Hüsker Dü and R.E.M. were the two American post-punk bands of the '80s that changed the direction of rock & roll. R.E.M. became superstars; Hüsker Dü never was more than a cult favorite. Nevertheless, their albums between 1981 and 1987 have proven remarkably influential; they provided the sonic blueprint for the roaring punk-pop hybrid that... [+] Read More

Hüsker Dü and R.E.M. were the two American post-punk bands of the '80s that changed the direction of rock & roll. R.E.M. became superstars; Hüsker Dü never was more than a cult favorite. Nevertheless, their albums between 1981 and 1987 have proven remarkably influential; they provided the sonic blueprint for the roaring punk-pop hybrid that crossed over into the mainstream in the early '90s. Not only did they shape the sound of the music, they shaped the way independent bands made the transition to the major labels; they showed other bands that it was possible to record uncompromising music on a major label without losing any integrity or creative control. From the Replacements to Nirvana, the Pixies to Superchunk, nearly every major and minor band that appeared in the alternative underground in the late '80s and '90s owed a major debt to Hüsker Dü, whether they were aware of it or not.

The band's two songwriters, guitarist Bob Mould and drummer Grant Hart, both had a knack for writing songs that essentially followed conventional pop structures, complete with memorable melodies, but were still punk songs. Hüsker Dü took the Buzzcocks' pioneering punk-pop and made it harder, both musically and lyrically. Throughout their career, Hüsker Dü never lost their edge, never turned down their amplifiers, never compromised their music. While Hart and bassist Greg Norton were an unfailingly strong rhythm section, Mould would prove to be one of the most influential guitarists of the decade. With his slashing rhythms, distorted strumming, and blazing leads, he set the stage for the alternative guitar heroes of the late '80s and the '90s.

Hüsker Dü formed in Minneapolis, MN, in 1979. Guitarist/vocalist Bob Mould was studying at Macalester College in St. Paul, MN, and working at a record store, which is where he met drummer/vocalist Grant Hart and bassist Greg Norton. The three musicians had diverse tastes, but all shared a love for hardcore punk rock. Naming themselves Hüsker Dü after a '50s Danish board game (the name means "do you remember?"), the trio began rehearsing in Norton's basement.

In the early '80s, Hüsker Dü developed a strong local following; nearly every local band, from the Replacements to Soul Asylum, sounded like the Hüskers. Both Mould and Hart wrote songs and sang lead. In 1981, they released their first single, "Statues," on the local label Reflex, which was quickly followed by their debut album, Land Speed Record, which was released on New Alliance Records. Recorded live, Land Speed Record boasted 17 songs that lasted a full 26 minutes. Later that year, they released an equally fast and hard EP, In a Free Land.

In 1982, they moved backed to Reflex, where they released Everything Falls Apart, their first album recorded in a studio. By this time, Hüsker Dü had begun touring the United States relentlessly, traveling across the country in a van and playing small clubs throughout the country. Along with the Minutemen, R.E.M., Black Flag, the Meat Puppets, and the Replacements, Hüsker Dü formed the core of a group of independent rock & roll bands that carved out a reputation by touring ceaselessly and getting their records played through college radio stations; they formed the core of the American rock underground in the mid-'80s. Hüsker Dü concerts were a nonstop barrage; the band rarely spoke to the audience and each song segued directly into the next, without interruption. In addition to touring constantly, Hüsker Dü was recording quickly, turning out the Metal Circus EP in 1983.

After Metal Circus, Hüsker Dü developed musically at a rapid pace, with Mould and Hart coming into their own as songwriters on 1984's Zen Arcade, their first album for SST Records and their critical breakthrough. Zen Arcade was a double album -- something that was completely unheard of in the underground -- that showed the band stretching out musically, writing sharper pop songs, as well as lengthy abrasive instrumentals. Critics embraced the record, as did independent rock fans. At the end of 1984, they released "Eight Miles High," a cover of the Byrds' song that was only available as a single.

Hüsker Dü continued to record and tour at a blindingly fast speed throughout 1984 and 1985. Mould and Hart were beginning to develop an unspoken rivalry, as well as a dependency on alcohol and speed. Nevertheless, the group was at their peak in 1985, turning out two albums. The first, New Day Rising, was released in the spring and showed the band moving closer to concise pop songwriting while accentuating their fierce sonic barrage. Flip Your Wig, released late in 1985, featured their cleanest, most accessible production, without making any concessions to mainstream rock. Both albums received excellent reviews, both in fanzines and some mainstream rock publications.

