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25 Incredible Gigs (1979 – 2013)

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25 Incredible Gigs (1979 – 2013)

Posted on 09 September 2013 by Joe

What makes a great gig? We are looking to compile a list of your best ever gigs via the comment box in this article and to get you thinking our contributors have taken a stroll down memory lane to revisit some of their favourite concerts.

Flaming Lips, Greenman 2010

The Flaming Lips’ explosive Greenman 2010 set. Pic by Arthur Hughes

For some of our writers a great gig is simply being in the right place at the right time, when a band at the peak of their powers performs at a stellar venue. For others it is one of their first tastes of live music, while for others it has been seeing musical history being made. Judging by the responses from our writers going to see the The Flaming Lips, almost anywhere and at any time, is also a sure sign of a gig’s greatness.  So stand up, get your lighter and mobile phone out and settle into a feast of great gig memories. Look forward to reading about your gigs.

Joy Division, Assembly Rooms, Derby, October 1979

Joy Division were the support for The Buzzcocks and played in semi darkness, four stark immobile Mancunian stick insects. It was loud, brutal and threatening, then Ian started doing his mad dancing during She’s Lost Control; some people laughed, we hated them for laughing as for us here was something new. As Shadowplay echoed around this architectural monstrosity we looked at each other and realized punk was over, something had eaten its corpse and was spitting out blood, Ian was dying for us and nobody had noticed. (John Haylock)

Fugazi, Zap Club, Brighton, November 1989

Back in the late 1980s the now closed down Zap Club regularly booked up and coming alternative bands from the US. The legendary and superb bands I saw at this sweaty damp venue, nestled into the old fisherman’s arches on the seafront, included Mudhoney, The Lemonheads, Rollins Band, Teenage Fanclub and Hole. But for me the best of the bunch was Fugazi. I was tucked up just to the side at the front of the packed venue, half on the stage as lead singers Ian Mackaye and Guy Piciotto, together with the precision rhythm section of Joe Lally and Brendan Canty, powered the band through a remarkable set. The timing was shortly after their first EP Margin Walker had come out and before 1990’s Repeater. Breathless, exciting and superb. (Joe Lepper)

Fugazi

Fugazi

Faith No More, Reading Festival, August 1990

In many ways this wasn’t an ideal gig. Sat between Nick Cave and The Cramps on the bill Faith No More were a bit of an oddity. The 1990s were also the decade when Reading was at it’s least “Rock”, it was the most “indie” of all the festivals during this period. The sound quality was also terrible, something that Reading was often guilty of, and a bootleg cassette I picked up some years later sounded pretty terrible. But it was my first real full-on festival rock experience and it seemed pretty wonderful at the time. The band arrived on stage to billowing smoke and an orchestral soundtrack (2001 perhaps?) before launching into a breakneck version of ‘From Out of Nowhere’. They rocked, they sneered (a snatch of New Kids on the Block in the middle of ‘We Care A Lot’) and front-man Mike Patton (replete in a kilt) scaled the stage scaffold. That was how to do it, something that The Pixies failed to emulate with a phoned in headline slot on The Sunday. They clearly already wanted to call it a day. (Dorian Rogers)

Nirvana, Astoria, London, October 1990

Friends at university told me that Nirvana were the next big thing. They played me Bleach, their only album at the time, and I was quite impressed even if it did sound like a Mudhoney rip off act. Turns out my friends were right, live they were sensational and across the 19-strong set Bleach’s tracks and Cobain’s vocals were filled with a passion I hadn’t grasped before. We were also treated to two new songs, Lithium and In Bloom, both destined for their forthcoming album, 1991’s Nevermind, which catapulted them to legend status. This was one of those great, ‘I was there’ moments in music history. (Joe Lepper)

