TVD Los Angeles

TVD’s The Idelic Hour with Jon Sidel

Greetings from Laurel Canyon!

You’re a no good heart breaker / You’re a liar and you’re a cheat / And I don’t know why / I let you do these things to me / My friends keep telling me / That you ain’t no good / But oh, they don’t know / That I’d leave you if I could / I guess I’m uptight / And I’m stuck like glue / Cause I ain’t never / I ain’t never, I ain’t never, no, no (loved a man) / (The way that I, I love you)

Lyrics like these have always crushed me. Something about the way a southern black woman sings about her love for a,”no good, cheater man.” The words just stick to my soul.

The news about Aretha’s passing hit right about the time I was cutting this week’s show. A true queen of soul, she was a marvel from a miraculous time in music history. Fame studios, Rick Hall, Jerry Wexler, and of course The Swampers. For me, they are all magic.

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The TVD Storefront

TVD Radar: Lindsey Buckingham, Solo Anthology in stores 10/5

VIA PRESS RELEASE | Lindsey Buckingham is widely considered one of the greatest guitarists and songwriters and musical expressionists of our time. A Rock and Roll Hall of Fame inductee and 3 time GRAMMY winner, Buckingham is best known as the producer, guitarist, vocalist, and chief songwriter for Fleetwood Mac and as a widely celebrated solo artist.

His forthcoming Solo Anthology – The Best of Lindsey Buckingham is a comprehensive record of this illustrious career. Out October 5th on Rhino Records, Buckingham’s Solo Anthology will be released as a 3-disc set on CD and digitally and will also be available as a single disc abridged release. A 6-LP vinyl release is slated for November 23rd. The album is available for pre-order now. Solo Anthology – The Best of Lindsey Buckingham includes album, live and alternate versions of some of Lindsey’s celebrated solo albums including cuts from Law and Order, Go Insane, Out of the Cradle, Under the Skin, Gift of Screws and Seeds We Sow and incorporates songs from his collaborative album with Christine McVie released in 2017.

The anthology features Buckingham’s film work with “Holiday Road” and “Dancin Across The USA” from the 1983 motion picture soundtrack to National Lampoon’s Vacation and “Time Bomb Town” from 1985’s Back to the Future. Live versions of Fleetwood Mac’s “Tusk” and “Go Your Own Way” round out the album, but the most thrilling tracks come in the form of two new songs that have never before been released, “Hunger” and “Ride This Road.”

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TVD Washington, DC

Save the Date: The
DC Record Fair returns
to U Street Music Hall, Sunday 9/16!

Back in its 9th year is Washington, DC’s twice yearly record rummage, The DC Record Fair, which sets up for an almost Fall edition at U Street Music Hall on Sunday, September 16, 2018.

At this event we’ll have 20+ vinyl vendors from DC and up and down the East Coast, the anticipated DJ line up, the bar, the food, raffle items up for grabs just for coming through the door, and much more that make the DC Record Fair a special community event. 

A little while back our friends at the Fillmore Silver Spring assembled the above feature that connects all the dots to the day—hit play.

Mark your calendars! 
THE DC RECORD FAIR

Sunday, September 16, 2018 at U Street Music Hall, 1115 U Street, NW, Washington, DC.
11:00–12:00: Early entry $5.00
12:00–5:00: Regular admission $2.00

RSVP and follow via the Facebook invite!

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The TVD Storefront

Graded on a Curve:
Gary Numan, Replicas, The Pleasure Principle, Telekon

Sound reads from the archives, all summer long.Ed.

Out of the UK’s punk scrap yard came Gary Numan, first as part of the ever more synth-imbued Tubeway Army and then as a solo artist for a long string of albums. His chart dominance in the waning moments of the ‘70s was fleeting but huge, and his most commercially successful run of LPs detail a pop-savvy artist of much deeper value than his hit singles; Replicas, The Pleasure Principle and an expanded Telekon see vinyl reissue in the US on December 11.

Gary Webb started out in the bands Mean Street and The Lasers; recording with neither (Mean Street waxed one song after his exit for the Live at the Vortex comp LP), after departing the latter with bassist Paul Gardiner they formed Tubeway Army with Webb’s uncle Jess Lidyard in the drum chair. Promptly signed by Beggars Banquet, with Webb on guitar they initially dished out beefy Bowie-influenced punk, the singles “That’s Too Bad” and “Bombers” later compiled with a mess of demos from the same era as The Plan.

