James Gang "Rides Again"

 
James Gang "Rides Again" 9/10

A monster power trio makes a monster sophomore album.  This classic is a masterpiece of both single-minded discipline, freeform rock, and acoustic rock n roll jams.  This album does everything right, and has left this Cleveland trio as the best band Joe Walsh was in.  

The term "power trio" gets tossed around a lot for any 3 piece band.  Some 3 piece bands sound like thin nonsense.  Some bands, however, figure out how to maximize the output of each of their duties to create a giant wall of sound.  Power trios can be the absolute most impressive bands to see live, simply to see 3 people create so much sound.  James Gang was an amazing live band in their own right, but they still managed to capture that rough, off-the-cuff sound on tape as well.  There are some overdubs and studio trickery on this LP, but for the most part it really is the sound of 3 guys making music in a room together.

This was the first James Gang record to feature Dale Peters on bass guitar.  He was in indispensable missing piece to the formula that makes James Gang absolutely unforgettable.  Original bassist Tom Kriss was a capable player, but the band just really reached its full magic with Dale.  

James Gang's legend still hangs around today, despite the long and storied career of Joe Walsh.  His solo work hit many creative peaks and borrowed from many of the inspired impulses of James Gang.  He was also in The Eagles, where his creativity was often overshadowed by the easy listening tendencies of the band's compositions.  James Gang would go on after Joe Walsh left the group following its 3rd album, but they never captured lightening in a bottle twice, and this record stands as a testament to what they were capable of.

1) "Funk #49"

The more spirited sequel to the "Funk #48" cut from their debut effort, "Yer Album."  This song, with its wailing biker-rock guitar intro, mid song percussion jam, instantly catchy riff, and walking bassline has been a staple of classic rock radio for 50+ years.  It is easy to see why; it is a lesson in rock n roll swagger, with lyrics lambasting late night parties, debauchery, and good times.  

2) "Asshtonpark"

This jam picks up where "Funk #49" leaves off.  Sort of an extended outro to the song.  It makes good use of the trippy delay effect, as the band just has fun playing off of one another.

3) "Woman"

This is really the only "okay" song on an album full of gems.  It is a basic love song, with a deep bass line.  It feels like it was written to be an AM radio single to move albums, but it is very phoned in.  Not really an expression of all that James Gang was capable of doing.

4) "The Bomber: A) Closet Queen B) Bolero C) Cast Your Fate to the Wind"

This is a monster of a track.  This is one of those numbers where the producer probably just started to roll the tape, and let the band play.  It starts with a proto-metal riff and some tongue in cheek lyrics, and delves into a long jam, including an incorporation of an interpretation of music from the ballet, Bolero.  Coming out of the jam, the main riff starts, and Joe Walsh kicks back into his fun story.  The way the guitar rings out at the end feels like a statement of the power of a long chord in rock n roll.  It just has a beautiful ring that will leave you in awe.

5) "Tend My Garden"

Side 2 is the softer side of James Gang, and we get some more acoustic, introspective ballads.  This is where the record really starts to become Joe's.  A slow organ fade in as well as a volume pedal controlled guitar pulls the song.  The distorted Hammond organ plays the lead to this easy ballad.  The refrain adds some heavy notes, but the songs stays on its midtempo track.  The piano solo in the middle is unexpected but absolutely beautiful.

6) "Garden Gate"

This is a short acoustic blues ditty.  Joe Walsh occasionally likes to throws these tracks around, and they are always fun.  This one feels like an intimate story; I can imagine Joe Walsh pulling out an acoustic guitar and diving into this on a foggy morning on a porch somewhere over a smoke and a cup of coffee.

7) "There I Go Again"

A gentle riff pulls us into this easy going track.  The back half of this album really starts to sound like what an Eagles album would sound like if The Eagles were good (sorry, not sorry).  Great country rock anthem, singing of a happy Spring day.

8) "Thanks" 

*Almost* a sequel to "Garden Gate," a little less stripped, but the same hopeful vibe.  Another acoustic blues rock song.  This track feels like a great send up to the softer side of James Gang.

9) "Ash The Rain and I"

This song could stand as a sort of statement piece of Joe Walsh and his writing, if he didn't have such a deep and storied catalog.  it sits deep on a classic album, but serves as a fantastic closer to a gem of a record.  The layered guitarwork feels like traditional folk made for the rock crowd, the a phenomenal string section tastefully tagged onto the end.  Dale Peters' double duty on bass and acoustic guitar show his versatility.  The song gently fades out, and shows us the many dimensions of what was a three piece hard rock group.


Joe Walsh would go on after a few tours and another album to become a successful artist.  He often cited the pressure of being half of the sound of the band, as well as the main creative driving force as being too much pressure in James Gang as his reasons for leaving.  Which is kind of weird to do, and then go on to be a solo artist.  But, the legacy of James Gang is undeniable in hard rock and heavy metal.  As is the legacy of Joe himself.  The band could never *really* find a guitarist and/or singer that could make lightening strike twice.  Everything Joe Walsh touched seemed to turn to gold.  We do have this record to stand as a testament and stamp in time to a band that was only around for a few short years, but have outlasted their impact.

Alien Weaponry "Tu"

 
Alien Weaponry "Tu" 9/10

Time to switch gears a bit here on this blog, and not only go international, but give some love to the home genre of my youth, thrash metal.  Alien Weaponry came around in 2018 and delivered what was one of the most ambitious, creative, and timeless records of the year, of any genre.  This masterpiece sounds like it came out of the Brazilian (re: Sepultura) thrash metal scene of the 80s, but it is a bunch of young upstarts from New Zealand.  

The brothers De Jong make up 2\3 of the three piece.  Henry on drums and Lewis on guitar and vocals.  Friend Ethan Trembath takes up the bass.  The De Jong brothers are Maori descendants, and use a lot of the space on this album to feature the Maori language, folk tales, and instruments.  Half of the songs are in English and half are in Maori.  From what I understand, they have even inspired fans to do traditional Maori war dances in their mosh pits, and that sounds about as metal as it gets to me.

Their sound is impressive and unique, and doubly so for the fact that the band members were only 18 years old when this album came out.  Their combination of tribal music and metal blends seamlessly, and as I said above probably has a close cousin in style to the music of Sepultura.  

I have yet to experience them live, but from all accounts they blow it out of the water.  It was fun to follow them a bit on social media as they did their first tour of the states supporting Ministry; they looked like kids in a candy store who had finally realized their rock n roll dream.  This record puts the pedal to the floor and never lets up.

1) "Whaikorero"

This track sets the stage for what this album is going to be about.  It tells the story in Maori of Queen Vicotria's troops coming to surpress the Maori people.  The great-great grandfather of the the De Jong brothers was among the warriors

2) "Ru Ana Te Whenua"

The intro guitar riff just punches through.  As heavy as heavy gets, as they begin to tell the story of the native people of New Zealand and their stand against the British colonizers.  Full of war cries, big drums, and pounding riffs.  Plus a breakdown that every metal core band of the mid-2000s would have killed to put to tape. 

3) "Holding My Breath"

A little break here from the tales of the native stand against the British interlopers, we get more of a teenage lament about anger and frustration.  We also get our first song in English.  This one feels like a song also from thrashers of the 80s and 90s; speaking to the audience.  Ethan's quick walking bassline sets the stage, as Henry kicks in and matches him with some great triplets on the bass drum.

4) "Raupatu"

This riff could have been pulled from a Megadeth record, Anthrax, etc.  And it would be one of those sort of "greatest hits" of those bands.  Just a perfect exercise in palm muting and walking the scale.  Awesome guitar work.  This one tells the tale of the legendary King Tawhiao and his stand for his people's land.  The drums tie it together and make it sound like an old tribal dance.

5) "Kai Tangata"

This was the first Alien Weaponry track I heard.  From the minute it came on my stereo until it ended, my jaw was on the floor.  From the onerous opening horn, to the ringing guitar riff, they tease that this song is going to explode.  It absolutely builds until the bomb goes off.  This song is a mosh pit anthem if I have ever heard one.  A story hinting at tribalistic cannibalism and war.  The riff just won't quit.  The Maori language sounds so angry and stiff, it just drives the song into unforgettable territory.

6) "Rage - It Takes Over Again"

We get our second song in English from the set.  The interesting thing here, to me, is that the English lyric songs are sort of basic in subject matter.  The Maori songs tell old stories and give us interesting stories.  Whereas, this song is just kinda fodder for the "angry young metalhead" stuff.  Not a bad track, and Ethan's bass work in the breakdown is cool, but not the strongest number from the set.

7) "Whispers"

A Bilingual fuck you to conservative arguments in favor of colonization.   The intro features a man arguing that due to the fact that the Maori were cannibals with rudimentary technology,  that they somehow deserved to have their land stolen.  A story very similar to our own in the States, as the New Zealand government continued to break treaties and break peace with the indigenous peoples.  The music on this takes a back seat to the lyrics, which riff between two languages.

8) "PC Bro"

An onerous bass-driven track warning us all of the trappings of social media.  The atmospheric guitar work helps set the stage for the brutal riff that pops up.  Henry plays the crash cymbal like he is trying to break it in half, and it just pops.  Nice use of a drop bass effect to rattle the walls as well.

9) "Urutaa"

The song has a piano intro that would *almost* be just as welcome in place on a pop song as on a metal record.  This is the first song that really feels a bit phoned in from the set; not bad to reach filler for the first time 9 tracks deep.  

10) "Nobody Here"

Another cautionary tale about the internet.   The theme here also is the fake persona that we put on in our curated digital lives.  As this album is a juxtaposition of the colonizers versus the colonized, and indeed the De Jong brothers are also descendants of both the Maori and the English, these songs seem to speak of the necessity of the technology but it's pitfalls as well.  This song shows us that neither the creator nor the user of technology may be prepared for the unintended consequences. Also, as technology was ultimately the demise of the Maori at the hands of the British, maybe we we all too are sacrificing ourselves to tech giants.

11) "Te Ara"

A song about the journey by canoe from the mainland of New Zealand to its northern island of Maui.  The composition is based on a traditional song celebrating a good journey.  

*bonus 7" with the proper record (just in case you needed more)

A) "The Things That You Know"

A standard rock riff pops this one off.  The song not only sits on a 45, it feels like it was built to be a single.  It sounds like a metal band trying to make something that may appeal beyond the borders of thrash metal fandom.  It works pretty well, taking a lot of what Alien Weaponry are good at and distilling it down for a wider audience.  

