My what a surprise this is. More than a decade after their last album, Wild Carnation return with one of the best newer records I’ve heard in quite some time. Reminding me simultaneously of the nervous energy of vocalist/songwriter BRENDA SAUTER’s previous band THE FEELIES as well as the vintage synth-driven sound of STEREOLAB, Superbus is a catchy, poppy immediate affair. The lyrics are great, too, like those of “Saab Story” (great title, too) which focus on SUV drivers and how they tend to overpower others sharing the same roadways.
Well after a long wait, here it is and I’m happy to report that the most anticipated indie album of the year is a triumphant success. I haven’t listened to it enough to evaluate it against its formidable predecessor Funeral (an album that’s only grown on me in the more than 2 years since it originally came out), but my first impression is that I may like it even more with time. The production is notably brighter on this album, allowing the songs to breathe a bit more. Furthermore, several songs (like “Intervention”) show a strong BRUCE SPRINGSTEEN influence, but not in a blindingly obvious way like other bands both bad (cough THE KILLERS cough) and good (THE HOLD STEADY) have in the last year.
Walk the Line (PG-13)
I avoided seeing this one for a while as I was afraid that JOAQUIN PHOENIX and REESE WITHERSPOON wouldn’t be fit to depict JOHNNY CASH and JUNE CARTER CASH. However, I finally relented (the fact that it was in my girlfriend’s Netflix queue also helped) and I’m glad I did. Sure, the portrayals weren’t completely believable, but they were better than most biopics. For all of the hubbub surrounding Witherspoon’s performance, it was Phoenix who really stole the show. His singing (and Witherspoon’s as well) was more than respectable and while a lot of facets of his life were simplified and white-washed (and others, like his fierce patriotism, religious conviction, anti-war stance and advocacy on behalf of Native Americans, were barely even touched upon if not at all). At the heart of the film, of course, is a classic love story of how Johnny got June to marry him and how they seemed to be destined to be together, even from the time that a young Johnny would tune in to the radio and hear a pre-teen Carter (at the age of 10 or so) singing. As such, it’s a touching film about the redemptive power of love if you overlook its inconsistencies.
This incredible box set, while not an ideal introduction for the casually curious, is an excellent jumping-off point for a fan who may already have a greatest hits set and/or a couple of their better-regarded albums like Pet Sounds or what have you, but who doesn’t know where to go next. What you’ll find here is four (five if you count the bonus disc of outtakes and alternate versions, many of which have come out since on bootlegs and official releases alike) discs of incredible music spanning from a 1961 demo of “Surfin U.S.A.” with BRIAN WILSON on piano to their much-maligned (unfairly in my opinion) 1988 smash “Kokomo”. In between is some of the best evidence you’ll find that far from the sun, sand and surf stereotype, their music has a healing, spiritual quality unmatched by almost anyone and that Brian was far from the only multi-talented writer, arranger and producer in the group. That, of course, is because of the fabulous songwriting, production and above all singing throughout this box. It’s just unreal to think that humans could produce something as wonderful as say “Til I Die” or “Sail on Sailor”, to name but two of their masterworks. The truth is that from 1961 to 1973, the Beach Boys were possibily the greatest band of them all in terms of the quality and consistency of their work. Even later efforts like 1977’s Love You (one of my favorite albums of theirs) and 1979’s L.A. (Light Album) contained tons of wonderful music, contrary to many people’s belief that they stopped making good music after the mid to late ‘60s. Furthermore, as a hardcore fan who only owns the 2000 remasters (they were originally mastered in the early ‘90s and these versions are used for this box set) of each studio album up to their self-titled effort from 1985, the mastering and sound quality on this 1993 box is a revelation as well. The songs all sound warmer, quieter and overall superior to its later counterparts and that’s reason enough for fans who already have all or most of this material to give this box a serious listen.
My what a difference a mere 6 months can make. The last time Midlake played here (at the same venue), they played first on a bill with COLD WAR KIDS (whose popularity has also escalated considerably) and SOUND TEAM to about twenty people watching their set. This time, they filled the place and then some. In fact, on this evening the North Star was even more hot and crowded than it was for the HOLD STEADY show back in November. Unfortunately, while they were again nothing less than great and while opener St Vincent was a pleasant surprise as well, the crowd was the most annoying one I’ve had to deal with in quite some time, ruining the experience. The incessant babble (when quiet performers are up on the stage) and drunken idiocy really has to stop or maybe I should just stop going to this venue as this was the second time in 2 weeks the same kind of behavior happened there.
