It’s with slight trepidation and risk of any “cred” that I may have gained over the years that I write about this purchase. Limited Warranty is a bit of a guilty pleasure for me and is probably tainted and tinted by the gathering fog and mist clouding my memory of this band.
Limited Warranty was a band from Minneapolis that won the Star Search bands competition in 1985 which landed them a big cash prize and a single that was pushed for radio play. That single “This Is Serious” b/w “Never Enough” was recorded with former Psychedelic Furs drummer Vince Ely producing. The single enjoyed lots of airplay in the Midwest and toured extensively. They were eventually approached by ATCO, a subsidiary label of Atlantic to record their first album released in 1986.
This album, produced by Brian Tench who also worked with Orchestral Manoevers in the Dark, Bow Wow Wow and other New Wave Acts, along with its first single “Victory Line” seemed to do really well. The album certainly got a lot of play in Dubuque on KLYV-105. Some of this, I believe, was because one of the member’s uncle was the station manager. Limited Warranty played in the Dubuque area quite a bit as I recall. I saw them play the Dubuque County Fairgrounds for a M.A.D.D. benefit with a couple of other bands. My brother Steve used to have the poster for this show “Fun-Tacked” to his bedroom door. We also saw them play the Circle in East Dubuque in the winter.
According to this very informative site on Limited Warranty, the band was recording demos for its follow-up album on ATCO when they were dropped from the label. Some of this material was included on their self-released EP called Domestic 7. They came to Dubuque around this time and made an in-store appearance at TJ’s Music World and did an interview on KLYV around this same time telling their story and pushing the EP. I bought the EP on cassette, and I still have it. I also picked up the album on cassette out of a cut-out bin at Musicland in Dubuque. I had always intended to rip these two releases to CD or mp3 but never got around to it.
Listening to it now, it certainly brings back a lot of memories. It is the pop hook-laden album I remember it to be. I had a co-worker listen to it, and his comment was that while it was pretty good and well-done, it was missing something that would have pushed it to the levels of label-mates INXS. I think it has something to do with the missing teenage angst or some level of darkness. It sounds as good as some of their contemporaries like the Psychedelic Furs, Frankie Goes to Hollywood, Duran Duran, or OMD would have been turning out. The closest they get is the song “Domestic 7” about old folks homes with its samples of old people talking. The production is a bit thin, unfortunately, but very clean. I think this is a result of this album never having been released on CD so we are getting the limited bandwidth of the cassette or vinyl master. So, it could stand a remastering. Nevertheless, it’s cool to hear these songs again.
Thanks to Brian’s World for his Limited Warranty website— complete with mp3 samples of all of the releases!
The Del Fuegos – The Longest Day (CD, Wounded Bird WOU 5174, 2008) ($7.33)
This was the week where I revisited my favorite music from the 80’s in my purchases. I was reading the very helpful Monday post from Largehearted Boy that lists the Tuesday CD and DVD releases and was surprised to see that the first three albums from 80’s roots rock band The Del Fuegos were listed as being reissued! WTF?
In 1985, probably watching Night Tracks on WTBS or Night Flight on the USA Channel, I encountered The Del Fuegos and their breakout single “Don’t Run Wild.” We didn’t have MTV in my hometown so these shows in addition to Radio 1990 and Friday Night Videos were the only music video sources available to me. “Don’t Run Wild”‘s opening muted guitar and bass riffs and snapping fingers made me a believer and this little band from Boston became one of my favorite bands and is still one I listen to.
In the summer of 1985 I discovered R.E.M. during a family vacation in California which triggered in me the desire to search out bands that other kids in my hometown of 1200 people hadn’t heard of. That summer I was 16 and with driver’s license clutched firmly in hand I would cruise around town with friends listening to a lot of bands that had this retro Midwest 60’s garage sound– The Smithereens, The Del Fuegos, The BoDeans, Los Lobos, Violent Femmes, R.E.M. and others– and this would be the sound that would carry me to the “alternative” college rock bands after high school.
The Del Fuegos were a hard-working, hard-rocking, and apparently hard-drinking bar band from Boston who were signed to indie label Slash Records which at this time was being distributed by Warners. Their first two albums The Longest Day and Boston, Mass were well-regarded critically, but it wasn’t until they were approached by Miller Beer to appear in a commercial representing a hard working blue collar band that they grabbed national attention to the din of longtime fans’ cries of “sellout!” In 1987 they followed up with Stand Up, their third album with the winning partnership of Mitch Froom at the boards.
That summer my family and my best friend Kurt went to Chicago to see The Del Fuegos along with Tom Petty and the Heartbreakers and The Georgia Satellites as part of Petty’s “Rock and Roll Revival Tour” at Poplar Creek on June 20, 1987. The Fuegos, the band that didn’t have a hit on the charts at the time– unlike the Satellites was made the opening act. We were really excited to see the band and to see Tom Petty. Unfortunately, dwarfed by the huge stage in the hard light of the afternoon and possibly seventeen dates into a 33-date long summer tour their abbreviated opening slot seemed to lack the magic we’d expected from the band we listened to regularly over the last two years. I was also hoping that Petty would have joined the band to reprise his harmony vocals from the album on “I Can’t Take This Place” but that wasn’t meant to be, either.
According to this biography of lead singer and founder of the Del Fuegos Dan Zanes, following that tour Warren Zanes and Woody Giessmann quit the band and the band was dropped from Slash. That Fall I went to College and focused on other bands I was being exposed to by new friends I was making there.
