Bill Nelson's Red Noise: Sound on Sound (1979)

Ah, 1979. That was, for me, one of the best years in music. This record followed the demise of Be Bop Deluxe. It's the only Red Noise LP and it's a good one. Bill has released tons of music, and most people have never head of him. That's sad.

Nazareth: Greatest Hits (1975)

Now you're messin' with a
(A son of a bitch) now you're messin' with a son of a bitch

This is another record from my childhood, where my musical influences were my siblings and my metal-head cousins, as well as some friends. I would not describe Nazareth as a metal band, but they were heavier than the top 40 and disco stuff polluting the airwaves back then. On the plus side, Nazareth is a Scottish band, and I am 50% Scottish.

I suppose this band is best known for Hair of the Dog and This Flight Tonight, a song I never knew was a cover version until I heard Joni Mitchell's original version, many many years later. Surprise surprise.

Why do I keep it? I guess for nostalgia reasons. I did listen to this about a year ago. It brought back some vivid memories. The most vivid memory is of a Christmas day, long ago, when my cousins and I would play our new records. One of my cousins must have received this as a gift. I think I paid about a dollar for my copy, well after it was released, and it is in pristine condition.

The National: I Am Easy To Find (2019)

First, the good news: when this LP was released, most local stores were selling it for $39.99, though I did see it for $35.99 a couple of times. I didn't buy a copy, because I was not thrilled with what I heard. Yesterday, a local store had a bunch of the clear vinyl editions for $24.99, so I bought it. After all, The National is one of my favourite bands.

And now, the bad news: what happened? What happened to The National? Maybe it needs a few more listens, but on my first pass through, all I could think was that I was happy not to have shelled out $80 for the triple LP version. There are some songs that I genuinely dislike on this record. Where is Her Head comes to mind first. I do not dislike female backing singers of female vocalists, but there are parts of this record where I wondered if I was listening to a Boney M record.

I will give it another chance, but I am feeling underwhelmed. 

The National: Sleep Well Beast (2017)

The National won a Grammy for its seventh record. I hate the Grammy's because it generally rewards inane music (with lots of exceptions, mind you). Generally, I dislike the vast majority of the nominated artists. This year, we can be thankful that Greta Van Fleet did not win. But, Lady Gaga beat out Beck? Really? I didn't even watch the show this year.

In any case, I love this record. It's better than the previous record.

The National: Trouble Will Find Me (2013)

They can all
Just kiss off into the air
They can all
Just kiss off into the air

No, this is not a Violent Femmes record.

It's relieving to bring home a new record from a favourite band and find out that they didn't screw it up. This is a brilliant record. Predictably, Allmusic awards it 3.5 stars.

However, it's that very familiarity that fuels the ire of many of the band's detractors, especially those who consider them to be a slightly creepier, American Coldplay, and while there is definitely an intangible, Mad Men-esque sense of unease that permeates Trouble Will Find Me, one could hardly use the words dangerous or forward-thinking when dissecting its myriad parts. [source]

I am angry that anyone could compare this band to Coldplay. That is based in unprecedented musical ignorance.

The National: High Violet (2010)

I pick this as my favourite record by The National. Oddly, Allmusic chose Boxer, which is certainly a close second. I also own a limited edition version of the CD which is a "First-run limited edition with extra foil-stamped violet slipcover and poster designed by the band."

There are just so many excellent tracks on this record. I saw the band in concert only once, and the concert concluded with a sing-along of Vanderlyle Crybaby Geeks. That was cool. It's really too bad that this song wasn't Vandelay Crybaby Geeks. By the way, there is this, from Matt:

MB: Inventing, yeah. Like ‘Squalor Victoria’ – there’s something in that word that sounds like something because every time you actually try to use real words to describe it, it doesn’t sound like the thing you’re talking about anyway. This character, Vanderlyle Crybaby – I can’t tell you how long it took me to come up with the word “Vanderlyle”. There’s the Nirvana song, ‘Pennyroyal Tea’ – just the word “pennyroyal” I loved, it sounded so great and it’s just the name of a tea. I couldn’t use that – maybe I should have, that would have saved some time – and so I started looking at the rhythm of the word, and the cadence. I probably have a book of a hundred different three syllable things.

I had always wondered about that too.

The National: The Virginia EP (2008)

I'm not sure why they call this an EP, since it has twelve tracks. Some are demos and some of live tracks, so maybe that's the thinking. This is how Wikipedia describes it:

The Virginia EP is an EP and compilation album by American indie rock band The National, released on May 20, 2008 on Beggars Banquet Records. The release includes b-sides, demo recordings and live recordings relating to the band's fourth studio album, Boxer (2007). The CD version of the release includes a DVD featuring the documentary film A Skin, A Night by filmmaker Vincent Moon. A vinyl edition of The Virginia EP was issued in January, 2013. [source]

The pressing quality of this piece of yellow and black splattered vinyl leaves something to be desired. From Discogs: "This is not an exceptional pressing, neither a terrible one...", "The sound is kind of average...", and "The quality of the pressing doesn't seem great.." Wow, Discogs users sure like ellipses...