Nirvana

Nirvana

Julian Cope, The Event, Brighton, September 1995

This gig happened at a point where Cope’s popularity (he had a top 40 hit with ‘Try,Try’Try’ from his then latest album 20 Mothers)  was slightly out of kilter with his overall trajectory, having been dropped by Island a few years earlier. It may have been at the beginning of the end for Cope as a popular recording artist, but it was an exemplary live performance. Three sets were played that night involving 39 songs in total, the first being heavily drawn from his most recent albums and including a host of excellent cuts from Peggy Suicide. After this the band left the stage and Cope treated us to a set of solo acoustic numbers, chatting jovially and taking requests from the audience. And as is this wasn’t enough the band returned to the stage and treated us to a full greatest hits set featuring his best known songs both solo and with the Teardrop Explodes. Everything sounded great and at that moment he seemed like the best live performer in the world. (Dorian Rogers)

Neil Young, Phoenix Festival, Warwickshire, July 1997

After an eternity of soundchecking and with a minimum of fuss Young tore into Hey, Hey, My My. It was akin to being in the eye of a screaming tornado of sound and unbelievably it got better with Sedan Delivery, Why Do I Keep Fucking Up, Cinnamon Girl and Down by the River all having their entrails ripped open and fed through sixty thousand watts of amplification. It was guitarmageddon in a cowboy hat as he carried on, nailing acoustic versions of Sugar Mountain, Heart of Gold and Needle and the Damage Done. Forty six  bottles of Evian water later I remember encores consisting of Like a Hurricane, Dangerbird, Rockin’ in the Free World and of course Cortez the Killer. My review in a word – legend. In another – goosebumps. (John Haylock)

Oasis, Cardiff International Arena, December 1997

My first ever gig – this is where it all began. The excitement, anticipation and the immortal feeling of being 15 years old and experiencing your musical idols for the very first time. I remember hearing ‘The Boys are Back in Town’ over the loudspeaker before the large curtain at the front of the stage suddenly opened and the band launched into ‘Be Here Now.’ The volume of those guitars hit me in the chest like a sledgehammer (in the best way possible) and, with that, I was born as an Oasis fan, gig goer and music fan for life. (Scott Hammond)

The Flaming Lips – Various, 1999-2012

Bowlie Weekender, Camber Sands, April 1999 – On the main stage were Divine Comedy, on the smaller stage were The Flaming Lips. Their album Soft Bulletin had just come out and I’d only heard the name not the music before. But as soon as lead singer Wayne Coyne took to the stage, bashing away at a giant gong with his giant personality and tiny, passionate voice, I knew this was no ordinary live band and the Divine Comedy could do one. The Flaming Lips didn’t even need animal costumes and giant space balls back then to be great. (Joe Lepper)

The Flaming Lips, Greenman 2010, pic by Arthur Hughes

The Flaming Lips, Greenman 2010, pic by Arthur Hughes

Bristol Academy, January 2003 – My 18th Birthday night saw a busload of mates journey to see The Flaming Lips at the peak of their powers. Peerless pop conducted by Wayne Coyne’s all-engrossing showmanship. (Matthew Nicholson)

Greenman Festival, Wales, August 2010 -They were totally mindmeltingly awesomeballs. The grandiose epicness of the music married to the everything but the kitchen sink pyrotechnics of a stage show was so out there it would have put the big bang to shame. The power of live music to make you love this beautiful world, this, ladies and gentlemen is what it’s all about. (John Haylock)

Primavera Sound, Porto, June 2012 -I was excited when they were announced as part of the Primavera Sound festival lineup in Porto, but wasn’t prepared for the utter elation I felt seeing them live for the first time. They’re one of the best live acts ever – the colours, the spectacle, the songs – it all makes for a surreal, psychedelic explosion of music, complete with dancing girls and glitter cannons. I defy anyone to come away from a Lips gig feeling anything but on top of the world. (Patrica Turk)

