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This sprawling four-disc set -- something of a bookend to Rhino's encyclopedic punk collection, No Thanks! The '70s Punk Rebellion -- digs deep into the history of what some call post-punk and others have dubbed indie-rock. It's a dauntingly large amount of territory to cover, but the producers have done so effectively, crisscrossing this country, as well as swaths of Europe, and cherry-picking both easily recognizable bands and equally worthy obscure names that might otherwise be consigned to rock history footnotes. The former category yields songs that have become standards -- including R.E.M.'s "Radio Free Europe" and the Smiths' "This Charming Man" -- as well as surprising, under-aired material, notably the pre-fame Red Hot Chili Peppers' "Hollywood/Africa" and the Cure's "A Forest." While Left of the Dial touches on virtually every subgenre imaginable -- hitting on hardcore with Minor Threat's anthemic "Straight Edge," goth with Bauhaus's "Bela Lugosi's Dead," and second-wave garage rock via the Lyres' "I Wanna Help You Ann" -- the songs are mortared together so carefully that it all holds together perfectly. Even so, there are standouts, mostly those that don't fit easily into any readily identifiable category, thus flaunting the era's sonic variety. The Gun Club's feral "Sex Beat," for instance, straddles Angeleno punk and Delta howl; the Feelies' hyper-kinetic "Fa Cé-La" speeds up Velvet Undergroundstyle sonic grind, adding a heaping helping of buttoned-up suburbiana in the process; and Prefab Sprout's "When Love Breaks Down" is a tip of the hat to Stephen Sondheim (perhaps as adventurous a move as one could muster in the '80s underground). More than anything else, however, Left of the Dial proves that its contents -- particularly the Gang of Four's revolution-funk call to arms "To Hell with Poverty" -- stand up every bit as well two decades on. David Sprague, Barnes & Noble
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August 17, 2005: If you worked at a college radio station in the mid-80's (like I did), this collection will put you right back in the booth. It's all here...well, almost. There's a few missing nuggets - "88 Lines About 44 Women" (The Nails), "Boy (Go)" (Golden Palominos), "The Walls Came Down" (The Call), and why they left off The Smith's epic "How Soon Is Now", which is the "Freebird" of 80's alternative music, I have no idea. Nonetheless, it's a great collection not to be missed.
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January 27, 2005: The 80s were a blast, mostly because the 70s just weren't. Bloated and/or tuneless riff-rock bands had dominated a decade until the great 3-minutes-and-your-done eighties happened, where power pop from the likes of The Plimsouls, Paul Collins' Beat, Let's Active, The Photos and others brought the fun back. Besides these great acts, also glaringly missing are Romeo Void, Oingo Boingo and Translator, but I'm sure Rhino did what they could. All in all, this is a far better set than the "Omigod" piece of junk released to represent the 80s previously. Even though U2, The Police and Blondie (even, gulp, Duran Duran) mattered in the eighties, there are a lot of worthy entries here.
