CD Labeling Software

For the remaining 12 minutes that CD's are around, I intend to label my mixes when I make them.  I have for over 10 years, so why stop now?  It makes my creations look more professional.  And purty.

So, when my CD labeling software would no longer work with Windows Vista or 7, I went online to see what reviewers judged to be the best software.  The pickings were slim, and the opinions I did see did not appear to be completely unbiased; in the end, there really aren't good reviews of this kind of software.

Hmmm... what to do?  The answer seemed obvious:  I'll just test them out myself.  

My criteria is pretty straightforward:

1. Ability to read information off CD's automatically
2. Ease of use
3. Flexibility of printing options
4. Graphic options
5. Text options
6. Amount of pre-loaded backgrounds

Our guinea pigs are as follows:

1. Acoustica CD Label Maker
   
2. AMF CD and DVD Label Maker
3. CyberLink Label Maker
   
4. Dataland CD Label Designer 
5. Discus
6. Disketch CD Label Software
7. Droppix Label Maker
   
8. Easy CD and DVD Cover Creator
9. Kronen Design
   
10. MediaFACE CD Label Creator
11. Roxio Easy CD Label Creator
    
12. SureThing CD Creator

I've been using SureThing for the last few years, and have used MediaFACE, Roxio, and Easy CD in the past.  Now, I could completely demo each one... but who wants to spend 30 days with every piece of software?  I'm just too lazy.  Let's see if I can thin the field here. 

 

1. Ability to read information off CD's automatically

This is a simple pass/fail test:  if the software can't even do this, it's inevitably got a lot of other issues I'll find out about later.  For this, I used the 2008 Snilch Report Hits (Volume 1) and the 2009 Snilch Report Favorites (Volume 2).  (And to those promised these discs -- yes, they are now finally moving into production.)  The former was burned with Roxio's Easy Media Creator and the latter straight from iTunes.

Pass:

• Acoustica
• AMF
• Droppix
• Roxio
• SureThing

FAIL: 

• CyberLink Label Maker
• Dataland CD Label Designer (which was complicated without being flexible or robust)
• Discus
• Disktech (which was was easy to use but it is not robust at all)
• Easy CD (which was very limited) 
• Kronen Design
• MediaFACE (which was a shock)
  

And then there were five.

2. Ease of use

3. Flexibility of printing options

Very easy to use:  Acoustica, AMF.  All pass here, but Roxio just barely.

Flexibility:  Acoustica has lots of options here, although it's unclear from the demo exactly how easy it would be to duplicate label images to fit certain templates.  Droppix and Sure Thing all have plenty of options; AMF has fewer but passes.

Roxio, however, does not.  It's already lagging behind, and clearly has issues moving forward; so we'll cut our losses here.

 
4. Graphic options
 

Acoustica is limited, but passes here.  Droppix and Sure Thing have lots of easily accessible options.

AMF is extremely intuitive and easy to use... but that's partially because your options are so limited.  This is your stop, AMF.

And then there were three.

5. Text options

Ease of use extends to text options for Acoustica.  Droppix seems to be limited in terms of templates, but that just may be the fact that this is a trial.  Lots of LiteScribe options, though.  Sure Thing cruises through.
 

6. Amount of pre-loaded backgrounds

Acoustica has a very limited number of pre-loaded backgrounds, although you can download a lot more from their website for free.  However, it will cost you a $10 each for the six sets of the coolest art they have.  FAIL.


Sure Thing and Droppix have a ton of cool options.  They both look good.


Conclusions:  For overall robustness, flexibility, and ease of use, both Droppix and Sure Thing are great choices.  Sure Thing runs at $24.95 for a download, $29.99 for a physical disc; Droppix costs the same for a download but an extra six bucks for the physical disc.  You can't really go wrong either way.  I will ultimately choose Sure Thing, as it's the one "big name" (i.e., company that's been around for ten years) that's fully featured and looks to be around for at least another five.

