Punk and New Wave

Prince “Dirty Mind” (Warner Bros., 1980)

Dirty Mind was the Prince record that hit me first—and hardest. If you listened to Detroit radio in the early ’80s, you couldn’t escape Prince’s music (thankfully), because “When You Were Mine” was ubiquitous on both the black- and white-oriented stations in the Motor City, if I remember correctly. If you tuned in to the influential DJ the Electrifying Mojo on WGPR, then you lucked into hearing Dirty Mind‘s deeper cuts, too. As an 18-year-old, experiencing these slammingly funky and lyrically risqué songs upon their release was like getting license to let your id run riot.

Dirty Mind lasts but 30 minutes, but the brevity intensifies its impact. Prince’s first classic LP is filler-free and devoid of the sort of ballads that padded out most of Prince’s other releases. Now, some folks love boudoir troubadourism, and Prince was a true master of the style, but I find it slightly tedious. Anyway, “Dirty Mind”—which was co-written by synthesizer wizard Dr. Fink—kicks off the album with the kind of slightly blurred come-hither synth riff that became a pervasive early-’80s sound—especially in Prince’s Minneapolis circle of musicians. “Dirty Mind” is cruise-y new-wave disco with much spring in its legs and it flaunts one of the supplest falsettos in the game. For a celebration of a slutty brain, though, this gleaming song has almost a genteel feel to it.

“When You Were Mine” boasts one of Prince’s most memorable and moving melodies and bears a great, twanging bass part that twists like an aching testicle. The hook “I love you more now than when you were mine” is deeply poignant, and the equanimity with which Prince accepts his ex’s new boyfriend is damned mature, even if now people would call him a “cuck.” Side one (the inferior side) concludes with “Do It All Night” and “Gotta Broken Heart Again.” The former’s shiny, pulsating pop-funk that’s decidedly not top-tier Prince; the latter’s the closest the album comes to a ballad. It finds Prince lamenting his romantic-loser status—something that would become harder and harder to believe as the ’80s progressed.

Side two is where the seriously libidinous action goes down. It begins with “Uptown,” a triumphant, strutting soul funk ditty in which Prince relates how a woman who initially asks him if he’s gay (spoiler alert!) later bestows him the best sex of his life. He also asserts how “Good times were rollin’/White, black, Puerto Rican/Everybody just a-freaking,” providing a glimpse into Prince’s utopian ideals and inclusive worldview. Next comes my fave cut on Dirty Mind, “Head.” It funks harder and filthier than anything else here and extols the virtues of 69 (the sex act, not the year). As a bonus, Dr. Fink’s fantastic synth freakout, if I may go out on a limb, represents orgasm. Play it at your next orgy.

The final two tracks maintain the über-sexxxy vibe. “Sister” is a frisky rock rave-up that doubles as a paean to incest. Bold for 1980… or for any year, really. “Partyup” [sic] is a close cousin to “Head,” and its sleek, decadent funk lives up to the title. In this uproarious anti-war song, Prince unequivocally proves that he’s a hedonist and not a soldier. In fact, he’d rather have a good time than die in a war, and the exciting rhythmic torque and radiant synth flares seal the deal.

Dirty Mind is the album that alerted the world to Prince’s polymorphous perversity and sexual ambiguity, both lyrically and in how he presented himself (check the cover photos). It was daring as hell for the time in the soul and rock worlds. 1981’s Controversy would further expand upon Prince’s radical, liberating views on race, sexuality, gender, and politics and solidify his status as a generational musical phenom. But Dirty Mind presented Prince in his rawest and bawdiest form, and it initiated his superstar phase. -Buckley Mayfield

Located in Seattle’s Fremont neighborhood, Jive Time is always looking to buy your unwanted records (provided they are in good condition) or offer credit for trade. We also buy record collections

The Police “Zenyatta Mondatta” (A&M, 1980)

This great Police album contains two songs that I can no longer bear to hear: the smash hits “Don’t Stand So Close To Me” and “ De Do Do Do, De Da Da Da.” The latter is Sting and company’s “Ob-La-Di, Ob-La-Da,” and thus is major cringe. The former’s a decent quasi-reggae-pop tune, but overexposure and creepy, Lolita-esque undertones have ruined it for me. And “Man In A Suitcase” is the sort of inane reggae-rock that gives reggae-rock a bad name. So it goes.

