Chris Bell - I Am The Cosmos (Deluxe Edition)

There are few things that elicit as much excitement in the world of music snobbery than the emergence of another cult hero. This is exactly what happened in the late 80's when bands like R.E.M., The Replacements and Teenage Fanclub started singing the praises of an ironically named band called Big Star, who emerged onto the scene in the early 70's to great critical praise, but unfortunate mainstream obscurity. Since the aforementioned name dropping by those highly notable college rock staples, the band's stock has continued to rise, being covered by the likes of Wilco and Elliott Smith, as well as having their music featured in TV (That 70's Show) and film (Adventureland). Interestingly, the Alex Chilton / Chris Bell tag team has been referred to by some as a sort Lennon / McCartney duo, with Chilton being the advanced songwriter and Bell being relegated to the roll of less substantial rocking sidekick. This is a sentiment that I also foolishly accepted until I first listened to I Am The Cosmos, a compilation that was released in 1992 of some of the songs that Chris Bell had been working on prior to his untimely death from a car accident in 1978. That outstanding collection of songs awakened in me the realization that Bell was every bit as substantial a songwriter as Chilton and he undoubtedly had more input into the band's output than is often credited to him (especially on Radio City, their 2nd album that was released after he had left the band).

While Rhino has continued to fuel the continual interest in Big Star with last year's release of a 98-song career retroactive boxset entitled Keep An Eye To The Sky, they also play their part in keeping Bell on the radar by releasing a new double disc deluxe edition of I Am The Cosmos which comes complete with a slightly re-sequenced version of the album on disc one, and a collection of (mostly) unreleased material on disc two. The songs themselves hold up remarkably well, especially some of the mellower heartbreaking numbers. Songs like You and Your Sister and Look Up, for example, exhibit a vulnerability that is immaculately produced, yet presented in a way that sounds genuine and unforced. The acoustic version of the former number on disc two sounds surprisingly clean, which adds an almost haunting quality to the song for some reason, although I find it difficult to articulate exactly why that is. Perhaps it's just the imagery of him performing the song in a small room surrounded my friends and family while completely unaware of the impact that his music would eventually have on so many people. I'm not usually one for spending a lot of time with bonus tracks and such, but I actually find myself enjoying the rarities on disc two just as much as the actual album. Some more great discoveries have been unearthed on this disc, such as Stay With Me, a country duet with his friend Keith Sykes that has an impeccable melody and some pretty impressive guitar work. In My Darkest Hour is sung by Nancy Bryan, and provides an articulate insight into the depression that Bell has been known to deal with during the last few years of his life. The reflective instrumental piece that ends the album (Clacton Rag) is beautiful as it manages to tie the album together in a way that makes it feel like one full cohesive piece which is remarkable considering that, as mentioned earlier, this really is simply a culling together of scattered parts and pieces.

While it is a tragedy that Chris Bell and his Big Star comrades were unable to get the recognition that they deserved until much too late, the impact of albums such as this one are undoubtedly going to continue to grow even more substantial as the music on this double disc set continues to speak to future generations. There is no doubt that this is one emotionally charged listening experience, and perhaps it's not the type of thing that you're going to put on when you're in need of some cheering up, but it's very rewarding to see that there was still much to discover in the legacy of this musical legend.

Preview: All of the tracks on I Am The Cosmos at Rhino Records.
Myspace: Chris Bell
Myspace: Big Star

Other stuff:

Sloan has just released a new compilation of B-sides and rarities entitled B-Sides Win which can now be purchased at their website. [Myspace: Sloan]

Danny Michel has just released his first solo live album called Live in Winnipeg which can also be purchased at his website. [Myspace: Danny Michel]

Wayne Coyne of The Flaming Lips is interviewed at Crawdaddy.  [Myspace: The Flaming Lips]

The White Stripes are releasing a limited edtion CD/DVD boxset chronicling their 2007 tour of the Canadian countryside on March 16th. It will be entitled The White Stripes Under Great White Northern Lights and a video clip from the set of Dead Leaves and the Dirty Ground is being featured on Spinner.ca [Myspace: The White Stripes]

Kat Burns of Forest City Lovers debuted a new song called Oh Come Away/Sea To Land on the Grocery List Countdown show on Verge FM. The show will air February 15th, but there's a video of the song posted on Forest City Lovers blog. [Myspace: Forest City Lovers]

Bobby B's Top 50 Albums Of The Decade (#25-21)

For ramblings on how I came to compile this list go here. And for commentary on previous selections: [#50-46] [#45-41] [#40-36] [#35-31] [#30-26]

25. Kid A - Radiohead (2000)

While I completely understand my own enthusiasm for this album, I can't say that I really get why everyone else loves it so much. I've noticed that it's already topped some other 'best of the decade' lists and it was also Radiohead's first mainstream number one. But if this album is so commercially viable, then how come King Crimson isn't the most popular band of all time? Or how come other old school eccentricitists like Can or Van Der Graaf Generator isn't emanating out of every 14 year old girl's headphones? I'll never understand how Radiohead has done it, but I'm very glad that they have, because expanding the boundaries of what can be referred to as music is something that has been explored as far back as the early 1900's with french composer Edgar Varèse, and brought into the mainstream by the psychedelic movement of the 60's. Say what you will about Radiohead's over indulgent ways, but any band that brings a redefining of what is acceptable to the mainstream masses is worthy of our respect. And Kid A sounds awesome in headphones. [Myspace: Radiohead]

