Creedence Clearwater Revival - 'Cosmo's Factory' (1970)

Versions:
LP
CD
CD (Remastered)

Tracklisting:

Side One
1. Ramble Tamble
2. Before You Accuse Me
3. Travelin' Band
4. Ooby Dooby
5. Lookin' Out My Back Door
6. Run Through The Jungle

Side Two
1. Up Around The Bend
2. My Baby Left Me
3. Who'll Stop The Rain
4. I Heard It Through The Grapevine
5. Long As I Can See The Light

Best Tracks:
Run Through The Jungle
Ramble Tamble
Long As I Can See The Light
Who'll Stop The Rain
I Heard It Through The Grapevine

Currently listening to: LP

This is a record that's been with me for a long time. And, one that I don't listen to nearly as much as I should these days.

Back when I, around the age of 12, was discovering - and falling helplessly in love with - music from the late 60's, there were a few records (from my step-father's collection) that really stuck with me. Pearl was the main one. John Lennon/Plastic Ono Band was another (along with a handful of Beatles records). The other big one was Cosmo's Factory. Today, if someone were to ask me to list my favourite albums, both Pearl and Plastic Ono Band would still be high on that list. Cosmo's Factory, on the other hand, probably wouldn't even enter my mind. While I've never (ever!) fallen out of love with Creedence, I think I have - somewhat - forgotten what an impact Cosmo's Factory had on me.

I'm fairly certain that the first song that resonated with me was 'Long As I Can See The Light'. It was a similar story to that of Pearl (see this blog). I heard it (I think) at a party my parents had. And, that song stuck. So, I listened to the rest of the rest of the album. It was all familiar. I knew 'Ooby Dooby' from singing it at school (I did grow up in a hippie town, remember...). I knew many of the other songs already, too. Now, though, I was listening to them through the ears of a 12 year old hungry for something more than early 90's pop offered (although, thanks Melissa Tkautz, your cassingles did me well up until this point). And, Cosmo's Factory certainly fed my head.

Looking at the record cover tonight, for the first time in a long time, I did recall the many hours spent pouring over it (as was customary, as a teenager). As far as 60's record covers go, Cosmo's Factory is a pretty daggy cover. In these days before the internet, I knew nothing about the band other than what the record cover offered me. I didn't know which one was the singer, which drove me crazy. I clearly ranking them in order of preference. Looking at the photos on the back cover, I wished this guy was the singer:

I think it was the shirt, the moustache and the (almost) John Lennon glasses. All I had to go on was what I'd seen of 60's culture in the many school library books and record covers that I'd accumulated, so this guy was my best guess (for the record, that guy is Stu Cook, the bass player). I also clearly remember hoping it wasn't the weasely little guy with the crap haircut, sitting at the drums on the front cover:

(Nah, that guy couldn't be the singer)

By the time I was 13, I'd moved back to Adelaide to live my Dad. Who enlightened me to the fact that it was, indeed, the dorky guy at the drum kit that was John Fogerty, the singer. It was also through my Dad that my love for Creedence blossomed. Now, it has to be said, that just about everyone my age has a Dad who's favourite band is Creedence. This was evident to me when I was on my road trip through England with my friend Marie, a few years ago. We listened to Creedence for about 2 hours, and she unwillingly knew every song. Because her Dad loved Creedence. Because everyone's Dad loves Creedence. For her, it was a nice nostalgic trip to hear these songs driving through England. For me, it was nice to hear the songs because I'm just as big a fan of Creedence as my Dad. It's not nostalgic, generally. Which is, I think, an important distinction. I know a lot of people who like Creedence because it brings back memories of family road trips. I was, and am, a fan in my own right.

That said, my Dad did play a huge part in my love for Creedence. I would never deny that. I did, after all, inherit my love of music, in general, from my Dad. And, as it turns out, Creedence are his favourite band. I seem to remember him being particularly pleased that I loved Cosmo's Factory. And, we did bond over a mutual love for Creedence over the next few years. In fact, it's a mutual love over which we still bond.

By default, I'd list my favourite Creedence albums as either Green River or Willy & The Poor Boys. Those two albums, when I first heard them, offered familiar songs ('Lodi', 'Green River', 'Fortunate Son', 'Down On The Corner', etc, etc, etc) along with lesser known gems (particularly 'Effigy' and 'Wrote A Song For Everyone', which have, funnily enough, turned up on a few CCR compilations released since the 90's). Cosmo's Factory, by contrast, is all familiar. Every song is a fucking classic. Which is, I think, a big reason why I've neglected it for so long. Which sounds absurd, but when I was - as a teenager - listening to a religious amount of Creedence, all their other albums offered something to explore. I already knew Cosmo's Factory like the back of my hand. Instead of embracing that familiarity (and the wonderful songs contained within), I think it fell by the wayside. Because it was too familiar. Which, in itself, shows what an extraordinary album it is. Seven of it's eleven tracks are some of Creedence's most recognisable songs - if not the most recognisable (aside from 'Proud Mary' and maybe 'Bad Moon Rising'). And, this was the fifth album they'd put out in two years.

My initial copy of the album was a vinyl copy that I picked up for $1 or $2. It was another cheap treasure from the record shop in Reynella. I never bought the CD, as my Dad always had it. I eventually found a cheap copy and added it to the collection. Only a few weeks ago, I finally picked up the remastered CD with bonus tracks. The remastered version isn't a revelation in the way that, say, The Beatles or The Stones' remasters were. Though, it's still a nice addition.

My first ever concert ended up being John Fogerty, back in 1998. I was 16. And, I took my Dad (yes, I took him - not the other way around!). It was a great show, and a fitting introduction to my world of seemingly endless gigs. Since I never got to see Madonna, and I was never going to see Janis or The Beatles, I think John Fogerty was probably the perfect first concert for me. I remember feeling choked up when he played 'Wrote A Song For Everyone', and he did a stellar run through 'I Heard It Through The Grapevine'.

I'm still not sure I'd say Cosmo's Factory is my favourite Creedence album. But, in some ways, it is. It will always have a special place in my heart. It certainly open a door or two in my mind when I discovered it, as a 12 year old hippie kid. And, it's still a really fucking great album.

Marianne Faithfull - 'Before The Poison' (2005)

Versions:
CD
LP

Tracklisting:
1. The Mystery Of Love
2. My Friends Have
3. Crazy Love
4. Last Song
5. No Child Of Mine
6. Before The Poison
7. There Is A Ghost
8. In The Factory
9. Desperanto
10. City Of Quartz

Best Tracks:
The Mystery Of Love
There Is A Ghost
Last Song
Before The Poison

Currently listening to: CD

Before The Poison might just be my favourite Marianne Faithfull album. Like many before me, my introduction to Marianne was, of course, Broken English, which I got for my 16th birthday (and more on that one later). I would have though that Broken English would always be my favourite - as much as it irks me that every record she's put out since has consistently been compared to Broken English, it's not entirely unfounded. Broken English was such a landmark - and so fucking good - that it's hard not make the comparison. And, if I'm being honest, I never thought Marianne would surpass it. A Child's Adventure, Strange Weather, A Secret Life and Vagabond Ways are all very good records. While they prove that Marianne Faithfull has more to offer the world than that one landmark album, there's no escaping that none were quite as brilliant as Broken English.

Then, in 2002, she put out Kissin Time. And, fuck me. Unexpectedly, Kissin Time was - to me, at least - just as good as Broken English. I was suitably blown away by just how good it was. Thanks, in no small part, to the collaborators she chose to work with - Beck, Billy Corgan, Jarvis Cocker and Blur, among others.

So, imagine my immense joy when - sometime in 2002, not that long after Kissin Time came out - Marianne happened to mention that she was working on new material with PJ Harvey. PJ Harvey! For me, this was a match made in heaven. It felt too good to be true. Especially, when news of their collaboration trickled slowly. While Harvey was slowly working on the anticipated follow-up to her highly successful Stories From The City, Stories From The Sea, sparse interviews I'd read with Marianne would mention that they were still working on the record. But, man - it felt like a long wait. Once Harvey finally released Uh Huh Her in 2004, it featured a track called, 'No Child Of Mine'. In an interview, she stated that she wrote it as an outro for a song she'd done with Marianne. Apparently, Marianne hated it, but Polly liked it enough to include it on her album.

Before The Poison finally came in early 2005 - 5 songs were done with PJ Harvey, 3 with Nick Cave & The Bads Seeds and 1 with Damon Albarn. To say that I was excited to hear this record would have been the understatement of the fucking century. And, I'm happy to say, it far exceeded my already high expectations.

