Hepcat, “The Secret”

The first Hepcat record found the band hitting their first-wave ska sounds right out of the gate. They’d keep moving in this direction with later records, growing more assured as they went, and creating lusher arrangements. But all that said, every one of their records is a good one, even if I might go for them in reverse release order. I guess you can compare this to the version from Right On Time to see how they developed.

They Might Be Giants, “I Love You For Psychological Reasons”

Another tune from the big Dial-a-Song year of 2015, when they revived the old service and kept it going every week. Most of those songs got retooled a bit and re-recorded for a later record, with this one later appearing on Phone Power. It’s a classic bouncy Linnell tune, the sort of song that I’ll never get tired of.

Duke Ellington, “Sophisticated Lady”

As I wrote down the title of this song here, I had a memory of someone with a deep voice singing “soooooo-phisticated” that I couldn’t immediately place. Took me a bit to figure out it was Mike Watt, and then a little bit after that to recall that it’s from fIREHOSE’s cover of Public Enemy’s “Sophisticated Bitch” from their Live Totem Pole EP. So, you know, that’s what Duke Ellington brings to mind for me.

The Dramatics, “In the Rain”

A repeat, but happy to listen to it again.

Dirty Three, “Last Horse on the Sand”

Dirty Three are an instrumental post-rock band out of Australia, distinguished primarily by being led by a violinist. I’m actually more into this sort of sound than I was in the late 90s when this album came out, so maybe it’s worth sitting with the band some more. They certainly have a lot of records out there.

The Garbage & The Flowers, “Carousel”

This is from a comp from the Twisted Village label (Deep Funnels of Entry) featuring a bunch of the psych rock bands the label had. I don’t even know who was the most famous of these bands - maybe the Crystalized Movements? The answer is “none of them”, I guess. I bought this because I really liked Crystalized Movements, and the rest of the comp didn’t really turn up any new favorites for me.

Can, “Mushroom”

Can is the sort of band that intolerable rock dorks will never shut up about, but frustratingly, they’re also right about them. Tago Mago is a double-album, stuffed full of hypnotic rhythms, oddball sounds, plenty of shout-singing, and stretched out compositions. This is one of the founding documents of Krautrock, but that’s not really an argument for the album as Krautrock itself was mostly an influence on other things. So don’t focus on that, focus on the fact that the album is still a great listen. Sometimes even rock docks are worth listening to.

Zeke, “Runnin’ Shine”

I’m not going to egghead this for you.

Lifesavas, “Soldierfied”

That beat is structural, you could build an office building on that thing and it would be bomb proof.

Czarface & Ghostface Killah, “Masked Superstars”

This beat is fine, but I’m not quite as excited about it as I was the last one. I kind of feel like Czarface is good, but doesn’t stand out particularly. It’s sort of the shelf-filler of the Wu-Tang supermarket.

Squarepusher, “Iambic 5 Poetry”

Budakhan Mindphone is an EP that was released just a few months after Music Is Rotted One Note, where Tom Jenkinson broke free of the gravity of drum’n’bass and moved into really doing his own thing. The lever that broke him free was fusion, but this EP is really more of an experimental thing than pure fusion. It’s a worthwhile companion to the album, well worth looking up if you like this period of his music.

The Afghan Whigs, “Neglekted”

I always wonder a bit about song titles like this one. What does the spelling here represent? It’s not a common alternate spelling or anything, so what was it that they were choosing to capture here? A mystery that might be solved with some simple searching, but I choose to just let it remain a question instead.

Dag Nasty, “Circles”

Founded by Brian Baker of Minor Threat, Dag Nasty took the hardcore of that band in a more melodic direction, folding in some of sound of the Descendents, with whom they toured. In fact, if you took the midpoint of those two bands, you get pretty close to Dag Nasty.

Logic, “The Glorious Five”

I’m old, so I’m out of touch with music. Keeping up with the latest artists and releases requires a lot more hustle than I can really perform. Not to mention that my own personal network just doesn’t dig up stuff for me as much as it used to. It’s a natural thing, and it’s just a fact of agint. Music is a young person’s game. But I’m relatively more in touch with some scenes and genres than others. Hip-hop? I’m hopeless. I’ll just randomly come across artists, and I have no idea of how big they are or aren’t, or their reception. So, Logic - I have this record, I like it. He has a billion records though. How is he perceived? How is the rest of his body of work? No idea! It didn’t used to be this way.

David Mead, “Girl on the Roof”

I picked up this record because it was produced by Adam Schlesinger (Fountains of Wayne), and…uh, yeah, you can tell. As Fountains of Wayne light, sure, why not? I have a limited appetite for this kind of pop rock, but hell, I can’t say anything bad about it either.

Skavoovie & the Epitones, “Cat Juice”

I can’t say for sure, but I believe that Skavoovie & the Epitones are the only band in the ol’ library featuring a euphonium. Skavoovie are one of my favorites from the third wave because the horns are so fat and up front, the tunes are bouncy, and while they’re not serious, they’re taking the music seriously. They also tend towards the more traditional sounds of ska rather than a ska-punk hybrid, which has always appealed to me more. Of the three albums, the first two are my favorites, with Ripe probably the pick of the litter.