24. Destroyer's Rubies - Destroyer (2006)

So I've had just over 3 years to fully absorb Dan Bejar's way of thinking as is transmitted through his lyrical wordplay, his thoughts and transgressions along with carefully studying just how his mind works and what it is that makes him tick and I gotta say that I still don't know what the hell he's talking about. But he just sounds so dang cool when he's musing and Destroyer's Rubies continues to be an entertaining listen from start to finish. The fact that it confuses me to the point where there are many times while listening that I find myself actually laughing out loud at how bizarre his ruminations can get (i.e.-sapphires vie for your attention, cheap dancers they mean well in their way but priest says - "please, i can't stand my knees and i can't bear her raven tresses caught up in the breeze like that!" etc etc etc) is only part of its charm and I still find it most enjoyable to continue the journey to finding out what it all means. Besides, if Bejar was easier to understand, what would be the point of returning? [Myspace: Destroyer]

23. Yoshimi Battles The Pink Robots - The Flaming Lips (2002)

It is a risky move to create an album that is steeped in the glory days of prog, it is an even riskier move to create an album that is steeped in the second wave and significantly lesser cool days of nouveau prog. The fact is that Wayne Coyne's musical opus about dueling futuristic robots has more in common with FM's Black Noise and ELO's Time than it does with more "respectable" acts like Pink Floyd or Can. Of course, much like my number 25 pick above, this all explains why the album is on MY personal list, but it doesn't really make sense of the fact that the public at large seemed to enjoy this album also. It's a weird one, that's for sure, with its electronic flourishes and bizarre content, and admittedly, I have to be in the mood for it. But when I am, it's an awesome sonic spectacle that reaps rewards and surprises with every listen. It's amazing, but I've listened to the album hundreds of times and there'll still be certain noises, blips, bleeps and moments of instrumentation that catches me off guard, particularly within the two major instrumental pieces, Yoshimi Battles The Pink Robots Pt 2 and Approaching Pavonis Mons by Balloon (Utopia Planitia). I also appreciate the album's lasting power, and how some of the songs that I thought were throwaways at first, have become my favorites, such as In The Morning Of The Magicians and All We Have Is Now. Stunning. [Myspace: The Flaming Lips]

22. Funeral - Arcade Fire (2004)

Ok, so this album is great and wonderful and fantastic and bla bla bla, yada yada yada. It's a great album, I get it. This one is destined to top more decade end charts than any other, and it's deserved, nobody is denying that. I do think that the accolades are a bit overblown, especially the ones where people are calling this the most original thing they've ever heard. The fact is, if you've ever listened to anything prior to this decade, than you know that not only has this sound been done before by the likes of Byrne, Bowie and others, but it's also been done better. Heck, if you really know your Canadiana, then you must've noticed how much Neighbourhood 3 (Power Out) sounds eerily similar to Rush's Red Sector A, at least at certain moments. Does that stop this from being a great album? Of course not. If you're going to emulate past artists, those are good ones to go to, even if the Rush fans and Arcade Fire fans still refuse to mingle at my parties. And as much as I hate the hype, the album is still responsible for some of my favorite musical moments of the year. The last minute breakdown of Une Anee Sans Lumiere, the woah-oh-oh's of Wake Up, the incredible lift-off of Rebellion (Lies) and the epic grandiosity of In The Backseat. So to sum up: album=great, overhype=bad. Alright? We still cool? [Myspace: Arcade Fire]

21. Boxer - The National (2007)

If ever there was an album that was a textbook example of a grower for me, this was it. At first I found it very hard to focus on. The borderline comatose slur of Matthew Berninger was consistently lulling me to the sleep, and if I wasn't such a sound sleeper then I'm sure that the blast of horns at the end of Fake Empire should have waken me with a jolt, but at first, it didn't. Then I went from easy distraction to mild intrigue, thinking that a couple of the songs were pretty dang epic before finally embracing the album as a whole the way most of my friends already had. Like most of my all time favorites, taking the time to let these recordings sink in is what eventually triggers a response within me, a response that, quite honestly leads to addiction and that's the case with Boxer, I've become addicted to it. This magnificent album is one of contrasts, as it is both comforting and alienating, political and deeply personal, melacholic and triumphant. It's a great album to put on when I'm feeling good, and it's an even better album to put on when I'm feeling lousy. That settles it, I know what I'm going to be listening to today. [Myspace: The National]

Tomorrow: Bobby B's 50 Albums Of The Decade (#20-16)

Perhaps You Missed It: Steve Burns - Songs For Dustmites

I have to admit, I listened to Steve Burns’ “Songs For Dustmites” out of curiosity more than anything else. I read a pretty decent review in Under The Radar and immediately recognized who he was. Those of us with children (which I don’t, so what’s my excuse?) will recognize him as the original goofy host of Nickelodeon’s Blue’s Clues. However, “Songs For Dustmites” is definitely not a children’s album but a lost indie classic. He has none other than The Flaming Lips backing him up, and although you can definitely feel their influence, this is definitely a brainchild all his own. The opening track, “Mighty Little Man” is outstanding, with his hearty rock vocal being accompanied by a monstrous bass sound and even a little moog. Another song “>1”, has an almost haunting vocal, slightly reminiscent of one of my favourite vocalists, E from Eels. And while most people are more familiar with the very very very simple songs he would sing to imaginary beings on the aforementioned kids’ show, “A Sniveling Mess” has an extremely complex arrangement, perhaps like something on The Beatles Revolver. And I kinda like the lyric that says, “Would you love me if I’m a mess?” Overall, this CD is a lot better than anyone could have possibly imagined and apparently, he’s got a follow up CD currently in the works. If it’s at all as good as this release, then the cartoon pooch and green and white shirt will fade into a distant memory, but Steve Burns will continue to grow as a legitimate force in the indie rock scene.

Download:
Mighty Little Man mp3
A Sniveling Mess mp3

He has some songs from the upcoming CD on his myspace page. They sound incredible.

Purchase “Songs For Dustmites” here.