Record Review: DEVO – Smooth Noodle Maps

Restless Records | US | CD | 1994 | 7 72757-2

Restless Records | US | CD | 1994 | 7 72757-2

DEVO: Smooth Noodle Maps US DLX CD [1994]

  1. Stuck In A Loop
  2. Post-Post Modern Man
  3. When We Do It
  4. Spin The Wheel
  5. Morning Dew
  6. A Change Is Gonna Cum
  7. The Big Picture
  8. Pink Jazz Trancers
  9. Jimmy
  10. DEVO Has Feelings Too
  11. Dawghaus
  12. Post-Post Modern Man [macro post modern mix]
  13. Post-Post Modern Man [neo post modern mix]
  14. Post-Post Modern Man [ultra post modern dub]

Well, this has been a long time coming. I’ve only entertained notions of hearing this in the last year or two. For 23 of the last 25 years, I have been content to sit this one out! The appearance in the bins of “Smooth Noodle Maps” while browsing in Lunchbox Records was the point to no longer stay my hand. I would now finally hear the DEVO album that had scared me off of them for many years back in 1990. But the drama began first with the single released from this album.

devo - postpostmodernmanUSCD5AThe CD single for “Post-Post Modern Man” came down the pike in advance of the album itself in 1990. I bought it as I was glad to soak up domestic CD singles in a world where $10-12 imports were the norm. I was only happy until I listened to it! Seven interminable mixes of a song that overstayed its welcome the first time one heard it! It sure sounded like the band had been boning up on their folk music canon with this knockoff of the hoary “If I Had A  Hammer!” At the time, I wrote a scathing, writing-them-off review of it in the fanzine I was putting out with a friend. I never bothered with the album. This changed last week.

It began inauspiciously with “Stuck in A Loop.” The bright, glaring digital stacked digital synths and strictly by the numbers bass synth loops and drums may have been commentary on the title of the song, but the overall vibe clearly illustrates why DEVO began losing their luster at a precipitous rate once they found their new voice on 1980’s “Freedom Of Choice” album. That album was a fresh sound of 1980 but a decade later, almost all pop music had appropriated its clean, plastic mix of synths and dance beats. Until Mark Mothersbaugh began singing on this track, it could have been any contemporary dance pop of the time. Let’s say… The Jets. Generic R+B/new jack swing/ whatever the hell they called it back then.

With the compositional modus operandi having been adopted far and wide, the only way that this one time confrontational band could differentiate itself was with their once-provocative artistic point of view. Unfortunately, apart from the conceit of the title “Stuck In A Loop,” which referenced programming techniques extrapolated to describe emotional states, that was as good as things got here.

The pedestrian guitar solos that closed out this song also pointed out to how the mighty had fallen. Where they once used heavily treated guitars to bracing effect, the tired riffing here was an embarrassment to the once innovative group. Both times I have listened to this song I have checked the playing time around the 3:00 mark because by that point it really sounded as if the track had lasted twice that time. When it seemed to finally end at 3:51 it belied the tracks actual brevity.

Elsewhere, the LP version of “Post-Post Modern Man” at under the three minute mark, seemed to just end with an abrupt edit like some half-finished song they couldn’t be bothered to complete. “When We Do It” was a truly banal song from these once-sexually frustrated geeks.  The morse-code synths that drove this song, were the first urgent sounding thing here; too bad about the lyrics! The rest of the track’s sound design was just as tired as the lyrics.

The nadir must have surely been the obvious cover song, “Morning Dew.” It sounded like a late 60s West Coast Psych song but I was shocked to find out that one Bonnie Dobson had recorded it in 1976; a good nine years later than it sounded, from the lyrics. Everyone from  Lulu to The Grateful Dead [let that sink in good and hard…] have covered this song. I can’t imagine why DEVO felt the need. It stuck out like a sore thumb here, that’s for certain! The faux harpsichord does it no favors.

The one slightly odd thing here was “Pink Jazz Trancers,” which had a queer varispeed vocal hook and a jazz piano middle eight that managed to sound slightly inspired to break the increasingly rigid DEVO mold. There’s a brief bit of dialogue between Mark and Gerald prior to the annoying “Jimmy” which takes aim at a far smaller target than this band once made their stock in trade. The refrain of “Jimmy’s in a wheelchair and I don’t care” coupled with a truly annoying synth hook just conspire to lie on the ground like a dead opossum, reeking in the mid day sun. The closing “Dawghaus” was the once proud band descending into novelty material.

