In 2025, my music blogging has taken a backseat to my politically focused Substack blogging. But I continue to listen to a lot of music and have started more music posts than I have finished and published. I have been posting a best-of list since 2011. When I look back at the old lists, I am struck by a few thoughts:
- I am not embarrassed by what is on the list, despite the fact (next point)
- My taste is not particularly hip
- I have forgotten about half of these albums, but the other half have remained in my psyche, and I continue to listen to them
Earlier this year, I published a best of the first half of 2025, and you can find it here:
This post will focus on the second half of the year, and I will also rank my top-5 albums of 2025. First, the second half of 2025, in no particular order.
Brandi Carlile: Returning to Myself – After her last album, 2021’s In These Silent Days, Brandi has been busy doting on others (Joni Jams, Elton collaboration, producing Brandy Clark). Returning to Myself is literally that, returning to music for and about Brandi Carlile. Carlile worked on Returning to Myself with Andrew Watt (super-producer to ancient rock stars like the Stones and Ozzy), Aaron Dessner (The National and Americana-era Taylor Swift), and Justin Vernon (Bon Iver). Per Brandi, the Inspiration for the album came from Emmylou Harris’ Wrecking Ball (a collaboration with Daniel Lanois). Returning to Myself is another solid addition to the Brandi catalog.
Taylor Swift: The Life of a Showgirl – Can you be a 66-year-old male and be a Swiftie (and not be creepy)? It turns out yes. I got totally sucked into this album release cycle. I am a sucker for any Taylor and Travis gossip, and I am disappointed if we don’t get a camera shot of Taylor at a Chiefs game. Sonically, the album is a return to the ear candy of 1989 and Red. Lyrically, it is mature in a slightly wine-drunk, soccer-mom sort of way. Pure trash, but I love it! In my review, I said:
“I love its upbeat and cheeky tone as an antidote to our dark times. Mega-success and love have not ruined Taylor Swift – she can still churn out the bops and bangers!”
Atmosphere: Jestures – Hip-hop is typically not my thing, but I have always had a soft spot for Atmosphere. A big part of that is that they are from Minneapolis, but the bigger thing is that I love Slug’s narratives and Ant’s retro soul and funk beats, which resonate with my senior citizen brain. Jestures is not mind-blowing or something new from the three-decade-old band; it is meeting an old friend you haven’t seen in years and picking up where you left off, as if it were yesterday when you last talked. See this link for the full review.
Jeff Tweedy: Twilight Override – I am a huge Wilco fan. I have enjoyed Jeff Tweedy’s side and solo projects, but none of them have rivaled a Wilco album, until now. Twilight Overdrive rivals the best of the Wilco catalog. In my review of the album, I said:
“The collection is generally more relaxed and mellow compared to a Wilco album. Not sloppy, just casual. It is not entirely acoustic, but acousticish (with some trademark Tweedy cacophony, too). It is how I imagine a song sounds before Wilco, the band, “Wilco’s it up.” You forget that, despite Tweedy’s prominence in Wilco (as lead vocalist, composer, lyricist, and frontman), Wilco is first and foremost a band. Twilight Override has a singer-songwriter vibe that differs from Wilco’s. I am reminded of John Lennon’s work after the Beatles – a whole other thing.“
I got to see the live show in support of the album recently in Minneapolis at the legendary First Avenue, and it was so good that I plan to see it again when it passes through Phoenix this winter.
Margo Price: Hard Headed Woman. After a detour through psychedelic rock, Margo is back to pure country. I loved the rock detour, but I am more than happy to have her back to twanging. With Hard Headed Woman, she has achieved Steven Hyden’s five-album test. The five-album test is an artist or group releasing five consecutive albums ranging from very good to flat-out excellent. Many artists have five good-to-excellent albums over their careers, but very few string five together consecutively. In my review, I said:
“As much as I enjoyed Margo’s rock and roll detour, I am happy to have her back in the arms of country – especially her East-Nashville take on the genre, which aligns with my alt-country/Americana taste.”
Margo released a deluxe edition of Hard Headed Woman with extra tracks on streaming services in December.
Goose: Chain Yer Dragon – Goose delighted me by surprise-releasing a second studio album in 2025! The 12 songs follow the April release of Everything Must Go. Both records were produced by D. James Goodwin, who was also behind the board for 2022’s Dripfield. The album doesn’t sound significantly different from Everything Must Go or Dripfield; however, it has a looser live vibe and explores the band’s jazz-rock fusion side. The band also plays around with a muscular arena rock sound on songs like “Factory Fiction.”
Goose: Live at Madison Square Garden – I have to say I like this even more than the two studio albums released in 2025. It is well-recorded, an excellent sampling of thier catalog, and has some great covers. My favorite cover is “Don’t Leave Me This Way,” originally performed by Harold Melvin & the Blue Notes, but made famous by Thelma Houston. A horn section joins the band on several tracks. The album clocks in at just over four hours. Playing at MSG was a landmark event for the band. This album was also produced by D. James Goodwin, and so it has a more professional sound than the typical Goose shows offered on Bandcamp.
Matt Berninger: Get Sunk. – This is a late entry. It came out in the spring, but I did not listen to it until early December. It showed up as a CD in my Record Store Day Black Friday grab bag from Stinkweeds Records (Phoenix). I am a fan of The National, so it did not take much persuasion to give it a spin. The album is fantastic. A little less busy and mellower than a The National album, but in the same ballpark. Sonically, it is gorgeous. Still absorbing the lyrics. But I have heard enough to give it a thumbs up. I will be spinning and streaming this more now that I am hooked.