In 1989 Dan and bass player Tom Lloyd attempted to revive the band– this time with members replacing brother Zanes and Giessmann with a new guitarist and drummer and new label RCA. I didn’t purchase Smoking In The Fields initially– my brother Steve had a copy of it and listened to it quite a bit as I recall. Producer/Engineer Dave Thoener provided a more lush, updated version of the sound of three previous records and it yielded a rocking first single in “Move With Me Sister” which got to #22 on the Modern Rock charts. However, it died quickly with a lack of support from the label or it’s A&R army– a record out-of-time in some respects. It sadly made its final rest among the cut-out bins which is where I got my copy. Listening to it today as I write this article, it is a solid record from beginning to end and sounds as good as some Tom Petty records in his catalog and shows Zanes as the strong songwriter and frontman that he was. Smoking in the Fields is as deserving of a reissue as the other three albums in my opinion.
In 1994 he came out of a period of retirement during which he started a family and quit drinking by providing a very short instrumental titled “Moon Over Greene County” to the soundtrack to “Natural Born Killers.” This was followed in 1995 by his first solo album Cool Down Time which was released on short lived Private Music which was bought by BMG the following year and has been out-of-print since. (There are a bunch of copies for under $5 on Amazon, BTW). This record was a return of Mitch Froom at the helm and brought his clank-and-rattle percussion and odd keyboard sounds he developed in the Latin Playboys to Dan’s trademark roots sound. I love this album and it’s shared production style with the Latin Playboys, 99.9 Fahrenheit Degrees from Froom’s ex-wife Suzanne Vega, and Colossal Head from Los Lobos is an interesting mix. Dan provided an e-mail address in the CD booklet and he and I exchanged a few e-mails which was cool.
The story has been told a number of times elsewhere on the net about Dan being disappointed with the children’s music available and how he has reinvented himself as a children’s/family-friendly artist and this path gave him a Grammy in 2007 for Catch That Train! in the Best Musical Album for Children category.
In 2001 Warner Brothers sort of righted a long-standing wrong by providing The Longest Day on CD. The two following albums had existed been released on CD, but not Day. They did this strangely by including the whole album as part of an import Best of the Del Fuegos : The Slash Years which also had tracks from the subsequent two albums. I hadn’t gotten around to purchasing this album and now I don’t need to since it has been reissued by a label I hadn’t heard of called Wounded Bird.
Wounded Bird is a reissues label that has been in existence since 1998 and has a pretty impressive catalog of releases including most of Bread’s catalog, Marshall Crenshaw, the solo work of the Cars and many others. It appears based on the two CD’s I bought so far that they are licensed and manufactured by Rhino Entertainment. So, this implies that they have access to the original masters to make them. I have read some reviews on Amazon that people have been disappointed with some of the releases’ sound quality. So, I think releases from this label come with a bit of buyer beware in that they aren’t re-mastering these recordings, so if there hasn’t been a CD transfer done these are coming from LP/Cassette masters. In the case of The Longest Day the production sounds great, so I’m assuming they are using the masters that were used for the 2001 Best of release. In the case of Boston, Mass and Stand Up they would be using the CD masters.
It’s great to have this on CD, finally and completes my collection. I have the Slash catalog of the Del Fuegos on vinyl as well so I feel that my collection is pretty complete with this band.
As word of the Starbucks in Lindale Mall closing as part of a larger store closing move by Starbucks to close 600 stores nationwide including six in Iowa to “weed out unprofitable locations” rumors at Lindale on Saturday were spreading that the location was giving away drinks. Sherry and I were going to visit our daughter RaeEllen at her last day at Kitchens and Koffee so we stopped at Starbucks to see what was going on. While they were giving away drinks– they were samples of chocolate banana smoothies with shots of espresso in them (yum!).
While we were there, I was surprised to see that Starbucks was having a “Summer DVD and CD Sale” where ALL CD’s and DVD’s were $7.95 — inluding the new Coldplay! The Starbucks retail price for CD’s is typically an inflated $12.95 or better. I guess this shouldn’t be much of a surprise after the announcement that Starbucks was going to dump or dramatically reduce the number of CD’s they are going to sell. So, I expect there is going to be a purging of inventory across the chain.
One of the downsides to Starbucks getting out of the music biz is the Starbucks Entertainment business that partnered with the Concord Music Group to create some not-shabby compilations of artists and notable record labels. I wrote about the great Prestige Jazz compilation last year. In the CD racks at the doomed Starbucks was a couple of other compilations including a Buddy Holly one and a John Coltrane one in addition to the Stax one I picked up. They had some new titles- including John Mellencamp’s recent one, too.
Coldplay – Viva La Vida (CD, Capitol 509992 16886 0 7, 2008) ($7.95) I thought that this was about the price I’d want to pay for this — new at used price. I like a couple of the songs I’d heard on this album including “Viva La Vida” which was used in the iPod commercial as well as the new single “Violet Hill” which Sherry likes as well. Tired of the comparisons to Radiohead, Coldplay switched its sights to U2 with the “sonic landscapes” from erstwhile-and-again U2 producer/collaborator Brian Eno. I really liked the overplayed Rush of Blood to the Head and was as confused as everyone else about the X&Y followup. This is a very strong release from the band and solidly positions them as alterna-rock for the softening Gen X crowd.
