Tag Archives: favorite bands

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.

Thirty Years On: Slacker Central, Part V

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The very last class and exam I took for my school years was for my French class. I’d unfortunately learned a bit too late that my brain doesn’t process foreign languages correctly (I can understand them just fine once I learn them, but I can’t speak them without my brain stuttering to a halt to translate), but somehow I’d managed to just about pass it, thus giving me the points I needed to get a Bachelor of Arts degree. I handed in the test when I was done and celebrated my newfound freedom across the street by taking a seat at the Wall (more like a curb, the student gathering spot in front of 130 Beacon) and having a cigarette.

To be honest, I was kind of hoping I’d feel that freedom, but I felt the opposite: now what the hell do I do? In the words of Dave Sim, it was less of a grand finale and more of a grand finally. That’s when it all kicked in: Day One of adulthood. Now that I didn’t have school to distract me, it was time to start figuring things out.

Easier said than done, of course.

New Order, Republic, released 3 May 1993. It had been a surprisingly long number of years between albums for this group, considering they all went their separate ways to work on solo projects (Electronic, Revenge and the endearingly-named The Other Two). They came back stronger than ever with an album considered one of their best.

Blur, Modern Life Is Rubbish, released 10 May 1993. This is one of my top favorite Blur albums for many reasons. They’ve moved beyond the heady Madchester grooves of their first album and headed towards more introspective and observational themes. There are a lot of Gen-X moods going on here: poverty, emotional distraction, avoidance and ironic humor. This one has some wonderful tracks on it and I still listen to it now and again.

Aimee Mann, Whatever, released 11 May 1993. After the break-up of Til Tuesday in 1990, Mann was unable to contractually release anything for another couple of years, but the end result was a fine solo debut of sunny alternapop that proved she was still a fine songwriter. She may not have been a Boston local any longer, but WFNX played this one a ton just the same.

Wire, 1985-1990: The A List, released 18 May 1993. One of the first (of sadly far too many) albums I bought when I first got a credit card (this and the This Mortal Coil box), I knew this would get a ton of play on my headphones, considering they were — and still are — one of my all-time favorite bands. This one’s a ‘football roster’ mix of fan favorites, with “Ahead” in the obvious top spot. It’s a great collection and a great place to start if you’re curious about their mid-era sound.

The Mighty Mighty Bosstones, Don’t Know How to Party, released 18 May 1993. Their third album was their first on a major label, it feels a bit more laid back than their usual hard-driving ska-core sound, but at the same time that helped become a great summer record for the Boston area.

Guru, Jazzmatazz, Vol 1, released 18 May 1993. Somehow I never got around to adding this (and its several later volumes) to my collection, but I do of course remember it getting all kinds of attention from both critics and fans. While the mix of jazz and rap wasn’t entirely a brand new thing by then, this album gave it a fresh new sound with its Blue Note-inspired jazz sounds — a live band instead of samples — blending perfectly with the chill rap delivery. Highly recommended.

Aztec Camera, Dreamland, released 23 May 1993. Roddy Frame’s return after a lengthy break (1990’s Stray was the previous record) had him sounding less indie/folky and more streamlined pop, but that wasn’t necessarily a band thing considering his penchant for writing wonderful songs. “Dream Sweet Dreams” is a lovely track that got a lot of play on WFNX that summer.

The Waterboys, Dream Harder, released 25 May 1993. Mike Scott’s next record was similar to 1990’s Room to Roam in that it was full of energy, but the main difference here was that the band’s sound on this one veered more towards straight alternative rock, sans the usual Irish folk influence. It would end up being the last Waterboys release for a number of years as he focused on his own solo work.

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Next Up: Now what the hell do I do?

Thirty Years On: Slacker Central, Part IV

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By April of 1993 I realized that this was going to be the very last semester of any schooling I’d ever attend. I had no plans or reasons to look into graduate school, having finally admitted to myself that I’m more of a ‘learn by experience’ student than a ‘learn by theory and text’ student. I’d always been turned off by the idea of theoretical dissection and debate; it did nothing for me because that wasn’t how my brain worked. Mine always went in the opposite direction: I loved how things fit together. This meant that these were going to be the last exams, the last term papers, the last final projects I’d ever be dealing with, and I really liked the idea of that.