Jon Spencer Blues Explosion, Bowlie Weekender, Camber Sands, April 1999

This is my second entry from this excellent festival, which was curated by Belle and Sebastian and kick started the All Tomorrow’s Parties events. Watching Jon Spencer’s trio for the first time  made me feel like a 1950s, Tennessee teenager at an early  Elvis gig.  I’d heard of Spencer’s band, I heard the odd track on CD, but nothing could prepare me for the incredible performance of dirty rock ‘n’ roll from this incredible front man, Judah Bauer and Russell Simins. To this day the most exciting live act I’ve ever seen.  (Joe Lepper)

Jon Spencer Blues Explosion

Jon Spencer Blues Explosion

Radiohead, South Park, Oxford, July 2001

A wet homecoming night in which my favourite band headed a stupendous line-up (Humphrey Littleton, Sigur Ros, Supergrass, Beck) and delivered a heavyweight set of alt-rock anthems. (Matthew Nicholson)

Guided By Voices, ULU London, September 2003

This was the last time that Guided By Voices played in England, and possibly the only time that I’ll ever get to see them play. Bob Pollard’s famous hatred of travelling and their aborted ATP show in 2012 give little hope of a UK gig any time soon. Many people are stuck on the “classic” line-up of the band, but this gig featured the twin guitars of Doug Gillard and Nate Farley and they sounded pretty amazing to me. Blasting through a set that drew heavily from the then-current Earthquake Glue album we were treated to dozens of oddities and classics with fan favourites ‘Game of Pricks’, ‘I Am A Scientist’ and ‘Echos Myron’ getting a  particularly enthusiastic reception. This is a band that works hard playing a huge set (around 45 songs on this occassion) with an encore that lasted longer than some acts entire back catalogue. Legendary. (Dorian Rogers)

Guided By Voices

Guided By Voices

Roger Waters, Hyde Park, London, July 2007

As with many 16 year old teenage boys, desperate for intellectual stimulation and strange sensations, I was drawn to the minimalist soundscapes and sixth form philosophy of Pink Floyd. Listening to Dark Side of the Moon while staring at the ceiling and broodily muttering about the evils of Money was heaven to a tubby pubescent teenager with few social skills and no girlfriend. Seeing Roger Waters make a rare performance of the entirety of Dark Side of the Moon at this central London park, arms wrapped around fellow Floyd Fanatics, was made all the more luscious as the moon came out and he sang the final refrains. (Conal Dougan)

Monsters of Folk, Cardiff Coal Exchange, November 2009

An intimate gig in front of a seated audience, the supergroup played for a whopping 2 hours and 45 minutes. Playing the MOF album in its entirety along with a panoply of Bright Eyes, M Ward and My Morning Jacket tunes, I couldn’t quite believe I was bearing witness to two of my all-time musical heroes (Conor Oberst and Ward) on stage in this tiny space in Cardiff Bay. Costing less than £15 a ticket and with only 300 people in attendance, I truly blessed the world for its lack of taste. (Scott Hammond)

Blur, Glastonbury Festival, July  2009

Watching a reformed band  on the heritage rock scene can offer be a sad experience. Not so when Blur decided to reform for a run of gigs that included a show stopping set at Glastonbury. They played everything you hoped they would but it was Tender that provided the real spine tingling moment and, indeed, the mass singalong. (Matthew Nicholson)

 

Pulp Brixton Academy, London, September 2011

Growing up in Australia, Pulp were a band that I thought I’d never get to see live. But then, as so many do, they reformed and toured. They’re the songs from my teenage years and seeing Jarvis up close and personal was a girlhood dream come true. Nothing compares to hearing and seeing your old-time favourites performed live and it was a terrific moment of past-and-present excitement all rolled into one. Jarvis is still my hero. I even have his face on my tea mug. I’m 30. (Patricia Turk)