B) "Hypocrite"

The classic case of the B side being more interesting than the A side.  The slow burn jam in the front of this song is just full of raw power, with the gang chant chorus.  This is a cool song, made to rev up a crowded venue.

Alien Weaponry has released a slew of singles and a few EPs, but "Tu" so far stands as their lone album.  I cannot wait to see what these young guys come up with in the future.  They are already fantastic story tellers and own the big meaty riffs.  I'd you are a fan of old school thrash, this record belongs on your shelf to celebrate the new guard.

Nirvana "In Utero"

 

Nirvana "In Utero" 8/10

Today would have been Kurt Cobain's 54th birthday,  so I figured it would be a good day to evaluate what was perhaps the most polarizing (and also the final) Nirvana studio effort.

Nirvana was arguably the biggest band of the past 30 years; hitting a cultural reset switch with waves still reach rock music to this day.  Originally formed in Seattle by Kurt and Chris Novoselic, they built a cult following through releases on the famous Subpop label, as well as through relentless touring.

Signing on to Geffin records in 1991, mostly seen as a regional write off for the company, Nirvana went into the stratosphere.   Dave Grohl joined and filled the drummers throne as a permanent member, adding power behind the kit and melodic backing vocals.  Butch Vig had produced their major label debut, "Nevermind" and the lead off single, "Smells Like Teen Spirit" became a cultural event.  

Being donned the "spokesperson" of Gen X weighed heavily on the shy and insecure Kurt.  A guy who had probably never really believed he would achieve more than some moderate success was now an international celebrity.  

"In Utero" was in a lot of ways, a "fuck you" record.  To juxtapose the polished production of "Nevermind," Kurt brought on Chicago punk icon Steve Albina to produce.  Kurt wanted a loud, raw, harrowing record.  The label let the sessions stand, but cleaned the record up a bit in post production.   The version we are going to celebrate is the 2013 mix, also known as the original Steve Albini mix.  This cut is a double 45 RPM LP for extra fidelity, and it sounds absolutely amazing.  This is the album as the band had intended.

The songs are angry, raw, autobiographical,  and meant to touch a nerve.  Some fans were turned off by this more challenging record, but most fans stood by the dirtier sound of the record, and the strength of the songs themselves. 

1) "Serve the Servants"

This one sets the tone for the whole record.  First line is a callout; "teenage angst has paid off well, now I'm bored and old" (he was 26).  Hard to tell if the servants he is serving are his legions of rabid fans, or expectant labels, but this feedback filled anthem seems to be Kurt telling everyone he is only going to play for himself.

2) "Scentless Apprentice"

Big drums pull us in for this one.  Dave is just pounding away, to a one chord riff laden with more feedback.  This is a dirty punk anthem that would have easily found a space on Nirvana's grungy debut, "Bleach."  It is hard to tell the difference between the lead guitar lines, and the feedback, and it is 100% intentional.

3) "Heart-Shaped Box"

This song seems to play out the torrid and toxic love affair of Kurt and Courtney.  It feels like a heroin-nod induced lover's quarrel.  This was the biggest single on the album, and is one of Nirvana's signature songs.  It is full of Melvins-like sludge and down tuning, but crafted to be palatable enough for rock radio.

4) "Rape Me"

Another callout to the record industry.  As the pressures of runaway success were mounting, and as Kurt became a cultural icon, his mental health deteriorated.  He felt as though he could never get away from the cameras, or the controversies surrounding his band, his marriage, his parenthood, and his career.  This song is a sort of variation on the riff from "Teen Spirit," perverted to turn into an anti-rape anthem; both against the heinous act as well as against how Kurt felt he was being treated.

5) "Frances Farmer Will Have Her Revenge on Seattle"

Frances Farmer was an actress from Seattle who had unfairly been institutionalized.  Kurt felt many of the same pressures in the public eye that Frances (whom he named his daughter for) and identified with her tragedy.  This song is an ode to her, as well as an acknowledgement of the trappings of fame.  This song certainly also continues Kurt's infatuation with the loud-quiet-loud dynamic that he borrowed from The Pixies.  Nothing is more 90s style melancholy than a chorus that says "I miss the comfort in being sad."

6) "Dumb"

This song feels like an anthem about numbness, and a classic story of ignorance being bliss.  Maybe happiness really is just not knowing, and tucking yourself away.  It has been said that the greatest folly of mankind is his inability to sit quietly in a room by himself.  This slow acoustic number also gives a nice break from the brute force of the album openers.

7) "Very Ape"

Kurt Cobain was never afraid to borrow (and acknowledge) from his favorite artists.  This quick send-up feels like it was lifted from an early Husker Du record.  Indeed, all 3 members of Nirvana had name dropped The Huskers as their inspiration for being their own punk power trio.  The Husker Du Wall of Sound is all over this record, but the Husker ferocity paints this track. 

8) "Milk It"

This off-the-cuff sounding slow build keeps going until it goes off like a bomb.  Sort of the drama found in Fugazi's signature song "Waiting Room."  The crackling guitar builds and builds with the bass and drums peppering the sound behind it, until it just absolutely explodes in the chorus.  Cool deep track, and it sounds like something that was probably written and recorded in about 20 minutes after a late night session.

9) "Pennyroyal Tea"

This song sounds like suicidal depression put to tape.  Pennyroyal Tea is a drug that was used to induce miscarriage prior to abortion procedures.  The themes of pregnancy and birth obviously flow throughout this record.  This song sounds like a long, sad, tired sigh.  Maybe Kurt was juxtaposing postpartum depression with his own bipolar struggles?  This song was released as a single a week or two before Kurt's suicide, and was pulled from the shelves for obvious reasons.  It still stands as probably the darkest number on the album.

10) "Radio Friendly Unit Shifter"

Probably the weakest song in the set.  It is okay, but it is mostly a vehicle to play with feedback.  Kurt certainly knew how to layer a song with melodic feedback, but this feels more like a deep and forgettable cut from a Sonic Youth record.

11) "tourette's"

A 3 chord punk send up of some dirty words.  Once again borrowing from the Husker Du playbook, but making it their own.  Almost a sequel to the garage band scream, "Territorial Pissings," from "Nevermind."

12) "All Apologies"

This song stands as Kurt's farewell to his fans.  At the time, the song sounded dark and depressed.  In retrospect, he was saying "goodbye" and "I'm sorry."  A heartbreaking anthem musing over his own demise.  It fades out as it builds into a sort of universal chant.  Kurt was in trouble, and he was on a collision course with depression, addiction, and the pressures of success.  He ultimately lost his battle with his demons and mental illness.

The final Nirvana record gives us a preview of what the band could have become.  Dave Grohl was probably always going to find his way into his own project, being a writer, front man, and multi-instrumentalist in his own right.  Kurt showed us he could write convincing grungy ballads along with punk-explosive send ups.  Tragically, this record stands as his last stamp at writing and creating, as he took his own life in April of 1994, just a few months after the release of "In Utero."

Black Sabbath "Black Sabbath"

 

Black Sabbath "Black Sabbath" 8/10

Today is the birthday of the great Tony Iommi, so I decided we would drop the stylus on the debut Sabbath record.  It was said once by Peter Steele of Type O Negative that there were no more great metal riffs to write, because Tony already wrote them all.  If you go through the original catalog of the classic Sabbath lineup (as well as with Dio) it is easy to see how Pete reached that conclusion.  Tony Iommi's gift seems to be turning simple power chords into larger-than-life, downtuned walls of sound.

When Geezer Butler, Ozzy Osbourne, Bill Ward, and Tony Iommi first got to together, their aim was to start a heavy blues band.  They played some deep and heavy blues numbers, and called themselves Earth.  But, it did seem like there was something more that they had to offer.  Tony's guitar always sounded thick due to playing with thimbles on two of his fingers; the results of severing part of the fingers in an industrial accident.  That coupled with charismatic madman, Ozzy Osbourne, on vocals, caused the band to shift focus and find their sound.

Tony Iommi tuned down his guitar to accommodate for his digital handicap, playing blues riffs a little bit slower, lower, and more droning.  Growing up in the backdrop of the World War II rubble of Birmingham, their outlook shared little with the Summer of Love/hippy culture coming out of London or San Francisco.  Bassist Geezer Butler became the chief lyricist and began writing about darker themes; war, religion, the occult, demonology, etc.  Ozzy would come up with soaring vocal melodies, while Drummer Bill Ward and Geezer Butler's bass stayed true to their jazz and blues influences, creating a colorful pocket for Tony's big, droning riffs.

In 1970, Black Sabbath released two records, the more famous "Paranoid," full of familiar FM radio rock hits, and this record, the debut.  Both albums are fantastic, and while "Paranoid" shows how Sabbath cracked the code to mainstream success, the self-titled record showed the band playing loose, and hinted at the horror-scape blues sound that they were crafting.

1) "Black Sabbath"

Here we get that ubiquitous song, the song that is not only the title track, but the name of the band.  If you are going to name a song for your band, it better deliver.  And this one does.  From the onerous chimes of church bells and the pattering sound of rain, the opening sets a cinematic scape full of gothic horror dread.  Once the guitar riff blows up, Tony Iommi hits you with the "devil's note."  The devil's note is what is called a tri-tone; it is where the 5th note in the scale is played one note flat to create melodic, yet atonal tension.  It is masterfully done here, as the riff sound huge, but is really just two chords.  The story of the song sounds like an incubus or the unholy one himself desiccating an innocent woman. 

2) "The Wizzard"

This is the only song Ozzy Osbourne played a harmonica on in the Black Sabbath Catalog.  We get a metal song, played through a jazz time signature.  Still big and bluesy, but the rhythm harkens back to a staccato jazz track.  It is a story about a drug dealer, "spreading his magic," a welcome person at any indulgent Sabbath session.

3) "Wasp/Behind the Wall of Sleep"

Here we start to get the big riffing and interplay between Geezer and Tony Iommi.  Call and response that just flies out of the speakers between the bass and guitar.  It has that "live" in the studio sound, and was probably cut in 1 or 2 takes, capturing the essence of Sabbath as a band.  The double tracked vocals add a cool trippy effect that soars above the track.

