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?: 7.27.2012

Behind as hell.  Get goin', then. . . !

Stereolab — Mars Audiac Quintet (1994)

Buzzing, warm and melodic. Yep, Stereolab does it right. I can almost equate them to being like the Cocteau Twins of the 90's, in terms of the sheer consistency and "If it ain't broke, don't fix it"-edness of their output. This is the one right after Transient and right before Emperor, to give you an idea of where it stands in the bigger picture (the answer is that it stands right between two of the early monuments — the latter of which is generally regarded as their best). Basically, the Lab sounds like they're having a hard time running out of ideas here. This album strikes me as more of a unified work in which it sounds best when played front to back. There is a bouncy little pop gem in 'Ping Pong' (which totally apes the Association in the best possible way — thanks Mark Prindle for pointing that out!). Overall, I would describe this album as a beautiful buzz of sound. Hard to not recommend it if you're already a fan.

Stereolab — The Groop Played "Space Age Batchelor Pad Music" (1993)

Typical of these guys to release such a strangely theme-oriented EP right in the midst of their strong early run. The "easy Listening" half is basically a showcase for the lead off tune 'Avant Garde M.O.R.', which is Stereolab doing the warm, mellowed out buzzy thing that they were so good at in those days. The "New Wave" half of the disc begins with 'We're Not Adult Oriented' which is a total winner, in that driving, Neu-inspired Stereolab rocker mode (it appears again in a ferocious live performance to close out the disc). In the end, just a footnote in the grand scheme of the Stereolab catalogue, but its strength just goes to testify how strong they were in these early days.

The Sauceman Brothers — The Early Days of Bluegrass, Volume 7 (1940's/early 1950's)

Part of the Rounder label's great reissue series from the late 1970's.  As this is the "early days" of bluegrass, this is still a bit more country in overall tone, just with more of a focus on banjo solos.  The playing is enviable, while the harmonies are just heavenly.  Check out 'A White Cross Marks the Grave' for an album highlight.  It's just really comforting, warm and welcoming music for me right now.  This particular album was put together with extra care, as there are no shortage of liner notes and band history written in the tiny font inside the gatefold cover (only discrepancy here is that there are no dates listed for each tune included — a minor, but slightly annoying, oversight).  There's a killer version of 'Pretty Polly' here and all of the ballads just rule.  I picked this up after reading about the half the liner note after finding it randomly in the rack at the store and figured it was worth the price tag, just based on the back story.  When I got it home, I could find next to no information on this specific record and only overview information on the band.  I've since arrived at the conclusion that it was a total goldmine find.

The Waterboys — self-titled (1983)

That EP was so good, it was only a matter of time before I rendered it obsolete in my collection.  All five of the excellent, straight from the gut, heart-tugging masterpieces from that EP are here, in varying order —although the standing highlight 'Savage Earth Heart' still appears as the closer, thankfully.  The altered track order ultimately plays in the album's favor and the three songs that were inexplicably left off the American edition are just as good as anything else (exhibits A and B).  Its soul-wrenching honesty is only outdone by Mike Scott's completely ace guitar playing and wailing —indeed, almost cackling, at times— vocal performance.  Boy, is this album good.  Strikes me as a work that could only have been created by someone in the midst of an ambitious and youthful urge to change the world through song.  Just. . . wow.  One of the best records I've caught up to in recent times.

Hank Williams — The Very Best of Hank Williams (1950's)

Lame and stupid as a budget-priced collection like this may be, when the actual music it contains is considered, you really can't do any better.  If I were rich, I'd scoff at this sort of thing, too.  But, when you're record shopping on a budget, this is a godsend.  It's easy to write Hank Williams off.  He's been copied so often and so well, that when you actually get into his music, it may sound a little cliche.  Hardly, as it were, in retrospect.  Because he was literally the first guy to do what he did.  He's basically singing the blues over a honky tonk backing.  Sounds pretty pedestrian at this point, but musically, it's just pure gold.  Stuff like 'Jambalaya' and 'I'm So Lonesome I Could Cry' has become so transcendent and so ingrained into the pop music psyche that it's hard to go back and realize just how good, and how unique, those pieces are as songs.  A sleeper favorite of mine is 'Ramblin' Man.'  Some stuff is classic for a reason.  Sorry it took me this long to catch up.

