The Killing Moon

What's On Your Mini?

2012-02-27T11:28:00.000+01:00

This is what appears when I play a file from the attached thumb drive on the Mini Cooper's media center. Mostly, you just see the track information; this graphic file surprised me the other day.

While listening to "Country Girl" from Riot City Blues, the Mini somehow knew to put up the album cover. Who knew that the Mini was a big Primal Scream fan?

The Church Destination CD3

2012-02-20T12:52:00.000+01:00

In the late 1980s and early 1990s, record companies didn't know exactly what to do with the now-discarded vinyl formats that they were accustomed to. Long playing records were quickly disappearing; but 45 rpm singles were another matter. They were the quickest way to sell songs to consumers; there used to be 45s available in places where they could market them and get rid of them.

When CDs came about, what could they do to keep the revenue from singles flowing? Well, the answer evolved over time.

CDs were originally packaged in long boxes so that retailers could display them in a similar upright fashion for consumers. These longboxes were an environmental concern; basically, they were just cardboard that ended up getting thrown away. Singles were marketed in a somewhat similar fashion. This particular release was packaged as a folding, slim piece of cardboard about five inches wide or so, smaller than a standard CD long box.

Released in late 1988 or early 1989 (I cannot recall), this single could more properly be considered an EP. This was, I believe, the last single from The Church's landmark Starfish album and, as a single, Destination was an odd choice. The song is slow, but builds and flows with tension. It was a great song to open the album with but it wasn't really a proper single.

This package included an acoustic version of Under the Milky Way, and showcases what has always been a unique feature of the Church as a band--their inherent ability to play anything any way they can, be it fully electrified, with a backing orchestra, or on acoustic guitars. This is what appears to be a live take recorded in conjunction with several other songs that the band cut while they booked studio time in the Minneapolis area.

I could never figure out why they slapped Tantalized on the end of this; it must have been someone's idea to try to move more copies of Heyday or it was intended to be filler so that the length of the EP could break ten minutes.

Anyway, this was an extremely special purchase back in those days, and the CD3 format did not catch on or last for very long. The disc itself, being smaller than a CD, was resurrected for the DVDs that I can put in our home movie camera. Finding a CD player with the slot designed to play this format (older CD players have a CD3 inset where this disc would fit) nowadays isn't easy since everything is loaded through a slot. But I suppose there is still a market for these out there.

The Grammys Have Never Mattered

2012-02-13T13:46:00.000+01:00

I'm not surprised that there were people at the Grammys who didn't care whether they were seen not paying attention to what Glen Campbell was doing. This year's Grammys were notable only because Whitney Houston died; and what's sad is that the Grammy Awards have never mattered and have instead celebrated the corporate music world and the mediocrity it still represents as it continues to fade into obscurity.

A couple of years ago, no one would have cared whether Glen Campbell or Whitney Houston were even there.

The Jesus and Mary Chain Are Back Together

2012-02-09T22:01:00.002+01:00

If the Reid brothers can get back together, anyone can get back together.

Evan Dando and the Honey Badger Don't Care

2012-02-08T00:40:00.000+01:00

Evan Dando never really struck me as being particularly good at this thing we call life, and now we have proof that he really doesn't understand social media, either. And that's okay. If he wants to tweet pictures, let him tweet pictures. You blue hairs can judge him all you want, but he's keeping it reals, man.

I know one thing--he's having more fun than I'll ever have. Somewhere, there's a honey badger also not giving a shit.

Randy Travis and Redemption

2012-02-06T21:51:00.000+01:00

We never talk about country music on this blog, and I think this is a good time to post on something that actually has its roots in rock and roll and youthful rebellion.

When you think of Randy Travis, you're probably thinking that here's a down-on-his-luck country music star who is getting in trouble with John Law again, shades of Merle Haggard or Willie Nelson. Well, it's a little more complicated than that, and, when it comes to musicians, it's never as cut and dried as people would like to make it seem.

Last year, Travis ended his marriage after 19 years. Was that a factor in his "celebration" of the Super Bowl? I don't know. But Travis is not your typical country music star. He's a crossover artist who does a lot of work in the gospel genre, so there are a lot of profound elements at play here. And those elements come in the way of soul searching and trying to find answers. He has sold millions of records and won shelves full of awards. I think it is safe to say that he resides in the top tier of country artists, but that his best days might be behind him. Who can really say for sure, though?

Country artists are not as disposable as pop artists, and they have careers that are similar to what independent artists often have. They have long, durable careers of respectable or sustainable sales while touring and performing in smaller venues. I don't think there's a better comparison than the sustained career of a country artist and that of an independent artist who might play rock and roll or roots rock. Their fans and the loyalty they have for these acts keep them on the circuit.

