“We’re Comin’ Out”, for example, starts as thrash punk, then slows down to a lone piano and finger snaps, then speeds up again before devolving into cacophony.īut I love all the contradictions, conflicts and mix-ups here - they work because the record itself is about the contradictions, conflicts and mix-ups inherent in growing up. Tempos speed up, then slow down instruments change mid-song.

It’s tight but messy it has hooks and melody but it has noise even its beauty has “rings around” its eyes. This is a record with attention deficit disorder.

It's very much unlike The Lonesome Jubilee, which always knows where it’s going. It’s punk, then pop, then “classic” rock, then I-guess-you’d-call-it-country, then blues piano. But in 1984, they released this complete U-turn. They were better known for their disastrous drunken stage performances than anything else. The Mats, as aficionados know them, were a ragged, semi-talented garage band who crawled out from under Minneapolis in the early 1980s. It’s Let It Be by The Replacements, whom Rolling Stone once labeled as “the greatest band that never was.” The record I’ve chosen is a reflection of all those conflicts and mix-ups. We were also alternatively euphoric, depressed, weird, serious, ashamed, uncomfortable, embarrassed, brave, immature, goofy and introspective day to day and hour to hour. When we were teenagers, I bet we almost all felt that way sometimes.

I love The Who’s Quadrophenia because it’s a story about a misfit kid trying to make his way in a world he feels is hopelessly stacked against him. Thanks, for starting this thread and selecting me for a review.

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