Thanks, thanks... Sundown is solid. My mailman just dropped off that CD from Rhino Records. Hey, Kevin Chavez3, you should really check out all the mod releases on Captain Oi! They've got stuff from Jolt, The Chords, The Vapors, Secret Affair, and even Crooks (though those guys are a little weaker in my book)... plus there’s this one 70s record by The Flys, *Waikiki Beach Refugees*, which is a standard Captain Oi! release rather than part of their mod series. I have a feeling you'd actually dig it quite a bit.
Man, I've got to tell you, once you dive into Any Trouble, there's no turning back. That album is honestly phenomenal. It actually makes me think of another British band that hits a similar vibe for me, though if I'm being totally honest, I think they might actually top them:
So, I was spinning *Distractions: Nobody's Perfect* from 1980 the other day, and man, it really hits different. If you aren't familiar with them, think of this as the English cousin to Big Star’s third album—you know, that *Sisters Lovers* vibe for those who might not make the connection. It’s this wild, beautiful mess of non-traditional power pop, gorgeous melodies, and just straight-up nervous breakdowns all rolled into one. The backstory is actually pretty interesting, too. The band originally got their start over at Factory Records alongside Joy Division, but this ended up being their only album, and they released it through Island Records instead. Fun fact: they actually signed to Island around the same time as U2. From what I gather, the label made the tactical decision to put all their marketing muscle behind U2 for one pretty blunt reason—the lead singer of Distractions just wasn't exactly built like a typical rock star. It’s a shame, really, because this stuff is gold, but it never even got a proper CD release.
Rubber City Rebels: s/t (1980). In case you weren't aware, punk actually got its footing in Cleveland somewhere between '73 and '75. Now, while pretty much every local punk kid was busy loudly tearing apart The Stooges—think guys like Rocket from the Tombs, Mirrors, Styrenes, or the Electric Eels—the Rubber City Rebels were actually bringing some melody to the table. It’s just pure, old-school power pop punk at its absolute finest. They recently dropped this on CD, too, so you can easily snag a copy online if you're looking to add it to your collection.
So, I was just thinking about Pointed Sticks and their *Perfect Youth* era back in the 80s. They were a band out of Toronto, and they actually hold the distinction of being one of the first groups to record for the legendary Bomp! label. If you compare them to what we were talking about above, they feel pretty similar in spirit, though they leaned much more into that catchy pop sound rather than going full-on punk. I think there was even some kind of retrospective compilation of theirs released on CD over in Canada at some point.
Nikky and the Corvettes: s/t (feels like 1980 to me). It’s basically like taking all the absolute best moments of Blondie and condensing them into one record, stripping away all the filler. Honestly, it sounds exactly like what Blondie would have been if they had grown up in Detroit instead—just a steady, unapologetic diet of rock 'n' roll and boys, without any of those pretentious "art school" vibes or commercial ambitions getting in the way. They put out a CD reissue of this about three years ago, so it should be pretty easy to track down if you're looking.
The Scientists: s/t (around 1982?). I’m thinking of that Australian outfit. Before Kim Salmon basically "discovered" the vibe of The Birthday Party and that whole witchy, swampy sound, The Scientists were essentially just this high-energy, driving power pop band. This record is really their only outing in that specific style. I haven't sat down and listened to the whole thing from start to finish yet, but everything I have stumbled upon has been absolutely killer—like "Last Night" on that *Do the Pop* compilation; honestly, that track stands out as one of the absolute best pieces on an album that was already overflowing with gems. I don't think it ever actually made its way onto CD, if I remember correctly.
Bats: Daddy's Highway (around 1987, I think?). You know how it goes—whenever anyone brings up New Zealand, everyone immediately starts shouting about The Chills or Clean, or maybe throws Tall Dwarfs into the mix if they're feeling fancy. But honestly, this record is actually better than Clean, and it hits just as hard as those absolute peak moments from The Chills. It’s out of print on CD these days, which is a bummer, but you can still track it down if you look hard enough.
