The Beatles - 'Let It Be' (1970)

Versions:
LP
CD
CD (2009 Remaster)

Tracklisting:

Side One:
Two Of Us
Dig A Pony
Across The Universe
I Me Mine
Dig It
Let It Be
Maggie Mae

Side Two:
I've Got A Feeling
One After 909
The Long And Winding Road
For You Blue
Get Back

Best tracks:
Two Of Us
Let It Be
Across The Universe

Currently listening to: LP

For a long time, Let It Be was my favourite Beatles album, equally tied with The White Album. While each of The Beatles' albums after Rubber Soul were meticulously crafted, Let It Be sounds like a patch work quilt of great songs, that don't necessarily look at the bigger picture.

Which, of course, it was.

Knowing the history of the album, it's surprising that they managed to salvage an album out of the sessions at all. But, I don't have any of that in my mind when I'm listening to Let It Be. One of the most interesting things about the album is that, to me, it sounds like they're having a great time on most of the tracks. It's doesn't sound uninspired. It doesn't sound like a band falling apart at the seams. I'm sure the signs would be there if I cared to look (and they're certainly there on many of the countless bootlegs of these sessions and even the tracks on The Beatles Anthology), but I don't.

I love the banter and dialogue sewn between the songs. I love that 'Dig It' and 'Maggie Mae' were shoved on. I love that songs recorded from the rooftop concert are wedged between Phil Spector's overblown production on 'Let It Be' and 'The Long And Winding Road' (and Paul was right. Those songs are better without it. Though, I do secretly enjoy the strings on 'Let It Be'). It's gives the album a ramshackle feel, which is possibly the only reason works.

Being The Beatles, there's no shortage of great songs here. 'Two Of Us' is still one of my favourite Beatles songs. 'Let It Be' still is, too. 'Across The Universe' has found a special place in my heart over the last few years (I did tire of it, back when I was 18). I don't think I've ever met anyone who really rates 'Dig A Pony' (before you write me angry letters, I'm sure you're out there), but I think it's underrated gem. As is, 'For You Blue'.

I think that the back story of an album can have a bearing on people's opinion. Which is understandable, and absolutely OK. But, Let It Be is one that I'm happy to take on face value, because I didn't know the back story for the first few years I was listening to it. All I cared about was how much I loved it. It was just another Beatles album, even if it was their last (and, obviously, that title carried some weight). I do find the album's history fascinating, especially when I hear bootlegs (the original Get Back album is a very interesting listen) or watch the Let It Be film. There's no doubt about that. In my mind, though, I'm happy to put that aside for the album. What interests me most here is the songs. And, Let It Be has some gooduns.

Dolly Parton - 'Jolene' (1973)

Versions:
LP
CD

Tracklisting:

Side One:
1. Jolene
2. When Someone Wants To Leave
3. River Of Happiness
4. Early Morning Breeze
5. Highlight Of My Life

Side Two:
1. I Will Always Love You
2. Randy
3. Living On Memories Of You
4. Lonely Comin' Down
5. It Must Be You


Best Tracks:
Jolene
I Will Always Love You
Early Morning Breeze

Currently listening to: LP


Dolly Parton, despite becoming the footnote to every joke in the world about big tits, is one hell of a prolific, and gifted, songwriter. The sheer amount of records she put out in the 70's is staggering. And, that's without counting the endless number of compilation albums put out. For a woman who's been happily married since before her recording career took off, she sure nails heartbreak. That comes with the territory, I suppose. I lose interest in country music once it gets happy.

Jolene has never been my favourite Dolly album. The title track is, deservedly, her signature tune. And, one of my favourites. But, the albums after Jolene are where my interest in Dolly's extensive back catalogue begin to wane, aside from the odd song here and there.

So, Side One. 'Jolene' is the epitome of what makes Dolly Parton great. I don't (or shouldn't) need to tell you much about it. It's just one of those perfect songs. 'When Someone Wants To Leave', a happier sounding sad love song, and 'Early Morning Breeze', which also appeared in a better mix on Coat Of Many Colors, are also really good songs. 'River Of Happiness' and, especially 'Highlight Of My Life' get a bit too happy, musically, for my tastes (and remember, this is Dolly Parton. She isn't happy in halves. God love her).

Side Two opens with Dolly's other signature song, 'I Will Always Love You'. Don't be put off. Whitney Houston may have forever ruined this song for anyone with a shred of taste, but Dolly's version is really nice. It's actually a really lovely song. Where Whitney's version was all bravado, Dolly's is soft and delicate. And, far more convincing. 'Lonely Coming Down', like 'Early Morning Breeze', was re-recorded for this album (I can't remember what album the version I like is from, I have it on a cheap compilation). It's a Porter Wagoner song, and I really like it - just not this version.

I can't help but think that this album was quickly put together to cash in on the singles. The two sides hang off the singles that open each. Which is a shame, because Dolly Parton made some stellar records before this. Really, Jolene isn't a bad record. It's still an enjoyable listen and, at only about 24 minutes long, it doesn't stick around long enough to drag. But for me, the material isn't as strong as some of her earlier records - Just Because I'm A Woman, My Blue Ridge Mountain Boy, or Coat Of Many Colors (and that feels sacrilegious to say, since this album gave us 'Jolene' and 'I Will Always Love You'). Considering Jolene was her thirteenth album in six years, I'm hardly going to hold it against her.

PJ Harvey - 'To Bring You My Love' (1995)

Versions:
LP
CD
CD (UK)
CD (Signed)
CD (with bonus disc)

Tracklisting:
1. To Bring You My Love
2. Meet Ze Monsta
3. Working For The Man
4. C'Mon Billy
5. Teclo
6. Long Snake Moan
7. Down By The Water
8. I Think I'm A Mother
9. Send His Love To Me
10. The Dancer

Best tracks:
To Bring You My Love
Working For The Man
Down By The Water
The Dancer

Currently listening to: CD


Here's another big one I'd better get started on.

PJ Harvey.

Peej.

Probably my favourite artist of all.

That's a big call. Yet, it's one she deserves.

(I've never expressed in words - aside from drunken Facebook statuses and long texts to friends - my love for all things Peej. Expect long, ranty, love-filled posts. You've been warned).

And, I have to start with To Bring You My Love.

It might - might - be my all time favourite album. It might be equal with Horses, Fun House, Friends In Danger, Cheap Thrills and Like A Prayer. It might also be equal to Rid Of Me, Is This Desire? and White Chalk.

It might also rise above the rest, just a little bit.

Yeah, this is probably my favourite album of all time.

And, 'To Bring You My Love' is probably my favourite song of all time.

I first heard PJ Harvey in the film, The Basketball Diaries. Hardly a romantic introduction. 'Down By The Water' plays during a sex scene. I remember pausing the credits to find out what the song was. There was just something about it. It was pretty sexy. And, that voice. Not long after, sometime in the late 90's, I saw the video on 'rage'. And loved it. I didn't know who this sultry woman was, she seemed such an enigma. Fast forward a year or two. And enter the wonders of the internet. Man, I loved Napster. As a teenager, I bought music when I could afford it, but suddenly, here was all the music I could think of, right at my fingertips. Sure, it took half an hour for one song to download (if you were lucky), but it was all there. I began discovering a lot of new music, and trawling the internet for suggestions of new music I might enjoy.