Morgan Wade: The Party Is Over (recovered)– The backstory on this album is that a handful of the songs date back to before Wade signed her major-label deal and have been “recovered” on this album with all-new versions. I love Morgan’s contemporary take on country rock. I love it when a singer-songwriter can lead a rock band with a sound that is instantly recognizable and ambitious – like Tom Petty, Springsteen, Pete Townsend, Lindsey Buckingham (Fleetwood Mac), etc. I don’t mean to oversell Morgan, but she is swinging for the fences here. Session guitarist Clint Wells is Wade’s primary collaborator on this album and her last. Wells plays guitar and is the producer on both albums. Well’s must add some kind of magic as Obsessed and The Party Is Over (recovered) are giant steps forward in the Wade catalog.
Geese: Getting Killed – For the longest time, I was only aware of Geese because they were not Goose (one of my favorite bands). This album got so much critical hype that I had to check it out, and damn, it’s fantastic. Rock and roll is not dead!
St. Paul & The Broken Bones: Self-Titled (2025) – I am a long-time fan of St. Paul & The Broken Bones. I discovered them shortly after their 2014 debut, Half the City. I am not really into the retro-soul thing, but this band somehow works for me. The absurdity of a guy who looks like a disheveled bookkeeper delivering amazing soul-music vocals is a hook (Paul Janeway is an epic frontman). The band is excellent – a horn band with a sprinkle of weird (their past couple of albums got a little too odd, and this is a return to the basics). Their live shows are amazing.
Bruce Springsteen: Nebraska ’82: Expanded Edition and the Deliver Me from Nowhere biopic document Springsteen’s existential crisis in the wake of the upward trajectory of consistently releasing commercially and critically successful albums, which led Bruce to deliberately adopt a non-commercial approach. The decision was so profound that it warranted a movie. The Nebraska album (original and reissue) and the film are for Springsteen obsessives only. Nebraska ’82: Expanded Edition is a great collection, but, as music critic Steven Hyden has pointed out, it should have been a Nebraska/Born In The U.S.A. box set. Nebraska ’82 includes the legendary “Electric Nebraska,” which turns out to be a kind of dud – turns out Bruce knew exactly what he was doing by releasing what has become a lo-fi bedroom classic with the original Nebraska. As a fan, I found the movie and the expanded album a welcome addition to the Springsteen legend. See my full review here.
The Replacements: Let It Be (Deluxe) is another archival reissue in this year’s best-of list. Let It Be is arguably The Mats’ best album and one of the albums that helped invent ’80s indie rock. This is what I said in my review of the collection:
“There is not a bad cut on Let It Be, and several are Mats classics like ‘I Will Dare,‘ ‘Favorite Thing,‘ ‘Androgynous,‘ ‘Unsatisfied,‘ ‘Sixteen Blue,‘ and ‘Answering Machine.” On Let It Be the band perfectly captures the angst of late adolescence into young adulthood. If I had to recommend one Mats’ album for the uninitiated, it would be Let It Be.”
The Mats’ genius was the perfectly balanced stupid-and-smart, and Let It Be is exhibit number one. In addition to the original album, there is an LP of extras and a double LP of a live show. The live show is not sonically great, but the performance is so excellent that even my audiophile ears are willing to put up with the lo-fi production values.
The Necks: Disquiet The Necks are an Australian avant-garde jazz trio known for their extended instrumental improvisations (typically an hour per song). The trio is Chris Abrahams on piano and Hammond organ, Tony Buck on drums, percussion, and electric guitar, and Lloyd Swanton on bass guitar and double bass. Disquiet is a three-CD album (streamed as three volumes) comprising four songs, totaling just over three hours of music. The general vibe is ambient music that is intriguing enough for active listening – this is more than musical wallpaper, this is art.
Top-5:
Combining my first half and second half lists, these are my favorites (top-5) – in order of preference:
#1: Jeff Tweedy: Twilight Override – see above
#2 Margo Price: Hard Headed Woman – see above
#3: Goose: Live at Madison Square Garden – see above
#4 Larkin Poe: Bloom. Although the Lovell sisters have been doing their thing for two decades now, I have only recently become aware of them. This album is excellent blues rock. My wife and I had the opportunity to see the band live at First Avenue in Minneapolis this spring, and they put on a great show. It is a wonderful juxtaposition: suburban soccer moms playing cock rock.
#5 Craig Finn – Always Been A fantastic pairing of indie rock royalty: The Hold Steady’s frontman and singer-songwriter Craig Finn, produced by The War On Drugs’ frontman Adam Granduciel. The first time I heard this album, I was struck by the slickness in a good way. I saw a show on a tour supporting this album, and it made me love the songs even more.
Happy Holidays and Happy New Year! Enjoy checking out the various year-end lists – I always make new discoveries from them.
Nebraska, Springsteen’s first intentional non-commercial album, was a brilliant mistake.
Nebraska is the sixth studio album by the American singer-songwriter Bruce Springsteen, released on September 30, 1982, through Columbia Records. Springsteen recorded the songs unaccompanied on a four-track recorder in the bedroom of his home in Colts Neck, New Jersey. He had intended to rerecord the tracks with the E Street Band but decided to release them as they were after the full-band renditions were deemed unsatisfactory. The tape contained seventeen songs, of which ten were used for Nebraska; the others appeared in full-band renditions on the follow-up album Born in the U.S.A. (1984) or as B-sides.
My original copy was purchased on release day.