Mind you, this also meant that my road ahead was going to be hard, often lonely, and with a lot of fuck-ups along the way. I wasn’t looking forward to that, but I at least knew that was coming. I prepared myself by thinking ahead: I knew I wanted to be a writer, so that was what I was going to need to focus on most.

It would take quite a long time, but I’d get it soon enough.

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Guided By Voices, The Grand Hour EP and Vampire On Titus, released 1 April 1993. I actually knew about this band early on as one of those beloved by the critics and DJs in the know but rarely ever found in smaller record stores. I believe I’d heard “Shocker in Gloomtown” on WZBC (Boston College’s station) and maybe on WFNX one late evening.

David Bowie, Black Tie White Noise, released 5 April 1993. “Jump They Say” was a big favorite on WFNX at the time, as this was his first post-Tin Machine record under his own name again. It’s a very polished-sounding album and maybe not my favorite of his, but there are quite a few good tracks on it.

Sugar, Beaster EP, released 6 April 1993. After the brilliant Copper Blue, Bob Mould released a hard and fast six-track mini LP that melded the melodic parts of this new band of his with the noise of his previous band Husker Du. The end result is blistering and noisy fun.

Tool, Undertow, released 6 April 1993. I don’t think there was any band that sounded quite like this at the time: the heaviness of grunge, the headiness of prog, and the nihilism of metal, and somehow capturing the attention of countless critics and fans. Even the bizarreness of the video for “Sober” earned it heavy rotation on MTV at the time. More to the point, they even got my attention and they totally weren’t a band I’d actively listen to.

His Name Is Alive, Mouty By Mouth, released 13 April 1993. It took me a while to get where this band was going with their music and why they were on the revered 4AD label, as they felt more like outsider indie folk than anything else. But every now and again they’d have a song (like the above) that I really enjoyed.

Sarah Brightman, Dive, released 20 April 1993. Now this album was totally against type for me: I’d heard “Captain Nemo” on WFNX of all places one night and I was kind of fascinated by it…it had that dreamlike cinematic feel that would fit right in with my style of writing. I bought this one at Tower on cassette not knowing she was a well-known stage singer looking to pivot into pop, and I found myself really liking it. I’d play this one a lot on my headphones if I was heading somewhere on the T.

Midnight Oil, Earth and Sun and Moon, released 20 April 1993. I’d heard this one later in the summer of that year when I worked at DeLuca’s Market on Charles Street; one of the managers threw the album on after closing when we were cleaning up. I instantly fell in love with the track “Outbreak of Love” and ran out and bought it at Tower the next day!

World Party, Bang!, released 26 April 1993. Karl Wallinger’s output has always been consistently great (and he’s a super nice guy too, as I’d met him years later at Amoeba here in SF some years back). Pretty much everything he’s put out has been a mix of catchy pop and quirky indie rock.

PJ Harvey, Rid of Me, released 26 April 1993. The indie kids loved her records, and so did WFNX, because she was so hard to pin down into one genre. She could be sexy, confrontational, discomforting and funny, sometimes within the span of the same song. Her early albums are definitely worth checking out, and she’s about to release a new one very soon!

The Posies, Frosting On the Beater, released 27 April 1993. A jangly indie pop band that the critics loved, I’d hear the wonderfully shimmering “Flavor of the Month” on WFNX all the time and it became one of my favorite summer songs that year.

Porno for Pyros, Porno for Pyros, released 27 April 1993. Perry Farrell’s return to music after Jane’s Addiction’s implosion (and focusing on running Lollapalooza, which was still a traveling show at the time) was a more down-tempo record but featured some of his best work, including the ubiquitous single “Pets”.

