Tuesday, August 18, 2009

AR: Hail to the Thief


Radiohead - Hail to the Thief (The Gloaming) (2003)

I was joking about some album with Aaron sometime recently, and I finished the assessment with, "but really, after you listen to it for the 37th time, it really starts to sink in." There's something bizarre to that assessment (right?), the idea that you have to invest more than a day's worth of hours in some piece of music before it starts to become frankly listenable. I only have so many hours on earth, man. I have the sneaking suspicion that you could listen to almost anything 37 times and it would start to sink in, something like "oh, here comes the part where the third castrated cat joins the grinding gears in subtle off-by-1/8th-tone harmonies, juxtaposed nicely by Yoko Ono and Bjork's falsetto beat-boxing. I'm starting to appreciate it." You know, Metal Machine Music notwithstanding.

This is not the album that I was talking about, but it was for a long while entirely off-putting and did require some investment. Thom Yorke's vocals seem far off in a tired way - repeating the inaccessibility of Amnesiac, this album pretty much struck me initially as an exercise in here we go again, off-putting experimentation for its own sake, droning, whoosh-whoosh sound-effect drenched, melody-backdropped music that does not entirely pay off. Hookless. Unintelligible lyrics that give the same impression of dread that RH has churned out since OK Computer, with varying degrees of, er, impression. On listens 1-36 (not in a row), I couldn't get into it.

Far be it from me, die-hard rereader of limit-less jokes, to shy from inaccessibility, though. There's pay-off in the struggle. The main thing I realized, though, on spin 37 (yes, I'm exaggerating), is that this, even moreso than previous RH albums, is just not driving or walking or doing anything else music. It's sit in the dark along and let it wash over you music. Probably shouldn't have taken so long for that to sink in, but there you have it; sometimes I am not hipster enough to catch on. I hate it when reviews focus solely on how inaccessible or difficult something is, btw, but I feel it's 1, fair warning in this case, and 2, worth noting 'cause I'm not stopping there, not simply ha-haing at the heft of the book.* The particular inaccessibility lies in its lack of pace and rare punchy moments; it's all similar and droney enough that piercing the songs for their particularities really requires undivided, accepting attention. And further, it's not that on listen 37 I was awestruck; it's a highly imperfect album with some music that doesn't even attract on iteration i, but if you want to get anything out, you'd better close your eyes and lock in. There's a ton of good stuff here, but its enjoyment hinges on you being in the just-right darnk mood, so you'd better create it as best you can

* - I mean, really, come on, EW.

The highlights: the opener, "2+2=5," is great in both its guitar-plug scratchy opening and its 1984/Notes From dread. "Go to Sleep" is the best Radiohead retread/rip-off of the bunch, and "There There" and "Myxomatosis" are the beating signs that all the experimentation is going somewhere. "Punch-up" is my favorite moment on the album, a piano-driven drone groove that's just straight-forward enough. And the dirge-clapping - sorry to ape Pitchfork's description, but the dirge of that slow-clap beat is self-evident - of "We Suck Young Blood" crushes.

Those are standouts of relative normality amongst an album filled with borderline boring sound effect shimmer. It's very moody and effective if you are locked right into it, but otherwise it melts into a sameness that does not inspire. Even WHEN you take the requisite steps to make this music capture the night, there are still a few clunkers - "Sail to the Moon," "Where I End" and "The Gloaming" - that rely entirely on effects that just aren't that enthralling. Sine waves in absentia do not exciting experimentation make.

I feel I am cheating a bit, describing Radiohead in terms of their Radioheadness. Fair enough; a more accurate description is that it's dark, keyboard- and effect- laden music with a falsetto, dramatic vocalist who does not articulate his sentiments particularly effectively. The album's at its best when it mixes in the remnants of rock this band will still stoop to with the far off clinical hypothesis-driven theories on what 21st century music should sound like. The apocalypse is evident in the overall presentation, but in a way that is starting to get tired for me. Don't get me wrong; it's "interesting sounding" in a way that only these guys can be, but for me it's something like the reverse career development of Sonic Youth in the early '80s - to succeed, the experiment must occur over the chasm between melody and noise, and this one treads to noise-side for my tastes. "Noise" isn't right; it's really more "texture" with an over-buried melodic forefront. While repeated listens will reward with a atmospheric spook-lonely meditation, this just isn't the best set of "songs" they have to offer. I don't know whether some of Radiohead's tricks have gone stale - there are a number of songs on this album that call to mind better versions of the same motifs / techniques - but apparently I am not hearing quite the same consistency of exciting experimentalism that others are.

