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College Countdown: Rockpool’s Top 20 College Radio Albums, November 1988, 1

1. The Feelies, Only Life I will likely never be able to accurately identify the first song I ever played on the radio. For one thing, it was probably a jazz song, grabbed at random from the stacks by someone

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College Countdown: Rockpool’s Top 20 College Radio Albums, November 1988, 2

2. Cocteau Twins, Blue Bell Knoll Most of the albums on this list are imprinted on me deeply enough to hold a deluge worth of water, sitting as they were in the various tiers of the new music rotation when

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College Countdown: Rockpool’s Top 20 College Radio Albums, November 1988, 3

3. Jane’s Addiction, Nothing’s Shocking In the fall of 1988, prevailing opinion held that Perry Farrell was the next great artist emerging from the realm of off-center rock ‘n’ roll. His band Jane’s Addiction was just out with just its

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College Countdown: Rockpool’s Top 20 College Radio Albums, November 1988, 4

4. Siouxsie and the Banshees, Peepshow When Peepshow arrived in the fall of 1988, it was seen as something of a resurrection for Siouxsie and the Banshees, touched with a little welcome reinvention. The post-punk and goth-rock pioneers hadn’t exactly

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College Countdown: Rockpool’s Top 20 College Radio Albums, November 1988, 5

5. Billy Bragg, Workers Playtime Billy met Mary in 1986. Specifically name-checked in the song “The Short Answer” (“Between Marx and marzipan in the dictionary/ There was Mary/ Between the deep blue sea and the devil/ That was me”), Mary

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College Countdown: Rockpool’s Top 20 College Radio Albums, November 1988, 6

6. Fishbone, Truth and Soul Fishbone decided to open Truth and Soul, their second full-length release, with a track that signaled a clear understanding of their forebears. Their ferocious take on Curtis Mayfield’s “Freddie’s Dead” is a clarion call to

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College Countdown: Rockpool’s Top 20 College Radio Albums, November 1988, 7

7. Let’s Active, Every Dog Has His Day Back around #15 on this particular countdown, I noted the elevated stature of North Carolina-based producer Mitch Easter at the end of the nineteen-eighties, at least within the aspirational, twentysomething Neverland of

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