When all that Beatles stuff came out a coupla weeks ago, mountains of hyperbole, most of it warranted, were tossed around. For example, many people remarked that the band’s creative evolution was the broadest in all of rock. From their conventional beginnings, through their psychedelic studio alchemy to the majesty of Abbey Road’s side 2 suite, it’s hard to dispute that The Beatles covered more ground in their seven or so years then any had before them or has since.
On the other hand, maybe that’s something of a rigged accolade. There was a lot of room for rock n’ roll to open up in the early sixties. Throughout the decade, many artists pushed boundaries and pioneered innovations. The Beatles, with their vast financial resources and army of “best-in-the-biz” studio mechanics, could easily streamline cutting edge-trends into their sound.
The Beatles were a great band, and if anyone deserves the “best-of-all-time” title, it’s those lads, but isn’t their embodiment of the 60′s sound more a result of their ability to follow trends than build them?
Consider a band like Big Star. In three short years, Big Star went from upbeat power-pop to music that was despaired, esoteric and nigh unclassifiable. This did not go-with-the-proverbial flow of their contemporaries. Big Star cultivated their own sound and subsequently evolved via their own aspirations and frustrations. Sure, they proudly wore their influences on their sleeve (Velvet Underground, The Kinks and yes, The Beatles.) What separates their evolution from a band like The Beatles is that Big Star didn’t streamline. In fact, they seemed incapable of making their music palpable for mass audiences. Their third (and dare I say best) album didn’t see release for a half a decade after its creation because labels deemed it “un-listenable”.
So, speaking of Big Star, Rhino’s Keep An Eye on the Sky release of just about everything you could ever want or need by the band is an absolute must-own. I didn’t realize how in-need of a clean-up job their material was before listening to the glorious job the ever-reliable Rhino has done with Big Star’s material. You know how a sip of water can make you realize how thirsty you’ve been? That’s the sort of sensation one has listening to this set for the first time.
In honor of this fantastic release, we’ve compiled a list of what we consider to be highlights from the set.
1. “Oh My Soul” – The opening track of Radio City, Big Star’s second album, is one of their finest. Lively and jaunting, it features some of Alex Chilton’s most creative songwriting and guitar work. The remastered version’s added fidelity highlights the nuance of the song’s arrangement.
2. “Downs (demo)” - In it’s official incarnation on Third/Sisters Lovers, “Downs” is a particularly eccentric piece. It sounds both over and under-produced. The demo version, a simple and straight-forward solo-acoustic rendition, reveals a tight structure and fantastic melody. Both are on the box set. Compare and contrast!
3. “Hot Burrito #2 (live)” & “Slut (live)” – Big Star weren’t shy about covering their favorite songs. On these versions of songs by The Flying Burrito Brothers and Todd Rundgren respectively, Big Star meet the originals halfway by not corrupting their essences while making them their own.
4. “I Got Kinda Lost (demo)” – Contrary to the stripped-down “Downs” demo mentioned earlier, this version of “I Got Kinda Lost” features the whole band performing the song together. The raw and immaculate performance is invigorating, leading up to a highlight of the entire box-set. “How was that?” asks a member of the band at the song’s conclusion.
“It’ll do” replies what I can only assume is an engineer or producer, making the understatement of the 70′s.
5. “For You” - I hate to use the word sublime, but it really describes this song. Composed and sung by drummer Jody Stephens, it’s a simple tribute to the object of Stephens’ affection. “For You” features a haunting string arrangement that benefits greatly from Keep an Eye on the Sky’s remastering job. This track is reason enough alone to buy the set.
A band like Yo La Tengo really illustrates how unreliable one’s concept of time can be. My brain can’t grasp the fact that they formed the same year as Frankie Goes to Hollywood’s first album came out. Ladies and gentlemen, we’re talking 1984. Ronald Regan won his second election by carrying 49 states, Ghostbusters was second-highest grossing film of the year and Jaroslav Seifert won the Nobel Prize for literature. That’s twenty-two years before the Arctic Monkey’s debut album came out. (Who’s feeling old?) I’m only beating this dead horse because I’m fascinated.
Yo La Tengo’s age is striking because none of their stuff sounds dated and they seem to always release albums that are very, very good. They’re like an indie rock Dorian Gray, except that instead of an ever-more grotesque portrait in an attic they have an ever-more robust back catalog. Even lesser titles like Summer Sun are fine albums. Popular Songs, their latest, while falling short of the magnificence of I Can Hear Beating As One or And Then Nothing Turned Itself Inside-Out, is one of their better albums. Not bad for a trio of old fogies.