4) "Bassically/NIB"

As Wall of Sleep fades out, we fade into one of the coolest bass guitar solos put to wax.  Geezer starts riffing an absolute funk bassline before funk was a thing, using the wah wah pedal as never before.  All before kicking into his fuzzbox to carry the iconic riff.  Ozzy plays a charming prince of darkness, beckoning the listner to sell his/her soul.  The crafty bass guitar, harrowing vocals, and big guitar show us why every part of Sabbath works.

5) "Wicked World"

This one plays out as if it were crafted to be a single.  It has some of the jazzy elements typical of a big Sabbath jam, but finds its way into an easy 4/4 chord progression.  It manages to tell a story of despair and ignorance in the allotment suited for a 45.  In fact, it was released as a single.  Not the strongest single in the Sabbath catalog, but it does manage to showcase what the band is about in a radio-friendly format.

6) "A Bit of Finger/Sleeping Village/Warning"

Here, we go straight from single territory to the essence of a Sabbath show.  The last side of the album basically plays out like a big medley/jam.   The song comes in with a mouth harp, and a little folk acoustic picking, quickly folded into a big jam.  The band just keeps the song going, and even as it feels like it may fall apart, the genius rhythm section of Geezer Butler and Bill Ward keep it all glued together.  As the song plays out, it finally climaxes into the Sabbath cover of "Warning," telling the tale of a scorned lover, who saw all of the red flags coming, but couldn't help himself anyways.  Sabbath ending the record on a tragedy after beginning the record in Satan's lair is a fantastic bookend. 

The debut Sabbath record isn't the "best" record in their catalog, but it shows all of the moving parts of the band, and is a strong play through and through.  It showed the best of  what Black Sabbath was about, their sound before they found a way to sometimes become self-indulgent.  Spin this one and wish Tony Iommi a happy birthday today!
 

 

Bash and Pop "Friday Night is Killing Me"

 

Bash and Pop "Friday Night is Killing Me"  9/10

Alright, I promise I will take a trip out of Minneapolis on our rock n roll map for the next post, but indulge me for this one.  Today's post is the fantastic solo-ish debut of Tommy Stinson, better known as his "band" Bash and Pop.  Bash and Pop is/was Tommy and whoever else was in the room.  For the debut effort, it is mostly Tommy doing the one man band thing, with some help from Chris Foley on the drums.  Chris and Tommy had previously worked together as Chris had served as the touring drummer in The Replacements on their farewell tour in 1991.

Tommy Stinson was born into rock n roll.  After getting into a bit of teenage delinquency, his older brother, Bob (original guitarist of The Replacements) gave him a bass to keep his idle hands busy.  Fearing Tommy was going down the same path that he had, Bob wanted to give Tommy a constructive hobby.  Tommy naturally took to the bass guitar.  He was only 13 when The Replacements had released their debut, and by the age of 16, his mother had granted the band manager legal guardianship so Tommy could drop out of high school and tour.  

When The Replacements broke up on stage on July 4th, 1991, Tommy had done a decade of living the life of a rock no roll heathen, and he was only 24 years old with nowhere to go.  Being in a band had been his whole life, and here he was, still remarkably young, with a lifetime of experience, but no formal education and no marketable skills beyond musicianship.

Having served as a loyal lieutenant to Paul Westerberg in The Replacements, Tommy learned a few things about songcraft himself.  He was never going to breakout as a songwriter in the group, and most of his efforts were tragically overlooked and/or found themselves on the cutting room floor.  Paul Westerberg is arguably the most prolific Gen X songwriter, but that didn't necessarily mean that Tommy's writing was without merit itself.

Luckily, we don't have to wonder about Tommy's own capabilities as a songwriter, as he released this amazing collection of songs.  We get a booze-soaked, early 90s college rock send up; a record that sounds equal parts Faces and Rolling Stones as it does Sugar and Soul Asylum.  Tommy takes the mike, the guitar (sometimes all of the guitar tracks), and the bass, to show us he is a songwriter to be reckoned with himself.  The real shame is that the loose conglomeration that formed Bash and Pop couldn't be held together to make more than this single record.  Tepid promotion from the label destined this release for the cutout bin almost immediately upon release.  It is too bad, because a lot of us missed one of the most fun, most earnest, most grimy rock n roll records of the 90s.

1) "Never Aim to Please"

This song *could* have been a Replacements song.  In fact, it sounds like it is full of Westerberg-ian double entendre and word play.  You can see Tommy either picked up, or outright inspired much of the cleverness of Replacements' lyrics.  The band plays loose like a dive bar band, in a room full of stale smoke and cheap beer.  It is hard to tell if this song is a "band" effort, or a little bit of studio magic, but it just feels fun.  Very autobiographical as Tommy tells us "I never aim to please, couldn't shoot strait if I wanted" and "Shoot at nothin' is all I ever do"

2) "Hang Ups"

This roots rocker sounds straight out of The Faces catalog.  Tommy manages to convincingly mimic the rollicking playing of Ron Wood, while also having a voice that is sort of a thin sounding Rod Stewart.  The slide guitar work keeps the blues-rock vibe going too.

3) "Loose Ends"

A love scorned song here.  The big riff ties together the blues soaked leads.  Tommy, a man who was 25 at the time, is wearing his years like an elder statesman of rock n roll already.  Some of these songs feel like they are simultaneously dealing with a romantic break as well as the end of what was a band that never quite lived up to its promise.

4) "One More Time"

This is the first one that sounds "contemporary."  Contemporary, meaning, a product of the time.  The Replacements were one of the forefathers of the alternative rock boom of the 1990s, tragically falling apart before they saw the scene that they crafted full reach its success.  It is interesting that Tommy decided to look back a bit to craft this record as many of the songs harken back to classic rock, but this sounds like a 90s send up.

5) "Tickled to Tears"

Another punch drunk sing-a-long.  Even the 70s style production permeates this song as the guitars are panned to a hard left and right stereo speaker placement.  Benmont Trench (yeah, that one from Tommy Petty and the Heartbreakers) adds some organ work here too.  

6) "Nothing"

We reach our first ballad of the lot here.  Tommy really began to find his sort of niche here as a solo artist.  His most recent ventures have been scaled back shows, playing music that lends itself well to a rock album as it does an intimate endeavor at a record store, in front of a campfire, etc.  This song still plays strong in his sets.  The atmospheric guitar work adds just the right sentimental touch to the song.

7) "Fast and Hard"

This is an explosive gem, allowing Tommy to scream his lungs out.  It is a banger with a little piss and vinegar behind it.  It kind of feels like a lover's quarrel played out on record. 

8) "Friday Night (Is Killing Me)"

This is the first truly great song that Tommy wrote.  Not that it took us this long to get to a good track, but rather he wrote this during the sessions for the final Replacements album, likely seeing the writing on the wall for the band and wanting to work his way through songwriting himself.  The song oozes with the charming heartbreak and disappointment of Replacements songs before it.  By the end, you feel just as heartbroken, disappointed, and jaded as Tommy does.  The bittersweet chord progression drives the feel of the whole song.  With a little bit of support from the label, this song, could have found its way to FM rock infamy.  The song isn't just "big" it is downright cinematic.  

9) "He Means It"

Another song straight up riffing on all of the good parts of Faces.  A dirty blues rock riff drives this number.  Not exactly a filler track, but not up there with the highlights of this fantastic collection.

10) "Tiny Pieces"

We get to a fast moving ballad here.  Tommy feels like he is telling another comfortable love story to a mystery woman.  The song reeks of the maturity of a writer in his late 30s, but what we actually get is a very young man, wise beyond his years.  The country rock influence permeates the track, but in an authentic way.  Maybe this is a nod to his fanboys in The Jayhawks.

11) "First Step"

This song plays like a send up of "Cats in the Cradle."  A story about growing up, and the heartbreak of leaving home.  For someone who basically left home at 13 to be in a rock band, this is a convincing story about growing up in the suburbs in the Midwest.  This serves as an excellent bookend to the collection.  It ended up serving as the bookend to the short-lived original Bash and Pop as well.  The biggest regret as a listener is hearing the potential of a band that never really was.

Following the cold reception of Bash and Pop, Tommy went on to form another group whose work was mostly shelved, the band Perfect.  After Perfect disbanded, Tommy left the music business for a bit, working a stint as a telemarketer in LA.  A call from friend and session drummer Josh Freese landed Tommy a successful audition as bass player for a group you may have heard of, called Guns n Roses.  Tommy went on to play bass for Guns n Roses up until The Replacements got back together in the mid 2010s.  

After the second disbanding of The Replacements, Tommy did another Bash and Pop record (also on the dossier for this blog) and had been touring with his friend Chip, playing songs from his entire catalog.  On a personal level, on the last tour to come through town, I spent the evening trading stories and memories with Tommy (for real).  I can say, as far as rock stars go, Tommy is the real deal.  Down to Earth, fun, insightful, and full of tales of fatherhood, success, failure, debauchery, and growing up with a guitar in your hand.

Slim Dunlap "The Old New Me/Times Like This"

 

Slim Dunlap "The Old New Me/Times Like This" 8/10

Since mother nature is once again seeing fit to dump perhaps another foot of snow on us here tonight, I am going to stay put sonically in Minneapolis again.  Tonight's spin is the 2015 RSD edition (and first vinyl press) of Slim Dunlap's 2 solo albums.  The quite and "mature" Replacement came out of the shadows and gave us a great collection of roots rock oriented songs.  These albums were released separately and a few years apart during the CD era, but work as a double album, as they are sonically linked.  

Slim Dunlap was the lead guitar player for The Replacements in their late period.  After the band fired original lead guitarist Bob Stinson for his erratic behavior and a substance abuse problem that overshadowed the alcoholism pervasive in the whole band, The Replacements went on to record their 5th album, "Pleased to Meet Me" at the legendary Ardent Studios in Memphis as a trio.  After returning to Minneapolis, The Replacements realized that they were going to need another guitarist to tour.

The record label was looking to make stars out of the upstarts, and was pressuring them to find a young and hot guitarist to fill out the group.  In true Replacements fashion, they instead landed on Bob "Slim" Dunlap (the "Slim" moniker was given to Dunlap by Replacements front man, Paul Westerberg). He was 8 years older than the rest of the band, already a family man, but a steady hand on the guitar.  Slim was supposedly reluctant to join the band, agreeing to a drinking contest with Paul Westerberg to see who could hold their liquor more.  If Slim outdrank Paul, he was out.  If Paul outdrank Slim, he was the new axe man.  As the story goes, Slim blacked out and woke to a handwritten note from Paul telling him when and where band practice would be that day.

