Archive for the ‘live’ Category

Rush For A Change of Atmosphere

Wednesday, May 11th, 2011

Hey, I’m back.

So, I totally planned on updating this blog a whole bunch last week. Even picked out the songs and everything. But then I went to Disneyworld and, well, it’s really hard to write witty (or even witless) commentary on 80s/90s pop music after walking across the Magic Kingdom for eight hours or traversing the semi-educational wackiness of Epcot for a day and half.

Anyways, it was a crazy week full of ridiculous family bickering, magical princess, Space Mountain and Captain EO, but I’m glad to be back in Pittsburgh, hunched over my computer in my dark office and listening to obscure 90s music.

Speaking of which…

Aztec Camera (with Mick Jones)
Good Morning Britain (recorded live at Glasgow Barrowlands)
Good Morning Britain (Mendelsohn single mix)
Good Morning Britain (Morning Acid Mix)
Good Morning Britain (Hypno-Mix)
Good Morning Britain (Hypnomental)
Good Morning Britain (Hypno-Edit)
Consolation Prize (performed live by Roddy Frame and Edwyn Collins)
I posted  two remixes of “Good Morning Britain almost a year ago to this very day. Eerie. At the time I called the track “moderately awesome.” Well,I think I’m going to upgrade that rating to “all-the-way awesome.” Since I picked up the CD version of the single that included three additional version of this excellent track, I have completely fallen in love with it. I’m not going to lie though, I love this track solely because Mick Jones sings on it. That dude could sing me the phone book and I’d go gaga.

Anyways, a few notes about these remixes. The “Mendelsohn Single Mix” was remixed by Julian Mendelsohn who, according to Wikipedia, is best known for working with the Pet Shop Boys. The various “hypo” mixes were by a group called Laylow Posse, and I know nothing about them aside from what their Discogs entry mentions. The “Hypno-mix” and “Hypno-edit” were on the 12″ single, but oddly on that release they were called the “Kitsch ‘n’ Synch Mix” and the “Vocal Mix.”

The “Morning Acid Mix” was done by one Norman Cook, AKA the bass player from The Housemartins AKA Fatboy Slim, and it totally sounds like it. When Cook is at his best he can take a catchy as hell track and make it even catchier (see his remix of “Brimful of Asha“) and this is no exception. How this remix never ended up on a Fatboy Slim compilation is beyond me.

Mick Jones is nowhere to be found on “Consolation Prize” and for those who are wondering, Edwyn Collins was the lead singer/guitar player for Orange Juice, a post-punk group that shared members with Aztec Camera. It’s still a good track, well as good as a Mick Jones-less track can be.

Big Audio (Dynamite)
Mirror Man
Medicine Show (Live)
Rush (Live)
Yay! More Mick Jones! Not-so-little-known-fact: Mick Jones is the motherfucking man.

Big Audio Dynamite, in their original form even, recently reunited and are even playing a few shows in the states. And guess what? I’m totally going to one! Shockingly though, it’s not Lollapalooza. I’ve been to every Lollapalooza since it became a destination festival, so the fact that I’m going to miss this years is kind of upsetting. It’s a long story, and it involves bloodshed, so I’m not going to get into it.

All is not lost though! Instead I will be going to the Outside Lands Music Festival in San Francisco! It doesn’t seem to be as good a festival as Lollapalooza (no Foo, added Phish) but hell, it has BAD, throw as many jam bands you want at me, I don’t care. I’m there.

In preparation for this epic occasion, expect many BAD, BADII and Big Audio tracks to be posted here in the coming months. Kicking things off are these three rarities taken from the 2 CD single for “Looking For A Song.” A weird collection for sure, the first CD is actually a greatest hits of radio mixes, while the second is a maxi-single featuring these three tracks and some additional remixes I’ll be posting later.

“Mirror Man” was co-written/performed by Lionel Bart, who wrote Oliver! If someone wants to explain to me how the hell that happened I’d appreciate it. The two live cuts, which were exclusive to this CD single, were taken from the Mick Ronson tribute show in 1994

A Record Record Store Day Haul, now with Toadies!

