End on End

1993 was another good year for music, with Nirvana’s In Utero, Radiohead’s Pablo Honey, The Smashing Pumpkin’s Siamese Dream, and A Tribe Called Quest Midnight Marauders, Wu-Tang Clan’s Enter the Wu-Tang (36 Chambers), Fugazi’s In on the Kill Taker, Digable Planets’ Reachin’ (A New Refutation of Time and Space), The Breeders’ Last Splash, Dinosaur Jr.’s’ Where You Been, Sepultura’s Chaos A.D., Archers of Loaf’s Icky Mettle, Swervedriver’s Mezcal Head, Quicksand’s Slip, Bad Religion’s Recipe for Hate, and The Posies’ Frosting on the Beater – and I’m sure there are more I am missing!

All of these albums had a big impact on my musical taste, interests, and listening habits – though I’ll have to go with Fugazi and Quicksand as my selections to focus on this month. Just like last issue, I’ll include some brief words on a few other important albums – some of these are just too good to pass over completely.

Fugazi’s In on the Kill Taker (Listen) and Quicksand’s Slip (Listen) are both post-hardcore masterpieces. Both records acted as gateways into the world of hardcore for me – charting the course for some of the biggest changes in my life. (Even more on that in future issues!)

Fugazi led to their back catalog and all of the Dischord record label, while Quicksand led to Gorilla Biscuits, NY hardcore, and Revelation Records. To say that was life changing is an understatement.

Slip by Quicksand

Quicksand formed in 1990 with Walter Schreifels on guitar and vocals, Tom Capone on guitar, Sergio Vega on bass, and Alan Cage on drums. Schreifels was also in Gorilla Biscuits and Youth of Today, two of the biggest hardcore bands of the period. Capone spent time in Beyond and Bold. Cage played with Burn and Beyond. Vega played with Collapse and Absolution. A hardcore super group, no doubt.

Quicksand put out a 4-song EP on Revelation Records that year, which included three songs that would later appear on their first full length, Slip. That full length was released three years later on Polydor - a major label - which at the time was generally a controversial subject in underground music.

The album itself is amazing from start to finish. Every single song is good. Heavy, groove based riffs and a top notch bass/drum combo – the musicianship and song writing helped set Quicksand apart from the very beginning. Lyrically, Quicksand tends to focus on the personal: conflict, relationships, and identity. In many ways, it was a more refined and mature approach to classic hardcore song topics.

Let’s dive into some of my favorite songs on the album…

Fazer

What a way to start the album with drums kicking into a heavy groove. It immediately grabs your attention.

The lyrics of this song spoke to me because I felt out of place and awkward as a teenager - like most young people that find hardcore, punk, or some alternative means or outlet for creativity and expression. We’re looking for someplace to fit in and find others in a similar place.

Needing to find something
Is everything ok
I hope you find your niche, someday soon
Easy to change your phase
To move from where you stand
But you got to keep that face
Each change you plan

Wonder
Is everything ok
The problem is hesitation

And as an introvert, “the problem is hesitation” rang completely true and that led to a lot of second guessing.

Dine Alone

For me this song is about knowing and believing yourself – rejecting the societal pressure to fit in.

It's a cinch
To, pass the time with you
But hard to pass the time alone
Can you take it
And it's true
True, the couple next to you think you look strange
Alone, what are your aims
Or do you have any

Even this line: “No, I always go out eating with my best friends.” - can mean both knowing who your friends are and feeling comfortable with yourself - so even when you are alone, you are with a friend.

Unfullfilled

This is my favorite song on the album. Lyrically the entire song focuses on disappointment and regret:

Things you love but did not get
And all the times you've been upset by
Unfulfilled dreams and visions
And the guilt for your wrong decisions

But Walter ends it with some great advice:

Time to reach out for what's real,
It's easy to miss, insist,
That you shouldn't always follow the first thing you feel.

The first thing you feel when you miss out on something or make the wrong choice is always disappointment. What you do after that is always the most important.

Omission

This song is about the stories we tell ourselves to avoid pain and sadness – to the point of not even recognizing yourself.

I, said
Why do I always have to spell it out for you?
Our story is always changing
We change it to hide the pain
And when the truth rears
Its ugly head, it's all too late
Too late for the omission
That you kept inside and wished it wasn't you

More from Quicksand

I’ve seen Quicksand probably five times and they’ve always been an amazing live band. Here’s a set from 2017 after they re-united as a 3-piece:

In on the Kill Taker by Fugazi

Fugazi is my all-time favorite band and I have this album to thank. Steady Diet of Nothing was actually my first introduction to the band, but I just couldn’t get into it at the time – it sounded almost industrial to my ears. (I like it now, by the way!)

In on the Kill Taker was the album that broke Fugazi into the “mainstream” in a sense that it hit at the same time bands like Nirvana, Smashing Pumpkins, Sonic Youth and others were redefining alternative music and creating fans all over the world.

Fugazi was formed in 1986 by Ian MacKaye (guitar, vocal - who was also in Minor Threat and Embrace), Joe Lally (bass), and Colin Sears (drums - who was also in Dag Nasty). Shortly after forming, Sears left to return to Dag Nasty and Brandan Canty (a member of Rites of Spring) replaced him on drums in 1987. Guy Picciotto (guitar, vocals - member of Rites of Spring and One Last Wish) would initially sing with them at early shows before officially joining the band in 1988.

Beyond their music, Fugazi was also famous for their business practices – releasing their own music, $5 shows, $10 albums, no other merchandise like t-shirts, and a staunch DIY work ethic. In reality, much of that came from the punk and hardcore scenes – they just were the face of a whole world that mainstream music fans weren’t aware of at the time.

The combination of this DIY work ethic and the political/social justice messaging in their lyrics won me over as a fan. Behind that, the angular guitar riffs, the reggae/dub influenced bass, and one of the best rock drummers of all time combined to make some of the most unique and creative punk music ever.

Let’s dive into some highlights from my favorite songs on the album…

Facet Squared

This song is about ugly nationalism – like patriotism used by default to cover for not even considering the impact of our country’s past/present actions or having a real solution to a present problem.

Pride no longer has definition  
Everybody wears it, it always fits  
A state invoked for the lack of position

Or this ending section, which I could read as either being so invested in the patriotism that we blindly follow along OR potentially the business investment in building a false image of our country that keeps us divided. Either one fits.

It's not worth, it's the investment
That keeps us tied up in all these strings
We draw lines and stand behind them
That's why flags are such ugly things
They should never
Touch the ground

Public Witness Program

This song takes on special importance in 2022, with the horrible laws passed in states like Texas, Idaho, Florida and others that encourage people to turn in already marginalized people in the LGBTQ+ community.

The eyes have it and the eyes always will  
The eyes have it and they're watching you still  
You'll see, you'll see tonight  
I'll be watching cause I want you tonight  
All right

I have a feeling the song was originally about undercover cops and other law enforcement agents that have historically infiltrated activist groups in the past.

Returning the Screw

This song seems to be about backstabbing someone and then hiding behind “humor”. The chorus seems to contemplate revenge. The phrase “turn the screw” generally refers to doing something to someone in order to force them into action – “re-turning the screw” would be reversing that back on the orginal party.

Fine disservice
Intended, too
Check for the sender
Sender was you

The point has been recorded
The malice has been revealed
When I stripped away the humour
From the arrow that it concealed

Smallpox Champion

This song is clearly about the U.S. government’s actions to spread disease amongst the Native American tribes as we expanded our footprint on the continent.

