[As Christopher Arnott continues to chart his 45rpm single collection.]

1. Jeff and Jane, Special World b/w Mother Told Me. My wife took a class in video art from Jeff and Jane Hudson at the Boston MFA-affiliated Museum School around the time this single came out. I didn’t know that until years later. I first knew Jeff and Jane Hudson as The Rentals—not the much later Weezer-related act, but a local Boston band that got to open  for The Clash’s debut Boston appearance, at the Harvard Square Movie Theatre in mid-February of 1979. The Rentals got the gig because the ever-progressive Clash decreed that their opening acts must include a verifiable rock legend (at this juncture it was Bo Diddley) and a local band with a woman in it.

I saw that Clash show with my friend Wally Gagel, who eventually met the Hudsons and plays drums on this 1983 single. Wally, now a big record producer in L.A., was still in the thrall of John Lydon’s Public Image Limited back then (who who’d heard them wasn’t?). A derivative yet well-meaning mechanically paced doom and gloom pervades this disc. 1984 was nigh, after all, and distanced empty clanging was in vogue. I’d thought that The Rentals’ single “Gertrude Stein” was a brilliant punk translation of literary minimalism. This single, not so much. But it’s surprisingly vibrant for something otherwise so outdated.

2. 10cc, The Things We Do for Love b/w Hot to Trot. Ah, the allure of the non-LP B-side! This is the early days of the Graham Gouldman/Eric Stewart edition of 10cc, after Kevin Godley and Lol Crème (the more avant-garde half of the quartet) split off to go invent a guitar gadget and record the sprawling Consequences with Peter Cook. The first four 10cc albums were a mix of trad pop and postmodern itchings, cool and edgy yet strangely comforting. This single showed that something clearly had been lost, though it was a hit and the band endured in this form for several more albums.

3. Poundcake, Kick the Can b/w Algernon. From the silver age of power pop in Boston, as mounted by the Q Division studio/label. Guitarist Clayton Scoble Jr. had been part of Aimee Mann’s band and would later form Francine. Mark Rivers was a recovering Cavedog. Josh Lattanzi was the most charming bassist in Boston. This was an extraordinary trio. They seemed to have so much goofy fun playing together that you knew it couldn’t last long, and it didn’t. They did produce an album however, Aloha Via Satellite. Poundcake’s best songs, including “Kick the Can” here, were wondrous mixes of playful lyrics, profound musicianship and severe, algorithmic rhythms.

4. The Streams, The Drift b/w Failed Speech. Early single by the David Brooks-band which got darker and more roots-oriented as it matured. “The Drift,’ by contrast, has some delirious guitar swoops.

5. The Lean-To’s, Lucky and Soapscum b/w Jackie. This three-song EP by David Brooks’ pre-Streams band, issued on the British label Watercolour, came with some of the cattiest liner notes ever distributed, a tipped-in card that read:

Notice: The makers of this record have neglected to inform you of important information regarding this music. Evidently they felt their artwork and the name of their label was of more significance than giving proper credit to the individuals responsible for this music. To alleviate any confusion you may experience while examining this product, the following explanation is offered: The Lean-to’s were founded in 1987 by David Brooks and Joe Rees. The Soapscum/Lucky side of the record are two of the earliest recordings we made. The rhythm section on these tracks was Jim Balga and Spike Priggen. The Soupjackie side was from the second formation of the group, which included Jim Copola and Jon Morris on rhythm. All three compositions were written by David Brooks. Thanks to everyone who supported the group over the years. I hope you enjoy this music.

—Dave Brooks, November 1991.