Month: April 2010

’90s Albums Due For Special Treatment

*Written and published for AUX

Today we learned of another, let’s say ‘mature’ band set to re-release one of their older more popular albums as a deluxe edition. Whether it is an easy cash grab, an indication the band is on its last legs or just out of sheer boredom, Weezer will put out a deluxe edition of their sophomore album Pinkerton and join the list of other bands to shed light on their ‘90s glory…although they’ve done it already for what people simply refer to as ‘the blue album.’ Critical reasoning aside, the music is what really matters and if you’re that uptight about it you can just illegally download it, although that’s not something we encourage at AUX. Anyway, here’s a list of albums that came out in the ‘90s that are due for a special treatment release.

Smashing Pumpkins – Siamese Dream

Having been labeled as ‘the next Nirvana’ after Nevermind blew people’s minds, the Smashing Pumpkins’ sophomore album Siamese Dream, released in 1993,  did not have the same in-your-face sound as the aforementioned album even though it was also produced by Butch Vig. The album was recorded when the band was dealing with drug addiction, depression and love lost, but upon its release it sold over six million copies worldwide and brought out the tracks “Today,” “Disarm,” “Cherub Rock” and “Rocket.” Pisces Iscariot, a collection of b-sides and unreleased songs from Siamese Dream and their first album Gish came out in 1994.

Green Day – Dookie

Third studio album, major label debut and quite possibly the best 40 minutes anyone will ever spend listening to a Green Day album. Those hoping the punks they once knew who performed at 924 Gilman Street would say the band sold out with this album. Perhaps they were right if you look at the clan bands that adopted the pop punk formula, but for its time Dookie was awesome. It was loud, fast and easy to sing along to. Who can forget the first time they heard “Long View?”


Soundgarden – Superunknown

Undoubtedly Soundgarden’s most successful album, Superunknown was perfect for people who weren’t too psyched about the band’s heavy metal influenced sound on their previous albums. Clocking in at just over 70 minutes long, the album released the singles “The Day I Tried To Live,” “My Wave,” “Fell on Black Days,” “Spoonman” and “Black Hole Sun.” The disc, their fourth, kick started their fame and is probably why longtime fans prefer Badmotorfinger or Louder Than Love.


The Offspring – Smash

From the intro where the gentlemen tells you its time to relax and put your feet up, to the first three seconds of “Nitro,” The Offspring’s third album Smash, released in 1994, pulls you in, lets you shout and swear and jump around and then tells you to relax again. Much of the swearing and jumping around may have been done by pre-teen boys alone, however the album still has some of the most memorable songs of the decade. “Self Esteem,” “Come out and Play,” “Bad Habit,” are just a few off what is now the band’s most popular album.


Rage Against The Machine – Evil Empire

Taking their time between first and second albums seemed like a wise thing to do for Rage Against The Machine as their sophomore record Evil Empire succeeded their self titled debut with a fresh batch of songs removing them from just combining rap and rock music. “Bulls On Parade” is easily one of the best anthems and could even get your grandma pumped up with Tom Morello’s scratching guitar sound. The title of the disc is taken from a phrase used by former President Ronald Reagan when describing the former Soviet Union.


No Doubt – Tragic Kingdom

Another third release gem, No Doubt’s Tragic Kingdom turned out to be the band’s most popular record at the time fusing punk, pop and third-wave ska. The disc was recorded in 11 different studios around Los Angeles and was released in 1995. The single “Don’t Speak” reached number one on the Billboard Hot 100 Airplay.

Quarter Music – April 16

Details of forthcoming albums from Chromeo, Ozzy Osbourne, Wavves and Tokyo Police Club. Other news about Iggy and the Stooges coming to Toronto and the best voted guitarist of the past 30 years. Hear a Coachella themed playlist with songs by Camera Obscura, The Cribs, The Soft Pack, The Twelves and Echo & The Bunnymen. Also hear tracks by Efterklang, The Morning Benders and Red Hot Chili Peppers.

Listen to the episode.

I’m In Charge Here: The 7 Most Famous Band Managers

*Written and published for AUX.

Seven managers, two AUX writers. This past weekend AUX writer’s Anne T. Donahue and Ciaran Thompson combined notes to come up with a definitive list of band managers. Inspired by the death last week of former Sex Pistols manager Malcolm McLaren, the Thompson-Donahue collaboration came up with the most fiercest, intelligent and extravagant folks to ever claim the title of band manager.

