Kanye West - 808s & Heartbreak

2x 180-gram LPs
Tri-fold packaging
Includes poster, lyric insert, and full album on CD


Audio Quality: 4/5
Song Quality: 4.5/5
Packaging: 5/5


Music aside, Kanye West has a reputation for being pompous, arrogant, and generally unlikeable. That's all pretty much true, but in my opinion, who cares? Not too many years ago, it was the norm for music (mostly rock) stars to be as cocky as could be. See David Lee Roth, Kid Rock, Axl Rose, etc. It has always been my understanding that a rock star can feel free to be arrogant about what they do, so long as they have the talent and product to back up that attitude. You can be arrogant and suck (see Scott Stapp), but then the arrogance just winds up making you look even worse. Now, Kanye West is unquestionably one of the most successful hip-hop artists of the last 5 years, as well as a tremendously successful hip-hop producer for the last 10 years. In my opinion, his pompous attitude is well-earned, and people need to loosen up. Since when are hip-hop acts supposed to be straight-laced?

This record goes right along with that cocky attitude that Kanye is so famous for. I mean, you'd have to be pretty arrogant to think, as a mainstream rapper, that ANY of your fan base would want to hear you do a full album of singing cheesy, often retro-sounding pop songs. Even taking that arrogance into perspective, it's really hard to believe that this record actually got made. In the context of Kanye's career, it makes no sense, and even in the context of modern popular music, it really doesn't have much of a place. Whether you love this record or hate it, and it's extremely likely that you'll feel one of those two things, you have to hand it to Mr. West for doing something so bold and against the grain. He certainly didn't gain any hip-hop cred with this effort. It's just unfortunate that it took the untimely death of his mother for Kanye to pull something this heartfelt and genuine from within himself.

So, maybe it's just because I'm a sucker for a good pop melody, but I really like this record. The album has a very clear theme to it from start to finish, sad, introspective pop melodies sung with much-publicized autotune vocals, laid on top of electronic drum arrangements and old-school keyboard sounds. Between the two singles, "Love Lockdown" and "Heartless," you can get a pretty good idea of what this record has to offer. This record features almost no guest appearances and almost no rapping. In fact, other than on the verses of "Paranoid," the only rapping on the record comes from Lil Wayne and Young Jeezy, two of the four guest appearances. So once again, if it's a hip-hop record you're looking for, look elsewhere. If you're open-minded about pop music, there's just so much to love in the choral arrangement coupled with a dying heart monitor in "Say You Will" and the bluesy piano arrangement in "Amazing." "RoboCop," which is unquestionably an album highlight, features a hooky orchestral arrangement on top of aggressive drum sounds, and the concluding string quartet breakdown coupled with Kanye's lament, "You spoiled little LA girl, you're just an LA girl," is one of the greater pop music moments I've heard in recent memory.

Now, this is another example of a record I wouldn't expect great sound from. Kanye might be an excellent producer, but I can't really imagine him in the studio work with an all-analog system. So, though I have no information on how this record was recorded, I can tell you that, following another A/B experiment, the vinyl sounds incredibly different from the CD (which is packaged with the record). The CD is extremely bright and aggressive sounding, while the vinyl sounds much more warm and subdued. Low notes ring out more naturally, and the higher end of the spectrum sounds warmer. It's a clean and clear mix, and it sounds far more cohesive than the compact disc version. This is not a fantastic, audiophile-worthy vinyl by any means, but it sounds very nice and is a refreshing improvement on the CD version. On first listen, a couple tracks did have some high-end distortion like I heard on that Belle & Sebastian vinyl, but after a couple more plays, it started to ring out more clearly. Must just be another case of the vinyl playing back a bit hot as it first gets broken in.


The packaging is what really makes this a winner and a worthwhile purchase. It's a tri-fold package with a brilliantly colorful design inside. It features the CD held in a little compartment built into the package, a very clever idea that I've never seen done before. The records are held in generic white sleeves, and the set contains two inserts. One is a set of all the lyrics, and the other is a two-sided poster. The poster features a portrait of Mr. West dressed in his best on one side, and him kissing his late mother on the other side. It's really a wonderfully put together package, and there's nothing more I could ask for here.

Apparently Kanye has another record coming out this summer that will return to the hip-hop stylings he is much better known for. That's fine, and I love his earlier hip-hop records, especially "Graduation." However, I hope that this isn't the last time we hear something this unique and daring from Mr. West. He's proven that he's more than just a rapper and even more than a producer... he is an artist. Given his track record, I'm sure we'll hear much more from him in the years to come, and I'm excited to see what else he has to offer us.

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Next week is themed!!!
Reviews of LPs by some of my favorite female singer/songwriters every day next week!
Have a great weekend and be sure to come back on Monday for new reviews!

The Raconteurs - Consolers of the Lonely

2x 180-gram LPs
Tri-fold Packaging
Contains 4 artwork inserts featuring band members


Audio Quality: 4.75/5
Song Quality: 4.75/5
Packaging: 4.5/5


I wasn't a fan of The Raconteurs before this record. I thought that Broken Boy Soldiers was almost painfully average, especially coming from Jack White, a man so consistently good at pushing boundaries with his music. "Steady As She Goes" is a fine pop song, and from anyone else, I'm sure I would have enjoyed it quite a bit. I just expect more of White, the man who has created some of the finest modern rock music in existence. However, on this record, all was forgiven. It rocks from start to finish, and it's teeming with the sort of Americana blues and folk passion that makes it feel like it's from a different time. I know I said that about the Tom Waits record too, and it really is also true here, though not with the same passion and authenticity as Mr. Waits. I hope The Raconteurs would agree with me there.

This record is just so full of life. I feel the need to discuss sound before the individual songs, because it's excellent and integral to understanding what I love about this record. Jack White co-engineered and solely mixed this record, which, after listening to it, is a tremendous achievement. He just won the Best Engineering Grammy for this record, for whatever that's worth nowadays. I've searched, but I cannot find out whether or not this is an all-analog recording. The liner notes say that it was recorded to magnetic tape, but since there's no mention of analog mastering, I have to assume that it was done digitally. Shame, but the quality is good enough that I can't really complain.

