The Desert Island List

If you were stranded on a deserted island, which 10 albums would you take with you, assuming you had time to pack a bag full of all the necessities necessary for that inevitable event? kind’ve a silly question, really; if you knew you were subject to being stranded someplace, you would want to take all precautionary measures to avoid such a thing. Well, HUMOUR ME: You’re stuck on a fucking island in the middle of butt-fuck nowhere, and somehow you have a functioning record player and you have to choose 10 records to take with you… so what’s it gonna be?
Well, if I had to choose (thank you for asking) they would be the following. Some are the greatest records ever made, and some aren’t; that’s not to say that they aren’t good, they are, they are all great in fact. It’s just that if I wanted to remember life back on dry land, I would want to relive the greatest memories that I’ve made, and a lot of these events were set to music, so what better way to relive them? Exactly my point. God willing, it will never come to this, but if I had to choose, I would choose:
The Beacon Street Collection:
This is the record that I mostly play in early spring, usually on the first sunny, hot day of the year. I bought this album when I was vacationing in New Jersey years ago; back home the snow still covered everything as far as the eye could see. But in Jersey, it wasn’t the case. Sure, it was still chilly in March, but my cousin and I walked on the beach barefoot. It wasn’t hot enough to go swimming yet, yet there were still surfers in the water, braving the cold. Plus, it was sunny. SO SUNNY. This album is my escape. I close my eyes and picture myself on a boardwalk. . This record takes me to that sunny place. It’s a wonderful place. A true gem of a record.
The White Album:
In the late 90’s, Montreal was a wonderful place. It was a place where bohemians and artists alike transformed the city into a mecca of groovy fun times. The Plateau was an unpretentious, laid-back place, full of life and sunshine and harmony; when I listen to this record it reminds me of the simpler times, hanging out in the Old Port, hippies wandering about, the smell of weed in the air, people acting like people, cell phones didn’t exist, I was the only person who was buying vinyl records. Oh, if I could only turn back time. Hipsters didn’t exist back then, the food revolution was only just beginning. *hit the pause button* This is probably the record that I cherish most. It’s a reminder of happier times and that yesteryear that was actually worth living.
No need to argue:
The perfect autumn record. Strange that I would pick an autumn record to take with me to a deserted island where it’s probably sweltering and unbearably hot, but what can I say? This is the soundtrack to a good chuck of my high school days. I’d spend hours playing SNES while listening to this album. There isn’t a weak track on this record. Definitely gonna pack this one..
Boys for Pele:
The other perfect autumn record. I don’t listen to it much anymore, maybe because I love it so much and think it’s so special that I save it for special occasions. It’s Tori’s most unique record I think. The beautiful arrangements, the harpsichord dominating many of the tracks, there is swearing throughout, it’s sultry, crude, delicate, beautiful, timeless, yet so timely. Another snapshot of yesteryear set to music. Thinking about listening to it now….
In the winter of 2000 I discovered Jeff Buckley. He died after making just one record but it was such a great record that millions of artist will probably never be able to achieve what he did in his short life. His rendition of Halleluja alone will forever be remembered. It’s a haunting record that gets better with every listen. There will never be an artist like Jeff Buckley and I wish I had gotten to see him live. An artist that was taken away from us too soon, and in a really sad way too, not from drugs or alcohol, but by being swept away at sea while taking a late night swim, of all things. Taken by the sea, perhaps fitting that his memory would live on this way.
Siamese Dream:
Mellon Collie and the Infinite Sadness, a record that I absolutely adore may arguably be considered their magnum opus, but their true masterpiece in my opinion is Siamese Dream. This record, unlike Mellon Collie, is track after track of stellar songwriting; no filler, no instrumentals, just pure unabashed unforgiving rock. Its the type of record that you play front to back and then you’re tempted to flip it over and play it again. WOW. My favorite tracks are all the tracks. That’s how good it is. If I ever forget to pack this record I may be tempted to swim back to land to go get it, and risk drowning in the process.


Ok Computer:
The greatest album of all time.  If you haven’t hear OK Computer then I feel sorry for you. Not that I pity you, although I do, but it’s such an important piece of music and you should do yourself a favor and listen to it. There’s nothing more to say about this record, if I have to explain why I would take this with me it’s only because you haven’t heard it yet. So do so. Tonight, if possible.


Great Canadian Band, Moist! On an indefinite hiatus (although recent Tweets from lead singer David Usher hinting at a possible reunion, yay!), it’s a record typical of records released in the 90’s: It’s REALLY REALLY GOOD! The record I tend to play during the first snowfall of the year. Not sure why. My brain is wired differently than yours. Can’t explain it. I just love Creature.

scenery and fish

Scenery and Fish:
The last I Mother Earth record to feature Edwin on vocals. It’s filled with great songs, and also with some mediocre ones. Why would I take this with me then? Because it rocks. It’s another great 90’s record from a Canadian band and I would want to remember the country I’m from and the memories I made while this record dominated that period in my life while trying to survive the harsh conditions on this god-forsaken deserted island.


