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Double LP/CD Matador
(OLE-222) 1997
1. Return To Hot Chicken (realx,
mp3x)
2. Moby Octopad (realx,
mp3x)
3. Sugarcube (liquidx,
realx,
mp3x)
4. Damage (realx,
mp3x,
mp3)
5. Deeper into Movies (realx,
mp3x)
6. Shadows (liquidx,
realx,
mp3x)
7. Stockholm Syndrome (liquidx,
realx,
mp3x)
8. Autumn Sweater (realx,
mp3x)
9. Little Honda (realx,
mp3x.shockwave)
10. Green Arrow (liquidx,
realx,
mp3x)
11. One PM Again (liquidx,
realx,
mp3x)
12. The Lie and How We Told It (liquidx,
realx,
mp3x)
13. Center of Gravity (liquidx,
realx,
mp3x)
14. Spec Bebop (liquidx,
realx,
mp3x)
15. We're an American Band (liquidx,
realx,
mp3x,
mp3)
16. My Little Corner of the World (realx,
mp3x)
17. Busy With My Thoughts (Bonus track on Japanese Version. This is also
on Sugarcube 7")
Notes: Track 9 is a Beach Boys
song, track 16 is a ? cover, and track 2 embodies some portions of "Bird
Bath" by Burt
Bacharach. Track 7 is the first YLT LP Track by James. The CD somes
with an insert for Matador CDs that are not real and very funny send-ups
of genres. Jad Fair
drew the heart. There was a limited European release that was a 2 CD version
that included the Autumn Sweater CD Single.
Track 16 was notably recorded by Anita
Bryant in the 60's and is actually called IN My Little Corner...
Details from Matador's
Annotated Discography:
Jonathan Marx: You could say that being asked to
play on a Yo La Tengo record made me feel like a Little Leaguer who's
been asked to bat an inning with the Mets. When you consider the fact
that I can't play baseball, the analogy becomes much clearer.
So once I heard the news, did I rush home and work
out a bunch of different parts for my brief solo break in "Shadows'?
Well, no. I did listen to a tape of the song and I played around with
it, but I just wasn't too sure what to do. Nothing stuck in my mind.
Fair enough, you might respond.
Well, did I at least make sure that my lip was in
top form? Did I make sure I'd eaten a good two or three hours before
I headed to the studio? (Trumpet playing is like swimming - you have
to wait a while to do it after you eat.) most important, did I make
sure I was heading down Music Row East with a clear head? Well, not
exactly. On my way to the studio, I stopped by a friend's house, whereupon
I was offered a smoke from a Busch-beer-can pot pipe. "What's the harm?"
I thought.
Ten minutes later, I was at the studio. My head
was reeling, ever so slightly, and my mouth was utterly dry. Hmmm. We
tried a few takes, all kind of shambling and not terribly interesting.
After a short while, producer Roger Moutenot, possibly the calmest,
politest studio professional I've ever encountered, made a few suggestions
about how I might consider approaching my solo differently. If I could
remember them, I'd tell you: the only problem was, I couldn't understand
anything he said. It's not that I was so stoned, it's just that I don't
know a damn thing about music. There was some mention of "pedaling,"
whatever that means.
So after my dumbfounded silence, Roger provided
a very concise, cogent explanation of what he'd just told me, only this
time it was in layman's terms. OK, so now how to heed the suggestions?
I tried a couple more takes. A pregnant pause from the control room.
Then: "Jonathan, why don't you come in for a second?"
"This is the last-ditch attempt where they decide
to sample me," I figured. Don't laugh; it's happened before.
I walk in. Ira, nice as he can be, says: `You know,
Jonathan, what you just did, if you could play that right, it would
be perfect." James and Georgia look on, a mixture of compassion and
pity in their faces.
Fair enough. I go at it again, fumbling more than
ever. Finally, Roger saves the day. At some point, it seems that the
first phrase of my line is pretty much there. So he coaches me through
the remaining, oh, five or six notes. I leave soon thereafter, apparently
having given Yo La Tengo something workable. Later, I am assured by
someone (I can't remember who) that if what I did really sucked, the
band won't have a problem not using it.
Months later, to my surprise, I find my name next
to Al Perkins' in the album credits. Driving down Music Row one day,
I even hear the song on the radio -- and I get cottonmouth all over
again.
Roger Moutenot: I am now addicted to Prince's Hot
Chicken. I live here but had to have you guys turn me on to it. There's
some nights now that I have to have it.
Kurt Wagner: This I sort of recall: 1) Being present
when YLT were working on "Moby Octopad," Ira triggering the "cool" sound,
Roger wearing "the patch" 2) James watching Howard Stern 3) The nice
selection of beer on hand 4) a lyrical discussion with Ira to which
he confessed that words came to him in...the shower. 5) the daily working
of the Times crossword puzzle 6) Georgia breaking our coffee table (it
was already sort of fucked up) while we were in Spain and their (G&I's)
touching confession thereafter. They seemed a bit apprehensive, almost
nervous upon our return. As they owned up to the mishap I could almost
hear their hearts beating, quietly, almost undetected and I swear it
sounded as if I could hear their hearts beating as one.
Line-up:
Georgia Hubley - Singing, Drums, Organ
Ira Kaplan - Singing, Guitar, Organ
James McNew - Bass, Singing
Roger Moutenot - Producer
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