The sound on this record is very big and aggressive. It's masterfully mixed and all the individual parts are clear and audible, but at the same time, it sounds like every instrument is right up in your face. This is especially true on the more aggressive songs, such as, "Consoler of the Lonely," "Salute Your Solution," and "Hold Up." Some of the more laid-back ventures, especially "Old Enough," "Top Yourself," and "Carolina Drama" have a bit more depth in the instrumental placement. The best of both worlds can be heard in the Beatles-style anthem "Many Shades of Black," featuring gorgeous horn arrangements and soaring vocal melodies. As a general rule, I tend to prefer songs that have a more three-dimensional sound, so the mixes on this record that have the most depth are my favorites. But I do love the fact that this record has such diversity not only in song style but in mix style, and I'm able to really enjoy the balls-to-the-wall rockers as much as the more delicate tracks. Instrumental highlights on this record are the drums, which sound very natural, raw, and punishingly strong, and all the clav parts which are wonderfully dirty and slice right through the mix, especially in "Hold Up" and the bridge of "Attention." Jack White, as you should already know, is one of the few modern recording artists who is truly passionate for old-school analog recording methods. So it's no surprise that this record is presented to us in this wonderful sounding LP set. If you see a Jack White produced LP sitting on a shelf, you can bet on the fact that it'll sound mighty fine. Speaking of which, my review of The White Stripes' Icky Thump will be coming soon.


This album got pretty mixed reviews, which I really don't understand. As I said before, compared to Broken Boy Soldiers, this is such a step forward. It's loaded with great songs loaded with energy and excitement, featuring excellent performances from all members. Consolers of the Lonely finds the perfect balance between Jack White's blues influence and Brendan Benson's folk/pop background, and together they create a collection of memorable, old-school American rock songs. When I first got the record, my favorites were "Salute Your Solution," "Top Yourself," and "Many Shades of Black." After some time, my new favorite is definitely "Carolina Drama," a Dylan-esque folk track telling a story of Southern violence and betrayal that I'm still a bit hazy on the details of. This is not a White Stripes record, so if you're looking for that you're gonna be disappointed. Although, if you're familiar with the song "You Don't Know What Love Is (You Just Do As You're Told)," off of their Icky Thump record, that gives you an idea of the vibe of this record. If that's not your thing, then this might not be quite your thing. Your loss.

This album features tri-fold packaging, unfolding into a big panoramic display of artwork, inside and out. The two 180-gram LPs are held in white paper sleeves with that plastic protective material inside. Also included are 4 art inserts featuring the 4 band members posing for old-timey portraits (Visit the artist's website, thanks Chels). I suppose you could hang these up on your wall if you wanted, but I just keep mine in the package. It's a nice addition. No download or CD here, which considering the price is a bit unfair. You guys are just asking for people to steal your music, you know that right?

As an audio experience, this album contains all the raw energy and dedication to high-quality audio you should come to expect from a Jack White LP. His dedication to analog recording and sound purity is a great example to his peers. I'm constantly looking forward to his next release, whether it be White Stripes or Raconteurs. Though, if I'm not mistaken, the White Stripes should be next in line.

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Tomorrow: Kanye West - 808s & Heartbreak

Animal Collective - Merriweather Post Pavillion

2x 180-gram LPs
Gatefold packaging
Includes free digital download


Audio Quality: 4.5/5
Song Quality: 4.25/5
Packaging: 4.5/5


This, Animal Collective's 8th studio album, was one of the most anticipated releases of the year for the rabid indie music community. The band have developed a serious reputation of tireless innovation, crafting wildly unique pop songs out of electro-noise arrangements and unconventional rhythmic structures. This record is, without question, their greatest success, with the orginial vinyl pressing selling out almost immediately. This record was also originally released on vinyl only, because that was the way the band wanted the album to be heard. Instant bonus points!

I've had my moments with Animal Collective. Their previous albums have all been hit-and-miss for me, but when they're on, they are so on ("Peacebone," "Who Could Win A Rabbit, etc."). This record, on the other hand, is the most consistent of any of their output. There are a couple moments when it falls a bit short, but otherwise it's a very consistently creative and enjoyable effort.

Despite being a pretty consistently enjoyable album, there are two songs that stand out above the rest. If you've read any other review, or heard the album yourself, you already know what I'm gonna say. "My Girls" is a wonderfully catchy tune with sweeping synth lines and great vocal melodies, and "Brother Sport" is just an outstanding tribal anthem that ends the record on such a joyful up-note. The epic chant of "MATT!" that appears throughout "Brother Sport" is one of the best sounding things I've heard in recent memory, and not just because of their affinity for shouting my name.

Those two tracks are definitely the most exceptional, though there other nice moments here, especially in "Summertime Clothes," "Daily Routine," "Guys Eyes," and "Lion In A Coma." There are also a couple tracks I'm not wild about, but for the most part this is a full album listening experience (presumably why they did the original release on vinyl only). Even the weaker songs are still made so interesting by their production style choices that this remains a compelling listen until the final "MATT!"

Considering that it was going to be a vinyl-only release, I was optimistic that this would be a great sounding record. I was right! Sweet! I don't have information on how this record was recorded, but it was clearly mixed and mastered to vinyl with great care and attention. Songs sound tremendous, with their synth beeps and boops effortlessly dancing throughout the stereo image. A robust low end makes kick drum bursts sound all the more articulate, and every track is just oozing with enough warmth and depth to pull you deep within the music. When this record was first released, I wasn't able to get a copy of the original vinyl pressing. My friend burned me a copy of the tracks on CD, and I listened to it in my car for some time. Once I finally got my hands on a copy of the record, it opened up the tracks and showed me things I hadn't noticed in at least a dozen plays through the CD. The band was right, the album is meant to be heard this way.

It's also a nice package. The green and purple print covers the front and back of this gatefold package. Opening it up reveals a new set of artwork, with swirling colors and imagery that compliment the contents of the record very well. The two 180-gram LPs are contained in custom black sleeves with some minimal artwork, the song titles scrawled onto them in almost indecipherable writing. It also comes with a free digital download, which should come with EVERY new LP, in my opinion. Either way, a nice package for the somewhat high cost.

Kudos to Animal Collective for not only making an excellent sounding LP, but for releasing it in a way that encouraged their fans to treat themselves to a great listening experience. The only way for the tides to turn in sound (and music) quality in this industry is for consumers to hear just how good a record can actually sound. Encouraging their fans to make this discovery shows a great deal of integrity and responsibility from Animal Collective. Well done.

