What's New?: 1.30.2014

On today's episode: NEW WAVE EXTRAVAGANZA!

Squeeze — self-titled (1978)

The Squeeze's first album is a lot more stock new wave than anything that followed. The rumour is that most of the material was written on the spot, under pressure. So, there you have it. There are some excellent pop songs throughout though: most obviously the hit 'Take Me I'm Yours', but there's also the super catchy 'Strong in Reason.'  I'm also partial to the funky psychedelic instrumental 'Wild Sewage Tickles Brazil.'  Otherwise, there's just not enough of the sort of well thought-out songcraft that Squeeze would become known for.  It's definitely their most "punk" sounding album, but that has more to do with how amateur it sounds, not because that's what they were going for.

The Jazz Butcher — The Gift of Music (mid-1980's)

It's taken me years to track down these Jazz Butcher albums. They are of interest to me because David J plays on them. And, you know, I should have just had some Jazz Butcher albums in my collection before now anyway because it's very British, very jangly music. Right up my alley. This album is a collection of singles and b-sides and it's very whimsical and nice. The first song is 'Southern Mark Smith', so that's an idea of what you're in for here.  There's a cover of the Modern Lovers' 'Roadrunner' which is pure fun, but there's also more introspective moments like 'Rain' that are just excellent.  Overall, kind of goofy music, but plenty of jangly guitars and earnest harmonies for me to dig it.

The Jazz Butcher — Sex and Travel (1985)

Bit more even overall, and that makes sense because this was its own release, not a collection. It kicks off with the sophisticated jangle of 'Big Saturday' and that one just wins over and over again.  The ballad 'Only A Rumour' is a rare moment of venerability and it's also a highlight.  The soundtrack-y 'Walk With the Devil' is an unexpected moment of epic scope that works incredibly well.  Overall, yeah: good stuff.  I will definitely be on the lookout for more Jazz Butcher stuff, regardless if David J is involved or not.

Dexys Midnight Runners — Searching for the Young Soul Rebels (1980)

Dexys' first album is a full on, horn-sectioned new wave soul album.  Because Dexys first came out of the Northern Soul movement, this makes perfect sense.  At times, the horns blasting away does feel a bit gimmicky, but the tunes are darn catchy and are played at punk speeds, so the whole whooses by in no time.  'Geno' was the big hit and is a worthy song to be remembered for.  Kevin Rowland had others up his sleeve, though.  Not a super amazing album, but darn good fun.

The Waterboys — This is the Sea (1985)

The last Waterboys album I needed to complete my 80's collection.  And it's a good one!  It sounds like A Pagan Place, but with better songs, basically.  Still a very large (arguably overproduced) presentation of the music, but with songs as good as the opener 'Don't Bang the Drum', that doesn't matter.  It's a very big, arena-ready melodramatic sound, totally mid-80's.  There's just some days when I want that borderline cheesy sound and, it seems like, the Waterboys always hit that specific node of sound that I'm looking for most perfectly.  Check out 'The Pan Within' for a preview of where the band would go on Fisherman's Blues.  Overall, not the best Waterboys album, but definitely in the running for #2.

The Mighty Lemon Drops — Happy Head (1986)

The first Lemon Drops' album has eluded me for years, but here we finally have it.  This band definitely does one thing really well, so if you're not a fan, too bad for you.  This thing is kind of top loaded with all the best, and most diverse, tunes up front.  So, by the end of the album, everything starts sounding the same.  But, those highlights are good enough to make up for it.  They have a really rockin' Rickenbacker retro-60's repertoire that's just fun.  Have a listen to 'All the Way' for an idea of what the Beatles would've sounded like as a punk band.  And there's lots of that sort of thing here.  I think the Lemon Drops got lost in the retroactive shuffle because they had a sound that was so reminiscent of other bands, while adding very little of their own.  But they did that sound so well, so I don't mind.  Definitely nice to finally have this album around.

