Majors Celebrate the 60th Anniversary of the 45 Single With “Digital 45” Campaign

Posted on July 15, 2009 by mike

In what seems to be a gobsmackingly obvious move, the major labels in conjunction with digital music retailers like Zune Store, Amazon, Rhapsody and iTunes have announced “Digital 45s” on the 60th anniversary of the 7″ 45 record.

The big announcements are really in conjunction with Apple’s iTunes Store that they are calling “D45” and use that nifty logo pictured on the left. Digging through the press-releases shows that Warner Music Group is represented by Rhino which should represent the full compliment of WMG labels which includes Atlantic/Atco, Elektra/Asylum, Warner Brothers, Reprise and Sire– so this should bring a very wide and deep catalog and the first releases are already showing some promise.

EMI stepped up with a press-release as well although they don’t have a site dedicated to their Digital 45 initiative. EMI stable of labels include EMI, Apple, Capitol, Virgin, Blue Note, Manhattan– and interestingly, Caroline, Mute, Definitive Jux, and Astralwerks making for some potentially interesting releases.

The Concord Music group has titles released as well, but no press release. According to the Wikipedia article on Concord, UMG handles the physical distribution of Concord, but I don’t think that would apply here. Concord includes Fantasy’s labels– Fantasy, Stax/Volt and a number of jazz labels (Riverside, Prestige). There is a Sam & Dave Digital 45 of “Soul Man,” I hope this means we see some interesting Creedence Clearwater Revival releases– they were on Fantasy. There has been a long-standing Stax/Volt Singles box set with b-sides, but these Digital 45s would allow someone to pick and choose if they released the whole Stax catalog.

SonyBMG have brought some Digital 45’s as well, but I couldn’t find a press release on it. SonyBMG is a significant collection of labels as well with Sony, Epic, Columbia, RCA, Arista and all of their associated spinoff labels. One of the first Digital 45’s is a Michael Jackson single for “Billie Jean” b/w “Can’t Get Out of the Rain.”

A quick review of the online retailers shows a pretty impressive participation– iTunes, Amazon.com, Zune Music Marketplace, Rhapsody mp3 store, but eMusic seems to be the lone holdout– or shut out. Sony just signed an agreement with eMusic to be able to sell older titles, but apparently this doesn’t extend to Digital 45s, yet.

Comparing the offerings between the retailers shows that mostly everyone is adopting the $1.49 for 2 tracks, with the individual tracks at standard pricing of $0.99. Zune Marketplace has the 2 tracks at $1.69, with individual tracks at $0.99. The Sony titles seem to be priced differently– “Billie Jean” 2-track is $1.99 with “Billie Jean” at $1.29 and the b-side at $0.99. Right now it looks like iTunes is the only retailer who has the SonyBMG titles. I’m not sure what the future holds about this situation, since all of the retailers have other SonyBMG titles.

All of that detail aside, there are some pretty cool titles available already and based on an interview with Rhino Marketing Veep David Dorn by Billboard, they will be releasing “bundles” of Digital 45’s monthly, so there will be many more to come!

Some releases of interest to me:

Prince and the Revolution- “Kiss” b/w “Love or Money” (Warner Brothers) This is a single I own in 7″. Interestingly this was a B-Side left off of the 1993 3 CD compilation The Hits/The B-Sides, so its existence here is welcomed.

INXS – “What You Need” b/w “Sweet As Sin” (ATCO) During their heyday, INXS used their b-sides to provide songs that were a bit more experimental. “Sweet As Sin” is a two-steppish country tune. Not a bad track, but certainly didn’t fit on Listen Like Thieves. One of my favorite b-sides from INXS from this period is the jazzy instrumental “Begotten” and the really out-there “I’m Coming (Home)” from the “I Need You Tonight” single.

Erasure – “A Little Respect” b/w “Like Zsa Zsa Zsa Gabor” (Warner Brothers) Another great bubbly dance track from Erasure. Could have easily been on The Innocents, really.

The Cure – “Just Like Heaven” b/w “Breathe” (Elektra) The Cure is a veritable treasure trove of b-sides. This is most evidenced by the amazing 2004 Rhino/Fiction box set Join the Dots : B-sides and Rarities, 1978-2001. I had this on cassette single. According to one of the reviewers on iTunes, the “Just Like Heaven” mix is the mix by Bob Clearmountain used in the video.

Steve Martin and the Toot Uncommons – “King Tut” b/w “Hoedown At Alice’s” (Warner Brothers) I have this 7″– in fact you can see it in the header picture on this blog. With Martin’s new 5-string banjo album The Crow out, it makes sense for this b-side to show up as it is a banjo workout by Martin.

The Cars – “Let’s Go” b/w “That’s It” (Elektra) The lead single from Candy-O in 1979 had the non-LP track “That’s It” with Benjamin Orr on lead. This track was included in the 1995 Just What I Needed : Cars Anthology.

What I would like to see for singles (which is really about the b-sides)

INXS – “Listen Like Thieves” b/w “Begotten” (Elektra) I mentioned this one above.

Terence Trent D’Arby – “Sign Your Name” b/w “Greasy Chicken (Sony) My brother Steve was a big fan of TTD when Introducing the Hardline came out. He had the cassette single to “Sign Your Name” with the really funky workout “Greasy Chicken” as the b-side.

Bruce Springsteen – “One Step Up” b/w “Roulette” (Columbia) The Boss is pretty famous for having some really great songs “in the can” that eventually showed up as b-sides to singles or elsewhere. “Roulette” is a great example of this. Recorded in the Spring of 1980, it is a galloping song about nuclear holocost that just never made it to an album. This song eventually showed up on the very cool Tracks boxset. In fact, you can download it now from Amazon.com and other places.

Men At Work – “Who Can It Be Now” b/w “Anyone For Tennis” (Columbia) Another favorite around the house. My brother had this 7″ and played the b-side all the time. For some reason Sony Legacy omitted this song from the bonus b-sides appended to their 2003 remaster. “Anyone For Tennis” is a quick-tempo slightly ska-ish track demonstrates how much Men at Work owed the Police.

The Rolling Stones – “It’s Only Rock ‘N Roll (But I Like It)” b/w “Through The Lonely Nights” (Rolling Stones Records) When you’re a kid and your mom picks up records for you– you play the crap out of them. In my mind the flip side of the rocker “It’s Only Rock N’ Roll” is as notable as the A side. “Through The Lonely Nights” is a slinky, almost funky country rocker. Mick does his best American drawl. An absolutely gorgeous classic and largely ignored. This song was resurrected in a 2005 remaster done for a Starbucks compilation that is now out-of-print called Rarities 1971-2003. Really, I think that a box set of singles similar to the Singles Collection : London Years should be done for the post 1971 period.

