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Raised Eyebrows: Bad Records (Randy)

May 7, 2014


Every band seems to have a sore thumb or two sticking out of their discography that either you love, hate or have little opinion of. Seemingly undeterred by bad reviews, harsh criticism, and/or disapproval by fans or the artists themselves, these records find their way into your hands and sometimes earn a special place in your psyche.

Maybe these records are your first introduction to a band or maybe a band can be so talented that even a debilitating release with mass distribution makes a lasting impression. It could just be you are a “warts and all” collector who is so devoted to an artist that you manage to find something admirable in every record. Regardless of how they show up, these records exist and they can stay with you. A couple come to mind for me and a few other folks as well.

By the way, you can stream all of the cuts from this article in one mighty playlist, HERE.

Also, if you have a bad record you love, then hit us up in the comments to discuss!

The ReplacementsAll Shook Down (1990)

Widely considered to be Paul Westerberg’s first solo album, All Shook Down shows the Replacements limping on their last legs. The bad reception of their previous album, Don’t Tell A Soul followed by a crummy tour with Tom Petty & The Heartbreakers led the band to this album and to their eventual demise. The album is filled with studio musicians and guest appearances (John Cale on Sadly Beautiful, Terry Reid on Someone Take The Wheel and Johnette Napolitano on My Little Problem). The wearied Attitude being the lone cut on the album with all of the members of the band playing together. Many consider this record a total flop, but I wholly disagree. This album was the first thing I ever heard by the band and while I eventually got Let It Be and consider it to be the classic that it is, All Shook Down still ranks high personally among the band’s discog.

I worked at a record store at the time called The Ear Doctor in Huntsville, Texas and found this in the cassette section of the store. I took it home and was instantly hooked. The more I listened, the more I saw where contemporary bands of the time (Wilco, Whiskeytown) were pulling from and there was the additional zap of Westerberg’s lyrics.

Nobody expertly depicts attending the wedding of a lost love, the line “You’re still in love with nobody/And I used to be nobody,” paints a clever picture. Someone Take The Wheel encapsulates where Paul’s head was at with the band at the time and contains the classic Westerberg idiom rewrite “Anywhere you hang yourself is home.” While not as ripe with lyrics as other cuts, Happy Town remains another fav of mine. The hammond build into the solo on this song is one of the best moments on the album.

All Shook Down is said to be Westerberg’s stab at a Rod Stewart LP. PW is known for loving Every Picture Tells A Story which explains the album’s more acoustic leanings (When It Began) and it’s overall laid back appeal (The Last). This being my introduction to the band explains why I tend to prefer the albums that led up to this record (Pleased To Meet Me, Tim) and maybe why I still sometimes scratch my head when listening to Sorry Ma and Hootenanny. It all depends on where you begin I guess.

Lou ReedRock N Roll Heart (1976)

Released the same year as Coney Island Baby in 1976, Rock N Roll Heart’s release had something to do with Clive Davis bailing Reed out of bankruptcy by signing him to Arista. The album features two Velvet Underground throwaways in A Sheltered Life and Follow The Leader. It also contains the only rock instrumental in Reed’s vast catalog with Chooser And The Chosen One (a fav of mine).

I’m not sure how I came across this one but it was purchased on LP not too incredibly long ago at Antone’s Record Shop in Austin. The record starts off with two nonessential feel good tracks, I Believe in Love and Banging On My DrumYou Wear It So Well plays like a Neil Young track, Zuma being a record Reed admitted to liking around this time. Ladies Pay and Vicious Circle are highlights, simple tunes that epitomize Reed’s strengths as a personal songwriter. The title track is filled with VU swagger and has that oh so familiar talk singing that only Lou can do. It should be stated here that Reed is in great voice throughout and is the sole guitar player for this entire ride – he more than keeps up to say the least. There’s a couple of tracks that have a Bob James kind of feel (Senselessly Cruel and Claim To Fame) but I like the theme from Taxi so I say, bring it on!

While there are many records that are superior to Rock N Roll Heart, it’s a record in Reed’s discography that deserves revisiting. It’s a straightforward take on the artist and has a consistent vibe. You could do a lot worse (Mistrial, Growing Up In Public) but that’s up for debate. For me, this is one of Sweet Lou’s best.

