I got a bunch of records – vinyl records – from Mom last weekend. A lot of “I don’t listen to this, why do I have this?” things. A couple were records I had replaced with clean copies and left my old ones – notably the Cars Candy-O. Most were records that Dad had bought or were bought for him – Bob Seger’s Nine Tonight, Petty’s Damn the Torpedoes [mom HATES Tom Petty!], Head East’s Flat As A Pancake. I also took some of those original records that I loved for so long – warts and all. Joe Cocker’s With A Little Help From My Friends [with that scary blood red cover art!], Three Dog Night Suitable For Framing, a very old [but not valuable] Are You Experienced. [Never mind the ones that made it out the door with me when I moved out like Jefferson Airplane’s Flight Log collection.]

These are not pristine collectable records mind you. These records were played. Mostly on an old console stereo with a record changer. Remember those? You’d put on two or three and when one record ended the next would drop on top of the other and the tone arm would swing over and start playing the next album? I’m sure it makes some people cringe now but let’s face it, records are made to be PLAYED. It is the only way to enjoy the music in the groove, right?

All that using the records gives them character. One example as my old copy of Aerosmith Rocks. Even though I got a brand-new copy for graduation, from the first play, it had a pop right at the end of Combination. The song would come to its metallic screeching halt [ending the first side] and not half a second later – POP. Now I always wanted my records to sound good so sometimes this drove me bananas when I would be making a tape. But over the years I have found myself remembering that pop when I play that song and MISSING the old pop.

This pile of freshly arrived vinyl made me think back to high school days when I’d make these tapes for Robin. The problem is that music always meant that much to me. I found it hard to express myself [all those long notes to the contrary] and I tried to use other people’s words to express my own feelings. It’s a thin line sometimes. I’d sit there and cram songs that I thought were cool on them and write long sappy notes about what I thought about the songs and basically pour my heart out. One of those songs that I always associate with her is Petty’s Even the Losers. I didn’t smoke and we sat on the trunk of my car in her parents driveway instead of the roof. I tried to show her some things that maybe she never noticed before – “stars [you] never could see.”

It did work both ways though. She was the first person to turn me on to U2 [Under A Blood Red Sky – she loved I Will Follow]. She saw the Tears For Fears video for Everybody Wants To Rule the World – because she lived in the city and had cable / MTV – and said “hey you look like that guy.” [I felt sorry for Roland Orzabal for looking like me.]

Do I really know what Robin thought of those tapes? Not really. I know there were maybe some things that connected. Those tapes became a part of the soundtrack for a couple of years in her life. For my part, I eventually learned not get all starry eyed and be such a trusting, giving person and not to pour my heart out. But it would be a while.

 The "greatest" songs take a little piece of your heart and soul and a sliver of time and file them in your memory banks so that when you hear them again, you're taken back and you feel what you were feeling then. Like stepping inside an isolation chamber and you hear the music and you smell and the memory washes over you. Some of these little moments are common moments - concerts or that one hit that was all over the radio that one spring / summer / fall of the year...

Some of them are a little more personal. Like Magic by the Cars. Sure, Magic was almost a top ten hit in the summer of 1984 and maybe it was one of those songs for some other folks that year - especially after seeing the video. [Although Drive would be released as a single a couple months after "Magic" and become the Cars highest charting single. "drive" brings up a whole 'nuther range of emotions for me.]

But for me, Magic represents that last summer of innocence. The last summer of no expectations and being 'just a kid.' About a week after school let out, I drove that shitty faded out lime green Duster up to the Sears at Seminary South - an outdoor mall - at an ungodly hour [in the summer] to get tickets to the see the Cars in September. Maybe eight or ten of us waited around. There may or may not have been a boom box. When time came, we walked up to the Ticketron and waited our turn. And when I left I had the Cars tickets I had been cruelly denied in 1981 [because uncle Mike and Uncle Rich wanted some coffee].

But when I hear Magic it still take me back to that summer. First job, drinking Buds out of those squat little brown bottles in the parking lot after work. Finding more and more music to wrap my ears around.

