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Albums

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.

Categories
Live music galleries

Live music galleries: Slowdive [2017]

(I got the idea for this series while sifting through the ‘piles’ of digital photos on my laptop. It occurred to me to share some of these great pics from some of my favourite concert sets from time to time. Until I get around to the next one, I invite you to peruse my ever-growing list of concerts page.)

Slowdive live at L’Olympia in Montreal, 2017

Artist: Slowdive
When: May 6th, 2017
Where: L’Olympia, Montreal
Context: Many of you will know by now that I had a thing for early ’90s shoegaze but to be honest, Slowdive wasn’t one of those bands that grabbed me back in the day. It took the discovery of Neil Halstead’s and Rachel Goswell’s second band, Mojave 3, to make me want to take a second look. I love Slowdive now, of course, so I was right there with the rest of them when they announced reunion shows in 2014, subsequent tours over the next few years, and then, a brand new album back in 2017. That self-titled record was so incredible (it was my second favourite album that year), I decided to drag Victoria with me to Montreal, right around this time three years ago, for Slowdive’s stop there. Of course, ever since that time we went to saw James there in 2008 and struggled to stay awake on the drive home afterward, we’ve made weekends out of these concert voyages and took time on each trip to explore the city. Even through all the amazing meals, the trip to the museum, and old Montreal, the highlight for me that weekend was still the concert, just oh so beautiful, “alien and angelic”, and I think even Victoria really enjoyed it.
Point of reference song: Star roving

Rachel Goswell of Slowdive
The Slowdive experience
Nick Chaplin and Neil Halstead of Slowdive
Christian Savill of Slowdive
Neil Halstead of Slowdive
Categories
Live music galleries

Live music galleries: Swervedriver [2015]

(I got the idea for this series while sifting through the ‘piles’ of digital photos on my laptop. It occurred to me to share some of these great pics from some of my favourite concert sets from time to time. Until I get around to the next one, I invite you to peruse my ever-growing list of concerts page.)

Swervedriver live at Zaphods in 2015

Artist: Swervedriver
When: May 5th, 2015
Where: Zaphod Beeblebrox, Ottawa
Context: Just over five years ago, much like now, I was starting to feel that it was time to see some live music because I hadn’t seen any shows since the folk festival in the previous fall. (Except at that time, I had options. Concert tours weren’t all shut down due to an international pandemic like they are right now.) So when I saw that the recently reunited and highly influential shoegaze band Swervedriver was hitting Zaphod Beeblebrox here in Ottawa on their tour, I decided to check it out. They were one of the few of the genre that I didn’t get into back in the day so it didn’t bother me that the reunited roster only included two original members, fleshed out by touring musicians Mikey Jones and Mick Quinn (bassist from Supergrass!). The album they had just released, “I wasn’t born to lose you”, was getting a lot of play on my iPod leading up to the show and the set included the best of that album, plus lots of their earlier hits. It was loud and I loved it. And incidentally, it was the last show I ever saw at the iconic Zaphod Beeblebrox before it shut down.
Point of reference song: Autodidact

Adam Franklin of Swervedriver
Jimmy Hartridge of Swervedriver
Mick Quinn of Swervedriver
Mikey Jones of Swervedriver
Jimmy Hartridge rocking the guitar
Adam Franklin making some sound adjustments
The effects pedal setup