Archive for the ‘Blur’ Category

Blur 21: First Impressions

Thursday, August 2nd, 2012

Quick review-type-thing for those with short attention spans: the Blur 21 box set is as awesome as it is huge (and in case you didn’t know, it’s freakin’ huge). So if you like Blur, you should probably just go ahead and buy it. If you want to know what makes it so awesome (and in some cases, a little less than awesome) feel free to read on. However, I want to note that this is not a full-on review of the box set. This thing is huge (seriously, I’m going to use that word a lot to describe this beast) and I haven’t had time to absorb it all, so I don’t think it’s fair to call this a review because of that. Like the headline says, these are my first impressions of the box, nothing more nothing less.

Now let’s do this.

Sound Quality
Since an alarming number of people come to this blog to find out about this stuff, I suppose I’ll cut right to the chase and start with my findings about the quality of the remaster.

According to the promotional materials for Blur 21, only the first five CDs have been “remastered.” As longtime readers of my blog know, “remastered” more often than not really means “take out the dynamic range and compress the song so its all a loud pile of shit.” So how do the remastered Blur CDs make out? Well, see for yourself. Below are screen captures of waveforms from five songs, one from each remastered CD. In each capture the top waveform is from the original non-remastered version of the album, while the bottom is taken from the remastered edition. Below each screen capture are measures of each version’s dynamic range (the difference between the loudest and quietest parts of a recording). The higher a dynamic range, the more of a difference. For the most part a  higher dynamic range is better.

There’s No Other WayOriginal – 11
New – 7

Chemical World
Original – 12
New – 9

Girls & Boys
Original – 13
New – 9

Country House
Original – 10
New –  8

Song 2
Original –  8
New –  8

In some cases those look like some pretty drastic differences, and they are. However, I really can’t hear that much of a difference or any kind of degradation in quality. I think that’s because that, even though the remastered versions are louder, there’s no clipping and nothing is distorted or chopped off for the sake of loudness. Much like the Smashing Pumpkins’ Siamese Dream remaster, it appears the Blur albums were taken to their absolute limit of loudness without causing distortion. It’s kind of pointless, but like I said, I really can’t hear that much of a difference. I’m sure there are hardcore Blur fans who will be outraged by this, but sorry, I’m not one of them.

Presentation
When I first saw promotional materials for the Blur 21 box I was less than impressed. It just seemed like a tiny blue box with a silver Blur logo on it. Not at all cool looking. Well, I was wrong. Turns out it’s a giant blue box with a silver Blur logo on it. This thing does house a 7″ single (more on that in a bit) so to fit that thing in there the entire box has to be 7″ x 7″ x 7″. That doesn’t sound that big, but trust me, this is one hefty looking cube of music. It’s going to hold its own on my record shelf next to my LP box sets. Opening it up and emptying it out really shows how big it is.

The inside of the box is laid out rather well also, with the CDs arranged nicely in a little rack in the center, with the 7″ single and an awesome hardcover book that covers everything you’ve ever wanted to know about Blur stashed away on the side. Very slick.

 

One of the odder inclusions with the set is a card with a download code.  The code gives you access to PDFs of the complete catalog of Blur fanclub newsletters, which is cute, as well as downloads to every CD in the set, which is…kind of strange and pointless. I mean, they’re CDs. Why do I need a download code? But hey, it’s convenient I guess if you want to own the box set and never ever actually take the CDs out the shrink rap (although you’d still need to open the DVD case if you wanted to watch those).

To be honest, if you never did open the CDs, you wouldn’t be missing much, each album (along with it’s bonus disc) is held in a plain reproduction case with no notable linear notes aside from the tracklistings, which can also be found in the hardcover book. I saw some commenters on another site complaining about this, but it really doesn’t bother me.

What’s In The Box!
Damn near everything. Seriously. This box includes all seven proper Blur albums, each with their own bonus disc of added songs. In addition to that, four CDs filled with even more bonus tracks in the form of rarities, B-sides, demos, alternate versions and remixes are also included. All in all that’s 282 songs of Blur; 18 hours and 41 minutes of Britpop joy. And that’s not even counting the stuff that’s on the 3 included DVDs, which are full of concert footage and promotional videos that are worth watching.  And let’s not forget the 7″ single, which includes the never-before-released “Superman,” a song from the 1989 when the band was still called Seymour. What more could a fan want? Well, since you asked…

What’s Not In The Box?
While a lot of great mixes did make it onto the set, quite a few didn’t make the cut. The remixes to “Bang” are absent as are remixes to other Leisure-era tracks “High Cool” and “Bad Day,” among others.

Additionally, the Japanese imports Bustin’ + Dronin’ and Live At Budokan are missing in action. While Bustin’ + Dronin’ is now easily available in the states and in the UK, the Budokan album remains out of print outside of Japan, so its inclusion here would have been nice. Live at Hyde Park is also nowhere to be found, but like Bustin’ + Dronin’, that’s easy to find on its own in most territories.

