Author: Nathaniel FitzGerald

Record #676: Journey – Infinity (1978)

/ Nathaniel FitzGerald

If you were to conduct a survey to find the most important rock bands of the 1980s, the name “Journey” would be somewhere in the top five most common answers. Their huge hooks and virtuosic guitar solos have given them a permanent spot in “Yesterday and Today” radio stations across the country.

That legacy of hard-hitting singalongs started on Infinity, their fourth studio album, and their first with vocalist Steve Perry. That addition was the perfect ingredient to take them from an obscure progressive outfit to hit-making, bonafide arena rockers.

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Record #675: Jars of Clay – Much Afraid (1997)

/ Nathaniel FitzGerald

Let’s get one thing straight right out of the gate: I love this album. Wholly, completely, and without irony.

It’s not just a nostalgia thing either: despite Jars of Clay’s mainstream success in the mid 90s, I didn’t get into them until a decade later (when I stole all of my mom’s JoC CDs after graduating high school). Even after getting into more respectable music, I’ve always loved Jars of Clay. They’re not just good for a CCM band—they’re good period.

And even in the midst of a long and consistent career and in the shadow of a widely celebrated debut, I think their sophomore release, Much Afraid, has always been my favorite.

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Record #674: Jackson Browne – Saturate Before Using (1972)

/ Nathaniel FitzGerald

Creating the perfect debut record is a difficult task. It needs to capture a compelling snapshot that introduces them to the world while also fitting their potential in the same frame. Debuts are often youthful, packed with the ambition of an artist with something to prove.

But on his own debut, Jackson Browne seems to skip all that, starting instead in the middle of a respectable career.

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Record #673: Herbie Hancock – Sound-System (1984)

/ Nathaniel FitzGerald

Herbie Hancock is one of the more convincing chameleons (pun intended) in jazz history.

After writing indelible standards like “Maiden Voyage” and “Watermelon Man,” pioneering fusion alongside Miles Davis, and leading the far-out, futuro-Afro fusion band Mwandishi, Herbie easily could have rested on his laurels and still been heralded as a legend.

But resting isn’t exactly one of Herbie’s strong suits. And in the mid-eighties, he continued to look forward. Sound-System, his second album with the Rockit band, finds him setting aside horns, pianos, and tune itself in favor of drum machines, turntables, and samplers and exploring hip hop, funk, and electro.

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Record #672: Heart – Dreamboat Annie (1975)

/ Nathaniel FitzGerald

It’s easy to take Heart for granted.

Their powerful blend of hard rock virtuosity and folk songwriting have made them an indelible part of the rock and roll canon. It’s almost impossible to listen to a classic rock station for more than three hours without hearing at least one Heart song.

But beyond enjoying every song I’ve heard of theirs on the radio, I’ve never had much of a desire to dig into their albums. However, after finding a copy of their debut Dreamboat Annie in a box of records given to me, one listen showed me just how foolish that oversight was.

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Record #671: Cloakroom – Infinity (2013)

/ Nathaniel FitzGerald

Among all of the bands carrying the return of loud, low, heavy guitar music pioneered by bands HUM and Failure, one act is often hoisted above the rest as the standard bearers.

That band is Cloakroom, doomgazers/space rockers/slacker rockers  from Northwest Indiana (hey, that’s where I live)! And on their debut EP, Infinity, Cloakroom roars into infamy with the roar of a thousand amplifiers and an earth-crushing gravity.

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Record #670: Fleetwood Mac – Tango in the Night (1987)

/ Nathaniel FitzGerald

After the manic scattershot of Tusk, Fleetwood Mac pulled hard to the center with 1982’s Mirage, a pleasant enough record that I remember being a bit dull (though I’m overdue a relisten).

After a five year break, they returned with Tango In the Night, an album that combines their winning popcraft with Lindsey Buckingham’s more esoteric tendencies in a way that feels like they’re actually in concert with eachother.

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Record #669: Fleetwood Mac – Tusk (1979)

/ Nathaniel FitzGerald / 1 Comment

How do you follow up a masterpiece?

It’s a question that every artist asks after releasing a perfect work. Some try the same formula again, hoping lighting will strike the same place twice. Others decide to take a major left turn (see: Radiohead). Some have even gone mad under the pressure.

After the impeccable Rumours, the songwriters behind Fleetwood Mac chose option D: all of the above.

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Record #668: Envy – Insomniac Doze (2006)

/ Nathaniel FitzGerald

As long as I’ve been in the emosphere (read: like 2001 or so), I’ve somehow entirely ignored Japanese screamo pioneers Envy. It’s quite likely that I heard their names thrown around with acts like Orchid and Loma Prieta that I didn’t like at all, and assumed they would carry all of the same abrasiveness.

Had I known though that they leaned much closer to post rock than to hardcore, I wouldn’t have waited fifteen years to listen to this masterpiece.

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Record #667: Death of Lovers – Buried Under A World of Roses (2014)

/ Nathaniel FitzGerald

Given the deep nostalgic ties in the shoegaze, dream pop, new wave, and post punk revivals, it’s little wonder that there’s a fair amount of crossover between them. Hundredth’s RARE drew as much inspiration from New Order as Slowdive. Metallic genre benders like Deftones and Deafheaven have looked to The Cure as much as My Bloody Valentine.

And so, when noted shoegaze revivalists Nothing trade their fuzz pedals for synths and do their best Joy Division impressions, it shouldn’t come as much as a surprise.

(And to be clear, that isn’t an insult).

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