#tmbg fans be normal about anything ever

[gelarshiesprofruitboarder]

i thought these were beautiful butch women but its just some guys name john

[disinvited-guest]

12/31/2018 Philadelphia Recap

The wait for this show was absolutely wonderful, as I got to reunite with old concert-going pals (in case you were wondering, @monopuffstan and @integrityproject remain as wonderful as ever) and meet several new ones.  Even if the concert hadn’t been absolutely wonderful, hanging out with all of these awesome folks would almost have been worth the trip itself.  

We had a wonderful, if cold and soggy, wait.  Flans walked right through our line to get to the venue with a polite “excuse me.”  I happened to be one of the people in his way and I shuffled to the side, mortified.

Once we got inside, things became a bit less jovial.  I did not get along with the people to my right, who were more than a little drunk. I’m not going to include their antics in the recap, but they did have a negative effect on how much I could hear and see of what was going on onstage.  Reminder:  there is a bootleg of this show floating around, so you can listen to what I missed.

JoCo came onstage at 9:20 sharp  wearing a tuxedo with a very stylish bow-tie.  After playing Artificial Heart, he commented faux-disapprovingly on what the crowd was wearing “I thought this was a party!”  He told us he had never played a show in a tux before and was worried for two reasons:  that it would restrict his range of motion, and that he would sweat through it in 5 minutes.

He played Shop Vac, then mopped his face with a towel and warned us that it was happening.  Someone shouted at him that he should take off his suit, and he responded that there was “nothing underneath.”

The crowd cheered at this, but JoCo responded that we were cheering now, but “after, you’d be disgusted” and that he’d be all over the internet the next day as a “weird asshole.”  

Introducing Future Soon, he told us that instead of looking back on 2018 we should look forward into the Future.  Afterwards, he took of his bowtie, warning the crowd that this was “As far as I’ll go.”  He introduced the next song as being about getting old and being sad about being old “but that’s okay,” which led into Glasses.

“I have a new album,” he told us after the song ended, “It’s called Solid State and that’s all I’m gonna say about that.” When the crowd cheered in response, he gave a world-weary sigh and continued in a grudging voice. “Of course we need a concept album about sci-fi.”  He sighed again, then added “And how the internet kind of sucks now.”  Another sigh “And how technology will either destroy us or save us.  One last huge sigh and then “And I’m sorry, but there’s a companion graphic novel.”  With the crowd cheering counterpoint to each on of his sighs, it was truly hilarious.

While messing with the laptop he had onstage, JoCo told us that “The album makes a lot of bleep bloop sounds.  This is just a normal acoustic guitar.  It doesn’t make bleep bloop sounds, so I brought out this.  This is a computer.”

The computer made excellent bleep bloop sounds as JoCo played All This Time.  Putting his guitar down after the song was over, JoCo picked up the machine with knobs and buttons all over it (If you haven’t seen him play Fancy Pants on this thing, my description isn’t going to do it justice. I’m begging you to look it up on YouTube.)  He warned us that on this machine “Even when I’m well-rehearsed, I’m barely hanging on.”

He immediately put the lie to his words by showing off a bit of what the machine was programmed for.  He then explained the song, verse by verse, before actually going into the song.  I was unprepared for just how glorious it was.  He added a bit of Auld Lang Syne into it, singing along a bit before declaring that no one knew the words anyway, and a bit of Single Ladies, and topped it all off by having the machine tell us “Gonna be the best in everybody’s pants.”

After returning to his guitar, JoCo brought up his wife, which got a cheer from a few people in the crowd.  “Some fans of my wife here,” he said, bemused, before moving on with his story.  

Apparently, before he met his wife, she wanted a tattoo, but didn’t have a particular one in mind.  “Which I later learned was typical of her, to have a goal in mind without considering the steps in between.”  She looked through the books in the parlor, “like

at a barbershop” JoCo explained to us, and picked out one she liked.  She got the tattoo, but regretted it.  Once he and his wife had started dating- “and I had an opportunity to see it,”  he added in wickedly, getting a cheer from the crowd-  he asked her about it and she grumbled that it was stupid, and she had just wanted the idea of a tattoo.  Recently though, his wife went in again and got quotes put around the tattoo, so now it is actually a tattoo of the idea of a tattoo.  All this talk of tattoos led, of course, into the song Your Tattoo.

