#591 - Prince – Sign O’ The Times

"I'm not Prince or Rivers Cuomo, who brags about having hundreds of great songs," Reznor replied. "And to that I would say, 'Prince, if you have a hundred great songs or a thousand, how about picking a few and putting them on your record that you've put out, because your last several have sucked.' Same for you, Rivers. I say that constructively, you know." – Trent Reznor in a 2009 interview

I think the above quote is particularly relevant to this album which the purple one had to trim down from a 3 LP set to get the label to release it. Of course Price would go onto even more grandiose projects and releases. However as far as critical acclaim goes this was a highpoint. I’m still trying to figure out why. I enjoyed both other Prince albums in the book but nothing on this one really stood out. Critics love it however, borrowed from Wikipedia:

“Michaelangelo Matos of Spin cites the album as "the last classic R&B album prior to hip-hop's takeover of black music and the final four-sided blockbuster of the vinyl era." Which I found interesting considering the book quotes Prince from an ’85 MTV interview saying: “…one day I would play all kinds of music and not be judged for the color of my skin but for the quality of my work.” While the book adds: “this is the album that most brilliantly succeeds in realizing that ambition.”

I don’t know why, maybe it’s the canned drum sound from the drum machines he used? Or the fact that the single “U Got The Look” made me think of the similarly titled Roxette song? There’s just something about this one that critics liked that I didn’t. Or maybe it’s that I ended up with 3 CDs worth of this one by mistake. I had originally seen this one at Princeton Record Exchange but didn’t buy it. I wasn’t sure at that point if it was on the list and they didn’t have it the next time I went. So I found a copy at FYE for $7.99, I knew it was double album at that point and the cover said “two disc set” so I figured it was both albums in a slimline case. However I got it home only to discover it was only disc two. So I now own 2 copies of disc two. I eventually tracked down the complete set for $4.99, again at Princeton Record Exchange. So despite the fact that I probably could've bought it new for what the 2 copies cost me, at least I didn’t overpay as much as some of these Prince fans in Vancouver: http://www.pollstar.com/news_article.aspx?ID=804905

#592 – Sex Pistols – Never Mind The Bollocks Here’s The Sex Pistols

As Neil Young once sang, “This is the story of Johnny Rotten…” and Sid Vicious, and Steve Jones, and Paul Cook (and Glen Matlock). Something must be said for a band whose legacy and reputation has lived on for almost 40 years since their only official studio album. Was it brilliant marketing that made the Sex Pistols the de facto face of punk rock? Hard to say but manager Malcolm McLaren clearly had a vision for the band and they lived it up in spades. As for the music here there’s always something to be said for being first. I’ve owned various Sex Pistols releases, some live stuff and a single of “Anarchy in The UK” which I purchased after hearing it in a record store and having the song stuck in my head then I had to remember who sang it which required a phone call to my punk rock loving buddy – this is before Shazam existed, kids. So that was enough for me since I was growing up during the second punk explosion (Green Day, Rancid, etc.) I’m sure that diluted the effects this had on my listening habits. I’m sure it was different in 1977 when the Pistols were being charged with obscenity and cursing TV hosts on live television. So I think time has probably softened the impact of some of these tracks, at least to me. However I still think the double shot of “Anarchy In The UK” and “the Pistols’ version of “God Save The Queen” stand the test of time. Also the book notes “…Jones simple but devastatingly effective riff on “Pretty Vacant,” which gave hope to useless guitarists everywhere.” It would be easy to dismiss the actual music here if it weren’t for its long-lasting cultural effect and for launching punk into the mainstream whether that was the intention or not. I’ve seen this one used many times but finally settled on a copy at Princeton Record Exchange for $1.99.

