Honeymoon Suite - "New Girl Now" (forgotten song)

So when is the last time you heard this one? I recall "New Girl Now" getting a small amount of radio airplay when it came out in 1984, but I can't recall it having a video on MTV. It was the first single from the self-titled LP by the Canadian band Honeymoon Suite.

Even though it came out in 1984, the sound is late 70s / early 80s new wave. Perhaps they were destined to be just a one hit wonder (at least in the US), or perhaps they were simply eclipsed by the emerging college / alternative sound.

YouTube: "New Girl Now".

Joy Division - "Atmosphere" (the song remains the same)

"Atmosphere" might be Joy Division's best song, arguably even better than the popular "Love Will Tear Us Apart". The latter still gets airplay, but I don't recall ever hearing the former on the radio. JD fans know, of course, but the casual listener has probably never heard "Atmosphere".

A non-LP single, it was first released in 1980 as the A-side on a very limited release 7" "Licht Und Blindheit" and then later the same year as a double A-side 12" single: with the UK version having "Atmosphere" as the A-side and the US version having "She's Lost Control" as the A-side. Of course, most of us have it on 1988's compilation LP "Substance".

In many ways, "Atmosphere" sounds unlike any of their other songs. While still sounding desolate, it does not have the typical menacing, frenetic JD sound. As the name suggests, it has a soundtrack quality to it: slow, majestic, sprawling. The video evokes the same feelings, but I have to admit the hooded figures running through desert remind me of Jawas. I don't think that was JD's intent, but they can't claim prior art since the song came out three years after Star Wars.

The slowcore band "Codeine" does an excellent cover of "Atmosphere" which can be found on the tribute LP "A Means To An End - The Music Of Joy Division". Although I'll eventually review the LP, here's a spoiler alert: there are only a few gems on it, but Codeine's version is amazing. First, the slowcore sound allows Codeine to out-desolate JD: true to their name "Codeine", they have the Black Sabbath, slow-doom sound but without the distortion pedals. Second, although "Atmosphere" is best recognized for Stephen Morris's innovative drumming, the percussion is almost entirely removed in the Codeine version. I can only imagine the conversation went like this:

Q: "How do we honor the trademark drum work on this track?"
A: "We don't even try."
Q: "What do we do instead?"
A: "Play it even slower."
Q: "Do you feel sleepy too?"
A: "Yes."

Third, as if the above weren't enough, they slightly changed the lyrics. According to Shadowplay, in JD's version the third verse is:

People like you find it easy
Naked to see - walking on air
Hunting by the rivers
Through the streets, every corner
Abandoned too soon
Set down with due care
Don't walk away - in silence
Don't walk away

Codeine's version is:

People like you have it easy
Face like the sun - walking on air
Haunted by your face, every street, every corner
Abandoned too soon
Don't walk away - in silence
Don't walk away - in silence

Although I hesitate to go against Ian Curtis, I really think the Codeine version is better. I suppose it could have been a lyrical variation from Curtis himself, but the Shadowplay site would presumably mention if that were true. Codeine's changes to the song both expand and honor the original.

Peter Murphy (formerly of Bauhaus) and Trent Reznor (of NiN) also did a cover of "Atmosphere" on the "2006 Radio Sessions". And while I love the idea of a Murhpy & Reznor cover version, it is a pretty straight forward interpretation. More JD covers is a good thing, but their version doesn't push like Codeine's.

Joy Division: "Atmosphere"
Codeine: "Atmosphere"
Peter Murphy & Trent Reznor: "Atmosphere"

Bonus links:
"Dead Souls" (B-side of "Licht Und Blindheit" 7") (live version)
"She's Lost Control" (Alternate A-side of 12")

Black Sabbath - "Vol. 4" (LP Review)

This review goes out to Butch @ Squealer Music. Butch and I share an interest in drone & doom music and he's turned me on to some cool bands like Earth, Sunn O))) and Deathprod. I plan to review LPs by those artists later, but first I thought I'd start with our mutual interest in the progenitor of doom, Black Sabbath.

Unlike most metal bands from my youth, I can honestly say that I enjoy Sabbath nearly as much now as I did then. And who doesn't, really? People who do not count themselves as fans probably sing along to songs like "Paranoid", "Iron Man" or maybe even "War Pigs". Ozzy-era Sabbath has a popular music legacy that is larger than most casual fans might imagine.

