I wish my college radio station was well-stocked with Big Star records, but that was sadly not the case. Instead, I often had to settle for their descendants, those happy few who were doing their best to carry forward the banner of power pop. There were few things that got me immediately excited quite like big, buzzing guitars propping up ridiculously catchy hooks. Similarly, when power pop bands turned to ballads–the emotions were the part of the song turned up to eleven–they were crafting exactly the sorts of songs that I wanted when I was doing the late night shift … Continue reading One for Friday: Velvet Crush, “Faster Days”

Thought I can’t necessarily parcel my personal journey as a music fan into clear, clean divisions, I have had a few distinct phases, stretches when the material I sought out was actively influence by one source or another, be it individuals or, in a couple of case, entire radio station music libraries. And then there are the periodicals, led by the foundational and sometimes regrettable impact of Rolling Stone on my taste. I hold far greater fondness for a later period of time I think of, as I must, as “The Mojo years.” I started buying the U.K. magazine after … Continue reading One for Friday: Earth Opera, “The Red Sox are Winning”

I’d like to say that I grabbed a hold of Fountains of Wayne after seeing That Thing You Do!, but that’s not quite accurate. Fountains of Wayne songwriter Adam Schlesinger penned the title cut to Tom Hanks’s directorial debut, miraculously creating an instantly catchy number that never overstayed its welcome despite being circled back to repeatedly in the film (and then there are those of us who’ve watched the film countless times and still never gotten sick of it). That introduction should have reasonably been enough to convince me that this was an artist made for me, particular since his … Continue reading One for Friday: Fountains of Wayne, “Utopia Parkway”

I have enough invested in the idea of perfect artistic finality that occasionally I can drift into the mental parlor game of selecting the best last album for an individual artist. This doesn’t necessarily mean identifying their very best work under the theory that everyone should go out at their absolute peak. Instead, it’s about finding those releases that feel just right as a sort of summation, a proper closing statement of artistic identity and intent. To shift the topic to movies for a useful illustration, Robert Altman probably made at least a dozen movies that I consider plainly better … Continue reading One for Friday: Lyle Lovett, “Step Inside This House”

Like a lot of college radio kids, I was a fairly dedicated concertgoer for a time. I wasn’t one of those who jumped at nearly every opportunity, nor was I especially adventurous, hitting the clubs to hear bands I wasn’t all that familiar with (I will regret to the end of my days that I didn’t see Sleater-Kinney with the White Stripes opening up at a dinky club in Madison way back when). But I had a respectable number of torn tickets shoved into CD cases and record sleeves. That’s waned enough in the past several years that the first … Continue reading One for Friday: Robyn Hitchcock, “One Long Pair of Eyes (Live at Cat’s Cradle Back Room)”

Though it may seem quaint now that we exist in an era where it’s widely understood that bands and performers toiling on the lower rungs of the fame ladder should exploit every revenue possibility that comes their way, there was a time when it was surprising to hear a song from a favored artist at our station used in a more commercial venture. Now actual commercials didn’t happen too often, but John Hughes had spent much of the nineteen-eighties teaching his fellow filmmakers to look to the left end of the radio dial to find low-cost options to fill out … Continue reading One for Friday: Paul Kelly and the Messengers, “Dumb Things”

Sometimes–often, actually–I miss radio. I don’t solely mean working in radio, though that’s true, too. Twenty-five years ago as I type this, I was in my first year of college, meaning I was in my first year at the college radio station. Around this point in the year, I’d just been elected to serve in my first position on the executive staff, a vital part of my higher ed journey that itself would represent four-and-a-half years of diverse, exhausting, challenging, exciting, gratifying work. From there I went to commercial radio for a time, learning just enough to realize it was … Continue reading One for Friday: Steve Carlisle, “WKRP in Cincinnati”

I didn’t know of the Outlets back in my college radio days, but I should have. I’m not saying I should have known them because the Boston band was one of those that evaded my attention despite the prominence of their music elsewhere, but because I’m sure I would have absolutely loved them. On their debut album, Whole New World, the Outlets played exactly the sort of rough-hewn, punk-pummeled rock ‘n’ roll that I found irresistible at the time. Had the record landed in the station Heavy Rotation during my tenure, I would have never stopped playing it. I’m not … Continue reading One for Friday: The Outlets, “A Valentine Song”

Today, as must happen from time to time, this space is turned over to a song–and, by extension, the primary knowledge I have of said song and the artist attached to it–that I originally discovered of the first true treasure trove of hidden musical wonders that I found out there among the twists of the information superhighway. I spent weeks tracking through the entirety of the now-defunct Little Hits blog, stocking my iTunes with the catchy, joyous, punky and perfect obscurities that were shared there. It was like discovering a funhouse mirror version of my beloved 90FM C Stacks (the … Continue reading One for Friday: The Atlantics, “When You’re Young”

First impressions can be a strange thing, especially when personal first impressions are out of whack with actual chronology. Those with a deeper musical knowledge than I generally greeted the 1988 appearance of the Wire album A Bell is a Cup…Until It is Struck and its immediate predecessor, 1987’s The Ideal Copy, with a mixture of surprise and confusion, perhaps joined with the adhesive of derision. For them, the reunion of this founding father band of the post-punk movement sounded so far removed from beloved early works like Pink Flag and Chairs Missing–all rawness and jagged sonic challenges–that the newer … Continue reading One for Friday: Wire, “Come Back in Two Halves”