Category Archives: favorite albums

Recent Purchases, June Edition

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A surprisingly long list of releases this month!  I actually had to keep a few out this time!  A lot of these albums are very summer-friendly, which means I’ve been listening to them on repeat lately with the window open and a lovely Pacific breeze coming into Spare Oom’s window.   Some of my favorite albums of the year so far appear here.

Dave Matthews Band, Come Tomorrow, released 8 June. A welcome return after six years, and they sound confident and vibrant this time out. This one reminds me a lot of Crash; a lot of solid rock tunes going on.  I’m enjoying this one quite a bit.

The Get Up Kids, Kicker EP, released 8 June. Another great band returns from a long hiatus and provides us with a sharp and concise alternapunk EP. Well worth waiting for.

Black Box Recorder, Life Is Unfair, released 8 June. A nearly-complete discography box set from the moody trio of Luke Haines (The Auteurs), John Moore (The Jesus & Mary Chain) and Sarah Nixey. This was a band from my HMV years, and they even had a surprise hit with the above track in early 2000.

Matt Nathanson, Pyromattia EP, released 8 June. Matt covers six Def Leppard tracks in a semi-unplugged ballad format. This could have gone wrong so easily, but he not only pulls it off, he does so brilliantly. Even DL’s singer Joe Elliott contacted him to congratulate him on an excellent job.

Arthur Buck, Arthur Buck, released 15 June. Songwriter Joseph Arthur joins up with ex-REM guitarist Peter Buck on a fantastic record of slightly off-kilter yet catchy tunes. Their differing styles complement each other quite well on this one.

Johnny Marr, Call the Comet, released 15 June. The album might be about aliens coming to Earth to help us before we destroy ourselves, but Johnny knocked it out of the park with this one musically. His ‘guitarchestra’ style he’d mastered so well while in the Smiths makes a return here, and it sounds absolutely lovely. My favorite album of the month.

The English Beat, Here We Go Love, released 15 June. Dave Wakeling resurrects his old band name and puts out a great ska album just as brilliant as their 80s output. This one definitely surpassed my expectations.

Paul McCartney, “I Don’t Know”/”Come On to Me” single, released 20 June. Sir Paul surprises us with a new double A-side single teaser for a new album (Egypt Station) in September. Still going strong after all these years, and still writing lovely melodies.

The Cure, Mixed Up: Deluxe Edition, release 22 June. Robert Smith picks up where he left off years ago with his band’s remasters, this time with the 1990 remix album. This edition includes not just an additional disc of single remixes (including one of my favorites, the 12″ version of “Just One Kiss”!), but a third disc of new remixes spanning the band’s entire career, remixed by Smith himself. It’s a long listen, but it’s a fascinating one.

Dog Party, Hit & Run, released 29 June. One of my favorite local bands (they’re from Sacramento), these two sisters have been delivering kick-ass punk since they were in high school, and they’re still kicking ass today.

Florence * the Machine, High As Hope, released 29 June. Definitely a more personal and introspective album for the band, but just as stellar and amazing. All the critics are loving this one, and I am too.

Gorillaz, The Now Now, released 29 June. A surprise release from our animated heroes, this one is more of a return to their previous guest-free albums, and featuring catchier and more radio-friendly tunes. I’m still amused that the character taking place of the currently-in-prison Murdoc is none other than Ace from the Gangrene Gang from The PowerPuff Girls…!

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Next Up: July releases!

Thirty Years On: Additional 1988 Albums

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In going through this project, I came upon a few extra albums where I’d assigned the wrong release date, or titles that I missed due to space.  Here’s a quick 1988-So-Far addendum of further releases that are well worth mentioning.

Leonard Cohen, I’m Your Man, released 2 February. My first experience with this man, interestingly enough, was a punch line from an episode of The Young Ones. Regardless, over the years I went out and bought some used copies of his albums and realized that he really was an amazing songwriter. This album does sound a bit dated, even for the time of its release, but it contains quite a few of his best known songs.

