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SOMB Top 40 Compilations / Reissues of 2008 - Results Thread


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#41 Paul

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Posted 01 January 2009 - 07:05 PM

#12.


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Whiskeytown - Stranger's Almanac (Deluxe Edition)

(838 Points, 11 Votes)

Tracklist
:
Disc 1
1. Inn Town
2. Excuse Me While I Break My Own Heart Tonight
3. Yesterday's News
4. 16 Days
5. Everything I Do
6. Houses On The Hill
7. Turn Around
8. Dancing With The Women At The Bar
9. Waiting To Derail
10. Avenues
11. Losering
12. Somebody Remembers The Rose
13. Not Home Anymore
14. Houses On The Hill
15. Nurse With The Pills
16. I Don't Care What You Think About Me
17. Somebody Remembers The Rose
18. Turn Around

Disc 2
1. Indian Gown
2. 16 Days
3. Somebody Remembers The Rose
4. Avenues
5. Excuse Me While I Break My Own Heart Tonight
6. Houses On The Hill
7. My Heart Is Broken
8. I Still Miss Someone
9. Kiss & Make-Up
10. Barn's On Fire
11. Dancing With The Women At The Bar
12. Dreams
13. Breathe
14. Wither, I'm A Flower
15. Luxury Liner
16. Theme For A Trucker
17. Streets Of Sirens
18. Turn Around
19. 10 Seconds
20. Ticket Time
21. The Rain Won't Help You When It's Over

Amazon.com Product Description:
STRANGERS ALMANAC was Whiskeytown's penultimate album. The band is still steeped in the sounds of country and Gram Parsons-inspired country-rock here, but one can hear the music moving toward the pop of their final effort PNEUMONIA. Everything still centers around the voice and excellent songwriting of Ryan Adams (who was still only 22 at the time of this album's release).

The song "16 Days," for example, with its breezy, open-road, country vibe and the lovely interlocking harmonies between Adams and violinist Caitlin Cary, was released as a single, and rightfully so. There is also the beautiful, melancholic weeper "Dancing With the Women at the Bar," and a revisitiation of "Excuse Me While I Break My Own Heart Tonight," which appeared on the band's debut. Adams's talent shines so brightly here, in fact, that it is little wonder he would soon be pursuing a solo career (the internal tensions in the band would hasten its dissolution as well), but STRANGERS ALMANAC captures this fine, short-lived, alt-country band in full effect.

AMG Says:
When an album is good but a bit overlong, can you improve it by expanding it to roughly three times its original length? That's the curious gambit behind Geffen's "Deluxe Edition" of Whiskeytown's 1997 major-label debut, Strangers Almanac; while the original release of the album clocked in at a bit under 52 minutes, this reissue has been expanded into a two-disc set that's nearly 148 minutes long. Strangers Almanac caught Whiskeytown in an awkward moment in their history; while they'd gained a far higher profile as a new major-label act and were pegged as rising stars, tensions within the band were already starting to fracture the lineup, and Ryan Adams, Phil Wandscher, and Caitlin Cary had to replace their rhythm section a mere two weeks before they began recording, with session musicians filling out the lineup. While Strangers Almanac's fallow stretches hamper its pacing, the best material ranks alongside Whiskeytown's finest moments, and the album sounds powerfully cohesive, with a real chemistry between Adams, Cary, and Wandscher that was absent from the group's posthumous swan song Pneumonia. However, this new version of the LP seems to reflect one of the guiding credos of Adams' solo career, namely that Quantity Is Quality. Disc one of the Deluxe Strangers Almanac features the original 13-song album along with a five-song radio broadcast from the fall of 1997, with the band meandering through a sloppy live set that does feature two otherwise unreleased songs and a few inspired moments, but sounds as if Adams had awakened from a deep sleep two minutes before air time. Disc two features two rare tunes that popped up on film soundtracks ("Wither, I'm a Flower" from Hope Floats and "Theme for a Trucker" from The End of Violence) along with 19 alternate takes and demos that have circulated among fans under the title "The Barn's on Fire." Most of the disc two material is the sort of stuff that gets bootlegged but not given an authorized release for a reason -- they're covers and alternate versions (usually acoustic) that obsessive fans will dote on, but few if any objective listeners would peg as being as interesting as the group's authorized recordings. Sadly, this adequate but hardly compelling music has been included when some more interesting stuff didn't make the cut -- the four-track promo EP In Your Wildest Dreams (where "Wither I'm a Flower" made its first appearance), and several compilation appearances and single sides (especially the group's potent version on Moon Mullican's "Bottom of the Glass" on the Bloodshot collection Straight Outta Boone County). Ultimately, this edition tends to dilute Strangers Almanac's strengths rather than reinforcing them, which is a shame, as its one of the best and least acknowledged albums in Ryan Adams' pantheon.

