Category Archives: CD

Various Artists • 3X4 [2LP, CD]

Record Store Day usually brings with it some interesting, if not must-have, releases. This one, 3×4, is definitely the former and quite possibly the latter. With tracks by seminal Los Angeles “Paisley Underground” bands BANGLES, THE DREAM SYNDICATE, RAIN PARADE and THE THREE O’CLOCK, these dozen tracks make a unique set of a batch of great songs.

The idea was actually pretty simple. Each band involved covers songs by each of the other three groups: 3 tracks by 4 bands. As all four groups were contemporaries and fans of each other (frequently playing together on club dates and more back in the day), the concept makes sense and it offers – when it really works – an additional level of appreciation of the original tune or band. I say “when it works” because there are a few here that just feel like straight covers (see the video at the end of this review), adding next-to-nothing to the original tune’s stature. I should also mention that my two favorite bands here, Bangles and The Dream Syndicate, are not as impressive as I had hoped they’d be. The Three O’Clock does a nice job of interpreting “Tell Me When It’s Over” (Dream Syndicate) and Bangles’ “Getting Out of Hand,” the opening track of the album, but it is Rain Parade that actually carries 3×4. Not only are the covers of their songs quite good (Dream Syndicate does a nice “You Are My Friend”), but their versions of the others’ songs are the best tracks here. “When You Smile” is a more somber take of Dream Syndicate’s early tune, while their “Real World” adds some beautiful psychedelia to the Bangles song and their “As Real As Real” is a super sweet version of The Three O’Clock’s neo-psychedelic track.

3×4 is a must-have for fans of Rain Parade, for sure. If you’re not as big on them as the other bands, you might want to get the CD and not splurge so much on the vinyl. For Record Store Day, the release is available as a double purple swirl vinyl set and a single CD, and in January 2019 the album will receive a wider release that will include digital formats. Being a sucker for colored vinyl (especially purple!), I may seek out that version. On the other hand, the CD is a good economical way to go, and holding out for downloads wouldn’t really be as real as real.

2.5/5 (YepRoc YEP 2596, 2018)

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The Kinks • The Kinks Are the Village Green Preservation Society (50th Anniversary Super Deluxe Edition) [Box Set]

There have been many 30, 40 and 50th year anniversary reissues in the last decade, despite physical media being given its theoretical death sentence some time ago. The record companies, though, realize that the kids may go for downloads and streaming but us older fans must have something to hold onto. The Kinks Are the Village Green Preservation Society is 50 years old now and THE KINKS’ “record label” has regaled us with an over-the-top box that can barely be held with two hands, and it’s worth whatever backache you may incur upon its arrival.

You wanna talk about a sleeper of an album? Village Green Preservation Society (from here on out VGPS) died a quick death when it was released in late 1968 (January ’69 here in the US). Maybe it was The Beatles’ heralded White Album that kept people from realizing VGPS’s greatness, maybe it was that The Kinks hadn’t exactly been hot on the charts at the moment. Hell: Maybe it was all the turmoil in the world. After all, ’68 wasn’t exactly the most peaceful year of the decade. And maybe it’s that Ray Davies’s “rock opera” (before Tommy even!) was of such a pastoral, low-key nature that the pop press and record label PR types had no idea how to whip up a frenzy around its release. Or maybe it was just an album that – like The Zombies’ Odessey and Oracle – needed time to incubate in the zeitgeist before it could be truly appreciated. Whatever the reason, VGPS gets more and more of the spotlight every year, and deservedly so.

I first learned about this great lost Kinks album in the early ’90s thanks to two local bands who were already tuned in. The Young Fresh Fellows covered VGPS’s “Picture Book” and Flop did “Big Sky,” both excellent covers by great Seattle groups. (If you don’t already know the Fellows or Flop, stop right now and look ’em up. I’ll wait…) Being the intrepid music fan I am, I found a copy of VGPS (not easy back then, actually) and was instantly transformed into not just a kasual Kinks fan, but a full-fledged one. What wasn’t to like about it? Those two songs, “Do You Remember Walter?” “Last of the Steam Powered Trains,” “Animal Farm,” “People Take Pictures of Each Other”… Every track a good one, full of Ray Davies’ unique viewpoint on life in his England home, and every track soaked in the band’s first great incarnation’s particular, spectacular arrangements. In hindsight, twenty five years after I discovered it, the only thing that is a possible negative is the slightly shoddy recording quality of the record. Though that ding definitely stands out on this new edition, it’s of little consequence because the album itself is so damn good. It’s not as gimmicky as Sgt. Pepper, not all over the place like The Who Sell Out (both albums that I absolutely adore), and not as lofty. And that’s the point! Davies wasn’t going for lofty — he was going for little. As in, small-screen vignettes about the people and places that then populated his life. I wonder how Ray feels now about that vanished Britain.

