Monday, 7 October 2013

28 & 29 September 2013 (Days 271 & 272) – The Miseducation of otis.youth Pt.6

Grand Final Saturday.  As the Western Bulldogs have never got there in my lifetime, I find music shopping is a great therapy as the supporters of the two teams lucky enough to make it, celebrate and make their way to the MCG.  I'll shop, sulk and generally annoy "M" until such time as game starts and only then can I lose myself in the game.  Naturally, I switch off after the final siren (after all their is the season's Premier to be acknowledged) but before the cup is presented (which is a sacred moment for the team, their supporters and no one else).

Sunday arrives and I know that Summer is around the corner.  "M" and I celebrate by heading into town thus ensuring a) another weekend without music, as well as b);

The Miseducation  of Otis.youth - Part 6

“M” quite literally walked into my life (actually my office).   First impressions weren’t all that great; she didn’t like me at all.  Not that it mattered.  No one, including yours truly, could fail to notice what looked like a giant engagement ring on the appropriate finger.  As I thought she was off limits, I reverted to my usual John Cusack as in Hi-Fidelity easy going character, and this eventually did the trick.  Around two years later she succumbed to the acquired taste that is otis.youth.

Despite the efforts of the boom box in my office, music did not play a major role in our courtship with my complete and utter failure to play anything in my collection that led to any expression of, even begrudging, enthusiasm.  I put this to one side as I gradually became aware that our sense of spirituality and what’s important in life were for all intents and purposes identical.  Before I knew it, I had proposed fully realising that the most unlikely scenario in my life was to be writ large; I was going to share that rest of my life with someone whose musical taste did not remotely resemble mine. 
But ultimately this did not matter as we found ways and means to overcome the void.  Lazy Saturday mornings in bed listening to music we loved never eventuated; instead we discovered our taste in movies and TV was practically identical.  Friday and Saturday nights in pubs attending gigs likewise didn’t occur and we found other activities to take its place.  Music shopping?  Initially, I relied on shopping strips or supermarket malls where I could shop for music whilst “M” hunted clothing or shoe bargains. Now there’s the internet.
Not that this was ever going to get in the way of our getting married.  As many people have written, marriage is just about the hardest thing that two people could undertake.  It is a commitment that requires patience, understanding, love and the ability to compromise.   I knew that I was ready to get married – and that my love for “M” was unshakeable – when I realised how easy it was to painlessly give up certain parts of my music life.  The biggest compromise was my gig going.  In the entire time we’ve been together, I’ve not seen more than five gigs in any given calendar year until this year when I’ll get to six and for half of that period I’ve seen no more than three per year. 

I’m still adding items to my collection, but I’ve found ways of doing this more efficiently.  This means I do this using far less time and, crucially, without it impeding much on our time together.  Mind you some of these developments were forced upon me with the closure of so many fine record shops.  These included the Last Record Store in Collingwood, Au Go Go Records and HMV in the City, and the loss of another via the merger of Collectors Corner and Missing Link Records also in the City.  The Brashs and Sanity chains are also completely or largely gone and even many of the department stores have dramatically cut back on stock.  For the most part only JB HI-Fi remains as does the legendary Greville’s records in Prahan, Polyster in the City and Fitzroy and a small number of second hand stores.
The internet has also helped, although it took a long time before I embraced it.  The catalyst came for a period of over 2011/12 when Amazon removed postage charges for deliveries to Australia.  Added to the then high state of the Australian dollar, I used this as the opportunity to order a mass of material that is extremely difficult, if not impossible, to get here. I closed my account when the reintroduced postal charges.  Since then, I turned my attention to my music library and have been expanding that, taking advantage of sites that also don’t charge postage.  I need to work fast; once the dollar starts to depreciate, I’ll close my account.

None of this stopped my musical explorations.  In the first decade of this century I started to delve into World Music once I’d accumulated enough of the key reggae albums.  This was an area I’d always had an interest;  I did go across to Adelaide for the first Womad Festival there in 1992 and I started collecting Fela Kuti albums as a result of listening to Talking Heads.  But over the last decade BJ turned into something of an authority on the music and pointed me into all sorts of interesting directions.
My explorations into the world of German experimental music (or Krautrock) were all my own doing and represents “M”s greatest musical legacy to me.  Before she entered my life, my knowledge of this field was limited to the mighty Kraftwerk as well as a couple of minor Can albums I’d been able to snag.  It started to take off when I returned to “M”s home city to visit her parents and get engaged.  As per usual standard operating procedure when I arrive in a new city, I poke around her hometown’s music stores.  It wasn’t (and still isn’t) all that inspiring.  However, she took me to a weekend market which seemed to specialise in music, movies and electronics.  There were so many music stalls there I felt I arrived in heaven.  At one of these stalls I bought Can’s Tago Mao and Future Days, a disc of John Peel Sessions and Kraftwerk’s hard to find in Australia first two albums.  From there I was hooked and over the course of the years since have added the master works from the likes of Cluster, Harmonia, Popul Vuh, Aamon Duul II, La Dusseldorf, Tangerine Dream and, of course, Neu!

