Category Archives: record store day

Paul McCartney • McCartney (50th Anniversary Half-Speed Master) [LP]

It’s just about Record Store Day 2020 “Drop 2” (Sat. 9/26/2020) and here we have my main purchase, PAUL McCARTNEY’s McCartney, released for the album’s 50th anniversary. This reissue – coming just three years on from the red vinyl edition – begs the question: How many copies of this (or any) album do we really need? (Which is followed by the companion question: How many times do we have to reconsider the first question?)

Well? Do you already have a copy? On vinyl? How much do you like the album? Do you play it on a regular or even once-in-awhile basis? Let me see: I already have – we’ll call it – a few copies of McCartney on vinyl. (Don’t ask how many copies including CDs…) And yes, I do like the album and play it at least a few times a year. Oh yeah, don’t forget this question that’s crucial to us older (read: 50 and above) dudes: How many more times will I be able to play this before I die, and if it’s not very many, will this new version noticeably enhance my listening experience or would the other copy(ies) I have suffice? Okay, now that we have these rhetorical considerations out of the way (or eating away!), here’s what you need to know about the new half-speed mastered McCartney.

For its 50th anniversary, Macca has decided to issue his first solo album again on vinyl, and this time the mastering really is top notch. Completed at Abbey Road by Miles Showell, who has worked on many Beatles-related projects, the record was cut from a presumably (very) high resolution file that came from the analog master tape.* Many of us would prefer it to be all analog but that kinda thing rarely happens these days, since everyone who still has original masters of their work (or entrusts them to a large conglomerate who hasn’t allowed them to fester or burn while in storage) wants to keep them safe and intact. The thing is, the method for completing a remaster isn’t as important as the care and ears that go into the process. Stay all-analog, go digital, one or the other or both, I don’t really care as long as the people involved have a good idea of what sounds good and achieve that goal. In this case, I think this McCartney sounds better than any other version I know of. (Many people would point to the UK first pressing as the holy grail, but of course, good luck finding one at a reasonable price. I don’t have one.) It was pressed on 180-gram vinyl for a deep groove, which means more info gets transferred to your speakers and therefore your ears, but the half-speed mastering process can tend to weaken the bass frequencies and I do feel like McCartney may be missing the oomph it needs to really knock it out of the park. BUT… what you do hear sounds incredible and the bass – though it may be a bit low in the mix – at least sounds distinctive.

I haven’t even got into the music itself, but I imagine anyone with even a modest interest in McCartney’s solo stuff knows what McCartney is about. It’s about 35 minutes of really good songs, with only a minor clunker factor, all played by Paul himself and joined by Linda Mac on the harmonies. My picks on this LP are “Every Night,” which really should have been a single, the rockin’ “Oo You,” and the gentle ditty “Junk.” Don’t forget “Maybe I’m Amazed,” which wasn’t released as a single in 1970 but instead became a hit when Wings did it on their 1976 live album, Wings Over America. Still – most everyone’s familiar with the song and this version isn’t much different than the band’s. The rest of the songs are primarily snippets, such as opener “The Lovely Linda” and “Valentine Day,” or interesting instrumentals that allowed Macca to flex his muscles and do something beyond what was typically allowed on a Beatles album (not counting The White Album).

This RSD version of McCartney is a limited edition (supposedly 7,000 copies worldwide) so you’d better high-tail it to your indie dealer and grab one before they’re gone or garnering higher prices once they’re made available on the internet. You can go to the Record Store Day website to find your closest dealer. – Marsh Gooch

4/5 (Capitol/MPL/UMe 602508 464720 0, 2020)

* Here’s what it says on the insert inside: “This half-speed master closely references the 2011 remaster by Steve Rooke and Guy Massey. It was made as a vinyl specific transfer in high resolution and without digital peak limiting for the best possible reproduction.” That tells us this pressing comes from a new lacquer, which was cut from a hi-res digital copy that was struck from (presumably) the original analog master tape.

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John Prine • The Atlantic Albums [4LP Box Set]

Coronavirus deaths are definitely a drag, for sure. The April 2020 passing of folk singer/legend JOHN PRINE was a big bummer, whether – like me – you’re relatively new to his stuff or a longtime fan. The Atlantic Albums, a 4 LP box set of his first recordings, came at a great time (though clearly already in the works before he became sick from the virus) for me, as I had only a copy of his debut album (John Prine) on vinyl and was really starting to crave more.