It’s a cool acquisition for serious punk collectors, but ’78’s Tubeway Army was even better. By the point of its release Webb had adopted the name Gary Numan (he’d briefly wielded the handle Valerian) but his signature sound was still in development, the debut augmenting the punk excursions (which occasionally leaned into a hard rock/glam merger) and sci-fi themes (impacted by Phil K. Dick and William Burroughs) with interjections from a Minimoog discovered in the studio by Numan after recording began.

Tubeway Army is very good record with a few excellent spots and conversely a handful of lags; ‘79’s Replicas is more fully-formed, and while the group’s name remains on the cover it’s flanked by Numan’s on later editions; the LP is clearly his show and any doubts over such will be quickly dispelled by the icy/edgy opener “Me! I Disconnect from You.”

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TVD New Orleans

The Optimist, solo LP from Vulfpeck guitarist Cory Wong, arrives in stores today, 8/17

When Vulfpeck played at Tipitina’s this past spring, they sold out two nights in a row. Numerous friends went both nights. I had never even heard of the band, so when the sophomore solo effort from the band’s guitarist Cory Wong popped onto my radar I immediately popped it in. Though I listened to a pre-release download, the album will be released on vinyl today.

Wong surrounds himself with great musicians on The Optimist. The opening song, “Jax,” features members of Prince’s horn section. It is funky in a way that the Purple One would certainly have enjoyed.

“The Hornheads are best known as Prince’s horn section,” explains Wong, “and their leader, Michael Nelson, did most of the horn arrangements for Prince. The guys are all 20-30 years older than us, but we fit right in as friends because they love seeing young musicians with such passion.”

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The TVD Storefront

Graded on a Curve:
The Rolling Stones,
The Rolling Stones No. 2

Step back in time with me, won’t you, to the year 1965, when Dylan went electric, The Beatles went “Nowhere Man,” and a scruffy English R&B band called the The Rolling Stones released The Rolling Stones No. 2, which included a few tentative attempts at writing their own material.

In hindsight, the last named might be the most important musical occurrence of 1965, but Rolling Stones No. 2 isn’t a great album because it includes a trio of songs by what would become one of rock ’n’ roll’s most formidable songwriting teams. It’s a great album because The Rolling Stones had their R&R and R&B chops down, and were producing a cocksure product that belied their tender years.

So named because it was the second Rolling Stones LP released in England (if not in America), Rolling Stones No. 2 is a jaunty, swaggering romp through the archives of American popular music by a quintet of wide-eyed English lads who knew what they loved and were dead set on living up to the high standards of the artists who inspired them.

They kick first-generation rock ’n’ roll’s keister with their motorvatin’ version of Don “Boogie Woogie Bugle Boy” Raye’s “Down the Road Apiece,” which tools down the road just fine; prove they can’t be caught on their souped-up cover of Chuck Berry’s “You Can’t Catch Me,” on which they say goodbye to New Jersey forever; and go swamp rockabilly with a vengeance on their hand-clap heavy and reverberating take on Dale Hawkins’ immortal “Suzie Q,” which boasts lots of berserker drumming and some of the most frenzied guitar playing you’ll ever hear.

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A morning mix of news for the vinyl inclined

In rotation: 8/17/18

Berkeley, CA | Classical movements: Fans of Berkeley’s The Musical Offering may have noticed some changes have been afoot at the daytime café/classical music record store. Last Wednesday, the shop, located just across the street from UC Berkeley, closed early for a remodeling project. On Monday, just before Cal move-in day, it reopened with an updated front counter and new flooring. The old red counter, made from a harpsichord, had character, but the new countertop offers more space. This is just the first phase of changes to come at the 44-year-old institution, which is affiliated with the University Press Bookstore located just next door. According to Musical Offering’s transition manager Deirdre Greene, the updates will not be too jarring for longtime customers, but the shop is hoping to invite a more diverse crowd

Grandview, OH | Grandview-area Craft & Vinyl aims to quench thirst for music: It’s a record store with a fondness for craft beer. Craft & Vinyl opens Wednesday at 1806 W. 5th Avenue, in the Grandview Heights area. “I love music, I love creating music, I love craft beer, I love collecting vinyl,” said Troy Stacy, the longtime digital marketing consultant who owns Craft & Vinyl. “So the idea was to combine all the things I love into something that I don’t think has ever been done before. Come in, have a beer and enjoy browsing through the vinyl albums.”…In the middle of the shop are the record bins, which have traveled over the years from record store to record store — originally in a Peaches, then Record Convention, then Ace in the Hole in Upper Arlington. “I added cupholders,” Stacy said, in a nod to beer-drinking shoppers who’ll eventually need two hands to paw through the records.