Brad, Shame, released 27 April 1993. This was an interesting group in that it was essentially several musician friends from the Seattle area getting together to occasionally record and release music that didn’t quite fit the sounds of their own bands. This was also one of many groups headed by Seattleite Shawn Smith, who would pop up all over the place over the next several years.

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Coming up: One life ends, another life begins.

Thirty Years On: Slacker Central, Part III

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If I learned anything about filmmaking at Emerson, it’s that I didn’t think I was going to be good at it. In fact, I was kind of terrible! I certainly had the images of what I wanted to see in my head, but there was no way I’d be able to follow through if I’d kept digging at it…especially since I’d also realized that I really wasn’t the best at networking, let alone knowing anyone who’d be interested in following through with my crazy ideas. After an extremely frustrating and unhelpful talk with my student advisor, I stepped back and realized, what is my strength here anyway, if it’s not making film?

Well, duh.

It’s writing.

So for the last couple of semesters at Emerson, I took screenwriting classes, and that was the best damn decision I’d made in my college years. It prepared me for the long haul: this was going to be a solo endeavor, and I’d be starting from the bottom, but it taught me how to get those images in my head on paper in a more coherent way. I finally knew exactly what I wanted to do as a career.

The Cranberries, Everybody Else Is Doing It, So Why Can’t We?, released 1 March 1993. It took me a little while to warm up to this band, but when I did I loved “Linger”. The opening segment of the song to me evokes a kind of waking up. You still hear this and “Dreams” on alternative radio these days.

Living Colour, Stain, released 2 March 1993. This band’s third album before their split didn’t sell as much as the previous two, and I think it’s because this was a bit of a serious record, actually kind of an angry one. However, it’s got some really great tunes on it, well worth listening.

The Mighty Mighty Bosstones, Ska-Core, the Devil and More EP, released 8 March 1993. Our favorite local ska-core boys dropped this record with “Someday I Suppose” as its lead track (it would show up on their new full-length in a few months), which got play on pretty much all the Boston rock stations.

The Beloved, Conscience, released 9 March 1993. This band finally followed up their fantastic debut with an even sleeker beat-driven dance record, and it’s just as lovely. I really dug the single “Sweet Harmony” at the time.

Frank Black, Frank Black, released 9 March 1993. The then-ex-Pixies singer’s debut was part of what seemed to be a giant flourish of new 4AD records (alongside Belly, The Breeders, and more) that featured the label’s newer, fresher sound. Frank is still the consummate weirdo here, just like with his previous band, but there’s also a bit of retro punk to it as well.

311, Music, released 9 March 1993. This was the record that introduced me to this band, and it’s much funkier and jammier than what we’d come to know them by. I had “Freak Out” as a breakout song on the WECB playlist for a while. I’m still a fan to this day.

The Judybats, Pain Makes You Beautiful, released 9 March 1993. This band never quite got the attention it deserved, partly because they didn’t quite fit the popular mold at the time, though WFNX did give them a bit of play during the years they were together. This third record is by far my favorite: it’s got so many gorgeous songs like “Being Simple” balanced by nutty humor like “Incredible Bittersweet”. Bonus points too for being recorded at Long View Farm, which was a studio in North Brookfield MA, just outside of Worcester!

Saint Etienne, So Tough, released 9 March 1993. I knew them from their previous record Foxbase Alpha (which had the groovy cover of Neil Young’s “Only Love Can Break Your Heart”), but this one became a favorite of mine partly due to the above song and its amazing ability to perfectly capture retro 60s UK Northern Soul. I still pick up their records, and member Bob Stanley is also an amazing music biographer whose books you should definitely check out.

Sting, Ten Summoner’s Tales, released 9 March 1993. I never followed Sting’s solo career all that closely though he did have several singles I liked. This is probably my second favorite album of his (Nothing Like the Sun gets the top spot), and I’ve always liked the above lead single. I did get to see him on this tour later on in the year.

Depeche Mode, Songs of Faith and Devotion, released 22 March 1993. This was such a polarizing album when it came out! It definitely wasn’t Violator, that’s for sure. The obvious theme throughout it is indeed faith and devotion, whether spiritual or personal. It’s a very dense and sometimes angry record, but I fell in love with it immediately.

