New Order: Blue Monday-95 (1995)

Once again, Discogs insists that the band's name is NewOrder, rather than New Order. Oddly, they credit the song as Blue Monday-95, rather than BlueMonday-95, even though that latter is on the cover. I'd really like some consistency. I'm not a huge fan of this mix.

New Order: Blue Monday 88 (1988)

In 1988, "Blue Monday" was officially remixed by Quincy Jones and John Potoker under the title "Blue Monday 88."

It's OK and indeed, very similar to the original, but I wonder why they did it. Having said that, it is much better than the ridiculous 95 version.

There are two other versions of this track on my Canadian 12", plus Touched by the Hand of God (Single Version). Once again, Discogs screws up and credits this record to NewOrder. Sigh. Judging by the cover, using Discogs logic, the band should be NewOrder. Even the label credits the record to New Order. That site needs to hire a librarian.

New Order: Fine Time (1988)

Discogs says:

"New Order's 17th single, released November 1988. In addition to the regular 7", 12", and CD-Single, a second 12" was released with Steve "Silk" Hurley remixes.

Recorded in the Mediterranean Studios, Ibiza.
First single pulled from their 1989 album "Technique""

There are four tracks on my Canadian pressing:

Fine Time
Don't Do It
Fine Time (Silk Mix)
Fine Line

The last track is an instrumental version of Fine Time.

On the rear cover and labels, the band's name is written as Neworder. So, naturally, Discogs lists the band name for this release as Neworder! Insert sad face here. That's simply nuts, but at least no one added a second entry for Neworder. This was obviously a stylistic decision and it doesn't mean that the band changed the spelling or its name.

New Order: Substance (1987)

That photo is awful. I guess the light was too low. Anyway, my first copy Substance was the compact disc release, which contains twenty-four tracks, versus the twelve on the double LP. The CD edition has a bunch of b-sides, which are great to have. Some double cassette versions have even more tracks. I have never even seen a copy of the cassette version.

From Disocgs:

"Substance was the first widely released New Order compilation. Issued as a 12-track double LP, a 12-, 24- or 28-track double cassette, and a 24-track double CD, the compilation featured original 12" versions and B-sides, with a few exceptions: “Ceremony” is the 1981 re-recorded version with Gillian Gilbert; “Temptation” and “Confusion” are May 1987 re-recordings; and “The Perfect Kiss”, “Subculture”, “Shellshock”, and “Hurt” are edited versions. Additionally, all of the 24- or 28-track editions confuse the song titles “Cries and Whispers” and “Mesh”."

 And:

"Some copies came with a 4-panel insert/order form advertising the "SUBSTANCE 1987: THE VIDEO" VHS/Beta videocassette release, with a cost of $29.95, and "available no sooner than October 30, 1987". The eleven videos that this insert indicates were to be included are "True Faith, "Bizarre Love Triangle", "State Of The Nation", "Shellshock", "Subculture", "Perfect Kiss", "Thieves Like Us", "Confusion", "Blue Monday", "Temptation", and "Everything's Gone Green". However the video collection was not released until 1989 and contained seven videos including two for singles that were released after Substance 1987 ("Touched By The Hand Of God" and "Blue Monday 1988")."

My Canadian pressing did not include that flyer. It's a cool compilation, in whatever format.

New Order: True Faith (1987)

This version of True Faith (a US pressing) contains three tracks: 

True Faith (The Morning Sun Extended Remix)
True Faith (Alternate Faith Dub)
1963

In other words, it's different from the other 12" release.

New Order: True Faith (1987)

I used to think that the day would never come
I'd see delight in the shade of the morning sun
My morning sun is the drug that brings me near
To the childhood I lost, replaced by fear
I used to think that the day would never come
That my life would depend on the morning sun

Discogs:

"New Order's fourteenth single, released on Factory in July 1987.

