MatGB’s Neighborhood

Marshall Crenshaw, Field Day Rating=$$$$$
[Support the Artist; Artist's MySpace Page]
How I Got This CD: Bought used in Rhode Island.

Note: To stream the sample tracks, click on the thumbnail image in this post.

Continued from the previous Marshall Crenshaw posts: Part 1.

This is a solid follow-up to Crenshaw's debut album. The tunes are equally catchy, and equally well-crafted. The sound isn't as stripped-down as it was in the debut album and there is more of a world-weary sense to the lyrics. In many ways, Field Day is the prefect bookend for Crenshaw's debut, much like the second chapter in a really good book.

Like the debut album, this one was very, very hard to narrow down to some key MP3s. The good news (or maybe it's bad news), a lot of the songs are not well-known on this album. As a result, it's both a delight and surprise, especially since at the time I bought it, it had become devilishly hard to find. It's since gotten a lot easier to get your hands on it, in large part because it's easily available online.

Of course, I had to include my all-time favorite tune, 'Whenever You're On My Mind,' what is easily the most perfect pop song ever, made its actual debut in the public eye on this album. Nothing makes me smile more than the opening bars of this song. Nothing. This is the must-have, so much so that even if it was the only song on the CD that was any good, the CD would still be worth buying. Question: Can you write a love song where the word 'love' or any other mushy sentiment is never, ever used? Answer: The song says, "Oh, yes!"

'One Day With You' is more orchestrated, especially in comparison to 'Whenever You're On My Mind,' so much so that Crenshaw's vocals seem to be almost overwhelmed. Despite that, the lyrics are too good to get completely lost. What really makes the tune is the retro-rock guitar riff. Ahhhh, they just don't make them like this any more.

For some reason, 'Monday Morning Rock' cracks me up. I don't know if it's the clever lyrics, or the picture of a guy who's so sick and tired of being a good-time Charlie on the weekends that he actually looks forward to the weekdays so he can relax into a little everydayness. Even with the pop-y beat, there's something relaxing about this tune.

'All I Know Right Now' for some reason reminds me of Crowded House, from lyrics to musical feel to even the sound of Crenshaw's voice. Since this CD came out before Crowded House even existed (although it would be contemporary with the Finn Brothers' first band, Split Enz), it's funny state of affairs — at least I think so.

Marshall Crenshaw, Marshall Crenshaw (Rhino re-release) Rating=$$$$$
[Support the Artist; Artist's MySpace Page]
How I Got This CD: Bought the cassette tape used in Boston. Lost it. Bought the original 12-track CD used in Rhode Island. Found the Rhino re-release during my Bordersverse daze and bought it new during employee appreciation daze. What? I warned you I was a drooling fangirl.

Note: To stream the sample tracks, click on the thumbnail image in this post.

Detroit-born rocker Marshall Crenshaw has been all over your radio dial (you may not know that), sneaking onto your television shows (you'd be surprised where he's turned up), hanging around in your movies (you may not know about that either), on your bookshelves (he's written and contributed to several books), and did his time on stage (road show version of Beatlemania). His debut self-titled album is considered not just a classic, but a must-have for fans of power pop and new wave. His live performances are fantastic, even without a band backing him. He has a reputation for both intelligence and just being a nice guy. As far as I'm concerned, one of the enduring mysteries in the history of American pop is why the multi-talented Crenshaw isn't monster huuuuuuuge.

I can only conclude that he was either born too late — as in past the point where the perfect 3:05 pop song was considered the height of awesome — or born too soon — since I suspect MP3 love would've helped immensely in spreading the Pop Gospel of Crenshaw. I can't make up my mind on which it is.

In either case, I've been following Crenshaw's career for *mumble-mumble-mumble* years, starting with his time in the Warner Brother salt mines, through his single official RCA release on the now-defunct Paradox Records label, his present run with indie music company Razor and Tie, and the Rhino Records re-releases and collections. I've sniffed out rare releases, live limited-release CDs, and DVDs of his live performances.