JoCo mentioned that They Might Be Giants would be on his cruise, but that it was too late to buy tickets because it was sold out.  He told us it was a missed opportunity and that we should have followed his blog.  He then introduced the next song, I Feel Fantastic as a “song about how you’ve all made me feel tonight, but it’s also about being on drugs.”

Afterwards, he left the stage as we cheered.  After a few seconds, Flans came onstage, a scrap of paper in his hand.  The crowd’s cheering greatly increased.  He came up to the mic and announced “The owner of a blue Dodge Neon double-parked in front of the venue. Move your car or you will be towed.” The paper in his hand did say something about the car, so I have no doubt it was there, but somehow the context made it hilarious.  Having gotten all car-related news out of the way, Flans announced “Jonathan Coulton, everybody!” leaving stage as we cheered JoCo back on.  

JoCo thanked everyone, then had us practice our “part” for Re: Your Brains.  The first time around was too good.  He explained “Zombies get distracted.  They can only think about how much they want brains.  Some weren’t good singers to start with and rotting doesn’t help.”  Our next attempt was much better/worse, so he started into the song.  Afterwards, he thanked everyone once more and left the stage.

Immediately, that same stage was swarmed by the crew.  I got a glimpse of Fresh’s socks, which were full-color prints of a basketball player in the middle of a slam-dunk.  There was no riser for Curt, confirming that he wasn’t there.

The intro music came on quickly, followed by the band.  There was very little banter at this show.  I think they were worried about what point in the show they would take their break for midnight.  They played their first several songs without pause, starting out with The Communists Have The Music, then Twisting and I got a mouthed  “hi!” and a smile from Danny.  During Why Does the Sun Shine, Linnell told us that everything on the sun was a gas “copper, things that aren’t gas, iron, and even gas.”  He told us he was doing a voice so that “the tone of voice makes you think I’m condescending and impatient.”

They played Birdhouse in Your Soul, then went into Particle Man pausing only long enough for Linnell to grab his accordion.  He didn’t add another song into the interlude, simply switching into a minor key for a description of triangle man.  During the Famous Polka, Dan and Linnell executed a wonderfully in-synch kick (though not nearly as high as the Flans kick photo that’s been going around from that evening).  The audience all contributed to the song, chiming in with a fair imitation of the “doop-doop”s the bridge has in the recorded version.  It was one of those crazy-beautiful moments of serendipity you only get at tmbg shows.

After Famous Polka ended, they had the first banter of the evening.  Discussing his day, Flans told us all a story about his stop at a Popeyes next to a museum he had visited.  At the Popeyes, he was waiting next to two women and a man speaking “not-from-this-country” Italian.  He then pointed out to the guy that Popeyes! also spells ‘Pope yes!’ and the group found it hilarious (after the guy translated the joke to his companions).  Flans felt like it was a great start to the the year, and was about to say more but broke off to add to his story.  Apparently one of the women “the only English word she knew was ‘leg’” had done the Pope blessing thing with a chicken leg.  Flans demonstrated the motion to us, then said that in the new year he wanted “less of this-” miming pushing something away, “and more of this-” repeating the chicken-leg blessing.

Linnell decided that there were “little dramas like that going on at every stop on the turnpike.”  He decided that at the Molly Pitcher stop they were chanting “We want a pitcher not a chicken-leg itcher”  This prompted them both to start listing stops on the turnpike, some real and some decidedly not.  Eventually, they decided they were losing the crowd with all of their outdated references.  Flans asked Linnell if he was still jetlagged.  Linnell responded that he was, then explained to us that he was still on Scotland time, where “it is very late at night right now.”

“That’s what this next song is about!” and they started into Memo to Human Resources.  I was so excited that it took me a few lines to calm down enough to actually pay attention to the song.  I’d been chasing it all year and honestly thought I’d never hear it live.