PM Dawn, The Bliss Album…? (Vibrations of Love and Anger and the Ponderance of Life and Existence), released 23 March 1993. I didn’t pick this one up right away, but I’ve always loved this duo as well. This one proved that they weren’t just a one-hit wonder and could write some amazing stuff.

The Pursuit of Happiness, The Downward Road, released 23 March 1993. This band had fallen into semi-obscurity after 1988’s Love Junk and its silly “I’m an Adult Now”, but I really enjoyed this one.

The London Suede, Suede, released 29 March 1993. This band actually kind of turned me off at first when their first singles dropped — I thought they were a bit too glammy for my tastes — but something told me to pick up this debut record, and it ended up being one of my favorites of the year! While most other Britpop bands of the time wore their 60s inspiration (or their 80s drugs) on their sleeves, this one said ‘we’re going to be the bastard son of 70s Bowie and T Rex’ and pulled it off brilliantly. Highly recommended.

This Mortal Coil, 1983-1991, released 30 March 1993. A collective that deeply inspired my writing over several years. It took me a few months to get around to picking this up, but it was well worth it: a collection of TMC’s three records, plus a fourth disc of the originals they’d covered on them. This box set would get a ton of play over the years until it was finally replaced by the self-titled 2011 box.

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Coming up: new sounds, new ideas

Thirty Years On: Slacker Central, Part II

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So. Slacker Central, you say? Where did that name come from? It was a comic idea I’d come up with around this time that sadly didn’t get much love or attention. It was to come from the ashes of my previous comic idea Murph, both of which featured classic Gen-X characters trying to figure out their lives, who the hell they were, and obsessing over music, and their gathering spot was a Central Perk style coffee house based on the Trident Bookstore on Newbury Street. [And yes, the “Slacker” part of it was from the Richard Linklater movie, which remains one of my top favorites from the era.] In the end I only drew maybe four or so ‘shots’ along with writing a few pages of notes, but it would later morph into the also-trunked story Two Thousand, which I’d work on about a year later.

The point here being: my life might have been in the crapper at the time, but I certainly wasn’t about to let that distract me from creativity.

Various Artists, Caution! Hot Tips!, released February 1993. This compilation from Melody Maker somehow made its way to WERS during my last year there and was a great collection of indie bands that weren’t getting a lot of attention at the time. Hum in particular was a favorite, and would get their due a few years later with the classic “Stars”.

Sunscreem, O₃, released 2 February 1993. I may not have been fully into the early 90s electronica scene, but there were some albums and tunes that I absolutely loved, and this was one of them. “Love U More” got a lot of play on my headphones at the time as a great emotional pick-me-up. I got to see them live opening for Inspiral Carpets at the Paradise and they put on a hell of a fun show!

Belly, Star, released 2 February 1993. There were high expectations for this album and the band more than met them with a great mix of bright and cheerful indie pop and slightly odd Muses-like meanderings. Well worth picking up.

Pure, Pureafunalia, released 8 February 1993. Another freebie from WECB, I really dug the single “Blast” and had it on the station’s rotation. They were definitely part of that 90s ‘popternative’ sound (as I would later call it), easily dropped into commercial alt-rock radio which had gotten an incredibly strong foothold at this point.

Quicksand, Slip, released 9 February 1993. A sort-of alt-metal/hardcore band from NYC, I met these guys at a meet-and-greet a month or so later and found lead singer Walter to be a super nice guy. And yes, that definitely helped me enjoy this band even more!

Jellyfish, Spilt Milk, released 9 February 1993. The follow-up to the amazing 1991 debut Bellybutton was…not nearly as hearts-and-flowers cheerful or sunshine poppy, and guitarist Jason Falkner had already left. I didn’t listen to this one all that much, but after hearing it several years later on the 2015 remaster, I’ve come to enjoy it a lot more.

