Ashley O - On A Roll

Danette and I are late in watching Black Mirror, and we just recently watched the 2019 episode "Rachel, Jack and Ashley Too", which featured Miley Cyrus playing a fictional version of herself (in a dystopian, sci-fi Black Mirror idiom, of course).  In the course of the episode, the "Ashley O" character performed a cleverly rewritten, up-beat synth pop version of Nine Inch Nail's "Head Like A Hole", retitled "On A Roll".  At the end of the episode, once her character has been freed and rebranded as "Ashley Fuckin O", she performs an actual cover of "Head Like a Hole".  

The full story of how this song and episode came to be, as well as Trent Reznor's reaction. are detailed in a 2019 GQ article.  I particularly enjoyed this episode because I remember when "Pretty Hate Machine" came out in 1990 and the impact it had on popular music. Sure, there had been bands like Ministry, Skinny Puppy, Godflesh, etc., but NiN was the first to have genuinely catchy songs and find a cross-over audience.  They had popular impact, and when they were played on the radio/MTV, they sounded nothing like anyone that had been played before. Listening to "Pretty Hate Machine" now, it sounds relatively tame -- but that's not a not a knock against NiN, but rather a testament to Reznor's impact: the reason why "Pretty Hate Machine" sounds conventional now is because for the last 23 years, artists have strived to replicate, incorporate, and in some cases just straight rip-off their sound.  That's real impact.  That fact that "Head Like A Hole" was 1) chosen and 2) works so well for this "Hannah Montana-in-an-alternate-universe" episode is just further illustrates this point.  Also, the song just simply rawks.

Ashley O - "On A Roll"

Ashley Fuckin O - "Head Like A Hole"

Nine Inch Nails - "Head Like A Hole" (studio, live 2013)

Soundtrack from Twin Peaks (LP Review)

 

Angelo Badalmenti, soundtrack composer extraordinaire, died last month.  You've probably never heard of him, but you probably have heard his music: in addition to doing nearly all of David Lynch's films, as well as other art films (e.g., The City of Lost Children), he also did some mainstream films, like National Lampoon's Christmas Vacation.  He also composed the opening theme of the 1992 Summer Olympics in Barcelona. Despite these and his many other accomplishments, he would be a favorite of mine if all he had ever done was collaborate with Julee Cruise and David Lynch in the Twin Peaks milieu. 

I've long ago reviewed Julee Cruise's "Floating into the Night" LP; it is impossible for me to overstate how important that LP is for me.  Not because of Twin Peaks -- I've never seen the TV series -- but because of the otherworldly soundscapes the three of them conjure, and the time and place where I first heard them.  

To mark Badalamenti's passing, I thought about reviewing Cruise's 1993 LP "The Voice of Love", but then it occurred to me that I should showcase where their oeuvre gained significant public attention: the Twin Peaks soundtrack, released in 1990.  Since eight of the 11 songs are instrumentals (the other three feature Julee Cruise), it seems more fitting to commemorate Badalamenti with a mostly instrumental soundtrack.  And to be fair: if this was the only LP that Badalamenti/Cruise/Lynch had created, it would be a standout.  But as much as I like it, this LP is forever in the shadow of Julee Cruise's "Floating into the Night", released in 1989.  They share a lot of material, both directly and derivatively (for example, "Twin Peaks Theme" is just an instrumental version of "Falling") and perhaps it's not fair to compare a proper LP to a soundtrack, but once you've heard "Floating into the Night" start to finish, you can't really go back.  The feel is slightly different, with the soundtrack focusing slightly more on a cool jazz feel than "Floating into the Night", but the distinction is slight.  

I think the Badalamenti/Cruise/Lynch collaboration came to an end in 1993, with pairs of them working together after that, but never the three of them again.  And while it tempting to be greedy and wish they had done more together, we should celebrate what they did accomplish. 

