100 lifetimes ago, I worked in a record store. The manager wouldn’t let us play Liz Phair’s Exile in Guyville, and instead tried to helpfully suggest…Shawn Colvin.
In hindsight, it wasn’t the worst choice. But at the time, it seemed kinda awful? Colvin just wasn’t writing stuff like this:
And the license said you had to stick around until I was dead But if you’re tired of looking at my face, I guess I already am But you’ve never been a waste of my time It’s never been a drag So take a deep breath and count back from ten And maybe you’ll be alright
Look, there’s no denying Phair’s talent, but when Exile came out, owning it felt like a very performative thing to do. Girls liked it because it represented the “f**k you” they’d wanted to say for years. Guys bought it ’cause they wanted those girls to… like them.
None of that is fair to Phair, whose only crime was putting together a record with an openness, vulnerability, and ferocity we’d never seen before. Lost in titillating lyrics about BJ queens and f’ing and running were a searing indictment (and mild hit) about the music scene (“Never Said”) and a track about the fine line between being friends and lovers and how that often becomes a tripping hazard (“Divorce song”). Not for nothing, Hrishikesh Hirway’s Song Exploder podcast did a great episode breaking down the latter.
We all caught up with her eventually, and Exile In Guyville long ago earned its rightful place in the alternative rock canon. The record turns 33 today and still seems a bit ahead of it’s time.
Tell me: what do you think?
KA—
On to the music…
Besides Phair, this week we’ve got a few old faves from VU, Material Issue and The Police. There’s also a ton of fresh tracks from the likes of Hawk and Steel, Kelz, Julia Jacklin and feeble little horse.
Today we’re taking a quick look at records from Unwound and Lovage.
Mike Patton contains multitudes. For every weird or abrasive track he’s been on (i.e. anything by Mr. Bungle), there’s been an equal number of straight up rockers, ballads, or smoothed out tracks.
He’s also no stranger to concept albums (see again: Mr. Bungle). Nor is Nathaniel Merriweather aka Dan the Automator, aka one half of Handsome Boy Modeling School. The two of them team up with singer Jennifer Charles and Kid Koala to record the one and only Lovage release, Music to Make Love to Your Old Lady By.
The record’s as low key as you might assume, with a lovesexy vibe, some sensuous beats, and Cinemax-level lyrics. It’s also a record that attempts to straddle the line between sincerity and comedic irony. You can’t go more than a verse or two without tripping over a double entendre. it’s louche all the way down, including the cover art inspired by none other that Serge Gainsbourg’s Nᵒ 2 LP.
Sometimes it works, sometimes the punchline fails to land. Did we really need yet another fucking record with skits in it? Long time readers may recall that this is a pet peeve of mine, and in the land rush to CDs taking place in the early aughts, somebody somewhere thought this would be a great way to fill out the newly available space on LPs (Spoiler: It’s not). “Love that Lovage, Baby” at least has Damon Albarn on it, so there’s that, I ’spose. And it borrows heavily from Donna Summer’s Love to Love You, which is great. Nevertheless…
(exhale)
Going the other way, the chemistry between Patton and Charles gets harder to ignore with each track. Is this a bit they’re both really committed to? Maybe it started out that way and blossomed into something real? Beats me, but it’s smoldering like lava the whole way through the record. Even at the end on “Archie and Veronica,” which is about (*checks notes)… banging a corpse?! Okay then.
All that aside, the record’s real superpower are the beats. When it comes to taking samples and building a soundscape, Dan the Automator is one of the best to ever do it.
Shame that Lovage was a one-and-done project. The premise only has so much runway, but these three (and friends along for the ride) are clearly in their element and having a good time. And with a title like this how could they not be? You were expecting a dirge?
You know that internet trend where someone’ll post “Don’t ask me to explain it, but…”?
Yeah. I don’t know how to explain it, but Leaves Turn Inside You couldn’t have come from anywhere but where it did. It’s extremely Olympia-coded and feels like the latest model to roll off the K-Records factory floor. That’s neither derogatory nor regressive.
I happen to like that sound and Unwound’s got it for days.
There is a certain melancholic detachment that comes with existing in a place where it rains a lot. I don’t mean the overt, back of hand on forehead type stuff. It’s just how a lot of PNW’ers are (I say this as a native). Whether it’s the minutes-long drone on “We Invent You” that kicks things off, or the icy synths (synths! from Olympia!) on “Treachery” that reframes things, that mood is all over the record and well, it fits.