Prince – All of the Warner singles! While it’s true that the 3 CD version of The Hits/The B-Sides is relatively available, they don’t seem to be available for digital download! So, this would be an inventive way to remedy this! Plus, there are still songs that didn’t make that 3rd disc– “Alexa de Paris” for one. In fact, maybe it’s time to reissue the Prince protegee bands’ singles as well!

Click Here for Rhino Records’ Digital 45 Page

Click Here for the press release from EMI which lists the initial singles they will be releasing.

The Long Journey of “Country Hai East Cotton” by Hiss Golden Messenger

Posted on June 4, 2009 by mike

Once upon a time there was a little band from San Francisco called The Court & Spark. For seven years they crafted their own flavor of Americana and Rock in relative obscurity. For those people who did hear their music, most– like me– became fans.

I first heard about The Court & Spark on All Things Considered one cold night at the end of 2001 when Sarah Bardeen reviewed Bless You. I had never heard anything quite like it, and the loping clockwork percussion paired with singer M.C. Taylor’s melancholy vocals and slide guitar– particularly on “To See The Fires” had me tracking the album down immediately and I followed their career until they disbanded in 2007 following the release of Hearts– an album I thought was their best effort to that point.

As announced from their website, “seeing as how we’re all involved in different musical projects, it seems best to retire the C&S name for a while.” M.C. Taylor and Scott Hirsch moved to the East Coast and would continue to work together in a new project cryptically called Hiss Golden Messenger. At the same time they announced the new direction, they also announced from their MySpace page a live CD for sale of a show that Hiss Golden Messenger did called Live at the Fernwood Lodge, Big Sur 4/22/07. I ordered that right away since it was a limited hand-stamped run. When I received the CD, I also got another nondescrept CD-R with only a Sharpie-scrawled “HARPO” on it.

The songs contained on this CD were, according to M.C., “very rough mixes” of an album he was hoping to release after he sorted out getting a label and taking to a studio for mixing and mastering. He was very modest about the recording since I guess he felt it wasn’t done, going so far as to suggest I could share it on my site if I wanted.

The music contained on HARPO was mesmerizing. It was really a continuation of the experimentation I’d heard on the last Court & Spark album, Hearts. I was a bit giddy with this secret album and I did share it with a couple of people I knew who loved The Court & Spark as much as I did. I really felt that the modesty that M.C. had about HARPO’s fitness to be released was completely unfounded! If these were home demos on some hissy old 4-track, I would have still been excited to hear it, and would have shared it out– but I saw the potential of these songs to be much more than mere “rough mixes.” The damn thing sounded complete, to me! I know that others who had received HARPO felt the same way.

As it turned out the songs on HARPO would become Country Hai East Cotton remixed and in a different track sequence. I received a review copy of Country Hai East Cotton in early May and have been listening to it in my regular diet of music. The resequencing was a bit jarring at first, since I was so familiar with the sequence on HARPO. The mix was certainly an improvement on Country Hai East Cotton over HARPO, so the effort of taking it to a studio for some polish yielded exceptional results. The levels were pushed up a bit and the instrument head space has been expanded. HARPO was a good headphone album, but Country Hai East Cotton is really an experience on the cans. No more is the remix more evident than on the cover of the Tim Rose song “Boogie Boogie” where we gained prominent breaths and and a wah guitar line! What was a song I didn’t really care for in the original mix, but the Country mix has much more texture and kind of reminds me of “Digging in the Dirt” by Peter Gabriel.

Standout tracks for me have been “Watch Out For the Cannonball” with it’s compressed snare and keyboard patches, and “Oh Nathaniel.” “Oh Nathaniel” is the theme to a vampire story that sounds a lot like an outtake from late-period Buckingham-Nicks Fleetwood Mac. True Blood’s second season starts this month– they could use this song for the soundtrack– “drink their blood when they call on you…Rise up like the moon…” “Resurrection Blues” is a Nawlins funeral march of desperation where the narrator can’t seem to make it to heaven.

Country Hai East Cotton was released this week and is available in a couple formats from either the website of the record label the band formed called The Heaven and Earth Magic Recording Company, or from a number of brick-and-mortar stores– mostly on the coastal regions. The first format– and most desired frankly, is the crazy-limited edition CD pressing seen in the picture above in all its glory. The limited-to-500 CD is encased in a color miniature gatefold cover which was illustrated by Nathaniel Russel and printed on 100% recycled cardstock. The CD is lovingly encased in a woven-fibre inner sleeve and the whole shebang is protected by a mylar sleeve. The picture above also shows the small gold-colored thankyou card that lists all of their intertube access and a haiku by Jaime De Angulo on the flipside.

Alternatively, you can download a 256Kbps version of the album in mp3’s for the price of a donation. Per the press-release from the band, “I realize that Country Hai East Cotton will be easily obtained for free on a host of torrent sites and blogs very soon, if it isn’t already. That’s OK. We appreciate that. But, at the risk of sounding totally romantic and/or naive, we’re hoping that those who have heard HGM and like what we do will choose to spend a little money on a disk or download directly from us.”

Indeed, this form of electronic sales where the consumer chooses what to pay has been attempted before successfully and not. Country Hai East Cotton is certainly one of my favorite releases this year and I can’t recommend enough that you, gentle reader, give this album a shot, and I think you’ll find that the band deserves your donation for this fantastic album.

Click Here to visit the Hiss Golden Messenger MySpace Page where you can hear tracks from Country Hai East Cotton.

Click Here to visit the Heaven & Earth Magic Recording Company to order your copy of Country Hai East Cotton.

Click Here to visit the blog page for Hiss Golden Messenger

Click Here to visit Hiss Golden Messenger Facebook Page

B-Sides in the Bins #46: Cheapo Discs – Fridley, MN 1/31/09

Posted on May 31, 2009 by mike

The weekend I was in the Twin Cities for the Umphrey’s McGee concert at First Avenue, I had the opportunity to hit Cheapo Discs in Fridley, MN. While not as “hip” or “cool” a location as the Uptown locale, they have a surprisingly decent selection of CD’s and LP’s and would recommend it. I had a gift certificate for Cheapo from my birthday in October that was burning a hole in my pocket. I had started by perusing the CD’s there and had amassed a decent pile, but ended up putting it all away after I started flipping through the vinyl! I ended up paying a lot more per record than I usually do, but I found some really great pieces to add to the growing collection.

Smash Hits – Jimi Hendrix Experience (LP, Reprise Records MSK 2276, 1968) ($12.60) Labeled as “fine” condition. This was a later repressing of the record as it has a bar code on the back and the inner sleeve was mylar. Super minty condition! Brilliant collection even if it is generally accepted that Reprise was a bad custodian of Hendrix’s catalog. I remember borrowing a copy of this in 6th grade from Mr. Latham and taping it and playing it all the time. All the big hits are on here: “Purple Haze,” “The Wind Cries Mary,” “Hey Joe,” “Foxy Lady,” “All Along the Watchtower.” Interesting writeup about Smash Hits at Wikipedia.