Following the release of Flip Your Wig, Hüsker Dü became the first of the mid-'80s independent post-punk bands to sign a contract with a major label, as they closed a deal with Warner Bros. Candy Apple Grey, the band's first major-label album, appeared in 1986. During that year, tensions between Bob Mould and Grant Hart escalated. Mould began to clean up and Hart continued to sink further into drug and alcohol addiction. Nevertheless, they managed to write and record another double album, Warehouse: Songs and Stories. Although Warner didn't want the band to release another double record, Warehouse was released in the spring of 1987, to uniformly positive reviews.

Hüsker Dü was preparing to launch a series of concerts to support Warehouse when their manager, David Savoy, committed suicide the night before the start of the tour. Hüsker played the tour anyway -- they ran through the new album in order every night, without interruption -- but Savoy's suicide helped the inter-band turmoil reach a peak. Hart showed no signs of sobering -- he was developing a heroin addiction -- while Mould was clean. Following the Warehouse tour, the band played no more concerts for the rest of the year, which caused speculation that the group was breaking up. Those rumors were confirmed in January of 1988, when Hart was fired and the band broke up.

Hart would released a solo EP, 2541, on SST later that year, followed by a full-length album called Intolerance a year later. After its release, Hart shook loose his addictions and formed a new band, Nova Mob. Nova Mob released their debut album, The Last Days of Pompeii, in 1991; a self-titled second album appeared in 1994. Greg Norton became a chef in Red Wing.

Immediately after the breakup of Hüsker Dü, Bob Mould embarked on a solo career. After releasing two solo albums -- Workbook (1989) and Black Sheets of Rain (1990) -- he formed a trio called Sugar in 1992. Between 1992 and 1994, Sugar released two albums -- Copper Blue (1992) and File Under: Easy Listening (1994). Mould broke up the band in 1995 and returned to a solo career the following year. ~ Stephen Thomas Erlewine, All Music Guide [-] Hide

While they came into prominence as part of the late-'80s folky singer/songwriter revival, the Indigo Girls had staying power where other artists from the same era quickly faded. Their two-women-with-guitars formula may not seem very revolutionary on paper, but the combination of two distinct personalities and songwriting styles provided tension... [+] Read More

While they came into prominence as part of the late-'80s folky singer/songwriter revival, the Indigo Girls had staying power where other artists from the same era quickly faded. Their two-women-with-guitars formula may not seem very revolutionary on paper, but the combination of two distinct personalities and songwriting styles provided tension and an interesting balance. Emily Saliers, hailing from the more traditional Joni Mitchell school, had a gentler sound, was more complex musically, and leaned toward the abstract and spiritual. Meanwhile, Amy Ray drew heavily from the singer/songwriter aspects of punk rock, citing influences such as the Jam, the Pretenders, and Hüsker Dü for her more abrasive and direct approach. In a decade-plus of recording, they managed to garner respectable mainstream success and keep their rabid core following.

Amy Ray and Emily Saliers first took the name Indigo Girls while living in Atlanta in 1985, although they had been performing together since the early '80s, at times under the name the B-Band. In 1986, they recorded an independent self-titled EP and followed in 1987 with the full-length Strange Fire -- only 7,000 copies were pressed and very little interest was generated. Things changed quickly in 1988 when, in the wake of the success of Suzanne Vega, Tracy Chapman, and 10,000 Maniacs, they seemed to fit nicely into "the next big thing." Epic Records was quick to sign them.

Indigo Girls, released in 1989, was an excellent national debut. Featuring a guest vocal by R.E.M.'s Michael Stipe ("Kid Fears") gave them initial college radio credibility and the single "Closer to Fine" was a hit -- the album eventually broke the Top 30 and earned a Grammy for Best Folk Recording that year. By the end of 1991, it achieved platinum sales. Strange Fire was reissued in the fall with a cover of "Get Together," replacing one of the original tracks.

The follow-up, 1990's Nomads Indians Saints, didn't fare quite as well. It was nominated for a Grammy and eventually reached gold status, but the material wasn't nearly as strong. A live EP, Back on the Bus, Y'All, was released in 1991 while they regrouped. It was also certified gold and was nominated for a Grammy.