This CD that came free with the January 2007 issue of this long-running and excellent UK music magazine features songs both inspired by THE BEACH BOYS as well as covers of their songs by a variety of artists past and present. In addition, an alternate version of the Pet Sounds outtake “Hang on to Your Ego” also appears here. All in all, this is an excellent disc that conjures up a mood of peacefulness and tranquility and despite the variety of artists, it flows really well. It’s almost like listening to a lost Beach Boys album in that way. Highlights include “Submarine Dream” (APPLES IN STEREO), “Would It Be Possible” (THE SUPERIMPOSERS) and THE LANGLEY SCHOOLS PROJECT take on “In My Room”.
It’s amazing to think that Idlewild have been around long enough (they’re now on their fifth album) that they can make a record like this one that can be construed as their “comeback” or “return to rock” album, yet Make Another World is precisely that. It’s almost as if they listened to all the criticism of their last album Warnings Promises and made a deliberate return to their old style. However, I’m not complaining as this is a very strong record that’s quite similar in style and production to The Remote Part without as many quiet songs.
After two great records for Dischord, Dag Nasty moved to Los Angeles and signed to Giant (basically Homestead’s melodic hardcore division and an affiliate of Dutch East India Trading), a label that also housed similar artists like VERBAL ASSAULT and GOVERNMENT ISSUE at the time. Their intention was to be heard by a wider audience. Instead, there was a huge backlash against the band (just read the review in the hardcore fanzine Schism) from its core audience, the record stiffed and they broke up. PETER CORTNER and previous drummer COLIN SEARS would reconvene a few years later for a little-heard record called Less than a Feeling, calling themselves LOS VAMPIROS. Guitarist BRIAN BAKER, of course, went to play first with the short-lived (and much-maligned) hard rock outfit JUNKYARD and later with BAD RELIGION. All of this history aside, I’ve always felt that this record deserved a better fate. My favorite of their 3 ‘80s records, this showed them delving further into the pop-punk and post-punk influences brought to the band by Peter Cortner. Songs like “Trouble Is,” “Things that Make No Sense,” “Typical,” “Matt” and “Dear Mrs. Touma” showcase a depth previously unheard by the band. Instead of being allowed to grow and change like THE REPLACEMENTS or HUSKER DU and thus obtaining the college-rock audience that this record so deserved, they ended up maligned like TSOL was years earlier when they recorded Beneath the Shadows or like their contemporaries Government Issue were when their sounded mutated from straightforward hardcore to something more informed by post-punk. This record isn’t perfect, however. An ill-advised new version of Can I Say’s “Under Your Influence” (with a bridge mocking the original version) and a version of WIRE’s “12XU” with too much guitar wankery stain what’s an otherwise stunning record.
The CD includes bonus tracks from the “You’re Mine” and “All Ages Show” EPs and is thus absolutely essential. Unfortunately, it’s been long out-of-print and goes for upwards of $50 or so on sites like Amazon.
Perhaps to atone for their way too short 45-minute set at the same venue the last time they played here last May (admittedly they were part of a festival that night), Yo La Tengo played for over two hours, including two encores. They played most of their terrific new album and some oldies like “Stockholm Syndrome” and “Big Day Coming” as well. The Rosebuds were a terrific addition to the bill as well, showcasing songs from their upcoming new record, which if this show indicates has them changing gears completely and embracing early ‘80s post-punk.
This is an absolutely great book on a previously unexplored subject, specifically the Jewish influence on ‘70s New York punk. THE RAMONES? Half-Jewish. THE DICTATORS? All Jewish. SUICIDE? Both ALAN VEGA and MARTIN REV are Jewish, not to mention CHRIS STEIN (of BLONDIE), LENNY KAYE and many others mentioned in this book. Despite a few minor inaccuracies (such as the claim that late ‘60s New York-based duo SILVER APPLES are German), this book is a fascinating read, especially since I’m Jewish and have been listening to punk rock since I was a teenager.
