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...
