Mike Bennett writesFriday iPod/MP3 Shuffle—Happy Birthday Calvin Johnson Edition

Today we wish a happy birthday to a major figure in American indie rock, Calvin Johnson. Johnson is probably best known for his band Beat Happening, one of many bands that he founded, along with K Records. Johnson, his bands and the artists on his label, had a low-fi sound that was twee and rudimentary. It wasn’t just DIY, it was anybody could do it. They were extremely influential. Johnson has worked on other interesting projects, like the dance oriented Dub Narcotic Sound System and The Halo Benders, a collaboration with Doug Martsch of Built To Spill. In honor of Calvin Johnson, please grab your iPod or MP3 player, hit shuffle and share the first 10 songs that come up.

1. Glenn Mercer – Whatever Happened (Wheels In Motion): Mercer is one of the main men from The Feelies. His solo album sounded pretty much what you would think it would sound like – like a guy from The Feelies. This track in particular, which is why it is the biggest highlight, with a Velvet Underground strum over an urgent rhythm with lots of percussion. Great tune.
2. Pernice Brothers – 7:30 (The World Won’t End): Joe Pernice and crew try to make slight changes in the sound on about every album. On their third album, the band adds a real punchy Brit ‘80s indie pop vibe. Here, the contrast between Joe’s gentle but intent vocals and the bopping and driving rock is fantastic. There’s a great harmony vocal interlude too.
3. Sponsors – In and Out of Love (Yellow Pills: Prefill): This is from the final Yellow Pills collection compiled by Jordan Oakes, which is full of nuggets from the obscure corners of ‘70s power pop. I can’t say I know anything about Sponsors. I can say that Oakes had an amazing ability to find true gems. This isn’t quite a polished as most classic pop, but the song definitely moves and it has a great hook.
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5. John Cale – InAFlood (blackAcetate): The last few John Cale solo albums have shown that not only that he still has it, but that he has not let music pass him by, as the production and sound is thoroughly modern. This song has a bluesy vibe that I don’t normally associate with Cale, and he pulls it off well.
6. The Damned – Gun Fury (Strawberries): I’ve had this album for years and probably have listened to it a dozen times. Good thing I have it on my iPod. This is a gothy psych number, which is the direction they headed to for quite a while. It fits Dave Vanian to a T.
7. James – Withdrawn (Stutter): While I like the big anthemic stadium band that James became, my favorite album of theirs is still their debut. Here, they played a skittish folkie take on ‘80s British indie pop that is not too far from another fave of mine, A House. This song, as with many on the album, benefits from some real creative decisions by the drummer.
8. Royal Crescent Mob – Corporation Enema (Spin The World): One of my favorite songs of its era. The Mob were Ohio’s version of the Red Hot Chili Peppers, but they substituted cleverness and versatility for the RHCP’s bro-ness and tube socks. This song was a showcase for bass player Harold Chichester, and it’s a blues anti-boss anthem. A real live highlight, and that’s saying something, as the Mob were full of highlights live.
9. The Mekons – Someone/Rock Stars on the Marie Celeste (The Mekons Rock ‘n’ Roll): Is this album in print? It’s certainly one of The Mekons’ best. By this point, they had steered away from their Honky Tonk phase and morphed into a ballsy rock band with some roots elements. This is a midtempo lefty political tune of the type that Jon Langford has done well forever.
10. Funkadelic – Standing on the Verge of Getting It On (Standing on the Verge of Getting It On): A smoking funk-rock number from George Clinton and crew. By this point, the band’s music was getting a wee bit slicker, a preview of what was to come with Parliament, and structurally more complex, also a preview of what was to come with Parliament. The basic groove of this song is basic, but there is so much more going on here.
11. Liz Phair – Johnny Sunshine (Exile in Guyville): I never thought that Guyville was a masterpiece, as I think a number of tunes just lay there. But I certainly understand it’s impact, as Phair’s songs were so open and blunt. While a big deal was made of her being a woman, and I understand why, the frankness was a big deal for anyone in rock. This tune juxtaposes the drony verses with an angelic second section. I always wonder why she abandoned this cutting, observational approach. Maybe it was just an act.