Slim's guitar work as a Replacement is sort of overlooked as the later albums in the bands catalog are less celebrated releases.  "Don't Tell a Soul" is full of great songs, but is mired by slick late 80s production, not necessarily befitting to a no-BS, plug in and play rock band.  Still, his leads texture many of the songs and leave them sounding memorable.  Same goes for the final Replacements album "All Shook Down."  Mostly a solo effort by Paul Westerberg, all of the band members stop by on various tracks, with a few songs being made up of the proper band.

As with a lot of classic albums and artists, Slim's work has received a much needed, second look in recent years.  The Replacements' "Dead Man's Pop" boxed set gave us the "Don't Tell a Soul" album as the band intended.  The original mix of the record isn't over produced with fake reverb, bad compressors, unnecessary keyboards, too many bad guitar tracks.  Instead, we get to see the record sound more as it was originally conceptualized.  Same goes for the fantastic live set from the era, the triple LP, "Inconcerated."  Slim's lead playing blisters through the set, and shows really that he was a capable and fantastic rock guitarist.

Following the breakup of The Replacements, each member went on to become a solo artist on their own right.  Paul Westerberg was the obvious choice as a breakout solo artist; being the chief and much celebrated writer of most of the band's material.  Tommy Stinson, the loyal lieutenant, went on to put out his own fantastic collection of songs with his band Bash and Pop.  Drummer Chris Mars put out some solo material, performing as a one man band.  The last Replacement to drop a solo record was Slim, but it was worth the wait.

Upon release, Slim's two albums were unceremoniously doomed to the cutout bin at whatever record stores pick the efforts up.  Smack dab in the middle of the early 90s alternative rock revolution, Slim's records were rootsy throwbacks, having much more in common with Keith Richards and the Xpensive Winos than the punk and alternative of his pervious band.  Slim unfortunately suffered a debilitating stroke in 2012, which sparked not only a reunion of The Replacements, but an industry wide effort to raise funds for Slim's healthcare.  This led to a star-studded cast releasing 45s, covering Slim's solo songs.  This reignited interest in Slim's music, and led to this repress of his albums.

These songs were well worth their weight upon release, but were criminally overlooked.  The real shame is that it took tragedy for the industry, as well as the fans to discover or rediscover this great collection.  Slim is paralyzed in half of his body due to his stroke, and will unfortunately never make a record again.  But we do at least have these albums to evaluate and enjoy.

"The Old New Me"

1) "Rockin Here Tonight"

A nice bluesy slow burner sets the tone for the Slim Dunlap sound.  It sounds straight out of a smoke filled studio from the mid to late 70s.  A time when the record labels would put house money on pretty much anybody with a talented group of friends and a few ideas.  Very reminiscent of Ron Wood and Keith Richard's solo endeavors.

2) "Just for the Hell of It"

A sort of rockabilly jam about stirring up trouble.  It doesn't sound like a Replacements song, but it does feel a little autobiographical, chronicling the legendary debauchery of the band.  You can hear a bit of Paul Westerberg's helping hand in this song (Westie makes a few even handed appearances on the record).  

3) "Ins't It?"

This sounds like a sort of lounge act-ish jam.  Very lounge singer swinging rhythm as Slim laments.  The big reverb out of the tube amps from Slim's sewn together guitar oozes the sound of a well crafted dive bar band.

4) "Partners in Crime"

Slim's first ode to his lovely wife Chrissie.  It just sounds like a wonderful song about reaching middle age together.  An absolutely beautiful ode to a very understanding wife.    The song feels like an invitation to Slim and Chrissie's life and just oozes authenticity and mature love.  It is the sound of a couple that can finish each other's sentences and still surprise one another.

5) "Taken on the Chin"

As the title implies, a song about licking your wounds after a set back.  A beautiful harp plays, complimenting an acoustic guitar, and pleasant keys creating an atmosphere.  As you dig deeper and deeper into this collection, Slim's unique ability to authentically write heart bearing and soul exposing anthems and ballads balanced with his ability to rock out are second to none.  This is a slow ballad, and it just makes you feel his pain.  This song is almost reminiscent of some late period Bruce Springsteen.

6) "From the Git Go"

Harkening back to maybe some Willie Nelson, we get this countrified blues number.  Slim is certainly drawing from Willie through his vocal delivery.  This one is a fun plea about someone who is jumping from bed to bed.

7) "Busted Up"

This was my first exposure to Slim's solo stuff.  After his stroke, the first band to release a 45 in his honor doing his songs was his beloved Replacements.  Paul and Tommy came together and did a nice send up of this one.  The original has insatiable rockabilly rhythm, and a lead guitar that sounds like it is playing a harp part (or maybe I've got that backwards).  Either way, a fun song, a bit out of time. 

8) "Ain't Exactly Good"

A very Keef-esque riff.  Another song reminiscent of the Xpensive Winos.  The trials and tribulations of leading a rock n roll band laid all to bare.  Slim's dirty playing just jumps out of the speakers.

9) "The King and Queen"

Another ode to his wife back home.  These songs are bittersweet, as they paint a picture of a cool couple that I think everyone at the bar once to sit down with.  They *still* probably are that couple, but Slim's health limits his ability to keep up these days.  Still, this one paints the picture of a faithful rock n roll wife having a blast as her husband takes the stage.

10) "The Ballad of the Opening Band"

Anyone who has been in a band, and didn't quite make it can relate to this song.  A celebration of the "also rans" the "stage warmers" and the band that goes on right as the doors open.  It feels a bit autobiographical both with the almost-famous legend of the The Replacements, as well as its aftermath where Slim was back to more humble digs.  This one may leave a little lump in your throat.

11) "Love Lost"

This is a great atmospheric jam.  A great surf guitar lead over a slow and steady rhythm section.  Really a great way for Slim to show his understated playing.

"Times Like This"

1) "Not Yet/Ain't No Fair (In a Rock n' Roll Love Affair)"

A rock number to kick off the second disc of Slim's originals.  The album doesn't feel or sound different from the first one, but the sound isn't stale either, so it works.  Here, we get two songs glued together.  When we turn the corner, we get.... a little studio trickery?  Well, not trickery, but we get some double tracked vocals, as opposed to the sort of off-the-cuff and fast and loose production of Slim's other stuff.

2) "Girlfiend"

Another rocker, full of a bit of punk strumming and appeal.  Once again, those double tracked vocals.  As I stated, this album doesn't sound or feel different from the debut, but there is a touch more studio magic happening, with a few overdubs added in.  The lead work feels a bit more contemporary for the time as well.

3) "Hate This Town"

We get another country send-up here.  One of the absolute assets of all of The Replacements is their ability to write to the Midwest experience.  Here we get a story about a man revisiting where he was from, dreaming of what could have been a more simple and fulfilling life.

4) "Little Shiva's Song"

An alt-rock jam, harkening back to the punk ethos of The Replacements.  This is probably the first song in the collection that I could take or leave.  It's not a bad track, but it just feels a little phoned in.

5) "Jungle Out There"

This is a bizarre experiment track.  Veering into weirdness, it plays with the roots rock structure of most of Slim's stuff.  This one is another track that maybe would have been best left to the cutting room floor. 

6) "Cozy"

We find ourselves back to what makes Slim exceptional.  This song real feels like another ode to a happily married life.  The feeling of a house built into a loving home, where a stable couple can go, breath a sigh of relief, and relax.  This is a great song about nesting in.  Helped by Slim's great guitar work and nice touches from a Hammond organ.

7) "Cooler Then"

Another song that could be straight off of a Keith Richards solo album.  The clean sound of the bass and drums transposed against the loose guitar playing, and Marlboro soaked lead vocal part.  We get a man looking back on when he was a rock star, who has comfortably settled into being a family man.

8) "Chrome Lipstick"

Acoustic blues forms our backdrop.  Slim tells us a story about a classic femme fatale here.  A lady that is going to haunt your memories after she floats past you. 

9) "Nowhere's Near"

A great song about the frustrations of the music industry and the fleeting nature of fame.  Very autobiographical and soul bearing song.  All of The Replacements really seem to really be able to articulate what it feels like to be from fly over country, just a few miles away from nowhere.

10) "Radio Hook World Hit"

This was my *other* first exposure to Slim's solo stuff.  This was Chris Mars' contribution to The Replacement's "Songs for Slim" 45 after his stroke.   An ironic send up to the frustrations of trying to write a single.  A man who likely knew his time to be a rock star had eclipsed, it feels very tongue in cheek.

11) "Times Like This"

A beautiful closing track/title track.  This is the final song we get from the guitar and voice of Slim, and though perhaps and unexpected farewell (at least on disc, as Slim continued to tour and play shows), it is the perfect end cap to this collection.  Slim's refrain "it's times like this that we learn what we really miss" is quite fitting.  Even the staunchest of Replacements fans likely missed Slim's solo efforts when they first dropped.  These songs stand up, and their timelessness really helps them stand up even more now than they perhaps did upon their release.

So there we have it; on review and we covered Slim's solo output on record.  Slim was a sideman to The Replacements, and likely didn't do much writing while in the band.  But this collection shows that he was a capable writer in his own right, with songs worthy of a listen to not only hard partisans for midwest rock, but anyone who enjoys roots rock, blues, country, and authentic writing.  Who knows, maybe medicine will catch up, help fix Slim up, and we will see him for a third act.  Until then, we have this fantastic body of work to celebrate his life and legacy by.

Soul Asylum "Hurry Up and Wait"

 Soul Asylum "Hurry Up and Wait" 8/10

What an apt name for a record mired by bad timing and distribution issues!  This disc was supposed to be with us on Record Store Day 2020, but of course was pushed back due to the Covid Pandemic.  It did finally trickle out in the Summer as things began to reopen; but didn't hit the shelves as intended until the final Record Store Day drop of 2020, at the end of October.

This RSD edition of the album is a double 45 RPM (Dave and co wanted you to get the most bang for your buck) with a bonus 7" single.  We are doing a deep dive into this one tonight because I do love some Soul Asylum, but also because we had a Minneapolis-esque snowstorm here last night, with another few rounds on the horizon.  It felt like a good time to revist a band that many of you maybe hadn't thought much of since the mid 90s.

