Album Review - The Ninth Wave - Heavy Like a Headache

There are millions of Joy Division influenced bands. Millions? Probably not. Still maybe? There are of course some who became favorite bands of mine - the obvious (Editors, Interpol) to a variety of others (as varied as Sweden’s synth outfit Holograms to Los Angeles hardcore punks Cemento to dark wave favorites She Wants Revenge). U2 would certainly fall in this category, as would the shoegaze movement. All goth bands surely from and including Xymox, Sisters of Mercy and Christian Death on. Also come to think of it, a full list of industrial bands (Psychic TV wrote “IC Water” after all.) Like the Velvet Underground, it might be easier to list bands not influenced by them. A band as distinct as Arcade Fire or Sea Power may have mixed other influences but inevitably call to mind Ian Curtis and crew. Maybe a band mimics the umm… atmosphere of “Atmosphere” or “New Dawn Fades” or maybe it’s the Punk pulse of Disorder and She’s Lost Control. Glasgow’s The Ninth Wave are one of the latest to be painted by the Joy Division brush. Their second album Heavy Like A Headache could be their last as it was released simultaneously as the band announced a hiatus. The reviews generally have not been kind to this album, which seems a disservice. I can guess at the reason. The band splits vocal duties between its two members - Haydn Park-Patterson and Millie Kidd. Additionally, songs might rotate from inward looking Goth ballads to soaring arena anthems. Particularly on the anthemic songs, they have peaks that stand far above other tracks. It’s the kind of thing that will annoy record critics. That said,if the sound appeals to you, you might want to stay around for the whole thing. If you are not a huge fan of the genre, you still may find a few songs to cherry-pick for playlists. “What Makes You a Man” was in the Umbrella Academy and a couple others sound ripe for soundtracks. 2022 - Distiller Records

Album Review- John Doe- Fables in a Foreign Land

One of the consistent albums in 90s cutoff bins was 1990 Geffen/DGC release Meet John Doe. The solo debut from the X leader featured Richard Lloyd on guitar and writing contributions from Exene Cervenka and John Hiatt. It is a decent album that I’ve played quite a bit over the years. It’s easy to second guess why it wasn’t a bigger success. Maybe it needed to be released a few years sooner (in the prime days of Tracy Chapman, Cowboy Junkies and Roseanne Cash), I’m not sure, and maybe it’s naive to suggest it ever would have been a big seller regardless. It’s nothing flashy, just a country and blues tinged raw roots record. I have followed Doe’s solo career, and have always expected him to do an album that surpassed his debut and is on par with the great X albums. I don’t think he has quite managed to do it. 2016’s The Westerner came close- an album that paired him with Howe Gelb of Giant Sand. So I guess it is a little surprise that the follow up to that album and the acclaimed 2020 X album Alphabetland- that Doe may have his best solo album yet. It could be called the John Doe Trio (which is the way the tour is being marketed) but that’s probably why it’s a consistent listen. Making up the trio is Kevin Smith (Willie Nelson, Dan Hicks and his Hot Licks) on upright bass and Conrad Choucron (Patty Griffin, NRBQ) on drums. Occasional accompaniment There’s an impressive list of songwriters too that includes Cervenka, Shirley Manson and Doe co-writes with Terry Allen and Louie West (Los Lobos). I’m reminded of Chuck Mead’s recent work- songs that harken to an older time -not only musically (to the early rock n roll years), but also lyrically (big 19th Century western vibes); are often serious but occasionally punctuated with humor (see “El Romance-O”), and can only fit in some uncategorizable Americana singer-songwriter box like say, David Alvin or Neko Case or James McMurty.

