[Reissue Review] Ride’s “Nowhere” (Rhino Remaster vs. 1990 original)
Posted on April 30, 2012 at 11:50 pm | 8 Comments
On any given day, if you forced me to shout out my favorite album ever, there’s a very good chance I’d yell “NOWHERE”! For many, many months after Ride’s 1990 start-to-finish masterpiece was released it rarely left my walkman, soundtracking a very volatile chunk of my formative years. The 11 songs on Ride’s debut full-length (after a string of ace EPs) settled down very, very deep into my heart and brain, and to this day I’ve never once tired of hearing it. Hell, I nearly named this blog after a “Nowhere” lyric, but didn’t want to step on Frank‘s already-Ride-referencing toes.
So when the album hit the 20-year mark and Rhino Handmade released remastered double-disc/single LP versions in late 2010, you’re damn right I re-bought it. Sure, I have that purist part of me that screamed “Don’t mess with perfection!”, but I needed to know what they’d done to my dearly beloved. Even if it was going to cost me 40 bucks plus shipping to find that out.
Well, whaddya know… they done good.
Today, to coincide with Clicky Clicky‘s release of the lovingly-curated “NOFUCKINGWHERE” tribute compilation (on which 11 Boston bands cover every single song from the record), and realizing that a $40 pricetag is tough for your average Ride fan to throw down for a 20-year old album they probably know by heart, I thought I’d lay out some simple audio/visual evidence in support of the reissue. Whether you’ve heard the original never, a dozen, or a million times, the remastered “Nowhere” should be on your shelf. Thanks to Rhino, by the way, for allowing me to use the audio tracks below.
The aural dynamics are a vital part of “Nowhere”, so when I heard they were remastering the thing, I feared that we’d get unnecessary compression and over-maximization of valleys vs. hills (don’t worry if you didn’t understand that, it may not actually make sense). The album came out well before the hot-levels craze, where every track was squashed to hell and pinned to max volume. Fortunately those days have (mostly) passed, and Nick Webb at Abbey Road (a former Beatles engineer who handled the remastering) kept all the lows, highs, and dynamic shifts intact – to me, they feel more powerful than ever.
(For a far better explanation of mastering, specifically “loudness”, than I could ever hope to write, check out this excellent primer over at Bob Weston & Jason Ward’s Chicago Mastering Service. It’ll help you understand what I’m trying to get across. Basically this image = bad.)
Compare the waveform of the original 1990 version of “Vapour Trail” with its remastered counterpart, and you’ll see how the volume was increased without maxing all the levels to their highest points…
But more importantly, listen to the original and the remaster back-to-back. Yes, obviously the new version is a bit louder, but pay particular attention to when the drums kick in, or when the strings arrive…
The bass drum and snare are punchier but still in the pocket – they don’t distract from the guitars or vocals. They’re clearer, as are the all-important strings, which are given added definition without sterile separation. I hear details in these songs that I’ve never heard before, and given how many times I’ve listened to them, that’s a mastering miracle. It’s really a near-perfect production job, finding a balance between added clarity and the original’s warm blanket sound.
For another taste (unfortunate but unplanned pun), have a look and listen to “Paralysed“, a longer and more dynamic track than “Vapour Trail“…
Aside from the audio improvement the remaster provides, the bonus material is the other obvious reason to pick up the “Nowhere” reissue: The 4 ridiculously great songs from “Today Forever” EP, which were also remastered, are tacked on the first disc at the end of the album. The original version of EP track “Today” suffered from very low levels, and was a bit muffled – that’s finally been remedied, and it positively sparkles now. (side note – check out Lou Barlow’s thoughts on the “Today Forever” EP right here)
The second disc of the pair holds a previously-unreleased live recording of the band at what some would call the peak of their power, during their first U.S. tour in 1991 at the Roxy in LA. 12 tracks, including 7 from “Nowhere”. It’s probably the best live document of the band I’ve ever heard, and I’ve heard more than my share.
The packaging of the double-disc is impressive as well, featuring a 6″ x 6″ hardbound book with a lenticular version of iconic blue wave image on the front, and photos, lyrics, artwork, and an understandably gushing essay from music critic Jim DeRogatis on the inside. The presentation nearly does the audio justice. I haven’t checked out the 180g vinyl remaster, which keeps things simple with just the original “Nowhere” tracks, but it looks, and likely sounds, just as gorgeous. This is the first time the LP version has been available in the states, and pulling together this post has just convinced me I really need to upgrade my original import-only copy.
