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Posts Tagged ‘Husker Du’

By Joel Francis

Radiohead – Hail to the Thief (2003) Radiohead’s sixth album is only disappointing in context. After blowing everyone’s minds with the Kid A/Amnesiac companion albums, musical expectations were ratcheted to the stratosphere to expect the unexpected. When the band revealed the album’s title, disenfranchised liberals hoped for a political burn that would send a person who occupied the White House despite losing the majority of the votes and his ginned-up war scurrying back to Texas. Spoiler: Neither happened.

Instead fans were treated to an album where guitars are played like guitars, drums are played by an actual human being and songs follow a conventional verse-chorus-verse structure. The band hasn’t turned the amps up this loudly and rocked out since Thief, which makes singles “2+2=5” and “There There” seem even more momentous in retrospect. Meanwhile, “The Gloaming” and “Backdrifts” nod to the Kid A/Amnesiac era. Nearly two decades on, it is easier to enjoy Thief for what it is and soak up its rich rewards.

Red Garland Trio – Groovy (1957) Confession: I bought this album based entirely on the cover art and the cred pianist Red Garland built playing in the Miles Davis quintet with John Coltrane. Paul Chambers and Art Taylor, the rhythm section for this album, were also members of Davis’ group. So what you have here is Davis’ band, minus the horns. Because they performed together so often, the trio are able to swap lines and support each other without breaking a sweat. The songs consist of standards, such as “Willow Weep for Me,” pop songs like “Will You Still Be Mine” and an original Garland blues, “Hey Now.” It might not be an ambitious selection, but the results are superb. In this case, my instincts served me well. Groovy is a 40 swinging minutes of amazing piano jazz.

A.C. Newman – Get Guilty (2009) The engine behind the New Pornographers gives himself a little more space to stretch out on this solo album. There are still tons of big hooks and bright power pop melodies, but Carl Newman sounds more relaxed and confessional here. Get Guilty is the second of Newman’s three solo albums to date and the fact that he still has the ability to craft these albums while doing the majority of the songwriting for the New Pornographers speaks to his prolific pen. Tellingly, Newman hasn’t released a solo album since Dan Bejar, the other songwriter in the Pornographers left the group. However, I have little doubt that Newman will lay another beauty on us at some point, and it will be worth the wait.

Bob Dylan – Live 1975: The Bootleg Series, Volume 5 (2002) Well before the sleight-of-hand Netflix documentary, Bob Dylan gifted his fans with this gift of the best moments from the first leg of his Rolling Thunder Revue tour. The performances are comfortably ragged and delightful. The set charges hard out of the gate with three reworked, electric numbers. “Tonight I’ll Be Staying Here With You” tears like a locomotive. “It Ain’t Me Babe” sways like a gypsy waltz. Best of all is a hurtling “A Hard Rain’s A-Gonna Fall.” If Dylan was a prophet standing on the city wall, warning the people below on the original acoustic version, here he is Paul Revere, tearing through the countryside, shouting his message. The rest of the music isn’t as revelatory, but fantastic. The ensemble airs performs two-thirds of Desire, Dylan’s most recent album, including “Sara,” an autobiographical love song to his wife, with her listening from just off-stage. The acoustic material and duets with Joan Baez are fine, but nowhere near as intimate as what crowds were treated to on the first set of the 1966 tour documented on Bootleg Volume Four, or the 1964 show documented on Bootleg Volume Six. That said, Live 1975 is not only an essential Dylan document but a fun listen. I turn to it often.

Husker Du – Savage Young Du, LP2 (compilation) The second album from Numero’s four-record collection of early Husker Du starts with the band’s first single and features many unreleased live tracks recorded at various Minneapolis clubs in 1980. You can hear the songwriting start to sharpen a bit here as the music remains at full volume and throttle.  We discussed other albums in this eye-opening box set on Day 3 and Day 40.

