You can count me among the many (millions?) of Canadians who were shocked by the success of this record in the USA when it came out. To me, Barenaked Ladies were a comedy novelty act who had some funny songs and videos, which I had mostly grown out of by the time this record came …
Tag: Power Pop
Altered Beast (1993) by Matthew Sweet
When I was a teen, I didn’t get Matthew Sweet. He had the odd video on Much Music and those videos made no impression on me. But some people in the media (and probably even some people I knew) spoke about him as if he was…someone, as if he had done something in the time …
Temple of Low Men (1988)
Like so much other music, I have come to this band backwards, having recently listened to Neill Finn’s solo debut before I had ever heard any of their records. What I discovered on his solo debut is that he is not my kind of songwriter and often not my kind of performer. This is not …
10cc (1973)
I don’t know 10cc at all. I think they have a couple of hits from later in their career that I’m aware of, but I’m not even sure I could name them without googling them. (Just did: I was right, they did “I’m Not in Love.” Hearing that song never made me want to listen …
The Cars (1978)
The Cars’ debut album marks the point where, for better or worse, New Wave goes commercial. Basically very previous (American) New Wave album was too arty, too quirky, too herky jerky to connect with the average listener. But Ocasek and company found how to merge New Wave with that basic American need for big dumb …
Navy Blues (1998) by Sloan
I thought this was the third Sloan album I’ve ever heard but apparently it’s actually the second. I saw Sloan before I ever heard an album. I saw them a very long time ago and they were fun. Some assholes in the crowd threw beer at them (it was frosh week) and they still persevered, …
Frank Black (1993)
At first, it might be tempting to write-off Frank Black’s debut album as ” softer Pixies plus keyboards” and I can sort of see that. But I think that such a view obscures what’s really going on, and that is the rather huge growth of Black’s songwriting.
Hootenanny (1983) by The Replacements
This is a bizarre, jokey mess of a record, as much of a transition record (in hindsight) as any record I’ve heard by an American band.
Green Thoughts (1988) by The Smithereens
This is one of those records that basically just fails to move me. I understand that it’s all very competent and I do not dislike the aesthetic, really, but something here is missing for me.
Another Music in a Different Kitchen (1978) by Buzzcocks
Full disclosure: I don’t like the Buzzcocks. Until hearing this debut, I’d only ever heard A Different Kind of Tension and that record likely biased me towards this one and its importance.
On the Mouth (1993) by Superchunk
By reputation, I always thought No Pocky for Kitty was the Superchunk album to listen to. Then I listened to it and, though I appreciated why people like it, I didn’t love. I see the RYM rating is higher for this one. I think I know why. I mean, maybe I know why.
So Much for the Afterglow (1997) by Everclear
I don’t know this band save for “Wonderful” so I cannot tell you whether the Beach Boys-esque opening to the title track is a giant left turn or not. If it is, that’s brave of them. But, for those of us who do not know this band, it’s the wrong note to start the album. …
Tone Soul Evolution (1997) by The Apples in Stereo
I am not very familiar with Elephant 6 but, to the extent that I am, I am familiar with weird, idiosyncratic indie pop bands, with a big emphasis on the “indie.” I assumed that Apples in Stereo would be along the same lines as the other Elephant 6 bands but, at least based upon this …
Pleased to Meet Me (1987) by The Replacements
People just love the Replacements and I have been trying for what feels like 10 years to love them. But I don’t.
Mag Earwhig! (1997) by Robert Pollard
This is the second GBV album I’ve ever heard and my impression is pretty much the same as the last one I listened to: although I believe that Pollard is an above average songwriter and though I should like the aesthetic, I just don’t care.