Monday, April 18th, 2011

First things first, the excellent electronic music label Kompakt has jumped on the best bandwagon possible – the benefit record for Japan bandwagon. If you like minimal techno and have 10 bucks to spare then you should get it. It’s 34 tracks and almost four hours of music!

Click here to find out more.

Now where was I? Oh yes, Saturday was Record Store Day! I hope you all got a made out with a good haul. Over the next few days I’ll be sharing a good deal of what I scored and I hope you all enjoy as I share my limited edition vinyl happiness with you all.

Tonight’s happy music share time has a little bit of vitriol though. Sorry about that.

Update 4/18/11: Most of these links were removed early for a reason. See the comments section to find out why.
Update 5/12/11: Someone Great is now available on iTunes and Amazon. Buy it.

Toadies
Someone Great (Live) (LCD Soundsystem Cover)
No Deliverance (Live)
The Toadies covering LCD Soundsystem! Crazy huh? Now, if you’re like me, then you think that’s a great idea, and really brave of the Toadies. It’s not easy to take a song that’s entirely in another genre and rework it to fit your musical style. But I think the Toadies pull it off with this cover, which re-imagines the tune as a down-home, lo-fi country jam. It’s really impressive, and the Toadies deserve credit for taking a risk and having it pay off so well.

Some LCD Soundsystem fans seem to disagree, however. Here are some snippets of comments from the Spin article that posted a sneak preview of the Toadies track:

“I just threw up in my mouth….”

“wow way to butcher an amazing song…I hope they go down in a blazing plane crash.”

“Honestly this is a bad cover, I wonder if they are aware what this song is about. I’m sorry Toadies, but you should have been a one hit wonder and stayed in the 90’s. This cover is insulting to LCD and their fans.”

“People actually listen to the toadies??? and go to their shows???? Oh joy for mainstream crap bands doing live covers of actual real musicians. Thankfully their fans are so lame, most didn’t even know it was a cover and just thought it was finally a song with depth.”

Wow. Stay classy hipsters!

I just don’t get the hate. So a band you know almost nothing about covered a song you like? Why go off on a rampage about it?I love me some Pearl Jam, but I didn’t wish Staind die a painful death when they decided to mutilate “Black.” If anything, I was happy that they were exposing a classic PJ track to a younger crowd.

I’m willing to bet that the die-hard Toadies fanbase and the die-hard LCD Soundsystem fanbase doesn’t have a big overlap. Maybe some Toadies fans will be encouraged to check out LCD after hearing this fantastic cover. As a fan, shouldn’t that make you happy? That more people might be interested the band you like? Oh, but are Toadies fans the wrong people? Is the LCD fanbase an exclusive club?

This is not my first exposure to the dickery of LCD Soundsystem fans. When I lambasted This Is Happening for being at best a collection of forgettable drivel and at worst a collection of forgettable drivel that ripped off Lou Reed, I got more than my fair share of insults from self-righteous asshats who were personally insulted that I called an album by their favorite band a pile of shit. But they seemed to be even more insulted that I called LCD Soundsystem fans a bunch of  “self-righteous musical-know-it-alls-by-way-of-Wikipedia.”

They then proceeded to explain to me all the obvious Brian Eno, Bowie and Talking Heads references I “missed” because I didn’t mention them in my review.

Maybe they were just being ironic? Do hipsters still do stuff to be ironic? I’ve been out of that scene for a while, it’s hard to keep up.

Even when I liked LCD Soundsystem (and I still think their first two albums are incredible), I thought that a significant portion of the group’s fanbase represented the absolute worst of hipster culture – mean-spirited pricks who are still stuck in that late-90s “my forgettable bullshit music is better than your forgettable bullshit music because its less popular” mode – and it seems  that I was probably right.

Also, I’m sure that there are thousands of LCD Soundsystem fans who are not complete dicks – unfortunately nice people are usually quieter than assholes.

Anyways, these two tracks are from a Toadies 7″ that was part of Record Store Day. Enjoy.