Flans introduced the next song quickly “We have a new album out.  It’s called I Like Fun and this is I Left My Body.”  From there they went straight into Science is Real.  It was the first time I’d seen them play it without Flans using a cheat-sheet for the lyrics, and he did mumble a few of the words he forgot.

I believe it was here Linnell brought up Clara Barton as another potential stop on the turnpike, and both Johns began asking the crowd about the nature of the stops; if there were criteria for naming them, if there was a list of stops, etc.  

Eventually, Flans introduced Dan Miller on the keyboards “anything is possible!”  Dan extended his index finger like he was going to play a note, then pulled it back, shaking his head.  Danny watched the whole process with extreme interest.

“Don’t mess with those dials.” Flans told Dan.

They played Let’s Get This Over With and Doctor Worm, during which Flans was a bit distracted, looking of stage a lot, and even heading off once or twice.  During the Doctor Worm solo, Danny had to cover a bit of his part.  

Flans came back downstage and they played Robot Parade, starting slow and gradually becoming more and more rocking.  Flans attempted a human theremin during this song.  He gave the audience 15 seconds “for people who know what a theremin is to explain to people who don’t know what a theremin is.”  He then counted down the 15 seconds.  I’m not sure how much explaining was done, as a large portion of the crowd counted down the 15 seconds with him. He then gave a brief explanation and began.  It didn’t work super well and he wrapped things up quickly, but it was fun to be a part of.

Next up was a quick introduction to Trouble Awful Devil Evil, and it was also when my asthma started acting up.  I used my inhaler and when I refocused on the stage Danny was watching, presumably to make sure I was okay.    After Linnell put down his little clarinet for Trouble Awful Devil Evil, Flans briefly introduced him on the Contra Alto Clarinet before they played All Time What.  

Flans had Dan play a note on his guitar to show off the synthesizer, which Linnell claimed could “make a guitar sound like any instrument.”  Dan made a face and Flans amended “Well, any instrument purchased at a Radio Shack.”

They played We Want a Rock, then went straight into Bills Bills Bills.  During the start of the song, Dan posed next to Danny, guitar held at a precise angle, foot tapping.  He then nudged Danny and demonstrated the pose for him until Danny copied the pose and played that way together for a few bars.

Afterwards, Flans told us that the count-offs for the evening were “provided by Al Gore.”  He then proceeded to explain to us that they had seen other bands start without count offs and had been really impressed, but then “we switched and no one noticed.”

“Until now,” Linnell told him.

The two debated whether or not it was too technical for the audience to understand, but then Flans decided we were pretty smart “Three-fourths of them knew what a theremin was,” and they played Letterbox.  

They moved from Letterbox into Spy.  The ending was as fascinating as always, with Flans and Linnell each adding their bit, but rather than actually ending the song, they simply transitioned straight into Dan’s intro to Istanbul.  It was great to see the song getting the full Dan Miller treatment once again.  He was truly amazing.  At one point, he was playing one-handed, just plucking at the frets, at another point, he pointed to the crowd for a cheer before continuing on.  He even attempted to trick the rest of the band into thinking he was wrapping things up (they all got ready to start) before continuing on for another several seconds.  The whole thing was glorious.

During the song itself, Danny gave me a goofy look, and I snorted in response, then immediately covered my nose, embarrassed. Danny cracked up laughing and walked away.  During one of the fake endings, in the space where Dan and Curt had ‘battled’ in other 2018 shows, Dan and Danny did the same for a bit, switching off for a few lines, which was amazing.

As the song was wrapping up, Flans went around getting everyone's attention and wiggling his outstretched fingers at them.  This marked their departure from the setlists and led, accurately and amusingly, into Fingertips.

During I’m Having A Heart Attack, Flans did his boy band bit, but instead of facing the audience for it, addressed off stage right, where I had noticed Robin hanging out in the wings earlier.  I don’t know if she was still there, so I’m not sure if it was intentional or not.  