Status: Recommended (solid)
Nyet's Fave: "A Punch-Up At The Wedding (No No No No No No No No)"

P.S. And as some kind of proof that I'm not entirely a Pitchforkian drone - what is up with the 9.3 this album got? The review notes the multiple low points of the album, the same-ishness, the running in place, even acknowledges that this will "fade into their catalog as a slight placeholder," and then awards a rarefied 9.3? Makes no sense!!!

Album Review: G N' R Lies*

* - Lest you think The Ballad is slowly turning into a Guns N' Roses fansite, this is the album that came up next via the algorithm, I swear. Pure coincidence.


Guns N' Roses - G N' R Lies (1989)

Basically a stopgap EP between Appetite and the Illusion albums, G N' R Lies pulled off a neat trick in being both good and controversial enough to keep G N' R in the, er tabloids. The method of stretching this past an EP release into a barely qualifying 33 minute LPer was to reuse some old music to turn it into a short form, double (concept?) album. Side A consists entirely of late '80s L.A. club footage of the band at their sneering rawestness: it was lifted from the EP Live ?!*@ Like a Suicide, features a couple of covers and does a great job of capturing the band in their sleazy barband youth. This is probably the kind of live G N' R (playing Appetite songs, natch) that people were looking for but didn't get from the Live Era album that would come out much later. All of the songs are solid, though the cover of Aerosmith's "Mama Kin," imho, improves on the original (though Aerosmith notoriously tore that up in concert in '70s, too). All of this generally gets lost / forgotten because of Side B, though.

The second half of Lies is a mostly all-acoustic affair. Bold move for what at the time was essentially a (albeit a nasty version) hair/metal band, they didn't just churn out a melodramatic power ballad with concert-hall reverberating solos (q.v. "Without You" by Motley Crüe or "Every Rose Has Its Thorn" by Poison), they *completely* unplugged and recorded, among other things, one of the best late-night hotel room ballads, um, ever. Featuring whistling and whispers, if you insist on qualifiers. It gives the second half of the album that oh-so-intimate campfire feel, and even though two of the songs were a throwaway and a self-cover, it was apparently enough to tide over their fans until the Illusion double release in 1991.

Oh, let's be honest; "Patience" was enough to tide over their fans. That song by itself carries the album; it's the aforementioned ballad featuring a saccharine Axl crooning over lush interlocking guitar arpeggios and earnest strumming. The song also features some fantastic acoustic soling from guitar-god Slash and a impassioned falsetto outro that one can't help but Axl-dance to ("one" being Nyet). This is a legitimately beautiful song, and additionally has that "aw, see, bad boys *can* be good!" Nice Boys don't play rock n' roll, but maybe just maybe they play last night anthemic panty-dropping ballads, maybe? This song was huge at the time, the video basically took over MTV for a while, and it undoubtedly made Lies the success it was.

About that "nice boys" thing, though: this is also the album that featured a tongue-in-cheek sing-along "I Used to Love Her (But I Had to Kill Her)." And a killer acoustic take on "You're Crazy*" from Appetite; a great song, no doubt (one of my favorites, I'll readily admit), but one where Axl repeatedly berates a lover. I don't know if that qualifies as misogynist or just bitter-at-a-lover Dylan-style sans eloquence. And then the last track, which drew the ire of EVERYONE. I specifically remember a 60 Minutes piece on Axl's vitriol poem; the media had a field day lambasting the song's homo/xeno/authori?-phobic lyrics, and it seemed like the un-nice boys had finally stepped too far. Which is strange in and of itself, given that the media-attitude pretty blatantly implies that gender-based hatred from rockers is A-Okay, but don't you ever use the n-word.

* - I'm really underselling this here - it's an excellent acoustic jam AND it features Axl scatting. My favorite part of the album.

