Dean Wareham《That’s the Price of Loving Me》[16Bit-44.1kHz][FLAC/分轨][207.85MB]

专辑名称：That’s the Price of Loving Me

歌手名称：Dean Wareham

发行时间：2025-03-28

发行公司：Carpark Records

Carpark RecordsIn June 1990, Kramer and Dean Wareham made Galaxie 500’s final album, This Is Our Music. “Things were tense in the band,” recalls Dean, “but there were exciting moments too. Kramer would suggest things like playing up high on the neck for ‘Fourth of July.’ I also remember taking a break to catch Total Recall on opening day.” Kramer also toured with the band as their sound engineer, often sharing hotel rooms with Dean. However, their paths diverged after Galaxie 500’s breakup.

Over the years, they stayed in touch, with Kramer often suggesting they make another record. It wasn’t until the pandemic, after Dean lost close friends, that he decided to move forward. The result, That’s the Price of Loving Me, was recorded over six days in Los Angeles. Kramer stayed with Dean and his wife, Britta Phillips, and they even paused recording one day to see Kurosawa’s Ran. The album’s 10 tracks retain echoes of Wareham and Kramer’s earlier work but are more complex, with influences from Bacharach, Gainsbourg, and Norma Tanega. Dean’s signature guitar stylings anchor the songs, and Kramer encouraged him to play all the guitar parts. “Kramer believes two takes yield more treasure than twenty,” says Dean. Kramer’s touch is evident throughout, playing piano, organ, and synthesizers. Phillips contributes bass and vocals, while Roger Brogan and Anthony LaMarca handle drums. Gabe Noel arranged and performed cello on four tracks without hearing them beforehand. Dean’s voice is now lower and more intimate but still hits high notes, as heard on his cover of Nico’s “Reich der Träume.”

The album’s lyrics are both melancholic and witty. “The Mystery Guest,” structured as an acrostic poem, mourns a friend, while “We’re Not Finished Yet” celebrates Dean’s 1968 Gibson ES-335. The lead single, “You Were the Ones I Had to Betray,” driven by Noel’s cello, explores friendship and betrayal. The title track features conga rhythms and a vintage Moog solo, reflecting on the sacrifices of a performer’s life.

Dean also covers Mayo Thompson’s “Dear Betty Baby,” creating symmetry with Galaxie 500’s earlier cover of The Red Krayola’s “Victory Garden.” This time, he draws from Thompson’s solo album, Corky’s Debt to His Father.

That’s the Price of Loving Me is Dean’s fourth solo album and his first for Carpark Records. While the album nods to Galaxie 500, it focuses on the passage of time. “Imagination is memory,” Dean notes, “expanding everything we can remember.”

“34 years is a long time,” says Kramer, “but working with Dean again felt seamless. The ‘full circle’ air still lingers. Collaborations like this are incredibly rare, and I’m grateful to have been invited inside again.” 

credits

released March 28, 2025

I was in high school in 1990, I was fifteen, I was in a Galaxie 500 cover band while they

were still a band, we were called Tugboat. I learned how to play guitar by practicing

Dean’s leads and solos. It was the first music I’d ever heard that seemed like it was

made for private listening, that didn’t imply an audience. Dean is the body of the Galaxie

500, gorgeous and lean with the appearance of the indestructible. He is the face of the

moon.

2024. Dean is back in the cauldron with Kramer (producer of Galaxie 500, Daniel

Johnston, Low). Six days in an Eagle Rock studio with Britta Phillips on bass and

vocals, Gabe Noel on cello and bass harmonica, Kramer on the celeste, tiple, Moog,

pump organ and electric piano. Kramer insists that Dean play all the guitars on this

record.

And knows that two takes yield more treasure than twenty.

Imagination is nothing but the working over of what is remembered.

Dean Wareham also traffics in the past, in memory.

Songs in dialog with songs.

Thomas Mann lives in Bob Dylan’s basement.

The spoils of the British American dream

Lawrence of Arabia

Lawrence of Felt

Norma Tanega and Dusty Springfield

This is a long song; the sound goes on.

“You Were the Ones I Had To Betray” unfolds with the rhythm and tempo of cards being

dealt.

Dean has never seen a shooting star

He only dances to New Order

He will not play croquet

Blue black and skin tone corduroy.

Brooks Brothers. Paul Smith. A.P.C.

The photographs of William Eggleston

He is doing what he can to trickle down

He sings his Hallelujahs, genuflecting Americana.

The poet who inevitably turns his craft into the subject of his craft,

Drops his own name and celebrates polishing his guitar

We’re not finished yet

We are made privy

From the content of his dreams

To his waking physical ailments

What he listens to

What he remembers

Even his politics, not with a cudgel, but in passing

Objects in a still life, items in a catalog.

A litany of life.

This and that.

Like George Perec doing the Ramones

His erudition speaks for itself

(But maybe obscurity is the proof of erudition?)

We’re not finished Now.

That’s the Price of Loving Me is a timely album. Dean reminds us that we are alive, alive

here, alive now and that life’s pleasures are still here, all around us, amid the dross and

complications, if one is receptive to it. “That’s the Price of Loving Me” amounts to a shot

in the arm, to sweet, daylong succor.

We’re not finished yet.

Matt Fishbeck

Los Angeles 2025

1.You Were the Ones I Had to Betray 03:01

2.Dear Betty Baby 03:50

3.Mystery Guest 03:21

4.New World Julie 03:30

5.We're Not Finished Yet 03:48

6.Bourgeois Manqué 05:51

7.Yesterday's Hero 03:05

8.That's the Price of Loving Me 03:02

9.Reich der Traume 03:19

10.The Cloud is Coming 04:09

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