I'm in the process of re-listening and re-evaluating my record collection, in no particular order. I'll be sharing the results of my evaluation and thoughts on the music in this blog.
So this isn't really a random-selection review. I chose this album because I was recently in Canterbury on a short side trip from London. It's a beautiful medieval city, with a river running through it and plenty of excellent taverns and pubs. It's lively, too, thanks no doubt to the student population of the University of Kent. I noticed that many pubs hosted live music, mostly on Fridays and Saturdays, although we also caught a few bands on a Sunday at what is probably the town's most rock'n'roll bar, The Lady Luck. Usually, a visit to a new town is a chance for me to map out the local record-store situation for this blog. In this case, I was unlucky, as two of the four record stores (Canterbury Rock and Vinylstore Jr.) were closed on Sundays and Mondays—the very days of my visit. The third was a local branch of the HMV chain: rather large, with new vinyl and CDs, T shirts, books, and other items. A wide variety of books were on offer "2 for £9", also many LPs "3 for £66". Another shop, called Sounds, is situated at the main town road (9 St Peter's St) it sells mostly 2nd hand LPs (£10-30,a few offers for £5) as well as a few CDs and singles. They had an interesting selection of soul, jazz, and some dance 12', but I was more interestedvin buying something by one of the highly rated bands from the Canterbury scene. In this case, nothing caught my fancy. So, upon my return, I pulled out a bunch of CDs and LPs from this subgenre already in my collection and gave them another listen.
Caravan's Cunning Stunts stood out because of its Hipgnosis cover and its title. The band clearly intended a famous spoonerism, hoping that listeners would, amusingly and embarrassingly, mispronounce the title as "Stunning Cunts". For readers unfamiliar with the term, a spoonerism is a speech error in which consonants or syllables are inadvertently swapped between words, often producing a comic effect. The phenomenon is named after a certain William Archibald Spooner, an Oxford don and priest who was reputed to make such verbal slips. Discovering this sent me down an etymological rabbit hole. Where, I wondered, does the Greek equivalent, sardam, come from? As luck would have it, the answer involves a strikingly similar story: An actor named Madras was prone to the same kind of verbal mix-ups, prompting the public to immortalize his slips with an anagram of his name. Probably not the claim to fame he imagined when he went into show business. Back to the Canterbury scene: most people trace its beginnings to a mid-1960s group called The Wilde Flowers. Although their sound was not too different from that of other beat bands of the era, many of the members were more intellectually inclined, with a strong interest in jazz and a penchant for complex arrangements. These traits, combined with a distinctly British sense of whimsy, became the defining characteristics of what would later be known as the Canterbury scene. Of the two groups that emerged from the breakup of The Wilde Flowers, Soft Machine was the more adventurous and jazz-oriented, while Caravan leaned toward a more accessible, pop-focused sound. Some (i.e. prog purists) might argue that on Cunning Stunts is even a little too commercial, but I don't think anything essential was lost in the process. Opener "The Show of Our Lives" is a pleasant piece of orchestral soft rock, featuring well-played guitar solos and exquisite vocal harmonies reminiscent of Yes and perhaps even The Beatles. "Stuck in a Hole" is a short, upbeat tune highlighted by a Stevie Wonder-ish organ or Moog synthesizer solo. "Lover" is a heavily orchestrated ballad in the vein of the Moody Blues, or perhaps those solo Lennon tracks lavishly produced by Phil Spector. It segues into "No Backstage Pass", a beautiful and melodic song that recalls the soft psychedelia of Caravan's classic Land of Grey and Pink era. Hastings delivers a fine vocal performance, supported by tasteful violin work and a slightly heavier bass presence than on earlier albums. Bassist Mike Wedgwood takes over the lead vocals on the even funkier "Welcome the Day". Although it sounds nothing like classic Caravan, it remains one of my favourite tracks on the album: radio-friendly, soulful, and featuring excellent keyboard–violin interplay. Prog fans may dislike it, but side two offers plenty to satisfy their tastes. "Dabsong Conshirto" is one of those indulgent 18-minute song suites that progheads love so much. While it begins as another accessible soft-rock number—again probably featuring Wedgwood on lead vocals—it gradually develops into an extended Canterbury-style jazz-prog workout, showcasing superb violin, flute, keyboard, and ensemble playing. The musicianship throughout is consistently impressive. The album closes with the brief, humorous ragtime-style instrumental coda "The Fear and Loathing in Tollington Park". All in all, Cunning Stunts may not be Caravan's definitive statement, nor is it the most representative album of the Canterbury scene— I doubt that a typical Canterbury scene album exists, seeing as the term encompasses a remarkably diverse range of musical approaches. Nevertheless, it remains a highly enjoyable slice of mid-1970s progressive rock: melodic, expertly performed, and certainly considerably better than its middling reputation might suggest.
**** for The Show of Our Lives, Stuck in a Hole, No Backstage Pass, Welcome the Day, Dabsong Conshirto
*** for Lover, The Fear and Loathing in Tollington Park
Over the last year, I've been lucky enough to catch some punk legends I loved as a teenager—and still do, for that matter. Last summer, it was The Undertones, The Damned, and the Sex Pistols. True, the Pistols without Johnny Rotten are a far cry from the original experience, but the new guy—I believe his name is Frank Carter—was enthusiastic and clearly determined to give the audience a good time. Let's face it: would you rather have a frontman who dives into the crowd and leads the audience in a chorus like a football chant, or a standoffish, sarcastic one? ("Ever get the feeling you've been cheated? Ha ha.") Then, last March, it was the Buzzcocks' turn at Haarlem's Patronaat. I would have loved to see them with original frontman Pete Shelley, but unfortunately we lost him some seven years ago. Rather than hiring a soundalike, guitarist Steve Diggle took over vocal duties as well. His voice is harsher, which—combined with the band's high-energy playing—resulted in a noisier, punkier sound than the Buzzcocks had in their prime. His voice was a much better fit for the band's newer, more classic rock-oriented material. We enjoyed that too, even though most of the audience had come to hear the classic 70's punk-pop singles. When we returned home, I went looking for my copy of Singles Going Steady. In my youth, I had played the vinyl to death; later, I bought the CD edition, which included a handful of bonus tracks, though none I remember with much fondness. Imagine my surprise when I couldn't find either. During the Great Vinyl Purge, plenty of albums that I also owned on CD found their way to second-hand shops, but where had the CD gone? Never mind—I just had to have this album, so I went online and ordered the 45th Anniversary vinyl edition through my local record store. After a month, they admitted defeat and refunded my money. In the end, I visited the shop in person and picked up the standard Domino reissue instead: the same remastering, but on plain black vinyl, with none of the bells and whistles. It still comes with a nice booklet and is mastered at half speed for improved sound quality. Audiophile punk—Who knew it would ever come to this?