Ranked Highest By: BobtheSquid (#3)

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#42 Paul

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Posted 01 January 2009 - 07:08 PM

#11.


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Rivers Cuomo - Alone II: The Home Recordings of Rivers Cuomo

(865 Points, 5 Votes, 4 #1 Votes)

Tracklist
:
1. Victory On The Hill
2. I Want To Take You Home Tonight
3. The Purification Of Water
4. I Was Scared
5. Harvard Blues
6. My Brain Is Working Overtime
7. I Don't Want To Let You Go
8. Oh Jonas
9. Please Remember
10. Come To My Pod
11. Don't Worry Baby
12. The Prettiest Girl In The Whole Wide World
13. Can't Stop Partying
14. Paper Face
15. Walt Disney
16. I Admire You So Much
17. My Day Is Coming
18. Cold And Damp
19. I'll Think About You

Amazon.com Product Description:
Rivers Cuomo, Weezer's front-man & song-writer, released some of his home recordings earlier in 2008. The release was so successful that he has decided to release even more. Includes demo tracks written from 1992-2007, a cover of the Beach Boys' song "Don't Worry Baby", & the three song mini suite from the highly sought after "Songs from the Black Hole". Great addition to any Weezer fan's collection.

AMG Says:
Very much cut from the same cloth as its 2007 predecessor, Alone II: The Home Recordings of Rivers Cuomo doesn't so much offer additional revelations about Cuomo's extracurricular musical activity as it offers more of the same. If anything, Alone II feels more a bit more like a collection of demos than Alone I, containing just a slightly higher quotient of instrumental scraps and odd throwaways, lacking any embryonic version of Weezer hits (although it does have an early solo demo of "Paperface," which was recorded and discarded by the full band for their debut, later popping up on the deluxe edition of that album). There are three further songs from the scrapped Songs from the Black Hole project but the running time of this mini-suite is roughly 2:30, its brevity kind of puncturing the myth that the album is some kind of lost masterpiece, but the appeal of Alone II — like that of Pete Townshend's Scoop series, the closest comparison among other rockers — is its messiness, how full-blown buried gems in the rough sit next to cuts so curious they defy explanation. Here, those curiosities are almost all in those less-than-a-minute snippets — ranging from the gawky trumpets of the opener "Victory on the Hill" to the decidedly lo-fi mash note "I Admire You So Much" — and these blips punctuate a set of very, very good pop tunes, songs that could have been polished up and slid onto a proper Weezer album: "I Want to Take You Home Tonight" pulses with self-loathing sex, "I Was Scared" is good Pixies-ish pop, and neither sound like their early 2000s, they sound like they were written roughly ten years before, when Cuomo wrote the terrific, bouncy pure pop "I'll Think About You." That's not to say that Cuomo stays in the same place — far from it, as Alone II, like its predecessor, has more textures than most Weezer albums, thanks to some nice variations on Cuomo's signatures, such as the big piano ballad "My Day Is Coming," or how the dark, swirling undercurrent of organ on "The Purification of Water" turns it into something uniquely ominous or how "I Don't Want to Let You Go" deftly reworks some early rock & roll progressions and has a romanticism that also belongs to that era. Although The Red Album showed some serious signs of loosening up, Cuomo still doesn't allow himself the freedom to venture in these directions on Weezer's albums, and that's what makes both volumes of Alone quite valuable: they're as eccentric as they are accessible, portraits of a pop hermit letting his mind wander wherever it may take him.

Ranked Highest By: Pavement Ist Rad, Paul, Slap Nutz, The Good Dr Bill(#1)

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#43 Paul

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Posted 01 January 2009 - 07:11 PM

#10.