PJ was the first big discovery, thanks to the internet. I remembered that song I'd heard in The Basketball Diaries and downloaded it. Something about it spoke to me. So, I download another PJ song. Then, another. And another. And, so on. It wasn't long before I was hooked. I managed to download all of To Bring You My Love and Is This Desire?, along with a bunch of b-sides from both albums (and a bunch of songs from the other albums, too. But Dry and Rid Of Me sucked in 90's mp3 quality. They took a bit longer). I became instantly obsessed. This was like nothing I'd ever heard before, yet it somehow encapsulated everything I loved about the music I already liked. Plus, that voice. Something about her voice just went straight to my insides.

No new music has affected me quite the same since. For a few years, everything seemed shit compared to PJ Harvey - even things I liked. In some ways, I still feel like everything is shit compared to PJ Harvey. I was expecting the novelty to wear off - 15 years later, it still hasn't. For me, she is musical perfection. Everything she touches turns to gold. Now, I understand that she's not for everyone, but for me and my taste, she encapsulates everything I love about music. Whether it the feral energy of  Rid Of Me, the haunted folk and mental insanity of White Chalk, the atmospheric emotions of Is This Desire?, the lush rock of Stories From The City, Stories From The Sea or the war torn stories of Let England Shake, PJ Harvey is the be all and end all for me.

But, back to To Bring You My Love.

I liked 'Down By The Water' initially, but the song that tipped me over the edge was, 'To Bring You My Love'. It flawed me. That riff. Her voice. "Foresaken heaven, cursed God above, laid with the devil to bring you my love". She meant business. OK, so, maybe hadn't literally crawled through the desert to bring you her love, but I'm not gonna argue. She sounded like she had. It still flaws me. And, I love it so much that I really do think it might be my all-time favourite song. It's better than 'Land'. It's even better than 'Like A Prayer'.

'Meet Ze Monsta' kicks things into gear. Why no-one saw fit to release this as a single beyond me. "Big black monsoon, take me with you". The urgency with with she begs, "take me with you", and those screams. This chick is demented. Onto 'Working For The Man'. Oh, god. As soon as that bass line starts, I melt. This is maybe the sexiest song on the album. This one is all about the subtleties. Over that thick bass line, we've got a shimmery guitar and a little percussion. And, once again, that voice, doing it's demented dance over the whole thing. 'C'Mon Billy', which was the albums second single, is a little more conventional. But, she's still playing the demented bitch card. Which is not helped by the video, in which she, looking like drag queen, captures her man, tying his arms around her. It makes for compelling viewing and listening. The song actually sounds quite accessible. Until you take notice of the lyrics.

'Teclo', for me, is the forgotten gem of the album. Somehow, in the midst of that surrounds it, I tend to forget about it. But, it's a really beautiful song. 'Long Snake Moan' rocks hard, but is another forgotten gem. When I first got the album, I used to play it do death. I think I may have played it too much (though, that could be said for the whole album), which isn't a bad thing. It's quite ecstatic really, especially once she gets to the "call me Lazarus" bit. 'Down By The Water' is still brilliant. And, probably, one of the most compelling singles of the 90's. There's not much else that sounds like it. And, the video - it's still my favourite video she's done. 'I Think I'm A Mother', which borrows heavily from Captain Beefheart's 'Dropout Boogie', is sexy as hell. 'Send His Love To Me', another desperate plea for love, was also a single. The album closes with, 'The Dancer', another desperate plea for love, which is utterly brilliant. The whoops and hollers get my every single time.

Looking through the album credits, I'd love to hear the demos for this album. Apparently, she wrote most of them on an organ. And, most of the songs feature other s playing the guitar parts. I'd be very interested to see how they started. PJ being PJ, I'll never get the 7-disc super deluxe To Bring You My Love box set to find out. But, that's another reason I love her so.

I'm not quite sure how I ended up with 4 copies of this CD. The first one I had I got signed, so I wanted to get another. I found one at Cash Converters for $4. It's another Australian pressing, but doesn't have the CD inlay printed like the normal versions. Then the the 2-disc version - a worthy investment for the B-sides disc (which was also released on it's own, so will get it's own blog). Then there's an original UK CD I got in a bundle of PJ CD's off eBay (which I bought in bulk to get a copy of the My Life bootleg - again, more on that later), which is printed on lovely matte paper which make the Australian version look shit in comparison - it really does make a difference. I did notice tonight, after pulling the CD's out, the gold ink which was used for the track listing on the CD versions isn't ageing well. It's almost illegible on the UK CD.

To Bring You My Love is probably the best album to start with, if you're unfamiliar with PJ Harvey. It somehow seems to some up everything that's great about her.

Placebo - 'Meds' (2006)

Versions:
CD
CD+DVD

Tracklisting:
1. Meds
2. Infra-Red
3. Drag
4. Space Monkey
5. Follow The Cops Back Home
6. Post Blue
7. Because I Want You
8. Blind
9. Pierrot The Clown
10. Broken Promise
11. One Of A Kind
12. In The Cold Light Of Morning
13. Song To Say Goodbye

Best Tracks:
Song To Say Goodbye
Meds

Currently listening to: CD


I thought I'd try another one that I probably won't like.

Hello, Meds.

I loved Placebo as a teenager. They were good band for gay teenagers back in the late 90's - elements of Sonic Youth, early PJ Harvey and Morrissey were all filtered through this weird lady boy.

I was a pretty faithful fan, even as I outgrew them. They still had a special place in my heart. Truth be told, they still do. I'm still compelled to buy their records. And, sometimes, they still make good records.

I worshipped those first two albums. I wasn't huge fan of Black Market Music when that came out, but they won me back with Sleeping With Ghosts. Meds, unfortunately, was the final nail in the coffin.

We start with the track, 'Meds'. It features Alison Mosshart from The Kills on vocals. I was pretty excited when I saw that. The results, however, were underwhelming. It's an OK song. I seem to like it more tonight than I remembered. Though, having Alison Mosshart on this song feels like a wasted opportunity. That said, it's definitely grown on me, over the years.

Thing really start to go south on 'Infra Red', and we're only on the second track. It's sounds like a parody of Placebo. In fact, most of the album sounds like a parody. 'Drag' sounds too much like a cross between 'You Don't Care About Us' and 'The Bitter End'. 'Space Monkey' reminds me of an inferior version of Sleeping With Ghosts' fantastic, 'Something Rotten' and another (Placebo) song that I can't place. 'Follow The Cops Back Home' could have been good, but it's made me realise how much I don't like the production of the whole album. By the time we get to 'Post Blue' the album is bordering on embarrassing. This is really Placebo-by-numbers. The whole album feels like a watered down version of Sleeping With Ghosts - and, as much as I liked that one, that almost felt like it was Placebo trying too hard to be Placebo.

'Because I Want You' is a classic Placebo single - in that, all their singles since 'Slave To The Wage' all sound the same. 'Special K', 'Black-Eyed', 'The Bitter End', 'This Picture', 'Special Needs', 'Because I Want You', 'Infra Red' - I've never understood why they've always picked their most uninspired songs to be singles (when their albums, and even B-sides, have been scattered with far more interesting material). Except that they have that "trademark" Placebo sound. And, by "trademark" Placebo sound, I mean it sounds like their trying to re-write their older hits to secure more hits. That Placebo were never really a "hits" band, aside from a few early singles in the UK, makes the whole thing appear a little more desperate. Especially when they've done so many better songs during that time.