The story of the Buzzcocks actually begins with the Sex Pistols. In February 1976, Bolton students Howard Devoto and Pete Shelley read the first description of a Sex Pistols gig in the music press, and felt they had to witness the band first hand. They travelled to London to catch them live, and immediately decided they'd form a band. They managed to persuade the Pistols to come to Manchester for a historic concert. Hardly anyone attended, but many of those who did went on to form bands themselves - and those include Joy Division, New Order, the Smiths, the Fall, Magazine, and, of course, the Buzzcocks. After an independently released EP, Devoto left to form Magazine, prompting Pete Shelley to step into the vocalist role and Steve Diggle to take over on guitar. The band's first single, "Orgasm Addict", was an ode to teenage compulsive masturbation. The influence of the Sex Pistols is evident, both in its sound and its provocative subject matter. The Buzzcocks would soon outgrow their mentors and forge a distinctive style of their own, one that traded sarcasm for romance and combined the melodic instincts of the Beatles with the speed and power of the Ramones. Singles Going Steady was originally conceived as an introduction to the band for the American market and was initially released only in the United States. Side One collects the A-sides of the band's first eight singles in chronological order, while Side Two gathers the corresponding B-sides. The result is one of the strongest singles compilations of the punk era. Every track on Side One is a punk-pop gem. Shelley's lyrics focus on difficult relationships, romantic frustration and unrequited love, while the music's relentless energy is balanced by his high-pitched, tremulous voice, which lends the songs an unexpected vulnerability. Their arguably greatest song, "Ever Fallen in Love (With Someone You Shouldn't've Fallen in Love With)?", perfectly blends sharp guitars, heartache and an unforgettable chorus. As was often the case with Shelley, the lyrics avoid specifying the gender of the object of affection, making the song more easily relateable. Morrissey would later use much the same trick with the Smiths. The emotional confusion and longing at the song's heart may be universal, but the title made even more sense to me when I later learned that Shelley was bisexual. Side One closes with "Harmony in My Head", another highlight. Written and sung by Diggle, it pairs an infectious melody with a slightly heavier, more stomping rhythm and soaring guitars. If Side Two, comprising the band's B-sides, is a little lighter on killer hooks, it makes up for it with a more adventurous sound. From the rude punk blast of "Oh Shit!" to "Something's Gone Wrong Again" and its (Stooges-inspired?) insistent one-note piano riff, to the relatively bright punk-pop of "Lipstick" and "Noise Annoys", the band displays a far greater stylistic range than the exquisitely crafted A-sides might suggest. They become even more experimental on the six-and-a-half-minute kraut-funk marathon "Why Can't I Touch It?", while "Autonomy" points towards a darker post-punk future, sounding closer to Magazine or Gang of Four than to the Ramones. Now, listening to the album again confirms my feeling that I needed to add this LP to my collection again, as soon as possible. Compilations are often afforded less importance than proper studio albums, but this is one of the exceptions. More than a collection of radio-friendly singles, it distils everything that made the Buzzcocks unique: punk's urgency tempered by vulnerability, youthful romantic confusion transformed into perfect pop songs, unforgettable melodies, and even a sense of experimentation for which the band is not always associated with. Seeing the Steve Diggle-led version of the band earlier this year made me realize that, in the space of just a few short years, the Buzzcocks built a remarkable songbook. Diggle is a very different singer from Pete Shelley, yet the songs lose none of their power in his hands. Partly because he clearly believes in them, but mainly because they are such brilliantly crafted pieces of songwriting. More than simply the distillation of the band's essence, Singles Going Steady is one of a dozen or so punk albums that no rock collection should be without.
***** for What Do I Get?, I Don't Mind, Love You More, Ever Fallen In Love?, Harmony In My Head, Noise Annoys, Something's Gone Wrong Again
**** for Orgasm Addict, Promises, Everybody's Happy Nowadays, What Ever Happened To?, Autonomy, Just Lust, Lipstick, Why Can't I Touch It?
I think I first heard this album blasting from the speakers of a music bar on a warm evening in Tokyo (I think it was Bar Rockaholic? It was directly above a record store I visited for my record stores of shibuya post). The songs sounded like The Clash with Japanese lyrics; I remember there were a few customers shouting the lyrics at the top of their lungs. They seemed quite drunk even though it was still early. Later, I found in second hand shops some LPs by this punk band called Anarchy, and decided to take a couple together with me to The Netherlands - I've always been a sucker for non-English language rock.