What I am listening to : FJ McMahon

One of the recent trends is “lost albums”. In a musical industry context much different than even a decade or two ago. I have mentioned a few albums that were released to near complete silence and have been embraced by a new generation of indie rockers. I can only picture record scouts traveling across the country hitting garage sales and thrift shops, the way they used to go to small clubs. “Spirit of the Golden Juice” by FJ McMahon was first recorded and released in 1969, but in 2017 was released by Sacred Bones records- a fantastic record label known for bands who usually make a certain amount of noise like The Men, Crystal Stilts, and Moon Duo. I’m my mind, there are similarities to Jim Sullivan’s lost classic UFO. For one, both were championed by Uncut magazine which is where I first discovered them. They both came out in 1969 and show a hint of the songwriting boom of the 70s. Both stay close to the Fred Neil/Tim Hardin school - a rich voice telling personal stories. In McMahon’s case, he was a California musician whose life took him from playing surf rock to returning a Vietnam War veteran. He released a small presssing of his album and toured the coast. So it was a career in computer electronics for him, until he picked up a guitar again in 2017 to relearn his classic album and play backed by the band Quilt. “Golden Juice” is sparse, but couple that with McMahon’s talent as a guitarist really creates something magical. It is for me, some stronger songs that being this album along. It also no doubt benefits from brevity. Surely at some point, McMahon would have had to recorded more pop schmaltz. “Five Year Kansas Blues” is one of those first listen “grabber”s. It is pretty clear that it’s about a conscientious objector but it took me a couple of listens to piece together the references to the Draft and Leavenworth, as it has an old Western feel. I was imagining 1860s and not 1960s on first listen. Opening track “Sister Brother” sounds like the song selected for a single. It’s a little bit more produced but the same elements are there. “One Alone Together” is a juxtaposition of a plaintive ballad over a guitar and drums that seemingly want to break free. Vietnam themes pop up with regularity. Production inevitably helps differentiate the songs, which can feel similar end-to-end which is probably the weakest part of what is otherwise a contemplative and melancholic lost classic.

Documentary Watch - American Masters: Brian Wilson

The most recent PBS installment of American Masters is Brian Wilson. I think it does as good of a job of telling the Wilson story as one can given only 80 minutes. Wilson is of course, anxious and interviewer Jason Fine from Rolling Stone magazine is someone who Wilson has a comfort level with. So we get a good conversation and a few insightful moments like Brian listening to the “Pacific Ocean Blue” album in its entirety for the first time. Wilson is someone we have wrapped with the great Rock n Roll myth. I suspect we tend to take those young and hugely famous as Brian and mentally stereotype them, as he talks about the infamous living room sandbox. We do get a very human side of Brian. He feels like an uncle or an older relative. It’s clear life is not easy for him, but he is not a totally mental casualty as sometimes he gets portrayed either. Wilson improbably has become a very active live performer recently, but you can still tell life outside his home is difficult for him. Through Fine, we get as close as a sit down with the legend as most anyone ever will. It is probably impossible to tell the story of Wilson without mentioning Eugene Landy, the disgraced celebrity psychologist. It’s still a complicated relationship in that it was surely hurtful for Brian, but Brian still sees positive in it. There are a great deal of celebrities and collaborators who chime in - Elton John, Springsteen, Nick Jonas, Linda Perry, Don Was, My Morning Jacket’s Jim James, Jakob Dylan as well as archival footage of Carl and Dennis and on a sad note, the recently late Taylor Hawkins. I’m not a huge fan of Brian Wilson I’m the expected sense of the word. I love the early Beach Boys hits. I think “Pet Sounds” and “Smile” are just ok. There I said it. There are going to be a lot of opinions around this movie, and certainly about Brian. I think it is a good portrait, done respectfully and I enjoyed it. (I did not realize this but this episode was released last year as the movie “Long Promised Road”)

RIP Chris Bailey

Chris Bailey, former lead singer of Australian punk band The Saints passed away this April. I have to admit my knowledge of the Saints doesn’t go much past the classic single “I’m Stranded” But I was aware of the band. A friend with more knowledge than me encouraged me to pick up some Ed Kuepper discs from the cutouts in the 90s. I saw Bailey open for Nick Cave. Bailey had appeared on Nocturama and I’m sure Cave was paying tribute and homage to Bailey by including him on the song "Bring It On" and the tour which Bailey opened and joined for the song. Nocturama by Nick Cave & the Bad Seeds is an unloved record. Released in the Web 2.0 days, the reviews are well documented and most of the regular players hated it. Allmusic gave it 2.5 stars out of 5. I remember being disappointed on first listen. Cave, known for his dramatic lyrics and themes, seems to be trying to be extremely accessible and simple. Over the years, I actually like Nocturama quite a bit. A Cave album I might be more likely to pick up for a listen than more critically acclaimed Cave records. “Bring it On” is a tour de force. Cave always had great duets with women, but I felt his male duets (Blixa Bargeld, Shane MacGowan) sometimes don’t reach those peaks. The video for Bring it On is over the top like a rap video, made for Web2.0 services like Yahoo Music and others that were filling the MTV void. Naively, one can almost imagine the song on radio, but even released in the golden age of White Stripes, Radiohead, the Strokes, the Yeah Yeah Yeahs et al, Nick was always going to be too weird for that. (One of the paradoxes of the current music businesses is songs break through other ways than radio. Via Peaky Blinders, Cave songs have got tens of millions of views on streaming music services and YouTube. By any definition, that is a hit) But it is still one of my all time favorites. Bailey and Cave have so much swagger between them, that the result is a powerhouse (and on record, as it builds, to (presumably) Blixa’s piercing scream) I also recently read Heylin’s “From the Velvets to the Voidoids” which documents NYC punk but gets the fact (and a quick glance at Wikipedia) that Australia was already head of the game before “Ramones” was released. The Saints formed in 1973 and “I’m Stranded” released in September of 1976 predates any releases by the Damned, Buzzcocks, Clash or Sex Pistols.