Urban Outfitters’ Corduroy Record Players From Crosley Are An Instagrammable, Retro Dream: Urban Outfitters is undoubtedly one of the most popular clothing and lifestyle chains right now. Its claim to fame is an array of unique wears. During one trip you could leave with a flow-y, floral sundress and an ugly-chic pair of pants. But Urban Outfitters is also an exceptional stop for all your music needs as well. You’ve likely seen the LPs displayed in stores before, but if you haven’t, now is the time to take a closer look — especially now that UO is currently carrying an exclusive corduroy-covered record player online that is both functional and fashionable. Plus, it comes in THREE colors! (Hurl. —Ed.)

Danny Bonaduce Is Sneaking Around Record Stores Signing Partridge Family Albums: Partridge Family star Danny Bonaduce is on a mission to add value to old Partridge Family albums. He is on a crusade sneaking around Record Stores and adding his moniker to old Partridge Family albums. Bonaduce, who played Danny Partridge in the hit TV show, pops up at stores with his sharpie, finds the P section, flips to the Partridge Family albums and whacks on his signature, then quietly leaves the store. Even toy stores with old Partridge Family merch could get a visit. Bonaduce has been secretly signing Partridge Family paraphernalia for the past few months. He has videoed his escapades in Los Angeles, Seattle, Phoenix, Honolulu and Vancouver. “Some people might call this vandalism. I call it ‘adding value.’ You’re welcome.”

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TVD UK

TVD Live Shots: Fantastic Negrito
at Nell’s Jazz and
Blues, 8/10

I was supposed to be at the Iron Maiden show at the O2 on Friday night here in London. Instead, I decided to check out something from the other side of the spectrum entirely, and I’m so glad that I did. Nell’s Jazz & Blues was hosting a sold-out show by Oakland, California native Fantastic Negrito. No opening act, a capacity crowd, and a venue that was somewhere between a cocktail lounge and a full-blown rock ‘n’ roll venue. I had no idea what to expect, and it quickly became apparent that this was going to be something over the top.

A primarily self-taught musician with a colorful background of dealing and hustling on the streets of the East Bay, Xavier Amin Dphrepaulezz—aka Fantastic Negrito—is a unicorn upon the current musical landscape. Even the most prominent music labels in the world seem to be confused on what to do with his genre-fusing which he calls “Black Roots Music.” Is it funk, is it blues, is it rock, is it something completely different? That answer is yes to all of the above. The problem continues to be, how do you promote it?

As I squeezed my way up to the front of the stage trying to set myself up for a few good shots I mentioned to the two people next to me that I would only be up in front shooting the first few songs. They replied, “No problem, we’ll be dancing the whole time anyway.” Last time he played London was opening for the late great Chris Cornell at the famed Royal Albert Hall. Xavier asked the crowd how many had seen that show, and several people raised their hands with a loud cheer. What would come next was a full-blown blues and rock ‘n’ roll-fueled jam that at times felt like an underground sermon delivered by a master storyteller (and boy does this guy have some stories).

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The TVD Storefront

TVD Radar: The Kinks Are The Village Green Preservation Society 50th Anniversary vinyl reissue in stores 10/26

VIA PRESS RELEASE | The Kinks will release a 50th Anniversary Edition of one of the greatest British rock albums of all time The Kinks Are The Village Green Preservation Society on BMG October 26th.

This essential album by one of the world’s best ever bands is defined by the extraordinary catalogue of Ray Davies’ songs, driven by brother Dave Davies’ power pop guitar and became the foundation of generations of British guitar pop. The Kinks Are The Village Green Preservation Society cemented Ray Davies reputation as one of Britain’s greatest ever songwriters of his and any generation. “I think The Village Green Preservation Society is about the ending of a time personally for me in my life,” says Ray. “In my imaginary village. It’s the end of our innocence, our youth. Some people are quite old but in the Village Green, you’re never allowed to grow up. I feel the project itself as part of a life cycle.”