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Tomorrow: The Raconteurs - Consolers of the Lonely

Beirut - Gulag Orkestar

150-gram LP


Audio Quality: 3/5
Song Quality: 3/5
Packaging: 2.5/5


This is the first record I'll be reviewing that I don't actually own... a friend of mine loaned it to me and begged me to give it a chance. He loves Beirut and I'm not really a fan. I downloaded The Flying Cup Club when that came out, and found it pretty dull, but that was all I had heard. He found this unacceptable and told me to give this record a serious listen. And I did, because I can't stand it when I don't like something that someone I know and respect loves. It makes me feel like I'm missing something... like everyone's laughing at a joke but I didn't understand the punchline. I want to laugh too, dammit.

I admit that part of me not liking Zach Condon aka Beirut's musical output had to do with a preconceived notion that it would be hip and pretentious. This has to do with fan base, which is primarily hip and pretentious. These are the same people who told me I'd love Clap Your Hands Say Yeah and Peter Bjorn & John. I didn't love those things... I assumed I wouldn't love this. But I cast those notions aside while listening to this record, truly wanting to like it and hoping that it could be something new to really sink my teeth into (I've been primarily listening to older records lately... nothing recent has really grabbed me). As it turns out, my original Spidey-Sense™ was pretty right on. How about that?

Let me start off with what I like about this record, because there are a couple tracks that are really excellent. "Postcards From Italy" is great, and according to iTunes it's also the most popular track on the record, so there you go. The electronic "Scenic World," is very fun and a nice change of pace from the rest of the record. And the last song, "After the Curtain," is also a really nice track to round out the record. And, though it's not on this record, I think that this live performance is one of the greatest things I've ever seen. I really do think that Beirut is more than capable of writing great songs. The problem is that at times it all seems a bit too repetitve and predictable. The few songs I mentioned really enjoying here were because they had production features distinctive from their peers. I think that there's a lot of potential for growth in Zach Condon's songwriting, and he's certainly a tremendously talented multi-instrumentalist, but as of now, the Eastern European 3/4 style production that overwhelms most of his tracks serves as more of a gimmick and a crutch than an appropriate aid to his songs. It's a unique aesthetic, but even by the end of the album, it begins to sound stale.

The sound isn't great, unfortunately. In fact, I think I might have found much more to love in this record if the sound was better. I understand that he recorded almost the entire album at home in his bedroom, so that certainly could explain a sub-par recording quality. For a record with such grand, orchestral arrangements, it's unfortunate that the sound quality is unable to match it. It has a very narrow stereo image, and it almost sounds like all the instruments are bottlenecking as they come out of the speakers, competing with each other for your attention. Really a shame, because I'd love to hear this album given a really delicate treatment where all the instruments are spread out across the sonic spectrum and allowed to breathe properly. As it stands, this is a vinyl that I really can't recommend based on sound quality. Beirut fans will probably want it anyway, and that's very reasonable. It doesn't sound terrible or distort the way that Fall Out Boy LP does... it just doesn't doesn't have the sort of warmth and depth that this record deserves.

Packaging is also very minimal. This is becoming a reoccurring complaint, huh? The LP is in a generic white paper sleeve within the slipcase package. That's it. It's also 150-gram vinyl rather than 180, which, like the Beck vinyl, doesn't noticeably affect sound quality, but does make the record feel noticeably flimsy. Artwork on the back is pretty non-existent too, but the minimalist presentation of the record is definitely in tune with the listening experience so I guess it makes sense.

I'm gonna give this record some more time before I completely dismiss it. Like I said early on, I really do want to like Beirut's music. So far, it's very hit-or-miss for me... but I'll definitely take the time to continue checking out Zach Condon's output, because I think he'll only get better over time.

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Tomorrow: Animal Collective - Merriweather Post Pavillion

Primus - Sailing The Seas Of Cheese

180-gram LP
Contains insert with lyrics


Audio Quality: 4/5
Song Quality: 5/5
Packaging: 3/5


Okay. In the interest of complete transparency, I must confess that this is one of my all-time favorite records, and it has been since the highly impressionable age of 15. As a teenager learning to play the bass, a friend eventually handed me a copy of this record, burned onto a CD-R with the name scrawled on the front. I put it on while heading home from school one day, and when I got to my driveway I was on track 3, "Sgt. Baker." I proceeded to sit in my car, in the driveway, until the whole album was over. It was one of the most mesmerizing musical experiences of my entire life... as I'm sure it has been for so many aspiring bass players, young and old. Though I must say, this is definitely not just a record for bass dorks. It's not even a record that's just for people who love hearing music with instrumental virtuosity. Rather, it's a record with some of the most innovative songwriting arrangements that have ever been recorded. Primus take absolutely insane instrumental performances and manage to craft on top of them songs that are undeniably catchy, yet uniquely twisted and dissonant.

It's hard for me to go over highlights of this record, because it really is a full-album experience. However, I'd be remiss if I didn't mention this album's notable singles, "Jerry Was A Race Car Driver," and "Tommy The Cat," the former featuring one of Les Claypool's most famous two-hand tapping bass lines, and the latter a fast-paced spoken-word funk explosion featuring Tom Waits sharing vocal duties. "Tommy The Cat" also contains a frantic 7-second bass solo, guaranteed to be unlike anything you've heard before. Other notable moments are in "Seas of Cheese," the album's sea-shanty theme song which opens the record, "American Life," a more mellow venture rhythmically anchored to a busy yet laid back looping bass line, and "Is It Luck?," featuring an absolutely frantic instrumental and vocal performance that sounds like it's always just about to completely fall apart.

I know Primus is best known for Les Claypool's unconventional and virtuoso bass playing, but you absolutely cannot ignore the performances of Larry LaLonde on guitar and Tim Alexander on drums. Alexander's drumming is arguably just as innovative as Claypool's bass playing, and the two of them are able to assemble very natural grooves out of such abstract individual parts. In another way, Larry LaLonde might actually be the least conventional member of the band. Not only does he write very dissonant parts that tend to scream and squeal over the track, but as a lead guitarist, he has that rare talent of knowing both what to play and when to play. There are some tracks ("Tommy the Cat," "American Life," "Jerry Was A Race Car Driver") where the guitar is absent for huge stretches of time. You don't miss it when it's gone, and when it returns, it's all the more powerful and beneficial to the song. A tasteful AND noisy guitarist... not something you can find everywhere.