Having said that, Sabbath is probably best well-known for their great songs, not necessarily their great albums. For every "Paranoid"-quality song on an LP, there seemed to be something like "Planet Caravan". OK, so "Planet Caravan" is kind of cool in its own way, but check your iTunes play count and tell me how it rates compared to other Sabbath songs. Be honest.

Butch and I discussed our favorite Sabbath LPs one time, and while I think he went with "Master of Reality", I have to say their greatest LP is 1972's "Vol. 4". It has fewer hit songs (I'm not sure any get current radio airplay), but it is arguably the strongest start-to-finish LP they released (at least in the Ozzy era). I could make an argument for 1973's "Sabbath Bloody Sabbath", but the inclusion of keyboardist Rick Wakeman made for interesting songs, but ones that rawked less.

I'm not entirely sure why the songs from Vol. 4 don't get airplay on the classic rock stations: standouts like "Wheels of Confusion", "Tomorrow's Dream", "Supernaut", and "Under the Sun" are upbeat, have killer riffs and are very heavy. It might be that none of these songs have sing-along choruses like "Paranoid" and "Iron Man". For example, you can probably sing along with the guitar riff of "Supernaut" (which is at least as good as "Paranoid") better than you can remember and sing along with the lyrics ("I want to reach out and touch the sky / something something something / something something something..." -- there's actually no chorus).

Come to think of it, "Changes" is pretty much is the only song that you can sing along too. I also consider it the weakest song on the LP. It is not really bad, and you do have to give them credit (blame?) for basically inventing the metal power ballad genre, but it clearly not as enjoyable as the other songs. I'm ambivalent about the cocaine-themed "Snowblind", its neither bad nor good. The only truly skippable song is "FX"; 1:44 of electronics noodling which I guess seemed cool at the time.

"Laguna Sunrise" is the "pretty" instrumental Sabbath has on nearly every LP that serves as a vehicle to demonstrate Tony Iommi's guitar virtuosity. "St. Vitus Dance" is a nice example of Sabbath doing "hippie metal" -- it even has acoustic guitar in parts.

Another thing I like about this LP are the medleys: "Wheels of Confusion" leads into "The Straightener" and "Wheels of Confusion" interpolates "Every Day Comes and Goes" -- sort of a metal version of "A Day in the Life". The song writing and arrangement is at Sabbath's zenith here. This is the last LP where the drugs amplified their creativity instead of hurting it.

So despite the limited radio / single impact, I think this is their finest LP. They had recorded better individual songs before and after this, but as a collection of songs this is their high water mark.

Standout songs: "Wheels of Confusion / The Straightener", "Tomorrow's Dream", "Supernaut", "Cornucopia", "St. Vitus Dance", "Laguna Sunrise", "Under the Sun / Every Day Comes and Goes".

Skip 'em songs: "FX", "Changes".

Final score: 9/10. "FX" and "Changes" keep this from being 10/10.

2010-06-18 Edit: Butch insisted I include this link for "Snowblind". I'm surprised at how many high-quality, 1970s concert videos you can find on YouTube.

2012-07-05 Edit: The entire LP on YouTube.  

The Beat - "Save it for Later" (forgotten song)

Continuing my tradition of interpreting contemporary artists through the lens of 1980s alternative / college radio... I've seen Vampire Weekend on SNL twice (2010: "Cousins", "Giving Up the Gun", 2008: "A-Punk" and "M79") and The Colbert Report once (2010: "Holiday"). I kind of like them because, and I don't mean this as a left-handed compliment, they remind me of The English Beat. Well, they were just known as the "The Beat" in the UK, but they were the "The English Beat" in the US to avoid collision with Paul Collin's (formerly of The Nerves) band "The Beat".

The Beat were a late 70s / early 80s ska band on the 2 Tone record label in the UK, the same label that gave us The Specials, Madness, and other staples of early MTV. The Beat recorded three LPs and then disbanded, with former members going on to form the mid- to late-80s MTV staples General Public and Fine Young Cannibals. I didn't really care for either of those bands but The Beat had several good singles, and they've all but disappeared from radio.