The band's self-named debut アナーキー (1979 or 1980? my sources do not agree) does sound a lot like The Clash , which makes me think they must have been the same band I heard play at the Shibuya bar that night. Three songs are more-or-less direct Clash covers: "東京イズバーニング [Tokyo is Burning]", "ホワイト・ライオット [White Riot]" and "アナーキー [Anarchy]" (A.K.A. "Safe European Home"). "3.3.3." is a cover of Stiff Little Fingers' "Suspect Device", and "ジョニー・B・グッド" is Chuck Berry's "Johnny B. Goode", while the band took their name from Sex Pistols' "Anarchy In The UK". Other songs sound familiar too, but I couldn't place them - in any case, the aforementioned bands should give an indication of their influences. I must say that this is exactly my favorite punk rock style: short, fast, aggressive, but still somehow melodic. In general, Anarchy seem to be closer to the English punk school rather than the American one. If you think about it, there are quite a lot of similarities between England and Japan in the 70's: former empires in decadence, ages-old society structures with an emphasis in decorum, repression and self-restraint, the institution of monarchy - Anarchy's disparaging attitude to the Imperial Family caused as much a backlash as Sex Pistols' "God Save The Queen" did. The lyrics form, apparently, a rejection of modern Japanese society, attacking consumerism, conformism, and the "worker ant" ethos. More in-your-face than the sarcastic British school or fun-loving American one. Vocals are aggresive, words spat out rather than sung, and tempos fast. Half the songs clock well under 2 minutes, the rest between 2' and 3'. Song structures usually follow the same pattern: Short intro→Verse→Chanted chorus→Short solo/noise break→Final chorus→abrupt ending. The guitarwork is relatively basic (power chords, minimal chord changes), but then again, that's punk; in any case, the guitarist sounds rather more profficient than his counterparts in classic English punk bands. On the other side, there's less variety in the music, at least in this debut lp: no reggae/funk influences like The Clash, or hard rock ones like Sex Pistols. Despite a certain sense of sameness, the urgency and short duration of each track here ensure the listener won't get bored at any point. There are no weak tracks here, on the contrary there are a lot of highlights e.g. the repetitive chant of "Not Satisfied", melodic guitar break of "Aburamushi", rockabilly guitar in "Mou Out", call-and-response vocals of "City Surfer" etc. As I said previously, many of these songs here are either covers of, or partly lifted from, contemporary Western punk rock. Yet, there's also something distinctively Japanese about this LP - other than the obvious, which is the language. It turned out to be hugely influential for the local scene and is listed at No.16 of Rolling Stone Magazine's All Time-Greatest Japanese Rock Albums list. Is the music here derivative? Yes, absolutely. But so is Green Day's, and they are one of the most popular -and therefore important- punk rock bands, ever.
***** for ノット・サティスファイ [Not Satisfied], あぶらむし [Aburamushi], 3・3・3, シティ・サーファー [City Surfer], 団地のオバサン [Danchi no Obasan], アナーキー [Anarchy]
**** for ジョニー・B・グッド [Johnny B. Goode], 東京イズバーニング [Tokyo's Burning], 缶詰 [Kandume], もうアウト [Mou Out], 季節の外で [Kisetsu no Soto de], ホワイト・ライオット [White Riot], 教室の中で [Kyoushitsu no Naka de]
Eighties music always gets an awfully bad rep; I guess that's to be expected if one judges from the era's hit parade and dominant production techniques. But to me, a teenager of that era, it was a time of exciting musical discoveries; yes there was very little of value on the MTV, but we had pirate radio - until the late 80's when the state monopoly of the airwaves was lifted, that is. Rock FM 969, the first station dedicated to rock music, was established in 1989. Until then, our main sources of musical education were pirate radio, music magazine pop + rock, and above all the mix tapes we exchanged with friends. The music bars around Exarchia also introduced us to some great bands: staples of the time included the Violent Femmes, Gun Club, Fuzztones, as well as some of the groups featured in this compilation. I started building my record collection in the mid 80's; I bought very few new LPs, only those by bands I absolutely wanted to have; instead I bought slightly older "nice price" releases or used vinyl - since information was scarce, my record buying habbits were largely guided by instinct and price: if I had read or vaguely heard about a band that sounded up my alley, and the price was right, I'd risk buying their record. Album covers played a big role; paisley or psychedelic designs, or fonts similar to 60s psychedelic, would always catch my eye. Certain record companies, too: Bomp, Voxx, Dionysus, Skyclad, Midnight Records, German indie Music Maniac: all these released a slew of garage/neo-psychedelic records. All through the late 80's and early 90's I collected everything garage/psych- relatedI could get my hands on, either the original 60s stuff or neo-psychedelic revival. A lot of them disappeared during the great vinyl purge, but a relatively big chunk (compared to vinyl of other genres) has stayed with me, to this day.
A month or two ago, I read about this release in Mojo Magazine. I've always had a soft spot for paisley underground bands, so, knowing that Cherry Red Records has done a great job anthologizing other periods/genres, I ordered the box set from Amazon. It consists of three CDs in a sturdy clamshell box. Each CD has 20+ tracks, making up a total of 67. There's a mix of relatively well-known songs and rarities, some by future stars and some by others who went unnoticed at the time. As it turns out, I already had many of the songs in my collection, mostly on vinyl, but hadn't listened to them in a while. It's nice to hear them again now, in this kind of mixtape situation. The same goes for some LPs that I sold when I had to radically downsize my vinyl collection in the early 00's. I now have to re-evaluate my choices; I probably shouldn't have parted with The Rain Parade's Emergency Third Rail Power Trip. The two songs included here are ("What She's Done To Your Mind", "This Can't Be Today") are fine examples of Byrds-y neo-psychedelia with beautiful harmonies and jangly guitars. I guess that at the time I thought it was a bit too tame; I prefered bands that were louder, and more faithful to 60s garage as evidenced in the Nuggets, Pebbles, etc. compilations. There's a healthy dose of those here, and it's telling that most of these albums have stayed in my collection: The Tell-Tale Hearts, Prime Movers, Yard Trauma, Cynics, Mod Fun, and others. Plan 9's "White Woman" (1984) is a Seeds-like garage rocker, while The Vertebrats' "Left in the Dark" (1981) was one of the highlights of the classic Battle Of The Garages comp.