As you can tell by the wordiness of this review, I wasn't exaggerating my love for this band and this record. So how does it sound? Good. Though perhaps not as great as I could have hoped for. The first thing I noticed was that the drums on this record sound fantastic. Really vibrant and separated, deep pounding drums. The rest of the mix definitely sounded nice, but there wasn't a tremendous difference from the version I could remember hearing so many times on CD. As an experiment, I did an A-B comparison of the CD and the LP. In doing so, I can confirm that the vinyl mixing / mastering definitely sounds nicer than the CD, especially in the low-end, which sounds much more rich and pronounced. For this record, that is much appreciated. In the mid-range and up, the mix isn't quite as bright and articulate as I might want it to be. This isn't really much of a detriment, more of a preference, and I found that cranking the volume to "rock out" levels fixes that problem and makes the whole mix sound very clear and natural. So if you go out and buy this record, be sure to do that. I'm sure you'll be pleased.

Packaging = nothing special. The single LP sits in a generic white sleeve within the slipcase package. They include a single sheet containing all the lyrics. That's it. If you own the CD it's essentially all the same artwork you've seen before. It would have been nice if there was a slightly different presentation, or if it included a download, but what can you do?

This release got delayed several times before it was finally released, and I was greatly anticipating it's arrival. Again, it wasn't quite as fantastic as I had hoped it could be, but for a fan like me, it's definitely worthwhile to own on record. If you somehow haven't heard this record before, the vinyl is also worth a spin. It's a warm and clear mix and is definitely superior to the CD... just not as superior as I hoped. Now get me an all-analog re-issue of The Brown Album.

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Tomorrow: Beirut - Gulag Orkestar

Tom Waits - Mule Variations

2x 180-gram LPs
Gatefold packaging
All-analog recording, mixing, and mastering


Audio Quality: 5/5
Song Quality: 5/5
Packaging: 3.5/5


I'm told that Tom Waits isn't for everyone. I suppose I can see that... at times his vocal and production stylings are certainly a bit left of center. I guess if that's not the kind of thing you're able to get behind, then there's nothing I can say to you here that would change your mind. But, I must inform you, you are missing out on some truly top-notch songwriting. Tom Waits is, without question, one of the great American songwriters of all time, and this LP contains some of the finest folk and blues music ever recorded... in your writer's humble opinion, of course.

It's actually hard for me to talk about the highlights of this record. This entire album is such an experience, and it's just relentlessly brilliant and wonderful. You've got some more experimental rock tunes in "Big In Japan" (which features the boys from Primus laying down a sweet, laid-back groove), "Eyeball Kid," and "Filipino Box Spring Hog." You've also got some classic sounding blues, such as "Low Side Of The Road," "Get Behind The Mule," "Cold Water," "Chocolate Jesus," and "Come On Up To The House." Then you've got some untouchably solid folk tunes, and for that we've got "Pony," "Georgia Lee," and "Hold On," the latter of which sounds like it could have been the best Bruce Springsteen song ever if Waits hadn't written it first. And let's not forget "What's He Building In There?," an incredibly compelling spoken word piece with a perfectly eerie backing track. Though there's a lot of diversity in these individual tracks, they come together to form such a cohesive, classic sounding effort that you almost don't notice. Really, this record is pretty untouchable. It's an overused expression, but it does sound like an instant classic.

Oh, Tom Waits, thank you SO MUCH for making this record. Not only is it an outstanding collection of music, but it was recorded with such care and integrity. This is what truly makes Mule Variations stand out as one of, if not THE, most wonderful pieces of vinyl I own. Nothing will make me more inclined to pick up a record than if I see, printed on the back, "This LP recorded, mixed and mastered in analog." This is only the second record I've reviewed with this increasingly rare quality, and, no offense to Ben Kweller, this album blows his out of the water sonically. It has so much depth and warmth to it, and it's wonderfully mixed and mastered with all the instruments sounding natural, clear, and sonically placed in a way that makes you feel like you're listening in to a live studio session. I'm not sure if that's the way this album was actually recorded (it must have at least some overdubs because Waits is often credited as a multi-instrumentalist), but being able to hear the creaks of Waits' piano bench and even the percussive sound of his fingers hitting the keys makes this feel like one of the most intimate records ever recorded. And, my god, his voice. It can change tremendously from track to track, both in performance and in mixing. Though it's always best suited to the track, hearing his voice just enveloping tracks like "What's He Building In There?," "Pony," "Georgia Lee," and "Come On Up To The House" is just wonderfully immersive.

While writing this review, I went back to the MP3s on my laptop to remind myself of which songs had qualities I was perticularly fond of. The thing is, I really couldn't do it. This record sounds SO much bigger and warmer on record, that all the things I loved about the tracks while listening to the record were completely lost when I tried to relocate them digitally. Truly, it is THAT different. If that doesn't make the case for you, I don't know what will.

A note to the reader: I know I've praised the recent DMM record releases such as Björk and The Fireman, and I do maintain that those sound as crystal-clear and hi-fi as any record I've heard. However, they can't really touch this in terms of sonic purity, depth, and warmth. I'm not sure if that has more to do with the DMM process or the way those records were recorded in the first place, but just know that, while they both receive rave sound quality reviews from me, they are very different listening experiences.

Packaging! Nothing super fancy... a very nice gatefold sleeve with the two records held in plain white sleeves. Lyrics are printed on the inside, which is great because is this a record that is great to read along with. No booklet, no CD, no digital download. It loses a couple points for this... but really, with a record this great it's pretty tough for me to complain.

Go out and purchase albums like this on vinyl. Show people from this failing industry and, far more importantly, show artists themselves, how much you appreciate the opportunity to have such a wonderful listening experience. Eventually, they'll take notice. Please support Tom Waits, as well as anyone else who goes out of their way to give you the best listening experience possible.

I only realized after finishing this review that this record is now out-of-print. Keep your eyes on the following for copies to become available... sorry!

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Monday: Primus - Sailing The Seas of Cheese

Belle & Sebastian - The Life Pursuit

2x 180-gram LPs
Gatefold packaging
Includes insert with photographs and band Q&A


Audio Quality: 4/5
Song Quality: 4.75/5
Packaging: 4.5/5


I just bought this record a couple of days ago at the Warsaw Brooklyn Record Riot show, or whatever you would call it. I bought a few cheap things I had been looking to grab, but this was the only big ticket item I came across. I saw a sealed copy of this record, got excited, and picked it up. Then I saw the price tag and put it down. The man working the booth saw this, and told me that it was way out of print and hard to find. I told him I knew that, but it was a bit out of my budget. He offered to knock off some of the price. I said I'd keep looking and think about it. After a couple minutes, I decided it was still a bit pricey so I told the gentleman thank you anyway. Then he offered it to me for just about HALF of the price tag. He drove a hard bargain, and I walked away with the record. So I'm sorry to people who read this review and then want to buy the record, because you're gonna have a hard time.

