#20YRSAGO: NIRVANA - NEVERMIND (+ boxset review!)

A lot of incredible albums came out in 1991 (hence my series of "#20yrsago" posts), but none had the game changing impact of Nirvana's Nevermind.

I remember hearing "Smells Like Teen Spirit" for the first time.  I was driving my car on the Meadowbrook Parkway in Long Island while I was in college.  I ejected whatever cassette I was listening to, and my radio was set to 92.7 FM (it was either WLIR or WDRE).  I heard the guitar first. Why are they playing a band as heavy as Metallica?  Of course, when I heard the singer, he sounded nothing like Metallica or anyone else. Who was this?  I soon found out.

I got Nevermind when it first came out. Obviously it is a classic album.  I loved "Lounge Act," I thought it sounded like The Smithereens (I later read that they were, in fact, an influence). At some point, I found Kurt Cobain a bit too precious and annoying (wearing a "corporate magazines still suck" shirt while doing a corporate magazine cover was cute, but complaining about Pearl Jam bugged me), and I stopped listening to them for a bit. That was dumb of me.  They are one of the greatest bands ever, and Nevermind is an incredible album.  I'm sure Dylan said some things about other artists that I like, it would never make me stop listening to his music.

There's lots of stories about Nirvana's concrete impact (the oft-told stories of hair metal bands hearing Nirvana and realizing that their day was done) and how they didn't care about their new-found status (famously turning down opening slots on tours by U2 and Guns N Roses/Metallica). My story is this:  I was DJing at a great rock and roll bar called Fezziwigs, owned by two great guys, ex-hippies who performed at the bar as an acoustic duo.  Almost all of their repertoire was '60s and '70s songs, but they threw in Dire Straits and Traveling Wilburys songs as well. They didn't always "get" the music I played, but Nirvana was the only band they ever paid me to NOT play. $5 extra per night, just as long as they didn't have to hear "Smells Like Teen Spirit." Sometimes I would have to sacrifice the extra fiver, other nights I played "Lounge Act" instead.

Anyway. I've been listening to the super-deluxe box set lately, and I'm stunned by how great it is.  Why did I buy the super deluxe version, instead of the just the deluxe one?  Well, one reason is that it comes with a live concert recording from the era, and a DVD of the same concert.  You could buy that DVD/CD package separately.  There are tons of B-sides and bonus tracks, many of which come with the deluxe version.  I was kind of attracted to the super-delxue by the idea of the Butch Vig's original mixes.  Butch Vig, of course, produced Nevermind, and went on to be a famous producer, as well as the drummer of the band Garbage. But this was one of his first big major label projects, and I guess the label didn't like his mixes, so they hired Andy Wallace to mix it instead.  So, it's cool to hear Butch's original vision for the album. Also included are "boombox demos": literally, the band performing and recording themselves on a cassette deck on a boombox.  It's interesting to hear them in that raw of a format, but I don't think I'll listen to that too often.  Finally, there are some early demos of the songs that pre-date Dave Grohl joining the band: they feature Chad Channing on drums.

Nevermind is an album that I have a complicated relationship with, but it's certainly one of the greatest and most important albums released in my lifetime, and I'm grateful for it.  It helped to wipe out a lot of crap bands (of course, it inspired a movement of those crap bands pretending to be Nirvana, instead of pretending to be Van Halen). It also sort of brought a system of ethics to bands who come from the underground and end up in the mainstream.  Stone Gossard basically admitted as much in Pearl Jam 20.  The idea of Kurt Cobain giving a public beatdown over something that smells like a sell-out helped to keep the band on their best behavior.  For a time, it felt like most of pop music felt the same way. Maybe a lot of us (including some of Kurt's bandmates, friends and fans) have outgrown that rigid ethic, but you know that people are probably influenced by Kurt's personality as much as they are by his songs.