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R.E.M. - Murmur (Deluxe Edition)

(913 Points, 9 Votes, One #1 Vote)

Tracklist
:
Disc 1
1. Radio Free Europe
2. Pilgrimage
3. Laughing
4. Talk About The Passion
5. Moral Kiosk
6. Perfect Circle
7. Catapult
8. Sitting Still
9. 9-9
10. Shaking Through
11. We Walk
12. West Of The Fields

Disc 2
1. Laughing
2. Pilgrimage
3. There She Goes Again
4. 7 Chinese Bros.
5. Talk About The Passion
6. Sitting Still
7. Harborcoat
8. Catapult
9. Gardening At Night
10. 9-9
11. Just A Touch
12. West Of The Fields
13. Radio Free Europe
14. We Walk
15. 1,000,000
16. Carnival Of Sorts (Boxcars)

Amazon.com Product Description:
This two disc collection is completely remastered. The first disc is the original I.R.S. album which was released on April 12, 1983. The second disc is previously unreleased live show from Larry's Hideaway in Toronto, Canada performed on July 9, 1983.

AMG Says:
Leaving behind the garagey jangle pop of their first recordings, R.E.M. developed a strangely subdued variation of their trademark sound for their full-length debut album, Murmur. Heightening the enigmatic tendencies of Chronic Town by de-emphasizing the backbeat and accentuating the ambience of the ringing guitar, R.E.M. created a distinctive sound for the album -- one that sounds eerily timeless. Even though it is firmly in the tradition of American folk-rock, post-punk, and garage rock, Murmur sounds as if it appeared out of nowhere, without any ties to the past, present, or future. Part of the distinctiveness lies in the atmospheric production, which exudes a detached sense of mystery, but it also comes from the remarkably accomplished songwriting. The songs on Murmur sound as if they've existed forever, yet they subvert folk and pop conventions by taking unpredictable twists and turns into melodic, evocative territory, whether it's the measured riffs of "Pilgrimage," the melancholic "Talk About the Passion," or the winding guitars and pianos of "Perfect Circle." R.E.M. may have made albums as good as Murmur in the years following its release, but they never again made anything that sounded quite like it. [As far as deluxe editions go, Universal's 2008 expansion of R.E.M.'s 1983 debut Murmur leans toward the skimpy: it may spill over to two CDs, but the only bonus material is a live show recorded at Larry's Hideway in Toronto, just three months after the album's release. There was enough room on the first disc to add both the early Hib-Tone single of "Radio Free Europe" and their first EP, Chronic Town, plus assorted stray tracks; much of this material has shown up on various releases over the years -- the bulk being reissued on 1987's clearinghouse Dead Letter Office, which also had Chronic Town on the CD, but the Hib-Tone single has popped up on Eponymous and the rarities disc, 2006's And I Feel Fine -- so most R.E.M. fans have this in their collection, which is necessary as it's not here. Any lingering resentment over this missing music should be soothed by the live show on the second disc, which captures the band in full flight. This release constitutes the first official release of an early R.E.M. concert (there are bootlegs containing a slightly longer set but this is close enough to qualify as a full show) and it's a welcome addition to their catalog as it crackles with an energy that is missing from the hazy, ethereal Murmur. R.E.M. barrel through the bulk of the album -- only "Moral Kiosk" and "Shaking Through" are absent -- plus a chunk of Chronic Town, throwing in a cover of "There She Goes Again" and early versions of Reckoning's "Harborcoat," "7 Chinese Bros.," and "Just a Touch," which didn't surface until 1986's Lifes Rich Pageant. This wasn't a showcase night for R.E.M., it was just another gig on the tour, and that's the great thing about it: the band isn't self-conscious, they're just tearing through their songs, rocking harder than they did on any of their studio albums. It's direct and a little raw -- with microphone feedback on occasion -- in a way that none of their early albums are, and that's what makes it worthy of a special edition, even if it's hard not to wish that first disc had just a few extra cuts as well.]

Ranked Highest By: arkin (#1)

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#44 Pavement Ist Rad

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Posted 01 January 2009 - 07:13 PM

#11.
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Ranked Highest By: Pavement Ist Rad, Paul, Slap Nutz, The Good Dr Bill(#1)

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Damo Suzuki: So, um, yeah. Getting older isn't as bad as it sounds. Better than being young & poor (DjDrake) or young & slutty (SG) or young, poor and slutty (Paves); am I right?

Alright, my friends. It's time for another solid little rock jam

#45 Paul

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Posted 01 January 2009 - 07:14 PM

#9.