The remaining eight tracks on their third album, however, represent some of the Police’s most challenging and danceable work in which they leave behind any traces of their punk-rock roots while maintaining their B-minus political-rocker commentary. One might say that Zenyatta Mondatta is the British-American trio’s Remain In Light, albeit without the extended lineup that helped to transform Talking Heads in that heady year of 1980. You can hear similar African musical elements in songs such as “Canary In A Coalmine,” a quicksilver, pseudo-Afro-rock burner that, by the way, segues well into Paul McCartney’s “Temporary Secretary.” Freewheeling fun and then some. The hypnotic groove, mesmerizing guitar arpeggios, and shocking monkey chants of “Voices Inside My Head” translate into King Sunny Adé-inflected house music. It’s dance-floor gold.

“Driven To Tears” ranks high in the Police’s canon thanks to Sting’s momentous bass line, Andy Summers’ aerated klang and Frippian guitar solo, and Stewart Copeland’s immaculate rimshots and bongo fills. The poised rave-up in the song’s last minute really lifts this song to an exalted level. The way “When The World Is Running Down, You Make The Best Of What’s Still Around” kicks into high gear while “Tears” is fading out is brilliant, a hip DJ-like move that was rare in new-wave-era rock circles. Summers’ flanged guitar punctuation sprays like a fountain of cool water over Sting and Copeland’s humid, fleet disco-funk rhythm.

The Summers composition “Behind My Camel” won a Grammy for Best Rock Instrumental Performance—which is strange, as it would’ve fit seamlessly into those uncommercial albums he did with King Crimson guitarist Robert Fripp. Ominous and rhythmically stodgy, the track was boycotted by a petty Sting, so Andy dubbed in the bass parts.

Zenyatta Mondatta‘s last two tracks stand as anomalies in the Police’s catalog. Remove Sting’s vocals from the stark dub workout of “Shadows In The Rain” and you basically have an On-U Sound joint. Finale “The Other Way Of Stopping” is a skewed Copeland instrumental that’s full of the drummer’s usual nervy energy and exciting ebbing and flowing dynamics. It’s a weird way to end an album, but by this point in the Police’s wildly popular career, they could pretty much do whatever they wanted. So they did, and good on ’em. -Buckley Mayfield

Located in Seattle’s Fremont neighborhood, Jive Time is always looking to buy your unwanted records (provided they are in good condition) or offer credit for trade. We also buy record collections.

Swell Maps “Jane From Occupied Europe” (Rather/Rough Trade, 1980)

I’m not sure enough people are realizing how great and distinctive Birmingham, England’s Swell Maps were. Their ramshackle, exploratory post-punk songs have influenced hundreds of musicians since their dissolution in 1980, yet they still seem under-recognized in the grand scheme of things.

On their two studio albums—1979’s A Trip To Marineville and 1980’s Jane From Occupied Europe—Swell Maps fused unschooled musique-concrète strategies with garage-rock energy, krautrock hypnosis, and the occasional poppy melody. Although they emerged from Great Britain’s fecund post-punk scene, Swell Maps often had more in common with German improvisational geniuses Can and America’s home of willfully weird unrock, Ralph Records.

Jane From Occupied Europe‘s tracks were recorded from 1977-1980 and they display the idiosyncratic aesthetics of members Nikki Sudden, Epic Soundtracks, Jowe Head, Biggles Books, Phones Sportsman, and Golden Cockrill. (Those aliases are as quirky as the music.) The album starts oddly with “Robot Factory,” which features eerie, radiant keyboard drone, wind-up toys, and rudimentary, quasi-funky beats that sometimes slip out of time. It sounds like a post-punk Joe Meek production, endearingly lo-fi and otherworldly. “Let’s Buy A Bridge” is definitive hurly-burly post-punk pop, bolstered by chaotic drum clatter and Jowe’s ultra-wonky sax solo. Sudden’s imploring, whiny vocals full of youthful discontent here became one of post-punk’s most recognizable sounds.