Franz Ferdinand Covers
Debbie Harry & Franz Ferdinand – Live Alone
Stephen Merritt – Dream Again
LCD Soundsystem – Live Alone
ESG – What She Came For
Peaches – Turn It On
And look an LCD Soundsystem track!  It’s a great cover too, even though its a little overlong at 7 and a half minutes. It’s better than Stephen Merritt’s take on “Dream Again” though, which is just a little too mellow for my tastes. ESG’s interpretation of “What She Came For” is great though, as is Peaches’ surprisingly low-key turn on “Turn It On.” However, Debbie Harry kicks everyone’s ass with her amazing version on “Live Alone,” and proves that at 65-years-old she still rocks harder than any other motherfucker on Earth.

All these tracks are from the Franz Ferdinand Covers E.P.

Lollapadouches vs. the greatest band in the world.

Thursday, August 12th, 2010

Downside of having this new site? I get about 10-20 spam comments a day. They all use the same form text to make it look like they aren’t spam too, “Great site and very informative did you know about…” Sigh. My favorite was the one that said my blog was well-written and easy on the eyes. We know that motherfucker was lying don’t we?

Anyways, Lollapalooza was last weekend. I was there, I’ve been going to Lolla ever since it became a destination festival in 2005, and I’ll be going to it as long as it remains that way. However, longtime readers of my blog will know that there are certain things about festivals (and concerts as a whole) that really annoy me.  Most of these things are behaviors my fellow concert goers partake in.

The number one rude, offensive and idiotic behavior that attendees at Lolla seem to partake in is talking OVER the music.  What I’m talking about isn’t a passing comment or random “Whoooo!” I am talking about idiots who TALK LOUDLY over the music that is being played.

I will never understand this! Why, why the hell would you pay 200 bucks at stand outside in the horrible humid heat to talk while the band is playing?

Now listen, I’m not a total asshole. I get that Lollapalooza is a three day outdoor festival, and that you’re going to have to talk sometime. And that’s fine. You know what? You can even talk during the music, go nuts. But don’t muscle your way to the front of the stage like an asshole and then blabber about random bullshit while people around you, who actually showed up to the stage early to fucking HEAR the music being played, try in vain to hear the music over your blaring stupid ass voice.

I’ve been complaining about this for three years now. It’s rarely gotten better. This year was exceptionally bad, especially at the DJ stage, where people acting like they were at a nightclub and not a concert venue. So many people were talking over 2ManyDJs that there were times where I actually couldn’t hear the damn music. What the fuck? Don’t they care that some people actually want to hear the music? You may be thinking “talking isn’t that loud,” but guess what, it is. Especially if you have earplugs on. The talking of the idiots around you is crystal clear.

I just don’t get it. At the very least you think people would worry about how they appear to others.

Don’t they worry that some of those people might have cameras?

These two pricks were the dickhead straw that broke my anal rententive back. They. Never. Shut. Up. Not once. Not during the entire performance. Not only that, they seemed to follow me!

There they are again! Still blabbering on, stopping me from hearing 2ManyDJ’s awesome mix of MGMT’s Kids.

Then there was this guy. He appeared to be checking out many asses of women and then commenting on them. Thanks for your input dude, I totally couldn’t tell that one chick was hot until you blurted it out.

You may be thinking to yourself, “Geez, man, it was a DJ set, lighten up. People listen to that shit to party and have a good time.”

First of all, you’re wrong, it’s a concert. Second of all, okay then, what about this backwards cap, iron cross wearing motherfucker? This was during Nneka’s set. Now, for those of you who do not know, Nneka is a brilliant singer-songwriter with an amazing voice. Most of her songs are very quiet. So quiet that if some dickhead in a tanktop wants to, he can ruin it for EVERYONE around him just by talking loudly. Congrats dude.

“What? I can’t hear you? Speak up? Wait…WHAT?”

Okay, talking on your phone during a concert is so damn stupid that they even advise against it in the fucking program. This was during Dragonette, we were about 20 feet away from the stage. The singer (who is amazing btw) was asking the audience to sing along). It was kind of a beautiful moment. A beautiful moment this fucking idiot was not a part of because she thought that was a good time to pick up her phone and make a damn call.

Gogol Bordello is one of the greatest live bands on the planet. These idiots wouldn’t know that though. They never shut up during the whole thing. So yeah, the guys with aviator shades and popped collars were annoying. Shocker, I know.