Pulp

Pulp, Brixton Academy, 2011. Pic by Patricia Turk

Field Music and Stealing Sheep, The Fleece, Bristol, February 2012

Sometimes gigs are just perfect in every way from venue to support to crowd to stage banter. Field Music’s musical talent is well known on record, but live their mixture of King Crimson prog rock with the jerky pop of XTC is even more incredible. Here they were on top form, rattling out 23 tracks, from their back catalogue and to promote their then latest album Plumb.  They were funny  as well in between songs and just about the most engaging band you’ll ever see. To top it all the support act, Liverpool’s Stealing Sheep, left the packed crowd at this legendary venue in awe with their blend of folk, hippy chic and surf rock. The best support act I have ever and probably will ever see. (Joe Lepper)

Field Music, The Fleece, Bristol, 2012

Field Music, The Fleece, Bristol, 2012

Django Django, Bestival, Isle of Wight, September 2012

The highlight of an astounding festival, featuring knock-out gigs by De La Soul, Stevie Wonder and The XX, was a small tent performance by Django Django. With the speaker volume tempered to make later headline acts more of a spectacle, the crowd was pulled ever closer to the stage to be immersed in their folktronica rhythms. The crowd joined to become a single amorphous beast, embracing each other to shift body weight and crouch for the peak of Default. Jazz fags and rum punches were merrily shared with trucker women and inebriated Glaswegians as the best weekend of my life got off to the perfect start. (Conal Dougan)

First Aid Kit, Moles, Bath, September 2012

Enjoying a pre-gig pint in a quiet pub adjacent to Moles, I suddenly saw the young Swedish sisters emerge from a neighbouring building and casually walk towards the venue completely without regard from anyone passing by. It was almost like they weren’t brilliantly talented, precocious songwriting prodigies or something. I got to the door, handed over my £10 ticket and was astonished to find that the 220 capacity venue hadn’t yet sold out. I then found my standing space just 10 feet away from  Klara, Johanna and those gorgeous vocal harmonies. (Scott Hammond)

First Aid Kit, 2012

First Aid Kit, circa 2012. Pic by Joe Lepper

Tame Impala, Primavera Festival, Barcelona, May 2013

Primavera Festival is renowned for its outstanding sound quality above its atmosphere, with main stage headline sets sounding intimate and personal. Upon arriving early on the first day, however, we really were treated to an intimate gig, with Tame Impala rehearsing their full set to only a handful of us. Frontman Kevin Parker’s remark that “we thought there would be more of you here” came just before we were escorted out by a security team, embarrassed from mistakenly letting us in early. The brilliant set they played later that night to a huge crowd, the balmy sea breeze flowing through Parker’s hair as the band waded through their psychedelic back catalogue, was made all the more magical by having seen them rehearse for our sole pleasure. (Conal Dougan)

Nick Cave and the Bad Seeds, Glastonbury Festival, June 2013

Nestled about 20 people back from the main Pyramid Stage at Glastonbury in 2013 on a Sunday evening I was expecting to be impressed by Nick Cave but not completely blown away by his brilliance. Across his hour long set he provided a masterclass in live performance. The whole experience was made even better by his scheduling just before the Folk-lite of Mumford and Sons. Their eager young fans being beaten back verbally by Cave’s middle aged hardcore fans was great to see. The poor Mumford dears that sneaked through were left open mouthed as Cave showed them how live music should be played. And as if that wasn’t enough,  during Stagger Lee  Cave moved into the crowd and serenaded a female fan dressed entirely in white, who appeared atop a pair of shoulders like Kylie’s ghost rising out of the swamp. (Joe Lepper)

Nick Cave, crowd schmoozing at Glastonbury, 2013.