GOD BLESS OZZY OSBOURNE - DOCUMENTARY REVIEW

I finally caught the Ozzy Osbourne documentary, God Bless Ozzy Osbourne. I imagine some people would be skeptical about how deep this doc would go, given that it is "presented" by Jack Osbourne, who is one of the producers (and Sharon Osbourne is the executive producer).

I think they did a good job: this isn't a fluff piece or a marketing tool.  Jack, his siblings and his half siblings have lots of justified issues with their rock star dad, and they all vent quite a bit (even Aimee, who famously declined to have any involvement with The Osbournes show on MTV).  While the film makes no bones about his incredible musical impact, it also doesn't flinch from his tragic flaws, and there are many. It was difficult to watch Sharon discuss some of their more violent moments (and there are pictures of her with the bruises to prove it).  It was heartbreaking to watch Jack and Ozzy (separately) discuss an argument that became a turning point for Ozzy.  Ozzy yelled at Jack, saying he's given him everything he ever asked for, and Jack countered with the point that he wanted a father. There are stories from the other children detailing the forgotten birthdays (in one scene, Ozzy struggles to remember what year his first child was born in), the drug and alcohol abuses and more. The story seems to end well: according to the narrative, Ozzy has been clean and sober for five years at the time of the filming. I really hope that that is true.  I can say that when I saw Ozzy in concert a year ago, he seemed to be in great shape and he sounded better than he had the last time I'd seen him, nearly a decade earlier.  As I've mentioned in an earlier post, I'd love to see him when he tours with Black Sabbath in 2012.

I thought that a more well-rounded story would have included more of Sharon's involvement.  I realize that the story is about Ozzy, but like her or not, he most likely would not have had a solo career without her.  Her love, determination and toughness probably has as much to do with his post-Sabbath success as anything he's done.   Even the part where Ozzy talks about Ozzfest (which Sharon started when Lollapalooza wouldn't book Ozzy) is just a bonus feature. On the other hand, The Osbournes seems to be referred to as something that happened to the family, not something executive produced by Sharon. If the show gave a negative impression of Ozzy, or exploited his illnesses or weaknesses for laughs... well, there's no acknowledgement that maybe they shouldn't have been doing it.

The doc spends a bit of time on the story of Sabbath and on Ozzy's first guitarist, the late Randy Rhoads. Henry Rollins, Metallica's Robert Trujilio (Ozzy's former bassist) and even Sir Paul McCartney weigh in on Sabbath and Ozzy's impact.   Geezer Butler, Bill Ward and Tony Iommi are all interviewed.  I think that a lot of the footage here could be re-used for a full-on Black Sabbath documentary, which could tell their story and show their impact.  Sort of like a combination of The Beatles Anthology and Rush Beyond The Lighted Stage. I realize that there are legal and emotional issues there, but what a great story that would be.

SUPERHEAVY = MICK JAGGER + DAVE STEWART + DAMIEN MARLEY + JOSS STONE + (NOT ENOUGH) A.R. RAHMAN

When I heard that Dave Stewart had put together a "supergroup" with Mick Jagger, Damian Marley, Joss Stone and A.R. Rahman, I was intrigued. Of course, it could be a trainwreck, but it could be cool.  Stewart, of course, has worked on some good records, both as a member of The Eurythmics, but also producing other artists like Tom Petty & The Heartbreakers ("Don't Come Around Here No More"), Mick Jagger ("Old Habits Die Hard") and Stevie Nicks ("Secret Love").

But Superheavy doesn't really work for me, although it does have it's moments.  I know that the idea was to have all of these cultures coming together, but in many places it comes off as very mainstream rock with tinges of reggae and Indian music. I would have been curious to hear it if A.R. Rahman produced more of the songs.  It sounds like he sort of just added some touches to the songs, but he is an Oscar winning musician who is one of the hugest stars in India.  I would rather have heard an album co-produced by Stewart and Rahman.

Still, if they ever do another album I would check it out, the record shows lots of potential.

#20YRSAGO: U2 - ACHTUNG BABY (+ boxset review!)