For all the jangle (again: Olympia) and subtle vocals, there’s an undercurrent of tension that the listener can never quite shake—this is not something to play when you’re out on the water with the boys! But it is something you’ll want to have close by when you’re in the mood for something brooding and engaging in equal measure. It’s heavy without feeling oppressive.
In ’01 I was in a dead era as far as going to shows, but I could swear I’d seen them before. there was an time where I basically lived at the X-Ray Cafe and they had a ton of shows there in ’91-’92. Surely I’d been there for one of ’em? I wish I could remember! Time seems to have faded my memory (along with my hearing). No matter. Unwound is a great PNW band and Leaves Turn Inside You is an easy record to fall in love with. Just don’t ask me to explain it.
Bottom Line: After a few days of records not quite landing, we’ve arrived at what’ll be a tough call for me. Lovage strikes me as the sort of band we’d listen to on the way to see Unwound. On my bracket I cheaped out and went for the latter as they’re the higher seed. My vote today? I honestly don’t know. It’s gonna be a game time decision…
Any thoughts on either of these records? Agree/disagree with my take? Sound off in the comments!
A Monthy Python castmate, Elvis, and several world cup soccer players all walk into a $100 million cage…
It sounds like the start of a bad joke, doesn’t it?
If I told you they were there to play in a 3v3 8-team single elimination goal tournament, all to the sounds of a (then) 34-year-old song remade by a Dutch artist best known for working on Tomb Raider, it’d just get weird, right?
The Scorpion KO tournament was part of an award-winning ad campaign, with star players competing in a secret tournament onboard a ghost ship.
Former Manchester United Star Eric Cantona was more emcee than referee, and the entire thing was directed by Monty Python’s Terry Gilliam.
That tournament spawned local versions worldwide, with an estimated 1–2 million kids participating worldwide.
The campaign was a huge success, with Nike president Mark Parker commenting, “This spring’s integrated football marketing initiative was the most comprehensive and successful global campaign ever executed by Nike.”
The game might’ve come easy, but the soundtrack? Not so much.
“The music was a real monkey wrench. We just could not land the right track to pull it together. If you turn the audio off and try to follow this thing, it’s pretty hectic beyond the colours of the jerseys. There was just no obvious tone or tenor. We tried rock, metal — dark, intense stuff — but it didn’t really underscore what we were seeing.
“We talked to all sorts of music producers, contracted a band, some hot producers. They brought in stuff to play, and we were very polite, but I remember thinking, ‘Oh my God, this is a disaster’.
Somehow it all worked out in the end, with the song’s remix charted in dozens of countries, hitting #1 in several.
Do you remember this commercial (or the 2002 World Cup)? Who ya got for this tourney?
KA—
On to the music…
This week what’s old is new again with a killer remix of New Order’s “Spooky.” We’ve also got some (actually) brand new tracks from Wishy, Vienna, The Mountain Goats, and Boston’s Good June. A great setlist to either liven up your commute, play on a road trip or soundtrack your next soccer tournament.
Today we’re taking a quick look at ‘Get Ready’ by New Order
It took 8 years to get the band back together for what would ultimately be their final record in their original form. Get Ready isn’t a bad album; it just feels like watching a show that ran for a season too long. With the exception of “Crystal,” and ”60 Miles an Hour,” I’m not sure I could ID any other track by sound alone. It just never established itself in my head.
“(the title) could mean anything or nothing. I thought it was just nice; New Order, Get Ready; ‘cause we are, we’re getting ready for the next phase of our musical lives both physically and mentally, so it’s quite a simple thing but it’s very pertinent
~Peter Hook
In hindsight, part of that is because I was — and am — so invested in the band’s earlier work. 8 years is a long time, and if you’re still enjoying the band’s “old stuff,” it’s easy not to put much stock in a new release with a new(er) sound.
I seem to be in the minority here, as it was well-received by many critics, with David Browne of Entertainment Weekly describing it as a “stunning and confident return to form.” It had guests such as Billy Corgan and Bobby Gillespie.
Get Ready had all the ingredients to top this list, and yet…
Open hearts, empty spaces Dusty roads to distant places But all the time when I’m alone I think of you and how you’ve grown Far and wide, sweet and simple Jehovah knows that I’ve been sinful But if Jesus comes to take your hand I won’t let go, I won’t let go
Recorded in the wake of manager & longtime friend Rob Gretton’s passing, this feels like a goodbye as the band moves on to its next chapter.
