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The New Rock Classics
Steve Sande
Sunday, February 19, 2006
It's time to reassess the term "classic rock."
While music scribes and the Bay Area faithful continue to preach the golden-era gospel of monolithic super bands from the '60s, the alternative music congregation believes Kraftwerk, Talking Heads and Joy Division to be more influential than the Beatles, the Stones and the Dead. These alt-rockers know their music has been underappreciated, while all of the references to the Stones printed in The Chronicle over the past 40 years probably exceed the number of times the word "God" is used in the Bible.
Through casual interviews with music fans, I've compiled a list of 20 "new classic" albums, in chronological order of release. I'm sure I'm including albums many readers have never heard, or have dismissed as New Wave junk. I'm sure I've left many great records off the list. Send me your recommendations and we'll print the best of them.
David Bowie, "Station to Station" (1976) The Thin White Duke is almost too popular to include, but this influential album serves as a lead-in to more obscure fare. Ethereal vocals, experimental fortes and irresistible hits like "TVC 15" and "Golden Years" make this buried gem Bowie's finest.
Kraftwerk, "Trans-Europe Express" (1977) "TEE" finds the Dusseldorf quartet at its funkiest and finest. The opening track, "Europe Endless," is pure beauty, outdoing even the mighty Pink Floyd with lilting synths and bending soundscapes. The title track chugs along with a groove predating hip-hop. When Afrika Bambaataa sampled it in 1982 for his single "Planet Rock," the fusion of German beats and urban American rhythms would become a major influence on future genres such as electro-funk, techno and house.
Brian Eno, "Before and After Science" (1977) Master producer Eno could write and sing music with a gentleness and sly humor all his own. "King's Lead Hat" rocks with a pre-punk sort of goofiness, while "Spider and I" transports the listener to the moon. Moby must have soaked this one up as an acid-free, vegan tot.
Kate Bush, "The Kick Inside" (1978) Toss your copy of "Jagged Little Pill" and pick up this landmark debut. Bush's voice is a remarkable instrument -- strange, childlike, fierce and supremely passionate. Tori Amos and Sarah McLachlan acknowledge Bush as the godmother of contemporary female rock singer-songwriters. She is unique, talented and underappreciated.
Warren Zevon, "Excitable Boy" (1978) From the opening bars of "Johnny Strikes Up the Band," it was easy to see that this album was going to be a winner. If you don't get Zevon's literate humor, heartfelt sentiment and subversive political bent, you are missing something special.
Joy Division, "Unknown Pleasures" (1979) Creep inside the skin of tortured young artist Ian Curtis at your own risk. Musically, it's harrowing, anarchistic and prophetic (Curtis hanged himself shortly after its release), yet there are upbeat numbers made up of minimalist industrial beats that are full of hooks.
Graham Parker, "Squeezing Out Sparks" (1979) Back when Elvis Costello was a punk impostor dreaming of scoring symphonies with the Kronos Quartet, pub-rocker Parker laid the groundwork for English soul and master songwriting. Van Morrison might sell out $200-a-seat theaters while Parker plays to 40 diehards at Cafe Du Nord for $15 a head, but who cares if he never really made it? Every serious music lover should own at least three Parker albums, starting with this one. It's straight-up rock 'n' roll from a guy Bruce Springsteen once called one of his favorite musicians.
Talking Heads, "Remain in Light" (1980) Who would have thought a couple of white art students from the Rhode Island School of Design could harness the soul of primal Africa years before Paul Simon ever set foot there? One never tires of the layered polyrhythms, wry guitar licks (from Adrian Belew) and the nervous, sweaty, panicked vocals of David Byrne.
Peter Gabriel, "Peter Gabriel III" (1980) Sometimes called "Melt," because the cover art showed Gabriel's face melting away, this album begins with the paranoid and downright scary "Intruder" and ends with the timeless "Biko." Gabriel's first four albums are all winners, so we excuse him for "Sledgehammer."
The English Beat, "I Just Can't Stop It" (1980) The quintessential ska album of its time, "Stop It" rocks and pogos with tracks like "Mirror in the Bathroom" and "Two Swords." Play this at your next house party if you want folks to let loose and dance.
Echo and the Bunnymen, "Heaven Up Here" (1981) Ian McCulloch and the boys have made some fantastic music over the past 25 years or so, and they're still at it. "Heaven" is the perfect Bunnymen record: dark, brooding, intermittently melodic and always hard rocking.
Simple Minds, "New Gold Dream" (1982) U2 has gone miles further, but when they both first came out in the early '80s, these bands were equals. Thick bass lines permeate the underbelly of this album, and Jim Kerr's understated Scottish wail saturates each outstanding track.
ABC, "The Lexicon of Love" (1982) Don't confuse this with garbage like Howard Jones or A-Ha. Martin Fry concocted a mix of showmanship, Roxy Music rip-off and brilliant songwriting that adds up to a bona fide classic. "All of My Heart" easily stands as one of the greatest love songs of the past three decades.
The The, "Soul Mining" (1983) Matt Johnson's masterpiece contains the best rock song of the 1980s, "Uncertain Smile." It's a stormer, with clever lyrics, nifty instrumentation and an undeniable hook. This entire album is introspective, frank, cynical and listenable.
U2, "The Unforgettable Fire" (1984) Brian Eno brought out the best in the young Irish rockers. His slick production on "Pride (in the Name of Love)" and the title track paved the way for the band's ascension to the ranks of rock icons. "Bad" remains a genuine emotional onslaught.
The Smiths, "Hatful of Hollow" (1984) Stephen Morrissey and Johnny Marr were a formidable team in the early '80s. This album is one hit after another. While every song may seem simple and similar on the surface, on close listening, depth prevails both musically and lyrically. "How Soon Is Now?" is the standout among many.
Prince, "Around the World in a Day" (1985) Better than "Sgt. Pepper's," this paisley palette is rich with hits ("Raspberry Beret," "Pop Life"), psychedelia ("Paisley Park" and the title track) and deft political statement ("America").
XTC, "Skylarking" (1986) Todd Rundgren brought out the psychedelic bent in this cultured English rock quartet. The band contributed a wealth of quality music to the rock genre, hitting its peak with this concept album.
The Cure, "Disintegration" (1989) OK, so the band sold "Pictures of You" to Kodak for a cheesy TV commercial. Robert Smith has been creating some of the most unique, honest, soul-bearing, rip-your-heart-out rock for more than 30 years. "Disintegration" has got it all.
Rain Tree Crow, "Rain Tree Crow" (1992) Respected, introspective solo artist David Sylvian reunited with his Japan band mates to create the perfect album to cap off the '80s. Backbeat rhythms urge the body to sway in slow time, while Sylvian's haunting vocals and ambiguous lyrics tantalize the mind.
E-mail Steve Sande at
ssande@sfchronicle.com.
©2006 San Francisco Chronicle