Generation Terrorists (1992) by Manic Street Preachers
What do we do with a record like this? It’s called Generation Terrorists but sounds like it was produced by Mutt Lange or Bob Rock or someone like that. (Well, the production is maybe not that bad.) We have the bizarre amalgam of 80s hard rock (or “cock rock” as some call it) with extremely …
No Pocky for Kitty (1991) by Superchunk
This is a set of solid songs that are uptempo and pleasantly loud. I get why this band was a big deal back then because, to my knowledge, this kind of straight-ahead abrasive power pop/pop punk was a relative rarity. But it’s not really my thing. It’s too one note for me, as much as …
Bob Mould aka Hubcap (1996)
This is a reasonably strong set of songs by Mould, occasionally supported by the kind of attitude towards noise that Husker Du used so well at their peak. But the the diversity that made Husker Du great isn’t really present, nor is the contrast between their two songwriters. It’s like listening to half the band, …
The Gift (1982) by The Jam
The Jam go from ripping off post punk (particularly PIL and Gang of Four) and David Bowie (and the Beatles!) to ripping off soul. I don’t know Northern Soul, so I don’t know if this is derivative of that, but you can hear echoes of southern (American) soul as well as the usual Jam influences. …
Setting Sons (1979) by The Jam
This is apparently an abandoned concept album. That wasn’t very apparent to me, before I read that somewhere online, but that could just be because I’m not paying attention. The songs are strong again and the sonic palette is ever expanding (compared to their previous albums). This is very well done but remains just not …
All The Mod Cons (1978) by The Jam
This is, by all accounts, The Jam’s masterpiece. It’s clear the songwriting has improved by leaps and bounds, especially from their second record. The music has also developed: most of the raggedness is gone and the musical ideas are more complicated, and this is quite clearly the missing link between The Kinks (and The Who) …
This is the Modern World (1977) by The Jam
I don’t think you need to know the background story to know this album is a significant step backwards from the debut: the songs are weaker, the attitude is reigned in on a number of songs, the reverence for the past is growing. If this is still punk music (and it is, at least I …
Big Star: Nothing Can Hurt Me (2012, Drew DeNicola, Olivia Mori)
This is a thorough and engaging documentary about the seminal power pop band Big Star. It’s definitely on the fawning side, but it’s idiosyncrasies as a film, and the willingness for the interviewees to discuss the negative aspects of the idols’ personalities, make for a more engaging film than you might suspect. It also works …
Stands for Decibels (1981) by the dBs
This is kooky power pop record with so many weird detours that it’s borderline new wave. Individual verses and choruses (and, occasionally, whole songs) sound like they belong to a typical power pop group, but then there’s a weird effect, or weird, unpredictable time change or left turn. It’s no wonder it wasn’t a big …
The 2015 Wolfe Island Music Festival August 7-8, 2015
The annual pilgrimage to WIMF got off to a bit of an uneven start but ended up being one of the better festivals I have attended over the last half decade or so. On Friday night, we arrived to catch the end of Daniel Romano’s rather sedate country set. Romano had been to WIMF a …
Amazing Journey: The Story of the Who (2007, Paul Crowder, Murray Lerner, Parris Patton)
This is a fawning, awkward fluff piece of one of the greatest bands to come out of the British Invasion. I love the Who – there was probably a time in my life when they were my favourite band – but this film feels like the Official Version, something vetted by Daltrey and Townshend so …
Live at Leeds (1970) by the Who
Is this the greatest live album of all time? I never used to care about live albums. I never used to care about live music. Music used to live in my bedroom and I had no idea that there was some other side to it. Frankly I didn’t understand why people went to concerts. The …
Pinkerton by Weezer (1996 DGM)
One of the myths of my generation is that this is some kind of lost treasure. Because it wasn’t played on the radio upon its release like the debut was, and it didn’t sell as many copies as their very catchy debut, that it is somehow a ‘forgotten classic.’ Of course that’s not true, because …
Weezer (1994 Geffen)
It’s pretty much impossible to judge this in any kind of “objective” light nearly 20 years later. If you’re of my generation (i.e. born between ’75 and ’85) chances are you have heard 60%-70% of the songs on Weezer’s debut a million times, courtesy of your friends and the radio. This album is basically ubiquitous. …
And I Thank You (2012, I don’t give a shit what label its out on) by the Elwins
Sometimes I encounter a band where I can’t even bring myself to give them their deserved three listens. Such a band is the Elwins (supposedly very highly buzzed about, but I wouldn’t know, it’s not like I googled them or anything). It must make other musicians crazy to see a band like this get buzz. …