Category Archives: vinyl

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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Cracker • Kerosene Hat [2LP]

Well, that’s mighty, errr, low… No 25th anniversary celebration for CRACKER’s sophomore album, Kerosene Hat? The one that spawned their biggest hit, errr, “Low”? Not quite. It’s true that the band left their original (major) label, Virgin Records, in much less than amicable circumstances, so I assume the acrimony left the label’s current corporate overlords (Universal Music) unmotivated to do anything, as I assume Cracker themselves were. So, has anything been done to fête their (second) greatest album? Well, yes.

Leave it to Music On Vinyl out of the Netherlands to do it. Their 2LP, 180 gram release of Kerosene Hat is actually the first-ever vinyl pressing of the album (outside of a super rare Greek issue from ’93). Originally released mainly on CD and cassette, the album was their big ’90s breakthrough, with the hit “Low” and numerous other great “alternative” rock tunes, like “Get Off This” and my personal favorite, “Movie Star.” What’s cool about this reissue is that they didn’t try to cram the twelve songs from the album onto one record. Instead, MOV spread the dozen tunes over three sides and used side four for the “bonus” tracks that were buried on the original CD. Those songs, including the excellent “Euro-Trash Girl” and “I Ride My Bike,” were tucked away among dozens of silent :04 second tracks that were designed to confound listeners. (The CD has 99 tracks on it, only 16 of which have music; these four songs are numbers 15, 69, 88 and 99 and all the rest after number 12 are blank.) I have a few other vinyl pressings from this label – Elvis Costello’s Brutal Youth and Iggy Pop’s Party – and they’re uniformly excellent. I don’t know whether this mastering job came from the original (maybe analog) master tapes, but regardless, the sound of this Kerosene Hat is worth putting on.

Cracker, the followup band to David Lowery’s indie/college rock group Camper Van Beethoven, took a more hard rock approach to the humorous tunes that he wrote. The band was/is of your twoguitarsbassanddrums variety, unlike CVB who augmented their arrangements with East European influences carried out by violin on wacky instrumentals and funny, catchy songs like “Take the Skinheads Bowling” and “Where the Hell Is Bill.” The fiddle wasn’t part of Cracker’s instrumentation so the sound was tougher and just right for the early ’90s, just before grunge was coined and gave birth to a thousand crummy, angsty bands. Kerosene Hat was the followup to Cracker’s eponymous debut album, which had a few minor college radio hits on it (“Happy Birthday to Me,” for instance). This 2LP vinyl reissue is a great way to enjoy the album a quarter of a century later.

4/5 (Music On Vinyl MOVLP 2091, 1993/2018)

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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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Andy Partridge • Apples & Oranges/Humanoid Boogie [10″]

Here’s a couple of brand new cover songs by ANDY PARTRIDGE, he the main man of XTC and the Dukes of Stratosphear. Undertaken to ring in the completion of his new home studio, the two homages – to Pink Floyd and The Bonzo Dog Band – are played entirely by one human(oid).

“Apples & Oranges” is the A-side, a sweet ’n’ crisp version of the Floyd’s 1967 single (penned by Syd Barrett). The stereo and mono mixes are quite good and fairly close to the original, though Partridge sings it in a lower key. “Humanoid Boogie” comes in stereo and mono mixes, too, and is less faithful to The Bonzos’ original (from their 1968 album The Doughnut in Granny’s Greenhouse [or Urban Spaceman in the US]). I like how Partridge slows it down a bit and gives Neil Innes’ tune a more funky beat, and how he practically raps the lyrics.

Many fans of Mr. Partridge are probably expecting something that sounds like the Dukes of Stratosphear, XTC’s doppelganger in the psych rock world. But neither cover really enters that land, even though they’re both from the era the Dukes mined for their two celebrated records. And though I would be prone to favor either song, being a big fan of both early Pink Floyd and The Bonzos, I’m going with “Humanoid Boogie” – by a sliver – as my pick from this limited edition 10″ record. Rumor has it that it’s already sold out (they only pressed 1396 copies, for an arcane reason that Andy Partridge explains here), though a CD single and downloads are likely to follow. The two sides of this single definitely make a nice pair.

4/5 (Ape House APEEP 901, 2018)

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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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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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Pink Floyd • The Piper at the Gates of Dawn (50th Anniversary Mono Ed.) [LP]

Just over fifty years ago, PINK FLOYD’s debut album, The Piper at the Gates of Dawn, was released. Like so many of the records issued in the mid ’60s, it was put out in both mono and stereo versions. Since stereo eventually became the de facto standard, the mono version eventually faded away and was never reissued, except as part of the 40th Anniversary 3CD box set from 2007 (see red image below). Finally, that epochal original mono mix has been reissued on vinyl.

