The Best Reissues of 2014
2012 was a big year for reissues, for me anyway—The Disintegration Loops vinyl boxed
set, and the My Bloody Valentine reissues just to name a few. But last year,
save for the reissue of the Magnolia
Electric Company album, there was nothing else worth noting—in fact, I
think that was, like, one of two reissues for the site that I reviewed.
This year, I think I wrote up around ten reissues for
Anhedonic Headphones. Some of them were simply because I needed to generate
content for the site; some were out of genuine interest; and some were because
I was actually looking forward to said reissue.
I think it goes without saying that the reissue of Didn’t it Rain? by Songs: Ohia would be
my favorite reissue of 2014. It’s funny—I published my piece on it on
Thanksgiving evening, and part of that review was complaining about how poorly
handled the actual release had been, and that my copies of the 2xCD and 2xLP
had gotten lost in the mail. It turns out that they showed up the very next
day.
The poster that accompanied this deluxe set of Didn’t it Rain? was not as fortunate,
however.
It’s easy to compare the extras included on Didn’t it Rain? with the exhaustive
supplemental material included with the Magnolia
Electric set—that included the original LP, a separate 10” single included
two additional songs, and then the additional LP of demo recordings.
In comparing them, it feels at first like Secretly Canadian
and whoever is overseeing Jason Molina’s estate and these remasters really
skimped on the bonuses this time around. The sparse Didn’t it Rain? is paired with eight additional demo recordings,
two of which are songs that didn’t make the cut for the for the album, but
turned up re-recorded later in Molina’s career.
Much like the music itself, the packaging to both the CD and
LP set is sparse—no credits, not even a tracklist printed anywhere. Just
artwork and handwritten lyric sheets make up the album sleeves and interior of
the CD digipack.
The real draw, of course, is hearing this record and the
subsequent demo recordings, the way Molina’s music was intended to be heard—on
a turntable. The warmth heard on the original release of Didn’t it Rain? is only magnified and enriched coming out of the
vinyl LP. Every cymbal sounds crisp; every guitar strum is poignant; and
Molina’s fragile vocals are incredibly clear—every time he says the word
“endless” when describing the depression you find yourself in, during the
album’s final moments of “Blue Chicago Moon,” this reissue manages to make them
even more real than they were before.
Was it worth the hassle and delay? Of course it was. With
something meaningful like Didn’t it Rain?,
any amount of trouble to get this reissue is worth it. (available now/Secretly Canadian)
One of the charming aspects of a record like Fathering by Mark Mulcahy is that since
it is from 1997, it is overflowing with a very specific sound. Jangly, heavy on
the “Chorus” effect pedal; it doesn’t sound so much as a “dated” record, but it
definitely takes you back to a very precise time in pop music.
As a Record Store Day 2014 exclusive, Mulcahy reissued Fathering for the first time on vinyl.
Later, it was made available through his own Mezzotint webstore. Released five
years after the breakup of his beloved cult band Miracle Legion, and coming a
few years after his turn with Polaris, writing the music for “The Adventures of
Pete and Pete,” Fathering is
essential Mulcahy. He’s figuring out how to do this on his own, without a
proper rhythm section or even an official band. There wasn’t really anything
riding on this record, per se—it was just a songwriter on his own for the first
time, finding his own voice outside of a group situation. It sounds
effortless—a collection of ten songs, some of which are very sparsely arranged;
some of them are heartbreaking, while others are surprisingly dark.
His latter day solo output, Smilesunset and In Pursuit of
Your Happiness, arriving in 2001 and 2005, respectively, saw him developing
his sound—making it larger, and more bombastic at times. There’s a genuine
innocence and a sense of whimsy to Fathering,
making it a gorgeous, essential listening experience. (available now/Mezzotint)
Despite its slightly underwhelming packaging—mostly just the
degradation in image quality on the front and back cover—the “coke white” vinyl
reissue of Clipse’s landmark Hell Hath No Fury should find its way onto the shelf of any record collector. Whether
you like hip-hop or not, it doesn’t matter. It’s a record that is just that good.
It is an acquired taste, however. Upon its original release
in 2006, based on the internet hype alone and the 9.1 rating from Pitchfork, I
tried listening to it. But in 2006, I was 22, and not nearly as steeped in the
world of rap music as I am now. I just wasn’t ready for all the talk of digital
scales, hilarious cocaine references, and slick Neptunes beats.
Despite the lifestyle it glamorizes, Hell Hath No Fury is both a defining moment for the duo of Malice
and Pusha T, and an incredibly fun record. Arriving four years after their
impressive debut, they upped the game—pushed forward by label woes and a drive
to succeed. It’s a record like this that makes Clipse legendary, escaping the
pitfalls of becoming a footnote in mid-2000’s hip-hop history. And coming from
the grooves of that white vinyl, it sounds great—clean and crisp, like a fresh
pair of Ice Cream sneakers or a Billionaire Boys Club t-shirt.
Reissues, as a whole, come of as a bit of a cash grab.
There’s a pretty good chance if you are buying a reissue, you may already have
a copy of the record in the first place, and are just enticed by the
possibility of having it on yet ANOTHER format, or getting whatever extras are
tacked on to make it more attractive. Did I already have these three albums in
some form or another? Of course. But will these vinyl LPs look delightful when
they are eventually filed alphabetically on my shelf? Yes, if I ever can file
them, because my records have long since outgrown their allotted shelving, much
to my wife’s dismay. (out of print/Get On Down)
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