The Unforgettable Fire – U2
I am neither a U2 mega-fan, nor, obviously, a hater (suck it,
@shuke), but this album is just too masterful to pass up starting this draft at the bottom of the 4th Round.
I think it is low-key their best album (though Joshua Tree is a strong contender).
Songs:
The Unforgettable Fire
Bad
The Clash (self-titled debut, UK) – The Clash
My top two clash albums were off the board WAY early, so I am getting this one while the getting is good. It is the only straight forward punk album the Clash ever put out. I liked their eclecticism, but I appreciate the sheer energy and aggression of this record a lot.
Songs:
Janie Jones
White Riot
Soul Mining – The The
This is undoubtedly one of the true masterpieces of the new wave/original post-punk era. Sure, the synth and drum machine-heavy production makes it sound very much of a certain time, but the song-writing is brilliant and Matt Johnson’s caustic lyrics and really committed delivery are amazing.
Songs:
This is the Day
Uncertain Smile
Live in London (w/Joe Strummer) – The Pogues
This is the ultimate
@Eephus pick. I get the best of the Pogues catalog, with Joe Strummer on vocals, and a few of my favorite Clash songs that I missed out on in Round 1. The single best thing on the album is Joe Strummer acknowledging Shane McGowan in the crowd (he had left the band to deal with his alcoholism) and extorting the fans to give him some “f----ing appreciation”.
Songs:
Dirty Old Town
Straight to Hell
1. "UF" is not only U2's finest musical hour, it's also their finest song.
one of the Jr instructors at my daughter's dance academy fancies herself an 80s aficionado - i thought it was just fashion statement shtick, but she really digs the music ... she asked me to cull a Spotty playlist for her featuring my top 25 of the decade - she had the expected reaction to all of it (LOVED!), but "Unforgettable Fire" struck the chord in that kid
bigly - she choreographed an interprative piece that she was gonna dance at her HS's senior appreciation gig - never came to fruition due to the lockdown, natch - but that's exemplary of the power that tune packs when processed by an inspired soul - so many just know the usual hits and largess of the Bono.
"Pride" took all of the public accolades from this album (though "Bad" resonates deeper with devotees, along with "UF") - i said it in Tim's NU WAVE thread, and i'll say it here - i never got the overwhelming love for "Pride", and it really doesn't meld with the rest of that platters aural landscape. yeah, i know, homage to MLK and all, but it's just outta place here ... "A Sort Of Homecoming" kicks off where we're heading, and it's evident right away that it's gonna be a much more textured journey than anything the lads laid down prior - Eno/Lanois were leading them down some sonically luscious paths - but after that opening salvo, we're punched in the grill with "Pride" - meh ... it's just fish outta water - not a bad song (pun intended), but then we're regaled with their greatest 3 song run in Wire/UF/Promenade - all fixed in accordance with "Homecoming", but the "Pride" hiccup still renders me baffled - perhaps better served on side 2, it just feels like it was the single, and it had to be included.
/"Pride" rant.
anyways ... amazing album, sorry to see it go, though i suspect it was high time someone laid the love down on it.
2. the eponymous Clash
is their only punk album - totally agreed ... Bernie Rhodes saw what his buddies Malcolm (Pistols) and Andy (manager of the Damned) were up to, and knew he had to get a group together to rival them.
Joe was an r n' b bar band strummer (the 101ers), and Mick had guitar god designs ... Paul was a Brixton snipe who loved his dancehall and reggae and dub - insert random Chimes or Headon on skins - in short, this album was crucial inasmuch that they knew it (a PUNK! stance) was their only path into the game, ergo allowing them to stretch their chops in any number of differing directions.
Bernie took them aside and said "everyone always writes about girls and love and cars - you gotta write about other things, things that matter to you socially/politically" - and they did ... credit where it's due, this has a crisper pace, and is leaner than "Bollocks", even with the nods to the aforementioned genres with "Police and Thieves" and "White Man in Ham Palais" (which is the jewel of this album, no question).
the sonic confines of what defined the movement were always gonna be too restrictive for this bunch - so claustrophobic were they that it spawned genre bending works the rest of their way (lest their second album, which had it's punk moments, but was more trad rock, straight up).
the fingerprints of the various influences smear everything they produced right up to "Combat Rock" ... they may have been "the only band that mattered" for a spell, but they were far removed from any semblance of punk's Stalanist boundaries by that time.
they were raw, but i never bought them as a crew that had a blinding desire to deconstruct the industry, but rather just reshape it to their preferences, which they did on their terms- so, mission accomploshed.
all that being said, it's still a top 5 "must have" from that early class of England's rabble rousers - it's a powerful snap of a culture at the crossroads.
3. i need to dig deeper into "Soul Mining" ... was never big on my radar.
4. gotta say, for my money, Pogues body of work is on par with the Clash, and Shane is the great unsung frontman of all-time ... Joe was a natural here, this is a phenomenal piece of work - too good to be true, actually - can't toss enough love to this one.
tl;dr - KILLER RUN!
PS- on mobile this morning, quoting each album individually woulda sent me straight to the Dew-uhhhz
... maybe that's not the worst thing, actually.