A Record Store Day 2018 release, this limited edition puts Piper back into the dawn it was born in, when an experimental English band – led by a mercurial guitarist named Syd Barrett – played at the UFO Club amid projected light shows that really added to the goings-on, especially if you were tripping. (I’m going by all the things I’ve read over the years – I was only four in ’67.) The album starts off with a lengthy almost-instrumental called “Astronomy Domine” (“Jupiter and Saturn, Oberon Miranda and Titania / Neptune Titan, stars can frighten…”), ascending to Barrett’s telecaster trickery and keyboardist Richard Wright’s imaginative meanderings. Next comes a short one, “Lucifer Sam,” about a Siam cat who is “something I can’t explain.” Another descender but with much more of a pop hook, it’s the should’ve-been single that wasn’t. (The English believed a single shouldn’t also be on an album; huh?) Following from there, “Matilda Mother,” “Flaming” (two nursery rhyme-esque Barrett tunes), “Pow R. Toc H.,” and side closer “Take Up Thy Stethoscope and Walk,” bass player Roger Waters’ first solo writing credit on a Floyd record and a percussive popper.

Flip over the record and The Floyd shift into “Interstellar Overdrive,” at once ascending and descending into space, a song that has since become a staple of alt-rock bands wanting to prove their Pink prowess. (I saw Camper Van Beethoven do it at the Belly Up in Solana Beach, CA a few years ago.) The rest of the album is dominated by Barrett material, with a few more kiddie corkers like “The Gnome” (“a story about a little man… called Grimble Gromble”) and “Bike” (“I know a mouse, and he hasn’t got a house, I don’t know why I call him Gerald / He’s getting rather old but he’s a good mouse”). Fans of the album will wonder why I haven’t mentioned “The Scarecrow” (which has a pretty cool “video”) or “Chapter 24,” though now I have so they can quit wondering. (See how I did that?)

Its place in the great rock albums hall of fame can’t be denied, and not just because The Piper at the Gates of Dawn was the first album by Pink Floyd and the start of their illustrious career. Piper came out when pop groups were actively trying to push out the boundaries, before they became rock bands, and still somehow managing to chart (although not with their most out-there stuff). Barrett & Co. managed to do just that. This version of that album comes in an engaging outer box (pictured at the top of this column) with a new design based on the original’s back cover image, and a replica version of the actual cover inside the box sleeving up a heavy vinyl record with Columbia labels (that was their record company in England), and a poster depicting the band – Syd way up front and Roger all the way in the back. (Did Waters approve that? Good on ya, Rog!) Probably already sold out in your local record shop, The Piper at the Gates of Dawn in magnificent mono is one I wouldn’t hesitate to pay a few extra bucks for.

5/5 (Pink Floyd Records PFRLP26, 1967/2018)

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Neil Young • Roxy – Tonight’s the Night Live [CD, LP]

Another Record Store Day release, although I got the CD (non-RSD) version, Roxy – Tonight’s the Night Live is this month’s new NEIL YOUNG release. Seems the guy has always got another album up his sleeve, which comes as no surprise since he’s had over fifty big years in the business, ladies and gentlemen. You could say he oughta lighten the load of releases coming from NYA (Neil Young Archives), and you’d basically be right. But at least he’s not as slow and redundant as Sir Paul “Molasses” McCartney.

This live one was caught one night at the Roxy in L.A. back in September 1973, just weeks after Young and Crazy Horse finished recording Tonight’s the Night, an emotional album that Neil then waited a few years to release. Such was the loss he suffered after both Crazy Horse guitarist Danny Whitten and roadie Bruce Berry had died the way so many involved in rock ’n’ roll do – “out on the main line” – that Young couldn’t bear to put out the excellent LP he dedicated to them. But before that decision was made, the remaining Crazy Horse guys, plus Nils Lofgren and Ben Keith, became the Santa Monica Flyers and helped christen the new Sunset Strip club with a near-complete Tonight show. (The album was eventually released in 1975.)

If you’re not a fan of the harrowing, beautiful Tonight’s the Night, then you’d be excused for skipping this live release. But, as you know if you’re crazy about Neil, sometimes his live versions add extra meaning and bravado to what was done in the studio. Roxy is full of them. Granted, you don’t really get much more than what was on the album these songs came from, but it’s a decent length gig and a very nice recording, too. The fact that the band sounds like a cross between Crazy Horse’s ragged glory and the Stray Gators’ country kick is something very definitely in its favor. I could do without some of the chit chat in between songs – Neil says “welcome to Miami Beach” a few too many times, which might have been topical to the set decor but which is lost in an audio recording – but that’s a pretty minor complaint considering how generally brilliant this show is.

If you didn’t pick it up on Record Store Day you won’t have to shell out big bucks for it online because it’s been released as a readily available double vinyl set. The only difference between the two is the standard version lacks an “art print” that you probably wouldn’t have hung up anyway (why ruin the value of your highfalutin RSD purchase?). Again, I went with the CD version both as an austerity measure and because I assumed it would be something I’d wanna crank in the car. And I was right. It happens sometimes – tonight’s the night.

4/5 (Reprise 567390-2, 2018)

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