The Last's "She Don't Know Why I'm Here" is the oldest track here (1977), and the one that opens this (more or less chronologically ordered) comp. The Last came out of the L.A. punk rock scene, but played in a more melodic, 60s- influenced, style. Chris Bell's 1978 "I Am The Cosmos" probably doesn't belong here; Big Star's co-founder may have influenced some of these bands but belongs to a previous generation. R. Stevie Moore's "I Go Into Your Mind" (1979) is a dreamy keyboard ballad, The Fans' "True" (1980) is power pop, and The dB's 1981 demo "Nothing Is Wrong" is a trippy ballad influenced by Big Star. As Californian post-punk bands began to embrace a softer garage sound, often embellished with country brushstrokes, a localized 60's revivalist movement appeared which was inspired by West Coast flower power rather than the punkier 60's sounds from Michigan or the Northwest. It became known as the paisley underground (PU), as these musicians favored vintage 60's gear and clothing. A typical example is Action Now, whose song "Try" was recorded for a compilation curated by influential DJ RodneyBingenheimer. It had all the PU hallmarks, but wasn't a hit, which led to guitarist/songwriter/backing vocalist Paula Pierce to leave and start her own, all-female, group: The Pandoras' gutsy music and Paula's snarly delivery evoked the bands that reigned in the Sunset Strip club scene circa 1966, like The Standells and Chocolate Watch Band. They made two amazing 60's sounding LPs and an ill-advised pseudo-metal one, before Paula tragically died of an aneurysm at the age of 31. Another all-female PU band had much better luck: The Bangs, led by Susana Hoffs and the Peterson sisters, also started out playing garage rock; softer than the Pandoras, their 1981 debut "Getting Out of Hand" is a playful garage pop single with Beatles-inspired harmonies. Legal action by another group obliged them to change their name, initially to The Bang-less, and then The Bangles. We get one more 60's-sounding track from their same-named EP (1983); already they had gotten more professional and commercial-sounding with the help of Blondie producer Craig Leon. Pretty soon they'd become one of the bigger pop groups of the era, leaving the PU scene behind. From the same year, sisters Kristy & Kelly Callan-fronted Wednesday Week offer more upbeat and melodic garage pop.
On the more psychedelic/experimental side, we get "Office Skills" (1980) and "Euphoric Trapdoor Shoes" (1983) by Plasticland, True West's Tomorrow/Pink Floyd sounding "Steps To The Door" (1983), and the ghostly "Nothing Is Saving Me" (Translator, 1982). Now that I think of it, the latter also has similarities to early Cure. Other songs giving off a mysterious/horror vibe are "Sheez Wycked" (The Twisted) and Human Expression cover "Every Night" (The Suburban Nightmare). Both songs feature fuzzed out organ and tortured Cramps-likevocals - in the latter case by Blag Dhalia, later to find notoriety with The Dwarves. Bands with a more contemporary new wave sound include Wire Train, Darius And The Magnets, and Al Bloch; his "Hanging Around" shares more than a title with The Stranglers. My favorite PU band was The Dream Syndicate; I must have seen Steve Wynn, either solo or with Dream Syndicate ten times. Their music wasn't as sunny as other bands of the scene; there was a definite influence by Velvet Underground and Neil Young & Crazy Horse. The two tracks included here ("Sure Thing" and a cover of Young's "Mr. Soul") were recorded Live at KPFK Radio in '82, a nice bonus for fans like me who already own their official discography. Green On Red's "Death And Angels" comes from their 1982debut album recorded when they were still based in Tucson AZ. Later they'd move to California and adopt a more country-ish sound, although drummer Van Christian stayed behind and co-founded Naked Prey, who are represented here by the half-spoken heavy blues "The Story Never Ends" (1984). A similar path was followed by The Long Ryders: "And She Rides" (1983) is more garagey, while next year's "Too Close To The Light" signifies a move towards country rock. Sid Griffin of the Long Ryders as well as Yard Trauma's Lee Joseph started out, together with singer Shelley Ganz, as The Unclaimed. Their 1980 track "Deposition Central (The Acid Song)" is mid-tempo psychedelia; not what I expected, as I have a mini LP from a later incarnation which took a more frantic garage punk approach. That later incarnation featured Rich Coffee on guitar, who would soon also leave to form his own band, Thee Fourgiven. A1985 track by them is included here; it's a somewhat more muscular garage rock with Doors-like vocals and a 13th Floor Elevators drone. Back to the sunnier sounds often associated with California, bands utilizing jangly Byrdsian guitars and Beatles-like harmonies include The Point (1983's "Magic Circle" features a baroque harpsichord break a la The Left Banke), Tommy Keene, The Reverbs, Dreams So Real, The Impossible Years, Dumptruck, and 28th Day. Another band with a jangly guitar sound whom you wouldn't initially think of bundling with the rest here, were Athens GA's REM - yet "Gardening At Night" from their debut EP fits very well with the rest.
Other bands one does not normally associate with the PU sound because of theirpunk/hardcore pedigree are Redd Kross (here with an excellent cover of The Stones' "Citadel"), Hüsker Dü, and The Meat Puppets, whose second album is a pre-grunge/country/psych masterpiece. Nirvana covered no less than 3 songs from Meat Puppets II (1984) in their MTV Unplugged LP, including "Plateau" which also appears here. The Droogs are also a band apart; formed in 1972 they kept the garage-psych flame alive, existing at the margins and only releasing thir first LP Stone Cold World in 1984. I will never forget seeing them at a beach festival in Athens around 1990; they had flown in late the same night, and when they reached the festival grounds they expected it all to be over. Instead, everyone was still there and in high spirits; the band went onstage around 3:00 in the morning and played almost until dawn. The Eyes Of Mind's discography consists of a sole mini-LP (Tales Of The Turquoise Umbrella, 1984) which is still in my collection. "With You Again" is a melodicpiece reminiscent of UK popsike circa '68. The Three O'Clock are quite similar, but for some reason I sold their LP during the Great Vinyl Purge. I seem to remember thinking it was too poppy, sound too clean, vocals too sweet."Her Head's Revolving" (which is included here) proves me wrong: it's rocking a la early Pink Floyd, with nice psychedelic guitar effects. According to the booklet, Prince was a fan of the band; his composition "Manic Monday" was inspired by Three O Clock; he gifted the song to The Bangles, providing them with a huge international hit. Disc 3 of the compilation covers the second half of the 80's; it opens with The United States of Existence's "Welcome Tomorrow, Goodbye Today", a song that reminds me of the band Tomorrow, with its swirling organ and sitar. The Flaming Lips peaked around the turn of the millenium, but they've been around for a long time. "With You" from their 1986 debut alternates acoustic folk psych with loud distorted guitars. Camper Van Beethoven's "Circles" employs classic experimental tricks like backwards vocals, psychedelic effects, and exotic sitar. Atlanta's Drivin' N Cryin' later found fame with a heavier Southern Rock sound, but "Count The Flowers" (1986) is a powerful 60's-style pure garage/psych rocker. At the other end of the musical spectrum, Game Theory's "Regenisraen" is an elegant acoustic ballad with Simon and Garfunkel-like harmonies.