Dinosaur Jr, Where You Been, released 9 February 1993. A New England band that never quite left its Pioneer Valley roots, they were always popular on several local stations and especially on WFNX. They’d lightened up considerably at this point and weren’t quite the noise-punk band they once were (especially now that Lou Barlow was out of the picture), which interestingly enough let their surprisingly melodic songwriting shine through.

Depeche Mode, “I Feel You” single, released 15 February 1993. Nearly three years after their chart-topping album Violator (and an extremely long tour), the band took a hard left turn and churned out a new track that was heavier and punchier than anything they’d ever done. This wasn’t going to be the same synth band we all knew and loved, and not everyone appreciated it, and the end result would be both intriguing and divisive.

The Rosemarys, Providence, released 16 February 1993. As I’ve said before, I kept my musical options open around this time and tended to gravitate towards Britpop and indie shoegaze and dreampop like this. This was another album that popped up during my WECB tenure and “Collide” ended up on one of my rotations as well as one of my mixtapes. [Side note: there were a few Boston bands that had this sound too, including a band called Pipes that were a big favorite with the college crowd.]

Radiohead, Pablo Honey, released 22 February 1993. ….and then there’s an album that introduced the world to a British band that would change the face of alternative rock for years to come. Even then you could tell they were different: while all the big name bands were trying to reinvent themselves and discover new sounds or jumping on a bandwagon, Radiohead was classic post-punk: moody atmospherics and lyrics, simple delivery and a brutal honesty missing from the scene. And “Creep” was everywhere. I’m proud to say I was there at their first-ever US appearance at Citi on Landsdowne Street, and it was an amazing show.

Duran Duran, Duran Duran (The Wedding Album), released 23 February 1993. They’d fallen a bit from grace for a few years there, not quite hitting the heights with 1988’s Big Thing and utterly failing with 1990’s Liberty, but this was a true return to form: stunning songwriting and a serious focus on capturing what made them so damn popular in the first place. A fantastic record from start to finish.

Grant Lee Buffalo, Fuzzy, released 23 February 1993. You could probably file this band in with the ‘slowcore’ movement, though they were more of a country/folk version of it. It’s a very sad sounding record, but the title track is absolutely wonderful.

School of Fish, Human Cannonball, released 23 February 1993. Another ‘how do you follow up a huge success’ second album that unfortunately did not sell nearly as much as their 1991 self-titled debut, but It really is a great album.

Robyn Hitchcock & the Egyptians, Respect, released 23 February 1993. I fell in love with his music in the mid 80s and while I may not have been able to keep up with his releases (partly due to being so damn broke most of the time), I did of course pick this one up, and “Driving Aloud (Radio Storm)” is one of my favorites of his.

Goo Goo Dolls, Superstar Car Wash, released 23 February 1993. While 1995’s A Boy Named Goo tends to be the record that turned them from critics’ faves to rock radio mainstays, I see this record as the one that put that particular sound in place. They sounded less like early Replacements and more like latter-era Replacements — tighter, better songwriting, and maybe even a radio hit or two.

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Next up: wrapping up one career and starting on another

Thirty Years On: Slacker Central, Part I

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Going back another decade to 1993 this time? Sure, why not? It’s an era of my past that I’ve kind of glossed over for varying and personal reasons, so maybe it’s time to take a look at some of the records that kept me going at the time.

To set the mood: it was my second and last semester of my senior year at Emerson, and I was exactly where I didn’t want or need to be at. I’d just moved out — more like ragequitted — the apartment I’d lived in for a year and change after having had enough of my then roommate. Moving back to the dorms, I realized I’d lost track of several of my college friends out of my own doing, and was now hanging with several kids younger than me and feeling left behind. My grades were still less than stellar, I had no real idea what my future would be, and the last thing I wanted to do was move back to my hometown.

So yeah, I was pretty much starting from rock bottom here.

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The Wedding Present, The Hit Parade 2, released 4 January 1993. In 1992 this British band chose to drop a single a month — an original on the A side and a cover on the reverse — and it was the covers (such as a desperate version of Julee Cruise’s “Falling” and a blistering “Pleasant Valley Sunday”) that caught my attention.