Butthole Surfers, Hairway to Steven, released 29 February. I’d been familiar with this band thanks to their classic “Sweat Loaf” (you know, the “Satan! Satan! Satan!” song). One of those bands that was just so weird and noisy that you either loved them or hated them. WAMH loved the hell out of this band.

The Mekons, So Good It Hurts, released ?? March. I’d hear “Ghosts of American Astronauts” on WMDK and WAMH quite often in the spring of 1988, and the Mekons were always considered one of those ‘must have in your collection’ bands. I finally added them decades later and now I understand why.

Monty Python, The Final Rip-Off, released 22 March. Given that MTV had brought the Pythons to their main programming a year or so previous (and that by 1988 it had become part of the late Sunday night line-up alongside The Young Ones/The Comic Strip and 120 Minutes), a quick and obvious cash-in album was needed. All your favorite silly sketches, all in one place!

The Primitives, Lovely, released 22 March. An absolute classic of a power-pop album and a massive favorite of fans and critics alike. I nearly wore out my copy of this album! “Crash” got heavy airplay on all the college stations, 120 Minutes, and still gets played on 80s stations to this day. Highly recommended.

Public Enemy, It Takes a Nation of Millions to Hold Us Back, released 19 April. Rap didn’t get too much play on the stations I listened to at the time, but I was well aware of it, thanks to MTV and a few of my friends who got into it. PE and NWA were the two bands you followed if you wanted to go past the silly or party-oriented hip-hop and start checking out the more serious stuff. I was always impressed by PE’s sound production and how confrontational and intelligent their lryics were.

The Dead Milkmen, Beelzebubba, released ?? May. The 80s had a great wave of goofy and nerdy punk bands that wrote ridiculous yet catchy (and often quotable) tunes, and the Milkmen were probably the most successful at the time, thanks to “Punk Rock Girl” and “Bitchin’ Camaro”.

Ramones, Mania, release 31 May. Quite a few bands decided to release a greatest hits compilation in 1988, and this one’s perfect for your collection…it pretty much contains every hit and deep track you know (and some you don’t) up to that time, released as a double album.

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I’m sure I’ve still missed a few, but I think this fills in quite a few entries that I missed the first time around!

Twenty Years On: June 1998

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Summer in New England can be annoying.  It’s not just hot, hovering up in the 80s and 90s (and occasionally higher), but it’s also humid and uncomfortable.  All you want to do is stay inside, especially if the place has AC, and kick around until it’s time to go back outside again.  And your car would be so stupidly hot and unbearable being out in the sun all day that you’d sit there for a good few minutes with all the windows open and the AC on full blast to cool it off.

Granted, in the summer of 1998, this was also the perfect time for me to head down to the basement at night after work for my writing sessions!  [This was well before random bear sightings in my parents’ neighborhood started happening, so I’d have the cellar door open wide until after dark to let the cool breeze in.  This, by the way, is why two bats were able to sneak their way in, thus blessing my writing nook with the name The Belfry thereafter.]

It seems that June 1998 was also a quiet one in terms of releases…a few big names here and there, but the best albums weren’t due for another couple of months.  This is quite normal for the release schedule — the kids are spending more on movies and other outside events rather than on music.  The really good stuff is still a few months away.

So!  Without further ado…

The Smashing Pumpkins, Adore, released 2 June. After two stellar early 90s records and a decent-but-bloated double album — not to mention the firing of their drummer soon after — it seemed this band was heading down a dark and not altogether positive road. This one’s a hard listen for various reasons, but it also contains quite a few fantastic tracks, so it evens out.

The X-Files OST, released 2 June. The cult favorite TV show released its first movie as summer fare. It holds up as a self-contained story, but it also inserts itself into the show’s obsessively detailed mythology as well. This is more of a ‘songs inspired by the movie’ album than a true soundtrack (considering the [movie name]: The Album title was in vogue around this time), but it’s an amazing collection of great tracks from Filter, X, Ween, Foo Fighters, The Cure, Noel Gallagher, and more. Well worth picking up.