What's one of those songs for you?

The Cars - Magic (Official Music Video) - YouTube

So a couple months back, I was in Born Late picking up my Deluxe copy of Liquid Sound Company’s Psychoactive Songs For The Psoul [link to album on Bandcamp], when I spotted a fave in the reissues bin, the Steve Miller Band’s Book Of Dreams. I don’t think I’ve ever owned a clean copy, so I plopped down some greenbacks in the fine establishment and hit the road.

 Another album I haven’t owned a clean copy of is [was] the predecessor, Fly Like An Eagle. I recently picked this up, too. Why Capitol records had one of the greatest albums by an American band pressed on 180 gram vinyl in the Czech Republic is beyond me. I guess it saved them a few pennies that they could put into their endless repackaging of the Beatles.

Is the title track overplayed? Yes, yes it is. [I saw the SMB on Austin City Limits and the keyboard player hit the sample of that climbing synthesizer riff about 15 times too many. I hope Stevie Guitar beat the crap out of him backstage.] But the rest of the album is nothing to be dismissed. I mean six of ten [dismissing two short instrumentals] made the Greatest Hits album! [Fly Like An Eagle in a shortened single mix.] My parents had the 8 track of this and it’s just another one of those albums I have just always known. I’ve heard it so many times, I know every note of this backward and forward.

What I have not done – probably since 1978 or do – was listen to this classic on headphones. So today I did.

The vinyl itself is incredibly clean and quiet. The thing that jumped out to me in a new way was the sound of this. Hearing it on the stereo with four good speakers or at the stadium or the skating rink it sounds huge and fills the place. But in the headphones [and maybe just because I was listening closely and to a good new, clean copy] I noticed just how much space there really is. On most of the tracks [besides the title track and the always a favorite Wild Mountain Honey] it’s apparent that this is basically a trio recording. Vocals tend to be edged to the right channel.  Highlights are the return to the blues of Sweet Maree with former Howlin’ Wolf and Muddy Waters harmonica man James Cotton blowing. And the great cover of the K.C. Douglas song Mercury Boogie [retitled Mercury Blues] is a track I almost never get tired of. The organ led The Window is a refreshing more atmospheric piece that kind of hints at what will be coming on Book Of Dreams. [The basic tracks for both albums were recorded at the same time.]

The total waste of vinyl is Steve’s cover of Sam Cooke’s You Send Me. If I could program vinyl to skip a track, that would be the one. Still one bad idea [dismissing the :53 second Space Intro like Blue Odyssey] does not ruin a pretty damn fine record. Still 4.5 stars.

 So I was watching Color Me Obsessed,  last night [instead of lie sleeping or something important like that.] It's the 2011 film [meaning there's not even a hint of the Filthy Luchre Reunion shows] of fans and critics talking about how the Replacements were the greatest "____" band . 

It made me think about my own fandom of the Replacements. I am one of the rare birds - a fan of the later Replacements albums. 

I guess I was too old to "punk" by the time I found Sorry Ma... Hootenany has a few moments but is mostly forgotten. Let It Be is a good album although Favorite Thing and We're Coming Out have not held up well. Tim is only moves me half the time - Bastards and Hold My Life, of course. Swingin' Party and Left Of the Dial. It's been in and out of my collection a couple of times [currently: out]. And it sounds like it was recorded with a blanket in front of the microphones.  But the last two? HUGE fan. I used to have Don't Tell A Soul and All Shook Down Back To Back [see what I did there?] on a 90 minute cassette and I would play it over and over and over for a week at a time, back when I was in Burleson and I had to drive at least 20 minutes to get anywhere. When I was driving 45 minutes to an hour each way to get from Burleson to downtown Dallas five days a week. 