Wake of the Flood – Grateful Dead (LP, Grateful Dead Records GD-01, 1973) ($8.50) Labeled as “good” condition. It is a notched copy with the bottom left cover cut off. There was a lot of Grateful Dead in the bins that day including Live From the Mars Hotel, but this was in the nicest shape. Wake of the Flood represented a lot of firsts for the band– first release after their contract with Warner Brothers ended, first release on their own Grateful Dead Records, first studio release after 1970’s American Beauty and first after the death of Ron “Pig Pen” McKernan. Wake was recorded during what some fans consider to be the Dead’s most transcendent touring period and all of these songs had the benefit of being worked out for six months on the road before the band hit the studio. The band sounds better on this album than they did on others, maybe all the firsts that this album represents gave the band a feeling of starting fresh. “Stella Blue” is a classic piece of Garcia music that would stay in the Dead’s concert sets for the rest of their career.

Robbie Robertson – (self titled) (LP, Geffen GHS 24160, 1987) ($3.60) This is a Columbia House pressing which I would normally avoid, but I hadn’t seen this in the bins before. I’ll upgrade if I see it in the future in a non-Columbia House pressing. Robertson’s debut release 11 years after the breakup of The Band! He chose to leave the rootsy country influences of The Band behind and focused instead on the U2-ish sounds of Daniel Lanois’s production. When this came out, I bought it because U2 and the Bo Deans were on it, it ended up being one of my favorite releases for at the end of 80’s. Listening to it now, the two tracks with U2 sound like U2 outtakes, really. Not that it is a bad thing, but it would be expected if you use them as your band like he did on “Testimony” and “Sweet Fire of Love.” In fact, the release does sound pretty dated, but still a favorite release for me next to Storyville– the 1991 follow up.

Gone to Earth- David Sylvian (2 LP, Virgin Records VDL1, 1986) ($6.30) I wouldn’t start listening to David Sylvian until his 1987 follow-up Secrets of the Beehive. I heard this album when it was included in the beautiful Weatherbox Sylvian boxed set. This was an ambitious release as a 2 LP, and that was probably why the subsequent CD release was only a single disc chopping out about half of the tracks. The first LP was vocal tracks and the second LP was instrumentals. The CD picked and chose from both records. In the Weatherbox, they restored the 2 CD’s. This release is notable as the first time Sylvian would collaborate with Robert Fripp from King Crimson. A typically lush and melancholy release– just the way I like my Sylvian. “Taking the Veil” is still one of my all-time favorite Sylvian tracks. Sherry and I had tickets to see David in Minneapolis a long time ago– ironically while he was living there– and he cancelled the show. I’ve been disappointed ever since. I want to see him perform live one day.

Real Nighttime – Game Theory (LP, Enigma Records 70722-1, 1985) ($4.20) Well, I don’t really know what to say about or where to start about this release. I should probably write a whole article about Scott Miller’s bands Game Theory and Loud Family. My fascination with things Scott Miller started with the epic Lolita Nation which I first heard played on KUNI (the song “One More for Saint Michael”) while I was in college. Real Nighttime is the final record by the original lineup of Game Theory that started in 1981. That said, it includes some of the most notated songs by that version of the group with “Here Comes Everybody,” “24,” Rayon Drive,” and “Curse of the Frontierland.” These songs would stay in the live sets of Game Theory until their breakup following Two Steps From the Middle Ages in 1988. Real Nighttime also marks the beginning of the production relationship with Mitch Easter. I have all of the Game Theory releases on CD, and have most of them on LP at this point.

Treat Her Right – (self titled) (LP, RCA 6884-1-R, 1988) ($3.97) Still sealed! Treat Her Right is notable as the precursor to Mark Sandman’s group Morphine. This album was the debut release on their signing with RCA. It is in fact a reissue of their self-released first album. It did pretty well on college radio, but their second release did not fair as well and they were dropped from RCA. While the band is a slightly different lineup than Morphine, the distinctive sound is similar. The standout tracks are “I Think She Likes Me,” “I Got A Gun,” and “Jesus Everyday.”

Cypress – Let’s Active (LP, I.R.S. SP70648, 1984) (3.60) Let’s Active was producer Mitch Easter’s band. The story goes that he did such a great job producing the early R.E.M. records that I.R.S. gave him a shot making his own records. The EP Afoot was released first in 1983 and did well enough that I.R.S. let him record three more records, Cypress in 1984, Big Plans for Everybody in 1986 and Every Dog Has His Day in 1988. His particular high-pitch vocal tone makes for an acquired taste, but Let’s Active is still one of my all-time favorite 80’s acts. It looks like the entire catalog is back in print on CD through Collector’s Choice with new liner notes and bonus tracks! It looks like I need to make some purchases! I love this whole album, perfect pop.

4 A.M – Full Fathom Five (LP, Link 019, 1988) ($3.60) You may have read my B-Sides in the Bins article recounting my trip to Bill’s Records in Dallas back in October 2007 (or maybe you didn’t!). Bill had a collection of still-sealed Link Records releases including most of the Full Fathom Five releases. Full Fathom Five was an Iowa City band back in the 80’s that I was a fan of– KUNI played their music frequently. When Head Candy was signed to Link as a result of a battle of the bands it seemed that Full Fathom Five made it there as well. I have 4 A.M. on cassette and it was a regular-rotation album for me when it came out. So, when I saw it in the bins I had to buy it. Brings back memories of college. Back when I thought– as many did– that Iowa City would become the next Athens, GA for a music scene. Recorded at Catamount Studios in Cedar Falls by Tom Tatman.

Doug – The Coolies (LP, DB Recs DB 88, 1988) ($3.99) Oh boy, more hits from my formitive college years! A still-sealed hole-punch cutout of the Rock Opera Doug by Georgia crazy band The Coolies. I had this on CD and cassette. Apparently I love this album, LOL. From Trouser Press,

“a trenchant “rock opera” about a skinhead who murders a transvestite short- order cook, gets rich by publishing his victim’s recipes, falls into paranoia and substance abuse and ends up in the gutter. The sad tale is related through ingenious knockoffs of the Who (“Cook Book”), John Lennon (“Poverty”), the Replacements (“Coke Light Ice”), rap (“Pussy Cook”) and metal (“The Last Supper”), and in a comic book — not included with the cassette or CD, alas — designed by Jack Logan, of Pete Buck Comics fame. A quantum leap from its predecessor’s one-dimensional silliness, Doug is a work of demented genius.”

