Like Records? Check Out “The Spin”

vinyl-records-on-a-shelf

If you fancy yourself any sort of vinylfile you might want to pay a visit to my Tumblr blog, The Spin. The blog is dedicated to my record collection and each entry provides some background on a specific record along with some tidbits about how it came to find a place on my shelf. So, why not do yourself a favor and head on over. You won’t be disappointed.

Here’s a sample post. It’s about The Avett Brothers:

I am truly loath to shroud any blog entry about my beloved Avett Brothers in even a modicum of negativity (I love these guys the way some people love Shakespeare…or kale) so rather than drone on about my slight—and sometimes not to slight—disappointments regarding this record, I’ll instead open with a grand ‘ol “YIPEE,” because this is my first (and certainly not last) vinyl volume from these North Carolina brothers, and having them in the collection is unequivocally awesome.

So excited was I about a new full-length studio effort from The Avetts that I pre-ordered this one just to make sure it arrived on my doorstep the day it dropped on September 11, 2012. And, on the whole, it’s not a bad record. About 60 percent of it provides some well-rendered and enduring classics, like “The Once And Future Carpenter,” “Pretty Girl From Michigan,” “I Never Knew You,” and “A Father’s First Spring.” That being said, The Carpenter (and most surely its 2013 followup Magpie And The Dandelion) is just a little too short on the stuff that made me first fall in love with this band—i.e. their signature rough, rollicking, unpolished fusion of punk and bluegrass. In fact, there’s very little about this record that contains traces of either the former or the latter. And don’t try and tell me that dreck like “Paul Newman vs. The Demons” is supposed to somehow make up for the fact that not a single track here comes even close to the uncooked intensity of “Talk On Indolence.”

Look, it’s not that I don’t like this record…I just find myself continually reaching for other studio efforts in lieu of this one, which is never a good sign.

But even at their most mediocre the Avetts are better than the majority of their contemporaries, so I once again return to rejoicing. What’s more, the record’s packaging is gorgeous (see the gatefold above and sleeves below) and whenever I give it a spin, The Carpenter will always remind me that my love for these guys is undying enough to forgive them for even their most egregious sins.

Now I feel guilty. I shouldn’t have slandered at all. As I listen to it right now, I kind of feel like a bully. These guys have done so much right by me, inspired so much soul-chattering introspection, brought me to such phenomenal heights of concert sublimity that I really can’t pick at the specks in their eyes while nursing a juggernaut log in my own. So ya know what, forget I put it down at all. Long live The Avett Brothers!

 

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