Every Tuesday afternoon, I return home from my religious studies class around noon and sit down at my desk, throw on one of the Appleseed Cast's records and, via the Internet, talk with my friend Erik about "finding some new hotness" in the wishing well that is music today.
The sad thing is that the well often seems straight out of Goonies. I find a band, hear a few chords and think I'm getting Andy (the very cute Kerri Green). I'm really just getting my varsity jacket back. Same old crap.
I could whine all day, but the truth is I take a lot of my old favorites for granted. Being the pretentious brat that I am, I often assume that everyone has heard of these favorites. But a step back, or an awkward look during a conversation, relays that I could spread some quality music around.
So here are a few records you may have missed out in the last few years. In fact, most of them were missed by many of us.
First and foremost is "Strangers' Almanac" by a little band called Whiskeytown. Alternative country rock with near perfect musicianship, Whiskeytown spawns some of the more striking acts today. From lead singer/guitarist Ryan Adams to Caitlin Cary to Phil Wandscher, the band was an all-star cast.
Adams' departure for his solo career leveled the group in the late 90s, which brings us to his career. Well known for his critically lauded 2001 effort, "Gold," his magnificent EPs, "Love Is Hell Pt.1" and "Love Is Hell Pt. 2," and his lackluster rock record, titled "Rock And Roll," Adams' first solo record "Heartbreaker" sits in the vault as an ambitious and touching country record.
Adams also released the stunning "Suicide Handbook" via his Web site. Filled with simple beauty and raw emotion, it is a near travesty that songs like "Idiots Rule the World" go unheard and lines like, "Ladies in the corner want to borrow your smokes/ as if returning them would do any good" go neglected.
Every emo, hardcore or "screamo" band that you hear today would be nowhere without Sweden's Refused. Their best-known release, 1998's "The Shape of Punk to Come," is still barely known in the mainstream. The title's bold claim showcased the bravado in the band's guitars and was proven absolutely accurate. Refused was years ahead of absolutely everyone in their genre and makes Thursday look like the JV team, and not the JV team from Mighty Ducks 3.
Speaking of that genre and bands ahead of their time, At the Drive-In scored a major breakthrough with their final release, the 2000 Ross Robinson-produced "Relationship of Command." Now split into two successful bands - the progressive hardcore band the Mars Volta and the emo-licious Sparta - At the Drive-In slipped 1998's "In Casino Out" right under our noses. Featuring the blindingly emotional "Napoleon Solo," the story of two fans' deaths on the way to their concert, the record is both focused and frenetic as well as borderline revolutionary.
Last but certainly not least is the splendor that is Uncle Tupelo, a name thrown around in circles almost as often as Fugazi, yet far more interesting. Uncle Tupelo was Mike Heidorn, Jay Farrar and Jeff Tweedy. The band deserves a listen based on their pedigree alone. Tweedy now fronts the wonder that is Wilco and Farrar has had a successful solo career as well as fronting the rock band Son Volt. Uncle Tupelo's finest studio album was their final release, 1993's "Anodyne." "The Long Cut" and "Give Back The Keys To My Heart" are nods to everything that is right about real country music.
In a musical landscape as tumultuous as it is now with one-hit wonders, expensive radio play and an underground scene that rears its ugly, venomous head at the bands it raises up, it is easy to miss out on plenty of bands. So while we're at it, check out Jets To Brazil, Richard Buckner, Jawbox, Botch and Stretch Arm Strong.
Finally, never, ever forget Motown. Without Smokey Robinson and the Miracles, the Jackson Five and Marvin Gaye, there is no way we would have been conceived.
Go Mom and Dad.
Photo: Courtesy of Laron Fomby
