Hey, I’m Spinning Records at Woodlands Tavern - by Colin Gawel

I so wanted to title this “I’m spinning vinyls at Woodlands” but didn’t have the guts to go through with it. Anyhoo, Woodland’s Tavern on 3rd Ave is starting a new series hosted by Floorwalkers frontman Jon Elliott and I’m joining him for the debut show on Tuesday, October 8th. 7-9pm. Free. 

The idea is pretty simple. A couple guys play a bunch of records and tell stories and hopefully a bunch of folks drink beer and sorta listen. Since I know some real record collectors, I don’t consider myself an actual record guy, but I suppose I probably have 200 or so scattered around my house and maybe once owned closer to 500? Or 700?

See, growing up in Worthington, OH, myself and the other Watershed guys started riding the COTA #2 bus down to the campus record stores at a young age to blow our paper route money on used records. It was a weekly ritual from about 6th grade until records got replaced by CDs. When people ask me why I got into writing songs and playing music, I give all the credit to the #2 bus and the campus record stores. 

We almost never paid full price for a record unless it was something brand new from Cheap Trick or The Kinks and we just had to have it NOW. But other than that, we would just comb the bins every Saturday weighing quality versus quantity. I’ve still got price tags on some of my records including an excellent condition Born to Run from Used Kids Records for….$1! And I got the double record The River for $2. Folks, that’s what I call value. Obviously these records were priced before Jerry DeCicca started working there. 

A couple other random memories off the top of my head:

Asking Ron House what Bob Dylan record I should buy, “Highway 61 would be good for someone like you.”

Purchasing Rush - Grace Under Pressure at Singing Dogs, stepping onto High Street and barfing. I had chicken pox and summer was just starting. Oof. Not cool when you are 12. But at least I had a new record.

Johnny Go showing me an Aerosmith album I HAD NEVER HEARD OF. That’s right, pre-internet it was possible to discover a record by one of your favorite bands that you never even knew existed. In this case it was Night in the Ruts. Oh Chiquita!

I bought Styx Cornerstone and never listened to it once.

I asked Captain what Jerry Lee Lewis record I should get. “If you like Jerry, they are all great, if you don’t like Jerry they all suck.” Turns out I like Jerry.

Eventually, Watershed moved down High Street to campus and combined most of our records. Instead of a bus before record shopping it became bars before shopping. The picture on the cover of this story captures that vibe. It is interesting to note that Biggie, Joe , Herb and I had somehow had five copies of Blue Oyster Cult - Some Enchanted Evening. So someone bought it twice. It must have been really cheap because it’s really not very good. As records went out of style and we moved apart, we cherry-picked the stuff we wanted to hold on to. “Hands off that Billy Squier, asshole.” 

Anyway, I don’t quite have the cash flow to keep buying records every weekend but I still love hanging out in record stores and when I can justify it, buying a new record. My son asked for a record player for his 16th birthday so I’ll take that as a sign that it's time for me to pass the obsession to the next generation. - Colin G.

Colin Gawel founded Pencilstorm and wrote this while ignoring customers at Colin’s Coffee. He plays in the band Watershed and solo with The League Bowlers.

Record Review: The Replacements / Dead Man's Pop - by Jeremy Porter


SPOTIFY PLAYLIST - Listen while you read!

In early 1989 expectations were high for The Replacements as they were about to follow up two major-label commercial misses with their third record for Sire, Don’t Tell A Soul. They’d always been under-the-radar, under-appreciated, and under-achieving, but there was a buzz in the air that this might be the one that breaks the curse. The album would live in infamy as their best-selling, highest charting and most polarizing release. What hasn’t been said about Don’t Tell A Soul? It’s got some great stuff on it, but the dated, murky, reverb-and-chorus drenched 80’s production has haunted its legacy ever since the grunge movement gave us a kick in the pants and a harsh reminder that albums were better when they sounded like they were made by real bands playing real instruments.

pic1.png

Still – they were going for it, for better or worse. They were on TV, there were magazine covers, posters in record stores, a big-time summer tour opening for Tom Petty, and even [gasp] a real video. Where it went from there is, well, depressing. Many see DTAS as the beginning of the end (though I might argue that moment came when Bob Stinson was fired in 1986). Their 1991 swan-song follow-up All Shook Down, while more organic and loose sounding, lacked the teeth of any of their previous records, and they limped to the finish line, sounding tired and sober, promoting a record that was decent, but more or less a Westerberg solo album from the start.

