The 500 - #135 - Slanted and Enchanted - Pavement

I was inspired by a podcast called The 500 hosted by New York-based comedian Josh Adam Meyers. His goal, and mine, is to explore Rolling Stone Magazine's 2012 edition of The 500 Greatest Albums of All Time.

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Album: #135
Album Title: Slanted and Enchanted
Artist: Pavement
Genre: Indie Rock, Noise Pop, LoFi
Recorded: Louder Than You Think Studio (Stockton, California); South Makepeace Studio (Brooklyn, New York)
Released: April, 1992
My age at release: 26
How familiar was I with it before this week: Not at all
Is it on the 2020 list? Yes, at position #199, dropping 74 spots
Song I am putting on my Spotify Playlist: Conduit For Sale

In recent years, I’ve reshaped how I approach writing fluency in my Grades 6 and 7 classroom. Instead of assigning a major graded task every few weeks, I now focus on enhancing learning and confidence through regular entries in our Writer’s Notebooks. At the heart of the shift is the “Quick Write” strategy -- posted prominently in our class room (see below) -- which encourages students to get their ideas down without overthinking grammar or spelling. The approach is simple. I want them to write freely and often using topics that are generated from our class discussions or novel readings. I read each entry and offer one piece of targeted advice, helping them grow without overwhelming them with a page full of red ink editing suggestions. The goal is progress, not perfection. Later, they can choose their favourite piece and edit it thoroughly for grading.

This approach to writing came to mind as I researched the recording of Slanted and Enchanted, the debut record from California rockers Pavement. Created in a makeshift home studio on a shoestring budget, the band embraced a lo-fi aesthetic that favored raw energy over polish. The sessions were described as relaxed and spontaneous. Drummer Gary Young reportedly hit record on the tape machine and ran to his kit, capturing “takes” that were imperfect but authentic. The result was a landmark indie rock album, celebrated for its disheveled charm, jagged guitar riffs, and off-kilter melodies. Like a Quick Write, Slanted and Enchanted wasn’t about perfection, it was about capturing something real, unfiltered, and emotionally resonant. That spirit of creative freedom is exactly what I hope to foster in my students’ writing.

Pavement (circa 1992).

Until last year, Pavement had slipped under my radar. It wasn’t until May, 2024, when guest blogger T.J. Gillespie wrote about their fourth album Crooked Rain, Crooked Rain (#212 on The 500) that I gave a proper listen. The record’s offbeat charm and melodic grit pulled me in. So when I noticed their debut, Slanted And Enchanted, ranked higher than Crooked Rain on The 500 list, I was eager to learn more. 

I'll admit, Slanted And Enchanted was a tough listen at first. The album’s lo-fi production and a raw, unpolished sound, felt chaotic and the vocals seemed a little pitchy. Yet, as I sat with it, I began to appreciate its scrappy brilliance. It wasn’t trying to be perfect, it was trying to be honest. That same spirit is what I aim to cultivate in my classroom – a space where students can create freely, without fear of flaws, knowing that the real magic often lives in the rough edges.

A stack of Writer's Notebooks from my current class, 
ready to be picked up for their next Quick Write opportunity.

I’m thrilled with the growth I’m seeing in my young writers. This week, we’re diving into seven strategies for crafting irresistible introductions, a skill that will elevate their writing instantly. I can’t wait to read their next Quick Write and see how they experiment with these techniques before applying them to a reworked polished piece. Just as writing this weekly blog has sharpened my own skills, their progress shines through every opportunity I give them...even when the work is raw, unpolished, and a little chaotic. As we've learned from Pavement, that’s where the magic begins.

The 500 - #221 - Loveless - My Bloody Valentine

I was inspired by a podcast called The 500 hosted by Los Angeles-based comedian Josh Adam Meyers. His goal, and mine, is to explore Rolling Stone Magazine's 2012 edition of The 500 Greatest Albums of All Time. 

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Album: #221
Album Title: Loveless 
Artist: My Bloody Valentine
Genre: Shoegaze, Dream Pop, Noise Rock
Recorded: February, 1989 - September, 1991

Released:  November, 1991 
My age at release: 26
How familiar was I with it before this week: Not at all

Is it on the 2020 list? Yes, moving up 148 places to position 73
Song I am putting on my Spotify Playlist: Only Shallow

"Wow! That haircut makes you look so much younger."

"Geez, you're stronger than you look."

"You write a blog? I wish I had so much free time to do something fun like that."

"You went to The University of Windsor? I was going to go there, before I got accepted at Western."

The backhanded compliment -- casual remarks that seem to say something pleasant about a person, but have a twist easily inferred as an insult. We've all heard them and, likely, we've delivered a few of our own -- either accidentally or intentionally.