When Nebraska came out, I was a pretty big Springsteen fan, and I appreciated that he chose to take a career detour. Over time, Nebraska’s backstory became a vital chapter in Springsteen’s biography. Big enough to warrant books* and, recently, a biopic (Deliver Me from Nowhere). The quick story is that Bruce was seriously questioning whether he wanted to take his career to the next level. He was confident that he had new songs that could push him to the stratosphere (e.g., the song “Born In The U.S.A.”). He paused to try on the role of a simple folk musician for size. He got that out of his system and decided to go for the brass ring with the Born In The U.S.A. album and subsequent tour. In the process, with Nebraska, he invented the concept of the bedroom singer-songwriter.
Nebraska ’82: Expanded Edition is a nice collection, but, as music critic Steven Hyden has pointed out, it should have been a Nebraska/Born In The U.S.A. box set. Nebraska ’82 includes the legendary “Electric Nebraska,” which turns out to be a kind of dud – turns out Bruce knew exactly what he was doing by releasing what has become a lo-fi bedroom classic with the original Nebraska. Nebraska and Born In The U.S.A. are inseparable. The collection is augmented by outtakes and rarities from the period, as well as a recent live performance of the album. The collection is essential for Springsteen obsessives but not for casual fans. I found the Deliver Me from Nowhere and the expanded Nebraska album to be welcome additions to the Springsteen legend.
The collection is well presented on streaming (24-bit/192 kHz FLAC), but listening to the vinyl feels more real. The vinyl is well-mastered, and the pressing is pristine.
*Books about the Nebraska/Born In The U.S.A. period:
- Deliver Me from Nowhere by Warren Zanes
- Born To Run (the Springsteen autobiography, not the album of the same name)
- There Was Nothing You Could Do by Steven Hyden
I assume the contemporary audience has no idea how huge Glen Campbell was in the 1960s and 1970s. He was a revered session guitarist (he was part of the Wrecking Crew), had crossover pop hits (Campbell is classified as country and sold over 45 million records), was an actor (True Grit), and had a hit TV variety show. In 2010, he was diagnosed with Alzheimer’s, yet managed to pursue a career encore with a tour, documentary, and a couple of great final studio albums.
I found this album while crate-digging at the Sun City audio shrine in February of 2025, but I am only just listening to it now (December 2025). The LP is in Good condition*. Glen Campbell was one of the few pop stars who got through to me as a kid (I was pop-music illiterate). The song “Rhinestone Cowboy” was a massive hit for Campbell and remains one of his signature songs.
Rhinestone Cowboy is a concept album about an over-the-hill country musician who is uneasy about his past fame. It was produced by Dennis Lambert and Brian Potter, who also wrote about half the songs. In addition to the hit song “Rhinestone Cowboy,” there was a second hit: “Country Boy (You Got Your Feet in L.A.).” There are also some great covers, including Smokey Robinson’s “My Girl,” Randy Newman’s “Marie,” and Barry Mann and Cynthia Weil’s “We’re Over” (a country hit a few years earlier for Johnny Rodriguez).
Campbell’s style is easy listening pop with just a pinch of country. It runs right to the edge of the cliff of schmaltz, but never falls over that cliff. It was a very successful formula, and Rhinestone Cowboy is a perfect example of the formula. Although I was familiar with a few of these songs (either from Campbell or from other artists), I had never listened to this album. It turns out to be an excellent album and a reminder of Glen Campbell’s greatness.
*An LP in Good (G or G+) condition has significant surface noise, groove wear, or cover damage; still playable but not pristine.
- Noun – a feeling of anxiety or worry
- Verb – make (someone) worried or uneasy
The Necks are an Australian avant-garde jazz trio known for their extended instrumental improvisations (typically an hour per song). The trio is Chris Abrahams on piano and Hammond organ, Tony Buck on drums, percussion, and electric guitar, and Lloyd Swanton on bass guitar and double bass.
Disquiet is a three-CD album (streamed as three volumes) comprising four songs and just over three hours of music. The general vibe is ambient music that is intriguing enough for active listening – this is more than musical wallpaper, this is art.
The first track (CD 1/Volume 1), “Rapid Eye Movement,” reminds me of the Miles Davis album In a Silent Way. The band riffs on a theme for nearly an hour. My first reaction was that the band was dawdling, but, digging in, the band is engaging with the theme. This is a fascinating jam session. Some thoughts
- It is mellow
- It’s spooky, but not scary
- It is dreamy, not surprising given the song’s title
- It is not intrusive and could be incidental film music, yet it is engaging enough for me to listen actively.
The track instantly hooked me and made me want to hear the whole album. The song is not ominous, but there is a trace of anxiety – as the album title might suggest. Be forewarned, this is all very subtle. Without careful listening, you will fall asleep, or it will become just a background to your other activities (not that those are bad things – the beauty is that it can serve that purpose too).
“Ghost Net” is strikingly hyper compared to the previous song, opening with a twitchy rhythm. When the guitar joins the party, it suddenly feels a little unsteady (like you have had one too many), but then it stabilizes. When the Hammond floats in – wow. Now we have an interesting song. This is going to be a 75-minute ride. The Hammond improvises over a rock-solid beat. Eventually, it gives way to an electric piano and later another keyboard.
“Causeway” is one of two “short” songs (under 30 minutes) and creates a joyful mood.
“Warm Running Sunlight” returns to the more contemplative sound of the first track. It is also relatively short, with a running time of just over 30 minutes.
Disquiet is ponderous, but in a good way. Generally, I find ambient music like this boring, but Disquiet has captured my interest. It is available on high-resolution streaming services as a 24-bit/96 kHz FLAC.