Standout songs: the ones with Julee Cruise, obviously: "Falling", "Into the Night", "The Nightingale"; (Full LP)

Skip 'em songs: none

Final Score: 9/10

(And yes, somehow I've failed to mark Julee Cruise's passing in June, 2022.  I'll rectify that soon).

Cocteau Twins - "Cherry-Coloured Funk"

 

Super Bowl LVI begins in a few hours and I still haven't posted about the halftime show for Super Bowl LV.  Life has kept me pretty busy and I've been way behind in my blogging, but now is a good a time as any to catch up.  

Last year's halftime show was a bit unusual -- only one artist, no fans, no special guests, all due to Covid-19.  The artist was The Weeknd, and the show was mostly well-received (e.g., these reviews in Vox and The Guardian).  Unfortunately, I'm mostly unfamiliar with his canon and with no guests or cover songs,  for a long time I wasn't sure what my take would be on the show.  Then later I found out he's a big fan of The Cocteau Twins*, going so far to name one his songs "Heaven or Las Vegas" (after The Cocteau Twin's 1990 LP) and to sample that LP's opening track, "Cherry-Coloured Funk", on his 2011 song "The Knowing".  "The Knowing" wasn't on the setlist of the halftime show, but the 14 minute format limits how much artists can cover.  

"Heaven or Las Vegas" is probably my favorite LP by the Cocteau Twins, and having been in recent heavy rotation as dinner music at the house, I need to properly review it sometime soon.  The LP features three extraordinary songs, and "Cherry-Coloured Funk" is one of them.  

I'll have a lot more to say about tonight's halftime show, but until then enjoy the Cocteau Twin's "Cherry-Coloured Funk" and last year's show.

Links: Super Bowl LV Halftime Show

Cocteau Twins: "Cherry-Coloured Funk"

The Weeknd: "The Knowing"

* "I've always had an admiration for the era before I was born. You can hear it as far back as my first mixtape that the '80s – Siouxsie and the Banshees, Cocteau Twins – play such a huge role in my sound." -- Billboard.  

Mazzy Star - "She Hangs Brightly" (LP review)

David Roback died just over three months ago.  Roback was a central figure in the Paisley Underground scene of the 80s,  but is best known for being the guitarist and founding member of Opal and then Mazzy Star.  Over 30 years, Mazzy Star built a limited but rich discography: four studio LPs and a handful of singles & EPs.  Of those, their first LP, 1990's "She Hangs Brightly", is probably still my favorite.  Even including LPs from his other bands, like "Emergency Third Rail Power Trip" and "Happy Nightmare Baby", "She Hangs Brightly" is probably the best of David Roback's canon.

David Roback was a private man, and I don't know much about him outside of his music.  But he managed to conjure a unique sound that combined some of the best elements of blues, The Doors, The Velvet Underground, and even occasionally Black Sabbath.

The first song, "Halah", is transcendental and in my opinion is even better than "Fade Into You", their most popular song.  "Blue Flower", although a cover, is an amazing song which they make their own (and was the song Danette and I chose for our wedding).  The Doors influence is especially noticeable on songs like "She Hangs Brightly" and "Free", "I'm Sailin" reminds of Pink Floyd's "Mademoiselle Nobs" from "Live at Pompeii", and "Ghost Highway" sounds most like "Opal" (channeling Black Sabbath), Roback's prior band (of note, this is the only song on this LP Roback wrote without Hope Sandoval).

During the intermission between Mazzy Star LPs, Hope Sandoval formed her own band, Hope Sandoval and the Warm Inventions, and while it lacked Roback's signature guitar sounds, it mined a lot of the same territory that Mazzy Star did.  Indeed, over time the membership of the bands converged, with Suki Ewers and Colm Ó Cíosóig sharing membership in both bands.  David Roback will be missed, but hopefully Hope Sandoval and friends will carry on.


