Elvis Costello - 'This Year's Superstar' (bootleg)

When I pulled this out I thought "Whoa, I still have this." I couldn't remember too much to recommend about this Elvis Costello bootleg unless you're a total nut for the guy. I found this cheap, years ago, and enjoyed it enough when I last listened to it over a decade ago ... but now I was wondering why I keep dragging it around with me. Of course, like many times in Dislocated Underbite Spinal Alphabetical Encourager Templates, the re-listen brings out some rewarding elements and I find a new faith in a record. These recordings seem to come from a radio-recorded concert, situated chronologically I think between This Year's Model and Armed Forces, with decent-enough (for a bootleg) sound quality -- there's crowd noise, but the vocals are mixed high, with the crashing hiss of the cymbals being the biggest key to the illegitimacy of this all. The two sides are suggested by the back cover to start with 'Walk & Don't Look Back', a Temptations cover, but I think the second side is actually the beginning of the concert, as indicated by the fleeting bits of radio announcer voice. 'You Belong to Me' is certainly the set-closer, and then 'Oliver's Army' and a rather aggro 'Pump it Up' serve as encores. There's a shit-ton of vocal effects on 'Watching the Detectives', suggesting that they were really trying to play up the dub/reggae thing. Said reggae influence is evident on 'I Stand Accused', except cut with some slicing Steve Nieve guitar solos. It's sloppy, or just sounds this way because of the recording, and there's a lively energy that makes this a nice alternative to the studio albums. The Attractions (not yet called that, of course) are as furious as I've ever heard them, and I suppose this is a great live document of a time when Elvis Costello carried a vitality he's definitely lost in the intervening years.

Avey Tare, Panda Bear and Geologist - 'Hollindagain' (Saint Ives)

This live album must be taken from a soundboard recording or something because it sounds clear and crisp, with nary a hint of an audience's presence. Actually half of it comes from a radio station jam on WFMU which would explain that - way to read the liner notes *before* writing. Side 1 starts off with a chocolate milkshake, flanged and affected beyond any element of clarity, slowly coming to life and breaking off it's shackles. A repeating digital delay pulse develops that doesn't leave us for most of the first side of the record, giving the voices, toy buzzers and other misapplied percussion a dartboard to aim towards. This Deaken-less trio reveals a bit more of their hands in the 'raw' setting than future Scott Colburn productions will allow. Instead of the lush, warm sound that we've become accustomed to, it has a rainy-day sound of close-mic'd metal. I'm not clear where 'Forest Gospel' actually begins and ends, as it sounds like it's split over the two sides, but this casual feel is what's nice about this release- DIY! DIY! Years later this started selling for hundreds of dollars on eBay, making me consider selling it many times, but I'm glad I held on. I don't reach for this (or anything by these guys, really) anymore and if I did it would probably be Danse Manatee, but it's nice to peer under the tarpaulin a bit.

10cc - 'The Original Soundtrack' (Mercury)

Source: can't remember for sure, but I think I got it off Ross for a couple of bucks on 24 Aug 2003.

Music for people who have funny, expensive lamps that they bought with passion masquerading as a strong sense of irony. It opens with a three part suite about Paris, stroking every stereotype Americans might have of it (but these guys are limeys!), with the most genuis bits being the vageuly-'Propaganda' choral harmonies. The radio hit is here but it's like your radio is wearing a pair of Ray-Bans that have been painted over with that fake stone-finish paint. When they turn on the amps it's almost Blue Öyster Cult, except if they let their high school band teacher join the band. 'Another fish head in the dustbin' is a great opening lyric for any record's side two. Who doesn't love the crunching repetition of ringing piano chords? And who doesn't love a slathering of Altrincham soul? The autoharp jam at the end of 'Flying Junk' is just too, too good. Also, great gatefold though I find the cover art hard to actually look at beyond the moired shot of the band angled across the inner crease. 'That's the way the croissant crumbles, after all.'