The Listening Booth and New Used Records

Hot on the heels of my flea market mini-haul a couple of weeks ago, I got a little something in the mail from a Discogs record seller. The focus of my order were two Roxy Music albums, Flesh and Blood, and Manifesto. I had never owned these before, besides dubbed tapes back in the 80's, and I didn't really get very familiar with those at the time. Anyway, these vinyl LPs are very cool... the gently used records themselves are in great condition and the music is exceptional, especially on Flesh and Blood. I had a Roxy "hits" CD for many years, but I'm not sure where that went. Anyway, knowing I enjoyed several of their songs, at least those after their early "jarring" period, I felt it was time to add some proper releases to my collection.

Swedish folk duo First Aid Kit... voices like angels

Flesh and Blood bears some of my favourite Roxy tunes: their airy rendition of the classic In the Midnight Hour, Oh Yeah, Same Old Scene, Flesh and Blood, and Over You. The rest of the album is as good, or nearly as good, as those prominent tracks. Terrific songwriting, vocals by Bryan Ferry, and instrumental playing - the lush arrangements weaving a symphony of horns, synths, and guitars. What impresses me most about the sound of this recording is the thick, popping bass, most noticeable on the title track.

I was less familiar with the Manifesto album, remembering only Angel Eyes and Dance Away from that now-missing hits CD, but it's a solid listen, too. It'll take some time to get into some of the songs, but that's the fun of something new on the turntable. And I think I'll aim to grab a few more Roxy Music albums at some point. Their sound stands the test of time so I know I'll enjoy these for years to come.

The third and final disc in my order was Precious Time by Pat Benatar. This 1981 album rocks hard with Promises in the Dark and Fire & Ice, goes completely mental on the Beatles cover Helter Skelter, and blends rock and pop sensibilities on Precious Time and the remaining songs. Though I have several Benatar albums on CD, this is just my second one on vinyl. I find the sound of these releases benefits from the LP records treatment, at least on these early pressings.

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As for casual listening, I've been trying out this and that, and revisiting some favourites, too. A friend suggested I try Maggie Rogers, an ex-folkie turned pop star, with her song Alaska. Nice voice but the music doesn't blow me away. I was reminded a bit of First Aid Kit, the Swedish female folk duo, who I do like a lot. So after a few "okay" tunes by Rogers on Youtube, I dialed up my fave FAK song, Emmylou, and was immediately transported to my happy place. Oh yeah, they cure what ails ya.

A couple of evenings this week, I was struck by the need for adventurous metal. Some Voivod, of Quebec, Canada did the trick. One night was dedicated to the Killing Technology album: killer riffs and wall of sound metal mayhem accentuated by singer Snake's demented vocals. As strong as the album opens, it is the latter half that goes completely unhinged. Best tracks for me are Ravenous Medicine and Order of the Blackguards. 

Then last night I put on Voivod's sci-fi concept album Dimension Hatross (I believe just about every Voivod album is conceptual), and man, what a trip. Drummer Away's energy and creativity at the kit is unbridled, almost dominating the mix sometimes. Dear Piggy's (RIP) frenetic guitar voicings are like no other; his angular riffing and soloing contrasting yet somehow complementing the powerful crunch chord onslaught. I love this whole album, but Tribal Convictions is definitely a stand-out. These 80's masterpieces were key to developing technical progressive thrash metal. If I could get my hands on these two on vinyl, my life would practically be complete... but sadly, they are rare and expensive, so I'll make do with my very serviceable CD remasters. 

Yesterday at work, on my lunch break, I played the Commodores song Brick House on my personal player. Every time I hear that tune I am floored by the funk overload. It was only in recent years that I learned that Lionel Ritchie was a Commodore for a time. That chukka-chukka guitar, plucky melodic bass, and shake-yer-bootay drum beat are infectious beyond belief. That famous horn section added even more sex appeal. Super fun stuff... and I think at least one Commodores album should find a home in my record collection one of these days.