I’m in the “like the album, hate the production” camp when it comes to DTAS. I missed Bob, but I liked Slim, and I understood even then that bands evolve and why they made that change. “Talent Show,“ “I’ll Be You,“ “They’re Blind,” and the under-rated “Back to Back” stood out to me, and I think “Achin’ to Be” is up there with Paul’s best. I hated the trying-too-hard-not-to-try tracks like “Rock and Roll Ghost” and “I Won’t.” The rest is somewhere in the middle – it’s no ”Let it Be” but God knows I played the hell out if it that summer and saw them three times on that tour. (Read about a couple of those times here.) While I struggled with the fact that they weren’t “my” band anymore, I was happy to see them getting some of the attention they deserved. Like everyone else I watched with a big smile when they played “Talent Show” on the International Rock Awards that spring, flanked by performances from Keith Richards and The Bangles while Matt Dillon watched and smiled, one of the few in the building that “got it.”

Over the years the legacy of the album took a beating. Only the most loyal and biased fans claim the album as a favorite and the production as an asset. There were always rumors of an original mix, the one the band wanted, but not the one that the label released. The story goes that Paul hated the final mix, and that’s probably a part of why I hated it too. Hearing what the band had in mind for these songs has always been at the top of hard-core fans’ wish lists, right along with a live DVD (that we’ve yet to see) and a proper live album (which we got in 2017 with the incredible For Sale: Live at Maxwell’s 1986). 

pic2.png

Then, earlier this year came word about Dead Man’s Pop – a 4CD/1LP and limited edition cassette release. This is the holy grail we’ve been waiting for, from the post-Bob era anyways. As excited as I was about For Sale two years earlier, I’d been listening to a great bootleg recording of that show for 30 years. This was different – a ton of stuff no one’s ever heard, a sweet package, and hopefully the redemption that material deserves.

Disc One is the Matt Wallace mix of the album. This is a new mix, but one that recalls the original that the band had in mind before the label got involved. Gone is the polish and spit-shine that muddied up the sound. The backup vocals are louder, the guitars are more present and clear, and the drums sound more natural, just like we'd hoped. The takes are mostly the same, but the performances shine. They sound like what they were - a band struggling to bridge their rambunctious past with their more-focused present, while not letting either get too close or too far away.

Stripping the production down exposes more than just the sounds they were making - there's an exciting spontaneity and beautiful vulnerability present now, offering up that elusive element in great music that we love but can't often define. The differences between these mixes and the originals are present throughout, but less obvious in songs like "Achin to Be" and "I'll Be You," and more so on "They're Blind," "Darlin' One," and "Rock and Roll Ghost." Even my least favorite song on the record "I Won't" sounds like it should - pissed off and ornery, more like "IOU" from Pleased to Meet Me and less like some aging punks trying to sound half their age. The guitar solo on "They're Blind" is one of my favorite moments on the original release, but the alternate solo here might be even better. This is the record it was supposed to be, and had it been, we can only wonder how history would look back on it.

Disc Two is a collection of outtakes, demos, alt-mixes, and a few tracks from the session with Tom Waits that produced the "I'll Be You" B-Side "Date to Church." While this stuff is solid gold to a dork like me who's been waiting to hear it for 30 years, it's more typical of a deluxe-edition package for real fans rather than a cohesive, flowing collection. Still there's great stuff to digest. The up-tempo, solo-acoustic take on "Rock 'N' Roll Ghost" is maybe the most honest of all the versions. "Talent Show" and "We'll Inherit The Earth" are significantly more rockin' than any other renditions, and the stripped down "They're Blind" is a more intimate take than heard on the album. The greatly restrained "I'll Be You" is interesting, but pales against the Wallace mix or even the original release, and might have fit better on the equally restrained All Shook Down. A couple previously unheard songs "Last Thing In The World" and "Dance on My Planet" are welcome, as is any unheard song written and sung by Paul Westerberg, but do little to dispute my long-standing opinion that bonus tracks more often than not didn't make the album for a reason.