Somewhat overlooked upon its release in November 1968, The Kinks Are The Village Green Preservation Society is now regarded as one of the best British albums ever recorded. Created in difficult circumstances by a band on the verge of disintegration and who refused to follow fashion, it is an album of timeless, perfectly crafted songs about growing up and growing old, and the decline of national culture and traditional ways. Enduring and unsurpassed, with its wit, sadness, quiet anger, regret and charm, it is generally considered the high point of The Kinks’ outstanding career and Ray Davies’ masterpiece.

Included in this anniversary edition are many previously unreleased tracks and versions, including the previously unreleased track “Time Song.” Despite never been included on a release, “Time Song” was performed by The Kinks at the Theatre Royal, Drury Lane in January 1973, celebrating Britain’s entry into the Common Market.

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The TVD Storefront

Graded on a Curve:
The Kinks, The Kinks
Are the Village Green Preservation Society

Sound reads from the archives, all summer long.Ed.

Ray Davies is without a doubt the most fascinating and enigmatic figure to emerge from England’s whole Merseybeat movement. Was he a hard rocker or music hall romanticist, an ironically distanced and gimlet-eyed chronicler of an England in terminal decline or the biggest mourner at the funeral?

One can only conclude that he’s all of the above, and add that he was, during the late sixties, the smartest fellow on the entire English rock scene with the possible exception of the Bonzo Dog Band’s Vivian Stanshall. That he chose to exercise his estimable talents during this period writing seemingly modest vignettes—miniatures if you will—of middle-class English life should not stand in the way of our adjudging the results—in this case 1968’s The Kinks Are the Village Green Preservation Society—to be undeniable masterpieces.

The Kinks Are the Village Green Preservation Society—which was released on the same day as the Beatles’ White Album—is probably Davies’ finest hour. Indeed, I for one think it’s the finest of the “concept” albums to be released by the great bands of the era, although I’ll hardly argue with you if you go with Pet Sounds. On its 15 tracks Davies attempts to do what Marcel Proust did with his seven-volume novel À la recherche du temps perdu—namely, to recapture lost time, and in specific his lost childhood spent in the little village green near his home in Fortis Green.

The album is a wistful look back at a “simpler” time, albeit one tinged with knowing irony—the Ray Davies who sings, on the title cut, “God save little shops, china cups, and virginity” is, without a doubt, having us on. And yet there’s an edge of sincerity there too—why not save vaudeville and variety, if they’re sunny childhood memories? But the truly wonderful thing about this remembrance of things past is the way Davies holds out the hope that—as he sings in “Do You Remember Walter?”—memories remain even as people change.

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The TVD Storefront

Megan Keely,
The TVD First Date

“Vinyl records are beautiful and warm in a way no other format can compare.”

“The experience of bonding with an album on vinyl is infinitely more memorable than a digital introduction because of the record’s physicality and contextual weight. You get to sit down with a large piece of artwork, get lost in the text, smell the cardboard, and take in a thoughtfully curated set of songs from start to finish.

It’s more active and less passive. Unless you want to get up and move the needle, you’re most likely going to experience the album in its full sequence, and with an intentional presence that is lost in the age of streaming and clicking. That is what I love about the memories that emanate from my favorite vinyl records. They are memories that last.

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The TVD Record Store Club

Graded on a Curve:
New in Stores, August 2018, Part Three

Part three of the TVD Record Store Club’s look at the new and reissued releases presently in stores for August, 2018. Part one is here and part two is here.

