Category Archives: post-college years

Thirty Years On: Slacker Central, Part XI

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I still had a long way to go to get my act together, but I’d like to think that I might be getting there, mistakes and all. Already I was having to deal with JA’s influence — sometimes positive and helpful but just as often negative and intrusive — and learning how to set boundaries for myself. Meanwhile, my job at the Coop had changed over the course of just a month or so: I’d started out as a checker and floor help, but moved onto what would end up being one of my frequent fall-backs down the line: assistant shipping and receiving clerk. I was up back in the messy and dusty back room checking in the new deliveries and seeing out the old returns, and also doing a bit of cleaning around both levels of the store. I did most of the heavy lifting for the main receiving guy who I got along with but I think he thought I was a bit simple and treated me as such, when in all honesty I think the roles were flipped here. Nice guy, but definitely full of hubris. [I remember he also had a weirdly strong obsession with Tina Turner, partly due to the biopic What’s Love Got to Do with It having come out a few months previous.]

About the same time I struck up a friendship with a woman a few years older than myself who was a holiday temp. We got along like gangbusters and our talks sometimes ended up turning into flirtation and eventually it became a short fling. In retrospect I’m kind of sad that I let it go on the way it did because I definitely was not in the right frame of mind for a relationship. It didn’t last long and felt guilty for a long time about the way I ended it, severing a friendship in the process.

Mind you, I was about to not follow my own damn advice in short order.

O-Positive, Home Sweet Head, released 1 November 1993. This local band was always a favorite for the indie crowd and especially on WFNX. I never got around to seeing them live but I did own a few of their albums including this one with its radio favorite “Hey Dave”.

Fury in the Slaughterhouse, Mono, released 1 November 1993. This German alt-rock band had a minor alt-rock radio hit with “Every Generation” which WFNX played quite a bit. It’s a dismal heartbreaker of a track but it’s one of their best. A band worth checking out.

Cocteau Twins, Four-Calendar Café, 2 November 1993. As I’d said about the “Evangeline” single, the rest of the album had a very wintry feel, light and ethereal as always but with a bit of cold tension added. I listened to this one quite a bit during my writing sessions.

https://youtu.be/bmqDaPzWwWs

INXS, Full Moon, Dirty Hearts, 2 November 1993. This one didn’t go over well with the fans and critics as they felt it too noisy and abrasive and trying to jump on the grunge bandwagon, but they were already looking to evolve past their tried-and-true rock style. Cheesy video aside, I loved the single “The Gift” and had it as a cassette single, and I used to listen to it on headphones a lot.

Kate Bush, The Red Shoes, 2 November 1993. This album, which would end up being her last for quite a few years, was based on the story of the same name and may have distanced some fans who didn’t quite get it, like myself. It retrospect I think it’s a pretty good album and very similar to her previous records.

Various Artists, No Alternative, released 9 November 1993. I absolutely loved this compilation (it’s part of the Red Hot Organization tribute album collection) and listened to it frequently. Bob Mould’s “Can’t Fight It” is one of my top favorite tracks of ’93 and I even attempted to learn how to play it myself! It’s a wild alternative mix: Matthew Sweet, Goo Goo Dolls, Pavement, Soundgarden, Smashing Pumpkins, Beastie Boys, and a hidden track by Nirvana. Highly recommended.

Various Artists, Stone Free: A Tribute to Jimi Hendrix, released 9 November 1993. I loved this one as well, even though I sometimes skipped some of the tracks. The Cure’s trippy take on “Purple Haze” fits in with their glossy Mixed Up sound, PM Dawn’s “You Got Me Floatin'” is by far the funkiest Hendrix cover I’ve ever heard, and Seal’s “Manic Depression” is powerful. Also highly recommended.

Paul McCartney, Paul Is Live, 15 November 1993. Paul was a busy guy in the early 90s, not only releasing a new and popular album but also making TV appearances as well as embarking on a tour with a great backing band. He leans pretty heavily on his Beatle past here, so much so that he riffs on the famous Abbey Road cover for this one — as well as its connection to the ‘Paul is dead’ myth.