Yo La Tengo – I Am Not Afraid of You and Will Beat Your Ass (2006) The New Jersey-based indie rockers have made a great career combining long noisy adventures with intimate ballads. For their 11th album, the noisy tracks bookend the shorter, poppier numbers. The nearly 11-minute opener “Pass the Hatchet, I Think I’m Goodkind” sizzles on James McNew’s bassline. From there, I Am Not Afriad hops from the horn-driven pop of “Beanbag Chair” to the falsetto of “Mr. Tough” and through a few other songs before landing on the nine-minute, soothing ambience of “Daphina” almost halfway through. At 15 songs and 77 minutes, I Am Not Afraid sometimes feels too long, but none of the songs are filler. Think of it like an album with a bonus EP buried in the playlist. If you haven’t heard Yo La Tengo, this is as good a place to start as any.

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By Joel Francis

If you wondered how long Noah and his family were aboard the ark while the hard rain fell continuously, we’ve reached that point. Forty days (and nights). I don’t see any doves in the sky.

Paul Simon – self-titled (1972) Paul Simon’s solo debut (for all intents and purposes) arrived two years after the landmark Bridge Over Troubled Water. It’s a very different album from Bridge, but it is also established Simon as an artist who could operate completely independently of Art Garfunkel. If you’ve heard the album think about it for a moment. Where would you put Garfunkel? He certainly doesn’t fit on the big singles, “Mother and Child Reunion” and “Me and Julio Down by the Schoolyard.” Maybe on “Duncan” but not really anywhere else. Meanwhile, Simon’s dabbling in reggae, folk, blues, gospel, even hot jazz on the wonderful instrumental “Hobo’s Blues” with Stephane Grappelli. Simon would quickly eclipse this excellent album with his two subsequent releases, but really the blueprints for everything he would do next, even Graceland, can be found here.

Husker Du – Alternate Land Speed Record (1982) When the producers of the excellent Husker Du box set Savage Young Du were denied use of any material the hardcore punk trio recorded for SST, they did the next best thing and compiled an alternate version of the band’s debut live album Land Speed Record. Nearly the same songs, same order, same venue, different performances. I haven’t compared the two versions but I don’t find anything lacking on the numbers offered here. The 13 songs (there were 17 on the original edition) blast past like you are on the business end of a leaf blower. The second side features the In a Free Land single and a bevy of b-sides. Individually, each song rips and kicks like a chainsaw about to throw a part. Together, they flow like a violent sea of free jazz or an industrial raga. Either way, you won’t need to curl your hair or brush your teeth by the time it’s over.

Raphael Saadiq – Stone Rollin’ (2011) The mastermind behind Tony! Toni! Tone! came up in a big way on his third solo album, the Motown-inspired The Way I See It. Stone Rollin’ was his follow up release and if anything it builds on and improves the sound established before. Opening number “Heart Attack” sounds like a lost Sly and the Family Stone track, while Ray Charles was definitely in the house on “Day Dreams.” Another stand-out track, “Go To Hell,” opens with a big organ and tympani straight out of the ‘70s. And in a delightful twist the song is about someone trying to avoid the eternal fires, not send an enemy there. Hidden near the end, “Good Man” is the best album. Taura Stinson sings a hooky chorus that would work well on a hip hop track a la Mary J. Blige. Instead, Saadiq keeps it old school and paints a story of a blue collar man doing everything and still falling short, especially in love. The lush orchestration and horns add another layer of drama to the story. Stone Rollin’ is a stone classic that fans of the revival sound coming from Daptone and Colemine should definitely check out. Everyone else should hear it as well.

Bunny Wailer – Blackheart Man (1976) The third Wailers-related album to come out in 1976. Although all albums touch on each of these areas, the shorthand is that Bob Marley’s Rastaman Vibration is the political album, Peter Tosh’s Legalize It the playful one. Blackheart Man is definitely the most spiritual of the three releases. The title song opens the album and warns against going near the devil and how Jah will one day defeat the Blackheart Man. The album ends with a lengthy – and excellent – version of the classic gospel song “This Train.” Between these bookends, Wailer addresses reparations on “Dreamland,” draws a vivid portrait of poverty and imprisonment in “Fighting Against Conviction” and offers another warning about the end times on “Amagideon.” Blackheart Man is easily lesser-known of the three releases I’ve discussed over the past three days, but it is every bit the equal of the other two. It is a must-own for all reggae fans.

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By Joel Francis

Our trawl through my world of vinyl continues.