I’m not particularly well-versed on Prine’s history, having first given him a try only a year or so ago when my partner gifted me a copy of a best-of CD, Prime Prine. I had heard of him, of course. But I hadn’t paid him no never mind until – I’ll admit it – I felt obligated to give him a go. So I’ll let you research things on your own, if you’re of a mind to, with a hint to start with maybe his Wikipedia page, his official website, or just go YouTube some videos (a couple are included below). Rolling Stone aptly called him “the Mark Twain of songwriting,” and singers like Johnny Cash, Bob Dylan and even Pink Floyd’s Roger Waters have trumpeted the man’s way with words. Dylan said in 2009, “Prine’s stuff is pure Proustian existentialism. Midwestern mindtrips to the nth degree. And he writes beautiful songs.” I was first tickled by some of his song titles, such as “Your Flag Decal Won’t Get You Into Heaven Anymore,” “Sour Grapes,” “Yes I Guess They Oughta Name a Drink After You,” and so on. I’m naturally drawn to humor and that’s what I heard first in Prine’s songs. Then comes the poignancy and his ability to illuminate issues with a keen eye and a wisdom that was beyond his years: “Hello In There” is one of his best loved tunes, about old folks and how we kinda look right past ’em without considering that “old people just grow lonesome, waiting for someone to say ‘Hello in there… hello.’” Whether you’re a fan of folk music or not – and Prine’s is adorned with instruments beyond guitar and mandolin or dulcimer – his lyrics’ll get ya. And this is coming from a guy who doesn’t usually home in on the words right outta the gate.

The Atlantic Albums is a pretty basic box set, with four albums in a sturdy slipcase with a pair of funky black ’n’ white photos of John back in the day. You get 1971’s self-titled debut, ’72’s Diamonds in the Rough, ’73’s Sweet Revenge, and his last album for the label, Common Sense (1975). They’re reissued in old-style covers with the original artwork, complete with lyrics inserts. The 180-gram pressings sound incredible with no notable surface noise, and benefit from mastering and lacquers cut by Kevin Gray (whom I’ve praised before; see this review and this one). This Record Store Day release is limited to 2,000 copies and prices right now (a week after RSD) are pretty high, but that price might go down some. (There’s also a 7CD box on the horizon that includes these four albums and the next three he did for Asylum Records.) This set is a great way to get those original albums on vinyl, as the first issues can fetch pretty good money online (especially if you’re after those lyric sheets), but if this box is priced too high you can probably expect that very soon these albums will be made available separately. Of course, if you haven’t yet jumped into John’s pond, where better to start? This is pure Prine right here. – Marsh Gooch

5/5 (Rhino/Atlantic 603497848294, 2020)

 

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Pretenders • Live! At The Paradise Theater, Boston, 1980 [LP]

Once released as an LP sent to radio stations only as a promotional item to help sell the band’s debut album, Live! At The Paradise Theater, Boston, 1980 is PRETENDERS at their livest best. The show was recorded on March 23 of that year just a few months after Pretenders was released to critical acclaim. Already the band was touring the USA, and within a year or so they’d released a stop-gap EP and then their second full length, the imaginitively-titled Pretenders II. To say things seemed to be happening for them is an understatement – and yet that momentum came to a pretty swift halt soon after. The stories have been told elsewhere of how guitarist James Honeyman-Scott and bassist Pete Farndon went down the well-traveled drug death road that so many rockers have, so let’s just say there’s no telling what the band would have done had the original lineup stayed intact. Not that the Pretenders didn’t end up achieving a pretty solid career…

Anyway, for Record Store Day 2020 (Drop 1), Sire/Warner Bros. has issued that for-broadcast-only concert on a real cool clear/red vinyl LP that comes in a clear PVC cover*. The 11-song set list is made up primarily of tracks from the band’s first album, so you’ll hear “Precious,” “Kid,” “Mystery Achievement” and “Tattooed Love Boys,” for instance, and early versions of “Talk of the Town” and “Cuban Slide.” Recording-wise, Live! At The Paradise Theater is of a quality I’d call “better than soundboard,” as in it’s lacking some shimmer in the high end and could stand a little more bottom, but otherwise much better than if you’d taped it from the radio back in the day. Of course, big time (real?) Pretenders fans would have looked for a copy of the original promo release, but those are fairly rare and not exactly on the cheap side. So now RSD comes to the rescue – or to the delight of those who had no idea this item ever existed at all. I don’t tend to listen to live albums all that regularly, but this one I’ll put on more frequently than, say, this RSD’s live Bowie release (the 1974 tour recording, reviewed here). If you’ve been trying to hunt down that original release, it is time for you to stop all of your sobbing and grab one of these.