The Jesus & Mary Chain, Munki, released 9 June. The noise-pop band releases what would end up being their last album until last year’s Damage & Joy. It’s a bit overlong with single filler, but it’s still a great album.

Komeda, What Makes It Go?, released 9 June. The quirky Swedish band’s second album was anchored by a ridiculously catchy single (see above) and though they only remained in cult status, they’d eventually provide an equally catchy track for the Powerpuff Girls cartoon a few years later.

The Egg, Travelator, released 15 June. Predating similar-sounding Hot Chip by just a few years, this semi-electronic band from the UK is one of those bands that never quite achieved huge success, but nonetheless have a strong and loyal following. Their work was mostly released as imports here in the US, but they’re definitely worth checking out.

The Brian Setzer Orchestra, The Dirty Boogie, released 23 June. The ex-Stray Cats frontman helped kickstart (or at least energize) the swing revival movement in the late 90s, and his album was also the biggest seller in that scene. I remember moving a hell of a lot of copies of this album during my HMV days!

Mansun, “Legacy” single, released 29 June. The teaser first single from their upcoming Six album, this well-loved Britpop band took their sound into curious and unexpected directions, even more so than before. Little did we fans know just how weird (but in a good way!) that album would end up being…

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Up Next: July 1998!

Thirty Years On: June 1988

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June 1988:  Junior year is over and done, and after a week or so of relaxing and forgetting about all the frustration and whatnot of school, it’s into Summer Job territory.  I don’t exactly remember which job I had at the time (I’m thinking the supermarket job, if I’m not mistaken), but I know I still had the radio station position on the weekends, and I’d stick with that one at least until the end of senior year.  I’d meet up with Nate and Chris for an occasional Flying Bohemians session, and the various members of our circle of friends would sometimes go on roadtrips down to Amherst and Northampton.  I’d stay up late listening to music, reading, writing, and practicing my bass and guitar playing.  It was a summer of creativity, and one of keeping in touch with friends before they left in a few months.

There weren’t too many exciting releases for this month for my collection, so I ended up spending a lot of time listening to my own collection, or listening to WRSI or WMDK. I also focused a bit more on making more compilations, inspiring Chris to start making them as well.

Compilation: Cimmerian Music, created early June. The third of the three original new mixtapes, this one worked the best. Essentially a sixty-minute tape filled with quiet, moody college rock to be listened to at 1AM when everyone else has gone to bed, this one featured many bands you’d expect: The Cure, Felt, Love and Rockets, and the Sisters of Mercy. Added fun was Gary Wright’s “Dream Weaver”, an oldie but goodie from my childhood that I’d been using as a ‘theme song’ for a story I was writing at the time.

Compilation: Under the Ivy: Unavailable B-Sides, created early June. I started this one soon after the above mix as part of my next wave, and it was inspired by the cassette version of The Cure’s Standing on a Beach from 1986. It’s all single b-sides that were sitting around in my collection that I happened to enjoy, though the mix does get thin near the end. I would make a second version of this title twelve years later in the summer of 2000.

Compilation: Remix I, created early June. This one didn’t hold up well at all over the years (literally — I’d used a crappy low-budget blank tape for this one), and also suffers the same as the above, with too many questionable track choices. I think it was with this one that I realized that maybe trying to make a themed mixtape wasn’t working at all, and that a true mix with varied sounds and styles would work better. I’d return to that idea a few months later, with much better results.

Voice of the Beehive, Let It Bee, released ?? June. Poppy and quirky with just a hint of folk and country thrown in (they kind of reminded me of a lot of bands from the Athens GA scene, but with a flashier presence). This one’s great fun, with a lot of catchy riffs and sassy lyrics. I got to see them live later on in the year at UMass Amherst with a few friends!