various artists – “Soulsville, U.S.A.” – Stax Classics 1965-1973 (CD, Starbucks Entertainment CDS-131, 2008) ($7.95) This was the one I was pretty excited about. I’m becoming more of a fan of the legendary Stax Records catalog as time goes. The scrappy label from Memphis that represented was the “dirty South” answer to the more “clean” Motown and Philly labels of the time. I started as a fan of label houseband Booker T. & the MG’s and slowly expanded to include artists that they recorded behind. Working with Concord gave Starbucks the licensing power as well as the extensive catalog knowledge required to put these excellent comps together. This release stayed away from the big hits from Stax that have been represented in about a million other comps. Instead of including “Soul Man” we get “Hold On I’m Comin'” from Sam & Dave. Instead of “Green Onions” from Booker T. & the MG’s we get “Soul Limbo” and their instrumental cover of “Groovin’.” Incidentally, “Soul Limbo” has the distinction of being the first release on the freed-from-Atlantic Stax. Sadly, this was the beginning of the end for the label. Instead of “I’ll Take You There” from the Staple Singers we get the sound-alike “If You’re Ready.” Every track on this comp is a winner and a good mix for about any occasion with Otis Redding, Albert King, Eddie Floyd and Mr. Hot Buttered Soul himself Isaac Hayes. Hayes weighs in with “Walk On By” which I only recently realized was sampled by Portishead for its biggest hit “Sour Times” from 1994’s Dummy with its repeated “Nobody loves me– it’s true.”
So, if I run into any other interesting comps while traveling I may pick them up at this price. I’m hoping some company like Half Price Books will pick them up for sale in their stores as cut-outs.
Wanting to take advantage of one of the coupons I got in the mail for 40% off one item, I stopped off at Half-Price Books in Cedar Rapids last night. Half-Price Books has a deal a couple of times a year where they send out one week of coupons where you start out with 40% off and it decreases 10% every two days through the course of the week, but then ends up with a 50% coupon on Sunday. There wasn’t much in the CD bins this trip, but there was a lot in the vinyl area and I had to make some judicious selections. I’ll be back on Sunday with some stuff to sell to take advantage of the 50%.
Johnny Cash – At Folsom Prison (LP, Columbia CS 9639, 1968) ($2.99) This was the one I got the 40% off on since it was a $4.98 one. Is anyone else noticing that the prices are going up at Half-Price? The record is in very good condition with only a slight bit of surface scratches. The sleeve has some edge wear and some face wear, but no ring wear which is incredible considering this record turned 40 this year! This record was a popular one around the house growing up. Dad was a big Johnny Cash fan in the 50’s and 60’s. I love this cover with Johnny big as life on the cover looking askance and sweat running down his face. On the back are hand-written liner notes describing the day-to-day of a prison inmate in the 60’s as well as explaining how he had to convince Columbia to release a live recording made in a prison. In retrospect it doesn’t seem like that big of a deal, but I guess it must have been kind of shocking at the time. The movie “Ring of Fire” uses this show as its point of departure for the flashback that makes up the movie of Johnny’s life. This record is pretty interesting from the standpoint that it doesn’t have all of the “big” hits on it. In includes classics like “Folsom Prison,” “Jackson,” and “Orange Blossom Special” but doesn’t include “Walk the Line” or “Ring of Fire.” When this was remastered and re-released on CD in 1999 they added the missing songs “Busted,” “Joe Bean,” and “The Legend of John Henry’s Hammer.” A brilliant, landmark record that really transcends time and the genre of Country music.
Neil Young – Harvest (LP, Reprise MSK 2277, 1972) ($3.98) Wow! This was a big find. This copy is pristine! In a dust jacket, NO sleeve damage, includes the lyric sheet. The paper sleeve is torn, but there isn’t any printing on the sleeve so no art loss. What is there really to say about this record that hasn’t been said before? Brilliant record, regarded by most to be the pinnacle of Neil’s career and certainly his commerical high-point with the #1 single “Heart of Gold.” The story goes that Linda Ronstadt and James Taylor were appearing on the Johnny Cash TV show in 1971 and Neil coaxed them to come over and put vocals on “Heart of Gold” and “Old Man.” The country/folk-ish formula that created Harvest was so successful that Neil was able to base his 1992 album Harvest Moon from it and in my opinion repeated the commercial and critical success.
Lots of Thrill Jockey-related purchases on eBay. Last month I finally finished my Tortoise LP collection! I found a guy who was selling Thrill 013 aka the first Tortoise album who had “TNT” as well. He runs a small record shop in Washington and apparently gets Tortoise vinyl from time-to-time! The only vinyl missing from my Tortoise collection at this point is the “Gamera” 12″ and Rhythms, Resolutions & Clusters.
Tortoise – Tortoise (LP, Thrill Jockey thrill 013, 1994) ($20) This is not the first pressing Fireproof Press brown cardboard with brown screening and tab close cover. This is not the 1996 white with green screen sleeve either. This copy is a light grey plain sleeve with orange screening. I have seen this version frequently on eBay, but I don’t know if this is also the second pressing or if it is a third one.
Tortoise – TNT (2 LP, Thrill Jockey thrill 050, 1998) ($30) This release is probably the most popular release from Tortoise, and as such seems to be driving the price of the vinyl up. Expect to pay upwards of $40 without shipping for a copy of this. I can now rest easy having finished this collection!
Tortoise – Universal Buzz presents… Tortoise (CD-R, Universal Buzz Radio / Quantegy, 2001) ($9) This is a CD for a syndicated radio show called Universal Buzz Radio. This seems to be a show from the 1998 tour. Unfortunately, there isn’t any information on the CD or a tracklisting or what venue or city. An interesting piece for my collection.