I never got around to sending in for my free comic book, so now I have it. I never realized that Jack Logan was the artist for it! Very cool! Someone needs to reissue this album. “It’s a hot night, and I’m wound tight, and the crack pipe– is burning my hand!”

And last, but not least!

V-Notes – The Verandas (EP, Graphic Records NR 16382-1, unknown year) ($1.90) LOL. This one was the big find– Cedar Rapids college rock band The Verandas. Scored for a paltry $1.90. Unfortunately, this is not the album I know from them. They were on the Blue Band’s record label Hot Fudge for an album I think was called American Tradition. That is the name of a song on here. It was recorded at the infamous Catamount Studios in Cedar Falls by Tom Tatman. I had a cassette dub of their other album which had a great song called “Get Out of My Car (You Drive Like Shit)” that I’d like to find again. I haven’t put needle to vinyl on this one yet. I should see if I can put together a band history of this group– I don’t know much about them, but they were kind of notorious around here.

Tortoise Picks Favorite Instrumental Tracks for Time Out New York

Posted on May 30, 2009 by mike

From a twitter by Thrill Jockey, I found out about this article at the New York Edition of Time Out where John McEntire, Jeff Parker and Doug McCombs of Tortoise provide a playlist of their all-time favorite instrumental tracks. The five tracks picked as you might expect provide a peek into the influences of the band. While it’s cool that Time Out collected these tracks and provide a streaming player for us to sample the tracks, it doesn’t explain who the artists are or maybe the significance of the tracks.

1. Sonny Sharrock – “Who Does She Hope to Be” from 1991’s Ask The Ages album on Axiom Records. This was picked by McEntire, and I’d never heard of Sharrock before this. The track ends up being a mini-class on post-bop jazz. The beautiful and meloncholy track is a short and sweet track featuring the guitar work of Sharrock, which at times sounds a lot like Santana. We also get some amazing horn work from Pharoah Sanders whom Sonny worked with early in his career. Charnett Moffett provides some beautiful double bass as well. Also in the combo is noted Coltrane sideman drummer Elvin Jones. The song at 4:42 is the most direct and concise track on the album, and frankly one of the most hauntingly beautiful songs I’ve heard. Sharrock died in 1994 at a young 53 years old, but established himself as an influential guitarist in the free jazz space. As a side note, Sharrock was the composer for the Space Ghost Coast-to-Coast TV show. I keep playing this song over-and-over. Amazing song.

2. Latin Playboys – “Viva la Raza” from 1994’s self-titled release on Slash/Warner. Chosen by McCombs, this is the opening track from the Los Lobos side-project Latin Playboys. An interesting choice. Latin Playboys is made up of Los Lobos members David Hidalgo and Louis Perez along with noted producer and engineer combo Mitchell Froom and Tchad Blake. Froom and Blake are responsible for a bunch of amazing albums over the years, but in the context of the Latin Playboys, they produced the “experimental trilogy” of Los Lobos albums Kiko (1992), Colossal Head (1998) and This Time (1999). So, it isn’t surprising that during this very fruitful period in the band’s history that Latin Playboys– itself a bit experimental– would form. The second and last Latin Playboys release Dose was released in 1999– also during this period. In my opinon if you listen to the Latin Playboys along with the trilogy, it doesn’t sound like anything other than part of the Los Lobos catalog. According to the Wikipedia article on Latin Playboys, Hidalgo brought some demos he recorded at home to Froom who suggested that they be used in a new band rather than their intended recipient Los Lobos.

3. Art Ensemble of Chicago – “Rock Out” from the 1969 album Message To Our Folks. Chosen by Jeff Parker. Not really very surprising, since he spends nearly all of his non-Tortoise time gigging constantly in jazz combos. I suspect that he is very influenced by the long-standing tradition that the Art Ensemble has become in its 42-year existence in all of its variations. Early pioneers in the avante-garde jazz arena. This band’s history alone could keep me tied up for weeks digging into their catalog.

4. Link Wray – “Rumble” – Chosen by Doug McCombs, Link Wray and the Ray Men’s 1958 hit “Rumble” originally on the Cadence label is the precursor to a number of music genres– surf, punk, metal. According to the allmusic article on Link Wray, he single-handedly invented the power chord. “Rumble” continues to be a familar tune as it was used pretty prominently in Pulp Fiction. Paved the way for every instrumental band since, and I guess that would include Tortoise!

5. Ennio Morricone – “A Fist Full of Dollars” Morricone more than anyone else I think influenced the Tortoise sound the most. Even on the upcoming Beacons of Ancestorship, there is a track called “The Fall of Seven Diamonds Plus One” with its arpeggiated guitar (likely the Bass VI played by Doug who picked this song) as well as the bag full of metal percussion is certainly recalls a spaghetti western soundtrack. Instead of trying to hire Morricone to score his upcoming movie Inglorious Basterds maybe Tarantino should have called up Tortoise.

An entertaining mix– I just wish it had more songs on it. A comment I made on the article with the mix was that I was surprised that Doug hadn’t picked “The Lonely Surfer” by Jack Nitzsche. When I saw Tortoise in Madison last year I had a chance to talk to Doug about his favorite topic, the Fender Bass VI. He told me the greatest example of a Bass VI song was “The Lonely Surfer,” and that he’d tried to convince Tortoise to cover this song.

Click Here to visit the Time Out New York Exclusive Playlist from Tortoise. Update: The player doesn’t work anymore, sadly, so I’ve updated the above list to include YouTube Links.

B-Sides in the Bin #45 – Half-Price Books, Cedar Rapids 1/11/09

Posted on May 16, 2009 by mike

Sherry wanted to make a stop at GNC to pick up some gluten-free food, so I took the opportunity to visit Half-Price Books. The last time I stopped in the vinyl was very picked over from the Christmas rush and the following sales. This time the vinyl was starting to get replenished and I found some pretty nice vinyl in there. I only picked up a couple of records this trip– both of them on my “list” to buy. There was a disappointingly large amount of BMG/Columbia House pressings in the bins. I tend to stay away from these on vinyl because I’m not sure how the mastering happened. If I had to guess, they get a set of tapes from the non BMG labels (Warner Brothers, for example) and they made their mastering copies from that. So, the pressings shouldn’t be much different than the original label release, but I don’t know that for a fact. There was a pristine copy of Caught Live + 5 by the Moody Blues that was a Columbia House pressing. I would love to have this on vinyl, but I’m willing to wait until I get an actual Threshold Records release.