On the other hand, there is a surprising Springsteen cover on this release.

The National: Alligator (2005)

"I used to be carried in the arms of cheerleaders"

From a review of Alligator:

"The National may sound like a garage band turned down, but there's as much primal energy lurking behind Alligator as in any mop-topped group of city kids with bloodstained Danelectros in a dusty warehouse." [source]

I have a CD copy of this release, from 2005. My vinyl copy is a 2011 repressing on lime green vinyl. In truth, it looks more yellow than lime green, at least to me. Alligator has a bunch of awesome songs. In fact, the LP contains two of my top tracks from The National. Those are Lit Up and Mr. November. My least favourite track on this LP is Looking for Astronauts, but that's still not a bad song.

The National: Cheery Tree (2011)

Cherry Tree was original issued in 2004 on CD. In 2011, the seven-track EP was released on vinyl. Two versions were pressed on coloured vinyl. I have a black copy, which is fine with me. The mastering of the pressing itself, however, is a bit off. It just does not sound as good as it should.

Nash The Slash: 1984 (1984)

The 12" of 1984 contains the radio version and the dance version of 1984. It's one of the better tracks tracks from American Band-ages.

Nash The Slash: American Band-ages (1984)

This is an odd record in that it contains all covers. Nash, of course, was no stranger to cover versions, but this record one seems overtly commercial. Maybe his other cover versions were just better. American Band isn't too bad, but Psychotic Reaction might be the best tune on the record. Hey Joe, on the other hand, is truly awful.

Nash the Slash: And You Thought You Were Normal (1982)

What can I say? This is another excellent record from Nash the Slash. This is probably a little more accessible than his previous records.

Nash the Slash: Decomposing (1981)

I suppose that Decomposing could have two meanings here. First, it could mean that something is rotting. And, I guess it could mean the opposite of composing as it relates to music. That's a pretty clever title. And, the cover image is clever too, since it depicts the musical staff fading away, or decomposing. From Discogs:

"This is the first album playable at any speed. Being all-instrumental music, there are no voices to affect the realism of the orchestrations. Thus the album becomes a collection of electronic concertos, each movement being defined by the speed of the turntable. A turntable with speeds of 33, 45 and 78 rpm, creates a different ratio within the pieces, yet maintains a familiar melodic drama.

Saying all this, the record was recorded to produce the sound you hear at 45rpm and any compilations using tracks taken from this record reflect this."

Others have challenged this statement. Maybe this is the first 12" record playable at any speed.

There are four instrumental tracks on this EP (or mini album): The Calling, Life in Loch Ness, Womble, and Pilgrim's Lament. I really like this release. Of course, I have never played this at 78 RPM. I suppose that would be interesting.

Nash the Slash: Children of the Night

"There are no guitars"

From Wikipedia: 

Children of the Night is an album by Canadian alternative recording artist Nash the Slash. Released in 1981 after Nash toured the United Kingdom in 1980 supporting Gary Numan, the album quickly gained cult status with its unique sound, created using electric mandolins, electric violins, drum machines and other sonic devices. The album sleeve proudly proclaims "There are no guitars."

In amongst original material by Nash were quirky covers of Jan and Dean's "Dead Man's Curve" and The Rolling Stones' "19th Nervous Breakdown". His adaptation of Deep Purple's "Smoke on the Water" was entitled "Dopes on the Water", while the opening composition "Wolf" quoted musical passages from Prokofiev's Peter and the Wolf.

The album was recorded in six weeks at Britannia Row Studios, London, in late 1980 and produced by Steve Hillage. It was released on the Virgin Records label Dindisc, which was owned by Richard Branson. The album was re-released on CD in 2000 with bonus tracks. The cover photo was taken at the road entrance looking up from Paddington Station, London. [source]

I'm not sure that I can adequately describe how much I like this record. He was one of Canada's most interesting musicians. Make sure you look at the back cover for a good counterpoint to the front image.

When you listen to it, remember that "there are no guitars." There are three cover versions, as mentioned above, on this LP. Two are below, and the other is Dopes on the Water, based on Deep Purple's Smoke on the Water.

Nash the Slash: Dreams and Nightmares (1979)

"Imagine a blend of Gary Numan, early Pink Floyd, Jean-Michel Jarre, and the Stranglers and you have a sense of Nash the Slash's music." [source]

Dreams and Nightmares was Nash's first full-length LP, from 1979.  Allmusic reviewer wrote a favourable review, and then gave it 2.5 stars out of five. Seriously? WTF? This is an excellent record.

Nash's entire discography was re-released in 2016, but all of my copies are original pressings.

