- Ana Ng – They Might Be Giants
- Lenny Valentino – The Auteurs
- No. 13 Baby – The Pixies
- Cannonball – The Breeders
- Rebound – Sebadoh
- Trigger Cut / Wounded Kite at :17 – Pavement
- Frenz – The Fall
- Drive – R.E.M.
- Fade into You – Mazzy Star
- Water – Automatic Dlamini
- Capital Letters – Moonshake
- Marbles – Tindersticks
- Transona Five – Stereolab
- Tearing Apart My World – Beatnik Filmstars
- White Shirt – The Charlatans
- For Tomorrow – Blur
- Line Up – Elastica
- Columbia – Oasis
- His ‘n’ Hers – Pulp
- Union City Blue – Blondie
- Ever Fallen in Love (With Someone You Shouldn’t’ve) – Buzzcocks
- Naked Cousin (Peel Session) – PJ Harvey
- Popscene – Blur
- Reckoning – The Fall
- Red Right Hand – Nick Cave & the Bad Seeds
- Hand in Glove –The Smiths
- Venus in Furs – The Velvet Underground
- Reflections in a Flat – Half Man Half Biscuit
- Bike – Pink Floyd
- Ballad of a Thin Man – Bob Dylan
- The Chain – Fleetwood Mac
- House of the King – Focus
- Nineteen Hundred and Eighty-Five – Wings
- Golf Girl – Caravan
- Papua New Guinea – Future Sound of London
- Chime – Orbital
The Sounds of Baden Pearce was the name I whimsically came up with when I began collating the music I had on cassette, transferring it over to MiniDisc in and around the year 2000. Complication: my tapes are more normally guided by the Gregorian calendar but I wanted my compilations from this period to relate the academic timetable and the places I lived from September through to July. To accomplish this I had to extricate material from a number of different tapes, which left me with a surfeit of tunes. Disc 1 was what I initially came up with, and it’s a fairly honest representation on what was on the original tapes. Disc 2 brings together everything else: tracks from redundant compilations, off of recorded albums I later bought on vinyl and bits and pieces listened to in other persons' rooms that I never got around to copying.
Happy Holiday / Return / M5 / I’m Going to Spain / 15 Ways / Free Range / Big New Prinz / The Mixer / Reckoning / I’m Frank / Paranoia Man in Cheap Shit Room / Glam Racket / Hey! Student / A Past Gone Mad
It became evident that to fully appreciate indie music you had to know a bit about the history of alternative music in general and the key acts that comprise the cannon: The Beatles, The Velvet Underground, The Smiths, and so forth. Indie tape guy obliged with the first VU album. I picked up a copy of The Smiths’ debut, on vinyl, in an indoor flea market in Richmond that no longer exists. Somebody must have had the Velvet Underground’s White Light/White Heat because I remember guffawing over The Gift, which tells the improbable tale of Waldo Jeffers, who, lovesick, mails himself to his long distance lover, Marsha Bronson, only for her to inadvertently skewer him with a sheet-metal cutter as she struggles to open the box that carried him. The plot is not so much the thing, it’s all about the language, the phrasing and John Cale’s delightful Welsh lilt. This tune, alongside Bike by Pink Floyd, the album Back in the DHSS by Half Man Half Biscuit, and Golf Girl by Caravan, was the source of much mirth. Students don’t have a reputation for zany humour for nothing.
Despite my previous penchant for hip hop, ‘dance music’ had never really appealed to me. I’m referring to house music, maybe techno – groups like The Prodigy, The Shaman, 808 State, KLF, The Orb, The Future Sound of London, if you want points of reference. DJs Carl Cox, Paul Oakenfold and Judge Jules were familiar names, but I wasn’t concerned either way. There were guys at school who used to trade flyers for raves they’d never been too, which is not to say they weren’t clubbing, because Plymouth had a very active rave scene, but it seemed to be more of a social thing, the music secondary.
You have to hand it to Oasis. It was Definitely Maybe that promulgated Britpop’s arrival as a populist movement. The ‘lads’ who had been grooving away to the Stone Roses, Happy Mondays, Inspiral Carpets and The Farm just a few years earlier were not the sort to be seduced by the likes of Suede, Pulp and Blur. But know this: it took until 1995, maybe even 1996, for the agro vested upon fans of alternative music – or towards people with alternative lifestyles in general – to finally settle down, for the jibes and the dirty looks and the threats of violence to subside, the objections towards how you wore your hair, or how thin you were, or something as innocuous as a leather jacket or a roll neck sweater.