‘ard of ‘earing – Jim James & Cold Specks at Union Transfer – 4/27/13

There was a “Happy Birthday” banner, party hats, and even a cake to add to the festive mood at a sold out Union Transfer last night. James himself seemed quite pleased saying it was one of his better birthdays having spent the day walking around downtown on a beautiful spring day. He also claimed the flowers and trees all wished him a happy birthday and he was pleased to be there tonight. His band ripped through a first set consisting of the entire “Regions of Light and Sound of God.” At times it appeared he was going to rip his flying V from its stand and at others he admirably mimed a sax solo. The songs, whose album versions combined run a scant 38 minutes, were stretched to their limits as the set ran over an hour. An encore set consisted of James solo on acoustic to start with a pair of My Morning Jacket songs followed by Monsters of Folk tunes and closed by a New Multitudes tune. Opener Cold Specks started the evening as singer Al Spx took center stage wearing a cape reminiscent of some of James’ stage-wear. Their set opened with her showing off her impressive vocal power with an included a pair of traditional songs, “Mama Tried” and “Steppingstone.” In between she threw in a reading of the theme song from “The Fresh Prince of Bel-Air” which went over many heads. Amoung others in their 40 minute set were “Blank Maps,” “Winter Solstice,” and “Elephant Head” from their debut “I Predict a Graceful Expulsion.”

Jim James setlist:

·         State of The Art (AEIOU)

·         Know Til Now

·         Dear One

·         A New Life

·         Exploding

·         Of The Mother Again

·         Actress

·         All Is Forgiven

·         God’s Love To Deliver

·         Encore

·         Bermuda Highway (solo acoustic)

·         Wonderful (The Way I Feel) (solo acoustic)

·         Dear God (MMJ)

·         His Master’s Voice (MOF)

·         The Right Place (MOF)

·         Losin Yo Head (MOF)

Changing World (New Multitudes)

 

 

 

 

#593 – The Cure – Seventeen Seconds

What does The Cure have in common with Jimi Hendrix, Frank Sinatra, The Beastie Boys, and The Beach Boys? Nothing really but according to the editors of the book they all have 3 albums You Must Hear Before You Die. This is the final album by The Cure I needed to hear although it’d been so long since I listened to  "Disintegration" I forgot that I heard it (despite it being the one I enjoyed the most). I did remember listening to "Pornography" and I realized a couple of things in going back through those reviews. The first was that I reviewed them in reverse chronological order. The second was that this is the first time I’ve reviewed one of their albums from the comfort of my own home. I don’t know what it is about house-sitting that made me listen to The Cure but it happened. Next the last two were deluxe editions and I found this one at FYE downtown, but unlike “Pornography” this one was in much better shape, in fact it looked like it may never have been listened to. The linear notes were clean and had no fingerprints on them, which is a shame because the previous owner missed out on some primo shots of Robert Smith minus make-up. I paid $7.99 for this one which is a good deal for the two disc set. The second disc includes rare cuts, b-sides and some live tracks. The book calls this “bleak, minimalist sound…subtly suggestive…” Robert Smith says in the liner notes: “I was listening to Bowie’s “Low,” Nick Drake’s “Five Leaves Left,” Hendrix’ “Live Isle of Wright,” Van Morrison’s “Astral Weeks,” and Khachaturian’s “Gayaneh Ballet Suite.” I wanted…to create a weird kind of hybrid music to somehow connect these five” (3 of those 5 are also on the book’s list). I found it a bit too quiet and with such little variance between songs that if I hadn’t been paying attention I wouldn’t have noticed when one song ended and the next began. It makes sense since the liners relate Smith recording the demos by himself with his guitar and his parents’ Hammond organ saying: “with its bass pedals, built-in drum machine and cassette recorder, it was all I needed. At this time I always wanted every song to work with as little instrumentation as possible.”     

#594 - Buzzcocks - Another Music In A Different Kitchen

In 2003 I saw a reunion line-up of the Buzzcocks open for Pearl Jam several times. After watching a band 4 or 5 nights in a row you’re going to wonder why you haven’t paid more attention to them or you’re going to start skipping the openers. I chose the former and enjoyed their sets which were only enhanced when Eddie Vedder joined them on stage. He also covered “Why Can’t I Touch It?” later in their set (July 6, 2003 in case you were wondering). I then went out and bought the compilation “Singles Going Steady” and since it had all the songs I knew I never investigated their catalog any further. Henry Rollins has always praised the band and named his radio show after later Buzzcocks’ single “Harmony In My Head.” I also was quickly introduced once to former member Steve Garvey who was attending a show at the Mann Music Center that I happened to be working. He was briefly hassled by security until a local DJ intervened. I, sadly, didn’t recognize him either but apparently he lives in my area so maybe I’ll know him if our paths ever cross again. Chances are it’ll be at a record shop.  

