Ghostface Killah, “Wildflower”

Ghostface’s first solo record, Ironman, is very good. A RZA produced record from 1996 couldn’t help but be good. But I think Ghostface’s unique personality hadn’t quite fully come through, and the production hadn’t quite yet differentiated totally from the Wu-Tang Clan. So it doesn’t reach the heights of many of Ghostface’s later records.

Algiers, “Blood”

The first Algiers record is a heady mix of gospel and murky post-punk, a combination that immediately stands out from basically anybody else out there. While there are moments when you can kind of see the seams, it’s a prety incredible record, especially for a debut.

The Cinematic Orchestra, “Flite”

Last time, I described this band as sounding like a movie soundtrack from a Ninja Tune band. Not a bad description! But this sounds like maybe something that got left off of Music Is Rotted One Note. Still good!

Inquisition, “Darkness Flows Towards Unseen Horizons”

Don’t listen to these assholes! This album is from 2013, which I picked up before a bunch of bad shit came to light about them, but fuck these guys!

Third month in a row without missing a day! 94 day streak going here. NOT BAD AT ALL.

Smut Peddlers, “That Smut”

Well, here’s a ridiculous album from 2001. While obsession with sex has a long and storied history in music, it’s seldom quite so forward as with this record, and the focus on porn in particular is relatively unusual. But it’s not unheard of in hip-hop either, not with Too $hort around, so this isn’t even really breaking new ground. At any rate, outside of the outlandish lyrics, the record itself is a bit of a time capsule of that time in rap.

The Police, “King of Pain”

“King of Pain” is the first song I can recall reading the lyrics sheet for in order to try and figure out what was going on in it (the lyrics sheet didn’t help much). While I’m fully on board with digital delivery for music, and I’m happy to not fill my house with CDs and stuff, I do think that there are certainly small pleasures lost without the physical packaging.

Jesus Jones, “The Devil You Know”

After the enormous success of “Right Here, Right Now” carried Doubt everywhere, Jesus Jones was faced with the prospect of following up a massive hit, a task which has broken many bands. The followup came a couple years later, and Perverse achieved nowhere the same level of success. Partly, those two years hurt. Partly, it was due to the pop music world having moved on to other shiny objects. It certainly didn’t help when one of the biggest bands associated with the scene, the Stone Roses, remained adamantly MIA. But for the last part, it was due to Perverse being not a terribly likable album. The shiny, crowd-pleasing stuff just wasn’t there. It’s very electronics focused, an emphasis on only one half of the Madchester formula, but it winds up feeling imbalanced. It’s really almost trending towards industrial dance, but kind of falls into an uncanny valley.

Robustos, “My Little Suede Shoes”

The bands that got famous in the third wave of ska were those that took the second wave and went further towards punk. No Doubt, the Mighty Mighty Bosstones, folks like Goldfinger, Save Ferris, a bunch of others, they all leaned heavily on rock to make the sound more appealing to a broader audience. But that left out a bunch of other bands who drew more on the first wave and the original sounds, and who didn’t get the attention. Those are the bands that I mostly continue listening to these days. The Robustos are one of those forgotten bands, who played just straight ska, without mixing stuff in, and this album (Introducing…The Robustos) is a good listen.

Gnarls Barkley, “Gone Daddy Gone”

It takes a lot of guts to cover anything from the sui generis Violent Femmes. It’s such a beloved album, and such an iconic set of performances, that you’re very much always going to be compared against perfection. I think the only way to go would be to really re-imagine the songs, but Gnarls Barkley doesn’t do that. So, uh, I’d rather just be listening to the Violet Femmes.

Monorchid, “A Was For Anarchy”

Monorchid features two alumni from post-hardcore band Circus Lupus, which will be immediately obvious to anybody who listened to Circus Lupus. This comes from their second album, Who Put Out The Fire?, and it’s a solid chunk of DC post-hardcore. Post-harDCore? If I were to rank this against the Circus Lupus records, I’d probably put it behind Solid Brass and ahead of Super Genius.

Jan Jelinek, “Universal Band Silhouette”

Boy, some songs today that would have been really fast picks for me on “Name That Tune”. The glitchy warmth on the first part of this track is instantly recognizable as Jelinek, in the same way that Chris Thomson’s yelp is instantly recognizable.

The Solids, “Over The Sirens”

Guess how many people are in this band? Correct, two! That places them square in one of the major interests of Five Songs: Loud Rock Duos. They’re not as outre as someone like Lightning Bolt, they’re more towards the Big Business end of things. Only the one record from them, though.

Pavement, “Two States”

You ever wonder how often you’ve listened to albums you love? Slanted & Enchanted was released in April of 1992, and I bought it the day it came out. I think I probably listened to it a couple times a week for the first year or so, and then maybe once a week on average for the rest of my time in college, and then maybe every other week for the next decade. And then down to maybe…once a month? For the next fifteen years? Let’s add that up - have I listened to this album 400 times? Jesus.

NoFX, “The Longest Line”

This is from a 1992 EP, also called The Longest Line, so from the White Trash, Two Heebs, and A Bean era. This is basically my favorite era of NoFX, probably due to how old I was at this time. There’s no real reason for anybody to really care about this EP though.

The Slackers, “Stereo On”

This is from an EP also, the 2013 release My Bed Is A Boat. Unlike the NoFX EP, though, I can heartily recommend this. It’s not so much that it’s notably better than any other Slackers, but that basically everything they’ve released is good.