The Best Record of 1989: Day 4

Elvis Costello, Spike vs. Screaming Trees, Buzz Factory

Good morning!

Today we’re taking a look at #33 Elvis Costello, Spike vs. #96 Screaming Trees, Buzz Factory.

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In this round, my bracket pick reflects what I thought would be the crowd favorite. I picked with my head and not my heart. Tough call to go against the record you prefer, but here we are.

There’s some relief in knowing both are objectively good records, and both serve as inflection points for their respective careers. Having to pick between two good records is a good problem to have!

And if I’m honest—and can predict how the bracket will play out—there are some seriously tough calls on the horizon. Like some Solomon-level shit.

But for today, let’s look at each of these:

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There are a handful of Seattle bands everyone knows. The Q-ratings of Soundgarden, Nirvana, and Pearl Jam are off the charts. Nothing wrong with that; we (collectively) like what we like.

But those bands tend to cast a long shadow, and underneath them were a whole ‘nother tier of bands that were just as good, who for whatever reason never hit critical mass the same way. Bands like Mudhoney, Tad, and Skinyard.

Bands like Screaming Trees.

1992’s Sweet Oblivion briefly put them on the map, and the hit single “Nearly Lost You” gave a glimpse of what their breakout might look like. But before that—before the hope/hype of the Seattle Sound (or whatever we were callin’ it), the band was grinding away on SST records, and in 1989 put out what was, IMO, their best record; Buzz Factory.

The band’s fourth record shows them in fine form. Mark Lanegan’s voice is as strong as ever. Gary Lee Connor’s unique guitar sound delivers weapons-grade levels of fuzz and wah-wah but never overwhelms. The rhythm section delivers a consistent, muscular beat. Any questions are answered with the slinking groove that kicks off “Where the Twain Shall Meet.” This is a band much more similar to Led Zeppelin than to their punk labelmates.

There are a couple of missteps here (take a bow, Yard Trip #7), but those are the rare exceptions to the rule. Besides Where the Twain Shall Meet, standouts include “Subtle Poison” and closer “End of the Universe.” In between is some of the most solid, heavy-sounding grunge/psych rock to ever come out of Washington State.

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In 1989, Elvis Costello was determined. New label, no Attractions, and after 2 years a new record to follow up two (relatively) well regarded releases.

I don’t know if “statement record” fits here, but I can’t help but think Costello went into the studio looking to prove something. With the benefit of hindsight, a demarcation line between the early era of Armed Forces and This Year’s Model and subsequent releases appears. I have to assume that if pressed, most people would recognize “Pump It Up.” As late as ’82, you might still be able to make the case with “Everyday I Write the Book” off of Punch the Clock. But that’s an exception in a run of records that is largely a dry spell chart-wise. Even Costello didn’t much care for Goodbye Cruel World.

So! Back to Spike: There were no Attractions, Costello instead tapping a roster of, well, all kinds of musicians. T-Bone Burnett was there, as was Chrissie Hynde. Benmont Tench and Mitchell Froom, too. It’s a long list. And with that sort of variety comes a greater than zero chance that the result will be well done but inconsistent….or just a jumbled mess.

Having an anchor like Costello helps keep everything from spinning out of orbit. The horns on “Deep Dark Truthful Mirror” are a nice early touch. “Chewing Gum” is a strutting funk number. And of course, there was “Veronica,” a genuine hit, peaking at 19 on the Billboard Top 40 and topping the modern rock chart.

Ultimately, the variety is a positive aspect. For better or worse, urgent tracks like “(What’s So Funny ‘Bout) Peace Love and understanding” and the aforementioned “Pump It Up” are what first come to mind when I think of Elvis Costello. But there are several years between those releases and Spike. People change, and sounds evolve. Listening to this again after several years (and maybe for the first time front to back?), the biggest upside for me are the little surprises. The horns here, the samba beat there.

Mixing it up keeps things moving right along

Bottom line: Head-to-head, Buzz Factory more closely aligns with my tastes. Had I gone with my heart, that would’ve been my pick. But having Spike penciled in on my bracket is nothing to regret.

Any thoughts on either of these records? Agree/disagree with my takes? Which one of these would you vote for? Sound off in the comments!

Check out the full bracket here.

Info on the tourney, voting, and more is here.

As always, thanks for being here.

KA—

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