This one blew my mind. This was during X Japan. These assholes actually tried to talk over X Japan. What was funny was that they weren’t trying it during one of the band’s many slow numbers, but instead during an insane double-bass drum explosive of awesome. (Seriously, X Japan was the shit, more on them in a bit.) Surprise, they couldn’t hear each other. That didn’t stop them from talking LOUDER though, before eventually leaving.

I know my blog isn’t huge. Odds are no one who was a dick at these shows will find this post. And it’s doubtful that anyone who is unfortunate enough to know these idiots will stumble across this page as well. But hell, it sure makes me feel better.

X Japan
Orgasm (Live)
X (Live 1989)
X (Live 1993)
20th Century Boy

Oh, yeah. There was a concert too! Lolla this year was pretty good. I did some blogging of it for Big Shot Magazine. Go read that (Day 1, Day 2, Day 3) and enjoy. If you want to look at the pretty pictures, check out my Flickr.

I would like to comment further on one band I saw this weekend, that band being X Japan.

Holy shit. These guys were incredible. In just one hour they delivered more raw emotion, power, and energy than just about every other band I saw (Foxy Shazam being a notable exception). I knew of X Japan before this performance, but I never really gave them a chance. Dragonforce and Helloween aside, I’m not that into power metal. Goddamn what was I missing all these years? Immediately after getting back from Chicago I bought Blue Blood, one of their only albums available in the states (and the one with the awesome song “X” that is playing above) and have barely stopped listening to it since. Their music is like a double-bass pounding drug infecting my brain with awesome. Damn it’s great.

Sure, hide might not be with us anymore (RIP) and they aren’t as bad-ass as they used to be, but if there is any justice, the newly reformed X Japan will finally take over America (and the rest of the world) when they release their new album.

Most of X Japan’s music is rare in America. Only a handful of their albums were release in the states, so I could really post just about anything. I decided to focus on the live stuff, because that’s where X Japan really shines. These are from various albums and singles that I grabbed online. (Um…just say no to piracy kids.) I think “X” is should be their signature song if it isn’t already, but the live version of Orgasm comes in (punny!) at a close second. Their take on “20th Century Boy” is just silly, but still pretty damn awesome.

And Now It’s Time To Party Hard

Wednesday, July 28th, 2010

This is the very first post at the new Lost Turntable. Which, as you may notice, bears a very striking resemblance to the orginal Lost Turntable! Funny that.

This is going to be a very very very rough transitional phase for me. So everyone bear with any occasional glitches, broken links, and what not. But fuck that for now…

Andrew W.K.
Party Hard (Live)
She Is Beautiful (Live)

Gonna keep it simple tonight, as I am currently recovering from a summer cold that beat the everloving snot out of me (literally!). Still, I can’t think of a better song to reign in the new era, can you?

Insert Clever "See You/Swine Flu" Pun Here

Friday, October 23rd, 2009

I am beginning to feel not-so-dead. I will celebrate this amazing occasion with Depeche Mode. It’s how I celebrate all things worth celebrating, and several things not worth celebrating.

And yes, I know I could have made a Black Celebration joke there, but I’m above that. Actually, I’m too tired to think of one.

Depeche Mode
My Secret Garden (Live)
See You (Live)
Satellite (Live)
Tora! Tora! Tora! (Live)
New Life (Live)
Boys Say Go! (Live)
Nothing To Fear (Live)
The Meaning Of Love (Live)
Just Can’t Get Enough (Live)
A Photograph Of You (Live)
Shout (Live)
Photographic (Live)

There are a finite number of vinyl/limited edition Depeche Mode releases out there. And I’m assuming that not all of will make their way to Jerry’s Records, located on 2135 Murray Ave. in Pittsburgh, PA. However, as long as they do I’ll keep buying them. These tracks are from three separate limited edition singles, when you take all the B-sides to them they form what is probably a complete concert, recorded at the Hammersmith Odeon on the 25th of October, 1982. That’s right, these singles are like Voltron – powerful on their own but when combined they form something unstoppable! Okay, I don’t know how “unstoppable” Depeche Mode live is but you get my drift.

