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Friday, Jun 13, 2014
by C.W. Mahoney
Ultraviolence benefits not only from stronger song craft, but also from tasteful production that sustains a mood befitting Lana Del Rey’s postmodern Nancy Sinatra shtick.

Lana Del Rey’s debut Born to Die suffered from a crisis-of-authenticity, the outrage and barrage of think-pieces as manufactured as the singer’s found-footage videos and pouting sexuality. But beyond all the hipster handwringing, Born to Die simply didn’t have many great songs, and even standouts like “Video Games” and “Blue Jeans” were marred by a limping production style.


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Friday, Jun 13, 2014
This week’s Counterbalance looks at a 2004 release from a relatively obscure Columbus band, hoping to gain an understanding of acclaim and success from a somewhat different perspective.

Mendelsohn: A couple of weeks ago, when we were talking about the Japandroids, we briefly talked about the fickle nature of the music business and just how much luck it takes to break a band upon the public consciousness. This week, I present you with the Tough and Lovely and their 2004 record Born of the Stars. The Tough and Lovely were an outfit out of Columbus, Ohio, who released an EP and two albums before, I can only assume, moving on to other things. They popped up on the tail end of the garage rock revival, and, for my money, released some of the best music to come out of the movement in the mid-2000s. I saw the Tough and Lovely play in a dingy bar in my hometown nearly a decade ago — a dingy bar that I grew up in and where I witnessed some of the most memorable concerts of my young life — a dingy bar that no longer exists, wiped out in the name of urban renewal. The Tough and Lovely were one of the last concerts I saw in that bar and while this piece isn’t an ode to that rathole my friends and I used to hang out in, it does fit into the nostalgia I feel whenever I pull out Born of the Stars.


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Wednesday, Jun 11, 2014
Blue Note, one of the foremost jazz record labels, is celebrating its 75th anniversary with a vinyl initiative, releasing highlights from its massive catalog over the course of two years. Here are some picks to get you started.

Blue Note was one of the, if not the, titan of jazz releases for much of the past century. This year marks the label’s 75th anniversary, and with that anniversary comes a huge initiative on the part of the Blue Note team to reissue many of its seminal works on vinyl. Their goal is a simple one: produce quality-sounding vinyl that faithfully reproduces the sound of the original recordings. Many of these LPs are available now at your local record store or for sale via many online retailers. It should be noted that these albums are available in traditional formats of CD, MP3, and box sets, but for the best listening experience possible, I highly recommend the vinyl reissues. Their clarity and workmanship is apparent in nearly every track—and, for purists, there really is no other way to listen to jazz from Blue Note except on vinyl.


Tagged as: blue note, jazz, list this
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Wednesday, Jun 11, 2014
by PopMatters Staff
Glenn Tilbrook is back with his latest, Happy Ending, and some quips for PopMatters 20 Questions.

PopMatters caught Glenn Tilbrook‘s acoustic set at Nashville’s unassuming, friendly 3rd and Lindsley in September 2013, while in town for the Americana Music Fest. It gave us a thrill, to see the Squeeze man up close in such a laid-back, comfortable setting, far removed from his stadium shows’ past.


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Monday, Jun 9, 2014
Likely the first song written for The Beach Boys Today!, "She Knows Me Too Well" is surprisingly sophisticated and unique.

“She Knows Me Too Well” was technically the first song recorded for The Beach Boys Today!, before the band’s All Summer Long album had been released or recording for The Beach Boys Christmas Album had begun. But the song got re-recorded later for Today! and that initial June 8th, 1964 recorded has never been subsequently released (like so many other alternate takes from this and other Beach Boys albums). It’s safe to assume, though, that not much changed between the June and the August recording of the song, compositionally at least. If we look at other tracks from Today! for which earlier recordings that have been released, the changes between versions tend to be in the arrangement and occasionally the lyrics. So while we can’t be sure exactly what changed from the first version of “She Knows Me Too Well” to the final released version, we can imagine that they are fairly similar.


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