Rumours – Fleetwood Mac (LP, Warner Bros. Records BSK-3010, 1977 ) ($2.99) What is there really to say about this album that hasn’t been said? I grew up with this album and have owned many copies of it in various forms. I heard this first on 8-track which would later be replaced by cassette. When I bought my first CD player in the late 80’s Rumours was one of the first CD’s I bought. That copy stayed with the family when I moved out, and I bought other copies on CD over the years that were lost in relationship breakups. How’s that for irony? The album that was created during relationship turmoil represents the CD I lost in relationship breakups. This is my first vinyl version. Most copies in the bins are played to death and the covers tend to be shot. This one has a great cover– has an orange-peel texture to it. It has “mastered by Capitol” stamped in the dead wax, so it likely isn’t a first pressing. Although I don’t mind the addition of “Silver Springs” to the later CD versions of this album, there is a certain comfort to the original track sequence. According to Wikipedia, the RIAA certified Rumours 19 times platnum! As of 2007 it has sold over 40 Million copies! Some of this is related to the re-releases as people “upgrade.” Considering that I’ve probably owned five copies of this in my life…

Born to Run – Bruce Springsteen (LP, Columbia JC 33795. 1975) ($5.99) This is one of the better copies I’ve seen of this in my travails. Arguably Springsteen’s meisterwerk. Another album that I feel pretty much everything that can be said has been. The box set I picked up at HPB prior to this with its documentary renewed my appreciation of this album. I still prefer Darkness on the Edge of Town and The River over this release, but no Springsteen collection should be without this. Gorgeous gatefold and iconic red Columbia Records label. ’nuff said.

Upcoming Shows: Umphrey’s McGee in Iowa July 15 & 16 2009

Posted on April 29, 2009 by mike

The Umphrey’s McGee camp announced this week their summer tour run, which includes a couple of dates in Iowa: Wednesday, July 15th in Des Moines at Simon Estes Riverfront Amphitheater and Thursday, July 16th in Davenport at the Capitol Theatre.

The Simon Estes show is an outdoor event and is being handled by Amedeo Rossi and Sam Summers who are responsible for the Nitefall on the River concert series as well as the 80/35 Festival. The 80/35 Festival which takes place over Independence Day is in its second year and the lineup is looking pretty good for this year.

Tickets for both shows are available for pre-sale through umphreys.com, and will be available for sale through other outlets soon. The Des Moines show will be available through Iowatix.com on 5/1, and through the Capitol boxoffice.

The Umphrey’s shows since this year’s release of Mantis have focused on the Mantis material, which the band has considered to be a turning point for the band in its career, and in my opinion the pinnacle of their releases so far. The show I saw in Minneapolis earlier this year was my first, and was very impressed with the band’s live show. I’m going to try to attend at least the Davenport show.

Click Here to see the other dates on this summer tour.

Lyrics Born Live @ The Picador, Iowa City 4/15/09 (Review)

Posted on April 28, 2009 by mike

My wife Sherry and I were really looking forward to this show. LB had canceled his Minneapolis show last fall so he could help campaign for Obama, and we really hadn’t had an opportunity to hear a lot of the Everywhere At Once songs live. Additionally, this mini-tour was going to be done with a DJ instead of a full band, and we hadn’t heard LB in this context since we saw Latryx opening for DJ Shadow in Minneapolis at Quest as part of the Goodwill Tour where Shadow was the DJ for them. On top of that, we have the new single “Funky Hit Records” and Joyo’s new EP on the horizon meant that we’d get to hear her new songs, too.

Unfortunately, the prospects of the show started to wane a bit starting with Sherry either having a cold or some very bad allergy symptoms. Like a trooper, though, she wasn’t going to allow mere illness to get in the way of seeing this show. Out of all of the shows I drag her to, the Lyrics Born shows are her favorite and admittedly more of a good time than some.

We showed up just after doors were supposed to open, and we could hear Lyrics Born upstairs doing a soundcheck. We did manage to get a great parking spot right in front of the Picador. Although, that should have indicated what was to come for the show.

We made our way upstairs as soon as we were allowed, and went to the bar to figure out what we were going to drink. We both started with Absolut screwdrivers. Part of the reason we showed up so early was to make sure we got a table so we could sit if we wanted. The Picador has a very unpredictable table situation– one show has a few tables, and the next won’t have any. This was a won’t have any show, except there was a collection of chairs situated in a circle at the back opposite the soundboard occupied by some people engaged in conversation. At this moment there was maybe twenty people total in the place. Sherry and I situated ourselves at a pole in front of the soundboard– at least we could lean if we needed.

The first act was Big Zay a producer-MC from Davenport who I’d never heard of, but apparently had performed at The Picador before. He claims to have a unique blend of dance music and rap– I’m not sure I think it is that unique, really. The show was him on stage in cargo pants, flip-flops and at one point a wig rapping and singing over a music track. I think the guy is pretty talented, but really his music is pretty unmemorable and I think he lacks a stage presence– he doesn’t command the audience the same way a more seasoned performer would. He chugged through his short set of happy tunes about clubs and girls quickly if not painlessly. His finale song “Love Can Change The World” is apparently– in his words– why he’s performing and why he’s on stage. Mostly the song is comprised of the song title, and while I appreciate the sentiment, the small crowd probably didn’t help deliver it’s promise.

The following act was one I was interested in seeing having checked out their MySpace page– Porno Galactica from Fairfield, IA. Their brand of electronica is reminiscent of Big Beat and drew quick comparisons to the Chemical Brothers and at points like “Next is the E” Moby. Not content to be laptop rockers the brothers Dom and Phil Rabalais were bouncing around the stage and running around the room while tweeking their gadgets on stage. If I would have been a lot more drunk, I might have found their schtick more amusing– as it was I left feeling that they were having a lot of fun, but probably the minority in that. Ultimately, their irreverant approach to their show– while punky– had little to do with showmanship, and really not very complimentary to the headliner. If they were supposed to be a warm-up act, they actually had the opposite effect as it seemed that the small crowd actually shrunk during their show.

So, I have to hand it to Lyrics Born. He hit the stage and truly delivered the show that he would have delivered to a crowd– well frankly, 500 times the size of the Picador crowd on that Wednesday night.

Quite a bit of LB’s set was similar to the live shows Sherry and I saw in Minneapolis over the last three years relying on mainstays in his catalog, holding on to some of the “prop” moves like the freezing at the end of a song and doing the stopping the song part to get the crowd to cheer. Well, it works every time. LB really knows how to work a live show and takes command of the stage. He seemed a bit off to me, but this is due to the fact that he actually was fighting a cold and said that he had considered canceling the show, but wanted to come out because this was his first time in Iowa City.

So, I was a bit embarassed by the low turnout. A quick count of the room gave me somewhere around 60 or 70 people.The shows in Minneapolis had been over 200, typically. But, really it had to be the LOUDEST group of 60 or 70 I’ve ever been a part of– the audience was hooting, screaming, cheering and singing along like a crowd 10 times the size! Clearly, everyone there was a fan, and that was a relief.