Anyway, this does lead to a little speculation and introspection. In his younger days, Travis was pretty reckless and rebellious. He had numerous offenses as a juvenile and as a young adult. He was discovered when he won a talent contest while dodging the law and trying to get his life on track. He has had a massive career, and now he appears to have hit a rough patch.

Whatever comes next is interesting to me. I'm naturally interested in how people deal with adversity and go on to create things. I'm also interested in how things fall apart, how people put things back together. Deconstruction is another thing that country artists have in common with their more independent brethren. They like to break things down and think about things when they make music.

Marty Willson-Piper and Tiare Helberg

2012-02-06T16:08:00.000+01:00

In the category of 'geeky things that I probably shouldn't care about,' we see Marty Willson-Piper in a recent photo (courtesy of the Church mailing list) playing an f-hole Gibson guitar, probably a newish one and not a vintage one (but I could certainly be wrong).

When I saw the Church play live, Marty favored his Rickenbacker and what looked like a Fender Jaguar (could have been a Jazzmaster, but I think it was the Jaguar) and then switched over to bass for certain songs. I have not seen him play a Gibson (or this style of guitar, in the event I've got that wrong as well. You can read more about his gear preferences here.

Anyway, I wish he was touring Europe. I'm certain that this would be a killer show:

The Replacements Pleased to Meet Me Cover

2012-02-02T22:18:00.000+01:00

In 1987, everyone was a fan of the Replacements. This is the album that converted a lot of people from mere fans into rabid fanatics. After this one, it was difficult to find a reason not to like them.

Their subsequent albums would lose the immediacy and the spontaneity of Pleased to Meet Me. The follow-up, Don't Tell a Soul, was the last proper Replacements album but it suffered from a pop rock polishing that dulled the charms of the band that was too romantic to be punk, too punk to be popular, too good to be forgotten.

And, just because everything old is new again, the cover was inspired, chevrons and all, by Elvis' GI Blues.

I Love the Bunnymen, Hate the Vampires

2012-01-28T21:00:00.002+01:00

No argument with using "The Killing Moon" in an advert. But vampires are lame.

Why Didn't You Just Play Louder?

2012-01-24T09:13:00.001+01:00

Given that Soundgarden has drums, bass, and guitars and that Kanye has flutes, whistles, scratches and moans, why the hell didn't Soundgarden break into one of their older, faster, and louder songs and just rise to the challenge? If you want to get the crowd on your side, take the opportunity to do something spontaneous and different. Believe me, if you make an effort to deal with adversity, they'll follow you there.

Instead of complaining and using an ill-considered reference to retarded children, Chris Cornell should have acted like a musician and dealt with the issue at hand. This is why I have never gotten on board with Soundgarden. They simply aren't a band worth following and no one knows when that thing will fall apart again.

A Tale of Three Album Covers

2012-01-22T23:52:00.000+01:00

These are probably the three most famous U2 album covers; they represent the early, earnest days of the band.

How is it that they survived the October album? Most bands would have been utterly bankrupt and chased from the music business with a cover like that. Many have. And yet, they persevered. This was because they could play live. That is what people do not understand about the appeal of U2. The songs were good, but they became great live.

U2 hasn't had a decent album cover in twenty years.

Robyn Hitchcock and the Venus 3 Goodnight Oslo

2012-01-19T09:56:00.000+01:00

A very intriguing package from Yeproc Records arrived in the mail a few weeks ago. I had missed this release due to being an idiot or whatever. I usually don't miss a Robyn Hitchcock album, but I think this came with a slew of other things and his box sets and all that.

My enthusiasm for the Venus 3 projects wanes considerably when I consider the inclusion of Peter Buck. I realize he's there to help Robyn add some guitar to the tracks and provide some contrast, but I prefer Tim Keegan or pretty much anyone else. In fact, I'd rather just have Robyn playing guitar. I don't know when I began to realize that Peter Buck is just a talented guitarist who just can't be bothered to try anymore. Fifteen years ago, maybe?

This package is wonderful, nonetheless and in spite of my complaints. The songs are the most important part of it, and a batch of Robyn's songs are always worthwhile. I think the design of this works quite well.

The Stranglers La Folie Covers

2012-01-13T23:59:00.002+01:00

Every time I think I've run out of ideas, I remember that there are, literally, thousands of posts out there that are waiting to be written.

The Stranglers were accused of running out of ideas numerous times but that was never really proven true. They are still at it, getting ready to release a new album this spring called Giants. Hugh Cornwell continues on a tear--producing fantastic solo work and touring Europe this spring as well. If you can, support these artists wherever possible.