Reinvigorated by the wonderful Condo Fucks project earlier this year, Popular Songs is an album sprawling in length and scope. At over seventy-minutes, the band showcases all their strengths, alternating between fuzzy jams, low-fi grooves, upbeat rockers and sparse, atmospheric numbers, all with the seamless cohesion we’ve some to expect from these Hobokens. If there’s any criticism to be made, it’s that occasional moments on the album are perhaps a bit too reminiscent of older songs, but not nearly to the extent of the aforementioned near-misstep Summer Sun. There are plenty of fresh moments here and Yo La Tengo fans should be nothing short of elated with the latest offering from this enduring and endearing trio.
Recently I revisited the last two albums by a little known band from Boston called Drexel who disbanded in autumn of 2003. Drexel had become a seminal group to myself and my peers. Originally a punk/ska outfit with hardcore influences. It wasn’t until their last two albums in which the group broke from the confines of the genre and created an onslaught of fast paced “panic” rock’n'roll. It was complex yet simple. Scattered with random time changes, inventive drum pattens, layered guitars and intense vocal’s that accompany the angular yet poppy style. Drexel had become an entirely new band altogether, who drew influences from?
I’m really not sure. Their style and unconventional song strucure was original taking the listener on a roller coaster ride which lyrically seems to express the side effects of living unorganized lives. The two albums were titled “The Inevitable is Available” and “What Went Wrong”. Both album covers and graphics are identical except for the color. One red and the other blue and all tracks are nameless. The music on the albums sounds like little compartmentalized riffs and melodies that have been enlarged and repeated in a sequence until one component changes yet remains in harmony. Giving the listener a sense of urgency. The songs themselves frequently progress within each other as if mutating or growing. Beginnings and ends don’t match and the relationship between the guitars and drums is unique. Each instrument plays at different a tempo yet find a way to relate. This is a staple of the sound Drexel had created. Unfortunately Drexel decided to break up shortly after they released their last album. Released in limited quantity on a small indie label in Boston the albums have all but disappeared. Making it difficult for their music to reach anyone other than word of mouth. Perhaps it’s what the members wanted? To bow out nobbly rather than fade away.
We of the up and coming independent music download site ThinkIndie.com, (online arm of the burgeoning ThinkIndieCollective Empire), would like to take this opportunity to formally challenge iTunes, (online arm of the already humongous Apple Empire), to a debate over the future of indie music online.
The proposed “War of the Words” will be between the Head of ThinkIndie and the Head of iTunes, Steve Jobs. If Mr. Jobs is unable to represent due to personal reasons, we will fully understand. (We are BlackSheep, but we’re not BlackHearted.) And be willing to accept someone else of a suitable (C-Level) stature in his stead.
In the interests of détente cordial, this live debate will take place at a time, date and location of iTunes choosing. The exact format and terms of the debate, along with a mutually acceptable moderator to preside over the matchup, will be decided by the two combatants in question prior the the main event.
The event will be videotaped live and then broadcast later via the usual social networks for the infotainment of indie music lovers around the world, who can then decide for themselves who won the debate.
We have chosen to announce this challenge via public channels as – so far at least – iTunes has not returned our calls. Our hope is that a little friendly outside encouragement will change their minds. Or perhaps, someone who reads this will share it with someone, who knows someone, who knows someone else…and on down the line…until the invitation eventually wends it’s merry way to Mr. Jobs himself…
In the interests of promoting peace, prosperity and the continued availability of a choice of outlets offering indie music online, we of the ThinkIndieCollective Empire feel that this debate would be – the obvious allure of it’s David and Goliath nature aside – a worthy undertaking for all involved: ThinkIndie, iTunes, the indie music industry and the indie music buying public.
The gauntlet has been officially thrown. Steve Jobs, are you up to the challenge? Contact Thinkindie.com
Sunday nights don’t usually hold much magic in Burlington. On Sunday nights, I can usually be found throwing in a load of laundry and watching animal videos on YouTube with my cat. In fact, by the time last Sunday rolled around, the magnitude of what these Wu-Tang allstars had in store for me caught me quite off guard. In my Sunday laziness, I neglected to shower for the occasion, and strode up to the throng of fans still filtering through the doors feeling grimy compared to fresh and Listerine clean kids in crisp jeans and tight dresses. While waiting my turn to be shuffled through the tight security, I reminded myself that Mef and Red respect every lady as Miss International, and I entered the ballroom with a little more swagger in my step.
I arrived at the end of Duo Live’s opening set. There was already a crowd of every variety of hip hop fan New England has to offer packed against the stage. I sneaked my way around three massive dudes standing stoically in front of me to get a better view of what every one was making a ruckus over. There was an uncommonly cute lady of diminutive stature working the stage with The Duo’s Mcs, asking the audience if they thought she looked like she could pound a 40 oz. As the crowd egged her on, she busted out a 40 of Old English and chugged it. I joined the chorus of “HELL YEAH” and couldn’t help but grin from ear to ear and shake what my momma gave me as the DJ laid one down.