Nick Cave crowd schmoozing at Glastonbury, 2013. Pic by Joe Lepper

The National, Roundhouse, London, June 2013

When a snap show at the Roundhouse was announced I was more than prepared to spend an hour and half in an online queue to see one of my most favourite bands in one my most favourite venues. It was everything I wanted it to be. The National are a special band of super talented musicians, led by an extraordinary voice in Matt Berninger. The songs are emotional, intelligent and epic, and the gig was intense, driven, amazing. There’s nothing like being part of an audience that adores the band they’re seeing. Spectacular. (Patricia Turk)

Melody’s Echo Chamber, Greenman Festival, August 2013

Propelled by Melody Prochet’s ethereal floaty vocals, the band add crunch and added freak out, I stood there entranced like a good looking deer in the headlights of a pop car, that is until I got so carried away during Crystallized that I became a danger to passing aircraft. They swept me up in a whirling vortex of sound that I keep playing back in my mind like some antiquated reel to reel tape recorder. A week after this gig and I wanted to see them again and again, I want to go to every gig, become an uber fan, have Melody’s poster on my wall. (John Haylock)

Remember to tell us about your favourite gigs in the comment box below.

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Splendour Festival, Nottingham (July 20, 2013)

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Splendour Festival, Nottingham (July 20, 2013)

Posted on 23 July 2013 by Joe

If ever a name was more appropriate than Splendour for a festival, then I can’t think of one. With it’s beautiful backdrop of the magnificent Wollaton Hall (Wayne manor in the latest Batman movie) and set amid acres of lovely rolling countryside, fields, stables, courtyards and enclosures in addition to a great views of Nottingham from it’s highest point, this park is one of the areas must see attractions.

Kagoule

Kagoule

To utilize it as a venue was inspired, and despite initial concerns from local (dead posh) residents, it is becoming an annual fixture to the local music scene, and this year saw another pop focused, family friendly line up, spread over a couple of stages, with a  relatively diverse bunch of acts set to cater for different generations of fans.

It took until mid afternoon until something special kicked off, a band with the unassuming name of Kagoule, turned it all up to eleven, with a set of arresting blasts of paint stripping three-piece punk rock. From noisy kids to slick middle aged ex- new wavers; Squeeze have come a long ,long way since their days at the forefront of the school of clever English post punk pop. Always a magnificent singles band, they dropped hit after classic hit, middle aged women swooned liberally and dropped their strawberries as they perfectly executed Black Coffee in Bed, Take Me I’m Yours and Pulling Muscles From a Shell. It was so nice to see the band’s songwriting duo Chris Difford and Glen Tilbrook back in the pop saddle again, evidently crazy happy that they are cherished for the institution they so definitely are, oh and the icing on the cake was a great version of an almost forgotten classic, Slap and Tickle.

Peter Hook

Peter Hook

Ok, admission time. The last time I saw Peter Hook live was on the 22nd of October 1979, when Joy Division blew The Buzzcocks off stage in Derby. To see him here tonight with his band, was a tear jerking trip down memory lane. Good god, I thought, as they started with Joy Division’s  Atmosphere. It was middle aged men going apeshit time!

This was then followed by, yes you guessed it, the greatest tune ever in the annals of rock music, my song, and probably yours as well, Love Will Tear Us Apart. But that was merely the beginning of a seventy minute set that then went on to cover everything fantastic that New Order ever recorded, including Your Silent Face, Regret, Senses and Temptation went to another level, prompting a mass sing a long with added hat throwing and pogoing. His finale with Blue Monday was just astonishingly sublime.

Jake Bugg from a safe distance

Jake Bugg from a safe distance

KT Tunstall played some pretty pretty rock ‘n’ roll, Dog Is Dead proved to be merely competent, but Maximo Park caused sparks to fly with a spiky set of jerky pop that caused much silly dancing and teenage girl hysteria. But they couldn’t compete crowd wise with the much anticipated headline appearance from local kid makes good, Jake Bugg. He certainly drew the biggest crowd of the night, but I remained distinctly unimpressed by his lack of  tunes, zero stage presence and  underwhelming voice. Neonfiller photographer Arthur Hughes even remarked that he sounded a bit like Lonnie Donegan At least Lonnie Donegan had at least two great songs, this guy hasn’t got one. We decided to move on and see Ryan Keen on the other stage. Now this guy has it all, a presence, a winning personality, superb acoustic guitar skills and a fabulous voice, very mellow, very beautiful, very laid back. This chap should be on your radar, a previously unheard gem of a discovery. More than compensates for the over priced jacket potato earlier that afternoon. All in all a grand day out, me duck.

