Stray Cats – Built for Speed

If you ask someone on the street to name a rockabilly band, odds are they’ll say “Stray Cats.” That’s because, for better or worse, they became the face of the Rockabilly revival in the early 80s, with the hits “Rock This Town” and “Stray Cat Strut” becoming radio staples that frequently grace the airwaves to this day. They knew what they were doing (even so much as moving to England to spearhead the burgeoning revival there) and they were/are VERY GOOD at it. Built For Speed is a solid example of the genre as well as an excellent guitar album. Brian Setzer’s killer play style jangles when he’s doing rhythm and sears when he jumps into one of his blistering solos. All played over a buffet of walking bass lines and boisterous drums. Every song on Built For Speed will have you tapping your toes to the Cat’s swinging sound.

My first experience with Brian Setzer was back in my freshman year in high school when he was practically leading the swing revival (that’s TWO revivals he spearheaded). To be honest, he didn’t do much for me then and it wasn’t until I learned about the Stray Cats that I took notice. Their brand of foot-stompin’ rock and roll opened the door to a whole genre of music I had previously neglected. Now, bands like the Stray Cats, The Phenomonauts, Horror Pops, and the (Sound Selections alum) Flat Duo Jets regularly play on my stereo. It’s a style of music that really gets you going and once that door is open, it’s a fun and interesting deep dive into a seemingly overlooked genre that’s well-worth it when you take the leap.

Mudhoney – Every Good Boy Deserves Fudge

In 1991 the Grunge revolution was in full swing and Mudhoney, the band that (as the story goes) coined the term “grunge,” released their second full-length album, Every Good Boy Deserves Fudge. EGBDF is 42 and a half minutes of pure fuzzed out grunge bliss. It’s well-made but not overproduced, keeping a certain looseness that perfectly captures the energy of the band, which flows freely throughout the entirety of the album. Mark Arm’s vocals crackle as Steve’s guitars bring loads of grit and work in tight tandem with Matt’s slinky bass and Dan’s thunderous drums. Even 32 years later, the energy behind this recording can be felt as if it had just been released and the Grunge movement was still fresh. 

I had known of Mudhoney for a long while, but never really sat down to give them much attention. That was until I stumbled upon their documentary titled “I’m Now: The Story of Mudhoney” on streaming. Besides being drawn in by the fantastic music, I really appreciated how down to earth the group is. The documentary makes it clear that even though they pioneered Grunge music, they’re just everyday guys who love to make music. They all have real jobs but they still enjoy creating and playing together. Mudhoney might be the Grandfathers of Grunge, but they’re still going strong (their new album is out in April) and are well worth a spot in your collection.

The Brian Jonestown Massacre – Take It From The Man!

In a spiritual continuation from last week’s Sound Selections entry, The Brian Jonestown Massacre’s 1996 album (well, one of their THREE 1996 albums) Take It From The Man! is another 60’s revival album that has both feet very firmly planted in the old British RnB. Anton and the group wear their influences on their sleeves in these 18 tracks (as well as some interesting exposition in the liner notes) which sound like they were recorded in 1966 instead of 1996. That somewhat lo-fi sound really adds to the character of the songs, as healthy doses of tambourine, jangly guitars, reverb, and analogue clipping really add a warmth to these numbers. It was a highly creative (albeit tumultuous) time for the band, and their talent really shows through on this record.

As much as the frontman of the BJM might dislike this, I first heard of them via the Dandy Warhols and the documentary Dig!. While that movie doesn’t really paint either band in a flattering light, it does do a great job showcasing their music. I was blown away by how Anton was so creatively productive in a time when his life and band were in constant flux and how the rest of the band tried to keep things together as they created a plethora of amazing songs. While the rest of the 90s-era band has gone their separate ways, Anton is still going strong fronting the BJM, having released their 20th album just last week, which is excellent and proves that the BJM is still relevant and well worth a sonic deep-dive into their discography.    

Black Rebel Motorcycle Club – Howl

Howl, BRMC’s third studio album, feels as at home in 1970 as it does today. The Laurel Canyon inspiration is front and center in this collection of 14 folk-leaning tracks that range from campfire acoustic jams to energetic electric numbers straight from the garage. As a trio they bring a bigger sound than one might imagine, incorporating delightful harmonies as well as artful reverb and vintage saturation to create a sound that feels rich even when the track is a simple guitar/harmonica/vocal number. Granted some of the tracks do include a little help from guest musicians, but a little help from some friends is sometimes just what is needed to push a song from “good” to “great,” and the whole of Howl definitely falls towards the latter. 

I remember hearing the single Ain’t No Easy Way back in the day and thinking “Man, that song rocks harder than an acoustic track should!” The BRMC were mining a musical vein that I was just beginning to understand and appreciate, but the folk rock diamonds they were producing were eye-opening and prompted a deeper dive into their catalog as well as their influence’s music. Howl is a late sixties/early seventies revival album that holds its own with the best of them and is a must-hear for anyone who’s a fan of the sound of that golden folk rock era.

Beastie Boys – Ill Communication

The Beastie Boys’ 1994 album Ill Communication is OUT THERE. It’s not a rap album, it’s not a rock album, it’s not a funk album, nor is it a jazz album; It’s a strange and brilliant combination of all the above. The only descriptor one can truly agree upon is that it’s a Beastie Boys album. In their fourth full-length release, the New York trio honors their punk roots while simultaneously paying homage to all who influenced them to date. You have the opener “Sure Shot,” which is a fairly standard rap offering, go straight into the full-blown Hardcore “Tough Guy.” It’s a stark juxtaposition that continues throughout the remaining 50+ minutes of the album, with the Beastie’s, who largely eschewed samples for live instruments, exploring, experimenting, and frankly, just being themselves.