Adding insult to injury were the three [long] remixes of “Post-Post Modern Man” added to the brief running time of this typically scant album by the band. they add over 15 minutes of filler mix amounting to almost a 50% increase in the disc’s running time! A scandal. The fact that this album can make the anemic “Shout” sound like a proper DEVO album in retrospect illuminates the crux of the problem here. By 1990 they had given up trying to get their point of view across, and instead they were trying for another freak hit like “Whip It.” Much like yesterday’s artist, Thomas Dolby, when unexpected hits nip at the heels of performers who have perhaps envisioned a less hectic fringe existence, the unexpected taste of success has a way of corrupting the act to their detriment.

It took Thomas Dolby nine years until he gave up attempting to achieve another freak pop-funk quasi-novelty single and returned to his natural songwriting voice. It would take DEVO another 20 years before they could finally leave the debacle of this career-killer of an album behind and release the “Something For Everybody” album in 2010 that reintroduced them to a new generation of sarcastic wiseguys and malcontents to whom the band rightly should have been seers. But that’s an album I’ve yet to hear. Still. So after this album, I should make obtaining a copy a “sooner rather than later” phenomenon.

– 30 –

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Record Review: Thomas Dolby – The Golden Age Of Wireless DLX RM

EMI | UK | CD+DVD | 2009 | 50999 2 67915 2 4

EMI | UK | CD+DVD | 2009 | 50999 2 67915 2 4

Thomas Dolby: The Golden Age Of Wireless UK CD+DVD [2009]


  1. Flying North
  2. Commercial Breakup
  3. Weightless
  4. Europa + The Pirate Twins
  5. Windpower
  6. The Wreck Of The Fairchild
  7. Airwaves
  8. Radio Silence
  9. Cloudburst At Shingle Street
  10. One Of Our Submarines
  11. She Blinded me With Science
  12. Radio Silence [version]
  13. Urges
  14. Leipzig
  15. Urban Tribal [2009]
  16. Therapy/Growth
  17. Airwaves [demo]
  18. Sale Of The Century [demo]
  19. Pedestrian Walkway [demo]

DVD: Live Wireless [NTSC 0]

  1. Europa + The Pirate Twins
  2. Windpower
  3. One Of Our Submarines
  4. Radio Silence
  5. New Toy
  6. Urban Tribal
  7. Flying North
  8. Jungle Line
  9. Puppet Theatre
  10. Samson + Delilah
  11. She Blinded Me With Science
  12. Airwaves

As outlined over three years ago in this post, The ultimate version of Thomas Dolby’s first [and still best] album is finally in the Record Cell. I had passed on other DLX RMs while shopping in Charlotte last week, but this was too tempting a prize to slip by. After all, I already had the DLX RM of Dolby’s second album, so missing the better of the two made no sense at all! I had bought the 1st UK LP pressing of this with an intent of eventually remastering from vinyl to get the real song flow and segues on CD finally, but in 2009, this puppy hit the stores, and thereby saved me countless hours os remastering time. When dangled in front of me at a used price [that got trimmed by 50% since I had bought another, more costly used CD boxed set, then I just have to bite! Well, how was it?

First of all, the mastering by Peter Mew with Dolby assisting is superb. Full of much more clarity and definition but with still as much dynamic range as the 1984 mastering. The original running order is easy to adapt to since every copy I’ve ever had of this album [five, currently] is different save for the UK Venice In Peril LP and this disc. Even so, this version is a pleasure to finally have on the preferred format.

It starts crisply with “Flying North,” a dazzling slice of technopop that’s the first of four such tracks on the album. At the time, we thought of Dolby as strictly a technopop whiz kid with banks of synthesizers behind him in the studio, but in reality, the breadth of his range was apparent right away with the next track, “Commercial Breakup.” The latent jazz in his approach to music was right there for all to hear, particularly in his solo on the instrumental middle eight. No wonder he eventually got to produce his heroine Joni Mitchell in later years.

The main difference of this sequencing of the album occurred on what was originally “side two.” It began with the ska-inflected instrumental “The Wreck Of The Fairchild” and continued through a suite of three songs connected by segues and radio telecommunications. The sound effects at the end of “Fairchild” blend seamlessly into the classic ballad “Airwaves” which in turn segues into “Radio Silence.” It’s gratifying to finally hear the care that went into sequencing and programming like this.