It's all so simple when you go to the tale of the tape....


- Snilch

Bad Lieutenant - Never Cry Another Tear (2009)

It's not often I get suckered at Newbury Comics anymore.  I've learned my lesson:  I go in with a list, and that's pretty much what I look for.  

However (and these stories inevitably have a "However" or a "But" in them), my eye caught Bad Lieutenant's Never Cry Another Tear with the promo sticker:  "Featuring Members of New Order and Joy Division!"  And it was on sale for $7.99.  Nah, I don't have a problem.

First revelation:  it's really New Order's Bernard Sumner and Phil Cunningham, along with some guy named Jake Evans (from the band Rambo and Leroy, which I've never heard of).  The only Joy Division link is Sumner, which is cheating.  Now, the sessions were aided by Stephen Morris, who was in both Joy Division and New Order... but it's still cheesy to promote the album that way.  With Morris in the mix, it's more like:  "New Order without Peter Hook and Gillian Gilbert, but with some guy you've never heard of who sings half the songs!"  Not as pithy, but more accurate.  Ex-Blur bassist Alex James comes along for the ride for the recording sessions. 

Confession:  I do love Joy Division (thanks to Yves, Scott, and Sean), but I really have never gotten into New Order; this definitely verges towards the latter.

That being said, it's the way I want New Order to sound.  BL is still a pop entity, but with more guitar influences than NO.  "Sink or Swim" is a great leadoff track, but it's the second track that sells the album:  "Twist of Fate."  This is an 80's hit that's 25 years late in being released; it's one of the three songs (Manic Street Preacher's "Marlon J.D." and Idlewild's "Little Discourage" being the others) that I am constantly playing these days.  Truly a gem, with Bernard Sumner at his absolute crooning best.  It's fantastic.

In fact, after the first five songs, it's pretty clear this is safe, well-adjusted 80's revivalist pop with some interesting musical twists, and very listenable.  The issue with the album is its length, and that when I hear Rambo, er, Jake Evans sing, they start to sound like Coldplay.  And not in any good way.  They should have stopped at between eight and ten tracks; that would be a tight, strong album.  Instead they decided to release fourteen tracks, which just drags the plot out way too far.

In the end, this is a must-buy for New Order fans, and is a should-buy for everyone else, as it is an excellent album.  It loses steam along the way, but that just means the front half is safe and interesting while the back half is inoffensive and bland.  

Merch Rating:  I'd buy their next album, no questions asked.  Normally I'd look for additional tracks, but I feel like the kitchen sink is already included on the album.  I'd go see them if it was convenient; merch buying at the venue would be based on performance but the album is good enough to think I'd at least buy a t-shirt.

CD Placement Rating:  On its way to the gold (Car CD Changer), the back half of the event means only silver -- Portable CD Player.

MP3 Recommendations:  "Twist of Fate," "Sink or Swim."  And MSP's "Marlon J.D." and Idlewild's "Little Discourage."

- Snilch

Pitchfork: Judgement Day

Generally, I don't read reviews prior to listening to music.  And if I do, I tend to skim.  I've had bad experiences of letting the reviewer's opinion shape my own, rather than complement it.  I remember reading a blurb about Bob Mould's 1996 self-titled release, which complained to no end about the use of a drum machine on the album.  To this day, I can't get past the drums when I listen to it.  Lesson learned.


One exception for me over the years has been Pitchfork.  They introduced me to Les Savy Fav, The Go! Team, Sufjan Stevens, Grizzly Bear, Jay Reatard (RIP), British Sea Power, Enon, Iron and Wine, The Fall, and countless others.  They've steered me right with their reviews, and gave me a lot of great music which has made my collection that much better.  Amongst other review sites, their historical place (well, internet historical place, at least) has been the home to the best music you've never heard of.  Their ear has always been on the ground.