The Fireman (Paul McCartney & Youth), Strawberries Oceans Ships Forest, 15 November 1993. And that’s not all — he even found the time to work with producer Youth to create a fascinating and experimental take on ambient techno music, taking bits and snippets from his Off the Ground album and reconstructing them into something completely new. While it’s not for everyone, it’s definitely worth checking out.

Us3, Hand On the Torch, 16 November 1993. Like Guru and his Jazzmatazz project, this was similar in that it was steeped in Blue Note grooviness and laid over hip-hop beats. This one on the other hand is more upbeat and lively. “Cantaloop” was such a huge and unexpected hit that you still hear it to this day.

David Bowie, The Singles Collection, 16 November 1993. I was never the biggest Bowie fan but I eventually warmed to him via this two-record collection, which I bought mainly because it contained pretty much all of his most famous tracks in one place — thanks to the then-recent wave of Rykodisc reissues finally gathering his back catalogue under one roof. I’d often listen to this one on the way home from the job, taking the T back to Copley Square.

Ace of Base, The Sign, released 23 November 1993. Often slagged off as ‘the next-gen ABBA’ (after all, they were from Sweden and were a two-man, two-woman band that sang bubblegummy pop), they were surprisingly catchy and consistent with their output of stellar pop songs. I’d own their first two albums on cd and would throw them on every now and again just for fun.

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Coming up: End of the year, end of an era, and the start of…something?

Thirty Years On: Slacker Central, Part X

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A few months into my stay at the Shoebox and it became apparent that I was in the same exact situation I’d been in my freshman year in college back in 1989: no flipping idea what I was doing and no mentor or inspiration to set me off in the right direction, with very little money to do it with. A classic Gen-X situation at the time, really. So I did what I’d always done to date: make it up as I go along and see what inspires me and hope for the best.

I believe it was also around this time that I lost the job at DeLuca’s. The only job I’ve ever been fired from, basically because I’d called out one day to play hooky and visit a friend that I hadn’t seen in ages who was in town. My own damn fault, but the manager really was kind of a moody ass with a tendency to take the nuclear option when he got annoyed. Still — that meant I needed to find a new job VERY QUICKLY and found it a week or so later via the Havard Coop — a chain of book and clothes stores tied in with the university with stores around the Boston area. Somewhat better pay and the possibility of benefits after six months, even if the commute was slightly further away.

Meanwhile, I thought I’d try another attempt at the Infamous War Novel, only this time I thought I’d approach it slightly differently: I’d get rid of the aging Red Dawn influence and try writing something a lot colder and more visceral. Not one in the classic pulp style, but with an ironic nihilistic-yet-hopeful Gen-X touch.

It was at this time that I realized that with my movie rentals from Tower Records, I could finally catch up with my interest in Japanese animation that had been so hard to find in the past. There were some really fun selections — early Urusei Yatsura episodes, the Robotech series, The Venus Wars and Silent Mobius (which I’d seen at the Brattle Theater in Harvard Square a few years previous and loved) — and a lot of duds (horror anime is really effed up, yo)…but it was a fun way to expand my interests and influences.

Then I stumbled upon Gall Force: Eternal Story. A feature-length film with a fascinating science fiction plot that intrigued me: it’s not just a human versus alien war story but one about finding a way to coexist. Despite the hate between the races there is hope. Then I realized — there were sequels to this movie! Several, in fact, but Tower only had the second: Gall Force 2: Destruction, which takes place years later with the two races almost near extinction, and yet there too lies hope.