LA's The Things ("You Can't Deliver", 1986) walk in the footsteps of 60's bands like Love and The Byrds, while Flying Color ("Dear Friend") and Winter Hours ("Hyacinth Girl") bridge the 60's with the contemporary indie folk of The Smiths and Stone Roses. The Steppes, fronted by Irish singer-songwriter brothers John and David Fallon, relocated to LA, joining the local scene and therefore earning a place in this, US-only, compilation. They're one of my favorite bands of the era, reminsing me of early Pink Floyd and UK 60's band The Kaleidoscope. The Green Pajamas are another favorite; I own a few of their albums as well as a solo one by Jef Kelly. Kelly's voice reminds me of Donovan, Marc Bolan, and Paul Roland. "Kim The Waitress" is a nice piece of romantic psychedelia, dominated by distorted sitar. The only track hailing from 1987 is The Inn's "What's It Like", a garagey folk rocker. The final 5 tracks all come from 1988: Absolute Grey's "For Some Reason" is alt-rock with trippy vocals, The Cynics' "Took Her Hand" is pure 60s-style garage punk, while The Sneetches' "Home Again" is Kinks-like 60s pop. Dead Moon, as I've mentioned before, are the band that, to me, perfectly embody the spirit of authentic rock and roll; "Graveyard" evokes the 13th Floor Elevators, with 60's veteran Fred Cole proving an equally good screamer to Roky Erickson. The box set closes with Ultra Vivid Scene's "Mercy Seat", dreamy hypnotic psychedelia that seems to presage the 90's shoegaze genre. All in all, this is a hearty compilation that embraces all the facets of the neopsychedelic/paisley underground 80's phenomenon with meaningful detours into classic garage punk, mainstream alternative rock, jangly indie pop, and new wave. For myself, it's both a trip to memory lane and an educational introduction to music that aligned to my taste but had escaped my attention at the time. At 67 tracks, This Can't Be Today offers an embarassment of riches for what is nowadays the price of a single new LP.
***** for The Vertebrats - Left in the Dark, R.E.M. - Gardening At Night, The Long Ryders - And She Rides, The Rain Parade - This Can't Be Today, The Pandoras - It's About Time, Meat Puppets - Plateau, The Tell-Tale Hearts - Come And Gone, The Steppes - Sky Is Falling, Dead Moon – Graveyard
**** for The Last - She Don't Know Why I'm Here, Plasticland - Office Skills, The Bangs - Getting Out of Hand, Chris Bell - I Am The Cosmos, The Fans - True, Green On Red - Death And Angels, The Unclaimed - Deposition Central (The Acid Song), The Dream Syndicate - Sure Thing (Live at KPFK), Translator - Nothing Is Saving Me, Al Bloch - Hangin' Around, Wednesday Week - Sad Little Dog, The Rain Parade - What She's Done To Your Mind, True West - Steps To The Door, The Point - Magic Circle, Wire Train – Everything’s Turning Up Down Again, Darius And The Magnets - Saturday At 3:00 P.M., Plan 9 - White Women, Redd Kross - Citadel, Droogs - For These Remaining Days, Naked Prey - The Story Never Ends, Bangles - The Real World, The Long Ryders - Too Close To The Light, The Three O'Clock - Her Head's Revolving, The Eyes Of Mind - With You Again, The Impossible Years - Flower Girl, Thee Fourgiven - Anything, The Romans - Vicki Seventy, The Prime Movers - True To Me, The Suburban Nightmare - Every Night, Yard Trauma - Must've Been Something I Took Last Night, The United States of Existence - Welcome Tomorrow, Goodbye Today, 28th Day - 25 Pills, Dumptruck - Back Where I Belong, Hüsker Dü - Hardly Getting Over It, The Flaming Lips - With You, Game Theory - Regenisraen, Drivin' N Cryin' - Count The Flowers, The Things - You Can't Deliver, Flying Color - Dear Friend, Winter Hours - Hyacinth Girl, The Green Pajamas - Kim The Waitress, Mod Fun - Hope It's Today, The Inn - What's It Like, Absolute Grey - For Some Reason, The Cynics - Took Her Hand
*** for The dB's - Nothing Is Wrong (Demo), Action Now – Try, Tommy Keene - Mr. Roland, R. Stevie Moore - I Go Into Your Mind, Plasticland - Euphoric Trapdoor Shoes, The Dream Syndicate – Mr Soul (Live at KPFK), The Reverbs - Picture An Eye, The Twisted - Sheez Wycked, Dreams So Real - Everywhere Girl, Thin White Rope - The Three Song, Camper Van Beethoven - Circles, The Sneetches - Home Again, Ultra Vivid Scene - Mercy Seat
If you're a regular reader of this blog, you already know how much I like album lists. With today being International Women's Day, I thought it'd be a good moment to share this list: in its Turning the Tables project, NPR assembled critics and musicians to rank the 150 greatest albums made by women. The result is a fascinating journey through decades of music, featuring artists from Lauryn Hill and Madonna to Patti Smith and Kate Bush. Some of the bands mentioned here (X, Sonic Youth, B52's, Fleetwood Mac) are really equal male/female singer-songwriter partnerships. I wouldn't have thought of including them in a list like this, but ultimately it makes sense; for example, Sonic Youth's Kim Gordon has been such a feminist icon in the American underground rock scene that she couldn't be absent from here. Her memoir Girl in a Band is already considered essential rock'n'roll reading, and coincidentally it's sitting on top of my to-read book pile at the moment. As usual, if an album has already been reviewed in this blog, there's a link to the relevant post. In this case though, I wanted to include a short description forevery entry here, explaining why each of them is important. However, the list is so long that I ended up cheating a bit and asking AI to help me write it.. It turned up quite well - after all I must admit that I haven't heard all of these albums; some, especially the R&B and hip hop artists here, are familiar to me by name mostly: I know a little bit of their history, the received wisdom of why they're supposed to be important, but I haven't heard a lot of their work. I will use this list as a listening challenge and try to broaden my musical horizons. Scroll down to see: how many of these albums have you heard? Does the description make you want to listen to any of them? If the answer is yes, the purpose of this post is accomplished.
