums--indeed, in 2010 I saw them play two shows on two concurrent nights, which was quite an experience. But the curious time is something that involves knowing about the band's history--initially responsible for a pair of interesting but often thought to be somewhat "slight" early albums (Gangstabilly and Pizza Deliverance), they really broke through and into their own with 2001's Southern Rock Opera, which addressed some of the issues that would in some way typify the band as both people and a musical entity--the "holy three" of frontman Patterson Hood's childhood in Alabama: football, via Bear Bryant, race politics in George Wallace, and music in Lynyrd Skynyrd. Some overlap, some confusion, some mixed signals and messages, all adding up to "the duality of the Southern Thing" as Hood wrote on that album. After its release, Jason Isbell joined the band and they released their most acclaimed pair of albums: 2003's Decoration Day and 2004's The Dirty South. To this day, many clamour for Isbell (now solo and successful at it, as I will prove here later on) to rejoin, even if only in brief or for a tour, or what have you, but he left after A Blessing and a Curse in 2006--and that's where 2008's Brighter Than Creation's Dark came in.

Dr. John - Locked Down (2012)

Nonesuch Records ■ 530395-1

Released April 3, 2012

Produced by Dan Auerbach

Engineered by Collin Dupuis

Mixed by Dan Auerbach and Collin Dupuis

Mastered by Brian Lucey (Magic Garden Mastering)

Side One:	Side Two:
Locked Down Revolution Big Shot Ice Age Getaway	Kingdom of Izzness You Lie Eleggua My Children, My Angels God's Sure Good

I always end up with mixed feelings about projects like this. Are people going to only buy it because of Auerbach, not knowing the good Doctor? Is the Night Tripper going to be lost behind the black fuzz of Auerbach, despite playing his very own keys? Does any of that matter at all?

I don't have an answer to any of those, especially the last question. I, myself, bought the album because of both of them. I've been into the works of Mac "Dr. John" Rebennack for years now--somewhere around college I piled him in with Leon Russell and Todd Rundgren--the solo artists from (approximately) the 70s who had hits, but ended up enjoying more "visibility" (audibility and not visibility, I should say...) in the works of others--Rundgren as a producer, Russell as songwriter and session man, and Dr. John as a muppet¹. More to the point, their sounds were unusual--but not so unusual as to be in the range of post-punk's occasional peculiarities or any similarly "extreme" experimentation. Nice home-brews of sound, reflecting personal musical pasts, cultural and regional ones, or some mix of both.

Brian Eno and David Byrne: My Life in the Bush of Ghosts

Written by guest editor, John Edge.

Sire Records ■ SRK 6093

Released in February, 1981

Produced by Brian Eno and David Byrne
Engineered by Neal Teeman, Eddie Kervin, Dave Jerden, Stacy Baird, and John Potoker
Mastered by Greg Calbi

Side One:	Side Two:
American is Waiting Mea Culpa Regiment Help Me Somebody The Jezebel Spirit	Qu'ran Moonlight in Glory The Carrier A Secret Life Come With Us Mountain of Needles

Voices:

Side One:

1. Unidentified indignant radio host, San Francisco, April 1980.
2. Inflamed caller and smooth politician replying, both unidentified. Radio call-in show, New York City, July 1979.
3. Dunya Yusin, Lebanese mountain singer. (From 'The Human Voice in the World of Islam', Tangent Records TGS 131).
4. Reverend Paul Morton, broadcast sermon, New Orleans, June 1980.
5. Unidentified exorcist, New York City, September, 1980.

Side Two:

1. Algerian Muslims chanting the Qu'ran. (Same source as 3).
2. The Moving Star Hall Singers, Sea Islands, Georgia (from 'The Moving Star Hall Singers' Folkways FS 3841).
3. Dunya Yusin (See 3).
4. Samira Tewfik, Egyptian popular singer (from 'Les Plus Grandes Artistes du Monde Arabe' EMI Records.)
5. Unidentified radio evangelist, San Francisco, April 1980.

Hey, everybody!  I made it back.  Didn't drink too much scotch (mixed it up with a little gin, a Fitzgerald cocktail, to be exact).