Tangerine Dream — Encore (1977)

Live cosmic-bound goodness from the Dream's spring 1977 American tour.  Although this is a two record set and each of the four sides of vinyl are just one long piece, with "new" titles, I recognize bits and passages from their studio albums of the time (the closing solo piano bit at the end of 'Monolight', for instance, is straight off of Stratosfear).  It's still just the Franke/Baumann/Froese trio, so it's from the band's artfully excellent 70's prime.  And it certainly is prime material, as just a single listen to the seven minute intro buildup of opener 'Cherokee Lane' should please any fan.  Hard to recommend as a first taste, but for the already converted, absolute gold.

Bobby Hutcherson — Highway One (1978)

Not amazing, but Bobby Hutcherson is so awesome that he was able to retain a classy post-bop sound, on a major label, in the late 1970's.  His are truly standards to aspire to.  Just oozing over with integrity and good taste, this was the first of Bobby's three late 70's albums for Columbia (the next one, Conception: The Gift of Love, is pretty good too).  The opener, and closer, 'Secrets of Love' (by George Cables) is the highlight, appearing in instrumental and vocal versions.  The title track is a cascading piece of Latin-tinged post-bop; the sort of which was Bobby's bread and butter in these years.  The tone is thoughtful and mid-tempo, retaining that vibe (no pun intended) of pure class and elegance at time when that was a downright hard thing to do in mainstream jazz.  Nothing amazing happens, but it doesn't need to.  Hardcore fans (read: myself) will find enough here to confirm why they loved him in the first place.

Miles Davis/Marcus Miller — Music from Siesta (1987)

With a dedication to Gil Evans on the cover and a Spanish word in the title, it's a no-brainer that Miles was trying to recall his classic Sketches of Spain album here.  If you can remove from your mind that Miles was just fooling himself into believing he could pull it off without Gil and just accept Marcus Miller's infatuation with backing Miles with programmed synthesizers and drum machines, it's a pretty decent 80's Miles album.  It's certainly a forgotten one, that's for sure.  'Los Feliz' is a representative moment from the score.  I've had to come to terms with 80's Miles over the past year or so, but once I let go of my hang-ups, I've found some rather decent stuff.  This album plays nicely on its own and it's definitely in the line of the great film music Miles had done previously (obviously, with more updated production sounds).  I dig it.

The Incredible String Band — The Hangman's Beautiful Daughter (1968)

Really and truly a wacky record.  Really just an impenetrable mess upon my first few listens.  Really the only thing that jumped out at me right away was the closer 'Nightfall.'  And I think that's because it's pretty much the only song on the album where the band plays a linear song.  This is magnified in the thirteen minute album centerpiece 'A Very Cellular Song.'  Easy to sit through the whole thing, just because it's actually several songs contained within one track index.  If you consider all of the change-ups and twists in the songs, what appears to be a ten song album is actually fifteen or sixteen tracks in total.  Musically, it covers just as much ground; venturing from traditional folk, to Irish textures, through America and right on through to plain old acoustic psychedelia.  A hard nut to crack, but not without its rewards.  


~Austin

What's New?: 6.22.2012

Sigur Rós — Valtari (2012)
 
To be honest, I thought they were done.  I thought Inni was the end.  It certainly had an air finality about it.  Með Suð had a sense about it as well.  It was definitely the band's most produced affair.  And something about a song of theirs being sung (finally) in English appearing last on that album just had something about that seemed to say "resignation" along with it.  And yet, here we are.  It's four years later and we have new Sigur Rós album.  The "big" aspects played up on Með Suð are mostly gone — along with the shiny uber pop uptempo numbers.  Indeed, this is Sigur Rós more in their Svigaplatan mode than either of their previous two albums.  Only 'Rembihnútur', with its jubilant build recalls slightly something from Takk (and, in an extremely cool move, the percussive ending on the vinyl ends in an infinite lock groove, looped right on beat, so you may not notice it right away — the CD mix is much different with an abrupt fade-out).  The second half of the album begins with 'Dauðalogn' — a choral hymn to the group's homeland.  It's all rather good and therapeutic-sounding, actually.  And then, brilliance occurs.  Sigur Rós, as the c. 1984 Brian Eno discovered ambient masters that some of us had envisioned them as all along, emerges.  'Varðeldur' (actually just a re-recording of last year's 'Lúppulagið') is exceptional — and furthermore, a brilliant lead off into a series of flat out beautiful tracks that I certainly didn't expect.  There are no lead vocals for the last twenty two of the album's fifty four minutes — brave.  I can't even think of the words that describe the sheer beautiful gloom of these last moments.  It's a bold move by a band that had nothing to prove.  And yet, here they are.  I honestly wish they had just done the most subtle middle finger ever and done an entirely ambient record.  Proving once again why they are one of the best ever.  Really excellent.