La Folie arrived as a transition album; they were leaving the 70s well behind them and they were escaping the punks. The punks evolved and a few even followed the band into the pop era of the 1980s. And, no wonder--the Stranglers owned a significant chunk of the charts whenever they released something, no matter how it was received. They could tour Europe and play to appreciative crowds whenever they felt like it.

And so, this album smacks of the collision between commerce and art. The cover is difficult, but not too difficult. The dreamy, watery portraits and the nearly illegible writing would probably make a marketing student complain, but oh well. It worked then, and it works now. This is the reissue package; I would think that there will be a more comprehensive set of reiussues in the future. The Stranglers think nothing of dropping triple albums on their fans, and their fans eat them up.

Great Customer Service From Independent Records and Video

2012-01-11T10:31:00.001+01:00

I ordered a Robyn Hitchcock and the Venus 3 CD before the New Year and this arrived in the package, along with a sampler and an EP by Umphrey's McGee.

This is the kind of customer service that builds reputations, and I would be remiss if I didn't emphasize how cool it is to be treated well.

In my last post, I talked about how awful it was to go to Let it Be records in Minneapolis, and I should point out that they used to have (at least) two locations. I don't remember ever being treated decent in there and it's not like I go in and try to do anything other than shop. I rarely ask questions--I just browse the stacks and get what I want.

Now, at the same time I was going into Let it Be, I was shopping in every independent record store in the Twin Cities area. Every single one of them. In the days before the Internet, you had to use the phone book and a map to find these places. And I used a phone book and a map to find them. So, despite shopping in all of these different stores (except for The Electric Fetus, which was a joke of a store and catered to mainstream classic rock customers), I never had occasion to complain.

And, believe me, I know what complaints were in those days. I worked at Title Wave in two locations before it was snapped up and absorbed into the Hollywood Video family of stores.

Tatters Vintage Clothing

2012-01-08T23:35:00.003+01:00

It's too bad that the "about us" section does not go into the wonderful history of this store. Back in the day, it was known as Tatters and Platters (there may have been an ampersand in there for the purists).

I used to enjoy going to this store. There was another location closer to the University of Minnesota, somewhere up highway 55, but I couldn't tell you exactly where it was.

Riding the bus across South Minneapolis and visiting the racks in Tatters and Platters, as well as in a host of other stores (Oarfolkjokeopus, Garage D'Or, and the pawn shop on Lake Street where I found some amazing records) is one of the few good memories I have of the 1980s. I would go by myself because that's the best way to shop for records. It's difficult to imagine, but, 23 years ago, I was probably on my way to one of these stores, ready to spend every spare nickel I had on music. No regrets, none whatsoever.

As I remember it, Tatters and Platters was the only really good record store in Uptown unless you were willing to say Garage D'or was in Uptown; to me, Tatters and Platters was on the very edge of Uptown. There were ghastly stores in the mall there, ones that would sell the most horrible crap to the most uptight people imaginable. No, I did not fit in and I'm glad I didn't.

The other place where I would go was also on Lake Street, and I think it was a Sam Goody or something like that. Normally, I wouldn't go into a place like that and expect much but they always had good deals. Somehow, this may have evolved into a Best Buy (one of the first ones?) and it may have evolved into some other animal altogether.

By the mid-1990s, I was losing interest in record stores, save for the oasis stores (isolated pieces of paradise in a corporate desert) that would always have imports and things like that (yes, that would mean Let It Be in Minneapolis which had the most God-awful staff and the worst location ever, or so it seemed to me). Two great stores that you may know about are Manifest in Columbia, South Carolina and the fantastic Waterloo in Austin, Texas. I bought most of my rare Verve CDs at Manifest, and I have great memories of that drive over from where I was stationed in Augusta, Georgia. Waterloo was like a Godsend to me when I arrived in San Antonio. It was like finding, well, like I said--an oasis.

If you are of a mind to support independent music stores, seek those out. I am sure there are many more.

Morrissey Embedded Into Google Earth 3D

2012-01-04T21:43:00.002+01:00

Once you get this sorted out, Morrissey pops up.

Mani Doesn't Cry Fake Tears

2012-01-01T21:29:00.000+01:00

I don't know if that really was a fake tear. I think Mani is extremely gutted to be leaving Primal Scream, but happy to be back making a Stone Roses album (let's hope) before they appear next summer.

The House of Love Babe Rainbow Covers

2011-12-27T20:11:00.003+01:00

This album is a masterpiece.

Babe Rainbow has a fantastic cover--a real winner, if you ask me. I have a soft spot for this album because, back when it was released, I completely missed it. I had the 1990 album, aka, "Butterfly" and, after that, nothing. This was because the House of Love sort of fell off the world for me, but, really, it was just a case of not knowing about this album and what the band was doing. To say that they were underappreciated is an understatement.

