2017 marked the largest year-over-year increase in my CD collection, and the biggest recipient of that largesse is the Lifelong Thrift Shop.
I crunched the numbers, and the store provided 168 of the 458 items bought in 2017. At an average of $0.73 per CD and $1.46 per record, I contributed more than $130 to Lifelong coffers. I wouldn’t have made a charitable payroll deduction that large.
The Friends of the Seattle Public Library Book Sale is another source for discount music, and I parted with $75 of my cash to them.
Essentially, weekly visits to the thrift shop has crowded out my interest in new releases. That, and being old.
- Art of Noise, In Visible Silence: This album started my fascination with the Art of Noise and, more importantly, introduced me to the term musique concrète. It was the weirdest album I encountered in my tween years, and it primed me to discover Kronos Quartet.
- Wendy and Lisa, Eroica: A woefully underrated album.
- k.d. lang, Ingenue: The MTV Unplugged bonus material didn’t seem like much of an enhancement on paper till you actually listen to it
- The Smiths, The Queen Is Dead: The demos don’t stray too far from what eventually appeared on record, but it’s nice to hear how these tracks evolved.
- Prince and the Revolution, Purple Rain: I have to admit I was more enamored of the Eroica reissue, despite the bonus material in this special edition.
- Deee-Lite, World Clique: I’m usually not a fan of remixes, but the bonus disc on this special edition actually worked.
- Moondog, Moondog: I had been curious about Moondog for a long time, and the Record Store Day reissue of his self-titled Columbia debut was a good excuse to fill in a gap finally.
- Shawn Colvin, A Few Small Repairs: Yes, you can find this album at Lifelong for $1, but I still like it. And it’s on vinyl to boot!
- Emmylou Harris and the Nash Ramblers, At the Ryman: OK, I ended up with two copies of this album on vinyl because I hadn’t anticipated I could get the Ryman special edition when I visited Nashville in August 2017.
- Geinoh Yamashirogumi, Symphonic Suite AKIRA: The sequencing of the album had to change to accommodate the limitation of vinyl, but that doesn’t work against it.
- Nakamori Akina, Fushigi: I have a number of middling Nakamori Akina albums,
so out of curiosity, I did a search for what’s considered her best work. I wasn’t expecting an album that actually gets nods by the American indie music press. It puts to rest who I like better in the Akina vs. Seiko debate.
- The Streets, Original Pirate Material: I so dug “Geezers Need Excitement”, I used it as part of an assignment for an ear training/sight singing class I’m taking.
- New York Dolls, New York Dolls: I picked this album up from Lifelong Thrift Shop purely on reputation, and I didn’t expect how prescient it was.
- Loretta Lynn, Don’t Come Home a Drinkin’ (With Lovin’ on Your Mind): Don’t let the country weepies fool you — this album is all about how women have to be strong because men are just no good.
- Perfume, GAME: It took nearly a decade for me to discover the sublimity of “Polyrhythm.”
- The Roots, Game Theory: I want to call this album punk AF.
- Low, Things We Lost in the Fire: I’m not sure how much further I want to explore the Low catalog.
- Midnight Oil, Head Injuries: For the American Midnight Oil fan who wants to reach back into the Australian catalog, this album is where to start.
- Charles Mingus, The Black Saint and the Sinner Lady: Similarly, I’m not sure how much further I want to explore Mingus after hearing this work. I feel everything else would pale by comparison.
- Weezer, Pinkerton: This album is the one to own if you can’t stand Weezer fans.
I don’t think I’d mind Weezer if it weren’t for the fans.
Tags: charles mingus, deee-lite, emmylou harris, favorite edition, geinoh yamashirogumi, kd lang, loretta lynn, low, midnight oil, moondog, nakamori akina, new york dolls, perfume, prince, shawn colvin, the art of noise, the revolution, the roots, the smiths, the streets, weezer, wendy and lisa
I’m not the kind of person who has to post selfies or photograph everything I’m eating or doing.
That would be Janet Jackson pictured with this entry.
JACK Quartet, Meany Hall, Jan. 10
I ran into my music theory TA at this concert, and we both we a bit meh about the program. JACK is a great quartet, but I honestly can’t remember much beyond the Morton Feldman piece which opened the concert.
Seattle Symphony, [untitled 2], Benaroya Hall, Jan. 27
The [untitled] series introduces me to a lot of new music of which I never follow up after hearing it. I still love going to these concerts, though.
University of Washington Modern Music Ensemble, John Zorn: Cobra, Meany Hall, March 1
I’ve known about Cobra for years, but this performance was the first I’ve attended. Recordings can’t do this piece justice. It must be experienced live to understand it.
Seattle Symphony, Aaron Jay Kernis: Violin Concerto, Benaroya Hall, March 18
Violinist James Ihnes has a lot of creative capital in Seattle as director of the seasonal chamber music festival, so I think the audience was willing to give Kernis’ concerto a chance. The piece and the performance went over well.
Japan Nite Tour, Chop Suey, March 22
Damn, had it been five years since I’ve attended a Japan Nite concert?
Emerson String Quartet, Meany Hall, April 21
There’s no way I would miss an Emerson concert with Shostakovich or Bartok on the program.
Seattle Symphony, [untitled 3], Benaroya Hall, April 28
A program centered around Andy Warhol concluded with a “popera”, which actually was far more engaging that I expected.
University of Washington Harry Partch Ensemble, Oedipus: A Music Theater Drama, Meany Hall, May 6
UW has a number of Harry Partch’s custom instruments, which were put to use in a production of Oedipus. Without the visual element, they pretty much sound like gamelan.
Midnight Oil, Moore Theatre, May 31
Yeah, definitely my favorite show of the year. The set list covered the entire span of their career, and just about everything I wanted to hear live I did.
Low + MONO, Neptune Theatre, June 16
I’ve known about Low for a long time — mostly through the band’s cover of “Africa” by Toto — but I was never curious enough to seek them out. I was duly impressed, even if I don’t think I’ll own anything other than Things We Lost in the Fire. MONO, of course, brought it.
The Revolution, Showbox, July 15
The band crafted the set list incredibly well. It started off with some obscure but recognizable stuff, but the second half kicked off the favorites. And everyone left pleased.
Jason Isbell and 400 Unit, Paramount Theatre, Sept. 12
Jason Isbell delivered a flawless performance as usual. The audience, though, was weird. It was a Tuesday night, and the Seattle Freeze was in full force, with half the audience sitting and the other half standing.
Sam Amidon, Fremont Abbey, Sept. 22
If nothing else, you really must go to a Sam Amidon show just to hear him talk between songs.
Janet Jackson, Key Arena, Sept. 27
I held onto my ticket after two cancellations, and I was glad I did. No opening act. Just Janet dishing out hit after hit in an epic DJ mix, only live.
Seattle Symphony, [untitled 1], Benaroya Hall, Oct. 13
I think this concert was the first where only one piece on the program was entirely unfamiliar to me. It’s always nice to hear Steve Reich’s Different Trains live.
Depeche Mode, Key Arena, Oct. 21
I think Depeche Mode 101 ruined this concert for me. I hadn’t really followed the band since the early aughts, and much of the set list drew from more recent albums.
Kronos Quartet, Federal Way Performing Arts Center, Nov. 4
Kronos has a way of upending expectations. Just when you think you’ve seen them do something new, some composer has them attach bowstring to a plastic toy.
Tags: concert edition, depeche mode, emerson string quartet, harry partch, jack quartet, janet jackson, japan nite, jason isbell, john zorn, kronos quartet, low, midnight oil, mono, sam amidon, seattle symphony, the revolution, university of washington