Smallpox Champion U S of A  
Give natives some blankets warm like the grave  
This is the pattern cut from the cloth  
This is the pattern designed to take you right out  
Right out, right out, right out, right out, right out  
Right out, right out, right out, right out, right out, right out

and

Bury your heart U S of A
History rears up to spit in your face
You saw what you wanted, you took what you saw
We know how you got it, your method equals wipe out
Wipe out, wipe out, wipe out, wipe out, wipe out
Wipe out, wipe out, wipe out, wipe out, wipe out, wipe out

23 Beats Off

There are a number of theories about the subject of this song, but I am in the camp of it being about Magic Johnson and HIV. Let’s look at the lyrics:

A name  
I recognise that name  
It was at the center  
Of some ticker tape parade

Championship teams have ticker tape parades (the Lakers won in 1987 and 1988 - just 3 years prior to Magic’s announcement and Magic was on the 1992 Olympic team that won a gold medal - after his announcement) and Magic was certainly a household name:

A name
I recognise that name
It was at the center
Of some magnifying glass

A classic sports trope/cliche is “going to war” and “battling” the other team:

He used to pretend
He was fighting some war somewhere
Now everything depends
On fighting some war

And finally:

He never thought he'd be an
Exclamation point
A demonstration of his disease
A punctuation mark
A household name with HIV

Cassavetes

Fugazi’s homage to Cassavetes is basically related to the directors’ DIY ethics, something the band always fully embraced – not only as a band, but for the record label their founder created, Dischord. Similarly, Cassavetes also formed a distribution company for his movies, Faces International. via Genius.com

In the lyrics:

Complete control, for Cassavetes
If it's not for sale you can't buy it - buy it
Sad-eyed mogul reaching for your wallet
Like hand to holster why don't you try it - try it

Great Cop

A song about betrayal and distrust:

Got a lot of questions for me
You got a lot of questions for me
Got your finger pointing at me

Distrusted
I look for wires when I'm talking to you
Distrusted
I look for wires when I'm talking to...
You'd make a great cop
Said you'd make a great cop
Said you'd make a great cop, you pig

Other Quick Highlights from 1993

Digable Planets’ Reachin’ (A New Refutation of Time and Space) (Listen) and A Tribe Called Quest Midnight Marauders (Listen)

Musically not too far apart with jazz and bebop based beats and loops. Digable Planets had the added layer of jazz influenced lyrics and style, which ATCQ were master storytellers and lyricists. These two albums were the soundtrack to my time on the high school track team. They were top notch to listen to while running. Both groups are still very high on my list of favorite hip hop artists.

The Posies’ Frosting on the Beater (Listen) and The Smashing Pumpkin’s Siamese Dream (Listen)

I wore these two tapes out on a family trip out west in the summer of 1993 – in fact I bought the Siamese Dream tape in Bozeman, Montana before we headed south to Yellowstone National Park.

I was exposed to The Posies through listening to a great Canadian alternative radio station (102.1 CFNY-FM), particularly Alan Cross’ radio show “The Ongoing History of New Music” and George Strombo. That station was my introduction to Sloan, Tragically Hip, Ned’s Atomic Dustbin, Doughboys, and many other alt-rock bands I would quickly love. I also honed my ‘quickly hit record on the tape deck’ skills listening to this station!

Totally Digging

Here are some new(ish) releases I’ve been listening to and enjoying:

• Post Junkie Selfish Millennial Single Father Field Notes by downtalker
• s/t by Pile of Love
• Scenic Drive (The Tape) by Khalid
• Head of Roses by Flock of Dimes
• Richer Than I Ever Been by Rick Ross
• Dawn FM by The Weeknd
• Traveling by Rid of Me
• For a Birds Eye View by Cordae (potential album of the year shit, right here!)
• Sick! by Earl Sweatshirt
• Painless by Nilufer Yanya
• Your Neighbors are Failures by Bitter Branches
• Things Are Great by Band of Horses

(This issue took so long, some of these are actually older now!)

And some older releases that have made it (back) into regular rotation:

• My Life is Over and All Roads Lead to the Gun I & All Roads Lead to the Gun II by Militarie Gun
• Asymmetry and s/t EP by Cuffed Up
• Hunger for a Way Out by Sweeping Promises
• Let it Be by The Beatles
• Knocking the Skill Level by Garden Variety
• United by Fate by Rival Schools

Follow me on Last.fm to see more.

I also have two 2022 playlists up on Apple Music:

• Best of 2022 (newly released songs I’m digging)
• 2022/365 (which is a song-a-day project I’m doing this year)

Enjoy.

Musical Moving Pictures

Elsewhere

• Chorus.fm’s Staff “Best of 2021” lists
• Stereogum’s Best of 2021
• My favorite record from 2021 (still haven’t seen Ian Sweet on ANY list, which blows my mind)

Thanks for reading this issue of One Last Wish! Next issue we’ll see you in 1994.

– Jason

What a year for music! SO many good albums came out this year – it made it difficult to narrow it down to the finalists (see the playlist below) and then to the final 25. A handful of records could have easily fit in the #1 slot, but there’s one that has remained in heavy rotation for a majority of the year: Ian Sweet’s Show Me How You Disappear. It’s a criminally underrated album that I haven’t seen on any “best of” lists this year and I don’t understand why – so I’m changing that!

Ian Sweet is the stage name of songwriter Jilian Medford, who had released two albums prior to Show Me How You Disappear: the quirky, angular debut album Shapeshifter (Listen) and the more confident, yet still melodically discordant, Crush Crusher (Listen). The song “#23” off Shapeshifter was my introduction to Ian Sweet back in 2016 and I’ve been a fan ever since – seeing them open for Ted Leo in November of that year:

Medford has pushed boundaries and her sound with each album and her latest is no different. Released in March on Polyvinyl Records, Show Me How You Disappear is Ian Sweet’s most complete collection of songs to date. This time Medford moves from discordant guitar-based songs on previous albums to dreamy, minimalist beauty. The songs on Show Me How You Disappear flow and swell, build up and fade away, producing an almost dream-like state with Medford’s sweet (and unique) melodies layered on top – it’s a fantastic listening experience.

Medford’s lyrics have always been heavily personal, but this album took that to a new level after she spent two months in intensive therapy following multiple severe panic attacks in January 2020. The journaling and self reflection process from those therapy sessions are the lyrical foundation of the album.

From Polyvinyl:

Mesmeric and kaleidoscopic, shimmering with electrified unease, Show Me How You Disappear is both an exercise in self-forgiveness and an eventual understanding of unresolved trauma. Medford’s third record as IAN SWEET unfolds at an acute juncture in her life, charting from a mental health crisis to an intensive healing process and what comes after. How do you control the thoughts that control you? What does it mean to get better? What does it mean to have a relationship with yourself?

Medford via Apple Music:

“I don't think I would have written this kind of record or had the strength to keep writing if I didn't go to treatment,” she says. “I was processing things in real time. It is exactly what was happening in my life—I just made it to these songs.”