The selection of bonus tracks was well-considered and generous, even though there are some things that were left out. Of course the “Science” single was here. In crisp 7″ versions. I would have liked to have seen more than just the B-side of the rare “Low Noise” single “Jungle Line” appear here, but since the latter was a Joni Mitchell cover, I understand the practicalitie$ and aesthetic reasons for skipping it. Truth be told, it’s still a killa tune from the dawn on his career, and as such, I will always associate it with the era that this disc represents. Even so, its B-side in question, “Urban Tribal,” appeared here in an adulterated mix with Dolby’s child Harper singing a backing harmony he ran out of studio time for in the original instance. It sounds like it was meant to be there, but that renders this mix as a separate entity in my opinion. So true Dolbyphiles still need that Low Noise 12″ at any rate.

thoomas dolby - urgesUK7AOther goodies were also familiar to me: the “Urges” b/w “Leipzig” single [see left], the B-side to “Europa + The Pirate Twins” [“Therapy/Growth”], the monophonic demo of “Airwaves” from “From Brussels With Love.” Intriguingly, there were two tracks included here which were previously unaired. “Sale Of The Century [demo]” and “Pedestrian Walkway [demo].” The former was the original song version that became “The Wreck Of the Fairchild.” It sported lyrics in this incarnation that were as prescient as Dolby indicates in his ca. 2009 liner notes.

fallout club - dreamsoldiersUK7AThe latter was a demo made for The Fallout Club, the Trevor Herion/Thomas Dolby project that issued a few 1981 singles prior to Dolby’s solo career gaining traction. The Fallout Club’s “Dream Soldiers” 7″ [see right] has the full recording of this tune. The demo here was a scant haiku of a song at around 90 seconds of varispeed voices and sound FX that didn’t make me eager to hear more. I should get the Fallout Club singles and do a REVO volume. The final version has to be more musical than this was. Trevor Herion seemed to have been a performed I should have been aware of back in the day, but it never happened for various reasons.

The “Live Wireless” DVD was something that I had only seen as one of the early MTV Saturday night concerts, when they actually showed musical performances. It was a high concept show with a framing device of Dolby showing the film of the gig in a theatre. The program was enlivened by many tracks that made me say “wha…???” back in the day. You get to see and hear Dolby performing his own “New Toy” as well as the then mysterious “Jungle Line,” Dolby’s “Puppet Theatre” [a.k.a. Whodini’s “Magic’s Wand”], and a Kevin Armstrong tune “Samson + Delilah” that comes from an unreleased album by Bush Telegraph. The latter had me scratching my head for 33 years… right up until typing these words, in fact.

thomas dolby 12x12UKCDAIcing on the cake was the excellent liner noted by Dolby that accompany the package, completing a best of breed DLX RM. What was not here? A few things. All 12″ mixes were AWOL. That’s “Flying North,” “Europa + The Pirate Twins,” “Windpower,” “One Of Our Submarines,” and “She Blinded Me With Science.” Dolby would probably point to his “12×12 Original Remixes” CD at this point, so I will too.  The Low Noise 12″ would have been nice, but one track from that got under the wire albeit with new vocals by Dolby’s kid. If you’ve an interest in this buy it now as 2009 was six years ago. I got lucky, but the official Dolby store is reporting low stock on this title. I’m seeing this sell for the mid twenties on Discogs though Amazon is still in the sweet spot. But…for…how…long?

– 30 –

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Record Shopping Road Trip: Charlotte [part 4]

The Wax Museum was a haven of 7" singles

The Wax Museum was a haven of 7″ singles

The Wax Museum

Our final stop was not far from Repo Record. I picked this store to end our jaunt because they had a reputation of being a place with a lot of 7″ singles. My friend Ron had been turning his attention to the smaller format in recent years, so I felt he might find something to his liking there. I had not been there before, but I had been anticipating basically a place for Ron to shop. Their online rep seemed to point heavily to “beach music,” a regional music scene that has lasted from the late forties to the present. It’s sort of the US equivalent of a hermetic soul scene like “northern soul” is in the UK.