As I sat there at my fold-out table (which was then in front of that one window) listening to music, drinking instant coffee and smoking my Newports, thinking about how much I enjoyed this series, I had a revelation: what if I rewrite the IWN as a science fiction novel? What if I take the characters and plot ideas I had for the IWN and its outtakes and aborted sequel and place them in a futuristic dystopian setting? And what if I expanded it into a multi-story universe? I really liked the idea: a lone rebel group trying to find peace and balance in time of war. I remembered the words of my scriptwriting teacher who thought the IWN idea was crap (well, it was, but he was also an artiste with one minor credit to his name who hated high concept stories)…and thought fuck his opinion, I’m going to go for it.

And so the Mendaihu Universe was born.

Meanwhile, my listening habits didn’t change much at all.

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The Wonder Stuff, Construction for the Modern Idiot, released 4 October 1993. This would be their last outing for several years as they went their separate ways, but they bowed out with a fun and energetic record with the great “Full of Life (Happy Now)” single.

The Afghan Whigs, Gentlemen, released 5 October 1993. I remember loving how angry and intense the title track was when I first heard it and picked up the cassette soon after. They’d become a fan and critic favorite for years afterwards.

Mazzy Star, So Tonight That I Might See, released 5 October 1993. You could not escape “Fade Into You” once it came out. It was on TV, in movies, and all over the radio. It’s a song I loved, hated, then loved again, though it’s worth checking out the rest of the record for more of their quiet and brooding sound.

Lloyd Cole, Bad Vibes, released 11 October 1993. I remember hearing “So You’d Like to Save the World” at the Coop job — they had these laserdisc-sized music carts they’d play and one of them had quite a quirky setlist including a track from New Fast Automatic Daffodils. He continues to be a great songwriter to this day.

The Lemonheads, Come On Feel the Lemonheads, 12 October 1993. Also ubiquitous on local radio was “Into Your Arms”, which is pretty much their other famous song that still gets radio play. This album isn’t quite as solid as It’s a Shame About Ray but it is their most radio friendly.

Julee Cruise, The Voice of Love, released 12 October 1993. The follow-up to the creepy-yet-beautiful Floating Into the Night, Cruise’s soft chanteuse voice features more David Lynch-adjacent dreampop.

Luscious Jackson, In Search of Manny EP, released 19 October 1993. Their rap/funk/rock hybrid debut release was so out of place with what was getting played on WFNX that they became fan favorites with “Life of Leisure”, “Let Yourself Get Down” and “Daughters of the Kaos”.

Pearl Jam, vs., released 19 October 1993. Their follow-up to the wildly popular Ten was a moody affair but it’s a brilliant record that shows they’ve evolved into a much tighter and more inspired band. This one’s my favorite of their early releases, and “Elderly Woman” is my top favorite track of theirs. I played this one a lot on my commute to the Coop.

Sarah McLachlan, Fumbling Towards Ecstacy, released 22 October 1993. Her first major breakthrough, a few years before “Angel” and “Adia”, was a tense and gorgeous affair about pain and discomfort and trying to find inner peace.

Crash Test Dummies, God Shuffled His Feet, released 26 October 1993. Yes, that song with that bass-baritone voice. And yet it became a huge hit because of its weirdness. The rest of the record is great fun, though, full of offbeat humor and memorable songcraft. It’s definitely worth checking out the rest of the record!

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And to share one more picture, the first few important parts of the Mendaihu Universe came together here in the stuffy Charles Street Laundromat during this month. [The storefront has since become a high-end clothing boutique.] As I started playing around with this new approach to this writing project, I realized I could no longer let its universe evolve over time like it did in the past; this was going to need some world building, which was a new process to me. With Ray Bradbury’s Zen in the Art of Writing in hand (I felt that going to my personal source for the initial writing inspiration was the way to go) along with a steno notebook, I sat down while I waited for my loads to finish and started creating. It was also the first time where actively worked on my writing away from a desk or my own room, something that would also become a lifelong habit.

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Next Up: Cold winters, writing soundtracks and a new day job direction

Thirty Years On: Slacker Central, Part IX

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Okay, so before we go any further, I have to show you this picture.