Documentary Watch - Reelz Front Man: Axl Rose and Front Man: Alice Cooper

I am a sucker for music documentaries so of course I checked out the Reelz “Front Man” series. Specifically some of my favorite metal men - Axl Rose and Alice Cooper. In certain crowds, it’s not cool to like Guns N Roses, but I am a fan. Even worse, I am actually a big fan of when Axl fully embraced his inner Freddie Mercury and started writing rock epics. Heck, I even like Chinese Democracy at least a little bit. I relate to the small boy who moved to the big city and Axl certainly reminds me of metal head friends I had in high school. I never met a rock doc I didn’t like, but Front Man isn’t making great docs. The focus is on the sensational aspects of its subject. Axl has certainly had a volatile personality. Guests include early friend Vickie Hamilton and people like Tom Zutaut who “found” the band and biographer Mick Wall. But it doesn’t diverge much from talking about how messed up Axl was and the (genuine) reasons he was that way. Music is only the background occupation he has. Im not sure Use Your Illusion was even mentioned at all. Like most of the Reelz docs, it draws largely from one interview ( in this case, 2012 with Jimmy Kimmel). It at least gives a decent coda with Axl finding stability with manager Beta Lebies. I am not sure there are romantic attractions between the two as the doc implies, but I have seen her credited as a “ mother figure” or “work wife” elsewhere. I would mostly recommend this doc for only people interested in the early life of Axl. Front Man Alice Cooper fares a bit better. Once again the music is a background mention to the more flamboyant life of the performer. In this case, that means it is more focused on the breakup of the Alice Cooper Band, with Alice going solo and the cocaine binge years called “Alice’s lost years”. On the plus side, there’s a lot of input from Dee Snyder who knows a thing or two about the kind of rock musician life as Alice. If you are a Cooper fan, there’s probably nothing new here, but it does cover his recent career- with a focus on his Christianity and playing Herod in Jesus Christ Superstar. Again, not much about the great albums he recorded but fans of modern day Alice will no doubt enjoy it. Casual fans could do better going elsewhere. Either way, give Dee Snider the mic for an hour and you’re going to be entertained.

