Monthly Archives: June 2019

Chip & Tony Kinman • Sounds Like Music [CD, DD]

Here’s a cool place to start your appreciation of the Brothers Kinman. Sounds Like Music is a collection of tunes CHIP & TONY KINMAN created over the course of 40-odd years fronting bands like The Dils, Rank and File and Blackbird. I was a big fan of the first two back in the day and saw the third perform live once upon a time. Indeed, The Dils were a seminal if somewhat unsung L.A. punk band, and Rank and File was among the first Americana bands of the early ’80s. Their final incarnation as Cowboy Nation is also represented, and so throughout the 22 cuts here you get a good idea of what made each band tick.

There are big stylistic differences between the four acts on this disc of previously unreleased music, but the glue that really holds it all together is the blend of the Kinmans’ voices. Chip’s was the higher, sweeter voice while Tony contributed the deep, soulful one. The combination recalls the great male sibling voices of the past (the Louvin, Delmore and Everly Brothers, for instance), though the Kinmans weren’t as precise. No matter, though, because what Chip & Tony lacked in accuracy they more than made up for with their clever and catchy tunes. Whether it was the cowpunk of Rank and File’s “Amanda Ruth” and “Lucky Day” (presented here in alternate versions from the ones that made the band’s albums), the punk rock of “Folks Say Go” and “Rank and File” (in a way-more-punk version than the country-ish one we‘re all familiar with) or the industrial-flavored Blackbird material, the “real style” of Chip & Tony always shone through.

To be fair, many of the songs on Sounds Like Music are early enough in their development that the term “demo” is quite fitting. On the other hand, the prototype versions of their better known songs are quite enjoyable. This disc won’t replace any of your Dils, R&F and Blackbird records and CDs, but it’ll certainly sit quite nicely among your collection. As there is no known or official compilation of the bros’ output (yet; perhaps that’s in the pipeline – please!), this is a good place to, errrr, join the rank(s) of Kinman fans. I’m sure Tony, who passed away last year, and Chip would be glad to welcome you to the club.

3/5 (Omnivore OVCD-334, 2019)

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R.E.M. • In Time: The Best of R.E.M. 1988-2003 [2LP]

It’s easy for us old school R.E.M. fans to dismiss the post-IRS Records era of the band. Those fabled times were unique in our music experience: Band comes out of nowhere – that is, Athens Georgia – and takes over the college radio airwaves, steadily builds a fanbase with their amazing records and compelling yet elusive videos (you had to look pretty hard to find them at first), and eventually signs to a major label. It’s also easy to say, “they were better before they sold out,” but of course, most of us also realize that R.E.M. didn’t actually do that, since their label switch was on their own terms. Still, I definitely prefer the albums up through Document over the Green-and-on elpees. I certainly didn’t stop buying their albums, though, but aside from Automatic for the People, I’d rate the post-1988 albums lower than those before that.

One listen to In Time: The Best of R.E.M. 1988-2003 tells you that Buck/Mills/Stipe(/Berry) & Co. didn’t really lose the plot – they just matured and morphed into a different monster. Their sonic palette got bigger, better, engulfing the scruffy, indie R.E.M. they once were. In this later personae the band gave us epics like “Man on the Moon,” “The Great Beyond” and “Everybody Hurts,” as well as burners like “Bad Day” and the absolutely gorgeous “At My Most Beautiful.” Even the band doesn’t quite know how to sum it all up; Peter Buck wrote the liner notes to each song and he himself is frequently unsure what the songs mean or where they came from. But one thing is sure: R.E.M. weren’t even close to finished having something to say when the ink on the Warner Bros. Records contract had dried.

In Time was first released in 2003, available in a few different formats (including vinyl), but the 2LP version was hard to find. It’s now been reissued by Craft Recordings in a standard double black vinyl version and a blue colored set offered exclusively by Barnes & Noble. The mastering job on this reissue was done well, and it’s nice to have the 18 songs spread over two records. But I do have a minor issue with B&N’s colored vinyl: the transparent blue could’ve been matched better to the color of the blue moon on the cover. It plays and sounds lush, though, so don’t pay too much attention to that part of my critique. The takeaway from this review is that R.E.M. were one of the great American bands of the ‘80s and In Time is the perfect summation of their latter days.

4/5 (Craft Recordings CR00166, 2003/2019)

 

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The Beatles • “Paperback Writer” b/w “Rain” [7″]

[This review was first published 6/8/2010 on Skratchdisc]

Well, only two months after Record Store Day, the speed demons at Capitol/EMI have finally released the “special” “limited edition” 7″ single of my favorite BEATLES pairing, “Paperback Writer” b/w “Rain”. Ummm, they knew RSD was coming up, I’m sure, and yet, they put this single out in a generic Parlophone 45 sleeve. It’s nice, for what it is, but why couldn’t they have put it in a picture sleeve? Over the years (and at the time of its inital 1966 release) it’s appeared in various pic sleeves (like the ones I have here). Hell, they could have even duplicated the original American generic sleeve and used the ’60s orange/yellow “swirl” labels. How come no one ever confers with me before doing these things? What they DID do was use the stereo masters of the songs (the original was a mono issue in most territories), which sound very sweet through the stereo.

Here’s a memo to the bigwigs at EMI: Next year’s Record Store Day is on April 15, 2011 (so I’m told). Start preparing now.

2019 addendum: And for that matter, stewards of The Beatles’ catalog, Abbey Road was released 40 years ago this year, so I assume that not only do you have a teaser release coming for RSD Black Friday 2019, but a deluxe extravaganza celebrating the entire album a la the Sgt. Pepper and White Album releases of the last few years.

4/5 (Parlophone/EMI)

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