I will be transparent here; I initially blind-bought this album out of loyalty to the band.  But after dropping the needle on it, I could tell this record was something special.  This is easily the best Soul Asylum record in 25 years.  Soul Asylum was sort of my gateway as a kid into the Minneapolis punk and rock sound.  If you were alive and tuned in in the early 90s, singles like "Black Gold" and "Runaway Train" were inescapable.  "Runaway Train" even had a successful music video featuring photos of missing children.  It was such a successful campaign at reuniting families and finding lost kids, that they edited the video a few times to include new missing persons.  This even prompted Soul Asylum to be tapped to play at Bill Clinton's first Inauguration.  

So, coming out of the shadows as "little brother" band in the Minneapolis to the bigger and previously more successful groups like Husker Du and The Replacements, the 90s smiled down on Dave Pirner and company.  A string of hits took the Minneapolis scene to mainstream; an achievement that had eluded the forefathers of the sound.

After the success of the 90s, Soul Asylum began to fade into the background a bit.  A string of follow up records to their groundbreaking "Grave Dancer's Union" and "Let Your Dim Light Shine" showed diminishing returns.  In 2005, bassist Karl Mueller  passed away from throat cancer.  He was replaced for a while by Replacement Tommy Stinson, who was more than happy to lend a hand to his old pals.  In 2012, founding guitarist Dan Murphy retired from music in 2012 to be with family.  The drummer's chair was never a position that had seen a longtime familiar face.  So, some might say Soul Asylum is really just Dave and Company; but it always feels more like a band.

The current lineup features Dave Pirner as lead vocalist, rhythm guitarist, and songwriter.  Along side him is Ryan Smith on guitar.  Winston Roye on bass, and Michael Bland of Prince's backing band (yes THAT Prince) the New Power Generation.  The current lineup faithfully plays classic Soul Asylum songs, but as we find on this record, sounds like the band should as well.

To my delight upon my first and subsequent spins, a record I bought as a "let's see what they are up to" purchase has become a favorite.  Despite being mired in obvious Covid distribution issues, and being relegated to a sort of "also ran" or "nostalgia act" category, Soul Asylum is here to show anyone who is willing to listen that they are still a great band with great songs, and a lot to say.  Dave Pirner apparently moved back home to Minneapolis to make this record in the old Twin Tone records studios, and maybe that is what it took to shake this band right out of stasis.

1) "The Begining"

This song feels like it came out of the summer of 1996, not the winter of everyone's discontent.  Great opening track with a creeping riff that just oozes with 90s alt rock radio hooks.  Dave sings in the chorus "this is the beginning of a great adventure."  Although we are nearly 40 years into the career of Soul Asylum, this song feels like the beginning of a rewnewed relationship.  

2) "If I Told You"

A quasi-country ballad.  The other side of alt-rock from the Twin Cities has always been their willingness to play in other genres, or at least incorporate their elements.  The Jayhawks are a prime example of some countrified alt-rock, and even have shared some album credits with members of Soul Asylum in the supergroup Golden smog.  This midtempo country rocker feels like a love song that could find a place on a late Goo Goo Dolls record or even perhaps a Paul Westerberg solo release.  

3) "Got It Pretty Good"

Here is a rocker that is just begging for a slot on a modern alt rock or adult contemporary station.  The riff and drums hit like a barn burner.  The big bass guitar sound ties it all in a neat package.  I guess for a punk rock kid from Minneapolis who has flirted with stardom, who still tours the country and moves albums and lives the dream, Dave Pirner does have it pretty good.

4) "Make Her Laugh"

Another midtempo rocker with a sound reminiscent of Jayhawks, or even maybe some late Replacements.  The layers of guitarwork really pull this whole song together.  Acoustic guitars blended with a couple of electric rhythm tracks, and two really nice textured lead parts.  The song is a great story about still being smitten into middle age. 

5) "Busy Signals"

This track feels like it would fit right in with the collection from the experimental "Let Your Dim Light Shine."  After spending much of the 80s trying to break out from the shadow of the "bigger" Minneapolis bands, Soul Asylum fit right in with the glut of alt rock signings of the 90s.  This song harkens back to their willingness to break the mold from which they were cast a bit.  A spacey flowing riff carries the song, but nothing here is necessarily memorable.

6) "Social Butterfly"

We finally find our way to a slow rock ballad.  Heart on your sleeve lyrics and vulnerability are always part of what has united the sound of the Twin Cities.  Here, we get that same tenderness.  This is really a beautiful song.  Dave Pirner feels like he is writing to connect with his audience that no longer resides in large arenas, but medium sized halls.  This song will stop you dead in your tracks on your way to the bar for that refill of beer.

7) "Dead Letter"

The next trip on this spin feels like a traditional folk song; almost akin to the melody of "Green Sleeves."  It is a great space for Dave Pirner to do what he does best; tell us a sad, sad story.  Wayne's placement of notes on his bass part are expertly done, adding fantastic texture to the song.

8) "Landmines"

Tension breaks with this janky rhythm.  A a blues-on-steroids song, this feels like the freshest use of the pentatonic scale since the classic rock era.  Dave's ability to tell stories and create pictures in impeccable.   

9) "Here We Go"
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We are finding out way into album filler territory a bit here.  This one feels a bit phoned in, and like a sort of paint-by-numbers narrative.  The guitar playing is still top notch, but not quite enough to pull this one out of "meh" territory.

10) "Freezer Burn"

A nice back and forth syncopated riff pulls this one in.  And Michael Bland finally gets to show his chops as drummer.  I guess nobody really listens to a Soul Asylum record for the drumming, but if you have Prince's former drummer, for the love of god, let him loose!  Michael hammers away at some triplets here to drive the verse.  A very cool song built on rhythm.

11) "Silent Treatment"

The intro here harkens back to the hit single "Misery."  As do the lyrics.  Somehow, it does not feel like a retread despite this.  Another song about infatuation with a quirky girl.  Sort of cannon fodder for Soul Asylum, but for good reason.

12) "Hopped Up Feelin'"

Finally a nod back to classic, fast and loose, Soul Asylum.  This song feels like a call back to their Twin Tone catalog.  Very punkish, and fast rocking.  

13) "Silly Things"

A frank admission about being a middle aged rocker.  Dave keeps up the vulnerability here, but it also feels like he is settling into his own skin here.  He keeps talking in "used tos" but I think we want him to talk about his "I wills."

*bonus RSD 7'*

So, if you find this record in the wild, you may be getting a standard edition.  I'm not sure if it is a standard 33 1/3 LP, or if it also follows the 45 RPM LP format, but my guess is the bonus disc isn't available.  So, first I would like to say thank you to Soul Asylum and/or the label here.  instead of sloppily tagging two songs onto the end of the album as-is, we get a bonus disc to drop down.  The songs on the bonus don't really change the vibe of the record, but it is always nice to hear the record as the band and producer intended, and then listen to the bonus stuff, as opposed to something sticking out like a sore thumb.  Anyways, here we go with the 7".

A) "Rhinestone Cowboy"

These Minneapolis punks sure have an affinity for Glen Campbell.  Paul Westerberg wrote tunes for Glen's swansong effort.  Here we get a pretty faithful cover of the song by Dave Pirner.  It is a logical choice for a country track for Dave to take on, and makes for a nice bonus 45.

B) "We 3"

A Soul Asylum story from their indie days.  This B-side is from their underrated pre-explosion album "And the Horse They Rode in On."  A story about chasing after someone else's girl.  Rerecorded in these sessions with the current lineup and the more mature sound.

If you haven't checked out Soul Asylum since the 90s, now is a solid time to do so.  There is a body of work there that is worth exploring, but this album shows that Dave Pirner is still capable of writing world class songs.  They may have seemed to have faded a bit into the woodwork, relegated to town festivals, nostalgia tours, and dive bar shows, but Dave and Co show that they do still have solid music to offer.  If this is a peek into what lies in store for the band, maybe there is still time for a late period renaissance.  

Goo Goo Dolls "Superstar Carwash"

 Goo Goo Dolls "Superstar Carwash" 9/10

Tonight's spin might raise an eyebrow from my friends, acquaintances, readers, etc.  Isn't Goo Goo Dolls music kind of, well, Top 40 fluff?  The answer when it comes to this album, as well as the band itself is "no."  Most people's impression of the Goo Goo Dolls comes from their meteoric hit, "Iris" which was an absolute staple of adult contemporary pop radio in the mid to late 90s.  Is it VERY pop friendly?  Absolutely.  Is it kind of easy to digest?  Undeniably so.  Is it still a really well crafted pop anthem?  My answer is also yes on this.

BUT, we aren't here to talk about where the Goo Goo Dolls went, we are here to talk about where they came from.  Prior to being a band swooning suburban moms in the 90s, The Goo Goo Dolls were a punk-ish rock trio from Buffalo, NY.  Their career had a lot of twist and turns until they found that radio magic, but the journey, to me, is the most interesting part.

The early stuff by the Goos is decidedly punk.  The first album feels more like an early Green Day record, and has a lot in common with late 80s hardcore.  When your friend's mom was busy cranking up her favorite FM station to "Black Balloon," she was likely not privy to the fact that she was enjoying the music of the band that also wrote the frustrated anthem "Sex Maggot."  

When Goo Goo Dolls got going, Johnny Rzeznik wasn't even the vocalist or principal writer.  Bassist Robby Takac was the leader of the band.  Robby did a fine job of writing some fun, bratty punk, but Johnny was destined to be the face of the band.  Johnny is by and large the better singer, a better composer and arranger, and well, a better looking guy.  All parts of the formula for being a successful frontman.

After the first 2 albums, Johnny got over his stage fright, and decided that he wanted to share vocal duties.  Gradually, as their career continued, the band became more and more about his compositions and songs, but Robby does still get his due in their sets and on their albums.  "Superstar Carwash" is almost a perfect balance between their two styles, vocals, and songs.

With "Superstar Carwash" we get Goo Goo Dolls at their absolute best.  The band had tightened up, really honed in on songcraft and production, but still had a lingering punk edge.  The songs are just filled with hooks for days, memorable lyrics, stadium style anthems, all without sacrificing that "real" feel behind the writing.  This is the most convincing Replacements record that The Replacements never made.

1) "Falling Down"

Johnny's first opener on a record.  His melodic croon comes to pick you up.  A great tune about romantic frustration straight from the page of his hero, Paul Westerberg (more on Paul later).  The guitarwork is impeccable.  Beautiful layers of acoustic and clean/distorted electric guitar.  It sets the tone for the "big" sound that this three piece showcases throughout the record.