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Gas - Nah Und Fern

(975 Points, 6 Votes, Four #1 Votes)

Tracklist
:
Disc One: Gas
1 [untitled] 6:28
2 [untitled] 14:08
3 [untitled] 8:21
4 [untitled] 11:50
5 [untitled] 13:57
6 [untitled] 13:52

Disc Two: Zauberberg
1 [untitled] 7:46
2 [untitled] 14:10
3 [untitled] 12:47
4 [untitled] 6:00
5 [untitled] 8:01
6 [untitled] 11:05
7 [untitled] 9:12

Disc Three: Königsforst
1 [untitled] 9:49
2 [untitled] 13:56
3 [untitled] 9:02
4 [untitled] 6:33
5 [untitled] 15:20
6 [untitled] 10:20

Disc Four: Pop
1 [untitled] 5:31
2 [untitled] 8:37
3 [untitled] 7:26
4 [untitled] 9:28
5 [untitled] 10:52
6 [untitled] 9:18
7 [untitled] 15:03

Amazon.com Product Description:
The Kompakt label presents the work of Wolfgang Voigt's Gas -- a remastered deluxe package that includes all four of his Mille Plateaux albums: Gas (1996), Zauberberg (1997), K"nigsforst (1998) and Pop (2000). Wolfgang Voigt, in the past known under a great many pseudonyms such as Mike Ink, Studio 1 or Grungerman, is the driving force behind the rise of Cologne minimal techno and also Kompakt's co-founder and co-owner. In the 1980s, Voigt began working under a concept he named BLEI -- extracting elements from classical, polka, brass music, electronic pop and German schlager sounds to form a distinguished and unique pop music style that would fit in with the subculture at that time. In the early 1990s, influenced by techno, Voigt began to experiment with a timbal marching through strongly alienated, free-floating string loops. These elegiac tracks, their lack of beginning and end, their intoxicating, smooth and partly amorphous structure sounded to him like evaporating gas and thus -- Gas was born. Gas is the vision of a sonic body between Sch"nberg and Kraftwerk, between French horn and bass drum. Gas is Wagner goes glam rock, and Hansel and Gretel on acid. Gas takes you on a seemingly endless march through the woods into the discotheque. Reducing the material to its basic aesthetic structure by using different zoom, loop and alienation techniques, he releases it from its original meaning and context, creating a kind of aesthetic essence, a cave to get lost inside. There are one or two new tracks and versions, but both Voigt and J"rg Burger decided to keep remastering light, maintaining Gas' purity and authenticity. This 4CD box comes in a special and stylish collector's format, including 4 small artwork prints. The double vinyl comes in a fold cover with a bonus artwork print and is strictly limited. The vinyl features one extended-edit track from each of the albums per side.

AMG Says:
Nah und Fern (Near and Far) bundles Wolfgang Voigt's four ambient techno albums as Gas originally issued on Mille Plateaux: Gas (1996), Zauberberg (1998), Königsforst (1999), and Pop (2000). Released on Voigt's Cologne-based Kompakt label, this is a four-disc set sold at the price of a double, featuring barely perceptible remastered sound (the point) and four artwork prints. This is as momentous as it gets in the small and otherwise discreet world of ambient techno. Kompakt also issued a double-vinyl companion with side-long edits on three sides with an exclusive track on the fourth, and the Raster-Noton label commemorated the occasion by publishing a 128-page book with a CD of previously unreleased Gas material. The most ambitious and productive Voigt ambient alias (over the likes of All, Mint, and Tal), Gas took on slightly different shades throughout the years, though we are definitely not dealing with a Primal Scream-like volte-face from release to release. From Gas through Königsforst, there is a gradual decline in harshness, but the finale, Pop, is the starkest overall. None of the tracks, ranging from five to 15 minutes in length across the series, were given titles, and the primary distinguishing factor between them is whether or not a submerged beat, typically in the form of a four-four, is present. The shifts are slight, detectable only through total immersion. It's not like there is a signature moment among the 20 tracks, or the Gas equivalent of a "1/1" or "An Ending (Ascent)," as with Brian Eno's ambient releases. The closest to standouts or instantly identifiable moments include the third track of Pop (its nearly subliminal, downcast melody reminiscent of Blade Runner, especially if Vangelis had focused instead on a sewer-level view of Los Angeles' damp streets), the following track of the same album (for its simultaneously lulling and disquieting chime-like effect), the fifth track of Zauberberg (for its oscillating stomp), and the first track of Königsforst (the most physical production, full of friction, the best candidate for terrifying a paranoia-prone sleeper in the middle of the night). Fit for zero-gravity clubbing, forest sleepwalking, or lucid dreaming, these discs make for the most affecting ambient techno released during the late '90s and early 2000s. Each album is bound to suck you into its own dream world, where lapsed shoegazers and chillout room veterans go to die, within a matter of seconds. The set is appropriately a Kompakt release, not just because the person behind the label and the music is one and the same; practically everyone who has contributed to the label's annual Pop Ambient series is a Voigt descendant.

