There were two highlights to my day. First, and this came late in the day, so you can tell how quite things were otherwise, we took a nice long walk after I got in from the office. The temperature was mild-trending toward warm and the views were just right for the back half of May.
That’s on the path behind our house, which winds through the neighborhood and connects to other paths and sidewalks that will take you most anywhere in town, if you are willing to walk or run there. The path system, let’s call it, continues to grow, and all of that access is one of the more wonderful features of Bloomington, even if we tend to haunt one particular section of them.
The path closest to our house does stop on one end. If you walk behind some of the new developments you can pick up another part of the paved route, but first you must walk over grass. The horrors!
City or county, and I’m not sure which, because this spot is right at the line, takes good care of this area. There’s always a walkable, mowed stretch through here. They do take pretty good care of their multiuse corridors here.
The other highlight was that, when we came back in from our walk, we ran into our neighbor. It looks like we’ll be sitting out and chatting with them tomorrow evening. They’re funny, witty, have just the right sort of enthusiasm and are polite enough to laugh at all of the better-ish jokes. So, good neighbors.
We’re making good progress, of late, catching up on the Re-Listening project. Writing one of these every day has helped. And, believe it or not, we’re only two discs behind right now. The point here, of course, is a quick breeze through of all of my old CDs. I am listening to them in the car, in the order that I first came to own them. This is fun for memories and singalongs and good filler for the site. They’re not reviews, but whimsy, as most pop music should be.
So it is 1998 or 1999, though this is another 1997 disc. I remember specific things around this record, firstly that I came to find the band through streaming an alt station out of Atlanta. And this really gets down to two groups of people. OK, musicians and two other groups of people. Record label A&R types and the music programmers that put up with them.
In the 1990s there were maybe six or eight real programmers of what was left of alt rock. There were other stations, but they were following the leaders. One of those guys was in my hometown, but another was just a short car ride away, the late Sean Demery, who was the music director at WNNX, 99X Atlanta. Here’s a guy who was doing the morning drive, realized there was a guy already in their building who would be a better morning jock, and stepped away from that to take on the afternoon shift. This is all but unheard of. But Demery was also the guy who, a few years earlier, turned that station on its head, and made it the mad hatter of musical taste that it was. As his AJC obit says, “Demery helped turn 99X into a hugely successful station in the 1990s, a ground-breaking blend of Gen-X insouciance, goofiness, sophistication and musical diversity which cemented loyalty among its listeners.”
That’s where I found him, doing wild stuff in the afternoons. I had a small town morning show that was punching above its weight because I was inspired by guys like Demery, who like a few other pros’ pros were willing to spend a few moments listening or offering advice. The people that taught me broadcasting said, on the first day, that “dead air was the work of the devil.” Demery walked away from his microphone mid-sentence for a punchline, or to make a point. He’d play the same song over and over when he had a hit, and in those days he was never, ever wrong.
He was a pirate working for corporate media. A confounder, the tail end of a now-dead art, a visceral force of taste, the match that made the spark. The sounds that maintreamed into modern rock, the strains that influenced the generation that came after, his colleagues sold it for revenue, but in the 1990s Sean Demery was one of the few people in the country putting it before us. (Demery wrote, “99X never referred to itself as an Alternative station until after 2000 which is funny because by the time some consultant decided we should call it Alternative it had become a music and cultural norm.”)
And so it was with Guster. Here’s three guys from Massachusetts, with an incessant rhythm section of … bongos?
“Airport Song” was the debut single from their second studio album. People like Demery helped push it to 35 on the Billboard Modern Rock chart. “Goldfly” was an independent release, but this was the album that got them picked up by Sire Records and Warner. It was all edgy, a bit ragged and spotty in places, and everything on it fits the moment.
I think, for about three years, this was what I listened to when I exercised or mowed the lawn, all of which comprised most of my music listening.
Now, I bought this late, because their third album was coming out. But this one will always be a favorite.
And I got to see them live for the first time not too long after that. They’re a band best seen live.
That explains why I’ve seen them three or five times. In fact, a Guster show was on our calendar for the day that everything shut down in March of 2020. I found out at the box office of the local venue. And so it was happy and sad, in May of 2021, to see them live in a documentary format. It was a hint and a reminder and just a great, great band. I’ve watched them their whole career, through the alt and the boop boop beep boop, the Beatles pastiche and everything else.
Probably I would have found them somewhere else, but I found them because of Sean Demery and the legendary 99X.