Anyway, you may have noticed a bit more information up there than is the usual.  That's because this album is a bit different from most (rock, at least) records.  All of the vocal sounds (I dare not say vocals) are sampled from various sources.  At the time of its release, this was a radical move and, in retrospect, was a pioneering one.  This makes for an interesting contrast to my Flipper review, where the lyrics were on the spot.  My Life has no real lyrics to speak of.  In fact, nearly half of the songs (Regiment, Qu'ran, The Carrier, and A Secret Life) are in Arabic¹.  Some that are in English (Mea Culpa in particular) are so heavily edited and modified, that they may as well be in a foreign language.  But, this is a record where the voices are part of the music, rather than cutting through it or floating above it.  The spoken parts add to the mix of instruments (and quite a mix it was, Help Me Somebody featured 14 different instruments allotted their own tracks in the mix) and sustain or even lead the rhythm of the tracks.

Day Whatever - Flipper, Album Generic Flipper

Written by guest editor, John Edge.

Subterranean Records ■ SUB 25

Released in April, 1982

Produced by Gary Krimon

Side One:	Side Two:
"Ever" (Loose) - 2:56 "Life Is Cheap" (Loose) - 3:55 "Shed No Tears" (Shatter) - 4:26 "(I Saw You) Shine" (Shatter) - 8:31	"The Way of the World" (Shatter) - 4:23  "Life" (Shatter) - 4:44 "Nothing" (Loose) - 2:18 "Living for the Depression" (Ant/Loose) - 1:23 "Sex Bomb" (Shatter) - 7:48

Or perhaps the album title is Album and the band name is Generic Flipper.  Who cares?

Anyway, RC roped me into writing these dopey record reviews which I really don't have time for.  I've got a full time job, a kid, and all kinds of other shit begging for my time.  But whatever, I've had a particularly hard day at work and have about five brain cells to work on, so now's the perfect time to write a review. 

This is one of those great punk albums I really cut my teeth on as a teenager.  The sludginess, the depressing/uplifting lyrics, the general us vs them attitude all made me think I wasn't the only one who thought and felt that way.  Seem cliche?  Give me a break, we were all teenagers once and I was a damn good one.  Anyway, this album still stands lyrically as the closest to my personal worldview as any other I've ever heard in the intervening years.  

A little background on Flipper (the band, not the insufferable show): In the early eighties, punk rock bands and especially the offshoot hardcore groups were ratcheting up tempos and honing their sound to razor sharp clarity and tonality, Flipper hazily veered off in the complete opposite direction.  Their sound is mired in a drug fueled stupor. Flipper's songs take the breakneck hardcore of Black Flag, Dead Kennedys, and Minor Threat and slow it to a slug's pace.  Maybe they loved Sabbath?  Maybe they were just not good enough to play fast?  Or maybe they were just the perfect foil to Minor Threat: slow, sludgy, long songs, gleefully drunk and fucked up on all sorts of chemical entertainments.  They have two bassists.  That's all you really need to know.  

Intermission MCMXXVI

Written by guest editor, John Edge

Oh he's going to regret giving me the keys to this Cadillac.

Various Artists - Dope-Guns-'N-Fucking in the Streets Volumes 8-11 (1997)

  Amphetamine Reptile Records ■ 9 25194-1

Released April 22, 1997

Technical Credits Unknown, Likely Varied

Side One (Vol. 8 & 9):	Side Two (Vol 10 & 11):
Superchunk - "Basement Life" Guzzard - "Bites" Jawbox - "Low Strung" godheadSilo - "Lotion Pocket" Bordeoms - "Pukuri" Supernova - "Sugar Coated Stucco" Chokebore - "Brittle & Depressing" Love 666 - "You Sold Me Out #2"	Bailter Space - "Glimmer Dot" Steelpolebathtub - "A Washed Out Monkey Star Halo" Chrome Cranks - "Dead Man's Suit" Brainiac - "Cookie Doesn't Sing" Today Is the Day - "Execution Style" Rocket from the Crypt - "Tiger Mask" Calvin Krime - "Fight Song" Gaunt - "Kiss Destroyer" Servotron - "Matrix of Perfection"