Listen on Apple Music

Official Videos

The Top 25 of 2021

1. Ian Sweet - Show Me How You Disappear (Listen)
2. Japanese Breakfast - Jubilee (Listen)
3. IDLES - Crawler (Listen)
4. Pip Blom - Welcome Break (Listen)
5. Dinosaur Jr - Sweep it into Space (Listen)
6. Quicksand - Distant Populations (Listen)
7. Manchester Orchestra - The Million Masks of God (Listen)
8. Fiddlehead - Between the Richness (Listen)
9. Turnstile - GLOW ON (Listen)
10. Snail Mail - Valentine (Listen)
11. Arlo Parks - Collapsed in Sunbeams (Listen)
12. Middle Kids - Today We're the Greatest (Listen)
13. Shame - Drunk Tank Pink (Listen)
14. TV Priest - Uppers (Listen)
15. Topaz Jones - Don't Go Telling Your Momma (Listen)
16. Porches - All Day Gentle Hold! (Listen)
17. Jelani Aryah - I’ve Got Some Living to Do (Listen)
18. FRITZ - Pastel (Listen)
19. Wiki - Half God (Listen)
20. Iceage - Seek Shelter (Listen)
21. Cursetheknife - Thank You for Being Here (Listen)
22. Tyler, the Creator - CALL ME IF YOU GET LOST (Listen)
23. Rostam - Changephobia (Listen)
24. Isaiah Rashad - The House is Burning (Listen)
25. Remember Sports - Like a Stone (Listen)

Guilty Pleasure of the Year

1. Olivia Rodrigo - SOUR (Listen)

Listen to the Finalists

2021 - Best of - Finalists by Jason Dettbarn

Best of 2021 - The Songs

If albums aren’t your thing and you like a little more diversity, here’s a collection of almost 200 songs that I’ve collected over the year. Follow me on Last.fm to see more of what I’m listening to each week.

Doing these year-end recaps is a great way to reflect on how important music is to our lives. I’ve really enjoyed focusing on music again through these One Last Wish posts – the intentionality that’s necessary to dig in a little deeper on these albums really makes me appreciate everything about the process of creating music and the power these songs can have on the artist AND the listener. It’s certainly made a huge impact on my life and I’m now seeing that play out as I take my kids to their first shows – seeing them sing along with Beach Bunny in Cleveland or be blown away by Mannequin Pussy in Rochester. It’s amazing to see and I’m thankful to be able to give that experience to them at the same age I experienced those same feelings and excitement for the first time.

Well, I can only hope 2022 brings more joy to our ears. I’m certain it will and I look forward to every Friday to pour over those new releases to find my next favorite album. In the meantime, next up for One Last Wish is the year 1993. See you in a few weeks!

The year was 1992. Half of the year was me finishing 10th grade and the other half, the start of 11th grade. A critical time in any teenager’s life, as you transition to an upperclassman in high school. Music, of course, was still a huge part of my life as I started to branch out into new genres, including punk and hardcore music.

The new releases that meant the most to me that year (in the moment) were the Beastie Boys’ Check Your Head, Smeared by Sloan, Predator by Ice Cube, Sweet Oblivion by Screaming Trees, and Rage Against the Machine’s self-titled debut. Shortly after, other 1992 releases like Sugar’s Copper Blue, Jawbreaker’s Bivouac, Farside’s Rochambeau, Shudder to Think’s Get Your Goat, and Sonic Youth’s self-titled album would be added to the list. It was certainly a good and diverse/creative year for music.

Picking this issue’s focus was a challenge! I narrowed it down by selecting two “in the moment” albums: Check Your Head and Rage Against the Machine. From the “later” records, I would pick Copper Blue and Rochambeau – maybe even Bivouac. To compromise, I decided to focus on Check Your Head, but I will also comment on the three “later” albums, since they ended up being pretty crucial in the grand scheme of my life.

The Beasties

The Beastie Boys are the group that combined the genres that have impacted my life the most: hip hop, punk, and hardcore. (As well as some other genres I came to like: funk, jazz, soul, etc.) In fact, Check Your Head was the first album where they connected all of these styles and influences to create a collection of songs that would ultimately define the group for the remainder of their careers. They played instruments on many songs, weaved in a political/social consciousness, and did it all unapologetically as only the Beastie Boys can do. They proved they could do anything. This album might not get the cult attention of Paul’s Boutique or the massive hits of Ill Communication, but Check Your Head is just as important for this fact alone: you could tell they were finally exactly who they wanted to be as musicians.

Do what I do professionally.
To tell the truth I am exactly what I want to be. Mike D on "Pass the Mic"

Let’s dig in to my highlights!

Jimmy James

A funky, upbeat opening to the album (as well as the third single.) The song is a perfect opening to show off what the Beastie Boys were going to unleash with Check Your Head.

[MCA] This is a type of kinda like a formal dedication
[MD] Givin' out a shout
[AD] for much inspiration
[MD] All I ever really want to do is get nice
Get loose and goof a little slice of life
[MCA] Sendin' out love to all corners of the land
[AD] I jump up on the stage and take the mic in my hand
[MD] I'm not playin' the role
[AD] Just being who I am
[MCA] And if you try to dis me, I couldn't give a damn

Samples include:

• “Surrender“ by Cheap Trick, from the album, Cheap Trick at Budokhan
• “Happy Birthday“ by Jimi Hendrix, from the album, My Best Friend
• “Foxy Lady" by the Jimi Hendrix Experience, from the album, Are You Experienced
• “I’m Chief Kamanawanalea” by the Turtles, from the album, The Turtles Present the Battle of the Bands

Originally an instrumental groove, Jimmy James was said to be a tribute to Jimi Hendrix.

Funky Boss

Not much to this song, but to a teenager working their first low paying jobs, some with questionable bosses, it was enough.

Samples include:

• “Funky Worm“ by Ohio Players, from the album, Pleasure
• “Under Mi Sensi“ by Barrington Levy, from the single, "Under Mi Sensi”
• “Bicentennial Nigger“ by Richard Pryor, from the album, Bicentennial Nigger

Pass the Mic

A Beastie Boys classic and the first single off Check Your Head. One of my all-time favorites.

Well I’m on 'til the crack of dawn
Mowing down emcees like I’m mowing a lawn
I go off like nothing can faze me
You think we'll ever meet Stevie? one of these days, D
But I can stand my ground and I am down
To wax an emcee who acts like a clown
But for now, I’d like to ask you how
You like the feel of the bass in your face in the crowd?

Samples include:

• Ron Carter
• “The Black Prince Has Arrived“ by Jimmie Walker
• “Big Take Over“ by Bad Brains, from the album, Bad Brains
• “So What Cha Sayin’“ by EPMD, from the album, Unfinished Business
• “Big Sur Suite“ by Johnny "Hammond” Smith
• “I Walk on Guilded Splinters“ by Dr. John, from the album, Gris-Gris
• “I Wanna Know If It’s Good to You“ by Funkadelic
• “Choir” by James Newton, from the album, Axum

Gratitude

The fourth single off the album with it’s instantly recognizable fuzzed-out bass guitar line. Another of my favorites. Pretty sure I got my wah pedal because of this song too.

Good times gone, but you feed it
Hate's grown strong, you feel you need it
Just one thing, do you know you
What you think? That the world owes you?
What's gonna’ set you free
Look inside and you'll see
When you've got so much to say
It's called gratitude, and that's right

Lighten Up

Another song the Beasties played live as a band, with it’s funk, soul and African musical influences. Good stuff.

Finger Lickin’ Good

The group returns to it’s more classic hip hop sound, though the did also play their instruments on the backing track.