But the biggest impact from these trips has come from my decision to purchase the one thing in my life that is welded to me today almost as securely as “M” – my iPod.  It's impact on my listening and purchasing patterns were to become significant.

Wednesday, 2 October 2013

27 September 2013 (Day 270)– What’s My Favourite Elvis Costello Album Ever (Pt 1?)

Now I jump from the frying pan into the fire.  Having been relatively non committal about a favourite Sonic Youth album, today I turned to one of the most prolific recording artists of the last 30 years, Elvis Costello.  Comparing albums from the various stages of his career is bad enough; there’s the early angry young man albums, country albums such as Almost Blue, National Ransom or the grossly underrated Profane And Sugarcane, the jazz  ballad heavy North, the strong mature rock albums such as When I Was Cruel or Brutal Truth, tremendous B-sides and rarities albums such as Out Of Our Idiot or Cruel Smile and stonking live albums including the legendary Live At El Macambo and the recent The Return Of The Spectacular Spinning Songbook.  And then there are the generously extended versions of the first dozen albums or so and the double album versions of most of these.

THEN there’s the collaborative albums and nobody collaborates like Elvis.  There’s The Juliet Letters with string quartet The Brodsky Quartet, Il Sogno a classical album performed by the London Symphony Orchestra, the wonderful hook up with Burt Bacharach Painted From Memory (featuring the incomparable God Give Me Strength), another with New Orleans legend Allen Toussaint (The River In Reverse) and even a collaboration with Swedish mezzo soprano Sophie van Otter.  And now comes news that his next albums will be credited to Elvis Costello And The Roots.  No wonder I’m not looking forward to this!
As it turns out, all of my favourite Costello albums are either those attributed to either Elvis solo or to his work with the Attractions or The Imposters, in other words his straight ahead rock and or country work.  I suspect that he finds cranking out these albums comes a little too easy for him and his various stylistic diversions are intended to stretch himself musically.  Yet it all works; there are very few dud albums across his entire catalogue and he always appears to emerge re-energised after his musical diversions ready to rock out or engage his country muse.

But, as it also turned out, I turn out not doing justice to the man today.  I thought I’d get through about seven albums today having no commitments whatsoever yet I’m seemingly besieged by ad hoc issues for much of the day and barley get through four albums.  It means I can’t rave about his latter day classic with The Imposters, The Deliver Man, his mid period masterworks Blood And Chocolate and Imperial Bedroom or my dark horse, the lush yet biting Punch The Clock.  But I did get to play:
(# 633) Elvis Costello – My Aim Is True (1977)

This was a short sharp blast from a major new talent.  Backed by American act Clover , which was to eventually mutate into Huey Lewis’ News ( listen especially for their distinctive harmonies right at the start of Welcome To The Working Week), Costello fired off a dozen quick fire shots of what was essentially British pub rock with a punk attitude and really not all that different to Graham Parker.  Pay It Back, in particular, could easily be mistaken for a Parker track.   No Dancing has a distinct American East Coast feel but the early classic tracks – Working Week, Miracle Man, the lovely Alison, (The Angels Wanna Wear My) Red Shoes and Mystery Dance all have a verve that simply couldn’t be denied.
(# 634) Elvis Costello And The Attractions – This Year’s Model (1978)

In which our newly found hero delivers another short sharp blast aided by a terrific backing band and even stronger lyrics.  No Action, The Beat, You Belong To Me and, especially the mighty Pump It Up all benefit from  a stronger guitar presence but its Steve Nieve’s organ that really places itself as the cedntral element of The Attractions soundscape.  (I Don’t Want To Go To) Chelsea, Living in Paradise and Night Rally see Elvis attempting different rhythms and moods.  Crucially these are placed towards the end of the albums as if already warning the listener to expect change.

(# 635) Elvis Costello And The Attractions – Get Happy! (1980)
The one word that cannot be used to describe this 20 track album is short.  (The two disc version of this album clocks in at a whopping 50 tracks!)  The sound is now a little denser which is great news for the rockier numbers  such a Love For Tender, the furious The Imposter, High Fidelty, I Can’t Stand Up For Falling Down, 5ive Gears In Reverse and I Stand Accused.  But interspersed amongst these tracks is a great deal of diversity as Costello really starts to reach out into various directions; both Secondary Modern and Temptation are underpinned by a wonderful backing that recalls Booker T And The MG’s, King Horse incorporates a lush piano feel, New Amsterdam a vaguely fairground sound, Human Touch utilises ska to great effect and Riot Act provided the slowed down dramatic closer. 