2) "Lucky Star"

Robby's first take on the mic.  Feels a little bit more like a throwback to their earlier stuff.  A little bit simpler of a chord structure.  The Robby songs on this record feel like they get the necessary attention though.  As Goo Goo Dolls albums went on, he took the mic less and less, until it was essentially a token song or a filler track.  His songs are treated like cannon Goo fodder on this record, and it really shows what his writing is capable of.  

3) "Cuz You're Gone"

Now Johnny is back in front of the mic.  One thing I can say, generally with any band, two lead singers is better than one.  Especially when the band has such a unique sound that it doesn't matter who takes the mic, the band is recognizable to the casual listener no matter who is taking lead.  The subject is pretty straight forward, it's a breakup song.  But the pre-chorus really puts the feelers on.  It feels more like a plea than a lament.  Once again, a wall of sound effect with the guitars just adds to the raw power of the song.

4) "Don't Worry"

Alright, Robby is back for more levity.  Another more lackadaisical punk track.  When 3 chord punk is convincing, it is powerful.  The wall of sound effect with the guitars certainly helps here.  The song isn't the strongest effort, but it feels like a triste on mid-20s boredom.  Johnny's incredible layers of lead guitar work take this number from sort of forgettable to coolness.

5) "Girl Right Next to Me"

Not to be out done, Johnny writes a punk number here.  The sugar coating is apparent, and this song is just as much a product of too many lonely nights listening to Big Star records as it is an ode to the Sex Pistols or Ramones.  The fluffiness comes from the fact that it seems like this song is about that first few weeks of infatuation.  But it is *just* edgy enough to keep from falling off of the rock n roll cliff.

6) "Domino"

Kind of a standard, easy to find riff.  The first sort of forgettable song on the whole album.  The backing vocal chant effect saves this one from the "unnecessary" bin, but it is otherwise a relatively juvenile song saved by a decent producer.

7) "We Are the Normal"

Okay, so this is the type of song that happens when someone gets to see a dream come true.  Johnny dreamed of writing a song with his idol Paul Westerberg, of the legendary Minneapolis group The Replacements.  It is hard to evaluate any of Westerberg's work or his adjacent work unbiased, as The Replacements are my favorite band, and I believe Paul Westerberg is probably the best songwriter of Gen X.  Well, Paul's genius speaks loud and clear here; this song is definitely a Goo Goo Dolls song, and his touch is very limited.  One of the band's first forays into writing a real ballad, this song sounds like they had already perfected the craft.  Had this song been on a bigger and more successful record, it would have been a top 10 single.  Instead, it sits at the end of the first side of a cult favorite album.  Either way, this is cannon Goo Goo Dolls rock, and deserves a place next to their biggest singles.  This song was supposedly written as Johnny Rzeznik and Paul Westerberg sent letters back and forth getting it right.  As much of the Goo Goo Dolls stuff feels like a love letter to the rock sound of Minneapolis, it is nice to see them get a nice love letter back.

8) "String of Lies"

For a band with two capable front men, there is a void of songs where they both exercise their time on the mic.  This one is an exception.  This one feels like another breakup anthem, but one full of anger and resentment.  Most of the songs feel sort of vulnerable; this one just feels like venom as Johnny and Robby trade barbs.  

9) "Another Second Time Around"

Robby is always a pocket bass player.  A decent one, but he does play the bass a little safe usually.  This one shows him doing a few walks up the neck, and drawing a few different picking techniques.  Johnny keeps it interesting by changing the way he plays the chords in each verse.  The song feels like a song about an on again, off again affair.  Sometimes romance in your 20s in deftly complicated, and this song speaks straight to it.  One of Robby's best efforts as a writer and vocalist.

10) "Stop the World"

This song feels frantic from the get go.  It also does its best to be wise beyond its years.  It is certainly written to be sung by an auditorium full of people.  The end is a fist-pumping generational call.  It speaks of the whims of change, the lack of responsibility of youth, and helplessness.  Very cool deep track.

11) "Already There"

A less convincing "remember when we were kids" song.  There have been eons of other nostalgia tracks written.  This one does feel a bit phoned in.  Robby likely sort of saw the writing on the wall that Johnny was about to be the face of the band.  For what it is worth, he has played a loyal and able lieutenant, but this song does sort of show why Johnny was the one who began to carry this band into stardom.

12) "On the Lie"

Speaking of Paul Westerberg, this song is full of his casual word play, and his ability to strike a chord with a single line.  Except, this isn't a Westerberg song, it is from his loyal disciple.  The rhythm of the song is impeccable, with Robby carrying the back end on his bass.  The chorus gets so big you just want to scream a long.  This is one of the first songs that showed that the Goo Goo Dolls were primed for stardom.  Another deep cut that would have been a single on a more popular record.

13) "Close Your Eyes"

This song feels like an early 90s number.  the organ in the background adds a welcome texture to a Robby song, which can sometimes get a little 2 dimensional.  It almost has a deep Tom Petty and the Heartbreakers feel to it, which just oozes authenticity.  This is a great Robby track.

14" "So Far Away"

Another one singing out into the abyss of love lost.  Straight from school of Minneapolis by way of Buffalo, this is a great coda to the whole record.  Not the best song on the record, but a great summary of what has just played out.

So, "Superstar Carwash" sits at the crossroads between punk cred and pop stardom.  The Goo Goo Dolls would unlock the formula to pop writing and never look back, but there is a sort of sadness about what could have been.  Perhaps some less zealous producers could have guided their songcraft without blunting their edge.  But this record is a testament to a sound that lasted for a few songs, and could have been.

I don't dislike the newer stuff that they do, but it just doesn't have the same authenticity.  Maybe one day we will get a throwback record or tour.  Until then, we have this piece of dead dinosaur to scrape a needle across....

The Beatles "The Beatles"

The Beatles "The Beatles" (White Album) 9/10

Doing a review on this album is an absolute challenge.  This is one of the most popular and famous albums of all time.  Arguably the greatest double album ever made.  It set the standard for a band reaching an absolute creative peak putting as much music on a single release as possible.  This album showed other artists what to do once they knew they had lightening in a bottle.  Just keep writing, keep recording, and get it all out there.

Fresh off of their decision to stop touring and become a studio band, The Beatles of course changed the game with the album that came before this release, "Sgt. Pepper's Lonely Hearts Club Band."  The idea of using the studio as an instrument itself had already gained traction, but the copious sound effects, overdubs, double tracks from "Sgt. Pepper" truly showed that the studio was not limited to simply being a space to record a band more or less emulating their live performance.  

"White Album" continues the sensibilities of using the studio and multitrack tape recorders to achieve new sounds, but it balances those indulgent tracks with intimate acoustic performances, band-jam tracks, and veers into different genres.  What we get with "White Album" is plenty of experimentation, but a balance of some more straightforward rock n roll songs.

This album is also where we start to see the band pulled into 4 separate directions.  The Lennon/McCartney partnership as a writing team was really only a legal institution at this point.  Paul and John were writing separately and we kind of hear The Beatles less as a 4 piece, and more as a back drop for whoever the principal writer/singer of the track.  George was becoming an accomplished songwriter on his own right.  Ringo even popped up and contributed a song for his first sole writing credit.

That is not to say that the album is absent of the "band" spirit.  There are many songs that are just 4 guys in a room, playing for each other, having fun.  But, some of the the leftover tracks from these sessions did also end up becoming solo hits for former Beatles later in their career. 

White Album and its creative dump was really a product of The Beatle's long trip into India.  The four members wanted to get away from fame and its pressures for a while, and visited the Maharishi in India to learn about transcendental meditation.  Between sessions, they picked up their guitars and hashed out these songs.

This was also the final Beatles album to separate stereo and mono mixes.  The early Beatles releases are universally better in mono.  Once we get to "Sgt. Pepper," the mixes are more like different experiences.  The Beatles were said to have preferred the mono mixes of their albums, and were more involved in the mixing.  So, as before, we will do a side by side of mono and stereo, and reach a verdict.  

1) "Back in the USSR" verdict: draw

Paul McCartney's ode to mother Russia.  This song is a riff on the Beach Boys and Chuck Berry.  A great pun in the chorus, exclaiming "Georgia's always on my mind."  It has a very early rock n roll feel to it with some great vocal harmonies.  Even more interesting is that Ringo had briefly quit the band at the point in time that the song was being recorded.  The studio bickering was getting to him, and he felt like a man without a place.  So, in his absence, Paul McCartney takes over as the entire rhythm section, not only playing the bass but also the drums here.  In mono the drums really come out, as do the vocals.  The other instruments get a bit lost.  In stereo the overdubs sound more natural, the plane sounds are also a bit more interesting.

2) "Dear Prudence" verdict: stereo

This song was written by John for Mia Farrow's sister who happened to be on the same Indian retreat.  Prudence, Mia's sister, apparently spent most of her time retired to her room.  This song is John's playful attempt to get her to come and hang out.  In mono, the bass guitar doesn't have as much meat to it.  The double tracking on the vocals sounds a little more intense, and there is a 3rd guitar track that is hiding in stereo.  The drums get way to loud in mono (Paul is once again behind the kit on this one).  In stereo the bass guitar attacks a lot more, and the stereo effects do favor the vocals more.

3) "Glass Onion" verdict: mono

A song about other songs in the catalog.  It is sort of a funny word play, revisiting older songs and concepts, but feels a bit throw away.  Here, Ringo finally finds himself behind the kit again.  In mono, there is an interesting acoustic guitar part that comes out of hiding, stereo suffers from the dreaded hard left to right panning.

4) "Ob-La-Di Ob-La-Da" verdict: stereo

Perhaps the first introduction for millions of people to what was first wave ska music.  This syncopated piano song tells a sort of meet-cute story that was/is a trope in romantic comedies, put to music.  It is very easy to sing a long too, and leaves you tapping your foot and smiling.  It served as the theme song to mid-80s family drama, "Life Goes On" which is the refrain here.  In mono, the piano pops more, but the harmonies feel buried.  In stereo, the vocals are bigger, and there is better balance in the mix.

5) "Wild Honey Pie" verdict: draw

Less of a song and more of an interlude, this is a heavy tremolo laden guitar.  Not much of a difference between the mixes, though the stereo sounds a little more funky.

