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Much different from her last show here in Philadelphia with her band METRIC last March, but just as satisfying, I was completely riveted from the opening notes of “Our Hell” throughout the rest of her set. I haven’t really spent that much time with her moody and contemplative solo album Knives Haven’t Got Your Back, but this show will definitely make me reevaluate that record.
I wasn’t one of the lucky ones who was able to get a copy of this limited-edition live CD that they were selling only on their most recent tour, but thanks to the magic of the internet, I’m listening to it as I write this. I would recommend it for any fan of the band as it captures a tight and powerful, yet always playful and fun, power-pop band at the height of their game. Recorded live in October 2005 at Webster Hall in New York City, songs from all 3 of their albums are included as well as a NEKO CASE sung cover of FLEETWOOD MAC’s “Dreams”. This rendition of “Dreams” is charming and beautifully sung despite the fact that Case laughs in a few instances as she struggles to memorize the words.
I know that we’re only halfway through the first month of 2007, but so far this is my candidate for album of the year. At the very least, this will most likely end up in my Top 10 of the year. Yet more proof that DFA’s JAMES MURPHY can do no wrong at this moment in time, this stunning record is light years behond their also quite good self-titled debut. While nothing on here is as instantly catchy and memorable as “Losing My Edge” (still their finest moment), musically it takes the KRAFTWERK-influenced direction of their between-albums iTunes only single “45:33” and extends it further. Notably, the lyrics are much improved, with the songwriting being of a more personal nature. In particular, the closing track “New York, I Love You” captures my feelings on the gentrification of New York quite well. Furthermore, “Us and Them” and the title track will blow your mind while opening track “Get Innocuous” will have you believing that DAVID BOWIE is guesting on lead vocals!
Like Chutes too Narrow before it, this record is definitely a grower. In fact, this one is even more so due to its (relatively) slicker production values as well as its slight experiments with noisier textures and pseudo trip-hop (“Sea Legs”, which also sort of sounds like an outtake from THE CURE’s Kiss Me, Kiss Me, Kiss Me). Regardless, its charms are revealed over time. Pay particular attention to “Sleeping Lessons,” “Australia” and “Split Needles”.
I’ve been listening to a lot of my old hardcore and punk records lately and this one is an all-time favorite of mine. This CD contains Gray Matter’s sole Lp Food for Thought along with the “Take It Back” EP, a few 4-track demos and an alternate version of “Walk the Line” from the _Alive and Kicking” 7”. This is everything they ever recorded before their early ‘90s reformation that culminated in the 1992 Lp Thog.
As for their sound, it’s safe to say that GREEN DAY became millionaires playing a second-rate version of what these guys were doing 10 years earlier, though perhaps a bit unfair. Still, check out “Oscar’s Eye” or “Crisis and Compromise” and tell me I’m wrong. Regardless, this is much, more more than that. It’s life-changing stuff, as powerful now as when I was 16.
Another one of my all-time favorites, I bought this on vinyl from PAUL DECOLATOR (R.I.P.), formerly of PLEASED YOUTH and later LOOSE, at an all-ages show at the Court Tavern in New Brunswick, NJ (where I went to college). New Brunswick was hopping then, with lots of clubs to play (many of which booked all-ages hardcore and punk shows), not to mention all the basement and college shows happening as well. Anyway this record blew me away when I first heard it and it still does the trick many years later. One of the most unique punk bands ever, Agent Orange combined late ‘70s punk, ‘70s hard rock and metal and ‘60s surf-rock for a potent combination that hasn’t been heard since. They also never made a record anywhere near as good as this one afterwards, but they’re still great live.
From their formation in 1987 to their breakup in 1995, Sticks and Stones were one of the greatest bands on the planet. Although they were spawned from New Jersey’s fertile hardcore scene, by the time guitarist and main songwriter PETER VENTANTONIO (who now goes by JACK TERRICLOTH and fronts WORLD INFERNO FRIENDSHIP SOCIETY) became the frontman, the band was clearly playing by its own rules. For a short time, they add keyboardist SCOTT HOLLINGSWORTH and from that point on, their music became more melodic and yet challenging at the same time. They were playing impassioned, melodic punk with post-punk overtones at a point when most bands were playing generic metallic hardcore.
This 2-CD set combines their great early singles with their two Lps (1993’s excellent Theme Song for Nothing and 1994’s so-so The Optimist Club) and is completely essential listening. Their friends THE BOUNCING SOULS have lasted much longer and became much more popular, but to me Sticks and Stones were the best band to come out of that whole scene.
Originally released in 1995, this CD neatly combines Lifetime’s first 2 7” EPs with a track called “Tradition” which originally appeared on the cassette version of their 1st EP (which was remixed for this CD). The 1st 7” has been derided by the band, but I always thought that it was great. Sure, some of the lyrics on it are a bit cringe-inducing (see “Souvenir”) but the passion of their melodic hardcore and ARI KATZ’s voice more than makes up for it. The Tinnitus 7” shows them evolving into the faster, leaner and more powerful quinet (aided by lightning-quick bassist DAVE PALAITIS and drummer SCOTT GOLLEY, though it should be noted that future KID DYNAMITE and PAINT IT BLACK drummer DAVE WAGENSHUTZ played drums on the Tinnitus tracks) that recorded 1995’s Hello Bastards and 1997’s New Jersey’s Best Dancers. The opening track “Isae Aldy Beasoleil” is a particular standout as its been my favorite Lifetime song from the moment I first heard it all those years ago.
This material was later reissed on singer Ari Katz’s Black Cat label and more recently on the 2-CD collection Somewhere in the Swamps of New Jersey.
Idolator’s Jackin’ Pop 2006 Critics Poll
Pitchfork gave this one a measly 5.4 rating, but frankly I think this record is a lot better than that, to say the least. I actually like this one considerably more than the more lauded The Tigers Have Spoken because it was recorded on her Blacklisted tour. Blacklisted happens to be one of my favorite albums of the last 5 years, so automatically I’m more partial to the material here as opposed to The Tigers Have Spoken, which featured mostly new songs and covers. In addition a lot of songs from Blacklisted, this disc also contains older material from her first two solo albums like the title track from Furnace Room Lullaby as well as a cover of BOB DYLAN’s “Buckets of Rain”.