In spring of 1992, they made a comeback with Rites of Passage, which debuted at number 22 and went platinum by the year's end. The album showed an increasing diversity and some of their strongest songs to date. Almost exactly two years later, Swamp Ophelia was released and entered the charts at number nine; it went gold by the end of the year. A double live album, 1200 Curfews, was released in 1995 and the much awaited follow-up to Swamp Ophelia, Shaming of the Sun, followed in 1997. The duo's next effort, Come on Now Social, appeared two years later. 2002's Become You was stripped down in comparison to the orchestration of the Girls' more recent work, and 2004's All That We Let In was generally regarded as their strongest album in years. A rarities set appeared the following year, marking Saliers and Ray's two decades together as Indigo Girls, and their last for Epic. Shortly thereafter, Saliers and Ray signed a five-album deal with Hollywood. The Mitchell Froom-produced Despite Our Differences followed in September 2006. ~ Chris Woodstra, All Music Guide [-] Hide

One of Britain's more popular indie guitar pop groups of the late '80s, the Housemartins' post-Smiths guitar jangle and subtle updating of catchy, melodic British beat groups earned the Hull-based quartet a substantial critical and popular following within the U.K. Though the group never gained much more than a cult following in America, their... [+] Read More

One of Britain's more popular indie guitar pop groups of the late '80s, the Housemartins' post-Smiths guitar jangle and subtle updating of catchy, melodic British beat groups earned the Hull-based quartet a substantial critical and popular following within the U.K. Though the group never gained much more than a cult following in America, their balance of simple, memorable melodies and cutting sarcasm helped them rise into the British Top Ten, as well as earn consistently strong reviews. The Housemartins broke up in 1988, just before they fully broke into the mainstream. The group's lead songwriter, Paul Heaton, formed the Beautiful South the following year, and his new band capitalized on the success of the Housemartins to become one of the more popular U.K. groups of the early '90s.

Paul Heaton (vocals, guitar) formed the Housemartins with Ted Key (guitar), Stan Cullimore (bass), and Hugh Whitaker (drums) in 1984. From the outset, the group cultivated a distinctly English image, blending a cynical sense of humor with leftist political leanings and a low-key, commonplace appearance. In 1985, they signed with Go! Discs and by the end of the year, Key was replaced by Norman Cook. "Happy Hour," the Housemartins' third single, became the group's first hit in the summer of 1986, climbing all the way to number three. London O Hull 4, their debut album, followed shortly afterward and, like the single, it cracked the British Top Ten. At the end of the year, the a cappella "Caravan of Love" became a number one hit.

Due to their success in 1986, the Housemartins were award the BPI award for Best Newcomers. Before they recorded their second album, Hugh Whitaker left the band and was replaced by Dave Hemmingway. The People Who Grinned Themselves to Death followed later in 1987, spawning the hit singles "Five Get Over Excited" and "Me and the Farmer." Though the Housemartins were developing into one of the most popular bands within Britain, they broke up in the summer of 1988, claiming they only intended to stay together for three years. In reality, Heaton and Cook were suffering from creative tensions, as the singer wanted to move into sophisticated jazz-pop while the bassist was eager to explore dance music. This difference in taste became apparent in the groups they formed immediately after the disbandment of the Housemartins. Cook formed Beats International, who had a few hits in the early '90s before Cook became a full-time remixer and producer as Fatboy Slim. With drummer Hemmingway, Heaton formed the Beautiful South, which carried on the aesthetic of the Housemartins, but added more complex melodies and arrangements. Toward the end of 1988, a compilation of Housemartins' singles and rarities called Now That's What I Call Quite Good! was released. In 1993, original drummer Hugh Whitaker was imprisoned for wounding with intent and arson attacks on a business partner. ~ Stephen Thomas Erlewine, All Music Guide [-] Hide

Like the Velvet Underground, their most obvious influence, the chart success of the Jesus and Mary Chain was virtually nonexistent, but their artistic impact was incalculable; quite simply, the British group made the world safe for white noise, orchestrating a sound dense in squalling feedback which served as an inspiration to everyone from My... [+] Read More

Like the Velvet Underground, their most obvious influence, the chart success of the Jesus and Mary Chain was virtually nonexistent, but their artistic impact was incalculable; quite simply, the British group made the world safe for white noise, orchestrating a sound dense in squalling feedback which served as an inspiration to everyone from My Bloody Valentine to Dinosaur Jr. Though the supporting players drifted in and out of focus, the heart of the Mary Chain remained vocalists and guitarists William and Jim Reid, Scottish-born brothers heavily influenced not only by underground legends like the Velvets and the Stooges but also by the sonic grandeur and pop savvy of Phil Spector and Brian Wilson. In the Jesus and Mary Chain, which the Reids formed outside of Glasgow in 1984 with bassist Douglas Hart and drummer Murray Dalglish (quickly replaced by Bobby Gillespie), these two polarized aesthetics converged; equal parts bubblegum and formless guitar distortion, their sound both celebrated pop conventions and thoroughly subverted them.

