Time can really change perception, especially when it comes to cultural artifacts. I have read online abbout how this is one of Hüsker’s great albums, perhaps even their best. But I don’t hear it. I don’t know if that’s because I haven’t sat down and listened to New Day Rising recently or whether it’s because …
Tag: Power Pop
Ben Folds Five (1995)
At some point during the last 30 or so years before this album’s release, the piano stopped being a rock instrument. That’s particularly weird given its primary in the creation of rock and roll, as it was piano and saxophone, before electric guitar, that helped create what became rock and roll (in part because they …
Voices (1980) by Hall & Oates
I must say, I had a pretty fixed idea of what Hall & Oates sounded like before I listened to this album. And it wasn’t a very good idea because it was based both on the few hits of theirs I knew of theirs and the fact that I absolutely didn’t know some of their …
A Catholic Education (1990) by Teenage Fanclub
I’ve heard so much about Teenage Fanclub the power pop/jangle pop band that I really, really wasn’t ready for this. And because I really wasn’t ready for this I might have overrated it a tad. Such is life.
Underwater Moonlight (1980) by The Soft Boys
The beginning of the first song got me excited. Then the rest of the album happened…
All Hands on the Bad One (2000) by Sleater-Kinney
I like this band. I really like their aesthetic and I like their songs. But, at some point, I’ve come to realize that they are an AC/DC type band rather than a band that is concerned with making big artistic strides on each record. (I should probably pick a bett4er comparison given AC/DC’s lyrics, but …
I Should Coco (1995) by Supergrass
Every couple of years – hell, sometimes more than once a year – a new British band comes along that sounds like many previous British bands, but just different enough to sound “new” to enough people, and the British music press and some of their public lose their fucking minds over them. The band makes …
Figure 8 (2000) by Elliott Smith
I think Elliott Smith is a good songwriter. As I have said when reviewing his other albums, I really don’t get the idea that he is one of the great songwriters of his generation, but he’s certainly very good. His songs are a little too poppy for my tastes, but I can at least appreciate …
Ball-Hog or Tugboat? (1995) by Mike Watt
What do I do with this sprawling, all-star record? It’s as if Watt wanted to make a new Minuteman record with 17 different bands. The results are, uneven, to say the least.
Get Happy!! (1980) by Elvis Costello and the Attractions
I don’t know Costello’s career as well as perhaps I should, given his sheer volume and his reputation as perhaps (British) New Wave’s preeminent songwriter. But I feel like I know it well enough to mark this as the first record when he began his genre-driving. It’s not as drastic as a departure as some …
Flood (1990) by They Might Be Giants
I was pretty overwhelmed by Lincoln and not necessarily in a good way. I had heard so much about the band but didn’t really know anything. On Lincoln they came across to me as a sort of poor mans’ Camper Van Beethoven, which probably not fair for many reasons. But I feel very differently about …
Astro Lounge (1999) by Smash Mouth
Like, what even is Smash Mouth?
Candy-O (1979) by The Cars
Did you want to read a hot take about the second Cars record? Well I have one for you: It’s better than their “classic: debut album. (Shock! Horror!)
All Over the Place (1984) by The Bangles
So many of my impressions of ’80s bands with only a couple of hits have been formed by those hits, and so I often find myself encountering a band with strong preconceived notions and finding them just blasted apart by albums. I don’t know if I’m alone in thinking “Walk Like an Egyptian” is gimmicky …
Kimono My House (1974) by Sparks
Sparks is one of those bands with such a big cult following that you inevitably encounter someone who loves them. I have, at some point, but it wasn’t a friend, just people on the internet. Reading a lot about a band always gives one impressions, and those impressions are often wrong. So it was with …
Outlandos d’Amour (1978) by The Police
The Police’s debut album is a bouncy energetic thing, with way better than you’d expect musicianship for their music scene and the kind of performances you would require from that same scene. Much of what initially captivated people about this band, present on this album, would disappear by the end of their career.
Celebrity Skin (1998) by Hole
In 2011 I heard Live Through This and generally hated it. I don’t remember the record at all, but my review at the time suggests I thought it was overproduced for what it was. Five years later I heard Pretty on the Inside and loved it.
Lincoln (1988) by They Might Be Giants
I have heard so much about They Might Be Giants over the years that I was bound to be disappointed by what they sound like. So count me disappointed by this record.
Parallel Lines (1978) by Blondie
My dad bought a Blondie compilation sometime in my teens. It was a double disc. So I feel like, to the extent I know Blondie, it is through that compilation. Had he bought it 10 years earlier, I would likely know all their hits very well. Alas, he bought it a few years before my …
Love Bites (1978) by Buzzcocks
I am not a fan of the Buzzcocks. They are way too far on the pop side of the pop punk spectrum for me. (Yes, going by that, it’s safe to assume I don’t like pop punk.) I acknowledge their importance in the evolution of punk and particularly in pop punk, but I would just …
Become What You Are (1993) by The Juliana Hatfield Three
For some reason Hatfield’s voice reminds me of a flatter, punkier Lisa Loeb. Anyway…
Stunt (1998) by Barenaked Ladies
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 …
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.