Documentary Watch -Classic Albums - Rio

I caught the “Rio” episode of the British documentary series “Classic Albums”. I don’t know that I considered Rio to be the best of best albums though I do consider Duran Duran a great singles band and they are definitely an all time favorite of mine. For me, if asked to name ‘the’ classic Duran album, I might opt for the first one. It’s got some sublime moments and in the case of “Planet Earth” an all time great hit. Wanting to emulate Bowie, Roxy et al- they did in fact reach the peak and defined an era with that song (“like some new romantic looking for the TV sound”. ) The title track is nearly enough in itself to cement Classic status along with the yacht video and the Nagel album cover. Rio is surprisingly deep when you revisit it 40 years later. “My Own Way” is one of the band’s least favorite singles, but it’s a hidden 80s classic- like many of the songs here, as much Chic as Bowie/Ferry. Of Duran songs (and 80s songs in general) Lonely in your Nightmare isn’t particularly a standout track, but has aged better than most songs of the time. Hungry Like The Wolf is on par with Rio as being a decade defining moment, after that, it’s largely album tracks. But in that, not necessarily unremarkable, “Hold Back the Rain” in any other timeline would have been a smash pop hit. “New Religion” sounds awful on paper, going deeper into the funk sounds with LeBon rapping. It works though, with the underappreciated Andy and John Taylor”s guitar and bass work, sort of anticipating the “dark wave” movement. You likely know “Save A Prayer”, a successful single and one of my favorite Duran moments- LeBon sings plaintively while the band backs with an exotic sound that was promised from the album’s title and cover (and infamous video, check out the Wikipedia entry for that story). “The Chauffeur” ends the album - likely best known for the infamous R rated video. While it lacks the arena prowess of Duran’s biggest singles, it is one of the bands finest musical moments. If you only considered the band a pop band, surely this song will change your mind. What this episode did was remind me of course of just how talented this band was, but more surprisingly how instrumental Nick Rhodes was in crafting the end product. Nick creating the infectious Rio opening, the “do”s in Hungry like the Wolf, and finding the distinct sound for “Save a Prayer”. While I don’t think the rest of the band gets enough credit (John Taylor and Andy Taylor did some amazing things, and I haven’t even mentioned LeBon as the perfect front man for a group like this), I was impressed with how much Rhodes contributed and am surprised he never went on to do more outside of Duran. Now, he did coproduce the very Duran-y “Too Shy” by Kajagoogoo, but the only other significant work I know of besides that is the Dandy Warhols 2002 “Welcome to the Monkey House” record. Not surprisingly, I like that album quite a bit. The Warhols aspired to be heirs to the Durans, and they are one of my favorite bands of the last 20 years. If you are a fan, check out the video “You Were the Last High” which is a recreation of the “Planet Earth” video. You got me Classic Albums, “Rio” is really an excellent record.

Concert- Mark Wills

Des Moines has a special relationship with Inside (Arena) Football. Famously, Kurt Warner went from stocking grocery store shelves to Arena Football to being a NFL star. There was recently a movie about it, you might have even heard about. The Arena Football League stands as the most successful Spring football league ever. At various points, Des Moines was in and out of this league. The AFL was often on national tv. I think most sports fans knew Jon Bon Jovi co-owned a team called the Philadelphia Soul. Few others may remember in the peak that Vince Neil and the rock band Kiss (separately) bought into franchises. I was a bit bummed when the Barnstormers jumped to the Indoor Football League in 2015, but in retrospect, the Arena league had seen a high watermark and folded in 2019. The last few years have seen a lot of alternative leagues like the USFL, the XFL and the AAF. It doesn’t leave a ton of talent for the indoor leagues. Noticeably, the Barnstormers don’t draw like they used to, yet I know quite a few diehard fans. For the most part, the IFL is a spot for otherwise under the radar players getting a chance to show themselves. The Barnstormers most dynamic star is from a small university (Carson-Newman) running back/wide receiver Antonio Wimbush. The Quarterback too (U of Idaho) is undersized 5’11” but talented and fast- Darius James Peterson. Before the game, there was a free concert by Mark Wills. I suspect the name might not ring bells, but he was a very successful country artist for a time. He is not my normal cup of tea- one of the many 90s Sonic descendants of George Strait, but hugely popular and my wife is a fan. He charted 16 songs in the Country Top 40 from 1996-2003 - eight went Top 10 with two reaching #1 and three more that reached #2. He took five songs to the Hot 100. Wills biggest song was 2002’s nostalgic “19 Something” which was one of the biggest hits of Y2K era country. I suspect many would know “I Do (Cherish You) which though Wills did it first, was probably even bigger when performed by 98 degrees. Another big hit was his cover of Brian McKnight’s “Back to One”. Although he performed all his big hits, he did not perform “What Hurts the Most” which he recorded originally- three years prior to Rascal Flatts having a huge crossover hit with it. An interesting bit of the Setlist was three songs from the group Alabama, which I thought was interesting. Alabama kind of dominated country in the pre-Garth days and crossed over to the pop charts quite a bit in the 80s. Although we didn’t hear much about Alabama, they seem to be popping up again. There is certainly a line from the rock-influenced country of Alabama to modern country music like Luke Bryan (and a music detective would no doubt find that string through the aforementioned artists like Wills and Rascal Flatts but also a lot of the Y2k era contemporaries like Lonestar and Montgomery Gentry. That Eagles/Poco/Charlie Daniels/Marshall Tucker derived rock sound now dominating the “cowboy hat” market that Wills arrived initially in.