In late 1984, the band issued its seminal debut single, "Upside Down," a remarkable blast of live wire feedback anchored by a caveman-like drumbeat; the record made the Mary Chain an overnight sensation in the U.K., as did their nascent live shows, 20-minute sets of confrontational noise (performed with the band's members' backs to the audience) which frequently ended in rioting. The follow-up, "You Trip Me Up," further perfected the formula, and led to their 1985 debut LP Psychocandy, which gift-wrapped sweet, simple pop songs in ribbons of droning guitar fuzz. After a two-year layoff (during which time Gillespie exited to form Primal Scream, and was replaced by John Moore), the Jesus and Mary Chain returned with Darklands, a dramatic shift in approach which stripped away the feedback to expose the skeletal guitar pop at the music's core. After a sprawling 1988 collection of singles, B-sides, and demos titled Barbed Wire Kisses, they emerged with Automatic, which introduced a more tightly coiled brand of feedback while jettisoning Moore's live drums in favor of synthesized beats.

After another long absence, the Mary Chain (minus Hart) resurfaced in 1992 with Honey's Dead, and earned greater U.S. visibility thanks to a spot on that summer's Lollapalooza lineup; the first single, "Reverence," also won them renewed notoriety at home when Top of the Pops banned the song because of its opening lines, "I wanna die just like Jesus Christ" and "I wanna die just like JFK." With 1994's gentle, largely acoustic Stoned & Dethroned, they even reached the U.S. pop charts thanks to the lovely single "Sometimes Always," a duet with Mazzy Star's Hope Sandoval. Another collection of scattered sides, The Jesus and Mary Chain Hate Rock 'n' Roll, followed a year later, highlighted by the single "I Hate Rock 'n' Roll," a scabrous swipe which reclaimed the pure noise attack of their earliest work. Moving to Sub Pop, they returned with Munki in 1998. William Reid left the group during the subsequent tour, and in 1999, the Jesus and Mary Chain officially disbanded. ~ Jason Ankeny, All Music Guide [-] Hide

When the La's released their debut album in 1990, it made immediate waves in the British pop scene, as well as American college radio. Drawing from the hook-laden, ringing guitars of mid-'60s British pop as well as the post-punk pop of the Smiths, the La's' self-titled first album had a timeless, classic feel. It seemed like effortless music,... [+] Read More

When the La's released their debut album in 1990, it made immediate waves in the British pop scene, as well as American college radio. Drawing from the hook-laden, ringing guitars of mid-'60s British pop as well as the post-punk pop of the Smiths, the La's' self-titled first album had a timeless, classic feel. It seemed like effortless music, yet that was not the case. From their inception in 1986, lead singer/guitarist/songwriter Lee Mavers was a perfectionist with a nearly obsessive eye for detail. Consequently, the La's were never able to totally fulfill their promise.

Mavers formed the group in Liverpool with bassist John Power, guitarist Paul Hemmings, and drummer John Timson. On the strength of their demo tapes, Go! Discs signed the band in 1987, releasing the single "Way Out"; it received good reviews, yet it wasn't a chart success. Similarly, the following year's "There She Goes" received good press yet stalled on the charts. With a new lineup featuring bassist James Joyce, guitarist Cammy (born Peter James Camell), and Lee's brother Neil on drums, the La's began recording their debut album that same year. The record didn't appear until 1990. Even though Mavers claimed it was rush released, the Steve Lillywhite-produced The La's received glowing reviews and strong sales; a re-released "There She Goes" entered the U.K. Top 20 and hit number 49 in America. For most of 1991, the band was on tour. At the end of the year, they went back to the studio to record their follow-up. This time, Mavers was in complete control and he took his time to perfect the album, re-recording tracks and rewriting songs. The La's disappeared without a trace from the pop music scene. Mavers and a reconstituted band resurfaced in the spring of 1995, playing a handful of supporting concerts that featured a couple of new songs. ~ Stephen Thomas Erlewine, All Music Guide [-] Hide

The Go-Betweens were already a good band well before they made Before Hollywood, but this second album is what proved for many listeners that they were great. For good reason -- both Robert Forster's and Grant McLennan's singing sounds much more honestly theirs, finding their own voices, while collectively the trio create a series of intricate,... [+] Read More