The Tom Waits tracks are a novelty, and as a huge Waits fan, I take no joy in saying that with the exception of a few brief moments, they'll likely have little staying power and don't add much beyond a document of a drunken night in LA. To hear Waits croon "If Only You Were Lonely" or Westerberg sing "Ol' 55" with some real effort would have been diamonds here, but the former is a sloppy, half-assed struggle and the latter was sadly left off the collection. Of the Waits tracks, the full-band version of "We Know The Night" is easily the standout, and drives home the fact that the rehearsal take that preceded it could have been excluded. The Wallace remix of "Date to Church" is refreshing, fits perfectly with the first disc, and reminds us that something productive and worthwhile actually came out of that session. It's safe to say that disc two will get the fewest spins of this collection, but this is material that deserves to be heard, belongs on this collection, and is far from a wash.

 Discs three and four are a live recording from the 1989 Milwaukee show that produced the "Inconcerated" promo EP. While it's not the gloriously raw and in-your-face explosion that For Sale: Live at Maxwell's is, it's a spirited, up-tempo, energetic and abrasive document of that tour. They can't be accused of phoning it in this night. This was Slim's second tour with the `mats and his presence is felt - his lanky figure meandering around stage left, goofy smile, crazy hair, and tasty riffs. It's the best version of "Talent Show" that there is - studio or live. "We might even win this fucker, ya never know." Paul sings, ad-libbing like he did better than anyone when he felt like it. His vocals lead the way throughout, often going up when he stayed level on the record. There's warts too - Slim's amp shorting and squealing throughout "The Ledge" has Paul agitated, tuning issues ruin “Little Mascara” and “Can’t Hardly Wait”, and “Here Comes A Regular” suffers as both rushed and lazy at the same time, but they left them in, as they should have. It's imperfect, it’s fun, it's raw, it's rock and roll, it's The Replacements.

pic3.png

The box set delivers - it's a fantastic package that covers what should have been, the journey there, and the live culmination of that demo-record-tour cycle that is such a big part of this bands legacy. It takes a miss and makes it a hindsight-hit. There's a dose of healthy nostalgia here too, talking me back to Ann Arbor, March 10, 1989 on the opening night of that tour. They say there's plenty more in the vaults, but I'm not sure anything could match this due to the sheer NEED for the redemption that "Don't Tell a Soul" deserved alone. It's Christmas time, Replacements fans. Drink it up.

Jeremy Porter lives near Detroit and fronts the rock and roll band Jeremy Porter And The Tucos - www.thetucos.com

Follow them on Facebook to read his road blog about their adventures on the dive-bar circuit -
www.facebook.com/jeremyportermusic 
Twitter: @jeremyportermi | Instagram: @onetogive & @jeremyportermusic

www.rockandrollrestrooms.com | #rockandrollrestrooms

The Cars and a Partial List of Career Defining Debut Records - by Colin Gawel and Ricki C.

(Colin & Ricki collaborated cybernetically on this post: Colin is in plain text, Ricki’s in italics.)

Sadly, we recently lost the talented musician and producer Ric Ocasek. The Cars debut record could perhaps be the most fully realized debut record of all time. Think about that. Off the top of my head here is an incomplete list of the greatest debut records ever recorded. The criteria for this list follows one simple rule:

If you only had the debut record, you would fully understand the artist. That knocks out 99.9% of records. For example, you can’t only own Meet the Beatles and claim to appreciate The Beatles. A great debut record, no doubt, but it doesn’t tell the whole story. But if you heard The Cars, you would never need another Cars record to fully appreciate the band. Let’s go to my list. Please let me know who I am missing as I am sure there are plenty. 