I'm often wary, wandering into any record store for the first time. There's no real guarantee of what anyone has or will carry, and in a used store it becomes even more complicated, as they can only carry what records they've acquired to sell. And that, then, depends on the locals. The first time I walked into Dead Wax Records, I wasn't sure what to think. Between the place I now live and the places I work, there's not a lot of music to be found. Even the oft-ignored (for financially justifiable reasons) FYE and similar "TWEC" (TransWorld Entertainment Company, who owns FYE, Coconuts, etc) stores make no appearances. There's a Best Buy, a Wal-Mart, a Target--certainly nowhere you'd find vinyl (beyond the semi-kitschy '7" with a t-shirt' thing Target is doing--but I owned most of the ones that looked interesting to me, or saw no reason to get the 7"), and nowhere you'd find a good chunk of my music collection, vinyl or otherwise.

I found a small used record and used/new CD store about fifteen miles away and had a very strange experience there, locating both upstate New York's Immolation's third album and some Split Enz albums I was looking for on CD. I found some Throbbing Gristle material, too, which is only appropriate for this particular entry--well, parts of it. I couldn't really make heads or tails of the place, though I've intended to go back a few times (never managing). When I started my current job just a bit further out, though, someone there mentioned a local record store, which piqued my interest immediately. I swung by after work that day, only to find it was closed on Mondays, deciding to come back the next. That next day, I wandered in and found it comfortably cozy and close, as you'd expect from a fledgling (only a few months old!) record store. However, its walls were papered with posters and fliers for bands I knew well--but knew well from my forays into music in the last few odd years more than anything else. Snapcase. Gluecifer. The Murder City Devils. The Supersuckers. Turbonegro. Mudhoney. All the sorts of things I'd tried (sometimes successfully) to push on a very picky person I know.

Doomtree - No Kings (2011)

Doomtree Records ■ DTR033

Released November 22, 2011

Produced by Cecil Otter, Dessa, Lazerbeak, Mike Mictlan, P.O.S., Paper Tiger, Sims
Engineered by Joe Mabbott
Mastered by Bruce Templeton
Beats by Cecil Otter (A1-B1, B3, C1, D1-D3), Lazerbeak (A1-A3, B2, C2-D3), P.O.S. (A1, A2, D1, D3), Paper Tiger (D3)

Side One:	Side Two:
No Way Sims, Cecil Otter, Mike Mictlan, P.O.S. Bolt Cutter P.O.S., Sims, Dessa, Mike Mictlan Bangarang P.O.S., Cecil Otter, Mike Mictlan, Sims	Beacon Dessa, P.O.S., Cecil Otter, Sims Punch-Out Mike Mictlan, Sims Little Mercy Cecil Otter, Dessa

Side Three:	Side Four:
The Grand Experiment Dessa, Sims, P.O.S., Cecil Otter, Mike Mictlan String Theory Dessa, Sims, Cecil Otter Team the Best Team P.O.S., Sims, Cecil Otter, Dessa, Mike Mictlan	Gimme the Go Cecil Otter, Sims Own Yours P.O.S., Sims, Mike Mictlan, Cecil Otter Fresh New Trash Sims, Cecil Otter, P.O.S., Dessa, Mike Mictlan

Maybe it's just the Dessa show I was at two weeks ago, but I feel like I've relayed the story of how I found Doomtree enough times already--I was asked at that show by just about everyone, including associates and one of the opening acts. There's no stranger experience for me than going to those shows. I don't know why it is, exactly, but I end up with people asking me how long I've known them, or when I left Minneapolis, or how on earth, if neither of those is true (there's nothing true in either--I've never even been to Minnesota in general, and the friends I have there have only lived there since I discovered Doomtree, basically). I'd chalk it all up to the general positivity they all exude in person, the down-to-earth appreciation and gratitude they express openly and consistently to seemingly everyone, but then you would think everyone would get asked those questions, or no one would ask them at all.

Thomas Dolby - The Flat Earth (1984)

 Capitol Records ■ ST-12309

Released February, 1984

Produced by Thomas Dolby

Engineered by Dan Lacksman
Mixed by Mike Shipley ("Hyperactive!" mixed by Alan Douglas)

Side One:	Side Two:
Dissidents The Flat Earth Screen Kiss	White City Mulu the Rain Forest I Scare Myself Hyperactive!

