The 100 Best Alternative Singles of the 1980s: 80 – 61
Just imagine songs this extreme making the American Top 40, let alone the Top 10… unthinkable.
80. Bob Mould – “See a Little Light” (1989)
After the disintegration of Hüsker Dü, Bob Mould retreated to rural Minnesota to plot his first solo album. The highly polished, largely acoustic
Workbook was a radical departure from the raw and edgy rock he’d been known for in his prior band. His songwriting talents were maturing and he delivered a strong collection of melodic, introspective acoustic rock. He drafted Pere Ubu rhythm section Anton Fier and Tony Maimone to play on the album. The first single was “See a Little Light”, an upbeat charmer that finds Mould exploring a melodic side to his writing that he’d only hinted at in Hüsker Dü. Despite the song’s sunny disposition, with a soaring chorus, jangly guitar, and the great Jane Scarpantoni providing a beautiful undertow of cello, the song finds Mould at
Revolver has an exclusive Translucent Ruby vinyl variant of The Living: 1982
, the newly unearthed debut album from The Living, Duff McKagan s early punk band. Quantities are extremely limited so order yours before they re gone!
Sure, Duff McKagan is best known as the man holding down the low end with hard-rock legends Guns N Roses. But his punk credentials he played guitar in seminal Seattle unit 10 Minute Warning, as well as drums with the Fastbacks, among others have never been in question.
Now, another notch in McKagan s punk-rock belt has been revealed with the release of
The Living: 1982. The new mini-album collects seven songs all written by McKagan and recorded 39 years ago with his punk crew The Living and represents the first official release of material from the band.
Former Minuteman Mike Watt (center) with filmmakers Brendan Hirsch, Garrett Barghash, Michelle Crispin, and Julie Nunis
Hermosa’s Jazz, punk legacy to be featured at MB film fest
“Jazz v. Punk” I think it’s a draw
by Bondo Wyszpolski
The Florana International Film Festival takes place Friday and Saturday atop the Manhattan Village Mall parking structure with the same 25-30 short films each evening. One of the highlights of the event was shot mainly in Hermosa Beach: “Jazz v. Punk.”
The nearly 40-minute film essentially asks one question, but it’s a big one: How is it that a 1.4 square mile town was home to two seemingly opposite styles of music?
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If you follow the history of music, particularly popular music, you know that certain years always recur in the conversation. 1936 marked the first of Robert Johnson’s legendary blues recordings, while 1956 marked the ascent of Elvis. You know that The Beatles did
Sullivan in 1964, Woodstock happened in 1969, and that The Sugarhill Gang recorded the first hip-hop song to hit the Top 40, “Rapper’s Delight,” in 1979. Those years and many others always swirl about the conversation, but one year is consistently overlooked. In retrospect, 1961 is hugely important, as it set the stage for the rest of the decade and for decades to come. Let’s turn back the clock to the year that Berry signed the girls from the Projects, two former school friends met up again, Patsy went pop from the hospital, and four lads played the Cavern Club for the first time.