Here’s a few picks from a few other folks:

Robyn Hitchcock & The EgyptiansQueen Elvis (1989)

It wasn’t the first record by Hitchcock I got – that would be Globe of Frogs. I couldn’t quite wrap my head around that one, but there was enough appeal for me to tune in when 120 Minutes debuted Madonna of the Wasps, the first single from Queen Elvis. I dug that a lot. MTV then had Hitchcock host Post Modern MTV, their nightly version of 120 Minutes, and he played solo acoustic versions of Wax Doll and One Long Pair of Eyes. I was hooked. I bought Queen Elvis and it’s remained a firm favorite ever since.

So imagine my surprise to find that in the Hitchcock entry of the Trouser Press Record Guide (my music bible for a good decade, and still a frequently referenced research tool) Queen Elvis is described as “the nadir of his…body of work.” “The song structures are overly familiar,” writes Ira Robbins (or whoever kept the entry going after his initial efforts), “the weirdness seems forced and, worst of all, the emotions don’t seem real.” I personally would level those last two accusations at Globe rather than Elvis, and I still find the latter much more enjoyable and closer to my heart than Perspex Island, the much-acclaimed follow-up. Perhaps if I’d been listening to Hitchcock’s [pre-major label work with the Egyptians before I found Elvis I’d feel differently. But Queen Elvis is the first Hitchcock record that made sense to me, and as such I still love it more than just about anything else in his catalog.

by Michael Toland – writer for The Austin Chronicle, The Big Takeover, Blurt, Sleazegrinder

Black SabbathNever Say Die! (1978)

I recently picked up Never Say Die!, which is generally considered one of the worst – if not the worst – LP by the original Black Sabbath lineup. It was released in 1978, and lacks a lot of the doom-laden vibes Sabbath fans had come to expect. The band recorded it in Toronto, and were allegedly dealing with serious substance abuse issues. Ozzy Osbourne has said that he’s embarrassed by it. But despite all that, it’s a great sounding record. The songs are generally pretty upbeat, almost punk-like (maybe because of all the coke?), and loaded with inventive melodies, massive hooks, and fantastic guitar work from Tony Iommi. Ozzy’s voice is in fine form, as well. Highlights include the title cut, Hard Road, and album closer Swinging the Chain. As an added bonus, the album art – developed by Hipgnosis, the design team responsible for the covers of Houses of the Holy and Wish You Were Here, among others – totally rules.

by Brandon Gentry – writer for DCist and author of Capitol Contingency: Post-Punk, Indie Rock and Noise Pop in Washington D.C. 1991-1999

13th Floor Elevators – Bull of the Woods (1969)

This was one of my first CD purchases and, growing up in Houston with the legend of the band along with Roky Erickson’s then-recent reissues and tribute compilation Where The Pyramid Meets The Eye, it was an easy purchase for the rare time I had $12 on hand. Reliably stocked in the bins when I would look for the albums that I’d actually heard/heard about, I gave it a shot and liked it. I defended the record for its breezy chooglin’ that satisfied an intense need for actual psychedelic music I didn’t feel was represented by The Grateful Dead or others of that time. Obviously, I grew to learn what made the more Roky-attended records historically significant, but I still don’t shy away from BOTW and that 60’s Texas boots-meet-weed-leaf-tshirt sound – still a weird record if mostly dismissed.

by Aaron White – leader of Denton proto roll band, Old Snack

 Carcass - Swansong (1996)

I bought this on cassette at a movie rental store in Snyder, Texas that just happened to have a large selection of extreme metal albums on CD and cassette. I’d heard that it was the worst album of the band’s career, but I had loved everything else they had done so I bought it. I put it in my trusty tape player and cranked it up super loud. The riffs were more rock-oriented, but I just loved everything about it. You can’t go wrong when you open your album with a song titled Keep On Rotting In The Free World.

by Daniel Markham – Denton by way of Lubbock singer-songwriter

The Magnetic Fieldsi (2004)