I had real trouble with this at the time - in my youth I really did listen right through lyrics to the guitars, and wow did I love this band's music. "One in a Million," though, has such prominent vocals and such a ho-hum guitar line that it was difficult to reconcile my love with that much hatred. Further complicating the situation is that the chorus is so pleading and heartfelt; I still don't really see how it relates to the verses. Those bad-word lyrics also woke me up to the fact that the other songs in the catalogue were not exactly nice to the fairer sex. It made it tough to tell what was some sort of artistic statement and what was a straight-forwardly expressed opinion from a guy who certainly sounded like a racist asshole. I still have no idea what the explanation was, but given other image-based theatrics - fight with Vince Neil, anyone? - I would hardly be surprised if it wasn't just offense for its own sake. Which brings it back to a performance, not a real attitude. That's actually been my take ever since with the monstrosity of Axl and G N' R - it's basically a show and a grandiose (and great) performance*, and I can comfortably separate the art from the artists*. For the special case of "OiaM," though, I pretty much just don't listen to it - it's a stupid song, musically and lyrically, and whatever hate-spewing there is is a sort of name-check third grade sentiment. It's got some historical significance, I suppose, but I really think it was a mistake to tack it on to the album.

* - I covered this in my Appetite review - the gist is that the music overrides the inanity of the misogynist lyrical content, and I can respect the spectacle of their presentation without buying into its ideology. I could be accused of moral reprehensibility in that I'm sort of ignoring the widespread effects my acceptance of such lyrics on any basis can have on the more malleable members of society, but I guess I'm just in the free-speech-and-art-have-their-costs camp on that one.

** - It should be duly noted that Slash et al. basically disowned this song. It's an Axl-only composition, his first for the band.

So, Lies clearly suffers from its tailspin into hate, and that knocks it down several pegs. But it is a musically good rock album that sits in the formative years of my youth, and the baggage it carries w/r/t misogyny v. calculated spectacle almost makes it more interesting. I'd recommend channeling your inner eleven year-old Nyet, being a little, um, patient with Axl's stupidity, and listening through those lyrics to the guitar; they're what keep this album worth it.

Status: Recommended (solid)
Nyet's Fave: "You're Crazy"

Friday, August 14, 2009

Selected Lines From the Last Two-Plus Weeks' Pleasure Reading*

* - This is the first part of what should probably, for the sake of meeting copyright technicalities, be considered a book review.

She was the kind of fatally pretty and nubile wraithlike figure who glides through the sweaty junior-high corridors of every nocturnal emitter's dreamscape... A vision in a sundress and silly shoes. Mildred L. Bonk.

And the other point is I started to fall even before I started to hear him reply, standing there: Yes, But He'll Never Be Great...It was a religious moment. I learned what it means to be a body, Jim, just meat wrapped in a sort of flimsy nylon stocking, son, as I fell kneeling and slid toward the stretched net, myself seen by me, frame by frame, torn open...It's a pivotal, it's a seminal, religious day when you get to both hear and feel your destiny at the same moment, Jim.

'And Lo, for the Earth was empty of form, and void/And Darkness was all over the Face of the Deep/And We said:/Look at that fucker Dance.'

...the party music's now some horrible collection of mollified rock classics with all soft rock's grim dental associations...

'As we'd later reconstructed the scene, he'd used a wide-bit drill and small hacksaw to make a head-sized hole in the over door, then when he'd gotten his head in he'd carefully packed the extra space around his neck with wadded-up aluminum foil.'
'Sounds kind of ad hoc and jerry-rigged and haphazard.'
'Everybody's a critic. This wasn't an aesthetic endeavor.'

