Sound Salvation Army

In today’s installment of our feature on vinyl-only releases, we touch once again on a cover song.

Hawks and Doves is the latest project from Gared O’Donnell, a guy who spent a lot of years as the creative force behind Planes Mistake For Stars. That band serves as a master class in all things heavy, running the gamut from soaring post-hardcore to guttural-vocal’d hardcore to near-metal riffing. The decade the band was in existence saw the release of five more-or-less full-length albums and as many singles and EPs. The highlights were many; I personally have purchased three copies of the flawless Knife In The Marathon EP, two of the Fuck With Fire LP, and at least one of all the rest, including the extremely hard to find CD version of the Fucking Fight EP. So yeah, they’re a great band.

But they broke up a few years ago after the varied and heart-stoppingly good Mercy. Sad, but Gared isn’t the kind to sit still. He’s actually been working on his new project for several years, his backing band constantly changing based apparently on whoever is in the room at the time. Essentially a solo project, it consists mostly of him and an acoustic guitar playing what No Idea calls, “blue-eyed soul played through a belt sander.” Trust me, its not as generic or bland as that makes it sound.

The vinyl release in question is the single for the song “Hush Money.” The title-track on the a-side is something of a transitional piece for fans of his previous work, opening with start/stop dynamics and some electric guitar vaguely reminiscent of PMFS’ harder rock. But the tone is far more muted and clean than anything found on those records, the rock guitar serving only to beef up the acoustic leads. The song ebbs and flows in O’Donnell’s characteristic style, building through the song’s final third only to come to an abrupt stop. The vocal is surprisingly clean, with only a few traces of his long-standing harshness bubbling to the surface. During the coda, when O’Donnell pleads “What would you have me do?” his voice melds with the other elements to form a hypnotic tapestry. Its a great introduction.

But the b-side just might make you forget all about what you’ve just heard.

Originally written by Bruce Springsteen for the grossly popular 1984 album Born In The USA, “I’m On Fire” was one of 10 singles released to promote the album. As I’ve previously stated, I fucking hate Springsteen’s cheesy 80’s because of some of the dated instrumentation and production techniques that were in vogue at the time. But that doesn’t mean he wasn’t still writing decent songs.

“I’m On Fire” succeeds in O’Donnell’s hands partly because he stays true to the original. He does exactly what I would have done by keeping the building blocks of the song in place and stripping away the waste, namely the unnecessary synths. He embraces simplicity, letting his acoustic guitar and some choice reverb create an incredibly appropriate atmosphere; that tone and his delivery of the titular lyric sound more like a lonely man in an empty room languishing in his desire than one pleading with a lover to ease his troubles. Some subtle shifts to the song’s structure also help flesh out the arrangement, pushing the climax further towards the end and extending the outro to add some tension.

The mix pushes O’Donnell’s vocal to the forefront despite its feigned fragility, much like the Springsteen original did. But its here that you witness the full range of his vocal capabilities, the raspy hush he delivers most of the song betrayed by his subtle inflections and the ascending notes of the coda. When his voice nearly breaks during the ghostly falsetto that signals the beginning of the song’s outro, the song truly becomes his own. Its a hypnotic and affecting performance.

Of course, because it hews quite closely to the original in many ways there are those that might fail to see some of those subtle differences. But I’ve always maintained that a well-written songs doesn’t necessarily translate into a good cover. As evidence I include as well the absolute horror-show of a cover done by Johnny Cash for the Nebraska tribute that came out in 2000. I know its anathema to speak ill of Johnny Cash in the 00’s but nobody bats a thousand, not even the man in black. Gatsby’s American Dream (a band I love) proved that a well-written song doesn’t translate into an engaging cover when they butchered one of the greatest songs of all time. Just hear how horrible that went.

Way off topic. The point, I suppose, is that this 7″ is remarkable and Gared O’Donnell is an incredibly capable manipulator and creator of (semi-) popular song. I eagerly anticipate a full-length release from Hawks and Doves and its already been too long coming.