Various Artists – Stroke It Noel: Big Star’s Third in Concert (2017) To butcher the cliché, probably not everyone who bought a Big Star album back in the ‘70s started a band, but it’s a fair bet that at least one person from most of your favorite bands did (unless you are super into, say, Norwegian death metal, in which case, thank you for branching out and reading this blog).

It’s been ten years to the month since Big Star’s frontman Alex Chilton died on the eve of his celebration at South by Southwest. The impromptu tribute that emerged from that tragedy morphed into a series of concerts around the world celebrating Big Star’s troubling third album. It’s wonderful to hear members of Wilco, R.E.M., Yo La Tengo, the Posies, Semisonic, the dbs and more pass the mic and hike through these songs. But the live reproductions are so faithful they miss the fragile, alluring qualities that made the original studio versions that almost seemed to disintegrate before coalescing into beauty – if they made it that far. So yeah, I dig this, but hearing R.E.M.’s Mike Mills bounce joyfully through “Jesus Christ” or Django Haskins struggle with “Holocaust” doesn’t make me a bigger Big Star fan. It just makes me glad that the people I’m into have such immaculate taste.

Robert Fripp – Exposure (1979) I have a great deal of respect for King Crimson, Robert Fripp’s groundbreaking progressive rock ensemble, but to my heathen ears their music is like listening to calculus. I can get behind Exposure, though. You can almost hear Fripp smirking as he takes the listener from wordless, off-kilter a capella harmonies to an endlessly ringing phone and then a boogie woogie pastiche – all in about a minute. It’s almost like Fripp is daring us to meet us where he is, then abruptly changing course and challenging us to follow him over there. This is also an apt description of his entire career. Listening to Exposure is like playing tag. You never stay in one place and may find yourself out of breath at times with the quarry just out of reach, but it’s always fun to play. Special mention must be made of the definitive version of “Here Comes the Flood” with Peter Gabriel on vocals.

Madisen Ward and the Mama Bear – Skeleton Crew (2015) This mother-son duo was poised to be the next big thing to break out of the Kansas City music scene when this debut album came out. They appeared on one of the last episodes of The Late Show with David Letterman, the Today show, Later with Jools Holland and played Bonnaroo and the Newport Folk Festival. Things have been quiet since then – only one EP in 2018 – but these laid-back, folk blues romps are still a fun spin.

Kendrick Lamar – Damn. (2017) Damn. was my favorite album the year it came out and it remains a compelling listen today. The fact that I can say this despite a concert that nearly left me in tears is a testament to its strength. When the Damn. tour announced a date at the Sprint Center, I quickly jumped on tickets. Not wanting to take out a second mortgage, my friends and I got seats in the upper level, extreme stage right. The sound was fine for the opening acts, but when Lamar took the stage it was like the sound blew out in the speakers directed at our section. You know it sounds you’re just inside the doors, waiting to get in and the show starts without you? All bass with just a hint of vocals? That’s how it sounded inside the arena. Some ushers kindly moved us to another section where the sound was slightly better, but the spell had been broken and the show was a bust. All this and I still can’t wait to hear what Lamar does next.

Rush – Power Windows (1985) I know everyone loves the hard, sci-fi prog of Rush’s late-‘70s peak, but I am strongly partial to their synth-heavy early ‘80s material. This mostly boils down to the fact that during high school I played the band’s 1989 live album A Show of Hands so often I thought the laser would bore right through the CD. So you can have your “Cygnus X-1” and “By-Tor and the Snow Dog” and I’ll stick with “Marathon” and “Manhattan Project,” thank you very much.

Husker Du – Everything Falls Apart (1982) Playing this record (included in the Numero Group’s essential early-days collection Savage Young Du) is like flying down the interstate on a Japanese motorcycle without a helmet. Insects slap your face and the wind stings your eyes as gravity forces you closer to the ground. Danger is imminent, but you twist your wrist and accelerate even more. Stopping is not an option. Oh, and there’s an entire side of bonus tracks.