Well they call me Mike D with the mad man style
I put the mic up to my lips and I can scream for a while
Created a sound at which many were shocked at
I’ve got a million ideas that I ain't even rocked yet
I’ve got the light bulb flashing on the top of my head
Never wake up on the wrong side of the bed

Samples include:

• “Just Like Tom Thumb’s Blues“ by Bob Dylan, from the album, Highway 61 Revisited (1965)
• “Breakout“ by Johnny "Hammond” Smith, from the album, Breakout (1971)
• “Three for the Festival“ by Rashaan Roland Kirk, from the album, We Free Kings (1961)
• “Dance to the Music“ by Sly & the Family Stone, from the single, "Dance to the Music/Sing a Simple Song” (1979)

An interesting aside on that Dylan sample:

Interviewed for a piece in Boston Rock, Mike D shed some light on clearing the Dylan sample: “Seven hundred bucks, but he asked for two thousand dollars. I thought it was kind of fly that he asked for $2000.00, and I bartered Bob Dylan down. That’s my proudest sampling deal.” via Genius.com

So What’Cha Want

Another classic track and the second single off Check Your Head.

Y'all suckers write me checks and then they bounce
So I reach into my pocket for the fresh amount
See, I'm the long leaner Victor the Cleaner
I'm the illest motherfucker from here to Gardena

Samples include:

• “I’ve Been Watching You“ by Southside Movement from their self-titled debut album (1973)
• “Just Rhymin' with Biz“ by Big Daddy Kane from the album Long Live the Kane (1988)

Time for Livin’

The story behind this hardcore influenced track:

The music is by a really great but unknown, and I believe unreleased, early ‘80s New York hardcore band called Front Line. Yauch was particularly fond of this one song by them and had asked Miles Kelly, Front Line’s guitar player, to show it to him. I kind of remember Yauch would just play it on his bass every now and then when we would be messing around. One day after playing it a bit with Yauch showing me the arrangement, we decided [to] put it on tape. As usual for the time, Mario C. was ready to roll. I think we did a few takes, and then we had it. via Genius.com

Something’s Got to Give

This mellow song has serious dub influences. From Ad Rock:

“Something’s Got to Give” is one of my all time favorites ‘cause of all the elements inside; mixing live music with samples of our live music, live vocals with samples of our vocals, the lyrics and their sentiment, and the fucked-up bass. Adam Horovitz, 1999, from Beastie Boys Anthology: The Sounds of Science

The Maestro

Some skronk-y funk. Not sure if that’s even a word! I can picture this on a soundtrack for a 70s blaxploitation film.

Yeah, you motherfuckers, I'm all that
I see you lookin' at me sayin'
How can he be so skinny and live so phat?
You know why, cause I'm the maestro

Groove Holmes

From Genius.com:

Richard Arnold “Groove” Holmes was an American organist who performed in the genres of hard bop and soul jazz. His most notable recording is “Misty” (1965). With virtuoso groove and technique evident in “rapid, punctuating, and pulsating basslines,” Holmes’ work is regarded as antecedent of acid jazz. One year following his death, Beastie Boys paid tribute to Holmes on this track.

Live at PJs

Another super funky live-band-backed track with Ad Rock on vocals.

Well! Back to the back to the beat, y'all
Down with the sound so sweet, y'all
Just how fresh can you get, y'all?
Those that are blessed say yes y'all

Professor Booty

The fifth single off Check Your Head. Samples include:

• “Give It Up“ by Kool & the Gang, from the album, Kool & the Gang (1969)
• “Loose Booty“ by Willie Henderson, from the album, Dance With the Master (1974)
• “I’m Gonna Love You Just a Little More, Babe“ by Jimmy Smith, from the album, Blacksmith (1974)

Interestingly enough, for being a single the song was only performed live twice.

In 3s

An instrumental, but a good one.

Namaste

A smooth instrumental with MCA"s poetry over top.

To my mind I brought the image of light
And I expanded out of it
My fear was just a shadow
And then a voice spoke in my head
And she said, Dark is not the opposite of light
It's the absence of light
And I thought to myself
She knows what she's talking about
And for a moment I knew what it was all about

Listen to the whole record on Apple Music:

Beyond the music, the Beastie Boys were a big part of my friendship group, including road trips to see them at Lollapalooza in Saratoga in 1994 and later (1998) in Barrie, ON. We played in a very Beasties-like band in college called the Butter Cream Gang (named after we found this movie during a late night trip to Blockbuster) and jammed many times after that with my newly purchased wah pedal. Honestly, after probably Fugazi (more on them in a future issue!) and Run DMC, the Beastie Boys were one of the most influential bands in my life.

The Others

’Copper Blue by Sugar (Listen)

The first album from Sugar and Bob Mould’s first band (non solo work) after Husker Du. It’s an amazing collection of power pop breakup songs that only Bob Mould can write. It was one of those albums I fell in love with the first time I heard it from Chris Fritton on the bus ride to high school. Highlights include: “Changes”, “Hoover Dam”, “Fortune Teller”, and “A Good Idea”.

Funny enough, Husker Du had an influence on Nirvana, which in turn had an influence on Bob Mould and Sugar:

The popularity of Nevermind and its grunge sound had a profound impact on Mould. In an interview with NPR, Mould said: "When Nevermind came out, that album changed the way people listen to music. A lot of the songs that I had been writing in 1991 led up to my next group, Sugar — and had it not been for Nevermind, I don't know if Sugar's Copper Blue would have stood a chance in '92.

Rochambeau by Farside (Listen)

Farside’s debut full length. At the time, this record broke every assumption of what a “hardcore” band could be with acoustic guitar parts and well sung, emotional and thought provoking lyrics. At the time they were essentially an alternative band with former hardcore band members (even Zach de la Rocha was in the band early on!), which automatically put them in the hardcore scene. For me personally, this made for an excellent gateway into the classic record label, Revelation Records, and an entire music scene. Farside went on to release two more classic albums, Rigged and The Monroe Doctrine – both of which are must listens. They are one of my favorite all time bands, for sure.

Bivouac by Jawbreaker (Listen)

This was one of the first albums I bought based on a zine, more specifically Maximum Rock and Roll. I got it on cassette at the mall record store of all places. Jawbreaker is a top 10 band for me and this was the starting place. I started liking Jawbreaker because they were punk as fuck, but they weren’t stereotypical punks. They liked poetry and wrote music that wasn’t regular punk music - it was noisy, fast, aggressive, and poppy. Other releases to check out (all crucial in their own way): Unfun, 24 Hour Revenge Therapy, Dear You.

Playlist

With this issue’s focus on 1992, I put together a playlist of some great songs from that year. Listen on Apple Music.

Totally Digging

Here are some new releases I’ve been listening to and enjoying:

• True Love by Hovvdy (Listen)
• Wayfinder by Boy Scouts (Listen)
• Piecework by Kowloon Walled City (Listen)
• Half God by Wiki (Listen)
• Distant Populations by Quicksand (Listen)
• The Color Blu(e) by Blu (Listen)
• This Place You Know by One Step Closer (Listen)
• Where I'm at Now by S. Raekwon (Listen)
• Puppies Forever by BLACKSTARKIDS (Listen)
• I Don't Live Here Anymore by The War on Drugs (Listen)
• Radical by Every Time I Die (Listen)
• Fun House by Hand Habits (Listen)

And some older releases that have made it back into regular rotation:

• American Nervoso by Botch (Listen)
• We are Romans by Botch (Listen)
• In Place of Real Insight by Karate (Listen)
• s/t by Karate (Listen)
• Like Nirvana by Cub Sport (Listen)
• Being There by Wilco (Listen)
• Closer Still by Change (Listen)
• Mirrorland by Earthgang (Listen)
• Trial by Verbal Assault (Listen)
• The Pace is Glacial by Seam (Listen)

Follow me on Last.fm to see more.