I don’t know why the show had such a low turnout– I didn’t see much promotion for the show other than my blog. Maybe there was more coverage in the Daily Iowan. Plus, it was a mid-week show and experience shows that Iowa City lights up more towards the weekend. One criticism I’d have is that really the Picador isn’t the right venue for Lyrics Born. It has the trashy indie bar atmosphere, and not the more classy atmosphere I’m used to seeing LB in.

The high points of the night were the new songs from both Lyrics Born and Joyo for me. LB said that he had a couple hundred thousand downloads of “Funky Hit Records” which is from his next album. He said that it was proof that he could do it without intervention of a record label. It’s a great song live and I think it will be a show centerpiece until the album comes out this fall if not beyond. A super treat was getting a solo performance from Joyo of her new single “Take You Home” which is also a free download. I’m hoping we see more shows where Joyo would take the role of warmup act for Lyrics Born.

The show ended up with a really long freestyle from Lyrics Born, which was really exciting, but the show concluded on a low note as we didn’t get an encore. But, considering that he was sick I certainly don’t fault him for that. I really want to believe that Lyrics Born should be able to pull a larger crowd in Iowa than he got that night and if he comes around again, I’ll certainly do what I can to promote the show. In the meantime, I’ll continue to try to see him in Minneapolis where he has a guaranteed crowd.

Click Here to see my flickr.com photoset of the Lyrics Born show in Iowa City

Setlist:

Hello
Do That There (remix version)
Don’t Change
Hot 2 Def
I’m A Freak
I Like It, I Love It
The World Is Calling
Top Shelf
Calling Out
I Changed My Mind
Cakewalk
Differences
Take You Home (Joyo Solo)
Pack Up
I’m Just Raw
Bad Dreams
Funky Hit Records
Freestyle from LB.

B-Sides in the Bins #43 – Record Store Day 4/18/2009

Posted on April 19, 2009 by mike

Record Store Day Crawl #1 for Record Store Day 2009 went mostly without a hitch and certainly I look forward to next year! My friends Erik and Alex were my companions for the trip which made for a pretty great day.

The plan was to hit the two record stores in Dubuque and the one in Iowa City since those were the closest to Cedar Rapids. I had originally hoped to hit Zzz Records in Des Moines, but that would have made for a very long day. I had called the three stores last week to see which of the special release items they were planning to get. Only Mike at Moondog Music was able to give the the full list as he had gotten most of his ordered inventoried already, the other two stores hadn’t gotten theirs, yet. Based on the reported opening times of the stores, I decided to hit CD’s 4 Change in Dubuque first since they were going to open at 10AM, followed by Moondog Music at 11AM and then we’d beat it to Iowa City to hit Real Records and hopefully be wrapped up before 4PM.

I got up early and picked up Erik and Alex. We hit Croissant du Jour to get coffees and French pastries for the road. We made it to CD’s 4 Change at 9:30AM and hung around for a bit to see if they’d open. 10AM rolled around and no sign of anyone opening. So, we walked over to Uncle Ike’s Music which was kitty-corner from the record store. When I lived in Dubuque in the 90’s I spent a lot of time at Uncle Ike’s when they were downtown. The store was pretty busy for early on Saturday morning and they had a very impressive collection of guitars at great prices. Erik picked up some patch cables and Alex bought a neat Oscar Schmidt OU2 ukulele while we waited. Ike’s had a pretty interesting collection of used Stratocasters including A white ’85 MIJ with black head and locking nut for $369, and this pristine ’94 40th Anniversary for $899, complete with 40th badging.

We headed back over to CD’s 4 Change and at that time someone pulled up and opened the store. I asked about the special orders for today, and they had a very small collection of items. The owner stated that he didn’t order any of the major label releases and didn’t order any of the Sub Pop either. He didn’t get any of the Thrill Jockey Records Toreism 12″s. He had the Pavement Live LP as well as the Touch and Go Jesus Lizard Inch 7″ box set, and had both of the Sonic Youth split singles. Not a great showing of those releases, but he was having a $2-off of all new vinyl, which was great, and Erik bought a slug of records as they have an impressive new vinyl release selection. Erik was able to pick up The Sea and Cake Everybody album, which was cool as it has been out-of-print for a couple of years. I would have picked up the SY singles, but I knew that Mike at Moondog had them for $1 cheaper.

Flipping through the new and used LP’s I found a bunch of interesting pieces, and if I wasn’t trying to stay under a budget that needed to include the exclusive releases I would have picked up some of these: a still sealed Ventures Walk Don’t Run on United Artists! ($50, even with the $2 off, it was a bit too pricey for me), R.E.M. Reckoning and Life’s Rich Pageant for $8 and $10. I don’t have these on vinyl today, but I’m holding out for ones with better covers, The Moody Blues Days of Future Past for $2– Minty cover and LP with plastic inner sleeve. It’s a later pressing under PolyGram. I just about bought it, but do I need a fourth copy of this? They also had the Beastie Boys 2 LP reissue of Check Your Head, which I’d like to pick up at some point. They also had Pink Floyd The Wall and The Final Cut for over $10 apiece. I have neither of these, and would have snagged The Wall if it weren’t for the scratch on one of the LP’s. I had briefly considered picking up some Ryan Adams vinyl– they had Demolition and Gold which would have been $10.99 during their sale.

We departed for Moondog Music while the sky started spitting. We never did get the real rain that was predicted– just enough to piss you off and make it muggy. We stopped in around 11:30ish and although Mike wasn’t in yet, he had a bag prepared with “MIKE (CEDAR RAPIDS)” written on it with all of the pieces that we discussed on the phone as well as a bunch of really cool freebies! Talk about service! We flipped through the used and new vinyl in the store, Moondog has a great selection of new vinyl as well. I’m beginning to think I need to make some runs to Dubuque just to go record shopping. In the bins: The new crazy reissue of Beck’s Odelay in a box set with 4 LP’s for $99. I’d love to have this piece in my collection but it didn’t fit in my budget. Here is what I picked up at Moondog Music:

Various Artists – Records Toreism (12″, Thrill Jockey 12.30, 2009) ($12.99) Gorgeous hand-screened cover, four tracks from TJ artists old and new. Brand new Tortoise track “High Class Slim Came Floatin’ In” from the upcoming Beacons of Ancestorship album, “Window” by Mountains is unreleased as well as the Double Dagger track “Stagger Lee” and the Trans Am track “Wounded Monkey.” This is the first Thrill Jockey appearance of recent signings White Hills with “Eye to Eye” which was previously on a tour-only CD-R called Abstractions and Mutations. Included in the sleeve with the record are two photocopied booklets. The first little booklet is a manifesto of sorts called “Recordstoreism” on visiting your record store frequently and is apparently an anti-iPod perspective as well with iPod-and-crossbones logos and “..knock down to the Pod Peddlers!! Zombies tethered to headphones. Wandering Wastrels whose auditory corridors are clogged with wax.” The second booklet called “Whatisinstore” is emblazoned with a bunch of indie record store names inside of which are essays by artists and store workers alike about record stores. I think I found most of the stores I’ve been to: Jazz Record Mart, Cheapo’s, Electric Fetus, Moondog Records (s.i.c.), Hard Boiled, Laurie’s Planet of Sound, Reckless Records, The Record Collector, Mad City Music Exchange, Treehouse Records, Zzz Records, Newbury Comics… They included Rolling Stones, but I didn’t see any Thrill Jockey at their store when I was there last month. I didn’t see Real or CD’s 4 Change on there. Maybe you can special order TJ there. A very cool piece very much in the spirit of the day.