The Jam — In the City (1977)

The Jam's first album is usually considered a punk landmark.  And it certainly is one of the defining albums of the initial British punk era, but it's a little uneven.  Paul Weller hadn't quite mastered a pop hook yet, so only a few really good ones pop up.  Chief among those being the enduring classic title track.  Paul Weller's stinging and ringing Rickenbacker guitar defines the sound of this album, for better or worse (it gets a little samey, after all).  As a debut album by a punk band, it showed absolutely no promise, but most punk bands weren't really meant to last past an album or two anyway, so that makes perfect sense.

The Jam — Setting Sons (1979)

Still blasting out those power trio performances, but the song craft here is amazing.  Just have a listen to 'Private Hell.'  Whoo, that's a great song.  There's a bit more of a produced, jangly sound to some of the songs, so something like 'Wasteland' comes off as a nice reserved change of pace.  And then, of course, there's 'Smithers-Jones' which is so dissimilar than any previous Jam song, it gets by on sheer uniqueness.  This is the CD reissue from the early 2000's that nearly doubles the running time of the album with bonus tracks (and it does include the more conventional arrangement of the single version of 'Smithers-Jones').  All the bonus material sits right in with the proper album and it's a darn fine affair, I'd say.  Not the best Jam album, but certainly one of their better ones.

The Jam — All Mod Cons (1978)

This is probably my favorite Jam album. It still has the punk snarl, but it's like, really sophisticated about it. Not pompous, just maybe a little cocky. Just have a listen to 'To Be Someone' for a perfect example of what I mean.  Of course, there's the enduring ballad 'English Rose' which was the first indication that the Jam meant serious business as far as not being considered just a punk band.  The whole album is just ace and that it ends with the ambitious mini-epic 'Down in the Tube Station at Midnight' is really appropriate because this album really does seem like the Jam fulfilling their potential for the first time.

Throwing Muses — The Curse (1992)

Recorded across two nights in London in support of Red Heaven, this paints the picture of the band as a very loud, nearly shoegazey unit.  The version of 'Fish' is scorching and flailing — I've not heard a better rendition, I'd reckon.  Kristin picks up her acoustic late in the disc, but it's mostly a relentlessly rockin' affair, focusing on Red Heaven, Hunkpapa and Real Ramona material.  Wonderful find after many years of knowing about this one without ever actually having heard it.

Throwing Muses — Firepile EPs (1992)

Released as a two part single in the UK, collectively, you get six b-sides, including the oft-played live Jimi Hendrix cover 'Manic Depression' and the great original tune 'Snailhead.'  Elsewhere, you get a jangly Velvet Underground cover and, all told, this was another super find, as these things have been out of print for a good decade and a half.  Fun stuff to add to the collection.

XTC — Black Sea (1980)

XTC was so damn consistent in the early 80's. Let's just pick a random song from this album and see how awesome it is: 'Paper and Iron.'  There.  Just, there.  See what I mean?  Of course, this one begins with the all-time XTC classic 'Respectable Street', so you know you're in for a wonderful ride.  Everything has that big drum sound and that angular riffing, which you could argue was formulaic, but when the formula was this productive, how could you possibly be mad?  This CD reissue tacks on some extra tracks that only add to the album's appeal.

XTC — English Settlement (1982)

Ask many an XTC fan their all time favorite album and I'd bet at least two-thirds would say English Settlement.  There's a sense of airy space in the production here and it allows you, as the listener, to really focus on the layers and song craft involved in everything here.  When the album begins with the atmospheric 'Runaways' you know there's been a change in thought, of sorts.  Then, of course, there's that one tune you may have heard.  Layered jangly heaven, I'd say.  The whole album is strong and it feels like step up in every aspect.  Like I said, if they were one thing in the early 80's it was damn consistent.