My introduction to the band was 1987's Pleased To Meet Me. [And I might not have ever heard that had I not been working in a record store. But I did and I fell [mostly] in love. Nightclub Jitters still doesn't do anything for me.  The Ledge moves the needle a bit but not much.]  Since this was my introduction to the band, I had no idea about the politics going on over recent releases, the firing of Bob Stinson or even what the band sounded like before this release. Therefore, I was not appalled by the use of horns or strings or acoustic guitars or any of the things that offended "original band" or "from the start" Replacements fans. I'm pretty sure I didn't know about the Twin Tone releases until the Inconcerated EP brought Answering Machine and Here Comes A Regular into my orbit. [I  didn't know Another Girl, Another Planet was a cover either until many years later when I heard the original.] 

That opening salvo of I.O.U, Alex Chilton and I Don't Know though - FUCKING FANTASTIC. That whole second side smokes and then suddenly there's the super quiet Skyway. And then the sheer brilliance of Can't Hardly Wait - which if it isn't my favorite Replacements song most days, it's surely top three. [You know what makes it such a great song - besides that riff? It's the breaks - the skidding to a dead stop for two bars. It gives you a second to absorb what you've heard - and a second to anticipate everything kicking back in again. And those horns. Just like Jim Price and Bobby Keys on Exile On Main Street - they give it just a touch of soul, just a punch  to put it over the top.]

Since I joined the party so late, I also didn't know to be horrified by the purely poptasticness [po + fantastic = poptastic] of Don't Tell A Soul. Maybe the first couple of times I tracked it I was "Boy this sure doesn't sound much like the last record" but I soon fell in love with it for a different reason. It could rock some [I'll Be You, I Won't, Back To Back, We'll Inherit the Earth] but when they slowed down the wrote some really pretty songs. I was 21 when I got Pleased To Meet Me - Paul Westerberg would have been 29.  Staring 30 in the eyeballs, he could have been asking himself "Do I want to be caught up playing some cartoonish over the top boob when I'm 30 or 35 like the god damn Ramones? Or do I want to say something?" Hearing DTAS, I think he wanted to say something. He did say something to me. Don't Tell A Soul touched me in a way that's hard to explain. Part of it was the times - the people I was running with, the girl I was hopelessly head over heels for. The moments it seemed we were together and the sudden "we have to talk" and "losing" what you never really "had." [But that doesn't really mean anything when your heart is dedicated.] I found a lot of solace in Achin' To Be and They're Blind and Darlin' One. Many nights achin' to be on her canvas. Many nights pondering the things I held dearly that were judged once and then swept aside. 

Then came All Shook Down. The ridiculously low selling finale, the all but in name Paul Westerberg solo debut. People hate and loathe this record and I don't get it. It's not that far removed from Don't Tell A Soul which sold a respectable 300,000 copies. I guess if you were a fan of a certain narrow form of expression like 2 minute bursts of energy of Sorry Ma, then All Shook Down [and Don't Tell A Soul] are complete "sell out" records. "What, they want to be pop stars, have hits and get played on the radio? Fuck that noise!" But then, Let It Be would be a sell out record too. Too polished and professional sounding. But I like it. It continues the slide to mainstream but on the Replacements own terms. Merry Go Round, One Wink At A Time, Nobody and When It Began are pretty good "Pop" [as in Popular] songs but they have those weird little bits that are pure 'Mats. The guitar solo on Nobody - the song kind of a winking tip of the hat to I Knew the Bride When She Used to Rock & Roll - is just too weird to be on top 40 radio. Otherwise it's a great dose of power pop. the lines in One Wink At A Time ["The magazine she flips through / is the special double issue / smells like perfume / she leaves it on the plane"] don't fit anyone's play list. I love the line in Bent Out Of Shape: "A little sleepy time tea / spiked with a heartache."

But the killer here is the worldy weary Sadly Beautiful. I don't have the words to describe the emotions this brings up. Open to interpretation of course, it seems to be about someone admired from far away who only occasionally crosses your path but each time they do, you notice them slipping into some sort of darkness that they finally give into [Think No Place From You from 2002's Stereo] or succumb to. 

