Mix Disc Monday
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Posted on 02.25.08 by David Medsker @ 10:00 am
Guilty pleasures. We all have them. Actually, I never had any until recently, because I figured that if I didn’t feel any shame about liking a song, then it wasn’t a guilty pleasure. Ah, what a naïve child I once was. I surely should have known that music would turn on me and become something I didn’t like, and then that something I didn’t like would create something I liked (ahem, “I Want It That Way”).
So I was inspired to reexamine my CD collection and cast a hairy eye at which songs have not exactly held their own against Father Time. I still like all of the songs on this list, mind you; let’s just say I have since come around to understanding why others may disagree with me.
“I Beg Your Pardon,” Kon Kan (Move to Move)
I think the laconic vocal is what hooked me, as opposed to some over-sampled tenor like Dino or Paul “Boom Boom, Let’s Go Back to My Room” Lekakis. I remember, as early as the following year, someone played that song at our local college dance bar, and as people were leaving, they were mock-imitating the keyboard riff. Not much of shelf life for this one.
“Strawberry Fields Forever,” Candy Flip (Madstock…)
It must have been the use of “Funky Drummer” in a cover version of one of my all-time favorite songs. That clearly blinded me to the breathier than breathy vocal, the impossibly slow BPM, and, well, pretty much everything else about it.
“Hello,” The Beloved (Happiness)
It’s a List Song, which is always a bad sign. When the choruses consist of the names of celebrities, followed by “Hello, hello, hello, hello,” you should know straight away that you are not dealing with a band that’s going to change the world. Especially when two of the celebrities paired together are Willy Wonka and William Tell. In the interest of full disclosure, I have granted a full List Song pardon to Simple Minds’ “Up on the Catwalk,” because the drums are just too damn cool.
“Hella Good,” No Doubt (Rock Steady)
I was very, very late to the No Doubt party, and then as soon as I started to like them, they started falling apart. The individual tracks to this intrigue me – I can totally envision Arthur Baker working his mid-‘80s mojo on it – but truth be told, there isn’t much of a song here.
View the rest of the list after the jump.
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Posted on 01.28.08 by David Medsker @ 1:51 pm
We’ve spent more than enough time in this section blowing sunshine of the keisters of various lyricists – songs about dreaming, songs about being lonely, etc. – but not this time. Today, we tip our cap to the man in the producer’s chair and the use of a nifty trick called the phase, or a flange. Ever heard the sonic equivalent of an ocean wave engulf a song? That’s what we’re talkin’ about. We even included small snippets of the songs (accessible here) so you could hear them for yourself. Rock on, producer man.
“Out of the Blue,” Roxy Music (Country Life)
The ultimate use of the flange effect, in this writer’s humble opinion. Every time they hit that instrumental bit, boom, here comes a wave. And Jesus, that ending. I picture Bryan Ferry driving a roadster in the country as fast as it can go, only to careen off a cliff at song’s end.
“Evil and a Heathen,” Franz Ferdinand (You Could Have It So Much Better)
In an age where every pop and rock record is produced within an inch of its life (White Stripes, you are hereby excused from this discussion), how is it that Franz Ferdinand is one of the only new bands to use the most time-tested production trick in the book? Not sure, but it took this “Radar Love”-esque rocker to another level.
“Gods of War,” Def Leppard (Hysteria)
If we’re talking production tricks, then it’s a foregone conclusion that Robert John “Mutt” Lange is going to make an appearance. Mutt pulls out all the stops for this six-and-half-minute anti-war rocker, but saves something special for the very end: a giant flange to make the last explosion sound like it’s going down the rabbit hole.
To view the rest of the mix, click here.
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Posted on 09.03.07 by David Medsker @ 2:03 pm
Pop was not quite yet the dirty word that it would become over the next 18 months, though Rick Astley, Paula Abdul and Martika were well on their way to sending pop past the point of no return. Hair metal was winning the record sales battle, but modern rock would soon win the war (thank you, Kurt Cobain). Somewhere in the middle of all that was me, the only one on his dorm room floor who liked both Book of Love and Guns ‘n Roses. It proved for some interesting listening, that’s for sure. Maybe not timeless, but definitely interesting.
“I Don’t Want Your Love,” Duran Duran (Big Thing)
One of the last great Duran singles, with a phenomenal video to boot. I professed my love for remixer Shep Pettibone in my 1987 installment of MDM, but anyone who’s heard the album version of this track knows that Shep actually saved their butts with a bass-heavy remix that sent the song to the top of the dance charts. Obscure trivia bit: the man playing drums in the video is none other than David Palmer, formerly of ABC.