R.E.M. — Daysleeper EP (1998)

Up b-sides?  Yes, please!  The instrumental 'Emphysema' is a strange, vibes and accordion thing that is pure fun.  The winner is the "Oxford American Version" of 'Why Not Smile' which is basically an acoustic version.  Nothing revelatory, but I'm a big fan of this era of the band, so I'm fascinated by it nonetheless.

Edwyn Collins — Hellbent on Compromise (1990)

The sort of stock, overproduced jangle that Roddy Frame was also doing at the time. It is a bit more acoustic-based overall than what Roddy was up to and always with Edwyn's healthy dose of wit and sarcasm. Perhaps more earnest than usual, but the production is a little too slick for its own good. The eerie opener 'Means to an End' is a highlight and it's a shame that the rest of the album's material wasn't given as thoughtful treatment.

The Wake — A Light Far Out (2012) 

How I missed this one, I don't know.  But, man, is it good.  Just have a listen to the opening tune 'Stockport' and realize that this is a new record by these guys.  They do just about everything here: the jangly stuff, the dancey stuff, the dreamy stuff and it's the exact sort of reunion album that you love to see.  It sits well with the band's catalogue and only enhances it in the long run.  The only thing I'd complain about is the inclusion of the old Occasional Keepers tune 'If the Ravens Leave', but it's not even like that's a bad song; just well familiar.  The epic title track is probably the highlight here, but honestly, this thing is so good, there's really not a bad or even sub-par song in the bunch.

The Lotus Eaters — No Sense of Sin (1984)

Fantastic Bowie-inspired synth pop.  "New Romantic" the kids used to call it.  I knew of this band because Mike Dempsey, who played bass on the first Cure album, is present here (though not the main creative force).  This has one of the all-time great (now unfortunately lost) classic new wave singles on it with 'The First Picture of You.'  Pete Coyle's longing tenor croon paints a gorgeous picture of celebrating the moment while you're in it.  There's a handful of these slightly melancholy, transcendent 80's pop songs and I officially nominate 'First Picture of You' into the cannon.  Just perfect.  The rest of the album follows suit with long keyboard harmonies and subtle guitar arpeggios and hooks — just gigantic pop hooks.  Cherry Red has done this album justice with a wealth of bonus tracks that gathers up the band's entire 80's discography on one disc.  Fantastic music.

~Austin

What's New?: 12.26.2011

Been slacking off lately, so let's just get right into this one. . .
Bob Dylan — Self Portrait (1970)

I guess if you believe rumors and Bob's own whimsical soundbites, this album was supposed to be bad. Sure, it's not up to the standards he had established for himself, but I don't really see how anyone who likes albums like John Wesley Harding, Nashville Skyline and New Morning (a personal favorite of mine) can truly dislike this one.  At two records, containing plenty of covers and even some questionable live performances, it is a bit intimidating.  But how can you argue with songs like the drunken rockout 'The Mighty Quinn' or the almost pastoral 'All the Tired Horses'?  Sure, it essentially sounds like Bob clearing his vaults from his preceding two or three albums, but when you're as good as Bob Dylan was during these years, even your "crap" is listenable.  Not a masterpiece, but certainly not deserving of its bad reputation.

Nuggets: Original Artyfacts from the First Psychedelic Era 1965-1968

Seriously good stuff. Some people call it psych, some call it garage, I just think it's a good 60's pop by bands that had no idea they were capable of being accessible. The kickoff track is the enduring classic 'I Had Too Much to Dream (Last Night)' by the Electric Prunes, so that's just an absolute perfect way to start a compilation like this. I knew that one already, but the rest of the album had some real surprises for me; biggest of which was the moddy 'Don't Look Back' by the Remains (hailing from Boston!) is just about in my songs of the year list. Elsewhere, enjoyable Beatles and Bob Dylan knockoffs show up respectively in the Knickerbockers' 'Lies' and Mouse's 'A Public Execution' and I find these little oddities to be pure fun. There's covers too: the Leaves take an appropriately acid-soaked stab at Jimi's 'Hey Joe' while the Mojo Men seemingly try to bubblegum it up on a take of the mighty Buffalo Springfield's 'Sit Down I Think I Love You.' Overall, it's twenty seven tracks: all killer, no filler. How could it be anything else when it's the compilation that has birthed a series of boxsets?