The devastatingly beautiful 'Mystery Of Love' opens the album. That beautiful, sweeping guitar. Those yearning lyrics. This is pure PJ Harvey. Yet, it's also pure Marianne Faithfull. Marianne, unsurprisingly, completely makes it her own, delivering it with an authority that would have left Polly shaking in her boots. 'The Mystery Of Love' encapsulates everything I love about both artists. It's absolutely stunning. Three minutes and fifty one seconds into the album and the Faithfull/Harvey collaboration is already a rousing success.

'My Friend Have' follows and is, once again, PJ Harvey all over. This one doesn't click quite as well as 'The Mystery of Love' until the middle of the song. The first half has Marianne croaking over Polly's unmistakable guitar and backing vocals. Just when she sounds like she might be getting lost under the weight of it all, suddenly Marianne lifts her vocal register and drives the song to a thrilling conclusion, showing that she can, indeed, keep up with Harvey. Apparently, at Polly's insistence, Marianne had undertaken some vocal coaching before they made the record. It was a wise move. As the joyous 'My Friends Have' shows, Marianne sounds better than she had since the late 70's.

I was surprised to learn that 'No Child Of Mine' was written solely by Harvey, as was 'The Mystery Of Love'. While 'The Mystery of Love' sounds very much like a PJ Harvey song, 'No Child Of Mine', a portrayal of a mother disowning her child, isn't a song I can imagine on any of Harvey's diverse records. Which isn't that much of a surprise coming from a writer as gifted as PJ Harvey. 'No Child Of Mine' still carries an impressive depth, and once again, is perfect for Marianne, who carries it as if it were her own. Which, of course, it now is. The biggest surprise for me, however, was the inclusion of the aforementioned outro to 'No Child Of Mine' that appeared on Uh Huh Her. It's the exact same recording, just with Marianne singing over Polly's vocals. In this context, it makes much more sense. I find it quite odd when I hear it in the middle of Uh Huh Her these days.

'In The Factory' and the title track, the remaining two tracks with PJ Harvey, took me a little more time to appreciate. There's a great chapter about 'In The Factory' in Marianne's second book, which I recommend you read. It certainly made me appreciate the song more than already I did. 'Before The Poison' has become a favourite over the last few years. It's hard to imagine Marianne tackling a song like 'Before The Poison' in the 80's or 90's. Maybe it was the vocal coaching. Or maybe it's that Marianne sounds so invigorated and revitalized. Thanks, I'm sure, to the quality of the material she had to work with.

And, of course, it's not only the PJ Harvey tracks that are great. Damon Albarn's remarkable 'Last Song', which he later recorded as 'Green Fields' on The Good, The Bad & The Queen, is one of the best tracks on both Before The Poison and The Good, The Bad & The Queen. Apparently, Damon didn't want Marianne to have it. Understandably. No respectable songwriter would want to lose a song as good as 'Last Song'. According to Marianne's book, he'd written it around the time they did Kissin Time and forgotten about it - and was none too pleased about giving it away. I must say, I am glad Marianne got it. And, I'm not surprised Damon revisited it a few years later. It's a beautiful song.

The Bad Seeds are the ultimate backing band for Marianne. While many of the songs on Before The Poison feel claustrophobic, the optimistic 'Crazy Love', swathed in Warren Ellis' distinctive violin, feels light and seamless. 'There Is A Ghost', a lament for a dead lover, is another striking highlight. In theory, the subject matter sounds like textbook Nick Cave. Such a description, however, would sell this wonderful song short. 'There Is A Ghost' actually wouldn't sound that out of place on The Bad Seeds' Push The Sky Away, released 8 years after Before The Poison, if not for Cave's distinctive piano - which harks back to And No More Shall We Part. 'Desperanto' comes across like a cross between 'Why'd Ya Do It' and The Bad Seeds' 'Babe, I'm On Fire'. It rocks, and it's a bit of fun, but it doesn't work quite as well as the rest of the tracks on the album. The album closes with 'City of Quartz', a collabaration with Jon Brion, who also worked on Kissin Time. It's a sweet, understated song, consisting of not much more than Marianne singing over a music box.

Like many albums in this blog, I chose to listen to the CD, since it hasn't been played since I got the LP. I actually didn't realise for a long time that the album came out on vinyl. I certainly never saw it anywhere when it came out - not even online. Once I realised, it became imperative that I owned it. I eventually found it on eBay for a reasonable price. It was worth the investment, it's become one of my favourite records to listen to.

I had ridiculously high expectations for Before The Poison when it come out. Too often, albums like this don't quite meet their expectations. If they do, the novelty soon wears off. Before The Poison, though, has only improved with time. Gladly, the collaborations with PJ Harvey and Nick Cave work as well on the record as they do on paper. Marianne's voice sounded better on this record than it had for many, many years. And, yes - Before The Poison is as just good as Broken English. It may not be as bold a statement, nor as important in Marianne's history, but the quality is there. Since Kissin Time came out, Marianne has put out a succession of consistently great records. The quality of these albums, and their steady output over the last 10 or so years, is rather impressive. This late period of Marianne's career has actually become my favourite music that she's put out. Before The Poison is the jewel in the crown.

Semi Precious Weapons - 'You Love You' (2010)

Formats:
CD

Tracklisting:
1. Semi Precious Weapons
2. Put A Diamond In It
3. Magnetic Baby
4. Statues Of Ourselves
5. Sticky With Champagne
6. I Could Die
7. Leave Your Pretty To Me
8. Rock N Roll Never Looked So Beautiful
9. Look At Me

Best Tracks:
None

Currently listening to: CD

I'd never heard of Semi Precious Weapons until I saw them open for Lady Gaga on her Monster Ball tour in 2010. I kept seeing people wearing t-shirts that screamed 'I CAN'T PAY MY RENT BUT I'M FUCKING GORGEOUS', and was intrigued by what it meant. Given the number of people I saw wearing them, I can only assume that many erroneously thought they were Lady Gaga shirts. Once Semi Precious Weapons started their set, I realised - as I'm sure many did - that the t-shirts everywhere were, indeed, not related to Lady Gaga.

Semi Precious Weapons were interesting to see. I remember commenting to my friend that I felt like I should hate them, but I didn't. As the singer jumped around in his fishnets and high heels, I felt like they could have some serious potential. With a bit more work, he could almost be a male Peaches. Almost. And, with choruses like the aforementioned 'I can't pay my rent, but I'm fucking gorgeous' and 'Sticky with champagne, it's OK, it's her birthday', I thought they may be onto something. If only they'd rough up their rough edges or get a bit dirtier and trashier.

As it was, they clearly weren't there yet. Though, when this album came out a few months after the Gaga show, I was - for some reason - compelled to buy it. It cost me $1 on eBay. I was interested to see how they'd translate on record.

It turns out, not so good.

At the show, I remembered songs like 'Semi Precious Weapons' and 'Sticky With Champagne' to have a certain trashy camp charm. Any charm they - or any of the other tracks on the album - had has been polished away by slick (over) production. I was hoping they'd channel The Teaches Of Peaches. Unfortunately, it channels Warrant's 'Cherry Pie' far more than it channels 'Fuck The Pain Away'. Thus, it comes across as an reality TV shower winner trying to sound like a bona-fide rock band. I got the impression that they were a small band, happily doing their thing. The album, however, sounds like a band (and/or a record label) trying hard for commercial success. Any redeeming features the band may have had live has been stripped away. Live, the band were very camp. It was what made them interesting. However, the most noticeable thing about this album is how un-camp it is. The whole album is a let down. The rock songs are very safe, and as the album winds to a close, there's a few cock rock ballads - by which point, You Love You is a sinking ship. And, there are no survivors.

I'm not sure if Semi Precious Weapons have put out any more records since this one, but I'm certainly in no rush to find out. This one certainly isn't for me.

Patti Smith - 'Gloria' (1976)

Versions:

7" (US)

7" (France)

12" (UK)

Tracklisting:

A: Gloria

B: My Generation

What can you say about 'Gloria'? 

It's probably my favourite punk single of them all. 

I went digging for the American 7", since I haven't blogged a 7" yet. I forgot I had the French 7". Which also made me remember I had the English 12". I guess they all count for this blog.