Belly, “Feed the Tree” single, released 11 January 1993. After leaving Throwing Muses, Tanya Donelly surfaced a short time later with her own band that was immediately loved by everyone in the Boston area. She’d always written the less abrasive Muses tracks but never quite got rid of the classic Muses quirkiness, and it shows here.

Stereo MCs, Connected, released 12 January 1993. “Connected” (the single) was everywhere at the time, both on alt-rock and dance stations alike. I used to play this on my show on WECB and cranked the song up loud every time. It’s a really fun dance record worth checking out.

Denis Leary, No Cure for Cancer, released 12 January 1993. I know, this is a comedy record and not alt-rock, but I put it here because a) he’s a fellow Emersonian and b) he’s also a kid from central Massachusetts like me. A lot of the humor here is definitely of its time — irreverent GenX ‘fuck it, let’s go there and a bit beyond because why the hell not’ humor that’s equally ironic, biting, and daring, but you always knew there was an unspoken level of not quite being mean-spirited.

The Tragically Hip, Fully Completely, released 19 January 1993. This was the record that introduced me to this band, and it’s a hell of a fine album. I played at least three or four tracks from this record on my WECB show at the time.

Elvis Costello & the Brodsky Quartet, The Juliet Letters, released 19 January 1993. You never quite knew what EC was going to do next back in the day, his styles changing wildly from album to album. This is probably the first classical album where I finally understood what modern orchestral music was about, and that it could work seamlessly in a semi-pop way.

The The, Dusk, released 26 January 1993. Matt Johnson always took his time between albums, often two or three years at a time, and while his previous record dropped just as I was starting college, this one was released just as I was ending it. While not as angry as 1989’s Mind Bomb, it’s just as tense. This one’s about inner pain, and it shows on many of its tracks.

Duran Duran, “Ordinary World” single, released 26 January 1993. Ooof. If there was any song that encapsulated where my mental and emotional state was at this time, this was pretty much it. My long-term/long-distance relationship with T finally at its end, my less than stellar school years limping to a close, my social connections in the crapper, and my future nowhere to be found, this song saved me from falling any deeper with its constant reminder to keep going.

Jesus Jones, Perverse, released 26 January 1993. Understandably this record didn’t quite reach the dizzying heights of 1991’s Doubt, and by the time of its release, the alt-rock universe had moved on to more organic grunge rock, but this remains one of the band’s best records in my eyes. It’s a much darker and denser record and features some of their best singles and deep cuts. I highly recommend it.

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…so yeah, not the most spirited of beginnings of what is supposed to be an important year, yeah? But even though I was lost, hurting and feeling rudderless, I knew I had to keep going. By this time I’d realized that I could still use what I’d learned at this college, but in different ways: my film degree helped me understand how to write and tell stories. My connections with college radio may not have gotten me into that business but it certainly helped me continue my long-lasting love for music, as well as my constant drive to find new things to listen to.

I knew I was starting at the bottom and there was no way to go but up…and I also knew I was going to fuck up a lot along the way (and believe me, I did several times)…and ultimately I was the only one who was going to make me do it.

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More to come: songs to keep me going, and an album that blew everything else out of the water!

Twenty Years On: Songs from the Belfry 2003, Part XI

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Not too many releases to speak of at the end of the year (which, y’know, par for the course at the time), which meant I spent most of my writing sessions listening to all the cds I’d accumulated over the past year or so. In retrospect, 2003 was indeed a stellar year for alternative and indie rock, even though it did kind of feel like a year of change…while there were very few mind-blowing albums or songs that sank deep into my psyche at the time, that’s not to say they weren’t bad per se. Just an interesting mix of bands and sounds changing and evolving. And I always think that’s a good thing, even if the sounds didn’t quite resonate with me.

I did spend a lot of the time listening to releases from 2002 as well — in particular, I’d gotten into Beck’s Sea Change a bit later than its release but it soon became one of my top writing session albums (and still is to this day). Coldplay’s A Rush of Blood to the Head was another that I got into quite late. I was very curious to see what the next year would bring.