Big Audio Dynamite, Tighten Up Vol 88, released ?? June. Mick Jones’ third outing with his post-Clash band was probably their most accessible and groove-oriented, and was a critical and fan favorite. 120 Minutes had “Just Play Music” on heavy rotation for pretty much the rest of the year!

Bongwater, Double Bummer, released 7 June. I wouldn’t hear this for another few months when WAMH came back on the air, but when it did, quite a few DJs loved it. Alternately weird, funny, psychedelic, and fantastic.  I still remember being surprised when I found out its lead singer, Ann Magnuson, was also a well-established Hollywood actress.

The Style Council, Confessions of a Pop Group, released 20 June. Paul Weller’s post-Jam band was one that you either loved or loathed, depending on how much of a rabid fan of The Jam that you were.  During this particular summer they released a moody jazz album that made quite a few fans scratch their heads, but in retrospect it’s actually quite a lovely record.

Information Society, Information Society, released 21 June. Nerdy synth-pop laden with Star Trek samples and incredibly catchy melodies. They’re primarily known for their debut single (above), but the entire album is excellent. [This was yet another ‘borrowed’ album from the radio station, though I believe Chris got his mitts on it before I could! I dubbed it from him over the summer but bought my own copy on cassette a few months later.]

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Next Up: July 1988!

And for a little while, I was falling in love

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Magnet recently posted the news that the original four members of A Flock of Seagulls will be releasing Ascension later this month, an album containing semi-symphonic reworkings of their classic early-80s songs. I like what I’ve heard so far, so I’m curious about how the rest of it will sound.

It also got me thinking about the ‘Science Fiction in Music’ panel that I ran at BayCon the other weekend. My idea was to focus mostly on the 90s forward, but I had to at least mention that the 80s were quite full of similar recordings by New Wave and electronic bands such as Duran Duran, ELO, Depeche Mode, Thomas Dolby, and so on.

I was 11 when A Flock of Seagulls’ debut album came out, and I loved the quirkiness of it, that it was so different from the classic rock I’d been listening to for years before.  It was one of the many albums I repeatedly borrowed from our local library.  It sounded amazingly fresh and adventurous.  Sure, it might sound a bit aged now, but considering that synthesizers were usually confined to prog rock virtuosos at the time, this was something brand new. Newer, cheaper keyboards and synths were just coming to the market and new bands — a lot of them based in the UK or Europe — grabbed them fast.

It was timed perfectly with the rise of MTV as a major force in the music industry. “I Ran” became a staple on the channel, even despite its ridiculously low-budget effects (turntable platform, lots of shiny plastic, and a few full-length mirrors) and bizarre hairdos and fashion. It was completely unlike the bro-rock universe of Loverboy, REO Speedwagon and 38 Special, and nowhere near the heavy sounds of Black Sabbath, Deep Purple or Whitesnake.  But it was catchy as hell!  The band also managed to snag a late-night position at MTV’s New Year’s Eve party at the end of 1982. The audience was probably a little too plastered and/or high to be paying much attention, but as a young kid, I thought it was the coolest thing.

Not bad for a concept album about an alien abduction.

Postscript: Mind you, this was a full four years before I ‘discovered’ college radio in spring 1986. During the first year or so of that listening era, I also discovered that a lot of the quirky New Wave stuff that MTV played in those early years was in fact part of this alternative universe by way of being part of the post-punk umbrella. I did a LOT of catching up during that time, digging for those albums and singles, including more albums from this band.

 

Recent Purchases, May Edition – Part II

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More great tunage from last month for your perusal! A few unexpected releases and a few long-awaited ones this time out…

James Bay, Electric Light, released 18 May. James’ follow-up to his excellent debut goes in quite a few unexpected directions. While it does contain some of his fantastic guitar work and classic pop ballads, it also experiments with loud guitar crunch and twitchy semi-electronic tracks as well.