The Jayhawks’ Blue Earth (1989) and Uncle Tupelo’s No Depression (1990) were my introduction to alt-country. When Uncle Tupelo broke up, and Jay Farrar formed Son Volt, and Jeff Tweedy formed Wilco, I followed them both. Both bands had great debuts, but Son Volt’s Trace (1995) was stronger than Wilco’s A.M. (1995). If you were buying futures on the two bands in 1995, Son Volt would have been the obvious bet; however, over time, Wilco ended up winning the race. Perhaps Son Volt was hampered by Trace being perfect.
I have had a CD version of Trace since 1995, and over the years, I have been tempted to get a vinyl version, but I never pulled the trigger. This 30th anniversary 2-LP Record Store Day edition marks the album’s first U.S. vinyl pressing since 2015 and includes a second disc of bonus tracks making their vinyl debut. I couldn’t resist.
The vinyl pressing sounds excellent, and I had forgotten how great this album is. There isn’t a bad song on the album. The bonus material is not essential, but it is a nice-to-have.
What made Trace great was Jay Farrar’s wonderfully melancholy vocals, catchy songwriting, and arrangements that perfectly blended folk, country, and rock. This debut was the band’s/Farrar’s high-water mark – it is a perfect alt-country album.
Tracklist
Original Album
A1. WINDFALL
A2. LIVE FREE
A3. TEARSTAINED EYE
A4. ROUTE
A5. TEN SECOND NEWS
A6. DROWN
B1. LOOSE STRING
B2. OUT OF THE PICTURE
B3. CATCHING ON
B4. TOO EARLY
B5. MYSTIFIES ME
Bonus LP
C1. TULSA COUNTY (SINGLE VERSION)
C2. LOOKING AT THE WORLD THROUGH A WINDSHIELD
C3. REX’S BLUES
C4. AIN’T NO MORE CANE
C5. TEARSTAINED EYE (4-TRACK DEMO)
D1. DROWN (ALT.UNRELEASED DEMO)
D2. GOING GOING GONE
D3. ROUTE (ALT.UNRELEASED DEMO)
D4. HOLOCAUST
D5. I’VE GOT TO KNOW
Daydream Nation
Enigma
1988
After immersing myself in The Replacements’ Let It Be deluxe reissue, I am in an ’80s indie rock state of mind, and so as I perused the “S” section of the Desert 🌵 Sessions, planning to listen to The Smile, Sonic Youth’s Daydream Nation shouted out: “No, listen to me!“
Sonic Youth were peers of The Replacements in the ’80s, only Sonic Youth was less self-destructive and thus lasted twice as long. Very different bands: The Replacements were the perfect balance of smarts and stupidity, whereas Sonic Youth was just smart.
I am not very deep into Sonic Youth. I have a handful of their albums, and none of them hooked me like I am hooked on bands like The Replacements or Wilco (who are influenced by both The Replacements and Sonic Youth). But I fully appreciate Sonic Youth.
Daydream Nation is the Sonic Youth album that I am most familiar with, and every time I listen to it, I like it more. I have had a CD of the album since it first came out, but a few years ago, I found a vinyl reissue* at Phoenix Flea vinyl pop-up. Because I have a small subset of my vinyl collection in Phoenix, I have listened to this album more in the last few years than when it first came out. Nearly four decades old, it sounds timeless, and you can hear its impact on many bands (Nirvana’s Kurt Cobain was a noted fan, as were shoegaze bands like Pavement and Radiohead, etc.).
The magic of Daydream Nation is that the band makes noisy guitars sound melodic. Despite this being harsh music at first listen, it becomes warmer and softer on repeated listens. It is the blueprint for all the shoegaze that followed it.
“Teen Age Riot” is one of Sonic Youth’s most famous songs (and the first single off the album). Not surprisingly, it is one of their most conventional songs with its traditional verse-chorus pop song structure. Lyrically, it’s about an alternate reality in which J Mascis (Dinosaur Jr.) is president of the United States.
“Silver Rocket” was the second single from the album (although the single version is live, not the studio version on the album). The song starts out as a conventional punk rock song, but midway through it veers off-road into pure noise, only to return to the pavement at the end. This is a classic example of Sonic Youth’s hard-on-the-outside, soft-in-the-middle modus operandi.
Per Wikipedia, “The Sprawl” was inspired by the works of science fiction writer William Gibson, who used the term to refer to a future mega-city stretching from Boston to Atlanta (specifically from the Sprawl Trilogy). The lyrics for the first verse were lifted from the novel The Stars at Noon by Denis Johnson. Another excellent example of Sonic Youth making hooks out of harsh.
“‘Cross the Breeze” starts out like this is going to be Sonic Youth’s version of a ballad, only to have the caffeine kick in. After a long intro, Kim Gordon’s vocals leap out of the grooves, sounding possessed – and maybe she is, as she sings: “Now you think I’m Satan’s daughter.”
“Eric’s Trip” is inspired by Warhol superstar Eric Emerson’s LSD-fueled monologue in the Andy Warhol movie Chelsea Girls. Meanwhile, The Replacements are singing about bonners. Further proof that Sonic Youth are the smart kids. Love the guitars on this song.
“Total Trash” appears to be about New York City’s crack epidemic. Although Thurston Moore has been quoted as saying that the line: “It’s a guilty man / That can grease the crack” is not about crack the drug, but record company staff trading butt-licks.
“Hey Joni” is a tribute to Jimi Hendrix and Joni Mitchell – what a juxtaposition. This song sounds like if U2 were a punk band.