3.5/5 (Sire RCV1 114, 2020)   * Do yourself a favor and keep the record itself in a regular paper or audiophile sleeve; over time records get baked into PVC sleeves and become unplayable.

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David Bowie • I’m Only Dancing (The Soul Tour 74) [2LP, CD]

DAVID BOWIE’s camp has been regularly issuing and reissuing some of the man’s concerts for Record Store Day and other events so you gotta wonder how close to the bottom of the barrel they’re getting. Will one bad apple spoil the rest of ’em? I’m Only Dancing (The Soul Tour 74) might just be one of those (possibly) offending apples.

These “legendary,” “mythical” concerts were what basically amounts to Bowie rejigging his band mid-tour – originally dubbed the Diamond Dogs Tour – with additional performers, and changing the arrangements to reflect, I guess, what he was hearing in his head. He dialed up the soul and dialed back the rock – and that is either gonna be a real plus for you (like, if you’re a big fan of Young Americans, recorded soon after) or a let down (like if you prefer David’s rockier, Ziggy-er side). For me, firmly in the latter category, it’s not as great as I had hoped it’d be. I much prefer Cracked Actor (Live in Los Angeles ’74) (issued for RSD 2017, see my review here) for its crunchy arrangements. Here we have near-cheesy keyboards (sorry, Mike Garson, ’cause I generally like your playing) and an at-times caterwauling sax (courtesy of David Sanborn) that sounds pretty dated (think of the theme song for Saturday Night Live). Ugh. On the other hand, I do like the covers medley of “Foot Stompin’/I Wish I Could Shimmy Like My Sister Kate,” with its “Fame”-style guitar stabs. But that sax. You’re killin’ me, Sanborn!

I’m Only Dancing also suffers from a hoarse-voiced Bowie and the recording’s mediocre sound quality. It sounds better than your typical bootleg of the era, for sure, so this is probably an improvement in that regard. Design-wise, this package is miles better than its mid ’70s counterpart, with graphics adapted from the tour program that was available at the shows. The 2LP and 2CD sets are both Record Store Day exclusives so they’re going to go fast. Whether you want to make the trip to your local vinyl emporium is up to you – though you should go and support your local regardless of your interest in this year’s Bowie release. You’ll be able to either pick up a copy of this or something else that’ll float your boat. Let’s not forget, no matter what any of us critics say about any particular DB product, it’s still gonna be better than your average album. It’s Bowie! – Marsh Gooch

3/5 (Parlophone DBRSDLP 2020, 2020)

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The Kinks • The Kink Kronikles [2LP]

The Kink Kronikles is one of my favorite kompilations of any of those in my kollection. In 1972 THE KINKS had recently moved on from their original US record label, Reprise, to the hopefully greener pastures of RCA Records, so the wise guys in their former A&R department decided to put together a kollect… okay, I’m gonna stop with the “’k’ in place of ‘c’ thing” now… collection of a bunch of great singles and pair them with tracks – primarily B-sides – that they hadn’t yet released on album on this bounteous 2LP set, which has just been re-released for Record Store Day 2020.

One of the smarter things the label ever did was to draft rock critic and Kinks fan John Mendelsohn to not only compile the tracks, but annotate the package. What he put together, selection-wise, is an exemplary survey of what made the band so great. And his liner notes, which take up the entire inside of the gatefold cover, are an illustration of the fine art of putting someone on a pedestal and trying to knock them off of it at the same time. Mendelsohn’s twisted love of The Kinks is no secret (he later even penned a book about them), and neither was his sarcastic yet spot-on writing about rock music. They don’t make ’em like him anymore.

Remaining in Reprise’s catalog for many years, The Kink Kronikles was a valued 2LP set for the group’s hardcore US fans despite it being compiled and released without any input from the band. This, certainly, had been par for the course at Reprise. Just like The Beatles, The Stones and The Who – and pretty much all of the British bands – The Kinks had had their albums sliced ’n’ diced at will by the powers-that-had-been because those bozos presumably thought they knew better what would fly in the good ol’ US of A than their counterparts in the UK. And by that, I mean, you know, “We’ll cut a few songs from this 14-track album, take the tracks from some of the singles – hell! – even include a coupla tracks that were on the last album and bang! We got another way to make money off of these funny sounding English guys who probably won’t be around next year anyway.” The thing is, this compilation had so many sought after songs on it – lots of rare B-sides and songs lopped off their UK LPs – that the album became a pretty good seller, quite likely even cannibalizing sales of RCA’s current releases of new Kinks material (’71’s Muswell Hillbillies and ’72’s Everybody’s in Show-Biz).