Bottom Line: Sure, this might not be my favorite record by the band, but it’s New order! There might be a universe where I vote against them, but this ain’t it.
Tell me: Any thoughts on this one? Where would you rank Get Ready? Sound off in the comments!
Today we’re taking a quick look at Yeah Yeah Yeahs self-titled EP.
Yeah Yeah Yeah’s self-titled, 5-song EP was self-released on their own Shifty label in 2001.
Their decidedly garage-punk sound featured guitarist Nick Zinner, drummer Brian Chase, and no bassist. No matter; even in these early days, everything orbits around frontwoman Karen O. Her vocals are hard to pin down– she coos one minute, screams the next (see also: the entire chorus of “Art Star”), and occasionally works in a sort of disaffected monotone
The synths and more polished sound would come in time, but here they’re still incubating, and it’s very much rough around the edges. Whether that was because they were still finding their legs or an intentional aesthetic choice, the end run is the same. Nick Zinner’s riffs do a lot of weight-bearing. They’re basic, but that’s all that was called for here.
The first thing we hear is Karen O repeating “the bigger, the better” on “Bang.” Signing to a major… Fever to Tell (or It’s Blitz!- whichever’s your fave)…a bazillion kids being introduced to “Maps” by whoever picked it while playing Rock Band and then being bewildered by the rest of their catalog…and so on. That would all come in time.
But it all starts here in peak “Meet me in the bathroom” New York… You don’t need to know this is their first EP to know it’s some of their earliest work. And like anything, if you stare too long or overthink it, you can find nits to pick. But it’s ‘01 in the hippest quarters of NYC. Who tf has time for that?!
This is up against Lightning Bolt’s Ride The Skies, and I gotta tell ya, I’m really struggling to reach for positives here. I know there’re plenty of noise rock people out there, but this is not my tribe. Nothing wrong with that, of course. We like what we like! But god damn this whole thing felt like a test. It probably didn’t help that I was listening at work. At any given time I have 6 monitors, two radios, a teletype printer, and about 30 tabs open, and it can feel like what this record sounds like.
There’s a spot on “The Faire Folk” where I thought the noodling was reminiscent of AC/DC’s riff on AC/DC’s Thunderstruck. That was about all I could salvage from this.
Bottom Line: Karen O & co for the W.
Any thoughts on either of these records? Agree/disagree with my take? Sound off in the comments!
Cover art courtesy of Sympathy For the record Industry
Good morning! Today we’re taking a quick look at The White Stripes’ White Blood Cells
I catch myself whenever I hear Seven Nation Army ring out from the soccer stand. What a song to co-opt! How odd that a band that’s not exactly obsessed with fame still has 1000s of people singing that song 20+ years on. Is there anyone else in that rarified air? My bemusement aside, Elephant is a solid record. How so much sound can come from two people is beyond me, but here we are. Other than some backing vocals, it really is just the two of them. Meg White’s drumming is simple (and simple is never easy), and Jack White’s guitar (and piano) take us from soccer stand fodder to swamp flats on tracks like “I Want to be the Boy to Warm Your Mother’s Heart.” It’s a no-skips record, even if not everything would sound good being yelled from a terrace.
If Elephant is what put the duo on the map, White Blood Cells is what lays the groundwork. I can almost guarantee at some point today someone will work “masterpiece” into the discourse or refer to it as art. The latter is true- all music is art. The former? Mmmm…I don’t know.
Fair play to “Fell In Love with a Girl “; it’s one of the best singles we’ve come across in Round 1. It’s loud, euphoric, and the kind of messy that says, “I want you to think this didn’t take any effort, but we spent days making it that way.” That sort of disheveled sound taps the same roots that DBT’s Southern Rock Opera did earlier in the week, as well as the likes of MC5 (which, I mean, sure. The White Stripes are from Detroit after all.)
Contrived or not, that simplicity works here—and as mentioned above— simple is never easy. Ask your favorite drummer. As a reformed one myself, I never miss a chance to defend Meg White from people that say “she’s not that good.” First, she’s more talented than 99.99999% of the people that say this, and second, see above. Playing a rudimentary style is easy…for about a minute. Doing it consistently and in a way that matches Jack White’s all-over-the-place stylings is anything but.
Did people do this with VU’s Moe Tucker? Maybe, but I doubt it. Look, I can be as snarky as anyone, but the boo boys can fuck off into the sun with all that.