Album Review- The Arcade Fire- WE

I think there were a lot of us impressed by Arcade Fire’s “Funeral”. I (at least very briefly) contemplated traveling across the country to see them live. It was such a scene-changing disc. Arcade Fire seemed a bit more grounded in rock on their next two records, shifting into a band that was defining 00s indie rock as influenced as much by Bruce Springsteen as anyone. I still rate “The Suburbs” quite highly. With a three year layoff, they made another direction change with Reflektor. A Sandinista size mess that had some of their best singles hidden in it’s nearly hour and a half run time. 2017’s Everything Now seems an extension of the move to electronic dance rock and I thought then my love affair with the band had come to an end. Those thoughts lingered as I first heard WE, the surely difficult sixth album (I’m just making that up- is it a thing -LA Woman, Green, The Head on the Door, Physical Graffiti, Music for the Masses, New Order’s Republic, Van Halen’s 1984- you decide). But I have come around to WE which is a slight turn on the Arcade Fire experience which is likely to win as many as it turns away. The titles suggest a throwback to Funeral, but it’s a mix of the personal themes of those follow ups and then the electronic dance beat of Reflektor. Reviews seem to be either really high or really low. I think after a few listens, I am with the former, while acknowledging the shortcomings that cause the latter. In many ways, I am reminded of their contemporaries (a band whose timeline is very similar with just one more album in the discography) the Killers- a band that might not immediately spring to mind sonically. However, like the Killers recent work, Arcade Fire seems to be pushing through on just raw ambition, confidence and conviction. WE is an album that doesn’t sound like much on paper, and I suspect the lyric sheet looks more like The Stooges than Dylan. But Win Butler is as unshakable as Brandon Flowers, and the band is in fine form (and Régine Chassagne’s contribution can’t be overlooked). I think a big asset is that it’s a relatively short album (40 mins) and most songs generally end around four minutes with rare exception (“Rabbit Hole” follows “Reflektor” and “Nightlife” as a song that succeeds despite being essentially a repetitive dance floor jam). Another interesting and a bit ironic part to me has also been remarked upon by others in passing or in part. When Funeral came out in 2004, it did not sound like anything else. WE sounds like a band who has binged on the music that immediately preceded 2004 and it is chock full of that influence- Mercury Rev, Grandaddy, Flaming Lips, and Radiohead. Overall, I think Arcade Fire succeeded in what they wanted to do with WE. Now, listening to a new Arcade Fire album while not considering the band’s legacy is going to be next to impossible. I can’t do much to convince people who won’t like this, but I think I am a fan

Album Review- Tejon Street Corner Thieves- Thick as Thieves

One of my recent discoveries is the Colorado based Tejon Corner Street Thieves. Last years Stolen Goods was an enjoyable listen- old folk songs given a modern touch TCST are out of that tradition of mixing punk ethos and classic Americana themes. They call their music “trashgrass”. There weren’t many bands like this 20 year ago, but there’s quite a few now whose stock in trade is Murder Ballads and Southern Goth. It is probably descended from the mix of the 80s Cowpunk bands, the 90s No Depression crowd and the Outlaw Country genre (with occasional nods to Cave and Cash). Denver’s 16 Horsepower were surely one of the first of this strain of alt country, but the list has just grown, with along the way, with some of the biggest names being Those Poor Bastards, The Devil Makes Three and Murder By Death. If you haven’t heard these bands, they’ve been covered by bigger names like Hank Williams 3 or showed up in movies like Inglorious Bastards. These days, it isn’t an original idea any more, so it comes down to whether these bands have a charismatic front person and whether the band has tunes. That’s where TCST stands out. Also as an aside, TCST are given credit as the first band during the pandemic to do “drive by” concerts where they would literally drive where their fans requested them.

Album Review- Belle and Sebastian- A Bit of Previous

I’ve written about Belle and Sebastian plenty, but here goes. The first four albums are every superlative in the book in my eyes. After the fourth album, Isobel Campbell left the band and the band seemed to move into a more pop oriented (or as pop as this band could possibly get) direction that has defined them since. (All writing about the band indicate that Isobel had very little creative input into the band at that the two points are coincidental. I just say the two happened at the same time). The band would title a later album “Girls in Peacetime Want to Dance” but the band in this second stage did seem to add a little boogie to their melancholy. Although it took me some time to come around, there are plenty of latter era songs that can hang with their best. At 25 years in, they have unexpectedly became a dependable rock (in their terms) workhorse, even releasing live albums. I have seen very high rated and very low rated reviews for this album. If you like the last decade of their work, I think it is good odds that you won’t be disappointed. But as a longtime fan myself, I also wish there were a couple of songs that were on the same level as the highlights of Girls in Peacetime. I think for me, this means I imagine this will place lower (over time) in rating my favorite B&S discs, but it is still a consistent listen and it is a rewarding listen, just a throwback to a bit of the “recent” previous.

