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Today’s rips were a few CDs brought in from the car from recent car trips to Seattle.
First heard some track off of it on a band trip, and Dave Lasley had it on his portable CD player. As digital recording became more and more common, U2 was one of the bands that led the way in exploring how best to take advantage of the format. Even with a very sick Bono taking the stage, HUGE screens of TVs and cars hung overhead to use as stage lights, they put on an amazing show. One of my favorite aspects of the album is the way production quality changes from song to song, yet the album also weaves a mostly continuous feel (side breaks aside of course). He plays around with sonic space, moving sound around your head in ways that most composers are still trying to do as effectively and meaningfully. Or maybe I should rephrase that… it is one of my earliest memories of being struck by an album cover. I’ve always felt like I am very careful with my discs, but what does this mean if on Day 6 I am already down a disc??? So even though I already had a couple of complete sets of his piano work, when Angela Hewitt released her recordings I was quite excited.
From the ambient smoky room coughs in ‘Rainy Day’ into the trickling of sound of ‘1983’ is a nice pulling together of a rock song – from sitting around in a room smoking with some friends into slick state of the art rock and roll.
The original version is SO much better then the remix (which simply seemed to me to be a way to try and get new Sting fans to buy a Police record). The show was expected to sell out quickly, and I worked at Tower at the time, so I figured I had an in.



As the bus was moving, I would hear 20 seconds of a song… skip … 20 or so more seconds… but in between was some bass playing that Dave really admired, and it blew me away. I love her Bach recordings, and I expected the same kind of care would be apparent with her Ravel recordings. It doesn’t matter if they play soft for a couple notes, it will all get cancelled out in the production. But what surprised me on this recent listening to the compilation as well is that it is MOSTLY geared towards that audience.
I would show up at 6am (the earliest we usually allowed people to line up for tickets) and I would kick everyone out and grab a spot at the front of the line.
The side seems to create then destroy the rock song, and makes so much beautiful sound along the way. I kept expecting the picture to move, and for the guitar to finally fall to the stage and shatter like glass (a vivid imagination… the result of smashing a bass onto a stage actually results in a rather clumsy situation) but on this cover there was so much potential for beautiful destruction. No way my parents were going to let me walk up to the register with a naked women conveniently holding 4 guys across her mid section. Then (if you are listening on LP), you turn over to side four and seem to start all over again with ‘Still Raining, Still Dreaming’.
They run a VERY wide swath of musical style to create an album that is engaging for pretty much its entirety. But what I remember most about this album was the sense that it was pushing into some sort of unknown territory, and with that there could be excitement. Lucky for me, when I got to the store at 6am there was already a line of a few hundred people, and I wasn’t the first Tower employee to show up.


The disc had to wait until I was working (at Dairy Queen) and I had my own car to get me back and forth to the record store.
And as I grew older and got into The Clash, this is also one of the albums (in it’s entirety) that I grew to like the most.
Of course I later realized that the territory was well trod by others (and having Daniel Lanois, Brian Eno and Flood working on the production certainly helped with that). All the store management was already there, and I went to stand in line like everyone else.
As with most recent rock recordings, I think there is a bit of compression in the recordings, and as a result they aren’t as dynamic and nuanced as the Roge discs.
How many double albums are in existence with such a high level of music on just about every track? I still got tickets (though not on the floor) and Tamiko and I saw a great concert (with the Pixies opening!!!).
This was the Experience’s third and final album… Hendrix would put together the Band of Gypsies after this, and would be dead shortly after that. I don’t really think there is a single throw-away or side filler on the record… and on top of that there is a GREAT hidden track!



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