Tom Waits – Live Glitter & Doom Tour 2008 (7″, Anti- Records 87018-7, 2009) ($5.98) I don’t really collect Tom Waits, but this was a pretty neat release. “Lucinda / Ain’t Going Down To The Well” from Atlanta, backed by “Bottom of the World” from Edinburgh, Scotland.

Bob Dylan – “Dreamin’ Of You” / “Down Along the Cove” (7″ Columbia 8697-50225-7, 2009)($6.98) “Dreamin’ of You” is from last year’s great Tell-Tale Signs – Bootleg Series Volume 8 release. It was the lead off track that was sort of a single. Produced by Lanois as part of the Time Out of Mind sessions. “Down Along the Cove” is a John Wesley Harding track that Dylan did for his 2004 Bonnaroo appearance. This track previously appeared on the Bonnaroo 2004 compilation CD. Includes a photo of Dylan.

Whiskeytown – “San Antone” / “The Great Divide” (7″ Geffen B00128170-21, 2009)($5.98) “Limited Edition Produced Exclusively for Record Store Day 2009” – two unreleased tracks from Ryan Adams’s pre-solo, pre-Cardinals band Whiskeytown. These are two tracks from the Baseball Park sessions that would make up Whiskeytown’s first album Faithless Street in 1995. When Faithless Street was reissued in 1998 by Outpost, it included Baseball Park tracks which were produced by Chris Stamey (from the dB’s). These two tracks were not part of those. Really nice hard sleeve that reproduces the Faithless Street cover photograph taken by Ryan.

The Sonik Youth / Beck – “Pay No Mind” / “Green Light” (7″ Matador OLE 865-7, 2009)($5.98) Limited edition (2500) split single. Sonic Youth covers “Pay No Mind” from Beck’s Mellow Gold, and Beck covers “Green Light” from Sonic Youth’s EVOL album.

Iron & Wine – Norfolk 6/20/05 (CD, Sub Pop SPCD 839, 2009)($7.99) Super-cute CD made to look like a mini-Sub Pop singles club release. Iron & Wine live during their 2005 tour after the release of Woman King EP. A sticker on the wrap mentions the upcoming release Around the Well, which will be a compilation of B-Sides and Rarities due out May 19th and will be followed by a tour. The cover art also mentions playedlastnight.com which is a place where you can purchase shows by Iron & Wine as well as The Swell Season.

The Jesus Lizard – INCH (8 x 7″, Touch and Go tg347, 2009)($29.99) Limited, numbered edition (256 / 2000) I will admit that I haven’t been a big fan of The Jesus Lizard, but will readily admit their influence on a lot of bands that I’ve listened to. Touch and Go records created this amazing “box set” of all of the singles release during The Jesus Lizard’s time on Touch and Go. All of the singles have been out-of-print for over six years, apparently. The singles have been remastered by Bob Westin and include reproductions of the original sleeves and are included in this really great clear plastic package that houses them, or could be used to display them as it has metal eyelets at the top. Gorgeous, if bittersweet release from Touch and Go as this will be one of the last new releases from the label until economic times improve. They are hoping to do reissues of the Jesus Lizard LP catalog in August, too.

In addition to the releases I purchased, Moondog included a recycled bag from WEA made of 60% post industrial and consumer recycled content full of freebies which included:

Various Artists – Happy Birthday to Me – SP20 – Terminal Sales Vol 3 (CD, SubPop SPCD 779, 2008) ($0) Super-cool CD celebrating 20 years of Sub Pop Records. Comes in a neat gatefold sleeve. 18 tracks of Sub Pop artists including Mudhoney, Wolf Parade, No Age, Blitzen Trapper, Flight of the Conchords, as well as a birthday card we are supposed to fill out and mail to Sub Pop and an SP20 sticker taboot!

Various Artists – Bloodshot Catalog Sampler (CD, Bloodshot Records, 2008)($0) Compilation of artists on Bloodshot Records. Bloodshot is the home of Jay Farrar of Son Volt, Sally Timms, Kelly Hogan, Split Lip Rayfield and Andre Williams among others. Bloodshot is also handling the vinyl reissue of Ryan Adams’s Heartbreaker. Reissued as a 2 LP gatefold! Home of Dexter Romweber Duo and Ha Ha Tonka, too.

Various Artists – Live Your Life with Verve (CD, Verve Music Group VERR01591-2, 2008)($0) A compilation of artists on the Verve label(s). Includes the Diplo remix of Mariena Shaw’s “California Soul” which was on the Verve Remixed 4 compilation. “California Soul” was included in Brainfreeze by DJ Shadow and Cut Chemist, too.

Beat Union – Disconnected (CD, Science Records 426428-2, 2008)($0) Pop-Punk outfit from the UK. Disconnected is their debut release under the band’s new moniker as Beat Union. They used to be called Shortcut to Newark. This release was produced by Goldfinger frontman John Feldman. I haven’t listened to this, yet. If it rocks, I’ll review it.

“You Think You Really Know Me – The Gary Wilson Story” (DVD + CD, Plexifilm 032, 2008)($0) Wow, this is a pretty cool freebie. In 1977 Gary Wilson recorded a crazy outsider-art experimental album and effectively dropped off the face of the recording industry. A bunch of noted artists including Beck start talking about him and the renewed interest in him causes folks to look for him. This is the documentary about his return to recording and includes the seminal You Think You Really Know Me album. He apparently recorded an album for Stones Throw in 2004 as well.

Other goodies in the bag included a Touch and Go Records sticker, a Bloodshot Records Sticker, a drink coaster promoting the Oasis album Dig Out Your Soul, a sticker promoting the Hank III record Damn Right, Rebel Proud, a rolled poster for Wilco’s Sky Blue Sky album, a folded poster for Mogwai’s The Hawk Is Howling album, and a temporary tattoo that says “Jesus Loves Scott H. Biram” with praying hands that is a Bloodshot Records promo for Scott H. Biram. Also got the Dec ’08/Dec ’09 Paste Magazine.