Ranked Highest By: Badger, vurt, Heretix, undo(#1)

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#46 Pavement Ist Rad

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Posted 01 January 2009 - 07:15 PM

Cool.
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Damo Suzuki: So, um, yeah. Getting older isn't as bad as it sounds. Better than being young & poor (DjDrake) or young & slutty (SG) or young, poor and slutty (Paves); am I right?

Alright, my friends. It's time for another solid little rock jam

#47 Paul

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Posted 01 January 2009 - 07:17 PM

#8.


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Neil Young - Sugar Mountain: Live At Canterbury House 1968

(1025 Points, 11 Votes)

Tracklist
:
1. On The Way Home
2. Mr. Soul
3. Expecting To Fly
4. The Last Trip To Tulsa
5. The Loner
6. Birds
7. Winterlong (excerpt)
8. Out Of My Mind
9. If I Could Have Her Tonight
10. Sugar Mountain
11. I've Been Waiting For You
12. Nowadays Clancy Can't Even Sing
13. The Old Laughing Lady
14. Broken Arrow

Amazon.com Product Description:
Now greet the arrival of 'Sugar Mountain- Live At Canterbury House 1968,' another singular installment in the continuing Neil Young Archives Performance Series. On this CD+DVD set, recorded in Ann Arbor, MI, November 9-10, just days before the release of Young's self titled solo debut, one of the greatest singer-songwriters in rock history is heard solo and acoustic at the height of one of the must tumultuous and creative periods ever experienced both in music and culture. This set contains a CD featuring 14 tracks, a DVD disc including a high resolution audio mix of the album plus a 5 minute trailer for the archives set.

AMG Says:
Sugar Mountain: Live at Canterbury House 1968 the third installment from Neil Young's Archives — although through some weird filing system this is Vol. 00, possibly because this dates before either of the previously released volumes in Archives Performance Series — culls highlights from Neil Young's two shows at Canterbury House in Ann Arbor, MI on November 9 and 10, 1968. Like its two predecessors in the Archives series, the concerts captured on Sugar Mountain are legendary among Neil Young collectors, in this case because of the gentle, tentative version of the title track that showed up on Decade — prior to this, the only official release from the concert. At first glance, Sugar Mountain might seem similar to Live at Massey Hall 1971, as they're both solo acoustic sets, but the tenor of the two shows is quite different. Massey Hall captured Neil in full flight, just before the release of Harvest, whereas the concerts on Sugar Mountain were just a month or two shy of the release of his first solo album. He had hits with Buffalo Springfield — much of the set list leans heavily on Springfield songs, such as "Mr. Soul," "Expecting to Fly," "Birds," "Nowadays Clancy Can't Even Sing," and "Broken Arrow" — but he had yet to prove himself as a solo artist, so the endearing tentative quality of his performances shouldn't come as a surprise, and yet it does: Young's reputation as a steely renegade often suggests that he never second-guesses his moves. Neil doesn't second-guess here but he is fragile and human, telling stories (sometimes at considerable length) before sliding into these delicate songs, wryly lamenting that he should have some happy songs to sing before testing out the melody for "Winterlong," stopping short because the song isn't quite written yet. It's a marvelously intimate performance, unguarded and open-hearted, unique in its delicate touch: it's Neil Young before the myth crystallized, and listening to it anew, it's easy to fall in love with him all over again.

Ranked Highest By: BobtheSquid (#2)

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#48 Pavement Ist Rad

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Posted 01 January 2009 - 07:17 PM

Word.
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Damo Suzuki: So, um, yeah. Getting older isn't as bad as it sounds. Better than being young & poor (DjDrake) or young & slutty (SG) or young, poor and slutty (Paves); am I right?

Alright, my friends. It's time for another solid little rock jam

#49 Paul

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Posted 01 January 2009 - 07:19 PM

#7.