One of the many things I love about this album is how it doesn’t play it safe. It takes you on a wild journey through a world of musical genres and it doesn’t care if you get whiplash along the way. And the single, Sabotage… That song (and its accompanying video) reminds me of so many good times, which include once trying to recreate the video’s iconic over-the-hill car jump, perfectly timed to that song, in a crappy hatchback. Ill Communication is an album that at times warrants cranking the volume and at others chilling out at a more mellow level. Every minute is well worth your time and it’s a must in any album collection.

Flat Duo Jets – Go Go Harlem Baby

The Flat duo Jets were the guys who put the “power” in “power duo.” Their second album, 1991’s Go Go Harlem Baby, is an amazing example of how two people can sound like more with 16 tracks that range from thoughtful old-school rock and roll to blistering rockabilly. Frontman Dexter Romweber’s raspy howls and gritty searing guitar bring a hip edge to each number while drummer Chris “Crow” Smith’s bombastic beats drive each number. They truly proved that a little goes a long way. You don’t need fancy studios or top-of-the-line equipment, you just need to grab what you got and kick butt.

As regular readers know, I’m a big fan of power duos. I came upon the Flat Duo Jets when I was researching new power duo bands to listen to (I really do love that format) and they absolutely blew me away. Right after I first listened to Go Go Harlem Baby I wanted to restart it from the beginning because I felt I missed something and NEEDED to hear it again. It has such an amazing energy that it took two listens back to back to take it all in! It’s no wonder these guys are listed as a major influence by so many modern indie rockers. They sure have left their mark on me and I recommend giving them a spin because I’m sure they will do the same to you.

The Damned – Damned Damned Damned

The Damned’s 1977 debut was not only their first album, but it was THE first album of the UK punk scene of the 70s. What stands out about the Damned’s debut is it’s a solidly built punk album. Rat Scabies’  highly energetic drums combine with Cpt. Sensible’s tight bass rhythms to drive the songs speedily forward, while Brian’s killer guitar adds an edge and Dave’s darkly energetic vocals tie it all together. It’s a combination that, while only lasting two albums, created a template that would go on to influence the hardcore and goth rock scenes.

The punk scene of the 70s spawned a LOT of iconic names. But for me, The Damned is a prime example of solid and FUN punk rock. Not only did they bring a sense of musicianship (which the scene got a lot of flak for seemingly not having), you also had (and still have) a cast of characters on stage. Dave’s vampire punk made you look twice while Cpt. Sensible brought a distinct contrast to Dave with his antics and his colorful outfits (which is perfectly portrayed on the back cover). This has served them well over the years as, after a few stops and starts, they are still kicking out their goth-tinged brand of punk to new generations of fans. They’re a band that every bit deserves a place in punk history as well as a spin on your turntable.

Franz Ferdinand – Franz Ferdinand

It’s early 2004. It’s a fresh new year and you flip on the radio. Undoubtedly you hear this catchy number from a hot new indie group from Scotland. In fact, you CANNOT escape Franz Ferdinand’s hit single “Take Me Out.” The reason being, well, it’s GOOD… because it’s well crafted, just like the rest of their self-titled debut. Right out of the gate Franz Ferdinand solidified themselves as a mod powerhouse who can craft tight rock songs with jangly guitars and killer hooks. On top of that, Alex Kapranos has a knack for witty lyrics that sprinkle a bit of humor into the mix. It’s a winning combination they have managed to maintain yet keep fresh with each new album since.

As mentioned above you could not escape Franz Ferdinand in early 2004 (and AGAIN in 2005 with their next album). They’re a band that I listened to quite a bit back in the day, but they fell off my radar for a few years. Now I’m back to enjoying their music regularly with a new perspective. As a songwriter myself I’ve gained a much deeper appreciation for Franz Ferdinand’s ability to deliver tightly structured songs with an energy that carries even through the quiet parts. But even without the technical analysis it’s hard to not enjoy their brand of rock. Franz Ferdinand is a very hip spin and their tunes are borderline earworms that you’ll find yourself humming for days. 

Modest Mouse – The Lonesome Crowded West

I had originally planned to do this album in a later installment in the series, but with the unfortunate passing of MM’s drummer, Jeremiah Green, I felt I should bump it up on the list to honor a man who helped create one of my favorite albums.

Modest Mouse’s second album, released in 1997, is a collection of 16 (15 on the CD version) tracks that originally put the band on the map of the indie music scene. The songs on this album are multi-faceted and have a sort of cinematic quality, as each feels like a vignette with each change in tone/rhythm a new scene in the episode. They each feel unique without feeling disparate, combining the somewhat manic garage rock of their first album with more complex (and yes, still manic) numbers with an ear for uniquely utilizing different musical styles. This all amounts to an album from a band who had their eye set firmly on the path ahead of them and wasn’t about to be held back by anyone’s expectations.

The Lonesome Crowded West doesn’t FEEL like it was released over 25 years ago. It feels right at home in 2023 as it does in 1997. And while many would likely point to their NEXT studio album as the one to listen to (because yes, The Moon and Antarctica is an amazing album), I personally love the variety and sheer RAWNESS of The Lonesome Crowded West. It’s a record that hasn’t aged a day and is right at home in any modern record collection.