Mixtape: Untitled VI

This one was made during my last summer living in Boston. I was living in a two-bedroom apartment with a Berklee piano student on Brighton Avenue in Allston and working full time at the old Sony Theater that used to be up near Assembly Square Mall in Somerville. (A half-hour commute by the T, so of course I listened to a lot of tunage there and back.)

A lot of this mix came from different places: used CDs from Nuggets in Kenmore Square, album dubs from friends, a few Columbia House purchases, and a lot of taping off the radio, mostly WFNX. [I know, I know. I should have saved my money for things I needed, but I somehow made it work.] The title Untitled comes from a mix I’d made back in 1989, where I’d made a really great tape but could not for the life of me come up with a decent title. Calling it such seemed to fit somehow, and that particular series became one of my favorites to make. [I am currently on Untitled XXV, made last October. I need to catch up and make another one.]

There’s a lot of peak 90s bands here, and many songs that were highly popular with the alt-rock crowds. It was what got the most play on Boston radio at the time, plus there were some great tracks dropped then. I’d been listening heavily to Alice in Chains’ Jar of Flies, Soundgarden’s Superunknown, Stone Temple Pilots’ Purple and Nine Inch Nails’ The Downward Spiral at the time (among other things) and they’d pretty much become my personal soundtrack for the 1994-95 season.

I really like how this mixtape worked out, and I still listen to it from time to time. It’s not as adventurous as some of my other mixes, but it’s solid from start to finish and has some of my all-time favorite mid-90s songs on it. It also has a sense of humor to it; silly and lighthearted songs bump up against gloomy and angry songs, and each side ends in extremely short and funny filler. And in early 2003 I’d make a two-cd “reissue” of this mix featuring nine extra songs from the era that I’d loved but couldn’t fit on the original.

Bonus: That U2 song, which would be featuring on the Batman Forever soundtrack later that summer, had been recorded off WBCN in early April when it was world-premiered by DJ Carter Alan, a close friend of the band.

Untitled VI, June 1995

Side A:
1. Bad Religion, “Stranger Than Fiction”
2. Green Day, “Basket Case”
3. Live, “I Alone”
4. Pizzicato Five, “Twiggy Twiggy/Twiggy vs James Bond”*
5. Nine Inch Nails, “Closer”
6. Frank Black, “Headache”
7. Dig, “Believe”
8. The Flaming Lips, “She Don’t Use Jelly”
9. Alice in Chains, “I Stay Away”
10. Grant Lee Buffalo, “Mockingbirds”
11. Jeff Buckley, “Last Goodbye”
12. They Might Be Giants, “Spider”

Side B:
1. Blur, “Girls & Boys”
2. Danzig, “Cantspeak”
3. Ween, “Voodoo Lady”
4. The Afghan Whigs, “Gentlemen”
5. The Smashing Pumpkins, “Never Let Me Down Again”
6. Soundgarden, “Black Hole Sun”
7. Nirvana, “All Apologies”
8. Stone Temple Pilots, “Interstate Love Song”
9. Blur, “Parklife”
10. U2, “Hold Me, Thrill Me, Kiss Me, Kill Me”
11. Bjork, “Army of Me”
12. Pearl Jam, “Bugs”

* – Not available on Spotify

Favorite Albums: Spacehog’s ‘Resident Alien’

In late autumn of 1995, having just gotten all my anger and frustration out of my system after moving back home from an extended stay in Boston, I reconnected with an old friend of mine from high school and we started hanging out. To be honest it was a friendship of convenience at the time, considering a) we’d both boomeranged back to our home town that we’d both been so vocally desperate to escape five years previous, and b) there weren’t too many others we knew of in the immediate area that we could hang out with. She and I spent a lot of time driving around central Massachusetts, listening to music, smoking cigarettes, going to a few shows here and there, and making ridiculous plans to escape the clutches of our hometown once more. She’d escape in a few years; it took me almost nine more to do the same.

Spacehog’s Resident Alien was on heavy rotation during that time, partly because she had a mad crush on the guitarist Antony Langdon. There was also the fact that their debut single “In the Meantime” was getting mad airplay on all the local alt-rock stations we could get in, and I loved that they’d cribbed Penguin Cafe Orchestra’s “Telephone and Rubber Band” and used it brilliantly as the backbone sample of the entire song. We saw them at Pearl Street in Northampton not that long after its October release, and we stayed behind after the show to mingle with the band. While the the brothers Langdon (Antony and bassist/singer Royston, later to become Mr. Liv Tyler) were their usual strange and silly selves, lead guitarist Richard Steel and drummer Jonny Cragg were more laid back and amiable. [I remember surprising Jonny by mentioning I knew him from when he played in The Hollow Men back in the early 90s!] They were an unabashedly fun band to see and hang with.

They wore their Bowie influences not just on their sleeves but pretty much all over the place. You can hear traces of most of Bowie’s 70s output throughout the entire album, going from psychedelic Hunky Dory grooves on “Starside” to bluesy Ziggy Stardust riffs on “Candyman” to ridiculous Lodger camp on “Space is the Place” and back again. There’s even a nod to Tin Machine there on track two, “Spacehog”, in which that band’s “Crack City” is quoted near the end. [This is no fluke; during their tours for this album they would do a cover of the song, which ended up on their Hamsters of Rock EP.]

I think what makes this a strong record for me is that it shows that the band was solid and confident straight out of the gate; not only could they swagger like Bowie, they could balance their sillier songs with some truly heartfelt ballads. I also liked that there was a consistent sci-fi theme throughout, whether it was implied (such as “Shipwrecked”) or direct (such as “Starside”). And ending the album with the absolutely stunning epic track “Zeroes” is always a big winner for me.

They ended up being a bit of a 90s one hit wonder for the most part, but they’ve put out three further albums (the latest being 2013’s As It Is On Earth) and each of them has their own distinct charm, a healthy dose of Bowie influence, and of course their trademark goofiness. They’re all worth checking out, but I’ll always come back to Resident Alien as a solid mid-90s alt-rock album that’s stood the test of time.