The Ordinaires’ One should have been an album I held dear.
It was a discovery I made reading Pulse magazine, and the band’s press name-dropped a bunch of rock bands and classical composers — two things that would shape my development as a wannabe musician.
But it faced stiff competition. Naked City and Kronos Quartet monopolized my attention, and I wanted the dopamine hits I got from Winter Was Hard and the self-titled Naked City debut to repeat with every subsequent discovery.
The Ordinaires came close. The first few times I listened to this album, I liked it. It had its skronky moments and its pretty moments. Oddly enough, a cover of Led Zeppelin’s “Kashmir” would capture my affection, despite a growing distaste for Led Zeppelin.
But it didn’t survive a purge for cash. I decided I couldn’t really keep the tape — yes, I bought it on cassette — if I liked only one song. One was weird, but not weird enough. So I let it go.
In the 30 years that would follow, I would find myself missing that cover of “Kashmir”, but the moment would pass too quickly for me to act on it.
Then at the Northwest Record Show in November 2019, I found it on vinyl selling for $2.
Reacquainting myself with this album allows me to rag on my younger self for letting something valuable slip away. Well, valuable to me, otherwise I would have been charged far more than $2 to reacquire it.
The Ordinaires positioned themselves as less weird downtown New Yorkers. They may have hung out with the noisers and no wavers, but they were a bit more tuneful than that.
One smoothes over the jump-cut eclecticism of Naked City and tones down the noise. It’s a gateway album to a far stranger realm of music.
I spent years filing The Dismemberment Plan’s albums at Waterloo Records, and I don’t think I ever listened to their music. So I picked up Change at the thrift store purely out of curiosity. Listening to this album transported me back to those record store days in the early 2000s.
The Ordinaires, One
I owned this album on cassette, and I actually liked it at the time. The only problem was I liked a lot of other albums at the same time a bit more. In a crunch for cash, I sold it. But the band’s cover of Led Zeppelin’s “Kashmir” has haunted me ever since. So I picked it up on vinyl at the Northwest Record Show, then eventually on CD.
Anton Bruckner, Symphonies Nos. 1-9 (Staatskapel Dresden, Eugene Jochum)
I had an unofficial goal of collecting Bruckner symphonies on my visits to thrift shops until this budget boxed set showed up at Lifelong. ACHIEVEMENT UNLOCKED! I learned about Bruckner in college, but I didn’t feel compelled to explore his work because of a joke: he wrote nine symphonies at one time, or one symphony nine times.
Soundtrack, Death Note
I’ve been dragging my feet on getting this soundtrack for nearly a decade now, but what finally spurred me to take action was a vinyl reissue from Tiger Lab.
Gary Numan, The Pleasure Principle
I bugged my mom to buy me the 7-inch single of “Cars” when I was 8 years old, but by the time I started collecting on my own 5 years later, Gary Numan felt like ancient history. The Pleasure Principle has grown in stature since then, so it was high time I followed up on that single purchase.
Clipse, Lord Willin’
Yeah, I went through a Neptunes phase in the early 2000s, but this album slipped through my grasp. 2002 was a fruitful year in music, so it faced a lot of competition.
Billie Eilish, WHEN WE ALL FALL ASLEEP, WHERE DO WE GO?
Now that everyone else has published their best of 2019 lists, I get to play catch up with everything I’ve been ignoring. So far, only Billie Eilish has managed to punch through.
Peter Gabriel, Us
I probably wouldn’t have come around to this album if I hadn’t run across Secret World Live first. Us got middling reviews, but I find it hits more than it misses.