 

 Hawks and Doves - I'm On Fire: Play Now | Play in Popup | Download

 

 Bruce Springsteen - I'm On Fire [2:42m]: Play Now | Play in Popup | Download

 

 Johnny Cash - I'm On Fire [3:02m]: Play Now | Play in Popup | Download

 

 Gatsby's American Dream - Don't Think Twice, I'm Alright: Play Now | Play in Popup | Download

 

 Planes Mistaken For Stars - Little Death [3:22m]: Play Now | Play in Popup | Download

Check out the No Idea Records website and buy the hell out of this record. Do it for love.

Pat entries acoustic, Bruce Springsteen, covers, Gatsby's American Dream, hardcore, Hawks and Doves, Johnny Cash, No Idea Records, Planes Mistaken For Stars, rock, vinyl

Regardless of genre, instrumentation, or preconception this song is incredible. So much so that it compels me to talk at greater length about Drag The River, something I should’ve done long ago and somehow haven’t.

Earlier this year I mentioned them in my top 10 rundown, heretofore my lengthiest write-up about them so far. But their story goes back much much farther, beginning well before they ever bothered to let anyone know they existed.

The band started as a bit of a hobby for two wonderful Colorado-based punk rockers: Chad Price of ALL and Jon Snodgrass of Armchair Martian. In 1996 they started cranking out back-porch country jams in their garage, quickly recording some 20 tracks at their friends brand new studio (the now high-profile Blasting Room, also based in Colorado) after the collaborative environment proved so fruitful. The sessions proved popular enough that they began releasing them in 2000, continuing all the while with the regular bands.

A proper full-length album called Closed. was released in 2002, and its far and away their finest work. While it might be cliche to call an alt-country record a booze-soaked journey through genuine misery and loneliness, that’s sort of what it is. This is Snodgrass and Price at the collaborative best: Price’s more unplugged, traditional leanings melding with Snodgrass’ electric guitar work to create something that occupies a fascinating middle ground.

Since then they’ve sporadically recorded and released new and live material, building up a shockingly terrific catalogue. Seriously; their releases are incredible.

Perhaps reflective of the tenuous beginnings of the project they’ve broken up a few times over the years, most recently last year after the release of the great You Can’t Live This Way. They keep drifting back towards getting together and that seems to be the state they now exist in, playing sporadic shows with a rotating line-up that sometimes consists of the full band, Price and Snodgrass as a duo, or Price or Snodgrass on their own.

They’ve recently put out a glut of material, “leftovers” if you will: three 7″ singles and a CD compiling songs from those releases and earlier singles and splits. Much of the material is sparsely recorded, often consisting of little more than acoustic rhythm guitar, electric leads, and sombre vocals. Those singles and Bad At Breaking Up seem almost representative of the strife they’ve been through recently, the rift between members manifesting itself in the very sound of the recordings.

Anyway, the song: the first track you’ll find below is a cover song featured on their Under The Influence 7″ and on the aforementioned CD, both released by their label, Suburban Home/Vinyl Collective. Its called “Jeff Black Song #2,” because the song is technically either untitled or Drag The Rvier doesn’t know it. The story is that they know a guy named Jeff Black who is apparently a very gifted songwriter; they had a cassette of some of his demo recordings in their tour van and listened to it so much they more or less memorized the tunes. When it came time to record covers for the Under The Influence series they laid down one of his songs. Evidently Jeff Black never managed to actually get a record deal, record them properly, or release them. So for all intents and purposes, no one would ever know this isn’t a Drag The River song if they didn’t tell us. It fits so flawlessly into their catalogue and into the tenor of the compilation CD its kind of unbelievable.

I love this band and this song (and the others below) continues to demonstrate how phenomenal a group of performers they really are.

UPDATE/EDIT
A commenter points out that I’m wrong as hell! Jeff Black has released many, many quality albums that are available from his very own website. A podcast with the background on the covers single is right here. Thanks DownSouth! Sorry for the goof.

 

 Drag The River - Jeff Black Song #2 [3:25m]: Play Now | Play in Popup | Download

 

 Drag The River - I Remember Now [5:10m]: Play Now | Play in Popup | Download

 

 Drag The River - Has A Way With Women [2:53m]: Play Now | Play in Popup | Download

Drag The River CDs and vinyl products are available through Suburban Home and Vinyl Collective. Also, iTunes.