Albert Grossman

“You’re one of the dumbest assholes and most stupid persons I’ve ever spoken to…If we were someplace else I’d punch you in your god damn nose,” manager Albert Grossman said to a hotel manager on Bob Dylan’s 1965 tour of England. The famous event, captured on film by D.A. Pennebaker is just one of the several times Grossman showed his strength. Whether it was kicking unwanted people out of the picture or growling at the media for more money, Grossman knew what he was doing and knew how it get it done.

Grossman managed Dylan throughout the ‘60s and other folk artists such as Peter, Paul and Mary, Odetta, John Lee Hooker, Ian and Sylvia and Gordon Lightfoot among others. Paul from Peter, Paul and Mary, whose original name was Noel, switched it to Paul on Grossman’s request so the band could have a biblical reference. A truly legendary manager any artist or band would want to have in their corner.

Brian Epstein

Brian Epstein

Perhaps one of the youngest and most revered band managers in rock ‘n roll history, Brian Epstein was The Beatles’ manager, friend and qualified most for the title of “Fifth Beatle” – as once stated by Paul McCartney.  Despite having no previous managerial experience (though his work with NEMS and Mersey Beat magazine were incredibly well-received at the time), the then 27-year-old signed a five-year contract with The Beatles in January of 1962 and officially assumed the role of the band’s go-to for everything, anything and all things in-between.

Renowned for his generosity and kindness (though it was later revealed he wasn’t always as honest as previously thought), Epstein acted as the patriarch of The Beatles family, going so far as to be Lennon’s best man at his wedding to Cynthia, and paying for the reception lunch as well as a private hospital room for the birth of Julian.  However, like many industry legends, Epstein was not without his demons, suffering from depression, gambling addiction and drug use, and in August 27, 1967 he died at age 32 of a drug overdose.

Peter Grant

Sheet metal factory worker, army Corporal, bouncer, wrestler, actor and manager of one of the first bands to be called Heavy Metal, Led Zeppelin manager Peter Grant led quite the life. Grant managed the Yardbirds until the band dissolved and guitarist Jimmy Page formed the new Yardbirds who became known as Led Zeppelin.

On the list of notable accomplishments are Grant’s negotiation for the band’s five-year record contract with Atlantic, marching into English records shops demanding all bootleg copies of shows be handed over, harassing concert staff about the sale of illegal posters and he is widely recognized for improving pay conditions for musicians. Standing at 6 ft 5 and weighing a ton probably helped Grant “convince” record labels and others standing in the way, but it was the stunning amount of faith he had in his bands that exemplifes what a legendary manager he was.

Malcolm McLaren

Few people encompass the definition of “badass” like former Sex Pistols manager Malcolm McLaren, whose venture as a designer and shop owner led him to manage and design for the New York Dolls, acquaint himself with the Neon Boys, and own SEX, the iconic London store specializing in S&M-style clothing that acted as a catalyst for the London-born Sex Pistols.

It was at SEX where McLaren was introduced to bassist Glen Matlock, and where John Lyndon (Johnny Rotten) auditioned for the band, lip syncing to a track by Alice Cooper.  Following the breakup of the group, McLaren launched his own music career, releasing albums to critical and commercial success, yet despite his obvious accomplishments, McLaren saw himself as the ultimate failure – a title he proudly displayed and commented on:  “In my view, failing is a noble pursuit”.  Sadly, after a battle with cancer, the 64-year-old passed away in Switzerland last week, uttering the last words, “free Leonard Peltier”.

Danny Fields/Linda Stein

An icon of the original punk rock movement, Danny Fields (who formerly shared an apartment with Edie Sedgwick and penned the liner notes for The Velvet Underground’s Live at Max’s Kansas City) discovered The Ramones at CBGB in 1975, going on to co-manage the group with Linda Stein – wife of Sire Records president, Seymour Stein – who left her teaching position that same year to take on her managerial duties.  It was after the two brought the band to England, when the influence of The Ramones was fully realized; going on to inspire the UK punk movement which birthed The Sex Pistols and The Clash.

While the two eventually parted ways professionally, Fields continued his industry endeavours, managing Steve Forbert, The Modern Lovers and Paleface, later venturing into writing.  Tragically, after leaving the business to launch her career as a gossip columnist and “Realtor to the Stars”, Stein was found murdered in her New York City apartment in 2007 at the hand of her assistant.

Rob Gretton

It’s hard to judge how well actor Toby Kebbell played Joy Divison/New Order manager Rob Gretton in Control, a biopic about the late Joy Division singer Ian Curtis. In the movie it shows Gretton (Kebbell) as a very cool entrepreneur whose business is music and calling people daft c****. According to what’s been written, not all of that happened. However Gretton did discover Warsaw who later became Joy Division, bet with his bands about singles in the music charts and gave New Order its name from a situationist book he was reading that triggered a Nazi connotation. Gretton was also a partner in Factory Records and co-founded the Hacienda nightclub in Manchester.