Are there haters out there?  Sure.  You can find them out there (and no, I'm not doing your research for you), and they love to jump all over Pitchfork.  Not me.  The proof has always been in the pudding, and a Pitchfork 8.0 rating or better has generally resulted in a 60-75% success rate in my keeping the album, year after year.


However, I've had a bad, bad run with Pitchfork over the last two to three years; the metric is now more of a 10-20% rate, which is quite alarming.  In fact, I've had to revise my own formula:  now I won't touch an album unless it's rated 9.0 or better. 


So at this point, I need to decide whether this has been a lull, a trend, or if Pitchfork and I no longer see eye to eye in terms of what is good to great music.  Here are the albums I listened to, and their respective Pitchfork ratings:

1. Animal Collective - Merriweather Post Pavilion (2009): 9.6
   
2. Deerhoof - Friend Opportunity (2007): 8.9
   
3. Deerhunter - Microcastle/Weird Era Continued (2008): 9.2
   
4. Dirty Projectors - Bitte Orca (2009): 9.2
   
5. Girls - Album (2009): 9.1
6. Grizzly Bear - Veckatimest (2009): 9.0
   
7. Hercules and Love Affair - Hercules and Love Affair (2008): 9.1
   
8. Max Tundra - Mastered by Guy at the Exchange (2002): 9.3
   
9. M83 - Saturdays = Youth (2008): 8.5
   
10. No Age - Nouns (2008): 9.2
    
11. The Pains of Being Pure at Heart - The Pains of Being Pure at Heart (2009): 8.4
12. TV on the Radio - Dear Science (2008): 9.2
    

Out of these twelve albums, I expect the following breakdown:

• 3-4 Car CD Changer albums
• 5-6 Portable CD case albums
• 2 CD Rack albums
• 1 Sell-back 1 /Pile of death

In other words, nine out of twelve above average; two that are not necessarily my speed but so good I need to keep them; and one that just misses the mark entirely.  I'm being kind here; really, all nine 9.0's should be at least above average, and three 8.0's should be average or above average.



To be fair, I included 3 "best new music" albums I have reviewed here previously (Grizzly Bear, TV on the Radio, and M83), and probably would have bought regardless of review; the rest were acquired strictly on Pitchfork's review.

The results?  Here's how they broke down:



Car CD Changer 
Projected: 3-4
Actual: 2 

1. Animal Collective - Merriweather Post Pavilion (2009): 9.6 
2. The Pains of Being Pure at Heart - The Pains of Being Pure at Heart (2009): 8.4

- Not a good start -- only two CD's makes it here, oddly the best and worst-rated of the bunch.  Animal Collective is borderline CD Rack/Portable, but gets the nod to this level because its so well produced; ultimately it lacks some soul to be rated higher.  I hear a little Howard Jones and The Beach Boys here, oddly -- and it's a little boring at times, but not terribly so.  For The Pains, the updated shoegazer vibe here is great.



Portable CD Case  
Projected: 5-6
Actual:  4

1. Deerhunter - Microcastle/Weird Era Continued (2008): 9.2
2. Girls - Album (2009): 9.1
3. Grizzly Bear - Veckatimest (2009): 9.0
4. M83 - Saturdays = Youth (2008): 8.5

- Strike two.  Not only are we still running behind, but M83 and Grizzly Bear were already known to me.  Deerhunter is quite good, although Microcastle is the strong swimmer of the double album.  The Girls album grew on me, despite the odd vocals (see the trend continue below); here they work. 

 
CD Rack  
Projected: 2
Actual:1

1. TV on the Radio - Dear Science (2008): 9.2

-  TV on the Radio was also part of my previous experience.  So of the seven albums I liked enough to keep, I would have bought three anyways.  We all see where this is going.