The real football reason, in all its inevitable real-reason banality, was that, over the course of weeks of dawns of watching the autosprinklers and the Pep Squad practices, Orin had developed a horrible schoolboy-grade crush, complete with dilated pupils and weak knees, for a certain big-haired sophomore baton-twirler he watched twirl and strut from a distance through the diffracted spectrum of the plumed sprinklers, all the way across the field's dewy turf, a twirler who'd attended a few of the All-Athletic-Team mixers Orin and his strabismic B.U. doubles partner had gone to, and who danced the same way she twirled and invoked mass Pep, which is to say in a way that seemed to turn everything solid in Orin's body watery and distant and oddly refracted...The schoolboy epithet they'd made up to refer to Orin's twirler was the P.G.O.A.T., for the Prettiest Girl Of All Time...this was the kind of hideously attractive girl you just knew in advance did not associate with normal collegiate human males, and clearly attended B.U.-Athletic social functions out of a sort of bland scientific interest...When she danced, at dances, it was with other cheerleaders and twirlers and Pep Squad Terrierettes, because no male had the grit or spit to ask her...The big hair was red-gold and the skin peachy-tinged pale and arms freckled and zygomatics indescribable and her eyes an extra-natural HD green.

How do trite things get to be trite? Why is the truth usually not just un- but anti-interesting? Because every one of the seminal little mini-epiphanies you have in early AA is always polyesterishly banal...

She's finding it especially hard to take when these earnest ravaged folks at the lectern say they're 'Here But For the Grace of God," ... but that her trouble with it is that 'But For the Grace of God' is a subjunctive, a counterfactual, she says, and can make sense only when introducing a conditional clause, like e.g. 'But For the Grace of God I would have died on Molly Notkin's bathroom floor,' so that an indicative transposition like 'I'm here But For the Grace of God' is, she says, literally senseless, and regardless of whether she hears it or not it's meaningless, and that the foamy enthusiasm with which these folks can say what in fact means nothing at all makes her want to put her head in a Radarange at the thought that the Substances have brought her to the sort of pass where this is the sort of language she has to have Blind Faith in.

Storrow 500: Local argot for Storrow Drive, which runs along the Charles from the Back Bay out to Alewife, with multiple lanes and Escherian signs and On- and Off-ramps within car-lengths of each other and no speed limit and sudden forks and the overall driving experience so forehead-drenching it's in the metro Police Union's contract they don't have to go anywhere near it.

...looking due southeast up Prospect, Lucien can see the variegated glints of passing low-chassis headlights off a whole long single-file column of polished metal wheels stolidly turning, being turned by swarthy hands in fingerless wheelchair-gloves. 'Squeak.' 'Squeak.' ... Wheelchair Assassins ... Les Assassins des Fauteuils Rollents, A.F.R.s, the ones who come always in the twilight, implacably squeaking, and cannot be reasoned with or bargained with, feel no pity or remorse, or fear (except a rumored fear of steep hills), and now they're all in here all over the shoproom like faceless rates, the devil's own hamsters ... Lucien bursts almost falling through the curtains, bug-eyed and corded and webbed in thread ... only to horrifically see the shop's rear service door standing agape in a gritty breeze and Bertraund ... sitting, squinting piratically straight ahead, with a railroad spike in his eye.

'Under what presidential administration was this room last deep-cleaned, I'm standing here prompted to fucking muse out loud,' my father said.

Two homemade pom-poms of shredded paper and what looked like the amputated handles of wooden tennis rackets were on the seminar table, which was otherwise bare. John Wayne wore a football helmet and light shoulder pads and a Russell athletic supporter and socks and shoes and nothing else. He was down in the classic three-point stance of U.S. football. Inc's incredibly tall and well-preserved mother Dr. Avril Incandenza wore a little green-and-white cheerleader's outfit and had one of deLint's big brass whistles hanging around her neck. She was blowing on the whistle, which appeared to be minus the little inside pellet because no whistling sound resulted. She was about two meters from Wayne, facing him, doing near-splits on the heavy shag, one arm up and pretending to blow the whistle while Wayne produced the classic low-register growling sounds of U.S. football. Pemulis made rather a show of pushing the bumpkin-billed yachting hat back to scratch his head, blinking. Mrs. Inc was the only one looking at him.
'I probably won't even waste everybody's time asking if I'm interrupting,' Pemulis said.

The kid's still obsessed with her approval. He lives for applause from exactly two hands.

(This is why, maybe, one Subject is never enough, why hand after hand must descend to pull him back from the endless fall. For were there for him just one, one, special and only, the One would not be he or she but what was between them, the obliterating trinity of You and I into We. Orin felt that once and has never recovered, and will never again.)