The American 7" is one of my favourites, and is an example of why I love 7" singles. At the risk of sounding like a typical record collecting wanker, they sound really great. I listened to the 12" first, then put this on. This is the clear winner. It seems to leap off the vinyl and dance it's way into my ears - the drums, bass and piano all vying for my attention. 'My Generation' sounds even more ragged and loose. This 7" is the perfect way to hear this seminal punk single.

The French pressing sounds a little more compressed, like the 12". At the end of the day, there's no bad way to hear 'Gloria'. I do love the American pressing, though. It can get pretty pricey these days, but it's well worth the investment if you're a Patti fanatic.

Cat Power - 'You Are Free' (2003)

Versions:

LP

CD

Tracklisting:

1. I Don't Blame You

2. Free

3. Good Woman

4. Speak For Me

5. Werewolf

6. Fool

7. He War

8. Shaking Paper

9. Baby Doll

10. Maybe Not

11. Names

12. Half Of You

13. Keep On Runnin'

14. Evolution

Best Tracks:

Good Woman

Maybe Not

I Don't Blame You

Fool

Currently listening to: LP

I'm going to try and keep this one sane, but be warned: I deeply, deeply love Cat Power. I hold her records very close to my heart. Lord knows, they've put my heart back together on more than one occasion. If I could somehow transform her records into human form, I would marry this human in a heartbeat. And, we would live happily ever after. I fucking love Cat Power.

I first heard her around that time that You Are Free came out. My best mate had heard 'I Don't Blame You' on local radio and made me listen it. I loved the song and became very interested in finding out more about who this Cat Power was. A week or two later, I saw 'Cross Bones Style' on rage (while Yeah Yeah Yeahs were hosting. Don't ask me how I remember that...) and was, again, impressed. After a discussion on the Magic Dirt forum (remember when forums were a thing?!) with a few people about Cat Power. I asked which album would be best to start with. Adalita herself recommended I get Moon Pix. So, I did.

Moon Pix didn't grab me immediately. I'm not sure why, it's brilliant. I liked it, but I didn't fall head over heels in love with it like I did with You Are Free (though, I did later). I bought You Are Free when Cat Power announced a solo show at The Gov in 2004. I was keen to check her out, and figured that she'd be playing new songs, so got the album. Now, this was exactly what I was after. Then I saw her live. She was quite something. The music was sparse, and often songs would bleed into one another, but it had quite an effect. Less, in this case, was definitely more. And, that voice. The two main times I remember being completely blown away by a voice at a show were the first time I saw PJ Harvey and the first time I saw Cat Power. Her voice seemed to come through the speakers and pierce my chest. After that, I was completely besotted. Ten years later, that love is stronger than ever.

You Are Free is the album that made me fall so madly in love with Cat Power. At the time, I think it was her most accessible record. And, while Cat Power's music may be mellow, it is by no means easy listening. The album kicks off with three of it's strongest tracks. The lament of 'I Don't Blame You', which she recently revealed was about Kurt Cobain (though, really, that comes as no surprise), the optimistic 'Free', and the devastatingly beautiful 'Good Woman'. The latter features a children's choir, Eddie Vedder on backing vocals (which, frankly, it could do without) and Warren Ellis on violin. The result is stunning. 'Speak For Me', 'He War' and 'Shaking Paper' show that Chan Marshall's usually spare song-writing and production can easily sustain - even, benefit from - a bit of beefing up (and these three are, actually, not unlike 2012's Sun). The album winds down with a selection of beautiful solo songs. The Covers Record seems to have given Chan the confidence to expand her repertoire on the piano, and we treated to 'Maybe Not', 'Evolution', and the chilling 'Names' - along with the aforementioned 'I Don't Blame You'.

You Are Free is probably the quintessential Cat Power album. Though, I may be not be the best judge - when I first heard The Greatest, I didn't think anyone would go for it. Yet, it turned out to be one of her most successful records. I remember trying to get a friend into Cat Power around the time that The Greatest came out, and urged him to listen to You Are Free instead. He did. And didn't like Cat Power until he heard The Greatest. So, there you go. For me, however, You Are Free encapsulates Cat Power better than any of her other records. Which is not to say that her other records aren't as good, nor is You Are Free necessarily her best (though, it's possibly close), but it's certainly a good place to start. It is one hell of a fucking record.

Hole - 'My Body, The Hand Grenade' (1997)

Versions:
CD
LP

Tracklisting:
1. Turpentine
2. Phonebill Song
3. Retard Girl
4. Burn Black
5. Dicknail
6. Beautiful Son
7. 20 Years In The Dakota
8. Miss World (Demo)
9. Old Age
10. Softer, Softest (from MTV's Unplugged)
11. He Hit Me (And It Felt Like A Kiss) (from MTV's Unplugged)
12. Season Of The Witch (from MTV's Unplugged)
13. Drown Soda (Live)

14. Asking For It (Live)

Best Tracks:
Burn Black
Old Age
20 Years In The Dakota
Drown Soda

Currently listening to: CD

My Body, The Hand Grenade is one those rarest of rarities - a b-sides and rarities compilation that's actually really fucking good. Coming out between Live Through This and Celebrity Skin, it feels like it should be a cheap stop-gap. Instead, it's an essential part of Hole's back catalogue, perfecting complimenting both Pretty On The Inside and Live Through This. It also stands on it's own, painting a very accurate picture of the band.

While My Body, The Hand Grenade doesn't contain every b-side and obscure track from Hole's career up to 1997, it is wonderfully sequenced to include the very best. A big part of why the album succeeds is the inclusion of both sides of the band's early 7" singles, 'Retard Girl', 'Dicknail' and 'Beautiful Son'. The pre-Pretty On The Inside singles ('Retard Girl', 'Phonebill Song', 'Dicknail', 'Burn Black') are more listenable and accessible than anything on that album, while still hitting hard. 'Beautiful Son' and '20 Years In The Dakota' were early indications of what direction the band would take with Live Through This - neither would sound particularly out of place on that album. These tracks have been remastered for My Body, The Hand Grenade, and the sound is vastly improved from the few tracks that had been previously released on CD (see 'Burn Black' on the Teenage Whore single).

Another highlight is the beautiful 'Violet' b-side, 'Old Age', which seems to be remembered more now for who wrote it than on the merits of the song. Why it didn't make Live Through This, I don't know (though, the wonderful intro turned up at the start of 'Credit In The Straight World'), because it's a really great song. The Nirvana version, released on With The Lights Out, pales in comparison to the Hole version. It doesn't even come close.

The only song on the album that sounds out of place is the demo of 'Miss World'. It's certainly an interest inclusion, and while I hope that the rest of the demos from this session see some sort of official release, the demo halts the flow of the album, somewhat. It's a distraction, given that it's one of Hole's best known songs, sitting among these lesser known gems.

The last half of the album consists of live recordings, three from their MTV Unplugged session and two from UK shows in 1995. The Unplugged songs are great, and are possibly the best tracks from the session (though, again, I do hope the whole show sees an official release at some point. It is widely available, in great quality, on countless bootlegs. And, it's worth checking out). The Unplugged 'Softer, Softest' may be the definitive version. 'Season Of The Witch', which was not included on the broadcast, is a particularly welcome inclusion.

'Drown Soda', recorded live at the Brixton Academy, is - easily - the best live recording of Hole I've ever heard. It's absolutely scathing. I'm glad they chose this version for the album, as opposed to the studio version from the 'Teenage Whore' single - this is the definitive version. It's truly wonderful. The album ends with 'Asking For It', live from the Reading Festival in 1995. While it's a faithful version, it's not a revelation, the way 'Drown Soda' is (and, for those interested, both the Reading and Brixton shows are partially available on the wonderful Vengeance Is Mine bootleg - 'Miss World' from the Reading show is particularly haunting).

I think this was the second Hole album I got, after Live Through This (and during a trip to Coffs Harbour, of all places). Hole vinyl has always been elusive. And, expensive. I managed to get a vinyl copy off eBay about 4 years ago. It's one of my favourite records.

My Body, The Hand Grenade is as important to Hole's history as any of their studio albums. More importantly, it's a great listen, particularly to fans of their pre-Celebrity Skin work. That Hole only released three studio albums during their lifetime makes My Body, The Hand Grenade even more valuable.