The first post in my #20yrsago series -- celebrating some classic albums that came out in (or around) 1991 - was Chris Whitley's debut Living With The Law. Now, I'm going to write about an LP that is a little more well known (but both albums have involvement from Daniel Lanois, so there is a common thread).

I don't know that my mind has ever been as blown as it was when I first turned on U2's Achtung Baby. Yeah, I've been knocked out by many artists the first time I heard them... but by an artist who I had been following for years?  I have never been so surprised by a group's "new direction" as I was when I put Achtung Baby into my CD player.

This was, of course, before the web, and I don't think that I knew too much about what U2's "new direction" would be like.  In the years since, The Edge has often talked about performing encores on U2's last '80s tour with opener B.B. King and then going back to his dressing room and listening to KMFDM. But I didn't know about any of that at the time.

There were hints.  On the 12" of Rattle and Hum's "When Love Comes To Town," their collab with B.B. (a song which marked the peak of their explorations into American roots music), the B-side was a cover of Patti Smith's "Dancing Barefoot" as if to remind us of their post punk roots.

But the next new release by the band was a cover of Cole Porter's "Night and Day," from the Red Hot & Blue collection, the first CD compiled by the Red Hot organization.  I saw the video on MTV.  U2 still looked like their Joshua Tree selves - Bono with no shades, no makeup, long hair, The Edge with long hair and the doo-rag.  But they didn't really sound like U2.  It was darker, funkier, and synth-ier.  It reminded me a bit of Depeche Mode.

LOU REED. METALLICA. LULU. WTF?

Gitmo, meet your new soundtrack!

I don't necessarily mean that in a bad way (other than the fact that I'm against torture).  But Lou Reed's unlikely double album collaboration with Metallica, Lulu, is one of the most abrasive albums I've ever heard, and one of the most difficult to sit through. I really admire the totally uncompromising spirit of the album: it is about as uncommercial as anything I've heard from a major artist in recent memory.

There's something admirable about a band like Metallica doing something so totally challenging to themselves and their audience (and Metallica must know that fans wouldn't like the idea of them collaborating with Lou Reed, and they'd like it less after hearing it).

That said, I don't really think I'll listen to this album too much. If I could go five years back in time and play Lulu for someone, they'd probably think that it was a Saturday Night Live skit making fun of what would happen if Lou Reed and Metallica did an album together.

In the years since Lou's classic 1989 LP New York, he's adopted a sort of atonal talking style of doing his vocals, and that's what he does here.  I'm a huge fan of his music, and I even like some of his post-New York stuff.  I liked his collaboration with his Velvet Underground bandmate, John Cale, Songs for 'Drella. Magic & Loss is an incredible album, but only if you're in a certain mood. But New York is the last Lou album that I just reach for because I want to listen to it again. Of course, he has a lot of great albums, and all the Velvet Underground LPs are incredible.  A lot of Lou's influences are avant-garde, outsider music.  But he's also influenced by doo-wop and Dion.  I'd love to see him to something you can sort of sing along to, and I thought this album might be that chance. But I again, I respect that he doesn't care what I, or anyone else, wanted with this album.

Metallica definitely do a solid job, but there's only so much they can do with this material.  I like the opener, "Brandenburg Gate," and also "Iced Honey," but that's kind of it.  I wouldn't mind seeing them do those songs in concert, with or without Lou.

I find myself wondering why Metallica agreed to this.  They definitely worked surprisingly well with Lou at the Rock and Roll Hall of Fame's 25 anniversary concert in New York a few years back, they did a great version of "Sweet Jane." They must have been surprised to have been asked by Lou to do a record, and I'm sure it appealed to Lars Ulrich and Kirk Hammett (although James Hetfield is a fan of dark outsider music by the likes of Nick Cave and Tom Waits so it makes sense that Lou's music would appeal to him as well).  Still, Lulu makes St. Anger sound like "The Black Album," and they have to have realized that this would probably be the lowest selling album in their catalog.  But I guess they wanted to do something different and challenge themselves, and that's admirable.