... carpal neuralgia, gluteal hyperadiposity, lumbar stressae. Half of all metro Bostonians now work at home via some digital link. 50% of all public education disseminated through accredited encoded pulses ... One third of those 50% of metro Bostonians who still leave home to work could work at home if they wished. And (get this) 94% of all O.N.A.N.ite paid entertainment now absorbed at home ... Saying this is bad is like saying traffic is bad, or health-care surtaxes, or the hazards of annular fusion: nobody but Ludditic granola-crunching freaks would call bad what no one can imagine being without.

The kids did somewhat better during periods of nuptial strife, when a stony-faced Mr. Stice slammed the kitchen door and went off daily to sell crop insurance while Mrs. Stice - whom both Mr. Stice and The Darkness called 'The Bride' - while The Bride spent all day and evening cooking intricate multicourse meals she'd feed bits of to The Brood (Stice refers to both himself and his six siblings as 'The Brood') and then keep warm in quietly rattling-lidded pots and then hurl at the kitchen walls when Mr. Stice came home smelling of gin and of cigarette-brands and toilet-eau not The Bride's own.

... Struck, canted slightly in his desk-chair from the over-development of his body's right side, is also trying to carve up each of this diarrheatic G.T. Day, M.S. guy's clauses into less-long self-contained sentences that sound more earnest and pubescent, like somebody earnestly struggling toward truth instead of flecking your forehead with spittle as he ranted grandiosely ...

Was amateurish the right word? More like the work of a brilliant optician and technician who was an amateur at any kind of real communication. Technically gorgeous, the Work, with lighting and angles planned out to the frame. But oddly hollow, empty, no sense of dramatic towardness, no narrative movement toward a real story; no emotional involvement toward an audience. Like conversing with a prisoner through that plastic screen using phones ... Joelle thought them more like a very smart person conversing with himself.

Joelle'd felt half-crazed. She could detect nothing fake about the lady's grace and cheer toward her, the goodwill. And at the same time felt sure in her guts' pit that the woman could have sat there and cut out Joelle's pancreas and thymus and minced them and prepared sweetbreads and eaten them chilled and patted her mouth without batting an eye. And unremarked by all who leaned her way.

'You remember my hideous phobic thing about monsters, as a kid?'
'Boy do I ever.'
'Boo, I think I no longer believe in monsters as faces in the floor or feral infants or vampires or whatever. I think at seventeen now I believe the only real monsters might be the type of liar where there's simply no way to tell. The ones who give nothing away.'
'But then how do you know they're monsters, then?'
''That's the monstrosity right there, Boo, I'm starting to think.'
'Golly Ned.'
'That they walk among us. Teach our children. Inscrutable. Brass-faced.'

One reason Pemulis was cautiously unassertive about Wayne's unauthorized presence in the room was the leaflet, which given a certain office-incident it wasn't impossible Wayne might choose to suspect seeing Pemulis's hand in the Olde-English-fonted leaflet up at various boards and inserted on the E.T.A. TP's communal e-board for 11/14 announcing a joint John Wayne/Dr. Avril Incandenza arithmetic presentation to the pre-quadrivial 14-and-Unders on how 17 can actually go into 56 way more than 3.294 times.

So Hal's most vivid full-color memory of the non-anti-Substance Meeting he drove fifty oversalivated clicks to by mistake will become that of his older brother's doubles partner's older brother down on all fours on a Dacronyl rug, crawling, hampered because one arm was holding his bear to his chest, so he sort dipped and rose as he crawled on three limbs toward Hal and the needs-meeter behind him, Bain's knees leaving twin pale tracks in the carpet and his head up on a wobbly neck and looking up and past Hal, his face unspeakable.

My whole descent into somewhat-heavier-than-normal drinking may have been some instinctive attempt to bury third-grade feelings of despicability, submerge them in an amber sea.

'You stepped in against six armed Hawaiians, I hear. Marshall Plan. Captain Courageous. God's personal Shane ... Glenny Kubitz calls me and describes the thing blow by blowjob. Says I should see the other guys. Says about breaking a Hawaiian's nose, shoving the bits up into the brain. The old chop-and-stiff-arm he says. Big Don G.'s a Satanically tough motherfuck: this was his assessment.'