Pink Floyd — A Nice Pair (1967/1968)

Just the albums Piper at the Gates of Dawn and A Saucerful of Secrets together as a two record album. No problems there. Piper is, of course, British psychedelic madness and a far cry from the Floyd as many would come to know them five years later. Not better or worse; just vastly different. I used to have it on CD years ago, but I honestly can't remember what happened to it (how appropriate). Mr. Gilmour was not yet in the band at that point and it's hard not to listen to it now and not hear it as totally "trippy man." Good tunes though, for sure. 'Lucifer Sam' manages to have a killer bassline, be totally psychedelic without getting carried and it's a great pop tune all simultaneously. 'Interstellar Overdrive' is pretty much the band at its most arty, and boy do I love it. Full disclosure time: 'Bike' has always been the clear highlight of this for me. A total goof of a song, I don't care; listen to all the wacky stuff in the arrangements. Musically, it's just silly and completely disregards all conventions, while acknowledging just about all of them within a time frame of less than four minutes. Secrets, the band's second proper album and record two of this collection, however, was completely new to me. And I must be a bad person, because I prefer it. Maybe it's still the freshness factor at this point, but it feels less gimmicky. I like how the is more sparse as well. It's just as trippy as Piper, but among the tempos of the actual tunes and the more nuanced production (which emphasizes the atmospherics of the keyboards), it just has a more "complete" sound to me. 'Set the Controls for the Heart of the Sun' is just excellent if you ask me (and it makes me think of Tangerine Dream more than a little bit — a good two years before they released their first album, too!). The title track is dark and sounds like a bad trip, but it's twelve minutes of artsy brilliance in the long run. 'See-Saw' looks ahead to the future, while 'Jugband Blues' is Syd Barrett's lone contribution to the album. Probably his best song on a Floyd album, ever. Fantastic stuff.

Squeeze — Babylon and On (1987)

The gratuitous 80's sax all over the opener 'Hourglass' should be a clue as to what Squeeze was up to here. Certainly past their prime, but not without enough good tunes to overcome the cheesy production of the day. So, yeah. Despite the really cheesy production, the band still has some choons left in them. Nothing life changing, but darn good rewarding fun for an 80's dork like me. Other nice ones on here are 'Cigarette of a Single Man' and the lyrically weird 'Some Americans' (a good indicator of why the band never truly made it over here, perhaps?).

Squeeze — Cosi Fan Tutti Frutti (1985)

This is a good snapshot of a new wave band trying to stay afloat in the mid-80's and failing nobly. Still good tunes buried beneath all the overproduction ('Last Time Forever' for instance would be a great song under another presentation). The closer is the hilariously titled 'I Won't Ever Go Drinking Again (?)' and it's a completely weird dub-reggae riddim-laced, puzzle-esuqe jangler with a nearly ragtime piano break. Admirable as it may be for a band to try so much in the face of overproduction, it's a good zeitgeist for the whole album as it feels like they're trying too hard most of the time.

Squeeze — Sweets From a Stranger (1982)

When the album starts out with a very Devo-esque drum machine and synthesizer riff on 'Out of Touch' and then explodes into one of those incredibly swooping classic Squeeze vocal hooks, you should be at 'Aww hellzz yeeeaahh!!' status. It's one of the best (and most underrated) tunes. The rest of the album is not quite as good as East Side Story or Argybargy, but it hangs right in there with the band's initial run of early classics. 'Black Coffee in Bed' was the big hit from this one and I still love that song, no matter how many times I hear it. There are some classic-sounding Squeeze new wavers like 'I've Returned' and 'I Can't Hold On' that are just great pop tunes, while the closer 'Elephant Ride' is among the band's best tunes. And, overall, I have hard time thinking that a fan of the albums that preceded it wouldn't get completely into this one as well (I certainly did!).