[Miraculously, I managed to find a somewhat recent picture of it online. I can confirm this is indeed 213 Beacon St #5C, the same place I lived from September 1993 to August 1994.]

This was the shoebox apartment. Almost the entirety of it. What you see there is 95% of the apartment itself: a single room with a single window and a tiny loft — the photo is taken from the narrow kitchen/entryway that also included the stove, a sink and a fridge, and the super tiny bathroom is around the corner to the left. It really was that small, and it cost $500 a month. I could have looked for cheaper, but that would have meant moving to one of the outer neighborhoods and depending wholly on public transit to get anywhere. By living here I had much better and walkable access to work, entertainment and the few people I knew who still lived in town.

This is where my adult life started. This is also where my writing career started.

My plan was to start at Day One with the writing. I had my spiral bound notebooks and my typewriter, a foldout table, a TV and a hand-me-down VCR, my stereo and boombox, and most of my music collection, and that’s all I needed. I knew I had to start somewhere, so I relied on the reliable: yet another attempt at writing the Infamous War Novel, at this time called Nocturne. This must have been the fourth or fifth iteration, but the first not to explicitly take place in a small town. I also attempted a resurrection of the Two Thousand project I’d started a few years earlier in my sophomore year.

I was broke, I was lonely, I was always hungry, I had a smoking habit (Newport Light menthols at the time), and I was moody as hell, but I was also committed to writing. I wasn’t about to let that go.

I just had to keep going. I learned how to find entertainment cheaply if not freely: T rides up to Harvard Square to hang out and people-watch, walks on the Esplanade and through Back Bay, visits to Waterstones Books to read and chill, visits to Tower Records to see what they had in the listening booths and rent a few movies for a few bucks, and digging for gold in dollar bins at the used record stores.

Mixtapes, Good Grief, More WAUGH!!! Vol 3 and The WAUGH!!! That Wouldn’t Die… Vol 4, created September 1993. These two cheesefest mixes follow up on the “songs I like but don’t have in my collection at the moment” and clearly sourced from the family collections over the years with a few of my own dollar bin purchases thrown in. These were my favorites of this series and got quite a lot of play on my headphones. Noted: the Volume 3 title is a nod to the Charles Schulz Peanuts paperback I owned as a kid.

U2, “Lemon” single, released 1 September 1993. This oddball track from Zooropa got some pretty heavy airplay on WFNX. It’s my least favorite track on the album, but I’ll admit it’s catchy as hell too.

Chapterhouse, Blood Music, released 6 September 1993. I really liked this record, even though it unfortunately didn’t get much airplay anywhere that I knew of, other than hearing “We Are the Beautiful” on WFNX every now and again. It’s a much headier and heavier record than their previous one but it’s just as great. A few years later I’d discover that a UK edition had a remix cd entitled Pentamerous Metamorphosis by a duo called Global Communication added to it, which would become a Belfry writing session mainstay.

Prince, The Hits/The B-Sides, released 10 September 1993. I never had the money to buy this until years later, but it was hard to resist wanting it considering it was the first official ‘best of’ collection for him. For the time being I made do with the cassettes of his I already owned.

Counting Crows, August and Everything After, released 14 September 1993. It was hard to escape “Mr Jones” that autumn, as it was played EVERYWHERE, constantly. I wasn’t the biggest fan of the band and ended up lumping them in with the earthy-crunchy 90s hippie bands for a while, but I eventually grew to enjoy them. I did in fact like the single “Round Here”.

Morphine, Cure for Pain, released 14 September 1993. These local boys always put out fantastic blues rock with their unique bare-bones sound that sounded just that little bit boozy. I picked this one up on cassette and loved it, especially the deep cut “In Spite of Me”.

Dead Can Dance, Into the Labyrinth, released 14 September 1993. This one got some seriously heavy play in the shoebox during my writing sessions. I’d always loved their work, but this record went in a slightly different direction, sneaking out of their chamber music style and veering towards folk music but not without dropping an amazing nightmarish goth staple in “The Ubiquitous Mr Lovegrove” single.