Dan did the first of the two whispered “Fingertips” without incident, but as he was about to repeat himself, a guy in the crowd shouted “Fingertips!” in the near-silent room.  Dan pointed in his direction and steps back from the mic and the band moved on to I Walk Along Darkened Corridors.

They went straight into The Guitar from there.  Trying to get close enough to midnight, they ended it with a big solo for Danny which was absolutely amazing!  Danny never gets enough time to shine in my personal but admittedly biased opinion and this was an amazing chance to see all that he could do.  Dan and Linnell stood next to each other behind the keyboard to watch Danny.  Dan looked over to Marty, keeping time on his set, and motioned to him that he stunk, pinching his nose and grinning.  Marty must have responded with a worried look because Dan immediately waved it off and gave him a thumbs up.  Linnell did the double point to his eyes and then to Marty in an ‘I’m watching you’ gesture.  

Danny’s solo was truly amazing, it was well over a minute in length and just when you thought it couldn’t get more awesome, it did.  The whole thing was made even more interesting by the fact that, since it was somewhat to stall for time until midnight, every so often Danny would glance over at Flans to check how much longer he wanted him to keep going.  Eventually, they wrapped up the song and a sweat soaked Danny accepted a new water bottle from Fresh while toweling off his face.

There was still more than a minute before midnight when The Guitar wrapped up.  Linnell decided we should “take a moment to remember the people in the crowd we lost along the way.”  The Johns went back and forth on this idea for a while, with Flans mourning “the people who were brought by their friends and are never coming again.”

Eventually they brought up a projection that had instructions for counting down, screaming for 2019, the words to Auld Lang Syne, etc.  The countdown was started at 15 seconds to midnight, but the crowd started out too slow, and in trying to catch up began counting too fast.  We overshot our goal and began celebrating the New Year a second or two too early.  They played Auld Lang Syne into an absolute explosion of confetti as things onstage devolved into an absolutely beautiful chaos.  Fresh, who was helping the confetti tech load the cannon, was eventually pushed out of the process by an incredibly enthusiastic Flans, who loaded the cannon at double speed and moved it back and forth so it would hit everybody.  The confetti got absolutely everywhere, covering the stage and the crowd for the rest of the show.  

Onstage was an absolute hugfest.  Danny hugged Dan, then went over behind the drum riser to hug Marty.  Fresh got a hug from Marty then ran offstage pumping his arms like he’d just won a prize.  Dan lifted Marty off of his feet while hugging him.  There was evidently champagne offstage as someone later set the bottle on an amp.  Flans chugged some directly from the bottle.

As the last of the confetti settled, Flans took the fan that was set up onstage and began using it to clear off some of layer of confetti coating absolutely everything, making a joke about needing a clear stage.  Danny scooped up big handfuls and ran around throwing them over people in the crowd.  At one point, Marty saw him at it and asked why he hadn’t thrown any confetti over his head.  Danny eventually obliged, although he waited until the encore when Marty wasn’t expecting it.  Linnell had the opposite problem, seeing Danny carrying a handful of confetti and worrying it was meant for him.  Danny saw his worried expression and indicated it was meant for the crowd and Linnell relaxed.  The crowd itself was also throwing big crumpled handfuls of the stuff, which packed a bit more of a punch than the drifting flakes, and just about everyone, onstage and in the crowd, got hit by one of the clumps.

Eventually, Flans brought the show back into motion.  He thanked the band, the crew, and the crowd then told us they had a few more songs.  They played Dead, a poignant counterpoint to the beautiful insanity preceding it, with Dan Miller watching from the wings.  At one point he waved to someone in my general section of the crowd, but when I turned around to look, I couldn’t see anyone looking in his direction.  He came back on for Man It’s So Loud In Here, which was introduced as the last song of the night.  They left the stage after that, leaving us to cheer for their return.  You could tell that people were tired.  While the crowd kept up it’s cheering before each encore, a lot of the wild enthusiasm usually present was lacking.

The first encore began with Mrs. Bluebeard, which I’m always happy to hear live.  Dan Miller got the bit he had been so frustrated with in the fall without any problems, and was clearly pleased with himself.  Flans thanked everyone once again and they played Damn Good Times, with Dan wow-ing the crowd with another amazing solo.