I even checked out his #447 tour when it hit the Boston area (nothing is better than Crenshaw and just his guitar) and sat next to him in the small bar he played while he chowed down on dinner. The funny thing about this anecdote is that Crenshaw was eating with all of us patrons who had paid a cover charge to see him perform later that night. Not one of us went up and bothered him for an autograph. Let's hear it for reserved Bostonians who know the meaning of personal space, hunh? And believe me, we all knew who he was.

Anyway, the funny thing about the crowd that night was that a whole bunch of them had actually worked at Boston-area clubs during the 80s, back when Crenshaw almost managed to break through to the big time. The reason why they were paying to see him almost 20 years later? Because he was nicest performer they had ever worked with or for while he was barnstorming on the strength of his debut album. He was so nice, he made them die-hard fans for life.

There's something wicked awesome about that.

And before you ask, yes, that really is Marshall Crenshaw's MySpace page. I got to it through his Web site.

God. Now I look like a complete stalker fangirl. It's actually kind of embarrassing.

If you love pop, if you love new wave, or even if you love good music, the original 12-track CD is a must-have, whether you're a Crenshaw fan or not. Every song is a perfect gem of pop awesome in a toe-tapping, butt-dancing orgy of musical genius. Crenshaw's craft and discipline in both writing music and lyrics shine through and gives the listener a true musical treat for the ears. No matter how bad my mood, no matter how much my life sucks, this cassette tape and later CD never failed to lift my spirits and make me ready to take on the world. There is nothing bad about or on this CD. As a debut CD, there are none better.

The Rhino re-release (God Bless Rhino!) goes one step further by adding 9 tracks' worth of B-sides, demos, and rare tunes (the CD actually lists 8, but there's a hidden track after Crenshaw's live 1981 cover of 'I've Been Good to You'). Even if you've got the original release, the Rhino re-release is worth having and loving to death.

Choosing the sample tracks from this fabulous CD package was a hell of a lot harder to do than you'd think. Although you'd think the big hit off this CD, 'Someday, Someway,' would be the crown jewel in this CD, you'd actually be wrong. Every song is as infectious, as catchy, and as good as Crenshaw's signature song.

Because 'Someday, Someway' was so huge when it hit the airwaves back in '82, and because it is one of the best known songs on the CD, I'm including it as part of the downloads. However, this slick, ready-for-radio version isn't my favorite version of the song. Still, I highly recommend giving it a listen.

'Cynical Girl,' which is also off this CD, happens to be my back-up theme song for life. (My first theme song for life is 'Brown-Eyed Girl' by Van Morrison.) How can I not love a love song to the world's most imperfect woman? No, seriously. It's pure love. Tell me I'm wrong.

Also in a bit of a twist, 'Someday, Someway,' while one of my faves of his, isn't actually my all-time favorite song from Crenshaw's pen (it's not even my second or third favorite). My favorite Crenshaw tune, believe it or not, is reserved for 'Whenever You're On My Mind.' And because Rhino obviously can read my mind, and because they obviously love me, they included a 1979 demo of this song in the additional tracks. It had to be included in the sample tracks.

The final sample track is a live 1982 cover of 'Look at What I Almost Missed' by the Parliaments (George Clinton's first band). It's a fun tune, and gives you a little taste of Crenshaw live.

Borders, Music = Life Rating=$$
[Support the Artists]
How I Got This CD: Freebie demo from my Bordersverse Daze


Note: To stream the sample tracks, click on the thumbnail image in this post.


Well, here's another example of the Penny CD and what corporations consider a "good" music mix, this time courtesy of Borders and BMG, thus proving why individual consumers are much, much better at this sort of thing.

Of course, since individual consumers aren't actually using the mixes as a marketing tool beyond, "Check this cool artist I've included...think you could throw some love their way," it's probably no big shock.

Like with Blue2002, in the previous post, I'm going to offer this whole CD for download. The reason is simple: It's out of print, it was meant to be passed around (or thrown away), and it is supposed to be a big ol' marketing thing.