So, I was just thinking about *Someloves: Something or Other* from '87. It’s this killer project by the Aussie duo Dom Mariani (you know, from The Stems and dm3) and Daryl Mather (who did stuff with Lim Spiders and Orange Humble Band), all produced by the legendary Mitch Easter. If you aren't familiar, Mitch is basically the architect behind that whole jangly, Southern-fried pop vibe—everything from the dreamy sounds of Sneakers to those early R.E.M. classics like *Murmur* and *Reckoning*, plus Mayflies USA. Honestly, if you’re one of those people who lives for the melodic magic of *Murmur* or *Reckoning*, you really need to check this out. To my ears, it hits those same high notes but actually manages to push the melodies even further, even if the overall atmosphere feels slightly different. It had a CD reissue a few years back, but man, it’s already impossible to find. Definitely a hunt worth undertaking if you can track it down.
Gun Club: The Las Vegas Story (maybe around '84?). Man, we all know them. Usually, everyone points to Fire of Love and Miami as their big, defining albums, but honestly? I feel like this one has a certain breadth that their earlier stuff just didn't quite capture. It’s got everything—you can hear traces of George Gershwin (filtered through that Billie Holiday vibe), that whole "stranger in town" feeling, and then you get into Bad America territory with tracks like "under the western sky," all tied together by Kid Congo Powers' killer slide guitar work. It’s basically goth blues at its finest. Looking back, it feels like Cave is almost a caricature of what Jeffrey Lee Pierce was, which is a shame. Apparently, IRS put this out on CD back in the 80s, but it’s been out of print for ages now. Seriously tough to track down if you're looking to add it to the collection.
Think of it this way: just like *Sweetheart of Rodeo* and *Gilded Palace of Sin* were the essential blueprints for those hippie cats in the late 60s and early 70s, and *No Depression* and *Hollywood Town Hall* served as the holy grail for the alt/indie rock kids in the late 80s and early 90s, this record was basically the North Star for the punk crowd back in the late 70s and early 80s. The Kinman brothers—who were outspoken communists and the guys who actually founded Dils, probably the absolute best first-gen LA punk band out there (you know, "I hate the rich," "Class War" vibes)—were actually among the first to realize that the real punks at heart were likely legends like Hank Williams and Lefty Frizzell. And honestly, looking at this record, they were spot on. As an aside, the third member of the band was Alejandro Escovedo. Before his solo stuff, he played with The Nuns and then moved into The True Believers (if you're into alt-country, their 80s recordings are on a compilation that I highly recommend checking out). These days, he’s become one of the most respected figures in the Austin scene. Now, here's the kicker: *Sunburn* has never actually been reissued on vinyl or CD. But, I've got some good news for you! About a month ago, Rhino Records dropped a CD featuring the first two Rank & File albums along with three extra tracks. Sadly, it’s a strictly limited edition—maybe 5,000 copies if my memory serves me right—and you can only snag it online through rhinohandmade.com. Grab it while you can!
Let’s take a little trip back to the UK for a second:
The Chords: *So Far Away* (1980). Critics used to give them grief, claiming they were just derivative of that punk-mod sound found on the first three Jam albums—which, let's be honest, was already a riff on early The Who, Small Faces, and all those mid-60s mod bands. But man, this record is actually better than any Jam record (and I say that with love, because I'm a huge fan, so don't come for me). Captain Oi—seriously, what would we even do without them?—put out a CD reissue a few years back. It’s an awesome release, too, because they tacked on some singles. You really have to check out the extended version of "Now It's Gone"; it's got that perfect blend of melodic aggression, raw emotion, and pure desperation, almost like if Husker Du had been a mod-punk outfit.
The Vapors: *New Clear Days* and *Magnets* (early 80s). People tend to write them off as one-hit wonders because of "Turning Japanese," treating them like some lightweight new wave act. That's a total mistake. They were an incredible guitar pop band, honestly nothing worse than The Attractions in my book. Both albums eventually got reissued by Captain Oi.
And finally, two quintessential "C-86" style British bands. Think Rickenbacker jangle reminiscent of The Byrds mixed with that Warhol-esque shyness—all dreamy melodies and a tone that sounds like the band was recorded inside a cramped closet (you should listen to the original closet mix of Velvet Underground's third album on their box set to hear what I mean):
Razorcuts: *Storyteller* (1988). This one never got a proper reissue, though a CD-R titled *R...is for Razorcuts* featuring their best tracks popped up recently. It’s essential listening for indie kids and anyone who digs early Byrds or that third VU album.
Shop Assistants: *s/t* (1987?). Legend has it Kevin Shields studied this record religiously before My Bloody Valentine recorded *Loveless*. Basically, imagine a garage-rock version of *Loveless* filtered through a Phil Spector wall of sound that’ll be blasting from transistor radios on beaches all summer... yeah, right...