Pat entries acoustic, alt country, country, covers, Drag The River

Having grown up in the 80’s my earliest memories of Bruce Springsteen are not great ones. It was Born In The USA that was my dad’s favourite Bruuuuuuuuuuce cassette for most of the decade, actually, and I’ve always had conflicting feelings about it. As a kid its hard to dislike anything, so I genuinely enjoyed the songs. These days its one of my least-favourite Springsteen joints, partly because of the of the title track and partly because of the Kenny Loggins-sounding production. I don’t want to say I hate the 80’s, I just hate music that sounds so obviously 80’s. Dated, I guess you’d say.

I was re-introduced to the Boss when the movie Philadelphia came out, and the movie’s soundtrack featured an incredible original tune by Springsteen. My dad purchased a copy of the Greatest Hits CD and listened to it non-stop in his car, which is where I beheld the majesty of “Atlantic City,” the stand-out track from his sixth album (and perhaps somewhat ironically the record that preceded Born In The USA)

The Boss is constantly heralded as a chronicler of the human experience, penning tales that celebrate the glory and triumphs of the common man at turning points in their lives. That also encompasses moments of despair and flirtation with the darker side of humanity. Half the songs on Nebraska alone are told from the perspective of those involved with or witnesses of criminal behavior (”Nebraska,”"Highway Patrolman,” “Open All Night,” and “Atlantic City”). The album is tied together by its stark acoustic instrumentation and its bleak lyrical view, making up some of Springsteen’s darkest recorded moments.

“Atlantic City” is pretty much a perfect song as far as I’m concerned. Its quintessential Springsteen, using true-to-life events (mafia boss Philip Tesla’s assassination and the combination of the advent of gambling in the titular city and the expectation it would revive its economy) to set off a more personal tale of one man’s troubled life. The story carries an incredible weight, a sensible explanation of how one could logically find themselves drawn in by a criminal element and the specter of danger that lurks just around every corner once that possibility rears its head.

But Nebraska’s notoriously dour acoustic element almost never came to be. Springsteen and the E Street Band had recorded full-band arrangements of the demo tracks that would eventually make up the official release, but they were passed over. In interviews, his long-time manager insisted the right version of the songs was released, the four-track home-recorded demos giving the necessary bleakness and weight to the songs.

While the world has never heard those versions (assuming they still exist) we now have a peek into what they might sound like, thanks to the Hold Steady.

The Hold Steady released the 10th best album of last year, a follow up to the third-best album of 2006 (Boys and Girls In America). They’ve been subject to countless comparisons to the Boss because of Craig Finn’s knack for Springstonian “man of the people” songwriting. Where Bruce talks of redemption and the turning points of peoples lives, Finn writes stories about America’s wasted, disaffected youth and the greatest parties that ever existed in their minds. He’s explored the affects of religious upbringings through detailed character sketches of troubled kids that rebel in the worst possible ways. He’s chronicled the various ways teenagers can trip out at a summer music festival. He’s a genuine storyteller. The band’s wide-ranging bar band sound has plenty of E Street notes peppered throughout their discography as well, never afraid to throw some keys, horns, or saxaphone at a tune.

The band was recently asked to take part in a charity album released by the organization War Child. The concept is simple but interesting: have the artists responsible for some of the best songs ever pick a song from their catalogue and a band they want to cover it. Perhaps knowing what the result would be, Springsteen passed the chalice to the Hold Steady.

The group re-imagines “Atlantic City” as I would imagine the E Street Band did after hearing the original demo cuts from Springsteen’s home recording sessions, from the propulsive drumming to the sturdy guitars, even right down to the wailing Clarence Clemons-style saxaphone riffing. The band has fully embraced everything Springsteenian about them and amplified it and the result is electric.

 

 Bruce Springsteen - Atlantic City [3:57m]: Play Now | Play in Popup | Download

 

 the Hold Steady - Atlantic City [4:34m]: Play Now | Play in Popup | Download

You can find out more about the Heroes project and some of War Child’s other musical fundraising initiatives by clicking here.