They were neglected to death, in other words. And Babe Rainbow is one of the most neglected masterpieces of the 1990s. Lost in the sucking swirl of grunge, it ran into a marketplace that wasn't ready for beautiful guitar music. Had Guy Chadwick, et al, simply droned on and screamed about mother, they might have had a chance. Instead, they gave us The Girl With the Loneliest Eyes, one of the purest pop songs ever written. Every track on the album is a keeper, by the way. I could mix this whole album up on an iPod and never wonder why those tracks are there.

Acquire this one. It should--it deserves--the reissue treatment, as do all of the other House of Love albums. I would love to see these put back out there with B-sides and live tracks and all, simply because this is crucial music.

Julian Cope Try, Try, Try

2011-12-17T00:23:00.000+01:00

Julian Cope's Try, Try, Try was a fantastic single, and this version, out on the Echo Label Limited label, is a favorite. It's all playful, weird freaking out, and this will mellow you out like nothing else.

Carry yourself to the Head Heritage website and support a real artist. The folks at Head Heritage are customer service oriented and I picked up a free copy of something-something years back that I'll be writing about at some point. It's crazy busy this time of year, but there's still time to get some pagan festival music, and, I think you can get loads of vinyl from Cope and Company as well.

Ultravox The Collection

2011-12-13T23:10:00.000+01:00

I first acquired this as the vinyl LP release not long after it came out; I was never a huge fan of Ultravox but I could certainly appreciate the brilliance of tracks like Vienna.

As a greatest hits package, it features the standard photo of the band and the tracks on the back. It's plain, blue, and rather simple, but it worked then and I think it still works.

Love and Rockets Earth Sun Moon Covers

2011-12-11T23:46:00.001+01:00

The third Love and Rockets album was a brilliant one, and a diversion from the beaten path that helped point the band towards the big time. The only problem was, of course, the less-than-stellar cover, at least for me, and, well, I'm weird that way.

Conceived as an homage to felt-tip markers, masking tape, and a do-it-yourself mentality, this is one of the (worst) or (best) covers imaginable, take your pick. I don't know if that's also because of the overexposed white image on the front or what. You expect meticulousness from meticulous people; you expect that a band like this will agonize over the choice of what to put on their album cover (this was the 1980s, after all). In the end, they punted and went with this, and it is in their own hand. That does give them some sort of credibility for avoiding the need to employ a marketing angle. This is minimalism for the sake of being able to call it that.

That doesn't mean that the music inside is not brilliant, and it is, and that's what mattered then and matters now. I just wish that, if they were going to go with something white and black, they would have eschewed the felt-tip marker and the cut-and-paste job and made it something more pronounced and, well, meticulous.

Bleach Trip and Slide EP Covers

2011-12-02T19:30:00.001+01:00

Now, this is a cover and a package where a lot of things are going on at once.

Bleach went 4AD on everyone with this cover. Not too overtly weird, timeless imagery, intense closeups, artsy presentation, and everything else coated with gold paint and old grapes. The use of the foot in different positions and at different angles shows all kinds of textures and possibilities.

This is what music used to be about--putting things out there no one had ever seen or heard before, and damn the consequences.

Peter Astor Submarine Covers

2011-12-02T19:26:00.000+01:00

There is nothing that says that you HAVE to put a picture of a submarine on an album that you call "submarine." And that pretty much sums up the barren nature of this release.

And that's a shame. This could have been done with a lot more creativity. The album, in and of itself, is a classic. But the cover and the presentation marred what could have been, I feel.

Mansun Take it Easy Chicken Cover

2011-12-02T19:19:00.000+01:00

I don't know why this one bothers me so much. There are no glaring design errors here. But the use of the vertical tinted photos, juxtaposed with the horizontal black and white photo of the band, stood out to me so I thought I would complain about it.

The Church Temperature Drop in Downtown Winterland

2011-11-28T21:44:00.000+01:00

This is an EP that I looked for, years ago, to no avail. A rarity and a treasure in its own right, this EP was deleted in the early 1980s and I reconstructed it through the purchase of The Church's very, very excellent Hindsight album. The track titled "The Golden Dawn" was the B-side that appeared on that compilation, along with a few others.

Temperature Drop in Downtown Winterland is a rarity for another reason--it's the only Church release to have an awful cover. Every single release by The Church has always had a fantastic cover. This one? Ugh. And whose idea was it to use that razorblade anyway? It looks like someone with the shakes went to work with a knife on the artwork. Very edgy and cool for the 1980s, and the Australian music market, but not the sort of thing that stands up very well.

Sing Songs is the penultimate EP from the Church, by the way.