This big deal VGPS box obliviates the album’s quaintness, what with three LPs, three 7″ singles, five CDs, a nice book full of photos of era memorabilia, and a packet of reprints of posters, sheet music and more. (Initial orders through The Kinks web site got you a fourth 45!) And yet, if any great album deserves such a gala presentation, this one does. I can tell you, being the huge Beatles fan I am, that I was looking forward to this even more than the White Album box that comes out later this week.

The lowdown goes like this. Vinyl-wise, you get two LPs of the original UK mono and stereo mixes (in their then Davies-sanctioned 15 track configuration), an LP with the 12 track version sent to Europe and Down Under without Ray’s permission (some months before the 15 track iteration), and three 7″ singles from the era in replica sleeves. (The one that, errrr, reprises the US Reprise 45 is kinda lame – they don’t use the record company logo or fonts or anything, so it looks like someone forgot to include the actual artwork!) As for CDs, the first two are of the mono and stereo mixes (15 track version) along with period singles*, single mixes, B-sides, etc.; a disc of sessions recordings (early versions, work versions and demos, including a killer instrumental called “Mick Avory’s Underpants”!); a disc called Village Green at the BBC (guess); and a final CD of demos, sessions and live versions. Then there’s all the replicated memorabilia. And a big ol’ (picture) book. It all comes in a nice, substantial box that I only very slightly damaged trying to open. (I’ll get over that in time. Maybe.) All of it is good – if not great –and there’s more than enough here for dozens of listenings over the rest of your life.

After all this, all I can say is: God Save the Village Green Preservation Society; Long Live The Kinks!

* Here’s where I add that one of the singles here, “Days,” is included in numerous versions and never outstays its welcome. That’s because it might just be the most poignant, perfect song of all time. Listen to the words and the arrangement and tell me there’s not someone who was once in your life (a mom, a brother, for instance) who fulfills the role of the person in this song who is longed for, memorized, cherished. This paragraph – “Days” – is for Nel Blurton and Dana Gooch, my mom and my brother. Thank you for the days.

5.5/5 (BMG BMGAA09BOX, 2018)

 

 

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John Lennon • Imagine (The Ultimate Edition) [2BD/4CD Box Set]

JOHN LENNON’s first solo album, Plastic Ono Band, was a raw slab of rock ’n’ roll, primal and painful and pretty near perfect. The followup, 1971’s Imagine, was a much more elegant affair… at least, that’s how it came off at the time. But, you’ll find when dipping into The Ultimate Edition, there is a vast sky of treasures that went into its creation. This substantial 2 Blu-ray/4 CD set gives us so much of it that it’s hard to know where to begin.

What strikes me hardest is just that: There is so much in this compact box set, it may just set a new standard for physical audio formats. Imagine: The Ultimate Edition starts with a newly remixed version of the original album, its ten songs ranging from the title track (which needs no introduction) to the folk-blues of “Crippled Inside” to the hauntingly beautiful and personal “Jealous Guy” to the densely hard politics of “I Don’t Wanna Be a Soldier, Mama, I Don’t Wanna Die.” The remixes, in both stereo and 5.1 surround sound, make it easier to appreciate this deep album; its original release’s mixes were murky and muddled – that has been resolved here in an amazingly coherent way. If you already know the album well you’ll be able to tell what’s changed, yet you’ll be pleased with this new mix. And if you’re new to Lennon’s second classic album you’ll dig what he did, too.

Next up, various singles from the era (remember, back then, many singles weren’t attached to an album), also in newly mixed stereo and 5.1. If you’re old enough you’ll remember something called quadrophonic, and the ’71 quad mix of Imagine is also included. (It was released only on vinyl in the UK and on 8-track tape [!].) There is also a set of out-takes, also mixed in stereo and 5.1, and these make you feel like you were right there in the studio with Lennon & Co. as they were sorting out their arrangements in prep for the final takes. Sheesh! That’s only BD disc one. The second Blu-ray gives us another, further set of raw mixes, another set of out-takes, a set of elements (for instance, just the strings from “Imagine”  or a solely acoustic take of “Oh Yoko”), and what they call “The Evolution Documentary” (which I haven’t gotten to yet). Are you lost? Because it’s easy to feel that way among all of this audio.