NEW RELEASE PICKS: Rich Halley, The Literature (Pine Eagle) The occasional question: if I could only listen to one type of music for the rest of my days, what would it be? The answer is easy. It’s jazz all the way. Mainly due to the sheer breadth of the form, but also volume, as the notes to this CD relate that Halley, a new name for me, has 20 prior recordings. This one, his first devoted to material by other musicians (the “literature” of the title) makes me want to hear them all. The tenor saxophonist, his drummer son Carson Halley, and bassist Clyde Reed launch from a high energy avant platform but with structural ties to bop and clear love of the tunes, which includes Miles, Monk, Duke, Ornette, Mingus, Sun Ra, Jimmie Rodgers, Hank Williams, and the Carter Family. Folks, this is Americana, and it sings. A

Animal Collective, Tangerine Reef (Domino) While I remain a proponent of Animal Collective’s prime material, I was less than smitten with 2016’s Painting With, so learning of a new recording by the group didn’t terribly excite me. Then I read that it was an audiovisual album collab with Coral Morphologic, the art-science duo of marine biologist Colin Foord and musician J.D. McKay, to commemorate the 2018 International Year of the Reef. Things were looking up! As Animal Collective’s first full-length without Panda Bear, this differs from their prior work in interesting ways, and I’m sure it’ll get even more interesting when viewed with the accompanying video after it hits the band’s website on release date. On double vinyl, with three sides of music and an etching on side four. Hey, nice comeback, fellas. A-

REISSUE/ARCHIVAL PICKS: Even as We Speak, Feral Pop Frenzy (Emotional Response) Operated by Stewart Anderson and his wife Jen Turrell out of Flagstaff, AZ, Emotional Response has grown into one of the most interesting indie-punk-pop-rock labels on the current scene, and with their recent slate of Sarah Records reissues (plus one collection of new material) they’ve just hit a grand slam. Included in the program is the 25th Anniversary Remaster of the sole LP from Aussies Even as We Speak. Formed by Matthew Love and Mary Wyer in Sydney and filled out to a five-piece, their sound benefited from flights of experimentation and eccentricity and yet was (appropriately, for the connection to Sarah) pure pop. Twee? Nah. Erudite? Oh, yes, as this minor gem of an LP goes to places you likely won’t expect. A-

Action Painting!, Trial Cuts (1989-95) (Emotional Response) During their lifespan, this UK outfit (formed in Gosport) released four singles, three of them on Sarah Records. It’s all rounded up here with additional material (unreleased cuts, alternates, demos, a radio session and interview); the LP includes a download, with everything on the CD. Coming from a tougher, rawer place than a fair amount of Sarah’s roster, these guys weren’t (I should say aren’t, as they’ve recommenced activities) Napalm Death or anything, but they did retain the heft, buzz, and energy associated with many of the leading lights of indie pop’s original wave (their fourth 45 was on the Kent-scene-associated Damaged Goods label). Those with a casual interest in the style might consider it skippable, but indie pop lovers will want. A-

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A morning mix of news for the vinyl inclined

In rotation: 8/16/18

Sleep’s “Leagues Beneath” Is Coming to Vinyl via Third Man Records: For Sleep fans, the big news about the legendary stoner metal band this year was obviously the surprise 4/20 release of their long-awaited fourth album The Sciences. But that wasn’t their only recent new music: in May, they also digitally released a single called “Leagues Beneath,” a behemoth jam that has since become a staple of their live sets. This being Sleep, “Leagues Beneath” is long enough to be an EP unto itself, and now that’s exactly what’s happening: the nearly 17-minute track will be released as a 12″ vinyl single via Jack White’s Third Man Records, the same label that issued The Sciences. The record will be available in both aquamarine and standard black vinyl, both of which will feature “a tentacled aquanaut nightmare etching” on the B-Side.

The National are releasing a rare vinyl of early live tracks for fan club members. The limited edition release is called ‘Cherry Tree Vol. 1’ The National will release a rare vinyl of early live tracks but only their fan club members will be able to get their hands on it. Titled, ‘Cherry Tree Vol. 1’ the release consists of early-era live performances, including ‘All the Wine,’ ‘Lucky You,’ and ‘Murder Me Rachel.’ Sharing the news on their Twitter account, the band added that it would be “shipping later this year to all Cherry Tree members.” See that tweet below, which also shows off the artwork for the release.According to the Cherry Tree website, members of the fan club get Exclusive content, exclusive and limited edition merchandise, priority ticketing and an annual collectible vinyl, which is included in the membership.