'Pierrot The Clown' is so bad that I've decided to break the rules of this blog and skip it. Michael Stipe pops up on 'Broken Promise'. Nope, skip that one, too. 'In The Cold Light Of Morning' is another that has potential. Again, it comes off as an average Sleeping With Ghosts outtake.

Not all hope is lost, however. The album ends with, 'Song To Say Goodbye'. Now, this is a great song. This is what the whole album should have been like. It's sounds typically Placebo, but it's a step forward. It's inspired. There's new elements, there's old elements - it's a successful Placebo song. And, a good song by anyone's standards. It's well written, compared to the rest of the album, which feels almost lazy.

So, what went wrong? The album is book-ended by two decent songs, but everything in the middle sounds like a band going through the motions. That artwork even looks like a mock-Placebo cover. Even worse, is that I've read interviews where the band said they thought this was their best album. Considering how good some of their other albums have been, this baffles me.

Thankfully, they followed this up with Battle For The Sun, which I really enjoyed. It's become a pattern where if they put out an album I like, I invariably don't like the next one. I haven't given Loud Like Love much of a listen, but it still seems to be the case. Which means I'm due to like the next one.

Madonna - 'The Immaculate Collection' (1990)

Versions:
Cassette
CD
CD (Gold CD Australian Tour Edition)
LP
VHS
DVD

Tracklisting:
1. Holiday
2. Lucky Star
3. Borderline
4. Like A Virgin
5. Material Girl
6. Crazy For You
7. Into The Groove
8. Live To Tell
9. Papa Don't Preach
10. Open Your Heart
11. La Isla Bonita
12. Like A Prayer
13. Express Yourself
14. Cherish
15. Vogue
16. Justify My Love
17. Rescue Me

Best Tracks:
Like A Prayer
Holiday
Into The Groove
Live To Tell
Vogue

Currently listening to: LP

I have more Madonna shit than I do any other artist, hands down. Records, CD's, tapes, videos, DVD's, books, t-shirts, hats, patches, coffee mugs, badges, even Madonna condoms - you get the idea. I realised that I'd better get cracking on the Mads if I'm to blog every album I own. There's a lot of fucking Madonna.

I've written extensively in the past about this album, and Madonna. Particularly in my travel blog, leading up to my trip to London in 2012 to see her live for the first time. I summed up all the sentimental stuff in an epic blog there (it's here, if you're interested. If you are brave enough to attempt it, pop the kettle on. It's long). Since all that has been blogged, I'll try to keep more of a critical eye on the Madonna posts in this blog. Because, I am a total Madonna geek. However. No apologies if I digress.

For those of you living under a rock since 1990, this was Madonna's first greatest hits album. It was released when she was at the height of her powers, and went on to sell 30 million copies. If you're over the age of 25 and don't own this, something's wrong with you. Or you don't like Madonna. Which is fine. We're all friends here.

But, everyone has at least 1 Madonna song they like. Everyone. Even if you hate to admit it. If you say you don't, you're telling lies. And, I'm constantly surprised by the range of songs people pick. It's illustrates our Mad's wide appeal and, believe it or not, her talent. This album is testament to that.

For me, this album is my gay prozac. Even as I started writing this, and the sheer joy of 'Holiday' started, my mood instantly lifted and I caught myself (badly) mouthing the words. There's so much GOLD here. The 80's were, undoubtedly, her hey-day (as much as I love plenty of her work since). And, despite the omission of a few hit singles, this really is the best of it.

But, as an album, is it that great?

Well, yeah. Actually, it is.

However, it's not without it's flaws. It's received much criticism for not featuring the original versions of the songs - all the songs were remixed and/or edited by Shep Pettibone, and feature his bass-heavy production. Plus, it was mastered in Q Sound, which makes the whole thing a bit too bright and punchy compared to the original versions. Taken as a whole, the album doesn't really suffer. It could be the last 24 years that I've spent listening to it. Or it could be that it gives the album more cohesion - 'Borderline' doesn't sound that out of place on the same album as 'Vogue'. I actually made an iTunes playlist of the original versions in the order of this album. It didn't work as well as the album does. That said, when the songs are taken out of the context of the album, they suffer.

It's not that the edits are bad. They're not. Most aren't that different, aside from the obvious remixing. The main differences are found in 'Holiday', 'Into The Groove', 'Like A Prayer' and 'Express Yourself'. 'Holiday' is basically an edit of the You Can Dance mix. The bass line's been distorted and is more prominent in the mix. I'd have preferred the original 7" edit, but this one works. 'Into The Groove' is also an edit of the You Can Dance remix. They've remixed the bass line here again, but this version suffers for it. The subtle changes have made a big difference. I'm used to it when listening to the album, but heard on it's own, it sucks compared to the original. 'Like A Prayer' and 'Express Yourself' are presented in great remixes. The video version of 'Express Yourself' is by far my favourite and, until it was finally released on Celebration in 2009, this was the closest version we had. I like this version of 'Like A Prayer' just as much as the original. It's a bit long (the middle part before the last chorus is questionable. I'm used to it), but it kicks some serious arse on the dancefloor. The version of 'Vogue' is also slightly extended and remixed. I much prefer the original.

It's also interesting to note the songs they left off The Immaculate Collection. 'True Blue' and 'Who's That Girl' were both #1 and didn't make it. 'Burning Up', 'Everybody', and 'Dress You Up' are three of my all-time favourites, all singles, that also didn't make it. I've tried to work out where on The Immaculate Collection that any of these would fit. The truth is, nowhere. They really nailed the track listing. Which is rare for someone who's had as many hits as Madonna (they did release an EP called, The Holiday Collection in the UK, that featured a few of the songs not included. More on that one later).

The fact remains - The Immaculate Collection is essential. I'm far too biased to objectively tell how well it holds up in 2014. I'm fairly sure it's still magic. For you kids yet to discover Madonna, or for anyone making a playlist for their iPod (or a Spotify playlist or whatever it is kids do today), I'd suggest seeking out the originals. But, The Immaculate Collection still does it's intended job. And, it still does it better than any other greatest hits album I can think of.

The Dandy Warhols - 'Godless' (Promo) (2001)

I've realised just how many of these posts I'm going to need if I'm to listen to every record/CD I own. I have a lot of singles. I'm a music hoarder and a completest. Some are interesting and have stories. Others, I just have.

Versions:
CD (Promo, 2 Track)
CD (Promo, 4 Track)

Tracklisting:
1. Godless (Album Version)
2. Godless (Massive Attack Mix)
3. Godless (Massive Attack Dub)
4. Godless (Massive Attack Instrumental)

1. Godless (Album Version)
2. Godless (Radio Edit)

Currently listening to: 4-track CD

I have a lot of Dandy Warhols singles. Maybe I should listen to a bunch in one go, and make a blog of that? Meh. I'll work that out later.

'Godless' is one of my all time favourite songs. Ever. I always wanted to get copies of these promos. As you can see from the scans, (because the price tag is permanently attached to the card sleeve CD), it only cost me £1 (and from my beloved Music Exchange, as mentioned in the last blog). The second version I got in a bulk lot of Dandys singles and promos off eBay last year.