Unlike many “super deluxe editions” that have come out, Imagine is so exhaustive, it’ll take you many sit-downs to get through it. Most of today’s big bucks box sets just give us a bland stereo version/mono version/live renditions combination that practically wears out its welcome upon arrival. This one won’t be doing that anytime soon. Did I mention it comes in a nice, 9″ x 9″ slipcase? (Lennon had a thing about the number nine.) Considering what work went into preparing a release of this scope, Imagine: The Ultimate Edition is well worth its price. Don’t worry, though. If you’re not willing to go this far, there are lesser editions to check out, including slimmed down 2CD and 1CD editions and a 2LP version (which was available for preorder in a clear vinyl edition). For more on this huge undertaking and its various components, visit Paul Sinclair’s Super Deluxe Edition.

5/5 (Calderstone/Universal 0602567671268, 2018)

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Paul McCartney • Egypt Station [LP, CD]

It’s a given that I’d have both vinyl and CD copies of PAUL McCARTNEY’s new album, Egypt Station, on its release date, because it’s no secret that I hold Macca in the highest regard and have for most of my life. (Visions of “Junior’s Farm” on Apple playing over and over, ’74, or the wall-size Wings poster hung up in my room, flood my brain.) I’ll admit, from the late ’80s into the ’00s I let my fandom slip, but that just happens when you’ve been with a musician or band for decades. Thing is, I initially missed some great McCartney albums then (hello, Flaming Pie!), and once I realized that there are few indispensable records in the man’s canon, I retraced my steps and picked up the ones I missed. This one, his first new work since 2013’s excellent, ahem, New, is quite a good one.

Obviously, at this point in history, there are few who don’t know Paul McCartney by name and probably fewer who haven’t at least heard half a dozen of his songs (especially with The Beatles) countless times. Then again: I stop in my local Barnes & Noble on release day (9/7/2018) to buy the exclusive 2LP red vinyl version they’re selling, one hour after they opened, and they were already sold out. Dang. So the lady at the help desk offers to find me one at another local B&N, which was nice, and she makes the call and says, “Do you have any more copies of the Paul McCarthy Egypt Station vinyl?” I correct her: “Paul McCartney.” She says on the phone, “Yes, the red vinyl Paul McCarthy album.” I think to myself, you’re older than me and you don’t know how to say this guy’s name?? She does secure me a copy, though, so I try not to dwell on this. Next, I go to my local Target because their exclusive CD has two bonus tracks that aren’t on the vinyl or the standard compact disc version. They have plenty of copies and I exit happy.

But there’s always the nagging feeling that I’m gonna be let down. This guy has put out so many absolutely brilliant records, for as long as I’ve been alive, that he can’t possibly top Band on the Run or Ram or “Girls School” or… and on and on. So I have to accept where the man is at 76 (76!), try to remove the new release from the grand historical context it falls in, breathe, and then insert the disc or plop the record down and hang on.

I’m happy to report that Egypt Station is another quite good McCartney album. It’s neither mired in Beatles-era harmonies and descending chord progressions, nor sadly soaked in the sounds of today (autotune, etc.). What’s extra cool about this one is that, though it’s not a concept album, it does have a cohesiveness that New lacked. Where that 2013 release had some excellent songs (“Save Me,” “Queenie Eye”), it felt a little flat as an album. Here we have great songs peppered throughout a lengthy opus that plays extremely well. Of course some songs are kind of forgettable, but it is a long album. And, again: there’s nearly no way to hear anything McCartney does without subconsciously comparing it to everything else he did. Egypt Station’s first “singles” (released online but with no physical counterpart) seemed just okay on their own, but when you hear “Come on to Me,” “I Don’t Know” and “Fuh You” together on the album with “Confidante,” the epic “Despite Repeated Warnings” and “Hunt You Down,” there’s a much stronger case for McCartney to keep putting out new music as long as he can.