Musical Moving Pictures

Elsewhere

More live music! This time it was Hop Along at Mohawk Place in Buffalo, NY. The band and crowd were amazing. We need more shows like this so musicians leave our town and encourage others to visit. Too many touring musicians skip over Buffalo for no good reason.

🔗 Michelle Zauner (AKA Japanese Breakfast) on Sable’s Wistful Soundtrack

In her own words, Michelle Zauner, aka indie-pop artist Japanese Breakfast, didn’t grow up in a household of high culture. She wasn’t shown fine art, foreign directors, or classic literature by her parents in Oregon during the 1990s. What Zauner had was video games, first on a Super Nintendo Entertainment System, and then on a PlayStation.

🔗 The 200 Best Albums of the Last 25 Years, According to Pitchfork Readers

A pretty solid list and ranking, in fact I own 20 of these on vinyl. A few albums that shockingly aren’t listed: Being There by Wilco, Black on Both Sides by Mos Def, 100 Broken Windows by Idlewild, Relationship of Command by At The Drive-in, Mass Romantic by The New Pornographers, The Argument by Fugazi, Fantastic Damage by El-P, Fox Confessor Brings the Flood by Neko Case for example.

Thanks for reading this issue of One Last Wish! Next issue we’ll see you in 1993.

As mentioned in the last post, 1991 was an amazing year for music. While Nirvana was tops in rock music (and probably music as a whole), A Tribe Called Quest’s The Low End Theory was an instant hip-hop classic and the best rap record of 1991.

Like Nirvana following up Bleach, A Tribe Called Quest took things to another level with their second album. ATCQ’s 1990 debut People’s Instinctive Travels and the Paths of Rhythm is a classic as well, but The Low End Theory fine tunes everything from their debut and pushes their style to new heights.

My love for A Tribe Called Quest started with that first album, specifically the songs “I Left My Wallet in El Segundo”, “Can I Kick It?”, and “Bonita Applebum” – all of which were in high rotation on MTV and Yo! MTV Raps at the time. ATCQ was a truly groundbreaking group, incorporating jazz and R&B with laid back, conversational lyrics. Between ATCQ, De La Soul, and Disable Planets, I found my favorite hip-hop style – one I still prefer 30 years later.

Over the next few years I wore my The Low End Theory tape out – it was my go to for almost every situation: skateboarding, playing video games, running track in high school. It was my soundtrack for the very early 90s.

Let's dig in to each track:

Excursions

Excursions sets the stage for the whole album – great lyrics over a jazz/bebop influenced track. A great opening and introduction to ATCQ.

Back in the days when I was a teenager
Before I had status and before I had a pager
You could find the Abstract listenin' to hip-hop
My pops used to say, it reminded him of Bebop
I said, "Well, Daddy, don't you know that things go in cycles?
Way that Bobby Brown is just amping like Michael"

The beat samples “A Chant for Bu” by Art Blakey and the Jazz Messengers.

Buggin’ Out

A great song and Phife Dawg’s coming out party as a world class MC. The video for this track can be seen below with “Jazz (We’ve Got)”.

What an opening:

Yo, microphone check one, two, what is this?
The five foot assassin with the roughneck business
I float like gravity, never had a cavity
Got more rhymes than the Winans got family

The bass is sampled from Jack DeJohnette’s song, “Minya’s the Mooch”. The drums were sampled from Dr. Lonnie Smith’s “Spinning Wheel”.

Rap Promoter

Rap Promoter is another track from ATCQ taking issue with the music industry (you’ll sense the theme by the end of the album.)

If there ain't no dough then there ain't no show
So take your roly poly fat promoter (ass)
To the Chemical Bank, and get my cash
If you wanna see the people scream and laugh
You best Quest, you ask the Quest, you ask real fast

From Genius:

“Rap Promoter,” is a pointed jab at the monetization of rap music in the music industry. Q-Tip warns up-and-coming rappers about venue promoters and their shady tactics of scamming money out of them

The drums were sampled from The New Birth’s “Keep on Doin’ It”. The guitar sample is from Eric Mercury’s “Long Way Down.”

Butter

Phife Dawg takes this track with an autobiographical look at his girl problems:

1988 senior year at Garvey High
Where all the guys were corny but the girls were mad fly
Lounging with the Tipster, cooling with Sha
Scoping out the honeys—they know who they are
I was the b-ball playing, fly rhyme saying
Fly girl getting but never was I sweating

The drum beat was sampled from Chuck Jackson’s 1968 rendition of “I Like Everything About You.”

Verses from the Abstract

Q-Tip takes this one solo (well, Vinia Mojica is featured on the chorus) with a very jazz/funk influenced flow that has since influenced many MCs:

I'm moving, yes I'm grooving cause my mouth is on the motor
Use the Coast in the morning to avoid the funky odor
Can't help being funky, I'm the funky Abstract brother
Funky in a sense, but I play the undercover
Once had a fetish, fetish for some booty
Now I'm getting funky in my rap and that's my duty

The drums were sampled from Joe Farrell’s 1974 track “Upon This Rock”. The background instrumentation on the hook was sampled from Heatwave’s 1977 song “The Star of a Story”.

Show Business

A cautionary tale about the record industry. The song was also the first song on the album to include guest artists/groups. For this one it’s Lord Jamar and Sadat X of Brand Nubian, as well as Diamond D of D.I.T.C..

Yo, I gotta speak on the cesspool
It's the rap industry and it ain't that cool
Only if you're on stage or if you're speaking to your people
Ain't no-one your equal
Especially on the industry side
Don't let the gains just glide
Right through your fingers, you gotta know the deal
So Lord Jamar speak, because you're real

The drums are sampled from Aretha Franklin’s 1971 song “Rock Steady”. The bassline is from The Fatback Band’s 1974 track “Wicki Wacky”. The guitar break is a ssample from Ferrante & Teicher’s 1969 song “Midnight Cowboy”. Other samples were taken from James Brown’s “Funky President (People It’s Bad)” and Gerson King Combo’s “Mandamentos Black.”

Vibes and Stuff

Some more great lyrics and flow from Q-Tip and Phife Dawg on this laid back jazzy track.

Here I am ghetto, full with a lot of steam
Think I gotta, I think I gotta, I think I gotta scream
Cause that's how good it feels child
Let your hair down, so we can get buckwild
Do your ill dance, don't think about the next man
We must have unity and think of the bigger plan
Division we will fall, we must stick together, see
I'd like to take this time to say what's up to Kool G

The song samples Grant Green’s 1970 song “Down Here On the Ground”.

Infamous Date Rape

1990 was an important year in the discussion of rape, date rape, and rape on college campuses in the United States. Q-Tip and Phife Dawg add their social commentary in this song, along with some casual jokes (maybe too casual for 2021) about sex in general:

Listen to the rhyme, it's a black-ink fact
Percentile rate of date rape is fat

The drum samples are from Jackie Jackson’s 1973 song “Is It Him or Me” and the keyboard sample was taken from Cannonball Adderley’s 1972 song “The Steam Drill”.