Sell-back Pile 1/Pile of Death

Projected: 0-1
Actual: 5

1. Dirty Projectors - Bitte Orca (2009): 9.2
   
2. Deerhoof - Friend Opportunity (2007): 8.9
   
3. Hercules and Love Affair - Hercules and Love Affair (2008): 9.1
4. Max Tundra - Mastered by Guy at the Exchange (2002): 9.3
5. No Age - Nouns (2008): 9.2 
   

- What is it with these odd vocals?  To put it kindly, all of these groups have very, er, "non-traditional rock voices."  (Not so kindly:  stop singing.)  And every damn vocalist sounds exactly the same!  All weird falsetto male voices.  Dirty Projectors is a perfect example: one of those "really trying to be quirky" bands that were failed by their ambition -- if you can buy the vocals, you might love these guys.  I didn't.  Meanwhile Hercules and Love Affair wishes for the return of disco in a way that I really don't.  No Age does try hard to rock it out, but I don't believe they understand how to.  Max Tundra was so terrible one of my CD players refused to even read it.  I think I'd rather gouge my eyes out that listen to Deerhoof's broken English warblings ever again.


Conclusions:  I would have accepted nine above average and two average albums;  I ended up with six and one respectively.  Five albums that don't make the cut is not acceptable.  So their rate of success here is 63% - that's an F where I went to school.  It's even worse if you look at just the 9+ albums -- it's only 5 out of 9!  Dismal.

My final verdict is that I cannot trust these guys any more.  Sure, there are some gems here, but I'll need more than just their word to go get an album these days.  It was fun while it lasted.

- Snilch

Some Old, Some New

Let's get right to it, shall we?

• The Black Keys - Rubber Factory (2004). Thanks to Brian for recommending these guys. They're a two-man group, ala Local H or The White Stripes. Whereas Local H is more grungy and The White Stripes more crunchy alternative guitar/Jack White's vocals, The Black Keys are more deeply rooted in the blues. (Yes, I know The White Stripes visit the blues neighborhood, but The Black Keys live there.) It's pretty clear that the two musicians play multiple parts; what makes it most interesting is that they still retain the charm of a two-person approach. It's really quite ingenious. Apparently they opened for Sleater-Kinney in 2003, but I must have missed that tour. (Aside: has there ever been a band that has remained as below the radar as S-K that broke so many other acts? The White Stripes, The Gossip, and Yeah Yeah Yeah's immediately come to mind.) These guys are fierce and write amazing songs. Great stuff from Akron, OH. Who knew?
  CD Placement rating: Portable CD Case.

• The Cribs - The Cribs (2004). The Cribs scoreboard stands at 1 up, 1 way way up. Their debut is the worst of their efforts thus far, but it's a Bob Mould scale: their "below average" is a B+ in any other book. There are still some gems here (like "The Lights Went Out," "Direction," and "Another Number"). New one is out now (with Johnny Marr on lead guitar) and I can't wait.
  CD Placement rating: Portable CD Case.

• Merle Haggard - Country Roads (2007). Thanks to Tim for recommending this. Unfortunately, it appears I really, really don't like country (except for Johnny Cash), even if it's done very well (like it is here). I'll take a couple of tracks and move on.
  CD Placement rating: Sell-back Pile 1.

• Mayfield - Mayfield (1998). Curt Smith's Halfway, Pleased was so good, I felt compelled to go back into his back catalog. This album is the product of a brief '90's project, and it does not disappoint. I'm not sure how I (and apparently, everyone else) missed the boat on a truly gifted artist, but I can't help to be continue to be impressed with his work. Unfortunately, (besides Halfway) his two other earlier solo albums and this one are almost impossible to track down. An aside: Curt, please come to Boston.
  CD Placement rating: Portable CD Case.

• The Proletariat - Voodoo Economics and Other American Tragedies (1998). Thanks to Paul for recommending these long-gone (and mostly forgotten) Boston legends.  They sound a bit like an Americanized, slightly more mainstream poppy, slightly more politically pointed version of Gang of Four.  At 45 songs, you get pretty much all you'll ever need to hear of these guys; they were definitely ahead of their time and this is a very nice compilation.
  CD Placement rating: Portable CD case.