(Exhale)
The sneering hipster take from Serious Music People ™ is that the basic, stripped-down style is a deficit. Really, it’s their superpower. Sometimes you just want some teeth and something that’s unapologetically loud…. even tracks like “I’m Finding It Harder to Be a Gentleman” and “The Same Boy You’ve Always Known” both of which which, I guess, count as slower tracks here, still have a little intentional grit and edge to ‘em. “We’re Going to Be Friends” is a bit too twee for this record, but people love it, so (Kanye shrug).
This band has always been polarizing, mostly, I think, because their records bring out the worst in the Rock Guy™ and Hipster tribes. So be it. In the meantime, with its mix of blues-y tracks and face melters, White Blood Cells will still be a punchy record that locked in the pair’s style.
Bottom Line: This is the #3 seed in the tourney, and I can’t see it slowing down anytime before Round 4 where it’ll likely face off against Kylie Minogue. Today it’s up against Squarepusher, who seem like almost an afterthought in comparison. Took the safe bet on this one; my bracket pick and vote will be for White Blood Cells.
Any thoughts on either of these records? Agree/disagree with my take? Sound off in the comments!
Today we’re taking a look at R.E.M.’s 2001 LP, Reveal.
Sometime ago, I raised some eyebrows not by declaring that Document was R.E.M.’s best record (a relatively safe pick, tbh), but by ranking Out of Time so high and slotting in AFTP so low at 9th.
There were a couple of caveats and carve-outs (it’s my list!). First, Up punches above its weight for the simple reason that no other song so perfectly describes the feel of an airport at 03:30 AM as Airportman does. This is a side of travel few see, but one that’s been my world for most of my adult life.
Second—and I think more relevant here—REM’s discography can be broken into three distinct eras, and the order you slot these records in depends a lot on which one your on-ramp was in. For me, this was Green and Eponymous. The latter is a comp, but there’s a very real calculus behind why the former sits at #5 for me.
I also feel like the post-Bill Berry years are a sort of denouement for the band. If the cut-out bins were anything to go by, this was the era that many listeners passed on. It certainly was for me, though YMMV.
Really, I think the one thing most fans can agree on is that Around the Sun has a lock on last place. Pretty much everything else is up for grabs.
That said, something has to come in next to last, and up until now, that something for me has usually been Reveal.
By this point, I’d kind of checked out. I’d still give any new release at least a cursory glance, but I was perfectly happy to stay behind, enjoying Green, Out of Time, and even Monster. Up was interesting- an appreciation that grew over time, but Reveal passed me by entirely. Knowing me, I probably dismissed it out of hand. No Bill Berry? No, thank you. Never mind the reasons behind his (very amicable and very necessary) reasons for leaving. I could be pretentious that way—not unlike my gatekeeping ancestors who felt the same way for anything post-IRS. Really, I think it was 10 years too early for me. I wasn’t ready.
Listening again, I’m surprised at how solid the first three tracks are. I’ve long held a soft spot for “All the Way to Reno (You’re Gonna Be a Star)” but “The Lifting” is a lot better than I’d remebered. It’s a harkening back to something closer to their earlier sound; almost an antidote to the way Up left off. Maybe a reminder to all of us that 3/4s of the band we grew up on was still there/ Maybe it was a reminder to themselves.
“Disappear” is a bit of a dirge, which…ok. I mean, I know that plays with a huge part of the fan base, but I prefer my R.E.M. a little more jangly, thankyouverymuch. Ditto “Saturn Return.” “Beat A Drum” pulls things up a bit and reminds me of the Pet Sounds-era Beach Boys. Not my bag, but it’s objectively pleasant.
“Imitation of Life” was the “big” single of the album, and its catchiness and hook make a solid case for why it deserved to be. The video reminds me of Weezer’s “Island in the Sun” with trippy effects. Actually, a lot of videos from this era went all in on this motif. Were we into this back in the day? These didn’t look like any parties I was going to, I’ll tell you that for free. And I like the wistful vibe that closer “Beachball” sends us out on.
As noted, Up has long punched above its weight thanks to Airportman. That’s an all-timer for extremely niche reasons, but Reveal took that same nose for experimentation and pulled it into a much sharper focus.