Pat entries Bruce Springsteen, charity, covers, the Hold Steady, War Child

Remember when Bloc Party used to be awesome? When their first album came out they were on top of the world, their frenetic blend of fast-paced guitars, break-neck drums, dance beats, and yearning vocals forming the foundation of what was easily one of the best records of the year. I’ll always remember the first time “Banquet” came on my iPod while I was doing dishes at my parent’s house. I had downloaded the single, probably after some hyperbolic Pitchfork hype, and from the first spin I just wanted more. I must’ve hit the back button eight times in a row.

I got the CD for Silent Alarm the day it came out, reveling in its energy and enthusiasm. Even the goddamn love songs have galloping drums and driving guitars. “This Modern Love” has been a favourite right to this day, still making the cut on mix tapes every once in a while.

Today I stumbled on the Take Away Shows website for the first time in a few months and I found a stirring performance by Bloc Party frontman Kele Okereke and guitarist Russell Lissack. The video is much more intimate than usual, but the singing is what really takes an already great song to another level.

Too bad its already been done before!

 

 Bloc Party - This Modern Love (acoustic) [3:48m]: Play Now | Play in Popup | Download

 

 Final Fantasy - This Modern Love: Play Now | Play in Popup | Download

Pat entries acoustic, Bloc Party, covers, Final Fantasy, live music, Take Away Shows

Murder By Death is a pretty big favourite in our house, so I tend to jump all over whatever they decide to release. Most recently that’s a newly-announced 7″ singles series produced with some of their closest friends.

The first volume features the impossibly-deep vocals of William Elliott Whitmore, a 30 year-old white dude from Iowa who sounds like a deep-south bluesman on his deathbed. Performing primarily with nothing more than a guitar or banjo for accompaniment, Whitmore has released five proper albums in the last six or seven years and toured extensively with mostly punk and hardcore bands.

One of those tourmates is Murder By Death, and on the release in question the two share songs. Whitmore covers In Bocca Al Lupo’s “Dynamite Mine” while MBD take on “One Man’s Shame.”

Whitmore’s take on what was already a sombre song results in an even more melancholic number, a song so devastatingly elegiac it’s painful. His vocals are ragged and flinty, lending a voice to the song’s subject that sounds like a man whose spent most of his life inside a mine, away from sunshine and clean air. There’s a real sense of credibility lent to the lyrics just from that voice. Furthermore, the spartan recording is enough to make you believe that the vibration of his banjo strings is practically bouncing off a wall of solid rock before striking your ear.

It’s exactly what split singles are made for: giving a lesser-known artist a chance to wow a wider audience by overshadowing their co-conspirator. William Elliott Whitmore pulls that off in spades. Something tells me he’s going to be worth a second look.

 

 William Elliott Whitmore - Dynamite Mine [2:52m]: Play Now | Play in Popup | Download

 

 Murder By Death - Dynamite Mine [3:19m]: Play Now | Play in Popup | Download

This split — as well as subsequent releases in the singles series and Murder By Death’s past albums — can be found through this webstore. William Elliott Whitmore has a webstore as well. For iTuners, look here and here.

Pat entries banjo, covers, Murder By Death, singles, vinyl, William Elliott Whitmore

I know a gimmick when I see one, but I’ll admit it; I’m a sucker for the ridiculous spate of string quartet “tributes” to popular musical acts.

Vitamin Records started up in 1999 for the sole purpose of releasing “exciting versions of their favorite songs performed in new musical contexts.” They’ve put out an astonishing 185 releases, mostly string quartets, but have branched out into swing, dub, surf, electronic, and lounge covers as well. Pretty incredible considering it’s such a completely ridiculous idea.

As I mentioned, this is pretty gimmicky and while the arrangements are very true to the source material it mostly reeks of a churned-out niche money grab, the majority of the material lacking any kind of real dynamism. I think that’s best shown in the 2Pac album, a ridiculous juxtaposition that honestly carries itself no further than the first track.

Of course there are exceptions. The Tool material in particular is very well-performed and you can tell it’s a favourite of whoever it is that’s behind this project. These are among the handful of songs that truly crackle, replicating the tension and power of the original recordings. The same goes for Radiohead, who are the subject of about three or four of these tributes.