Chicago Underground Duo – 12 Degrees of Freedom (CD, Thrill Jockey thrill 060, 1998) ($4)
Chicago Underground Duo – Synesthesia (CD, Thrill Jockey thrill 077, 2000) ($4)
Chicago Underground Duo – Axis and Alignment (CD, Thrill Jockey thrill 106, 2002) ($4)
Chicago Underground Duo – In Praise of Shadows (CD, Thrill Jockey thrill 168, 2006) $4) All four of these came from one auction which closed around $17 after shipping. Chicago Underground Duo is the pairing of Rob Mazurek and Chad Taylor. These albums range from just the duo to albums with sidemen including Jeff Parker.
On Sunday my wife and daughter wanted to do some shopping at Lindale Mall before going to dinner at Biaggi’s so I dropped them off and went to Half Price Books to do some browsing. I picked up a couple of CD’s, coincidentally both related to the Jayhawks.
Gary Louris – Vagabonds(CD, Rykodisc RCD 10925, 2008)($7.98) Even though I’ve already purchased this on vinyl and mp3’s– when I saw this in the CD bin used I couldn’t pass it up. This release isn’t even that old, so I was surprised to see it. Plus, I didn’t have a 320Kbps rip for my iPod. This is certainly an early pronouncement, but Vagabonds is one of my top releases of 2008. There are purists out their who are decrying the too-polished feel of the production that Chris Robinson of the Crowes brought. I like the Early Seventies feel about it– some of the songs remind me of the cover songs that Foamfoot did at the Troubador in Los Angeles in 1994. Foamfoot was a band that Chris Robinson and Marc Ford from the Black Crowes put together with some other folks including Gary Louris. The bootleg I have has covers of songs by Free, Blind Faith, Marshall Tucker, the Small Faces, CSN and others. So, it doesn’t surprise me that this record has these influences since that was the music they played together. Really, the Black Crowes always sounded like a potpourri of these influences. Robinson’s involvement in Vagabonds started with his assistance producing the Gary Louris / Mark Olson record which should see the light of day later in 2008 after Mark and Gary have toured their current solo efforts.
Mark Olson and the Original Harmony Ridge Creekdippers – My Own Jo Ellen (CD, Hightone Records HCD8127, 2000) ($5.95) This is a cut-out of Mark’s 2000 release with his ex, Victoria Williams. A nice, loose affair with electric guitars. In some respects, I like this better than his new release. It needs some more “burn in time” before I can make a more formed opinion.
This weekend my wife Sherry was attending a conference for Skin and Hair people at McCormick Place in Chicago. I came along for moral support and some time away– and the hopes of hitting some record stores. Sherry booked a cheap hotel online in Des Plaines North of O’Hare off I-90. Saturday I hung out at McCormick Place loitering at a Starbucks waiting for Sherry. Sunday morning I dropped her off around 10:30AM and I made my way back up to Des Plaines. This gave me the option to hang at the hotel with free parking and to venture out to the surrounding burbs.
A quick search of Google for “record stores near Des Plaines, IL” turned out a mix of interesting and not-so-interesting results. I quickly jotted down three places to try out. The plan being that I’d hit the closest stores first and work my way out.
The first place I tried was promisingly called “The Record Room” on Golf Rd (641 W Golf Rd., Des Plaines, IL). No website. I called first, and the phone company said the “number is being tested” so I ended up driving over anyway. Rest In Piece Record Room! It is now a chiropractic office.
So, the next place I decided I wanted to hit was called “Sunshine Daydream” in Mt. Prospect, IL and has a current website, so that seemed promising. However, their hours are “Noonish to 6PM” on Sundays. I made my way up to the store and it exists and seemed to have inventory. It’s a tie-die, posters, Grateful Dead/Jamband type store. However, it was 12:15, so maybe that wasn’t “Noonish” enough for them. So, I headed back down to a restaurant I passed on River Road called Dick’s River Roadhouse for a Blue Moon (with requisite orange slice garnish) and a wonderful BBQ Grilled Chicken Sandwich. The bar music was some 80’s station (likely XM). Rick Spingfield, Prince, New Order, Toni Basil, etc. The food was served quickly.
After I ate my food and finished my beer I called Sunshine Daydream (2027 E Euclid Ave., Mt. Prospect, IL) to see if they were open– they were. I paid my bill and headed up to the store. As I opened the door, I was overcome by the smell of inscense. The store was pretty much what one would expect for a store that advertises itself as “the hippy general store.” They had a large array of “natural fiber” bags and other clothing– a lot of it tie-died. Posters, rolling papers, gag greeting cards and other sundries were available as well. The rack that had the CD’s was half used CDs and half new titles. Most of the new titles were jambands including a lot of titles that you’d normally only see on the bands’ websites– the Live Phish series, the Wart’s and All moe. series, Dick’s Picks. I think that if someone was looking for any release from the jamband genre this would be the place to go. I flipped through the selections, but didn’t find anything I was interested in. I looked briefly at the Infrared Roses CD that was in the used bin. Infrared Roses is a mashup of a whole bunch of performances of “Dark Star.” I also noted that they had a copy of the Traveling Wilburys Three CD for $7.99. I guess the release of the box set last year really dropped the bottom out of the used market on Traveling Wilburys– I remember seeing copies of the first CD going for over $100! The owner of the place spent the entire time I was in there dealing with some personal issue involving a relative who was freaked out about either moving into a new apartment or getting new neighbors.