The Waterboys — s/t EP (1983)
 
I guess this was an America-only release, grabbing the best tracks from the band's first album.  I have to admit, I took the Waterboys as very much a second tier act for many years.  Not sure why that is — sometimes you just see a band's records and you judge them, that's all.  Well, it's my mistake once again, because these boys are fantastic.  Initially, just based on the overall sound of the first three tracks here, they strike me as a more folky Echo and the Bunnymen.  Yes, to be completely clear, that is a damned desirable comparison coming from me.  Beginning with 'December' is when things hit a note of uniqueness for me.  I mean, wow.  That's closer to the Chameleons than anything I've heard since. . . well, since the Chameleons.  Final track 'Savage Earth Heart' is honestly one of the best songs I've come across in a while.  Glorious new wave ideal, filtered through a folkie's brain.  Hero.  If these five tracks are the best things from that first album, I'm expecting a total masterpiece, if I ever happen to find that one.

The Waterboys — A Pagan Place (1984)
 
It's good — just a little overproduced.  'Red Army Blues' is clearly the highlight.  And it's a poignant piece of then-relevant political commentary, taken from a very unlikely point of view.  A very brave move, considered when this was recorded.  The rest of the album's songs are pleasant, if not a little stagnant.  There's no less passion involved (as displayed by the title track) but the songs just aren't as good overall.  Still a darn fine record.

The Waterboys — Fisherman's Blues (1989)
 
And Mike and his revolving cast finally go properly folk rock and the results kick butt and take names.  Seriously, if you're into it after the lead off title track, just go home and read the dictionary.  Because you obviously have no soul.  The rest of the album is a defying leap into the world of the acoustic at a time when that was anything but cool for an "alternative" band.  The very next track sounds like possibly u2's wet dream at the time.  Jeez, it's good.  'And a Bang on the Ear' was actually the single from this album, if you can believe that.  I mean, it's a totally good song.  But imagine that being considered alongside Love and Rockets.  Strangely awesome.  The album closes with the flat out excellent 'The Strange Child' and after a short jam on 'This Land is Your Land', it's all done.  I scooped a 12" single for 'Bang on the Ear' with this, which has a live rendition of the 'Raggle Taggle Gypsy' (apparently a song the band's only ever played live).  The deal sweetens.

William Ackerman — Passage (1981)
 
A little disappointed in this one.  It's actually just digitally re-recorded songs from his previous three albums, with some new ones tossed in.  Granted, the new stuff is just as good as ever, it's just that it's more musicians involved in those tunes.  And I feel like Will is best when he's alone.  Of the new tunes, there is one solo and it's the title track.  A wonderful tune that recalls The Turtle's Navel, if I might say.  Otherwise, it's stuff that's decidedly overcooked or that you've already heard before (in better performance, too).  Certainly not awful if you liked his previous albums, but nowhere near as good as any of them.

General Public — All the Rage (1984)
 
Dance, suckers!  Like your life depended on it!  Of course, this was Dave Wakeling's initial kick back against the break up of the Beat and it has one of the greatest pop singles of the 80's on it.  I mean, jeez, that thing is 'Just Like Heaven' status, isn't it?  Play it anywhere, anytime and folks are equally liable to dance as they are to burst out in tears.  Fantastic.  I guess Mick Jones was supposed to be a full time member of the band, but that fell through (although his guitar work appears on a good portion of this album).  It essentially sounds like the next Beat album.  Where Special Beat Service hinted at an especially new wave, slightly jangle pop-informed evolution of the band, General Public just relished in that direction.  It's pure pop; no mistakes about that.  But, it's rather good.  'Never You Done That' is not that far removed from the Cure's synth-oriented singles of the time, while 'Where's the Line?' sounds exactly like the Beat.  This is top tier new wave.  I actually get vibes of New Order at the time, if you can imagine that.  Just top gear.  Excellent.

~Austin