The Cars - I used to play this record over the phone to girls I was too scared to talk to in 7th grade. Later when Watershed was working on The More It Hurts with Tim Patalan, we took a break from recording feeling pretty good about ourselves and ended up at a house party in Detroit. Someone put on The Cars and we all just kinda slumped at the same time. That record was flawless. We still had a wide river to cross. (I totally agree with Colin on this one. As he said, flawless record. For an in-depth account of my Troubled History with The Cars founder, check out Growing Old With Rock & Roll / Fighting With Ric Ocasek sometime.)

Van Halen - Boom. Have you seen the cover? Have you heard “Eruption”? What is this? 

Tracy Chapman - “Fast Car” only gets better and the rest of the record is just as good.

Guns N’ Roses / Appetite for Destruction - Though the video for “November Rain” is the only GNR you need to watch.

Weezer / The Blue Record - Produced by Ric Ocasek. Pinkerton is my personal favorite but all other 15 Weezer records are just them trying to rip off their debut. You hear this, you get the gist.

Tom Petty and The Heartbreakers - It’s got “American Girl.” Oh, and Jimmy Iovine can get bent  for bad-mouthing Stan Lynch on later records. Sounds like a fake-ass producer looking for a scapegoat. Jimmy couldn’t get the right drum sounds with Bruce Springsteen, either?  Stan seemed to play pretty well on this record. Once again see: “American Girl.” (Ricki: I’m gonna throw in my two cents on this one. Back in 1976 when I went HUGE for the Year Zero aspect of punk-rock and literally gave away all my old acoustic records from the 1960’s & 70’s, that first Heartbreakers record was mind-blowing. Yeah, The Clash were great and The Sex Pistols had a coupla cool singles, but Tom Petty and the guys were just so AMERICAN, ya know? I couldn’t really picture Sid Vicious sittin’ around a swimming pool quaffing beers & smoking joints, but I could CERTAINLY see Stan Lynch indulging in those activities whilst simultaneously trying to scam pert, pretty young American Girls. “The Wild One Forever,” “Anything That’s Rock & Roll,” “American Girl;” all classics. And “Mystery Man“ is definitely one of the Top Ten Rolling Stones Songs That The Rolling Stones Forgot To Write EVER.)

MeatLoaf / Bat Out of Hell - The first and only Meat record you need to own. Jim Steinman is from another planet. 

Ramones - Made some better records but if you hear this, you pretty much know Ramones.

Here Is Little Richard - Same as Ramones.

The Killers / Hot Fuss.

Anyway, I’m at work serving coffee so chime in with who is missing. 

R.I.P. Ric Ocasek and  Ben Orr. 

Ricki’s addendum to Great Debut Records List:

The New York Dolls. Possibly - In My Humble Opinion - THE GREATEST DEBUT ALBUM in the history of rock & roll, but I’m not going through my entire record collection to verify that. If I think of any better, I’ll get back to you.

The Whiles / Colors Of The Year. Joe Peppercorn has certainly had great moments on later records (who else in Columbus could have written “Interregnum Thrones/Sink Beneath Your Smile”?) but never as consistently genius a record as this debut.

The MC5 / Kick Out The Jams. What more needs to be said? “Kick out the jams, motherfucker!”

Ian Hunter / self-titled 1976 release. I’m not really sure this one should count, since Hunter already had 6 or 7 Mott The Hoople records behind him when he released this solo debut, but GODDAMN, what a great Declaration of Independence.

The Modern Lovers / self-titled (I HATE the term “eponymous,” and it’s hard to spell.) Recorded as demos in 1972 or so, not released until 1976. Classic. (For more check out Growing Old With Rock & Roll / The Modern Lovers.)


Ignore the Politics and Uncle Ted Is One Helluva Musician - by Mark Stewart

IGNORE THE POLITICS AND UNCLE TED IS ONE HELLUVA MUSICIAN

The backdrop to the stage was a portrait of Uncle Ted riding a middle finger while flipping the bird himself. There’s nothing that Ted doesn’t enjoy more than…well, Ted. All right, Mr. Nugent has made a name for himself in recent times in the far-right political spectrum. He has never been bashful about anything, stressing strong support for the second amendment, the military, his very conservative views and above all…Ted. 