Soundtrack, Judgment Night, released 14 September 1993. I remember seeing this movie with JA but I’ll be damned if I remember any of it other than the heavy-as-fuck soundtrack made up of hard rock/rap duets. Helmet and House of Pain’s “Just Another Victim” got some major play on WFNX that season.

Cocteau Twins, “Evangeline” single, 17 September 1993. Three years later and the trio finally release an absolutely lovely — and yes, autumnal-sounding — single preceding their upcoming new album. I’d hear this one all the time on the radio and it would make it onto one of my next mixtapes as well.

Buffalo Tom, Big Red Letter Day, released 21 September 1993. I loved this local band since first hearing “Birdbrain” a few years previous, and this record proved they weren’t going to stop putting out amazing albums any time soon. I’d hear “Soda Jerk” on the radio all the time, but my favorite track from this album is “I’m Allowed”, which I know I’ve posted here a few times already. Highly recommended.

Curve, Cuckoo, released 21 September 1993. I was so on the fence with this particular record that I ended up not picking it up for a few years, but when I did it became a Belfry staple for a good number of years. While not as tense and dense as Doppelganger (which I loved, especially “Fait Accompli”), this album is just as moody if not more atmospheric. It’s since become my favorite of their catalog.

Nirvana, In Utero, released 21 September 1993. It took me a while to grok this third album of theirs, and it still feels a bit disjointed and desperate, but it also features my favorite Nirvana song “All Apologies” which would pop up on a few of my mixtapes over the years.

Melissa Etheridge, Yes I Am, released 21 September 1993. I remember this album being a huge thing when it dropped because at the time mass media rarely provided us with such a positive message of sexual and gender self-expression. Not to mention that the glorious “Come to My Window” was one of her biggest hits ever.

James, Laid, released 27 September 1993. Yes, that band with that one song of theirs most alternative stations will ever play, and sadly it’s become my least favorite because of that. It’s a great album regardless, especially with a single like “Sometimes”.

Pet Shop Boys, Very, released 27 September 1993. It had been a good couple of years since their last studio album (Behaviour in late 1990), and this was quite a welcome return. They were still slowly moving towards the heady techno sound that would become their style for the next several years, but this one still had the feel of their last couple of albums, creating a nice middle ground.

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Next up: A chance video rental and a trip to the laundromat changes the course of my future.

Thirty Years On: Slacker Central, Part VIII

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The summer was ending and I knew the last thing I wanted to do was move back home, so I had to do some quick thinking: who do I know that can help me get an apartment in Boston? JA of course. He managed to hook me up with the same rental agency that owned the brownstones on Beacon right down the street from Emerson. [This was well before many of them were bought and given some serious renovation and became overpriced condos, mind you.]. By the end of the month I’d found what would become known as The Shoebox Apartment, one building over from where I’d lived with L just over a year previous.

It was going to be hard and I’d be living from paycheck to paycheck, but I stubbornly refused to give up this easily.

The Pogues, “Tuesday Morning” single, released 1 August 1993. Their latest minus their longtime singer Shane MacGowan, this was a radio favorite on WFNX (on Tuesday mornings, natch). KEXP likes to play this on Tuesdays as well!

The Juliana Hatfield Three, Become What You Are, released 3 August 1993. The ex-Blake Babies singer gives herself a slight band name change for her second solo release and has a huge hit with “My Sister” on alternative radio. This was on heavy rotation on both WFNX and WBCN that summer.

Sheryl Crow, Tuesday Night Music Club, 3 August 1993. Sheryl’s debut knocks it out of the park with an interesting blend of blues, alternative rock and maybe even a bit of country, and manages to pop up not only on MTV and VH1 but also WFNX and WBCN and other indie and commercial stations. “All I Wanna Do” ends up getting played everywhere and you still hear it to this day.