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Pavement - Brighten the Corners (Nicene Creedence Edition)

(1055 Points, 8 Votes, Two #1 Votes)

Tracklist
:
Disc One
Brighten the Corners
1. "Stereo"
2. "Shady Lane / J Vs. S"
3. "Transport Is Arranged"
4. "Date w/ IKEA"
5. "Old to Begin"
6. "Type Slowly"
7. "Embassy Row"
8. "Blue Hawaiian"
9. "We Are Underused"
10. "Passat Dream"
11. "Starlings of the Slipstream"
12. "Fin"
Brighten The Corners outtakes
13. "And Then.... (The Hexx)" (originally released as the B-side to Spit On A Stranger (OLE-384-7), May, 1999, but presented here is the unedited full version, as such previously unreleased. It was also originally planned to be the opening track to Brighten The Corners.)
14. "Beautiful as a Butterfly"
15. "Cataracts"
Stereo single
16. "Westie Can Drum"
17. "Winner of the"
18. "Birds in the Majic Industry" (previously unreleased full length vocal version)
Spit On A Stranger single (included here since both were recorded and mixed during Brighten The Corners sessions)
19. "Harness Your Hopes"
20. "Roll with the Wind"

Disc Two
Shady Lane single
1. "Slowly Typed"
2. "Cherry Area"
3. "Wanna Mess You Around"
4. "No Tan Lines"
BBC Radio One Evening Session, January 15, 1997
5. "Then (The Hexx)" (previously unreleased)
6. "Harness Your Hopes" (previously unreleased)
7. "The Killing Moon" (released on Major Leagues EP)
8. "Winner of the" (previously unreleased)
Brighten The Corners outtakes
9. "Embassy Row Psych Intro" (previously unreleased)
10. "Nigel" (previously unreleased)
11. "Chevy (Old to Begin)" (previously unreleased mix)
12. "Roll with the Wind (Roxy)" (previously unreleased mix)
God Save The Clean: A Tribute to the Clean, Flying Nun Records compilation
13. "Oddity"
Tibetan Freedom Concert compilation
14. "Type Slowly" (live)
KCRW Morning Becomes Eclectic, February 25, 1997
15. "Neil Hagerty Meets Jon Spencer in a Non-Alcoholic Bar" (previously unreleased)
16. "Destroy Mater Dei" (previously unreleased)
17. "It’s A Rainy Day, Sunshine Girl"
18. "Maybe Maybe"
BBC Radio One John Peel Live Session, August 21, 1997
19. "Date w/ IKEA" (previously unreleased)
20. "Fin" (previously unreleased)
21. "Grave Architecture" (previously unreleased)
22. "The Classical" (released on Major Leagues EP)
WFNX Studios, February 12, 1997
23. "Space Ghost Theme I" (previously unreleased)
24. "Space Ghost Theme II" (previously unreleased)

Amazon.com Product Description:
The fourth in Matador's series of deluxe editions of the five classic Pavement albums is a rather joyous pop explosion after the complications of "Wowee Zowee". The double CD set, again packaged in an embossed slipcase with gorgeous 62-page perfect-bound booklet, contains the remastered original twelve-song album, ten non-album B-sides, ten outtakes, and fourteen live radio session takes, along with full-color poster and postcard.

AMG Says:
Expanded like Slanted & Enchanted, Crooked Rain, Crooked Rain, and Wowee Zowee before it, Brighten the Corners: Nicene Creedence Edition is a gargantuan, generous expansion of Pavement's fourth album. Upon an initial scan of the track listing, this may seem to hold fewer unexpected treasures for the diehards than its predecessors, as it's heavy on B-sides and radio sessions in circulation (albeit much of the latter only on boots) but that's a misleading impression: even for those well familiar with the cha-cha beat of "No Tan Lines," this reveals much, chiefly how Pavement played as a band. The preponderance of alternate takes -- not just inversions like spinning the sleepy "Type Slowly" into the chaotic "Slowly Typed" or the numerous BBC versions and live takes from Brighten material, but early unveilings of songs that showed up on Terror Twilight, along with revealing that many of that album's B-sides are outtakes from these earlier, looser sessions. First among these Terror tunes is the magnificent "The Hexx," initially titled "And Then...," a dreamy, ominous epic that the band never quite got right but it's fascinating to hear the initial stab here, and a BBC version that showed up later. While there isn't much here in the way of genuine unheard, unearthed studio cuts -- the instrumental "Beautiful as a Butterfly," the nicely shambolic "Cataracts," and the ragged country-ish "Nigel" are the only unreleased BTC outtakes, largely due to those vaults being cleared for B-sides -- having all this music placed in the larger context of the album is helpful, especially as it winds up livening up the rather subdued, ponderous proper album. Apart from the snarky opener "Stereo," and maybe Malkmus' stoned, ironic rapping on "Blue Hawaiian," there wasn't much in the way of humor or mess on Brighten the Corners -- an overcorrection for the wildly weird Wowee Zowee that made sense commercially, but now that these ragged ends are threaded back into the tapestry, Brighten the Corners seems a better album. Now, the flat-out nasty Elastica rip "Westie Can Drum" -- a phrase not sung once in the song, as Malkmus rails on his drummer for not keeping time, telegraphing his frustrations with the band -- is here, "Birds in the Majic Industry" is given lyrics, the cheerfully loping "Harness Your Hopes" is added, the band cuts loose with the careening "Wanna Mess You Around," then eases out with "No Tan Lines." Much of the BTC material sounds more open in the radio sessions, too, and it's possible to hear the roots of Malkmus' elastic guitar jams in his solo career, but the radio sessions also look backward, as the band covers Echo & the Bunnymen ("The Killing Moon"), the Fall ("The Classical"), Faust ("It's a Rainy Day, Sunshine Girl"), and the Clean ("Oddity," not a radio session, but close enough to count). These radio sessions also produce some other great funny one-offs, including two absurd themes for "Space Ghost" and the wonderful "Neil Hagerty Meets Jon Spencer in a Non-Alcoholic Bar," a noisy, cloistered dose of rock & roll which amazingly manages to sound like its title; that same Morning Becomes Eclectic session also gives up the pretty terrific noise-pop "Destroy Mater Dei" and the heaping mess of "Maybe Maybe." All this extra material may not carry the same deliberate weight as so much of Brighten the Corners, but it enhances the album considerably, bringing it closer to an album that can stand with Pavement's first three classics.