I’d resisted getting into MF for years despite lots of urging from friends in the know because I’d been going through a deep acoustic/rock & roll songwriter phase of my life. The record had just come out and a friend who shared my prejudices against electronic/synth/computer-y music recommended it to me. I still resisted but when someone put on the record while hanging out at their apartment and I heard the first track I Die, with its delicate acoustic arrangement, bitterly self-effacing lyrics (“Having forgotten how to cry/I die”), and melancholy vocal delivery, something struck a serious chord. The album is widely considered a disappointing follow-up to their breakout 69 Love Songs, but to me it was a revelatory entry point into their canon, highlighting Stephin Merritt’s juggernaut songwriting abilities in a way accessible to the singer/songwriter junkie in me. Though it falls short of the invective and conceptual prowess of MF’s 90’s discography and indicates the ebb in the vitality of their output over the past decade, I still feel many of the songs on the record are among their best. Tracks like I Don’t Believe You, It’s Only Time, and I Wish I Had an Evil Twin, accentuate the band’s hallmark deliberateness, fantasizing, and pessimism while still offering meta commentary and genre referencing that I find deeply satisfying.

by Adam Hilton – recording engineer and leader of Austin grump rock band, Linen Closet

Tom Petty and the HeartbreakersEcho  (1999)

I don’t know if this record is considered bad by people, but the reviews were real mixed as i remember, and it was not a big success by Tom Petty standards. I was living in Seattle and I went to the record store in Ballard where I lived and got it. The first thing I recall was sticker shock. With tax this CD cost $20! The second thing was not liking the opener,  Room at the Top very much. I have since come to like the song, but this happened slowly, over years. I later read that Petty had just split up with his wife and was in a deep depression when he wrote the record, and it was longtime bassist Howie Epstein’s last album with Petty before od’ing on heroin. It has a kind of embattled vibe, more than usual even. The ‘breakers sound awesome on these tracks still. Mike Campbell even takes a lead vocal on I Don’t Wanna Fight. I’m real biased…I  find something to like on almost all Petty albums.

by Mike Nicolai – Austin/Minnesota songwriter and leader of The Bremen Riot

Gary NumanTelekon (1980)

For starters I’m old enough that I used to shop at record stores in the malls as a kid. Every record store back then had the “cut out” bins .These are filled with vinyl by artists whose records bombed! The record companies would sell them off really cheap. So after the huge success of Pleasure Principal, the next three Gary Numan records were all over pressed. So with my very low budget/allowance my first Gary Numan albums were Telekon, I, Assassan and Dance. I really love these records. In fact it was years before I bought the “good” ones. In fact, when I recently met Gary Numan at a signing event at Waterloo I had him sign Telekon. When I told him this record changed my life and it was my favorite, he looked at me incredulously and said “really?”

by Bill Jeffery – buyer extraordinaire at Waterloo Records and vocalist/trumpeter for Ichi Ni San Shi


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SXSW 2013 Picks (Jennifer)

March 6, 2013


Even though I’m a 16 year veteran of attending SXSW, I’m reluctant to do much in-depth research for fear that my head will cave in from information overload. The festival is certainly no longer limited to the latest buzz bands. I admit I’m looking forward to seeing bands that are festival veterans and maybe even a rock n’ roll legend or two. I also willingly break the unofficial rule for Austinities by checking out local band showcases. I know I can see them throughout the year, but why is it so wrong to support them during SXSW?

I’ve selected five Austin bands and five non-Austin acts worth checking out next week.

Don’t forget your earplugs, wear comfortable shoes, and drink plenty of water.

Hundred Visions

I had heard of Austin’s Hundred Visions a couple of years ago, but I didn’t become a fan until seeing one of their Austin Free Week performances in January. It was full of energy, passion, and fun. Their sound is an irresistible blend of late 70s power pop and early 80s British post punk. You can catch their official showcase on Friday, March at Metal And Lace. They’re also part of the lineup for SOTO’s day party, DC vs Austin, on the same day. Just in time for the festival, the band has released a video for the track Where Do I Sign?.

The Ugly Beats

A longtime Austin favorite of mine is The Ugly Beats. Their sound combines 60s British invasion, garage rock, surf, punk, and psych, and their shows turn into instant dance party. They’re a total blast and one of the best bands in town. They play their official showcase as part of the Get Hip Records lineup at the Parish Underground on March 16.