Ghostface was up next, with intent to satisfy our appetites for some Wu Tang favorites. I’ve got to admit I was a little star struck, hell, I could tell that at least half the crowd was right there with me. During the break, I heard a few dudes in front of my talking about how far they had driven to be there. Mass, Maine, Upstate New York, and New Hampshire, and all of them were working the next morning. The fact is, Burlington is one of the only places where it’s even possible to see a line-up like this in a venue as intimate as Higher Ground with out needing some sort of V.I.P. staus. If that weren’t enough to ensure a dedicated turn-out, they made it all ages. You can say what you want about the younger generation, but after you’ve begged your mom everyday to let you go to a rap show with your best buds and she finally gives in because it’s summer vacation, you’re going to party like it’s 1994. Ghost worked this rag-tag bunch like the champ he is, calling out the true hip hop fans from the crowd, daring Burlington to prove itself worthy. After a somewhat impressive sing along of “Wu-Tang Clan ain’t nothin’ to f*** with,” Ghost capped it off with a tribute to Ol’ Dirty Bastard and was outta there.
I only had time to gulp a glass of water and high five a former schoolmate I bumped into before Mef and Red burst onto the stage. I’ve got to admit that I’ve had a huge crush on Method Man ever since I watched the music video for “What’s Happenin’ ” where he wrestles with a bunch of honies on a bed. So when he came out rapping in a pair of nerd glasses held together with tape and a tshirt bearing his own name, I felt my body do a little more than blush.
The charisma of the pair was infectious. I didn’t see a stationary body in the place, save maybe the suspected plain clothes cops in the back. They blasted through a practically perfect set of choice track from their latest disc “Blackout! 2″ and every classic that we could have hoped for with ease. And rightly so, as they’ve been two of the most successful masters of the genre since the early ninties. They also spared no chance to remind us that they chose to come here because they know that Burlington can get down, and that they wouldn’t be back soon, so we had better act accordingly. After song after song of non-stop head bobbing, bumping and grinding, hands in the air, and enthusiam over the pending release of How High 2, Mef and Red finaled with another tribute to fallen members of the hip hop elite and called it a night.
To cap off the intimacy of the whole event, my sister was asked to pose with Ghostface for a photo while holding his new single at the merch table. And as a small town kid, I’m not ashamed to say I had a fit of school girl giggles over the matter.
Patrick Wolf – The Bachelor
The Bachelor was originally supposed to be a double album but Wolf decided to release it in two volumes, with the follow-up due next year. As interesting as two volumes of Wolf could be, I tend to think he made the right decision. The only times he falters is when he tries too hard. Don’t get me wrong: Wolf loves to produce tracks within a beat of their life. Strings, electric beeps, children’s chants, hand claps, and distorted vocals have appeared on his albums, which is only remarkable when you consider he writes mostly accessible pop tunes. Normally he can push a song to its limit without becoming self indulgent. On occasion he goes too far, and the best example on The Bachelor is “Battle”. Alec Empire, notable for his involvement in Atari Teenage Riot, supplies the beats. Although the tune won’t bust your eardrums like ATR’s tracks could, its frantic pace feels overwrought when coupled with Wolf’s cheerleading. He screams for you to battle homophobes and conservatives and rise up for your rights. A worthy cause, but from the title to the delivery, it’s too done. Think Björk ‘s “Declare Independence” without her tasty Icelandic delivery. (Read Full Review)
Yim Yames – Tribute to
Although James recorded these tunes shortly after Harrison’s passing in 2001, it is only being released now. It’s a spare, simple affair that serves as a loving tribute to Harrison. Somber without being funereal. Typically on these songs, it’s just James and his guitar, with the sound is more aligned to the earlier Neil Young-ish My Morning Jacket than the more recent MMJ style. The arrangements aren’t embellished performances much, but James does add, for instance, a nice touch of banjo to “Love You To.”
But the disc’s gauzy sound well suits the material, as it feels like a stripped down version of Phil Spector’s denser work on the original. You can hear a fan working through his sorrow on the moving renditions of “My Sweet Lord” and the title track, with the inclusion of “Ballad of Sir Frankie Crisp,” a very personal song of Harrison’s, is an inspired choice.