Is This The Blog Im Singing

Wednesday, September 30th, 2009

Vodka!

Echo And The Bunnymen
Think I Need It Too
Lips Like Sugar (Way Out West Remix Edit)
Do It Clean (Live)

This is a first for me. I actually got permission to post one of these songs. For some reason I was put on the right mailing list and some lovely people from Echo And The Bunnymen’s label sent me a link to download the new album in its entirety, with permission to post the single on my blog! That’s awesome! Finally, this blogging shit is starting to pay off. Well, to be honest I only got permission to post the one song, not the older tracks, but hell, they never stopped me before. They’re not Steve Winwood after all. The “Lips Like Sugar” remix is from a compilation called Future Retro and the live version of “Do It Clean” is from an EP called The Sound of Echo.

I have listened to The Fountain (the band’s upcoming release) and I can tell you that it totally totally kicks all kinds of ass. When it comes out you should fucking buy it. It kicks ass.

The Icicle Works
Understanding Jane (Live)
Should I Stay Or Should I Go? (Live)

Roadhouse Blues (Live)

And in “also ran” news I have some tracks by the third-tier Liverpool band The Icicle Works, who pale in comparison to the awesome awesomeness of Echo And The Bunnymen, “Whisper To A Scream” notwithstanding. This live version of “Understanding Jane” is actually quite amazing, but the live covers are holy shit bad. I’m posting them because they’ve never been released on CD as far as I know and there has to be some die hard Icicle Works fan out there clamoring for them right?

Blogger Smash!

Friday, June 19th, 2009

I had a very bad day today. Usually I like to counter by bad days with hardcore industrial music, but an industrial song doesn’t exist that is hard enough to counteract my rage for the shitstorm of a day I had. It would have to be a collaboration between Skinny Puppy, Ministry, Mussolini Headkick and the sounds of a factory itself for me to exorcise the demonic rage within me. So instead I’m gonna put up some Stereolab and shit. Whatever.

Dajjamondo
The Phoenix
Big Hum
According to Discogs Dajjamondo is an alias for Marcel Hol, he has about a billion other AKAs (my favorite one is Bizarre. Supreme!) and he’s from Belgium. He’s the only Belgium techno producer I’ve ever heard who wasn’t obsessed with incredibly graphic sexual metaphors, so good for him. These tracks are trance, nothing spectacular, but worthwhile for fans of the genre.

Spear Of Destiny
Was That You? (Live)
Miami Vice (Live)
Outlands (Live)
Was That You? (Remix)
I’v heard of Spear of Destiny for a while and I’ve been meaning to pick up their supposedly awesome album Westworld for a few months. I respect any band that named an album after a movie that featured Yul Brenner as a killer cowboy robot. Also, that album was produced and features guitar by Mick Jones, and he’s my Jesus. This song was not on Westworld originally, it was on Outland. I got these versions from a 12” single and I have been enjoying them for a few days.

Stereolab
Miss Modular (Automator Mix)
Rainbo Conversation (Russell Simins Mix)
Refractions in the Plastic Pulse (Autechre’s Feedbate Mix)
Contronatura (Kid Loco’s Prelude to the Autumn of a Faun Mix)
This is a band that I’ve always wanted to get more into. When they were their most popular with the college crowd they were definitely not my thing, I was more into IDM glitch and hardcore metal. The smooth stylings of these wacky Brits were just not my thing. Now I’m finally coming around and they go “on hiatus.” These remixes are truly amazing and really worth the downloads. The Autechre mix of “Refractions in the Plastic Pulse” is a real highlight, combining Stereolab’s smooth grooves with Autechre’s crazy-ass polyrhythmic beats. Crazy crazy shit and one of the favorite songs of mine that I’ve put up in a long while.

Gratuitous Mandolins and Medleys

Monday, June 1st, 2009

No stupid rants about assholes on Twitter, retarded music trends, idiots on TV or what-have-you tonight. I am very tired and in a surprisingly good mood. Oh well. Don’t worry, I’m sure something will piss me off soon enough.