Words by John Haylock, pictures by Arthur Hughes.

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Top 100 Albums (70 – 61)

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Top 100 Albums (70 – 61)

Posted on 29 March 2011 by Dorian

Everyone has their own Top 100 Albums list, but this is ours based on our love of alternative and independent music over the years. There are some albums here that you will have seen on many lists before but we’ve also opted for some obscurities with the aim of highlighting some different music for you to seek out.

We have been releasing this list ten at a time every Friday. We hope you enjoy this fourth instalment. Here’s our previous instalments (80 – 7190 -81 , 100-91).  See you next week for 60-51.

Also, for  more great albums visit our  Classic Albums section

70. Smog – Knock Knock

Smog - Knock Knock

Bill Callahan, AKA Smog, has been releasing melancholic dead pan songs since 1992.  Knock Knock, his seventh album, added instrumental texture and a new sense of optimism to the Smog palette, it even included a bona fide pop single in the shape of ‘Cold Blooded Old Times’. The move towards more uptempo numbers is only part of the story, the quite introspective side is still in evidence, and the children’s choir on ‘Hit The Ground Running’ is a surprising touch. Knock Knock sits pretty much smack in the middle of the Smog discography and is the best place to start.

69. Billy Bragg – Talking With The Tax Man About Poetry


The cover bares the self deprecating message about this being Bragg’s  “difficult third album.” The reality is that it may just be his best. Expanding the musicianship markedly compared to earlier work the songs retain Bragg’s passionate, political and emotional lyrics but musically this is a far broader album. From standout single ‘Levi Stubbs Tears’, to the folk blues influenced ‘Train Train’, the jaunty ‘Greetings to the New Brunette’, the gorgeous horn section on ‘The Marriage’ to the traditional ‘There Is A Power in a Union’, this 1986 album  is packed with fine tracks from one of the UK’s most accomplished folk artists.

68. Stereolab – Emperor Tomato Ketchup

Stereolab

Stereolab’s take on art-pop, synth-pop and 60s lounge music made them popular with other bands and critics alike, but never lead to a mainstream breakthrough. Their music can seem cold and clinical, their experimental side often overshadowing the quality of the songs. Emperor Tomato Ketchup is the album where all their elements came together perfectly. Opening number ‘Metronomic Underground’ exemplifies why this album works so well, the bleeps, squelches and monotonous repetition offset my smooth organic sounding bass, guitar and organ. This is followed by ‘Cybele’s Reverie’ Anglo-French art pop softened with Sean O’Hagan’s lush string arrangements and mid-way through the album they drop ‘The Noise of Carpet’, a perfect fuzzy guitar pop single. Their most varied and satisfying release.

67. Portishead – Dummy

Portishead - Dummy

Back in 1994 this debut by Bristol band Portishead was just about everywhere. Massive in the US, massive in the UK, its mix of trip hop, experimental rock and jazz made it a staple album of rich, poor, young and old alike.  Through its standouts such as ‘Sour Times’ and ‘Numb’ it perfectly encapsulates a sense of doom within the UK at the time. It was a time when the economy was still reeling from Black Wednesday and the greyest PM of all time John Major was in charge.  We can’t listen to this without thinking of an ’80s rich stock broker contemplating the millions he’s lost from his balcony in 1994 and dreading the nightmare to come.  This was rightly seen as a critical success as well at the time, winning the 1995 Mercury Music Prize. Their self titled follow up failed to replicate this stunning debut and it was not until 2008 with the release of Third that they would reach such dizzy heights of industrial melancholy again.

