Props to Merge.

In a world that's currently dominated by bloated, dysfunctional record labels, it's comforting to know that there are some labels out there that do things the right way, both for their artists and us consumers. Of those, my personal favorite is Merge Records.

There are several reasons for this, not the least of which being that it was founded by Mac McCaughan and Laura Ballance, of my beloved Superchunk (aka the greatest band ever, depending on when you ask me). But it's not just a hero-worship thing; it's also about how they do business.

For one, it's still a small operation, still run by Mac and Laura (though I understand they've actually got a few honest-to-god employees these days). For another, their stable of artists includes some really great bands who are making some great music (prime examples would be Spoon and ...And You Will Know Us By The Trail Of Dead, but there are many, many more), and are being dealt with fairly and honestly by the label -- what a novel concept. While I've basically given up any real hope or desire to get signed or be a "rock star" at this point, I would say that were I to do so, I'd want it to be a label like Merge.

As for us consumers, they do all sorts of neat little things that fall into the "You know, that just makes sense -- why doesn't every label do this?" category. In most cases, we can stream new releases from their website before they're out -- meaning you can try before you buy, and aren't expected to take a $15 leap of faith. Additionally, if like me you enjoy buying your music on vinyl (call me a luddite if you will; I think it sounds better, and I enjoy being committed to the listening experience. I like that I have to flip it over to hear the 2nd side, and I always enjoy settling in and reading the liner notes and looking at big pictures and whatnot), Merge sends you a coupon with your record album that allows you to download the record in a digital format for free. So you can enjoy your record the old fashioned way, and still pop it on your iPod and go. Again, a novel concept.

Until our lovely government stops propping up entities like the R.I.A.A., I'm afraid we're still going to have to deal with a seriously screwed-up music industry, but it's good to know that there are folks out there doing this the right way.

Thanks, Merge -- and I'm really excited to get that new Spoon record when it's out in a couple weeks (you see, it's been streaming on their site -- so I've heard it, and it's awesome).

The HSO's Bands You Should Love -- Legends Edition! The Posies.

There are HSO BYSL editions that invite you, the reader, to "enjoy - or not, your choice". This isn't one of them. Don't think of it as an installment of "Bands You Should Love"; think of it as an installment of "Bands You Should Love And If You Don't Love Them You're A Fucking Moron - Seriously, Do Your Ears Even Work? I Hope You Die." Or something.

ahem.

So anyway, The Posies. Hard to determine when to start with these guys...

**EXCESSIVE VERBOSITY ALERT**THIS SHIT IS GONNA RAMBLE...***

The Posies are a band that I got into on almost the ground floor. Back in 1991 I was flipping though the cut-out bin @ Apple Tree Records (I SO wanted to work there, back then -- dear God, I wanted it so bad I could fucking taste it -- I digress, sorry) and I saw this goofy looking CD cover that, for some reason, intrigued me. Considering it was, I think, 6 bucks, I figured that was reason enough to buy it. That was Dear 23. When I actually bothered to listen to what I'd so capriciously bought, I was mildly... changed, I guess -- something about it gnawed at me, and I found myself listening to it obsessively and going back and forth between which track was the best, all that shit. But still, there was something about it that was a little too... mannered, or something. I determined that it was at least a really damn good record and I hoped that they made another one at some point.

I didn't so much pay attention to the fact that the label was DGC; if I had, I wouldn't have bothered worrying about a follow up.

And then it came -- Frosting On The Beater. I was waiting for this one, and it kicked my ass good and hard from the get-go. As much as I loved Nirvana and the punk stuff I was into at the time, I still had this secret but abiding love for good pop songs -- I can't resist them; never could. It was all good, but one song in particular just kicked my arse right in: Definite Door. It was all I wanted in a song -- the guitars were beyond cool, it was epic in scale, it stunk with pop sensibility and infectious melody, and at the same time it beat you about the head and shoulders with sonic aggression. This song didn't want to be my friend; it wanted to buy my town and then move other, cooler people in to be its friends -- and I was willing to sell. The whole record is gold, but this one is my personal favorite, by far.

Then I waited -- I listened to Dear 23 and I listened to Frosting On The Beater. I saw my own music swing from simple-on-purpose punk to something striving to attain a sense of the songwriting ability like those dudes in The Posies. I had a lot to learn and a lot to discover; and for a bundle of reasons not worth listing here, Frosting On The Beater was a major catalyst in my monk-like obsession on learning that lot of stuff in the mid-90s. I found myself without a band and suddenly free to try out as many pussy pop ideas as I wanted to -- and baby, I did that shit up. I mean, Hüsker Dü had hinted at the possibility of being loud, fast, and tuneful, and Nirvana took that one step further, but -- to me, at least -- The Posies took the synthesis to its logical conclusion. And I wanted to do that, too.

And then, as if out of a puff of pot smoke much like the one that produced the shit up there, there was Amazing Disgrace. See, unlike a lot of other Posies fans, I always thought they could get a little harder-edged -- or perhaps it's better to say that I hoped they would, since I was still embroiled in my own personal debate about whether trying to write pretty songs was a sin; I just thought it would be cool. And they damn well did it! It delivered a full boat of goodness, but "Grant Hart" just about killed me. It was truly The Shit™.

After that, they got booted from DGC because they weren't enough of a cash cow, even though the real problem was that DCG never really invested in them -- they had the potential for a real hit in "Dream All Day" if they'd have bothered to follow up, and several songs on that record would have been good follow-up singles. Same with Amazing Disgrace -- "Ontario" and "Hate Song" could have sold big-time with a little support.

I'm not going to drag you lot through every single Posies release -- you've got more than enough at this point to start your own search if you're interested (and if you're not, again: If you don't love them you're a fucking moron -- seriously, do your ears even work? I hope you die).

The bottom line is that The Posies are a band that you should love. So do it, already -- love them.

Oh, Chicago.

I'm back -- and oh, how I wish I wasn't. I do so love Chicago, and 2 days wasn't nearly enough time. Still, I did finally see Millenium Park with mine own eyes.









And I did get myself back to Wrigley Field to see my woeful beloved Cubbies (who lost, but I did get to see Soriano jack one out of the park, as well as a classic Sweet Lou tantrum, so I was happy).







Put simply, K and I had a terrific time -- we ate Chicago dogs, wandered around downtown, and capped off our stay with several pints at a swell Irish pub in Wrigleyville.

Chicago, I love you -- and I promise not to be away so long ever again.

(For those who like pictures, there are lots more on my Flickr page.)