True Faith was the first single where multiple versions were released. In addition to the regular 7" and 12", a second 12" was released with Shep Pettibone remixes. Additionally, the single was also released as CD-V, with additional track Evil Dust (an instrumental remix of the song Angel Dust from "Brotherhood"). The Australian remix 12" contained a unique Robert Racic remix of Paradise.

Peaked at # 4 in the UK singles charts.
First New Order single to chart on the US Hot 100
First ever US Top 40 hit, peaking at number 32.

The song is also featured in the movies and soundtracks of American Psycho and Bright Lights, Big City.

The Canadian pressing has True Faith (Remix), 1963, and True Dub. True Faith is a good song, but I prefer the single edit.

New Order: Touched By The Hand Of God (1987)

From Discogs:

New Order's fifteenth single, released on Factory in December 1987 as 7", 12" and CD-Single.
Originally written for the movie soundtrack Salvation!, the single versions are much more refined and the title track was remixed by Arthur Baker.

The music video was directed by Kathryn Bigelow, and contains footage of the band hilariously dressed up as a hairy heavy-metal act. Also featured are actors Bill Paxton and Rae Dawn Chong.

I have the Canadian release, with Touched by the Hand of Dub on side b. The video is for the single version, not the extended version.

New Order: The Peel Sessions (1987)

This is the first Peel Session recorded, but it was second one released. It contains Truth, Senses, I.C.B., and Dreams Never End. Mine (a Canadian pressing) has a delete drill hole, meaning that it was remaindered. And now, this is pricey.

New order: The Peel Sessions (1986)

This EP contains the tracks for the second Peel Session, broadcast on June 1, 1982. I have the original UK pressing. The tracks are:

Turn The Heater On
We All Stand
Too Late
5-8-6

The first track is a cover version, written by Jamaican reggae star, Keith Hudson. This EP is simply awesome.

New Order: Bizarre Love Triangle (1986)

Perhaps you have noticed that New Order song titles are rarely referenced in the lyrics, at least in the early days. Shell-shock and Confusion are two exceptions. Bizarre Love Triangle is probably the best track on Brotherhood, but I didn't really like the song the first few times I heard it. The flipside to this UK 12" single is Bizarre Dub Triangle.

New Order: Brotherhood (1986)

As noted in Discogs:

Peter Hook: "Listen to it and you can hear it has two different sides. There were battles raging on Brotherhood."

Bernard Sumner: "We'd always had that balance of electronics and band stuff. I was always pushing for electronics, and Hooky was always pushing for the band stuff, which was fair enough, I think we needed the band stuff. And by luck it got tipped the band way on Brotherhood. It was a very dense album, because we'd gone a bit mad on overdubs, so it was very layered, and very dense."

Allmusic notes that there is a rock side and a dance side. I prefer side two. I would also add that this is not a favourite of mine, even when it was released. The big hit from this record was Bizarre Love Triangle.

New Order: State of the Nation (1986)

The flipside to State of the Nation is Shame of the Nation.

From Discogs:

New Order's twelfth single, released September 1986, as third collaboration with John Robie.

While neither of the tracks is included on the UK vinyl LP of "Brotherhood", the UK CD of Brotherhood has State and the deluxe cassette of Brotherhood has both, State and Shame. On a rare occasion, the band broke form by not only giving the song a title that referenced the lyrics but is also featured in the chorus.

It's a good track.

New Order: Shell-Shock (1986)

The first time I saw a copy of this 12" single, in a used bin of some record store or other, I didn't buy it, despite wanting to have a copy in my collection. Here is the funny part: I didn't buy it because I thought that someone had written their name -- Alex -- with White-Out on the cover. I absolutely hate writing on album jackets, and I have passed over many many used records because of writing. I know, some refer to such defacement as being part of the record's patina. I just cannot have any destroyed records in my collection, though I do have some that were so cheap, I could not pass. I also will never buy a water-damaged cover, but I do have a couple that were somehow water-damaged while I owned them. That's sad.