Standout songs: "Halah", "Blue Flower", "She Hangs Brightly", "Give You My Lovin", "Be My Angel", "Ghost Highway", (see also: Playlist for the full LP)

Skip 'em songs: none.

Final score: 10/10. Your collection needs this LP.

Yoko Ono - "Listen the Snow is Falling" (the song remains the same)

In my final installment for Women's History Month 2020*, I'll conclude with Yoko Ono's "Listen the Snow is Falling".  I have limited knowledge of Ono's discography, as well as Lennon's non-Beatles discography, and how they intersect and overlap, but it appears that "Listen the Snow is Falling" was first released as a B-side to the Plastic Ono Band's 1971 single "Happy Xmas (War Is Over)", and then later as bonus tracks on re-releases of 1969's "Wedding Album".

My introduction to this song is from Galaxie 500's 1990 final studio LP "This Is Our Music", and bassist and occasional lead vocalist Naomi Yang turns in an understated but powerful cover; one of the LP's highlights to be honest.  Galaxie 500 made incredible, genre-defining music but part of their appeal to me was their impeccable taste in choosing cover songs (see also: the posthumously released "Peel Sessions" LP).  Thanks to Galaxie 500 for choosing this obscure but delightful B-side, almost 20 years after its release, and thereby furthering my education.

Yoko Ono - "Listen the Snow is Falling"
Galaxie 500 - "Listen the Snow is Falling"

* This post was begun in March, but events delayed it until April.  

Yo La Tengo - Yellow Sarong (the song remains the same)

photo credit

Continuing with the previous theme of Yo La Tengo and Women's History Month, today I'll focus on one Yo La Tengo's great cover songs: "Yellow Sarong", originally by The Scene Is Now.  My first experience with the song was Yo La Tengo's 1990 LP of covers, "Facebook".  The original version was from The Scene Is Now's 1985 LP "Burn All Your Records".  I prefer the YLT version over TSIN version: that could be because I heard YLT's first, but I also just love YLT and how they remake all the covers in their own idiom.

When Johan and I were practicing for our DJ premiere (ca. 2003), I always tried to find a way to work this song into the set list.  It never worked with what we were shooting for (Thievery Corporation-style, downtempo, coffeehouse jazz), but I kept trying because the song is that much fun.

The live 2015 version on soundcloud (from acidjacknyc) features a good shot of Georgia Hubley, so I chose that as the main image for this post.  I don't know that much about The Scene Is Now, but they do have a female member as well (Sue Garner), so much like my work with Johan, I'm going to shoehorn "Yellow Sarong" into Women's History Month, whether it fits or not, because the song is that much fun...

The Scene Is Now - "Yellow Sarong"
Yo La Tengo - "Yellow Sarong" (studio version), live 2015-10-10, live 2016-09-09

Daniel Johnston - "Speeding Motorcyle" (forgotten song)

Daniel Johnston died this week, and although his passing was marked by many major outlets (for example, NPR and Pitchfork), most people won't recognize his name.  I know him because Yo La Tengo covered "Speeding Motorcycle" on their 1990 "Fakebook" LP, but other people might know him from Kurt Cobain wearing a "Hi, How Are You" t-shirt, or Pearl Jam covering "Walking the Cow".  Combine that with the list of artists who contributed to his 2004 tribute LP "The Late Great Daniel Johnston: Discovered Covered" and you'll get an idea of how he was a songwriter's songwriter. 

Although for a while he had a deal with a major label, most of his early discography were home recorded tapes that he distributed in Austin and other places.  "Speeding Motorcycle" came from his 1983 LP "Yip/Jump Music", his fifth self-released LP and is one of his more "popular" songs due to Yo La Tengo's cover.

His child-like wonderment made him an icon in the lo-fi, DIY scene, similar to another Kurt Cobain favorite, Calvin Johnson/Beat Happening/K Records.  Although they don't explicitly claim an influence, the appeal of Johnston comes from the same lo-fi / garage source that makes "American Weekend" and "Dancer Equired!" mesmerizing to me.