“Peek a Boo,” Siouxsie & the Banshees (Peep Show)
Anyone who knew me back in 1988 knew that this song and I were rarely separated. The backwards drumming – which I, of course, would play backwards on my turntable, to hear the drums going forward – the crazy stereo mix job by Mike Hedges, and Siouxsie’s insanely catchy, climbing vocal in the chorus resulted in the coolest thing I had heard up to that point.
“The Great Commandment,” Camouflage (Voices & Images)
It would be another year until “Personal Jesus” would drop, and aside from the three killer singles, Music for the Masses was a grand disappointment. Those looking for a Depeche Mode fix, therefore, were forced to look elsewhere, and this German band delivered one marvelous tribute to Fast Fashion…then promptly faded into obscurity.
“Tired of Getting Pushed Around,” Two Men, a Drum Machine, and a Trumpet
Roland Gift was off doing some acting gig or other, which left Andy Cox and Dave Steele with some time on their hands until they began recording the next Fine Young Cannibals album. Not content to stand idly by while a ton of people rode the coattails of “Pump up the Volume” and scored hits with sample-heavy instrumentals in the process (Bomb the Bass’ “Beat Dis,” S’Express’ “Theme from S’Express,” Simon Harris’ “Bass (How Low Can You Go,”), Cox and Steele made this. And it was good.
More Mix Disc Monday: 1988 after the jump
Filed under: Rock and Pop and Alternative and Songs and Lists and Videos and Mix Disc Monday
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Posted on 08.20.07 by David Medsker @ 2:28 pm
Ah, 1987: the year I learned how to beat mix. I had been buying 12” mixes to my favorite songs for years now, but I hadn’t the foggiest idea what to do with them until I walked into a club in Athens, Ohio, and heard a guy playing the mixes I had in my dorm room, only on top of each other at the same speed. I was mesmerized.
But it wasn’t just dub mixes and sampling for me in 1987. There were a number of fine little pop songs that year, along with some great rock records (the phrase “classic rock” would come a couple years later). 1987, in fact, is arguably one of the greatest years in music history – Appetite for Destruction, Pleased to Meet Me, The Joshua Tree, Kick, the list goes on and on – but this list, to quote a line from another seminal 1987 album, goes out to the ones we left behind. Well, some were more left behind than others.
“I Don’t Mind at All,” Bourgeois Tagg (Yo Yo)
I originally had this slot filled by Level 42’s “Lessons in Love,” but took it out since I already used that on my MDM on the One-Hit Wonder’s Other Hit. Not sure what else to say. It’s a short, sweet little acoustic ditty, and it has nothing in common with anything that follows. Just sayin’, is all.
“Don’t Disturb This Groove,” The System (Don’t Disturb This Groove)
I’m thinking that it had to take no less than 30 minutes for singer Mic Murphy to do his hair for this video. Hang a sign up on the door; Mic’s not going to be ready to shoot for a while.
“Holiday,” The Other Ones (The Other Ones)
Wikipedia and Allmusic tell me I’m cheating on this one (the album sports a 1986 release date), but as God is my witness, the first song I heard from them (“We Are What We Are”), was promoted as a brand new song in March 1987 on a station that was very quick on the draw about promoting new music. Plus, my copies of Crowded House’s Together Alone and Enigma’s The Cross of Changes have a release year of 1993 on them, and I know for a fact that they didn’t come out in the States until early 1994, so mleah. Anyway, this is total throwaway synth-pop, and I love every second of it (well, the album version, anyway; the radio remix they use for the video blows). If you liked this song, hunt down the album, stat. It’s an ‘80s bubblegum classic. Seriously.
“Tragic Comedy,” Immaculate Fools (The Dumb Poet)
Moody guitar pop song with a singer that’s dressed like Neil Tennant circa “West End Girls”? Sign me up. The band had a much, much bigger hit in 1992 with “Stand Down,” at which point they had left their China Crisis-emulating days behind them. A decision that had to be made in order for a pop band to survive in a grunge world, I suppose. At least they left me this.
To view the rest of Mix Disc Monday 1987, click here.
Filed under: Rock and Pop and Alternative and Songs and Lists and Videos and Mix Disc Monday
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Posted on 05.31.07 by Will Harris @ 11:34 pm
No one asked for it, but here it is, anyway: a new feature on ESDMusic which, hopefully, will become a regular reason for you to visit the site…provided, of course, that we can come up with enough material to maintain it. But, frankly, when you hear the premise, I think you’ll agree that with all of the music geeks we’ve got around here, that shouldn’t be an issue…
Borrowing on the same general concept as Bullz-Eye’s Mix Disc Monday, Flashback Friday will allow our writers to venture into the depths of their possibly-embarrassing personal histories by pulling out old mix tapes and writing about them. In theory, this should reveal a lot about where we were musically at the time we made the tapes; in reality, however, it may just indicate how limited our budget was at the time…or, at least, that’s what this tape of mine shows.