I don’t have an original copy of The Kink Kronikles to compare this new Record Store Day version to, but it sounds pretty phenomenal, cats. Besides that, the collection itself is a great mix of familiar and obscure tracks. Sure, you get “Victoria,” “Days,” “Waterloo Sunset,” “Lola” and “Sunny Afternoon,” but you also get once-super-hard to find goodies like “She’s Got Everything,” “Big Black Smoke,” “Mr. Pleasant,” “Berkeley Mews” and the then-unreleased “Did You See His Name?” There are 28 tracks here and they’re all worthwhile. Yes, today in 2020 they’ve pretty much all been added to the appropriate reissues of the band’s original albums, so if you’ve got the multi-CD sets of Village Green Preservation Society, Arthur or whatever, you have a good number of what’s here. But that’s no reason to pass on this limited edition, red vinyl reissue that’ll probably be deleted before you can say “Kinks reunion” for the umpteenth time. – Marsh Gooch

4.5/5 (Sanctuary BMGCAT436DLP, 2020)

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John Lennon/Yoko Ono • “Instant Karma!”/“Who Has Seen the Wind?” [7″]

Another Record Store Day 7″, JOHN LENNON’s “Instant Karma!” b/w YOKO ONO’s “Who Has Seen the Wind?” is not exactly a reissue of the original 1971 single. This time it’s a pairing of 2020* remixes of the songs, in line with the 2019 remix of Lennon’s Imagine album (also recorded in ’71). Apparently held over from that release – after all, RSD was supposed to be in April – as a reminder about the availability of the aforementioned remix LP (these tracks aren’t on it or any of the box set versions), this 45 is housed in a similar “picture” sleeve and dons near-identical Apple labels and the original UK catalog number. (The lengthy, modern UPC barcode and catalog number are, of course, unique to this release and thankfully printed only on the outside hype sticker.) This “ultimate mix” of “Instant Karma!” isn’t that different from the original, though it does seem to make the individual instruments stand out on their own a little better, with Klaus Voormann’s bass and Alan White’s drums a bit tighter. Back then, Lennon, Ono and co-producer Phil Spector went for a much denser, Wall of Sound-esque mix than what we’d consider good today. Still, if you’re not intimately familiar with the original you really have to squint to hear the difference between the ’71 and ’20 mixes.

As for Ono’s “Who Has Seen the Wind?,” I am honestly not familiar enough with it to hear the differences between the original and today’s remix to weigh in. Sorry, Yoko! I’d certainly heard the song before (I have an original pressing of the single), but was never as interested in repeat listenings of it as I was of the A-side, which is not only a stone cold classic but was also a worldwide hit and has appeared on numerous Lennon compilation albums over the last fifty years. But I can tell you this: these 2020 remixes are for the hardcore fan (as you’d basically expect) and not the casual listener. This trend of remixing classics is getting a bit tedious, really. I mean, especially in the case of something like “Karma,” which suffered a bit from a crummy mix, why not really go for it and do something radically different? Or at least noticeably different?! – Marsh Gooch

2.5/5 (Apple/Calderstone APPLES 1003/602508778711, 2020)
* Chances are these remixes were actually done in 2019 during the same sessions as the
Imagine remixes.

NOTE: The above video is, of course, of the original 1971 mix.

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The Soft Boys • I Wanna Destroy You (40th Anniversary Double 45) [2×7″]

Forty years ago hardly anyone knew who THE SOFT BOYS were. These days there are plenty of people, highly schooled on obscure rock bands, who know that the band was a late ’70s British “punk” group fronted by Robyn Hitchcock, who later went on in the ’80s to front a group called The Egyptians and then out on his own to continued relative success as a relatively eccentric singer/ songwriter. I Wanna Destroy You is a 40th Anniversary double 45 package of The Soft Boys’ two 1980 singles, whose A-sides – “I Wanna Destroy You” and “Kingdom of Love” – were two of the best tracks on their Underwater Moonlight album, and whose B-sides weren’t part of that album. Now you can get a real handy 2×7″ set that replicates those two singles as one of this year’s Record Store Day releases.*