The Rolling Stones - 'Between The Buttons' (1967)

Versions:

LP

CD (UK)

CD (US)

Tracklisting:

Side One:

1. Yesterday's Papers

2. My Obsession

3. Back Street Girl

4. Connection

5. She Smiled Sweetly

6. Cool, Calm & Collected

Side Two:

1. All Sold Out

2. Please Go Home

3. Who's Been Sleeping Here?

4. Complicated

5. Miss Amanda Jones

6. Something Happened to Me Yesterday

Best Tracks:

Yesterday's Papers

Back Street Girl

Connection

Currently listening to: LP

Between The Buttons was one of the first Rolling Stones records I had that wasn't a compilation. I had Beggar's Banquet and Let It Bleed, and loved them. I was very much interested in exploring the Stones' early back catalogue, but I found it dauntingly vast (in retrospect, I'm not sure why. It wasn't that much more than The Beatles or The Who. However, it was much messier. I'm pretty sure that both the UK and US albums - which were considerably different - were released in Australia. Not to mention the countless 70's compilations).

I happened upon Between The Buttons in a record shop sometime in the late 90's and bought it (it was a German pressing that, I later found out, featured the tracklisting of the UK version. Thankfully). The only song I knew was 'Yesterday's Papers'. Being a 60's Stones record, I figured I couldn't go wrong. Once I got the record home and played it, however, I was slightly disappointed. It didn't really grab me. I wouldn't say that I didn't like it. It just didn't grab me. Especially not in the way that Let It Bleed had. I added it to the collection, and didn't give it much more thought...

...until about 10 years later. I've never stopped listening to The Stones, and have consistently bought their records. Whenever I found one of their 60's albums that I didn't have, and at a price I was willing to pay, I eagerly snapped it up. However, around 2009-2010, I found myself in a huge Stones resurgence. I decided, around this time, that I needed to finally get some of the albums I didn't have (I didn't even have Aftermath at this point - I'd never come across a cheap enough vinyl copy). It helped that the CD's had been beautifully remastered and rereleased a few years before. I slowly started buying them (and, at full price - I buy so much music, I'm usually quite a scrooge and only pay full price for new releases). By some happy coincidence, a few months after I decided to buy all the remastered CD's, I found myself at a huge CD sale at the Adelaide Showgrounds, where I found almost every one of the remastered CD's for $5 each. Suffice to say, I bought the lot. Including both the UK and US versions of Between The Buttons.

With these new CD's, I finally revisited Between The Buttons. And, this time, I loved it.

I find all of the songs on the first side quite charming. 'Back Street Girl' and 'Connection' have become favourites. Sure, 'Back Street Girl' is no 'Lady Jane', but it is a sweet song. As is, 'She Smiled Sweetly'. 'She Smiled Sweetly' almost sounds like it could belong on Their Satanic Majesty's Request, had they produced it like 'We Love You'. I even like 'Cool, Calm & Collected', despite it's silliness.

The second side is rockier than the first. 'All Sold Out' is typical of The Stones during this period. 'Miss Amanda Jones' is an interesting glimpse into what The Stones would become in the 70's. 'Please Go Home' is a psychedelic 'Not Fade Away'. While, 'Who's Been Sleeping Here' is a hint to what would come the following year with Beggar's Banquet. 

The US version of the album adds both sides of the 'Let's Spend The Night Together'/'Ruby Tuesday' single, at the expense of 'Back Street Girl' and 'Please Go Home' - two of my favourites. Despite the fact that both sides of the single were brilliant ('Let's Spend The Night Together' took me a long time to warm to. 'Ruby Tuesday' is, obviously, one of The Stones' best singles), they don't belong on Between The Buttons. The track order is also altered. They certainly made a mess of it. In the context of the US album, the album tracks feel like filler, lazily thrown together to make an album out of the single. Which, to the American record company people, it probably was.

There's a certain charm to Between The Buttons. While not every song is a classic (and who says they have to be?), it's certainly the most consistent album that they'd released, up to that point. If it is slight, it's only so in comparison to the great work that The Stones were doing at that point in their career. Either way, it has become one of my favourite Stones records.

Sharon Van Etten - 'Tramp' (2012)

Versions:
CD (with Tramp Demos CD)
LP

Tracklisting:
1. Warsaw
2. Give Out
3. Serpents
4. Kevin's
5. Leonard
6. In Line
7. All I Can
8. We Are Fine
9. Magic Chords
10. Ask
11. I'm Wrong
12. Joke Or A Lie

Best Tracks:
Give Out
Serpents
In Line
Leonard

Currently listening to: LP

Sharon Van Etten is, as of mid-2014, my latest obsession.

I hadn't discovered a new artist for some time. Realising this, at the end of 2012, I read through FasterLouder's Top 50 albums of 2012, hoping to discover something new. At #49, was Tramp. I watched the 'Magic Chords' video, and was suitably impressed. Nothing else on FasterLouder's list took my fancy. Though, I kept coming back to 'Magic Chords'. I immediately downloaded the album, and instantly fell in love with it (and don't worry, I happened upon the CD in a store about a week later, and bought it).

Tramp was exactly what I needed. On paper, it ticks all the boxes for what I usually love - a lady with a great voice who sings sad songs about love gone wrong. Such a simple description, however, sells Tramp short. Because, these are really great songs. Sharon Van Etten clearly knows a thing or two when it comes to song-writing. The songs are also delivered with such raw conviction - how could I resist?

Of course, what matters for any great album are the songs. And Tramp is bursting with great songs. If 'Magic Chords' was the loaded gun, then 'Give Out' was the bullet. And, it hit me square in the heart. I can't remember the last time I've been affected by a song quite like this. 'Give Out' is simply beautiful. And, the stunning version she played on Triple J further cemented my love, both for the song and for her. This song has become like my crack since discovering this album. I'm still not sick of it. 'Serpents' is an uneasy (though, rewarding) listen, with it's "black eyes" and "trying to forgive your crimes". Despite their lyrics, songs like 'Leonard', 'All I Can' and 'We Are Fine' feel surprisingly optimistic. When she sings, "Well, I'm bad at loving you" in the chorus of 'Leonard', she sounds likes she quite OK with being bad at loving him. Generally, however, Tramp isn't a cheerful affair. Which, of course, is probably one of the reasons I love it.

I discovered Sharon Van Etten right when I needed her - Tramp felt new, yet happily familiar. I think I'm still in the honeymoon period with this record. I have a feeling, however, that Sharon Van Etten is here to stay - given that I equally love the two records she did before Tramp, and her new one (it's probably bad timing for me to blog Tramp, since I'm currently obsessed with Epic and Are We There). Though, I have had the same feeling before, when I started listening to other artists that have become favourites. I hope I'm right.

Spazzys - 'Aloha! Go Bananas' (2004)

Versions:
CD
CD+DVD
DVD

Tracklisting:
1. Zombie Girl
2. Surfen Bird
3. The Sunshine Drive
4. Action City
5. Hey Hey Baby
6. Steal A Kiss
7. Paco Doesn't Love Me
8. Shake & Twist
9. My Boyfriend's Back
10. Cigarettes
11. You Left My Heart In The Garage
12. Zatopeks
13. My Car Doesn't Brake
14. I Wanna Cut My Hair Like Marky Ramone

Best Tracks:
Zombie Girl
Zatopeks
Paco Doesn't Love Me

Currently listening to: CD

Has it really been 10 years since Aloha! Go Bananas?

My, how time flies.

I first heard The Spazzy's when their demo was played on 3D Radio in Adelaide some time in the early 00's. My best mate and I were immediately interested, based on their name. We thought it was a fucking great name for a band. The first song I remember hearing was 'Let's Get Spazzy'. I instantly loved it. I remember downloading their demo CD from their (Angelfire-hosted) website, which included 'Let's Get Spazzy'. I played it a lot.

The first time I remember seeing them play was supporting Gerling at Fowler's around 2003. My mates and I went only to see The Spazzy's. And, they were a lot of fun. We saw them once or twice more before they put out Aloha! Go Bananas (I do seem to recall that they released the Paco Doesn't Love Me single first, although I could be wrong). The gigs were always energetic and fucking fun.

I was pretty eager for Aloha! Go Bananas when it first came out. My initial reaction was disappointment - it didn't have 'Let's Get Spazzy'! Regardless, I really dug the album. 'Paco Doesn't Love Me', 'Zombie Girl', 'Zatopeks', 'You Left My Heart In The Garage' and 'The Sunshine Drive' were my favourites.