Oddly, I'd never really heard "She Blinded Me with Science", nor have I (really) even now, though it was a big hit in the decade I've spent my life unabashedly enjoying the resulting pop music from. I bought this LP as well as the Blinded by Science 12" EP/mini-album simply because I saw them for a low enough price. I'm honestly not sure at this point if they pre-dated or followed my father stuffing a copy of 1992's Astronauts and Heretics on CD into my hand while visiting a used music store. It's entirely possible they followed it--"I Love You Goodbye" is a stupendous song, on a really great album. I'd still only heard the clips of that biggest of singles though, on the commercials for 80s compilations, or on any show that was referencing it as indicative of the decade.

When I had the poll up (due to the absence of votes, I simply removed it), a single vote appeared and then disappeared, for the Blinded by Science mini-album, which I decided to sit down and listen to first. While I naturally couldn't recognize the original, I strongly suspected the version of "She Blinded Me with Science" was a 12" extended mix, and I later confirmed it was just that. Those things are difficult to pull off and it rarely happened with much success. The hooks are either beaten into the ground or so severely cropped or inverted as to become thoroughly un-catchy. This wasn't much an exception, so I didn't feel much like trying to write about not only a mini-album that was an attempt to capitalize on the now rather confused release history Dolby had built up (in his native U.K., The Golden Age of Wireless did not contain that enormous single, though the original U.S. did not either--it was initially released, instead, with tracks omitted and replaced with b-sides, in typical U.S. fashion for U.K. releases--though I still don't much understand a lot of the reasons this was and is done) but one that contained one of those mixes.

There Is More to Come

I'm currently settling into a new job and working more hours than I have been for nearly a year, and it's cropping down a lot of my time for both record listening and writing, and much of the time I have has been spent on adjacent activities (like buying more records!) and whittling down so far that I'm left in too great a crunch to take the time I think anyone who stops to read here deserves.

Being at the spot in the alphabet I am has also not helped, as it has left me on an artist I didn't feel in the right place to write about, but with the option to sidle over to a few other options if I reconsider how I treat alphabetization of things like initalizations (that is, I could, instead of hitting Thomas Dolby, hit upon D.O.A. and get into the issue of hardcore punk again, with its very namesake release).

That said, I am about to settle into a more consistent schedule, and it will mean a plan for distinct, weekly entries on Fridays, each week.

If the time occurs, I'll slip a few more in, but look forward to Fridays for records you may know and love, some you may have heard whispers about, and others you'll question my sanity for listening to, let alone owning (perhaps).

Dire Straits - Communiqué (1979)

 Warner Bros. Records ■ HS 3330

Released June 15, 1979

Produced by Jerry Wexler and Barry Beckett

Engineered by Jack Nuber

Mixing Engineered by Gregg Hamm

Mastered by Bobby Hata

Side One:	Side Two:
Once Upon a Time in the West News Where Do You Think You're Going? Communiqué	Lady Writer Angel of Mercy Portobello Belle Single-Handed Sailor Follow Me Home

If I'm going to talk about Dire Straits, which, in this case, I obviously am, the starting point is simple: Mark Knopfler is, stylistically, my favourite guitarist, bar none. Like many, I spent part of high school spewing obvious names for "best guitarist ever", but have long since abandoned this for two simple reasons: first, none of us knows all the guitarists, not even all the guitarists in popular music, nor what performances are comfortable for them versus extreme work, and second, I'm not a player myself, so how could I really judge such a thing? What I can do, though, is establish a sound that I personally like--and, of course, that is not a singular sound in all honesty. I've (more privately) expressed appreciation for the tone Jeff Beck achieved on his peculiar, semi-electronic records from the early '00s. Eric Johnson, too, is noted particularly for his tone. Andy Gill of Gang of Four has a wonderfully clangy, abrasive style, so on and so forth. But, given the option,  I choose Knopfler consistently, because I like the way he plays in-and-of itself, rather than as appropriate for a style, for virtuosity, or because it ends up with clear and pretty sounds--it does those, but is unmistakably a guy playing guitar at the same time.

