Best tunes of 1992: #7 Leonard Cohen “Closing time”

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Believe it or not, “Closing time” was the song that first turned me on to Mr. Cohen: the poet, novelist, singer, songwriter, and Canadian Icon. I loved his voice right from the start and his easy sing-speak delivery and his cool demeanour. Shortly afterwards, I connected Cohen to that awesome song that Christian Slater’s character used to open his pirate radio show in the film, “Pump up the volume” and well, a lifelong love affair was born. I didn’t know this then but “Closing time” was one of two singles released off what would be the last album he recorded before entering a Buddhist monastery, touching off a prolonged break. “The future” is now considered a classic album in his catalogue but it was a struggle to create for the man from beginning to end.

“Ah we’re drinking and we’re dancing
and the band is really happening
and the Johnny Walker wisdom running high”

Around the time that “Closing time” was making the rounds on MuchMusic, I was taking a driver’s training class with Young Drivers of Canada. I was getting my license later than many of my friends, mostly to beat the implementation of graduated licensing (yes, I’m that old), and yeah, so many of those in the class were a few years younger than I was. I remember there being a teen girl in the class who wore a Leonard Cohen concert T-shirt to class one day and we all ribbed her to no end. Leonard wasn’t a “cool” choice amongst all the alt-rock kids but a few of us in the know, came to her defence after things got carried away. No one should have to pay for being a fan of Cohen. I’m sure all those kids know that now as adults.

“All the women tear their blouses off
and the men they dance on the polka-dots
and it’s partner found, it’s partner lost
and it’s hell to pay when the fiddler stops”

It was also around that time that my older brother Andrew came back to live at home for a while. After years of living in the States, he had been indoctrinated into listening to Country music, yes, he wore cowboy boots and the whole bit. Interestingly, “Closing time” got its hooks into him, perhaps it was the fiddle, which was part of what got its hooks into me. Unfortunately, though, that meant that the cassette tape I had this on was always in the player and he would replay it to the point where I was almost sick of it. Then, he would drag me out with him to country bars to pick up women, none of whose companions I was ever remotely interested in, and then, drunkenly sing the few lines he knew of “Closing time” over and over again as we were staggering home in the early hours of the morning.

“Yeah we’re drinking and we’re dancing
but there’s nothing really happening
and the place is dead as Heaven on a Saturday night
And my very close companion
gets me fumbling gets me laughing
she’s a hundred but she’s wearing
something tight”

I only recently learned that “Closing time” is Leonard Cohen’s love poem to Toronto’s famous dive/after hours bar, The Matador, sadly now defunct (though I hear plans to resurrect it are in the works). I have only ever been to the Matador once in my life and that was on my friend Tim’s birthday, probably more than a decade ago now. We were all rather drunk already, which made a surreal experience all the more surreal. Nobody seem to know its precise address but the mere mention of the name to the cab driver got us all there without incident. Once there, we stood in line for an unknown amount of time but I distinctly remember our friend Mark saying to me, “If they ask you if you’re a cop, just say ‘no’.” There are plenty more stories that I could tell of that evening inside The Matador but I’ll leave those for another evening over beers. Let’s just say that when closing time actually rolled around, we stumbled out blinking in the morning sun and into waiting cabs bound for our beds.

For the rest of the Best tunes of 1992 list, click here.

Best tunes of 1992: #11 Pure “Spiritual pollution”

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Well, it’s Canada day again, albeit one the likes of which we’ve never seen before. And hopefully, we’ll never see again.

I’ve saved this particular post for today because the band in question is a lesser known and perhaps, not as well remembered Canadian alternative rock band from the  90s. Pure were one of the few Canadian acts that I listened to around that time and it was likely because their sound was similar to the Madchester hooks with which I had been obsessed. As you may recall, I’ve already made mention on these pages that my tastes tended to British music in the early 1990s. American alternative rock had turned its ears to Seattle and Canadian bands were following suit,

Pure, though, were a four-piece from Vancouver, British Columbia, Canada that formed in 1991. The original members comprised of drummer Leigh Grant, bassist Dave Hadley, guitarist Todd Simko, and vocalist Jody Birch. They got their first taste of success when one of their tracks appeared on the soundtrack for “Cool world”, a half animated/half live-action film that featured a young Brad Pitt. Then, their debut album, “Pureafunalia”, was released in 1992 and it’s first single, “Blast”, hit the airwaves and music video channels and thus, caught my attention. That track was just shy of making it on to this very list but there was no way “Spiritual pollution” wouldn’t be included. Sure, it wasn’t released as a single until the following year but I was already hooked on it from listening to that debut album in 1992.

A dirty and cool guitar riff opens the proceedings, putting a strut in your step and a feather in your cap. And then: Bah dah da-da-da-dah, duh duh duh da-dah… oh, the glorious horns. The beat pops and cracks in, sounding like robotic handclaps, the synth bass washes, and then, that guitar riff and the horn flourishes return for more fanfare. And over top it all, frontman Jody Birch is just cool, laying it all just there, a hepcat, not needing our spiritual pollution. No, not at all.

That debut album mixed dancefloor grooves with 60s psychedelic guitar rock but later on, their sound tended to be more pedestrian, and though I enjoyed their sophomore release, 1994’s “Generation six pack”. My love affair with the band started to fizzle from there. But we’ll always have the horns of “Spiritual pollution”. I could listen to and hum that riff all day long… Especially on this odd Canada day…

For the rest of the Best tunes of 1992 list, click here.