So, the extended version of Shell-Shock is on side A, with Thieves Like Us bringing up the rear. Shell-Shock originally appeared on the Pretty in Pink soundtrack.

New Order: Shell-Shock / Thieves Like Us (1986)

This has a very ugly cover. Side one contains the extended version of Shell-Shock, while side two has the dub version along with Thieves Like Us.

New Order: Sub-Culture

From Discogs:

New Order's tenth single. Released on 28 October 1985. The first of three collaborations with US remixer John Robie.

This was the first New Order single to be drastically remixed from the album version for single release. It is believed that Peter Saville disliked the remixes so much that he refused to do a proper sleeve for it. Therefore, it is packaged in a plain black sleeve with cut-outs for the labels. Saville did the typography on the labels though.

That's fascinating, and I have to agree. The original album version is much better. The flip side, on my Canadian pressing, is Subvulture, though some international pressings have Dub-Vulture on side two.

New Order: The Perfect Kiss (1985)

From Discogs:

New Order's 9th single. Released 13 May 1985 as 7" and 12".
It is the first New Order single to be included on a studio album at the same time.
The song has some famous musical elements, e.g. frogs croaking and, at the end of the track, some bleating of (synthesized) sheeps.

Lasting nearly 9 minutes, the 12" single version only appears on the vinyl and cassette editions of Substance, while the CD omit 44 seconds of the climatic finale. The full version was eventually released unedited on the 2-disc deluxe edition of Low-Life, marking its first appearance on CD.

The versions on the album Low-Life and all post-Substance compilations are 4:48 edit, omitting the third verse (the one that mentions the song's title) and fading out before the climax. Most 7"s have on their A-side another version, further edited to down 4:24 (without the percussion introduction).

So, on this 12", you will find: The Perfect Kiss, Kiss of Death, and Perfect Pit. The video - below - for the full length version, was directed by Jonathan Demme.

New Order: Low Life (1985)

Low Life is New Order's third LP, released in 1985. I remember when it came out very well. It was hugely popular with a bunch of friends. From Discogs:

The only sleeve with the band actually on the cover, designed again by Peter Saville. They were photographed individually by using a Polaroid film (the band never really believed those photos would end up on the cover). The sleeve itself was covered by an onion skin wrapper.

I still have the wrapper. The review on Allmusic suggests that New Order had reached their peak here. Sadly, that is possibly true. Elegia is the unsung hero of this record. It's an understated, but excellent track, that stands in some contrast to the more popular tunes. Although used in Pretty in Pink, it did not make it onto the soundtrack. You might also know this track from Stranger Things. If you have time, you should check out the full-length version of Elegia.

New Order: Murder (1984)

From Discogs:

New Order's eighth single and their second and last exclusive single for Factory Benelux. Released in May 1984.

Both tracks are instrumentals. Murder features samples of dialogue from the movies "2001: A Space Odyssey" and "Caligula". It was originally recorded in Winter 1982 during the sessions for the band's second album Power, Corruption & Lies.

Peter Saville's cover art is a "night-time" version of the "Thieves Like Us" cover, and is also taken from Giorgio De Chirico.

Side A
Murder

Side B
Thieves Like Us (Instrumental)

Murder is a pretty cool track.

New Order: Thieves Like Us (1984)

From Discogs:

New Order's seventh single, released on Factory in April 1984 as 12" only (7"s as promos only). The title is taken from the Robert Altman movie "Thieves Like Us". An instrumental of Thieves Like Us is featured in the 1986 movie "Pretty in Pink".

Produced by New Order. Recorded and mixed at London's Britannia Row Studios.
The cover design by Peter Saville is based on a painting by Giorgio de Chirico.

This 12" has a version of Thieves Like Us b/w Lonesome Tonight. Thieves Like Us is in my top ten fav New Order tunes.

New Order: Confusion (1983)

Confusion is the sixth single from New Order and the follow-up to Blue Monday.

