Matt & Matt close out Season 3 with another “Listener’s Choice” epipod. Finest Workfans voted for The Killers’ debut album “Hot Fuss” to be the album du jour. Though they may have been caught up in the mix of other similar-sounding bands like the Strokes, Franz Ferdinand and Interpol, The Killers have managed to put together a long and inspired career. And this is the one that started it all. And what a strong (if front-loaded) debut it is! Brandon Flowers & Co. deliver pure pop goodness on hits like “Mr. Brightside,” “Somebody Told Me,” “Smile Like You Mean It” and the anthemic “All These Things That I’ve Done.” Not a bad way to start a career.
Before they reached international stardom thanks to the song “’74-’75,” The Connells were something of a regional favorite to music fans along the Eastern seaboard. Man, could they pack a house. The band composed some of the most pop-centered, unforgettable, singalong songs of the late-’80s and ’90s — ANYWHERE. It also didn’t hurt that they came across — even on stage — as just normal dudes. They even looked the part. Nowhere was this devotion to catchy melodies more emphasized than on their third album, “Fun & Games.” Mention The Connells today to someone of a certain age in Virginia or the Carolinas, and there’s a very good chance this is the album that comes to mind. You can still see the album cover on t-shirts to this day. If that’s not lasting power, we don’t know what is.
You couldn’t get away from Radiohead’s radio hit “Creep” when it was released on the world in 1992-93. Not even the band could escape the clutches of such a megahit. So they did what any self-respecting band – a band inspired by the DIY ethos the likes of R.E.M. – would do with their next album, which was released in 1995. “The Bends,” the follow-up to “Pablo Honey,” is a tour de force album that 25 years later holds up as perhaps one of the most complete and wonderful albums of all time. The guitar virtuosity of Jonny Greenwood is complemented by the paranoid vocals of Thom Yorke. Oh, and the rest of the band is pretty freaking incredible, too. If people came listening for the next “Creep,” they were sorely mistaken. And thank God for that.
When The Beatles returned to Abbey Road to record their sixth album, they were exhausted from constant touring and releasing at a pace of two albums a year. They also had virtually no songs prepared. But when it was completed, their sixth album was Rubber Soul, arguably the first actual album, not just a collection of songs. This was the turning point; it’s the album that bridges the British Invasion Beatles to Revolver and Sgt. Pepper. It’s the album that turned the music world on its rear, forcing the band’s rivals and contemporaries like the Beach Boys and Rolling Stones to step up their games. In essence, with Rubber Soul, the Beatles were just getting started.
Thirty years after it was released, “Disintegration” by The Cure remains a Goth masterpiece. It was Robert Smith’s answer to critics that his band (and, let’s be clear: it was HIS band) could still do moody, dark epics as well or better than anyone. No one was a bigger critic of Robert Smith than himself. So he brought it. It’s all there in its “Cure-iness.” Simon Gallup’s bass is the omnipresent driving low-end of the album. But it’s Smith’s lyrics about creepy lullabies, red-light districts, spidermen and, yes, even love that make “Disintegration” the masterpiece it remains today.
For some, “The Boxer” is The National’s greatest album. However, in this epipod of Finest Worksongs, we take a look at what be their most quintessential album, “Alligator.” It’s an album of both confidence and introspection, of colorful characters and average Joes. All sung with a sound unique to The National.