Check the Rhime

One of my favorite songs on the album and a hip-hop classic. Q-Tip and Phife Dawg use call and response to celebrate their roots and how far they’ve come together:

Back in the days on the boulevard of Linden
We used to kick routines and the presence was fittin'
It was I, The Abstract
And me, the Five Footer
I kicks the mad style so step off the frankfurter
Yo, Phife, you remember that routine
That we used to make spiffy like Mr. Clean?
Um… um… a tidbit, um… a smidgen
I don't get the message so you gots to run the pigeon

The hook samples Minnie Riperton’s 1975 song “Baby, This Love I Have” and the horn sample comes from Average White Band’s 1976 song “Love Your Life”. The drums were sampled from Grover Washington Jr.’s 1975 song “Hydra” and Dalton & Dubarri’s 1976 song “I’m just a Rock N’ Roller”.

Everything is Fair

Look at Miss Elaine who runs the fast lane
Barely knows her name, struck by fame
She just got a Benz, she rides with her friends
Gotta keep her beeper in her purse to make ends
Rollin' down the block, checkin' out the spots
She winks at the cops, always give her props
She knows she's the woman, can't nobody touch her
Hangs with the elite, makes her papes from the gutter

From Genius.com:

“Everything Is Fair” is a social commentary about crime and survival in New York City in the early ’90s.

The hook was sampled from Funkadelic’s 1976 song “Let’s Take It to the People”. The drums were sampled from Willis Jackson’s 1972 song “Ain’t No Sunshine”. The bassline was sampled from Willis Jackson’s 1972 song “Don’t Knock My Love”.

Jazz (We’ve Got)

Another one of my favorite jams on this album. The lyrics are top notch.

Stern firm and young with a laid-back tongue
The aim is to succeed and achieve at 21
Just like Ringling Brothers, I'll daze and astound
Captivate the mass, cause the prose was profound
Do it for the strong, we do it for the meek
Boom it in your boom it in your boom it in your Jeep
Or your Honda, or your Bimmer, or your Legend, or your Benz
The rave of the town to your foes and your friends

The video combines two songs: “Jazz (We’ve Got)” and “Buggin’ Out” from earlier in the album.

The drums were sampled from Five Stairsteps 1968 song “Don’t Change Your Love”. The keyboard sample twas taken from Jimmy McGriff’s 1972 song “Green Dolphin Street”. On the beat, three samples are manipulated on the turntables from The Dells 1972 song “Segue 2: Funky Breeze/Ghetto Scene”.

Skypager

ATCQ’s commentary on the importance of pagers in the early 90s. I know that probably seems crazy to younger people, considering what we have now. But yeah, pagers were a thing well into the 90s.

Those who don't believe, see you're laid behind
Got our skypagers on all the time
Hurry up and get yours cause I got mine
Especially if you do shows, they come in fine

The drums were sampled from Sly and The Family Stone’s 1967 song “Advice”. The jazz sample heard in the hook was taken from Eric Dolphy’s 1960 song “17 West,”, featuring jazz bassist Ron Carter.

What?

A short, uptempo track with many rhetorical questions from Q-Tip.

From Genius:

The sparse track entirely consists of a loop of the Paul Humphrey song called “Uncle Willie’s Dream” (1974). The track’s bouncy momentum culminates into a group shout of “What!!” that leads directly into the album’s crown jewel posse cut, “Scenario.”

Scenario

Another classic and my favorite ATCQ song. What a way to close out the album. The song was my introduction to Leaders of the New School and Busta Rhymes, who went on to massive success as a solo artist.

The verses and interplay between everyone involved is simply quite amazing. I could quote all of the lyrics – they are that good – so check out the Genius page to read along.

The drums on “Scenario” were sampled from The Jimi Hendrix Experience’s 1967 song “Little Miss Lover”. The bassline and other elements heard throughout were taken from Brother Jack McDuff’s 1970 song “Oblighetto”.

This album is now over 30 (?!?!) years old, which makes me feel very old… but I am very happy that it has stood the test of time. It may not fit with current radio play and trends, but it is truly a classic record that is 100% listenable today. It’s hip-hop, creativity, and lyricism at it’s finest. A true piece of art.

Playlist

Since A Tribe Called Quest is this month’s featured artist, we’ll focus on hip hop from 1991. Enjoy! Listen on Apple Music.

1. Check the Rhime by A Tribe Called Quest
2. Mistadobalina by Del Tha Funkee Homosapien
3. If My Homie Calls by 2Pac
4. Mind Playing Tricks on Me by Geto Boys
5. How I Could Just Kill a Man by Cypress Hill
6. Check the Technique by Gang Starr
7. The Choice is Yours by Black Sheep
8. I Shouldn't Have Done It by Slick Rick
9. The Creator by CL Smooth and Pete Rock
10. Case of the PTA by Leaders of the New School
11. Can't Truss It by Public Enemy
12. OPP by Naughty by Nature
13. Live at the Barbecue by Main Source

Totally Digging

Here are some new releases I’ve been listening to and enjoying:

• Sour by Olivia Rodrigo (Listen)
• Perfect by Mannequin Pussy (Listen)
• Between the Richness by Fiddlhead (Listen)
• The Off-Season by J. Cole (Listen)
• Seek Shelter by Iceage (Listen)
• Just Until... by Cordae (Listen)
• Thank You for Being Here by cursedtheknife (Listen)
• Jubilee by Japanese Breakfast (Listen)
• Unscrew My Head by Ekulu (Listen)
• Path of Wellness by Sleater-Kinney (Listen)
• GLOW ON by Turnstile (Listen)
• CALL ME IF YOU GET LOST by Tyler, the Creator (Listen)
• Piecing it Together by Free Throw (Listen)
• Distant Populations by Quicksand (Listen)

And some older releases that have made it back into regular rotation:

• Red Medicine by Fugazi (Listen)
• Copper Blue / Beaster remastered 2xLP by Sugar (Listen - Copper Blue and Listen - Beaster)
• Show Me How You Disappear by Ian Sweet (Listen)
• Crush by The Doughboys (Listen)

Follow me on Last.fm to see more!

Musical Moving Pictures

Damien Rice - Back to Her Man

Ashes Live 3/5/95 at Chamber of Sound (Full Set)

Sharon Van Etten & Angel Olsen - Like I Used To

Frightened Rabbit - Full Performance (Live on KEXP) (RIP Scott... been 3 years and still hard to watch.)

Liz Phair: Tiny Desk (Home) Concert

Dinosaur Jr. - Live on KEXP at Home

Vince Staples - Tiny Desk Home Concert

Elsewhere

LIVE MUSIC?!?! Since the last issue I had the pleasure of attending two concerts: an indoor show with the twin bill of Japanese Breakfast/Mannequin Pussy and an outdoor show with Wilco/Sleater-Kinney/NNAMDI. Both were very good.

The Japanese Breakfast show was thankfully vaccine + mask required, which definitely helped us relax. It was truly amazing to see live music again. Before the pandemic I definitely took it for granted. I’ve seen hundreds of bands over the years and the thought of standing in a hot sweaty room, packed in with other people was not appealing any longer, in most cases. That show 100% changed my mind. The best part of that show is we took Lu and two of their friends and they were blown away by Mannequin Pussy. Such a great, in person experience to give young kids.