“I Wanna Destroy You,” of late, has become a bit of a political song thanks to it being used as a theme for those wanting to sack certain US presidents (including our current leader, He Who Shall Not Be Named, But It Rhymes With DUMP). This hard-rockin’, Byrds-meets-punk tune still thrills me, some 35+ years after I first heard it. B-side “I’m an Old Pervert (Disco)” is a slightly different take or recording of a tune that appeared as just “Old Pervert” on the aforementioned LP. Not a bad song but definitely a flip side. Meanwhile, Near The Soft Boys was a 3-track 7″ EP that contained not only the A-side/LP track “Kingdom of Love,” but a strange little ditty called (natch!) “Strange,” and a real hot cover of a never-officially-released Pink Floyd tune, penned by the strange Syd Barrett, called “Vegetable Man.” What made this cover tune so great were these two factors: 1) Only the most hardcore of Floyd fans knew about it, as it had only been available on pretty bad sounding bootlegs, and 2) The Soft Boys’ version really fleshed out the song with a complete arrangement including harmonies and the lot. When I first got a hold of this single (a battered copy, I might add), I assumed it was a Soft Boys tune, despite the writer credit inside – I was still a novice Pink Floydian at that point. This version is so good, it’s a wonder that Syd’s band never finished it and put it out as a single. Well, I mean, the chances of a song called “Vegetable Man” becoming a hit might have been slim and none, then and now, but you get what I’m saying.

Anyway, this I Wanna Destroy You double-7″ is available at independent record stores this Saturday, 8/29/2020, and after that, wherever you can find a copy in-store or online. Though the five songs are now readily available on CD, this is a nice package that also includes a digital download card in case you wanna add them to your iTunes library – which you will, unless you’re some kinda vegetable man… or woman. – Marsh Gooch

5/5 (YepRoc YEP2693, 2020)

* Record Store Day 2020 has been split into three dates, the first being 8/29/2020 with the next two to follow in September and October, thanks to this year’s coronavirus pandemic.

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Neil Young • Homegrown [LP, CD]

“Homegrown is alright by me, homegrown is the way it should be…” If you remember this lil’ refrain then it’s safe to say you’ve been listening to NEIL YOUNG for a long time – or at least since 1977’s American Stars ’N’ Bars, the album it was first heard on. Now it’s featured on Homegrown, Neil’s “new” album that was originally recorded in the mid ’70s and was finally set for release in April 2020 before the coronavirus pandemic pushed Record Store Day back. It’s out now and like many of Young’s latest releases, there’s a bit of a back story.

Shelved in 1975 once he decided a lot of the subject matter was just a bit too personal, Homegrown is the latest in Neil’s Archive series of releases and it’s another good album from a man with way more music in him than we’ll probably ever know. If there’s any doubt about the vulnerability that may be on display, the opening track “Separate Ways” tells you that Neil had a lot on his young mind in late ’74 when these recordings commenced and from there the openness doesn’t let up much. “Try” definitely keeps it going, as does the now familiar “Love Is a Rose” (made a hit by Linda Ronstadt not long after this recording was made) and “Mexico,” which isn’t so much about that country as it is about the peace it would bring to the man’s mind. (Neil also visits “Kansas” and “Florida” – more about that state later.) In all, the album is mostly a low key affair that was absolutely worthy of release.

Primarily recorded in December 1974 (plus or minus six months), Homegrown would have followed On the Beach but was cut from the same cloth as ’72’s Harvest – and featured many of the same players. There’s just not a lot of the rock that Beach had, save for “Vacancy” on side two. A good half of the songs on the album, like the title track, “Love Is a Rose” and “Little Wing” eventually made their way to release on later albums (more about the songs’ destinations here), but these are the original recordings and they make up a pretty cohesive album. Are there tracks on here that we could have lived without? Well, yeah! It’s Neil. I’d be pretty safe in saying “Florida,” with its stoned narrative and wine glass rubbing, could’ve been relegated to a rarities record of some sort. Yet that’s about the only one out of a dozen songs here that misses the mark so it’s good that Neil decided to finally put out Homegrown intact. I mean, at this point, he’s released so much great material that in years to come it’ll be pretty hard to separate the stems ’n’ seeds from his bountiful harvest. (Sorry, couldn’t help it.) Of course, Young releases so many albums these days – of both new material and old – that it’d be easy for the good ones to get lost among them all, but it would be just as easy for the not-so-good ones to get lost, too, so you really gotta check them all out, decide for yourself, and I don’t know, maybe use a post-it note to indicate to yourself which ones you’d want to hear again. I bet this one would be in that category.

