We have already suggested a number of movies and series to help you pass the time during the coronavirus lockdown. But what about some of that ole devil’s music?

SOFREP’s copyeditor, who prefers to remain in the shadows, has been a music collector for more years that there are strings in a guitar. And although he stays in the background — as a copy-editor should — we summoned him forward into the light, self-isolation and all, to provide you with some lockdown music suggestions.

Lest this introduction be longer and more derivative than a Bon Jovi song we will take off:


People of the interwebs, I include the below albums on the list either because they are underappreciated, obscure, monumental, all of the above — or just because I fancy so. My goal is to provide you with escapism and spread the word for the below inclusions. A caveat: We are talking sweat, spit, and misplayed notes here. So only rock and roll — whatever that means.


The Kinks are nowadays mostly known for their early 60s maverick hit-single punches “You Really Got Me” and “All Day And All Of The Night.” Yet, towards the end of the 60s, their albums blazed a wide artistic trail and it was “Face to Face” that lit the first conflagration.

The public scorned it and, besides its lead single “Sunny Afternoon,” it failed to create any waves. Nevertheless, “Face to Face” presents a richness of expression and command of variety that no other contemporary band, besides the Beatles, could muster. The feat becomes all the more impressive since most of the album’s songs were written by one person — lead singer and chief disdainer Ray Davies.

The album waltzes effortlessly through social satire, nostalgia, and rural England, while berating taxation (of course) and frowning upon modernity and globalism.

In ’66, the music world was looking outwards and forward; the Kinks in looking inwards and backward produced a masterpiece. Albion, your progeny didn’t fail you. If you want to understand Brexit you should start here.


These guys were probably the biggest nerds to ever have an album chart. Sporting looks and backgrounds more appropriate to a high school locker’s interior that to the cut-throat music scene of late 60s Britain, they nevertheless recorded one of the most representative albums of the era.

“Odyssey and Oracle” is sparse; instrumentation and vocals are present only as necessary (obviously Oasis never listened to it.) This gives it an autumnal and wistful feeling that anticipated the approaching end of the 60s’ innocence.

To mask or not to mask, that is the question

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Furthermore, the album portrays flower pop without indulging itself: many a band would never be able to achieve such a balance. It is also mellow and relaxing, thus working perfectly as a Xanax substitute, (plus it only requires a prescription from Dr. Knox, thus making it much easier to obtain).

The Zombies would disband shortly after the album’s release — I am ignoring the requisite post-mortem reunions. Yet, they left us with this little jewel. Don’t be as dumb as the buying public of the time: add this to your collection.


Ah, the first American band on the list!

If punk was a family, the Modern Lovers would be the forgotten uncle that never receives the party invitations. Boasting a typical “wasted potential story” the Modern Lovers are nigh-forgotten nowadays. But with their eponymous debut album, they helped bridge the gap between the Velvet Underground and the first punk cohort. (The album was recorded in ’71 and played live extensively before that, but only released in’76.)

Johnny Rotten, of Sex Pistols infamy, notoriously replied when asked what music he listens to, “I hate all music, but the Modern Lovers.” (But I am unsure whether the band would take that as a compliment.)

The Modern Lovers were an anomaly in the late 60s and early 70s: At a time when youth was still high on flower-power and its products, the Lovers’ album lauds the pleasures of conservatism, straightness, and old age. And it does so, for the most part, unpretentiously while not giving a damn at the same time. Its sound is lax and effortless, and Jonathan Rickmann’s vocals are more of a bored squawk than a series of notes — and the album is all the better for it.

The band is also quintessentially Bostonian, name-checking the MFA, BU, I-93 — hell, if you aren’t careful while listening to it you will end up washed ashore the Charles.


The retardos nonpareil themselves! They need no introductory remarks, so I will jump straight to the album.

“Leave Home” is the Ramones’ second album and their least well-known from their Sire years. And this baffles me because it’s the best record of their career.

Sure, it doesn’t contain any major Ramones trademark songs. But it is more melodic than their groundbreaking debut while maintaining the latter’s listless rawness and economy, which started dissipating in their following releases.

“Leave Home” is the musical pair to any self-respecting B-movie: Babysitters, soda machines, 7-elevens, glue in the nostrils, burgers on the boardwalk, and killer monsters in the basement all have their shining moments here.

There is not a single average song to be found in the album. So, grab your record player, bang yourself twice in the head, and buckle up for a truly memorable music trip. Destination: yourself 15 IQ points dumber… and happier for it — an excellent combo for surviving the coronavirus pandemic.


“London Calling” is universally praised and frequently included in “Best Of” and “Critics’ Choices” lists. So, why include it here, too? Maybe to show that I have a measure of conformism in me — but most probably to reach my word limit for this article.

The Clash always had an expansive vision; yet, “London Calling” finds them expanding their musical repertoire — both in form and in means — to fully match, and ultimately achieve, that vision. The album is the band’s creative peak — possibly because it’s also their peak of camaraderie.

A double album, “London Calling” incorporates most of the band’s influences to great effect: rockabilly, ska, reggae, lounge, and more. It then bathes them all in a careful dose of punk rock. But it’s not just the music. From the poetic “Spanish Bombs” to the mythological “Wrong’em Boyo,” from the salacious “Lover’s Rock” to the disarming “Clampdown,” all the way to the [(insert adjective here) and (insert song title here)], Joe Strummer and co. are at their most eloquent.

From 100 Club’s floor to Shea Stadium’s bleachers. From the Hundred Years War to the Crimea with a lance, and a musket, and a Roman spear. The Clash climbed the highest hill, raised their flag, and defended it to the last man. (Any last effort in my part to not appear pretentious be damned:)

This is where rock and roll will forever make a stand.

The best rock and roll record ever recorded.


I want to finish the article with a current band and a concern.

Rock and roll is slipping to the sidelines; its erstwhile mainstream popularity has been overtaken by, mainly, hip-hop and modern RnB.

Arguably, the genre is also ossifying. Yet, expect it from the British to once again try and salvage it. And this is what Sheffield’s premier group may have done.

AM achieved global mainstream success with its two massive singles “R U Mine” and “Do I Wanna Know.” But look past its gloss and you will see innovation. The band used RnB recording and mixing approaches on rock tunes: The instruments are separated widely. The vocals pop in and out of the forefront. Tension and release are used expertly. And frontman Alex Turner does an excellent job singing with a panache that is both vulnerable and confident — a perfect complement to the album’s nighttime mood.

Initially, AM may appear monochromatic, but give it a couple of listens and its charms will start revealing themselves throughout.

Now, my concern is will the branch that the Arctic Monkeys sprang bear any flowers?

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