Beach Slang, Everything Matters But No One Is Listening (Quiet Slang), released 18 May. Taking on the pseudonym ‘Quiet Slang’ for an album of unplugged versions of previous album tracks, they pull the project off amazingly well, giving the songs even more emotion than the originals.

Brad Mehldau Trio, Seymour Reads the Constitution!, released 18 May. One of my favorite jazz musicians from the past couple of decades releases a fantastic record with his trio. Extra points for doing not one but two unexpected covers — The Beach Boys’ “Friends” and Paul McCartney’s “Great Day”!

Courtney Barnett, Tell Me How You Really Feel, released 18 May. Courtney once again blesses us with dopey-jangly guitar rock counterpointed by razor-sharp lyrics. Not often you can get away with a goofy-sounding melody whose chorus is “I wanna walk through the park in the dark / Men are scared that women will laugh at them / I wanna walk through the park in the dark / Women are scared that men will kill them.”

Failure, Your Body Will Be EP, released 24 May. The second EP of Failure’s new project continues with more of their classic melodic dissonance and guitar crunch drive. Very curious to see where this project is going and how all the EPs will sound linked together as the final album.

Jonathan Davis, Black Labyrinth, released 25 May. The new solo album by Korn’s lead singer is a surprisingly strong and solid one. It kind of reminds me musically of early VAST — less alt-metal and more alt-rock musically, but just as dark.

Halo Maud, Je Suis Une Île, released 25 May. A recent discovery (thank you, AllMusic), her music feels alternately like an acoustic Stereolab minus the keyboards and dreampoppy similar to Beach House. She alternates between French and English — most often within the same song — and it’s a lovely album to listen to.

Snow Patrol, Wildness, released 25 May. Gary Lightbody and Co finally return after an extended absence with an excellent album that sounds more like their earliest albums than their poppier later ones. It’s a deeply personal and downbeat album, but it’s amazing and well worth the wait.

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Next Up: June releases!

Recent Music Purchases, May Edition, Part I

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Another month comes to an end! The last few weeks have been quite busy on all fronts here, but all the new tunage kept me energized and entertained. Lots of good stuff this time around! Here’s what we have for the first half of the month. Enjoy!

Frank Turner, Be More Kind, released 4 May. As I’d said on Twitter, Frank Turner is the new troubadour you didn’t know you needed. This time out he’s not as folky, trying out a few pop tracks and ballads instead, and he pulls them off well. [Also: the above video is probably the best use of message appropriation I’ve seen in quiet some time. Heh.]

Belly, Dove, released 4 May. Tanya Donelly and Co return for an excellent, more adventurous third album. It sounds less like the more pop-oriented Star or the rocking King, and more like, say, Throwing Muses’ Hunkpapa, with a focus on angular yet catchy melodies. Unexpected but amazing.

Pinkshinyultrablast, Miserable Miracles, released 4 May. One of my favorite new discoveries, this Russian shoegaze band hits all my bingo points: heavy reverb, walls of guitars, dreamy vocals, and songs that just sort of skitter around the upper atmosphere. So much fun to listen to!

Beach House, 7, released 11 May. This band seems to have grown out of its Cocteau Twins comparisons and into its own special blend of dreampop. I should be listening to this one during my writing sessions more often.

Loreena McKennitt, Lost Souls, released 11 May. An unexpected but quite welcome (and very relaxing) album from a fabulous folk artist. She’s still putting out amazing albums.

Simian Mobile Disco, Murmurations, released 11 May. SMD’s new album seems to be more laid back and pensive than their previous output, but I’m not complaining, because it still sounds awesome.

Arctic Monkeys, Tranquility Base Hotel & Casino, released 11 May. After the hangover-themed AM, the band’s new one is hard to pin down, other than it has something to do with science fiction…maybe? I’ve decided it’s a song cycle about the front desk clerk at said hotel, having a long dark night of the soul during one of his overnight shifts. It’s weird (to say the least), but it’s a *good* kind of weird.

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Up Next: More May releases!