What a very cool collection of freebies! Thanks Moondog Music!

From there we headed to Kennedy Mall to get burgers and beers at the Mining Company. Still the great burgers and fries I remembered from the 90’s. Our hunger sated, we made the hour-and-a-half drive to Iowa City for the Real Records stop. We listened to the Iron & Wine CD on the way there.

I hadn’t been to Real since it’s coming back in business. Real! originally opened in 1986, and I remember frequenting it along with The Record Collector and BJ’s back then. Sadly, BJ’s is gone, and Real! was gone for a while, too. It’s been back for three years (I think) under new management by Craig Kessler, who is also a DJ on the Jazz station KCCK-FM.

Real is now abutted with a book store, which is pretty cool. When we stopped there I didn’t spend any time in the book store, but certainly will next time I’m in town. The store itself is jam-packed with product, but has a laid-back cozy kind of feel. Lots of new and used vinyl and CDs. Craig still had some of the Record Store day exclusives in although he said a lot of it was already bought. He had the Talking Heads 77 180g vinyl as well as the Jane’s Addiction vinyl reissues of Nothing’s Shocking and Ritual de lo Habitual (which aren’t really exclusive, but were released Saturday), and had the Columbia 7″es for Dylan and Springsteen as well as the Rhino 7″es making this the only place I saw these. Here’s what I picked up:

MC5 – “Kick Out The Jams” / “Motor City Is Burning” (7″, Rhino Entertainment R-21481, 2009) ($5.99) Very cool reissue of the seminal 1969 MC5 single on Elektra for “Kick Out The Jams.” Notable for the use of word “motherf*uckers” in the intro shout. The flipside is a cover of the John Lee Hooker song “Motor City is Burning.” According to the Wikipedia article on the MC5, there was a single for radio that replaced the intro explitive with “brothers and sisters.”

New Order – “Temptation” / “Hurt” (7″, Rhino Entertainment R-21479, 2009)($5.99) Another cool reissue from Rhino. This is a repressing of New Order’s 1982 Factory Records single for “Temptation” and “Hurt” (aka Fac63) This represents the first time this single has been released domestically in the US. The notable fact being that New Order used different mixes for every version of a release, so any version released in the US could be different from the UK versions. I have the original Fac63 12″ which is die stamped, so this is a nice companion to that.

Pieta Brown – Flight Time (CD, T Records, 2008)($11.99) Not a Record Store Day exclusive. Kind of pricey for a 7-track EP, but I wasn’t sure when I’d be able to pick this one up since Pieta’s touring schedule doesn’t seem to mesh with my life schedule. This EP is a really good companion to her last album Remember the Sun. This is self-released. I wonder what this means about future releases? One Little Indian seems to be staying up-to-date on her touring schedule, so that implies a current relationship.

While I was flipping though the bins, I found a copy of the out-of-print Mountains vinyl for $16.99 which I was tempted to pick up. They also had the last Sea & Cake album Car Alarm and the Human Bell LP. So, this is a good place to pick up Thrill Jockey releases. Craig was playing the relatively obscure Miles Davis Big Fun album. I’d never heard of it, but recognized it as Davis. The release had been regarded at it’s 1974 release as being a filler release. The sessions were recorded in 1969, 1970 and 1972. These session included quite a few jazz heavyweights: Wayne Shorter, Chick Corea, Billy Cobham, Jack DeJohnette, John McLaughlin and Ron Carter amongst the large list of performers. The version he was playing was a Japanese Sony version of the original album. In 2000 it was re-released with other sessions recorded between Bitches Brew and Tribute to Jack Johnson expanding the release to a 2 CD version. So, this particular visit did what a record store visit should do– educate! I’ve already done some looking into Big Fun and will probably at least download it, and keep an eye out for a vinyl version.

So, all-in-all a sucessful day! I’m glad I got to do this run and big thanks to Erik and Alex for coming along and making it much more fun than it would have been by myself. Stay tuned for next year’s Record Store Day Crawl!

This is Why My Next Camera is the Canon 5D MkII

Posted on March 5, 2009 by mike

If you’ve been following my blog for any amount of time you’ve seen the live shooting I’ve been doing for three years now. In 2006 I was shooting a Canon Rebel 300D, I upgraded to the XTi soon after, and last year I moved to the Canon 450D aka XSi. Each of these moves gave me more features and resolution (of course) while allowing me to maintain my lenses. The XSi also gave me live view, which has been very handy in crowd situations as my 6’1″ body plus my arm gives me about 7 foot of reach, and I was very happy with the pictures I have taken so far. Of course, late last year Canon announced the upgrade to the already-amazing and amazingly-priced Canon 5D. With a full-frame sensor like its big brother 1D and new mind-boggling resolution of 21.1 Megapixel and much-improved low-light abilities provided by the DiGiC 4 CCD and processor it is the next move I’d like to make for all of my shooting needs. The full-frame sensor will help me take full advantage of the lenses I have and really open up some possibilities, I think.

But it is the High Definition video capability that really knocks it out of the park. I don’t have a video camera today– much to the chagrin of anyone who knows me and my gadgets– and I shouldn’t justify buying a $2700 camera by saying I’m going to use it for video, but one look at the video below is enough to make it compelling!

My friend Chad forwarded me this today, and I felt I needed to post on it. This is footage shot on 2/25 in Melbourne, Australia of Nine Inch Nails. NIN might not be everyone’s cup o’ tea, but damn, look at how absolutely GORGEOUS this footage is!

NIN: Burn Live from on stage, Melbourne 2.25.09 [HD] from Nine Inch Nails on Vimeo.

And, in case you’re feeling *very* giving:

Free Download: Nellie McKay at Daytrotter

Posted on February 24, 2009 by mike

I had seen this show tipped since I follow the flickr feed from Daytrotter and there was a picture of her in the studio, which is generally how Johnnie does her characterizations of the acts that flow through the studio in Rock Island. So, it is with certain glee that I’m reporting that Daytrotter has posted her session. According to the date on that picture, she did her session on April 4th, 2008. I saw Nellie in Minneapolis at the Dakota Bar with my wife and super-fan daughter RaeEllen on April 6th– so she recorded this in Rock Island and hightailed it to Minnesota, apparently.

Nellie recorded a generous NINE tracks for this session as opposed to the four or five we usually get. The cool thing about this session is it is pretty much exactly like the show I saw and a very good representation of her live show. You get some piano tunes, some ukelele songs, some political humor and show tunes. What more would you want, really?

Click Here to visit the Daytrotter page for Nellie

Time to play b-sides

Mike Roeder muses over things musical

Category Archives: Personal History