I'm totally with you on that. At the end of the day, a killer story is what matters most; everything else flows from there. You don't need to be some walking encyclopedia of film theory to whip up something great. That said, directing itself is definitely a craft you have to learn, and honestly, the best way to master it is just by watching (good) movies—maybe picking up a little "theoretical" tip here and there to show you how the same idea can be told in different ways, or how certain techniques just hit harder when you're using the language of cinema. For me, the real test is whether those stylistic choices actually serve the director's main goal, which is telling the story. I’ve never been much for directors who are technically flawless but don't actually have anything meaningful to say. There are way too many of them floating around these days, even the ones hailed as "art house" superstars.
Speaking of those "theoretical" tips, I put quotes around that word because Steven Spielberg's approach feels more like a theory of the craft of directing, if that makes sense. He’s focused on the practical stuff—things like shot composition, framing, rhythm, pacing, and those smooth dissolves... I see that kind of "theory" as something completely different from those heavy cultural-critical film theories, you know? Like all that semiotic, psychoanalytic, or (post)structuralist postmodern quasi-intellectual nonsense.
I remember diving into one of Steven Spielberg's books back in high school—it was a collection of essays breaking down different directing techniques through the lens of seven specific filmmakers. Honestly, I didn't find it too tough to wrap my head around at the time. I’ve always felt there's something really rewarding about the way you learn; you read what Spielberg, or maybe some other critic, says about, say, the work of George Stevens, and then you actually sit down to watch those movies to see if you can "spot" exactly what he was talking about and how the director uses those tools to drive the story. I mention Stevens because I specifically recall an essay titled "Immersion in film through the works of George Stevens." After finishing that, I went back and rewatched Shane, The Giant, and A Place in the Sun a few times just to soak it all in. It was such a great way to learn. It reminds me of what François Truffaut used to say: "I'm going to watch that film again; I love taking lessons from movies." Even his TV series were top-notch. I still vividly remember an episode that broke down shot composition using High Noon as the prime example. Just brilliant.
Talking Heads, Kraftwerk, Yoko Ono's "New Wave" and punk, The Ramones, Steely Dan (specifically just the Pretzel Logic album), Blondie, The Beatles and The Rolling Stones, XTC, Ian Dury and the Blockheads, Singles Going Steady by the Buzzcocks, Haircut 100, Elvis Costello, Einsturzende Neubauten, Test Department, Echo and the Bunnymen, The Stranglers, The Human League, The Cramps, Rip Rig and Panic, Exploited, Talking Heads, those 2-Tone ska bands...
I’m definitely more of a Pollock kind of guy. You talking about Parallax View? That’s Pakula. To be honest, I’ve always gravitated toward movies that wrap political themes inside a story that doesn't look overtly political on the surface—think along the lines of Ace Mته Force of Evil by Abraham Polanski, or even American Friend and Die Hard and... well, you get the idea. I find those much more engaging than the "explicitly" political films. That said, I do have a soft spot for certain flicks from the sixties, like Medium Cool or some of Godard's work from that era, and Zelimir Zilnik of course, plus Plastic Jesus. Then there's the Battle of Algiers, and the German cinema from the seventies (Fassbinder, obviously, and that fantastic omnibus Germany in Autumn), and the Soviet stuff from the twenties and thirties—Dovzhenko and Pudovkin, though I'm not as big on Eisenstein... Strike is way better than Battleship Potemkin. I'll also take Bauer's Face to Face, even if it's one of his weaker ones, and some of Fadil Hazdic's films. I'm also a huge fan of Italian Neorealism—The Bicycle Thief is front and center for me, and Visconti's La Terra Trema back when he was an absolute genius. And, of course, the first ninety minutes of Triumph of the Will (that opening sequence montage is just something else).
Mary Horvat's husband -- basically an American take on The Marriage of Maria Braun by Rainer Werner Fassbinder. I’ll handle the screenplay, and Liberatore directs. We are 100% walking away with the Palme d'Or, and then I can finally sit down and grab a beer on the patio at Carleton without being treated like some total lowlife from the bottom of the barrel.
Just one quick thought... based on the vibe I get from my circle of friends and everyone I know, I honestly think this would sell way better on CD than on vinyl.
