The 100: Oasis, MORNING GLORY B-SIDES (BOOTLEG)
I often say I miss record stores, but that’s not entirely true.
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Song of the Day: The Porkers, "Aporkalypso"
Ska music keeps threatening to come back, but though certain elements of the late ‘90s two-tone revival have wormed their way into contemporary music, there will be no reconsidering the relative legacies of Voodoo Glow Skulls or Reel Big Fish.
That’s fine, by the way.
Read MoreSong of the Day: H.I.M., "Right Here In My Arms"
On my very first day as an editorial assistant at Spin, I didn’t do a whole lot of work. Does anybody do much of anything on their first day? You meet some people, you settle into your space, you get a spiel from IT about your computer, and otherwise you’re just setting up your e-mail signature and waiting for people to ask you to do stuff (which they don’t feel comfortable doing yet because they have known you for all of 22 minutes).
Read MoreThe 100: Tom Petty & The Heartbreakers, ECHO
Tom Petty & the Heartbreakers’ 1991 album Into the Great Wide Open was the first CD I truly appreciated as a complete thought. I had loved other albums before that, but I thought every song on Into the Great Wide Open was a smash. I loved the art work. I obsessed over the liner notes. I started watching VH1 because they played the video for “Learning to Fly” more often than MTV did. Even though I fell under the spell of Nirvana and discovered punk rock and old Iron Maiden records shortly thereafter, Petty continued to be one of my guys.
Read MoreSong of the Day: Scott Weiland, "Barbarella"
For reasons beyond my understanding, there are a handful of recent-ish reviews of my deeply out of print book up on Goodreads. They all basically give the proper assessment: it’s not especially good or even coherent, but the enthusiasm is there. There is one sentiment that popped up that I thought deserved further exploration: that I was too mean to Stone Temple Pilots.
Read MoreThe 100: Dave Matthews Band, BEFORE THESE CROWDED STREETS
This Week’s Top 10: Best New Songs on Greatest Hits Albums
Streaming music is broadly bad.
Read MoreSong of the Day: Jarvis Cocker, "Don't Let Him Waste Your Time"
Pulp have returned! They’ve actually been back a couple of times since disbanding shortly after the release of their 2001 album We Love Life, but this time they’ve got a new album with a great new single.
I’ll write about it soon, but today I’ve got one of Pulp frontman Jarvis Cocker’s solo joints stuck in my head.
Read MoreThe 100: Deftones, AROUND THE FUR
When I first started buying music, it was on cassette tapes.
Read MoreSong of the Day: Suede, "Animal Nitrate"
Despite my longtime devotion to ‘90s Britpop, I was late to Suede.
Read MoreSong of the Day: They Might Be Giants, "Till My Head Falls Off"
I don’t think they were ever my favorite band (none of their albums are in my top 100 list), but there was definitely a period of my life when I was a very intense apologist for They Might Be Giants.
Read MoreSong of the Day: Age of Apocalypse, "Mortal Coil"
Even though the way we find, consume, and think about music has been repeatedly upended, it’s mildly comforting that there are still some constants. Chart breakthroughs are still meaningful. Physical sales still count for something. Little trend pockets can still cross over and influence the mainstream. Lots of stuff about the current music world is a drag, like Kate Nash literally showing her ass so she can pay for a tour. But even I, a deeply depressed cynic, find silver linings on a lot of these clouds.
Read MoreThe 100: Nightmares on Wax, SMOKERS DELIGHT
My relationship to electronic music has always been mercurial. My first real experiences with it likely came during the ‘90s Euro-pop boom on mainstream radio—the big tent voice-based house and techno jams like Real McCoy’s “Another Night,” Corona’s “The Rhythm of the Night” and La Bouche’s “Be My Lover,” alongside the rise of Ace of Base. I didn’t like most of that stuff at the time, though I have a lot of nostalgia wrapped up in some of that stuff (I’ll always ride for Gina G’s “Ooh Aah…Just a Little Bit”)
Read MoreSong of the Day: Lucy Dacus, "Ankles"
Lucy Dacus is in a weird position at the moment.