The resentment, fear and self-pity are almost narcotizing. Way beyond anything he'd felt whn the hapless Canadians punched or shot him. This was a sudden total bitter impotent Job-type rage that always sends any sober addict falling back up and inside himself, like vapor up a chimney. Diehl and McDade were backing away from him. As well they fucking might.

It now lately sometimes seemed like a kind of black miracle to me that people could actually care deeply about a subject or pursuit, and could go on caring this way for years on end. Could dedicate their entire lives to it. It seemed admirable and at the same time pathetic. We are dying to give our lives away to something, maybe. God or Satan, politics or grammar, topology or philately - the object seemed incidental to this will to give oneself away, utterly. To games or needles, to some other person. Something pathetic about it. A flight-from in the form of a plunging-into.

He was always kind of a boys' boy. He had a jolly ferocity about him that scared girls. And he had no idea how to deal with girls except to try and impress them by letting them watch somebody do something to his head. He was never what you'd call a ladies' man. At parties he was always at the center of the crowd that drank instead of dancing.

The condescension with which Prissburger insets that hemoptysis means something called 'percussive hemmorhage,' like Kathy the R.N. wasn't enough of a pro not to have to insert little technical explanations for, makes Gately sad for the guy - it's obvious the guy pathetically thinks this kind of limp condescending shit will impress her. Gately's got to admit he would have tried to impress her, too, though, if she hadn't met him by holding a kidney-shaped pan under his working anus.

The door's got a big poster of R. Limbaugh on it, from before the assassination.

I am seated in an office, surrounded by heads and bodies ... And when he came back to, he was flat on his back on the beach in the freezing sand, and it was raining out of a low sky, and the tide was way out.1

1 Alternatively: I am seated in an office, surrounded by heads and bodies ... 388. Talwin-NX - © Sanofi Winthrop U.S.a

aDoubly alternatively: I am seated in an office, surrounded by heads and bodies ... And when he came back to, he was flat on his back on the beach in the freezing sand, and it was raining out of a low sky, and the tide was way out. / 1. Methamphetamine hydrochloride, a.k.a. crystal meth ... 388. Talwin-NX - © Sanofi Winthrop U.S.

Wednesday, August 12, 2009

Album Review: The Fabulous Sidney Bechet


Sidney Bechet - The Fabulous Sidney Bechet (1958)

This "Old School" jazz recording is quite cool; the crystal sound of 1950s recording technology combined with an exuberant Dixieland / New Orleans style makes for a great party when you're in that spritely, no-looking-back, good-times mood evinced by the Quarter. Bechet's clarinet is powerful and piercing without being shrill, and the rest of the soloists - trumpet, piano, trombone - nail their festive riffs, too. The disc features a good mix of very energetic upbeat numbers and barroom ballads. It also contains a bunch of standards , including great takes on "Sweet Georgia Brown," "All of Me" and "Ballin' the Jack." This admittedly isn't my favorite jazz style, but I mean that in the quite literal isn't my *favorite* sense - it's still damn good, evokes a very particular mood and setting, and makes for great music to, say, kick back with a dense novel on a lonesome Wednesday night to.

Status: Recommended (solid)
Nyet's Fave: "Sweet Georgia Brown" (aka the basketball jazz song)

The Marines Ban Social Networking



The United States Marine Corps banned its members from using social networking websites while on military networks in an order issued earlier this month from Washington, D.C. The Marines are not the only organization to proceed down this path. The Miami Dolphins of the National Football League recently banned attendees of the team's practices from Twittering. Despite rumors to the contrary, the NFL is not preventing its athletes from Twittering. The Marine Corps ban while apparently draconian does not extend to members of the Corps whom are off-duty and/or on their own computers. Of course, this then brings into question the ultimate utility or futility of the order.

Read more here. And here.

Musical Communion

This one comes to us courtesy of our northern most New Jersey reader. As she so succinctly summed it up, Bobby McFerrin Hacks Your Brain with the Pentatonic Scale.

World Science Festival 2009: Bobby McFerrin Demonstrates...

