I think most people were afraid that the addition would somehow ruin the strictly bass/drums pummeling aspect of their music. But, what most people may not realize, is that there is an overlying melody to Big Business’ music that keeps that pummel together even more than its tight rhythms. Jared’s vocals. To me, his vocals had completely replaced a guitar’s duties in a band. He sings in riffs, making his voice another instrument. This has always impressed me, and what I was afraid of, was that adding the guitar to the mix would change that. This is not the case.

That cannot be said of Sonic Youth though. They have had some lackluster albums here or there, but for the most part those albums have been excellent in their own ways. "Rather Ripped," I thought was an excellently subtle album, and  "Washing Machine" still remains one of my favorites alongside the first 6. "Goo" and "Dirty," are great pop albums and I love every song on them, but they are also where I started to depart from my vehement love of these NY noiseniks. So, I guess it is kinda odd that those albums are what’s getting me really into "The Eternal."

Sonic Youth sound like they had a bunch of leftover riffs from the early 90’s, and definitely have recycled several for "The Eternal." And I love them for it! This is a really solid album. Not one to be on the fence about. Just enough pop hooks, and I don’t even really mind the lack of noisy freak-outs.

Also, I have seen Sonic Youth live steadily over the years since "Daydream Nation", and they definitely still bring it. I can’t wait to see these songs live!

My friend Sean (former Ahleuchatistas drummer, and one of the masterminds behind the Krautrock awesomeness, Arena) turned me onto the idea of Bowie produced albums not long after I became obsessed with the Stooges. I never even knew that "Lust For Life" was Iggy Pop. Always had assumed it was a Bowie single. But of course, "Lust For Life" and "The Idiot" are as much Bowie albums as they are Iggy’s. And they are all the better for that. I must also not forget, that "Raw Power" was also a Bowie production. The man is a genius.

So, Sean also recommended "Transformer" to me as well, and of course I paid attention. With Mick Ronson, Bowie’s guitarist and arranger on most of his classics, "Space oddity," "Hunky Dorey," "Ziggy…," and others, Bowie achieves another homerun for someone else. Reed remains Reed much more so than Pop or even Mott The Hoople did when Bowie produced. Actually, the trio have managed to mesh in a not so homogenous way, but still in a way that works very well. "Transformer" does not have any glammy rock parts, but definitely has the "glam ballad" aesthetic, and with its very british sound is oddly paired with Reed’s New York in a remarkable cohesion.

The lyrics are classic Reed, and he definitely maintains his personality, as well as retains plenty of his Velvets flourishes. This album has at least six stone cold classics, which by today’s standards is quite an achievement. I would have bought this record for the songs, "Vicious" and "Perfect Day" alone. But upon further listening (I have listened to this twice today!), I now have to include "Satellite of Love."

I have placed a link to download "Satellite…" below for a taste, but even if that is not your bag, still give the rest a chance.

Lou Reed "Satellite of Love"

The title to Julian Cope’s website, Head Heritage, is pure genius. Not only does it refer to his vast knowledge of musics that, generally, most "heads" would be into; but, it also refers to his vast knowledge of megalithic "heads", and other such totems that have been placed all over Europe and beyond. You know, Easter Island and Stone Henge kinda stuff. His music site Head Heritage is what I am most familiar with, but I am about to delve into his other, The Modern Antiquarian. 

I don’t know much about the man other than he was in The Teardrop Explodes, which I have yet to check out, because I have been too busy reading about all the other bands he writes about. He is a busy author and musician, and I am still catching up. I do however enjoy some of his solo albums, particularly, You Got a Problem With Me. His writing is unique, definitely has a voice of his own. Not unlike, Thurston Moore and Byron Coley’s style of you don’t really know what they are talking about, but are enjoying it until you do. He generally covers all that is rock; and, psychedelic, heavy, dark, experimental, and droney musics. 

If you enjoy the subject matter, be prepared for a lot of back logging of all his album of the months. Also, and especially also, don’t forget to check out the rock samplers he compiles that are representative of some of his books, like "Japrocksampler." I am especially enjoying the Glamrocksampler right now. You can also stream alot of this stuff on his site, and many kind souls have compiled his samplers and placed them on peer2peer networks to have them as take aways.

And don’t forget The Modern Antiquarian. I’m about to start digging right now.

"Primary…" however, ups the ante on the goth by drenching their sound with a whole lot of Bauhaus and equal parts late ’80s shoegaze. You can definitely still hear the Cramps bubbling underneath and that early Nick Cave timbre hasn’t been completely covered in Peter Murphy.

Another plus is that "Primary…" is oddly bright and kind uv…up. And while I like their last effort, this one is definitely a little more realized and their own, regardless of wearing their influences on their sleeves.

Mostly instrumental, and a little melancholy, this may not be a summer barn burner but it is a pleasant enough place to start in the world of Kurt Vile, and intrigues me to find out what will be next.