(# 636) The Costello Show – King Of America (1986)
A kind of folk, acoustic rock album with distinct country leanings, I seem to remember this album pretty much dividing critics on its original release.  Much of the venom appeared to be reserved for the, admittedly ill-advised, cover of Don’t Let Me Be Misunderstood but the rest of the album worked remarkably well.  (And live with The Confederates, these tracks went down a treat.  I enjoyed the first night I saw in Melbourne so much I had no hesitation in returning the following night.)  Brilliant Mistake was a tremendous opening and fed beautifully into the acoustic rockabilly of Loveable.  Glitter Gulch and The Big Light were convincing Gram Parsons inspired acoustic honky tonk romps and I’ll Wear It Proudly and Poisoned Rose strong ballads.  Jack Of All Parades and Sleep Of The Just both stately numbers in the same mould as Brilliant Mistake ensured the album ended on a strong note.

At the end of the day I'm none the wiser.  I think I can reasonably leave out the first two albums, which today would probably have been combined into a single CD.  And as much as I love the remaining two, I think I'll need to defer a decision until I played the other 4 albums I mentioned previously. 

Tuesday, 1 October 2013

16 September 2013 (Day 269) – What’s My Favourite Sonic Youth Album Ever

I seem to have hit upon a comfortable run at the moment where I’m able to play 4 or 5 albums a day.  This ideally suits my campaign in writing about the candidates for my own personal top 100 albums of all time (that I’ve heard of course).   To date I’ve gone through a number of different categories – acknowledged classics, live albums, Australian albums, stuff that I like that others don’t necessarily and now I’m onto another category.  This is acts that have produced a number of top notch albums that I’ve always had difficulty in separating.   It also help me correct some of my listening patterns in my year to date, as I catch up on some of my favourite acts.

This leads me to today’s act, the .youth of my adopted name, Sonic Youth.  I first became aware of the band when I bought a vinyl copy of the Sister album, having been alerted to it by a Rolling Stone review.  It was probably the first of the major noise and feedback drenched albums to make an impact and was instrumental in my finally developing an appreciation for the first Jesus And Mary Chain album Psychocandy as well as putting me in the frame to better appreciate the Velvet Underground.  I next went backwards, hearing EVOL and Bad Moon Rising but found I appreciated Sister better, hearing in tracks like Hotwire My Heart, (I Got a) Catholic Block and White Kross the first true signs of conventional song structures and even some melody that were to emerge in their next proper album, the landmark double album;
(# 629) Sonic Youth – Daydream Nation (1988)

Lauded by absolutely everyone, this album packs quite a wallop.  It opens with a sensational trio of tracks; the ferocious Teenage Rocket gives way to the aural blitzkrieg that is Silver Rocket.  The Sprawl that follows provides a respite of sorts before the assault continues with awesome tracks such as Cross The Breeze, Eric’s Trip, Hey Joni and Kissability.  If the album has a fault it is that it goes on for a tad too long;  Trilogy, which closes the album cannot sustain interest for its length and simply peters out ending the album on a puzzling note and a couple of other tracks could have been cut. Had that been done, this would my vote as their best album and probably by a wide margin.  The band also toured Australia for the first time behind this album and the show I saw at the Old Greek Theatre on 20 January 1990, culminating in a thunderous version of The Stooges I Wanna Be Your Dog, was magnificent.  And, as if to complete the circle, the last time I saw them was on their final Australian Tour of February 2008, when they played this album in sequence warts and all with its power undiminished.
(# 630) Sonic Youth – Goo (1990)
(#631) Sonic Youth – Sister (1992)

These are the two albums I’ve have the greatest difficulty in separating.  Arguably the two most popular albums in their catalogue, between them they contain some of their most enduring music.   Goo contains the raging Dirty Boots, Kim Gordon’s ode to Karen Carpenter Tunic, Kool Thing a lesson that thought provoking lyrics and a near commercial tune can exist hand in hand, the screamingly propulsive instrumental Mildred Pierce, My Friend Goo and the convincing closer Titanium Expose.  The sound is rough but in a manner that suits the material brilliantly.
Sister, on the other hand, could very well be described as Goo with a cleaner production sound.  The opening four tracks are brutal and probably could have done with the dirtier Goo sound; still, very few albums start as convincingly as the combination of 100%, Swimsuit Issue, Theresa’s Sound-World and Drunken Butterfly attests.  Sugar Kane is the hit single equal of Dirty Boots, Youth Against Fascism nearly succeeded as well and the closing duo of Purr and Crème Burlee is absolutely inspired. 