They played two nights in Adelaide about a week after the album came out. One night at the Crown & Anchor, and the next night supporting Magic Dirt at The Gov. Both gigs were fantastic. I remember being a little tipsy and (accidentally) talking to Kat and Ally. They were really nice, if not a bit dubious about the drunk guys that happened to be sitting next to them (it was in the old foyer at the Cranker, when they'd have the fire going. It was actually unintentional, I promise). I told Kat that 'Let's Get Spazzy' was my favourite song and that I couldn't believe they left it off the album. She seemed surprised that I actually liked it, telling me she'd written it as a throwaway, just to get the band's name on the radio. They then played it for me at the gig, which was sweet.

The weirdest thing about this album was that 'My Boyfriend's Back' became something of a hit single (Wikipedia tells me it hit #24 in the charts). At the time, I was still working at Target, and they put it on the promotional DVD we had to play on the TV's in the store (even Magic Dirt never made it to the Target TV's!). Which was a bit surreal. There was another song I liked on the DVD, so I'd play Spazzy's and this other song on a loop. It was great, if not a bit weird.

Listening to the album tonight, for the first time in a long time, has brought back a lot of memories. Primarily, the smell of beer and cigarettes in the Cranker band room. And, hangovers and ringing ears. Despite, the obvious nostalgia, it's still a pretty good album. I must admit, it's way better than I anticipated.

I ended up with a few copies of the album. I re-bought it when they re-released it with a DVD. I then got a copy of the DVD, since they sent it to people who already bought the album (which I found out after I'd already bought it). All you had to do was email their record label the barcode from your CD and they sent the DVD. Pretty cool.

The last time I saw The Spazzy's was Big Day Out in 2007. Kat had broken her arm and Davey Lane from You Am I played guitar for them. I think they may have played in Adelaide once since then. I don't give The Spazzy's much attention these days. I still haven't bought their second album. I kept meaning to import it, since it was only released in Japan. When it was finally released in Australia a few years ago, I still never got around to getting it. I enjoyed Aloha! Go Bananas so much tonight, I might need to seek it out. I know they still play around Melbourne (and I think they recently toured Europe), I hope I catch them live again some time.

Led Zeppelin - 'Led Zeppelin II' (1969)

Versions:
LP
CD
Cassette

Tracklisting:

Side One:
1. Whole Lotta Love
2. What Is And What Should Never Be
3. The Lemon Song
4. Thank You

Side Two:
1. Heartbreaker
2. Living Loving Maid (She's Just A Woman)
3. Ramble On
4. Moby Dick
5. Bring It On Home

Best Tracks:
Ramble On
Whole Lotta Love
Bring It On Home

Currently listening to: LP

As I teenager, I - like many others before me - faithfully worshipped at the alter of the mighty Led Zeppelin. I was convinced that they were the best rock band to have ever graced the Earth. Though I loved Houses Of The Holy and Physical Graffiti, those first four albums were as precious to me as gold.

As the years wore on, my love for Led Zeppelin faded. Quite dramatically. Of all the 60's bands I listened to - and adored - as a teenager, there's only two that I can't really stomach anymore - Led Zeppelin and Deep Purple. While Deep Purple don't really come to the table (sure, Fireball is still a great album. That's about it), I feel a little guilty about abandoning Led Zeppelin, if only for how much I deeply, deeply loved them when I was 15. While tastes change, I still love most of the bands I loved at 15. And, Led Zeppelin are, in my estimation, still one of the most loved bands around. So, what is it about them I can no longer relate to?

I'm about to drop the needle on Led Zeppelin II and find out. I'm hoping I'm newly impressed by what I hear. But, I have a feeling it might be a bit too wanky, cock-rock for me.

Things are off to a good start with 'Whole Lotta Love' and 'What Is And What Should Never Be'. Robert Plant's voice, which used to be one of my favourites voices in the world, teeters on the verge of self-indulgence, but, happily, doesn't quite becomes conceited. On these first two tracks, at least. Once we get to 'Killing Floor' (or 'The Lemon Song', if we really must), it all falls apart. It doesn't help that I'm much more familiar with Howlin' Wolf's version of the song now than I was when I worshipped Led Zeppelin. It's also with this song that I've come to realise that, largely, it's Robert Plant's voice that has put me off Led Zeppelin. Yes, he has a great voice. But, it's a bit pompous and over the top, isn't it? 'The Lemon Song' sounds like Page and Plant playing soggy biscuit. It's not pretty. 'Thank You' is possibly the worst song on the album. A song like this shouldn't have been so bad in 1969 - tons of bands were doing sickly saccharine love songs, and making them work. Somehow, 'Thank You' is particularly nauseating. It should have been their 'Here Comes The Sun'. Instead, it's their 'Close To You'.

I'm hoping things improve with the second side. I can't decide if I like 'Heartbreaker', it was never a favourite. Things pick up again with 'Living Loving Maid'. While it sounds like it could be any number of unremarkable hard rock bands from the late 60's, I quite enjoyed it. Even better is 'Ramble On', where all the elements have harmoniously fused. It is, easily, the best four and a half minutes on the album.

'Moby Dick'. Ugh. I forgot about this one. The riff's actually pretty good. But, then there's the drum solo. 70's drum solos are the musical equivalent of watching paint dry. And, this was the monster that started them all. The albums ends on a high note with 'Bring It On Home'. That pompous voice croons the blues-y songs pretty good. The first half of the song is a rare understated moment in Led Zeppelin's back catalogue, and it really works well. Even when the rocky part kicks in half way through, it still works. Aside from 'Killing Floor', I can't think of any of those old blues songs (that blatantly they stole) that they didn't do well.

I'm pretty sure that the first version I had of this album was a cassette. And, strangely, it's not the same cassette copy as the one I still have. My Dad did inherit a lot of my old tapes to play in the car. I'm assuming this one of one of them.

I did not enjoy Led Zeppelin II as much as I thought I would. I have listened to it - and enjoyed it - in the last few years (I have a friend who, once our drinking sessions had wound deep into the night, would inevitably demand that I put this album on), but tonight it felt like an old friend that I have no interest in reconnecting with. Perhaps, the first or third (or even fourth) albums would have been a wiser choice if I wanted to reignite the love for Led Zeppelin. But, I don't. I know that will sound like blasphemy to the Zeppelin faithful out there - I know, from experience, that they hold the band very close to their hearts. However, Led Zeppelin II, as influential and important as it may be, just isn't for me anymore (which feels odd to say after the last blog praised Kylie Minogue's first album. But, there you go).

Kylie Minogue - 'Kylie' (1988)

Versions:

LP

CD

Cassette

Tracklisting:

Side One:

1. I Should Be So Lucky

2. The Loco-Motion

3. Je Ne Sais Pas Pourquoi

4. It's No Secret

5. Got to Be Certain

Side Two:

1. Turn It Into Love

2. I Miss You

3. I'll Still Be Loving You

4. Look My Way

5. Love At First Sight  

Best Tracks:

Got To Certain

I Should Be So Lucky

Je Ne Sais Pas Pourquoi

Currently listening to: Cassette

Now, this was the first album I ever owned. I had a cassette copy that I (accidentally) stole my school library in, of all places, Ceduna. It's hard to believe I've been listening to Kylie even longer than I've been listening to Madonna. Our Kylie's treated me well over the years. Though, it has been a tumultuous relationship.

Despite an early childhood love (that ran from this album up until around the time of 'Confide In Me'), I fought the Kylie love for a long, long time. When 'Can't Get You Out Of My Head' came out, I couldn't deny it, and Fever became the first Kylie album I bought since Let's Get To It. After that, I bought a few more, but it was still a rocky relationship. I've never seen Kylie live, as she's always timed her tours while I'm in a, what I call, Kylie slump. Since X, which I hated at first then fell in love with during my first overseas trip (those Europeans love a bit o' Kylie), I've stopped fighting it and embraced it, wholeheartedly. I can't help myself. I ended up buying all the remaining albums I was missing from her back catalogue, including this one - my original tape was long gone. I've come accept that I love Kylie. And, I fucking love daggy, old Kylie.

For added nostalgia, I've popped on my (more recently acquired) cassette of the album. I still listen to this album more than I care to admit. However, hearing it on a wobbly, bassy cassette brings back memories of many childhood car trips with this in my walkman.

Side One is pure gold. Well. In a cheesy, 80's pop kind of way, it's pure gold. It does, in fact, contain a good chuck of my favourite Kylie songs. 'I Should Be So Lucky' has, in recent years, become my favourite karaoke song. I also love that, at the insistence of Nick Cave, she started doing spoken words performances of it in the 90's. Which did make me look at all the songs on this album differently. Despite the cheese factor and the unmistakable Stock, Aitken and Waterman production, many of the songs are actually pretty well-written, decent songs. And, like all good Kylie songs that followed, have that underlying melancholy. In the hands of someone else songs like 'I Should Be So Lucky' or 'Je Ne Sais Pas Pourquoi' could have been downright wretched.

