It is my understanding that the term “dubstep” means different things depending on what side of the Atlantic you’re on. Stateside, it means the sort of bro-friendly, attention deficient, robot-sex music that’s made its way into car commercials and cheap summer movie soundtracks. In Britian, however, dubstep is a little more subtle–shifting textures over time, setting grooves and resting in them, forming a subset of electronic music much more suited for a late night drive than a trailer for the new Transformers movie.
Month: September 2013
Record #223: Jackson 5 – ABC (1970)
It is not difficult to argue that the Jackson 5 were a novelty act. But it’s almost impossible to dismiss them as a such. Sure, the lead single’s target audience doesn’t seem to be much older than Michael’s own twelve years, and yeah, all of their originals (four of the twelve tracks) were written by a Motown Records production team dubbed The Corporation (not very punk rock) that was tailor made to write songs for the Jackson 5, but I defy anyone to tell me that they weren’t some of the best performers the world has ever seen.
Record #222: Islands – Return to the Sea (2006)
It might be important to know about the Unicorns to fully appreciate Islands (pretty much the same band). But then again, it might not. While the Unicorns’ Who Will Cut Our Hair When We’re Gone? was a masterpiece of childish lo-fi indie pop rife with cheap keyboards and drum machines, Return to the Sea is much grander in scope.
Record #221: Frank Sinatra – The Voice (1955)
Before he was the world famous crooner Frank Sinatra, he was just Frank Sinatra, crooner. And in this ‘55 compilation of early singles, he sounds just as naive as he looks on the cover.
Record #220: Crosby, Stills, Nash & Young – Deja Vu (1970)
Neil Young is not exactly the most neutral person in the world. His discography is filled with jagged guitar solos, caustic finger pointing, lawsuit-causing genre jumps, and a fierce artistic integrity. Even among his listeners, there is no middle ground. Those who love him love him fiercely and without apology. Everyone else can’t stand him.
So anyone who thought tossing him into Crosby, Stills & Nash would keep the boat from tipping doesn’t know who they’re dealing with.
Record #219: Crosby, Stills, & Nash – Crosby, Stills & Nash (1969)
It is my understanding that super groups aren’t always as successful as CSN (and sometimes Y). Which is surprising, considering that the Byrds, Buffalo Springfield, and The Hollies don’t really traffic in the same sorts of rock.
Record #218: Black Flag – Damaged (1981)
I am a very late arrival to the Black Flag fan club, and I am kicking myself for it. In high school, I was all over the Drive-Thru, Victory, Tooth & Nail, Dischord, and Kung Fu records catalogues, not realizing that almost every single one of the bands I had on repeat had cut their teeth listening to Black Flag.
And this record is truly worthy of its following.
Record #217: At The Drive-In – Relationship of Command (2000)
There’s no point in arguing the matter: Relationship of Command is the best At the Drive-In record, and At the Drive-In was one of the absolute best of the punk/emo/hardcore scene of the late nineties/early oughts, if not the outright best.