Swervedriver, Mezcal Head, 5 August 1993. Another band whose music I loved but never quite got around to purchasing (I had to be extremely picky considering how frequently broke I was), I was always fascinated by their odd blend of PNW grunge and British shoegaze.

The Breeders, Last Splash, released 8 August 1993. Everyone loved the odd and quirky Pod from 1990 but this one was miles better and more radio friendly. You could not escape “Cannonball” even if you tried. There are several other great tracks on here as well, including the boozy ‘Saints”, the bluesy “Do You Love Me Now” and the very Pixies-like “Divine Hammer”. It is indeed a great record.

Paul McCartney, The Paul McCartney Collection wave two, released 16 August 1993. Sir Paul’s next rollout of catalog rereleases focuses on the late 70s-to-late-80s albums that may or may not have seen him at his best but it did contain several of his most memorable singles of the time.

The Sisters of Mercy, A Slight Case of Overbombing: Greatest Hits Volume One, 23 August 1993. At this point the last Sisters of Mercy release (not including the remasters of their three albums from 2006), it also includes their last single to date, the intense and alluring “Under the Gun” featuring Berlin’s Terri Nunn. This one got a lot of play over the next couple of years during my writing sessions.

Nirvana, “Heart Shaped Box” single, released 23 August 1993. Two years on and the famed grunge trio release a new single that feels not only harder and angrier but more desperate. There were several rumors that Kurt was already feeling the strain at this point, and it truly shows in their music of this era.

Cracker, Kerosene Hat, released 24 August 1993. David Lowery’s follow up to their wonderful self-titled debut may not have seen the same popularity, but it did offer the bluesy “Low” single that was indeed a huge hit on both alternative and rock radio, and still gets played on it to this day. There’s also a fun and goofy hidden track on this one called “Euro Trash Girl” that is also a fan favorite.

Unrest, Perfect Teeth, released 24 August 1993. TeenBeat is an interesting indie label in that it’s full of jangly indie pop bands — some twee, some punky — as a sort of response to other indie labels that release the hardest punk ever. Unrest were also signed by 4AD as part of their move towards a new indie sound. They’re one of those wonderful Bands You’ve Never Heard But Should, and this one’s a perfect place to start.

Stereolab, Transient Random-Noise Bursts with Announcements, released 24 August 1993. The band’s second album and the first with a full band (and the first released in the States) features the single “Jenny Ondioline” which got considerable play on alternative radio. They’re definitely in a field of their own, but they’ve attracted a major fanbase from the beginning.

Eve’s Plum, Envy, released 31 August 1993. A band named after the actor who played Jan Brady, their lead singer was one Colleen Fitzpatrick, who was not only an actor herself (she played Amber Von Tussle in John Waters’ Hairspray) but would also release glossy pop gems in the late 90s as Vitamin C. This first of two albums of their short career are definitely worth checking out for their blissfully perky alt-rock.

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Next up: the Shoebox, the bad habits and terrible decisions, and a sudden change of employment

Thirty Years On: Slacker Central, Part VII

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Living with my senior year roommate on the Symphony Road sublet was an interesting couple of months. For one, it was an easy commute to DeLuca’s on the E Green Line to Arlington Street and a quick walk through the park. It was a relatively short walk to various places where I could buy groceries or buy cheap take-out. And of course it was a short walk to Tower Records (and other local record stores). I had a tiny room that just about fit my bed and the meager possessions I’d brought to Boston, with a single window that looked into an extremely echoey lightwell.

Somehow or other I’d managed to reconnect with JA, the guy I’d met my sophomore year and had quite the love/hate friendship with — hey, when all your other friends leave the city, you take what you can get — which in retrospect was probably not the best of choices. Meanwhile, I’d inherited my parents’ old VHS player and gotten an account to rent movies and whatnot from Tower, and that soon became my summer distraction from being as broke as I was. I could afford the two-dollar rental every now and again to keep me entertained and creatively inspired.

