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nate to have those . Life is so precious , and the memories that you do have ? You ’ ve got to hold onto them . And I feel like this record is such an homage to all the people that we ’ ve lost , and even if they ’ re no longer here , I refuse to let their memory die . That ’ s not how life should work . Especially when you ’ re dealing with music — music lives on for an eternity , and that ’ s your legacy . And God knows , Chris certainly left a powerful one .
IE : His gaze might have appeared downturned , but he was always watching , alert , and aware of his surroundings . Once in Seattle , he jumped up mid-interview , pointed out the window , and shouted , “ Bald eagle !” And sure enough , there was our national symbol , regally soaring past in the distance . TM : He was just wonderful . And he didn ’ t give me advice , per se , because I ’ m not one to walk up to anyone and go , “ Do you
have advice for me ?” But we certainly had some very meaningful conversations . It wasn ’ t the first time I met him , but the first time I saw him on the leg of that tour , we were playing Indianapolis , I think , and I was sitting outside the dressing room with the band , and we were all just kind of hanging out , waiting for soundcheck or whatever . And it was outside , and the sun was blazing and beating down , and I saw this tall , shadowy figure start to approach , and I was sitting on the ground and looking up , but I couldn ’ t see who it was . And someone tapped me on the arm and said , “ Taylor , sand up ! It ’ s Chris ! Chris Cornell !” And sure enough , it was him , and he looked like Jesus with the way the sun was illuminating him from behind . And he was just the sweetest , nicest , kindest guy I ’ d ever met , and we had a long discussion about music , and we were talking about Soundgarden ’ s new record , “ King Animal ,” and how much I loved it and appreciated it . He was just awesome . A once-in-a-lifetime artist and person — there will never be another Chris Cornell .
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Before we actually started that tour , we had the pleasure of playing with Soundgarden once before , when we opened for them in Quebec City to 90,000 people , which was just insane . But that was the first time I had a real discussion with him — it was brief , and I was probably too giddy . I felt like a schoolgirl , and I almost ran away , thinking , “ Ah ! I don ’ t want to get to know you too well !” Because you always hear stuff about making the mistake of meeting your idols . But once we got on tour together , not just Chris , but Matt and Ben and Kim were all just so incredible . Like , obviously , they were incredible musicians — they don ’ t need to tout their abilities or what they ’ ve brought to music which is just unparalleled because I think everyone knows . But as people , they exceeded my expectations of what I could ever have imagined , in my wildest dreams . They were the nicest , most genuine , down-to-Earth cool dudes , and
we got along immediately , very , very well . And Matt and Kim and Ben and I have remained fairly close throughout the years now .
IE : You can never really predict the effect someone ’ s death will ultimately have on you . Compounded with Kato ' s fatal motorcycle accident , Cornell ’ s passing pushed you right over the edge , right ? TM : It really did . Chris Cornell ’ s passing obviously was a tremendous shock . It hit me extraordinarily hard , in a way that I was not emotionally equipped or prepared to handle . I ’ d never experienced anything like that . And we were in the middle of a touring cycle at the time , so we played a few shows after he passed . But I came very quickly to the realization that I was not in a good place to be public , and I kind of needed to take a step back . I thought it was very unfair to the fans to have me get on stage every night and try to put on this entertaining show ; when I wasn ’ t into it , I wasn ’ t all there . I felt like I was cheating
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uncharted synth-pop . The album paved the way for further critical triumphs in 1980 with Gentlemen Take Polaroids and 1981 ’ s Tin Drum before Japan fragmented . Originally released in 1979 , this pressing of Quiet Life benefits from half-speed mastering for improved detail and heavyweight vinyl for optimal stability on your turntable .
– Jeff Elbel
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MOGWAI As The Love Continues
( Rock Action )
There ’ s prolific , and then there is prolific like Mogwai . After 25 years of making primarily instrumental post-rock ( including 10 albums , 10 EPs , and several film soundtracks ), their hard work has paid off , having a best-selling # 1 album . As The Love Continues is the band ’ s 10th studio album of atmospheric Glaswegian Floydesque rock . Band co-founder Stuart Braithwaite told London ’ s ** The Guardian it was “ totally surreal , completely unexpected . At no one point ever has anyone even working with us said we ’ re going to have a No 1 album – it ’ s not the kind of thing that enters into our orbit .” As The Love Continues picks up where 2017 ’ s Every Country ’ s Sun left off , full of lush Scottish soundscapes , alternating crashing and spare guitars , and moody orchestrations . Braithewaite ’ s vocal powers the single “ Richard Sacramento ,” an album highpoint with its shoegazed chorus and chiming and distraught My Bloody Valentinestyle wall of guitars . It ’ s a fitting tribute to their late friend Silver Jews ’ David Berman . COVID limited the band from getting together with their producer David Fridmann in the U . S . Hence , the band recorded remotely from a church in Worcestershire . It didn ’ t inhibit their songwriting chops on the synth-heavy “ Dry Fantasy ,” an epic track with ‘ 80s blueprints that recalls the anglo-keyboard orchestration of The Blue Nile and It ’ s Immaterial . “ Pat Stains ” builds a simple riff into a cascading tidal wave of Radiohead-esque joy . Only “ Drive The Nail ” is a clunker , with its aimless droning over modulated verses .
For a quarter-century , Mogwai has been making majestic music on their own terms . As The Love Continues is as good as their best music , and they ’ re getting the commercial recognition they ’ ve never been overly concerned with but truly deserve .
– David Gedge
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THE GO-GO ' S The Go-Go ' s ( DVD )
( Polydor )
Not that anyone should sink so deep into navel-gazing that they find fuzzy lint in these reflective post-pandemic times , but — as many folks are discovering — all this imposed downtime can lead to some eye-opening , perhaps life-changing introspection , But there ’ s a lot of food for thought here . And truthfully , what could be more edifying than a film made about your career ( The Go-Go ’ s ), which was rooted in the lava-molten punk hotbed of the L . A . punk scene , circa 1978 . Outsiders might casually dismiss the events leading up to The Go-Go ’ s picture-perfect doubleplatinum debut Beauty and the Beat on the edgy I . R . S . Records back in 1981 . Still , they were no cakewalk , and women – long before the # MeToo Movement or even Susan Faludi and Naomi Wolff had kicked in – had to practically street-fight for respect in the sexist , male-dominated music industry . That was the origin-issue story that Ellwood wanted to capture and why she got the no-holds-barred green light from the project ’ s quintet . Whether this documentary was timed or not- the band is nominated for the Rock and Roll Hall of Fame in 2021 , and one viewing of The Go-Gos ’ would confirm they probably should be there . Belinda , Cathy , Charlotte , Gina , and Jane certainly paid their dues , and Ellwood clearly doesn ’ t sugarcoat their journey . It ’ s all here : The late ’ 70s awkward punk-influenced formation , including the discarded early members for new better players , the influence of early managers also discarded for bigger managers as they achieved global fame , and of course – the partying , drugs , jealously , and battles over money . And redemption on their reunion .
What makes The Go-Go ’ s succeed is the band members are likable and honest , and there is no arguing they broke the mold for modern “ girl groups .”
-Tom Lanham
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