That’s right, as the person who came up with this idea, it’s only fair that I get the ball rolling, and lemme tell ya: I was attending Averett College in Danville, VA (go, Cougars!), and it was a real rarity for me to buy anything that wasn’t on its second or third markdown in the cut-out bin…and, believe me, you can tell.
Title: Greetings from Averett, Vol. 2
Date of creation: late March 1991 (approximate)
Side 1:
“Main Title / Rebel Blockade Runner,” John Williams and the London Symphony Orchestra (Star Wars: The Original Motion Picture Soundtrack)
I’ve always been of the mind that every mix needs to start off with something witty, clever, funny, or just, y’know, something memorable. Given that this was 1991 and we were on what would turn out to be a 16-year drought between new “Star Wars” films, beginning the tape with the familiar main titles from the original flick – now known as “Star Wars: A New Hope” – certainly qualified. Unfortunately, the title theme segues directly into another track, ”Rebel Blockade Runner,” and as a result, the whole thing ends up going on longer than most normal people would ever maintain interest. I mean, I love that soundtrack, and even *I* started to get bored. By the way, while I’ve attributed this to the actual “Star Wars” soundtrack, given my budget, I have to believe that this was much more likely taken from an el-cheapo recording done by, say, the Generic Philharmonic Orchestra…which means it’s almost certainly not John Williams conducting but, probably, his non-union Mexican equivalent. (Juan Williams?)
“Losing My Religion,” R.E.M. (Out of Time)
This is the track on Side 1 which most definitively dates the tape for me. As noted, I was a man with limited funds, and most of my purchases were CDs and cassettes that I’d rescued from the cut-out bin at the record chain in the local mall, but I sucked it up and bought Out of Time on its first day of release. I still remember writing a review for the Averett College newspaper, The Chanticleer, and declaring that this song’s lyrics sounded like a parody of the band’s style. (“I think I thought I saw you try” is the one that leaps immediately to mind.) I must’ve made this tape within a day or two of the album’s release and only known this song; otherwise, I almost certainly would’ve put “Texarkana,” “Near Wild Heaven,” or “Shiny Happy People” on here instead.
“This Is the World Calling,” Bob Geldof (Deep in the Heart of Nowhere)
Wow, did this album get reamed when it was first released. I’m sure Bob didn’t expect much else, though; after you’ve been held up as the pop star who fed the world, you ought to know that the press is going to tear your next LP a new center hole. Yeah, that’s right, Geldof’s fallible. So what? And, anyway, Deep in the Heart of Nowhere wasn’t nearly as bad as everyone said; it just wasn’t as good as, say, your average Boomtown Rats album. I still say the first half of the album is pretty damned good, and this song, which leads off the record, is definitely a highlight.
(more…)
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Posted on 05.21.07 by David Medsker @ 12:53 pm
Roll out, roll out for the mystery tour. Well, it’s not a mystery, but this week’s selection of songs will definitely take us places. From the east coast, to the west…Dear God, I’ve never hated John Mellencamp as much as I do right now.
Since half the journey takes place in the US and Canada, we’re splitting this up into sides, winding up in the Far East. Hope you like sushi.
Side One: North America
“Wichita,” The Jayhawks (Hollywood Town Hall)
Funny to think that there was once a time when the Jayhawks were tagged as Black Crowes knockoffs. Does anyone even miss the Black Crowes? Not as much as I miss the Jayhawks, I’m willing to wager. Please come back soon, Gary.
“Wascana,” The Waltons (Cock’s Crow)
When someone asks you what the last great Billy Joel song was, play ‘em this folk-pop ditty from one of Saskatchewan’s finest, and see if they bite.
“Talking Seattle Grunge Rock Blues,” Todd Snider (Songs for the Daily Planet)
Ah, the hidden track. That’s what Todd Snider’s biggest taste of success was: a hidden track. My question: why on earth would anyone hide a song as funny and as spot-on as this satire of Seattle in the early ‘90s? “Space needle. Eddie Vedder. Mud ‘n honey!”
“Brooklyn-Queens,” 3rd Bass (The Cactus Album)
The late ‘80s may have been a dark time for pop, but it was a spectacular time for hip hop. Streeeeeetch, boooooiiiiiiing.
“Texarkana,” R.E.M. (Out of Time)
Remember when Mike Mills actually played a significant part in R.E.M.’s songs? Truth be told, I much prefer “Near Wild Heaven” over this, but I wanted include cities on Earth, despite Belinda Carlisle’s claims to the contrary.
“Hollywood,” World Party (Bang!)
Wouldn’t she? I don’t care if he’s only recorded two new songs in the last seven years: Karl Wallinger’s one of the coolest guys in rock.
“Cleveland Rocks,” Ian Hunter (You’re Never Alone with a Schizophrenic)
It is as sad fact that, of the handful of kids (I define “kids” as anyone under 30) who actually know this song, most of them will tell you that it was written by the Presidents of the United States of America. Sigh.