Now, there are multiple formats of Egypt Station to consider. And you know I did! I went with the two detailed above to get the most songs, and yeah, because I like colored vinyl. (UK readers, that same Target version is available at HMV where you live.) There is also a 2LP, 2 colors vinyl version with deluxe packaging (accordion sleeve) available via McCartney’s web site, standard double black vinyl, deluxe 2LP and CD (available everywhere), and an upcoming “super deluxe box set” that hasn’t been finalized yet. (And digital download at all the usual sites.) I guess what you pick depends on how big/gullible of a fan you are. You know where I stand in that spectrum!

3.5/5 (Capitol B002874402 [Target CD], B002874601 [Barnes & Noble 2LP])

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Elvis Costello • Live at the El Mocambo [CD]

[Reviewed 11/19/2009 in Skratchdisc; the concert on this disc is from 1978]

My relationship with ELVIS COSTELLO has been a rocky one. I wrote a piece on him for my 9th grade newspaper, based solely on taking my journalism class teacher’s copies of My Aim Is True and This Year’s Model home for the weekend and coming up with what I’m sure is a shoddy little piece of writing. (Thanks Mr. Bishop!) Next thing, Armed Forces comes out with that bonus 7″ of Live At Hollywood High. I ride my bike to some local record store, buy it, strap the bag to the rack on the back of my ten speed, and off I go. Next thing you know I’m his biggest fan. I buy everything. Every import single, 12″, CD single, everything. Then things changed…

Nowadays the guy drives me crazy. He tries too many genres, collaborating with just about everyone who’ll have him. And he’s married to Diana Krall! How’d he manage that? Well, it’s not germane to this review so I’ll move on. The only releases of his that I’ve bought in the last decade or so have been the reissues and the ones where he’s actually playing ROCK ’N’ ROLL. So here’s Live at the El Mocambo, which was originally released as a Canadian promo album, then as a bootleg (that’s what I had back in the day), then came out as part of a Rykodisc box set. Now he’s put it out as part of a live series of value priced CDs. And I come a-runnin’! This March 1978 show was just after he’d put together The Attractions, the best band he ever had (and with the best bass player he ever had, Bruce Thomas). It’s a fiery, ragged set, recorded for a Canadian radio station (so the sound quality’s a bit compressed and flattish), and features the band doing songs from the first two albums. It’s great to hear the band tear into tunes from My Aim, since they didn’t play on that one, and it’s great to only pay ten bucks for it. Again, audiophile sound quality is not what we’re after here, it’s great performances. And that they are.
4/5 (Hip-O B0012380-02, 2009)

 

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Simon Love • Sincerely, S. Love X [CD, LP]

SIMON LOVE is the kind of guy you’d wanna punch the shit out of. He’s clever and funny, a real smart ass, and everything he says to you, no matter how mean, is just true enough to piss you off. Of course, if he was your little brother you’d think, “That little prick is funnier than shit!”

Take the title of his second album, Sincerely, S. Love x. Before you even see the song titles you know this guy is either a real precious fella or a sarcastic little snot. Indeed, with song titles like “God Bless the Dick Who Let You Go,” “(Why’d You Get That) Tattoo, Girl?” and “All This Dicking Around (Is Bringing Me Down)”, you know you’re in for an album that’s likely to be quite funny. And it is. AND… luckily… it’s damn good. Here’s a power pop record that sounds like Jellyfish going on a Beach Boys bender with Neil from The Young Ones in tow. Arrangements are pretty lush with ’60s organs (or maybe mellotron?) and guitars, thick harmony vocals and Simon’s boy-next-door singing and earnestness. Sincerely, S. Love x features some clever punnery, too, whether he’s singing “I never knew you were a Tennis Fan… how was I to know that love meant nothing to you” or “Here comes the Golden Boy, the sun shining out his ass and lighting up everyone he meets…”

Typically, so much sarcasm and wordplay will wear thin after a few plays, but thanks to Love’s clever hooks, semi-lo-fi production and near-epic arrangements, I don’t think that’ll happen. The fact that he can write a poignant, heartfelt love song with a title and chorus of “I F [Heart] U” is not lost on this rock critic. Sincerely, S. Love x (the x is as in x’s and o’s) is a power pop album with humor as its secret weapon.

3.5/5 (Tapete Records TR406, 2018)

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The Lords of the New Church • The Lords of the New Church [CD]

I couldn’t even remember how many years it had been since I last heard THE LORDS OF THE NEW CHURCH when I saw that their first album was being reissued. 1982’s cleverly titled The Lords of the New Church was one of the first “punk supergroup” releases and it contained some catchy post-punk/new wave tunes for fans of the band members’ earlier groups. Singer Stiv Bators (known here as just “Bator”) came from Cleveland’s Dead Boys, while guitarist Brian James was a founding member of The Damned, the greatest band that ever lived.* Along with a revolving door of members (including early recruits Rat Scabies, also of The Damned, and Tony James of Generation X), the pair conjured a promising debut album that somehow failed to deliver lasting dividends.