66. Prefab Sprout – Steve McQueen

Prefab Sprout - Steve McQueen

Paddy McAloon is a songwriter on a par with anyone that came out of the 1980s and Steve McQueen (renamed Two Wheels Good for its US release) is as good as any romantic pop record to come out of the era. ‘When Love Breaks Down’ gave the band their first big hit, and it is a special record, but it is just one of many classic pop gems on the album. ‘Faron Young’, ‘Appetite’, ‘Hallelujah’, ‘Goodbye Lucille #1’ and pretty much anything from the record could be picked for a “Best of the 80s” compilation. It is a sophisticated record, McAloon was aiming to be Cole Porter as much as Paul McCartney, but it is an accessible and fun record as well. Thomas Dolby’s excellent production does firmly date it in the mid 1980s, but that is no bad thing, it stands as a pretty perfect artifact of that era.

65. The Wedding Present – Bizarro

The Wedding Present - Bizarro

When The Wedding Present signed to RCA in 1989, two years after their stunning debut George Best, there were accusations in the music press that they had sold out. What was ignored by some critics was that their contract ensured they retained control over single releases and producer. Their RCA debut, a mini-album in Ukranian, and this, their second album proper, prove their major label owners were true to their word, allowing the band’s independent zeal and credibility to grow. While retaining George Best’s trademark fast paced guitars and the melancholy lyrics of frontman David Gedge the tracks on Bizarro are somehow bolder and bigger, with singles like ‘Brassneck’ signaling a career peak for a band that continue to produce fine music to this day.

64. Hefner – We Love The City

Hefner - We Love The City

Darren Hayman is a firm favourite here at Neon Filler and our love for his songs started in the late 19990s when he was the front man of Hefner. Hefner wisely called it a day after just four albums, not because they weren’t still producing good music, but because it means that they stand as a rare example of an act that never released a bad album. We Love The City just about shades the top spot thanks to having the usual range of witty, soul searching melodic tracks and having two classic singles in the mix as well. ‘Good Fruit’ and ‘The Greedy Ugly People’ are as good as anything that came out of British indie pop in the era, genuinely stirring and touching. The whole album has a great feel to it and the instrumentation feels fuller and clearer than on their earlier albums. The expanded 2009 edition added b-sides, alternate versions and session tracks and is well worth seeking out.

63.  Sun Kil Moon – Ghosts Of The Great Highway

Sun Kil Moon – Ghosts Of The Great Highway

This 2003 debut  features some of former Red House Painter Mark Kozelek’s best work under the Sun Kil Moon name.  Here Kozelek uses the music as much as lyrics to tell the stories of a variety of tragic characters, most notably boxers . The Neil Young-esque guitar on ‘ Salvador Sanchez’ perfectly matches the story of boxer Sanchez, who died in a car accident aged just 25. Another of boxing’s great tragic figures ‘Duk-Koo Kim’, who died following a fight, gets a whopping 14 minute track to himself. The time floats by though. Other highlights include the beautifully layered guitar instrumental ‘Si, paloma’.

62. They Might Be Giants – Lincoln

They Might Be Giants - Lincoln

New York performance art pop duo They Might Be Giants will probably always be known in this country as a novelty act due to the hit success of ‘Birdhouse In Your Soul’. Anyone prepared to delve deeper will find much to love on any of their first three albums released between 1986 and 1990. Lincoln, the second LP, is the best of all finding the perfect balance between their quirkier side and their ability to write great catchy pop records. Read more on this excellent album in our Classic Albums section here.

61. Joy Division – Unknown Pleasures

Joy Division - Unknown Pleasures

Martin Hannett, who produced 1979’s Unknown Pleasure, was the fifth member of Joy division in all but name. On this debut by the Salford band he stripped back the energy of their live shows to create space and atmosphere. It was a risky move that left bassist Peter Hook gobsmacked at the time. But it was a risk worth taking with tracks such as ‘Shadowplay’ and’ She’s Lost Control’ transformed through Hannett’s cleaner, stripped back sound.  One of the best debut albums of all time with even Hook  now conceding that Hannett “did a good job on it.”

by Joe Lepper and Dorian Rogers

Top 100 (80 – 71), Top 100 (90-81)Top 100 (100-91)

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