Reissues are the curse of any hardcore fan or collector. By being in tune with your roster of faves, you faithfully grab everything a band throws out -- great or mediocre -- often amassing a half-dozen CDs or more, depending on the band's longevity. But labels don't know the meaning of too much.
It's happened more times than I can count. I've got everything the Replacements put out between Hootenany (1983) and All Shook Down (1990). I bought All for Nothing/Nothing for All just because it was such a well put together best-of double album. Then a few years ago, another best-of came out with two new songs penned by frontman Paul Westerberg.
Had to have it.
Now Rhino (the record label I love to hate, hate to love) is re-releasing all of the 'Mats records with deluxe edition treatment, including six or seven tracks of rare or unreleased demos or outtakes that I've yet to hear.
Never miss a local story.
I can't very well ignore that can I?
The same thing happened years ago with Rhino's amazing reissues of Elvis Costello's finest, which were loaded with extras.
Sure, it's easy to, say, just go to Hastings and sell off the old copies. You'll still have all the music. Right, but then I wouldn't have the originals. How would it look if I was showing off my collection and all of my favorite bands were represented by compilations and rarities?
Terrible, right? You'd think I was a poser.
I will eventually pick them all up. But I'm also going to have to weed out a couple of CDs that are dead to me and use 'em as a trade-in toward the Westerberg-penned soundtrack for the animated flick Open Season.
Now that's hard core.
L.A. indie band Earlimart put up a great, albeit short, set last week at the Red Room. After trying to cram in as much listening before my interview with frontman Aaron Espinoza, I was really surprised to hear them rock out.
Much of their recent work has had a drawn-out atmospheric quality, but when live, they cranked up the amps and ripped though a balanced set from their discography. Their equipment even blew a fuse shortly before they went on.
The trio used a base of electronic recordings to re-create some of their studio sound but liberally added their own mix of guitar, bass, keys and drums.
Thanks to everyone who showed up to say hi.