• Ride - Going Blank Again (1992). Dan had recommended the band Ride when I reviewed them here.  However, I got the actual album he was recommending wrong -- I believe what he was referring to was Going Blank Again. (Well, at least I think it's the right album this time.) This is tremendous shoegazer pop, think a lighter/poppier My Bloody Valentine.  The 8+ minute opener ("Leave Them All Behind") does not feel long by any means, which said it all for me right off the bat.  Yawning guitars, a strong rhythm section, and lofty vocals on the more shoegazer numbers:  all tremendous. Jangly guitars, that same strong rhythm section, echoey but more down-to earth vocals on the more poppy numbers:  also tremendous.  When they come together (like "Time of Her Time"), it's even better.  Eclipsed by MBV at the time, these guys are absolutely fantastic.  How did I miss them the first time around?
  CD Placement rating: Car CD Changer.

• The Waterboys - Fisherman's Blues (1988). Thanks to Scott for this one.  The Waterboys are your favorite Irish pub band, just a lot better.  A very pleasant, upbeat, melodic Celtic folk-rock disc.  At times it's bouncy, others it's tranquil; it's always complexly arranged and very well produced.  It's purely speculation on my part, but I could definitely see them being an influence on The Frames.
  CD Placement rating: CD Rack.

- Snilch

What I've Been Listening to Lately

Besides all of the other albums I've been reviewing... here are a few more I've been listening to lately:

• Against Me! - Searching for a Former Clarity (2005). The Against Me! scoreboard stands at 1 up, 1 down. This was clearly another win from the start, insisting through all of the other clutter in my life and grabbing my attention. They scream intelligently, telling stories of despair, longing, loss, and addiction that ring true. Next album will be a must-buy; they are the new punks.
  CD Placement rating: Car CD Changer.
  
• The Big Sleep - Son of the Tiger (2006). This is not quite as good as 2008's Sleep Forever, but it's damn impressive. Sprawling mid-to-lo tempo indie rock, with a soothing, pleasant tone that somehow drives all the way through the album. Me likee.
  CD Placement rating: Portable CD Case.
  
• John Cale - Hobo Sapiens (2003). Having seen former Velvet Underground founder John Cale rocking out on Later...with Jools Holland, I went in search of the song I saw him play. I bought two albums; this is the first. He has definitely transitioned to a smoother, pop pock-ish sound on this album, which is quite a departure for him. It's quiet, but still quirky, and a great listen. He's really an underrated solo artist.
  CD Placement Rating: Portable CD Case.
  
• Dropkick Murphys - The Warrior's Code (2005). Boston hardcore punk/Celtic icons, immortalized by the movie The Departed, is some people's cup of tea... not mine. This is a decent album, but at some point it all just runs together.
  CD Placement rating: Sell-back Pile 1.
  
• Shelby Lynne - Love, Shelby (2001). Andrew has been pushing me towards Lynne's work; Part 1 was successful, so I decided to follow along on Part 2. She's ridiculously poppy (normally not a good thing), but in this case it really works. Lots of parental references and religious themes -- you can't help but think of Shelby at age 17, in her driveway, watching as her alcoholic father shot her mother dead, and then turned the gun on himself; the haunting cover of "Mother" makes your skin crawl. There's real depth here in all of the songs, and her voice is absolutely tremendous.
  CD Placement rating: Portable CD Case.
  
• Pseudo Echo - Long Plays 83-87 (1990). Most of you have more self-respect than to admit to buying this, but apparently I have no shame. It was $2.99, I had fond fuzzy memories of their sound... sigh. What a disaster.
  CD Placement rating: Even "Funky Town" failed to hold up. Pile of Death. Sigh.
  