Read MoreThe 100: David Bowie, LOW
I’m not sure when I heard David Bowie for the first time. I imagine I heard “Space Oddity,” which was one of those songs that was always in the air, floating through radio airspace and embedding itself in the carpet even if you weren’t going out of your way to find it. I also have a clear memory of seeing Tin Machine perform on an old episode of Saturday Night Live hosted by Macaulay Culkin. (Like the rest of the universe, I was unimpressed.) I was aware of Bowie and what a towering figure he was, and I had seen him on screen in Labyrinth and The Last Temptation of Christ, but if I’m being perfectly honest the first time I really engaged with David Bowie was when he was interviewed next to Trent Reznor on MTV.
Read MoreSong of the Day: Playboi Carti, "Pop Out"
I have a hard time with Playboi Carti. He seems like he’d be a really rough hang, and the predominant narrative about his output in the past 18 months has been how strangely difficult it has been to hear new music by him. But a big part of me admires just how intensely he has managed to stick to his guns and how much he has bent the mainstream to his deeply chaotic approach.
Read MoreSong of the Day: The 1975, "If You're Too Shy (Let Me Know)"
Chuck Klosterman once half-jokingly wrote about how Radiohead’s Kid A might have predicted 9/11. I don’t think Thom Yorke had any sort of inside info about the comings and goings of international terrorists, but I do acknowledge it’s kind of wild that album feels like what life was in the immediate aftermath of that attack, even though Kid A arrived nearly a full year before the event. Kid A wasn’t a response to 9/11, but it felt like one, and retroactively feels like the soundtrack to life in New York in the aftermath. (The same could also be said of PJ Harvey’s Stories From the City, Stories From The Sea, which also came out in the fall of 2000, is all about urban isolation, and features vocals from Yorke.)
In a similar vein, I sometimes think Matty Healy of the 1975 anticipated the COVID-19 pandemic.
Read MoreThe 100: Ramones, TOO TOUGH TO DIE
I’m always making lists, and last year I put together a compendium of my 100 favorite albums of all time. The only hard and fast criterion followed was that at some point in my life I had to have considered each record on the list to be my absolute favorite at that time. My long list was way longer than 100 but I managed to whittle it down to a representative rundown. It’s a living document (I’ve swapped out a handful of titles since the initial drafting), but the bulk of the entries feel pretty permanent. I didn’t bother to rank them (for sorting purposes, it was easier to leave the list in alphabetical order) so I tossed the whole list into a random generator and will endeavor to break down each individual entry in this space.
Let’s begin with the Ramones, whose first four full-length releases (1976’s Ramones, 1977’s Leave Home and Rocket to Russia and 1978’s Road to Ruin) are all bulletproof compendiums of raw punk energy and deceptively sweet songcraft. So why do I gravitate toward a far more uneven release from the Ramones’ tumultuous 1980s?
Read MoreSong of the Day: Anxious, "Counting Sheep"
Keeping your horizons (musical or otherwise) expanded gets harder with age, and I like to think I’m a more open-minded listener than most. But sometimes I find myself circling back to the most comfortable stuff possible, even if it is made by a group of dudes who don’t remember 9/11.
Read MoreMonday Mixtape: Missy Elliott, Lana Del Rey, Tool & Sheryl Crow!
Every Monday, I make myself a playlist of (mostly) new songs. It gets me in the habit of hunting for new music and hopefully gets me embracing fresh trends. This is the Monday Mixtape.
Missy Elliott, “Why I Still Love You”
Caught up in the fervor over the release of Taylor Swift’s Lover was the arrival of Missy Elliott’s new EP Iconology, her first collection of new songs in a decade (she’s put out singles here and there but this is the biggest single batch of Missy songs since The Cookbook came out in 2005). The single “Throw It Back” is a reasonable enough blast of hip-hop beat science, but Missy still has a knack for turning modern R&B on its ear as it bridges the past and the future.