So I'm definitely a Belle & Sebastian fan... they have that wonderfully rare ability to seemingly craft the PERFECT pop song over and over again. However, I think that The Life Pursuit might be their most consistently great effort. Either this or Dear Catastrophe Waitress... I don't know. Either way, it's an excellent collection of songs, and, in this writer's opinion, a great introduction to this Scottish pop ensemble.

Determining sound quality on this record actually gave me some trouble. I put it on and it immediately sounded really nice. A clear and warm record with a wide sonic spectrum. It sounded like that for the first two tracks (the second of which, "Another Sunny Day," is a definite album highlight), and then on track 3, "White Collar Boy," I started noticing some high-end distortion, specifically in the huge crash cymbal hits in the choruses. This bummed me out a bit. But on the next track, the mellow "Dress Up In You," great sound resumed, with an incredible sounding trumpet performance. One of the most pure and gorgeous horn sounds I've ever heard recorded, as a matter of fact. I was back on board. But then, regrettably, my favorite song on the record, "Sukie in the Graveyard," the high distortion returned, even worse than before. WTF??? I began to investigate the album information to see if there were perhaps two different mixing or mastering engineers that could explain such a discrepancy.

As it turns out, this issue turned out to simply be that the record was so new that it was playing back hotter than it should. I went back and listened to "Sukie in the Graveyard" two more times, and by the third listen, it was finally warming up and sounding as nice as its peers. It also makes sense that it would be that track and "White Collar Boy" over the others because they are a bit more rambunctious. So there you have it. Definitely a nice sounding record... it just took a little time to get comfortable on my turntable.

The packaging is pretty nice. Very attractive gatefold set, with the lyrics printed inside when you open it up. The two LPs are stored in generic white sleeves, and it comes with a two-page insert consisting of artwork and a Q&A session transcript the band did with their fans. I wish it had come with a download or the CD... c'est la vie.

Again, I'm sorry to say that this record is currently out-of-print. I saw a copy recently sold on eBay for something like $25. Amazon.com has a USED copy for almost $100. I don't advocate spending that much on a record, but keep your eyes open for a copy of this one. If you can find it for a reasonable price, it is more than worth a spin.

Buy the LP for far too much money at Amazon.com
Search for Belle & Sebastian vinyl on eBay

Tomorrow: Tom Waits - Mule Variations

Fall Out Boy - Folie à Deux

2x 180-gram LPs
Includes large poster with additional artwork


Audio Quality: 1.5/5
Song Quality: 3.5/5
Packaging: 3/5


Ahh, it was only a matter of time before I got to really bash something here, wasn't it? You couldn't wait for it, could you? Who wants to hear me go on and on about how great everything is, anyway? What kind of a critic am I???

Well, watch out. The chain is off.

The fact that I'm reviewing this record at all probably destroys the little indie credibility I've established for myself over the last few reviews. That's okay. The last thing I want is to come off like a snooty hipster. I listen to just about anything and everything you put in front of me, and my hope is that this can be a website where people can come to check out how a record sounds without being mocked for even asking the question. Yeah, I like Fall Out Boy. I think they're very good at what they do and as a result have had more lasting success than any of their peers. I bought this record (for more than I should have, probably) with sincere enthusiasm. If you're disgusted, I apologize. Read no further, and I'll be reviewing Belle & Sebastian's The Life Pursuit tomorrow.

Now, on to the music. It's pretty good, but I do not like it more than Infinity on High, their previous effort. There are a couple tracks that are really exceptional, most notably the leading track "Disloyal Order Of Water Buffaloes," which has one of the most wonderfully catchy hooks they've ever produced. Other notably great tracks would be the first single, "I Don't Care," the followup single, "America's Suitehearts," and "20 Dollar Nose Bleed," which perhaps should be the third single, if my taste is any indication. Also notable is "What A Catch, Donnie," which features guest appearances from Elvis Costello and members of seemingly every modern pop-punk outfit they could find (Panic! At The Disco, Cobra Starship, Gym Class Heroes, The Academy Is, etc.) singing a medley of older Fall Out Boy singles ("Sugar, We're Going Down", "Dance, Dance", "This Ain't A Scene...", etc.) over the track's conclusion. Elvis Costello, who has the only solo, highlighted guest appearance, actually sings part of a song that appears just 3 tracks earlier on THIS RECORD! I'm not sure whether their goal here was to show their audience how similar all their songs are (because that's what it made me think), but either way, it is a bizarre decision on the part of the band. I've never heard anything like that before... gotta give them credit for that. Anyway, other than these songs, the rest of the record is decent, but a bit generic and stereotypical of their genre... which is the LAST thing these guys need to be if they want to survive more than the next year or so.

But oh boy, here comes the sound. Pretty horrendous. In fact, records like this are what actually inspired me to start this blog. Now, I admit, I shouldn't have been expecting a gorgeous audio experience from Fall Out Boy. That's like me complaining that the new Britney album has a lot of compression. DUH. But I wanted their new record, and when the choice was between spending $10 on the CD or $16 on the LP, I just couldn't resist buying the big record with the pretty cover. But oh boy, does this one sound bad. First of all, this record was obviously a fully digital recording. Shouldn't be surprised there. But it was also not mixed or mastered for vinyl AT ALL. They created their super loud and compressed mix for CD and MP3, and then just went ahead and threw it on vinyl. Double vinyl no less, which has never been less necessary. Some songs sound better than others, but at best they sound like the CD, which is predictably ultra-compressed and mediocre. At worst, they have full blown digital distortion that sounds like a chainsaw ripping through my speakers. This was most offensive to me during the last track, "West Coast Smoker," which sounds so bad I almost couldn't make out the song happening underneath. Even with low expectations, this is just unacceptable. Digital recording is one thing, but if you're won't even put in the effort to make your record play back without severe clipping, don't even bother releasing it on vinyl. It's an insult to the ears of your listener.

Now that I've said all this, I hope I've convinced you that buying this is a horrible, horrible idea. In case I haven't, I might as well discuss the packaging. One red and one yellow vinyl are held in plain white sleeves within a large single slipcase. Comes with a fold-out poster containing an enlarged version of the album cover on one side and portraits of the band members and pretty colors on the other side. It's pretty nice looking, but could definitely be better. And for a band like Fall Out Boy to not offer the vinyl with a download or CD is just ridiculous. Who are they selling this to? Apparently suckers like myself.