“Border Country”’s tight, torqued rock comes off like a sloppier, less funky Gang Of Four or early Mekons while “Cake Shop Girl”’s weirdly morose pop recalls a less refined version of Ralph acts such as Snakefinger and Renaldo & The Loaf. The mutedly euphoric “The Helicopter Spies” proved Swell Maps could write a catchy melody, even if they festooned it with janky squalls that rival Velvet Underground’s on “I Heard Her Call My Name.” The pell-mell, enigmatic jam “Big Maz In The Desert” aspires to Can’s metronomic mesmerism, but Swell Maps don’t have that German group’s skill level. Still, it’s a weird and wired epic.

On Jane From Occupied Europe, Swell Maps generated such great guitar and keyboard sounds—clangorous, radiant, cyclical—and they spilled over the raw clatter of Epic Soundtracks’ drums, finding new ways to make rock surprise, to make sloppiness a virtue, to scramble the DNA of pop melodiousness. They conclusively proved you didn’t need technical prowess to create great, enduring music—just a surplus of interesting, unconventional ideas.

[The big indie label Secretly Canadian reissued Jane on vinyl in 2012 and on CD in 2015 (with bonus tracks). Those are likely the easiest and most affordable ways to score physical copies of this classic LP.] -Buckley Mayfield

Cristina “Sleep It Off” (Mercury, 1984)

Cristina Monet-Palaci tragically passed away in early April from COVID-19 at the age of 61. She didn’t have a large discography, but what little she did release contained a high percentage of enchanting winners. Perhaps her peak was Sleep It Off, which most fully displays her flamboyant personality.

Cristina’s marriage to Michael Zilkha, co-owner of the excellent funk/No Wave label ZE Records, led to her collaborating with ZE artists August Darnell of Kid Creole & The Coconuts’, James Chance of Contortions, and Don Was of Was (Not Was). Heavy company! The latter produced Sleep It Off at his Detroit studio, and co-wrote three songs—including two of its best. Let’s talk about those first.

“What’s A Girl To Do” starts with some of the best opening lines of the ’80s: “my life is in a turmoil/my thighs are black and blue/ my sheets are stained and so is my brain/oh what’s a girl to do?” And there you have Cristina’s persona summed up from the get-go—an aristocratic hot mess who’s self-aware but making the best of a bad situation by singing over great music. “What’s A Girl To Do” barges into life with a wonderfully warped keyboard riff that telegraphs new-wave oddity and booming beats that translate to club gold. The ultra-jaunty tenor of the music contrasts with the sordid subject matter.

The album’s dramatic and rockiest peak occurs on “Don’t Mutilate My Mink,” bolstered by heroic, beefy guitar riffs by Bruce Nazarian and Barry Reynolds. Cristina’s intonations in the verses recall Johnny Rotten’s on the Sex Pistols’ “Anarchy In The UK.” “My nightdress is expensive/I don’t want to see it soiled/My heart is pretty tender/Don’t want to see it broiled/Don’t want to start my morning/With your traces on my sink/You’ll do just fine without me/Don’t mutilate my mink.” Was’ third co-written song is “Quicksand Lovers,” a femme-fatale portrait framed in a breezy, faux-tropical-electro vehicle.

Another highlight comes on “Ticket To The Tropics,” courtesy of another Detroit character: the Knack’s Doug Feiger. He and Cristina create a brash, danceable new wave with suave key changes and a synth motif worthy of the Time or Prince. Jazz magus Marcus Belgrave—another Detroiter—plays trumpet. The anomalous “Rage And Fascination” bears an ominous quasi-dub groove and stern vocal delivery; it’s the closest Cristina gets to Grace Jones.

The weakest moments on Sleep It Off are the covers. The Sonny Throckmorton composition “She Can’t Say That Anymore”—originally recorded in 1980 by country singer John Conlee—is lackluster. Kurt Weill and Bertolt Brecht’s “Ballad Of Immoral Earnings” is a duet with an annoying male singer and its quasi-reggae treatment doesn’t suit anyone well. The louche version of Van Morrison’s “Blue Money” is the best cover here. It features Chance on sax and allows Cristina to perfect her disaffected, disdainful voice while adding a sheen of sleaze to Van’s tipsy, throwback R&B.

