Jerry Garcia “Garcia” 1972. Grateful Dead’s Jerry Garcia’s first solo album, some record store or distributer put a hype sticker over the not-at-all offensive breast. I spent a full day in Madison this past weekend; my time at the university there in the late 80’s/early 90’s was heavily soundtracked by the Dead so today I’m taking an aural trip to those hazy college days. While Garcia sings and plays all the instruments – except drums played by the Dead’s Bill Kreutzmann – the LP is full of classic tracks that the full Grateful Dead band would go on to perform in their non-stop touring for the subsequent 20+ years including the single “Sugaree” which went to #94 on the US charts in April 1972; it was Garcia’s only chart single. He also released “The Wheel” as a single but I’m not sure that charted – it’s a really catchy folk/country track. Other Dead show classics include the Americana styled opener “Deal” (one of my old-time faves) and “Loser.” The country twinged lament “To Lay Me Down” shows off both Garcia’s steel guitar and piano talents; I think this one was played somewhat frequently on the road as well. Other tracks have a trippier, psychedelic bent to them like “Bird Song” which was a tribute to the recently-ish deceased Janis Joplin (and was another Dead show staple) and the cosmic freakout weird “Late for Supper,” “Spidergawd” and “Eep Hour” (like during “Space/Drums” I would be taking a bathroom break if they were played at a concert).

Thompson Twins “A Product of…Participation” 1981. T Records (the band’s own label). Thompson Twins’ debut LP is way more experimental pop/post punk in sound than their later, more popular new wave synthpop releases. Some ska and African/world beat influences (see especially the opener “When I See You” for ska and both “Slave Trade” and “Oumma Aularesso (Animal Laugh)” for the African sounds, the latter a rearrangement of a traditional Sierra Leone song). Some tracks could have been on contemporary Talking Heads or B-52 records like the weird and rhythmically driving “Make Believe” (it’s a great track). There’s even some dark jangle-pop on “The Price” that feels Cure and Smiths-esque. Thompson Twins released a couple of singles from A Product of… in the UK (there were other singles that were originally stand-alone releases but appear on later reissues of the LP): “Perfect Game,” the aforementioned “Oumma Aularesso (Animal Laugh)” and “Make Believe.” The track “Politics” (very Talking Heads sounding) was released as a single in Germany. With most of my knowledge of Thompson Twins originating with their later, new wave/synthpop work, it’s pretty wild to hear the band’s origins with a way more challenging and experimental sound.

The Radiators From Space “TV Tube Heart” 1977. Chiswick Records. Punky power pop from Ireland. Think a mashup of the Ramones,  the Buzzcocks and some mod-ish Jam-like sounds, too: 50’s/60’s-inspired pop sensibility with a snotty garage sound. The band formed in Dublin in ’76 (and have been dubbed Ireland’s first punk band); they shortened their name to The Radiators in 1979 with their second LP release Ghostown. They broke up in 1981 and Radiator frontman Philip Chevron went on to join The Pogues as their lead guitarist. (The band reunited in 2003 and were active until Chevron’s death in 2013). TV Tube Heart was the band’s first LP; three tracks that all skew power pop were released as singles: the opener “Television Screen” —  the first and only punk record to make the Irish top 20 – “Sunday World” and “Enemies.” My top picks are the harder punk-leaning rippers: “Press Gang” and “Contact” and the tightly-wound “Electric Shares.” It’s a fantastic record and a shame The Radiators aren’t as well known as their first wave contemporaries.