Album Review: Earphoria


Smashing Pumpkins - Earphoria (1994/2002)

Flashback to 04.01-03.1994: in what is historically considered one of Nyet Jones's exemplary candidates for shortlist inclusion for the "Best Weekends Ever" award, I spent a Friday evening at a hormonally-charged birthday party with my superb friend Marisa, Saturday night at my first ever got-to-go-by-myself-concert at the Sunken Garden Amiptheatre in San Antonio w/ Smashing Pumpkins*, and Sunday night at the AlamoDome checking out the superstaged theatrics of Division Bell-era Pink Floyd. And with all apologies to Marisa and the flying pigs, the Smashing Pumpkins concert was the highlight of the weekend. They hit us with the following setlist:

* - note that the band is named after the activity of pumpkin-smashing, not like they are a group of attractive gourds i.e. *The* Smashing Pumpkins. I think this may have been changed at some later date, but I've always liked the idea of bands named after activities or phenomena (Talking Heads, anyone?) as opposed to, say, Article Verbing Nouns.

4.02.94 - Sunken Garden Theatre, San Antonio, TX

Soma, Rocket, Geek U.S.A., Disarm, Today, I Am One*, Drown, Hummer, Luna, Siva, Cherub Rock, Starla, Dancing in the Moonlight**, Silverfuck***, Sweet Sweet

* - With, I';m told, standard bitch-fest rant from one B. Corgan
** - Thin Lizzy cover
*** - w/ "Somewhere Over the Rainbow" vocal bridge add-on

Anyways, that Soma opening, with the subdued concert opening awash in blue lights and the explosion into distortion, established a marrow-level lust for the band. The concert sizzled, and I spent many years looking for some live SP. That year, the band had released Earphoria, the soundtrack to a live documentary/concert footage VHS tape, in extremely limited press - only 1000 copies were available nationwide. With my limited access to all-things-indie via the San Antonio suburban music scene, I never got the copy for which I longed. I spent much of the ensuing years with SP as a favorite band, deeply digging the excesses of Mellon Collie, the amelodic industry of the Ransom soundtrack and their later moves into less-good album areas. I even begged for the single / B-side box set The Aeroplane Flies High...: I was big-timed hooked, and as has been said, selling depression to teenagers is like selling depression to me.

I was all set to drive to a concert in Austin sometime in the mid-nineties when a touring keyboardist died and the drummer was all but kicked out of the band. That was a good of a marker as any for when the "SP can do no wrong" sentiment died in me; their later albums just didn't kick as much, and Corgan's indulgences got past whatever threshold I found tolerable. I still loved (and still love) the early discs, though, so when I stumbled upon a copy of Earphoria in a used album bin in 2004 - the disc having been re-released and pressed in mass in 2002 - I put down those seven dollars with gusto.

Um... yeah. I figured out some time ago that what you hear in concert does not often match what was actually played in concert - it's pretty easy to get caught up in the energy and not notice the sloppiness with which you're being aurally assaulted. The energy is still there in a big way, but it's at the cost of sludgery, screeched vocals and angsty silly vocal improvisations. Muddy is the adjective that comes to mind. Positive reviews harp on the energy and the difference in sound between the live show and the (over)-produced albums, and I get that; I just don't think the added energy and uniqueness of the experience quite compensates for the upfront impression of slop I get when I hear these cuts. Throw on the top that an already whiney-in-style Corgan comes across as raspy and shrill in concert, and you've got something to which I am not tempted to listen in lieu of the original album tracks.

It's not all bad, and notably, the good cuts of the album are crisp acoustic takes on songs that 1, dramatically differ from the original and are thus worthwhile in an alternative-to-studio-cut sense, and 2, don't suffer the muddiness of overdrive and fuzzed out amps. Both "Mayonaise" and "Cherub Rock" get the unplugged treatment, with the latter - one of my favorite SP songs - being a welcome addition to the catalog. Still, it's not enough to save a really, really die-hards only disc, and as highly as I thought of this band back in the day - and considered myself a die-hard - this ten year awaited disc certainly disappointed.

Status: Not Recommended
Nyet's Fave: "Cherub Rock"