Nash the Slash: Bedside Companion (1978)

James Jeffrey "Jeff" Plewman (March 26, 1948 – May 10, 2014), better known by his stage name Nash the Slash, was a Canadian musician. A multi-instrumentalist, he was known primarily for playing the electric violin and mandolin, as well as the harmonica, keyboards, glockenspiel, and other instruments (sometimes described as "devices" on album notes). [source]

Nash the Slash, formerly and FM, went solo and released a bunch of very interesting records.
Bedside Companion was Nash's debut solo release, which contains four tracks and is playable at 45 or 331/3 RPM. Later CD copies contained both versions, as did the 2016 vinyl repressing. This is great record.

Naked Eyes: Naked Eyes (1983)

"C-9 is for the Naked Eyes"
- Certain Songs, The Hold Steady

Despite the massive hit, Always Something There to Remind Me - I feel that this record is somewhat underrated. There are other great tracks on this LP.

I had a friend who noted, quite perceptibly I think, that the lines:

"Oh how can I forget you When there is always something there to remind me"

and 

"You'll always be a part of me ooooh"

are really about a man who has contracted a sexually-transmitted disease. It's not a bad interpretation.

By the way, this record was released under the title Burning Bridges outside of North America. Burning -- hmmm.

The Nails: Mood Swing (1984)

The first time I heard of the Nine Inch Nails, I was perplexed and a bit peeved. I wondered if they knew of The Nails. How could they (almost) steal the name? But, I calmed down once I heard the Nine Inch Nails. I loved the music.

Unless you were a fan, the Nails are really only known for one song, and that is 88 Lines About 44 Women. The lyrics were sort of scandalous:

Deborah was a Catholic girl,
she held out to the bitter end.
Carla was a different type,
she's the one who put it in.
Mary was a black girl,
and I was afraid of a girl like that.
Susan painted pictures sitting down
like the Buddha sat.

Reno was an aimless girl,
a geographic memory.
Cathy was a Jesus-freak,
she liked that kind of misery.
Vicky had this special way
of turning sex into a song.
Kamala couldn't sing,
kept the beat and kept it strong.

Xylla was an archetype,
the voodoo queen, the queen of wrath.
Joan thought men were second best
to masturbating in the bath.
Sherri was a feminist,
she really had that gift of gab.
Kathleen's point of view was this:
take whatever you can grab.

Seattle was another girl
who left her mark upon the map.
Karen liked to tie me up,
and left me hanging by a strap.
Jeannie had this nightclub walk
that made grown men feel underage.
Mary Ellen who had a son
said "I must go," but finally stayed.

Gloria the last taboo
was shattered by her tongue one night.
Mimi brought the taboo back
and held it up before the light.
Marilyn who knew no shame,
was never ever satisfied.
Julie came and went so fast,
she didn't even say good-bye.

Well Rhonda had a house in Venice,
lived on brown rice and cocaine.
Patty had a house in Houston,
shot cough syrup in her veins.
Linda thought her life was empty,
filled it up with alcohol.
Katherine was much too pretty,
she didn't do that shit at all.

Uh-uh. Not Katherine.

Pauline thought that love was simple,
turn it on and turn it off.
Jean-Marie was complicated,
like some French film-maker's plot.
Gina was the perfect lady,
always kept her stockings straight.
Jackie was a rich punk-rocker,
silver spoon and a paper plate.

Sarah was a modern dancer,
lean pristine transparency.
Janet wrote bad poetry
in a crazy kind of urgency.
Tanya Turkish liked to fuck
while wearing leather biker boots.
Brenda's strange obsession
was for certain vegetables and fruits.

Rowena was an artist's daughter,
the deeper image shook her up.
Dee-dee's mother left her father,
took his money and his truck.
Debbie-Rae had no such problems,
perfect Norman Rockwell home.
Nina sixteen had a baby,
left her parents lived alone.
Bobbie joined a new-wave band,
and changed her name to Bobbie-sox.
Eloise who played guitar,
sang songs about whales and cops.
Terri didn't give a shit,
just a nihilist.
Ronnie was much more my style,
she wrote songs just like this.
Jezebel went forty days
drinking nothing but Perrier.
Dinah drove her Chevrolet
into the San Francisco bay.
Judy came from Ohio,
she's a Scientologist.
Amaranta here's a kiss,
I chose you to end this list.

Eighty-eight lines about forty-four women 

I really liked this record and it is kind of sad that this is the band's only well-known tune. The record has some really good tracks, like Let It All Hang Out.

My Morning Jacket: The Waterfall (2015)

It seems that Urban Outfitters, once known as the largest vinyl retailer in Canada (a claim I found difficult to believe), is getting out of the vinyl game. In the big shop on Yonge Street in downtown Toronto, they used to have a massive wall display of vinyl, plus three floor racks on the first floor. It was pretty impressive. Some time ago, the store shifted all of the records upstairs, then then the space given to the collection was slowly reduced. The last time I was there, they had a small fraction of the original inventory, and I assume it is either gone or will soon be gone.

I mention this because UO often had exclusives, such as this record. More importantly, they often had amazing sales. For example, I paid $9.99 for this record at UO.

The exclusive in this case, was really not that exclusive. The jacket is slightly different, but that may be it. Sometimes, their exclusives were simply coloured vinyl.

I like this record, but there are better MMJ records.