All I had to do was survive this summer, find a new apartment at the end of the season, and perhaps find a job that paid just a little bit more…? Easier said than done, of course. Especially when the local economy seemed to be flagging at the time.

Chapterhouse, “She’s a Vision” single, released 1 July 1993. It took a few years for this great Britpop band to follow up, but it was well worth the wait. Unfortunately anything they did was overshadowed here in the states by the proliferation of Grunge at the time, but it was out there.

Mixtape, Son of WAUGH!!! Vol 2, created July 1993. The second volume of this cheesefest focuses on records I had in my collection that were 80s favorites of mine that I wanted in one place when I wanted to listen to them on headphones. This one got a lot of play especially during my commutes to and from work.

Various Artists, Sweet Relief: A Benefit for Victoria Williams, released 6 July 1993. This benefit album got a lot of play on WFNX, especially Pearl Jam’s loose and boozy take on “Crazy Mary”. You couldn’t escape this album that summer!

U2, Zooropa, released 6 July 1993. I was of two minds on this album: on the one hand, it feels like Achtung Part Two: The Outtakes, but on the other hand it stands alone as a strong record continuing the band’s foray into futurism. It’s kind of weird and maybe a little disjointed but I love it despite all that. This tape got a ton of play on my Walkman.

Matthew Sweet, Altered Beast, released 13 July 1993. This album feels so much darker than his more cheerful Girlfriend from a few years previous, but that’s part of its charm. “Time Capsule” is a weird song with a weird video but it’s one of my favorite songs of his.

The Smashing Pumpkins, “Cherub Rock” single, released 13 July 1993. It had been awhile since we’d heard from this band as well — Gish was such a fantastic record that everyone loved — and this song was a hint at what we’d expect on their new album: less psychedelia and more blistering guitar, less obscure lyrics and more crafted pop.

Bjork, Debut, released 13 July 1993. The Sugarcubes had split up sometime ago, and we were all wondering what would come next from its oddball pixie-ish lead singer. I didn’t quite expect her to lean towards dance beats and deeper experimentation at first, but it fit her style perfectly. An auspicious start to a very strange and fascinating solo career.

Tribe, Sleeper, released 13 July 1993. One of Boston’s best local bands ever sadly bowed out after this record, which didn’t quite hit the same heights as their Abort record (which was essentially a collection of previous singles with a few new tracks sprinkled in), but it’s got a lot of great tracks on it like “Supercollider”.

Candlebox, Candlebox, released 20 July 1993. One of the first bands I can recall that wasn’t quite grunge and not quite hair metal but somewhere in between and easy on the commercial rock radio ears, their debut helped the alternative scene expand into commercial territory. Say what you will, it really is a good album.

Catherine Wheel, Chrome, released 20 July 1993. This band’s follow-up to the weird yet fascinating Ferment was hard to digest for some but it’s earned its place as a solid record with several great deep cuts on it, as well as the radio favorite “Crank”.

The Smashing Pumpkins, Siamese Dream, released 27 July 1993. This is probably my favorite Pumpkins record as I feel it’s their most cohesive and best written. There are a few filler tracks, but for the most part it’s got all you need: the swirliness of their trademark guitar sound, a number of big radio hits like “Rocket” and lovely ballads like “Disarm”.

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Coming up: The end of summer and the start of the shoebox apartment.

Thirty Years On: Slacker Central, Part VI

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So. Out of college, working at minimum wage for an overpriced market in a tony neighborhood, and cutting financial corners wherever and whenever you could? Well, not yet. There was a slight problem in that I had to wait a couple of weeks between leaving the dorm on 6 Arlington and moving into the sublet on Symphony Road for the summer. I borrowed the apartment of a friend of my sister’s up in Lowell and took the train in for about two weeks first. I remember staying up late, watching MTV and thinking about how I was literally starting at the bottom rung while most of my somewhat more financially secure fellow college students had it a bit easier. I pretty much experienced that rich vs poor dichotomy from day fucking one. Not to mention being disconnected from friends and family because this was well before social media and email were easily available, let alone personal computers being affordable.