From 15 Compliments That Hurt More Than Insults - And
How To Deal With Them. 

There are also positive-sounding words that can be considered pejorative. Referring to someone as "assertive", "sensitive" and "idealistic" might convey they are “bossy”, “thin-skinned”, and “out of touch with reality”. Or imply more admirable qualities, such as "confidence", "thoughtfulness" and "an aspirational spirit".

The blessings and curses of being
highly sensitive.

When looking up the etymology of  "shoegaze" -- a subgenre of alternative rock characterized by a mixture of  loud, distorted guitars and obscure, ethereal vocals -- I discovered it, too, has alternative meanings. Shoegazing can be used as an insult, suggesting a band is uninspired, lacking enthusiasm and energy -- literally the performers staring at their shoes as they play. However, the word also defines an important musical movement that has its roots in ‘70s psychedelic rock, pioneered by Irish-English band My Bloody Valentine (often stylized in all lowercase letters or known by the initials MBV).

MBV are (clockwise from top left) Kevin Shields, Bilinda
Butcher, Colm Ó Cíosóig and Debbie Googe

MBV's second album, Loveless, took more than a year to record, utilizing 19 studios with multiple engineers at the soundboard helm. Much of the record was developed by vocalist and guitarist Kevin Shields who led the sessions as he experimented with sound. Shields used non-standard guitar tunings, digital samples and multiple production effects to create the unique sound that, for many, defines the shoegaze genre. The distinctive sound of Shields’ guitar was achieved by a modification on the instrument to allow him to manipulate his tremolo bar while also strumming. A tremolo bar (sometimes called a whammy bar, vibrato, vibrolo or wigglestick) is a metal rod that extends from the bridge of an electric guitar (where the strings connect on the guitar body). It can be manipulated to bend and distort sound and create effects such as  the scream of a dive bomber, a motorcycle roar, a squeal of delight, or animal sounds.

The first guitar I bought had a tremolo bar. As a 16-year-old hopeful musician, this was important because I wanted to recreate the sounds I'd heard from my guitar idols. Unfortunately, I wasn't smart enough to invest in lessons and the beginner guitar book I borrowed from the library was an inadequate substitute. The guitar I purchased was a Kay, an inexpensive student-grade, entry-level instrument. I got it from Woolco, a discount department located in a nearby mall and paid about $65 for it (about $260 in 2024 currency). It was money painstakingly saved from babysitting gigs and a part-time job where I worked 10 hours a week for $5.52 an hour (significantly more than minimum wage).

The headstock on a Kay guitar.

On the day I purchased it, I rode my 10-speed bicycle to the mall. I am sure I turned a few heads as I pedaled the five kilometres home, holding the guitar by its neck while steering one-handed. Ahh, the passionate impulsiveness of youth. That romantic, idealistic teenager seems like a stranger in a distant memory to me now. However, recalling moments like that guitar-laden bike ride home suddenly pulls him into sharp focus…and I miss him.

My bike ride home from Oakridge  Centre in London,Ont.

 Byron, Ontario

My guitar aspirations were put on pause about a year later when I sold my six-stringed “axe” to a high-school acquaintance. I was nearly thirty, when I returned to learning the instrument, encouraged by the arrival of the internet and a guitar-playing roommate.

My favourite, current guitar - a Jay Turser
acoustic - with no whammy bar.

Loveless went on to become a critical darling and is considered one of the greatest albums of all time on multiple lists (moving up to #73 on the updated 2020 list of The 500). It is also cited as a landmark work in the shoegaze genre. Clash magazine called the record "the magnus opus of shoegaze". Billy Corgan of the Smashing Pumpkins told Spin magazine that the record was exciting because "it is rare in guitar-driven music for someone to do something new."

So, what does "shoegaze" connote? It turns out that it carries many meanings. It can be used pejoratively to define a genre negatively. Or it can be understood as an evolutionary step in music technology and sound. However, my researched revealed a more practical etymology. When performing live, a shoegaze guitarist needs many “effect” pedals that can be manipulated with the feet. Consequently, to replicate the "studio sound", shoegazing is a necessity that became the nomenclature for the genre it created.

An array of foot effect pedals by which a guitarist manipulates

the instrument's sound.

MBV only released three studio records but, following a 10-year hiatus, they regrouped in 2013 with the classic line-up from Loveless. They are currently working on new material and Shields has hinted of another "experimental album" and "something more melodic and song oriented." As a new fan, I'll be sure to check both out.