Everything Must Go:
This is the first Manic Street Preachers record I bought, and it’s their best. This started me on the journey to discovering a band that today I call my all time favorite, and its lead singer, James Dean Bradfield, my favorite vocalist. This album is filled with track after track of pure pop bliss, intricate song writing that seems simple when first heard yet in reality quite complex,and each song is filled with such unfulfillable longing; It’s indulgent, it’s heart-wrenching, fun, jovial, and great. It’s just great. Look I’ll prove it, listen to this!:
So, what say you? What’s your top 10 desert island list? I’d love for you to leave a comment. If you don’t want to, that’s ok. If you’re reading this it means that you made it to the end of my post, and what more could I ask for? Thank you for reading my blog. Still, please leave a comment, both because I am interested in what you have to say and also because I hope to discover more wonderful music this way. Thank you and goodnight -This Is Orson Welles.

The world is a vampire! Fast forward 17 years! Listen, time may not heal all wounds but nostalgia still does the trick

“We’ll crucify the insincere tonight
We’ll make things right, we’ll feel it all tonight
We’ll find a way to offer up the night tonight
The indescribable moments of your life tonight
The impossible is possible tonight
Believe in me as I believe in you, tonight, tonight, tonight…”
It’s always such a great thing when a band that is as big as The Smashing Pumpkins is still around after all these years.  Granted, the original lineup is no more, but nevertheless, The Smashing Pumpkins are together and after what I saw tonight, still going strong.
In support of their latest album, Oceania, the pumpkins kicked off their 2012 tour in Mexico City and played Montreal tonight (where I saw them). They delivered an energy-packed show that showcased the new stuff and ended with a bang(!) when they played hit after hit from their back catalog.
They opened the show by playing their latest album in its entirety. Now, I love the new album. However, for a band that has not played this city in a very long time, I could tell by looking at the audience that some were getting impatient with the new stuff and wanted to hear some of the old stuff. Frontman Billy Corgan, well aware of the fact, even addressed this at some point, stating that the new stuff came first, and then the hits would be played afterwards. Hey, this is his show after all, if you don’t like it, find the nearest exit and GET OUT 🙂
The album was delivered beautifully. The light show was modest, sometimes shining on the audience. There were no screens showing multiple angles of the band like you see at most shows, but there was the backdrop, a constant circle, that showed image after image of twisting shapes and winding images that memorized:
Well, after they played Oceania, they played a cover of David Bowie’s Space Oddity which for me broke the set-list in two. What followed was song after song of their past hits. I have to be honest; to me, it was at this point that the show really started to take off. I mean, right after Space Oddity they broke into an extra long rendition of  X.Y.U, and then they played Disarm, and then Tonight Tonight, and it was simply unstoppable from that point on.
Another high point for me was when, while playing Tonight Tonight, they showed video outtakes or unused video from that era and then… the moon! That moon with the face. It gave me goosebumps. It took me back to when I saw that video, back when the Pumpkins were at their prime. You know what I’m talking about, this guy:

Something happened right after they played Bullet with Butterfly Wings: the played a newer song: Song For A Son. It was a little weird throwing in a new song right when they were getting the audience going with their old stuff. Strange thing is, this was the other highlight of the night for me. The song was played incredibly well, it was played a bit different than the version that was released for Teargarden by Kaleidyscopeand it was one of the only times during the show where I was so memorized by the performance, especially Billy’s wonderful lengthy guitar solo, that I didn’t even take a picture (and anyone who knows me well enough knows that I take pictures of everything). This moment was so captivating that I couldn’t think of anything else besides what I was seeing and what I was hearing.
Huh… one of the high points of the night was when they played a new song; what a surprise!  Maybe we can’t really appreciate a song until it has had time to marinate in our brains. Song for a Son was one of the first songs to be released from their ongoing Teargarden project. Maybe that’s why I felt I was listening to a classic and why I was so moved by their performance of it. It felt like I heard it a million times already, and when I heard it live it felt like I heard it for the first time. Like rekindled love. Yes, that must be it!
Although the impact of what I saw tonight will likely not be felt right away, not until it finally gets a chance to sink in, I can nevertheless doubtlessly and conclusively say that what I witnessed tonight I throughout and wholeheartedly enjoyed!
Like most bands, we go through periods of listening to them and then not listening to them at all for a while. Usually when they release a new album is when you once again start to listen to the other stuff they made. I’m glad these guys are still around and I’m especially glad they are part of the vinyl re-issue revolution. Possibly one of the vinyl releases I am most anticipating ever was finally confirmed not too long ago, their re-release of Mellon Collie and the Infinite Sadness on 4 LP’s! I cannot wait! Preorder’s been payed for, can’t wait for it to be shipped!  Ooh, is that a stirring in my pants? I’ve said too much! Goodnight – This is Orson Welles.