The "second side" [i.e. everything after When It Began] starts really getting a little weird. but on cassette, 70 MPH on a darkened interstate, you're committed. Plus it's not BAD, just weird short little things. Happy Town is a little slice of Pleasant Valley Sunday [lyrically] run through Westerberg. Maybe a warning to the bands following - attention Goo Goo Dolls! The duet with Concrete Blonde's Johnette Napolitano [My Little Problem] is a hot little rocker. 

As far as the movie, well, it was interesting hearing how the Replacements impacted some people. I guess they had an impact on me as well but not to a fanatical level. I never saw The Replacements, though I have seen Replacements  -Westerberg once, Tommy twice [once solo and one with the short lived Bash & Pop] even short set by Bob 'Slim' Dunlap. I still enjoy putting those records on from time to time but I admit Bash & Pop's Friday Night Is Killing Me is the one I've probably played the most in the last decade. [I had that on a cassette with Izzy Stradlin & the Juju Hounds - another one that I could play over and over.] 

fataal Flaw

Fatal Flaw

I wish that I could be

Some special someone to you

Someone more than just another one

Just anyone you sort of know

But I could not, I would not

I dare not take a shot, a chance

On something that could be

Mysterious, adventurous, grand and magical

Because the twins of pride and fear whisper to me

That I cannot take another crack in my heart

faves 96 97

Favorite Albums By Year: 1996 / 1997

They” say as you get older, you lose interest in some things as you “grow up / mature” and life takes you off into new directions like, love & hope & sex & dreams – you know, marriage, children, soccer practice, PTA. And for most of you this may be true. But even without these things to distract me, I found myself less interested in NEW music. There would always be things that caught my ear but by and large I began seriously digging into the past. Any of you who knows me knows I have a great love of the later 60s and 1970s music. I just dug further back into the things that J. Michael and Tracey recommended and the offshoots and contemporaries. Plus the reissues / remasters started coming out and I spent a lot of cash re-buying a lot of things: the Stones, Led Zeppelin, Frank, Rory, etc. So I decided to end this little exercise here at my 30^th birthday. Not that there weren’t things that came out after then that I didn’t love – it just becomes less of a challenge to write about one or two good records non-compilations] that I got say in 2000 [Ryan Adams’ Heartbreaker, Harold Budd’s The Room].

I hope those of you who read any of these enjoyed my twist on things. It was a little but challenge, a whole lot therapy for me.

Chaz  7/4/2020

1. Being There – Wilco

This double disc set [though it would have fit on one – maybe Jeff Tweedy didn’t want to overwhelm his audience with a 19 song disc even if 10 of the songs clock in under 4 minutes, 8 of them under 3 and a half] runs the gamut of what might be called Cosmic American or Americana. A lot of country tinged stuff, some straight ahead rock [the trio of Monday, Outta Sight (Outta Mind) and I Got You (At the End Of the Century)] and folk and electric folk [The Lonely 1, What’s the World Got In Store?, Someone Else’s Song, Far Far Away]. The long songs that kick off each CD [Misunderstood on disc one, Sunken Treasure on disc 2] have great basic songs that slip into breakdowns, mash ups and soundscapes that will come back on A Ghost Is Born. Again, on both sides of a 90 minute tape [with a smattering of songs from 95’s A.M.] it would gt into my player and stay for a week at a time.

2. Down On the Upside – Soundgarden

At first I wasn't sure about this one. It’s different again from Badmotorfinger or Superunknown was. But a few repeats and I fell in love with this one, too. I mean it’s still Thayill, Cornell, Cameron and Shepherd. They’re just stretching themselves out a little bit. Apparently the move away from the heavy sounds of BMF and Unknown was a boe of contention with Thayil and the rest of the band.  Lord, there’s even acoustic guitars or dobros or both on Dusty and the great Burden In My Hand.! But there’s still chorus of Ty Cobb [which sounds influenced by Ministry’s Jesus Built My Hotrod] : “ Hard headed, fuck you all / hard headed, fuck you all / Hard headed, fuck you all / Just add it to the hot rod death toll.” Unlikely to get played on the radio but gets the blood moving! Which is followed by the slowly turning Blow Up the Outside World. They would delve deeper into the psychedelic swirling on Applebite, and a little differently with the layered guitars and Chris Cornell’s Leslied vocal sections on Tighter & Tighter, more straightforward on Zero Chance, Switch Opens and Overfloater. This one has its share of in your face punishers to go with Ty Cobb – mostly Ben Shepherd keeping the band honest – like Never Named and An Unkind. Unfortunately, only about 1/5 of the people who bought Superunknown went with this one – your loss – and the ones who did said it was too long, though it clocks in about 5 minutes shorter than Unknown. I guess it’s all in whether you like the album rr not.. But as enjoyable as the album is up to the last song – that lost song feel like an unfinished one – a strange and sad note to end on.