“Providence” is a complete change in direction. A quiet piano solo with a fog of distortion over it. Lyrically, it’s a voicemail from seminal bass player Mike Watt.
“Candle,” given the album’s art, this is a key song, and per the lyric site Genius.com, the line “Tonight’s the day, candle,” is a reference to the working title for Daydream Nation, inspired by Neil Young’s 1975 album Tonight’s the Night.
“Rain King” lyrically is the most psychedelic song on the album. Musically, it is classic Sonic Youth noise rock.
“Kissability” is written from a dirty old man’s perspective, but sung by Kim Gordon. It is the classic story of the casting director trying to bed a young wannabe starlet.
The album ends with a three-part suite called “Trilogy” (running time roughly fourteen minutes).
- “A) The Wonder” (sung by Thurston) per Wikiepedia, the song is inspired by crime fiction writer James Ellroy’s phrase about the ineffable mystery at the heart of Los Angeles; in Moore’s words, “the wonder” is what, for better and worse, inspires [Ellroy] to keep going, to get out of bed every day.
- “B) Hyperstion” (sung by Thurston) invokes the album title with this line: “Daydreaming days in a daydream nation.” Amazing buzzsaw guitars on this one.
- “Z) Eliminator Jr.” (sung by Kim) per Wikipedia, “Eliminator Jr.” was inspired by the “Preppie Killer“, Robert Chambers. It was titled because the band felt it sounded like a cross between Dinosaur Jr. and Eliminator-era ZZ Top (1983). It was given part “z” in the “Trilogy” both as a reference to ZZ Top and because it is the closing piece on the disc. Without the prompt from Wikipedia, I would not have caught the ZZ Top reference.
Overall, the album is an impressive example of 1980s indie rock. Once you get past the noise, Sonic Youth is a melodic band with pop instincts similar to the instincts of thier contemporaries Hüsker Dü. When you listen to them in 2025, you can hear their influence on numerous bands that followed them, notably Nirvana and Radiohead.
*Worthless information part one: A 2014 Goofin’ Records (goo-017) double LP 2014 repress of the first two LPs of the 2007 deluxe edition box set. Goofin’ is Sonic Youth’s own label (which is supported by thier major label Geffen). Goofin’ reissues their regular albums, exclusive stuff, and exclusive recordings on vinyl and compact disc. The Goofin’ name comes from Goo+Geffen.
Worthless information part two: The vinyl version’s four sides and the compact disc inner tray each contain four symbols, each representing one of the band’s members, in homage to—and parody of—the four symbols from the fourth Led Zeppelin album. The symbols are infinity (∞) for Lee Ranaldo (rhythm guitar, vocals) referencing his 1987 album From Here to Infinity, female (♀) for Kim Gordon (bass, vocals, guitar), uppercase omega (Ω) for Thurson Moore (lead guitar, vocals), referencing Leo, his zodiac sign, and a drawing of a demonic–angelic baby holding drumsticks for Steve Shelley (drums).
Although The Replacements started as a punk band, they quickly transcended that genre. Similar to their contemporaries, R.E.M., their songwriting was too good to stay in the punk gutter for long. On their third studio album, 1984’s Let It Be, they found their voice and helped invent indie rock. The hat-trick of their final indie-rock album Let It Be, their major label debut, Tim (1985), and its follow-up Pleased To Meet Me (1987) is their apex. There would be a couple more albums after those, but they ended up being closer to Paul Westerberg’s solo albums than to band albums. By the end of the 80s, the band was spent.
There is not a bad cut on Let It Be, and several are Mats classics like “I Will Dare,” “Favorite Thing,” “Androgynous,” “Unsatisfied,” “Sixteen Blue,” and “Answering Machine.” On Let It Be the band perfectly captures the angst of late adolescence into young adulthood. If I had to recommend one Mats’ album for the uninitiated, it would be Let It Be.
This deluxe edition is the original album remastered (it sounds fantastic), a disk of demos, outtakes, and B-sides (essential for Mats’ fans), and a double disk of a live show a couple of months before the release of Let It Be, at the legendary Chicago rock/sports bar The Cubby Bear. The live show is pretty lo-fi, but the performance is so excellent that I can look past the audio quality. The live covers are to die for. Let It Be (Deluxe) is an essential compilation for Mats’ fans, and it was a no-brainer as an addition to the Desert 🌵 Sessions (I have an original Twin/Tone LP back at the mothership in Minneapolis).