• Ode To Joy: How Japanese Breakfast Made The Sounds Of 'Jubilee' : NPR
• Rock, Roll, Riot, Repeat: An Oral History of Kill Rock Stars | SPIN SPIN

Jimmy Eat World - Michigan Fest 1997 (photo by me)

Note from Jason: Wow, I procrastinated a lot on this one. This issue was like 90% done for weeks. The last 10% was the hardest – putting the focused listen into words. Maybe it’s because SO much has been written about Nirvana, I didn’t think I could do it justice? Anyway, here it is… I will attempt to follow up with another issue this month to get back on track. Thanks for reading!

1991 was a huge year for music – I’m thinking we’ll be stuck here for the next few issues, as there are a number of crucial records I really need to include in this project and it just happens to be the 30th anniversary. Nirvana’s Nevermind and A Tribe Called Quest’s The Low End Theory will definitely make the cut for me.

Other classic records out that year: My Bloody Valentine’s Loveless, Pearl Jam’s Ten, Soundgarden’s Badmotorfinger, Slint’s Spiderland, The Smashing Pumpkins’ Gish, Fugazi’s Steady Diet of Nothing, Sepultura’s Arise, Geto Boy’s We Can’t Be Stopped, De La Soul’s De La Soul is Dead, my most underrated album of the 90s: God Fodder by Ned’s Atomic Dustbin, and many more — I could keep going.

This issue I’ll focus on the album that made the biggest impact of all those listed above: Nirvana’s Nevermind. Released on September 24th, the album knocked pop music off the charts – taking over the #1 slot from Michael Jackson on the Billboard 200 in early 1992. Over 24 million copies have been sold and it’s obviously on many “best of” lists – including #17 on Rolling Stone’s all-time top 500 list. Beyond the mainstream success of Nirvana, this album inspired and opened the gateway to success for many, many alternative rock bands from that point forward.

I received the cassette version for Christmas that year. It turns out, I wasn’t alone:

Nevermind had its best sales period during Christmas week of 1991, when it sold a spectacular 374,000 copies in a mere seven-day frame

Like most of us at the time, I was sucked in by “Smells Like Teen Spirit” and thoroughly enjoyed the rest of the short ride. Overall, I think Nirvana epitomized the Gen X experience: noisy, angsty sly sarcasm, and enough hooks to get you through it all. As a teenager, you couldn’t ask for anything more.

Beyond music, Nirvana obviously wasn’t the reason we moved to Seattle in 1999, but the introduction to the Seattle music scene was a huge selling point. We lived in Seattle for five years and enjoyed many bands during that time at some of the classic Seattle venues: The Crocodile, Showbox, Paramount, Rock Candy, Neumos, El Corazon/Graceland/many other names, Cha Cha Lounge, The Comet, Paradox, and many more. The 1999 to 2004 period was amazing for us in terms of shows – I can’t imagine experiencing all of the scene history that pre-dated that time.

Anyway, enough of the blathering – we all know Nirvana and Nevermind – let’s get on to the focused listen! (I just hope I can do it justice – so much has been written about this band.)

Focused Listen

Smells Like Teen Spirit

The debut single off Nevermind, it was certainly the song (and regularly played video) that jumpstarted the success of the album. Not to mention help it become one of the most recognizable songs of the last 30 years. In fact, Rolling Stone named it #9 on the 500 Greatest Songs of All Time.

Turns out, Nirvana was trying to rip off The Pixies (another of my favorite bands). Cobain in a Rolling Stone interview from January 1994:

I was trying to write the ultimate pop song. I was basically trying to rip off the Pixies. I have to admit it. When I heard the Pixies for the first time, I connected with that band so heavily that I should have been in that band—or at least a Pixies cover band. We used their sense of dynamics, being soft and quiet and then loud and hard.

Lyrically, Nirvana is one of those bands that seem to have two distinct camps: one group that think it’s all non-sensical to fit the melodies and cadence and another group that dissects every single line for meaning. To me, I think the non-sensical has a purpose for Cobain, so I lean toward the “find meaning” camp in most songs. (When this project is complete, you’ll notice I tend to love bands that have meaningful lyrics, if you haven’t already.)

As a shy introvert, my favorite part of this song has to be:

With the lights out, it’s less dangerous  
Here we are now, entertain us  
I feel stupid and contagious  
Here we are now, entertain us

I don’t think there are many songs that sum up that feeling for me as well as this one does… the constant feeling of having to entertain others just to be heard, the feeling of failure when you aren’t heard, and finding those “dark” places where you can feel comfortable being yourself. It’s quite perfect.

In the end, it’s hard to not say this is the best song on the album, given all of the accolades, though I think “Drain You” is a very close second.

In Bloom

Another video I remember seeing a lot on MTV. The song was an ode to the fans the jumped on the Nirvana bandwagon, yet didn’t understand anything about them – which became commonplace for alternative/underground rock bands in the 90s, think Rage Against the Machine, Fugazi, and the like…

The best part is the song is so damn catchy and easy to sing-a-long to — it’s the perfect honey trap.

He’s the one who likes all our pretty songs  
And he likes to sing along and he likes to shoot his gun  
But he don’t knows not what it means  
Don’t knows what it means, when I say  
He’s the one who likes all our pretty songs  
And he likes to sing along and he likes to shoot his gun  
But he don’t know what it means, don’t know what it means, and I say, “Yeah”

Come As You Are

Originally intended to be the main single on Nevermind, it was put on the backburner after the surprise success of “Smells Like Teen Spirit”.

I get why “management” picked this song as the lead single, since it has a low key, catchy almost sonic feel to it. It’s a good, safe song. Though in context of the rest of the album and Bleach before it, I think it’s a pretty non-representative sample of who Nirvana was at the time. Maybe I am wrong – I’m not a millionaire music executive after all. 🙂

Come as you are, as you were  
As I want you to be  
As a friend, as a friend  
As an old enemy  
Take your time, hurry up  
Choice is yours, don’t be late  
Take a rest as a friend  
As an old memoria

Breed

This song could be on Bleach – it’s certainly the most caustic, aggressive song on the album. Lyrically, Cobain focuses on getting stuck in the stereotypical “middle America” life:

Even if you have, even if you need  
I don’t mean to stare, we don’t have to breed  
We could plant a house, we could build a tree  
I don’t even care, we could have all three

Lithium

From Genius.com:

“Lithium” is a perfect description of manic depression, where every line is both happy and sad, up and down, while having references to God recalling when Kurt lived with a devout Christian family.

Musically, Cobain once again goes the Pixies route – I’d argue even more so than “Smells Like Teen Spirit”. It’s certainly catchy.

My favorite section of lyrics:

I’m so happy ’cause today I found my friends, they’re in my head  
I’m so ugly, that’s okay, ’cause so are you, we broke our mirrors  
Sunday mornin’ is every day for all I care and I’m not scared  
Light my candles in a daze ’cause I’ve found God

Polly

This is probably my least favorite song on the album, though I learned something new about it:

This song is about the actual kidnapping of a 14-year-old girl. In 1987, she was returning from a concert in Tacoma, Washington when she was abducted by a man named Gerald Friend. He took her back to his mobile home and raped her. The girl, whose name was not released, was tortured with a whip, a razor, and a blowtorch. She managed to escape when Friend took her for a ride and stopped for gas. He was arrested and sent to jail.