If you want the perfect summation of Sleep It Off‘s lyrical thrust, “The Lie Of Love,” is it. In this ballad about a problematic romance, Cristina conveys regret and acceptance of hypocrisy with subdued poignancy. It’s not her best mode, but she convinces you that she’s lived through this and emerged with an alluring shred of dignity.

(Note: A fidgety cover of Prince’s classic “When You Were Mine” appears as a bonus track on the CD release.) -Buckley Mayfi

Klark Kent “Klark Kent” (I.R.S., 1980)

For a few years in the ’70s and ’80s, Stewart Copeland moonlighted from his main gig as drummer for new-wave/reggae mega stars the Police to cut some records under the alias Klark Kent. Some of them were super, man. The most substantial of them is this nine-track, 10-inch mini-album. An accomplished film composer (Rumble Fish, Wall Street, etc.), Copeland/Kent plays all of the instruments—drums, guitar, bass, piano, typewriter, kazoo—with bravura facility.

Opener “Don’t Care”—which was a top 50 single in the UK in 1978—originally was intended for the Police, but Sting reputedly couldn’t relate to the sneering, bratty lyrics. But the song triumphs with its insanely catchy, speedy new wave heat, its smooth propulsion, unpredictable dynamics, and sneering lyrics. It sounds as if it’s going to fly right off the grooves and smack your face. The yobbish reggae rock of “Away From Home” reveals Copeland’s voice as the album’s weak link; it’s a bit too proud of its gawky geekiness. As a singer, he makes a great drummer. But the track does boast a wonderful, curt, corkscrewed guitar solo.

“Ritch In A Ditch” [sic] is tensile, slightly quirky rock in the vein of early Police. The line “I wanna be rich/I don’t wanna work in a ditch” is funny because Copeland was likely well on his way to having a fat bank balance by this time. “Grandelinquent” is a slashing, skewed instrumental with a manic piano solo and wicked Snakefinger-/Fred Frith-esque guitar solo.

Things get really interesting on “Guerilla,” whose brilliant, proggy new wave moves are not too far away from what Robert Fripp was doing in the late ’70s/early ’80s. “My Old School” toggles between breakneck new wave and well-meaning Causcasoid reggae and is laced with revenge-fantasy lyrics. The song proves that Copeland is better at the former than the latter. The lean, swerving, Police-like rock of “Excess” comes replete with sizzling guitar solo and crucial cowbell accents as Copeland laments, “my excesses are getting the better of me/I’m ready to go home.”

Klark Kent peaks on the closer, “Theme For Kinetic Ritual.” Rhythmically brash and melodically heroic, this instrumental sounds like a score for the best sports TV show that’s never been aired. Seattle radio station KEXP used to use this track as a bed for its concert announcements, and it was perfect for stoking anticipation. I love to drop this one in DJ sets and then see the baffled look on people’s faces when they ask what it is. -Buckley Mayfield

The The “Uncertain Smile” (Some Bizzare, 1982)

As someone who’s only listened to The The up through 1986’s Infected, I can’t claim to be an authority on leader Matt Johnson’s musical career. However, I can confidently state that I am an expert on The The’s 1982 EP, Uncertain Smile. I bought it soon after it came out on British import during the grim Reagan/Thatcher era and proceeded to listen to its three sui generis songs obsessively, while putting the title track on many a mixtape. Uncertain Smile may not be the most popular or revered release in Johnson’s catalog, but I maintain that it deserves repeat plays and a lofty place in your musical pantheon.

“Uncertain Smile” itself begins with some of the most urgent, warped marimba you’ve ever heard, before suavely shifting into a midtempo dance-rock groove augmented by a plangent guitar and mournful flute motifs of utmost poignancy. The flute solo is mellifluously melancholy enough to earn a spot on a Moody Blues LP. Johnson sings like an introverted, less narcissistic Morrissey here, relating a fraught internal emo-drama with intimate equanimity. You will feel Matt’s pain.

The song’s long instrumental bridge coasts into mysterioso jazz territory, with brooding sax and sly bass laying a foundation for another madly undulating marimba solo. As the song progresses, more elements enter (sumptuous synth swells, heavily FX’d harmonica, an intriguing sound I can’t pinpoint), adding to the sensation that this is a once-in-a-lifetime epic that transcends its early-’80s British milieu. Make no mistake: “Uncertain Smile” is The The’s peak and one of the greatest songs ever. The truncated version on the 1983 LP Soul Mining pales beside this one.