But this is not political. While many of us may be on the opposite side of the political rainbow, there is no denying that the Motor City Madman continues to be one bad-ass musician. At the age of 71 (but looking 20 years younger) Uncle Ted continues to tour the nation and gets fans of all stripes to come to his concerts. My son’s friend is in the military so he received complimentary tickets (as part of Ted’s support for the military) for him and three friends to attend Ted’s most recent gig at PromoWest Express Live! in Columbus on August 30. My friends and I were happy to pay market price to see him live, having been entertained by his music and his antics in the past. So this combination Boomer/Millennial group was out there on the lawn with fans mostly of the higher-aged vintage, but all who were there for the music. 

Ted started out with Stranglehold (how rare to start with such a big hit?) and ignoring the misogynistic lyrical overtones (which we shouldn’t, and that’s another whole blog post), it is one amazing rock anthem. One cannot help but enjoy the lead guitar that Ted has honed over many years along with the perfect bass and drum accompaniment (Ted’s band today is a trio, no frills kinda band). While Ted sang lead on most of the tunes, his outstanding bass player Greg Smith sang lead on a number of songs, giving Ted the chance to demonstrate his out of this world guitar playing skills. (Extra credit: Who was formerly lead singer for Ted’s tunes and has been the lead singer for Foghat, the band of Slow Ride fame, the last 20 years since Lonesome Dave’s death? See answer below. Oh, and my son pointed out that Ted’s drummer Jason Hartless, another fellow Motown native, was born in 1994, so this was truly a cross-generational event.

Ted says he never drank alcohol or did drugs so it keeps him clear for all things and I have to believe him (at least on the musical side). Taking us through his hits as well as some tasty deep tracks, he kept the crowd moving and engaged. His guitar on the immensely rocking Fred Bear almost brought a tear to this reviewer’s eyes, and certainly brought the crowd to its feet (which is quite a “feat” itself with so many of us Boomers wanting to sit for a spell).

With the reminder that freedom isn’t free and recognition of each arm of the military, Ted marched into another rocker - Free For All - which for some reason I don’t believe was written originally with that in mind, but it works. He said he loves the songs that he has written, says his favorite concert is today’s, and that tomorrow his favorite concert will be tomorrow’s. As he wound up Cat Scratch Fever just before he left the stage prior to his encore, we decided to beat the crowd departing along with many other 60-somethings. But we left believing this was his best concert in the three times we have seen him the last few years in Columbus. No doubt about it, Good Friends and a Bottle of Wine brought back the nostalgia for a Ted that wasn’t known for his politics, but for swinging on a rope onstage and his hard-rocking licks. 

Ted’s lead singer in the late 70’s was Charlie Huhn, who also performed with Humble Pie before becoming lead singer of legendary British band Foghat from 2000 to present.

Ted doing Gonzo at Express Live:

Mark Stewart is in his second career a Film/TV Producer and founder of Stewbean Productions (https://www.stewbeanproductions.com) with his award-winning Rockumentary/Mockumentary “Mock and Roll” (https://www.mockandrollthefilm.com) being released by MVD Entertainment and Soundview Media Partners on September 17.





      



frankblackfrancis :: aboxset :: byrobbraithwaite

Pixies formed in 1986. David Lovering, Kim Deal, Joey Santiago and Charles Thompson IV, under the alias Black Francis, created music that influenced bands for years to come. Tensions within the group, largely between Thompson and Deal, strained and broke up the band in 1993.

Pixies reformed in 2004. A reunion tour was launched and new music was everyone’s hope. Pixies recorded “Bam Thwok!” for submission to the Shrek 2 soundtrack. It was rejected, and they continued to tour. Pixies wouldn’t go into the studio unless all members agreed. Kim Deal left the band in early 2013. A new EP was released later that year.