1. Joni Mitchell — Blue (1971)
One of the most intimate singer-songwriter albums ever recorded. Mitchell transforms personal heartbreak and self-reflection into deeply poetic, emotionally raw songs.
2. Lauryn Hill — The Miseducation of Lauryn Hill (1998)
A groundbreaking fusion of hip-hop, soul, and gospel that explores love, spirituality, and identity. Hill’s only solo studio album became a defining record of late-1990s R&B and rap.
3. Nina Simone — I Put A Spell on You (1965)
Simone’s voice moves between tenderness and intensity on this jazz-soul classic. The album showcases her ability to reinterpret songs with emotional and political depth.
4. Aretha Franklin — I Never Loved a Man The Way I Love You (1967)
Featuring the legendary “Respect,” this album marked Franklin’s transformation into the Queen of Soul. Gospel roots and raw emotion define its powerful sound.
5. Missy Elliott — Supa Dupa Fly (1997)
Missy Elliott’s debut reshaped hip-hop with futuristic production from Timbaland and her playful, innovative style. Its sound remains influential decades later.
6. Beyoncé — Lemonade (2016)
A bold visual and musical concept album blending R&B, rock, hip-hop, and country. It examines betrayal, Black identity, and empowerment through cinematic storytelling.
7. Patti Smith — Horses (1975)
A revolutionary album that fused poetry with punk rock energy. Smith’s fearless lyrics helped redefine the possibilities of rock music.
8. Janis Joplin — Pearl (1971)
Joplin’s final album captures her explosive blues-rock voice at its peak. Released after her death, it includes iconic songs like “Me and Bobby McGee.”
9. Amy Winehouse — Back To Black (2006)
A modern soul masterpiece inspired by 1960s girl groups and Motown. Winehouse’s brutally honest songwriting about heartbreak made the album a global phenomenon.
10. Carole King — Tapestry (1971)
One of the most beloved singer-songwriter albums of all time. King’s warm voice and timeless melodies produced classics like “It’s Too Late” and “You’ve Got a Friend.”
11. Dolly Parton — Coat Of Many Colors (1971)
A country storytelling masterpiece that blends autobiography with empathy and humor. The title track remains one of Parton’s most beloved songs.
12. Erykah Badu — Baduizm (1997)
A defining album of the neo-soul movement. Badu’s smooth vocals and laid-back grooves introduced a new sound in R&B.
13. Madonna — Like a Prayer (1989)
Madonna’s most ambitious album combines pop, gospel, and social commentary. Its themes of religion, sexuality, and identity pushed pop music into deeper territory.
14. Whitney Houston — Whitney Houston (1985)
A spectacular debut that introduced Houston’s extraordinary vocal power. The album helped define the sound of mainstream pop-R&B in the 1980s.
15. Diana Ross and the Supremes — Where Did Our Love Go (1964)
A Motown landmark packed with hits that helped define the girl-group sound. Diana Ross’s voice brought elegance and charm to these classic pop songs.
16. Fleetwood Mac — Rumours (1977)
A legendary pop-rock album created amid intense personal drama within the band. Its polished production and emotional songwriting produced several timeless hits.
17. Janet Jackson — Control (1986)
A bold declaration of independence that transformed Jackson’s career. Its innovative production shaped modern pop and R&B.
18. Lucinda Williams — Car Wheels On A Gravel Road (1998)
A landmark Americana album blending rock, country, and blues. Williams’ vivid lyrics paint detailed portraits of Southern life.
19. Selena — Amor Prohibido (1994)
A defining Latin pop and Tejano album that made Selena a cultural icon. Its songs combine dance rhythms with heartfelt storytelling.
20. The Ronettes — Presenting the Fabulous Ronettes Featuring Veronica (1964)
A quintessential girl-group album produced by Phil Spector’s “Wall of Sound.” Veronica Bennett’s vocals shine on classics like “Be My Baby.”
21. PJ Harvey — Rid Of Me (1993)
A raw and abrasive alternative rock album that showcases Harvey’s fierce songwriting and vocal intensity.
22. Sade — Diamond Life (1984)
Smooth jazz-infused soul anchored by Sade Adu’s cool, elegant voice. Its sophisticated sound became iconic in 1980s pop.
23. Aretha Franklin — Amazing Grace (1972)
A powerful live gospel recording that reconnects Franklin with her spiritual roots. It remains one of the best-selling gospel albums ever.
24. Loretta Lynn — Coal Miner’s Daughter (1970)
A country classic that tells Lynn’s autobiographical story of poverty and perseverance. The title track became her signature song.
25. Ani DiFranco — Little Plastic Castle (1998)
An independent folk-rock album that blends political insight with personal reflection. DiFranco’s DIY approach influenced many later artists.
26. TLC — CrazySexyCool (1994)
A sleek R&B and hip-hop album that defined 1990s pop culture. Its mix of confidence and vulnerability produced several iconic hits.
27. Tori Amos — Little Earthquakes (1992)
A piano-driven alternative album confronting trauma, religion, and identity. Amos’s intense songwriting made it a cult classic.
28. Nina Simone — Nina Simone Sings the Blues (1967)
Simone channels blues traditions while maintaining her distinctive jazz sensibility and emotional power.