Realistically, I could pick either in my top 100 but would feel uneasy about leaving out the other.  But then, if I did that, I would be forced to include;
(# 632) Sonic Youth – Murray Street (2002)

 Sonic Youth recorded quite bit after Dirty including experimental releases (the SYR series), strong albums such as A Thousand Leaves and Washing Machines and what is arguably their worst album, 2000’s NYC Ghosts & Flowers.  Perhaps sensing they needed a rethink, they added Jim O’Rourke and produced this absolute gem.  On it they found the absolute perfect match of melody and noise, personified by The Empty Page and Rain On Tin.  Both of these tracks see the band finding an initial smooth grove that they ride until arriving at moments of utter guitar chaos before slinking effortlessly back into the same groove as if nothing had happened.  Epic tracks in the guise of the 11 minute Karen Revisited and the enigmatic 9 minute closer Sympathy For The Strawberry are not that far behind.  The subsequent album Sonic Nurse provided more of the same wonderful sounds.

 

Monday, 30 September 2013

25 September 2013 (Day 268) – What's The Best Album Ever? More Candiates Pt.2

Picking up from yesterday, I had time to play another 4 albums that would most likely make a top 100 of my favourite albums.  The day started with two jazz classics, the first of which is:

(# 625) Oliver Nelson – The Blues And The Abstract Truth (1961)
I knew nothing about saxophonist Oliver Nelson when I bought this album, having been seduced by the impressive roster of jazz greats who appear on this album and are listed on the cover – Bill Evans, Eric Dolphy, Paul Chambers and Freddie Hubbard.  It contains some of the smoothest jazz you’re ever likely to hear with each track seemingly employing at least two saxes in unison.   The opening cut, Stolen Moments, is one of those instantly recognisable pieces of jazz you’ve heard but for which you didn’t know the title, Teenie’s Blues is launched by a beautifully understated double bass solo courtesy of Chambers and the theme of Hoe-Down should be fairly apparent.   

(#626) Johnny Griffin – A Blowin’ Session (1957)
This is another jazz classic that employs a superstar cast list.  Joining Griffin on sax is both John Coltrane and Hank Mobley as well as Lee Morgan on trumpet, Wynton Kelly on piano, Paul Chambers again on bass and Art Blakey on drums.  As the title implies, the emphasis is on the saxes and trumpet.   Two versions of Jerome Kern classics are included, a solid version of All The Things You Are and an insanely fast version of The Way You Make Me Feel Tonight.  The highlight is the wonderful closing number Smoke Stack which gives time and space to everyone and my edition of the album contains an alternate version that is truly different to the final take.

(# 627) Green On Red – Gas Food Lodging (1985)
Green On Red were one of the mainstays of the US West Coast “Paisley Underground” of which I was so enamoured during my university years.  This is their finest full length album, a wonderful rock album with tinges of country that is the closest any band has ever come to sounding like Neil Young’s Crazy Horse.  That’s What Dreams Are For is an effective opening and an accurate signpost of what is to come.  Black River and Easy Way Out are strong ballads that wouldn’t sound out of place on albums by The Band and Hair Of The Dog is a tremendous rocker.  But the real fireworks, and the Crazy Horse analogies, are to be found late.  Sixteen Ways is an organ driven rocker in which a man laments the death of his children.  The Drifter is next, a tough sounding number that positively surges into Sea Of Cortez that brings what appears to be a mini trilogy to a satisfying and noisy conclusion.  A relatively faithful rendition of Pete Seeger’s We Shall Overcome brings the album to a satisfying end.

(# 628) The Psychedelic Furs – The Psychedelic Furs (1980)
The Psychedelic Furs’ debut album is a classic resulting in an unfortunate case of a band forever trying to surpass its brilliance.  The album maintains a dark brooding sound throughout which never suffocates the music and is superbly anchored by Richard Butler’s deep rough sounding vocals.  The epic throbbing India is a magnificent calling card leading to the Joy Division meets The Cure stylings of Sister Europe.  Fall (a track that sounds much like Mark E Smith’s band) and We Love You keep the excitement level high and Imitation Of Christ returns the quality level to the high settings of the opening tracks.  Pulse and Flowers are raging propulsive numbers that help end the album on a high note.  It is very much an album of its time yet remains strangely timeless.

