The Len Price 3 – Pictures (Wicked Cool)
The third Lp by England’s Len Price 3 is basically a continuation of the mid ’60s obsessed mod-pop of their previous two records. Even the cover makes one think that it’s a lost band from the swinging London British Invasion era instead of a newer group.
With that said, the songs and playing are uniformly excellent and this record is highly addictive. Furthermore, the lyrics address contemporary concerns that are timeless like small-town narrow mindedness, club hoppers, the tabloid press and of course, love and romance. Thus, it thankfully isn’t a complete nostalgia trip and has something new to offer.
The vinyl comes with a limited edition CD with 3 extra tracks that are not on the “regular” CD version and it sounds great, too!
Fucked Up – “David’s Plan” EP (Jacob’s Ladder, Inc.)
I picked this up at their show here a few weeks ago and the A-side is a first-rate track very much in the vein of some of the stuff on The Chemistry of Common Life, their last full-length. The B-side, however, is a cover of “Do They Know It’s Christmas?”, the song that was released in conjunction with Live Aid back in the mid ’80s. Instead of WHAM! and their likes, the vocalists on this version include BOB MOULD, TEGAN AND SARA, DAVID CROSS, YO LA TENGO, EZRA KOENIG of VAMPIRE WEEKEND, ANDREW W.K., GZA and KYP MALONE of TV ON THE RADIO. Although I find the original unbearable and more than a bit condescending (albeit well-intentioned, though my inclination is that if people are starving, they don’t give a damn about Christmas or any other holiday), I actually kinda like this version.
This record cost me $10, but it was for a good cause. It benefits 3 Canadian organizations that are devoted to the rights of indigenous, Native women. The organizations are Justice for Missing and Murdered Indigenous Women, DTES Power of Women Group and Sisters in Spirit.
Elvis Costello and the Attractions – Live from Hollywood High (Universal)
To be honest, I wasn’t sure if this would be worth the purchase. It’s not that I didn’t want to hear it. It’s just that, as a Costello freak, I have lots of officially and unofficially released live shows from this amazing era. Furthermore, some of these songs had already been released, first on the Live at Hollywood High EP that came with some copies of Armed Forces and then years later on the Rykodisc and Rhino reissues of Armed Forces.
The Rhino reissue, particularly, added more songs to the original EP, but here we get the entire show. Though they only had two albums to draw on at this point, twenty songs are played. The piano and vocal version of “Accidents Will Happen” (on the then unreleased Armed Forces) stands out due to its structure and the fact that Costello (with the help of keyboardist STEVE NIEVE) would utilize this format in live performances on many occasions decades later. However, what this disc really illustrates is what an amazing rocker he once was, especially backed by THE ATTRACTIONS.
Buzzcocks – A Different Kind of Tension (EMI/Mute)
This is an excellent 2-disc reissue of one of the finest albums of the post-punk era. The last Buzzcocks album, side 2 in particular has always blown my mind and still fascinates me now even as I’m almost twice as old as when I first heard it. The rest of disc 1 includes 4 singles from the same time period, all released on Singles Going Steady.
It’s disc 2 that makes this worth the purchase, though. We not only get the original incarnation’s last released singles (available on previous reissues of this album and Singles Going Steady as bonus tracks), but previously unreleased demos of most of the album’s tracks along with the associated Peel Sessions as well. This is a must.
Soul Side – Hot Bodi-Gram (Dischord)
Although this album, Soul Side’s swan song, has long been available on the excellent CD compilation Soon Come Happy, I recently acquired a vinyl version and was reminded of how much I love this album on its own.
For the uninitiated, this band became GIRLS AGAINST BOYS shortly after Soul Side’s breakup, with only vocalist BOBBY SULLIVAN departing for stints in SEVEN LEAGUE BOOTS, SEVENS and RAIN LIKE THE SOUND OF TRAINS. The most GVSB-like track on here is “Kill”, the only one to feature vocals from bassist SCOTT MCCLOUD, who would sing lead on most of GVSB’s material. However, the rest of the album also gives clues. There was already lots of tension between Sullivan’s politically-minded lyrical stances and the others’ desire for more subtlety and artiness and that tension is all over this record. Apparently, Sullivan was forced to write more introspective and more to the point, abstract, lyrics, but the results are stunning nonetheless. Along with SHUDDER TO THINK‘s Ten Spot (released around the same time) and Funeral at the Movies, this record may be the high water mark of Dischord’s incredible late ’80s/early ’90s period.
Public Image Limited – Second Edition (Virgin)
In anticipation of their upcoming tour, I listened to PiL all afternoon yesterday. I know this is the consensus choice as their best work, but I can’t help but agree. Sides 1 and 2 of this are especially stunning, but all of it is beautiful, twisted, weird and ever more fascinating over time.
The Sound – From the Lion’s Mouth (Korova/Renascent)
This is my favorite Sound Lp and one of the best albums of the early ’80s along with yet another reason why producer HUGH JONES should be knighted. All of it is great, but my favorite tracks on it have always been “Contact the Fact” and “The Fire”.
Chris Daily – Everybody’s Scene (Butter Goose Press, 2009)
This is a book about the legendary ’80s all-ages club The Anthrax. Although it started in two separate locations in Stamford, CT, its biggest impact was in its final location in Norwalk, CT, where it remained until its forced closing in 1990.
Essentially an oral history, we get interviews with all of the major players, it tells the story from the very beginning to the bitter end, when landlord issues highlighted by misguided complaints from condo owners nearby (never mind the fact that said condos were built in an industrial zone without the kind of noise ordinances that are typically found in more residential neighborhoods) forced it to shut its door forever.
During its run, though, seemingly ever major U.S. punk and hardcore band played there as well as many from other countries as well. As someone who was just a little too young to have gone there, reading this book made me wish that I could’ve experienced it for myself.
The Velvet Underground – Live MCMXCIII (Sire)
This is a mini-review of the DVD version, not either the single or double disc version of this reunion show from France in 1993 with all four original members. The show is tight and the sound quality impressive, but the vocals, particularly those of LOU REED, definitely leave a little to be desired on some of the tracks. On “Venus in Furs”, particularly, he’s barely trying to sing it, but rather doing the spoken/singing fusion that he sometimes uses. Also, it’s odd to hear JOHN CALE tackle “Femme Fatale” and particularly “I’m Waiting for the Man”, originally sung by Reed.
Still, it’s a miracle that this happened at all and since STERLING MORRISON passed away almost fifteen years ago, it can never happen again and as such, this is a fine document of that event.
Rogue Wave – Permalight (Brushfire)
This is the third absolutely great Rogue Wave album in a row. I’m particularly enthralled with “Per Anger”, an absolutely stunning song that rivals previous highlights like “Love’s Lost Guarantee” (from 2005’s Descended Like Vultures) and even “Chicago X 12” (from 2007’s Asleep at Heaven’s Gate), my favorite Rogue Wave song.