Soul Asylum
James AT 16 (Heavy Medley)
Soul Asylum may be an also-ran of the grunge-era but I always dug them. I remember seeing the video for “Just Like Anyone” as an ultra-geeky teenager and falling in love with the Angelic Claire Danes. I owned all their popular albums but over the years have managed to misplace most of them. I should give Grave Dancers Union another spin sometime.

Soul Asylum was always straddling the line between pure pop and college-rock/punk and this medley shows their wide variety influences that most likely led to their signature sound. Recorded live at the Whiskey-A-Go-Go in 1988, this 11-minute epic is a medley of heroic proportions, covering 13 songs from various genres and periods. The madness knows no bounds and it includes “The Cross” by Prince; “For What It’s Worth” by Buffalo Springfield; “I’m Waiting For The Man” by Velvet Underground; “Birth, School, Work, Death” by The Godfathers; “Damaged Goods” by Gang of Four; “Play that Funky Music” by Wild Cherry; “Free For All” Ted Nugent; “Oops Upside Your Head (aka “I Don’t Believe You Want To Get Up and Dance”) by The Gap Band; “Body Slam” by Bootsy’s Rubber Band; “Staying Alive” by The Bee Gees; “Wishing Well” by Terrence Trent D’Arby; “Get Down Tonight” by KC And The Sunshine Band and finally “Peaceful Easy Feeling” by The Eagles.

Wow. That has to be the only time anyone every combined Gang of Four and The Eagles.

R.E.M.
Mandolin Strum
Belong (Live)
Orange Crush (Live)
Star Me Kitten (Demo)
Losing My Religion (Live)
Organ Song
I have a love/have relationship with R.E.M., with every album of theirs I love there is at least one other I hate. And they were partially responsible for “Shiny Happy People” which is something I still have not forgiven them for. I’d have to be some sort of emotionless monster not to like “Everybody Hurts” however, which is the single from which these B-sides are culled from.

One of my best high school memories was caused by “Everybody Hurts” and allow me to indulge.

My senior year was pretty awesome schedule-wise. I had an art class second period, an independent study that was also an art class third period, lunch fourth period and then a study hall fifth period. Basically the middle of my day was made up of art and doing nothing. Good times. Anyways, for that study hall I volunteered to be a teacher’s aide in the science library, which was a great gig because no one ever used the science library as it was at the far end of school (and it was a science library). So most of the time I got to sit on an ultra-comfy couch, read comics and listen to the radio while the librarian went out to smoke.

One day some amazingly hot girls came into the library to “study” and in a rare instance of clique-crossover, decided to talk to me. Using their womanly ways they convinced me to change the radio from the oldies station (the librarian’s choice) to the local alternative station. Right then “Everybody Hurts” came on and all three of us just layed on the couch and listened to the song in silence. Very John Hughes of us I know but at the time that moment seemed to mean something.

But enough about my overly dramatic high school days, as I said before, these songs are from two different singles of “Everybody Hurts.” Some of them are kind of scratchy though, and I apologize for the sub-par quality.

Kirk Doesn’t Believe In Situation No Win

Monday, May 18th, 2009

Sorry for the unannounced week off. Shit happens.

On an entirely unrelated note, I saw Star Trek last week and must say that IT WAS THE BEST MOVIE IN THE HISTORY OF THE UNIVERSE. Totally. Like, it’s total fucking godhead good. It’s mind-blowing, pants-creaming extraordinary awesomeness that will make you forget about the war, the shitty economy, The Black-Eyed Peas and everything else that’s wrong with our world today. I’m planning at least two more trips to the theater to see it, and if you haven’t seen it yet then you’re fucking up. It’s awesome. Go now.

Actually, read my blog first, then go.

The Clash
Return To Brixton
Return To Brixton [Extended Mix]
Return To Brixton [SW2 Dub]
Now here’s something I never knew existed, dance remixes of Clash songs. “Return To Brixton” is, not surprisingly, a remix of “The Guns of Brixton,” which originally appeared on The Clash’s seminal 1979 album London Calling. These remixes popped up some 11 years later on a maxi-single that also included the original version. I have no idea what the reason was behind the creation or release of these mixes, as they don’t seem to be promoting anything – they don’t appear on any proper Clash album or compilation and they weren’t the beginning of some grand Clash remix campaign. On the back of the CD it mentions that the original version of the song is available on The Story Of The Clash Volume 1, but that came out in 1988 and this single came out in 1990. Regardless of the origins, the remixes aren’t bad, if entirely unnecessary.

