Public Enemy

Army of Juan, “Late Night Dining”

I wonder how many ska-punk bands put out one record in 1997 and were never heard from again? I’m sure there have been comparable fads in music, but it’s hard for me to think of something quite comparable in my lifetime, where a style peaked so hard and petered out so quickly. Grunge wasn’t the same - the peak lasted longer, and a number of the grunge bands continued being popular even post-peak (like Pearl Jam), not to mention important bands still being revered today (such as Nirvana).

Public Enemy, “Cold Lampin’ With Flavor”

The Flavor Flav joint on It Takes A Nation of Millions To Hold Us Back is the scar that sets off the perfection of the rest of the album perfectly. As a little goof, it’s fine, but it’s a trifle compared to the rest of the thing. It’s not inevitable that Flav’s songs will always be like this, not in a world with “911 Is A Joke”, but he’s just goofing on this one. I mean, he just starts making mouth noises on it.

Danny Brown, “Greatest Rapper Ever”

I love the hubris in naming the first track on your debut album “Greatest Rapper Ever”. It’s a little like the now forgotten Cinder Block naming their first LP Greatest Hits, something I think about a lot even though I’m probably the only person who ever thinks about Cinder Block. Including, likely, the members.

I’m sure other bands have done the same bit, but that one sticks with me.

Belle and Sebastian, “The Stars of Track and Field”

The opening to my favorite Belle and Sebastian record, and therefore one of my favorite records period. We listen to a lot of really rancid shit around here, all grind this and noise that, and broadly engage deeply with the ugliness of music. The jagged edges and novel noises keep things fresh and surprising, and there’s an exhilaration in listening to that kind of stuff that is a consistent pleasure. But, at the same time, it’s also worth balancing all that savagery with something from the beautiful end of things, a reminder that music can lift spirits.

John Coltrane, “Naima”

I often feel inadequate on this blog. My words are woefully insufficient to describe so many of the beautiful songs we get on here. Writing about music is hard, even for somebody good at it. Writing about it for an idiot like me is basically impossible. I’m just banging rocks together here and ooking at the moon.

And then something like Coltrane comes up, and I really vanish. What can I possibly say that’s going to add to one of the true artistic triumphs any of us are likely to encounter? You either feel this in your heart, or you don’t, but it’s not like I’m going to be able to awaken your soul with my typing.

Felt, “Bass For Your Truck”

Repeat!

The Smiths, “Is It Really So Strange?”

I really need to get to the point where my kid can have visitors again, because I really want to try and mortify them by singing along to the Smiths really loud.

Belle and Sebastian, “Electronic Renaissance”

It’s tracks like this one that really demonstrate that Belle and Sebastian were still very much learning how things worked with their first album, Tigermilk, which was literally a university project. Luckily, they didn’t convince themselves that this sort of thing was their future.

New Bomb Turks, “Double Marlon”

Garage punks out of Columbus, OH, the New Bomb Turks exploded (heh!) onto the scene with their brand of aggressive rock, and they kept it rockin’ for a while. However, they did eventually fell off, and this EP (Beruhren Meiner Affe, “Touching My Monkey”) is kind of where the dividing line is. It’s a perfectly good five songs of their Stooges-esque stuff, but after this, it seemed like the were just kind of tired.

See! Two days in a row! Nice job team, let’s take the rest of the month off.

Hattie Littles, “Conscience I’m Guilty”

Shuffle in a Motown mood! We’re in 1965, and you can really hear how much Motown has upped their game. This song isn’t that far from the previous one in terms of composition, but the arrangement and especially the production are so much more sophisticated. Of course, by 1965, Hitsville U.S.A. was really rolling, so it’s not really a surprise. It’s still fun to hear these back-to-back and hear the leap forward.

Nots, “Cold Line”

Another surprise record! Feels like we’ve had a lot of those recently. I wonder what the actual count of surprise records is in the ol’ collection. I’m not sure I want to know.

The Dillinger Escape Plan, “The Running Board”

I know what this is!

The parts of songs where the Dillinger Escape Plan drops into something like the post-hardcore in the middle of this song were always effective. It can be easy for that kind of thing to just sound like a lame gimmick, but they always pull it off with aplomb.

Polyrhythmics, “The Mendo Mulcher”

I sometimes wonder if I’m going to look back on all the instrumental funk and soul that I listen to these days and think how a lot of it has aged poorly, in the same way that so much of the third wave of ska has aged poorly. But then I remember, none of this shit got popular, so it’s all good! And it allows me to get my horn fix without feeling like a dope! (I still love ska, though.)