Saturday, 28 September 2013

24 September 2013 (Day 267) – What's The Best Album Ever? More Candiates Pt.1

I started today thinking I’d be playing the albums that would fight for the number 1 spot should I ever attempt to compile a list of my 100 best/favourite albums of all time.   But as I was scrolling my iPod in the general direction of the albums in question, I noticed yet more albums that I haven’t even mentioned.  Thus, for the next couple of days I’ll be playing those starting with an album most people wouldn’t think of including:

(# 621) Lou Reed – The Blue Mask (1982)
From what I can see, most pundits when assessing Lou Reed’s solo career tend to praise his early albums such as Transformer, Berlin and the live Rock n’ Roll Animal.  No problems here, they’re all top notch albums but this approach undervalues the wonderful albums he’s made in the middle and latter parts of his career including the relatively cheerful New Sensations, the superb New York and the thought provoking Ectasy.  But towering over all of this is this generally unacknowledged gem comprising a ten largely sparse sounding tracks but crucially played by the best backing band he’s ever had – guitarist Robert Quine, long term bass player Fernando Saunders and drummer Doane Perry.  For the most part the album is built on the interplay between the two guitarists, which in a nod to old style recording techniques, Reed acknowledged by placing his and Quine’s guitars on different sides of the stereo mix.  (And for those who know about these things, the sound of a record is an all consuming passion of Reed’s.)  It’s almost redundant to state that this album sounds magnificent on headphones.  But none of this would matter if it wasn’t for the batch of A grade tracks which Lou brought to the sessions.  My House, Women and, especially Average Guy all seem to be statements about Lou’s life at that moment.  Underneath The Bottle and The Gun about some of his greatest fears which are put on a global level with Waves Of Fear and personalised with his memories about The Day John Kennedy Died.  Yet everything pales against the gut wrenching majesty of the title track.  An explosive mediation about torture set against squealing guitars and a faint martial beat, it horrifically anticipates post 9/11 claims of PoW mistreatment by a good 20 years and might very well be the single best track he’s ever recorded.

(# 622) Led Zeppelin – “Untitled” (aka Four Symbols; aka Led Zeppelin 4; aka ZoSo) (1971)
Talk about a moment frozen in time.  Actually this landmark album is titled by the four symbols on label but which can’t be replicated by present day computer keyboards.  The gatefold cover showing a picture of an old man in a building being demolished is difficult to replicate in a CD jewel box.  Even its contents; hard rock played with a distinct blues feel and surrounding hippie vibes appears old hat, a relic.  And yet, the album is one of those timeless masterpieces that people today tend to downgrade when compiling top 100 lists; certainly Physical Graffiti has this covered in terms of ambition, scope and probably scale of achievement but this album is the epitome of hard rock.   Black Dog and Rock And Roll might very well be the best one-two punch opening of any album ever released.  The Battle Of Evermore and Going To California are tripped out hippie musings, whilst Misty Mountain Hop and Four Sticks rank among their most unacknowledged triumphs.  What’s left is the heartbeat of the album, the two epics that closed each side of the original vinyl release. When The Levee Breaks, which closes the album, is absolutely brilliant, a number that demonstrates how well the band drank at the font of the blues.  Powered by John Bonham’s most brutal drumming performance, Robert Plant’s vocals are so convincing that his solo career travels into world music truly comes as no surprise whatsoever.  The other track is Stairway To Heaven, a track that needs absolutely no comment on my part such as been the way its ingrained itself into rock’s consciousness.

(# 623) Otis Redding – In Person At The Whiskey A Go Go (recorded 1966/released 1968)
My oh my oh my.  I part name myself after the great man and forget to include this.  This is a live album recorded in LA in the club on the Sunset Strip.  Although he was yet to appear at Monterey, the excitement in the room is palpable and the fans lap up what is effectively a greatest hits set.  I Can’t Turn You Loose is an explosive opener leading into ballads Pain In My Heart and Just One More Day.  The tempo picks up with Mr. Pitiful before exploding into his cover of The Stones (I Can’t Get No) Satisfaction.  After a few more numbers, the closing trio of tracks , These Arms Of Mine, Papa’s Got A Brand New Bag and Respect leave the audience and listener begging for more.  Another aalbum of tracks from the same show was released as Vol. 2 but really, what the world is truly waiting on is the entire show in sequence.  But if you really want to know why so many listeners love listening to this man, listing to (Sittin’ On The) Dock Of The Bay,  watch his Monterey Performance and his Norwegian show on the Stax Respect Yourself DVD and get this album.

(#624) The Replacements – Let It Be (1984)
The Replacements emerged from Minneapolis at around the same time as its other two venerated musical exports, Husker Du and Prince.  Their early albums, all released on independent labels, saw them played a turbocharged, though at time juvenile, brand of alternative rock that was always exciting and featured the often brilliant lyrics of chief lyricist Paul Westerberg.  This was the last of these albums and is arguably their best.  Proceedings are kicked off by the cheerful chugging I Will Dare, We’re Comin’ Out is sloppy fun, the ballad Androgynous is convincing as is a faithful cover of Kiss’ s Black Diamond.  Side two features the largely instrumental Seen Your Video which outlines their anti video stance, the childish Gary’s Got A Boner and another fine ballad Sixteen Blue.  But the masterstroke is the album’s final cut Answering Machine.  Effectively the first solo Westerberg solo track, it is a masterful lament of someone facing the agonising dilemma of whether to leave a good night message on an answering machine to a loved one who is not home.