LP One – original remastered
1. I Will Dare (2025 Remaster)
2. Favorite Thing (2025 Remaster)
3. We’re Comin’ Out (2025 Remaster)
4. Tommy Gets His Tonsils Out (2025 Remaster)
5. Androgynous (2025 Remaster)
6. Black Diamond (2025 Remaster)
7. Unsatisfied (2025 Remaster)
8. Seen Your Video (2025 Remaster)
9. Gary’s Got a Boner (2025 Remaster)
10. Sixteen Blue (2025 Remaster)
11. Answering Machine (2025 Remaster)
LP Two – demos, outtakes, and B-sides
12. Gary’s Got a Boner (Alternate Version)
13. Favorite Thing (Alternate Version)
14. Perfectly Lethal (Outtake) [2025 Remaster]
15. Temptation Eyes (Outtake) [2025 Remaster] cover of the 1970 hit song by The Grass Roots
16. Who’s Gonna Take Us Alive
17. Heartbeat, It’s a Lovebeat (2025 Remaster) cover of 1973 single by the Canadian group The DeFranco Family
18. Answering Machine (Home Demo #1)
19. Answering Machine (Home Demo #2)
20. Street Girl (Takes 1 and 2)
21. Sixteen Blue (Alternate Version) [2025 Remaster]
22. Unsatisfied (Alternate Mix) [Full-Length Version]
23. Androgynous (Alternate Version)
24. 20th Century Boy (2025 Remaster) T-Rex cover (1973)
25. Hey Good Lookin’ (Live at Merlyn’s, Madison, WI) [2025 Remaster] Hank Williams cover (1951)
LP Three – live
26. Can’t Hardly Wait (Live at Cubby Bear, Chicago, IL, 8/17/84) – still a couple of LPs away
27. Left in the Dark (Live at Cubby Bear, Chicago, IL, 8/17/84) The Vertebrats cover
28. Unsatisfied (Live at Cubby Bear, Chicago, IL, 8/17/84)
29. I Will Dare (Live at Cubby Bear, Chicago, IL, 8/17/84)
30. Favorite Thing (Live at Cubby Bear, Chicago, IL, 8/17/84)
31. Kids Don’t Follow (Live at Cubby Bear, Chicago, IL, 8/17/84)
32. Run It (Live at Cubby Bear, Chicago, IL, 8/17/84)
33. Color Me Impressed (Live at Cubby Bear, Chicago, IL, 8/17/84)
34. Hayday (Live at Cubby Bear, Chicago, IL, 8/17/84)
35. Nowhere Is My Home (Live at Cubby Bear, Chicago, IL, 8/17/84) – pre Tim
36. Love You Till Friday (Live at Cubby Bear, Chicago, IL, 8/17/84)
37. Help Me Rhonda/Little G.T.O. (Live at Cubby Bear, Chicago, IL, 8/17/84) Beach Boys cover
38. Takin a Ride (Live at Cubby Bear, Chicago, IL, 8/17/84)
LP Four – live continued
39. Tommy Gets His Tonsils Out (Live at Cubby Bear, Chicago, IL, 8/17/84)
40. Gary’s Got a Boner (Live at Cubby Bear, Chicago, IL, 8/17/84)
41. Johnny’s Gonna Die (Live at Cubby Bear, Chicago, IL, 8/17/84)
42. Can’t Get Enough (Live at Cubby Bear, Chicago, IL, 8/17/84) Bad Company cover
43. I’m in Trouble (Live at Cubby Bear, Chicago, IL, 8/17/84)
44. Don’t Ask Why (Live at Cubby Bear, Chicago, IL, 8/17/84)
45. Take Me Down to the Hospital (Live at Cubby Bear, Chicago, IL, 8/17/84)
46. Shiftless When Idle (Live at Cubby Bear, Chicago, IL, 8/17/84)
47. Mr. Whirly (Live at Cubby Bear, Chicago, IL, 8/17/84) Beatles cover
48. Hitchin’ a Ride (Live at Cubby Bear, Chicago, IL, 8/17/84) Vanity Fare cover
49. Black Diamond (Live at Cubby Bear, Chicago, IL, 8/17/84) KISS cover
50. 20th Century Boy (Live at Cubby Bear, Chicago, IL, 8/17/84) T-Rex cover
51. Go (Live at Cubby Bear, Chicago, IL, 8/17/84)
52. Gimme Noise (Live at Cubby Bear, Chicago, IL, 8/17/84)
53. White and Lazy (Live at Cubby Bear, Chicago, IL, 8/17/84)
Woodland Rites
Nuclear Blast Records
2019 (2015 reissue)
Nothing beats finding an LP on your wishlist. I recently found Green Lung’s Woodland Rites (2019) while browsing at my favorite record store (Minneapolis’ Electric Fetus). A bonus was finding the British folk horror classic during the Fetus’ Halloween sale (20% off) – cosmic!
From my best of 2019 blog post:
“One of the best things I have done on Instagram has been to follow hashtags – I have discovered so many cool things from that. The album cover for Green Lung’s Woodland Rites showed up in my Instagram feed and it caught my attention. I decided to give it a listen and instantly loved it. It reminded me of Ozzy-era Black Sabbath. Physical versions are hard to obtain (there is not a domestic release), but it is available on streaming services.”
I have been looking for a vinyl copy since then. I recently found a copy at the Electric Fetus in the new LP Metal section (not my normal section, but I have seen other Green Lung titles there in the past). I didn’t exactly stumble upon the album, as almost every time I go to a record store, I look for this record (and Soft Machine Bundles). I could have ordered it from the band, but that would have meant ordering it from England (currency conversions, expensive shipping, etc.). I assumed, given the buzz the band was getting, it would eventually show up in U.S. record stores. I refuse to use Discogs, eBay, etc., as I prefer to find my crate digger’s gold in the wild.
Green Lung is a British stoner/doom metal band formed in 2017 in London. The band’s first signing was with German independent label Kosmic Artifactz, with whom they released their first EP, Free the Witch, in 2018, and then their first LP, Woodland Rites, in March 2019 (I would love to find a Kosmic Artifactz version of Woodland Rites – there is one copy on Discogs at the moment for $230!). They then signed with Finnish doom metal label Svart Records in 2020, releasing Black Harvest in October 2021. The band eventually signed with Nuclear Blast Records in July 2022, who reissued Free the Witch and Woodland Rites.
Googling, I learned that Green Lung is a kind of big deal in the UK’s metal, stoner, and doom scenes (whatever the hell that means). They have headlined UK metal festivals and have grown to fill 1500 capacity rooms (the equivalent of First Avenue here in Minneapolis).