Decent music on this record, and if you like Fall Out Boy there's a lot to love here. However, do NOT buy this vinyl. Not worth the money and especially not worth the strain on your ears. This is one of those examples of when the music actually sounds BETTER on CD/MP3. It's a product of the times, and the times are tough. I hope you can trust me on this.

DON'T buy the LP on Amazon.com
DON'T buy the LP on HotTopic.com

Tomorrow: Belle & Sebastian - The Life Pursuit

Ween - Pure Guava

180-gram LP


Audio Quality: 4/5
Song Quality: 4.25/5
Packaging: 2/5


So, Ween is the kind of band that's really hard to explain. Listening to everything they've ever done is the only way to understand the scope of their insanity / genius. Think "They Might Be Giants on acid" and that'll give you an idea. Some of their records are more abstract than others, and for a brand new listener, I would usually recommend Chocolate and Cheese. This, on the other hand, is one of their most bizarre efforts, and it is definitely not for everyone. In fact, this is maybe the trippiest LP I own.

Sometimes it feels like Gene and Dean Ween are going out of their way to get people to hate them. On this record, even their most pop-based stuff features enough bizarre instrumentation, squealing feedback, and affected vocals to scare off any casual listeners. The most accessible of these songs would be "The Stallion Pt. 3," "Reggaejunkiejew," "Don't Get 2 Close (2 My Fantasy)," and, of course, "Push th' Little Daisies," which was a minor hit for the band. On the other side of things, "I Play It Off Legit" and "Mourning Glory" are just nuts. Completely nuts. A characteristic of this record specifically are the vocal tracks, which are heavily processed (a Ween trademark) and are almost always whispered or mumbled over the music at such a low volume that it makes you wonder whether or not the band actually wanted you to hear them.

I admit that it took me some time with these songs before I came to appreciate the greatness beneath the surface. However, if you're the sort of person who can appreciate the music of The Flaming Lips, Frank Zappa, and They Might Be Giants, all at their absolute weirdest, then this is a record that deserves to spend some time on your turntable. You might never come out loving every song on this record, because I certainly don't. However, with some time and open-mindedness, you can find a lot to love in tracks like, "Touch My Tooter," "The Goin' Gets Tough From The Getgo," "Pumpin' For The Man," and let's not forget "Poop Ship Destroyer," which really embodies everything I love about the spirit of Ween's music.

The sound on this record is good. Slightly better than good, in fact. It's not a gorgeous recording, but if you're at all familiar with this album, you'll understand that it's simply not possible for this album to sound "gorgeous." It sounds nasty... at times maybe even disgusting. Not nearly as bad as The Pod, which I find to be completely unlistenable at times, but it's definitely not made for an audiophile. It was made by Ween, at home, with a 4-track tape recorder. The vinyl cut of this record sounds pretty nice, revealing some aspects of tracks I hadn't noticed before. What I like the most about it is that it sounds a bit more natural in vinyl form. It was recorded to tape, so hearing it played back on the turntable makes it sound more natural and "at home" than it does on CD. I'm pretty sure this is not a pure analog recording, as someone is credited as "Digital Editor" for the record. However, this record definitely sounds like it belongs on vinyl.

Packaging here is bare-bones at best. Just a slipcase featuring the front and back artwork, and inside is the single vinyl in a white sleeve. This record isn't cheap, roughly $25, so this is a little disappointing. Records like this should always come with a free download, at least. So boo to that.

I'd love to own more of Ween's catalog on vinyl... as it stands I've only got this and La Cucaracha. There's a version of Chocolate and Cheese floating around that usually costs around $35. That's too much for me. Come on Ween... let's see some worthwhile, reasonably priced re-issues happening.

Buy the LP from Chocodog (Ween's Merch Site)
Buy the LP from InSound.com

Tomorrow: Fall Out Boy - Folie à Deux

The Fireman - Electric Arguments

2x 200-gram LPs
Direct Metal Mastering @ Abbey Road
Gatefold packaging
Includes art booklet and full-length CD


Audio Quality: 4.75 / 5
Song Quality: 4.25 / 5
Packaging: 5 / 5


A lot has already been said about this record, so forgive me for echoing the masses a bit.

Paul McCartney, post-Beatles, has been known for playing it very, very safe. Not to say that's always a bad thing... but in Paul's case, it hasn't always worked for him. This isn't all that surprising. The Beatles wrote great pop songs that initially made them famous, but what made them the untouchable legends they are today were their more innovative, genre-bending, rock-and-roll-evolving works. Examples of this include virtually everything from Rubber Soul on. I confess that I'm not super knowledgeable of Paul McCartney solo material, but I do know that even the best of what I've heard does not compare to the aforementioned Beatles material in terms of songwriting or innovation. Sorry, Macca fans.

These things are what make Electric Arguments so unbelievable. First he chooses, following the exceptional success of his previous release Memory Almost Full, to release an album as "The Fireman" rather than use his universally recognizable birth name. Then he continues his "fuck you" attitude towards the music industry by releasing with ATO records, the same small label that released In Rainbows following Radiohead's much publicized departure from EMI. And, most importantly, in less than 2 weeks (each song was given one day for writing and recording), he produced an album filled with creativity and innovation worthy of his legacy. Oh, and he did it all with producer Youth of Killing Joke, too. I'd be remiss if I didn't at least mention that.


Here's the thing... I don't love every song on this record. Some of them are, in fact, very abstract pieces that aren't necessarily easy to enjoy. "Is This Love?" and "Lovers In A Dream" are collectively a mostly instrumental look into McCartney's mind struggling with his own understanding of love and loss. Arguably more innovative than enjoyable, you still have to take your hat off to Paul for expressing himself so unconventionally. On the other side of things, songs like "Highway" and the 7/4 blues explosion "Nothing Too Much Just Out Of Sight" are reminiscent of old-school Beatles rockers, the latter arguably being the best song McCartney has ever written post-Beatles. And songs like "Two Magpies," "Sing The Changes," and "Sun Is Shining" are just plain great.

The end of "Nothing Too Much..." features Paul lamenting over the squealing feedback, "The last thing to do was to try to betray me," followed by a gutteral growl. This didn't resonate with me the first time I heard the track on MP3, but listening to the record, I got some serious goosebumps. This is the most passionate McCartney has been in a long time, and all it took was getting stabbed in the back by his ex-wife. Perhaps not a great trade-off for him, but I'm certainly satisfied.