Daniel Johnston - "Speeding Motorcycle"
Yo La Tengo - "Speeding Motorcycle"
Daniel Johnston & Yo La Tengo - "Speeding Motorcycle", 1990*


* Johnston sings over the phone from a mental institution in West Virginia while accompanied by YLT in a radio studio; from Jay Lustig: "Yo La Tengo had just recorded its own version of “Speeding Motorcycle” for its Fakebook album, and WFMU DJ Nick Hill arranged for the collaboration. So Johnston sang over the phone, Yo La Tengo played in the studio, and the results were pretty magical."  Johnston drew the cover art for the resulting single.

Julee Cruise - "Industrial Symphony No. 1" (concert)

Continuing for Women's History Month, we return to Julee Cruise, one of my college-era favorites.  I already reviewed "Floating Into the Night" many years ago and while I should eventually cover her other LPs, I wanted to revisit her first LP by highlighting an even rarer entry in her catalog.  "Industrial Symphony No. 1" is concert/play and a continuation of David Lynch's work with Angelo Badalamenti and Julee Cruise.  It begins with Nicolas Cage and Laura Dern effectively reprising their roles from Wild at Heart, and then enters a dream sequence featuring songs and characters from Twin Peaks where Cruise lip syncs to studio versions of her songs.  The opening song, "Up in Flames", would be released on her 1993 LP "The Voice of Love", but otherwise "I Float Alone", "Into the Night", "Rockin' Back Inside My Heart", and "The World Spins" all appear on her 1989 debut "Floating Into the Night".  There are additional interstitial instrumental tracks that as far as I know only appear here.

I love Julee Cruise, and her work with Badalamenti and Lynch is amazing, but unfortunately their collective output is pretty limited.  So if you're a fan, you'll want to watch this video.  If you're not a fan, I'm not sure it will make you a fan.  For me, "Industrial Symphony No. 1" is simultaneously engaging and indistinguishable from a parody of an art film: smoke, strobe lights, a half-naked woman furtively scurrying about the stage, Cruise singing from the trunk of a car, Michael J. Anderson sawing on a log and then doing spoken word, a person on stilts, and for most of the time at least one cast member in the air.

I don't actually have a copy of "Industrial Symphony No. 1", but Terry had a VHS copy (2020-10-18 edit: turns out I have a copy).  Since I'm a completist I'll eventually get a copy and probably pay too much, but Julee Cruise is a treasure and we should celebrate her entire canon.

Queen - "Get Down, Make Love" (the song remains the same)

I'm still not the biggest Queen fan, yet I saw "Bohemian Rhapsody" again this weekend.  This time it was the "sing along" version at the Naro.  The previous time I took the opportunity to introduce you to Laibach, and this time I'll introduce the freaky side of Freddie Mercury that the movie hinted at but did not dwell on.

Everyone has heard of Nine Inch Nails (NiN) now, but when "Pretty Hate Machine" came out in 1990, it was revolutionary -- the first of industrial music that went mainstream and was accessible while still being menacing.  It sounds dated now, overtaken by the genre it helped create but in 1990 it was amazing.  Being a super collector, I got the "Sin" CD single  not long after the LP came out.  Aside from the three different version of "Sin" was the B-side of Queen's "Get Down, Make Love", from their 1977 LP "News of the World".  Not being a fan I never had this LP, and thus had never heard the song -- you certainly won't hear it on classic rock radio.

I was immediately struck by the NiN version and it was in high-rotation during many a 1990s party.  While it clearly sounded like NiN, it had an extra dimension that many of their songs did not.  Turns out, that's the Queen contribution (and Al Jourgensen/Ministry too!).