“LA,” Elliott Smith (Figure 8)
This is how I choose to remember Elliott Smith: upbeat. I’m still mad as hell at him for checking out like that, but songs like this soften the blow a little.
Side Two: London and beyond
There is a world out there, and while we could have spent this entire second side panicking on the streets of London, we decided to spend only a few days in Merry Ole England before hitting the road.
“Guns of Brixton,” The Clash (London Calling)
It is an unwritten law that all bass players must know how to play “Money,” “Jungle Boogie,” and this.
“Battersea,” Hooverphonic (Blue Wonder Powder Milk)
I actually learned me a little geography the first time I heard this. Hooverphonic soon turned into a wimpy little synth-pop band, but this, which is like Massive Attack doing drum ‘n bass, is just stunning.
“Rumble in Brighton,” Stray Cats (Built for Speed)
History has diminished just how kickass the Stray Cats’ breakthrough album was. There was much more to these guys than “Rock This Town,” that’s for sure.
“London Loves,” Blur (Parklife)
David Bowie is surely still trying to figure out how to sue them over this song.
“Vienna,” Ultravox (Vienna)
Boom. Boom boo-boom. Ka-Kaaaang. Is there a more signature electronic percussion track than this? If there is, well, it means nothing to me.
“Night Boat to Cairo,” Madness (One Step Beyond…)
The opening note is the greatest saxophone sound in the history of recorded music. The rest of the song is pretty awesome, too.
“Tokyo Expressway,” Fluid Ounces (The Whole Shebang)
Seth Timbs is a poor man’s Ben Folds, only without the snark and general crotchetyness. You have to love a song with a chorus of “There was a party everywhere I went tonight / And that was all right.” That is all right, indeed.
Filed under: Rock and Pop and Alternative and Songs and Lists and Mix Disc Monday
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Posted on 02.12.07 by David Medsker @ 12:51 pm
Quick show of hands: does anyone really like Valentine’s Day? For single people, it’s an unpleasant reminder that you’re single (and therefore, in the eyes of the good people at Hallmark Cards, a loser). For couples, it’s yet another obligation to go out and do something special for your sweetie, despite the fact that you’ve already done that at Christmas, your anniversary, Mother’s/Father’s Day, his or her birthday and, if you really go overboard, your date-iversary as well. Enough already.
While everyone at Bullz-Eye is either happily married or happily involved (except for our fearless leader, who is happily neither), we see both sides of this dilemma, and have assembled a mix disc for the lovers and another for the fighters. There’s plenty of joy and pain (but not sunshine and rain) to go around. Dig in.
Mix One: Ain’t Love Grand
Ah, love. Love rules. It’s a scientific fact that when you’re in love, the sun shines a little bit brighter, people are nicer, and your car gets better gas mileage. People in love, according to a song by the Feeling, get special treatment. They know of what they speak. And yet, so few truly great songs have been written about the subject. For every “We’ve Only Just Begun,” there are ten songs like “Everything I Do (I Do It for You).” Because of that, this is officially declared a Bryan Adams-free zone. Feel better already, don’t you?
“You’re the Best Thing,” The Style Council (My Ever Changing Moods)
Shameless homer pick, this one. My wife and I danced to this at our wedding.
“La La Love You,” The Pixies (Doolittle)
Because there aren’t enough love songs with monster drum tracks that have someone shouting “Shake your butt!” in the background.
“(They Long to Be) Close to You,” The Carpenters (Close to You)
Okay, so the bit about sprinkling moon dust is pretty silly. But this is one of the greatest melodies in the history of pop. Period.
“Here, There and Everywhere,” The Beatles (Revolver)
Picking one Beatles love song is like choosing to keep only three toes on each foot. My apologies to “Michelle,” “Something” and “And I Love Her,” among others.
To see the rest of Mix One, click here.
Mix Two: Love Bites
If love is supposedly the most wonderful thing in the world, then why the hell does it hurt so much? There’s an old saying that it is better to have loved and lost than never to have loved at all. Try telling that to someone who has just loved and lost. From invincible to unlovable in seconds flat, nothing will make you feel as unworthy as a failed relationship, especially when it’s capped with a crushing one-liner like “I like everything about my life except my relationship with you.” My college girlfriend actually said that to me, no joke. And in return, I sang a number of these songs to her.
“House of Love,” Squeeze (Play)
I nearly put “Wicked and Cruel” in here instead – indeed, Play is pretty much one giant Dear Jane letter – but this song wins out for a laundry list of one-liners. “She was full of lies and boredom, it came as no surprise that she would cheat,” “I wasn’t Shakespeare, it’s simple / Did she expect me to kiss her feet,” and then the chorus hits: “We seemed the best of friends, life had just begun / But on the roof, a tile began to slip / The house of love caved in, and that was it.”