Going in, I wasn’t really sure what I was gonna get. Time can be kind or cruel in equal measure. But after years of slagging off the last 1/3 of the discography, I was really hoping for redemption. And I’m happy to say it came. None of my top 5 is at risk, but even just typing this, I think it deserves to be scooched up at least a notch or two.
Bottom Line: This is up against Super Furry Animals’ Rings Around the World LP. a record that has a fervent fan base. I can certainly repsect that, but sometimes you gotta dance with who brang ya, ands this is one of those times. R.E.M. for both bracket pick and my vote today.
Any thoughts on either of these records? Agree/disagree with my take? Sound off in the comments!
Happy Memorial Day to everyone here in the US, and happy Monday to our international friends! Whether, you’re home today or just kicking off your work week, I hope you’ve had a chance to rest easy and spin some great records. If you’re in the latter camp, maybe this’ll make the commute just a bit more enjoyable?
I shared this anecdote in the chat over the weekend, but wanted to share it again with the group as a whole.
A few weeks ago, Gabbie, who writes the fantastic New Music For Old heads, asked readers to name the last band or record they found without the internet. It’s one of those fun questions that seems easy at first, but before you know it, you have a page full of crossed-out options and are wracking your brain. For better or worse, these days we find stuff online.
Obviously, it’s fun to find cool records through cool people (cough cough), but it seems wild to me that what was once a pretty straightforward question is now anything but.
And if you’ll allow me to share, I now have a pretty rad answer…sort of. I received a music submission via email from a local act. That in itself is not unusual (and yeah, email counts as internet), but then my kid asked me if the artist had been in touch. This is absolutely not normal. Turns out he had a makeup exam last week, and one of the musicians was the proctor. Once everything was completed and turned in, they were talking, and his music label came up, which led my son to mention this place, and everything came full circle. Not entirely analog, but still pretty cool (to me, anyway), so I’m counting it.
That duo is here (dargan hester), as is one of my fave shoegaze bands, Cheatahs. I found them via terrestrial radio (thank you, WSUM!), and they’ve never really left my rotation since. Squeeze showed up via the early days of MTV.
It’s not the record featured here, but one of my greatest analog finds was when a friend passed me a copy of Talking Heads’ Stop Making Sense while on a field trip. It’s not hyperbolic to say that moment changed the trajectory of my music diet forever.
What’s the last record you discovered without going online? Share your story!
KA—
P.S. Speaking of radio, when you’re done here, make sure to check out the final lap of Inhailer Radio’s Indie 500!
Side A is tracks 1-19 (ends with “Narco Polo”). Side B is tracks 20-39.
Today we’re taking a look at Oh, Inverted World by The Shins
If you knew me in my teens and 20s, you know that I was an insufferable music snob. Like, just the worst. It’s something I’ve worked hard to move away from. It’s not like hitting middle age suddenly meant I liked everything; fuck no! I’m more opinionated than ever.
In 1996, I would just point and laugh at a record that wasn’t my bag, or just meet it with sneering derision. These days, I’m genuinely interested in what about a given record lands with someone. What is it about this specific recording that speaks to you? Is it tied to a seminal life event? Was this playing when you met your future partner/spouse? They’re obviously not my stories, but I don’t need much of a thread to grab onto. Usually, these are interesting enough on their own. Ideally, they get me to look at a record/band/etc in a new light.
So, if anyone has one of those regarding The Shins’ Oh, Inverted World, I’m all ears.
There was a time when one of the first things you did when meeting someone new was root through their records (and later CDs/tapes). It was—and is— a great window into someone’s personality, and how they might align with yours. And there was a time when the Garden State soundtrack was everywhere. This wasn’t a dealbreaker, but it usually ended with me muttering “fuck “ under my breath or dismissing whatever might have come after it. It just seemed to embody the very definition of tepid. Worse, it spawned a whole legion of bands to pen purposely obscure lyrics and set them to a similar style of music.
I don’t want to punch down—again, the days of me trying to write similar to Pitchfork 1.0 are mostly gone, but man, this is a pressure test. I will say that this has much more of a pulse in places than I was expecting (I’m thinking of opener Caring is Creepy here), and there are songs that would be right at home on late-stage Beach Boys records (”Girl Inform me”). And then we hit a wall with “New Slang.” Earlier today, if you’d have asked me what the name of this song was, I would’ve come up empty. It took exactly three notes of it to trigger some sort of musical PTSD in me. I swore if I never heard this song again, it’d be too soon, and yet here we are…again. In the interest of “research,” I’ve avoided skipping tracks. I did that here, but I’d be lying if I didn’t mention that this was also a good time to go downtown and get more coffee.