Album Review- Calexico- El Mirador

Let’s talk first a bit about Calexico’s “Hot Rail”. When I first heard the 2001 album, I was blown away. It was the kind of genre mashup like the first time I heard the Pogues (Celtic punk) or the Mighty Mighty Bosstones (ska and hardcore punk). Though not the bands first album, it was my first exposure to them and still holds up as this completely inventive idea- traditional Tex-Mex music meets Rock. Such a game changer that Uncut just named it # 214 of the best albums of the last 30 years. On a side note, outside of Uncut’s championing (which led to my discovery) -Allmusic, Rolling Stone and Christgau all panned it. Ironically, the UK press being a bigger fan of Americana than the States. Also, I was aware of Jump For Joey, the pre-Calexico ska meet big band group with Joey Burns and I thought they were lame. What’s interesting about Jump With Joey is that they predate the Brian Setzer Orchestra and the Cherry Poppin Daddies and that swing 90s revival as well as predating a lot of Third Wave ska bands. I truly should revisit that band. (Lest you forget, like I did, Burns next move, taking advantage of 90s trends, was the Friends of Dean Martinez) In any case, from those unlikely roots came Calexico, a band that has been prolific (12 albums and plenty of EPs in 26 years) and has done the unexpected (collaborating with Iron and Wine, Lisa Germano and Howe Gelb and various times crossing paths with artists as diverse as Tortoise, Neko Case and musician/producer JD Foster (Dwight Yoakum, Patti Griffin, Chris Mars)). Calexico has carried on, often to critical acclaim (2006's Garden Ruin and 2012 Algiers, to name maybe the most loved outside Hot Rail). With the workhorse element of the band, I have to admit I have watched their activity but not necessarily closely. It would be incorrect to say “El Mirador” is a return to form, but it certainly feels like an album that states “You may have not listened to us in awhile, but check this out”. There’s a very clean feel to the album, so I am not sure that any Top 40 radio station would ever play this, but one would like to think they could sneak it in. It’s hard to otherwise point out what is different about this album, but it feels like a lot went into putting together the best 12 songs that fit their style. There is (as always) a number of guest contributors who I am sure provide an extra creative spark. It is interesting for me (as far as the desert as I can be in Iowa) that a local artist Pieta Brown has become a consistent member of the band going back over a decade, and has a couple of writing credits on this record.

What I am listening to - The Pixies (Live from Murat Theatre, Indianapolis June 7, 2005)

Over the years, the Pixies have released albums of somewhere around 17 concerts they have performed. These were released as limited edition vinyls in pressings of 1000 copies. They have also slowly been releasing these concerts to streaming services over the last couple of years. I am a big Pixies fan, and though the classic lineup has maybe six albums worth of material (albums, EPs and Bsides), it never gets old to me. (As an aside, it’s hip not to like the Pixies Mk. 2, but they have had a few worthwhile moments and I haven’t counted out the possibility of a later era masterpiece). Of all these shows, I gravitated to the June 2005 performance at the Murat Theater. The reason was because of all the performances, the location most pertinent to my experience was Indianapolis. Without speaking to other concerts, this one is a pretty high energy show. The fidelity isn’t perfect but it’s good enough given the quality of the show. Like many of the performances that were committed to vinyl, this was from the band’s last tour with Kim Deal. Bizarrely, the set list for this show was performing the songs in alphabetical order. Probably not surprising, the set list is Doolittle heavy (12 of 27 songs) with Bossanova limited to two, and Trompe le Monde solely represented by “UMass”. Of note, other set list additions are “Into the White” (“Here Comes Your Man” b-side the band loves) “In Heaven” ( from the movie Eraserhead, another Pixies concert staple) and “Winterlong” ( the Neil Young song from the Tonight’s the Night era featured on Decade that would become an addition to the Pixies Mk 2 set list)