The small shop was crammed mostly with 45s. As I expected, there was almost nothing here to call my name, but Ron began looking with an open mind. Most of what I want on 7″ single are specifically UK import pressings from ’78-’85. When faced with a building full of US 45s, my mind goes pretty much blank. Then I remembered one specifically US 7″ record that I needed: the Mercury US 7″ edit of Kraftwerk’s “Autobahn.” I bought the UK edition mail order years ago because I need to own all three of my “seminal singles.” I later discovered that the UK 7″ edit is not the same as the US 7″ edit of “Autobahn,” so that book was not yet closed.

What better way to file records?

What better way to file records?

I do have to admit that the store’s method for filing singles was inspired; one wall of the store had filing cabinets where alphabetized records dwelled! An inspired take on a common problem. And one which would protect the records from light and dust, on the face of it. When I opened the cabinet in the “K” drawer, I then saw that it was a wasted effort; almost all of the records for sale had neither sleeves, nor pricing! Double bummer! And no Kraftwerk, either. But Ron was having better luck with US promo Leonard Cohen 7″ers making him very happy. Still, with no prices on the merch, one gets into that uncomfortable squint zone where you take the fistful of records to the owner, then he squints at them [while sizing you up] and gives you a price off the top of his head, which doesn’t help if you want to put a few things back afterward to hit your price comfort zone. Give me record stores where each record is clearly priced, please! I don’t have the stomach for these mind games.

As Ron was getting some feedback, I continued to bounce through the files, to pass time. I actually found a single record that I did want! A US promo of “All Around The World” by Robert Palmer from the “Explorers” OST from 1985. It’s a fun, non-LP cover of the Robert Blackwell rock and roll number that seems to have slipped through the cracks of Palmer’s career. This copy has the generic sleeve to protect it, but when I inspected the record, I saw that the surface had been damaged any way. C’est la guerre.

stranglers - the raven UKLP3DARon managed to get a few 45s of note but after 40 minutes or so it was time to make a bee-line to some dinner before we went our separate ways. Charlotte was a strange city to buy records in. Mainly because of one factor that untied most of these stores, but that I had not mentioned until now. While each store varied wildly in their vibe, style, and content, there was one wildcard that the first three stores all shared. Namely, that this seems to be quite the American city to find a lot of Stranglers records and CDs! The first three of these stores had reasonably fat selections of Stranglers material. And The Stranglers are not a band that I typically find a lot of releases for, in spite of my enthusiasm for their albums. Repo Record went so far as to have the 3D lenticular LP of my favorite release of theirs, “The Raven.” Fortunately, this has been in the Record Cell for over 20 years, but still…! There are only 20,000 copies of that floating around. It’s not a record one sees on any sort of regular basis.

That Charlotte was the city where I finally saw Hugh Cornwell play a concert in late 2013 leads me to believe that somehow, it is a hotbed of Stranglers fandom for some possibly arcane reason. Does anyone out there have any insider information to help account for this? PM me. That’s what the contact form is for. Meanwhile, I was happy that I managed to pay for the day with the milk crate of no longer needed vinyl I took with me to Manifest Discs. Though my original budget would have sufficed, there are many things to spend that money on instead. The experience has re-awakened me to the fact that many of the records I want to unload that aren’t really worth the effort of selling online and shipping out might be better sold to used record stores instead. My final conclusion is simple; the next time I find myself in Charlotte, I really must just cut straight to the chase and head for Repo Record to the exclusion of any others. Shopping in that store was such an unmitigated pleasure that was its own reward.

– 30 –

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Record Shopping Road Trip: Charlotte [part 3]

Record stores are finally making inroads to the suburbs!

Record stores are finally making inroads to the suburbs!

Repo Record

The next store we went to was just a mile or two away, but it was, strangely enough, located in the suburbs. Smack dab in the middle of a nice neighborhood was the Repo Record store. Apparently, it used to be a sewing store, whose location was more appropriate for that line of business than for music biz degenerates. We entered and were greeted by an impossibly immaculate record store; the likes of which I can only say I’ve seen once or twice in my days.

This is what a clean, assiduously organized, well-lit record store looks like, hipsters.

This is what a clean, assiduously organized, well-lit record store looks like, hipsters.

It reminded me of Rock + Roll Heaven in Orlando, only it was even better organized. Ron and I immediately felt the difference from the dingy environs we’d left from at Lunchbox. The store had special sections for an impossibly granular series of subcriteria that included:

  • Rock
  • Hip Hop
  • $1.00 Albums
  • 7″ records
  • DJ Service vinyl
  • Japanese Pressings
  • Limited Editions
  • Audiophile vinyl
  • Audiophile CDs
  • Cassettes
  • House 12″
  • EDM 12″
  • CDs
  • Beatles
  • Country
Gape in wonder at the browsability that was unparalleled here.