Chris Squire — Fish Out of Water (1975)

Yep, the Rickenbacker bass playing guy from Yes. With Bill Bruford on drums, similar song structures to Yes and Chris' very Jon Anderson-esuqe vocal timbre, it's pretty much a sure shot for fans of any Yes albums up to (and including) Topographic Oceans. Seriously, listen to how much he sounds like Jon Anderson on the album's first two tracks. It does have that great pastoral, world-within-a-world feel of the best Yes material and I really just dig it. At times, it does play like the great lost Yes album, just because of the way it sounds. A funky backbeat melds into very jazz-fusiony improvisation on 'Lucky Seven' while the orchestrated, several movement epic 'Safe (Canon Song)' is the best Yes song that never was. Extremely good stuff for fans of 70's Yes (which is why I'm here, obviously).

Love — Love (1966)

Epic dollar bin win! Not sure why this was in there, but I question nothing when it comes to the dollar bin. I've slowly been getting into Love over the past couple years, but this first album has eluded me for some time. Finally have it and I have to say, boy do they sound like the Byrds! I love that, especially since they're a little more garage-y and weird. But that wonderful jangle is there at the base of it all. The bulk of the material here captures that longing melancholy that the best 60's possesses and, truly, it's all the better for it. 'A Message to Pretty' sums up the band's perfect synthesis of folk rock earthiness, kitschy penchants in their songwriting and the amateur garage-y playing. Love it. Elsewhere 'My Flash on You' just plain rocks while 'Softly to Me' is arguably the band's best song ever. Classic material. Hard to think that they actually created a more well-rounded and complete album than this one.

~Austin

What's New?: 9.5.2011

Another one that could go on for a bit. . .




Erick Sermon — Double or Nothing and Bomdigi EP (1995)

A peak example of just how thanklessly strong east coast hip hop was in the mid-90's. This album, deemed second tier at the time, holds up for that soulful, blunted out, bass-heavy mid-tempo goodness. I'm sure I had a dub of it from Iain, but I know for sure I've never owned a copy of my own before. I recognized a lot of the non-single material, but ultimately, it just goes to prove why I don't like hip hop anymore: for all of the shit talking and gratuitous amounts of swearing, there is an earnestness and honesty present that has absolutely no concern with whether or not anybody actually likes the music. R+B singer Aaron Hall appears on 'Welcome' and, while that was probably deemed a move towards the mainstream, the backing track is just too funky, too spaced out and just too off the wall to really cross over properly. The countless shoutouts to all eras of music and musicians is always fun for me to hear (when it comes down to it, we're all just fans — awesome). The poignant moment of clarity 'Focus' at once makes a point and comes off without an ounce of preachiness. Just good stuff. And, looking back now, it's easy to see how I feel so deeply in love with this music.

Invincible — Venus (1999)

Probably the best thing Mark Burgess did after the Chameleons disbanded. I've had the album in various (unofficial) forms for years, but I decided enough was enough recently and found a (still!) sealed copy on eBay. There are just gobs and gobs of vintage Mark Burgess moments here. Everything is presented with a bit more of a rougher rock and roll edge (thanks to Yves Altana's excellent work on guitars) and through it all is that voice and those words — the work of Mark Burgess, a man so good at what he does, even a relative obscurity like this is amongst his best work. Don't know if I've yet addressed it yet on Redundant Chicanery, but I feel that 'Spooks' is one of the best just straight catchy rock and roll songs of. . . well, ever, honestly. A weird manifesto about not feeling like you belong amidst a downright addictive riff. It's been said that Mark's ambition with Invincible was to rock out and still be able to connect with his audience like the bands he loved growing up did (T. Rex, Bowie, etc.). Mission accomplished. 'Think (it's going to happen)' is one of his best songs ever. A 6/8 time signature masterpiece on par with The Chams' 'Caution' and 'Is it Any Wonder?' and the Sun and the Moon's 'This Passionate Breed,' it's just a magical song that even people who don't like this style of music will probably concede is a genuinely affecting work. There's not a bad song in the bunch and there are definite shades of songs you could easily imagine as Chameleons numbers ('Only You Could Save Me' is case in point). But that's to suggest that this is a lesser work. On the contrary. This is, like I said, one of Mark's very best releases and it should be telling that, besides the Sun and the Moon (which was half of the original band anyway), this is really the only real band he formed outside of the Chameleons. What a wonderful album. Outstanding.