From there I ventured over to Disk Replay (13 Golf Center, Hoffman Estates, IL). Disk Replay is a chain used CD/DVD/video game store. There are 4 or 5 in the Chicagoland area. They have a very large DVD selection and two sizable rows of tables of CD’s. The selection was pretty good. Lots of duplicates. They have a “buy three get one free” deal which I took advantage of.
Grant Lee Buffalo – Jubilee(CD, Slash/Warner Bros. 468789-2, 1998) ($4.99) Gold-stamped label promo. I still consider Mighty Joe Moon one of my favorite 90’s albums. I especially loved “Lone Star Song.” I own Moon and Fuzzy. I’ve never heard Jubilee, so I’m looking forward to hearing this. Apparently I only need Copperopolis and I have all of the releases. Jubilee is produced by Paul Fox, who did some great work with 10,000 Maniacs. Helping out on the album are Michael Stipe, Robyn Hitchcock and E. Jon Brion contributes vibes to the album as well.
Talking Heads – Stop Making Sense – Special New Edition (CD, Sire/Warner Bros. 47489-2, 1999) ($7.99) I own most of the Talking Heads releases. I purchased most of them back in the early 90’s, but never bought Stop Making Sense on CD. Frankly, it kind of annoyed me that the original release was a very abbreviated version with only nine of the 16 songs from the movie. I made a cassette of the video tape a long time ago and that was the version that I listened to years ago. It’s great to have this at last.
Reminder – Continuum(CD, Eastern Developments Music EDM 013, 2006) ($3.99) This is why I love to dig through Chicago used bins! Reminder is the side project of Thrill Jockey friend Josh Abrams. I mentioned Reminder’s new EP in B-Sides in the Bins #15. Josh has some help on a couple of tracks from Nicole Mitchell of Thrill Jockey band Frequency. The track “Terradactyl Town” is credited as a remix of “Toy Boat” from Jeff Parker’s amazing solo album The Relatives. Very good cut-and-pastish album. Considering the Jazz bass work Josh does for other artists, it’s interesting to hear such a departure.
Nellie McKay – Get Away From Me (2 CD, Columbia C2K 90664, 2004) ($0.00) This was my “free” CD from purchasing the other three titles. It was sitting in the bin for $2.99! The case and CD’s are in perfect condition. Who knows why it was so cheap! Nellie’s first album. On Columbia, produced by the incomparable Goeff Emerick. This is the album that started it all. Jumps around stylistically from Rap to lush pop a la Nelson Riddle Orchestra. Probably regarded as her best effort, but time will tell. The clock is ticking for the show we’re seeing in Minneapolis. I’m very excited to see her!
I had hoped to spend another day in Chicago, but Saturday nights storms moving to Chicago had us worried about the road conditions so we headed back to Cedar Rapids rather than chance getting stuck in Chicago.
Friday night Sherry was at a class, so I decided to hit Half Price Books before coming home from work. I also hit CD’s Plus on Saturday while I was out running some errands. I got some pretty cool stuff, including a CD that I was hoping to snag for a review from a label.
Prince – Purple Rain – 20th Anniversary (2 DVD, Warner Bros. 33533, 2004) ($9.98) One of the cool things about Half Price Books is that they get “cut outs” of CD’s and DVDs. They had two copies of this sealed and notched as cut-out. I had purchased not too long ago a copy of the 1997 release. I think it was in one of the bins at Wal-Mart. This was the “Standard Version” that was pan-and-scan 6×9. The 20th Anniversary version is 2 DVD with a second DVD dedicated to extras like a cool documentary on First Avenue where the live performances were filmed, a making of documentary with interviews with Dr. Z, Wendy and Lisa, Jimmy Jam and others. They also have a somewhat embarrassing “MTV Premiere Party” from the movie premiere complete with interviews of John “Cougar” Mellencamp, “Wierd Al” Yankovic, “rising star” Eddie Murphy, Wendy and Lisa, Little Richard who was in full Bible-thumping mode, and a self-important VJ Mark Goodman. An interesting view into the MTV promotional engine. Talk about non-sequitur interviewees! I guess Eddie Murphy and Little Richard make some kind of sense– but the “Wierd Al” and John Mellencamp interviews were certainly a stretch. Little Richard turned his interview into a thing about him and Murphy makes some funny digs about that. Mark Goodman goads Murphy unsuccessfully to do an impersonation of Prince, and then tries to get him to do an impersonation of James Brown. Eddie says, “I’ve already done that” and walks away. The bonuses also include all of the associated videos from Prince, The Time, and Apollonia 6. Wow, “Sex Shooter” was a really horrible song and even worse video.
As the story goes, Apollonia Kotero replaced Vanity (Denise Matthews) for the lead female part after Vanity broke up with Prince and went solo under a record contract with Motown. So, the remaining members of Vanity 6 (Brenda Bennett and Susan Moonsie) plus actress Patricia Kotero (renamed “Apollonia” by Prince) became Apollonia 6. The Vanity 6/Apollonia 6 girl group was an idea that Prince had for a while and of course created songs for. Apollonia 6 recorded one record tied in with the rest of the records associated with the movie and that was it. Kotero and group were supposed to open the tour with the Revolution and the Time but that never panned out. Interestingly, Prince apparently wrote “Manic Monday” which would eventually go to The Bangles (and likely specifically to Suzanna Hoffs) and “The Glamorous Life” which went to Sheila E. for the Vanity 6/Apollonia 6 projects. Coincidentally, both Vanity and Apollonia have become born-again Christians. Actually, Prince is too, I guess.