The six songs create an emotional mood of reflection and remembrance – from recalling George Harrison and the Beatles on one hand to the reflecting sheer emotional power of music on another. It achieves the nice trick of making you want to go back to hear the original while also appreciating the new renditions. (Read the Full Review)
Modest Mouse -No One’s First and You’re Next
No One’s First and You’re Next is not a real follow-up to We Were Dead. It collects eight songs dating as far back as 2005′s Good News for People Who Love Bad News, all of which have been previously released in one form or another: some A- and B-sides from earlier this year, along with album outtakes like “King Rat”, which is famous for having a video directed by Heath Ledger. A remora to the previous album’s shark, No One’s First recalls 1999′s Building Nothing Out of Something and 2001′s Everywhere and His Nasty Parlour Tricks, both of which assembled leftovers into stand-alone statements that sound as cohesive as the material that fed them. Building in particular stands as one of the band’s best releases of any length. (Read the Full Review)
Julian Plenti – … is Skyscraper
Not long ago, indie rockers seemed more intent on redrawing the dark shadows of Mancunian post-punk than seeking Vitamin D highs from African music, but things move fast in the ’00s. Julian Plenti is Interpol singer-guitarist Paul Banks, a well-dressed dude who spearheaded an armada of other well-dressed dudes with Ian Curtis’ ghost on the brain. Interpol did it best up to a point, and Banks’ first full-length as Plenti—a pseudonym he put aside as Interpol began to make moves in 2001—is a collection of songs that might’ve been born in his main band’s margins. It’s a frustrating outing that wavers quietly between uninspired and surprisingly vibrant, middling and fantastic. (Read the Full Review)
Alright, legion of Spoon fans – here you go, another tasty treat from one of indie-rocks most beloved. You can pick it up instore, or for instant gratification, snag the digital download here!
My name’s Marcia and I’m the new full-time employee here at Pure Pop. I’ve only been here for three days and already I think this is the coolest job I’ve ever had. Can’t believe my luck! I love music and I’m looking forward to learning a lot and expanding my interests. My favorite album will probably always be Neutral Milk Hotel’s “In The Aeroplane Over The Sea.” I love everything from the E6 Collective intensely, especially Music Tapes, The Gerbils, and Nesey Gallons. I’m also a big fan of the Canadian band Rock Plaza Central and their album titled “Are We Not Horses.” Come say hi to me if you see me in the store. I’m a nice person.
Dave Matthews Band – Big Whiskey and the Groogrux King
For all the immortality it imparts, rock & roll has a way of taking its practitioners before their time. Like the Who, Metallica, and many more before them, the Dave Matthews Band have faced the sudden loss of a founding member: Saxophonist LeRoi Moore died last August from injuries incurred in an ATV accident, midway through the recording of their latest album. His spirit — and his sound — looms large, however, on Big Whiskey. The GrooGrux King of the title references Moore, as does the figure at the center of Whiskey’s intricate cover art (drawn by Matthews himself); his sweet, solitary sax flourishes even bookend the album. Read The Full Review
Iggy Pop – Preliminaires
What do you get if you cross the godfather of punk with nihilistic enfant terrible of French literature, Michel Houellebecq? No, the answer is not comprehensive cover if you drive over a cliff in a fit of weltschmerz, but Preliminaires, a curious, often haunting little Anglo-French album with strands of jazz, blues, country and electro-pop that contemplates the futility of human existence through songs with titles such as Nice to Be Dead. Read the Full Review
Rancid – Let the Dominoes Fall
Though they may look a little goofy still rocking spiked Mohawks and tattered attire as men in their early-to-mid-40s (save for new drummer, 31-year-old Branden Steineckert, formerly of the Used), Bay Area stalwarts Rancid display a sense of true musical growth on their long-awaited seventh full-length, Let the Dominoes Fall. The album marks their first work together as a band since 2003’s Indestructible—released on Hellcat in conjunction with Warner Bros.—and is a most welcome return to their roots on the Epitaph label, where they initially rose to fame through such seminal new school punk favorites as 1994’s Let’s Go and 1995’s …And Out Come the Wolves. Read the Full Review
Paolo Nutini – Sunny Side Up
Sunny Side Up is a considerably less well-groomed affair than Nutini’s massively successful debut These Streets . There’s no polish or politesse here. Instead, Nutini plays the raggedly soulful Paisley boy on his homecoming, dispensing warm words of wisdom and heartfelt hippie sentiment to his nearest and dearest. Simple Things rides a chick-a-boom rhythm while doling out homely hokum about “going round my Mum’s house for my tea”, while you could imagine Harry Belafonte crooning High Hopes.
http://www.guardian.co.uk/music/2009/may/17/paolo-nuttini-sunny-side-up
Lindstrøm & Prins Thomas – II
Fortunately, II isn’t a letdown– assuming you don’t count its lack of immediacy as a disappointment. On the first Lindstrøm & Prins Thomas album, eight out of 13 tracks ran less than six minutes, and most of them gave you a pretty good idea of where they were going right away. Here, only one of the eight songs clocks in under seven-and-a-half, and the standard structure relies on slow-build compositions that stretch out, decompress, and mutate; they don’t so much segue from track to track as they melt into each other. And while it might feel a little like a marathon anywhere other than the dancefloor, there’s more than enough going on over the course of a track– instruments warping themselves into new beats, new riffs, and new melodies– to give it a certain dynamism. Read the Full Review