The Calm Blue Sea

Local quintet The Calm Blue Sea create a powerful sound that (pardon the oceanic reference here) washes over you – at once it can be gentle and calming but it can also take your breath away as it crashes over you. They’re part of an excellent label showcase by Austin based label Modern Outsider that includes other quality Austin bands such as Ume, The Black and White Years, My Jerusalem, and Mirror Travel (formerly Follow That Bird!).

Residual Kid

Don’t call them a kid band and don’t call them a novelty band. The members of Austin trio Residual Kid may be young, but I’ve been to shows where older bands that play after them have asked aloud onstage, “How do we follow that?” They’re loud, brash, and maybe even a bit messy. They’re not afraid to just go for it and have a lot of fun onstage while melting faces of all ages in the audience. They’re playing plenty of day shows and you can check out their official showcase on March 16 at The Palm Door.

Grape St

Grape St are about to release their debut album, A Date With You, on the local start up label Austin Town Hall Records. Their infectious garage rock stompers make for a raucous live show. They have two festival showcases – March 13 at Cedar Street Courtyard, followed by another showcase later that night on the Hotel Vegas patio.

Robyn Hitchcock

Robyn Hitchcock is a longtime SXSW veteran, but this is not an artist who repeats himself. I’m always intrigued to see him perform live. His lyrics and stage banter have a stream of consciousness quality that range from thought provoking and biting to humorous and flirtatious. I’m sure that “quirky” and “odd” have been used to describe him and his songs, but those words don’t do him justice. Just listen and dig a little deeper to appreciate the enigma that is Robyn. His official showcase is on March 14 at the Continental Club. He’s also part of the all star tribute to the late Brent Grulke at the Austin Music Awards.


I’m pretty sure I did a little happy dance when I learned that the Ireland band Ash was returning to SXSW. I have a fond memory of watching them play a day party from a far distance in 2006; the band could see the far off crowd watching and dedicated Renegade Cavalcade to us. In the past couple of years, the band has played some limited tour dates in the US, but it’s been seven years since they’ve played in Austin. In late 2012, the band marked its 20th Anniversary with the release of the Ash A-Z Series, and they’re playing additional US dates in support of that release. They have skillfully combined hard, crunchy guitars and infectious, singalong worthy pop hooks that have won over listeners and allowed them to maintain a devoted fan following. Their official showcase is at Buffalo Billiards on March 13, and they’re also playing the Irish Full Breakfast showcase.

The Zombies

You don’t have to be a scholar or hardcore fan to appreciate The Zombies, who are in their 52nd year of being a band. Two original members remain – lead singer Colin Blunstone and songwriter/keyboardist Rod Argent. As one of the most influential bands from the 60s British Invasion, you’re probably familiar with some of their classic hits, including Time Of The Season, She’s Not There and Tell Her No. I’m not familiar with their 2011 release, Breathe Out, Breathe In, but I’m sure that they won’t leave SXSW without playing their classic hits and fan favorites. Their popularity and influence on contemporary bands endures for past, present, and future fans. Their official showcase is on March 16, and they’re also a featured interview on March 15 at the Austin Convention Center.

Free Energy

Philadelphia based quintet Free Energy never fail to make me smile. It’s feel good music that’s ridiculously catchy; think classic rock meets power pop. Even the cool kids who usually keep their hands in their pockets will start clapping, dancing, and singing along. They’re supporting the release of their second album, Love Sign, and I’ve been looking forward to their return to Austin since their SXSW showcase last year. The band genuinely enjoys what they do and it shows during their live performances. They’re playing several day shows and their official showcase is on March 16.

Frightened Rabbit

I first saw Scottish quintet Frightened Rabbit at a small SXSW day party in 2008. It was a short set, but they definitely made an impression on me. The band is celebrating their return to this year’s festival with the release of their fourth album, Pedestrian Verse. Their songs have a persistent sadness, but they also convey a sense of hope and resilience which strikes a familiar chords in many of their fans and listeners.  This is not a band that stares at their shoes; their live shows are passionate, sweaty, and satisfying affairs. Their official showcase is at The Belmont on March 14. Even if you have a badge, get there early as The Flaming Lips, The Joy Formidable, Alt-J, and Surfer Blood are part of that night’s lineup.

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