Homegrown is available on CD and vinyl, with independent record stores receiving the vinyl that comes with a print of the cover art (which is limited). – Marsh Gooch

3/5 (for Neil) (Reprise 093624898689, 2020)

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The Vinyl Revival [DVD]

THE VINYL REVIVAL’s tagline, “a film about why the tables are turning again,” is a bit misleading. This UK produced documentary (by Pip Piper) is definitely about the resurgence of record stores and is long on quotes about them, but it’s short on substance. And running time. At only 43 minutes, there’s not much to see – or hear – on this here disc.

On the plus side, The Vinyl Revival presents musicians like Nick Mason of Pink Floyd and Phil Selway of Radiohead talking about why they like it that record stores haven’t yet gone the way of the dodo bird. There are also some younger folk chiming in (though they don’t really add much to the proceedings) and numerous others like record store owners and clerks to pad things out. But the documentary plays more like endless quotes making basically the same point over and over than it does as a serious look at the history of the record business and how it ended up requiring a record revival for its very survival. I’d like to hear more about how vinyl went from the only format, to one of many, to a dying format and then back to being the number one way fans enjoy the music they like most. In other words, how did we get here?

None of this is to say I didn’t learn anything by watching The Vinyl Revival. I actually learned a few things: 1) Record stores in the UK are just too clean and clinical looking (at least the ones on display here). 2) They don’t seem to play music in record stores (at least the ones on display here). And 3) Before being interviewed for this documentary, that guy from Portishead should have trimmed his nose hair because they’re not attractive (at least the ones on display here).

All humor aside, the DVD release of The Vinyl Revival was scheduled to coincide with the original April date for Record Store Day 2020, which makes sense, release-wise. Movie-wise, this is more of a made-for-TV, hour-long-with-commercials special than a feature length documentary deserving DVD release. It feels more like something that would play on cable TV between highlights of Glastonbury or Coachella, not something you’d purchase to watch at home. That being said, it might make a good stocking stuffer for the vinyl nut in your family. (Not that anyone’s looking for such items in April.) The Vinyl Revival is interesting to watch once but not anything you’d be likely to watch again. As for extras on the DVD? There aren’t any. You literally get 43 minutes of content, a “special booklet,” and that’s it. And that’s it for this review, too. No extras, no nothing.  — Marsh Gooch

2/5 (Wienerworld WNRD 2605, 2020)

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The Flaming Lips & Stardeath and White Dwarfs • The Dark Side of the Moon [LP]

[This review originally posted 4-23-10 on my old blog, Skratchdisc.]

Well, I have heard a number of different versions of Pink Floyd’s iconic The Dark Side of the Moon in my day, including a full-on reggae version, mon, and a tribute by local Seattle group The Squirrels, but this one really takes the cake. THE FLAMING LIPS (along with little brother band STARDEATH AND WHITE DWARFS) issued their version of it late last year via iTunes, and it has now been issued on a very limited vinyl+CD version (another Record Store Day treat) that is so cool it’s almost beyond words. And yet, that’s never stopped me before…

Wayne Coyne & Co. sorta did this on a dare, I guess, and it certainly paid off. Sure, super hardcore Floyd fans will be bothered by the weird blips and noises and other fucking-with the Lips did to this album, but really, don’t they think that when the original version of the album came out, that that’s exactly what 1973 rock fans thought it was? A bunch of weird blips, noises, and other fucking-with that the Floyd did just to mess with people’s minds? Like Devo did with the Stones’ “Satisfaction,” if you’re gonna cover something so well-known, why not give it a complete and utter facelift? That’s what I like best about this. I mean, I can’t say it’s better or worse than the original (or the reggae version or Squirrels version) because it’s meant to complement or at least be juxtaposed to the original. So I’ll say this: It’s definitely worth a download if you’re a fan of the original, just to hear what can be done with such a great album. If you really like it, you might want to try and hunt down this release, though that may be a difficult task. Getting that last remaining copy could involve taking a trip to, ummm, the dark side of the moon. Or at least eBay…  — Marsh Gooch
4/5 (Warner Bros. 523541-1, ltd. ed. 180-gram clear aqua vinyl+DVD, 2010)

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