This sprawling four-disc set -- something of a bookend to Rhino's encyclopedic punk collection, No Thanks! The '70s Punk Rebellion -- digs deep into the history of what some call post-punk and others have dubbed indie-rock. It's a dauntingly large amount of territory to cover, but the producers have done so effectively, crisscrossing this country, as well as swaths of Europe, and cherry-picking both easily recognizable bands and equally worthy obscure names that might otherwise be consigned to rock history footnotes. The former category yields songs that have become standards -- including R.E.M.'s "Radio Free Europe" and the Smiths' "This Charming Man" -- as well as surprising, under-aired material, notably the pre-fame Red Hot Chili Peppers' "Hollywood/Africa" and the Cure's "A Forest." While Left of the Dial touches on virtually every subgenre imaginable -- hitting on hardcore with Minor Threat's anthemic "Straight Edge," goth with Bauhaus's "Bela Lugosi's Dead," and second-wave garage rock via the Lyres' "I Wanna Help You Ann" -- the songs are mortared together so carefully that it all holds together perfectly. Even so, there are standouts, mostly those that don't fit easily into any readily identifiable category, thus flaunting the era's sonic variety. The Gun Club's feral "Sex Beat," for instance, straddles Angeleno punk and Delta howl; the Feelies' hyper-kinetic "Fa Cé-La" speeds up Velvet Undergroundstyle sonic grind, adding a heaping helping of buttoned-up suburbiana in the process; and Prefab Sprout's "When Love Breaks Down" is a tip of the hat to Stephen Sondheim (perhaps as adventurous a move as one could muster in the '80s underground). More than anything else, however, Left of the Dial proves that its contents -- particularly the Gang of Four's revolution-funk call to arms "To Hell with Poverty" -- stand up every bit as well two decades on. David Sprague
Alternative rock of the 1980s was such a large and diverse scene that any box set documenting the genre is bound to be the cause of debate as to what is and isn't included, even a four-CD, 82-track production such as this one. Despite the inevitable exclusions, Left of the Dial: Dispatches from the '80s Underground does a decent job of collecting representative cuts from all spectrums of the style, even if it does tilt toward the more mainstream of such acts. Of course, artists like R.E.M., the Cure, Aztec Camera, the Pretenders, Ultravox, Lone Justice, the Smithereens, Concrete Blonde, Echo & the Bunnymen, and the Church (all sampled on this box) were "mainstream" only by the standards of the more left-leaning college radio programmers; by the measurements of the actual mainstream, they were still pretty "alternative," even "underground" in some cases. And the set doesn't neglect the edgier side of '80s underground rock, with tracks by the Dead Kennedys, Minor Threat, Throbbing Gristle, the Minutemen, Black Flag, Nick Cave & the Bad Seeds, Gun Club, the Butthole Surfers, the Raincoats, and Beat Happening as well. Between the poles are numerous slices of music of different shades of anti-mainstreamdom, from the paisley underground (the Three O'Clock, the Rain Parade, the Dream Syndicate) and an iconoclastic singer/songwriter (Billy Bragg) to British guitar-grounded sounds (the Jesus and Mary Chain, the Stone Roses, XTC), goth (Sisters of Mercy, Bauhaus), folk-punk (the Violent Femmes), retro-garage (the Lyres), ska (the English Beat), and even punk novelty (the Dead Milkmen).
Naturally, there's room for argument about some of the choices: Prefab Sprout's alt-rock credentials are certainly specious, for instance, and the roll call of missing notables includes the Fall, Shonen Knife, the Chills, Romeo Void, the Television Personalities, the Wipers, the Mekons, and many others. There are few real surprises or underexposed gems: the Passions' 1981 single "I'm in Love With a German Film Star" is about the only item by a group that hasn't been canonized in the '80s alternative rock pantheon, though actually that song was a British hit. On the other hand, the astute and eclectic programming makes for a better listen than other attempts that have been made to compile '80s alternative rock. It's sort of like listening to an actual '80s college radio station, but one that's more listenable than any college radio stations actually were, both because of the catholic stylistic assortment and the selection of some of these artists' very best songs. If you did listen to this sort of music devotedly back in the '80s, in fact, much of this will be like revisiting familiar hits and standards, even if few of them actually made the charts as actual hits (and then usually in the U.K.): R.E.M.'s "Radio Free Europe," the Dead Kennedys' "Holiday in Cambodia," the Jesus and Mary Chain's "Just Like Honey," Joy Division's "Love Will Tear Us Apart," the Violent Femmes' "Blister in the Sun," XTC's "Senses Working Overtime," the Sugarcubes' "Birthday," Faith No More's "We Care a Lot," the Church's "Under the Milky Way," Siouxsie & the Banshees' "Christine," Gun Club's "Sex Beat," and Suicidal Tendencies' "Institutionalized," for instance, all fall into that category. And if you didn't experience the music directly during the era, this box set still gives you a pretty good idea of what was going on, and what paths to travel down for further investigation. Richie Unterberger
Virtually all of these songs and recordings have held up beautifully. Douglas Wolk
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