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Hooverphonic, Sit Down and Listen to Hooverphonic: The Live Theater Recordings, released 1 December 2003. I actually didn’t get around to acquiring this one for a while, which is surprising considering my love for this band, but I mention it here because all of their previous albums were still on heavy rotation in the Belfry, including most of the tracks found on this one. Still one of my favorite bands!

Various Artists/Soundtrack, Live Forever: The Best of Britpop, released 2 December 2003. If you’re curious about the Britpop movement of the 90s, this is a perfect collection to start off with. While some mixes lean heavily on obscurities or label-related releases, this one was inspired by the documentary Live Forever: The Rise and Fall of Brit Pop, which I highly recommend, and focuses more on several popular groups and bands at the time. This one still gets plays here in Spare Oom!

Mix CD, Re:Defined…The Best of 2003, created 30 December 2003. The second year in which my end-of-year compilation is CD-only — I’d bought a CD drive for my older PC late in 2002 and managed to somehow have enough hard drive space to rip songs from my collection then burn them. This was the first end-of-year mix using my new PC, and I think it shows that I’d gotten the hang of making a disc mix, after having made 45-minutes-a-side mixes for the last twenty or so years! I’m quite happy with how this one came out, actually.

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So what would 2004 bring…? I’d continued my weekly runs to Newbury Comics and would continue to do so until further notice, and I’d start writing The Balance of Light soon enough — as well as a vampire novel idea that would pop into my head, serving as a secondary project when I’d started having trouble with TBoL. After three-plus years of writing the Bridgetown Trilogy, I was starting to burn out.

And then at some point during the summer, one of my close friends would hold a get-together with several friends from all around, during which I’d meet for the second time a friend of a friend from New Jersey…

Twenty Years On: Songs from the Belfry 2003, Part X

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I finished The Persistence of Memories in one marathon session on 11 November, having realized I’d started it exactly one year earlier. That’s not something I normally do, but considering that it had been my first novel to be finished in under one year I wanted to see if I could pull it off. It was Veterans Day and I had the day off from work, and if I’m not mistaken it was an extremely lengthy six-hour session (my longest ever to date, with the occasional break for food and whatnot, as well as a few FreeCell games to keep my eyes from crossing).

Thankfully, clearer heads won the day and I didn’t start Book 3 until early January 2004!

Lamb, Between Darkness and Wonder, released 3 November 2003. This duo’s last album before going on an extended hiatus (and not returning until 2011) is a quiet and somber affair, more about contemplation and comfort than their previous experimentations in electronic pop.

P.O.D., Payable On Death, released 4 November 2003. Their follow-up to their mega-selling Satellite may not have been able to reach the same heights, but it certainly had its share of great alt-metal tunes.

Guided By Voices, The Best of Guided By Voices: Human Amusements at Hourly Rates, released 4 November 2003. I’d known about this band for ages thanks to my HMV years but never got around to picking any of their albums up, primarily because they seem to drop four or five records a year! I figured this was a good place to start. And yes, there were a few “oh, that song!” moments upon first listen.

Explosions in the Sky, The Earth Is Not a Cold Dead Place, released 4 November 2003. Another post-rock band to add to my collection, this one got some considerable play during my writing sessions when I needed background but not necessarily mood.

Loveless, Gift to the World, released 11 November 2003. A Boston group comprised of singer Jen Trynin and members of Expanding Man and Letters to Cleo, their one album is full of crunchy fun indie pop.

Mixtape, Re:Defined 07, created 16 November 2003. This is an interesting one as it’s more of a ‘favorites so far that didn’t make it to previous mixes’ tape than one of new songs. Still, it’s another one of my favorites.

The Beatles, Let It Be…Naked, released 17 November 2003. An interesting compilation that kind of flew under the wire, it’s pretty much all the major songs from the 1970 original minus most of Phil Spector’s, er, mishandling by overproduction. Mostly released for completists like myself, it also contains a twenty-minute bonus track of chat and soundbites from the sessions.