I've had mp3's of these remixes for years, but I always like to have a proper, physical version of...well, anything (hence, this blog). As I said, 'Godless' is one of my all time favourite songs. I'd defend it to the death. I fucking love it. These remixes, however, aren't that great. They're not that bad. They're just there. Initially, I was impressed that Massive Attack had remixed them. But, they're not particularly Massive Attack-y (as far as I know, anyway. I'm hardly an expert on Massive Attack). The Dub Version I only like for it's extensive use of the drum sample that serves as an intro to 'Mohammad'. The radio edit of 'Godless' on the second version certainly serves it's purpose. Aside from obvious edits to the intro and outro, I didn't notice any major cuts...but it felt like it was over awfully quick.

The Dandy Warhols have a bunch of interesting promo EPs and singles. Unfortunately, this isn't one of them. It was never a proper single release (Lord knows why. I blame you, Capital Records). The main reason I have two different versions is, aside from my devoted love of the song, I actually really like the artwork. Which makes it more of a shame that it was never a proper single.

Morrissey - 'Bona Drag' (1990)

Versions:
LP
CD

Tracklisting:

Side One:
1. Piccadilly Palare
2. Interesting Drug
3. November Spawned a Monster
4. Will Never Marry
5. Such A Little Thing Makes Such A Big Difference
6. The Last Of The Famous International Playboys
7. Ouija Board, Ouija Board

Side Two:
1. Hairdresser On Fire
2. Everyday Is Like Sunday
3. He Knows I'd Love To See Him
4. Yes, I Am Blind
5. Lucky Lisp
6. Suedehead
7. Disappointed

Best tracks:
Everyday Is Like Sunday
The Last of the Famous International Playboys
Hairdresser On Fire
Suedehead
Will Never Marry

Currently listening to: LP

This one was randomly selected.

And, I struck GOLD!

Oh, Moz.

It took me a fair while to get into Morrissey's solo stuff. I was pretty late to discover The Smiths as it was (I was 20, and went and saw Morrissey live in 2002. And that started the whole thing). When I first got into The Smiths, I became obsessed for a few years. In the midst of the Smiths obsession, I bought the crappy 1995 compilation, The World Of Morrissey (on cassette. For $2, no less), and didn't really care for it. In retrospect, it wasn't exactly the best introduction to Morrissey's post-Smiths work. I then bought the Hulmerist DVD, which features many of the songs from Bona Drag. I remember lying in bed watching it, late at night, and enjoying it. But, none of the songs really grabbed me. Except for, 'The Last of the Famous International Playboys', which was also on The World Of Morrissey. I fucking loved that one. In retrospect, I'm not sure why I didn't fall in love with some of these songs straight away. But, there you go. I can only put it down to the fact that it wasn't The Smiths.

Thankfully, I've seen the light. It took some time, but I got there. I had that Suedehead best-of. I think I got another album or two as time went on. I didn't mind bits and pieces. I wasn't taken with You Are The Quarry when it came out. Nor was I that taken with Ringleader Of The Tormentors when that came out, either.

Then, in 2009, Marianne Faithfull put out Easy Come, Easy Go. And covered, 'Dear God Please Help Me'. Somehow, I hadn't noticed it on Ringleader Of The Tormentors. But, I absolutely adored Marianne's version of it. I revisited Ringleader Of The Tormentors, and this time I loved it. Then, I revisited the rest of Morrissey's back catalogue. This time, it made sense to me in a way it hadn't before. Like The Smiths, I was late to the party. Who cares? I'm just glad I finally discovered the treasures contained within Moz's back catalogue (and, perhaps ashamedly, I'm not done. I still need to get my head around most of Your Arsenal, Southpaw Grammar and a few others. At least, this blog will give me an excuse to revisit those ones).

The clear winner of the lot, once I'd seen the light, was Bona Drag. Even though it was a compilation. It stuck like shit to a blanket. I loved it, and still do (though, oddly, it's been replaced by disc one of The HMV/Parlophone Singles '88-'95 as my favourite Morrissey album).

'Piccadily Palare' opens this set, and I have grown to love this one. In fact, I've grown to love all of them. It took me a long time to appreciate a lot of these songs. His first three singles, 'Suedehead', 'Everyday Is Like Sunday' and 'The Last Of The Famous International Playboys' were easy to love. 'Piccadilly Palare', 'Interesting Drug', 'Ouija Board, Ouija Board' and even 'November Spawned A Monster' took a little longer. I love them all now.

Plus, that video for 'November Spawned A Monster':

It somehow captures everything that Morrissey fans love and everything that Morrissey detractors hate. Pure poetry!

I don't understand how it took me so long to love 'Everyday Is Like Sunday'. It's one of those songs that I can't fault. I love everything about it. Even listening to the album tonight, I had to stop writing while it was on, so I could listen to it properly. It has that affect. It stops me in my tracks. Often, I'm not ashamed to admit, it will bring me to tears for no good reason. Sometimes, my favourite songs will bring a tear to my eye just for being so good, so perfect. 'Everyday Is Like Sunday' is one of those.

I was lucky enough to see Morrissey play in Manchester in 2012. As I was planning my UK trip that year, following Madonna's tour, I saw that Morrissey had announced his only UK headlining show around the same time. I decided I had to go. It felt like seeing Morrissey in his home town carried some importance. And, I wasn't disappointed. Aside from the fact that he opened the show with a few lines from Patti Smith's 'Land', the highlight of the show was 20,000 people passionately singing along to every word of 'Everyday Is Like Sunday'. It was a beautiful moment. I may have been a little teary then, too.

It was that same UK trip that I finally picked up a vinyl copy of Bona Drag. It doesn't seem to pop up much in Australian record stores, but sure enough, there it was in one of my beloved Music Exchange stores. I think this record was from the Greenwich store.

Listening to Bona Drag tonight, I realised just how how much I'm used to listening to The HMV/Parlophone Singles '88-'95. Which is basically Bona Drag-complete, and in chronological order. It's also made me really wish that Bona Drag had 'I Know Very Well How I Got My Name' (possibly my favourite Moz song) and 'Sister, I'm A Poet'. It would be the perfect distillation of Morrissey's early years, if it did (I don't know why they weren't included on the 2010 reissue). That said, Bona Drag is still the first Morrissey album I go for.

Life Without Buildings - 'Any Other City' (2001)

Versions:
CD
LP (with bonus 7")

Tracklisting:
1. PS Exclusive
2. Let’s Get Out
3. Juno
4. The Leanover
5. Young Offenders
6. Philip
7. Envoys
8. 14 Days
9. New Town
10. Sorrow

Best tracks:
New Town
The Leanover
PS Exclusive

Currently listening to: LP

The RSD vinyl re-pressing of this arrived in the mail today. So, now is as good a time as any to re-visit it. This is another one I adore, though it's been a while since I listened to it all the way through.

It's funny timing that I'm blogging this one so soon after the first Dresden Dolls LP, as this was another one that my friend Ryan got me into. And he bought me a ticket to see them play, too.