By contrast, “Three Orange Kisses From Kazan” is a weirdly ominous yet enigmatically beautiful piece of art pop, like some amalgam of Tuxedomoon, early Clock DVA, and Tin Drum-era Japan. “Why do people never say what they mean? / Why do people just repeat what they read?” Johnson gripes, and that sentiment still resonates 37 years later. Another example of Johnson’s unique way with songcraft and vocal modulation, “Three Orange Kisses” presents a perfect balance between melodiousness and cacophony. It’s some of the most gorgeous chaos that appeared on record in the ’80s. “Waitin’ For The Upturn” can’t help sounding somewhat anticlimactic after the preceeding two classics, but it’s still a gem of low-key, chilling balladry, like a master class of muted Sturm und Drang. The production on Uncertain Smile by Mike Thorne (Wire, John Cale, Laurie Anderson, Soft Cell) is spacious and dynamic, abetting Johnson’s idiosyncratic ideas about timbre and atmosphere. -Buckley Mayfield

Patti Smith Group “Wave” (Arista, 1979)

The final entry in Patti Smith Group’s tetralogy, Wave is not as highly rated as their first three full-lengths. Much of it’s pretty bombastic, melodically turgid rock that sounds stodgy, particularly after PSG’s mercurial, poetic burners Horses, Radio Ethiopia, and Easter. Produced by Todd Rundgren, Wave preceded a seven-year hiatus during which Patti married MC5 guitarist Fred “Sonic” Smith and started a family. It’s not a total dud, though—otherwise I wouldn’t be spending precious time reviewing it.

Basically, you need Wave for its first three songs. Talk about a front-loaded LP… “Frederick”—which retreads Smith’s biggest hit, the Bruce Springsteen collab “Because The Night”—is a tribute to Patti’s soon-to-be husband, Mr. Sonic. It’s a sweepingly romantic rocker that sounds nothing like her beau’s band. Co-written with guitarist Ivan Kral, “Dancing Barefoot” is a low-slung rock mantra in which Smith sings as if she’s in a trance. The easy-going, undulant ramble foreshadows R.E.M. and certain Feelies tracks. No wonder the latter covered it, as did Simple Minds, the Celibate Rifles, Pearl Jam, U2, and others.

Wave crests on Roger McGuinn/Chris Hillman’s “So You Want To Be (A Rock ‘N’ Roll Star).” PSG’s is my favorite version of this much-covered song—I like it even better than the Byrds’ original. Smith and company execute an irrepressible interpretation whose main riff is a masterpiece of minimalism that hints at the transcendental, tidal rock of late-’90s Boredoms. (Highest compliment!) Patti surely could relate to McGuinn and Hillman’s cautionary tale and their lyrics’ overarching cynicism—even as she’s singing the hell out of the song in a display of sheer bravado that’s very rock-star-like. The guitar solo is also striving for the sort of glory against which the words are warning. Irony!

Unfortunately, the stretch from “Hymn” through “Broken Flag” is hard going. “Revenge” is lumbering, slow-blooming, dramatic rock about a dying relationship, as Smith sings, “All the gold and silver couldn’t measure up my love for you/It’s so immaterial.” “Citizen Ship” and “Seven Ways Of Going” are hugely bombastic tunes that make Nick Cave And The Bad Seeds seem like shrinking violets. The former’s a Sturm und Drang political song while the latter is so over the top, it qualifies as PSG’s “L.A. Blues.” “Broken Flag” is a swaying, lighters-aloft anthem that sounds like music for a political rally—but ironically rendered.

Yeah, Wave is kind of a disappointment, because we have such high expectations from Patti Smith and her crack band. But that opening triumvirate of classics is sufficient to make it worth your while. -Buckley Mayfield

The Normal “T.V.O.D./Warm Leatherette” (Mute, 1978)

English cultural catalyst Daniel Miller used some Korg 700 synths and a TEAC 4-track tape recorder to cut a single in 1978 that was so riveting and fulfilling, he didn’t need to follow it up. Plus, he put the better track on the B-side, like the perverse mofo he is. He formed his own label, Mute Records, to releases, thinking it would be a one-off, but the single unexpectedly caught on with the punters, capturing Europe’s disaffected demeanor of the burgeoning minimal-wave movement. While Miller basically ceased operating as a recording artist after this 7-inch dropped, he embarked in earnest as a record-company mogul, and Mute is still going strong more than four decades later.