I almost forgot... the sound! This is a DMM record mastered at Abbey Road, so, not surprisingly, it sounds pretty damn good. It's got the ultra hi-fi sound that is a trademark of these DMM records, and it is more than worth it's $30 price tag. Most notable, "Two Magpies," one of the more understated tracks on the record, sounds gorgeous, and "Sun Is Shining," which has a tremendous sonic scope that comes through phenomenally clear and separated. Though, I must say, I think that the Björk - Debut DMM vinyl might sound a LITTLE bit bigger and better. Either way, I'm splitting hairs if I'm criticizing the sound on this record. Electric Arguments is meant to be listened to as a full album, and if you want to hear it right, this is most definitely the way to go.


This is already a long review, but we need to discuss the packaging, because it's exceptional. The album comes in a beautiful gatefold sleeve, and it includes a very cool art booklet that shows how the album artwork was created. Not to mention the full-length CD in a special slipcase. The records themselves are also held in thick paper sleeves with even more artwork on them. Really, a gorgeous set. It's so refreshing to see records that are made with the consumer in mind. I've spent far more and gotten far less in the past.

I've already said it all. Even if the thought of a Paul McCartney solo record isn't appealing to you, consider giving this album a try. At the very least, go here to listen to "Nothing Too Much Just Out Of Sight" and you'll see what I mean. Don't be afraid of trying new things, Mr. Fireman. You've got nothing to lose.

Buy the LP (with digital download) from The Fireman
Buy the LP from Amazon.com
(Please note that this release appears to be nearly out of print... if you're interested act soon!)

Tomorrow: Ween - Pure Guava

Beck - Sea Change

2x 150-gram LPs
Gatefold packaging


Audio Quality: 4.5 / 5
Song Quality: 4.5 / 5
Packaging: 4 / 5


So, Beck is great. That's pretty much the general consensus of music fans. His catalog is so innovative and diverse that you'd be hard pressed to find anyone who can't find something to love. However, this record is tricky. Ask Beck fans to name their favorite and least favorite of his albums, and in both categories, you'll hear this record brought up time and again. Like all great pieces of art, this album tends to generate extreme reactions, both good and bad. Either way, if you haven't heard it yet, this album is definitely worth a listen.

The production on this record is wonderfully lush, with gorgeous string arrangements and understated guitar and vocal performances. It's the sort of album that just begs to be heard on a record player, demanding your undivided attention to all the little nuances that make up this beautiful whole. I was concerned before listening to this record, because having previously listened extensively to the CD, I had an idea in my head of how beautiful this vinyl should sound. I was afraid it wouldn't live up to my expectations.

Perhaps the most curious thing about this release is that it's NOT on 180-gram vinyl. I've read these vinyl are 150-gram each, which does feel about right. Really not sure why this wasn't given the modern 180-gram treatment, and I hope it doesn't result in this record getting worn out early. The good news is that it doesn't appear to have affected the sound quality.

It is my understanding that this record was originally recorded to analog tape. I don't know about the mixing and mastering processes and how purely analog this final recording is... but I can tell you that this vinyl version sounds stunning. One word to sum up this listening experience: immersive. This record is so textured and vibrant that it sucks you in from the first notes of The Golden Age and hangs on until the very end. Lost Cause, which ranks among my favorite songs of all time, sounds otherworldly in this setting. Just beautiful.

The record comes in a nice gatefold package with the lyrics printed inside. The records sit in generic white sleeves. As you may know, the CD version of this record came with 4 different modifications of the album artwork. The LP is only available with the one "standard" cover, which surely saved on production costs, but I would have preferred one of the alternate covers to make it stand out from the CD.

Clearly, I'm of the opinion that this record is one of, if not THE best effort from Beck Hansen. It's a gorgeous, otherworldly listening experience. The record was made with a great deal of emotion and intensity, and it's wonderfully fortunate that it is available in a format that allows the listener to fully appreciate the passion put into its production.

Buy this LP from Amazon.com
Buy this LP from ElusiveDisc.com

Monday: The Fireman - Electric Arguments

The Beach Boys - Pet Sounds (Capitol Reissue)

180-gram vinyl
Original mono mix
All original artwork replicated


Audio Quality: 4.5 / 5
Song Quality: 5 / 5
Packaging: 4.5 / 5


If you're a regular vinyl shopper, you are aware that as of late there have been an overwhelming number of re-issues happening (see my last review). This should be fantastic, and should be a great way for people to pick up great sounding records that have long been out-of-print. Unfortunately, it is not that simple. Without getting too deep here, in order for the vinyl to sound great it needs to be cut from the original (hopefully analog) master source and mixed/mastered for vinyl specifically. If it's cut from a less pure source and/or if the master for compact disc is used for the record, the sound will suffer tremendously. Not every record company takes the time or, more relevantly, spends the money necessary to make sure these vinyl re-issues are "faithfully restored," even if that's what it says on the outside label. The labels know that vinyl sales are up, and they care more about putting the product in your hands and slapping an exorbitant price tag on it than about you receiving the high-quality listening experience you THINK you are paying for. This is just one of the many reasons why the record labels will all be out of business in the near future.

ANYWAY! Now that you've gotten through that rant, I'm happy to tell you that with this particular re-issue, Capitol got it right! This is a part of their "From The Capitol Vaults" series, which I own a few titles from, and they do appear to take great care in making sure their records sound excellent. I especially appreciate that for this record, it was released in it's original mono format... the way it was intended to be heard. Now if only we could get proper mono re-issues of The Beatles catalog...

Naturally, due to the old age of this record (recorded in 1965), this is not a terrifically hi-fi recording. However, it sounds to me like what I imagine a new copy of the record would have sounded like over 40 years ago. Getting to listen in mono only adds to this authenticity, and again, I'm thrilled it's re-issued this way. Start to sounds clear, warm, and welcoming. I got goosebumps listening to God Only Knows, having never heard that song sound so beautiful. Basically, it sounds exactly like what I think this album should sound like. I realize that's not my most articulate assessment, but hey, I'm still new at this. I think you get the idea. I would love to compare the sound of this version to an earlier pressing, but as it stands this is the only one I own. Should I get my hands on another version, I'll amend this review if necessary.

The packaging here is really special. It's an exact replica of the original artwork and packaging, all the way down to the Captiol Records sleeve, featuring their "current" catalog of albums and artists. Nothing super fancy here, but it's a nice touch on the part of Captiol to make the record feel like even more of a relic.

Very nice re-issue here from Capitol. I'll be reviewing more of their "From The Capitol Vaults" series in the near future. This record is also nice and affordable (you should be able to find it for $20 or less), and since it just so happens to be one of the greatest albums ever recorded, there's no reason not to pick it up immediately. Do it.