The 500 - #269 - Psychocandy - The Jesus And Mary Chain

I was inspired by a podcast called The 500 hosted by Los Angeles-based comedian Josh Adam Meyers. His goal, and mine, is to explore Rolling Stone Magazine's 2012 edition of The 500 Greatest Albums of All Time. 

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Album: #269

Album Title: Psychocandy

Artist: The Jesus And Mary Chain

Genre: Noise Pop, Shoegaze, Alt Rock, Post Punk

Recorded: Southern Studios, London, U.K.

Released: November, 1985

My age at release: 20

How familiar was I with it before this week: Not At All

Is it on the 2020 list? No

Song I am putting on my Spotify Playlist: Just Like Honey

The Psychocandy debut record from Scottish noise rock pioneers The Jesus And Mary Chain often caught my eye while I was flipping through the "J" section at my local independent record store, Dr. Disc. How could it not with those provocative names?

Despite my curiosity, though, I never bought the record. Chances are, in 1986, I was perusing the "J" section for a record from Jethro Tull or Journey, or perhaps something obscure from Jeff Beck or Jon & Vangelis.

The Jesus And Mary Chain were formed in 1983 by brothers Jim and William Reid. Their original line-up comprised the brothers on guitars and vocals, Douglas Hart on bass, and Bobby Gillespie on drums. Gillespie  departed shortly after the record's release to form his own band, Primal Scream.

(l-r) Hart, W. Reid, J. Reid & Gillespie (1985 line-up).

Psychocandy was cited by AllMusic magazine to be "the archetype for the noise pop genre" –  a style of music that blends catchy melodies in a pop song with a mixture of dissonant noise and amplifier feedback. American musicologist and television personality Matt Pinfield humourously compared the sound  to  "listening to the Beach Boys, with a kitchen blender whirring in the background".

A poster from the 2023 Noise Pop Festival.

The Jesus and the Mary Chain is not an easy listen for the uninitiated. During my first listen, I was doing some housework. At one point, during the song In A Hole, I paused my cleaning to check my Sonos speakers because I thought they were malfunctioning and needed a software update.

My speakers are a Sonos Beam and a pair of Sonos Ones.

Part of me wanted to dismiss the record as cacophonous nonsense and perhaps blog about why on earth it ever made The 500. Deciding not to rush to judgment, I persisted, listening to Psychocandy several times. Slowly, the musical output grew on me. Eventually,  the pop sensibilities emerged and the hazy feedback that initially turned me off took on a dreamy quality.

The overall effect became a rewarding experience despite the musical challenge, written, it seemed to me, to be intentionally unpleasant. It reminded me of several students with whom I have worked over the years -- hostile contrarians. Often having suffered traumas in their young lives, these types of students tend to struggle with social interaction. They have difficulty engaging with authority or respecting rules and expectations. They are often sullen and dour and it seems as if they are intentionally making choices that will make them unlikable.

Teachers' College does not always prepare up and coming educators for the challenges presented by trauma-ridden students. Interactions are fraught with seemingly unnecessary hostility and aggressive pessimism. Just as you think you are making some progress, they will self-sabotage the social dynamic and use the negativity of their own making to fuel additional despondency. A classic case of a self-fulfilling prophecy, sometimes called The Pygmalion Effect, it can be visually explained by the following graphic:

In this tragic cycle, the student believes they are not worthy of love, kindness or friendship. Consequently, they behave in ways that are annoying or repellent. When, understandably, peers move away from them or teachers react negatively to the choices they make, their established belief is reinforced -- and the cycle repeats. 

However, with kindness, patience and skin thicker than a crocodile's, a teacher can build a quality relationship with these students. The first time they crack a smile or feel pride in work they have submitted is among the most rewarding experiences in an educator's career.

Psychocandy, much like the debut record by Suicide, which I wrote about in March, 2020, is a fascinating record because it almost serves as a mid-point between the art rock and pop that influenced it and the sounds that it would inspire. The opening track, Just Like Honey, begins with the drum riff lifted directly from The Ronettes’ Be My Baby. In interviews, the Reid brothers have cited The Velvet Underground, The Beach Boys, The Stooges and Pink Floyd as influences, as well as Phil Spector's "Wall of Sound" approach to recording.

The Ronnettes with producer Phil Spector.

On the other side of that mid-point are the records that were influenced by The Jesus And Mary Chain, including The Downward Spiral (#201) by Nine Inch Nails and Nevermind (#17) by Nirvana.

Nevermind by Nirvana #17 on The 500.

As I mentioned, I did not purchase Psychocandy when I stumbled on it in 1986. In retrospect, that is a good thing. I did not have the patience and understanding of music that I now possess. I am sure I would have dismissed it off-handedly as “cacophonous nonsense” and I would have missed out on something artistically interesting and musically important.