I am not much of a contemporary metal guy, but I do love what we called heavy metal/hard rock back in the ’70s. Green Lung evokes the bands from that era (Black Sabbath, Deep Purple, Led Zeppelin, Judas Priest). They sound like a lost band from that era.
Lyrically, the album explores British folk horror and pagan/occult spirituality—complete nonsense, but the perfect pairing with the heavy metal music. This is tricky territory; it worked for Sabbath and Zeppelin, but it comes off as cringy when Gretta Van Fleet does it. Somehow Green Lung threads the needle.
I love their woodcut UK folklore iconography on Woodland Rites, which was created by the renowned woodcut artist Richard Wells. Wells is known for his work in folk horror.
The vinyl version is a nice, clean pressing, and its analog warmth feels appropriate for their vintage sound.
The LP I found is a 2025 U.S. reissue on Nuclear Blast Records, pressed on olive-green vinyl (a perfect aesthetic choice). Oddly, this release is not even on Discogs. There is a UK/Europe version that does match up; however, the Discogs notes state: “Features a remaster by John Davis, the same remaster used in a previous reissue. Exclusive band variants as well as standard editions from the Green Lung store, Nuclear Blast, and other retailers exist.”
After listening to this album for years, it has become one of my favorites—it is great to finally have it on vinyl.
Quick take: Mopey Carmy from The Bear is a plausible stand-in for what brooding Bruce was going through while making Nebraska.
I am suspicious of music biopics—they typically suck. The 2005 film Walk the Line about Johnny Cash was a box-office success (and I liked it), grossing over $186 million and costing a mere $28 million. The big box-office success was 2018’s Bohemian Rhapsody about Queen’s Freddie Mercury, which nearly earned a billion dollars on a $50 million budget. I hated it, but then I never really got Queen, even after seeing them live back in the day. Queen hits were novelty records. Bohemian Rhapsody was such a success that studios keep betting that lightning will hit twice. 2024’s A Complete Unknown (about the start of Dylan’s career) did well, doubling its investment.
I am a huge Dylan fan, and I liked A Complete Unknown. I was worried the movie would pull it off, but it did: it captured Dylan’s magic. The best part of that movie for me is that it helped my wife to understand my obsession with Dylan.
I am also a Bruce Springsteen fan, just not as obsessively as Dylan. I was worried about Springsteen: Deliver Me from Nowhere even more than usual for a biopic, since the actor playing Springsteen is Jeremy Allen White, Carmy from the TV series The Bear—a role he may never recover from. White has such distinct facial features that I assumed it would be impossible for him to impersonate anyone. But I had hopes for the movie because I liked the movie’s premise: the making of Springsteen’s Nebraska. Springsteen’s Nebraska is one of the top pop star gambles of all time, and it paid off handsomely for Springsteen.
Nebraska is a legendary album. Springsteen had been on a nice upward trajectory. His previous album, The River, had been a critical and commercial success (and his first pop hit: “Hungry Heart”). However, Bruce wasn’t feeling it. His depression had caught up with him, and he wasn’t sure he wanted to become a pop star. Springsteen was a rarity: he was on a roll and had new hit songs in his back pocket that were sure things, like “Born In The U.S.A.” He could choose to become the biggest rock star of his generation if he wanted to be. Springsteen was having an existential crisis: he wasn’t sure he wanted to claim his ticket to the big time.
He followed his muse and left the hits in the can, instead releasing an album, Nebraska, an emotionally dark, lo-fi collection of original folk songs recorded as bedroom demos, as his follow-up to The River. It somehow worked (for obsessive fans at least) and became a palate cleanser for the biggest album of his career: Born In The U.S.A. Over time, Springsteen’s reluctance to go for the brass ring has given him Dylanesque credibility. It also sparked desire among his fans for Electric Nebraska, as it was common fan knowledge that Springsteen had recorded the Nebraska songs with the E Street Band while they were working through what would become Born In The U.S.A. Springsteen is now drafting off the movie by finally releasing Electric Nebraska as part of the Nebraska ’82: Expanded Edition box (more about that in a future post).
The Nebraska story is a good idea for a biopic if you want to appeal to a niche audience. Mopey Carmy from The Bear is a plausible stand-in for what brooding Bruce was going through while making Nebraska. Thankfully, the movie makers mostly avoided White impersonating the Born In The U.S.A. version of The Boss (when they do it fails), but mopey Carmy playing mopey Bruce works.
However, this will probably not work for the general public. I went with my wife, who is a good proxy for the general public. She knows the hits and has seen the E Street circus live. She is a fan of sexy Born In The U.S.A. Boss and not existential angst, Bruce. She was disappointed in Springsteen: Deliver Me from Nowhere. I assume her point of view is normal, and my appreciation is a minority one.
The movie captured my understanding of the Nebraska gamble, which wasn’t a gamble; Bruce couldn’t help himself. I didn’t learn anything beyond what I already knew as a Springsteen fan. But I did enjoy seeing the story on the big screen. I am now ready to sink my teeth into Nebraska ’82: Expanded Edition box.
White is as effective at impersonating Nebraska Bruce’s voice and personality as Timothée Chalamet was at impersonating Dylan, that is a B+. There was an early scene in the movie where White was recreating a show performance from The River, and he can’t pull off Epic Bruce – but who could? But brooding bedroom Bruce, White pulls that off.
Overall, I was satisfied with the movie, but I give it a qualified recommendation—this is for Boss obsessives only. I also assume that historical literalists will struggle with artistic licence, for example, the composite character, Bruce’s love interest Faye Romano.