The movie is restored to Widescreen and remastered. The old release was really shoddy, and this one is a vast improvement. I see that there is a BluRay version of this available, too. I’ll probably upgrade this copy when I get a BluRay player.
Aimee Mann – Bachelor No. 2 (Or The Last Remains Of The Dodo) (CD, Superego Records, 2000) ($5.98) This is the album that followed the success of the soundtrack to Magnolia. It includes some of the songs from Magnolia– one as an instrumental. Aimee Mann is one of my favorite female musicians and her pairing with Jon Brion is perfect. The songs from Music from the Motion Picture Magnolia and this album would make a nice mix CD. Only “How Am I Different,” “Deathly,” and “You Do” are on both. “Nothing Is Good Enough” appears on the soundtrack as an instrumental.
This was a sealed copy or re-sealed. Aimee’s first release as an independent artist.
Mike’s Mann Mix for the Last Remains of the Magnolia
1. One (from Magnolia)
2. Momentum (from Magnolia)
3. Build That Wall (from Magnolia)
4. Deathly (from Magnolia or Bachelor No. 2)
5. Driving Sideways (from Magnolia)
6. You Do (from Magnolia or Bachelor No. 2)
7. Wise Up (from Magnolia)
8. Save Me (from Magnolia or Bachelor No. 2)
9. How Am I Different (Bachelor No. 2)
10. Nothing Is Good Enough (Bachelor No. 2)
11. Red Vines (Bachelor No. 2)
12. The Fall of the World’s Own Optimist (Bachelor No. 2)
13. Satellite (Bachelor No. 2)
14. Ghost World (Bachelor No. 2)
15. Calling It Quits (Bachelor No. 2)
16. Just Like Anyone (Bachelor No. 2)
17. Susan (Bachelor No. 2)
18. It Takes All Kinds (Bachelor No. 2)
19. Nothing Is Good Enough (Instrumental) (Magnolia)
Pylon – Gyrate Plus (CD, DFA 2181CD, 2007) ($5.98) This is one that I’d hoped would come to me as a promo for review, but at $5.98 used, it was worth buying. I was surprised to see its spine looking up at me from the bins. Pylon was one of the seminal Athens, GA bands and were contemporaries of the B-52’s. Started as a kind of side project for its members who really thought of themselves more of an art collective. They were inspired by the B-52’s very stripped down approach (at least in the early days). I think you can hear a lot of similarities in the tribal dance beats and angular guitars. I became familiar with Pylon through the documentary “Athens, GA Inside/Out” and their performance of “Stop It.” When I got to college in the late 80’s I met a guy named Tom Lally who had the Pylon records on vinyl. These were on the now-defunct DB Recs label. I had made a tape of Gyrate and Chomp. Pylon broke up after Chomp just as they were asked to open for U2. Pylon reformed in 1990 for Chain on the now defunct Sky Records. I bought Chain when it came out and the 1988 Hits compilation on DB Recs. Other than the few tracks on Hits, the tracks from Chomp have not seen re-release. I hope that DFA is planning to reissue Chomp as well.
Listening to these songs again for the first time since the Nineties, I can tell that my remedial bass-playing skills are very influenced by Pylon– especially the track “Volume” on Gyrate. Pylon got back together last year and played a handful of shows to promote this re-issue and there are a couple of them available via BitTorrent.
R.E.M. are fans of Pylon and covered “Crazy” on their Dead Letter Office album of B-Sides.
Click Here to visit Southern Shelter’s page of live mp3’s from Pylon.
Iron and Wine – The Shepherd’s Dog (CD, SubPop SPCD 710, 2007) ($7.99) I got this one from CD’s Plus. I was happy to have stumbled into this one. I was really impressed with Sam Beam’s collaboration with Calexico for the In the Reins EP. Shepherd’s Dog picks up nicely from there. Full instrumentals provided with help again from Joey Burns and Paul Niehaus. Very nice percussion one this record makes it kind of a toe-tapper for me. Sam’s voice is one of my favorites in indie rock today. Brilliant record, I can’t recommend it enough.
I don’t know if the Cure does this on purpose, but it can be very difficult to be a Cure collector. It seems that they give their fans lots of releases to collect, but the overlap that sometimes occurs is grating.
I was reading my regular diet of music blogs this morning where I found this post from Don at Timedoor about a recent used CD find of the OOP Cure live album of their July 1989 show at Wembley titled Entreat.Entreat was another odd Cure release in that it was a collection and expansion of some live b-sides that they released on the Disintegration single “Pictures of You.” I vaguely remembered this release as it kind of annoyed me at the time since I was a collector of Cure releases and this forced me to purchase a release just to get four more songs. (I picked up all four of the singles “Fascination Street,” “Pictures of You,” “Lovesong,” and “Lullabye” in a box set with a poster called Integration.) Don includes three tracks as mp3’s. There seems to be used copies of this release available.
This reminded me of the fact that the Cure pulled something similar to this in 1993 around their “Show” concert film. This film and the corresponding album was based on the Cure’s two-day stop at The Palace in Auburn, MI during the behemoth Wish Tour on July 18th and 19th. I saw the Cure at the World Music Theater in Tinley Park that same tour on July 15, 1992. I still have vague recollections of sitting on the grassy hill watching the band on the big Jumbotrons with my friend Jenny.