Pixies released three EPs over 2013 and 2014. They would later be collected as Indie Cindy. Simon Archer (The Fall) played bass in the studio. Kim Shattuck (The Muffs) managed bass duties live for a couple months before Paz Lenchantin (A Perfect Circle) got the job permanently. Beneath the Eyrie, the new Pixies album, is out September 13th.

The making of Beneath the Eyrie was made into the award-worthy documentary podcast, It’s a Pixies Podcast.

Pixies were slowly making their way into my music world just as they were breaking up. From the Pump Up the Volume soundtrack to a 120 Minutes VJ crying, “That was the world premiere video of ‘Velouria’ and the last time we will ever show it,” I was aware of Pixies but I didn’t pay much attention to the albums until I got hooked on Frank Black’s solo albums, specifically Teenager of the Year.

Here Comes Your Man — 01
Bam Thwok! — 02
On Graveyard Hill — 03
Letter to Memphis — 04
No. 13 Baby — 05
Gigantic — 06
The Happening — 07
Planet of Sound — 08
Bel Esprit — 09
Something Against You — 10
Debaser — 11
Allison — 12
The Holiday Song — 13
Greens and Blues — 14

PIXIES :: 1986-1993, 2004-2019

13 — Come On Pilgrim (1987)
06, 10 — Surfer Rosa (1988)
01, 05, 11 — Doolittle (1989)
07, 12 — Bossanova (1990)
04, 08 — Trompe le Monde (1991)
02 — single (2004)
14 — Indie Cindy (2014)
09 — Head Carrier (2016)
03 — Beneath the Eyrie (2019)

Post-Pixies, Black Francis became Frank Black. He produced The Cult of Ray himself. The third solo album was recorded live with very few overdubs, a departure from his usual studio recording process. He liked the result so much that it became a blueprint for the next eight or nine years.

I saw Frank Black during the Teenager of the Year tour. The still underknown Jonny Polonsky opened. Throughout the entire show people screamed for Pixies songs. They never got them.

Headache — 01
Adda Lee — 02
Men in Black — 03
Superabound — 04
Old Black Dawning — 05
Pure Citizen of the Citizens Band — 06
You Ain’t Me — 07
Speedy Marie — 08
The Creature Crawling — 09
Czar — 10
The Man Who Was Too Loud — 11
The Cult of Ray — 12
Space Is Gonna Do Me Good — 13
Don’t Ya Rile ‘em — 14

FRANK BLACK :: 1993-1996

02, 05, 10, 14 — Frank Black (1993)
01, 04, 06, 08, 13 — Teenager of the Year (1994)
11 — The John Peel Session :: w/Teenage Fanclub (1995)
03, 07, 09, 12 — The Cult of Ray (1996)

Frank Black and the Catholics was made up of the backing band on The Cult of Ray. The process of recording “live-to-tape” was passed into law. There were no overdubs and virtually all of the songs during this time had no edits.

In 2004, Frank Black left the Catholics behind. He recorded two albums in Nashville with heavy-hitting session musicians that included Steve Cropper and Spooner Oldham, among many others.

I saw Frank Black and the Catholics during The Dog in the Sand tour. It was this tour that, for the first time, Pixies songs appeared on a Frank Black set list. Pixies reunited three years later.

Bullet — 01
Modern Age — 02
Do You Feel Bad About It? — 03
Smoke Up — 04
Go Find Your Saint — 05
21 Reasons — 06
If It Takes All Night — 07
I Switched You — 08
Solid Gold — 09
Nadine — 10
If Your Poison Gets You — 11
I Burn Today (live) — 12
Wave of Mutilation (live) — 13

FRANK BLACK AND THE CATHOLICS :: 1997-2006

03, 09 — Frank Black and the Catholics (1998)
04, 08 — Pistolero (1999)
01, 07 — Dog in the Sand (2001)
06 — Black Letter Days (2002)
02 — Devil’s Workshop (2002)
10 — Show Me Your Tears (2003)
05 — Honeycomb (2005) as Frank Black
11 — Fast Man Raider Man (2006) as Frank Black
12, 13 — Christmass (2006) as Frank Black

