NB: Nigel's notes will begin with N: and Ben's will begin with B:
N: It was a miserably rainy day in Chicago this Record Store Day, the kind of day I would have liked to spend inside sipping tea and listening to records, not walking in rainy headwinds to spend all of my money in a manic frenzy. But there we were, a gang of dourly dressed men trudging down Milwaukee Avenue acting like teenagers on the first day of summer break, stopping only for more beer or to accost the random unsuspecting stranger. Here are some highlights from the days finds:
N: It was a miserably rainy day in Chicago this Record Store Day, the kind of day I would have liked to spend inside sipping tea and listening to records, not walking in rainy headwinds to spend all of my money in a manic frenzy. But there we were, a gang of dourly dressed men trudging down Milwaukee Avenue acting like teenagers on the first day of summer break, stopping only for more beer or to accost the random unsuspecting stranger. Here are some highlights from the days finds:
Faust, IV
N: Not the only record I picked up that I was more than familiar with, I was more or less guilted into buying this because, alas, I don’t actually own this on any format. Lucky I did, Faust IV is an undisputed classic.
B: Sounds like the Sgt. Pepper from beyond the Berlin Wall (though they’re from the West). I imagine many interesting production choices had to be made; making the vinyl well-worth the price of admission.
Panda Bear, Tomboy
B: In the spirit of Record Store Day, Tomboy is very much a two-sided record. Side A is reminiscent of MPP’s quick pacing, and almost-maybe-even choruses. Indeed a live show, included with the download, features a few MPP tracks sounding perfectly at home--relaxed even--in a Panda Bear set. Side B’s tracks are less focused, wander a bit more. Maybe it’s because we have a well-loved predecessor in Person Pitch, but the sonic environment on Tomboy generally feels less interesting, and more like a vehicle for the (undeniably beautiful) melodies. Nevertheless, the whole thing is a stunner, perhaps never more than on the amazing track “Afterburner” which would sound at home in the wistful wabi-sabi discotheque right along side....
N: “Slow Motion” still knocks me flat. It’s also worth mentioning that the B side has a looping runoff groove, meaning the record will continue to play and never end until you lift the needle, which is as cool as it is sort of annoying.
Arthur Russell, Calling Out of Context
B: Russell is so cool as to be a little on the nose: New York, Retro-Dance, Avant-garde composer. Even if you feel “over” the elements, the result is both undeniably cool, and pretty fun and welcoming. Very minimal environments--drum machine, couple synth lines, supplemental percussion and usually Russell’s cello--permeated with a voice that meanders between Bill Callahan and Aaron Neville. Like an animated corpse of disco music stalking the streets of Daydream Nation’s New York.
Box Tops I See Only Sunshine b/w Sweet Cream Ladies
N: One of a couple Box Tops singles I found at the Numero pop-up store, this one features the Alex Chilton original, I See Only Sunshine. The track features Chilton’s amazing knack for melody, you can almost hear him trying to shrug off the gruff soul singer affectation and just open up on this one.
Big Star, 3rd
N: I had to round out the Chilton collection with Big Star’s 3rd. Living up to its reputation, the album is incredibly sad, even desperate at times, filled with beautiful string arrangements and some of Chilton’s best vocal takes. His voice sounds alternately tender and ragged. This is an incredibly ambitious album, even when held next to #1 and Radio City. I wonder if that ambition comes from the desperation of being at the end of the rope as a band, or if Alex Chilton was just ready to move far away from the sound he’d already perfected over the last two releases. This might be my favorite Chilton record I’ve heard so far.
B: A power-pop apple, far from the tree. On par with Lou Reed’s Berlin for overall bleakness. Nevertheless, has some real gems both on the happily sad and the extremely forlorn ends of the spectrum.
Signals, Calls and Marches:
N: One of my favorite EPs of all time, this is by far my favorite Mission of Burma release, especially for the fist-pumping Academy Fight Song.
Eccentric Breaks and Beats
N: The only Numero release I picked up at their pop-up shop, the story behind this 12” is that the label discovered a bootleg 12” floating around filled with samples pulled from their releases. Instead of issuing a cease and desist, Numero decided to distribute it themselves. What starts off as a fairly engaging mix ends up being pretty brilliant by side 2. This isn’t really a party starter, unless the party is a small BBQ, but it is a fantastic headphones album. Also, another album with a looping runoff groove on the B side, for whatever reason. Ugly cover though.
Strangest Impulse Buy Award:
V/A- Holy Fuzz Christian Psychedelic Music (1967-1975)
Curiosity got the better of my judgement, and now I own this. Oddly enough this early artifact of “Christian Rock” is dogged by the very same things that dog the Christian Rock of Today. The songwriting is written in a self-assured second person, one who has all the answers knows exactly what you should do. The songwriting generally lacks specificity, which as we’re told in Strunk & White’s The Elements of Style is crucial to good writing. “If those who have studied the art of writing are in accord on any one point it is this: the surest way to arouse and keep the reader’s interest is by being specific, definite and concrete,” states S&W, going on to cite the book of Ecclesiastes as an example of strong writing. Contrast this with Holy Fuzz’s ninth track “Dry Ground” by the Exkursions: “Don’t lie to yourself. Take things as they are. That’s the first step in becoming a much better person by far.” Bush league stuff, Exkursions.
But then psychedelic music—Christian or otherwise—isn’t known for its lyrical acumen. You want to know how the jams am, how the grooves do, how face-melters smelter. They’re... fine, I guess. Within the psychedelic music world I’ll admit I like a bit more subtly and nuance (okay, melodious and fey) over early/harsh/heavy. This compilation is the latter for sure. I guess I was hoping for some sort of psychedelic spirituality; it’s odd that something so concerned for your soul would seem so soulless.
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