“I Believe She’s Lying,” Jon Brion (Meaningless)
Like Play, Meaningless has several candidates for this list, but I’m choosing “I Believe She’s Lying” for delivering the killer lyric with an even more killer drum track. “As soon as we’re committing, we’re admitting our mistake / So of course it’s only fitting, that the course we’re going to take is drawn / And whereupon, I’m slamming on the brakes.” You’ve all done it, and you can’t undo it. It’s the only way you learn.
“Say Anything,” Aimee Mann (Whatever)
It makes sense to put Brion and Mann back to back, since they used to date and he produced her first three solo records (plus she co-wrote the lyrics to “I Believe She’s Lying”). Was she talking about him when she said, “If you were everything you say, things would be different today / I would be happy to believe / But I’d have to be much more naive”?
“Good Luck,” Basement Jaxx w/ Lisa Kekaula (Kish Kash)
The flip side to “Ice Cream.” It’s angry, defiant, and there isn’t a woman alive who doesn’t love this song. “Good luck in your new bed / Enjoy your nightmares, honey, while you’re resting your head.” And hot DAMN, can Kekaula sing.
To see the rest of Mix Two, click here.
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Posted on 02.05.07 by David Medsker @ 4:30 pm
Q: What do you call a guy that hangs out with a bunch of musicians?
A: A drummer.
Guitarists love this joke, but the secret truth is that a band is only as good as its drummer. Look at all of the truly great bands, from the Beatles (I will fight anyone who says Ringo sucks), the Stones, the Who and Zeppelin to U2, the Police, Green Day and Dave Matthews Band. They all had/have great drummers. REM had a great drummer, and when he left the band, they went into a tailspin. Coincidence? I think not.
Below you will find the songs that cause me to break out the air drums wherever I am, even if it’s behind the wheel of an automobile (you’ve been warned, residents of Columbus, Ohio). They’re not exactly the most difficult drum tracks ever put to tape; they’re just songs that made me wish I could play drums better than, say, Lenny Kravitz.
“Rain,” The Beatles (Past Masters, Volume II)
Ringo said it himself: there are all of his other performances in his career, and then there is “Rain.” To listen to “Rain” is to listen to the future.
“Stockholm Syndrome,” Muse (Absolution)
I am on a campaign to get Rush to cover this song, and I will not stop until my demands are met. Of course, Neil Peart could probably play this with one hand.
“Double Agent,” Rush (Counterparts)
While we’re at it, I’d love to hear Muse cover this song. Peart has put flashier drum tracks to tape, but what I love about “Double Agent” is its unusual time signature and the back-and-forth from crash cymbal to splash cymbal during the verses.
“D’Yer Ma’ker,” Led Zeppelin (Houses of the Holy)
If you were ever unsure of what made “Jer’maker” such a popular song, I’ll settle it for you right here: Bonzo’s fills. My personal favorite comes at the end of the last bridge, where he does a big snare run and then, when you least expect it, he pounds his hi-hat, stalls for a beat, then hits his snare and goes back into the song. Sweeeeet.
“Territorial Pissings,” Nirvana (Nevermind)
I once heard Kurt and Krist say that if they had their choice of any drummer in history, living or dead, they’d take Dave Grohl over anyone, even Bonzo. That’s probably because, while Bonzo could certainly hit the skins as hard as Grohl, he couldn’t play anywhere near this fast.
“Angel of Death,” Slayer (Reign in Blood)
While we’re talking about Nirvana, Kurt Cobain chose Andy Wallace to engineer Nevermind based on his work on this song and album. Combine that with the fact that Public Enemy found this song both hard enough and funky enough to sample for the fabtabulous It Takes a Nation of Millions to Hold Us Back, and you have a song with one hell of an awesomeness problem.
“One World (Not Three),” The Police (Ghost in the Machine)
I actually had “Demolition Man” in this spot, but while I was writing it up, “One World” started playing, and I realized I was about to make a fatal mistake. Stewart Copeland is off da hook on this one.
“Happy Jack,” The Who (A Quick One (Happy Jack))
Keith Moon’s drumming is like watching “Whose Line Is It Anyway?” You just never know what he’s going to do next, and you get the sense that Keith doesn’t know, either.
“Up on the Catwalk,” Simple Minds (Sparkle in the Rain)
Steve Lillywhite Production #1. Arguably the simplest of the drums riffs included in this list, that doesn’t make it any less cool. The eight-count is just a teaser, and when that first double-snare drops, just try not drumming along. I will be there, I will be there, I will be there, indeed.
“Block Rockin’ Beats,” Chemical Brothers (Dig Your Own Hole)
Not a fucking word about the fact that these drums are completely synthetic. This song won a Grammy for its badass drumosity, okay? If I had a band, and we just lost our drummer, the first call I’d place would be to the Chemical Brothers. And the thing is, I bet they’d be up for the job.