Gape in wonder at the browsability that was unparalleled here.

Better still, the main WALL OF ROCK took the entire right hand wall of the store and it presented what would have been multiple bins of 12″ vinyl in a dense, yet incredibly easy to browse display of merchandise. Title cards were there for all the major groups. Look at that photo above. There’s a Yello card for crying out loud!! Just like in my Record Cell!! Actually this whole display reflected exactly how The Monk rolls at home. One didn’t even have to touch the records to peruse them. The owner had taken alphabetization even further than letters and names. He had included common vowel/consonant pairs that account for common band names as well. If there was a Mojo Nixon title card and a Move title card, between them was the “MO” tab where Mott [but not Mott The Hoople] albums could be found… in addition to the final catchall “MMMMMM” tab! I weep at the grandeur of it all!

It was exactly how I alphabetize off rack CDs that I need to put back! I might also have piles of “N” plus “NE,” “NO” or “NI.” The bright lighting made it all easy to navigate and the organization made sure that the maximum payoff could be had for the investment of your time. In short, it was an optimal record shopping experience. But we were not in a hurry. Not by a long shot. This was a store to be savored. Ron immediately got an R+B boxed set, agog at the price, which was a third of what he’d have paid in his native L.A. I was flitting from sub-section to sub-section. Not yet getting down to business, but enjoying the spotlessly clean and well organized gestalt.

scritti politti - cupid+psyche85USLPAembThen I hit the wall of rock. I saw it all impossibly fast since there was no need to flip discs in the bins. I found an Art Of Noise “Beatbox” 12″ on ZTT that I had not seen before, then I found a couple of Scritti Politti records that it was time to buy. I had been admiring the US LP with the embossed, gold stamp lettering for the seminal “Cupid + Psyche” album. I had gone with the import CD back in the day, and the nagging need of this LP version had haunted me for decades. Nothing looked finer, really. If any album had to have been gold embossed, surely it was this one? I’d seen other copies, but none this clean and pristine. Then I saw a US 12″ of “Absolute” which was news to me, having only the UK pressing. Ron mentioned a different mix on this so I pulled a copy for digitizing. Only a few Scritti tracks elude my Record Cell for that rarities comp just waiting for a REVO number.

grace jones - sexdriveUS12AFinally, Ron checked the Grace Jones section and mentioned that I needed to buy the Grace Jones “Sexdrive” US 12″ from 1994. I was not familiar with the track, but Ron said it was non-LP and worth getting. I have not crossed the Grace Jones line in the sand that exists after the “Slave To The Rhythm” project. I have always felt that the material not recorded with the Compass Point All-Stars on the three, classic Island albums was best avoided. I recall seeing a video for “I’m Not Perfect” when it came out and it did nothing for me at the time. But I gave this 12″ a try, since when was I going to see another copy of it, and for $4.00!

I looked and marveled at the Japanese vinyl section, filled with always fascinating Japanese 7″ and 12″ pressings, but nothing that I needed. For some reason, it was rife with 80s R+B, with the only thing of even the slightest interest to me being the JPN 7″ of Mel + Kim’s “Showing Out” for a five spot. Still, I passed. Since the store had a DJ mix section, I thought I’d look for the one Disconet release that I have on my want list [Vol. 5/Program 3 – with ABC and Simple Minds] but that was not in the bins. I tried to take it all in, missing nothing, because it might be years before I saw a store like this one again.

Finally, I made my way to the CDs, which were displayed exactly like the rock LPs; vertically with spines showing. Nothing was necessary but the second Power Station CD, “Living In Fear,” caught my eye and $5 later, it was mine. This album had always seemed cursed by the fact that it was not on EMI, but the previously unknown Guardian Records [Chrysalis, in the UK]. This seemed weird considering that the first volume turned Robert Palmer into a superstar only nine years earlier. Kind of spooky.


This flyer was a work of genius. For those who don’t know, Andy Griffith is the Patron Saint of North Carolina.

We shopped in the store for about a half an hour longer, since a huge thunderstorm was happening outside of the walls of the store. While I was searching in the aisles, the owner blazed a trail through the aisle I was standing in… pushing a broom! Seriously! When was the last time you ever saw that happen in a record store. More to the point, when did you last see evidence that it happened at all? When we were done browsing the store, we marveled at how our hands were not filthy!