As a kid, 'It's No Secret' was always my favourite Kylie song. These days, that accolade goes to 'Got To Be Certain'. Most of Side One, however, are favourites. Not so much, 'Loco-motion'. It's bit of cheesy fun, but has mostly nostalgic value - I actually remember when this came out (I was 5. And, loved Neighbours), and I loved it. All of the songs on Side One were singles, which also means they were all accompanied by gloriously daggy videos. From Kylie dagging around Melbourne in 'Got To Be Certain' to the French-chic of 'Je Ne Sais Pas Pourquoi' (which features Kylie singing in front of a photo of Arthur Rimbaud), these videos feature Kylie at her daggy 80's best.  I highly recommend watching these videos, they're a lot of fun. I think she left a few off the Ultimate Kylie DVD, but if you find a copy of the Greatest Hits 87-99 DVD, they are all preserved there (along with all the others from her early career). It's a worthy investment. And, has become my favourite DVD to watch whilst drunk.

Side One of this album makes me fantastically happy. Like The Immaculate Collection, it's my gay prozac. I love every song on the first side of this record. Side Two, however, is another story. 'Turn It Into Love' was a single (I think only in Japan?), and I've grown to really enjoy that one.The remaining four songs are pretty forgettable. 'I Miss You' would have been an OK b-side (and funnily enough, 'Made In Heaven', which was the b-side to 'Je Ne Sais Pas Pourquoi', is better than any of these songs, yet isn't on the album). 'I'll Still Be Loving You', 'Look My Way' and 'Love At First Sight' (and no, not that 'Love At First Sight') are offensive in their unoffensiveness. They're just there. They are blatant album filler - I'm not sure if the makers of this record ever intended anyone to actually still be listening at this point. There's probably a reason that all the good songs are on the first side.

As I said, my original cassette of this album is long gone. Regrettably, I started giving my cassettes away when I was around 12, when I discovered 60's music. Suddenly, all my late 80's and early 90's pop tapes weren't cool. I'd love to have them all back, and see exactly what I had. But, there you go. The new cassette I got was part of a Kylie bundle I bought on eBay for $1, that had this cassette, a special edition of X and 45's of 'Never Too Late' and 'Hand On Your Heart' - for $1. It was worth it to get the cassette. It brings back a lot of memories.

As an album, Kylie relies heavily on it's singles. My favourite way to hears these songs, and the way I'd recommend anyone hear them, is on the Greatest Hits 87-99 album (which, I think is now, sadly, out of print). Kylie wasn't really an album artist until Impossible Princess, but she put out some great singles. Greatest Hits 87-99 fantastically distils this early part of her career, without the filler. Instead of enduring the dreary songs on the second side of Kylie, you can cut straight to 'Hand On Your Heart'. Plus, it includes 'Made In Heaven' and 'Especially For You', which Kylie doesn't. Perfect!

MGMT - 'Oracular Spectacular' (2008)

Versions:

CD

LP

Tracklisting:

1. Time To Pretend

2. Weekend Wars

3. The Youth

4. Electric Feel

5. Kids

6. 4th Dimensional Transition

7. Pieces Of What

8. Of Moons, Birds & Monsters

9. The Handshake 

10. Future Reflections

Best Tracks:

Kids

Pieces Of What

Weekend Wars

Time To Pretend

Currently listening to: LP

I first heard this album during my first trip to London in 2008. One of my friends that I was staying with was part of a record club that mailed him CD’s of new, up-and-coming albums. None of us had ever heard of MGMT, but we popped it on to see what we thought. I quite enjoyed it. I remember thinking that it sounded a little psychedelic, which I quite liked. After that initial listen, I largely forgot about it, other than being surprised to see a billboard for it near a hostel I stayed in a few days later near Wembley. It certainly didn't strike me as a particularly commercial record.

Fast forward six months, once I was back in Australia, and the thing fucking exploded. I didn't expect that. After hearing (and liking) 'Electric Feel' and 'Time To Pretend' all over Triple J, I saw the album cover and realised that it was the same band that my friend in London had played me. Then, they were everywhere. Which was great. I always enjoy when music I like actually hits the mainstream in Australia (I would have also never picked The XX to ever be as popular as they were, either. Goes to show what I know).

It wasn't until 'Kids' that I bought the album. Every weekend, my friends and I would go out dancing to the same place we always did. And the DJ kept playing this fucking great song. I didn't know what it was for a few weeks, but I eagerly waited for it and danced like a spastic when it did, inevitably, come on. Then, I found out it was 'Kids'. What a fucking great song! I became obsessed with it. When I first got the album, I just played 'Kids' on repeat. It took me a few months to actually listen to the whole album. I still love 'Kids'. I think it’s easily one of the best singles of the 00’s (probably Top 3, along with 'Hate To Say I Told You So' and 'Standing In The Way Of Control').

Once I got past 'Kids', I discovered the album was pretty good. 'Weekend Wars' had been a free single on iTunes at some point before I got the album, and I really liked that, too. The first half of the album (or, all of Side A if you’re listening to the vinyl version, which I am) is pretty much all gold. 'Kids', 'Time To Pretend', 'Weekend Wars', 'The Youth' and 'Electric Feel' are all great. 'Electric Feel' is actually my least favourite of the singles from this album, but it works much better in the context of the album.

Side One is, easily, the more accessible. The second half of the album, or Side Two, gets a bit more interesting, which isn't always a good thing. Until tonight, I’d forgotten how much I loved 'Pieces Of What'. '4^th Dimensional Transition' is also good. 'Of Moons, Birds & Monsters', 'The Handshake' and 'Future Reflections' aren't bad, they just pale in comparison to the preceding seven tracks.

Oracular Spectacular is still a great listen, even if it does slightly die in the arse by the end. It certainly hit more times than it misses.

PJ Harvey - 'The B Sides' (1995)

Versions:
CD
CD (with To Bring You My Love)

Tracklisting:
1. Reeling (Four Track Version)
2. Daddy
3. Lying In The Sun
4. Somebody's Down, Somebody's Name
5. Darling Be There
6. Maniac
7. One Time Too Many
8. Harder (Studio Version)
9. Goodnight

Best Tracks:
Somebody's Down, Somebody's Name
Lying In The Sun
Maniac

I touched on this one in the To Bring You My Love blog. This is a promo only album (I remember reading somewhere years ago that it was a mail order only thing. Despite my encyclopaedic knowledge of PJ Harvey, I could be wrong), and it was also released as a bonus disc with To Bring You My Love.

PJ Harvey has a wealth of great b-sides and non-album tracks. I could be, and probably (definitely) am, a little biased. Though, more than any other artists I've ever fallen in love with, PJ Harvey's vast back catalogue is full of obscure treasures. The more you dig, the more you're rewarded. When I first starting listening to PJ, back in the days of Napster, I downloaded all I could get my hands on. And, I was always impressed with the quality of her b-sides. To Bring You My Love was the album that made me fall in love with her, and I ended up loving the b-sides from that album just as much as the album tracks. I made a CD of b-sides to listen to in my CD player, mostly To Bring You My Love and Is This Desire? b-sides, and I absolutely played it to death. So in love with PJ was I, that I’d take my discman to bed with me so I could listen before I went to sleep (which isn’t uncommon, but this was the only time I ever did it). My two favourite CD’s to play before bed were the b-sides CD and a bootleg called Black Monsoon, which was a live recording from the To Bring You My Love tour.

With the decline of singles in the music business, b-sides are becoming less and less common. And, this saddens me. For the most part, however, PJ Harvey has consistently given us b-sides, in one form or another. And, most have equalled the tracks that ended up on her records. As I said, when I first discovered her, I was taken with the quality of the b-sides, particularly those from To Bring You My Love. I remember reading an old interview with her many years ago, where she said that she left some of her favourite tracks off of To Bring You My Love because they didn't fit anywhere on the album. And, she was right. Despite the quality of the songs that didn't make the album ('Somebody's Down, Somebody's Name', 'Lying In The Sun', 'Maniac'), To Bring You My Love is so meticulously sequenced that any of these songs would have, indeed, been out of place. And, this has rung true for most of her career. She'll put a stunning song on a b-side ('Nina In Ecstasy', '66 Promises', 'Reeling', 'Angel', '30', 'Sweeter Than Anything', 'Liverpool Tide', to name but a few), where it will remain largely unnoticed, save for those of us devout to enough to savour anything and everything she puts out.