Flans, Linnell, and Marty were the only ones returning to the stage for the second encore, soon followed by John Carter and Fresh carrying out the glockenspiel.   Fresh and Marty had another mallet spin-off, with Fresh having improved his game since the Buffalo show, but Marty still the clear victor.  

They played Shoehorn With Teeth, with all due decorum going into the playing of the glockenspiel. Flans forgot which verse he was starting at one point, starting partway into the first line.

After the song was over, Flans told us that they didn’t know where the other tassel was.  Linnell decided that the number of tassels showed how skilled the glockenspiel player was, and that you had tassels removed as you moved up the levels.  Marty, he explained, was a one tassel player, but would eventually have the other tassel removed.  Fresh, back onstage to remove the glockenspiel, made a big show of acting like he was removing the remaining tassel and then ‘changing his mind’ and leaving it.

By then, Dan and Danny had returned to the stage.  Flans told us all that this was the last song “for real now.  Last time we were lying.”

“This is the song we like to do last.”

They played the Mesopotamians, then left the stage for the final time.

As soon as they were gone, Fresh was out onstage, assisting the girl next to me who had lost her glasses over the railing towards the end of the show.  Her efforts to retrieve them had made me feel less than charitable about the whole situation, but it was wonderful how prepared Fresh was to help her.  While Flans, Danny, and Marty were passing out stickers and setlists, Flans even brought over his fan to blow away some of the confetti from the spot and make finding the glasses easier, eventually handing the fan to Fresh so he could continue the search.

I didn’t quite cry leaving, but it was a near thing.  I hope for many more concerts to come, but since have to take a break from my touring habit, this show was a wonderful high note to end on.

[ridleykemp]

Pandemic Notes #5 (notes on a note-free meme)

If you’ve been anywhere near social media, mostly Facebook I presume, you’ll have seen this one: Day X of "20 Albums In 20 Days". Covers only, no explanations. Albums that impacted your life in some way. Nominate someone else to do the same thing each day.

That kind of list-making is absolute catnip to me. There’s one little problem: “no explanations.” If there’s anything I love more than music it is talking about why I like music. So, while I did the thing over on FB, I’m going to cheat now and provide the stories that go with my selections. Why? I don’t even know what day it is anymore, so cut me some slack on this one.

1. Oil and Gold - Shriekback

“Nemesis” was absolutely all over the clubs back in the day, which is appropriate because it’s a great song. When I finally bought the records, though, I was shocked. It was maybe the sixth or seventh best song on the album. Literally everything on Oil and Gold is great. These albums were in no particular order, but this was as easy a pick as I’d get to make.

2. Viva Terlingua! - Jerry Jeff Walker

I was raised on showtunes (mom) and 70s country music (dad). This was a particularly bloodless era in the history of C&W. The “Nashville sound” just didn’t work for me. This, however, is not Nashville. This was my introduction to “outlaw” country, which was much more my speed. It was my first exposure to country where the band seemed as important as the singer, and the Lost Gonzos were one hell of a band.

Jerry Jeff was my first concert, too, at Billy Bob’s in Fort Worth. I won tickets to a New Year’s Eve all-you-can-drink show. Not a bad first show, huh?

3. Suffer - Bad Religion

Matt, one of my co-workers at the record store, recommended this to me. Or, rather, he recommended Christian Death’s record and I mis-remembered it. Some accidents work out. This changed how I looked at punk with the intelligence, the quality of the vocals, and the energy of the performance. I was reliably told that real punk doesn’t have harmonies, but I can live with that.

4. Hearts of Oak - Ted Leo + Pharmacists

Newly divorced and in a strange city, I was re-discovering discovering music in the early 2000s. Canadian music video channels and especially Spin magazine were two of my more reliable sources. I loved Ted Leo before I heard a single note of his music, so it was a tremendous relief when I finally got hold of this album and found that the music lived up to the hype. Leo was obviously influenced heavily by the stuff from the 80s that I wasn’t cool enough to like then.