When we checked out, Ron was pretty generous with the compliments and I certainly chimed in as well. The owner soaked up our praise with obvious pride. This was an exemplary store run by a steely-eyed, flat bellied professional of a record store owner. One Jimmy Parker, who had earlier parlayed the original 1988 Repo store into a local chain of three before the Great Record Store Implosion® that followed the scourge of peer-to-peer networks cut them all down. But in the years he had off between 2005 and 2013, when this store re-emerged in its present location, he obviously had been nursing his wounds and plotting his next great record store, which this certainly was. When in Charlotte, you really should treat yourself to a visit and see how it’s done right. The last store on our itinerary had a lot to live up to after this!

Next: …Beach Music [for boys]

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Record Shopping Road Trip: Charlotte [part 2]

Would Lunchbox be the hit it was in May 2014?

Would Lunchbox be the hit it was in May 2014?

Manifest Discs [continued]

While waiting for Ron, I went through the store with a medium tooth comb. I saw the new FFS album, which I had seen at Harvest Records earlier, but decided that since it was so new, I’d give it a pass. I got the cheap thrill of seeing the new Simple Minds album [“Big Music”] actually in a record store! But all in all, the bins were not what first grabbed my attention a dozen years ago when I first stumbled onto the place. Back then, I was astounded to see deep catalog imports like OMD and Associates DLX RMs [that I didn’t have] there for the picking! Well priced on top of that. Buying the Australian bonus track version of Suede’s “New Morning” couldn’t have happened anywhere else.

laurie anderson - unitedstatesliveUS4xCDA2015 was another story entirely. Not too much in the way of import CD action left. What did astound me was that many catalog domestic CDs were priced at $4.99 and $5.99 [finally!] where they should have been for a generation or more already. This was new to me. But ultimately, I wasn’t moved.  The only other find I made was the Laurie Anderson “United States Live” 4xCD box, right there in the used boxed set aisle endcaps, exactly where I didn’t really expect to see it! My wife loves Laurie Anderson and this was the final piece of her discography missing from the Record Cell. We looked up the set online just a day or two earlier and it was possible to get it used from Amazon dealers, but here it was, in front of me, with a crate full of trade-in records, just two days before my wife’s birthday. You do the math. Better still, the manager told me when cashing in my discs, that the box had only arrived at the store yesterday. Perfect.

Ron arrived as I was checking out and it was time for lunch. He dismissed Manifest without looking at it very closely at all, so we decamped to a nearby Vietnamese restaurant. After five or six visits over the last dozen years or so, Manifest Discs is no longer the must see event it once was. It’s still there, but not really much better than anything local; just bigger. What would the next store hold for us?

Lunchbox Records

teevor jackson - metaldance2UK2xCDAI had previously visited Lunchbox in May or last year. It’s your typical grimy, dark, urban, indie store in a relatively upscale portion of Charlotte. No check-cashing places nearby. We entered and set about looking for things to catch our fancy. The last time that I was there, I bought eight discs; seven of which were very inexpensive used discs. Things I have needed for a long time, such as “Songs To Remember” by Scritti Politti were finally in my grasp for $3 [buy one used get 2nd half price!]… or less! I couldn’t get too worked up over anything that I saw there this day.  Except for the new copy of “Metal Dance 2” in the electronic section!

I had been looking for the latest Yacht album there, and found this puppy instead! I loved vol. 1 so much [though I only paid $1.00 for it] that paying $15.99 for this was not an issue! How often do I pay MSRP for music? Hardly ever. I’m usually buying in at used fire sale or pricey aftermarket costs. The only other disc I got today was a cheap copy of DEVO‘s infamous “Smooth Noodle Maps.” I am finally ready to hear that one, though I’ve avoided it since day one.  The music played at Lunchbox was hardly conducive to shopping there for too long, but I can’t even remember what genre it was now. The dimly lit store also made crate digging a chore. I can’t remember what, if anything, that Ron picked up. He did point out the reissued “Les Vampyrettes” on Grönland Records but at $20.99 I balked. That’s a lot of clams for seven minutes of music. Ron bemoaned the “indie store vibe” at Lunchbox and I saw what he meant. It was all just a little too predictable. We left and made our way to the next store in our record trawl, just a mile or two away.

Next: …Thesis/Antithesis

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