Streetlight Manifesto’s fall tour is kicking off, and the band is taking both our friends in Hostage Calm and Lionize out on the road. We’re excited to have both openers back for a new PropertyOfZack Playlist to support the tour. Check out the Playlists below while listening to the songs on Spotify and reading everyone’s thoughts!
Generation X - Kiss Me Deadly
This is a tune. Billy Idol’s band before he was a solo artist. Stoked on how unforgivingly ballad-y it is. Also, this IS the song that plays as the credits roll on SLC Punk… just saying.
The Weirdos - Solitary Confinement
Received this song on a mix CD from an Uncle’s Brother when I was really young. Just realized that I uploaded that mix and here’s the mediafire. If memory serves the rip gets a little shitty and crackly at some points… anyway, It was a legendary mix that introduced me to alot of great 80’s hardcore and post punk. This is probably, in my opinion, the best punk song ever, I’m an exaggerator though, so it’s hard to say.
Dag Nasty - Values Here
This shit is undeniable. Dischord records - 1986. Got to hear some cool stories about the D.C. scene from J. Robbins while recording. I feel like this record/band really sets the tone for melodic youth crew: GB, Turning Point, etc. in a way that Minor Threat/Bad Brains/Boston bands didn’t. I wasn’t there, I just like to nerd out about shit like that.
Baby Grand - Fireworks
These dudes are long time friends. The dude who sings back-up vox on this song is Greg Moran who sings on the Hostage Calm song Victory Lap and sang on and co-wrote Woke Up Next To A Body. Connecticut has some really cool stuff going on, and really good bands putting out cool records. I really wanted to put their new song UNA on the playlist but it’s not on Spotify. But here’s the link so fuck it.
The Replacements - Favorite Thing
I just got into this band really recently, not sure what happened. The record this is on, Let It Be, is really good. The writing is really cool and the guitar interplay feels really human and live. The production is perfectly shitty on this record and the subsequent record Tim.
The Jam - Ghosts
The first time I heard this song was on a CD that Ted Leo released called “Tell Balgeary, Balgury Is Dead”. It’s all solo Ted with an electric guitar; he does his own songs and a bunch of covers. That introduced me to the Jam, who are a brilliant band with a really rich catalogue. I love bands that have a lot of great albums that lend themselves to observing their progression. A decent Wikipedia.
Hot Snakes - Plenty for All
I really don’t listen to enough contemporary music, and I feel old about it. This record, Audit in Progress, came out in 2004. In my opinion, one of the coolest punk records of the Oughts. Another thing that makes me feel older, saying ‘Oughts’. Southern California, let’s go, there’s room for us all.
T.S.O.L. - Soft Focus
I think punk mythology is cool. This band’s prior EP’s are a little more conventionally punk. Apparently they were real violent and would stage dive with spurs on their boots or something. They added a keyboard player and picked up a kind of goth rock vibe. Cool with me. I wasn’t there, I just like to nerd out about shit like that.
Circle Jerks – Back Against The Wall
This, Group Sex, is probably my favorite west coast 80’s hardcore LP. The footage of Circle Jerks in The Decline of Western Civilization has a really awesome performance of this song. Also, this song opens with a riff from the T.S.O.L. song I just listed. I feel like this song speaks to a theme of hardcore/punk/youth culture that still resonates.
The Clash - The Card Cheat
Mick Jones “going for it”. I can’t remember the first time I heard this album, but it’s my favorite ever.
Guided by Voices - Game of Pricks (Tigerbomb version)
A defunct band, Snowing, played this song at a defunCT band, My Heart To Joy’s, last show. This band, Guided by Voices, has a radically large catalogue and, according to Jay Carney, the current White House Press Secretary, they are “The greatest band of the modern era.” More here.
Moss Icon - I’m Back Sleeping, or Fucking, or Something
This song is real. Listening to this band makes me relatively uncomfortable in an exciting way. This band recently reunited, but nevermind all that and just let this song fuck you over.
O.V. Wright - A Nickel and A Nail
This southern-fried soul pioneer wrote and recorded some of the hardest hitting, funky and gut-wrenching soul music of his era. A true innovator O.V. went on to right songs covered by Otis Redding and Al Green. With one of the tightest recorded backing bands ever, this is an album that will introduce you to real soul music and leave you bitter that you’ll never sound this good.
Thelonious Monk – Monk’s Blues
This is a seriously thoughtful album from one of Jazz’s most innovative and inspiring writers and players. From start to finish it’s filled with songs of a band actually listening to each other and playing off the energy that this enigmatic band leader provides. No one really sounds like Monk. If you don’t know Jazz music - this is like diving into the deep end of the pool – with cement floaties on.
Little Roy – Battle For Seattle
Jamaican-Rooted, British Reggae staple Little Roy has made great roots albums for years, but in 2012 he set himself apart from following the trend of Reggae-Band-Covering-Rock-Classic trend by immersing himself in the Kurt Cobain songs via Nirvana. The band puts an a really refreshing spin on the punk-rock sound of the band and really let’s Kurt Cobain’s songwriting be heard without any other abrasive noise to compete with it. This is one of the better recorded reggae albums of the last 10 years.
John Coltrane – Live at the Village Vangaurd
We actually have the four cd box set of all the recordings from these shows. Musical virtuosity aside, these recordings are like a window into the practice room of five of the best players who ever lived. The core Coletrane quintet from that era (1962) features Elvin Jones on Drums, Jimmy Garrison on bass, McCoy Tyner on piano, and Coletrane himself on soprano and tenor sax. The quintet is joined by a number of guests, notably Eric Dolphy on alto sax and bass clarinet. We hear absurdly long improvisations from each member of the group in a variety of accompaniment settings, a 12 minute cut of Coletrane blowing over just bass and drums on “Chasin the Trane”, and “India” featuring sitar and tampura. Each player seems to be simply trying to play the unheard and the unknown. The unplayed. Coletrane can, in a moment, appear to be practicing scales (he is), then seem to be weeping into the horn. Sometimes he appears to simply not make any sense at all. All this beauty and confusion provides perfect foder for a long drive.