23 September 2013 (Day 266) – What's The Best Album Ever? Live Candidiates

Back to work after the weekend and I’ve the opportunity to play more candidates for the title of my best album.  Today I’m considering live albums.

If I were to compile a top 100 list, I’d imagine that at least 20 % of the total would constitute live albums.  I’ve already played during the year some of the certain inclusions such as The Celibate Rifles Kiss Kiss Bang Bang, AC/DC’s If You Want Blood You Got It, It’s Alive by The Ramones, Live! by Bob Marley and the Wailers, Keith Jarrett’s Koln Concert, Rock Of Ages by The Band, Little Feat’s Waiting For Columbus, S + M by Metallica, Spiritualized’ s Royal Albert Hall October  10 1977, the Frank Zappa and Ensemble Modern collaboration The Yellow Shark and The Grateful Dead’s epic Live/Dead.
To that esteemed list I would add the following four albums that constitute today’s playlist.  They would, in all probability, be the four highest ranked live albums on my list:

(# 617) The Who – Live At Leeds (1970)
Although I’m a massive fan of The Who, this is just about the only one of their albums that I would contemplate adding to a top 100 although Who’s Next would go close.  This live album, more or less, summarised their career prior to the recording of that studio landmark.  It is a warts and all recording of the band firing on all four cylinders, seemingly unhindered by drugs, alcohol or taped introductions a la Baba O’Riley or Won’t Get Fooled Again.  The original rendition of this album consisted of just 6 tracks, all of which are brilliant.  Side one brought together a tough sounding cover of Young Man Blues, a raging Substitute, an over the top cover of Summertime Blues and a strong Shakin’ All Over.  Side two, incredibly upped the ante with a 14 minute version of My Generation that also incorporated elements of Tommy and other tracks only for that to be bettered by an 8 minute version of Magic Bus that veers into the realms of heavy metal.  (A 25th anniversary edition extended the album to CD length and a collector’s edition 5 years later provided the entire show although not in the order the tracks were played. The former is probably the version to get.)  Beautifully recorded, it exposes all of this bands strengths including Roger Daltrey’s massive vocals and Keith Moon’s impossibly manic drums.  And, in case you haven’t heard it, the Live At Hull album recorded on the next stop of the same tour isn’t as good.  Nor would one expect it to be.  Live At Leeds is one of those very rare live albums that captured a live act almost without peer on a great night out.

(# 618) The Aints – S.L.S.Q Very Live!  (1991)
In 1991, lead vocalist Chris Bailey was touring Australia with a version of a band he called The Saints.  This didn’t appear to please that band’s original guitarist Ed Kuepper who put together his own  band which he called The Aints and then toured playing tracks drawn exclusively from The Saints first two studio albums.  One result of that tour was this scorching live album in which Kuepper’s patented buzz saw guitar attacked the tunes with an intensity that was simply jaw dropping.  The album kicks off with an introduction of feedback and other howling guitar noise that yields to a blistering version of This Perfect Say.  With scarcely a pause the band goes on to attack Erotic Neurotic (basically I Want To Be Your Man) Runaway and Know Your Product with ever increasing levels of intensity.  This is maintained to the end of the album via patented Saints demolition set pieces River Deep Mountain High, Messin’ With The Kid and Nights In Venice.  Even the audience adopts the same messianic zeal as evidenced by the punter screaming for the band to play during the ironically titled Audience Rain Chant.

(# 619) Jerry Lee Lewis – Live At The Star-Club Hamburg (1964)
Live albums give some of the pioneer acts who might not have recorded great individual studio albums a chance of getting a spot in my top 100.  And no one is more deserving of this than The Killer.  In front of a rabid audience at the very venue The Beatles underwent their musical maturation, Jerry Lee and the Nashville Teens tore into a set of rock n roll classics like a bunch of slobbering Reganites and Thatcherites in front of an open bank vault full of money intended for social justice causes guarded by poor people.  Mean Woman Blues, High School Confidential and, especially, a raging Money (That’s What I Want) gets things off to a blistering start.  Covers of Carl Perkins’ Matchbox and both parts of Ray Charles What’d I Say are then despatched before Jerry turns his attack onto his own Great Balls Of Fire and Good Golly Miss Molly.  A diversion into country for Lewis’ Boogie and Hank Williams’ Your Cheatin’ Heart provide a chance for respite pending the full on assault upon Hound Dog, Long Tall Sally and, inevitably, Whole Lotta Shakin’ Going On.  Really there is just nothing more exciting in all of rock music than this.  Oh yes, and the Jerry! Jerry! chant popularised on the Jerry Springer Show began live here.