• The Sheila Divine - New Parade (1999). Despite living in Boston for more than ten years, my first exposure to this Boston band was with Moira and Kevin... in Ohio. They've long since broken up (The Shelila Divine, not Moira and Kevin), but this album is undeniable for a few unbelievable tracks, a bunch of good ones, and a few yawners. Overall, I'm guessing it's their best album.
  CD Placement rating: Portable CD Case.
  
• David Shire - The Hindenburg Original Soundtrack (1975). My friend and soundtrack junkie Brian presented me with an irresistible paradox here: a long-lost, all-time great soundtrack by one of his favorite composers, buried and virtually impossible to find. (It's easier now, although the latest release is still limited to 3,000 copies.) Soundtracks are not my thing, but Brian did not steer me wrong here. I wish I had the musical vocabulary and background to say something intelligent about this... but honestly, I don't. I can say that it was a great listen; the spoken word portions of the soundtrack really added to the overall experience. Very cool stuff.
  CD Placement rating: Portable CD Case.
  

- Snilch

Re-issue Special

Ah, the re-mastered re-issue. The younger, scraggly cousin of the compilation, this record-company double-dip revenue generator can be a long overdue overhaul, or a minor redux to soak the fan base for more cash. An example of the latter would be Modest Mouse's The Moon & Antarctica, which was released in 2000. Sony had the gall to re-release the album four years later, a month before their next album of new material. Disgusting. I have still not bought the re-master, despite the fact that it's an all-time great album. Losers.

Not that I hold a grudge.

The following re-releases are 14+ years after the fact (almost 30, in one case), which is acceptable in my book. In alphabetical order:

• The Cult - Love (2009; originally released in 1985). This release includes a full disc of extras, comprising the b-sides from the album. Two oddities: it's the 24th anniversary of the release (why not wait a year?) and the re-release is about 20 seconds shorter than the original CD. I'd describe the re-mastering (besides the obvious volume boost) as "Windex": it gets rid of a layer of muddiness you weren't even aware was there. This separates the treble above the rest of the mix and boosts the bass significantly. The end result is that I enjoy the album a lot more. The bonus disc has some good stuff on it (the long version of "She Sells Sanctuary" is very interesting) and is actually longer than the album itself; if you own the Rare Cult box set (and you are lucky if you do), then you already have everything on it.
  - Why you should get it: It makes Love sound like the best album in The Cult's discography, and I've firmly been in the Electric camp for 23 years. That plus the bonus disc, all for under $15 -- a must have for casual fans or ones who've had the disc for 20+ years. It's a classic.
  - Why you shouldn't bother: You hate The Cult. You pathetic freak.

• Thomas Dolby - The Flat Earth (2009; originally released in 1984). Thomas Dolby's sophomore effort, after "She Blinded Me With Science" had transported him into the stratosphere of "one hit wonders," was recommended by Jamie. Now I knew Dolby's career arc did not go straight down; he actually continued to release albums as a cult act well into the 90's. What I didn't know was that his biggest hit in the UK was actually "Hyperactive," found on this release. This album is well worth picking up. I can't speak to how significant the re-mastering was, but the extras are all excellent. It's not as quirky as the "Science" single; it does show the class of musician that Dolby was back in the day.- Why you should get it: You don't own it -- you should. You do and you love it -- you'll like the extras. You are a Dolby freak -- you'll want the live version of "Marseille," which Dolby's liner notes calls "possibly the rarest Dolby song ever."
  - Why you shouldn't bother: You don't like '80's music. My follow-up: why again are you reading this blog? You really don't need to. Seriously, I won't be offended.

• Joy Division - Still (2007; originally released in 1981). Well, a re-release of a compilation just beats all, doesn't it? I bought this because Yves gave me my CDR copy to evaluate and it's good enough to own. This re-issue includes the re-mastered album plus a live CD from 2/20/80 (including six songs from the soundcheck).- Why you should get it: You don't own the album already. Or you don't mind spending $20 for a live Joy Division performance and a minor re-mastering.
  - Why you shouldn't bother: You own the album and really don't need yet another live performance from Joy Division.