Conclusion
Time, and repeated listens, will tell if this box set truly is a must buy. I still can’t taken the whole thing in, and I may be missing mastering errors and other issues that seem to plague remasters and re-issues as of late. But as far as none of those rear their ugly heads, I think it’s safe for me to say that this is a must buy set for any Blur fan, it’s simply stellar. Yeah, the remaster may not be perfect, but it’s good enough, and the bonus tracks and other goodies more than make up for it.

Seriously, this thing is wicked awesome.

Proof that England is Better than America

Friday, September 23rd, 2011

Tonight’s post is fucking awesome. More awesome than me even, and I’m pretty fucking awesome.

The Cure
Lullaby (Remix)
Primary (Red Mix)  
I’m consistently amazed/befuddled as to what previously rare and hard-to-find tracks get a digital re-release and which don’t. For example, damn near everything associated with Disintigration (“THE BEST ALBUM EVER!” – Kyle from South Park) has been remastered and re-released a dozen times over by now, but as far as I can tell this remix remains a bit harder to find. It’s a shame too, because I think it’s actually better than the original. It removes a lot of the instrumentation, stripping most of it down to nothing more than bass, drums and a very sparse guitar riff. It fits the ethereal delivery of the vocals by Robert Smith so much more than the original. I found it on a 12″ promo only release.

I am far too uninformed to make such a statement regarding “Primary (Red Mix),” though. I don’t own Faith, the album from which the original version is from (look, I can’t own everything…yet). I do know that it is not the 12″ version however. That version is only five and a half minutes long, this one is over seven minutes in length. I got it from the CD single for “Close To Me.”

Visage
Fade To Grey (Dance Mix)
There are some songs that I can just listen to overa nd over again everyday and not get sick of them. Midge Ure was at least partially responsible for at least two of them, this amazing track from Visage’s first album, and Ultravox’s “Vienna.”

Finding this extended dance mix has been a little tricky. There are many, many remixes of “Fade To Grey” but as far as I can tell this is the only official extended mix ever to be released. It has been released on CD on various versions of the band’s self-titled debut, but that’s not where I got it. I found it on a 12″ EP that was also self-titled. It also featured an amazingly ridiculous cover. Dude looks like he was about to rock a pirate party, but got sidetracked in the land of The Neverending Story.

Erasure
Run To The Sun (Beatmasters Outergalactic Mix)
Run To The Sun (Beatmasters Galactic Mix)
Run To The Sun (The Simon & Diamond Bhangra Remix)
Run To The Sun (The Diss-Cuss Mix)
The last bit of Erasure that I’ll probably feature in quite some time. I’m actually running out of rare Erasure to share, thanks to the recent re-availability of their singles collections.

I love this damn song, and these remixes are just fab. The “Beatmasters Galactic Mix” especially just makes me want to dance like a spastic monkey for hours on end.

The Blur
There’s No Other Way (Red Sleeve mix)
There’s No Other Way (Rock Mix)
Explain
So in tonight’s post I’ve proven I don’t own at least one seminal album by The Cure and I also barely know anything about Visage. I might as well make it a hat trick and confess that I don’t own any Blur before Parklife. Shut up. It’s not my fault I was born in America. I’ll get there one day I promise.

I love these mixes of “There’s No Other Way” the Red Sleeve one especially, it spaces out the track even more, so much that it almost resembles something off the first Stone Roses album. Baggy indeed. “Explain” is a solid B-side as well. I got all of these off of the 12″ single.

The Summit in Columbus and Diesel in Pittsburgh, a Tale of Two Shitty Venues

Friday, October 29th, 2010

I went to four concerts (and an AMAZING Zombie Opera) in two weeks. So…I’m kind of insane. For those interested, the concerts were Jill Sobule, The Octopus Project, Foxy Shazam and The New Pornographers.

I go to many, many concerts, but four in two weeks is a lot even for me, especially since the Foxy concert was in Columbus and I am in Pittsburgh. Making that three and a half hour trek back at 12:30 was really fucking stupid. Even stupider was that the New Pornographers show was the next day, meaning I slept about five hours, woke up, worked, then drove to the concert, which was thankfully in Pittsburgh. By the end of that show I was about ready to sleep for 80 hours.

The Jill Sobule and Octopos Project concerts very fun. Sobule is still a blast to see even in the tiniest of venues, and The Octopus Project remain one of the most intense live acts I have ever seen. I even reviewed The Octopus Project show. You should read that.

I also reviewed the Foxy Shazam show. Read that. Read about how Foxy Shazam was nearly ruined by the shittiness of The Summit in Columbus.

I touch upon it in my review, but allow me to elaborate. The Summit in Columbus is a shithole. A horrible, hard-to-find, disgusting shithole. It has nasty bathrooms (even for a dive bar) and a shit bar that doesn’t serve water! No, for that you have to go to a self-serve cooler where you pour water into dixie cups. Yeah, that’s sanitary. There was no lock on that cooler either, meaning anyone could spike it with anything.