I imagine that their next album will be much tighter, shorter and accessible.  In fact, I've heard that they will play "The Black Album" in its entirety at a European festival this summer. Well, if this album sends them in a more song-oriented direction, I'll be grateful for Lulu.

R.E.M.'s LAST GIFT

Allow me to add some personal context to this post. I had a bad day, to quote the R.E.M. song.  I heard that a dear friend of mine passed away after a long battle with cancer.  I was leaving the office early anyway, to go to yet another follow up appointment with a doctor (some readers know that I barely posted in September due to a hospital stay - I'm better now).

The CD playing in my car was Neil Young & Crazy Horse's classic Ragged Glory. It blew my mind when it came out in 1990, I love it to this day, but it wasn't hitting the spot. And my late friend hated to curse, so I wasn't in the mood for "Fuckin' Up." This is rare for me, but I just shut off the stereo and listened to the sounds of my car. Most of what I had on me - Fugazi, Bad Brains, Soundgarden, the I'm Not There soundtrack, Raekwon - wasn't appealing to me at that moment.

I started humming something, and I realized it was one of the new R.E.M. songs.  One of their final ones, "We All Go Back To Where We Belong." I couldn't really remember the words, other than the chorus.  I wanted R.E.M.   So, I stopped at a big box retailer and picked up the new R.E.M. best of, Part Lies, Part Heart, Part Truth, Part Garbage: 1982-2011,  because I needed that music NOW.  It was a pretty old school moment. Go to the (record) store to pick up the music you need to hear at that moment.

Most fans would prefer disc 1, as the collection is in chronological order and disc 1 features their earliest material from their I.R.S. Records era.  But I needed disc 2, the Automatic For The People/ New Adventures In Hi-Fi stuff. However, I started right with track 18, "We All Go Back To Where We Belong."  The horns that sound like they were arranged by Bacharach. Michael Stipe's lyrics, unusually clear.  The song sounds like it is about the end of a relationship with a lover, but you can't help but to feel that it's about the band. Looked at from a wider point of view, it's about something that's ending.  Sometimes you can fight it. Sometimes you just have to accept it. It doesn't exactly fit the situation, but it comes close enough.

The other two new songs are pretty good, and of course the rest of the two CD is filled with classics (mostly). But I'm glad they were able to add one last classic to their long list of them. I'm grateful that they gave me the experience of hearing the right song at the right time and making me feel just a little bit better.

TOMORROW ON THE MORNING JOLT: GILLIAN, FLORENCE, IMELDA

Tomorrow on SiriusXM OutQ's The Morning Jolt with Larry Flick I'm bringing in some of my favorite albums of 2011, but the theme is that all of these records feature lead vocals by women.


Gillian Welch's The Harrow and The Harvest is definitely one of my favorites of the year. I'm not the only one who feels that way: Mojo magazine gave it a five out of five star rating. Whenever I listen to it, I find it odd that it's just her name on the cover: it seems that her and her partner David Rawlings are equally vital to the music.

Florence + The Machine's Ceremonials is an "epic" album.  That word gets overused these days, but everything -- the songs, the performances, the arrangements -- it's a work of art.

Imelda May's Mayhem came out in Europe last year, but in the U.S. this year. She is really talented: a great singer, very charismatic, great sense of style, and she writes great songs.   You may have heard her singing on Jeff Beck's recent albums Emotion & Commotion and Rock & Roll Party. In fact, if *I* wanted to have a rock and roll party, I'd never be able to afford Jeff Beck, but one day if I'm pretty successful, I might call on Imelda May and her great band to rock my party!

Other records I hope we'll get to: Shelby Lynne's Revelation Road, Allison Moorer's Crows (which actually came out last year), Joss Stone's LP4 and The Tedeschi Trucks Band's Revelator. (That band features married couple Derek Trucks of The Allman Brothers Band and singer-songwriter Susan Tedeschi.) And maybe I'll give another shout out to The Make Out, who have one of my favorite songs of 2011, "I Don't Want Anyone Who Wants Me."