Wasn't that exactly what the Dallas Mavericks were planning to pull off before everything just went completely south? Does anyone actually know how The Termites ended up selling out? As far as I'm concerned, it’s totally doable—they could at least start by pairing the first one with their debut single. Honestly, if Peter has anything to do with this whole thing, and assuming those guys from Italy are actually down for it, why not reach out to someone from Problem and see if they can snag some of their old recordings? It could work as a CD EP, at least... now that would be something truly awesome...
Yeah... honestly, such a great flick. Switching gears for a second though, but I’d easily rank this as one of the top seven or eight movies from 2002. It’s just those *regular* people caught up in some seriously heavy situations. Every single character feels so incredibly fleshed out and intentional. It makes me wonder, why did movies like this used to be the standard back in the day instead of being such a rare exception? [follows the usual rant...]
Finally, a list that actually deserves some serious attention. I’m going to dive deep into this one and give you my full, unvarned thoughts... First off, props where they're due. I’d probably have included a good chunk of what’s on here myself. Huge points to The Replacements, the second Suicide record, and The Commotions (which should really be The Skot, though there's another one missing between Rattlesnakes and Mainstream). And a special shout-out to Any Trouble—is that you, dustyridge12? Now, for the part where we start the inevitable arguing: what's missing? For starters, we definitely need a few more rap classics in the mix, like the debut from de la Soul, Critical Beatdown by Ultramagnetic MCs, and the first Eric B. & Rakim album. On the flip side, I honestly can't wrap my head around seeing The Feelies, TV Personalities, or Minutemen on here—putting Minutemen on this list feels like pure heresy! And instead of Teardrop Explodes, I'd much rather see Echo & the Bunnymen, either their first or fourth record. As for Firehose, I'd go with their first album over the second, and similarly, I'd pick English Settlement over Skylarking any day. I get why Nation Daydream made the cut—that "alternative rock" concept was pushed to its absolute limits—but personally, I think Sister, EVOL, and Bad Moon are way stronger. And let’s be real: this list absolutely should have featured every single Hüsker Dü album from Zen Arcade onwards right at the top five spots! ;))))
Now, I’ve got some more "serious" recommendations for you guys—but just a heads-up, a little caveat here: please, for the love of God, don't come crying to me unless you actually have a collection of at least 50 records! If you're just starting out with a handful of LPs, this might be a bit much, but if you've got a decent stack on your shelf, these are definitely worth your time:
I feel like we’re missing a few key records that really shaped those "no depression" style bands. For instance, we definitely need the debut from Rank and File, the first Jason and the Scorchers album, King of America by Costello, and the Native Sons / Long Ryders stuff. Then there’s the whole precursor vibe to grunge—which was pretty much the dominant rock sound of the 90s—so we should probably include Superfuzz Bigmuff or Buzz Factory by Screaming Trees. I also think we’re light on some gritty American noise rock; maybe a couple of the early Butthole Surfers records, Right Now / Pussy Galore, or Skag Heaven by Squirrel Bait. And honestly, there’s just not enough hardcore punk on this list. Take a look at Out of Step / Minor Threat, Damaged / Black Flag, Back from Samoa / Angry Samoans, the first two Bad Brains albums, or Wrong / Nomeansno. Hardcore is huge here because it basically birthed all these emo bands and those post-metal-speed genres. Plus, you really need those more experimental hardcore records that defined the post-hardcore aesthetic, like the first two Fugazi albums or especially October File / Die Kreuzen. What else are we overlooking? Since there weren't a ton of legitimate rock bands popping up in the early 80s, I see why Birthday Party is there, but personally, I’d lean toward putting the first The Cramps on the list, maybe the second Bad Seeds record, the first Scientists album, Walk Among Us by Misfits, or even Back in Black by AC/DC. Or we could dive into some garage revival stuff, like the first Crawdaddy's album or that absolute essential, The Only Fun in Town / Joseph K by Prisoners. Then you’ve got that whole lineage of pop-punk precursors. I'm talking about stuff like Don't Wanna Grow Up or Neurotica by Red Cross, which eventually paved the way for that specific "indie" sound we love—think along the lines of The Only Fun in Town / Joseph K or You Can't Hide Your Love Forever / Orange Juice. From there, you transition into those quintessential indie records, like George Best / Wedding Present. And honestly, if you look even further back, there isn't really a direct ancestor for this atmospheric, slow-core, "post-shoegaze" scene we're talking about today. You have to look at things like A Heaven's End / Loop or maybe A Perfect Prescription or Playing with Fire by Spacemen 3 to see where those vibes actually started breathing. If we're talking post-punk, I’d say you can't go wrong with the second Swell Maps record, or maybe Odyshape / The Raincoats—that one's such a killer blend of world music vibes and feminist agitation. Or honestly, Kleenex over Au Pairs might be the move too. Moving into New Wave territory, I’m thinking New Clear Days / The Vapors or So Far Away / The Chords. Then you've got that power pop side of things, like the Marshall Crenshaw debut or that first Plims record (actually, does anyone remember when the Germs first dropped?). If you're feeling more jangle, maybe the early Flying Color stuff or that first Hoodoo Gurus album. And we definitely shouldn't overlook the essential all-female records—I'll get into that more later when I talk about The Trashwomen, the whole wave of girl bands on Sympathy, all the way through to The Donnas. For starters, though, you've got the first Go-Go's album or that lone Nikki and the Corvettes release. Honestly, my biggest gripe here is the total lack of any good bands from New Zealand. I really feel like we’re missing out—it would have been killer to see something like Brave Words by Chills, or maybe Daddy's Highway by The Bats, or even some tracks from Verlaines in the mix.