29. Alanis Morissette — Jagged Little Pill (1995)
A generation-defining alternative rock album full of anger, vulnerability, and catharsis.
30. Adele — 21 (2011)
A global success blending soul, pop, and blues influences. Adele’s powerful voice and emotional honesty made the album resonate worldwide.
31. Liz Phair — Exile In Guyville (1993)
A bold indie rock album offering a sharp feminist perspective on relationships and rock culture.
32. Björk — Post (1995)
An adventurous art-pop record combining electronic beats, orchestral arrangements, and experimental production.
33. Queen Latifah — All Hail The Queen (1989)
A pioneering hip-hop album that introduced Latifah’s confident voice and socially conscious lyrics.
34. Tina Turner — Private Dancer (1984)
Turner’s triumphant comeback album combining rock, pop, and soul influences.
35. Blondie — Parallel Lines (1978)
A defining new-wave album that merges punk attitude with polished pop songwriting.
36. Grace Jones — Nightclubbing (1981)
A stylish blend of reggae, disco, and new wave that highlights Jones’s cool, commanding persona.
37. Kate Bush — Hounds Of Love (1985)
An imaginative art-pop masterpiece combining radio hits with ambitious conceptual storytelling.
38. Odetta — It's a Mighty World (1964)
A powerful folk album highlighting Odetta’s rich voice and her connection to the civil rights movement.
39. Gillian Welch — Time (The Revelator) (2001)
A haunting Americana album filled with sparse arrangements and timeless songwriting.
40. The Staple Singers — Be Altitude: Respect Yourself (1972)
A gospel-soul classic featuring uplifting messages of empowerment and unity.
41. Tracy Chapman — Tracy Chapman (1988)
A thoughtful folk album featuring socially conscious storytelling and the hit “Fast Car.”
42. Ella Fitzgerald — Ella Fitzgerald Sings the Johnny Mercer Song Book (1964)
Fitzgerald interprets Mercer’s classic compositions with effortless swing and elegance.
43. M.I.A. — Kala (2007)
A genre-blending album mixing global sounds, political themes, and inventive production.
44. Heart — Dreamboat Annie (1976)
A powerful rock debut showcasing Ann Wilson’s soaring vocals and strong songwriting.
45. Dusty Springfield — Dusty in Memphis (1969)
A soul-pop classic celebrated for Springfield’s emotional vocal performance.
46. Emmylou Harris — Wrecking Ball (1995)
An atmospheric country album produced by Daniel Lanois that redefined Harris’s sound.
47. Celia Cruz — Son con Guaguanco (1966)
A vibrant salsa album featuring Cruz’s electrifying voice and Afro-Cuban rhythms.
48. Etta James — Rocks The House (1964)
A lively live recording capturing James’ powerful blues and soul vocals.
49. Rickie Lee Jones — Pirates (1981)
A sophisticated jazz-pop album full of storytelling and lush arrangements.
50. Hole — Live Through This (1994)
A fierce grunge album combining raw anger with emotional vulnerability.
51. Sarah Vaughan — Sassy Swings Again (1967)
A vibrant jazz album that showcases Vaughan’s extraordinary vocal range and effortless swing. Her phrasing and tone demonstrate why she remains one of the greatest jazz singers.
52. Bonnie Raitt — Nick Of Time (1989)
A blues-rock comeback that revitalized Raitt’s career. Its heartfelt songwriting and expressive slide guitar earned major critical and commercial success.
53. Linda Ronstadt — Heart Like A Wheel (1974)
A landmark country-rock album highlighting Ronstadt’s powerful, emotional voice. It helped bring country influences into mainstream pop.
54. Nico — Chelsea Girl (1967)
A haunting folk-pop album with contributions from members of the Velvet Underground. Nico’s detached voice gives the songs an eerie, introspective atmosphere.
55. The Go-Go's — Beauty And The Beat (1981)
A bright pop-rock debut that made the Go-Go’s the first all-female band to top the charts with songs they wrote and performed themselves.
56. X-Ray Spex — Germfree Adolescents (1978)
A sharp and rebellious punk album led by Poly Styrene’s distinctive voice. Its lyrics critique consumer culture and social expectations.
57. Mary J. Blige — What's the 411? (1992)
A defining R&B album that fused hip-hop beats with soulful vocals. Blige’s style helped create the “hip-hop soul” sound.
58. Labelle — Nightbirds (1974)
A funk and soul classic best known for the hit “Lady Marmalade.” The trio’s theatrical style and vocal power define the record.
59. Indigo Girls — Indigo Girls (1989)
A folk-rock album celebrated for its strong songwriting and vocal harmonies. Its thoughtful lyrics resonated with a wide audience.
60. The Pretenders — Pretenders (1980)
A confident rock debut featuring Chrissie Hynde’s sharp songwriting and distinctive voice.
61. Destiny's Child — The Writing's on the Wall (1999)
A hugely influential R&B album that helped establish Destiny’s Child as a dominant pop group of the late 1990s.
62. Dixie Chicks — Wide Open Spaces (1998)
A breakthrough country album combining strong harmonies with themes of independence and self-discovery.
63. Madonna — Like a Virgin (1984)
A defining 1980s pop album that cemented Madonna’s status as a global superstar.
64. Spice Girls — Spice (1996)
A pop phenomenon that introduced “Girl Power” to global audiences. Its energetic singles dominated the charts.
65. Cassandra Wilson — Blue Light 'Til Dawn (1993)
A moody jazz album blending blues, folk, and rock influences with Wilson’s deep, expressive voice.
66. Miriam Makeba — Pata Pata (1967)
A vibrant Afro-pop album that brought South African music to international audiences.
67. Sinéad O'Connor — I Do Not Want What I Haven't Got (1990)
A powerful album exploring faith, grief, and independence. Its stripped-down emotional intensity defines the record.
68. Rosanne Cash — King's Record Shop (1987)
A country album that balances traditional storytelling with contemporary songwriting.
A defining riot-grrrl punk EP known for its raw energy and feminist message.