I think I'd heard one of their singles on Triple J, probably 'New Town', and loved it. I don't mind admitting that I liked it so much because it initially reminded me so much of Patti Smith. When I got the album (which, I think Ryan burnt for me originally), I couldn't shake the comparison (which is a huge compliment coming from me. No-one comes close to my Patti). Sure, there's similarities between Sue Tompkins' vocal delivery and Patti's. And the band are a tight unit, perfectly complementing the vocals onslaught unfolding above it, not unlike Smith's band on Horses. But, rather than being a lazy and obvious comparison, I connected the two in my head more for Sue Tompkins' energy and effortless ability to spew forth words. Despite the similarities, it hardly comes across as mere imitation. She's somehow channelling the same magic. Sometimes, it's hard to tell if she's written the lyrics or they're coming out, stream-of-conscious, after the engineer hit 'record'. I'm assuming the former, but it's impressive that they sound like they're just coming out of her, without much conscious thought. The vocals don't let up for the whole album, yet it never sounds tired, forced or mundanely repetitive. Many have tried, and failed, to perfectly merge music and poetry like this. Every now and then, a record comes out that just nails it. This is one of them.

It also helps that the songs are also great. 'The Leanover' and 'Sorrow' are gorgeous. 'PS Exclusive' always makes me want to dance. And, 'New Town'! It probably remains one of my all-time favourite songs. However, my favourite version is the one from their Triple J Live At The Wireless (which doesn't seen to be anywhere on the internet. I really should upload it), which descends into a Velvet Underground-y wall of noise by the end of the song.

I'd be trying to hunt down a vinyl copy of this album for many years. Like many hard to find treasures, it turned up on eBay from time to time - and always for far more than I was willing to pay for it. Then, out of nowhere, a limited re-pressing was announced for Record Store Day this year (along with Adalita's first album and the first Dresden Dolls album, both for the first time on vinyl and both equally out of the blue. Christmas certainly came early this year). Even then, this one was hard to track down. I eventually found a copy from the great Red Eye Records in Sydney. The re-pressing features a bonus 7" - a re-pressing of the original 'The Leanover'/'New Town' single from 2000. It's a nice addition. Both are earlier recordings, which I'd never heard before. They're a bit rougher than the album versions, but easily as good.

I was extremely lucky to see them live. The show was electric. Sue Tompkins on stage, much like her vocals, didn't let up for the entire show. She didn't look anything like I expected. She was this tiny Scottish woman, and spent the whole show bouncing off the Enigma Bar stage. She just didn't stop. It was brilliant.

For some reason, I still have a copy of the tour poster among the dark recesses of my hard drive:

And for prosperity's sake, since I still keep every ticket for every show I go to (and have a big box full), here's the ticket for the show:

$22. Money well spent. I also forgot about Bergerac. I liked them enough to buy their CD. I think the guy that runs the Jade Monkey now was in them.

Life Without Buildings broke up about a year after the album came out. It's a shame. I think they may have done some interesting work had they continued. But, maybe that's part of what makes this album special, that they only lasted for a fleeting moment. I thought they'd slipped into obscurity, but the fact that the vinyl was re-released this year makes me hope that this great album still has an audience. As it well should.

Silverchair - 'Freak Show' (1997)

Versions:
CD

Tracklisting:
1. Slave
2. Freak
3. Abuse Me
4. Lie To Me
5. No Association
6. Cemetery
7. The Door
8. Pop Song For Us Rejects
9. Learn To Hate
10. Petrol & Chlorine
11. Roses
12. Nobody Came
13. The Closing

Best tracks:
The Door
Abuse Me
Cemetery

Currently listening to: CD

Right, so the first few blogs have been albums that I've already known I'd like (aside from Tina, which I knew was a bit hit or miss). Now, I've decided to go for an album that I'm pretty sure is going to make me cringe for an hour.

I picked Freak Show. Because, generally, I dislike Silverchair immensely. Aside from a period of about 2 years in the late 90's, I've never really liked Silverchair. My sister had a short lived rock phase in the early-late 90's, and I inherited this from her, not long after this album came out. I survived Neon Ballroom, and I'd all but lost interest by 2002. Then Diorama was the final nail in the coffin. More like Diabolical (though, I still own it for some reason, so it'll end up on the blog).

First song, 'Slave'. Jesus. I remember liking this one. But, it's kinda lame. And Daniel's voice is way worse than I remember. Not that I mind, I usually like shit voices. It's kinda nice, in a nasal grunge kind of way. I like his flat voice on this much more than I like his goat wail on 'Straight Lines'.

Then onto 'Freak'. Ha. I hadn't heard this for a long time. The riff is actually better than I remembered, but I can't help put picture that awful video they made for it. I forgot about 'Abuse Me'. I really liked this one back in the day. The double tracked vocals in the chorus are a bit too sweet-pop, but I still dig the 'throw the sailors overboard' bit. So far, this one has been the most nostalgic. It's reminding me of 'Recovery' and taping 'rage' every Friday and Saturday night.

It also reminded me of that one time at band camp when Daniel Johns had dreadlocks.

Sheesh.

'Lie To Me'? What was that? Oh, yeah, Nirvana In Pyjamas. At least it only went for, like, a minute.

'No Association', now this one I wanted to hear. I decided to listen to this album after I saw them play this on 'Recovery' and really liked it. It's still alright now. The lyrics are lamer than I remember. Also, they sound confused. They sound stuck between the last legs of grunge and a sub-par version of Tool's Undertow (for the record, I dislike Tool immensely, also).

But it was 1997 and he was, like 17. I can sympathise.

We're up to 'Cemetery' and, surprisingly, I think I like this best so far. Like 'Freak', I'm reminded of the crappy video, but it's an OK song. Pure pop, though. Not that there's anything wrong with that. 'The Door'! Another single! And...I hate to say to it, this one is much better than I remember. It's definitely aged better than any of the other songs, thus far. I almost even enjoyed it.

'Pop Song for Us Rejects', I, somehow, don't remember at all. 'Your life's an open cold sore, you gotta get out the cream'. I'm all for dumb lyrics (hello Madonna and Kylie), but come on. Though, I'll give them point for singing about herpes. Didn't care for the song at all, though. Maybe that why I didn't remember it. 'Learn To Hate' I almost forgot, too. But, it's all come screaming back. Speaking of screaming, Daniel's screaming in the chorus is actually pretty good. And, once again, the lyrics are lame, but this one's not too bad. Until the chorus starts again and the 'join the mass debate' line comes up again. Heh. It's sounds like 'masturbate'! Get it! Ugh.

But it was 1997 and he was, like 17. I won't sympathise this time, but I'll let it slide.

Oh, yeah. 'Petrol & Chlorine'. The 'Indian' song that Massive and all those other late 90's magazines kept saying was Daniel's big leap forward. Unfortunately, they were right. This was the first wank that Daniel put on a record.

'Roses' is back to Nirvana In Pyjamas. 'Nobody Came' was another I liked as a teenager, but has dated badly. It reads like a bad teenage poem. Which it probably was. 'The Closing', I've made it to the last track. I don't really remember this one, either. And, at this late stage, it sounds like more of the same.