(# 620) James Brown – Love Power Peace. Live At The Olympia Paris, 8 March 1971 (1992)
How this album could lie unreleased for 20 years is not just a mystery but a travesty.  This album is an aural history book marking the actual connection point between the soul of James Brown and the hard funk of Parliament/Funkadelic. It is the only live recording to surface that documents Brown’s Band with Bootsy Collins, Catfish Collins and Fred Welsey, all of whom were to subsequently join the latter.  It is a faultless recording of a faultless show with tracks so well honed by the band that they all flow seamlessly together like that greatest DJ mix you’ve ever heard.  The opening of Brother Rapp and Ain’t It Funky Now is hair raising stuff and sets the bar for the evening.  Sex Machine, a medley of Papa’s Got A Brand New Bag/I Got You (I Feel Good) I Got The Feeling and Give It Up Or Turnit A Loose keeps the excitement level high interspersed  by great balladry in Georgia On My Mind and It’s A Man’s Man’s World.  The ending of the show/album is earth shattering; traditional closer Please Please Please gives way to a Sex Machine reprise before everyone goes for the kill with an encore of Super Band, Get Up Get Into It Get Involved and Soul Power.  As fine as the first three Live At The Apollo albums are, this singe disc album leaves them all in the dust.


 

21 & 22 September 2013 (264/165) – The Miseducation of otis.youth Part 5

Another weekend spent with “M” with a few commitments and lacking the ability to play anything.  And so it is another opportunity to indulge in:

The Miseducation of otis.youth Part 5
By the late 1980’s everything was set.  I had everything I’d ever wanted; a great job, a car and the ability to see the world.  Only two things were out of reach both of which (a Bulldogs Premiership and someone to share my life) were, in my mind, seemingly out of reach.  It left me free to pursue my four passions –collecting music, going to gigs, watching the Doggies and travelling – whilst saving enough for a house deposit.  And so until roughly the end of the year 2000, I restlessly pursued all 4 passions.  For all of that time I could be reliably found hunting for music in shops throughout Melbourne and its suburbs each Friday night, every Saturday morning or afternoon and, occasionally on Sundays. (Sunday searches usually came about as a by-product of the Bulldogs playing on that day or, more often than not, due to my going to Record Collectors fairs that were always held on that day.) Often the search would be co-ordinated during the winter months so my search would end near whatever venue the Bulldogs was playing that weekend.   Night times were spent attending gigs, recovering from gigs I’d seen the previous night or playing the fruits of my labours.  
It was during roughly 1991 that I finally convinced myself of the merits of the CD and that record companies and shops were phasing out vinyl records.  It would have been at that same time that I stopped buying vinyl albums and pre-recorded cassettes. I purchased blank cassettes for taping albums from my friends, gigs off the radio and from, 1993 a select number of gigs I attended.  (I ceased the latter practice years ago as it was hindering my enjoyment at the gig.)  My belated and reluctant embrace of CDs initially caused my musical voyage to discovery to remain in dry dock for a year or two as I sort to obtain CD copies of my favourite acts such as Springsteen, Neil Young , Bob Dylan and The Stones in addition to new releases.  By 1993 I was ready to expand again. 

My first new foray was into jazz.  The catalyst was a music stall at a weekend shopping complex known as Pipeworks in outer suburban Thomastown almost adjacent to the then start of the Hume Highway, the main driving route between Melbourne and Sydney.  For whatever reason, that stall stocked an incredible selection of new jazz reissues at incredible prices.  It was from this one stall that I bought the bulk of my Miles Davis collection, obtaining all of his key Columbia albums including A Tribute To Jack Johnson, Kind Of Blue, In A Silent Way, Porgy And Bess, On The Corner, etc for $10 each.  As Davis usually recorded with the cream of jazz players, I started to branch out and started to listen to acts such as John Coltrane and Bill Evans.  And from there the fuse was lit and jazz albums were routinely added to my collection as I came across them.  The introduction of the Rudy Van Gelder editions of the classic Blue Note albums from 1999 also led to further explorations as these were, inexplicably, sold here at relatively low process.
My Frank Zappa mania started in late 1997.  The catalyst here was the JB store in Camberwell where  stumbled across a mountain of incredibly cheaply priced copies of his second Beat The Boots box set which contain officially released live bootleg albums originally released illegally by other not associated with either him or his record company.  (Although being completely pedantic, this was actually his first Beat The Boots box set per se; as far as I understand Vol. I never came in a box but was simply a batch of individual albums released under that title.)  Up until this time, all the Zappa material I owned was limited to taped copies of Hot Rats and We’re Only In It For The Money.  The scale of the material on this box set was such that by the end of 1998 I had hunted down copies of practically every album in 0his entire catalogue. 

