The Final Cut was my favorite Pink Floyd album in high school. This, though, was THE Pink Floyd album of my high school years. Released my freshman year, and followed by a massive tour that led to a live album and concert video, the songs on A Momentary Lapse Of Reason were omnipresent when I was a teenager. This album came into the store over the weekend and I’m hearing it for the first time in more than 20 years this morning. It kicks ass.
Joan Armatrading + David Letterman’s band + The E Street Band = FUN.
The Band is one of my favorite bands. Even so, I’d never heard this album all the way through until tonight. I’d heard live versions of some of its songs — “Ophelia” and “It Makes No Difference” are on the The Last Waltz — but never the original record. On first listen, the production is a little keyboard-heavy in some spots, but overall it’s a solid record with lots of great singing.
I never used to like Bruce Springsteen. When I was a kid, he represented the kind of mindless jock rock that my friends and I hated. This was, of course, wrong, but it took me years to figure that out. I married a Springsteen superfan, but even then I didn’t come around. It wasn’t till 9/11 and his album The Rising that I reconsidered. I thought that album was perfect and necessary, and so I started to give some time to his other albums. This collection is huge — 10 LPs of live music. The guy who owns the record store here says he always finds them in great condition because most people bought this collection and didn’t play it. My advice? If you own one, play it. And if you don’t…
I first learned about Fishbone when I saw them in concert in 1991, opening for Primus. Nothing can really prepare you for your first Fishbone experience. I didn’t know what to make of them. Years later I started to spend time with the music, and this album quickly rose to the top. My favorite of its songs (and my favorite Fishbone song) is “Ma And Pa,” but the whole album is fantastic.
This was the first Elvis Costello record I ever heard, and I came to it in a weird way. During my ten minutes in college, my second roommate had a CD of a Cornell glee club singing an a cappella version of “Veronica.” From that I checked out this record, which remains one of my favorites in EC’s discography. From “Veronica” (with Sir Paul McC on bass) to the perfect anger of “Tramp The Dirt Down” and the beauty of “Satellite” (with Chrissie Hynde on the chorus), this album is a solid winner. Plus, it features the Dirty Dozen Brass Band and guitarist Marc Ribot, among many others.