The US release of Show on CD was a 1-CD affair, while the UK release was 2-CD. To make up for this the liner notes of Show helpfully point out that you could purchase the Sideshow maxi-single to pick up the missing five tracks. So, to recreate the entire Show 2 CD version it would look like this with the source in parenthesis:
Disc: 1
1. Tape (Sideshow)
2. Open (Show)
3. High (Show)
4. Pictures Of You (Show)
5. Lullaby (Show)
6. Just Like Heaven (Sideshow)
7. Fascination Street (Sideshow)
8. A Night Like This (Show)
9. Trust (Show)
Disc: 2
1. Doing The Unstuck (Show)
2. The Walk (Sideshow)
3. Lets Go To Bed (Sideshow)
4. Friday I’m In Love (Show)
5. Inbetween Days (Show)
6. From The Edge Of The Deep Green Sea (Show)
7. Never Enough (Show)
8. Cut (Show)
9. End (Show)
So, with the help of Amazon, you can recreate this show for $6.99 for Sideshow used, and $11.99 for Show new. Note: For some reason sellers think that Sideshow is worth over $50 new! The problem with assembling this for yourself would be splicing those tracks back in. I don’t own Sideshow, so I don’t know how those edits work. The recording is made up of songs from both nights, so if all of the excerpted songs were from where edits had to happen it might work. Of course, Amazon has copies of the 2-CD import available as well for less than the cost to build it if you don’t already have Show or Sideshow.
Which brings us to the third live release from the Cure based on the Wish tour (well, fifth if you include the film for Show and the import 2-CD version) titled simply Paris. As the title implies this is a live record based on their three-night stint at Le Zenith in Paris in October, 1992. Looking at the setlists for October 19, 20, and 21 it appears that the songs are from all three nights. I remember picking this release up at a truckstop sometime after I moved to Minnesota in 1995 in a bin full of “discount” CD’s. In fact, my copy of Show seems to be a cutout as well, so I think I bought it about the same time thinking this was part of the same show. According to the official Cure discography the video for Show and Paris were released on the same day (10/26/93), and– in the US– the CD catalog numbers are sequential [Show is Elektra 61551, Paris is Elektra 61552]. The CD for Show was released before the video on the previous Tuesday 10/19/93. The packaging for Paris is a lot simpler than Show as it is only a once-folded insert and no clear disc tray. It’s pretty clear that they considered this an extra release. Apparently 50% of the royalties payable to the Cure went to the Red Cross.
The tracklist for Paris (with which dates the song was performed):
1. The Figurehead (10/20/92)
2. One Hundred Years (10/19/92, 10/21/92)
3. At Night (10/19/92)
4. Play For Today (10/19/92)
5. Apart (10/21/92)
6. In Your House (10/20/92)
7. Lovesong (10/20/92)
8. Catch (10/19/92, 10/21/92)
9. A Letter to Elise (10/21/92)
10. Dressing Up (10/19/92)
11. Charlotte Sometimes (10/20/92)
12. Close to Me (10/20/92, 10/21,92)
Paris is a pretty interesting release from the perspective that it doesn’t duplicate any of the songs from the Show/Sideshow releases. The French crowd seems very excited to be at the show– at one point even singing along with the main synthesizer part in “One Hundred Days!” I guess this is why the Cure filmed the “In Orange” concert film in France. The song selection is interesting in that while Show focuses on Wish and more popular Cure songs, Paris includes some rarer songs like “Dressing Up” from 1984’s The Top and “In Your House” from their 1980 release Seventeen Seconds.
All of the live releases from 1993 capture the Cure at the top of their game and a product of the Cure as a touring machines. The live albums stand up well against the rest of the Cure catalog. As I was writing this piece, I was listening to Wish and Paris and I really enjoyed them. It’s probably time for me to revisit the Cure catalog in my daily commute.
In retrospect, as a fan of the Cure, it was astounding to watch the meteoric ascent of the Cure from Kiss Me, Kiss Me, Kiss Me (“Just Like Heaven”) to Disintegration (“Lovesong,” “Lullabye”) to Wish (“Friday I’m In Love”). In 1993 the band in some form or another had been around for over twelve years. In 2009– provided Robert Smith doesn’t retire again– the Cure has been around for 30 years. This puts the Cure as contemporaries of U2, who formed in 1978, and R.E.M. who formed in 1980.
Mark Olson as one of the founding members of the Jayhawks provided an early prototype of the revival of country-folk that would shape today what gets generally labelled “Americana” although he doesn’t necessarily believe in limiting his music by giving it that name. With his touring accomplices multi-instrumentalist Ingunn Ringvold and violinist Michele Gazich, Mark is back on the road supporting his brilliant 2007 release The Salvation Blues following a short break after last year’s run through the US and Europe. It was during his break in the middle of catching up on errands that Mark graciously accepted the invitation to talk to me from his current home in Joshua Tree, CA about collecting records.
Me: Thanks for talking to me today, Mark. Can you share with us some details about your record collection?
Mark: I’m a bit of a record collector from way back. I don’t do it so much now but. There is this Italian in the group who is, like, totally insane about going to bookstores and record stores and he buys way too much stuff for us to be on the road with it!
But, I did it at a certain point in my life and I guess it influenced my music all the way along and that’s collect records and stuff. I have a bunch of ’em. And books and things like that. I love to go into those kinds of stores. I’m one of those guys that wishes there were still more record stores around– and book stores. I get tired of the Borders and that kind of stuff.