The most popular in the US was "Save it for Later", a single off their 1982 LP "Special Beat Service" which received a good amount of MTV exposure, although I'd have to say that 1980's single "Mirror in the Bathroom" (from their debut LP, "I Just Can't Stop It") is a better song (more ska, less pop). I've chosen to feature "Save it for Later" since it is the one that is closest to the Vampire Weekend sound. If Vampire Weekend would just add horns and maybe some toasting and they'd be right at home on 2 Tone, circa 1980. And that's not too bad...

"Save it for Later": YouTube.

Bonus Link (as per the double A-side single image above) : "Mirror in the Bathroom": YouTube.

Rainbow - "On Stage" (LP Review)

So I've been wondering how to commemorate the passing of Ronnie James Dio... Anyone who knew me in high school remembers that I was a huge fan. I believe it was Chris Miller that gave me a tape of "Holy Diver" right after it came out in 1983, and from there I slowly worked my way backwards through Dio's canon: Black Sabbath, Rainbow, then Elf. That was back in the pre-Web days when working out a discography took a lot of research (time and $) in the record store. I was proud that I had eventually collected all of his LPs on vinyl, including the Elf LPs which, truth be told, aren't very good.

By college I had mostly outgrown my fascination with the D&D / fantasy / metal genre, of which RJD was a central figure, but he'll always be nostalgically significant and I was saddened by his passing. But which LP to review for F-Measure? "Holy Diver" and "Heaven and Hell" are obvious choices -- too obvious, IMO. The same argument could also be made for "Mob Rules", which is at least as good as the latter two but often overlooked.

But perhaps the most important to me was "On Stage", the mostly forgotten 1977 live double LP from Rainbow. For one, I really love Ritchie Blackmore's guitar playing: fluid, effortless, expressive. I'm a Deep Purple fan as well, but Blackmore seems more comfortable here than any of his previous or later LPs. The rest of the lineup features Rainbow at the their finest: Cozy Powell (drums), Tony Carey (keyboards), and Jimmy Bain (bass). Dio would work with most of these people again in later lineups (Dio/Sabbath/Rainbow/Purple/Whitesnake all regularly swapped members from LP to LP), but this lineup, the same as on "Rainbow Rising", is Rainbow's strongest.

The second reason this is a good LP to revisit is that Dio's latter fantasy themes are only partially developed here. Sure, songs like "Kill the King", "Sixteenth Century Greensleeves" and "Man On the Silver Mountain" hint at the thematic direction for the rest of his career, but imagery is not quite as over the top here. Granted, I liked the fantasy themes 25+ years ago (cf. my review of "Queensryche"), but they seem silly now. At the time, I thought Blackmore's presence reined in some of the fantasy imagery, but ironically Blackmore's project of the last 10+ years, Blackmore's Night, is 100 times worse in its Spinal Tap cliches.

The LP itself features some of the excesses of 1970's live LPs: lots of patter with audience, long songs featuring extended solos of every kind, etc. Blame Frampton, the Grateful Dead, or maybe even Deep Purple: there was a template for live LPs at the time, and extended fusion jams is what you got. For some songs, it doesn't work: the medley of "Man on the Silver Mountain / Blues / Starstruck" would be stronger as two separate songs and without the "Blues" interlude.

On the other hand, the extended jams work in the case of "Mistreated" (a cover from "Burn" by Deep Purple, Mk. III), "Still I'm Sad" (a cover off the "Having a Rave Up" LP by The Yardbirds) and "Catch The Rainbow". The latter song is really the jewel of the entire LP; a 15:36 long workout of soft-loud-soft-loud-soft. Dio, Blackmore and Powell are all in exceptional form on this song. Occupying the entire side two of the vinyl, I used to listen to this song on maximum volume more times than I can remember. The soft->loud transition from ~8:15-9:40 remains one of my favorite musical passages. Listening to this version of "Catch the Rainbow" is an investment for me and is something that can't be done casually.

I've recently discovered that in 1990 Polydor reissued "Live in Germany" which appears to be recorded from the same tour as "On Stage", but perhaps without some of the editing required to fit "On Stage" to vinyl. I haven't brought myself to purchase this LP yet -- revisiting new/old RJD recordings isn't something I've been especially eager to do, "The Last in Line" was the last LP of his I really enjoyed even though I bought a few after that. Perhaps "Live In Germany" is actually a better LP, but I'm choosing to remember RJD with "On Stage" and in particular "Catch the Rainbow".