“Drive In, Drive Out,” Dave Matthews Band (Crash)
Steve Lillywhite Production #2. Carter Beauford is an octopus. You’ll hear him hit a drum and think, “How the hell did he have a free hand to do that?” Don’t be fooled by the song’s Rush-like, descending chord progression in the finale: when Carter is finally allowed to let loose, the song doesn’t descend. It explodes into outer space.
“Pledge Pin,” Robert Plant (Pictures at Eleven)
Don’t think of it as Led Zeppelin Moment #2 as much as Phil Collins Moment #1. Collins’ work with Genesis was fine but generally confined to within the limitations of what made for acceptable pop music. However, when he’s backing up Plant, Phil lets his jam flag fly, and it’s a glorious thing. “In the Air Tonight” and “I Don’t Care Anymore” had their moments, but for my money, this is his finest hour behind the drums.
“The Bleeding Heart Show,” New Pornographers (Twin Cinema)
This is one where patience is a virtue. Kurt Dahle barely lifts a finger for the first three minutes, but when the bridge hits…well, even then he’s just biding his time for the massive hey-la-hey-la finale. Once the hey-la’s arrive, you’d be wise to just get the hell out of the way.
“The Last Polka,” Ben Folds Five (Ben Folds Five)
You can blame me for the breakup of Ben Folds Five, and it was because I looked over at my buddy Tim while watching the band in concert in 1997 and said, “You know, Ben Folds is never going to break up this band. He has the best drummer and the best bass player he could possibly ask for. Why would he want to play with anyone else?” My bad.
“Like a Song,” U2 (War)
Steve Lillywhite Production #3. Had to finish the list with this one, given the thunderous drum outro that the song boasts. Again, it’s not particularly hard to play, but damn, it sounds cool when the right people are behind the boards. I bet dollars to donuts that few things give Larry Mullen Jr. greater pleasure than the ending to this song.
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Posted on 12.18.06 by David Medsker @ 12:40 pm
While we find it downright creepy that radio stations are flipping to all-Christmas-music playlists before Thanksgiving, it doesn’t diminish our love of Christmas pop. This list could easily stretch out to 30 tracks, but we will stick to the 15-song limit, if only to make it easier to justify our glaring omissions. We’re leaving off album titles because these songs are available on about 60 compilations each.
“Fairytale of New York,” the Pogues w/ Kirsty MacColl
May as well start with the best of the bunch, and you have to love the opening lyric: “It was Christmas Eve, babe / In the drunk tank.” The story is terribly depressing, full of dashed hopes, bitterness and drugs. But seldom has such ugliness sounded so pretty.
“Christmas Wrapping,” the Waitresses
Patty Donahue is one of the most underrated singers ever, and just try not to whistle along when the sax line comes in.
“Do They Know It’s Christmas?,” Band Aid
Where “We Are the World” was self-congratulatory, we’re-rich-and-that-makes-us-better-people nonsense, Bob Geldof and Midge Ure’s plea for assistance is heartbreaking and relentless. If you want to make your mix really special, hunt down the 12” mix, which features a bonzo drum break from Phil Collins and the stars of 1984 (Bananarama, Big Country) wishing you a happy Christmas.
“Christmas Day,” Squeeze
“Bands Reunited” need to take another crack at getting Squeeze back together. Glenn and Chris’ solo records are nice and all, but neither one of them is writing “Another Nail for My Heart” by themselves.
“December Will Be Magic Again,” Kate Bush
Filled with every ounce of pomp that you would expect from a Kate Bush Christmas song.
“Christmastime,” Aimee Mann & Michael Penn
Mann just did a version of this on her latest Christmas album, but the duet with hubby Penn (it originally appeared on Just Say Noel) is the one to look for.
“O Come All Ye Faithful,” Twisted Sister
Yes, I scoffed at the idea too, until I realized how much it fit the arrangement for “We’re Not Gonna Take It,” the band’s big hit. At that point, I couldn’t stop laughing.
“Thanks for Christmas,” XTC
Brainiac Andy Partridge keeps it simple and sweet, for a change. Funny to think this is the man that would write “Dear God” a few years later.
“Dreidel, Dreidel, Dreidel,” the Cast of “South Park”
Not to be played in front of the kids, unless you’re okay with them singing, “Jews, play stupid games / Jews, that’s why they’re lame.”
“Donde Esta Santa Claus?,” Guster
Even the Jewish kids get in on the hot Santa action.
“Twelve Days of Christmas,” Bob & Doug McKenzie
Heh heh, drunks are funny.
