Sloan is a great Canadian rock n' roll band. I don't think I've ever heard a sub-par Sloan record, and One Chord To Another is one of their best. It's the third studio album by the band and was released in June, 1996, on Murderecords. It was Sloan's first LP not to be released via Geffen Records, and it won a Juno award for Best Alternative Album in 1997.
It comes after a brief breakup following problems they faced with Geffen Records when their second LP, Twice Removed, was released. That record was rejected by the label, who wanted them to re-record in an effort to grunge it up. Nirvana - and all the other so-called "grunge" groups in general - were the "in' sound at the time and several of grunge's biggest bands were signed to Geffen.
Geffen were milking the moment and wanted Sloan to fit in.
But Sloan refused, and so when Geffen released the album they did so without any fanfare. As a result it didn't sell very well, and it was a stressful time that saw the band split up for a bit before regrouping to record this record on their own label after Geffen turfed them.
The sessions began in December, 1995, and One Chord To Another took just two weeks and $10,000 to make (more than $100,000 less than the cost of Twice Removed). I've always maintained that Sloan sounds very Beatlesque, and this record strongly reinforces that opinion. But Sloan are not Beatle wannabes. The influence is definitely there, but the band only references it in order to create their own unique sound. It's Canadian power-pop at its best, and there's even trumpets - something they often acknowledge during their concerts if they can find a couple of local school kids who know how to blow a horn.
One Chord To Another debuted at number 15 on The Record's Canadian Albums Chart and was certified gold in Canada on November 21, 1996. By February 1997 the album had sold 80,000 copies just in Canada and remains one of the band's best sellers. In a 2000 poll conducted by Chart magazine the album was voted the 9th greatest Canadian album of all time.
This release is a 20th anniversary box set that was made available exclusively via the band's website and consists of the original album, another LP of B-sides and demos and a third live LP. There's also a 45, a digital download voucher and some swag.
One Chord to Another has been remastered from the original tapes for this set, and that's the first record in this three-record set. The second record contains the demos and outtakes and is described by bassist Chris Murphy and guitarist Jay Ferguson as a "lost Sloan record." It contains 11 never before released tracks.
The third LP is Live At A Sloan Party, a collection of covers recorded in front of a bunch of friends. It's a fun little romp that had, prior to the release of this box set, only been issued on the double-CD deluxe edition of One Chord To Another.
There's also a large 32-page booklet and a 'zine, which highlights various articles and artwork.
As part of this 20th Anniversary celebration, twenty copies of this box have an added bonus of autographed photos of the band. My copy is signed, but it's not one of those. The band signed it after a concert a few years back. It was a great show - they played this LP front to back. At the time I owned a bed and breakfast, and lead guitarist Patrick Pentland - and some of the band's road crew - stayed at my house that night. The next morning I cooked everyone breakfast, which was fun. Eggs Benedict, as I recall.
This is an excellent record and worth having in your collection. It's really hard to find, however, and as I write this two are for sale on the Discogs Marketplace for almost $300. They are, alas, unsigned.
This record is …
Sloan is a great Canadian rock n' roll band. I don't think I've ever heard a sub-par Sloan record, and One Chord To Another is one of their best. It's the third studio album by the band and was released in June, 1996, on Murderecords. It was Sloan's first LP not to be released via Geffen Records, and it won a Juno award for Best Alternative Album in 1997.
It comes after a brief breakup following problems they faced with Geffen Records when their second LP, Twice Removed, was released. That record was rejected by the label, who wanted them to re-record in an effort to grunge it up. Nirvana - and all the other so-called "grunge" groups in general - were the "in' sound at the time and several of grunge's biggest bands were signed to Geffen.
Geffen were milking the moment and wanted Sloan to fit in.
But Sloan refused, and so when Geffen released the album they did so without any fanfare. As a result it didn't sell very well, and it was a stressful time that saw the band split up for a bit before regrouping to record this record on their own label after Geffen turfed them.
The sessions began in December, 1995, and One Chord To Another took just two weeks and $10,000 to make (more than $100,000 less than the cost of Twice Removed). I've always maintained that Sloan sounds very Beatlesque, and this record strongly reinforces that opinion. But Sloan are not Beatle wannabes. The influence is definitely there, but the band only references it in order to create their own unique sound. It's Canadian power-pop at its best, and there's even trumpets - something they often acknowledge during their concerts if they can find a couple of local school kids who know how to blow a horn.
One Chord To Another debuted at number 15 on The Record's Canadian Albums Chart and was certified gold in Canada on November 21, 1996. By February 1997 the album had sold 80,000 copies just in Canada and remains one of the band's best sellers. In a 2000 poll conducted by Chart magazine the album was voted the 9th greatest Canadian album of all time.
This release is a 20th anniversary box set that was made available exclusively via the band's website and consists of the original album, another LP of B-sides and demos and a third live LP. There's also a 45, a digital download voucher and some swag.
