They Might Be Giants

They Might Be Giants, “Particle Man (Live)”

Honestly, the reason for me to listen to The Flood Show is mostly for the in-between song banter.

Urge Overkill, “Eggs”

Urge Overkill were a band out of Chicago that were doing big hard rock moves ironically, and in the early 90s, that was enough to attract attention. They would eventually mutate the ironic rock stuff to just sincere rock stuff, end up on a major label, and carve out a career being rock stars at a time when rock stars didn’t much look like rock stars. Or something.

Hoover, “Electrolux”

Hoover were a post-hardcore band with a single album on Discord in 1993 along with a few singles. There are a lot of forgotten gems in the Discord catalog, with albums getting overshadowed by the more famous releases on the label. Fugazi’s In On The Kill Taker released in 1993, for instance, which I think is the best post-hardcore record ever made. So it’s easy to see how this thing might not get noticed. And, yes, there is plenty of influence here from Fugazi. But, hell, that’s not a bad way to take your cues. There’s a little Drive Like Jehu here also, so yeah, this is good stuff.

The Mooney Suzuki, “Oh Sweet Susanna”

Sometimes, we get a band on here that I just want to describe as “rock”. Just rock. This is a rock band, playing a rock song. Rock. You want rock? Have rock.

Yautja, “A Killing Joke”

Yautja is most frequently described as a combination of sludge and grindcore, which are two genres that don’t sit very naturally together in my head. There’s a monomaniacal relentlessness to grindcore, a commitment to aggression above all else, that doesn’t marry to sludge’s necessity for timing being key and the flexibility to stretch or compress things. But Yautja makes it work, and it’s a unique sound they’ve assembled. This is from last year’s The Lurch, and I recommend it.

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.

Downtown Boys, “Wave of History”

It’s official Five Songs policy to say that more bands should have horns. Everybody, no exceptions! So, yes, of course we love this stuff. Punk rock, but with a couple saxophones thrown in? Hell yeah! This is how the album opens, which is a great way to get our attention, that’s for sure.

They Might Be Giants, “Istanbul (Not Constantinople)”

I sometimes think about what song I’ve listened to the most in my life. I suspect strongly that it’s either a song from Flood or maybe a song from It Takes A Nation of Millions To Hold Us Back. I don’t know for sure, but I suspect strongly that they’re the albums I’ve listened to the most. Given that this song had a single released for it, has showed up on various live albums and things, and that my kids like it, this is as good a bet as any song I can think of off the top of my head.

Fluf, “RK Wins”

At some point, I stopped being able to keep track of which songs have already appeared in this thing. It’s been five years? 6,000+ songs, anyway, and I’ve just lost the ability to be sure if we’ve heard something. Part of me thinks this was a repeat, but I don’t want to check. So we’ll just enjoy it again. Or for the first time?

Run the Jewels, “Call Ticketron”

One of the things about Run the Jewels 3 is that it sometimes feels a little more distant than some of the other records, 2 and 4 especially. Both of those feel visceral and immediate, and 3 seems a bit more cerebral and chilly. Still a great record, of course, but it’s just not quite at the same level as those two.

Lambchop, “Up With People”

A difficult question to answer is “what is the best Lambchop record?” Part of the problem here is that they’ve evolved gently over their existence, but don’t really have recognizable periods where one could really say that that style is your favorite. Another problem is their consistency, where the albums are pretty uniformly excellent, but there’s not really noticeable jumps and dips. It’s all a big, good plateau.

Eminem, “Guilty Conscience”

I am amused at Dr. Dre playing someone’s guilty conscience.

Bitch Magnet, “Motor”

Oh yeah, that’s the stuff. That late 80s/early 90s production really just connects to me, because of how old I was during that time. Anyway, this is how Bitch Magnet’s first album (Umber) kicked off, and it’s a good record. Ben Hur is probably a little better, but that’s not a knock on this one.

Afghan Whigs, “Retarded”

Uh, yikes.

“Television’s gone / I’m alone with Lucifer / what a drag” is such an outstanding summary of Greg Dulli’s lyrical work with the Whigs. Shame about the slurs, though.

The Temptations, “I Wish It Would Rain”

A thing that gets a little lost about Motown is that a lot of it is reduced to just the same handful of the biggest hits these days. And those songs are great, sure, but there’s so much awesome stuff just a tiny bit deeper in their catalog. This was a decent hit back in the day, but has largely disappeared from people’s memory, and it’s a great tune.

Television, “See No Evil”

There have been bands as cool as Television was when they released Marquee Moon, but I’m not sure there have been any cooler.

SWANS, “In My Garden”

On Children of God, Jarboe’s contributions to the band were placed much more at the center of things. The transition from the sound of nihilist, crushing despair over to spooky, creepy despair was thus complete. This era of the band is probably my least favorite, but that’s mainly just due to how much I like some of their other periods. As always, SWANS are never less than interesting and frequently much more than that.