The Notorious B.I.G.

Pink Floyd, “Eclipse”

I know that Pink Floyd is probably regarded as hopelessly stodgy and dad-ish by people today, avatars of the leaden excesses of 70s rock that sparked punk. And, yeah, this is some ornate shit and all. But dammit, I love it, I sincerely do, whether because it was largely inescapable growing up in Spokane or just because I am also stodgy and dad-ish.

Logh, “The Smoke Will Lead You Home”

I got this as part of a Hydra Head album grab bag, and it’s awfully different from the usual Hydra Head fare. This is really more on the emo side of the fence than anything else. It’s pleasant enough, I suppose.

The Mighty Mocambos, “The Spell of Ra-Orkon”

I really like song titles that sound like a D&D adventure. Especially when they’re instrumentals, as that means you’re not being subjected to lyrics that sound like a D&D adventure.

Love Battery, “Easter”

Love Battery’s Dayglo is one of the best albums from the grunge scene, a swirling psychedelic masterpiece that stood out at the time and only gets better with age. Before their masterpiece, many of the ideas were present in Between the Eyes, a record that featured many of the same wah-soaked moves that they would soon perfect. The bottom isn’t quite as firm, so the record isn’t quite as good, but it’s still an excellent listen.

I’ve got bad news folks. You’re stuck with me again. Sad times! If anybody out there wants to have a whack at this thing, I guess just let me know.

Floor, “Downed Star”

This song, with the distant, buried vocals and deliberately thin drums, sounds a lot like an old Crystalized Movements track, which is something nobody else is going to care about. But I think it’s neat! And if you like this, hit up that link and see if you like their stuff.

Poster Children, “Clock Street”

Unlike a lot of rock bands putting out records in the early 90s, the Poster Children were not signed in the wake of Nevermind. They found their way onto Sire for their 1990 album Daisychain Reaction, putting them ahead of that particular game. Nevertheless, Nirvana’s success put them in a good spot for their followup album, Tool of the Man. It’s more Pixies than Nirvana, with a bit too much brightness to really break through in that scene. But, listening 17 years on, this stuff sounds fresher than a lot of grunge does these days.

The Maytals, “Daddy”

The first Maytals album, 1965’s The Sensational Maytals, was later re-issued with a bunch of extras and alternate takes as Sensational Ska Explosion. The extra junk is unnecessary, but the album is a great view into the early career of one of ska and reggae’s great acts. As this was very early in the development of the style, there is a fair bit of R&B on the album, such as this track.

New year, same old flaky schedule! My apologies, we here at Five Songs were on the road intending on keeping the rock going, even lugging our laptop all over the place. But, alas, Plexasaurus Rex back home decided to die, and needed a reboot, and nobody was around to push the button. So, a bit of a break. We’re back! We’re ready to rumble! HIT IT, PLEXASAURUS REX!

Green Day, “Minority”

I was playing Rock Band with the kids the other day, and a couple of Green Day tracks popped up. The kids declared that all Green Day songs sounded the same, and I’ll be honest, I thought I had a couple more years before they started roasting my taste in music. Disheartening! I grounded them for a decade.

Today’s selections.

J Church, “Sweet and Sour Plums”

WRCT, the campus radio station at Carnegie Mellon, used to get tons of records from just about every label. Primarily, that was because we actually would play stuff from smaller labels, having largely rejected the idea of “college rock” as well as “coherence” and “professionalism”. From that wave of incoming stuff, somebody on the staff would listen to everything and write a little note on an index card to stick to it. You’d suggest which songs might make sense to play on the air, which songs you should avoid unless you were in the “safe harbor” (in other words, which ones had swearing), if a record was hopeless, whatever. If you really liked a record, you’d put it in the booth with the other notable new releases.