Science Fiction in Music

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This coming weekend at BayCon I’ll be moderating a panel called ‘The Next Generations of Science Fiction and Fantasy in Music’. I thought it was high time to talk a little bit about how SF/F has influenced music over the last couple of decades, not just aurally but visually. I’ve been talking with my co-panelists the last few days on this and I’m sure we’ll have quite a bit to talk about!

You can check out more about the con at my other blog, especially this post right here.

Meanwhile, here’s a few examples of bands, songs, albums, and styles we’ll be talking about.

 

Twenty Years On: May 1998

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May was a relatively quiet release month, and in retrospect I think it’s right about when the 1998 industry shake-up really started kicking in. A lot of really good bands were dropped, many of them before they were given a chance to prove themselves, or worse: many more of them due to far too high expectations on the industry’s behalf. It was starting to get really ugly about that time.

Still…many bands soldiered on and kept releasing stellar records.

Spoon, A Series of Sneaks, released 5 May. Spoon’s one album on a major label (Elektra) was unfortunately a blink-and-you’ll-miss-it affair, as they only stayed at that label for less than a year. They’ve since stayed with indie labels and are now considered one of the best indie bands out there.

Tori Amos, From the Choirgirl Hotel, released 5 May. I’d always been a Tori fan, even after her deliberate turn to weirdness with 1996’s Boys for Pele, and I found myself really enjoying the full-band rock sound of this one.

Global Communication, Pentamerous Metamorphosis, released 5 May. Previously released as a limited-edition extra cd for the great Britpop band Chapterhouse’s 1993 album Blood Music (it’s a reinterpretation of its tracks), it’s an amazing chill-out ambient record and a perfect partner with their previous, the also amazing 76:13. This one got a hell of a lot of play down in the Belfry during the writing of the trilogy, and the same amount in Spare Oom years later when I was revising it for self-publication. Easily one of my favorite albums of all time.

Garbage, Version 2.0, released 11 May. It took me a long time to get used to this album, as I’d originally felt it was a bit too like the first album, but with slightly weaker songs. Eventually I came around!

Godzilla: The Album, released 18 May. Yeah, I know what you’re thinking. I agree, it was a ridiculous movie, but it was a fun popcorn flick. And there were some pretty cool songs on it, like the above, and tracks by Ben Folds Five, Jamiroquai, and Days of the New.  I’ll even forgive them for that so-bad-it’s-good Diddy/Jimmy Page track.

Cowboy Bebop OST, released 21 May. “Tank!” is one of the best, most recognized, most loved anime opening theme songs ever. And from a visual standpoint, the opening credits are so amazingly animated, paced and edited that you can’t help but feel a chill and a thrill whenever you see it. The rest of the soundtrack is just as great — a mix of bebop jazz, moody melodies and even a few silly filler bits. Yoko Kanno is considered one of the best Japanese music composers out there.

Tricky, Angels with Dirty Faces, released 25 May. Tricky follows up his excellent Pre-Millennium Tension with an about-face that took a lot of people by surprise. There’s more avant-jazz than trip-hop on this album, and it’s not the easiest of listens, but at the same time it’s fearless and fantastic.

Sloan, Navy Blues, released 26 May. One of my favorite Canadian bands, Sloan has always put out solid, hard-rocking songs with excellent power-pop melodies. This one’s a bit harder than usual for them, but it’s still a fun listen.

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Next Up: June 1998!

Thirty Years On: May 1988

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May 1988: A good portion of my closest friends are graduating quite shortly, and will be taking off in various directions for their college careers.  Thus starts the era of me being a moody bastard for about six years.  Meanwhile, after about five years of recording songs off the radio and creating my own proto-mixtapes, I finally decide it’s time for me to create my own mixes straight from my own growing collection.  I call them ‘compilations’ instead of ‘mixtapes’ because it sounds more professional, considering how detailed I get in creating them.  Thirty years later I’m still making them, digitally.