I will, no doubt, gush about these songs as I review the individual singles for this blog. But, back to The B Sides.

It's fitting that it was later released as a bonus disc to To Bring You My Love, it serves as a nice companion piece. All of the To Bring You My Love b-sides are included, except for the wonderful 'Long Time Coming' from Send His Love To Me. It's exclusion is curious - not only is a great song, it would have also brought The B Sides up to 10 tracks. 9 tracks seems a little paltry. Also missing is her rousing cover of Howlin Wolf's 'Wang Dang Doodle', from the Man-Size single. The only other b-sides not included were demo versions of tracks from Dry and Rid Of Me, all of which (aside from 'Man-Size') are easily available on Dry Demonstration or 4-Track Demos. At 32 minutes long, there was certainly room for both 'Long Time Coming' and 'Wang Dang Doodle' on The B Sides. Even more perplexing is the addition of the 4-Track Demos versions of 'Reeling' and 'Goodnight' - neither were ever b-sides. However, given that The B Sides was released when PJ Harvey was transitioning from a band to a solo artist, this decision - along with the omission of 'Wang Dang Doodle' - does make sense. The only Rid Of Me b-side included is 'Daddy', which sounds nothing like PJ Harvey, the trio. 'Daddy' is also interesting when viewed as a bridge between Rid Of Me and To Bring You My Love. That said, the band version of 'Reeling' is, for me, the definitive version. The inclusion of 'Goodnight' could be due to the fact that it was often played on the tour supporting To Bring You My Love. The first version of it I ever heard was the live version from Glastonbury 1995, which remains one of my favourite PJ Harvey songs. It's a shame that, with 'Hook' and the beautiful performance of 'Water' from Glastonbury released as b-sides to Send His Love To Me, 'Goodnight' remains unreleased (I do hope the whole show sees a proper release someday). It took me a long time to warm to the demo version. The only other curious fact about The B Sides is that 'Harder' is listed as the 'Studio Version'. While it was recorded during the same BBC session that produced 'Long Time Coming' (and is included on the wonderful My Life bootleg), the studio version of 'Harder' is the only version that was officially released. In the heady days before Discogs, morsels like this ('oooh, maybe the live version has been released on an obscure single?!', 'What if there's a studio version of 'Goodnight' somewhere?!') would send my brain into a frenzy.

It’s a nifty little compilation to have. The only problem is that finding the individual singles from which these tracks were culled is much easier than finding a copy of The B Sides. After many years of searching, I finally found my copy on eBay about two years ago. I think I paid about $60 for it (and have watched, in dismay, as it sold for as little as $30 since), which I was happy with, since I'd spent so long looking for it. The first copy I got was the 2-CD version of To Bring You My Love, which was much cheaper. While it's a nice addition, the stand-alone version, complete in a digipak with fantastic exclusive artwork, is the better version to have. If you're dedicated enough to fork out for it, of course.

One of the great things about PJ Harvey, and also one of the most frustrating, is her reluctance to re-issue her old material. While it is certainly admirable that she, unlike many of her contemporaries, hasn't repackaged and re-released her back catalogue, she may be the one most deserving of such treatment. The lady has released a vast amount of material that hasn't been included on her albums. I can only hope that she one day sees fit to release another compilation of her non-album tracks, much in the same vein as The Bad Seeds' dignified B-Sides & Rarities set. For now, The B Sides is the closest we have. It was the first, and last, compilation of it's kind. Being that this CD is almost 20 years old, it's due for an update. 

Madonna - 'Like A Virgin & Other Big Hits!' (1985)

Versions:
CD

Tracklisting:
1. Like A Virgin (Extended Dance Remix)
2. Holiday
3. Lucky Star (Extended Dance Remix)
4. Borderline (Extended Dance Remix)

Best Tracks:
Holiday

Currently listening to: CD


If I'm to listen to every item in my collection, I'd really better get cracking on the singles. Especially, the Madonna singles. I have a lot. I am something of a completest. I like to get every album, every single, every everything of my favourites artists. In most cases, this is acquirable (over time). Collecting Madonna, however, is another story entirely. There's just so much out there. Like this curio from Japan.

I only got this one about a year ago. Most of Madonna's 80's singles are fucking expensive when you find CD copies. The 12" or 7" versions are usually easier to find, and cheaper. I've only been (obsessively) collecting Madonna vinyl for the last 7-8 years (aside from the small collection I'd amassed over the years), whereas CD's I've been collecting for over 20 years. So, I still have a bee in my bonnet about getting every Madonna single on CD. Generally, I keep my eye out to find them cheap (because I have so much Madonna shit, I have to draw the line somewhere) and I'm most of the way there. Along the way, you find odd releases, like this one, which I got cheap on eBay.

My main attraction to this, I must admit, is that fact that is it tackily titled, Like A Virgin & Other Big Hits! There were a surprising amount of Japanese only Madonna EP's from the early 80's, up until the early 90's. This may have been the first? (I'm too lazy to actually see if it is. I'm assuming it is, since there's none from the first album). Many of these Japanese EP's are of interest to collectors, as they usually contain an album's worth of material, as opposed to the usual CD single.

The 4 tracks on this one aren't that exciting, given that I already have them on multiple formats. Plus, every time 'Holiday' appears on one of these things, they shove the album version on. (Sure, it's already 6 minutes long, but I do wish they'd done a crappy 80's 12" version of it at some point. You Can Dance almost rectified this in 1987). This CD is, honestly, only for the devoted. However, there is something I love about it. Maybe it's that all the songs, aside from the then-new 'Like A Virgin', are remixes from Madonna's fantastic first record. Like many Japanese CD's from the 80's/90's, it does contain a booklet of photos and lyrics (in English and Japanese, of course). The whole affair is fairly tacky and, as far as Madonna's vast back-catalogue goes, pretty undignified.

For me, though, that's the appeal. This is a real curio from Madonna's early career, that would be a welcome addition to any obsessive fan's collection.

Love Outside Andromeda - 'Love Outside Andromeda' (2004)

Versions:
CD

Tracklisting:
1. Tongue Like A Tether
2. Made Of Broken Glass
3. Gonna Try To Be A Girl
4. Boxcutter, Baby
5. Something White & Sigmund
6. Your Baby, My Blood
7. Hecate Pose
8. Chameleon
9. Improper Methods
10. Juno
11. If You Really Want So Little From Me
12. Achilles (All 3)

Best Tracks:
If You Really Want So Little From Me
Juno
Something White & Sigmund
Made Of Broken Glass
Tongue Like A Tether

Currently listening to: CD

Love Outside Andromeda are still one of my all-time favourite Australian bands. It's a shame that they're no longer with us (and that I only fell in love them about 18 months before they broke up). This is their first album, which came out in 2004, and it's stunning. And, unfortunately, in 2014, it seems to be largely forgotten.

Many people had told me to check out this Melbourne band called Andromeda, as they were originally known, after 'Something White & Sigmund' took off on Triple J. Mainly because, I was told, they sounded like PJ Harvey. I saw the video for the song, and quite liked it. I added the band to the growing list of bands I needed to investigate, and all but forgot about it. It didn't help that, not long after, the band changed their name.

A year or so later, rage played a special on female artists. I have rage to thanks for many of my musical discoveries of the late 90's/early 00's. Being that I taped rage most weekends, and that most of the music I loved was (and still is) predominantly made by women, I eagerly relished this particular rage special (even if it was a little sexist). It featured 'Something White & Sigmund' and 'Made Of Broken Glass'. I was instantly smitten with both. I also (finally) worked out that Andromeda and Love Outside Andromeda were, in fact, the same band.

I bought the album the next day (happily, it was packaged together with the Something White & Sigmund EP). I loved those two songs so much that I was worried that the album wouldn't live up to my expectations. How wrong I was. I was instantly gob-smacked.

'Tongue Like A Tether' kicks the album off, and you know they mean business. I remember reading an interview with Sianna Lee where she said the song was inspired the anger in Hole's 'Violet'. 'Tongue Like A Tether' is possibility even more convincing than 'Violet'. It's not a happy song. And, this is not a happy record. From the gritty 'Gonna Try To Be A Girl', to the tender 'If You Really Want So Little From Me', this album will rip your face off with it's sheer force, then rip your heart out with it's raw beauty. It became the soundtrack to my life for a few years in my early 20's when I was falling in love with the wrong people and generally crap at life. Which is an indication of the subject matter. Oh, yes, this is one for anyone who's had their heart chewed up and spat out again. And, it's perfectly executed. It's a fucking great album.