And as crazy, raw, dungeon-esque as the NiN version is... it's all there in the Queen version too, albeit with a sparser, non-synth instrumentation.  It's still pounding, steamy, and intimidating.  It's also the type of song that few performers could can pull off without sounding like a hollow parody of a rawk song.  Led Zeppelin (there are obvious similarities to "Whole Lotta Love"), Prince, maybe a few others... and Trent Reznor.

If you want to take a detour from the uplifting, Live Aid elements of the film and focus on BDSM elements they hinted at, then listen to both versions of "Get Down, Make Love". 

Queen - "Get Down, Make Love"
NiN - "Get Down, Make Love"


If we see the film again I'll have to blog about "Stone Cold Crazy", and although it's cool that Metallica covered it I'm sad to say I don't love it.  If we see it a fourth time, then I've got nothing.

Bonus link (just in case the BDSM link was not clear): 

NiN - "Sin"

(somehow this video snuck through the Youtube censors)

Boogie Down Productions - "Love's Gonna Get'cha (Material Love)" (forgotten song)

It's been a while since I've discussed BDP / KRS-One, and the 1990 single "Love's Gonna Get'cha (Material Love)", from their LP "Edutainment", is a good opportunity to pull together a variety of threads.

First, I like songs that tell a story, and KRS-One is an excellent storyteller.  In this song, KRS-One tells of a teenager's progression into criminality in order to provide for his family:

The very next day while I'm off to class
My moms goes to work cold busting her ass
My sister's cute but she got no gear
I got three pairs of pants and with my brother I share
See there in school see I'm made a fool
With one and a half pair of pants you ain't cool
But there's no dollars for nothing else
I got beans, rice, and bread on my shelf
...
So here comes Rob his gold is shimmery
He gives me two hundred for a quick delivery,
I do it once, I do it twice,
Now there's steak with the beans and rice,
My mother's nervous but she knows the deal,
My sister's gear now has sex appeal,
My brother's my partner and we're getting paper,
Three months later we run our own caper,
My family's happy everything is new,
Now tell me what the fuck am I supposed to do

Second, I recently finished Trevor Noah's "Born a Crime", part autobiography and part biography of Trevor's mother and growing up in South Africa with apartheid and subsequent poverty.  This passage (p. 209) about his post-high school hustling in Alex struck me as similar to the story that KRS-One tells:

One of the first things I learned in the hood is that there is a very fine line between civilian and criminal.  We like to believe we live in a world of good guys and bad guys, and in the suburbs it's easy to believe that, because getting to know a career criminal in the suburbs is a difficult thing.  But you go to the hood and you see there are so many shades in between.  ... In the hood, even if you're not a hardcore criminal, crime is in your life in some way or another.  There are degrees of it.  It's everyone from the mom buying some food that fell off the back of a truck to feed her family, all the way up to the gangs selling military-grade weapons and hardware. 

Third, for some reason the BDP Youtube Vevo channel seems to have removed the official video (4:52 radio edit); in fact all the bookmarked URLs come back with a copyright violation takedown notice (example 1, example 2).  But since this was a popular video, there are correctly archived versions in the Internet Archive.  For reasons I don't understand, the 6:39 LP version is still available on the official Youtube channel.

So there you go: a great storytelling song from some 27 years ago, with a connection to a book I recently finished, and I was able to use web archives to resurrect the original video (with its charming, community theater production feel).

Boogie Down Productions - "Love's Gonna Get'cha (Material Love)" official video / radio edit, LP version

2020-07-23 update: The archived version no longer works (!), but I found another version on the live web.  

Sonic Youth - "Kool Thing" (forgotten song)

I realized recently that so far my discussion of Kim Gordon and Sonic Youth here were mostly in the context of the Kim / Thurston split ("Diamond Sea", "Girl in a Band").  Women's History Month is a good excuse to fix that and to remind everyone why Kim is the Lemmy of alt/college rock.