Released at a time when punk had waned and new wave, goth and other genres were dawning, The Lords was a mixture of all of those – and perhaps that’s why it sputtered. It didn’t “pick a genre and run with it” at a time when that was (at least in hindsight) crucial. Listen to “Open Your Eyes” now and tell me how that single never became a hit. Well, in 1982 that kind of song wasn’t going to make the Hot 100 here in the States, that’s for sure. That’s not to say that it didn’t get some airplay on college radio, as many of us college DJs played it regularly, and MTV played it some in the early days when any song with a video had a good chance of airing on the fledgling cable video channel. But being released before I.R.S. Records co-created MTV’s 120 Minutes specialty show, its airings – both on TV and on the radio – were sparse regardless of the platform.

Now you can give The Lords of the New Church another try, as it’s being released in a new 2CD expanded edition. Disc One is the original album along with two B-sides and the single mix of the aforementioned “Open Your Eyes,” while the second disc is a live concert recorded in ’82 here in the USA. Packaged in its original UK cover art (which is actually quite hideous, as much as the US cover [at right] was boring), mastering for this reissue is quite good (you can always count on Bill Englot) and the images and liner notes are pretty good, too. You’ll likely enjoy and maybe remember some of the other tunes, such as “Russian Roulette,” the cover of “A Question of Temperature,” and their homage to the New York Dolls, “Li’l Boys Play with Dolls,” a song I clearly didn’t get at the time since I was just barely discovering that band (and pretty much anything that was good that wasn’t easy to learn about pre-internet/MTV/my subscriptions to Trouser Press and New York Rocker). While definitely of its time, The Lords is a worthy addition to the middle-aged hipster’s or ’80s acolyte’s CD library and warrants multiple spins.

3/5 (Blixa Sounds ETA 806, 2018) * [I say this in complete seriousness and with little or no irony.]

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David Bowie • Welcome to the Blackout (Live London ’78) [3LP, 2CD]

Last year for Record Store Day we enjoyed the release of DAVID BOWIE’s triple LP live album, Cracked Actor (Live Los Angeles ’74), a superbly recorded and dynamically played concert. You either plunked down for a 3LP vinyl copy, or (as it turned out) waited two months to buy it as a 2CD, sensibly priced package. Many weren’t surprised at the release of the compact disc version, despite it not being announced when the RSD vinyl was. This year – no surprise this time – we got Welcome to the Blackout (Live London ’78), another 3LP RSD release trailed by a 2CD standard version. The vinyl, like last year’s release, comes in a double-gatefold package with photos from the concert and 180-gram LPs inside. (I’m assuming, pre-CD release, that that will be similar to last year’s CD package.) The concert itself was recorded at the end of Bowie’s 1978 post-Low tour, and features yet another band lineup.

I’m not as bowled over by this one as I was by Cracked Actor. The band is quite good, don’t get me wrong, but they don’t seem to gel as well as the ’74 group did and the mix isn’t as compelling. That being said, unless you’re the most curmudgeonly of Bowie fans, you’ll find a lot to like about Blackout, even if it’s just that the audio is much better than what has been available on bootlegs for years. The set list is quite good, anchored by a lengthy instrumental intro (Low’s “Warszawa”), and then mostly working backwards, song-wise, through DB’s catalog. You get a number of newer songs for the first half of the show, followed by inspired renditions of some of the man’s hits, including “Fame,” “Ziggy Stardust,” “Suffragette City,” et. al. Welcome to the Blackout ends on side six with “TVC15,” “Stay” and “Rebel Rebel” – a song I’ve never grown tired of and a great tune to wrap up the show with.

If Bowie’s estate keeps doing this every year, releasing great concerts most of us have never heard, I’m okay with that. I can’t imagine a time when they’d put out so many releases (reissues or new titles) that I’d get burned out on David Bowie’s music. (Check back here from time to time for updates on that prediction.) I’d much rather that than just see countless reissues of his back catalog remastered for no good reason.