Writing about the record’s 20^th anniversary, Sterogum noted “The combination of the dust and the psychedelic lends Down On The Upside an autumnal tone — it’s music composed of burnt oranges and yellows flaring out one more time before expiring…. Down On The Upside is a more personal comedown album, a little note from one voice at the end of a major movement in American rock music, but not a definitive conclusion. It’s quiet even when it’s screaming, the muted document of a band shuddering apart.” They did break up for a little over a decade, apparently long enough for wounds to heal issuing the very good King Animal in 2012. They stayed busy for a few years but then troubled singer Cornell took his own life. A great talent lost.

Favorites 1997

1. Stranger’s Almanac – Whiskeytown

I remember this well. I was in the wedding of my friend Kelly. Hot as a Texas July day can be we stood for pictures in front of the church. in black tuxedos. Then there was a couple hours break before the reception. Several of us headed to Jim’s apartment to cool off with a cool one. Then Brother N8 showed up with this disc. Another one of those records I fell in love with from the first spin. Falling alongside Jeff Tweedy’s Wilco blending country and rock and with a tough of Appalachian folk. Ryan Adams songs with Caitlan Cary’s harmonies and fiddle like some modern day Gram and Emmylou [see Inn Town, Houses On the Hill, Losering]. When Whiskeytown choose to rock as on Yesterday’s News and Waiting To Derail it’s a lot like Wilco or Uncle Tupelo. But two of the most powerful songs on the record are the country tinged 16 Days  with more great harmonies and soulful [ala the Stones I Got the Blues] Everything I Do. Ryan Adams would kill the band after 2001’s good but not great Pneumonia.

2. Love Songs For Underdogs – Tanya Donelly

While I knew Belly’s song Feed the Tree, I had no idea – still really have no idea – about Throwing Muses. Maybe that's something I need to explore soon. Anyway working the record store one day I saw this title and I was like “well, I’m an underdog, let’s throw it in.” Especially because I think women sing better than men. And I stumbled across a gem of a record, one of my favorites of the decade. This is an album of mostly good power pop underneath Donelly’s airy vocals. Here’s an example, the opening cut Pretty Deep. Listening to me try to sing along with those super high vocals has got to be a scream. Fortunately I spend a lot of time driving alone. 

Fves 1996

Favorite Albums By Year: 1995

1994, 1995, 1996 all seem to run together in similarity. Working two jobs for a bit, the industrial soaps place by day, Forever Young three nights and Saturdays; drinking with the Lonely Hearts Club on the weekend nights, watching the shows and videos and endlessly spinning the tunes,  making and erasing memories, self medicating to quiet the pains of loneliness, emptiness, fears and  rejections and sometimes bad choices or choices left unmade that become waving goodbye as people move on. [Speaking only for myself of course.] Sometimes venturing to the close by bar for a change of scenery, sometimes to Dallas to experience live music. But it all runs together in the haze of misspent “youth.”  These are the days I refer to when I say “I used to drink a little bit.”