I certainly knew about Sonic Youth prior to "Goo", their 1990 major label release, but just through coincidence of timing this was the first LP of theirs that I bought and really embraced.  "Kool Thing" was the first single off the LP and is certainly more accessible than their previous work.  At the time I enjoyed it as a great song, but it wasn't until much later that I learned the back story that it is about a 1989 article in Spin Magazine where Kim interviewed LL Cool J and the resulting cultural chasm between them, part of which is attributable to not finding space for feminism in the machismo of LL's style of hip-hop (e.g., "The guy has to have control over his woman").

Of course, the video and song are filled with many clever LL "Kool" J references (e.g., "walking like a panther", "I don't think so", "let me play with your radio"), and even briefly features Chuck D  (I always felt he was significantly underutilized in this song, but to be fair the story goes theirs was an unplanned, serendipitous collaboration resulting from Public Enemy being in a nearby studio).

Enough about the back story -- there's a good "official" video and many live versions available, but this 1993 live version is a good reminder of when and why Kim (and Thurston) were the queen (and king) of the scene...

"Fear of a female planet"
Sonic Youth - "Kool Thing": live 1993, official video

LL Cool J - "Going Back to Cali" (from which the official "Kool Thing" video borrows)

Galaxie 500 - "Rain" (the song remains the same)

The last release from Galaxie 500 before they broke up was the single "Rain",  recorded live in 1989 at NYC's iconic CBGB and then released in 1990.  Galaxie 500's choice of covers were always impeccable (see my review of their "Peel Sessions" LP), and their version of "Rain" is no different.  "Rain" is probably the most famous B-side (the A-side was "Paperback Writer") from The Beatles canon, and was recorded during the "Revolver" sessions (the non-LP single came out a few months before "Revolver" was released).  With backwards vocals at the end of the track, "Rain" nicely captures the band in transition from their earlier jangle pop to their later psychedelic sound.  They also recorded three different "promotional films" for this song (what we now call "music videos") -- quite an investment for a B-side. 

Galaxie 500 successfully captures the essence of the original, albeit with a heavier sound courtesy of the live recording.  Their original 7" single was limited to 500 copies and featured "Rain" as the A-side and the B-side featured a live version of "Don't Let Our Youth Go To Waste", the Jonathan Richmond/Modern Lovers cover from their first LP.  Given the rarity of this single, you're more likely to have heard the concatenated version from the posthumously released LP "Uncollected".  Unfortunately, I'm not aware of a studio recording of "Rain" by Galaxie 500.

Galaxie 500: "Rain / Don't Let Our Youth Go To Waste"(mp3)

The Beatles: "Rain" -- video 1, video 2, video 3 (link suggestions welcome)


N.B.   I've been meaning to feature this song for a while, but the rainy start to our time at Ocean Isle Beach, NC has made this especially appropriate.  A rainy day at the beach still beats a sunny day at work...

I can show you
That when it starts to rain
Everything's the same
I can show you
I can show you

Rain, I don't mind
Shine, the weather's fine

Galaxie 500 - "Peel Sessions" (LP Review)

I think I've run out of words to describe how much I love Galaxie 500, the hazy, dreamy, nearly-shoegazing Boston band whose existence completely overlapped with my college years (1987-1991).   Unfortunately, this short career left us with only three studio LPs and a posthumously extended discography, most of which I would recommend only to hard-core fans such as myself. 

But that's not true for the 2005 LP "Peel Sessions", which collects two, four song sessions from 1989 and 1990 for the legendary BBC Radio 1 show by John Peel.  This live-in-the-studio LP has excellent sound quality (unlike the live LP "Copenhagen"), offers three "new" cover songs not available on other LPs, and subtly different arrangements of some of their classic songs.  I don't think these sessions were available previous to be released in 2005.  Peel Sessions are an interesting format: you have four songs (or about ~20 minutes) to showcase yourself, and this limited amount of time forces you to economically pick representative songs.  On the other hand, if you just do your "greatest hits" then haven't offered the audience something new.  Galaxie 500 understood this: notice how their quintessential song, "Tugboat", does not appear?