Lyrically, you can certainly hear that story after learning of the background.

Territorial Pissings

The most traditional punk song on the record – fast and aggressive. Lyrically, Cobain stuck with that theme as well, focusing the rage on the mistreatment of Native Americans and women. From Cobain:

On one hand “Territorial Pissings” references Native Americans – people smashed by raging attacks. And at the same time it’s about appreciating woman.. I hate the violence they suffer, the daily injustices for belonging to a different sex.

It all starts with the classic opening – spontaneously included by Krist Novoselic – which was directed at the Baby Boomer generation since they seem to have forgotten the ideals The Youngbloods sang about in the classic hippie anthem “Get Together” from the 60s:

Come on, people, now  
Smile on your brother  
Everybody get together  
Try to love one another right now

Drain You

My second favorite song on the album. The chorus just ripping through while Cobain sings:

One baby to another says, “I’m lucky to have met you”  
I don’t care what you think unless it is about me  
It is now my duty to completely drain you  
I travel through a tube and end up in your infection

It’s the classic Nirvana sound that I love.

Lounge Act

The next two songs kind of do the same thing for me – similar vibe (generally a loud, catchy ripper) – though I probably prefer Lounge Act of the two, since it’s got more dynamics and better lyrics:

And I’ve got this friend, you see who makes me feel  
And I wanted more than I could steal  
I’ll arrest myself, I’ll wear a shield  
I’ll go out of my way to make you a deal  
We’ll make a pact to learn from who  
Ever we want without new rules  
And we’ll share what’s lost and what we grew  
They’ll go out of their way to prove they still  
Smell her on you  
They still smell her on you  
Smell her on you

In fact the lyrics from Lounge Act are probably the most straightforward on the album – almost traditional, well as traditional as Cobain would get on this album.

Stay Away

Another ripper, with the controversial ending: “God is gay.”

From Genius:

In a 1993 interview with The Advocate, Cobain claimed that he was “gay in spirit” and “probably could be bisexual.” He also stated that he used to spray paint “God Is Gay” on pickup trucks in the Aberdeen area—he did attend church throughout his youth, but became dissatisfied with religion.

On A Plain

Another one of my favorites, with some of the catchiest riffs on the album. It definitely lays the foundation for many alternative bands to come. I can hear bits of Weezer and The Posies to name just a few.

I’ll start this off without any words  
I got so high, I scratched till I bled  
I love myself better than you  
I know it’s wrong so what should I do?  
The finest day that I’ve ever had  
Was when I learned to cry on command  
Love myself better than you  
I know it’s wrong so what should I do? (Ooh, ooh)

Something In The Way

A mellow and mournful end to the official track listing.

Underneath the bridge  
Tarp has sprung a leak  
And the animals I’ve trapped  
Have all become my pets  
And I’m living off of grass  
And the drippings from the ceiling  
It’s okay to eat fish  
‘Cause they don’t have any feelings

Overall, I’m pleasently surprised how well this album held up over the years. It’s a classic for sure and definitely one of most important albums of my generation.

Since this album had such a huge impact, I also asked some internet friends for a tweet-length reaction from their 1991 self:

P.J. Hagerty (@aspleenic on Twitter)

This is something different. Do I like this? It’s so messy, but at the same time precise at channeling emotion. I think I like this. Someone understands my rage and confusion!

Odd-Egil Auran (@odd on Micro.blog)

I was excited like I hadn’t since about 1988 about something that sounded heavy, although at the time I didn’t know it was the death of Heavy Metal as I knew it.

Guillaume Barillot (@gbarillot on Twitter)

Honestly, my first impression was: “mmmh, fine, nothing fancy but I like the songs. This album won’t change the world, I dont get all that hype”(disclaimer: for me in 1991 the revolution was RHCP blood sugar sex magic)

Patrick Rhone (@patrickrhone on Micro.blog and Twitter)

As someone who spent his teenage years in and around the NYC punk scene of the early 1980’s, my first thought was “See, I knew punk wasn’t dead!”

Hjalmer Duenow (@hjalm on Micro.blog)

1991 I worked in a record store. I didn’t get why lightning struck for Nirvana over many other bands that sounded similar on the same record label or from the same scene. They had some nice hooks and that Butch Vig sound.

Playlist

Since Nirvana is this month’s featured artist, we’ll focus on rock music from 1991 – such a diverse mix of sounds in the (mostly) alternative scene. Enjoy! Listen on Apple Music.

1. Smells Like Teen Spirit – Nirvana
2. Rusty Cage – Soundgarden
3. Reclamation – Fugazi
4. When You Sleep – My Bloody Valentine
5. I Am One – The Smashing Pumpkins
6. Alive – Pearl Jam
7. Arise – Sepulture
8. Underlord – Into Another
9. P.S. New York is Burning – Jawbreaker
10. Impossible Figure – Jawbox
11. Spectra Sonic Sound – Nation of Ulysses
12. Kill Your Television – Ned’s Atomic Dustbin
13. Strong Reaction – Pegboy
14. Selfish – Seaweed
15. Red House – Shudder to Think
16. Seed Toss – Superchunk
17. Gun – Uncle Tupelo
18. Enter Sandman – Metallica
19. One – U2
20. Losing My Religion – R.E.M.
21. Alec Eiffel – Pixies
22. Mouth Breather – The Jesus Lizard
23. The Concept – Teenage Fanclub
24. Rave Down – Swervedriver
25. Counting Backwards – Throwing Muses
26. Stickin in My Eye – NOFX
27. Alice Said – Screaming Trees
28. Little Bones – The Tragically Hip
29. Whatever’s Cool With Me – Dinosaur Jr.
30. Running Like Thieves – Bold
31. Nosferatu Man – Slint
32. Those Who Fear Tomorrow – Integrity
33. Values and Instabilities – 4 Walls Falling

Totally Digging

Here are some new releases I’ve been listening to and enjoying:

• Today We’re the Greatest by Middle Kids (Listen)
• Life in Your Glass World by Citizen (Listen)
• The Seed, The Vessel, The Roots and All by New Pagans (Listen)
• Selective Punches: A Collection of Ballads & Battle Hymns by No Escape (Listen)
• Sweep It Into Space by Dinosaur Jr. (Listen)
• The Million Masks of God by Manchester Orchestra (Listen)
• Follow my Best of 2021 playlist on Apple Music

And some older releases that have made it back into regular rotation:

• Floral Green by Title Fight (Listen)
• 500wattburner@seven by Sparkmarker (Listen)
• Brutalism by IDLES (Listen)

Musical Moving Pictures

Elsewhere

🔗 What Had Happened Was – Season Two with El-P

Open Mike Eagle and El-P talk about El-P’s career from Company Flow to Run the Jewels. I was super into Def Jux back in the early 2000s, especially El-P, Mr. Lif, and Aesop Rock, so it was amazing to hear about it first hand. A must listen if you are into indie hip hop.

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That wraps up the sixth issue. Feel free to send me feedback, questions, ideas — anything. I’d also love if you shared this newsletter with anyone you think would enjoy and encourage them to subscribe.

See you next time.

— Jason

I picked up these two albums this week:

• TV Priest’s Uppers (Listen)
• Nirvana’s Nevermind (Listen)

One will be this month’s featured album. I’m sure you can guess which one it is!