And I've got just one more sentimental favorite for you guys—The Specials.
When you look at the whole electronic scene, I totally get why certain stuff needs to be on the list, but honestly, there’s so much wilder, more original material that predates the Front era. I mean, you’ve got things like Hole by Foetus, or even those two DAF albums from back in '81 that were just ahead of their time. Then there's Red Mecca by Cabaret Voltaire, or even those bands that managed to take that specific sound and make it accessible for the masses without losing an ounce of style—think about Dare by The Human League or that first Soft Cell record. There's just so much depth there if you dig a little deeper.
Man, when you really sit back and look at how much the post-hardcore scene exploded into all those different directions—you know, like that whole mess of trash metal, speed, crust, and death styles that started bleeding into everything once they crossed paths with metal—it’s pretty wild. If we're talking about the real pioneers who were pushing those boundaries alongside Die Kreuzen, I feel like we've gotta give some serious credit to the early stuff from Napalm Death or even Sepultura. And honestly, you can't skip over records like Slip It In by Black Flag or Speak English or Die by SOD if you want the full picture of how that crossover energy actually shaped things.
Alright, look, this list absolutely needs to hit the 100-entry mark. Please just follow the order I laid out!
Out of those ones you brought up, The Damned... and obviously the first Clash record are better, but the rest of the stuff isn't really hitting the mark for me. Personally, I’m a huge fan of solid pop songs built on that classic vocal-guitar-bass-drums setup, and everything on that first Generation X - Your Generation record fits that vibe perfectly (I smoke through their second album too, just maybe not quite as much). To be honest, I think the Buzzcocks are a way better singles band. The Adverts' debut is decent, though it definitely has some filler, and ATV feels like an incredibly pretentious band to me—they have these great moments here and there, but they just can't sustain it for an entire album. Anyway, we're totally drifting off topic.
Methinks they’re easily the best American pop band from the 90s. They just don't have that annoying, elitist indie clique vibe where everyone acts like they're too cool for school, which you definitely get with bands like Pavement. Beyond that, their quality control is incredibly consistent, they’re deeply emotional in the best way possible, totally unpretentious, and honestly, they're one of the top two or three live bands I've ever had the pleasure of seeing... it's like being stuck right in the eye of a hurricane when they dive into one of those fifteen-minute noisy swirls (just imagine Ira tearing through pedals, while James handles bass and organ whenever he feels like it—plus some bass pedals—and then there's Georgia on drums keeping it relatively low-key, much like Moe Tucker). To me, Painful is an absolute masterpiece, though I can hear... comes a very close second. Electr-o-pura is a great record, but I feel like it leans a little too hard on pop references ("Julia Christie, the rumors were true.... pa pa pa pa ra pa...") instead of focusing on raw human emotion and real connection. Their last full-length was also really solid, but if they don't pivot soon—and it looks like they might be trying something different with that new EP featuring the Sun Ra cover—or if they don't just break up, they risk becoming predictable. The albums released before Painful are a bit hit or miss, but hey, that was the 80s. Personally, Fakebook didn't do much for me, though it was cute enough and definitely proves YLT has great taste. BTW, they make an awesome cover band.