I remember reading a quote of someone saying, back in the late 90's, that Blink 182 were like 'My First Punk Band'. I still agree. And, after listening to Freak Show for the first time in many, many years, I think the same can be said for Silverchair. 'My First Grunge Band'. Which, actually, makes them more likeable, in my book. This era, anyway. As I said, they were all 17-18 when they made this album, which makes it admirable, even if it borders on tacky at times. Most bands are lucky enough to not record any of their embarrassing teenage songs. Yet, Silverchair made a career out of them. I have recordings of my own band from when I was the same age and I am eternally grateful that I don't have to answer for them. Daniel Johns doesn't have the same luxury. And, if he didn't turn into such a wanker, I might feel sorry for him.

Unless Freak Show is a nostalgia trip, I wouldn't bother with it. Unless you give it to your 14 year old sibling to get them excited about rock. In that context, it works. Just don't expect them to still like it when they're 21.

Buffy Sainte-Marie - 'It's My Way!' (1964)

Versions:
LP
CD
CD (2005 reissue, signed)

Tracklisting:

Side One:
1. Now That The Buffalo's Gone
2. The Old Man's Lament
3. Ananias
4. Mayoo Sto Hoon
5. Cod'ine
6. Cripple Creek
7. The Universal Soldier

Side Two:
1. Babe In Arms
2. He Lived Alone In Town
3. You're Gonna Need Somebody On Your Bond
4. The Incest Song
5. Eyes Of Amber
6. It's My Way

Best tracks:
All of Side One
It's My Way

Currently listening to: LP

This was Buffy Sainte-Marie's first album, and the first of her albums I owned. I bought it on a whim from Mr V about 6 or 7 years ago (it's a beautiful American pressing and I only paid about $8 for it). I'd never heard her before. I had vague recollections of someone telling me I should check her out, and that I'd really like her.

I can't remember who it was, but fuck me, they weren't wrong.

The record opens with 'Now That The Buffalo's Gone', a song about the mistreatment of Native Americans, and it hit me straight in the gut. It still does. Before this record, I didn't realise folk could be so angry. Sure, most protest music is passionate, but I'd never heard anything quite like this. There's an underlying, seething anger, both in the songs and in her performance. She evens seems to play her guitar with more vigour and passion that most folk singers I'm used to. Even listening now, it still completely blows me away, such is the impressive power of this record.

The songs themselves are equally as impressive as their delivery. 'Universal Solider', 'Cripple Creek' and 'Cod'ine', three of her best known and most covered songs, are all there. And this was her first album. There's also some pretty heavy subject matter in these songs, even by 2014 standards, let alone 1964 standards. Most striking perhaps is, 'The Incest Song', the tale of a brother impregnating his sister, then killing her on his wedding day. Then there's 'The Old Man's Lament', where the old man's wife is a "plague on his life". Of course, 'Cod'ine' and 'Universal Solider' are also highlights, both brilliantly written. Donovan's reading of the latter pales in comparison to Buffy's version. It seems unfair that he was the one who made it a hit.

I was lucky enough to see Buffy perform over two nights in London in 2012. The first night, a spoken word performance, was truly inspiring. During the performance, she mentioned that when It's My Way was originally released in the UK, the record label had a red tinge added to the cover art to market her as a little Indian girl with a guitar. Buffy, of course, had none of it and forced them to change it. That this record was released in such a climate, by a Native American woman singing about drug abuse, war, incest and the mistreatment of her people, makes it even more remarkable. It was certainly a bold statement from a bold artist.

During the second night in London, I was lucky enough to see Buffy plays some of the songs from this album. She was brilliant, and I was lucky enough to meet her after the show. Since all my albums were back in Australia, I bought a CD from the show to get signed. I didn't have to think twice about which one I wanted. And I was very happy to get to her sign It's My Way for me.

It's hard to believe this album is 50 years old. Most of the songs are still relevant all these years later, and it still makes for a compelling listen. I highly recommend it.

The Dresden Dolls - 'The Dresden Dolls' (2004)

Versions:
CD
LP

Tracklisting:
1. Good Day
2. Girl Anachronism
3. Missed Me
4. Half Jack
5. 672
6. Coin-Operated Boy
7. Gravity
8. Bad Habit
9. The Perfect Fit
10. The Jeep Song
11. Slide
12. Truce

Best tracks:
Half Jack
Missed Me
Good Day

Currently listening to: CD

This was the last record I bought, and as it was sitting there looking at me, I decided to blog it.

While vinyl is my preferred method of listening, I've put on the CD. Part of doing this blog is to try re-connect with my CD collection. I rarely listen to CD's these days, let alone look through the booklet or pay much attention. Plus, there's the nostalgia. I've had the CD for years, but the vinyl only came out a few weeks ago.

My friend Ryan got me into The Dresden Dolls back around 2006. I remember seeing 'Coin-Operated Boy' on 'rage' when it came out and wasn't sure what to make of it. Or them. I wasn't sure if they were a joke or an actual band. I also thought the song sounded really early 90's, for some reason. But, I liked it.

Then, I pretty much forgot all about it. Ryan fell in love with them, but I put them on the the 'Yeah, I need to listen to that one day' pile. I think I had a burnt copy of it that I half listened to. It wasn't until Yes, Virginia came out that I listened to them properly. Ryan bought me both CD's for my birthday and a ticket to see them play at Adelaide Uni Bar a few weeks after my birthday. And, inevitably, I also fell in love. The gig was great. Amanda struck me as a cross between Tori Amos and Courtney Love. It was a winning combination. And Brian Viglione...can that boy play or what?! I'm rarely impressed by drummers, but Brian blew me away.

It's been quite interesting watching Amanda Palmer's career evolve over the past five or six years. There have been moments that have, as a fan, been both exhilarating and infuriating. It's been easy to forget a simpler time when Amanda was a Dresden Doll that wrote blogs about getting her period in airport toilets - as opposed to Amanda Fucking Palmer, social media queen, with her legions of ukulele-wielding followers. Regardless of what I think of Amanda Palmer in 2014 (and most of it is still highly positive), any time I listen to this album, I'm reminded about what made her so great in the first place.

I really love this album. 'Half Jack' is one of Amanda Palmer's greatest songs (do yourself a favour YouTube a live version - it's a testament to how well these two play together). 'Girl Anachronism' and 'Coin-Operated Boy' have aged surprisingly well. 'Slide' still gives me goosebumps. 'Missed Me' is another of Amanda's greatest moments. 'Good Day' and 'The Perfect Fit' still get me every time, also.

The only song I'm not particularly fond of is 'The Jeep Song', an early indication of the direction Amanda would later take with novelty songs like 'Map Of Tasmania' or 'Ukulele Anthem'.

I can't express how happy I am that this album has finally been released on vinyl. Rhino put out a limited pressing (3,000) for Record Store Day in 2014 to celebrate the album's 10th anniversary. Despite the hefty price tag and the average vinyl mastering (see 'Coin-Operated Boy'), it's a very welcome addition. Hopefully, they issue Yes, Virginia on vinyl at some point, also.

The Dresden Dolls had a really great thing going. It's a shame they play together only infrequently these days. Who knows if they'll ever make another record. And who knows if we'd even want them to?

Long live the punk cabaret.

Tina Turner - 'Acid Queen' (1975)

This is the first time I've randomly grabbed a record from my collection and seen what I get. A lucky dip. This is what I got.

Tina Turner's 'Acid Queen'.