Standout songs: "Catch the Rainbow", "Mistreated", "Kill the King", "Sixteenth Century Greensleeves", "Still I'm Sad".

Skip 'em songs: "Man on the Silver Mountain / Blues / Starstruck" (or at least the "Blues" portion of this track; the link here is nicely just MOTSM).

Final score: 9/10. I've tried to adjust for the nostalgia factor, but it should be apparent from the above that is not easily done.

Johnny Cash - "God's Gonna Cut You Down" (the song remains the same)

Both Johnny Cash and Rick Rubin had Hall of Fame careers even if they had never hooked up for Cash's American Recordings series. But they did, and the result was nothing short of amazing...

On the surface, Cash & Rubin would seem to be an unlikely pairing: Cash is a born-again Christian from Arkansas and Tennessee who is best known for singing gospel, folk and country; and Rubin is a Jew from Long Island who is best known for producing hip hop and metal bands and founding the seminal record label Def Jam Recordings (with Russell Simmons in 1984).

On further inspection, it is a perfect match: Sun Records was the Def Jam / Def American of its time and Cash certainly lived (invented?) the rock and roll lifestyle. Furthermore, Rubin is renowned for his powerful, stripped-down, spare production style that gets the most out of the artist; and Cash's career had been foundering, in part because the major labels were overproducing his records and trying to make him into something he was not. Cash and Rubin released their first record in 1994, American Recordings, and that was the beginning of a critically and commercially successful string of LPs each of which consisted of originals, re-recording of Cash's early songs, covers and standards.

Released as a single from 2006's posthumously released "American V: A Hundred Highways", "God's Gonna Cut You Down" is Cash's version of the traditional song generally credited as "Run On". The song has been recorded by many different artists and although it is a homily about abandoning sinful ways, it is generally presented as an up-tempo and joyful song -- a New Testament reading, if you will.

Not so with Cash and Rubin -- you could say they give an Old Testament presentation: dark, booming and vengeful. Changing the title from "Run On" captures the shift of emphasis -- "God's Gonna Cut You Down" was always in the lyrics, but it never seemed to be the main point of the song. Now it is, and the song sounds like the wrath of God.

You might (barely) recognize the song from Moby's 1999 LP "Play", where it was titled "Run On" and sampled a 1947 recording by Bill Landford & The Landfordaires (then titled "Run On for a Long Time"). I must have heard this song dozens of times before I even realized they were singing the lyrics "God will cut you down". This song is a typical example of Moby's gift for recontextualizing early recordings (folk, blues, etc.) in an electronica format.

Another notable version is from the Blind Boys of Alabama, from their 2001 LP "Spirit of the Century". This is a more conventional gospel arrangement, probably closer to Moby's source recording from Landford.

There are countless other recordings of this song but this should give a good sampling of the various versions. And as good as these other versions are, Cash and Rubin have pretty much closed the book on this song -- no one else is going to come close.

Johnny Cash: "God's Gonna Cut You Down"

Moby: "Run On", "Run On" (live acoustic version)

Bill Landford & The Landfordaires: "Run On for a Long Time"

Blind Boys of Alabama: "Run On"

Kate Bush - "Hounds of Love" (the song remains the same)

Let's do one more Kate Bush cover song...

"Hounds of Love" is the third single released from Kate's 1985 LP "Hounds of Love" (the single came out in 1986). An ode to the fear of commitment, it is a great song but it took me a while to discover this in part because of the mid-1980s production techniques that worked well enough on "Running Up That Hill" don't really make the song "Hounds of Love" stand out.

It wasn't until a few years ago when Johan turned me onto The Futureheads and their 2004 self-titled LP where they do an excellent cover of "Hounds of Love" that I really appreciated the original. The Futureheads transform it from an art/prog rock song and strip it down to just a simple, new wave rock song. While busy channeling The Knack, The Futureheads speed up the tempo, replace the keyboards with guitars, and completely embrace the background vocals that otherwise sound a little awkward on Kate's version. And if that's not a solid formula for how to improve a rock song, then I don't know what is...

Kate Bush: studio version, TOTP version

The Futureheads: studio version, official video, live version, unplugged/live version