Buy the vinyl from Amazon.com
Buy the vinyl from InSound.com

Tomorrow: Beck - Sea Change

Björk - Debut (One Little Indian Reissue)

2008 Re-issue
2x 200-gram LPs
Half Speed Direct Metal Mastering (45rpm)


Audio Quality: 5 / 5
Song Quality: 4.25 / 5
Packaging: 2 / 5

So, when I went into my local record store one day and saw that they had just received brand new copies of almost every Björk album, reissued by One Little Indian using glorious DMM, I nearly died. Then, I looked at the price tag, and I actually did die. These records retail for a staggering $45 each. I'm a pretty tremendous Björk fan, but that's also a pretty tough price tag to swallow. Prior to these re-issues, I only owned a copy of Homogenic (my favorite Bjork record) that I found by chance at the Union Square Virgin Megastore. So I bit the bullet and picked this one up. I also had a 10% off coupon that let me justify it further. Let the reader note that I would have actually picked up Vespertine or Post before this record, but alas, those were the only two that the store did not have in stock. Debut it was.

The best way for me to summarize how I feel about this album (and the whole series of DMM re-issues) is that, after spending an hour in the store debating whether or not to buy, after I got home and listened, I went online and immediately bought Vespertine, Post, Selmasongs, and Medulla. I also just sold my copy of Homogenic so I could justify buying this re-issue. Yeah. It's that good.

The sound is absolutely tremendous. Some of the biggest sound I've ever heard come off a record. During particularly rambunctious songs like Big Time Sensuality and Crying, the entire audio spectrum explodes out of the speakers. This is a true audiophile experience, with crystal clear high-end articulation and phenomenal stereo imaging. It simply needs to be heard to be believed. Björk produces some of the best drum sounds you can find, and this record presents them better than ever... they are the highlight of the record as far as I'm concerned. Really, there's just not enough I can say about how great this record sounds. Even through a crappy set of speakers, it really is worth the price tag.

While I couldn't imagine anyone familiar with Björk's full catalog would say this was her best work, this album has plenty of terrific tracks, most notably the singles Human Behaviour and Big Time Sensuality. Comapred to the tremendous artistic achievements that followed this Debut, some of the tracks on this record feel almost trite in comparison. But, like any great artist, there is something truly rewarding in seeing how they have evolved over time. Though, perhaps then you should be picking up the DMM re-issues of The Sugarcubes' albums. I have yet to make that plunge.

The packaging for this record is the only thing lacking. One Little Indian mentions on the front sticker that only the original artwork is used. This means that the two records are held in separate generic white sleeves, within a slipcase of the original album front and back artwork. That's it. I understand using the original artwork to make it authentic and true to the original vision of the artist, but for the price tag on this album, the packaging really felt thrown together. Please note that this packaging issue is not applicable to all of the Björk re-issues.

For die-hard Björk fans and audio purists, all the records in this series are worth a serious listen. If you're a more casual fan, they are selling a DMM re-issue of her Greatest Hits that might ease the financial sting. I'll continue to review all of these records in the coming weeks with more specifics, but for now, just know that they rule.

Buy the vinyl from One Little Indian
Buy the vinyl from elusivedisc.com

Tomorrow: The Beach Boys - Pet Sounds (Capitol Re-Issue)

Ben Kweller - Changing Horses

180-gram gatefold LP
Includes poster w/ lyrics & full-length CD in slipcase
All-analog recording, mixing, and mastering


Audio Quality: 4.75 / 5
Song Quality: 4 / 5
Packaging: 4 / 5


Though I've always enjoyed Ben Kweller's music, I wouldn't say I was a huge fan or anything. I think the only Ben Kweller recording I actually own is Sha Sha, his first full-length, on CD. I've seen him live a couple times (only once as a headliner... when he performed Sha Sha in full at Southpaw in Brooklyn) and he puts on a great show. What I'm trying to say here is, though I enjoy his music, he's certainly not someone I thought I would pre-order a record from. But, when Mr. Kweller made a Twitter post (yeah, I DO like him enought to follow on Twitter) talking about how his new record "never once touched a digital source... sounds like 1968," he sold me instantly. I immediately ordered a copy, which arrived yesterday. So today, I woke up and immediately dropped the record on the turntable for a serious listen.

Ben's words are perfect, so I'm gonna re-state them. This record quite literally sounds like 1968... a vintage record you find in a big bin at the thrift store. You take it home and drop the needle, and though it's dirty as hell from decades of mistreatment, the sound it produces reminds you of simpler times, when making and listening to music was a more organic experience. It makes you feel good inside. This is what records are all about. Changing Horses makes me feel like 1968 because, prior to this record, I don't know if I've ever heard a brand new album that sounded so warm and old-fashioned.

It's a very clean stereo mix. Ben's lead vocal is smooth and well-placed, and it is the centerpiece of this recording. The other highlight is the upright bass, which is wonderfully present, clear, and punchy without distorting the low-end. The pedal steel guitar also sounds gorgeous in all these tracks, bright and clear without being harsh. Because it is faithfully recorded to 2" tape, this recording is lacking some of the high frequency presence that is so common in modern recordings. I assure you, this is absolutely fine. It helps give this recording more character than anything I've heard in recent memory.

The songs on this record are quite different from previous releases by Ben Kweller. It's a full-fledged country record, and while previous Kweller released have been influenced by his Texan upbringing, none have been this unabashedly country. But the style suits him well, with "Fight," "Sawdust Man," and "Wantin' Her Again" sounding fresh and fun while existing within a comfortably familiar country aesthetic. On first listen, I found more to love in Side B than Side A, but with a record like this, my opinion is bound to change after multiple listens.

The packaging is pretty nice, with embossed artwork on both the front and back of the gatefold sleeve. The vinyl itself is in a white paper sleeve, no additional artwork there. Contains a poster of the enlarged album cover with lyrics on the back. Also contains the full album on CD in a slip case, which is always appreciated.

Basically, if you're a big vinyl fan, this is worth a listen for the analog production alone, which you're hard-pressed to find in modern recordings. Kweller fans might be split on this record, but if you're willing to embrace a batch of earnest, twangy country tunes you'll find a lot to love. Ben, if you're reading this, your dedication to high quality recording is much appreciated. Please keep it up and continue setting a good example for your peers. We desperately need more artists like you.

Buy the vinyl from BenKweller.com
Also available at Amazon.com

Tomorrow: Björk - Debut (One Little Indian Re-issue)