Johnny Cash – Mean as Hell! (1966) Mean as Hell! is the single platter version of Johnny Cash’s double-record concept album Sings the Ballads of the True West. I think I got this at a garage sale, because who can resist an album with this title (with mandatory exclamation point) where a gaunt, drugged out Cash is dressed like a cowboy, holding a gun? The music isn’t as exceptional as the cover. The spoken-word bits are a little too somber. Cash sounds like a Southern preacher crossed with a National Geographic narrator on the title track and the studio version of “25 Minutes to Go” is nowhere near as fun as the live version at Folsom Prison. Despite these shortcomings, I’ll still put on my spurs for the ballads: “I Ride an Old Paint,” “Sweet Betsy from Pike” and album closer “Bury Me Not on the Lone Prairie.”

Frank Black – Teenager of the Year (1994) No one liked this album when it came out. It didn’t sound like the Pixies, wasn’t as radio-ready as the Breeders and there was a lot of lingering animosity over how Frank Black ended the beloved Pixies. I didn’t know any of this at the time, however, because I was too busy listening to A Show of Hands. Coming to this album several years later, all I heard were nearly two dozen bright blasts of Black’s songwriting at its most accessible. Nurse a grudge all you want. I’ll be right over hear blasting “Freedom Rock” loud enough to drown out your whining.

Brian Eno – Reflection (2016) I don’t know enough about ambient music to tell you the difference between this album and Lux or the longer-form pieces on the Music for Installations collection. I can tell you that when it gets to the point in the day when I need some Eno, Reflection (and Lux) always comforts me. I also don’t think I have to get up to turn the record over as often with Lux, so there’s one difference.

Bruce Springsteen – The Wild, The Innocent and the E-Street Shuffle (1973) This is one of my absolute favorite Springsteen albums because it’s the sound of him fumbling through different sounds trying to figure out what he wants to be. It all clicked into place with Born to Run, his next album. The guitars at the beginning of “Sandy” sound like the Allman Brothers Band before the accordion whisks in foreshadowing the opening section of Billy Joel’s “Scenes from an Italian Restaurant.” Where else can you hear Springsteen rocking with a clavinet over a Doobie Brothers guitar line but on “The E Street Shuffle”?

The picture of the band is especially priceless. Half the guys have their shirts unbuttoned all the way, only a couple are wearing shoes and Springsteen is rocking a tank top and blue jeans. They look like a group that would get uncomfortably close and overly friendly with a stranger, ask to bum a cigarette and then inquire if he or she liked to par-tay.

Wild and Innocent is also the only time multi-instrumentals David Sancious appeared as Springsteen’s main musical foil. Sancious left to form his own band shortly after this album came out and went on to work with Stanley Clarke, Peter Gabriel, Sting, Eric Clapton and many others.

Lee Hazlewood – The LHI Years: Singles, Nudes and Backsides (compilation) If you’ve heard “These Boots,” then you’ve heard a Lee Hazlewood production. This collection doesn’t contain any of Hazlewood’s work with the Chairman of the Board’s daughter – which is good enough to warrant its own anthology – but it does contain duets with Ann-Margret and Suzi Jane Hokom and solo cuts that sound like cowboy songs in Cinemascope. Drag Phil Spector’s Wall of Sound to the wild west and your getting close.

R.L. Burnside – Too Bad Jim (1994)

T-Model Ford – The Ladies Man (2010) I saw T-Model Ford one time, right around the time The Ladies Man came out, a couple years before his death. The venue, Davey’s Uptown Rambler’s Club, or just Davey’s, was about as close as you could get to a juke joint in Kansas City. Split across two storefronts, the bar was on the left side, where you’d traditionally enter. The area with music was on the right side of the wall. If a performer moved too far stage right he or she was liable to bump into a door leading out to the street. That would be bad. Despite these shortcomings, the sight lines were decent, the drinks were cheap and the sound was usually OK. I mention all this because Davey’s, a century-old Kansas City institution, was gutted by a fire just a couple days ago. Everyone reminiscing online about the great times they had at the venue made me reach for this album.

R.L. Burnside’s blues were cut from the same primitive cloth as Ford’s. I don’t know if Burnside ever played at Davey’s but I’m sure he would have been welcomed and would have liked it. The good news is that the Markowitz family, who have run Davey’s since the 1950s, plan to rebuilt the space.