Diabolical Masquerade - Death's Design (2001)

Avantgarde Music ■ AV 55 LP

Released August 21, 2001

Produced by Blakkheim and Dan Swanö

Edited, Assembled and Mixed by Dan Swanö, Ryan Taylor, Sean C. Bates

Mastered by Peter In De Betou

Side One:	Side Two:
Movements 1-9	Movements 10-20¹

It's difficult to pinpoint the causes behind my original exposure to this release--it stemmed, no doubt, from a combination of my college friend who introduced me to the wider worlds of metal and the metal-based message board I spent a good deal of college hanging around. Dan Swanö's endless appearances and projects (he has 293 credits on Discogs--more than Nicky Hopkins, for the moment!) surrounded his name with an aura of awe, and the release is just peculiar enough to catch my attention readily--in both sound and construction. 

As I've already noted,¹ the work is split into not just 20 movements but 61 individual parts that are pressed as separate tracks. You may also notice that this is listed as an "Original Motion Picture Soundtrack", which it most definitely isn't. There is no movie (Swedish or otherwise--there's a making-of documentary for one of the Final Destination movies, but that's it) with the title Death's Design, and this isn't really a soundtrack, though it does sound a bit like it could be. Then again, Easy Rider taught us that most any songs could be a soundtrack. But the construction and faux-soundtrack status aren't everything: this is also a wildly eccentric, eclectic, and vaguely erratic disc. An Estonian string quartet (though five string players are credited, so something's not right) is involved, as are both Blakkheim's endless instruments and Swanö's (particularly the keyboards).

Depeche Mode - Some Great Reward (1984)

Sire Records ■ 9 25194-1

Released September 24, 1984

Produced by Daniel Miller, Depeche Mode, and Gareth Jones

Additional Engineering by Ben Ward, Stefi Marcus, Colin McMahon

Side One:	Side Two:
Something to Do Lie to Me People Are People It Doesn't Matter Stories of Old	Somebody Master and Servant If You Want Blasphemous Rumours

In high school, I was sent--as we could now do this--"Enjoy the Silence" in trade from someone I knew at the time (previously mentioned as responsible for the purchase of another album on my behalf), but, somewhat oddly, it had little resonance with me. This is odd, of course, because I've had a life-long love of synthesizers and 1980s musical styles--a sort of misaligned nostalgia, I guess you might say. It's that much more odd when one considers how many covers of Mode songs are out there,¹ including plenty by bands I liked at the time. It gets that much more odd when one includes the fact of my rather bizarre--embarrassing, no doubt, if I were anyone but me--love of the Erasure song "Always", established many years prior when I was all of ten or eleven years of age (I only bought I Say I Say I Say last year, despite spending every trip to a used record store in those days looking for it, simply because of that song).  If that means nothing to you: Depeche Mode's original leader was Vince Clarke, who left after Speak and Spell to form, well, Erasure (okay, after a few other bands, but, still...)

Deftones - Deftones (2003)

Maverick ■ 48350-1

Released May 20, 2003

Produced by Terry Date and Deftones

Engineered and Mixed by Terry Date

Additional Engineering by Pete Roberts

Mastered by Tom Baker

Side One:	Side Two:
Hexagram Needles and Pins Minerva Good Morning Beautiful Deathblow When Girls Telephone Boys	Battle-Axe Lucky You Bloody Cape Anniversary of an Uninteresting Event Moana

If you had known me in high school (and at least a person or two who reads here on occasion did), you would find this band's appearance none too surprising. I normally try not to date myself, as it influences opinions about my opinions, but it's difficult to avoid here (as it has been on a few odd other occasions)--in 2000, Deftones' White Pony was released, their prior hit, "My Own Summer" from 1997's Around the Fur having taken them up on the crest of the "nü-metal" wave most typified by Limp Bizkit and Korn,¹ but, as with grunge and various other genres named for reasons of simplification (in the end, often rounding up disparate genres and slapping them under a single umbrella for marketing reasons, though there tends to be something shared), many bands didn't share the overt stylistic leanings of the flag-bearers.