3/5 (Parlophone DBRSD 7782, 2018)

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Nick Lowe (& Los Straitjackets) • Tokyo Bay [2×7″, CD, DD]

Hey kids, hop in the car! It’s time for another quality collaboration between NICK LOWE and LOS STRAITJACKETS, and this time we’re off on a whirlwind trip to Tokyo Bay. In the front seat are A-sides “Tokyo Bay” and “Cryin’ Inside,” while our companions “Travelin’ Light” and “Heartbreaker” occupy the backseat.

Lowe & Los started their group discography with a great live Christmas record, The Quality Holiday Revue Live, a 2015 release with a few non-holiday tunes thrown in for good measure. The man and band toured that release (got to see them at the Belly Up in Solana Beach, CA), both that year and the next, and then the masked men did an album of Lowe’s songs, What’s So Funny About Peace, Love and Los Straitjackets, on which Lowe made a guest appearance (2017). Now we’re treated to a 2×7″ EP with two Lowe originals and two covers, making me hope they’ll be doing a full length collab one of these days.

Tokyo Bay is a return of sorts to Lowe’s early ’80s solo career, in which he played a hybrid of new wave, rockabilly and power pop that really suited both his songwriting and his voice. Typically backed by a crack team of musicians (including Paul Carrack, Martin Belmont and Dave Edmunds), Nick turned out some compelling records. As has always been his wont, he wrote some great originals and placed them among some swell cover tunes (“7 Nights to Rock” and “Born a Woman” come immediately to mind). Here we get originals “Tokyo Bay” and “Cryin’ Inside”, both kinda popabilly country tunes, and covers “Travelin’ Light” (recorded by the likes of Peggy Lee, Billie Holiday and Van Morrison) and “Heartbreaker,” written by the Bee Gees. Don’t worry, you’d never know it was a Brothers Gibb creation if you didn’t see the credits – Lowe makes it his own, like he always does with the songs he loves. This release again shows that Lowe also knows how to pick a band that can do justice to the material; Los Straitjackets have always been perfect sidemen (I’ve seen them back both Lowe and El Vez [at separate events!], and last summer they played with Marshall Crenshaw).

The 2×7″ comes in a nice gatefold cover, and though my records have mismatched labels on ’em, the four songs are all there and accounted for. Tokyo Bay’s available as a limited vinyl release as well as on CD and download and is out now.

3.5/5 (YepRoc YEP-2589, 2018)

 

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The Fentons • I’ve Seen It All Now [CD, DD]

Well, shave me bald and call me “Olsen” – it just dawned on me that I’ve never reviewed any of the kick-ass EP CDs my buddies in THE FENTONS have put out. Their latest, I’ve Seen It All Now, has got a typically solid handful of goodies on it and it’s about time I wrote about them.

A five-piece country band of the best kind, The Fentons are made up of brothers Dave and Jim Keller on guitars, mandolins and banjo, Steve “Blackie” Pearce on lap steel and electric guitar, Kent “Snake” Caldwell on bass and Chas Bronson IV on drums. I can’t say that this lineup pushes the envelope, at least arrangement-wise, but what these guys have is a love for the music that comes to them from years of playing all kinds of other kinds of music. In fact, three of the five – Jim, Dave and Chas – have played together in various combos for something like thirty years. Four of the five guys sing, and their harmonies recall the best of that Louvin/Everly Brothers archetype. So when they hit the chorus of “Party of 2,” for instance, they sound like they’ve been singin’ together on the front porch since they were all knee-high to a cricket… or 2.

Another great thing about I’ve Seen It All Now is the lyrics. Not sure which Fentons wrote what, but I can tell you that “There’s a Body” and “I’m the Devil” have some clever couplets going on. And “Dig a Hole,” what can I say about it? How about: I’ve been bugging them to record this son of a bitch since I first heard them do it almost two years ago. Not to put too fine a point on it, but if you want a song that tells you to get over your shit and move on, or else, then this is it. Brings a tear (or 2) to my eye every time. Their harmonies on that final chorus will do you in if you’ve got a heart and a soul.

I must say, here and now, that The Fentons are friends of mine, so this review is definitely colored by that. But, as an ethical rock critic, I also must say that every word here is true, and I wouldn’t review I’ve Seen It All Now if I didn’t like it. (Sometimes my passive/aggressive side ain’t such a bad thing!) You can get the download or buy the CD through the band at fentonstwang.com or at one of their shows – if the fools don’t forget to bring the merch tub!

3.5/5 (Flamingo Records, 2018)

 

 

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