Loose Fur – self-titled (2003) Recorded before Wilco’s career-defining Yankee Hotel Foxtrot but released afterward, Loose Fur is the sound of Jeff Tweedy shaking off the weight of Wilco and getting acquainted with two new collaborators. Opening track “Laminated Cat” is one of my favorite Tweedy compositions. It’s more than seven minutes here, but Wilco frequently tear it down onstage like a Sonic Youth number and stretch it even longer. Jim O’Rourke’s “Elegant Transaction” provides a more relaxed counterpoint and while the album doesn’t get that relaxed again until the closing number, “Chinese Apple,” the opening pair frame the album as a balancing act between tension, experimental noise and release.

Benny Carter – Further Definitions (1961) Impulse Records are frequently viewed as the playhouse for avant-garde jazz workouts by saxophonists John Coltrane, Archie Shepp, Yusef Lateef and Sonny Rollins. Further Definitions is proof that Impulse wasn’t so one-dimensional (at least in the early years). Pre-war legends Benny Carter and Coleman Hawkins push each other to new heights in the confines of this small group anchored by Coltrane’s rhythm section. The result is an album that jazz fans can appreciate for its sophistication and intricacy but your mom can hum along with. A win for everyone.

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(Above: Ziggy Marley will perform at this year’s 80-35 festival, but there are many great bands waiting to be discovered.)

By Joel Francis
The Kansas City Star

Over the past six years, the 80-35 music festival has put Des Moines and the Iowa music scene on the map. Great headliners draw increasingly bigger crowds, but the festival’s secret strength is drawing the best acts from the upper Midwest.

This year is no exception. Bands from nearly every neighboring state will fill the fest’s three stages this weekend.  Here are several bands I’m most looking forward to experiencing live on our nation’s birthday. (Note: Since I will only be able to attend the first day of the festival, all of the following recommendations are from Friday’s lineup.)

Any noisy three-piece rock band from Minneapolis is going to draw comparisons to Husker Du. Fury Things don’t run away from the similarities. Guitars explode from blown amps and drums sound like they are being punished. The band makes a compelling case for coming out early, and are guaranteed to jumpstart the day. (Fury Things perform at 12:45 p.m. on the Kum & Go stage.)

If the Beach Boys hung out in Greenwich Village instead of Venice Beach they probably would have turned out a lot like the River Monks. The Des Moines-based quartet combines a sea of lush harmony vocals over a forest of banjos, guitars and other wooden instruments. Bonus points for an album cover that looks like a physical realization of Brian Eno’s topographic covers in the Ambient series. (The River Monks perform at 8 p.m. on the Hy-Vee stage.)

Singer Johnathan Tolliver fronts soul outfit Black Diet like the second coming of Isaac Hayes, only with a better falsetto. The band may come from Minneapolis, but the sound is straight-up Memphis soul. Touches of slide blues guitar alongside a meaty B3 organ imagine what Booker T and the MGs may have sounded like if Duane Allman sat in (and brought a gospel choir). (Black Diet perform at 4:45 p.m. on the Kum & Go stage.)

8035logo_1Maids haven’t released an album, but the electronic duo has more than enough original material from surreptitiously released singles to fill a set. Danny Heggen’s high tenor soars over keyboards and drum machines while just a touch of guitar fill out the minimalist sound. The song “Seashell” sounds like a lost 8-bit classic until waves of synthesizers take over the track, turning everyone in their wake into Fred Astaire and Ginger Rogers. (Maids perform at 6 p.m. on the Hy-Vee stage.)

Tree probably isn’t named for his love of forestry, but the Chicago MC proves there is more to hip hop than odes to weed. His raspy voice and rhymes are good enough, but what really stands out is the production. The song “Fame” sounds like it was inspired by William Burrough’s cut-up technique, with snippets of gospel organ or jazz piano diced and reassembled at random. “The King” employs fellow Chicagoan Kanye West’s old trick of speeding up a familiar song for the backing track, but Tree ends up with something that would sound like an over-the-top parody if it didn’t work so well. (Tree performs at 2:45 p.m. on the Kum & Go stage.)

Look for a review of Friday’s 80-35 festivities next week on The Daily Record.

 Keep reading:

10 Must-see bands at Kanrocksas (part 1 – Friday)

Wakarusa Music Festival: A Look Back

Middle of the Map 2013

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