Blink-182, Blink-182, released 18 November 2003. The meathead-punk band of the 90s seems to have chilled out a bit on this record, writing some surprisingly intelligent and straightforward tracks, a few of which have become radio favorites.

Various Artists, Feedback to the Future, released 25 November 2003. A single-disc collection of shoegaze and Britpop I discovered on the pages of CMJ and had Newbury Comics special order for me. This is only a small sampling but it’s a great mix nonetheless. This one got a lot of play in the Belfry.

+/- (Plus Minus), You Are Here, relesased 25 November 2003. The band follows up their fantastic EP with a full record of twitchy indie rock that’s kind of hard to pin down into one style yet worth multiple listens.

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Next up: End of the year releases and mixtapes!

Twenty Years On: Songs from the Belfry 2003, Part IX

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The days at Yankee Candle were already getting busier by October, the sign of Q4 starting with extended hours (aka ‘mandatory overtime’) and larger volume to move. This was the second year with heightened volume thanks to our recent acquisition of Bed Bath & Beyond as a seller. The downside was that YC’s hiring of seasonal help always started a month or so late (they’d come in November when we really needed them earlier), and by then we’d lost one or two members of our team for one reason or another.

And yet at the same time, I was kicking ass writing. I was just about wrapping up The Persistence of Memories and about to start in on Book 3 and I wasn’t about to take any time off in between and lose that momentum. Perhaps that wasn’t the best of ideas in hindsight, but at the time I felt it was better to just keep riding that high while I could.

Mono, One Step More and You Die, released 2 October 2003. This Japanese instrumental post-rock band was a critic favorite from the beginning, and while it took me a bit to warm up to them, I found their music perfect background for writing sessions.

https://youtu.be/a7pw503I2mg

Soundtrack, Lost in Translation, released 3 October 2003. Sofia Coppola’s second movie was a surprise hit and featured quite a few great bands on its quirky and unique soundtrack, including a few rare solo tracks from My Bloody Valentine guitarist Kevin Shields.

Belle and Sebastian, Dear Catastrophe Waitress, released 6 October 2003. These Glaswegians broke out of their bedroom twee sound with this perky and often funny bedsit pop record. The new style fit them really well and they’ve evolved in that direction ever since.

Living Colour, Collideøscope, released 7 October 2003. This band returned for their first record after their 1995 split, and while it’s not as heavy and funky as their previous records, it’s just as topical.

Jet, Get Born, released 7 October 2003. “Are You Gonna Be My Girl” was my favorite track of 2003, containing so much power, swagger and energy that was lacking in so many other songs and records of the day. The entire record is full of fun Stones-y rock with even a few forays into Beatlesque psych pop.

Paul Van Dyk, Reflections, released 7 October 2003. A name I knew for ages as a producer and remixer, his fourth album took him in interesting directions, showing that he wasn’t just knowledgeable in electronic music but in full-band rock.

Death Cab for Cutie, Transatlanticism, released 7 October 2003. Their last album for indie Barsuk Records and a few years before their major-label breakthrough Plans, this album paves the way for their well-loved brand of intelligent, slightly quirky alternative rock, and is considered one of their best.

Laika, Wherever I Am I Am What Is Missing, released 7 October 2003. This may have been their last album, but it doesn’t feel like it; instead it feels like what the band’s sound would have evolved into had they kept going. The twitchy electronics are still there but muted to reveal beautiful melodies just underneath.

Mixtape, Re:Defined 06, created 19 October 2003. This mix in particular got a lot of play in my car as well as its previous volume, containing quite a few of my favorite songs at the time.

The Strokes, Room on Fire, released 28 October 2003. I had a love/hate relationship with this band at the time; I thought their music was interesting and kind of fun, but at the same time I disliked the way Julian Casablancas’ voice always sounded tinny and mixed as if with zero bass whatsoever. I’ve come to appreciate their sounds over the ensuing years.

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Next up: one novel down, one more to go