“T.V.O.D.” is a throbbing synth ditty whose main chipper motif radically contrasts with the foundational low-end oscillations and swift, spluttering Velcro-rip beats. It’s the epitome of a kind of robotic synth-pop that was gaining traction in the new-wave/post-punk era. Miller recites his lines in an unnerving, panicky monotone: “I don’t need no TV screen/I just stick the aerial into my skin/And let the signal run through my veins.” Sick stuff, on all levels.

A song about the erotic possibilities of vehicular carnage, “Warm Leatherette” is a paragon of monomaniacal, minimal, anhedonistic synth-pop. Irony! Granted, you can dance to the track’s fleet, lopsided drum-machine beats, but the emergency-room Korg ripples and dentist-drill-drone counterpoint seem intended to zap the joy out of such movement. Still, there’s no denying the hypnotic power of the synth headfuckery and inhumane rhythm Miller generates here. Inspired by J.G. Ballard’s 1973 novel Crash, Miller’s lyrics condense the climactic scene into a morbid fantasy of auto(mobile)-erotic pain. The words deserve to be reprinted in their entirety.

“See the breaking glass
In the underpass
See the breaking glass
In the underpass

Warm leatherette

Hear the crushing steal

Feel the steering wheel

Hear the crushing steel
Feel the steering wheel

Warm leatherette

Warm leatherette

Warm leatherette
Melts on your burning flesh
You can see your reflection
In the luminescent dash

Warm leatherette
A tear of petrol
Is in your eye
The hand brake
Penetrates your thigh
Quick – Let’s make love
Before you die

On warm leatherette
Warm leatherette
Warm leatherette
Warm leatherette

Join the car crash set”

With this one track, Daniel Miller spawned dozens of covers, nearly all of them worth hearing—especially those by Grace Jones [see the Jive Time review of the album on which it appears here], Trent Reznor/Peter Murphy/Atticus Ross/Jeordie White, Suzi Quatro, J.G. Thirlwell, and Boyd Rice. This is how you do a one-and-done music career, people (not counting his joint 1980 live release with Robert Rental). -Buckley Mayfield

Lydia Lunch “Queen Of Siam” (ZE, 1980)

Lydia Lunch has a reputation as a provocative, profane No Wave icon and as a spoken-word badass who would just as soon kick you in the ‘nads (with her words) as look at you. Her band Teenage Jesus And The Jerks tore it up on Brian Eno’s No New York comp, and she’s loaned her caustic wit and withering sneer to several other groups (8-Eyed Spy, Harry Crews) and collabs, including a memorable cameo on Sonic Youth’s “Death Valley 69” and a fruitful link-up with Birthday Party’s Rowland S. Howard that included a gothy stab at Lee Hazlewood and Nancy Sinatra’s “Some Velvet Morning.”

But Lunch’s debut full-length under her own name shocks by being accessible—relatively speaking. It contains two covers that suggest the range and vibe of Queen Of Siam: “Gloomy Sunday”—made famous by Billie Holiday and Associates (joking about the latter) and “Spooky,” the chill lounge-pop gem from 1967 that Classics IV took to the charts. Lunch imbues the latter with kittenish charm as her band jazzes it up with boozy gusto. The former is a paragon of insular moroseness—so beautifully hopeless.

Opener “Mechanical Flattery” captures the weird balance of song-oriented approach and arty knottiness that appears throughout the album. Lunch’s numbed deadpan somehow approximates the effect of a coquettish diva, but the stilted beats, oblique piano, and melancholy horn thwart any easy commercial pay-off. This sort of tension makes Queen Of Siam a riveting experience that just improves with each listen. The sleepwalking ballad “Tied And Twist” lumbers lithely, a No Wave plaint in slow-motion. Lunch’s sparse, laggard guitar solo is fantastically wonky; Robert Quine would be proud.