So hit up Rhino before I grab the last LP (it actually says “Low stock”, so I’m not really kidding), or snag the 2CD version. Then head straight to Clicky Clicky and download “NOFUCKINGWHERE” (for free) so you have something to listen to while you wait by your mailbox.
[Here It Comes!] 10th Annual Independent Film Festival Boston: The Music Docs
Posted on April 19, 2012 at 7:48 pm | No Comments
In less than a week, on Wednesday, April 25th, the 10th annual Independent Film Festival Boston kicks off with an opening night screening of Mike Birbiglia’s “Sleepwalk With Me” (and a post-film Q&A from producer and This American Life host Ira Glass), wrapping up 8 long days later with Lauren Greenfield’s riches-to-way-less-riches documentary “The Queen of Versailles” on Wednesday, May 2nd. In between, over 130 carefully-curated films will roll on projectors at the Somerville Theatre, The Brattle in Harvard Square, and Brookline’s Coolidge Corner Theatre.
As with previous years’ lineups, the 2012 edition has a healthy handful of music-related documentaries. The staff, who spend endless (volunteered) hours screening hundreds of submitted films, has always made a point of including music docs in their varied schedule, and that’s one of the many reasons I’ve never missed a single IFFBoston. Hard for me to believe it’s been a decade, maybe even harder for the tireless (actually, probably very tired) crew.
So here’s a quick rundown of the seven music-related documentaries screening at this year’s IFFB, most of which will have their directors in attendance for post-film Q&As. Make sure you pick up individual advance tickets for the ones that strike you, or better yet, grab a full festival pass and make the most of it. Many screenings sell out early, so unless you’re up for waiting in risky rush lines, play it safe…
All Ages: The Boston Hardcore Film
Directed by Drew Stone, who will attend for a post-film Q&A
Boston. Hardcore. Those words carry a lot of history, a lot of weight. This documentary has been in the works for awhile now, so I’m pretty psyched it’s finally ready to roll. Even more psyched that it’s the IFFBoston that scored the premiere. Given the deep local ties this film has, I’m not at all surprised it sold out quickly, so if you got caught off guard, you’ll either have to pick up a festival pass or show up at least an hour before showtime and cross your fingers in the rush line.
[ Tickets / Facebook / Brattle page / IMDB ]
Screening at 7:30pm on Friday, April 27th at the Brattle Theatre
Andrew Bird: Fever Year
Directed by Xan Aranda, who will attend for a post-film Q&A
As with past years, I was asked to screen a couple IFFB films early and write synopses for their program guide. “Fever Year” was one of them, and here’s what I had to say…
“I’m either sweating bullets or I’m freezing all the time…
but it seems like a worthy thing to do with your life.”
—Andrew Bird
In director Xan Aranda’s new documentary, which covers the final months of singer/songwriter/master whistler Andrew Bird’s nonstop 2009 tour, Aranda’s subject truly embodies the old adage of “suffering for your art.” Wrestling with a low-grade fever throughout and a foot injury in the last stretch, Bird never lets his afflictions get between him, his songs, and the audiences that come to hear them. The film deftly balances biography and live footage (mostly from a two-night stand at Milwaukee’s Pabst Theatre), offering real insight into Bird’s creative process, artistic motivations, and evolution as a music maker. It’s a fascinatingly in-depth portrait of a true artist—one who is driven by a pure, singular compulsion, maladies be damned.
Highlights include early performances of songs from his just-released album, Break It Yourself (including a gorgeous duet with Annie Clark of St. Vincent), as well as fan favorites “Fake Palindromes,” “Fitz and the Dizzyspells,” and “Opposite Day.”
[ Tickets / Website / Facebook / Twitter / IMDB ]
Screening at 7:45pm on Thursday, April 26th at the Somerville Theatre
Beware of Mr. Baker
Directed by Jay Bulger, who will attend for a post-film Q&A
Peter Edward Baker – aka “Ginger”. Legendary drummer for Cream, Blind Faith, and many, many others. Incorporating percussion elements of rock, metal, jazz, and African rhythms into his varied career, he’s a madman behind the kit, and as those familiar with him know, not just when he’s playing. His colorful, sometimes sordid past is told here in his own words, and his influence is measured by the likes of Eric Clapton, Steve Winwood, Charlie Watts, Mickey Hart, Carlos Santana, Neal Peart, and Marky Ramone, who all make appearances in the film.