Three remixes served as B-sides on the initial 12" release: "Confused Beats", "Confusion Instrumental" and "Confusion Rough Mix". The two tracks on side A ("Confusion" & "Confused Beats") are mixed together, which when played in sequence, act as a thirteen and half minute long remix by Arthur Baker. The "Rough Mix" on side B is the original song mixed by New Order. [source]

Got that? 

New Order: Power Corruption & Lies (1983)

The second New Order record sounds quite different from Joy Division and from the first New Order record. It's more electronic and less gloomy. I can't adequately describe how much I instantly liked this record, right from the first few bars of Age of Consent. The Village and 5-8-6 are also standout tracks.

Discogs:

With its electronic-based sound it marks the definitive turning away from the rather gloomy predecessor and the Joy Division legacy. The album was included in the top 100 albums of the 1980s lists in the Rolling Stone magazine. 

Also, Discogs mentions this, which I did not know: 

The album cover was chosen by the Royal Mail for a set of "Classic Album Cover" postage stamps issued in January 2010. 

For me, the best track on this record is the sublime Your Silent Face. That is an epic piece of songwriting, and my absolute favourite New Order track.

New Order: Blue Monday (1983)

And I quote, from Wikipedia: "[Blue Monday] is the biggest-selling 12" single of all time."

And yet, despite being "the biggest-selling 12" single of all time," this record is very expensive to buy second hand. I have seen it anywhere from $25 to $40, and more. I once saw an original UK pressing listed at more than $150 on discogs! There are countless copies in circulation (over one million copies sold in the UK alone), and yet, it's expensive. The answer could be that some record sellers are simply greedy.

This is not the best New Order song, by any stretch. It's OK, but I found myself wondering about the subtle connections between 80s music and disco, which I hated. In fact, one of my friends, way back in the day, argued vehemently that much 80s music was simply disco. I think that's taking it a bit too far, but who knows? She had interesting things to say about beats per minute, etc.

The flipside is, of course, The Beach.

New Order: 1981-1982 (1982)

This EP arrived in November of '82, It contains five tracks, including both sides of New Order's second single: Procession and Everything's Gone Green, now with an apostrophe. A I mentioned previously, the second single had only ever released as a 7". I have never really been interested in 7" singles, though I have a box of them from various artists. Let me just copy what the Discog's entry says, so I don't get it wrong:

"Released in November 1982, it compiles the two tracks from New Order's second 7" single ("Procession" and "Everything's Gone Green") from September 1981, as well as "Hurt" and a longer 12" version of "Temptation", taken from the third single, released in April 1982. "Mesh" was taken from the 1981 Benelux 12" Everythings Gone Green."

I hope that the above is correct. So, there are five tracks, and they certainly sound different from Movement, so it seems to suggest a direction picked up by the following LP, Power Corruption & Lies with no commas at all.

New Order: Temptation (1982)

Temptation was New Order's fourth single, and their first self-produced single. It was released on May 10th, 1982. I have he original UK 12" with Hurt on the flip side. Temptation was re-recorded in 1987, but that version is no where near as good as the original.

New Order: Movement (1981)

Some New Order fans refer to Movement as the third Joy Division record. The band was transitioning to a new sound, even before it disbanded, as evidenced by Ceremony. They hadn't worked out who the lead singer would be. Ceremony, after all, was a Joy Division song and it sounds much like what emerged on Movement. Oddly, I once heard an interview with Peter Hook, and he referred to a Joy Division trilogy (which included Still), but I think that is revisionism, because Still is a compilation. There were only two proper Joy Division LPs.

If all you know of New Order is Blue Monday era New Order, this record might sound like a disappointment. To me, however, this is the greatest thing that New Order ever did. It sounds a bit like the band is searching for a direction (which is not necessarily a bad thing), and there is a certain tension and darkness in the music that I really like. In any event, New Order went on to become one of the seminal bands of the 80s. You simply cannot have lived through that decade and not been aware of them. I suppose if you were a classic rock person, you might have missed it, but no one living on a university campus could have missed this band.