“God Rest Ye Merry Gentlemen/Medley,” Barenaked Ladies w/ Sarah McLachlan
As long as you have this, you can skip BNL’s Christmas album entirely. And Sarah McLachlan makes everything better, doesn’t she? She’s like caramel sauce: sweet and delicious.
“Merry Christmas (I Don’t Want to Fight),” the Ramones
You know that Joey Ramone was Jewish, right? Just making sure.
“You’re a Mean One, Mr. Grinch,” Whirling Dervishes
It’s far too short, covering only the first two verses and a few choice one-liners, but it’s still tons of fun. This one will probably require a trip to Half or eBay, sorry.
“Blue Christmas,” Collective Soul
One of my wife’s all-time favorites, which is saying something since Collective Soul is otherwise verboten in the Medsker household. But their Elvis-style rave-up of “Blue Christmas” is truly special.
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Posted on 11.27.06 by David Medsker @ 11:19 am
The farther away an item becomes in the overall historical timeline, the more condensed its entry becomes. The same goes for music. Several artists are known today for their biggest hit and only for their biggest hit, despite scoring several Top 40 entries. This list attempts to correct that injustice. When a DJ says they’re going to play Crowded House, is there any mystery about what song is coming up? Sadly, no. God, I’ve love to run a radio station for a week.
Anyway, here is my list of songs that were once successful but have since been lost in the mists of time. Anyone who lived through the era will surely know everything here, but for you young ‘uns, perhaps this will serve as a reminder that when it comes to a band’s career, there is almost always more to the story than just a footnote.
“The Sun Always Shines on TV,” A-ha (Highest chart position #20, from the album Hunting High and Low)
Always preferred this song to “Take on Me.” It’s dark, it’s elaborate, and sweet Jesus, listen to that note that Morten Harket hits in the opening.
“Lessons in Love,” Level 42 (highest chart position #12, from the album Running in the Family)
Of course, I’m assuming anyone even remembers Level 42’s biggest hit, “Something about You.” Sigh. Getting old sucks.
“Think,” Information Society (highest chart position #28, from the album Hack)
After reading an obnoxious column in “Entertainment Weekly,” my wife sent the album this came from, titled Hack, to the column’s author, “pop culturist” Joel Stein. I wonder if he ever listened to it.
“Real, Real, Real,” Jesus Jones (highest chart position #4, from the album Doubt)
Ideally, I’d be putting “International Bright Young Thing” in this slot, but that didn’t crack the Top 40. But “Real, Real, Real” will do just fine.
“Love Is Alive,” Gary Wright (highest chart position #2, from the album Dream Weaver)
Oddly enough, this was actually a bigger hit than “Dream Weaver.” They both peaked at #2, but this stayed on the charts for 18 weeks, compared to “Dream Weaver’s” 14. If anyone knows where I can find the full-length version of the 3rd Bass track “Wordz of Wizdom” that samples this song, drop me a line.
“(Forever) Live and Die,” Orchestral Manoevres in the Dark (highest chart position #19, from the album The Pacific Age)
I never know, I never know, I never know why this song was left behind.
“Candy,” Cameo (highest chart position #21, from the album Word Up)
Not only were these guys funky, but the guitarist could play, bro. And he gets exactly 16 beats here to show it.
“The Love Parade,” the Dream Academy (highest chart position #36, from the album The Dream Academy)
Don’t let the title fool you: this is a dark little tune. “They’re lonely together when they’re not apart / If feels like she’s holding on to someone else in the dark.” Ow.
“When the Lights Go Out,” Naked Eyes (highest chart position #37, from the album Naked Eyes)
The band had four Top 40 entries…and yet this song did not make the final cut of their first hits compilation. Um, sure.
“It Ain’t Enough,” Corey Hart (highest chart position #17, from the album First Offense)
Sing to me, fish lips.
“Stick Around,” Julian Lennon (highest chart position #32, from the album The Secret Value of Daydreaming)
You can keep “Too Late for Goodbyes.” I’ll take this.
“Sanctify Yourself,” Simple Minds (highest chart position #14, from the album Once Upon a Time)
Hell, no one even mentions “Alive and Kicking anymore,” and that song was huge.
“Since You’ve Been Gone,” the Outfield (highest chart position #31, from the album Bangin’)
The beginning of the end for the Outfield, which is a pity, because I found this much more tolerable than that damn song about Josie.
“One in a Million,” Romantics (highest chart position #37, from the album In Heat)
Oddly enough, the Romantics’ most well-known song, “What I Like about You,” peaked at #49.
“Sign Your Name,” Terence Trent D’Arby (highest chart position #4, from the album Introducing the Hardline According to Terence Trent D’Arby)
So he never lived up to the whole better-than-Sgt. Pepper nonsense. But that’s not to say he didn’t have his good points.
“Wonderful,” Adam Ant (highest chart position #39, from the album Wonderful)
A lovely acoustic entry from the autumn of Mr. Goddard’s career. Pity he had to go nuts like that.