A similar thing happened during 2000 when, once again at the Camberwell JB, I bought a cheap copy of Dubwsie And Otherwise, a sampler of reggae and dub tracks released from albums on reggae historian Steve Barrow’s Blood & Fire label. After playing this album, I scurried back to my copies of The Harder They Come Soundtrack, the one or two Bob Marley albums I owned and the wealth of dub and reggae tracks on The Clash’s Sandinista!    By the end of 2002 I had purchased copies of practically the entire Blood & Fire catalogue released to that point and expanded into the various Trojan box sets and thematic releases, material recorded by Lee ‘Scratch during his Black Ark era, as much King Tubby dubs as possible as well as many others. 
But if my record collecting was manic, it would have been my devotion to the live gig that would have had me committed for observation.  According to my figures, I attended 18 gigs in 1987, 33 in 1988, 43 in 1989 and a whopping 468 between 1990 and the end of 2000.  Each year my objective was to attend at least a gig a week and for three years (1991-1993 inclusive) topped that target. 

Even my two backpacking trips in 1990 and 1998 fed into this pattern of behaviour.  In every major city I visited, I tried to ensure that I found their major record shops for inspection visits.  This led to some great memories involving record shops; an afternoon in the various 2nd hand establishments in Soho London, having a lengthy discussion with a clerk at a Tower Records store in Greenwich Village NYC wanting the dope on the latest Australian underground acts coming through, purchasing a taped copy of the awesome Rolling Stones live bootleg Nasty Music from a street vendor in NYC, discovering huge sections in Copenhagen’s record stores devoted to the works of John Farnham, having to ascend a rickety fire escape to an absolutely brilliant NYC black music store where I’d been reliably informed I could obtain a copy of Prince’s Black Album (this was before it was officially released).   And then there’s been the gigs; attending a music festival in Belgium, seeing The Waterboys in a tent on Finsbury Park, London, arriving in The Hague on opening night of the White Sea Jazz Festival to find a number of great acts giving free live public performances all over town, seeing Jeff Beck and The Big Town Playboys in a Munich club as well as seeing The Stones in Rome and Prince in Rome and Nice.
My 1990 trip also had one unintended consequence.  It was early September and I had arrived in Cardiff, Wales.  After seeing all of the main sites, I decided to site in a park, enjoy the sun and read something.  I went into a newsagent and saw a music magazine on sale called Q and another called Select.  I purchased both (which I still have today), and enjoyed the next few hours in the sun.  The experience trigged off a new development in my musical evolution as these magazines became my new guiding forces.  I continued to buy Select, produced by the New Musical Express, until it closed a few years later.  I stayed with Q right until their most recent editorial change that has positioned it more or less as a top 40 type of magazine.  Today, my main guide is Mojo which is supplemented by Uncut whenever they produce a decent covermount CD.
The first breaks of this behaviour came when I finally obtained a mortgage and moved into my own home.  By then, the start of the millennium, the music environment had started to change.  The internet had been embraced and the illegal downloading of albums though sites such as Napster had begun.  Record shops started to disappear and the major department stores such as Myers, Target, K-Mart, all a great source for obtaining cheap copies of new releases, started to reduce the amount of recorded music they were willing to sell.
The music on sale had started to change as well and not necessarily for the better.  Grunge had flamed out, dancehall had made reggae relatively uninteresting and American black music had begun its devolution towards the relatively bland caterwauling of its divas todays.  The rise of Eminem, although brilliant himself, had convinced many white men that they could rap (when most can’t) popularising the form whilst neutering it at the same time and diverting these fans away from the thought of playing rock music.

Back home, live music venues were dying, most of the classic Australian rock acts had either disbanded or were playing as a form of heritage act and the cost of concert tickets started to go through the roof.  Very few major rock acts were coming through; if anything most of the new acts were skewed towards rap or dance music.  Although I didn’t realise it immediately I had begun to feel disinterested in the local scene.  Having a mortgage saw me feeling the need to cut back on my gig going, but this was more than a financial matter now. The turning point turned out to be 7 March 2004.  Not having convinced any one to come, with me I was alone at the Corner Hotel waiting for Wire to get on stage.  I looked around the audience and noticed that everyone there was around my age and had a partner.  I started to question whether this was fun anymore but, thanks to an absolutely inspired performance by Wire, truly one of the best gigs I’d ever seen, was able to put it aside for the moment.  Little did I know at the time, but a mere 6 months previously, I’d met a woman called “M”………