The Celibate Life lost me on the title alone, but it’s fine. It’s all a dead cat bounce, though. Girl on the Wing is back to the beach Boys-y vibe that likely only exists in my head. The point here is that they’ve pulled at least one amp back in, and there’s a pulse, albeit a weak one. And on it goes; one step forward, two steps back. Pressed In A Book dials up the fuzz to like a 4(?) and could be a B-side on a Sgt. Pepper’s record. It’s not terrible! And then we end with The Past and Pending, and we’re right back to the sort of folk-y, overly plaintive stylings that drive me bonkers. Even the horn is lonely, and I’m a guy who likes just about anything with a lil’ brass in it.
Bottom line: I’m a little more up on the band than I was 45 minutes ago, but not by much. A couple of good songs got my eyebrows raised and hopes up. A lot of sensitive ponytail guy stuff didn’t send them crashing back to earth. This is seeded at #10, so clearly a lot of people hold it in high regard—or at least enjoyed Garden State.
So again, if anyone wants to share what this means to them and why, I’m all ears. Until then, Oh, Inverted World has a couple of (relatively) high points, but it’s not enough to overcome the wall of beige that is the rest of the record.
EDIT: The algorithm served me up “Split Needles” after this, and I dug it. Maybe there’s hope yet?
Bottom Line: This is up against The Invisible band by Travis, and well, in the interest of saving time, my review can be distilled down to “Second first, same as the first.” Only difference was I’d never heard these guys before (at least that I know of), and there’s no Garden State-related enmity here. I listened on Spotify (I know! I know!) and the site says this band has just under 3.1 million listeners a month. Clearly, someone is seeing something I’m not. Maybe that’s you? If so, tell me a story…
Any thoughts on either of these records? Agree/disagree with my take? Sound off in the comments!
Today we’re taking a look at Guided by Voices 2001 LP Isolation Drills.
The glad girls only wanna get you high.
I couldn’t tell you the first time I heard GBV. There was no revelation, no epiphany the way there might’ve been with other bands. It just seems like they’ve always sorta been there, and if i’m honest, that’s kinda how I like it.
In one of my year-end issues, I joked that if we go more than six months without a GBV release, something must be horribly wrong.
I was only half kidding.
The band’s prolific output- or Robert Pollard’s- is no secret. An entire media empire could be built by simply dissecting each record in order.
Indeed, if you want a podcast that goes through most of the band’s catalog—it ended in 2020, so it’s missing, like, 13-14 records— you can start here.
The GBV discography is lengthy, but there’s no shortage of twists and turns along the way. That’s good for variety- and if you are planning a GBV media empire, it will mean no lack of flamethrower takes about each song/release.
In 2001, the phrase hot take didn’t exist yet, but music opinion(s) sure did. And views regarding Isolation Drills were generally positive. If anything, it’s a consistent record.
That’s not meant as a backhanded compliment. GBV can be varied, but sometimes squishing every style onto one record is regressive. With this release, we had a solid long player that did well to keep Pollard from bouncing around too much like a sonic superball.
Helping rein that in was this record’s lineup-specifically ex-Breeders drummer Jim MacPherson. The rhythm section often finds a way to get lost on these records, but this time is different.
To be clear, this is still a guitar-driven poppy record, the treble is set to 11, and the vocals are tailor-made to sing along with in the car. Or in a park…and a bunch of did just that in Milwakuee’s Humboldt Park a couple of summers ago.
Photo by author
When was their breakthrough? What’s their best record? These are the sorts of shibboleths record nerds live for. There’s not nearly enough bandwidth on the world wide web to tackle this, but I’d say by ’01 they were already very much on their way and Isolation Drills is one of their best
For my money, Glad Girls is damn near the poppiest track Pollard ever came up with, but you could make a plausible argument for Fair Touching, Chasing Heather Crazy, and Brides Have Hit Glass. And that’s just this record
The glad girls are alright. And that’s my hot take.
Bottom Line: This is up against They Might Be Giants’ Mink Car. TMBG have their own set of rabid fans, and Chase Roper has an entire newsletter dedicated to their work. If you’re at all interested and/or curious about their sounds, Kiss Me, Son of Blog should be your next stop.
Any thoughts on either of these records? Agree/disagree with my take? Sound off in the comments!
Kevin Sent 