Crosby Stills + Nash — Demos (late 60's/early70's)

Just a crowd pleaser. Simple, sparse run-throughs of long-familiar CSN favorites. I like that it doesn't stick strictly to material that ended up on the band's two initial albums, as several of the tracks appeared on the band member's solo albums. While there is more Stills tracks than I would care for (a full third of the disc), they don't take away from the other highlights. The solo Crosby demo of 'Deja Vu' is darn near better than the original and it's a little stunning to hear that he had such a complicated arrangement worked out so fluidly before the band had at it. Graham Nash's mostly solo rendition of 'Marrakesh Express' is pure fun while, the full band-backed initial run of 'Long Time Gone' is a lot more funked out than I would have imagined. Besides 'Deja Vu', no real revelations, but definitely good fun to hear this stuff.

Gastr del Sol — Camofleur (1998)

I will say the same thing I said when I first heard it about ten years ago: it reminds me of Brian Eno's pop albums from the 70's while sounding nothing like those albums. Instead, it just takes on a confluent role of two guys who just soaked up any and everything they could. The very first song ('The Seasons Reverse') is proof positive that David Grubbs and Jim O'Rourke were just two guys that were into everything and wanted to find a way to incorporate it into the music they were making. The acoustic twangs, the glitchy post-production, the challenging time signature, the incorporation of brass horns and steel drums, it's a really weird song that somehow manages to be catchy. Overall, it's really an acoustic-based album that uses post-production to manipulate the listener into thinking that it's a lot more weird than it actually is. Its influence is probably a lot larger than its notoriety. Wonderful stuff.

Stereolab — Fab Four Suture (2006)

One of the most consistent bands ever just keeps right on going. You can really hear how they were gearing up to move into the orchestrated pop variation of their sound on Chemical Chords (which would be their next move). 'Get a Shot of the Refrigerator' sounds exactly like them, but with an inkling of something else at play. I'm having a hard time articulating it, but that is a fine little manic number. I also really like 'Excursions Into Oh, A-oh' which sounds like classic Lab to me. Overall, there's enough quirks and nuances here to make this yet another one to own for Stereolab fans. And you just can't help but love the democracy that they have in regards to their discography: this is basically Switched On Volume Four, as it collects all of their singles and b-sides from 2005 and 2006. Tunes for days and pure catchiness and interesting ideas from a band that never seems to run out of any of those things.

Squeeze — Cool for Cats (1979)

Squeeze should be one of the most trusted names in retrospect for pure pop goodness. They do have large hits in America, but unfortunately, they get overlooked as kind of a novelty act. I'm not defending anything past East Side Story, but those first four albums are top tier new wave pop. 'Slap and Tickle' has the synths while the title track has the jangly guitars. It's jerky enough to be easily lumped in with new wave, but it's got enough attention paid to layers and poppy eccentricities to make it transcend; just like the rest of their best work. It probably hangs together with the least continuity of their initial three classics (this one, Argybragy and East Side Story), but its highlights are just as good as the other two. I really like the album as a whole because its songs, as an American listener, are just less familiar. Hard to dislike such a strong album from a band that was in such a productively consistent phase.