1. A Boy Named Goo – The Goo Goo Dolls

Sometimes when you have a favorite band that is off the popular radio [the Replacements, the Goo Goo Dolls, R.E.M., X, Superchunk, etc.], a band that you and your friends know about and you’re all like “God, why hasn’t anyone heard of this fantastic fucking band?!?!” and then they get popular and all of a sudden you hear your little cult band on the radio and see them on MTV and shit you start to resent the people who never heard of them before THAT SONG as fakers and trend following cows. And you crow about how you’ve been a fan of the band since back when and how you bought their new record the week it came out and you and your crew were playing it before somehow the rest of you herd following ass clowns found them.  Then you hate the band’s next record and wish them doom for having sold a few million records. This is called being a music snob. And the Goo Goo Dolls is one of those bands. Like I said in the 1995 records, Superstar Car Wash was a record I blasted and blasted and blasted on the many hours driving a lot of places in these hazy years. Played it loud for maximum effect and ruined my ears forever. When A Boy Named Goo came out I placed them on the flip side of a good ol’ 90 minute tape and blasted them back to back [at max volume, etc.]  driving all over the place – one of many back to back tapes that got played to death along with the old Aerosmith / Faster Pussycat [see 1989’s favorites] and the Replacements All Shook Down and Don’t Tell A Soul records. Sonically, the album doesn’t differ much from Superstar only this time Johnny Rezeznik didn’t call Paul Westerberg to write lyrics having come up with Name on his own.  Name of course broke the band and led to disillusion and all of that which would follow. But still, Goo is a damn good record. 

2. Here’s Where the Strings Come In –Superchunk

Even more perfect than side one of Foolish, Strings cycles between the hyper [Hyper Enough, Yeah It’s Beautiful Here Too, Detroit Has A Skyline] to the medium tempo-ed but hypnotic [Silver Leaf And Snowy Tears, Sunshine State, Green Flowers Blue Fish] and the combinations of the two [title track, Certain Stars]. Bu the highlight of the album – besides the great guitars of Mac McCaughan and Jim Wilbur and the always great drumming of Jon Wurster – is the seminal ‘Chunk track Eastern Terminal. 

3. Letter To Laredo – Joe Ely

Mostly known as a roadhouse favorite from Lubbock who easily straddled the borders of country and rock & roll, on this one Joe Ely unleashes an album full on Texaana, deeply influenced by the border and featuring flamenco guitarist Teye. [Also featuring the spare but perfect backing of drummer Davis McLarty and bassist Glenn Fukunaga and the multi-talented and fellow Lubbock native Lloyd Maines.] Ely wrote or co wrote 8 of the 11 songs. The covers include one by fellow Flatlander Butch Hancock [She Finally Spoke Spanish to Me, sequel to his She Never Spoke Spanish To Me – spoilers: in the end “Adios” was all she said], one by obscure Corpus Christi born Bruce Gambill and one by Tom Russell – the tale of a Carlos Saragosa and cockfighting rooster named Gallo Del Cielo and… well you gotta hear it. Then there’s Saint Valentine, driver of a red Continental with a head light out and a dent in the side… In his essay in the booklet, Joe Nick Patowski says [Ely] “sings of distance, about rivers and ranches, of smoldering passions and sad laments of faraway longing and unrequited love. He sings of journeys that take him from the High Plains of West Texas to dark and mysterious flamenco bars in Andalusia Spain… And more than once he can be seen and heard chasing hearts and souls south across the Rio Grande.”

Also of Note: Another great year for compilations: Look What I Did!: the Joe Walsh Anthology, Funk On Fire: The Mercury Anthology [Ohio Players], Just What I Needed: The Cars Anthology, The JB’s: Funky Good Time, the remastered Best Of Badfinger, 20 Good Vibrations [but only 19 are essential] Their Greatest Hits [The Beach Boys]. Also a killer, the Dead President’s Soundtrack with the long takes of Harold Melvin & the Blue Notes I Miss You, Barry White’s Never Gonna Give You Up and Isaac Hayes The Look Of Love. For that ALONE this is worth the price! [And who can forget cloud eyed Chris Tucker dead with a needle in his arm while Al Green plays on Soul Train? ] Also the collection Peter Green’s Fleetwood Mac Live At the BBC – a whole double disc set of blues, rock & roll and a touch of soul from way before their money making years with Buckingham and Nicks.