Best albums of 1989: The honourable mentions (aka #10 through #6)

Happy Monday all!

(I know what you’re thinking: is it really Monday?! Well, the answer to that is: “YES!!!” )

And if that wasn’t enough of a good reason to kick off a new series this morning, it’s also June 1st. That’s right. We’re five months into this train wreck of a year called 2020 and I haven’t done one of these throwback Best Albums series for a while so I thought I’d throw down for you one of the greatest years for alternative rock. That’s right: 1989.

If you’ve been around these pages before, you might remember that I typically do these Best Album throwbacks on Thursdays (for the #tbt thing, of course) and though I’ve changed up the day this time around, I’ll be keeping the rest of my usual format intact. Today’s post is just the tease, introducing the five albums that round out the latter part of my top ten, and then, over the course of the next five Mondays, I’ll lay out my five favourite albums of the year, one by one. And as I said above, it’s a great one. Many of the albums are classics, catching the bands who released them at their peaks, whether at the beginning or the end of their careers, and are considered some of the most influential albums to the alternative rock artists that followed, through the 90s and beyond.

I’ve already done my top ten favourites for both 1987 and 1988 and though I talked up both of those years at the time, 1989 was the real deal. And I’m not just saying that because I say that about all the years. I was by then firmly into high school and my teen years when the final year of the eighties came around and I was finally forming some musical tastes beyond the normal AM radio fare. And though I didn’t catch on to all of these albums at the time, I can at least say I was aware of most of them, if not right away, then at least within a year or two of their release date. Indeed, I have been listening to these ten albums for so long, they are like close friends.

Are you excited? I am. So let’s do this. And of course, as we do, I’d love to hear your thoughts, both on my picks and what your own would be for 1989…


#10 The Jesus And Mary Chain “Automatic”

With “Automatic”, the Reid brothers, Jim and William, picked up right where they left off with 1987’s “Darklands”, which, incidentally, appeared at #8 on my list for that year. The Jesus And Mary Chain were effectively just the two of them at this point, though you wouldn’t know it by listening to the tunes. They filled every ounce of soundscape using electronics, employing a drum machine and synthesizers to imitate bass guitars and to wash out the rest. And though they were criticized for this at the time, attitudes have changed over time, and the album is nowadays considered amongst The JAMC’s best work. The music is dark, raging, and roaring stuff, like a loud motorcycle racing through high and violent winds, the hair of its leather-jacketed rider, whipping about wildly, but being kept on course by the ever-present cool sunglasses. Yeah.

Gateway tune: Head on


#9 Galaxie 500 “On fire”

I didn’t listen to this album until well over a decade after its release. I finally decided to investigate Galaxie 500 a few years after frontman Dean Wareham’s second band, Luna, broke up and I had exhausted their catalogue. I started with “On fire” because it was the only one of their three of which I had previously heard, which makes sense because it is widely considered the trio’s high watermark. Together with Damon Krukowski and Naomi Yang, Wareham found his voice out of a love for lo-fi soundscapes, understated guitar brilliance, and The Velvet Underground. “On fire” is definitely rougher hewn than anything in the Luna catalogue but that doesn’t make it any less the underrated dream pop classic that it is.

Gateway tune: Tell me


#8 The Beautiful South “Welcome to The Beautiful South”

After The Housemartins called it quits in 1988, frontman Paul Heaton and drummer Dave Hemingway immediately formed The Beautiful South, the moniker a tongue-in-cheek jab at the fact that they were from Northern England. The five-piece’s debut “Welcome to The Beautiful South” expanded on the jangle pop sound of The Housemartins but happily, the biting and outspoken lyrics continued, as it did throughout their career. The controversial cover (the Canadian version of the cover pictured above omits the image of a woman with a gun in her mouth) didn’t seem to hurt album sales any and really, this album was just the beginning for a band that would go on to sell millions of units. So many great tracks on this one, including the one below.

Gateway tune: Song for whoever


#7 The Grapes of Wrath “Now and again”

The Grapes of Wrath’s fourth album, “Now and again”, was also their most commercially successful. Partially because of Canadian content (CanCon) rules imposed on Canadian radio and television stations but also because this album’s folk rock sound with impeccable harmonies had mass appeal. I definitely remember having the album’s singles recorded to cassette tape from AM radio at the time, but it was years before I would hear this album in full, long after the band had broken up and re-formed again. And though sometimes when I come to an album late, I find I can’t get into the time and place headspace of when it was released, this album is not an example of this. Timeless would be the right word here.

Gateway tune: All the things I wasn’t


#6 New Model Army “Thunder and consolation”

New Model Army’s fourth record is still their most successful to date and is likely one of my own personal faves. Justin Sullivan’s excellent, politically and socially-conscious lyrics and the group’s punk and post-punk informed sound received a bit of facelift when they were joined by violinist, Ed Alleyne-Johnson for this album. The infusion of folk and traditional music started the band to trend towards constantly tweaking their sound over the years and has likely aided in their longevity. And amazingly, they still haven’t lost any amount of edge or sense of urgency, especially here. This album is full of stomping great tracks, like the haunting one below.

Gateway tune: Green and grey


Check back next Monday for album #5 on this list. In the meantime, you can check out my Best Albums page here if you’re interested in my other favourite albums lists.