5/5 (Hip-O Records)
5/5 (Hip-O Records)
Many of us think back on the ’80s and feel it wasn’t a very good time for rock ’n’ roll. Well, we are clearly forgetting about THE REPLACEMENTS! Listen to For Sale: Live at Maxwell’s 1986 and you’ll recall that it wasn’t all bad – in fact, some of it was absolutely killer.
Captured professionally after their major label debut (1985’s Tim), this very live recording features the classic Replacements lineup (Paul Westerberg, Bob Stinson, Tommy Stinson and Chris Mars) on an “on” night in Hoboken, NJ. If you know anything about this band and their near mythological live shows, depending on the night, they either were the best band on earth or they sucked big time. Representing the former – oh, thank heaven –this 2CD or 2LP release is quite possibly the Live at Leeds of our generation.
The set list this February night leaned heavily on tunes from Tim and their indie classic Let It Be, such as “Hold My Life,” “Bastards of Young,” and Westerberg’s awesome “I Will Dare,” sounding much more muscular in its live rendition (no Peter Buck on banjo!). There’s also an assortment of earlier hardcore fare such as “Fuck School,” “God Damn Job,” and one of my toppermost ’Mats tunes, Hootenany’s “Take Me Down to the Hospital.” I don’t wanna… die before my time… already used… eight of my lives…
For Sale also contains a number of cover tunes done the way only The Replacements could do ’em: unpracticed, spur-of-the-moment, warts ’n’ all. Witness “Fox on the Run,” the Sweet hit, which goes for about a minute (just past the first chorus) before it ends in a shambles. Elsewhere, “Nowhere Man” and T. Rex’s “Baby Strange” actually make it to completion, naturally in the rough ’n’ ramshackle manner these guys typically delivered.
All this is to say, if you need your rock music all polished and rehearsed, you probably don’t wanna shell out for this 30-years-overdue live release. But, if you’re a true disciple of The Replacements – and if you’re not, there’s something wrong with you, man! – then you will find this album to be the quintessential, missing chapter of the book of the story of Minneapolis’s true rock ’n’ roll hall of famers. Hello Cleveland! indeed.
5/5 (Sire/Rhino R2 562078, 2017)
Talk around the internet forums and blogs in April of this year was that this splendid release, DAVID BOWIE‘s Cracked Actor (Live in Los Angeles ’74), would probably be out on CD at some point. After all, the vinyl-only Record Store Day release sold out quickly and surely there was plenty of still-mourning fans who’d missed out. I’m not sure any of us figured the CD would be out barely sixty days later, but here it is: the 2CD reissue of a release not even two months old. Clearly it was always the plan. Crank up the hype machine, sell out of the initial vinyl run and then unleash the compact disc set while the iron was still hot. [Does that count as a mixed metaphor?]
Cracked Actor is an exciting live album and worth every penny regardless of the configuration you chose/choose. If you didn’t get the vinyl – for whatever reason – and you still thrill to a live Bowie show then you’ll want to add this release to your collection. Recorded in concert at the Universal Amphitheatre in September 1974, it’s a show and band lineup that appeared between the Diamond Dogs and Philly Dogs tours of that year. Bowie seemed to be tinkering with set lists and musicians incessantly and this transitional date was, luckily, recorded by the BBC to bolster a documentary they were working on at the time. The band included Carlos Alomar and Earl Slick on guitars, Mike Garson on keys and David Sanborn on sax, and they were a startlingly solid group considering how recently they’d come together. Vocalists included Warren Peace, Ava Cherry and a certain Luther Vandross, who worked with DB on his next studio release, Young Americans. Songs include numerous cuts from Dogs, plus some from Aladdin Sane and Ziggy Stardust as well as “All the Young Dudes” (written by Bowie and a then current hit by Mott The Hoople) and a cover of “Knock on Wood.” I really like the muscular, saxified “Cracked Actor” and the sublime “It’s Gonna Be Me,” ultimately an outtake from Young Americans. Cracked Actor is another case for Bowie as the amazing interpreter of his own songs that he was, and how every concert of his was an event because of that.
Indeed, the show has been bootlegged fairly extensively (apparently there was more stage banter and a longer intro than appears on this official release) so it’s not news to the more intrepid Bowiefans that this show even exists, but you won’t be sorry for buying this version even if you do have one of the boots. In a deluxe three panel album jacket, the 3LP presentation is a 5-sided, 20-song show that features rearrangements of even his then most recent material. (Side 6 features an etching of the distinctive Bowie logo that dons the cover of this release, as well as Dogs.) Sound quality is pretty top-notch for a live show, given its 1974 recording but late 2016 mix by longtime Bowie partner Tony Visconti, and mastering by Ray Staff at AIR Mastering. The pressing itself is on 180 gram vinyl and is dead quiet, with the records coming in static-free poly-lined black sleeves. The 2CD comes out tomorrow and features the same track listing but some liner notes and photos not in the vinyl package. It ought to be just as compelling, albeit maybe not as warm as the wax. At least you won’t have to flip the discs over as often. Either way, vinyl or CD, I wouldn’t miss this one!
4/5 (Parlophone DBRSD 7476 , 3LP, 2017) [I reviewed Bowie’s other 2017 RSD release, BOWPROMO, here.]
Here’s a clip of the title track from this very record, as broadcast on the BBC’s Cracked Actor documentary in 1974.