Here we are ten years later (ten years!) and I still love this record. There's so many good songs on this album. 'Made Of Broken Glass' and 'Something White & Sigmund' should have a much bigger place (or, at least a place) in Australian music history than they do. I think that Sianna Lee is possibly the most underrated songwriter in Australian music of the last ten years (and not just for this album - the second, even more underrated, Love Outside Andromeda album and her solo album are both testament to this).

The first time I saw Love Outside Andromeda live was about a month after I first got this album. And it's still one of the best gigs I've ever seen. I saw them play a few more times before they broke up, but the first gig was really special. They had the cello player that played on the album with them. The main thing I remember was being really impressed with the musicianship - it sound wanky, and I'm not a musician, so rarely worry about such things. But, they were all such good players, and such a tight unit together. They were really impressive live. I saw them a few more times, before they broke up, which was - incidentally - on the same day they were due to play in Adelaide to support their second record, Longing Was A Safe Place To Hide. It's a shame. I still miss them.

I'd highly recommend this album, particularly to fans of PJ Harvey and Cat Power and that sort of thing. Love Outside Andromeda were often compared to PJ Harvey during their short lifetime - as much as that may be a compliment, it is also a lazy comparison that sells them incredibly short of what a great, great band they were.

Marilyn Manson - 'Antichrist Superstar' (1996)

Versions:
CD
LP

Tracklisting:
1. Irresponsible Hate Anthem
2. The Beautiful People
3. Dried Up, Tied And Dead To The World
4. Tourniquet
5. Little Horn
6. Cryptorchid
7. Deformography
8. Wormboy
9. Mister Superstar
10. Angel With The Scabbed Wings
11. Kinderfeld
12. Antichrist Superstar
13. 1996
14. Minute Of Decay
15. The Reflecting God
16. Man That You Fear

Best Tracks:
Antichrist Superstar
Man That You Fear
1996
Mister Superstar
The Reflecting God

Currently listening to: LP

Now, this is an interesting one. For me, at least. In case you haven't read the previous posts in this blog, my musical preferences/discoveries as a teenager centred wholly on 60's and (to a lesser extent) 70's music. I even repressed my love for Madonna (my first true music love) during this period. Something else that should be obvious by the previous posts, and has probably been mentioned, is my obsession once I find something that I love (especially as a teenager).

As an obsessive 14-year old fan of Janis Joplin, The Who and Led Zeppelin, I somehow discovered Marilyn Manson sometime in 1997. I must confess, I am a little embarrassed by it, but Marilyn Manson became another obsession for the next few years. I'm also a little embarrassed to admit that it was through Manson that I (finally) opened my mind to music that was current (so, I essentially discovered PJ Harvey via Marilyn Manson. Ack. At least I got there in the end).

I can't quite explain it, because it was unlike anything else I listened to (aside from vague connections to 70's rock I listened to, like Black Sabbath, Deep Purple and, of course, Alice Cooper), but something struck a chord with me when I first heard Antichrist Superstar. It could have been that I was an increasingly grumpy 14-year old boy in the late 90's. It could have been the image - the first time I heard of Manson was when I saw his 1997 Rolling Stone cover, and I thought it just looked fucking cool. It could have been that my closest friends were into a lot of heavy metal and - try as I might - I could never find anything that I really liked. Until Antichrist Superstar (although, is Manson even classed as metal?). It could have also been how much it pissed people off. My family, my friends - everyone else I knew fucking hated Marilyn Manson. Which I, of course, always enjoyed. I think people tend to forget how shocking Manson was during the Antichrist Superstar period. It may seem tame by today's standards, but by mainstream 1997 standards, it was far from tame.

Whatever it was, I instantly became obsessed with Antichrist Superstar and immersed myself in all things Marilyn Manson. And yes, I dyed my hair black and started painting my nails. I never fully committed to the whole goth thing (especially when the word on the street was that Manson was too mainstream for real goths), but I gave it a go. There's enough embarrassing photos floating around to remind me. I also covered my room with Manson posters (everything else came down, save Janis) and started running a few amateurish Marilyn Manson websites. I was committed to the cause, even if I wasn't a full blown goth. In retrospect, I think I got a lot out of, what I like to call, 'the Manson years'. Inevitably, I did out-grow Marilyn Manson (not coincidentally, around the same time I discovered PJ Harvey), though I can't deny the impact that Manson had on me during those formative years.

Fast forward to 2014, and Marilyn Manson has become something of a nostalgic, guilty pleasure. Occasionally, I'll pop one of the old albums on and still enjoy it. The last one of his records I bought was The High End Of Low, which I half-listened to once and forgot about. The last Manson album I loved was Holy Wood (which, I think, still stands as possibly his best record), and I've only liked the odd song here and there since. A big part of my disillusion with Marilyn Manson was that old foe, age. As of my early 20's, it says nothing to me about my life. Which doesn't mean I can no longer enjoy it. It's just a nostalgia trip for me now.

Which brings me to the point I want to explore. Is Antichrist Superstar actually any good? How does it hold up now, nostalgia aside? The first thing I need to get past is Manson's ghoul voice. He's never had a particularly good voice (as most live Manson bootlegs attest), but he's managed to use it to good effect. However, it's the main reason I can't stomach any of his albums since 2000. It sounds way too contrived. Antichrist Superstar doesn't suffer too much, but it still takes a bit of getting used to these days. On songs like 'Man That You Fear', 'Deformography' and 'Cryptorchid', which used to be favourites, it's distracting. Which is a shame, because these are pretty good songs.

My favourite thing about Antichrist Superstar in 2014 is how noisy and abrasive it is. Thanks, in no smart part, to Trent Reznor's production. There's no denying that Antichrist Superstar is Marilyn Manson's Downward Spiral. And, I say that more as a compliment than a criticism (because, in my 30's, I have some of the same misgivings about The Downward Spiral that I do about Antichrist Superstar). Indeed, Antichrist Superstar does sound like a cross between Portrait Of An American Family and The Downward Spiral (and that is a compliment). Manson (the man and the band) invest enough of themselves into this album that it is, undeniably, a Marilyn Manson record. And, probably would have been, had Reznor not produced it. 'Irresponsible Hate Anthem', 'Mister Superstar' and '1996', in particular, sound like a trashy punk band being molested by Trent Reznor (again, a compliment). 'Dried Up, Tied And Dead To The World' sounds particularly NIN-y. This, along with much of the album, show that Antichrist Superstar is a very interesting bridge between The Downward Spiral and  The Fragile. 

It is hard for me to listen to this album objectively. Part of what makes it great is the context in which it was released. Which may be lost on someone listening to it for the first time any time after, say, 2003. However, while it's initial impact may be lost, I think it still holds up.

I only have two copies of Antichrist Superstar, which is only surprising given the extent of my Manson obsession between 1997 and 2001. Aside from the original CD (which I looked at for the first time in a long time tonight. Oh, the memories within that CD booklet!), I have a vinyl copy, which Discogs tells me was released in 1998. Which makes me think I bought it in 1999. It was $60. At the time, it was the most expensive record I'd ever bought (and it was only the second or third time I'd ever bought a new, not second hand, record). I actually put it on lay-by at Big Star. Which seems ridiculous now, but $60 was a considerable amount of money when I was 16 - especially, for a record (I think Mechanical Animals had previously been the most expensive record I bought at $40). I played it tonight for the first time in, at least, 10 years. It's an odd pressing. The record itself is wider than a normal 12" (and only just - maybe a pressing error?) and my turntable didn't quite agree with it.

As I said, Antichrist Superstar is a complete nostalgia trip for me now. I'd be reluctant to call myself a Marilyn Manson fan in 2014. I haven't seen him live since 2003 (when the obsession had faded, but I was still devout enough to go see him in Melbourne), despite the fact that he's played in Adelaide numerous times in the years since. Which is telling. Though, unlike other albums I loved around the same time (Tool's Aenima or Korn's first abum, for example), I still quite like Antichrist Superstar. It's probably still the definitive Marilyn Manson album. Where the quality of the music ends and the nostalgia begins, I honestly do not know. Nor, do I care. Antichrist Superstar will, for better or worse, always have a special place in my heart.