Stereolab Announce Switched On Vinyl Reissue Series. Their 1990s compilations have been remastered: Stereolab have announced they are reissuing their Switched On compilation albums. All three collections—1992’s Switched On, 1995’s Refried Ectoplasm [Switched On Volume 2], and 1998’s * Aluminum Tunes [Switched On Volume 3]*—have been remastered and will be released on vinyl and CD, with the LP editions to be pressed on clear vinyl. The CD boxset will feature all three compilations “in individual card wallets plus an insert.” Refried Ectoplasm and Aluminum Tunes will also be released on streaming services for the first time. The reissues arrive September 28 via the band’s Duophonic UHF Disks label.

A comprehensive guide to turntable weights, clamps and stabilisers: As any audiophile will tell you, several factors affect our perception of sound quality during record playback. One of these is the stability of the record. There are a variety of accessories designed to help stabilise records, the most common of which are weights, clamps and, occasionally, periphery rings. While many feel these accessories ‘lift’ the sound, tightening frequencies across the spectrum and subduing any resonance that may occur as the needle tracks the groove of an unsecured record, others feel that they can place unnecessary strain on belts and bearings, producing results too fine to appreciate.

Hero Breaks Car Window to Save Vinyl Records on Hot Day: Local hero and vinyl enthusiast Nate Adams broke a car window in last week’s triple-digit temperatures in order to save some records overheating in the backseat, according to multiple witnesses. Adams allegedly noticed the neglected crate of vinyl in the 2005 Suzuki Aerio after leaving an ice cream shop Saturday afternoon. Knowing the dangers, he quickly took action. “It was, like, 100 degrees,” said Adams. “Vinyl can get warped at, like, 80 degrees, and it will never sound the same again. I knew I had to do something. So, I picked up a rock and threw it through the window. I just did what any other vinyl lover would do.” …Bystanders report Adams stayed with the records until authorities arrived on the scene.

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The TVD Storefront

TVD Radar: Jeff Tweedy, Let’s Go (So We Can Get Back) in stores 11/13

VIA PRESS RELEASE | The singer, guitarist, and songwriter, best known for this work with Wilco, opens up about his past, his songs, the music, and the people that have inspired him.

Few bands have inspired as much devotion as the Chicago rock band Wilco, and it’s thanks, in large part, to the band’s singer, songwriter, and guiding light: Jeff Tweedy. But while his songs and music have been endlessly discussed and analyzed, Jeff has rarely talked so directly about himself, his life, and his artistic process. Until now.

In his long-awaited memoir, Jeff will tell stories about his childhood in Belleville, Illinois; the St. Louis record store, rock clubs, and live-music circuit that sparked his songwriting and performing career; and the Chicago scene that brought it all together. He’ll also talk in-depth about his collaborators in Uncle Tupelo, Wilco, and more; and write lovingly about his parents, wife Sue, and sons, Spencer and Sam.

Honest, funny, and disarming, Tweedy’s memoir will bring readers inside both his life and his musical process, illuminating his singular genius and sharing his story, voice, and perspective for the first time.

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The TVD Storefront

Graded on a Curve:
Lou Reed and Metallica,
Lulu

Lou Reed was so full of shit in his lifetime it was impossible to ever take a word he said seriously, so when he said of this unlikely 2011 collaboration with Metallica that it was “the best thing ever done by anybody,” it was easy to write it off as just more empty punk braggadocio by the guy who invented empty punk braggadocio.

And it was even easier to write off given that said collaboration, Lulu, is regularly featured on worst-ever album lists and received a largely hostile response from everybody from Pitchfork (who gave it a damning 1.0 out of 10) to noted rock critic Chuck Klosterman who wrote, “If the Red Hot Chili Peppers acoustically covered the 12 worst Primus songs for Starbucks, it would still be (slightly) better than this.”

Me, I gave it a cursory listen when it was released and promptly filed it under S for Suck. But something called me back–Lou, whom I love and hate, is always calling me back–and I’ll be damned if this much derided collaboration doesn’t have more than its fair share of alternately brutal, tender, cold-blooded, and yes even majestic moments.

Sure, most of the songs on this “concept album”–which returns us to the scene of 1973’s equally controversial Berlin–go on far too long, and both Reed and the boys in Metallica go out of their way to pummel normal human eardrums into cowering submission (just check out the hammering and unrelenting “The View,” on which Lou actually bellows). And it’s definitely not for fans of “Melodic Lou,” who opted to stay home during these proceedings.

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