This sole album by Leeds post-punk quintet Delta 5 has been out-of-print for as long as I can remember, but thanks to the wonder of the internet, I was able to download a copy recently. Compared to the recently released Singles and Sessions 1979-1981, this is a much slicker-sounding collection. Still, it’s a pleasant slice of early ‘80s new-wave not far removed from say the 2nd AU PAIRS album Sense and Sensuality. In other words, it’s not as essential as Singles and Sessions, but it’s still worth a listen.
In addition to their hits “Never Say Never” and “A Girl in Trouble (is a Temporary Thing)”, this collection focuses heavily on their first album It’s a Condition, which contains such post-punk gems as their seminal first single “White Sweater” as well as “Charred Remains,” “Myself to Myself” and “I Mean It”. Thus, that makes it a better starting point than the recently released Girl in Trouble collection, which contains far fewer songs.
The excellently funny title aside, this is one of my favorite new records of the year so far. Forgoing the “quiet is the new loud” approach of their last two long-players, Hoboken’s finest return with a disc that’s truly all over the place, ranging from a CAN meets “Sister Ray” ish noise-freakout on the opening “Pass the Hatchet, I Think I’m Goodkind” to “Mr. Tough”, an ‘60s r’n’b-flavored song sung by bassist JAMES MCNEW in his pretty falsetto. Also included are two garage-rock rave-ups and the closing, perhaps autobiographical “The Story of Yo La Tengo”, but in between we also get several beautiful instrumentals (including the eight-minute plus “Daphnia”) and several ‘60s psych -influenced numbers as well. For such a diverse and sprawling record, though, it flows amazingly well. I listened to it three times in a row on the first day that I got it and I’ve been listening to it at least once a day since. I can’t recommend it enough.
Although I’ve been listening to this album since February, when an unmastered version of it leaked, I returned to it recently since it just came out officially in the U.S. (it’s been out in the UK since last month) and I can safely say that it will probably be on my Top 10 list at the end of the year. TV on the Radio are simply amazing. This record won’t grab your attention right away, but it rewards careful, repeated listening like few things I’ve heard in recent years. Yes it’s very arty, but there’s so much going on that it takes at least a few listens just to absorb it all. “Wolf Like Me” is the best song on here, but “I Was a Lover” and “Method” are close behind. The best thing about this band is that they sound like absolutely no one else. This album differs from their previous output in that there’s a much more explicit electronica influence on here not that dissimilar to RADIOHEAD’s last few records. The excellent harmony singing is still here, but it’s not as explicity doo-wop or barbershop quartet in feel. Either way, I know this record has gotten a ton of great reviews, but you should give it a chance. You won’t hear anything else like it this year.
As I’ve been importing all of my CDs into my computer (yes I’m still on the ‘B’s; I’m a bit slow at this) and listening to them all, this favorite of mine stood out. If I have to choose one Buzzcocks disc, it would be Singles Going Steady, but I’ve always loved this record as well. Side one contains typically great pop-punk, but side two is what really makes this album stand out. Way more experimental than anything they’d attempted previously (and that includes longer pieces like “Moving Away from the Pulsebeat”), most of it’s an Abbey Road like medley that dominates most of side two before the album closes with “I Believe”, one of their best and most anthemic songs.
Yellow Arrow: Capitol of Punk
This site takes you on a virtual tour of a bunch of DC punk rock historical sites like the Wilson Center, DC Space, the old 9:30 Club, Dante’s and others. It’s narrated by IAN MACKAYE, his brother ALEC MACKAYE, CYNTHIA CONNOLLY, DANTE FERRANDO and other DC punk notables.
Did GRAM PARSONS and CHRIS HILLMAN invent country-rock with this album or did Parsons do it beforehand with THE INTERNATIONAL SUBMARINE BAND? It really doesn’t matter. What does matter, though, is that this record is a stone-cold classic. Bookended by two BOB DYLAN covers (“You Ain’t Going Nowhere” and “Nothing was Delivered”), the record also features Parsons originals like the beautiful “Hickory Wind” and covers of songs like THE LOUVIN BROTHERS’ “The Christian Life” and MERLE HAGGARD’s “Life in Prison”. Although Parsons was clearly the architect of this record, contractual obligations prevented him from singing lead vocals on most of these tracks. Fortunately, though, this 1997 reissue contains eight bonus tracks, among them four songs from the album with Parsons on vocals.
I recently wrote a comprehensive guide to Graham Parker’s music for another site that covers all of his albums. It was great to go back and listen to his vast catalog all over again as it brought back a lot of memories and I rediscovered songs I’d almost forgotten about. Among the gems is this 1995 album, his first for Razor and Tie after years of bouncing around on several different major labels. Utilizing a more stripped-down sound (and open tuning on his guitar) than anything he’s done before or since, Parker’s poignancy shines on tracks like “Partner for Life,” “Next Phase” and “Honest Work”. There are Parker albums that I like more, but very few that I connect with emotionally more than this one.
I was pleasantly surprised to see The Dears featured in a side blurb in the latest issue of Entertainment Weekly, which profiled several upcoming indie releases including this one. If they do achieve more success on this album than with their previous efforts, it couldn’t happen to a better band as their unpretentious, heart-on-sleeve songwriting (which is in direct contrast to so much image-conscious indie-rock) and jaw-dropping live performances made me a fan from the first time I saw them at Maxwells, when they played to twenty people on a Wednesday night. Either way, I hope they come play here soon as I’m really looking forward to hearing these excellent new songs live.
This solo album is decidedly different from her day job as the singer of the raucous, high-energy METRIC. Instead, this is a meditative, mellow mood piece featuring Emily on piano. As I’ve just started listening to it, I don’t know how much the songs will stick, but I have a feeling that this will be a grower.