Most people are likely familiar with the blue record cover. The white jacket was used on US pressings. Here is something else you may not know. According to Discogs (which is sometimes wrong):

"The vinyl comes in different colour variations, only visible when held up against a strong light source: Translucent purple or translucent red or just translucent (and maybe also brown and green). These colors are the result of different vinyl formulations used accidentally by the pressing plant, with purple apparently being the very first pressing"

I happen to have the purple version, which is the first US pressing. If I were to sell this one, I'd take no less that $50, but I am not selling it.

New Order: Everythings Gone Green (1981)

Everythings Gone Green is the third single from New Order. The band's second single -- Procession b/w Everything's Gone Green -- was only ever released as a 7-inch single. This 12" single was released on Factory Benelux in Belgium and also in Japan. Why couldn't they have used an apostrophe, like this?: Everything's. Is that so hard?

The flipside of this 12" has Cries And Whispers and Mesh.

From Discogs: "Due to a mix-up on the sleeve, the two B-side tracks had their titles transposed: Cries And Whispers is mis-titled Mesh and Mesh is mis-titled Cries And Whispers. This was carried over to the Substance 1987 compilation, which was never corrected in the years that it was in print."

Everythings Gone Green is killer. Note that the youtube video uses an apostrophe.

New Order: Ceremony b/w In a Lonely Place (1981)

As most people know, New Order rose from the ashes of Joy Division, after the untimely and tragic suicide of lead singer, Ian Curtis, in 1980. I'm always left to wonder what would have become of the band had he not taken his own life. Could they have sustained such a brilliant output? It's a question with no answer.
 
New Order's first single was released in March 6, 1981 (a few months before Movement), with subsequent repressings following. Figuring out which version one has is a little challenging, as you can tell from this summary on Discogs:

"New Order's first single after renaming the band from Joy Division to New Order. Originally recorded and played by Joy Division, it was re-recorded at Eastern Artists Studios, New Jersey. Produced by Martin Hannett and with Bernard Sumner on lead vocals. All covers were designed by Peter Saville.

The 7" and first 12" were released on 6 March 1981. While the 7" record has a stamped gold-bronze sleeve, the 12" sleeve comes with gold typography on a forest green background.

After Gillian Gilbert joined the band, it was decided to re-record the song with her on guitar. It was then re-released in September 1981. This time the cover had a cream background with a light blue stripe and black type. This second version was included on all later compilations, e.g. Substance 1987.

There are two different editions of the record using the green sleeve:
1) Original version of "Ceremony" (without Gillian Gilbert). The runout-groove space is 3,6 cm (side A) and 3,4 cm (side B).

2) Re-recorded version of "Ceremony" (with Gillian Gilbert). Side A etching: "This Is Why Events Unnerve Me". This version of the record was also released in the new cream & blue sleeve, but there were green sleeves left over from the original pressing which were used rather than being discarded. Although the centre labels have the date 22/1/81 as part of the artwork, this release came out in March.

For the second cover, there were four different versions released:
The 1st version with track groove filling the entire side of the record. Side A groove etching: "This Is Why Events Unnerve Me". This version of the record was also released in leftover copies of the original green sleeve.

The 2nd version, being the original version of "Ceremony" (without Gillian Gilbert). The runout groove space is ~3,5 cm on each side. Side A groove etching: "Watching Love Grow - Forever". This is basically the same as the original version that was released in the green sleeve.

A 3rd version, with track groove filling the entire side of the record. Side A groove etching: "This Is Why Events Unnerve Me", with an A2 matrix rather than A1.

Then there is a 1984 repress with track groove filling only part of the record. Side A groove etching: "This Is Why Events Unnerve Me".

The B-side track "In A Lonely Place" is the same version on all the cream and blue releases. However, the track was altered as well: the digital thunderclap sound in the final bars of the track occur at different times to the first edition"

Let's forget about the recently re-released pressings.