One Chord to Another has been remastered from the original tapes for this set, and that's the first record in this three-record set. The second record contains the demos and outtakes and is described by bassist Chris Murphy and guitarist Jay Ferguson as a "lost Sloan record." It contains 11 never before released tracks.
The third LP is Live At A Sloan Party, a collection of covers recorded in front of a bunch of friends. It's a fun little romp that had, prior to the release of this box set, only been issued on the double-CD deluxe edition of One Chord To Another.
There's also a large 32-page booklet and a 'zine, which highlights various articles and artwork.
As part of this 20th Anniversary celebration, twenty copies of this box have an added bonus of autographed photos of the band. My copy is signed, but it's not one of those. The band signed it after a concert a few years back. It was a great show - they played this LP front to back. At the time I owned a bed and breakfast, and lead guitarist Patrick Pentland - and some of the band's road crew - stayed at my house that night. The next morning I cooked everyone breakfast, which was fun. Eggs Benedict, as I recall.
This is an excellent record and worth having in your collection. It's really hard to find, however, and as I write this two are for sale on the Discogs Marketplace for almost $300. They are, alas, unsigned.
This record is …
BONUS TRACK
Sloan has been together as a band for more than 30 years. That's an extraordinary feat, especially considering how long most bands are able to stick together without wanting to kill each other.
And we're talking the original lineup, too, which even the Stones couldn't pull off for even a single decade, never mind three.
And … they're still a cool band, even among the younger generation. That's something that doesn't usually happen. Sloan's music is good enough to transcend generations.
With 12 albums under their belt, Sloan is well established as a Canadian rock powerhouse - and there isn't a bad record in their catalogue. Sure, people have their favourites - mine is this one - but you'll never hear Chris Murphy or Jay Ferguson regret having put out a Satanic Majesty's Request.
They were able to keep it up - the good crafting of ideas and the camaraderie necessary to work those ideas into really good songs and get them down on tape. They never hit that "I'm almost out of ideas" wall that has forced so many bands to release sub-standard records.
"I often compare myself to the Stones," Murphy has said, more than once. "They’re a band everybody knows that has been in existence for way too long. Who goes to see the Stones wanting to hear Love Is Strong or any of these new songs? Of course, you talk to Mick Jagger and he thinks Steel Wheels or Voodoo Lounge are great and they’re not so bad. But it’s with a confidence or arrogance that I actually think our records are not terrible. I could be laughably wrong, Mick Jagger style, where everybody in the room is thinking, ‘Dude why do you bother?’"
Don't worry, Chris. You're not wrong.
Murphy also likes writing songs. "I’m really proud of what we’ve done and I think we have a large body of high quality work," he told Sharp Magazine a couple of years ago. "You know, we’re older, but we can’t stop that. All we can be is as cool as 50-year-old guys can be. I think we can laugh off our age. I always get a kick out of telling people, “I’m 50. Why don’t you make me a list of cooler 50-year-olds? P.S. fuck you."
This is a great record by a great Canadian band. If you don't already own, you should correct that.
Sloan has been together as a band for more than 30 years. That's an extraordinary feat, especially considering how long most bands are able to stick together without wanting to kill each other.
And we're talking the original lineup, too, which even the Stones couldn't pull off for even a single decade, never mind three.
And … they're still a cool band, even among the younger generation. That's something that doesn't usually happen. Sloan's music is good enough to transcend generations.
With 12 albums under their belt, Sloan is well established as a Canadian rock powerhouse - and there isn't a bad record in their catalogue. Sure, people have their favourites - mine is this one - but you'll never hear Chris Murphy or Jay Ferguson regret having put out a Satanic Majesty's Request.
They were able to keep it up - the good crafting of ideas and the camaraderie necessary to work those ideas into really good songs and get them down on tape. They never hit that "I'm almost out of ideas" wall that has forced so many bands to release sub-standard records.
"I often compare myself to the Stones," Murphy has said, more than once. "They’re a band everybody knows that has been in existence for way too long. Who goes to see the Stones wanting to hear Love Is Strong or any of these new songs? Of course, you talk to Mick Jagger and he thinks Steel Wheels or Voodoo Lounge are great and they’re not so bad. But it’s with a confidence or arrogance that I actually think our records are not terrible. I could be laughably wrong, Mick Jagger style, where everybody in the room is thinking, ‘Dude why do you bother?’"
Don't worry, Chris. You're not wrong.
Murphy also likes writing songs. "I’m really proud of what we’ve done and I think we have a large body of high quality work," he told Sharp Magazine a couple of years ago. "You know, we’re older, but we can’t stop that. All we can be is as cool as 50-year-old guys can be. I think we can laugh off our age. I always get a kick out of telling people, “I’m 50. Why don’t you make me a list of cooler 50-year-olds? P.S. fuck you."
This is a great record by a great Canadian band. If you don't already own, you should correct that.