[ Tickets / Website / Facebook / Twitter / IMDB ]
Screening at 9:15pm on Monday, April 30th at the Somerville Theatre
Jason Becker: Not Dead Yet
Directed by Jesse Vile
Can’t recommend this one highly enough. It’s another film I was fortunate enough to screen early, so here’s my write-up for the IFFBoston program guide…
Outside certain circles, only a handful of virtuoso metal guitarists have achieved the mainstream name recognition of an Eddie Van Halen, a Steve Vai, or an Yngwie Malmsteen. And, in a just world, Jason Becker would be among them. The guy couldn’t just play, he could shred—and, like most late-’80s metalheads, he did it with huge hair, tight pants, and some all-pro guitar faces. Unlike his peers, though, Jason was just as likely to toss off a Bach fugue as a vintage Clapton solo. Fans and fellow players called him a prodigy, and they weren’t wrong.
So what happened? Where did he go? Why speak of his talent in the past tense? Therein lies a tale compassionately told in director Jesse Vile’s JASON BECKER: NOT DEAD YET. At once tragic and uplifting—the title itself is a spoiler—it will melt your heart as it breaks it in two. It tackles big questions: What would you do if you lost everything? How much of yourself would you sacrifice for a loved one? Can pure willpower overcome physical limitation? Jason’s story is uniquely powerful, truly moving, and deeply inspirational—something many biopics strive for, but few achieve.
[ Tickets / Website / Twitter / IMDB ]
Screening at 9:15pm on Saturday, April 28th at the Brattle Theatre
Just Like Being There
Directed by Scout Shannon, who will attend for a post-film Q&A along with subject/artist Daniel Danger
No, not technically a music doc, but one that’ll strike a chord in many music fans: Gig posters and the artists behind them.
From the official website: “In the gig poster community, artists such as Daniel Danger and Jay Ryan prove that creating this artwork is a way of life, more than just a career. These artists are at the forefront of an expansion of the gig poster genre. MONDO’s reinvigoration of “the film poster as an art form,” and Gallery 1988’s theme based exhibits are only two ways in which this artwork is reaching a greater public. In a community with strong roots, dating back to the 1960s, this expansion is controversial- refreshing to some, sacrilegious to others.”
The soundtrack sounds killer, too, with tracks from Okkervil River, Tokyo Police Club and Spoon.
[ Tickets / Website / Facebook / Twitter / IMDB ]
Screening at 7:30pm on Sunday, April 29th at the Somerville Theatre
Paul Williams Still Alive
Directed by Stephen Kessler, who will attend for a post-film Q&A
If you grew up in the 70s, and paid any particular attention to pop culture, you knew about Paul Williams. The diminutive songwriter and performer was seemingly everywhere for awhile there, and if you couldn’t see him, you were hearing his songs sung by the likes of Karen Carpenter, Barbara Streisand, and yes, a certain frog named Kermit. Eventually, though, Williams just sort of… disappeared. Off the radar. Well, as the director of this documentary discovered, he’s very much still alive, and the film exploration of his past and present is getting raves all around.
Bonus: Watch a clip of Williams performing “The Rainbow Connection” with a cast of many Muppets, just last week at Carnegie Hall during a tribute show called “Jim Henson’s Musical World”.
Screening at 7:00pm on Tuesday, May 1st at the Coolidge Corner Theatre
Under African Skies
Directed by Joe Berlinger, who will attend for a post-film Q&A
An in-depth look at the recording of, controversy surrounding, and influence of Paul Simon’s renowned 1986 “Graceland” album on the occasion of its 25th anniversary. Features interviews with Simon’s collaborators (and detractors), footage of Simon’s recent return to Africa, and clips of the original Graceland live performances. Director Berlinger was the man behind the camera for acclaimed documentaries “Metallica: Some Kind Of Monster” and the West Memphis Three “Paradise Lost” films.
[ Tickets / Website / Twitter / IMDB ]
Screening at 8:00pm on Sunday, April 29th at the Somerville Theatre