Ranked Highest By: radiocure, SimulatedStereo (#1)

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#50 Mitchell

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Posted 01 January 2009 - 07:19 PM

R.E.M. burnt by Gas.
Nice bowl of Crunchy Nut you got here, pretty expensive as I recall.

#51 Pavement Ist Rad

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Posted 01 January 2009 - 07:20 PM

Pavement lol I'll probably never remember to buy that.
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Damo Suzuki: So, um, yeah. Getting older isn't as bad as it sounds. Better than being young & poor (DjDrake) or young & slutty (SG) or young, poor and slutty (Paves); am I right?

Alright, my friends. It's time for another solid little rock jam

#52 Mitchell

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Posted 01 January 2009 - 07:21 PM

*Falls over from low Pavement placing*
Nice bowl of Crunchy Nut you got here, pretty expensive as I recall.

#53 Pavement Ist Rad

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Posted 01 January 2009 - 07:22 PM

It came out like a week ago.
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Damo Suzuki: So, um, yeah. Getting older isn't as bad as it sounds. Better than being young & poor (DjDrake) or young & slutty (SG) or young, poor and slutty (Paves); am I right?

Alright, my friends. It's time for another solid little rock jam

#54 Paul

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Posted 01 January 2009 - 07:22 PM

#6.


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Jay Reatard - Singles 06-07

(1068 Points, 12 Votes, Two #1 Votes)

Tracklist
:
01. Night of Broken Glass
02. Another Person
03. All Over Again
04. Feeling Blank Again
05. I Know a Place
06. Don't Let Him Come Back
07. Hammer I Miss You
08. It's So Useless
09. All Wasted
10. In the Dark
11. Searching for You
12. Haunting You
13. Let It All Go
14. Blood Visions
15. Turning Blue
16. It's So Easy
17. Oh It's Such a Shame

Amazon.com Product Description:
By now, Jay Reatard should be known to most everyone paying any attention to this whole indie/punk/pop/garage/shitgaze/blahblahblah. Former front guy for The Reatards and Lost Sounds and current solo sensation, the man is nothing if not prolific. After recording his debut solo LP, 2006’s Blood Visions, Reatard released a slew of singles and EPs on labels across the globe; all were pressed in limited quantities and now fetch serious coin on eBay.

AMG Says:
Jay Reatard's first solo record, Blood Visions, was a big step forward for the noisy, bloody rocker. A furious jerked-out full-frontal attack of noise and hooks, it served notice that Reatard meant business. He spent the year after the recording of the album making singles for a variety of labels like In the Red, Goner, Squoodge, P. Trash, and Stained Circles. Singles 06-07 collects them all and throws in a DVD of live performances, including his infamous night at the Cakeshop in October of 2007. The singles contain all of the energy and abandon of the album, but Reatard tempers his previously monochromatic art-attack with some well-timed sonic sophistication and songwriting variety. That's not to say he's suddenly traded in his Flying V and sweat for a pipe and slippers, but it does mean that on a few songs he trots out some acoustic guitar and dials his howling yelp down to a vulnerable whine. He covers a Go-Betweens song ("Don't Let Him Come Back"), essays a tender love song ("Searching for You"), and even jangles a little (the super-poppy "I Found a Place"). This surprising subtlety only tells a small part of the Reatard story. He still rocks like a man possessed much of the time on songs like "Night of Broken Glass," "Turning Blue," and "It's So Useless." Indeed, Reatard is still creating storming modern garage rock-new wave nuggets; he just does it with less clatter and more precision and focused power now. Looking back at his 2006 and 2007 music makes it obvious that Reatard has taken an impressive step forward, and this points to more great records down the road.