The real highlight here are the three "new" songs.  Galaxie 500 always had a tradition of showing how smart they were with their meticulous selection of covers.  Of course their standard Jonathan Richmond cover "Don't Let Our Youth Go To Waste" is present (I think few would argue that Galaxie 500 now owns this song, not Richmond), but they also turn in inspired interpretations of "Submission" (Sex Pistols), "Final Day" (Young Marble Giants), and "Moonshot" (Buffy Sainte-Marie).  Sure you've heard of the Pistols, but "Submission" is an inspired choice; YMG was influential but not famous, and ask your hippie parents about BSM (the Pistols *and* Buffy Sainte-Marie?!  genius.).

I'm going to break with the standard LP review format and just list all eight tracks and claim them all as "standouts" (and obviously there are no tracks to skip).  The first four are from the October 1990 session and the last four are from the September 1989 session:

1. Submission
2. Final Day
3. When Will You Come Home
4. Moonshot
5. Flowers
6. Blue Thunder
7. Decomposing Trees
8. Don't Let Our Youth Go to Waste

Bonus links to the original versions:

• Sex Pistols: Submission
• Young Marble Giants: Final Day
• Buffy Sainte-Marie: Moonshot
• Jonathan Richmond & the Modern Lovers: Don't Let Our Youth Go to Waste

Final score: 9/10.  While there are only three "new" songs, this is an LP I can easily recommend to those not already familiar with Galaxie 500. 

Husker Du - "Eight Miles High / Makes No Sense At All" (LP Review)

I recently rediscovered this one out of my stacks of CDs and put it in my iTunes collection. Released in 1990 on SST Records three years after Husker Du had broken up, this 4-song EP is really just two earlier 7" singles combined and re-released: 1984's "Eight Miles High" and 1985's "Makes No Sense At All".

"Eight Miles High", their cover of the The Byrds classic 1966 song, is a non-LP single. Covering a song by The Byrds was quite a stretch for a punk band in 1984, and Husker Du turns out an appropriately heavy, buzz-saw version. The B-Side is a live version of "Masochism World", one of the heaviest songs on the acclaimed double LP "Zen Arcade".

"Makes No Sense At All" is the best song in Husker Du's catalog, and quite possibly the best punk song ever. It is the only single from their outstanding 1985 LP "Flip Your Wig". The B-Side is a cover of Sonny Curtis's "Love is All Around". That's right, as if to prove they could stretch further than The Byrds, they covered the theme song for The Mary Tyler Moore Show (opening credits).

So do you need this EP? If you already have "Zen Arcade" and "Flip Your Wig", then there are only two new songs: "Eight Miles High" and "Love is All Around". The latter is just a novelty, so the former is really the only new song. If you're a hard-core fan (and don't already have the two 7" singles!), then get this EP since it is still in print and reasonably priced (I think the individual singles are out of print). But if you're not familiar with Husker Du, then start with "Flip Your Wig" and "New Day Rising" instead.

Standout songs: Eight Miles High (live 1983, live 1985, live 1987), Masochism World (studio version), Makes No Sense At All / Love Is All Around (in a single video).

Skip 'em songs: none.

Final Score: 6/10. All good songs, but necessary for hard-core fans only.

Bonus Link: The Byrds - "Eight Miles High"

Galaxie 500 - "This Is Our Music" (LP Review)

First post of 2010 and time to complete the Galaxie 500 hat trick...

Released in 1990, "This Is Our Music" was Galaxie 500's third and final studio LP. The name of the LP is a nod to the Ornette Coleman LP of the same name. That alone should tell you that the band is simultaneously 1) clever, 2) ambitious and 3) just a bit pretentious. I mostly like the reference, but sometimes it is seems a bit much for a garage rock band.