Big Audio Dynamite II
Rush Dance
City Lights
Rush [Live]
The Globe (12″ Mix)
The Globe (Dub Version)
The Globe (By The Orb)
The Globe (Instrumental)
My B.A.D./B.A.D./Big Audio obsession is well documented, so you can imagine my joy when I found not one, but two maxi-singles (sealed!) for sale for three bucks a pop. “Rush” is probably one of my favorite songs in the history of the universe, and both the dance and live versions don’t disappoint. In fact, the live version ranks up there with the live version of “Fucking in Rhythm and Sorrow” as one of my all-time favorite live B-sides. “The Globe” is less awesome by comparison, but one of the remixes is by The Orb, and that’s pretty damned awesome.

More maxi-single goodness later this week.

Grunged 4: Angry man behind the desk in a medium-sized town

Thursday, April 9th, 2009

I was planning some grand epic post about how Pearl Jam have managed to survive and prosper while the other grunge bands have died (literally) or fallen apart by now. It was supposed to mention things like the band’s intentional alienation of their mass audience, their audacious urge to experiment musically and most importantly their epic live shows. I was also going to mention how they’re one of the only bands in America that has never sold out or compromised their integrity for record sales (and in fact did the opposite). It was going to mention all kinds of amazing stuff about all that shit.

But everything I want to say has probably been said before. People still listen to Pearl Jam because they are a great motherfucking band, and Pearl Jam is still around because they are truly a band, working as a cohesive unit to create good music, entertain their fans, and fight for causes they believe in. Pearl Jam work so damn well as a band that they should put out self-help books for troubled marriages. The adversity and hardships that Pearl Jam has fought through would kill most anyone else, but instead they come out stronger, better and more determined to succeed each and every fucking time. Pearl Jam proves time and time again that you can succeed on your own terms, and that if you have the talent, desire and determination the people will come around to you and not the other way around.

Pearl Jam is the best band in the world, and don’t you fucking forget it.

Heavy handed much? Yeah, but I don’t care. Moving on to the music….between Lost Dogs and the new special edition of Ten nearly every single Ten-era rarity from Pearl Jam is now easily available. But there are still a few tracks that have slipped through the cracks, lets take a look at some of the best (that I have).

Pearl Jam
Alive (Live)
Even Flow (Re-Recorded)
Wash
Dirty Frank
These four tracks have all been on various singles and EPs, but I got them from the Japanese version of the “Alive” single. The live version of “Alive” and the re-recorded version of “Even Flow” have never appeared on any proper Pearl Jam album. “Wash” And “Dirty Frank” were on Lost Dogs, but the versions that appeared there weren’t the originals for some strange reason – these are. “Dirty Frank” is an awesome song, and as the linear notes to Lost Dogs points out, the best song about a serial killer bus driver you’re ever likely to hear.

Why Go (Live)
Deep (Live)
Alive (Live)
These live cuts were B-sides to the “Oceans” single and are from a performance at the 1992 Pinkpop Festival in the Netherlands.

Footsteps
A long time fan-favorite and one of the first three Pearl Jam songs written, this track finally got the album appearance it deserved on Lost Dogs, but once again that version differed from the original, and included some slightly annoying harmonica. This is the version that appeared on the “Jeremy” single.

Dissident – Live In Atlanta
Okay, so this isn’t Ten-era stuff but I don’t think anyone will care. Dissident was a pretty big hit when it came out, and there were a ton of different singles, each with different live cuts serving as the B-sides. The live cuts were all taken from the same concert and when combined formed a nearly complete concert. Later on all of the singles were compiled into a massive three-EP set called Dissident/Live In Atlanta. This EP is an entire concert (minus three tracks from Vitalogy) and must have been an amazing deal when it first came out, it was an even bigger deal for me when I bought it used for seven bucks. You can find the tracklist here. I’m not including the studio version of “Dissident” because well, what’s the point?