“The sorta punk thrash psychedelic power pop blast of Husker Du’s Celebrated Summer was exactly what my Universe needed in the mid-80s. One night in particular comes to mind. And it wasn’t even Husker Du playing, but an all all-girl band from California (wish I remembered their name) at the Arts Club on Seymour (best live venue this town ever had). 1986 I’m pretty sure, and summertime, which meant Expo was squatting in the near distance sucking all the light and love from things. And I’d just seen Skinny Puppy up at UBC, which was a terrorizing experience, because man, the acid was particularly FUN that night. So yeah, it all came around to the song not so much saving my soul (my soul was fairly intact in those days) as reigniting it with hope, fervour, blinding white light, which is to say, celebrated and wild, erupting with summer. And as soon as we got back to the car, New Day Rising got jammed into the cassette player. Once more unto eternity.” (Philip Random)
“Wherein the Pointed Sticks (straight outa late 70s suburban Vancouver) hit the eternal pop gold standard with a three minute nugget the whole world should have heard, but it didn’t for some stupid reason (and it still hasn’t). Which puts a big loud BULLSHIT to the argument I’ve heard over the years from some I know that, despite all the music biz’s ugliness, waste, criminality and stupidity, the truly good stuff always rises, gets its due, gets heard. Yeah right.” (Philip Random)
“Translator are one of those bands that time seems to have mostly forgotten. Which is a pity because their first album in particular is well worth forty minutes of anyone’s life. And Everywhere That I’m Not is pretty much perfect, the kind of pop nugget that shoulda-woulda-coulda been huge if the music biz of 1982 actually cared about quality, which it didn’t. I guess the cocaine was just too pure in those days.” (Philip Random)
“In which the band known as Wire deliver the future circa 1979 from one of thegreat albums. Call it power pop, I guess, all angles and perhaps cold light. As for the map reference, I looked it up. It’s a placed called Centerville, Iowa, for no reason I can grasp … other than being the absolute center of Absolute Middle America (speaking of psychic topography here), which is about the last place you’d expect something like Map Ref 41°N 93°W to ever be a hit. Certainly not in 1979.” (Philip Random)
“It’s the noise that hooked me on this Small Faces nugget. Only 1966 and it’s already in evidence, tearing up the dimensions. The whole song‘s a blast really, sub-two-minutes of sheer fun and spite. Definitely not a love song.” (Philip Random)
“How dumb was America in 1974 (and Canada for that matter)? This Town Ain’t Big Enough For The Both Of Us, one of the fiercest, funniest, pop smart eruptions to ever get pressed to vinyl, didn’t make the singles charts, didn’t even crack the Top 100. In fact, no Sparks single ever charted in the entire decade of 1970s, their best. Thank God for friends and friend’s big sisters being somehow cool enough to find out about them anyway, and share the f***ing glory.” (Philip Random)
Proof that underneath all the noise and provocation of their early gigs and releases, The Jesus And Mary Chain were first and foremost a damned good rock and roll band doing their bit to keep the western world from imploding. Or more to the point, encouraging the right kind of implosion. Stark and raw, bleak but beautiful, like those first hints of spring sunlight after a long, bitter winter, and even then you know there are some fierce winds yet to blow. Because the Winter of Hate was a long one, no question there. Ended up lasting more than a decade.
The Boo Radleys didn’t get much notice at the time (certainly over here in the Americas), and what notice they did get tended to be for the wrongstuff), but if you were in the right place in 1991-92-93, tuned to the right frequencies, you were lucky enough to know a godlike, noisy and powerful pop that could cause actual changes in the weather. Maybe if they’d bothered to put something as gobsmackingly ascendant as At The Sound of Speed on an actual album as opposed to burying it on the b-side of an EP, things might have played out a little differently.
Dynamite pop nugget from Cowboys International, one of those so-called post-punk outfits out of England that came, blew hearts and minds, then went long before we even knew existed over here in the Americas. M[emorie] stands out because of the cool, old school analogue synth work, and guitars that truly ring like bells.