(I started writing this in June. Lawd, what a summer. This may yet turn into a series; in case you missed it, here is part 1.)
I would like to start this second installment by apologizing to the continent of Australia. For many, many of you, the title of this post does not apply to you.
But it does apply to the overwhelming majority of people in the United States, and it certainly applied to me as I began my college radio career.
I honestly don’t know what I expected when I heard that Rose-Hulman had a college radio station. I know that I had discovered “alternative music” (you know, R.E.M., the B-52’s, 10,000 Maniacs, Midnight Oil, and all those other important bands that MTV played…I was even really hip and had the Smithereens’ cassette tape) and there was a radio station at Baldwin-Wallace College, across the street from my grandparents’ house, that played some REALLY exotic sounds, like the Sugarcubes (from Iceland! how exotic! who had this lead singer named Björk! how exotic!) and Siouxsie and the Banshees (see? not Susie, but Siouxsie! see, I’m hip!). I was absolutely certain, I guess, that I would find even more exotic stuff, and the music I would listen to would be SO elite and would blow SO many minds and I would just be the coolest person on the planet.
I was kind of bummed when, on my arrival, that old WMHD program director tried to impress on me the importance of the blues and of this other old guy named Elvis Costello. Old folks. I wasn’t up for the old folks. I was up for the new and the cool.
But as I went through my DJ training, one thing that the station manager  impressed upon all of us new DJ’s, and the thing that was so much of the ethos of college radio in the 80’s and 90’s, was always listening and playing something new. People wouldn’t tune in to WMHD to listen to “Pinball Wizard” or “Love In An Elevator” (or even “Blister In The Sun” or “What I Am”) for the hundred thousandth time. They would listen expecting something they didn’t hear every day, and what you should do is look for the best of the stuff that other radio wouldn’t play.
It was in that season of my life that I flipped through the old College Music Journal and read a writeup on a new album by a band I’d never heard of with a name I thought was cool – Hunters and Collectors. And I had just noted the album Ghost Nation in the new music stacks.
Let’s give this a spin, shall we?
Here is track 1.
It wasn’t terribly exotic. There was a bit there that satisfied the nascent Midnight Oil fan in me, which made sense because Australia. But it was, at its core, a unique take on straight-ahead rock and roll.
I liked it. I liked it a lot.
It wasn’t something ABSOFREAKINLUTELY INCREDIBLE THAT EVERYBODY MUST BUY NOW, or anything like that, mind. This isn’t a story of a song that radically changed my life. It is a story of a song that gently, but consistently, nudged how I approached music.
I quit seeking the newest, freshest, most exotic sounds. I wouldn’t run away from them if they turned up, mind. But what I wanted was the best songs. Even in 1989, there were so many different artists doing things that didn’t get major radio play or any serious notoriety. We were there, in part, to be the champions for the best of those.
Of course, I soon found out that Hunters and Collectors had a great deal of notoriety halfway around the world. I discovered their back catalog (and much of the best of it is on Soundcloud – if I wanted to talk to you about songs that will change your life, I would totally be talking to you about “Holy Grail” right now), and discovered just how big of a deal they were.
And that’s a whole NEW layer on how the young mind develops – that your experience of the world is not everybody’s experience of the world, and music that is completely new to you is famous somewhere else, and what is old, dry and boring to you is revelatory to someone else.
This is obvious stuff, but these are the lessons that 18-year-old minds need to learn.