• Liz Phair - Exile in Guyville (2008; originally released in 1993). This landmark album's re-release includes three additional tracks and a DVD. The re-mastering here we'll describe as "Pledge": it really restores the sound to another level, probably what it sounded like in the studio. It's really great, a re-master that seems worth the exercise. The three bonus tracks don't add much. The DVD, which reflects on the album and is produced and directed by Phair, is not really a professional product: for example, the basic requirement of interview audio is to actually mic the interview subjects. The story is strung together in order but is ultimately boring and primarily full of Phair navel-gazing. Also, she hints throughout that she can prove that the album is a song-by-song response to The Rolling Stones' Exile on Main Street... but she never actually does. By the time it got interesting an hour in, it was already beyond redemption.- Why you should get it: You don't already own it. Your life is not currently complete, please go get it immediately. And it's still worth picking up if you own it; I'd suggest buying the vinyl, as it comes with the CD and worth the tradeoff versus getting the worthless DVD.
  - Why you shouldn't bother: I really can't see why.

• The Stone Roses - The Stone Roses (2009; originally released in 1989). My brother really liked these guys when he was in college, but for unknown reasons I never went out and got this album. That was a mistake. I can't speak to the re-mastering or the "deluxe edition," although I've read that longtime fans will want to dig into that version. The album is great and it's a shame that I somehow failed to get into it for twenty years.- Why you should get it: You don't own it. You won't be disappointed. Or you are a fan and want to get the Deluxe Edition.
  - Why you shouldn't bother: You own the album and don't feel passionate enough about it to get the Deluxe Edition.

• Sunny Day Real Estate - Diary, LP2 (2009; originally released in 1994, 1995). Confession time: when they came out, I loved Diary and sold back LP2. This seminal grunge band has re-formed with its original lineup for its first tour in fifteen years. In the interim, SDRE's subsequent releases (with different lineup configurations) and lead singer Jeremy Enigk's various solo/band projects have proved to be among my all-time favorites. For the tour, there's no new studio material; the only option for the record company to make a buck was to re-release the two albums the original band recorded. This is a straight re-issue; no re-mastering, but each come with two bonus tracks (which are excellent) and extensive liner notes. Diary is great; LP2 is surprisingly great, too. I think the single "Seven" overshadowed both albums in my mind back then; now I'm ready to embrace both albums. These albums are a must-listen for young drummers.
  - Why you should get it: You don't own either album. Start with Diary, and get LP2 if you like it. You should own at least one -- this is a great, underrated grunge band that is and isn't grunge. Haunting vocals, incomprehensible lyrics, great guitars and a tremendous rhythm section.- Why you shouldn't bother: You own the albums, and they're still pristine. Buy the bonus tracks on iTunes and I'll lend you the liner notes.

• U2 - Boy, October, War (2008; originally released in 1980, 1981, 1983). These are all great. Each album is worth getting whether you already own them or not, for the careful remastering and the fantastic book of liner notes (both by The Edge) that accompany each. Boy is my all-time favorite U2 album; the extras are here are very nice (there are six unreleased mixes/tracks here), with "Saturday Night" (an early version of "Fire" from October) and the live "Cartoon World" the highlights. October (which I've always loved) actually doesn't hold up over the years -- I now hear the flaws that other fans and even The Edge acknowledge. But the extras are great: the single "A Celebration" finally appears on a U2 CD, which makes this a must-buy in itself, and the live tracks are really cool. War ultimately has the least interesting extras, although you do get a chance to hear "Adam's first and only solo vocal on a U2 record"; but I don't need four mixes of "New Year's Day" and three of "Two Hearts Beat as One." All in all, I like these re-releases better than the 1980's/1990's b-sides compilations.- Why you should get it: You're a big U2 fan, or are looking to complete your past with their early material. You will not be disappointed by the extras and will enjoy the albums all over again.- Why you shouldn't bother: You think Zooropa or Pop were where U2 went right. You won't like these, and you're wrong.