6) "The Continuing Story of Bungalo Bill" verdict: mono

This song is a kind of novelty song, giving a send up to another character from India.  One of John's roommates in India was a hunter, and was very excited about going out to hunt an elephant.  In his bit of recoil, John wrote a parody here of our mighty hunter.  An interesting tidbit here, the refrain "but when he looked so fierce" was the first vocal contribution on a recording by John's partner and future wife, Yoko Ono.  The song is more convincing and natural in mono, as stereo makes the guitars very empty sounding.

7) "While My Guitar Gently Weeps" verdict: stereo

We finally reach George's first contribution to the collection, and it is well worth the wait.  This is an absolute highlight of the album, the Beatles' catalog, as well as George's writing.  From the haunting piano intro, to the steady guitar part, to the easy flowing beat, to Eric Clapton's guest appearance on lead guitar, everything in this song is just gold.  The song was about the acrimony that was developing between the band members.  Apparently when called in to help in the session, everybody went back to good behavior upon Eric Clapton's arrival.  His guitar work is a highlight throughout the song.  The mono mix of this song really does it absolutely no justice.  A rare occurrence where there isn't much merit in the mono version.  The amazing bass work of Paul is almost absent, and it is just a muddy mess.  In stereo, we get a bigger, more harrowing fade out, and just a better balance.

8) "Happiness is a Warm Gun" verdict: draw

Is this a song about a magazine ad, or heroin?  John Lennon insisted it was drawn from an advertisement for a gun, showing a person shooting with the phrase "happiness is a warm gun" written above it.  The story John tells feels like more of a coy cover for the subject, as the song seems to play out in 3 parts, showcasing the high, low, and withdraw of heroin.  In mono, the vocals feel more balanced, and the song feels more frantic.  In stereo the rhythm section comes out more, and the guitar work feels more natural.  

9) "Martha My Dear" verdict: stereo

After John's lament about heroin (or commentary on a weird magazine ad), we get some sort of McCartney fluff; a song about his dog.  John apparently hated these songs.  Not only the absolute light fluff, but Paul pretty much did this song on his own.  John was a lot more of a "band" guy, whereas Paul was happy to work completely on his own.  In mono, the drums and piano get absolutely buried by the orchestration.  In stereo, Paul's excellent piano playing gets its due, and the song sounds more grand.
 
10) "Blackbird" verdict: stereo

Another song done by Paul McCartney by himself.  The rhythm is Paul's foot tapping.  Other than that, we just a simple guitar and vocal track, with maybe one vocal overdub.  The guitar work is based on a Bach fugue, and has a very baroque sound.  Its lyrics are a nod to the US civil rights movement.   The mono version doesn't feel as off-the-cuff whereas the stereo feels more intimate.

11) "Piggies" verdict: stereo

George delights us with another piece of Baroque pop.  This time, the harpsichord takes lead.  George wasn't afraid of writing about his distaste for politicians, and this slightly Orwellian send up is a happy go lucky trip to the guillotine.  Mono is worth a listen, as the guitar comes out a bit more, and the song sounds a little more antiquated, but stereo sounds more fun and colorful.

12) "Rocky Racoon" verdict: stereo

Another story song.  This is Paul's take on a western.  We get the story of Rocky Racoon, a scorned lover with an interest who goes by too many different names.  Rocky tragically gets shot, and a drunk doctor basically hands him a Bible and tells him the end is neigh.  This is one of the "band" songs on the record, as we get a few instrument switches.  John is playing a 6 string bass guitar, and Paul is playing the acoustic part.  The mono version will do, but stereo feels more like you are just sitting in the room while Paul shares his story.

13) "Don't Pass Me By" verdict: mono

Not to be left out in the cold as a songwriter, Ringo finally scores his first sole writing credit.  Previously contributing writing to a few other songs, this was the first time a song was composed by Ringo.  This is not dismissive of his contribution to many Beatles songs; his drum parts certainly accent a lot of songs and take them from good pop fare to truly unforgettable.  But, unfortunately, lyrics and melody are what give you credit as a composer, not rhythmic or sonic coloring.  Anyways, this is an old rag time jam.  The song plays at a slightly faster pitch in mono, but it adds to the overall effect; it is more convincing this way as an old 78.

14) "Why Don't We Do It In the Road" verdict: draw

In India, Paul witness monkeys copulating out in the open, all over the place.  This led him to ask, "why don't we do it too?"  So, this is Paul's plea for us to just throw caution to the wind and have sex in the middle of the road.  This one is just Ringo and drums and Paul on every other instrument, once again to John's chagrin.  There aren't many glaring differences between stereo and mono.

15) "I Will" verdict: stereo

Paul once again veering off mostly onto his own here.  Instead of playing bass, he actually does a vocal scat to replace his bass guitar part.  A pretty basic, almost elementary love song with a solid melody.  The instruments are balanced better in stereo

16) "Julia" verdict: mono

Despite reservations about Paul's willingness to go it alone, John takes his stab at it here with an ode to his deceased mother.  His relationship with his mother was always complicated, as she more or less abandoned him to be raised by his aunt.  This intimate ode really would only work with John on his own.  This is the only song in The Beatle's whole body of work that would feature John on his own.  Whereas most of the acoustic numbers on "White Album" seem to work better in stereo, this particular one sounds more natural in mono.

17) "Birthday" verdict: mono

This is the sound of a band having fun.  Recorded just after Ringo had decided to return, the band just let loose.  There is a certain aura of confidence when you are writing a "birthday" song.  You aren't just writing something for a rock album; you are writing something that hopefully becomes something people will sing to their friends, their kids, their 80 year old grandmother.  Over 50 years out, this song has stood that test.  It is a testament to the prowess of the writing of John Lennon and Paul McCartney.  As a straight forward rocker, it just hits the gas harder in mono.

18) "Yer Blues" verdict: mono

This sendup of British blues acts started as sort of parody, but took on a life of its own to become a highlight.  John loved this song so much, he included it in a few of his post-Beatles live sets; notoriously skipping most of his career as a Beatle even when he did rarely perform live.  This was also recorded right after Ringo's return.  To get back into the spirit of being a band, the fab four huddled up in a small shack to record this.  Sort of like when a band begins, and rehearses in a crammed and uncomfortable space.  The song works in stereo, but mono just feels like the full, force, no holds barred number that this lament is supposed to be.  Half angry, half blues, pure John Lennon.

19) "Mother Nature's Son" verdict: stereo

Paul hits the brakes a bit after two strong rockers to open up the second disc here.  Another acoustic ballad, this does a necessary pull back so that the disc does not become sort of one note.  In mono the percussion sounds like an obvious overdub due to a likely mixdown of the track.  Not as clean sounding overall.  Stereo gives the song its due and the orchestrations work better.

20) "Everybody's Got Something to Hide (Except for me and my Monkey)" verdict: mono

Another song about the stay in India.  Not exactly a highlight of the album, but a fun rocker.  the back and forth play between the guitar and drums sounds cool.  The song sounds louder in mono, which suits the song much better.  Stereo buries the guitars a bit too much.

21) "Sexy Sadie" verdict: draw

The song was originally a take down of Maharishi, whom John believed was a phony, using his transcendental meditation retreat as a means by which to sleep with unsuspecting women.  George was still friends with Maharishi, so John creates a synonym in the character of Sexy Sadie.  The two mixes are a draw; mono lets Paul's fantastic bass playing take lead, whereas stereo is a winder vehicle.

22) "Helter Skelter" verdict: stereo

Upon reading that The Who had just released the loudest rock song of all time, Paul wanted to take them to task.  This song is sort of proto-heavy metal.  All of the elements that would go on to become heavy metal are there.  We get loud distorted guitars, chunky bass, and Paul screaming his lungs out.  This song is almost a throwaway in mono.  John Lennon was a lot of things, but he wasn't a great bass player.  He and Paul once again trade roles here, where he plays bass and Paul takes care of all of the guitar work.  John sounds like a guitarist trying to figure out his way around a bass, whereas Paul was an accomplished guitarist on his own right.  In mono, Paul's loud guitars are almost inaudible over John's simple bass riffing.  Also missing in mono; the false fade out at the end of the track, and Ringo's exclamation about his worn out hands.  Listen in stereo; it is way better when Ringo has blisters on his fingers.

23) "Long, Long, Long" verdict: mono

This haunting, trippy song is George's contribution to side 3.  The song keeps building, and pulling back creating drama.  The soft touches add to the pure atmosphere.  This is one of the most criminally overlooked tracks from "White Album."  The vocals sound a bit better in stereo, but the palate just works better in mono.

24) "Revolution I" verdict: mono

John's political anthem about the tumultuous 60s sounds relevant in just about any time in which it is placed.  He laments about the establishment, while telling his more radical friends he isn't necessarily opposed to them as well, but they just need to let him deliberate a bit.  Mono sounds more in the spirit of this stripped version of a rocker.  In stereo the piano pops more, but mono overall does more justice.

25) "Honey Pie" verdict: mono

More of what John called Paul's "granny music."  Perhaps a harsh criticism as Paul was experimenting with different genres, it is kind of a boring track on a rock album, and likely a throwback to music that was mostly dismissed at the time.  Once again, as an ode to old 78s, this one sounds a little bit better in mono

26) "Savoy Truffle" verdict: mono

George's side 4 contribution, is an exercise in eccentric writing.  A song about a box of chocolates George enjoyed.  Apparently when close friend, Eric Clapton would visit, Eric would devour the box.  This song is a cautionary tale about sweet indulgences and tooth decay. The song rocks and pops more as a mono track, and the instruments are all balanced better.

27) "Cry, Baby, Cry" verdict: stereo

This song is one of the more interesting numbers as it is a straight pop song, enhanced by a bunch of busy sound effects.  It almost sounds like a bunch of distracting activities are going on as John is just trying to sing.  An old Beatle trick is done at the end, as Paul tags "Can You Take Me Back," and unfinished number, onto the end to change the dynamic.  Due to the effects and playing, the song just works better out in stereo

28) "Revolution 9" verdict: mono

By far the most polarizing track on a Beatles release.  Not so much a song as a sound collage.  John and Yoko had released solo work prior to "White Album" sessions that followed this concept.  A lot of people just absolutely hate "Revolution 9."  It is mostly made up of scraps from a really long take of the Revolution single, as well as sound effects and tape loops found around the Abby Road Studio.  Seemingly this track would be better in stereo, but for some reason it is more haunting and kind of spooky in mono.  And the mono mix isn't even a true mono mix; they folded the stereo mix down into mono for this version.  Sometimes when something works, it just works. 