You can throw together a decent mix tape by cherry-picking the best tracks from the labels catalogue. When your work day starts at 4:00am you don’t always want to throw your loudest rock and roll records on the headphones and this presents a happy medium…although it really just makes you want to listen to the originals. Maybe that’s the true purpose of a tribute after all.

 

 Vitamin Records - Let Down (Radiohead) [4:21m]: Play Now | Play in Popup | Download

 

 Vitamin Records - Sober (Tool) [5:09m]: Play Now | Play in Popup | Download

There’s more than anyone will ever need available for purchase at the Vitamin Records webstore.

Pat entries covers, Radiohead, string quartet, Tool, tribute, Vitamin Records

Atom & His Package (if I haven’t mentioned it before) is a one-man band that consists entirely of Adam Goren and his trusty collection of synthesizers. Many have discounted his numerous releases because his singing voice is rather comical, which means this post makes perfect sense as many have the same qualms about John Darnielle’s voice.

This track is taken from a 3-song 7″ which saw an extremely limited release of just 500 copies. Written inside the small insert is the story of how Adam heard a Mountain Goats song once and it haunted him for a very long time until he figured out who it was. He, like me, was hooked after just one song and, also like me, quickly bought up everything he could find.

So he was playing a brief set of cover songs for a show and decided to do some Mountain Goats numbers, which were recorded and released on this 7″.

If you can find a copy (and actually want one) then I hope you find it.

 

 Atom & His Package - Alpha Desperation March [2:32m]: Play Now | Play in Popup | Download

Atom & His Package has a merchandise page and other stuff on itunes

Pat entries Atom & His Package, covers, synthesizers, the Mountain Goats

The Weakerthans doing something they don’t often seem to do: a cover song!

This song is taken from a short compilation 7″ put out by No Idea Records and AK Press, a collective that publishes “radical” books. The Read Army Faction was a fundraiser for the publisher and features songs from a CD fundraiser called Return of the Read Menace. However, I’ve never seen that compilation and I’m not convinced it actually exists, so I’m qualifying this as a vinyl-only release.

Anyhow, the 7″ features some really great cuts from some extremely great bands. All four turn in cover songs, and perrenial favourites of mine Hot Water Music and Discount prove very satisfying. Avail’s take on a classic Elvis/Waylon Jennings/Gary Glitter/Dionne Warwick’s sister/Fine Young Cannibals/Dwight Yoakam/Pete Yorn track is also a treat.

But cover songs aren’t something the Weakerthans are known for. I’ve seen them six or eight times and as far as I know, they’ve played maybe one cover and I can’t even think of what that song would’ve been. Maybe they never have (if you don’t count that Propagandhi song that isn’t really but kind of is a cover from the first LP). So as far as I know this is the only cover of theirs that’s ever been officially released (aside from a Rheostatics song contained in a digital live set, but digital doesn’t count). The original is by Vietnam War-era protest singer Phil Ochs. It is pretty okay. The cover is as well and it definitely sound like early Weakerthans.

Enjoy!

 

 the Weakerthans - the Ringing of Revolution [3:22m]: Play Now | Play in Popup | Download

The single can be purchased from No Idea’s site and it’s worthwhile. Plus, it’s green!
Other Weakerthans material is available through Maple Music but that site is kind of shitty. Cinder Block is better and has more.

Pat entries AK Press, covers, good causes, Phil Ochs, the Weakerthans, vinyl

So I’ve been listening to vinyl records for the last six or seven years, but it’s really amped up the last year or so as it’s suddenly become commercially viable or cool or whatever again. It’s pretty great to have the big art, the effort that goes into it, the whole tactile experience.

Lately, however, I’ve been doing everything I can to destroy that experience. My lady’s mom gave me a comedy LP she found at a garage sale or something, an album she’s never heard but based on the cover art and the dude’s name she would like to know what it’s like. So she asked me if I’d be able to get it onto a CD. Well, after a week or two of figurin’ and playing with the various cables and connectors I have I managed to put together a very workable patch system.