Quarter Music – April 9.

Details of a John Prine tribute album, Joy Division’s Peter Hook taking Unknown Pleasures on tour, the full Lollapalooza lineup and Crystal Castles’ upcoming shows with LA’s HARD Festival. Hear the second half of a space out playlist with songs by Mazzy Star, Boards of Canada, Beach House and Zero 7. Also hear tracks by the Sex Pistols, The Pains of Being Pure At Heart, Metric, Girls and The Spinto Band.

Listen to the episode here.

The 10 Best Film Scores

*Written and published for AUX.

From the mountains of Sicily to Gotham City, Jedi Knight to The Man with No Name, Italian stallion to the son of Satan, Samwise Gamgee to “The Cooler King,” these places and characters simply wouldn’t be the same without the music surrounding them. Whether they’re with or without vocals, a film’s score is crucial as it sets the tone of the characters and setting. The score of the films listed are so great that even without the visual images to accompany them, the stand on their own as masterful pieces of art.

The Good, the Bad and the Ugly – Ennio Morricone (1966)

– No doubt considered one of the best scores in film history, Ennio Morricone’s distinct compositions contain gunfire, yodeling and whistling. The main theme is perfect for any momentous introduction and was used by the Ramones when they took the stage in their latter years. The film’s climax, a three-way Mexican standoff is accompanied by “The Ecstasy of Gold,” enhancing the scene many movie critics believe to be one of the most electrifying climaxes ever filmed.

Batman – Danny Elfman (1989)

– Danny Elfman composed the first and best Batman film score. One of the first films to release two soundtracks, Elfman had help from Oingo Boingo guitarist Steve Bartek and Shirley Walker when arranging the compositions for the orchestra. From the cathartic “Descent into Mystery” to the heartfelt “Flowers,” this score truly captures the film’s protagonist seeking justice in the face of a laughing maniac and helps distinguishes it from the other Batman movies.

The Empire Strikes Back – John Williams (1980)

– Hard to draw up a list of memorable scores and not include Star Wars, even if John Williams copied Gustav Holst and Antonin Dvorak. For this episode, which is by far the best, the score contains several works that have an almost despairing sound, such as when Han Solo is encased in carbonite or during the lightsaber battle between Luke and Darth.

Braveheart – James Horner (1995)

– For a film about Scottish Rebels, one of them being William Wallace, rising up against Longshanks and the crown, an epic score was needed and James Horner delivered. Despite the film’s historical inaccuracies, the music is breathtaking and is appealing to anyone in a struggle for freedom.

The Fellowship of the Ring – Howard Shore (2001)

– In the first Lord of the Rings film we are introduced to Hobbits, Ringwraiths, Wizards, Elves, Orcs, Dwarves and Men, all of whom are captured beautifully through Howard Shore’s score. Irish vocalist Enya appears twice and her voice advances the dramatic twists the score contains, especially on “The Council of Elrond.”

Rocky – Bill Conti (1976)

– Before heading out for a run every morning, crack a few eggs into a glass, drink it and throw on Bill Conti’s score for Rocky. Having both jock jam esque and tearjerk compositions, the score fits with one of the most notorious underdog films ever. You can’t help but think of Balboa chasing a chicken or hammering iron at the dump when listening to “Going the Distance” or the main title “Gonna Fly Now.”

The Great Escape – Elmer Berstein (1963)

– Elmer Berstein truly captures the essence of the prisoners in the camp and the trials they face once they are on the road. The main title is easily the most recognizable marching composition and reminds us of Steve McQueen toying with Hitler’s Nazi thugs.

The Omen – Lionel Newman, Jerry Goldsmith (1976)

– Chilling to the bone might be an understatement. Rather if you really want to scare the crap out of yourself, or someone else, throw this on and turn out the lights. Even without looking at little Damien this score is both powerful and disturbing and was awarded an Oscar.

Goldfinger – John Barry (1964)

– With the exception of Shirley Bassey putting vocals on the main theme, John Barry’s compositions intensify Sean Connory’s quest to blow Oddjob’s fuse, foil Goldfinger and win over Pussy Galore. The stripped down main theme entitled “Goldfinger” is especially nice.

The Godfather – Nino Rota (1972)

– Despite being scratched off the list of 1973 Academy Award nominees at the last second, Nino Rota’s score for the Godfather compliments one of the greatest films ever made. Watching Michael roam the mountains of Sicily whilst hearing the love theme makes anyone wish they were Italian…albeit only for a minute or two.