By 2007 the Pixies reunion tour looked like it was here to stay. There were rumors of new songs being worked on, though no new Pixies album appeared. Charles Thompson reverted to his Pixies alias, Black Francis, when he released Bluefinger. Both it and the EP svn fngrs made me wonder if some these songs had seeds of the rumored session. The rest of this section of frankblackfrancis is filled with a grab bag of projects: he wrote songs and a score for the silent movie The Golem (1920), he partnered with Reid Paley, a contributor on Fast Man Raider Man, for a one-off album, and he recorded a couple albums with Violet Clark, his wife, under the name Grand Duchy.

Threshold Apprehension — 01
Six Legged Man — 02
Half Man — 03
Bad News — 04
Curse — 05
Dead Man’s Curve — 06
The Flower Song — 07
Ugly Life — 08
Tight Black Rubber — 09
When They Come to Murder Me — 10
Lolita — 11
Stars — 12

BLACK FRANCIS :: 2007-2011

01, 09, 11 — Bluefinger (2007)
03, 10 — svn fngrs (2008)
02, 06 — NonStopErotik (2010)
04, 07, 12 — The Golem (2010)
05, 08 — Paley & Francis (2011) :: as Paley & Francis

If you haven’t noticed yet, Frank Black records a lot. Since Pixies formed in 1986 his yearly album average is nearly one and a quarter. And that’s not counting the songs he didn’t put on his records.

There was so much b-side material that collections were released. Oddballs compiled some of the excess from 1994-1997. Like material from the Catholics years were spread over two titles: Snake Oil (covers) and Another Road for the Hit (originals). Abbabubba and Christmass were mixes of original songs, live recordings and alternate versions of album tracks. Pixies even released a collection of b-sides. And with the arrival of Beneath the Eyrie, there are six more songs for the pile.

History Song (live) — 01
Somethings — 02
Don’t Clip Your Wings — 03
Re-Make/Re-Model — 04
Oddball — 05
Amnesia — 06
Old John Amos — 07
Sugar Daddy — 08
This Is Where I Belong — 09
Preacher’s Daughter — 10
That Burnt Out Rock ‘n’ Roll (live) — 11
Do Nothing — 12
You Never Heard About Me — 13
Rabbit Hole — 14
Tossed (vocal version) (live) — 15

SCRAPS

01 — FB&theC covering The Good, The Bad and The Queen
02, 12 — FB&theC - Snake Oil. 02 covering Angst. 12 covering The Specials
03, 10 — FB&theC: One More Road for the Hit
04, 05, 13 — FB: Oddballs
06, 09 — FB: “Headache” CD single. 09 covering The Kinks
07 — covering Arthur Alexander
08 — FB: Wig in a Box: Songs from and Inspired by Hedwig and the Angry Inch
11 — FB: 93-03. covering Gary Green
14 — BF demo
15 — FB bootleg

Below are Spotify versions of the playlists above. A few songs aren’t available, so some of the playlists vary slightly. There are a very small number copies of the above set, plus two episodes of It’s a Pixies Podcast, burned to CD at Colin’s Coffee, if you are so inclined…

We and our partners use cookies to personalize your experience, to show you ads based on your interests, and for measurement and analytics purposes. By using our website and our services, you agree to our use of cookies as described in our Cookie Policy.

We and our partners use cookies to personalize your experience, to show you ads based on your interests, and for measurement and analytics purposes. By using our website and our services, you agree to our use of cookies as described in our Cookie Policy.

We and our partners use cookies to personalize your experience, to show you ads based on your interests, and for measurement and analytics purposes. By using our website and our services, you agree to our use of cookies as described in our Cookie Policy.

We and our partners use cookies to personalize your experience, to show you ads based on your interests, and for measurement and analytics purposes. By using our website and our services, you agree to our use of cookies as described in our Cookie Policy.

“On Graveyard Hill” video co-directed by Kii Arens (Flipp, PPL MVR and LA-LA Land Gallery)

*phew*