Versions:
LP
CD

Tracklisting:

Side One:
1. Under My Thumb
2. Let's Spend the Night Together
3. Acid Queen
4. I Can See for Miles
5. Whole Lotta Love

Side Two:
1. Baby -- Get It On
2. Bootsy Whitelaw
3. Pick Me Tonight
4. Rockin' and Rollin'

Best tracks:
Whole Lotta Love
Under My Thumb
Baby -- Get It On

Currently listening to: LP

As far as I know, this was Tina's first album without Ike. I've liked Tina for many years, but it's only been the last few years that I've really delved into her back catalogue, particularly with Ike. It's a shame that the music will always be scarred by what happened between Ike and Tina, because, fuck me, they made some incredible music. Their back catalogue is a mess, thanks in no small part to Ike being a tyrant and recording and re-recording tracks to put out as many records as possible. But, it's highly rewarding, once you start to dig. If you manage to find the Time Life three disc set  The Story Of Ike And Tina Turner, I highly recommend it. They made some amazing music together.

Tina's solo career, however, I've never been a big fan of. Which is a shame. I wish she'd blossomed after leaving Ike. Commercially, I guess she did. But, I've never liked her solo records much. I like a few of her 80's singles, but in a cheesy way - not in the same way that her reading of 'I've Been Loving You Too Long' makes me weak at the knees.

So, that brings me to 'Acid Queen'. I first bought this CD many years ago, based on the track list. I had an Ike and Tina best of, and loved it. This album was covers of songs of many of my favourite bands at the time - The Who, The Stones and Led Zeppelin. Side One is all covers by these three. I loved Tina's version (and performance) of 'Acid Queen' in the Tommy film. Which was my motivation to buy this album. I'm pretty sure I picked up the CD cheap from K Mart or somewhere equally mundane.

And I hated it.

I think it even stopped - temporarily - my investigation into Ike and Tina's back catalogue.

It's a bold choice of songs. 'Under My Thumb', 'Whole Lotta Love', I Can See For Miles', 'Let's Spend The Night Together'. As I said, songs by some of my favourite bands during my teenage years. I remember disliking Tina's version of every one of these songs - even 'Acid Queen', which was a re-recorded version, not the  Tommy version, which I loved.

I got the vinyl version of this album in a cheap eBay bundle (which had 'Private Dancer' and a double-LP Ike and Tina best-of, my main reason for buying the bundle) and I'm fairly certain I've never played it. Until tonight.

And, you know what? It's actually pretty good.

I haven't heard it for many years. Side One is comprised entirely of the cover songs. 'Under My Thumb', still one of my favourite Stones songs, is better than I remembered. 'I Can See For Miles' is okay and, most surprisingly of all, 'Whole Lotta Love' is really cool. It's slowed down and real sexy. It's probably a combination of getting into Ike and Tina (I've grown to love their covers of 'Come Together', 'I Want To Take You Higher' and, of course, ' Proud Mary') and of my growing distaste for Led Zeppelin - a band I once obsessively loved but can no longer relate to (yep, just you wait for the Zep blogs!), but I really enjoyed hearing Tina's version tonight. Maybe it's how much I adore her voice - it carries more than a few otherwise average songs during her time with Ike. And after.

Side Two, featuring four songs, all written by Ike, sounds like a typical Ike and Tina album from the early 70's (think Nutbush City Limits or Feel Good)  'Baby -- Get It On' works surprisingly well - although, sounds like Aussie 70's pub rock. Which is maybe why Tina's always been popular here. 'Bootsey Whitelaw' is alright, but it all seems to fall apart a bit here. The last few songs of the side descend into crappy 70's rock.

Which is a shame for an album I wasn't expecting to enjoy, but did. I think I'll happily revisit Side One. Side Two, I'm not so sure. Especially when I could go for Outta Season or a good Ike and Tina best-of.

To end, I've put on the Tommy soundtrack version of 'Acid Queen' (and on iTunes. The SHAME!), which is far superior to the version on this album. I also recommend watching Tina in the movie. She's such a creep. It's great.

Janis Joplin - 'Pearl' (1971)

Versions:
LP (Australia)
Quadrophonic LP (US)
LP (2012 pressing)
Cassette
CD (Original 80's pressing)
CD (early 90's 24-carat gold edition)
CD (1999 remaster)
CD (2005 Deluxe Edition)
CD (2012 - The Pearl Sessions)
10" (2012 - Highlights From The Pearl Sessions)

Tracklisting:

Side One:
1. Move Over
2. Cry Baby
3. A Woman Left Lonely
4. Half Moon
5. Buried Alive In The Blues

Side Two:
1. My Baby
2. Me & Bobby McGee
3. Mercedes Benz
4. Trust Me
5. Get It While You Can

Best tracks:
Move Over
Get It While You Can
A Woman Left Lonely
Me & Bobby McGee

Currently listening to: Quadrophonic LP

Now, I thought this would be a good place to start. I own more copies of Pearl than I do of any other album. Partly, due to my obsession to collect everything related to my favourites artists. Partly, because it's been re-issued so many fucking times.

And, also, because it's a good place to start in relation to my record collecting. A little bit of background:

Growing up in the early 90's, records weren't particularly cool. I'm sure they were cool with the punk kids who got the latest Melvins record specially ordered to their local record shop, but to me, growing up in a little country town, they weren't cool. They were, like digital music is now, a necessary evil. I first heard this album in 1993, the same year I got my first CD player. I was 11. CD's were, in my eyes, king. But, they were expensive. And, I didn't get them often. Cassettes were how I usually listened to music. And they were $20 each (unless taped from a fellow music fiend). Once I'd started listening to Janis and other bands from the 60's and 70's, records became a cheap and convenient way to get new albums.

The first record I ever bought was Madonna's Like A Prayer. I think it cost me $6. In 1993. Not long after I got Madonna's first album for around $4. Even this early on, I wanted to get every Madonna album on every available format. As I got older, by 14-15 and living back in Adelaide, I became obsessed with music from the 60's and 70's. The Beatles, The Stones, The Who, Jefferson Airplane, The Doors, Led Zeppelin, Jimi Hendrix, Black Sabbath, The Grateful Dead - the usual suspects. And, of course, my beloved Janis. I thought, however erroneously, that CD's were the best way to hear any music. But records were the cheaper option. And I started buying a lot. The record store near me sold most second hand albums for around $6. I remember the guy feeling real bad because he charged me $12 for Jefferson Airplane's After Bathing At Baxter's. I got some ridiculous records from his $1-$2 bin. I'm sure this record shop will come up again in this blog, so for now, I'll just say that I got a lot of bargains.