But worst of all, the place sounds like shit. The aucoustics are junk and the sound system looks like its held together by duct tape and a dream. Like I say in my review, Foxy Shazam’s audio kept cutting out during their set, because the sound system wasn’t powerful enough to handle them. It’s too bad that Eric (the lead singer of Foxy) lost his cool during the show and took it out on the promoter, because I talked to the promoter beforehand and he seemed like a really nice, really cool guy. Maybe that explains how he got sucked into booking a show at such a god awful shithole. My advice to that guy is to cut his ties with anyone at that blight upon Columbus and find another dive bar to book shows at, maybe one with a professional sound guy.

While The Summit at Columbus sucks, there is a bit of purity to its suckiness. When you walk into a dive like The Summit, you don’t exactly expect quality sound and sanitary bathrooms. That’s what makes Diesel in Pittsburgh a way worse place to see a concert; it looks like it should be a great place for a show. The stage is well lit, there appears to be plenty of room to see the band from wherever you are in the club, and the bars look well stocked and clean.

The reality is that Diesel is by far, one of the worst places in the country to see live music. Each end of the main floor is bookended by these bizarre raised sections that are nearly the height of the stage. That makes them a great place to see the show, but it also means anyone behind them won’t see shit.

It’s even worse on the second floor, which is a balcony that surrounds the main floor below. The entire balcony is lined with VIP seating areas, complete with couches and tables. These look really neat, and I’m sure they are a great place to do coke on a Saturday night, but they screw everyone else over. While a group of 4-8 people enjoy the lush VIP area, the poor masses huddled behind them can’t see shit because they can’t get close enough to look over the VIP’s heads. And I couldn’t see shit, and I’m 6’6”, so that is saying something.

The biggest problem with Diesel is that it sells its shows to capacity, and when that place is filled to capacity its impossible for everyone, or even half the audience, to get a good view of the stage. Its a giant clusterfuck that’s really hard to explain, but take my word for it. In the event of a sell out I would venture that at least 30-40 percent of the crowd wouldn’t be able to see shit for the entire show.

And the place sounds like shit because, as Neko Case pointed out during the New Pornographers’ set, the entire place is coated from head to toe in relfective surfaces.

I don’t to go out on that negativity, so let me end with a recommendation. If you’re in Pittsburgh and want to see a show, go to Mr. Smalls. That’s the best live venue I’ve ever been in. It has perfect acoustics, a nice bar and even the bathrooms aren’t that terrifying.

Blur
Black Book
Bustin’ + Dronin’
Headist/Into Another
Metal Hip Slop – Graham’s Bugman Remix
Money Makes Me Crazy (Marrakech Mix)
So You
Tender (Cornelius Remix)
Trade Stylee – Alex’s Bugman Remix
My ratio of “Amount of Blur singles I own” to “Amount that I actually like Blur” is crazy out of whack. Don’t get me wrong, I dig Blur, but I only  own three proper Blur albums (and none are Parklife) while I own about a billion Blur CD singles, an import copy of Bustin’ + Dronin’ and even a few 12” singles.  Why? They were cheap. And in the case of some of these, I needed to hear me some remixes of Bugman. I love that stupid-ass song. I posted slightly shittier sounding versions of “Bustin + Dronin'” and the remix to “Tender” before, but the rest of these are all new and taken from CD singles I picked up a few months ago. “Headist/Into Another” is amazing by the way.

Rihanna
Umbrella (Jody Den Broeder Destruction Radio Edit)
Umbrella (Jody Den Broeder Destruction Remix)
Umbrella (Jody Den Broeder Lush Club Remix)
Umbrella (Jody Den Broeder Lush Radio Edit)
Umbrella (Seamus Haji & Paul Emanuel Radio Edit)
Umbrella (The Lindbergh Palace Dub)

Ela-ay ay ay. Why not? These are from a promo CD single I bought used for a buck. I love this song.

Industrial Brit Bang

Wednesday, February 24th, 2010

I want to eat donuts.

Ministry
Jesus Built My Hotrod (Short, Pusillanimous, So-They-Can-Fit-More-Commercials-On-The-Radio Edit)
TV Song

So maybe someone can help me here. There’s “Jesus Built My Hotrod” (provided here in the hilariously-titled and hard-to-find single edit form) and then there’s “Some Dispute Over T-Shirt Sales” (clip here). So, what’s the deal then? Gibby from the Surfers wrote the lyrics to both I know, but it seems odd that he would just rip himself off so blatantly. Anyone care to fill me in? As for “TV Song”, that’s the original b-side to “Jesus Built My Hotrod” and is the original version of what became “TVII” for Psalm 69.

Blur
Bang (MW Big Bang 12″ Mix)
Bang (MW Groove Mix)
Bang (MW 40 Feet Under Mix)
Bang (MW Hardcore Assault Mix)
She’s So High (MW Ecstasy 12″ Mix)

The folder for this on my computer is called “Blur Bang”, which is only slightly less vulgar-sounding than the file names for these songs (my favorite is “Banghard”). I’m mature I know. What do you want, I’ve been listening to Butthole Surfers songs all damn day. These are from a 12” promo single.