5. Loveless - My Bloody Valentine

Sigh. I was given the promo copy of Loveless (on cassette, no less!) at the record store. I listened to it once, decided it wasn’t really my thing, and gave it to Curtis. A decade or so later, I heard “Soon” in some random place and realized I’d made a huge mistake.

6. Fear of a Black Planet - Public Enemy

Stefan, a guy I waited tables with, knew I was heavily into Nine Inch Nails and thought I’d dig this. So I went over to his house and he put on “Welcome to the Terrordome” and damned if he wasn’t right. This did for hip-hop was Suffer did for punk, at least for me. I had to re-evaluate everything I thought about the genre because Fear of a Black Planet is undeniable. And Bob, if you’re reading this, I still remember your take on the title track.

7. Flood - They Might Be Giants

In 1990, there were two albums that were reliably in the record collection of every girl I knew: This one and Yaz’s Upstairs at Eric’s. I was already a TMBG fan, but the fact that they covered a song my mom used to sing to me (“Istanbul”) kind of freaked me out. At the show on this tour, instead of shirts, they sold fezzes, which has to be the most TMBG thing ever.

8. Pretty Hate Machine - Nine Inch Nails

This album was my life for longer than I care to admit. Every track still works for me. In August of 1989, when “Down In It” hit the clubs, none of us had heard anything like it (well, Skinny Puppy fans had…*cough* ). I don’t think I wore anything but black for a couple of years. I got the CD at the most alternative store in Dallas (that would be the Hastings at Valley View and yes that’s a joke) in November and haven’t stopped playing it since.

9. LP - Ambulance, LTD.

One of two bands on this list that were murdered by label issues. I found Ambulance by accident. I went to a SxSW showcase at the Red-Eyed Fly to see Stellastarr* (who were terrific) and got there in time to see an opening act that played absolutely perfect guitar pop, stuff Matthew Sweet might have come up with if hadn’t listened to so much Television. Anyway, the flyer for the show had the band order wrong I thought I was looking for The Unicorns, and it took me a couple weeks to find out who I’d really seen. This is a strong contender for best album of the millennium.

10. Young Team - Mogwai

I choked on this selection. I love the album, and Mogwai Fear Satan is one of my favorite songs to play loudly (if not well) on guitar. But…if I were to pick a Mogwai record, it should probably be Rock Action, which was my first and I still use the intro from “2 Rights Make 1 Wrong” as my alarm song.

11. Electric Version - The New Pornographers

Another Spin discovery. The reviews were glowing but didn’t really give me any sense what they sounded like. Eventually, this album was added to the jukebox at Casino el Camino and I got to give it a listen. It was love at first note. All of their albums are hook-stuffed, harmony-rich power pop perfection, but this one is my pick of that very fine litter. The first four songs would make the best EP in rock history.

12. This is the Day…This is the Hours…This is This! - Pop Will Eat Itself

1989 was weird. “Can U Dig It?" got a smidgen of airplay on the corporate-indy station in Dallas for some reason. It was the first time I’d heard music that was largely sample-based that actually rocked. The whole album is a mad cut-and-paste collage with Clint Mansell and Graham Crabb rapping over the top (very over the top, in fact). They’re one of five bands on this list I’ve never seen, but it’s not for lack of effort. They cancelled their last show due to visa problem, and when the opened for NIN on The Downward Spiral (and their own, equally excellent Dos Dedos, Mis Amigos), well…that a memorable night.

13. We Are Beautiful, We Are Doomed - Los Campesinos!

I love Los Campesinos! unapologetically, and that is the only way to love them. Their heart is on their sleeve and their sleeve is in your face. The title track, a minor masterpiece of tweeXcore, has one of my favorite lines:

”Oh we kid ourselves there’s future in the fucking, but there is no fucking future.”