Embrace — Embrace (1985)

A curious dollar bin find. This is indeed the Embrace that recorded for Dischord in the mid-80's and was fronted by Ian MacKaye post-Minor Threat and pre-Fugzai. It's good. Very punk and very melodic at the same time. Ian is screamy at times with his voice, but, for the most part, he exhibits his tenor croon in a really well done fashion. The themes he covers in his lyrics are pretty dark and very much angry, self-deprecating and accusatory of others. His music always has a bit of self-righteousness to it, but it feels very real here and you have to just sit back and admire the passion in a song like 'Dance of Days.' And you know what? That's the theme of this material: it may not be expertly played or sang, but the sheer force and passion in the playing and performance genuinely affects the overall outcome of the music. It actually makes me think a lot of early Joy Division because the musical backing is very raw and punky, but the overall feeling is one of the band straining to be something perhaps beyond their capabilities. There is something in me that just loves that intensity.

Lowlife — Permanent Sleep (1985)

Have really wanted to check this band for a while now. This is Will Heggie's band after he left the Cocteau Twins. The LTM Label has reissued the band's entire catalogue, but I just haven't been able to afford any of those pricey imports. I don't want to be misunderstood, because I do like this one, but I am disappointed, to be completely sure. The heavy bass and chimey, echoey guitars are there and that's just heaven for me, but every song sounds exactly the same. Same 6/8 time signature, almost identical tempos and the same post-Ian Curtis baritone croon. Now, with any other lineup of unflinching similarity, I'd write it off pretty quickly, but let's be honest: I am very privy to this sound and era of music, so the very production sounds and the lovely echoing guitars keep things listenable. It could definitely use some diversity, but I certainly am not put off on checking out the rest of the band's discography.

A.R. Kane — Sixty Nine (1988)

Pretty sure it should be acknowledged fact by now that the very first track on this album —the godlike 'Crazy Blue'— is an indisputable classic. Where that track is like Sade meets the Pixies in a delicious promised land of dreamy melodic vibes and into-the-reds loudness, the rest of the album is a bit more willfully weird. The vocals the entire time are mixed to sound like the mic was at least ten feet away from where the vocals were actually coming from and the songs just generally avoid anything closely resembling traditional structure altogether. 'Dizzy' is an especially weird one, as it essentially sounds like classical music being played in an insane asylum full of mentally tortured shrieking maniacs. The segue of 'The Sun Falls Into the Sea' and 'The Madonna is With Child' is just about one of the trippiest —and seamless— things I've ever heard. Ray Schulman is about co-producing and whatnot and this one is just a total winner. Roots of post-rock 101, kiddos. Shame they're still not more known.

A.R. Kane — Lollita EP (1987)

This was produced by Robin Guthrie. I know it's hard to read this spine in the scan photo with the grey text on white matte cover. There are only three songs here, but each one knocks it out of the park easily. The title track plays up the shoegazey-ness of the band and is practically the group's manifesto. 'Sado-Masochism is a Must' squalls its way into existence and is probably the most Cocteau-ish thing the band ever did (in fact, it sounds like Robin Guthrie helped out on guitar), while 'Butterfly Collector' is dark and noisy (indeed, it ends with ninety seconds of white noise). Hard to imagine something this revolutionary getting so roundly ignored in retrospect.

Kenny Burrell — Midnight Blue (1963)

One of the best Blue Notes in that intimidatingly great catalogue. I had the pleasure of sneaking a copy of this album into the in-store play stock while I was working at Tower Records, so I heard it a lot. So much that I never felt like I needed to buy it. Time passes, here I am, buying it anyway. I can't think of a better title for an album that sounds like this one does. The blues hold strong over everything played here, but with the addition of Ray Barretto on hand percussions and an all around slower tempo, there is a sense here of late night, moment of clarity haziness. The thoughtful vibe and tuneful riffs in the songs makes for one of the foundation soul jazz albums of the period. One need not look any further than the solo Burrell composition 'Soul Lament' for the depth and tunefulness achieved here. Classics don't get much stronger than this.

~Austin