LCD Soundsystem, “45:33” (DFA Records)
LCD Soundsystem’s jittery, painfully hip songs cut to the core of what makes a good dance track: thumping bass, Wendy Carlos-quality analog synths, spare percussion and, of course, loads of cowbell.
The nine songs here, however, are meant for working out, not tearing up a nightclub. Originally released last year as an iTunes download and commissioned by Nike as a mix suited for (no really) jogging, “45:33” works as a proper dance album.
It kicks off with the video game- ish blurb “45:33 (I)” before spending the next five segments of that time span on a whirlwind sub-genre tour through funky disco-pop, bell-driven stomps, delightful Eurotrash grooves, horn-driven spazz-outs and, finally, ambient chill.
The disc also includes the irresistible 12-minute jam “Freak Out/Starry Eyes,” an unrecognizable “Onastic Dub” mix of “North American Scum” by LCD head James Murphy and Eric Broucek, and the tribal-tinged “Hippie Priest Bum-Out.” John Wenzel
Roger Green, “Clear Running Water” (self-released)
From the faded glory of the retro packaging to the CD’s odd song list, Roger Green’s latest record is a uniquely anachronistic outing.
The simple packaging mirrors an LP cover from the ’70s, featuring a mountain lake and an “electronically re-channeled for stereo” bug. Outside of a few new songs, Green, a respected and prolific Denver songwriter with a history that includes a long spell spent with the Czars, covers Joni Mitchell, John Denver, Yoko Ono and others.
Green has fun with the covers and standards. His minimalist percussion and pronounced bassline in Denver’s “Matthew” give the track a distinctly Saddle Creek vibe. With Ono’s “Goodbye Sadness,” Green forgoes the yacht rock saxophone in favor of weeping guitars.
The record holds together amazingly well, considering all the voices represented. Green’s original work is the undeniable strength of this half- covers album. The brief “Enemy” is a bold declaration of voice and confidence — a welcome arrival, as the quiet Green has often said he’s never felt like much of a singer. “I Love You (Lowie’s Song)” is remniscent of Green’s last two releases, especially “What Would This Be For.” And that’s perfectly OK with us.
Green will release “Clear Running Water” at a CD release show at the Hi-Dive on Jan. 4. Ricardo Baca
Various artists, “Live From Ebbets Field Vol. 3” (KCUV)
The third volume of Ebbets Field recordings, presented by 102.3 FM KCUV, spans the sepia-tinged folk-rock years of 1973-1976. The former venue, at 15th and Curtis streets, founded by AEG Live Rocky Mountains honcho Chuck Morris, hosted concerts nearly every night of the week from the likes of Dan Fogelberg, Willie Nelson, Tom Waits, Billy Joel, Jackson Browne and others.
None of them shows up on this volume, but the quality of performances is commensurate, from the Dylan- aping harmonica folk of Eric Andersen’s “Thirsty Boots” to Robin Trower (ex-Procol Harum) and his electrified, Hendrixesque “The Fool and Me.”
The sound quality is all over the map — unsurprising, considering the master tapes are nearly 35 years old — but the better ones communicate a warmth and immediacy that likely couldn’t be re-created by today’s all-digital setups. The reel-to- reel buzz of Peter Frampton’s “The Lodger” is endearing, even, in its tinny glory. John Wenzel