Still — despite being a moody bastard most of the time, I wasn’t about to let it beat me down. I’d survive somehow. And I certainly wasn’t going to give up on the writing.

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U2, “Numb” single, 1 June 1993. So how do you follow up a genre-defining album that completely rearranges your sound and style? Well, in the case of this band, you write and record new songs while still on the road and in between tours. Those who thought Achtung Baby was a weird album had no idea how to parse this single, but alternative stations like WFNX was all over it.

Sun 60, Only, released 1 June 1993. A sunny breezy summer song about Christmas? Sure, why not? “Mary X-Mess” was a favorite of the alternative stations and got a ton of play, even though they weren’t a band anyone these days remembers all that much. Still, it’s a record worth checking out!

Slowdive, Souvlaki, released 1 June 1993. The genre-defining shoegaze band’s second album is a lovely and relaxing record and one of my favorites (and it’s the first one of theirs I’d bought, though a few years after release). They sound stronger and more cohesive on this one.

Mixtape, Untitled IV, created June 1993. The first post-college tape was made at that Lowell apartment as a mix of my favorite tracks that had been released during my senior year, so while it’s a great and fun collection, it had a certain melancholy baked into it. It got a lot of play on my headphones during work commutes, but it was also a stark reminder of a time that was over and past.

Mixtape, WAUGH!!! Vol 1, created June 1993. The second post-college tape was originally planned as a collection of songs my sister’s friend owned that I wanted in my collection but didn’t have the money to buy. Named after a Monty Python line (from the ‘Argument Clinic’ sketch), it was my take on the ‘cheesefest’ of 70s and 80s retromania going on at the time.

https://youtu.be/7dimO83BtyY

Tears for Fears, Elemental, released 7 June 1993. Curt Smith had left the band by this time so this was essentially a Roland Orzabal solo record, but it’s got some great tunes on it like the big single “Break It Down Again”, which I still hear every now and then.

Urge Overkill, Saturation, released 8 June 1993. By far their most radio-friendly record at that point, this album divided fans who felt they were selling out and others who were happy for their success. Little did they know that an obscure EP track of a Neil Diamond cover would become their biggest hit ever in about a year…

Paul McCartney/Wings, The Paul McCartney Collection reissues, released 8 June 1993. It took me quite a few years to get around to picking these up, but they were easily available at the bigger record stores like Tower. These were lightly remastered with several b-sides and would become the choice collection until Sir Paul started his major remaster project years later.

The Verve, A Storm in Heaven, released 15 June 1993. A good few years before the ubiquitous “Bittersweet Symphony” plagued the airwaves, this band introduced themselves with a strange yet perfect mix of shoegaze, psychedelia and Britpop and garnered fans almost immediately.

Liz Phair, Exile in Guyville, released 22 June 1993. At the time I lumped Phair in with PJ Harvey, an indie woman songwriter with no fucks given, and it took me a bit of time to get used to this record, especially with its majestic length and its curious nod to the Stones record I felt (even then) was a bit overrated. It’s not for everyone, but it’s definitely an interesting listen.

The Flaming Lips, Transmissions from the Satellite Heart, released 22 June 1993. Yes, that band with that song that finally put them on the indie map. They’d always had a loyal fanbase, but this was the record that expanded it considerably. To this day this is most likely the one of maybe three Lips songs you’ll hear on commercial alternative radio.

Billy Idol, Cyberpunk, released 29 June 1993. I remember this coming out and being fascinated by the concept, even as critics and fans alike dismissed it as a terrible and misguided album. The fascinating thing is that Idol really did do his homework on this one and a lot of the songs do tie in with the burgeoning SF subgenre that wouldn’t catch on in the mainstream for another couple of years. He still plays “Shock to the System” in his live shows!

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Coming up: The Gen-X story continues: the trials and tribulations of not knowing what the hell you’re doing.