Wire, A Bell Is a Cup Until It Is Struck, released ?? May. The second album in their ‘beat combo’ era, the band moves closer to their eventual electronic experimentation, using samples, loops, and treated instruments. I played the hell out of this album for a good couple of years after it came out.

Colin Newman, It Seems, released ?? May. In tandem with the above, Wire co-lead singer Newman dropped an even more electronic and experimental album. While the Wire album is more rock oriented, this one’s for sitting back and listening.

Heavenly Bodies, Celestial, released ?? May. A somewhat obscure album featuring vocalist and 4AD friend Caroline Seaman (who would pop up on a few This Mortal Coil albums) and a few ex-Dead Can Dance members, it’s a proto-darkwave album with a moody groove to it. “Rains On Me” got some serious airplay on a lot of the college stations when it came out.

Red Lorry Yellow Lorry, Nothing Wrong, released ?? May. The noise-punks from Leeds released an excellent album of sludgy, growling alt-rock that might not have been to everyone’s tastes, but those who did like it (like me) absolutely loved it.

Living Colour, Vivid, released 3 May. Loud, abrasive, political, funky, humorous, and absolutely amazing. Lots has already been said about this album, and it’s all true. I got to see these guys at UMass Amherst in 1989 (it was part of MTV’s college campus tour, with the Godfathers opening up), and they put on one hell of a great show.

Depeche Mode, “Little 15” single, released 16 May. The last single from 1987’s Music for the Masses. It’s also one of my favorite tracks from it due to its amazing dynamics, starting off quiet and delicate and ending up Wagnerian and bombastic. It’s one of those songs you need to hear in headphones to get the full power of it.

Fairground Attraction, The First of a Million Kisses, released 16 May. It took me years to finally buy this album, but I remember the above track getting played incessantly on WMDK and the other AOR stations in the area. A fun and irresistibly catchy tune. The rest of the album is great too!

Compilation: Stentorian Music, created 20 May. The first of many compilations was an ongoing experiment of a themed mix; this one featured songs from groups like The Sisters of Mercy, Love and Rockets, The Cure, and The Screaming Blue Messsiahs among others, and designed to be played loud. It was put on a 60 minute tape and it came out reasonably well, considering.  Not bad for a first try.

Compilation: Preternatural Synthetics, created 20 May. Yeah, even then I knew I was getting a bit ridiculous with the titles, but it was just something for fun, after my titling the old radio mixtapes with corny ‘Love & Rock & Roll’ titles. This one was a 90-minute tape featuring all synth and/or electronic-sounding bands, such as Pet Shop Boys, New Order, Depeche Mode, and so on. It’s a perky mix, and rather enjoyable!

The Timelords, “Doctorin’ the Tardis” single, released 23 May. A ridiculous single from the KLF/Justified Ancients of MuMu/JAMMs/etc. gang.  Mixing Gary Glitter’s “Rock & Roll Part 2” and the Doctor Who theme, it’s one of those earworms that the college crowd loved.

Camper Van Beethoven, Our Beloved Revolutionary Sweetheart, released 24 May. Another college rock band that went from indie (Pitch-a-Tent) to major (Virgin) in 1988, this record was indeed beloved by a quite a few fans, both old and new.  I particularly loved this single, which also got a lot of play on the AOR stations.

Morrissey, “Everyday Is Like Sunday” single, released 31 May. Say what you will about his current nutjob shenanigans, his early post-Smiths records were fantastic. This second single from Viva Hate was another ‘borrowed’ single that popped up at the radio station I worked at. I soon fell in love with the gorgeous deep cut “Will Never Marry”, which would end up on quite a few of my future compilations.

The Sugarcubes, Life’s Too Good, released 31 May. This album was an instant hit for the college crowd, with its eclectic mix of often bizarre lyrics, infectious melodies and the balance of its two lead singers: the pixie-like Bjork and its weirdo horn player, Einar. Not to mention its dayglo album cover! Another band I got to see at UMass Amherst around that time.

Next Up: June 1988!