P.S. We saw the movie at a Dolby Cinema at AMC. Per AMC:
Dolby Cinema unlocks the emotional impact of every film, allowing you to see the subtle details and ultravivid colors of Dolby Vision© and hear the immersive sound of Dolby Atmos© while seated in cutting-edge, reservable, spacious recliners. This unmatched combination is so lifelike – you’ll forget you’re at the movies.
My take:
- It looked great
- Atmos was too loud and too harsh; the vibrating bass was a distraction; amazingly, the dialogue is hard to hear; in summary, overrated
- The seats are not that comfortable
- I never forgot I was in a movie theater
In the Spring of 1988, I walked into my favorite record store at the time, Dave Biljan’s The Flip Side, in St. Paul, across from St. Kate’s. I loved the shop because it had a great selection of quality used records, reasonable prices, and Dave was a rarity in a record store – a friendly and unpretentious guy. Many who work in record shops are aloof.
On this particular day, I asked Dave, “What’s new?” And he immediately pulled a promo copy* of Tracy Chapman’s debut and insisted that I buy it. I had no idea what it was, but I trusted Dave. When I brought it home and dropped the needle, I was blown away. Dave never led me astray.
Within a month, I saw that Tracy Chapman was playing at First Avenue/7 Street Entry. My memory is foggy, but I think she played solo at the Entry, not the Main Room (I could only verify that she did play at one of the venues on Friday, May 06, 1988).
Tracy Chapman’s debut album was a critical and commercial success. It was certified 6× platinum (that is, 6 million copies) by the Recording Industry Association of America. It received six Grammy Award nominations (1989), including one for Album of the Year, three of which she won: Best New Artist, Best Female Pop Vocal Performance for her single “Fast Car,” and Best Contemporary Folk Album.
The song “Fast Car” experienced a recent resurgence with country star Luke Combs’ cover, which became a number-one single on the Billboard Hot Country Songs and Country Airplay charts in 2023. This achievement earned Chapman the Country Music Association Award for Song of the Year, making her the first black person to win the award. Chapman had a viral moment in 2024 when she performed the song with Combs at the Grammys.
(Credit: Getty Images)
The album’s folk-rock music style, political lyrics, queer, and soul-searching themes really stood out in the late 80s – a period dominated by glam metal, the rise of electronic genres like techno and house music, the “golden age of hip hop” with artists like Run-D.M.C., and the development of alternative rock styles such as noise rock and industrial rock. Chapman’s album arrangements were characterized by an acoustic guitar at the forefront, along with some light folk-rock flourishes. But the most prominent feature is Chapman’s contralto (a lower register for females) vocals, which were unique, reminding me of British singer-songwriter Joan Armatrading, and are somewhat androgynous. The album’s arrangements and Chapman’s vocals are the perfect fit for her songwriting. The whole presentation is simple but elegant. It is an impressive debut.
The album opens with “Talkin’ ‘Bout a Revolution,” which is a simplistic protest song with the lyric:
Poor people gonna rise up
And get their share
Poor people gonna rise up
And take what’s theirs
The song was written during the age of Reagan and Bush, when the saying “Greed is Good” was a cultural mantra. The song has been invoked in actual revolutions and was the unofficial theme song for Bernie Sanders’ 2016 presidential campaign.
“Fast Car” was the first single and the song that catapulted Chapman to stardom. The song wonderfully captures the feeling of being stuck in a dead-end situation and yearning to escape.
The intro of “Across The Lines” sounds like a R.E.M. song and quickly shifts to a Tracy Chapman song. Lyrically, it speaks of tensions between the races in America.
“Behind the Wall” is an a cappella tale of domestic violence. The a cappella performance makes the song particularly haunting, coupled with the bleak lyrics.
“Baby Can I Hold You” is a conventional love song with the simple message: treat me right, apologize when you are wrong, and love me.
“Mountains O’ Things” is a song about consumerism with a percussive keyboard riff that would not sound out of place on an ’80s Peter Gabriel album. The arrangement sounds a bit out of place on the album.
“She’s Got Her Ticket” has a slight reggae lilt. The character in “Fast Car” who wants to escape now has a ticket out in this song.
“Why?” is a conventional protest song that lists a series of contradictions.
“For My Lover” is a song about forbidden love. Chapman has been evasive about her sexual orientation, but this song is clearly about a gay relationship, which in 1988 had a stigma.
“If Not Now…” is a gorgeous piano-forward live-for-the-moment ballad.
“For You” ends the album on a plaintive note. The song talks about trusting your heart over your head.
Many protest songs are heavy on the protest and light on the song. Chapman’s gift is that she knows how to write a hook – the songs on this album are genuine earworms, which is why she had such commercial success. The melodies lure you into the message, ultimately enhancing it. Another unique feature of this album is the exceptional quality of the recording; it is so sonically well-executed that it is one of my go-to recordings for test-driving stereo equipment. This is one of the most impressive debut albums, and unfortunately, it overshadowed the rest of her career.
*Promo copies often feature distinctive marks, like “Promotional Use Only” or “Not for Sale” printed on the label or sleeve, a different colored label, or a plain white label. These special pressings were often sent to radio stations and DJs in limited quantities. I sought them out because they were like new (but about half the price) and for their higher sound quality, as they are often among the first pressings made using the original stampers. My copy of Tracy Chapman’s debut is a pristine promo with outstanding sound quality—significantly better than the Redbook CD quality (16-bit/44.1 kHz) found on streaming services.
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