They’re a band I can listen to any time I need to feel exactly that way. They also figure several times in Kieron Gillen and Jamie McKelvie’s Phonogram, and they capture how I feel about Los Campesinos! perfectly:

14. Over-Nite Sensaton - Frank Zappa and the Mothers

“Montana” was my introduction to Zappa. In Jon Lamendola’s car outside Collin Creek mall, he put this tape in and..it was so dumb, and so funny, and yet also so good. It was like listening to a Loony Tunes soundtrack with the smarted, weirdest guy you know making up a narration. It’s probably not my favorite Zappa record, but it’s certainly the one that means the most to me.

15. Dusk - The The

I bought this at the Sound Warehouse on Park and Preston one night after work because I kind of liked the single, “Dogs of Lust”. At the time, I was a little disappointed because the rest of the record is far less aggressive, but it stuck with me through all these years. The bookends, “Love Is Stronger Than Death” and “Lonely Planet” are absolute masterpieces but it’s strong start to finish. I tend to come to things late, and this album got me through the early 2000s in style.

16. Like This - The dB’s

Oh, college radio. KCOU in Columbia, Missouri was my first college radio station and they were playing all the college-appropriate bands of the era (Smiths, REM, U2, and a lot of Zappa), but there’s no question as to the identity of the biggest band of my freshman year: The dB’s absolutely dominated airplay that year. Five songs from Like This got huge play. This is the other band destroyed by their label, which went belly-up right after the release of Like This. The Holsapple-led dB’s should have been one of the giants of their day. Instead, it would be a decade before this record ever made it to CD.

17. Discipline - King Crimson

I was an Adrian Belew fan before I was a Crimson fan. “Big Electric Cat”, from his Lone Rhino album, was the first music video I remember seeing on a video-only show. Anyway, for as weird as their record is (and it ain’t normal), it’s incredibly accessible as well. My sister was on a date with her eventual husband and they stopped by his flat before going out. He told her to put a record on and this is the one she pulled from his collection. He was both shocked and impressed, but he shouldn’t have been; my sister has always been much cooler than me.

18. OK Computer - Radiohead

There seems to be a lot of Radiohead backlash now and I don’t get it, but there’s a lot that I don’t get. I’d heard “Creep” and thought it was pretty good, but I hadn’t really kept up. Driving down to south to go camping with Andi and her mom, we listened to this and The Bends over and over…in no small part because I kept asking her to put it back on. Like the Crimson record, it was weird (duh) but accessible (huh?) and hypnotic. Those two remain my favorite Radiohead albums, with OK Computer getting the nod because the last three songs are perfect.

18.5 Peter Gabriel (third album) - Peter Gabriel

Uh oh…I’ve got too many albums to list and not enough space to do it! So, I cheated and went with 18.5 because I was not going to leave this album out. It’s still my favorite Peter Gabriel record. This is the “melting face” album, and I had a button with the cover of the album on my jacket. At the arcade (because we all went to arcades back then), a kid came up to me, looked at that button, and said “Eww! I bet that’s a sick rock guy!” That’s Pete, all right: A sick rock guy.

19. Reckoning - R.E.M.

I’m an unabashed R.E.M. fanboy and love all of their records, but Reckoning is the one that is “mine” more than any. I saw them do “So. Central Rain” on Letterman and there may have been a great deal of alcohol ingested by the band prior to the performance, but it only served to make it hazier and more southern-Gothic. I’d put side 1 of Reckoning up against any other album side out there.

20. Three Sides Live - Genesis

No, it’s not the best Genesis record. It may not even be their best live record. But, I saw them for the first time on this tour and side three may have impacted my life more than any other piece of music. That’s the side that has “In The Cage” and “Afterglow” with an extended instrumental medley between them consisting almost entirely of Tony Banks keys and Phil Collins’ dueting with Chester Thompson on drums. The instrumental section still gives me chills. The primary reason I’ve owned (and even tried to play) the dozens and dozens of pianos and synths I’ve owned is down to that one section of music.

So, that’s the list from Facebook. It’s not perfect. In fact, it’s not even really the right top 20. If I were to do it again, I’d probably leave Mogwai off the list. I’d have to find some way to shoehorn in The Pixies’ Doolittle or Sisters of Mercy’s Floodland or Arcade Fire’s Funeral. Anyway, those the short versions of the stories behind the 20 album covers.