Anyway, a lot of this is soft pop, and judging by the choice artists on this CD, it seems to be geared to the older Gen Xers and the younger Baby Boomers. If that's the case, then why does this CD bore the tits off me? What's really mystifying is that I like most of these tracks as individual tunes, but listening them to back-to-back really rubs my ears the wrong way. Looking at the track listing, it should be a good mix, and yet...it's just not.

I know a good mix when I hear it and this...is not a good mix. I wish I could be more specific about where it misses the boat, but I can't. No matter how hard I try.

In either case, it's terrific background music if you're plugging away at work, but if you're looking to get the heart pumping and the body moving, this one is a snoozer.

I do have more pictures, of course, but these are the best ones. Well, SOME of the best ones are being saved for bribery purposes... ;)

Borders, Blue2002 Rating=$$
[Support the Artists]
How I Got This CD: Freebie demo from my Bordersverse Daze


Note: To stream the sample tracks, click on the thumbnail image in this post.


Ahhhhh, now this is a throwback to my Bordersverse daze: the Penny CDs.

The Borders Books and Music private label Penny CDs (I suspect that Barnes and Nobles has something similar) are a clever marketing ploy to get people to spend more money in the store's music department. To give Borders a credit here, in general, the Music/DVD/Multimedia department tends to have a very, very, very deep selection of genres and artists (it's usually better than the neighboring Barnes and Nobles when comparing local stores head-to-head...sorry B&B fans), and these Penny CDs are just one way to capitalize on the inventory.

The Penny CDs are of the cheap "blink and you'll miss the cellophane-wrapped cardboard envelope" variety. We'd probably get them a couple of times a year and would have to put them out on just about every available customer service surface, complete with the sticker that marked it as one penny. To be honest, the penny and the sticker were strictly for inventory tracking purposes. Usually, if you bought something, you didn't even pay the penny (it was taken off at the register). The only time I'd seen anyone charged for these compilations was if the Penny CD was the only thing they were getting.

The Penny CDs are designed to introduce customers to new artists or a new musical genre. Then (Borders hopes), you'll come flying back to the store ready and eager to spend money in the music department, where we would lovingly Hoover more money out of your wallet.

Which isn't a bad thing, by the way. I just want to be clear that this isn't a criticism.

The problem with the Penny CDs, however, is that they're uneven almost by design. The general idea was to get people to listen to the CDs at least once before either tossing it out or giving the CD away to a friend (as I have already given this CD away to a friend). So, the approach to developing these Penny CDs seems to be: 1) develop a pretty generic theme; and 2) take the scatter-shot approach when choosing the tracks that just might, maybe, perhaps, fit the theme.

Then you have to consider that you need to get a wide variety of different artists on that CD. You need at least one or two headlines to get someone to pick up the Penny CD, while shoving a bunch of lesser-known artists on most of the tracks. If the Penny CD is around a "theme," you're going to get a mix of genres. If the Penny CD is around a music genre, you're going to get artists from across the spectrum of that genre.

The mixes on the Penny CDs are not generally the most inspiring on the planet. In fact, I'd even say that 50% to 75% of the tracks on most of them is a complete waste. But then again, my "waste" is probably someone else's goldmine.

So, without further ado, my first salute to my Bordersverse days via one of my Penny CDs.

I should say that I'm taking a slightly different tact. I'm going to simply offer this CDs in its entirety via the magic of Zip files. I figure why not. The Penny CDs were designed to be passed around or thrown away (after you make note of the artists you like).

Without further ado, here's the first of two, Blue2002, a Borders Penny CD created in conjunction with Blue Note Records.

This particular CD was actually designed to push the latest releases from artists recording under the Blue Note Records label. I find some of the tunes on this collection downright annoying, and others kind of relaxing. Either way, this Penny CD (or at least some of the tracks) are good ones to have if you need to hide under headphones at work and concentrate on the task in front of you. The best of the bunch is Cassandra Wilson, Bobby McFerrin, and Medeski, Martin & Wood (Note: Medeski, Martin & Wood are an awesome live band, so if you get a chance to see this jazz trio, don't turn it down.)