“Atomic Bongos” is the closest thing on Queen Of Siam to a hard-rocker, with its maddeningly repetitive and rugged bass riff and scathing, Contortions-esque guitar tang. “Lady Scarface,” by contrast, exudes a cabaret/big-band-jazz aura—shades of Quincy Jones—as Lunch recounts a lurid scenario about seducing a 16-year-old boy. In fact, most of the record bristles with a strange strain of carnality, at once sleazy and classy, edgy and retro. “I’m split and unbled and I’m ripped to the sore/Every man’s madness and I’m hurdling ripped to the core/There’s knives in my drain/Empty splints in my brain” Lunch leers in “Knives In My Drain” as a David Lynchian nightmare jazz tune slinks behind her. It conjures a pleasingly queasy feeling. (It should be noted that multi-instrumentalist Pat Irwin [the Raybeats and 8-Eyed Spy] and the Billy Ver Planck Orchestra are the low-key stars here.)

[Note: Amphetamine Reptile Records reissued Queen Of Siam on vinyl and CD in 2017.] -Buckley Mayfield

Sonic Youth “Sonic Youth” (Neutral, 1982)

Often overlooked and underrated, Sonic Youth’s debut mini-album is a fascinating snapshot of the New York City avant-rock icons’ nascent greatness. It would be hard to find anybody who’d claim the five-track Sonic Youth is the band’s finest moment (though no doubt they’re out there), but it does merit respect as an auspicious hint of what was to come—even though it was the only record on which SY played in standard tuning.

What Sonic Youth makes clear from the beginning of lead-off track “The Burning Spear” is that they were eager to bust out of rock-song conventions and invent their own approach. Part of that impulse included guitarists Thurston Moore and Lee Ranaldo’s desire to make their instruments sound unlike other rockers’. You can hear them already generating the urgent alarm-bell clangor for which they’d be famous later in the decade. They don’t riff so much as erect environments—metallic, droning vistas redolent of post-industrial devastation and fraying nerves. Kim Gordon’s tensile, marauding bass straddles the line between dub and post-punk, not unlike how many other early ’80s groups were doing then. Ranaldo ran a mic’d electric drill through a wah-wah pedal for extra WTF? texture while Moore wailed like the No Wave disciple he was. What a way to blow out of the gate.

By contrast, “I Dream I Dreamed” is aptly oneiric, a mesmerizing lope animated by loitering guitars spangling with menace. The song swells in intensity and then subsides to allow Gordon and Ranaldo to sing some baffling lyrics in counterpoint (sample line: “A lot of people suffer from impotence/All the money’s gone”). Overall, SY effectively and nonchalantly create a detached sense of desolation. “She Is Not Alone” is one of the oddest entries in Sonic Youth’s discography; it’s jaunty and miniaturist, almost like a dubby Young Marble Giants or General Strike, as the guitars are tuned to sound like a warped xylophone and Richard Edson tattoos the tightly wound tom-toms with some rudimentary Native American patterns. (Yes, Richard Edson the actor in Jim Jarmusch’s Stranger Than Paradise and Susan Seidelman’s Desperately Seeking Susan; he left SY for Konk after performing on this record.)

“I Don’t Want To Push It” reputedly was inspired by Can’s “Sing Swan Song,” but this is way more manic, with Edson’s kinetic beats buttressing a flaming wall of radiated guitars. “The Good And The Bad” finds Moore plucking out a brilliantly see-sawing bass line and Gordon and Ranaldo stroking out articulate guitar klang as the group forge an ebbing and flowing aural organism that seemingly wants to destroy passersby. This shit is ominous, and at nearly eight minutes, it foreshadows Sonic Youth’s future forays into tumultuous, multi-movement epics.

Sonic Youth would go on to make much better records, of course, but this initial offering stands the test of time and is a riveting curio in this important group’s renowned, sprawling canon.

(The 2006 Goofin’ Records vinyl reissue includes a bonus LP of a live show from 1981, plus an early studio cut, “Where The Red Fern Grows.”) -Buckley Mayfield

Mudhoney “Mudhoney” (Sub Pop, 1989)

Seeing Mudhoney tear it up at SPF30, the free outdoor festival held August 11 at Alki Beach celebrating Sub Pop’s 30th anniversary, reminded me again why y’all need to listen to their explosive debut album with fresh ears. This thunderous slab tends to get overlooked by its predecessor, Superfuzz Bigmuff (which we reviewed in this space in 2010) and Every Good Boy Deserves Fudge—both of which are crucial, of course. But clear some space in your busy life for Mudhoney, too. It really holds up. You can verify that due to Mudhoney’s insistence on playing a lot of material off this one in live sets 29 years after its release.