29) "Goodnight" verdict: stereo

A lullaby John had written for his son Julian, this song was given to Ringo so he could have a second lead performance on the album.  It started as a simple guitar and vocal track, but quickly became a big orchestration.  It showcases the underrated vocal range of Ringo.  Like most orchestra music, it just fills the room better in stereo

So, the stereo and mono versions of "White Album" are vastly different.  Really, if I were able to do so, I would probably create a version of the album that draws from the superior mix of each track, as really the mono stuff sounds way better in mono, and the stereo stuff eclipses the mono version.  Counting my assessment, it is officially a draw overall as to which version of the album is the best.

Not long after these sessions, the Beatles would hit their breaking point during the "Get Back" sessions, abandoning them (until Phil Spector came along and polished them to make the "Let it Be" album), but they did a final horrah, releasing "Abby Road" realizing that the band was likely at the end of its road.

Following the split of The Beatles, each member went on to have a successful solo career on his own right, of course.  But "White Album" certainly gave us a preview of what was to come from each member.  

The Jimi Hendrix Experience "Axis: Bold as Love"

 


The Jimi Hendrix Experience "Axis: Bold as Love" 9/10

Today's deep dive is going to be into the sophomore effort of The Jimi Hendrix Experience, "Axis: Bold as Love."  Whereas the debut album is probably chocked full of the most recognizable "hits" this album sees the band breaking some of the pop boundaries and experiment a bit more.  This is really the best Experience record, as it remains approachable for the average listener, while also offering some challenging sonic scapes and song structures. 

This album also has 2 different mixes, as was customary of the time.  The more familiar mix is the stereo mix, but there is an alternative mono mix.  Some albums from this era very widely between mono and stereo.  The first two Hendrix albums do have these alternate mixes, and it is worthwhile to have a copy of each in your collection.  Hendrix in mono really sounds more straightforward; it sounds like a really tight power trio, with a badass lead guitarist (which is basically what the band was).  Hendrix in stereo is a little more psychedelic, but also does suffer a bit from the hard left and right stereo panning that was done in the mid 60s.  Think, ALL of the drums in the left speaker, all of the vocals in the right speaker, etc.  It tends to sound a bit thin, but when colored with swirling guitars, basslines, etc, can also sound atmospheric.  

So, we will do a dive into this record, and compare notes, mono versus stereo.  Sometimes one is the overall winner, sometimes it is a mixed bag.  I tend to favor mono presses of early to mid 60s rock, but I will take time to get an impression of both versions and make a verdict.

1) "EXP" verdict: stereo

This is basically a novelty track.  A short radio play between an announcer and an alien talking about UFOs.  It is a vehicle for creative feedback; which was a part of Jimi's stage performance.  I guess it is a little more fun and sounds more like a trippy dialog in stereo.  The left to right panning of the guitar makes it sound more like what they were trying to achieve.

2) "Up From the Skies" verdict: stereo

A very soulful and jazzy intro to the music.  Jimi is playing a nice and easy feeling wah wah pedal guitar.  Mitch Mitchell is playing some very jazzy drums, while Noel Redding holds the pocket on the bass.  The bass guitar is way in the background in mono.  This is one of those weird situations where the hard left-right panning in stereo seems to enhance the track.  The drums come from the center, but placing the vocals on the right and guitar on the right actually allow the bass guitar to pop up a bit more.  The vocals and guitar change places in the speakers, but it somehow doesn't sound to laborious.  

3) "Spanish Castle Magic" verdict: mono

This song pops with a 2 sizes too tight riff as Jimi and Noel hold it together.  Mitch Mitchell is just playing all over the kit, without overtaking the song.  Guitar solo is super clear in mono, but the rythm guitar gets a little buried.  We don't *really* listen to Jimi Hendrix because of his rhythm playing, but the riffs on his songs certainly weld together the space for him to jam.  In stereo the song sounds a little more thin.  Too much business in the left speaker, while the right speaker is left for a buried guitar track.

4) "Wait Until Tomorrow" verdict: mono

The verse here really has a James Brown style staccato rhythm.  The syncopation between the clean guitar and the rhythm section really creates a steady beat.  Jimi Hendrix sounds like a rock n roll singer doing his best R&B impression in his vocal delivery.  The chorus finds its way into a more standard rock beat.  It creates a very cool tension between the verse and chorus.  This one once again suffers from a thin sound in stereo.  The bass guitar sounds big and meaty, but the guitar sounds like it is being played next door.  

5) "Ain't No Telling" verdict: stereo

This is a steady rocking blues number.  The foundation of Jimi Hendrix's take on pyschadelic rock always was the blues.  Here he blends those blues sensibilities with a steady rock n roll beat.  This song is surprisingly balanced in stereo.  Two guitar tracks, each given a respective spot on the left and right side.  It does a good job of showcasing Hendrix's open riffing and leads.

6) "Little Wing" verdict: stereo

"Little Wing" isn't just arguably the best Hendrix song, it is probably one of the best guitar songs ever written.  The way Jimi Hendrix picks through the notes and chords showcases his intricate understanding of melody.  It is such a simple love song.  Very vulnerable, tender, yet larger than life.  Tons of great guitarists have tackled this song and made it their own.  The glockenspiel adds a nice texture to the song.  In mono it feels a little bit compressed; not really allowed to just pop out and shine.  The intricate chording, and playing around the scale is really built for stereo.  Stereo sound does give this song so much more necessary texture.

7) "If 6 was 9" verdict: mono

A hippy anthem about non-conformity.  This was Jimi's kiss off song.  Here, the band plays its rhythm switch up trick again.  The verse following an odd time signature, where the chorus finds a more standard 4/4 time.  Jimi raps a bit, and then the song *almost* flies off the handle as the band jams, but wisely brings it back together before the train is completely off the track.  The mono version of this is just a full scale attack.  It just doesn't rock as hard in stereo.  The sort of stepping effects in the breakdown sound more 3D in stereo, but that is really the only advantage of the stereo mix.  This is a song that just needs to confront the listener, and in stereo is becomes a bit impotent.

8) "You've Got Me Floating" "verdict: mono

When I hear this, it sounds like a holdover from the "Are You Experienced?" sessions.  Not in a bad way at all; but it has all of the pop sensibilities of the first album.  The song feels like a vehicle for a catchy chorus, and catchy the chorus is.  Noel Redding's backing vocals are a steady backdrop to Jimi's off-the-cuff lead.  Mono leads to another full-scale all band attack.  In stereo the drums are barely audible, the guitar takes up way too much space, to even where the lead vocal gets buried.  

9) "Castles Made of Sand" verdict: stereo

Flowing in with a quick guitar jam, we get a song that plays out as a narrative.  When songs tell a story, especially when it is an interesting short story, it lets the imagination run wild.  The music plays a back drop here to Hendrix the vocalist.  Guitar chops definitely for the backdrop of the song, but this is the rare Hendrix track where the vocals are really the driver.  The guitar sounds a little less textured in mono.  Stereo mix creates a nice space for Jimi's vocals to really cut through and tell the story.  Plus, the hard panning of the two guitar tracks really allows them to juxtapose.

10) "She's So Fine" verdict: mono

A rare Jimi Hendrix Experience track, written and sang by bassist Noel Redding.  He is a capable singer, and an alright writer, but it sticks out a bit.  Not that Noel Redding doesn't deserve his due, but his writing isn't even in the same room as Jimi Hendrix, a fact I'm sure he would be willing to admit.  This is basically a song about a cute hippy.  Personally, if you are looking for that lyrical style with this band, I'd stick with "Foxy Lady" from the debut.  Stereo allows the bass drum and and Mitch Mitchell's furious pounding to come through, but the guitars get lost, as does Noel's bass guitar.  So, in stereo, the bassist's lone writing credit, his principal instrument is inaudible.  This is also kind of a straightforward, off the cuff band song.  The attack is better in mono.

11) "One Rainy Wish" verdict: stereo

The technicolor picture this song fits in just as well here as it would have on the sprawling follow up, "Electric Ladyland."  The soft guitar tones and layers show a maturing composer and arranger.  The powerful chorus brings it home.  Songs that use flowers, butterflies, landscapes etc as a vehicle for describing a lover can quickly veer into the cringy category.  Jimi Hendrix somehow makes them always feel convincing and authentic.  The developing theme between these mixes really seems to be that the more intricate the guitar sounds, the better off the mix comes in stereo.  We do still get the hard left pan on the lead, but as soon as the double track of the vocal comes in, the problem is corrected.  Stereo makes the bass take a little bit too deep of a back seat, but this is really a big guitar song.  

12) "Little Miss Lover" verdict: stereo

"Little Miss Lover" veers into that album filler category.  At this point, The Experience was beyond 3 chord jams.  Jimi's lead saves it from complete boredom, but the song is just kind of flat.  Sounds a little more balanced and interesting in stereo.  Here, the production and mix picks up the slack for a sort of mediocre track.  

13) "Bold as Love" verdict: stereo

One of the absolute best title tracks AND closing tracks on an album.  This leaves on a high note just making the listener beg for more.  The interplay between Jimi's vocals and guitar is absolutely masterful.  And the big chorus is an anthem that could have filled stadiums full of rock fans waving lighters, had Jimi not tragically joined the 27 club.  The song feels like it is pleading, until you get to the massive chorus.  This is also one of the very first tracks to use the phase distorter pitch shift effect, and it is surprisingly done on the drums, and to much delight.  It sounds alright in mono, but is really meant to be experieced in stereo.

Verdict: stereo

Stereo being the favorite is sort of surprising to me, but not an absolute shock.  The theme here really seems to be that the straightforward rockers work better in mono, whereas the spacey and technical stuff works better in stereo.  So, if you are a Hendrix fan, it's probably worth your while to have both mixes in your collection.  Some early stereo stuff is pretty much garbage through and through; the mixes are way out of balance and there stereo technology is overemphasized.  Here, some of the experiments in stereo work better than others, but none of it is off putting.  The mono mixes are all pretty well balanced, but some of the songs just pop out of the speakers better in stereo.

After coming out of nowhere with "Are You Experienced?" Jimi Hendrix gave rock n roll fans a more challenging, but ultimately more rewarding listen with "Axis."  Simply not enough can be said of the abject genius that Jimi Hendrix was, and the tragedy that rock n roll fans still feel 50 years after his untimely demise.