1984
Meat Puppets II by Meat Puppets
In 1984, SST Records released a couple of the most influential albums in the post-punk universe – Husker Du’s Zen Arcade and Minutemen’s Double Nickels on the Dime. But no one at the label quite knew how to interpret Meat Puppets and the style of punk they were doing. They came out of the Phoenix desert and Curt Kirkwood’s high-pitched whine didn’t fit with the loud screamers that were usually shouting over the rapid-fire cacophony that he and his brother Cris were cranking out.
“Split Myself in Two” and the instrumental hoedown “Magic Toy Missing” – the first two tracks on their second album, almost sounded like country music. It would eventually come to be known as cowpunk.
But the Kirkwood brothers' interests went all over the map, from the lyrical to the insane. The third member of the trio, Derrick Bostrom, kept a pounding punk drumbeat in effect regardless of the tone on most of the tracks. But then Kirkwood could veer off and essentially lay the blueprint for what would soon become known as grunge.
Three of the tracks on Meat Puppets II would be immortalized by a different Kurt a decade later when Nirvana included “Plateau,” “Oh Me,” and “Lake of Fire” on their Unplugged album. The Kirkwood brothers joined Nirvana for those cuts, and in general, Kurt Cobain’s vocals are a significant improvement on Curt Kirkwood’s originals. But the original tortured version of “Lake of Fire” needs to be heard if you are a fan of Nirvana’s acoustic take.
Gum Tree Canoe by John Hartford
John Hartford had his best chance at mainstream success in the early ‘70s when the singer-songwriter movement was in full force. Warner Brothers signed him and released a couple of outstanding progressive bluegrass albums. Nobody seemed to care very much.
Hartford and Warners parted company, and he began a long run with Flying Fish and, after it was sold, with Rounder Records. Like Guy Clark, everyone in the country/bluegrass world thought of Hartford as a towering light, even if major mainstream success eluded him.
That’s why an all-star lineup of bluegrass royalty joined him for his 17th album in 1984. There’s Jerry Douglas on dobro. Sam Bush and Marty Stuart play mandolin. Cowboy Jack Clements produced and played on a few songs as well. And of course, Hartford could play anything with strings. The opening track, “I’m Still Here,” immediately establishes Hartford’s combination of sharp playing and humor.
He features a lot of strong originals but also serves up several fascinating covers – including a surprisingly gentle version of “Piece of My Heart” and an ear-opening take on the Jagger/Richards song “No Expectations.” And for pure prog-grass workouts, it’s hard to top the nonstop “Jug Harris.”
Red Roses for Me by the Pogues
I would never argue that the Pogues' debut album is somehow better than its famous follow-up Rum, Sodomy & the Lash from the following year. But Red Roses for Me doesn’t have to take a back seat to anything. In hindsight, the music world may have needed Red Roses for Me to kick in the door with its new take on old music in order for Rum… and If I Should Fall From Grace with God to land where they did later in the decade.
Shane McGowan wrote most of the songs on the album. He makes his mark right off the bat with “Transmetropolitan” which takes traditional Irish music and filters it through a modern punk interpreter. But McGowan’s rough, evocative voice can also take songs by others – such as “The Auld Triangle” – and effortlessly make them Shane McGowan songs. The riotous take on “Waxie’s Dargle” is as Irish as it gets. “Boys from County Hell” is an unforgettably cinematic epic.
I Told You So by Omar & the Hooters
Omar Dykes released his latest album in 2023, and to his loyal followers, it seemed like a miracle. Dykes, who has been playing scruffy, rough-edged southern blues for close to fifty years, contracted a disease in 2017 that left him unable to play guitar. It looked like a storied-but-under-the-radar career was at an end. That 2023 album – What’s Buggin’ You – was a refreshing return to the old days. And for fans of that no-holds-barred Texas blues rock, those old days were glorious.
I Told You So was the band’s second studio release. It paved the way for a deal with Columbia and Omar’s biggest hit, Hard Times in the Land of Plenty in 1987. But I’m not sure he was ever better than on I Told You So. He hits the ground running with “Border Girl” and keeps it up through nine tracks and thirty minutes. The Chuck Berry-inspired “Magic Man” and slinky fuzz of “Ice Cold Woman” are authentic Texas blues gems.
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