There used to be a really, really cool record store– I forget the name, I’m sorry– it could have been part of Cheapo’s but I don’t think so– it was on Lake Street in Minneapolis down by the river and it was just in a grungy storefront. But, what they had that was SO different– they had all these BRAND NEW gospel records from like the Sixties and the early Seventies still in– and this is in the Nineties– still in the wrappers! They were on the Nashville Label and the Nashboro label and Folkways. I got a bunch of them for like a buck-fifty of people I’ve NEVER EVER heard of– you know? All this really neat stuff. So I bought a bunch of those back then. There used to be a lot of like little hole in the wall used record stores around there. I got a lot of neat records, there. I think that people made off with them, too. I think Karen [Grotberg– keyboardist of the Jayhawks– Ed.] and the Jayhawks they made off with one of my favorite ones.
Me: Of these gospel records?
Mark: Yeah. It had this piano and organ going at the same time and it blew her away. So, I dunno. I haven’t seen that one in a long time. (chuckles).
I’ve just got a lot of really wierd, rare records. Like the Glaser Brothers (Tompall & the Glaser Brothers- Ed.) they were really GOOD when they first started out. They had these three-part harmonies and they were singing kinda folk-country stuff. [Tompall Glaser] actually wrote “Streets of Baltimore” that ended up on the Gram [Parsons] record (his 1972 release G.P.– Ed.). So, I’ve just got a lot of wierd Sixties, country, folk gospel records. That’s the first place I would go to look– in those sections.
Me: Is this the segment you collect in, then?
Mark: Well, I do anything now, but back then I was totally obsessed with Sixties Country, Folk, and these wierd gospel labels. They were on small labels that weren’t in regular record stores and no one is going to see these records again! But, this one store had bought out this collection of records on really THICK VINYL.
My favorite albums– as far as albums go, the ones that had the biggest influence on me were the Doug Sahm Mendocino album and, then of course The Flying Burrito Brothers Sin City album. I like Jesse Winchester he’s kind of a folk guy. And, I like Fairport Convention. That’s the stuff I put on to just enjoy so to speak.
Me: You know, I never really got into Doug Sahm…
Mark: Oh MAN!
Me: But… I’m familiar with him through Calexico and their participation in that Border Radio tribute “Los Super 7.” (note: while songs from Doug Sahm are on both records, he only sang on the first one that was hosted by Los Lobos).
Mark: What’s cool about him is he could sing like nobody else– he had one of the most soulful voices. He came out of Texas doing all the different styles of Texas music– he could do R&B, blues, country… But then what he did was move to San Francisco for a while and that totally opened up his music into all kinds of different directions and he made this album called Mendocino that isn’t the most- ah– he made another one that’s even crazier– but this one is just the beginning of that. It’s not like albums that are made today– that are VERY LOOSE in the performance level, okay? There’s mistakes being made, there’s tempo changes, there’s all that stuff going on. But, his voice is so COMMANDING that it doesn’t really– and the recording quality is not that good, really, compared to modern records where everything’s CLEAN at the perfect levels and all that stuff.
Me: So, what label was he on?
Mark: He was on Smash and they put out a bunch of good albums! They put out all of the Jerry Lee Lewis records that were country– that are INCREDIBLE! But, no one played and sang like Doug– very loose– just incredible stuff.
Me: When you say “loose” like that, it makes me think of Howe Gelb from Giant Sand.
Mark: Yeah, sure! I really liked that “Sno” album (Howe Gelb’s 2006 release ‘Sno Angel Like You)! That is SHOCKINGLY GOOD! I can’t believe that that isn’t like a HUGE album! It’s just so fricking GOOD. Lyrically, musically, there is so much going on there, it’s just intense.
Me: Do you collect mostly vinyl, then?
Mark: Today, I’m about 50-50 vinyl and CD’s. But, leaving Minnesota– moving a lot is really rough on a record collection. We had a flood at one point. It’s unbelievable but there was a flood in the desert– if it rains too much it can flood. And, I lost about a quarter of my record collection. It was impossible to save them because there was too much silt.
Me: So you just wrapped up a tour of Europe?
Mark: Yep, three months– well we did two months in America and we did three months in Europe pretty much back-to-back. I’m home for a couple of weeks and then it’s back out.
Me: Yeah, you’re coming to Cedar Rapids, IA! I’m planning to be at that show. I had intended to go to the show at the Mill last Fall…
Mark: That was a CRAZY night. There was lightning everywhere It was seriously dangerous to be outside.
Me: I talked to a guy who went to the show and he said there was only like 20 people there.
Mark: I think that people decided to keep their life in good order and not step out into the lightning. Meanwhile we’re out in the middle of it playing!
Me: What are you doing in this little break?
Mark: Well, you go out on tour, come home and pretty much things have fallen apart– your vehicle, your house. I’m trying to put everything back together, clean up. I have a list of musical equipment I need to get. Then go back out again. I’m more used to touring, now, than being at home.
Me: It seems like you’ve been on tour a long time!
Mark: The album came out in June and the tour started in August. I feel like we just got through the first phase of it now and now we’ll go back out and see how it’s going. It used to be that you would go out for a promo thing and the record company would support that and then you’d go out on tour. Now, the tour is kind of like “promo.” That’s a business thing that has changed. I feel like we’ve done the touring, the promoing and now we’ll go out and see what’s going on– if people have heard this album and if they’re into it– in America at least.
Me: Thanks for talking to me, today, Mark. I’ll see you at the show!
Mark: No problem! See you.
Mark will be playing Wednesday night, February 13 at 8PM at CSPS in Cedar Rapids, IA. Tickets are $13 in advance, $16 the day of the show. Click Here for Details
and 
I don’t know if the Cure does this on purpose, but it can be very difficult to be a Cure collector. It seems that they give their fans lots of releases to collect, but the overlap that sometimes occurs is grating.