99. Taylor Swift — Fearless (2008)
A hugely successful country-pop album that propelled Swift into global stardom.
100. Buffy Sainte-Marie — It's My Way! (1964)
A powerful folk album addressing Indigenous identity and social justice.
101. Eurythmics — Touch (1983)
A synth-pop landmark that highlights Annie Lennox’s powerful voice and dramatic style. Its blend of electronic textures and soulful melodies helped define 1980s pop.
102. Alabama Shakes — Sound & Color (2015)
A genre-blending album mixing soul, rock, psychedelia, and blues. Brittany Howard’s electrifying vocals drive the band’s bold sonic experimentation.
103. Umm Kulthum — Enta Omri (You Are My Life) (1964)
A monumental recording from the legendary Egyptian singer. The album showcases Kulthum’s expressive voice and the rich traditions of Arabic classical music.
104. ESG — Come Away With ESG (1983)
A minimalist dance-punk album built on tight rhythms and stripped-down grooves. Its sound became highly influential in hip-hop, house, and post-punk.
105. Sheila E. — The Glamorous Life (1984)
A vibrant pop-funk album produced with Prince. Sheila E.’s percussion skills and charismatic vocals shine on the title track.
106. No Doubt — Tragic Kingdom (1995)
A ska-punk and pop crossover album that launched Gwen Stefani into global stardom. Its energetic songs captured the spirit of 1990s alternative music.
107. The Shangri-Las — Leader of the Pack (1965)
A dramatic girl-group album filled with teenage romance and tragedy. The title track remains one of the most iconic songs of the 1960s.
108. Gladys Knight and the Pips — Imagination (1973)
A soulful album featuring Knight’s warm, powerful voice and the group’s smooth harmonies.
109. Against Me! — Transgender Dysphoria Blues (2014)
A raw punk album exploring gender identity and personal transformation. Laura Jane Grace’s songwriting is both deeply personal and politically powerful.
110. Miranda Lambert — Platinum (2014)
A modern country album that balances humor, heartbreak, and independence. Lambert’s confident songwriting gives the record its distinctive voice.
111. Diamanda Galás — The Litanies of Satan (1982)
A chilling avant-garde work combining operatic vocals with dark, experimental soundscapes. Galás’ performance pushes the boundaries of vocal expression.
112. Mercedes Sosa — Mercedes Sosa en Argentina (1982)
A powerful live album capturing the Argentine folk singer’s emotional connection with her audience. Sosa’s voice became a symbol of resistance and cultural identity.
113. Aretha Franklin — Young, Gifted and Black (1972)
A soulful album blending gospel roots with contemporary pop influences. The title track became an anthem of Black pride and empowerment.
114. Reba McEntire — Rumor Has It (1990)
A polished country album that helped solidify McEntire’s status as one of Nashville’s biggest stars.
115. La Lupe & Tito Puente — La Pareja (1978)
An energetic Latin album combining Puente’s salsa arrangements with La Lupe’s fiery vocal style.
116. Macy Gray — On How Life Is (1999)
A neo-soul album highlighted by Gray’s distinctive raspy voice and the hit single “I Try.”
117. Joan Jett — I Love Rock 'n' Roll (1981)
A high-energy rock album that turned Jett into one of rock’s most iconic guitarists and performers.
118. Chaka Khan — I Feel for You (1984)
A funk-pop classic that blends R&B with early hip-hop elements. The title track became one of Khan’s signature songs.
119. The Slits — Cut (1979)
A pioneering post-punk album mixing punk attitude with reggae rhythms and feminist defiance.
120. Anita Baker — Rapture (1986)
A smooth and elegant R&B album featuring Baker’s rich, expressive voice. It helped define the quiet-storm sound of the 1980s.
121. Joni Mitchell — Hejira (1976)
A contemplative jazz-folk album inspired by Mitchell’s travels across America. Its sophisticated songwriting and atmospheric sound mark a creative high point.
122. Siouxsie and the Banshees — The Scream (1978)
A dark and influential post-punk debut that helped shape the emerging gothic rock scene.
123. Cris Williamson — The Changer and the Changed (1975)
A landmark folk album in lesbian and feminist music communities. Its themes of identity and empowerment resonated widely.
124. Carly Simon — No Secrets (1972)
A polished singer-songwriter album featuring the enduring hit “You’re So Vain.”
125. Fiona Apple — Tidal (1996)
A striking debut blending jazz-influenced piano arrangements with emotionally intense songwriting.
126. The Carpenters — A Song for You (1972)
A beautifully arranged pop album showcasing Karen Carpenter’s warm, unmistakable voice.
127. Sonic Youth — Sister (1987)
An influential alternative rock album featuring experimental guitar textures and art-rock sensibilities.
128. Pauline Oliveros, Stuart Dempster, Panaiotis — Deep Listening (1989)
A groundbreaking experimental recording exploring sound resonance and meditative listening.
129. Marianne Faithfull — Broken English (1979)
A gritty and atmospheric new-wave album marking Faithfull’s powerful artistic comeback.
130. Teena Marie — Wild and Peaceful (1979)
A funk and R&B debut that showcases Marie’s soulful voice and songwriting talent.
131. Shirley Horn — I Thought About You — Live At Vine St. (1987)
A stunning jazz live recording featuring Horn’s intimate piano playing and smoky vocals.
132. Shelby Lynne — I Am Shelby Lynne (2000)
A deeply personal country-pop album that reintroduced Lynne as a mature songwriter and performer.
133. Fanny — Fanny Hill (1972)
A rock album from one of the first successful all-female rock bands, combining tight musicianship with classic rock energy.
134. Solange — A Seat at the Table (2016)
A reflective R&B album exploring Black identity, empowerment, and healing.
135. The B-52's — The B-52's (1979)
A quirky and colorful new-wave debut known for its playful energy and danceable rhythms.
136. Yoko Ono/Plastic Ono Band — Yoko Ono/Plastic Ono Band (1970)
An avant-garde rock album filled with experimental vocals and radical sonic ideas.