I have the 2nd repress from 1983, obviously in the cream and blue sleeve. This is really a transitional record, because both tracks were written by Joy Division. Ceremony, of course, was performed live toward the end of the band's career. The most famous live version is probably the version that appeared on the second disc of Still. The recording was mangled, but the direction the band was taking is clear.

Somewhat bizarrely, New Order chose not to put Ceremony on Movement. It's a powerful song, perhaps the band's best, and I wonder why it was omitted.

This is why events unnerve me,
They find it all, a different story,
Notice whom for wheels are turning,
Turn again and turn towards this time,
All she asks the strength to hold me,
Then again the same old story,
World will travel, oh so quickly,
Travel first and lean towards this time.

Oh, I'll break them down, no mercy shown,
Heaven knows, it's got to be this time,
Watching her, these things she said,
The times she cried,
Too frail to wake this time.

Oh I'll break them down, no mercy shown
Heaven knows, it's got to be this time,
Avenues all lined with trees,
Picture me and then you start watching,
Watching forever, forever,
Watching love grow, forever,
Letting me know, forever.

Just try reading the above lyrics without thinking about Joy Division. I wager it can't be done. It reads like a Joy Division song because it is a Joy Division song.

Neutral Milk Hotel: In the Aeroplane Over the Sea (1998)

Perhaps best likened to a marching band on an acid trip, Neutral Milk Hotel's second album is another quixotic sonic parade; lo-fi yet lush, impenetrable yet wholly accessible, In the Aeroplane Over the Sea is either the work of a genius or an utter crackpot, with the truth probably falling somewhere in between. [source]

In the Aeroplane Over the Sea is one of the greatest records ever made, and possible the best record of the 1990s.

Neu!: Neu! 2 (1973)

This is the sometimes-maligned second record from Neu! As Wikipedia notes:

Side 2 of the record caused consternation at the time. Neu! had quite simply run out of money to finish recording the album, so the second side consists entirely of their previously released single "Neuschnee/Super", manipulated at various playback speeds on a record player, or mangled in a cassette recorder. Critics at the time dismissed this as a cheap gimmick and a rip-off. While it was indeed an experiment born of desperation and necessity, it was entirely in keeping with Neu's pop art aesthetics, taking a "ready-made" sound object and re-presenting it with a series of stylized manipulations, and also quite in keeping with the way Neu's music deconstructed and pared down the form of rock music. Dinger subsequently pointed to side 2 as being a prototype of the now ubiquitous multiple remixes which typically accompany any pop single release. [source]

Of course, I like both sides very much. 

Neu!: Neu! (1972)

"While little known and relatively unheralded during its brief existence, the Krautrock duo Neu! cast a large shadow over later generations of musicians and served as a major influence on artists as diverse as David Bowie, Sonic Youth, Pere Ubu, Julian Cope, and Stereolab." [source]

Have you seen that Portlandia skit about Neu!? Yeah, that would be me, if I was a little less self-aware. So, I have a later repressing, which I got for a steal, as the original is hard to find. Neu! was formed when Michael Rother and Klaus Dinger left Kraftwerk. The music is absolutely sublime. I love it completely.

Nettwerk Sound Sampler: Food For Thought (1987)

Nettwork is a Vancouver-based record label that specialized in industrial music. Well, that was the case back in the 1980s. It has since expanded to cover more generic and far less interesting genres. This sampler offers an interesting overview of the bands they had signed. At the top of that list, for me, is Skinny Puppy. Here they are, live:

Nena: 99 Luftballoons (1983)

This silly song caught everyone's attention when it dropped.

The translation is odd. Luftballoon is simply balloon in English. I suppose the red was added to gain enough syllables. Nena is both the name of the band and the nickname of the singer, it seems. Anyway, this is, in no way, classic New Wave. It's more of a top 40 song from the 80s. I have a copy probably because it was very cheap or given to me.

Side A of this release has the English version, while side B is the original German version. Which is better? Who knows? Who cares?

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.