So when I saw “Another Music In A Different Kitchen” was included I was happy to expand my Buzzcocks’ collection. I came across the deluxe version, released in 2010, to celebrate the band’s 30th anniversary. They also reissued two other albums as deluxe sets and I found this copy for $9.99 at Princeton Record Exchange. The songs I knew were all released as singles before this album was recorded so none of them are on the album proper. However they are all included under the cleverly titled “Associated Singles” (Orgasm Addict, Whatever Happened To…?”, What Do I Get?, and Oh Shit). The first disc also includes a 3 song set from a John Peel broadcast in ’77. I’m sure some of the earlier recordings include Howard Devoto who left the band to form Magazine (who’s “Real Life” is also on the list). However despite expanded packaging and liner notes no actual line-up info is provided for the individual songs. I’m sure it’s mentioned in the booklet but I’m not going to read it all again. As for the music, anyone who lumped this into “typical punk” is sadly mistaken and in for a pleasant surprise. Check out the crisp “What Do I Get?” or the jam on the almost 7 minute “Moving Away From The Pulsebeat.” The second disc includes album demos and a blistering live set as well. Except for the notes it’s a pretty complete package of an underrated band

Thought for the day...

I'd just finished listening to The Sex Pistols for this week's reviews and was getting ready to post when I came across this interview with former Metallica bassist Jason Newsted, I thought this was a great quote:

"Keep yourself a clear head. Take on as many influences as you possibly can. Don’t be tunnel-visioned about the music. You can definitely have your favorite. There were times of course where it was the metal only sound in my life and it’s important you feel part of something when you’re that age and dress your music. Don’t ever lose that. You can grow up and mature but you don’t ever have to stop being passionate about your music. You can still be a metal dude and take on John Coltrane and Ice Cube. That’s what I say– keep your listening practices diverse."

So yeah, I just need to remind myself of that sometimes...have a great day and go buy an album you normally wouldn't.

Oh and here's his new band:

#595 – Robert Wyatt – Shleep

shleep, on your soft pillow

After spending the other day with Wyatt’s “Rock Bottom” today I popped in “Shleep.” It may set a record for years between releases by the same artist listed in the book (23 years). This one features a few more guests including Brian Eno, Paul Weller, and Phil Manzanera.  On opener “Heaps of Sheeps”  Eno’s vocals give a respite from Wyatt’s unique singing voice. I think it has softened somewhat over the years or at least I found it less grating this time around. The soprano sax, played by Evan Parker, makes some odd contributions to “The Duchess.” The two tracks that follow those, “Maryan” and “Was A Friend” are more avant garde jazz along the lines of some of the offerings on “Rock Bottom.” Paul Weller sits in on “Free Will and Testament” and then it’s back into the jazz styling of “September the Ninth.” “Alien” features a majestic tone aided by Manzanera’s guitar and the djembe playing of Gary Azukx. Wyatt even does a homage to Bob Dylan on “Blues In Bob Minor” albeit with jazz as opposed to folk accents. The book describes this album as: “…classic Wyatt: adorable tunes, singing that is both cozily familiar and somehow slightly alienating…”. I searched for this one for quite a while, finally coming across it at aka music for $7.99. It had previously resided at a different music shop as it has another price tag on it, albeit for the same price. Despite all that praise I’m the third owner of this copy of the CD. If I had waited a few weeks I saw it again at Princeton Record Exchange for $3.99. The book waited 23 years to put another Wyatt release in, I guess I could’ve waited a few months before buying another one. Then again you never know when/if you’ll come across a title again.