The sinister and seething “This Gift” boots the album into life with an oblique homage to the Stooges’ “No Fun”—a fantastic way to open your first LP. As a bonus, the phased guitar shivers recall Butthole Surfers’ “Cherub.” In the liner notes to the March To Fuzz best-of comp, Steve Turner quipped, “I’ve always figured Mark was talking about his dick here.” Songs like“Flat Out Fucked,” “Here Comes Sickness,” and “The Farther I Go” are anthems of rage, highly torqued hard rockers that writhe with youthful truculence and ill wah-wah destruction. I remember dudes with bald heads and graying ponytails slamdancing to this at the Tractor Tavern a mere six years ago.

The explicit Blue Cheer tribute “Magnolia Caboose Babyshit” is 65 seconds of ozone-depleting, speed-gobbling biker-rock—hell-raising elevated to a debased art form. “Come To Mind” is the “ballad” of the album, sort of like “Ann” was the “ballad” of The Stooges. Meaning, it still has violence in its heart and steel in its phallus. “When Tomorrow Hits” represents yet more Stooges love, as it’s sorta Mudhoney’s “We Will Fall.” This badass glowering tune was covered by Spacemen 3 on their Recurring LP, and it almost seems as if Mudhoney wrote it for those opiated British blokes. Album-finale “Dead Love” encapsulates Mudhoney’s nearly unmatched ability to summon unstoppable rivers of magmatic rock.

While Mudhoney captures the Seattle grunge pioneers (sorry, guys, but you’re stuck with that tag) at an early peak, they have barely slipped from that lofty level of high-energy, powerful rock action three decades later. Freaks of nature, for sure… -Buckley Mayfield

This Heat “Health And Efficiency” (Piano, 1980)

Slotting between the twin towers of This Heat’s 1979 self-titled debut LP and 1981’s Deceit, Health And Efficiency is no mere stop-gap release. Rather, it’s a peculiar peak in this short-lived yet crucial experimental/post-punk group’s discography.

Health And Efficiency” itself is simply one of the greatest songs ever, an art-rock tune so grand and uplifting, it deludes us into thinking that humanity is going to continue to evolve into a peaceful, super-intelligent species that values equality and yes, health, over all else. Seriously, its melody and ecstatic vocal arrangements are that powerful. Then, two minutes in, This Heat say, “Fuck it, y’all don’t deserve this much euphoria,” as they slam into one of the nastiest (lock) grooves to which you’ve ever had the good fortune to lose your mind and spastically jack your body. It’s a real bucking mechanical bull of a rhythm, cantilevered to the max and laced with an array of rolling bottles, children’s screams, and enough noisy distortion to start a wildfire in your brain. The freakout near the end will tear your ever-loving head off and punt it into the sun (the star to which “Health And Efficiency” is dedicated).

Health And Efficiency” is a definitive example of what radical explosions can be realized with (mostly) typical rock instruments when the musicians disregard orthodoxy. In the liner notes to the most recent reissue, This Heat drummer Charles Hayward says that the track was “improvised pretty much fully-formed, an 8 minute stretch.” He notes that Charles Bullen plays an electric/upright piano that the Rock In Opposition band Henry Cow left at the Cold Storage Studio through some distortion pedals. Now you know.

On “Graphic/Varispeed,” This Heat revamp “24 Track Loop” from the self-titled 1979 debut album into a supremely resonant, ASMR-inducing drone that the band manipulates ever-so-subtly, so it changes pitch and intensity in minuscule gradations. An early example of remixing and sonic deconstruction, “Graphic/Varispeed” puts a particularly industrial, northern English spin on ambient/drone music.

Originally released on Flying Lizards/General Strike member David Cunningham’s Piano label, Health And Efficiency received a deluxe reissue in 2016 via Light In The Attic subsidiary Modern Classics, with liner notes by Mr. Hayward, thereby earning the eternal gratitude of all right-thinking music fans. -Buckley Mayfield