Back to Janis. I first heard this album when I was 11. My step father always had a pile of records (two piles, actually, stacked up under our huge fireplace) that he never listened to. Not while anyone was around, anyway (And that stack would, over the next 18 months, provide me with a wide selection of new musical discoveries that opened new worlds in my mind). Anyway, my parents were having a party one night and someone put Pearl on. The only song I remember hearing was 'Mercedes Benz'. And I loved it. I played it repeatedly. Until, one fateful day, I decided to listen to the rest of the album. Having the short attention span of an 11 year old, I listened to the album in order of shortest song to longest. The track times were printed on the sleeve and I listened to them in that order, from shortest to longest. It took me about a week to get through the whole album. I really liked every song I played, and would focus on one or two songs for a few days. Until I had one song left. 'Me & Bobby McGee'. At 4:28, it was the longest song on the album, and was the last one I listened to. I remember saying to my sister, "This is the last one. It'll probably be the best one". And, for many years to come, it was. From that point on, I became obsessed with Janis. Something struck a chord. Which was odd for an 11 year old kid, obsessed with Madonna. 'Me & Bobby McGee' became a song that meant a lot in my teenage years. It was a favourite and I shared many a special moment with friends and family in the coming years in the name of this great song, including drunkenly singing it with my father to see in the year 2000.

[An aside. The quadrophonic version has finished and I've put on the original Australian LP. Because I don't mind listening to this album more than once. I actually like the sound of this LP better than the quad LP. Maybe because I don't have a wanky 70's quad set up? On my speakers, it just has a distracting amount of echo].

I got this book for my 12th birthday and it became my bible:

Even now, looking at the cover, I'm taken straight back to weekends lying on my bed reading this book. Twenty years later, I'm now on my third copy (don't ask) and I re-read it for the first time in many years last year. It was good.

I always seemed to become obsessed with my favourite bands when I was younger. It started with Madonna. Then moved on to Janis. Then to Patti Smith. Then to PJ Harvey. And no-one's topped Peej. Those four have always been my musical rock. And I could wax poetic about them at length. But, my point is, I fucking loved Janis. And I still do, as much as ever.

Now, back to Pearl. And why I have so many versions. [Side A of the LP has finished and I've switched the 24-carat gold CD version. Because that's the version that hasn't been played the longest. I would have got in in 1995 or 1996. I think I played it once or twice then then put it away for good. It sounds really good. Better than I remember the regular CD sounding. It's also the first time I've played a CD in my stereo for at least 12 months]. The first version of Pearl I owned, aside from the original record I heard (which was my aunty's, which my Mum stole - and didn't like - and I assume my ex-step father still has), was a CD I got in a box set that had Pearl, Cheap Thrills and Kozmic Blues. Not a fancy box set, just the 3 CD's together in a cardboard box. I think the 24-carat gold version was the one I got next - a birthday present when I was 13 or 14, then the vinyl copy, which I paid about $5 for.

It does pain me, the mess that Sony or Columbia or whoever have made of Janis Joplin's back catalogue over the last 20 years. While there have been treats, Pearl has been re-released a frustrating number of times (and that's just the beginning). More times than any other album I love this much. In 1999, Joplin's entire catalogue (and by entire, I mean the four albums she put out) were remastered and issued with bonus tracks as part of the Box Of Pearls set. Then, in 2005, a deluxe edition was released (as was the fashion at the time), with a bonus live disc that would have served better as a remastered version Joplin In Concert. That said, it was a pretty great set, and the one I'd recommend to anyone looking for the definitive re-issue of Pearl. 

The Pearl Sessions from 2012 will probably get it's own entry. I cringed a bit when I saw Pearl was being reissued once again, but there's some real treats on The Pearl Sessions.

Sound-wise, my favourite version is the 2012 vinyl re-issue. My previous vinyl versions were quite well worn. Hearing the album on brand new vinyl for the first time was quite invigorating. It seems to soar and the drums and bass really wrap their arms around you, particularly on 'Move Over', 'A Woman Left Lonely' and 'Get While You Can'. This is one of the few albums that has been re-released numerous times and I actually notice the differences. The 24-carat CD version (which I'm finishing now) has a nice rich sound, too.

It does please me that Janis never seemed to be taken over by hipsters. As far as I know, at least. She's always seemed a bit daggy. Maybe because, for me growing up, everybody's mum loved Janis. But, over the years, I've always known I've met a kindred spirit when I meet a Janis fan that's around my age. Some have gone on to become very dear friends. And I hope they continue to do so.

Introduction. And hello.

Can you have too many records?

That's a question I've asked myself many times over the years.

I'm yet to find a definitive answer. However, at this point in my life, all signs point to 'no'. You can't have too many records.

This is reflected in my music collection. And, it's not just records. CD's, cassettes, digital files, DVD's, VHS, t-shirts, ticket stubs, memorabilia, Madonna condoms - I have a lot of this shit.

Which got me thinking. How long would it take me to listen to every album I own? Every EP? Every 7"? And, maybe more importantly, how many would I actually enjoy? I've tried to cull the collection many times. While a few CD's have ended up on eBay here and there, I've never been able to part with much of it. I've happily given away doubles and stuff that I think will have a better home with someone else. I am, undoubtedly, a music hoarder. Maybe listening to everything will make it easier. It may also make it harder.

Now, I'm not the first person to blog this experience. I've read a few before. My favourite was a guy who's wife threatened to throw out all his records unless he listened to them all. I'm not claiming it as an original idea. I'm doing this for myself more than anything else. It's a good excuse to revisit it all.

So, I aim to listen to every album I own. There's a lot. There's a lot I love. There's a few I don't.

I don't know how long it will take. And, truth be told, I'll probably never finish it. That's OK, too (though if we do get to 2034 and I actually finish, then go me!).

I'm not setting myself too many rules. I plan to to listen to every physical record/7"/CD/CD single/cassette individually. Digital doesn't count. I'm not opposed to digital. Quite the opposite (I may or may not be listening to Kylie Minogue on iTunes as I write this). My iTunes library is a complete labour of love. It's a necessary evil. But, it has made me lazy. I still buy CD's, though more and more, it's ripped to iTunes and added to the (physical) library. Which is, in part, what's inspired me to do this. iTunes has made everyone lazy. I rarely play CD's any more. I actually get a bit nostalgic playing CD's these days. Yet, I'm still compelled to buy them. If I like an album, I get a physical copy. For me, digital is complimentary to my actual collection.

So, that cool Cat Power mp3 bootleg I downloaded last month won't count in this blog.

I'm also not doing it in any kind of order. Alphabetical is a bit too dry. I might do it more like Pin The Tail On The Donkey. Random selection.

Also, being the music hoarder that I am, we're going to double up a few times. So, Madonna's 'Like A Prayer', which I own on record, CD and cassette, might count as one blog. The Beatles' albums in stereo and mono will probably be separate posts. The anniversary edition of The Dandy Warhols' 'Thirteen Tales From Urban Bohemia' will probably be a separate entry to the original album. The Who's 'Live At Leeds', which I have as the original album, the 1995 single disc expanded edition and the 2001 two-disc edition might be three separate posts, or it might be one post - I'm not entirely sure yet. There might be one for all three, there might be one that covers them all. There might be both. I'm gonna play this by ear.

To give you an idea of the task at hand, this is what I'm up against:

Compared to a lot of internet crazies I've seen, my collection isn't that big. My friends, meanwhile, think I'm going to become the old woman who lived in a record. Whatever the case may be, this is my collection and it makes me happy. This blog will hopefully explore why it makes me so happy.

There'll probably be a lot of nostalgia. There might be some fairly dry reviews. There might be long winded rants. There might be forgotten treasures. There might be disappointment with albums I used to love. There might be the rediscovery of something really great. Again, I'm playing this by ear.

I'm looking forward to what I find. Musically, nostalgically, or otherwise.

Here we go!