The Go-Betweens were already a good band well before they made Before Hollywood, but this second album is what proved for many listeners that they were great. For good reason -- both Robert Forster's and Grant McLennan's singing sounds much more honestly theirs, finding their own voices, while collectively the trio create a series of intricate, surprising melodies and songs which balance past and present beautifully. Strange as it may sound, the band's peers at this point could and did range from the Cure (for both melancholic intensity and guitar -- check some of the electric work on "Ask") to more obvious cohorts such as Orange Juice, but the Go-Betweens already had their own identity firmly established. For many the album's reputation rests on the presence of one song alone, and understandably so: "Cattle and Cane." Arguably the band's absolute highlight of its earliest years and one of the early-'80s' utter classics, the combination of McLennan's nostalgia-laden but not soppy lyric, his flat-out lovely singing and overdubbed backing vocals, and the catchy, beautifully elegant acoustic/electric arrangement is simply to die for. There are plenty of other songs that demonstrate the threesome's collective strength. "Two Steps Step Out" is a prime example, with sudden tempo shifts, from a more straightforward beat on the chorus to the sudden breakdown on the brisk chorus, and McLennan's lovelorn lyric and quietly impassioned singing making it an instant winner. Another McLennan winner is "Dusty in Here," soft piano from Bernard Clarke adding just enough to the spare but warm arrangement. Forster gets his own share of memorable moments, not least of which is the title track, not to mention the edgy, desperate "By Chance" and slightly calmer "On My Block." Lindy Morrison's abilities as a drummer are similarly improved, the at-times strident work of Send Me a Lullaby here replaced with a good balance between impact and steady swing. ~ Ned Raggett, All Music Guide [-] Hide

Natalie Merchant's lyrics have a subtle urgency on such tracks as "Eat for Two" and "Trouble Me," while the band contrives textured folk/rock backing and producer Peter Asher creates a well-articulated rock sound. ~ William Ruhlmann, All Music Guide

Natalie Merchant's lyrics have a subtle urgency on such tracks as "Eat for Two" and "Trouble Me," while the band contrives textured folk/rock backing and producer Peter Asher creates a well-articulated rock sound. ~ William Ruhlmann, All Music Guide [-] Hide

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They Might Be Giants' eponymous debut album is a wild fusion of new wave pop and arty post-punk experiments borrowed from the New York underground. It runs through a head-spinning 19 songs in just over 45 minutes, running the gamut from the performance-art schtick of "Chess Piece Face" and "Youth Culture Killed My Dog" to the pure pop of "Don't... [+] Read More

They Might Be Giants' eponymous debut album is a wild fusion of new wave pop and arty post-punk experiments borrowed from the New York underground. It runs through a head-spinning 19 songs in just over 45 minutes, running the gamut from the performance-art schtick of "Chess Piece Face" and "Youth Culture Killed My Dog" to the pure pop of "Don't Let's Start" and "Everything Right Is Wrong Again." While there are a lot of geeky jokes and barely developed ideas scattered throughout the album, the sheer kaleidoscopic array of styles is intoxicating, and it helps the best songs -- the Costello-esque "Put Your Hand Inside the Puppet Head," the sighing "Hide Away Folk Family," the stomping "(She Was A) Hotel Detective," and the gorgeous "She's an Angel" -- stand out in sharp relief. ~ Stephen Thomas Erlewine, All Music Guide [-] Hide

Working with producer Todd Rundgren didn't necessarily bring XTC a sense of sonic cohesion -- after all, every record since English Settlement followed its own interior logic -- but it did help the group sharpen its focus, making Skylarking its tightest record since Drums and Wires. Ironically, Skylarking had little to do with new wave and... [+] Read More

Working with producer Todd Rundgren didn't necessarily bring XTC a sense of sonic cohesion -- after all, every record since English Settlement followed its own interior logic -- but it did help the group sharpen its focus, making Skylarking its tightest record since Drums and Wires. Ironically, Skylarking had little to do with new wave and everything to do with the lush, post-psychedelic pop of the Beatles and Beach Boys. Combining the charming pastoral feel of Mummer with the classicist English pop of The Big Express, XTC expand their signature sound by enhancing their intelligently melodic pop with graceful, lyrical arrangements and sweeping, detailed instrumentation. Rundgren may have devised the sequencing, helping the record feel like a song cycle even if it doesn't play like one, but what really impresses is the consistency and depth of Andy Partridge's and Colin Moulding's songs. Each song is a small gem, marrying sweet, catchy melodies to decidedly adult lyrical themes, from celebrations of love ("Grass") and marriage ("Big Day") to skepticism about maturation ("Earn Enough for Us") and religion ("Dear God"). Moulding's songs complement Partridge's songs better than before, and each writer is at a melodic and lyrical peak, which Rundgren helps convey with his supple production. The result is a pop masterpiece -- an album that has great ambitions and fulfills them with ease. [The initial release of Skylarking didn't feature "Dear God," which was originally the B-side of "Grass." After "Dear God" became an unexpected hit, "Mermaid Smile" was pulled from the album so the hit single could be added.] ~ Stephen Thomas Erlewine, All Music Guide [-] Hide