So I’ve been “ripping” all my vinyl-only material onto my laptop, cleaning it up, boosting the levels, and whatnot and loading those songs onto my iPod. It’s a wealth of material that is “fresher” to my ears because there just isn’t as much opportunity to listen to it all as frequently. So I’m totally psyched about it and I’m going to try to share that level of psychitude.

This will be the first of a weekly offering of material that has only been available on vinyl, sacrilegiously captured in a digital form.

Below you’ll find one of the best (and most traditionally country) songs by Colorado’s Drag The River, a scrappy group of old punk rockers who play their own brand of “alt-country.” Because I’m a nerd for the English language and word useage, I like this song that much more. Then, unique yet old-timey rock and rollers Murder By Death take on one of my most hated bands ever, Guns ‘n Roses, with results that I quite like. Apologies for the sound quality on that track; it appears the UK label that pressed it doesn’t give a shit for sound quality. Finally, a frenetic and hilarious re-write of Jerry Reed’s “I’m Gonna Write A Song” finds jokey punk cover band Me First and The Gimme Gimmes taking an unusually political slant. Key changes and the breakneck pace leave singer Spike Slawson gasping for air by the time it’s all over.

 

 Murder By Death - Don't Cry [3:55m]: Play Now | Play in Popup | Download

 

 Drag The River - ...Has A Way With Women [2:53m]: Play Now | Play in Popup | Download

 

 Me First & the Gimme Gimmes - I'm Gonna Write A Song [1:51m]: Play Now | Play in Popup | Download

Murder By Death’s Brother single features the Guns ‘n Roses cover as the b-side (how they made G’nR palatable shows just how great of a band they are) and can be procured here. Word of caution: it’s a UK import and thus is likely pricey.
Drag the River’s …Has A Way With Women 7″ features two other great songs and (thanks to a recent re-press) is available here.
Me First and The Gimme Gimmes‘ Jerry 7″ is part of their Square Dance Singles Series. The actual square-shaped vinyl version is long-since sold out, but the “yella” version should still be available to purchase through some retailers.

Pat entries acoustic, b-sides, country, covers, Drag The River, Guns n' Roses, Jerry Reed, Me First and The Gimme Gimmes, Murder By Death, vinyl

A well-chosen cover song is a lovely thing when performed live. If it’s familiar to the audience it can provide a shot of energy, camaraderie, or pathos. Or it can be laughable and destroy any goodwill the originals may have garnered.

Recorded covers are dangerous territory, moreso than live. Live covers are there and then gone; recorded covers exist forever and sometimes embarrassingly provide a group’s only mainstream exposure (Alien Ant Farm much?).

This past week I received a very nice surprise in the mail: along with my LP copy of Heresy & the Hotel Choir by Milwaukee’s Maritime, the band included a free 7″ with a couple of cover songs. In particular, one especially exquisite cover song. One of the finest covers I own.

“Boy From School” was originally written and recorded by the English group Hot Chip for 2006’s the Warning. The magic of Maritime’s version is that there’s really nothing different from the original version aside from the instruments it’s played on. Vibrant guitars replace buzzing keyboards and female vocals turn the vocal melody into a pristine duet.

But more importantly than that, the cover helped me realize how good the band’s original works are. Prior to the vinyl release showing up at my door, I had a digital copy that provided me little joy. Aside from lead track and first single, “the Guns of Navarone,” I really couldn’t get into any of it. “Boy From School” opened it up, and there are several pristine pop jems on the album that really beg hearing.

So here’s to you, cover song, for all the good and evil that you do. I thank you for this one.

 

 Maritime - Boy From School [5:31m]: Play Now | Play in Popup | Download

 

 Maritime - Be Unhappy [3:59m]: Play Now | Play in Popup | Download

 

 Maritime - Guns of Navarone [3:00m]: Play Now | Play in Popup | Download

Maritime’s website says to go to Foreign Leisure to buy vinyl, but it’s all sold out on there from the looks of things. So try:
InSound: Might be your last shot. Oh, and they have some CDs.
iTunes: three full lengths here, buddy

Pat entries covers, Hot Chip, Maritime, pop rock