Ranked Highest By: Waterloo, UselessRocker (#1)

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#55 Paul

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Posted 01 January 2009 - 07:24 PM

It came out like a week ago.


Yeah, most of those votes came in before it was released. Maybe those people just really remembered those b-sides from ten years ago...

#56 Paul

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Posted 01 January 2009 - 07:26 PM

#5.


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Jay Reatard - Matador Singles '08

(1074 Points, 12 Votes)

Tracklist
:
1. See Saw
2. Screaming Hand
3. Painted Shut
4. An Ugly Death
5. Always Wanting More
6. You Mean Nothing To Me
7. Fluorescent Grey
8. Trapped Here
9. Hiding Hole
10. D.O.A.
11. No Time
12. You Were Sleeping
13. I'm Watching You

Amazon.com Product Description:
For the six months leading up to this release, Matador has put out a limited edition 7-inch by Memphis boy wonder Reatard. Each generated more attention, but was released in a progressively more limited run, starting with 3,500 copies for the first and ending with 400 copies for the sixth. This package collects all six (excluding the Deerhunter track on #4), plus one extra song. Each tune is a perfect snarling pop-punk gem.

AMG Says:
Jay Reatard had another busy year in 2008. His new deal with Matador led him to release 7" singles throughout the first two-thirds of the year. Matador Singles '08 collects all of them and adds a bonus track. If you've been following Jay for a while you sort of know what to expect from the songs, and that's lo-fi blasts of a unique concoction made up of raw garage rock and jittery post-punk, topped with sharp hooks and Reatard's yowling vocals. You can also expect to find him a further step away from the nearly uncontrolled wildness of previous records and projects with a more measured and often, dare it be said, mature approach. Amazingly, many of the songs feature acoustic guitars and a relaxed vocal delivery; the "No Time"/"You Were Sleeping" single even sounds like a sleepy but lovely update on the Buddy Holly sound. Other tracks, like the opening "See Saw" or "Painted Shut," show the Go-Betweens influence that was made clear by the cover of that group's "Don't Let Him Come Back" on a previous single, and you can't get much more mature than that. The restraint shown on most of the songs doesn't mean that the level of excitement has diminished or that the record doesn't jump out of the speakers and slap you around a bit like previous Reatard projects. Thanks to his electric vocals, enthusiastic guitar work, and the raucous rhythms provided by the other two dudes in the band (though it's not clear if they played on the singles or if it was all Jay), there's enough rock & roll energy here to power a small town. Take "Always Wanting More" or "Hiding Hole" out for a spin if you're worried that Reatard is too grown up and has left his wild side behind. What makes the collection, and the direction Reatard seems to be heading, so good is that he is growing musically without leaving behind the fierce intensity and savage power that got him where he is. It's a difficult balancing act to manage but he makes it look pretty simple. Now if only he would do something about those album covers.....

Ranked Highest By: Hewletts Daughter (#2)

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#57 Mitchell

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Posted 01 January 2009 - 07:27 PM

It came out like a week ago.


Like Vamos amirite.
Nice bowl of Crunchy Nut you got here, pretty expensive as I recall.

#58 Pavement Ist Rad

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Posted 01 January 2009 - 07:27 PM

Gay Retard
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Damo Suzuki: So, um, yeah. Getting older isn't as bad as it sounds. Better than being young & poor (DjDrake) or young & slutty (SG) or young, poor and slutty (Paves); am I right?

Alright, my friends. It's time for another solid little rock jam

#59 simulated stereo

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Posted 01 January 2009 - 07:28 PM

It came out like a week ago.


Yeah, most of those votes came in before it was released. Maybe those people just really remembered those b-sides from ten years ago...



More like there was no way it was going to suck, so might as well.
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#60 Mitchell

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Posted 01 January 2009 - 07:29 PM

Jay Reatard, a man I have discussed the credit crunch with.
Nice bowl of Crunchy Nut you got here, pretty expensive as I recall.