The short version: "This Is Our Music" is a very good LP, but pales in comparison to their first two LPs, "Today" and "On Fire". I'm not sure if they were running out of ideas, becoming worn down by touring, or perhaps their initial unassuming -- almost timid -- sound was unsustainable.

The LP represents a continuation of direction that was introduced on their second LP, "On Fire". But some of the ideas don't work. For example, the opening track, "Fourth of July", is a good song, but is lyrically awkward. Prior songs found the poetry and beauty of quotidian events, such as this from "Snowstorm" on "On Fire":

Well I listen to the weatherman
He's changed his tone of voice
And he can see it on the radar
Only seven hours away
Well there's gonna be a snowstorm
When the t.v has gone wild
And they got nothing else to think of
And they're letting me go home

"Fourth of July" tries to be too clever for its own good:

I wrote a poem on a dog biscuit
And your dog refused to look at it
So I got drunk and looked at the Empire State Building
It was no bigger than a nickel
...
I stayed at home on the Fourth of July
And I pulled the shades so I didn't have to see the sky
And I decided to have a Bed In
But I forgot to invite anybody

"Snowstorm" is precious; "Fourth of July" is affected.

Perhaps I'm being too critical... There are no bad songs on this LP, and some are excellent. But more so than the first two LPs some are nondescript, such as "Hearing Voices", "Spook" and "Way Up High".

The excellent songs include bassist Naomi Yang singing the Yoko Ono song "Listen the Snow is Falling", "King of Spain, Pt. 2" and "Melt Away", which is perhaps the best song on the LP. The 1997 Rykodisc reissue includes an outstanding cover of "Here She Comes Now" by the Velvet Underground (originally a B-side to the "Fourth of July" single). Galaxie 500 had always borrowed heavily from the Velvet's aesthetic and this cover just makes it official.

"This Is Our Music" is a strong LP that deserves to be in your collection. And while it would be a remarkable LP by almost any other band, it just doesn't quite live up to the standards set by their first two LPs. Dean Wareham left the band in 1991 after touring and went on to form Luna. Damon Krukowski and Naomi Yang would eventually form Damon and Naomi. Both bands would release decent LPs, but neither band would capture the magic of their original band. For those whose are interested, the site "Head Full of Wishes" expertly covers Galaxie 500 and their various post-1991 bands.

The Galaxie 500 discography would be posthumously extended with a live LP, Peel sessions LP, B-Sides LP, etc. But "This Is Our Music" is an appropriate coda for a band that was criminally undiscovered while they were active.

Standout songs: "Fourth of July", "Listen the Snow is Falling", "King of Spain, Pt. 2", "Melt Away", "Here She Comes Now". (Many of the above are live versions; the studio versions can be found on Grooveshark.)

Skip 'em songs: none.

Final score: 8/10.

The Connells - "Stone Cold Yesterday" (forgotten song)

Some time ago while discussing their excellent single "Scotty's Lament", I covered the situation with the majority of The Connells' back catalog being in legal limbo. I'm not sure we're any closer to a reissue, and although used copies can be reasonably had via places like Amazon, we'll just have to make do by revisiting one of their forgotten songs.

"Stone Cold Yesterday" is the opening track of their fourth LP, 1990's "One Simple Word". 1990 was an interesting time -- the jangle pop, college radio sound of the 80s about to fall out of favor; the spotlight would soon move from places like Athens, GA to Seattle, WA and "alternative" music was about to become mainstream. And although The Connells continued to release their brand of music for another decade (scoring another hit in 1993 with "74-75"), we can mark the passing of the 1980s college radio sound with this nostalgic song. A strong hook, jangly guitars, cryptic & sentimental lyrics -- it's like the 1980s never ended.

"Stone Cold Yesterday": YouTube (the sound quality is a little distorted, presumably from VHS transfer), Rhapsody.com.

P.S. Notice the "120 Minutes" logo near the beginning of the video? Stone cold yesterday indeed!