- Snilch

Three Nights, Three Shows

I used to get out and watch many more shows than I do now; age, responsibility, and the economy have curtailed that in the past few years.

Inevitably, every band I want to see comes to town in the same two week span. For example, this week I had to pass on Jay Reatard, The Beatings, and Grizzly Bear because of show conflicts, and work is probably going to rule out jumping down to New York to see The Black Watch in two weeks at CMJ (I am still holding out hope, though!).

The shows I did go to see were "must-see" shows. Lots of compatriots over the three days, although Scott was the only one brave enough to hit the trifecta with me (and he threw in a fourth show Thursday -- show-off). Let's start with Wednesday.

Bob Mould, The Paradise - Wednesday, October 7
I've seen Bob ten or fifteen times since 1995; this show was the noisiest of the bunch, and that's saying something. I've complained that Bob doesn't vary his setlist enough; he responded with a show that included six songs (by my count) he hasn't performed with a band in fifteen to twenty-five years. I counted only three missteps the whole night -- one new song and both songs of the encore -- but otherwise A to A+ stuff. Overall, this was more a noise and effort tour de force than a musical one, but in the best possible way. Bob was in a great mood, gave lots of energy to the crowd, and played his butt off. Hearing "Something I Learned Today," "In a Free Land," and "Poison Years" with this band was epic. Jon Wurster of Superchunk on drums: phenomenal technically and smiling the whole set. His positive energy was palpable, much like watching Matt and Kim. Jason Narducy of Verbow on bass, backup vocals, and the e-bow for "Sinners and Their Repentances": a pro all the way, a great compliment to Bob's vocals, and a luxury to have someone of that talent in this band. The (typically lethargic) Boston crowd: as enthused as I've ever seen at one of his shows; Bob really should have come out for a second encore, the crowd was really ready to stay all night. Lots of great energy being passed back and forth. I left with my ears ringing (despite wearing plugs) and I couldn't care less.
Merch rating: I bought a CD on the way out, and would have bought more if I didn't everything already. He's still the best.

The Manic Street Preachers, The Paradise - Thursday, October 8
The Manics' first show in Boston since 1992 (they didn't make it this way in 1995, canceled last minute in 1999, and haven't come to the U.S. since) also did not disappoint. Despite James Dean Bradfield complaining of a cold and this being the last night of the tour (which, for any band, is typically a toss-up between total brilliance and utter disaster), the Manics started strong and stayed strong. I was surprised how few songs I knew; the new songs sounded great. They started with "Motorcycle Emptiness," which seemed to go on for ten minutes; they could have continued for another thirty. They were ferocious, they gave everything they had, and the crowd responded in kind. A great show.
Merch rating: The merch table was pretty empty, as these are the final pickings of the tour, but I would have bought a t-shirt or album if one had been there. I will definitely be picking up the new album and reviewing it.

Built to Spill, Middle East Downstairs - Friday, October 9
This was the first of three shows in Boston, supporting their new album (which I've seen very favorably reviewed but have not picked up yet). BTS has the potential for all-time great shows (I've seen them put on a few) and for pretty average shows (I've seen them put on a few), as well as anywhere in between; but I've never seen them put on a bad show. Until last night, that is. We actually walked out 2/3 of the way through their set, and we weren't the only ones. Something was wrong with Doug Martsch's voice -- he was slurring his words and had some weird head motions throughout the show. I was happy to see him play some more of the leads (as he should) as opposed to old shows; he was giving it his all, but the rest of the band was very flat. When Scott and I agreed we'd prefer sleep to watching any more, that was it for us.
Merch rating: Technically, the merch rating for this show should be that "I'll turn my back on them," but I've got too much of a history with this band to not give them a second chance. I will pick up the new album, but not because of this odd mis-step by a great band.

- Snilch