Filed under: Rock and Pop and Songs and Lists and Mix Disc Monday
Comments: 1 Comment
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Posted on 11.07.06 by Mike Farley @ 4:38 pm
You know how some songs were just meant for rainy days? I started this list and it had a few songs with ”rain” in the title, but I thought that was kind of cheating. Leaving that out made things more interesting. This is a good mix to sit on your front porch (under cover, of course) and watch the rain as you listen to some cool tunes.
“Jane,” Ben Folds Five (The Unauthorized Biography of Reinhold Messner)
Ben has a lot of songs that could have wound up on this list, but “Jane” earns that distinction with its minor key and somewhat somber mood.
“So at Last,” Butch Walker (Letters)
Butch is singing about Southern California in this song, but there is no denying the rainy day feel of it. I’d be really surprised if Butch wasn’t in Minneapolis on a crappy day when he wrote it.
“Let It Die,” Feist (Let It Die)
The aching beauty of this song can practically inflict wounds on the human body. This is Leslie Feist at her best.
“Cold Again,” Freedy Johnston (This Perfect World)
You can almost feel the chilly air as Mr. Johnston sings about walking over the Brooklyn Bridge. You can also probably taste the half-burnt, half-frozen pretzel from a New York City street vendor.
“Flair,” Josh Rouse (Dressed Up Like Nebraska)
This album is full of up-tempo jangly acoustic rock songs. But this one is dark and somber and awesome all at the same time.
“After Tomorrow,” LUCE (LUCE)
This track is more optimistic than sad lyrically, but the overall vibe is perfect for gray skies.
“Jen Is Bringin’ the Drugs,” Margot and the Nuclear So and So’s (The Dust of Retreat)
Here is how the lyrics start: “Jen is bringin’ the drugs / She wants to get real fucked up.” I mean, it’s not a bad idea on a rainy day.
“Don’t Believe,” Marjorie Fair (Self Help Serenade)
Most of the debut album from this band has that dreamy, underwater feel to it. And it’s bordering on brilliant.
“Suburbia,” Matthew Good (Beautiful Midnight)
One of the best under-the-radar albums of the last 10 years, Matthew Good must have written this entire album when he was in a real funk. And, you know, that always makes for the best music.
“You Just Forgot,” Mindy Smith (Long Island Shores)
This one was released maybe a month ago. Being fresh in my mind may have helped the song land here, but I think maybe it will still be a great rainy day track 10 years from now. What a voice on this chick.
“You Are Mine,” Mute Math (Mute Math)
A stunning song from a stunning debut. This is movie soundtrack material.
“Things behind the Sun,” Nick Drake (Pink Moon)
Quite honestly, you could put this song on the list 15 times and forget about the other 14. But that would be way less fun.
“Salesman at the Day of the Parade,” Rogue Wave (Descended Like Vultures)
Does Sub Pop sign any acts that don’t make rainy day songs? Not really.
“God of Wine,” Third Eye Blind (Third Eye Blind)
The last four tracks on the band’s debut album are so depressing yet somehow so compelling. Pass me the bottle.
“Windmills,” Toad the Wet Sprocket (Dulcinea)
This track will make you remember why you fell in love with Toad in the first place. Glen Phillips is my freaking hero, and this incredible song is one of his best.
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Posted on 10.30.06 by David Medsker @ 12:42 pm
With all due respect to Angie, Amie, Beth, Mustang Sally, Maggie May, Alison and the one with the phone number 867-5309, they aren’t the only girls in the pop song universe. Heck, we could make this list using nothing but songs by Material Issue (“Diane,” “Renee Remains the Same”) and Ben Folds (“Losing Lisa,” “Carrying Cathy,” “Give Judy My Notice,” “Julianne”). However, in the issue of equal time, we’re limiting them both to one song each.
And, just to spice things up a bit, I’m getting the girls themselves involved: if we have a model whose name appears in one of these songs, you can look her up right here. And please, don’t ask me if I have their phone number, or know how to reach them, etc. I don’t. Girls that look like our models don’t talk to me. The only exception to that is my wife, and I only succeeded with her by getting her really, really drunk. That, and foot rubs. Lots and lots of foot rubs.
“Valerie Loves Me,” Material Issue (International Pop Overthrow)
One wonders what guitar pop would sound like right now if Jim Ellison hadn’t made the fateful decision to check out as early as he did. If it meant only one more song like this one, wouldn’t it have been worth it?
BE Girl Next Door: Valerie, April 2003
“Kate,” Ben Folds Five (Whatever and Ever, Amen)
I just love the first line of this song: “She plays ‘Wipeout’ on the drums, the birds and the squirrels come.” Everyone wants a girl that can play “Wipeout” on the drums, don’t they?
BE Girl Next Door: Katie Not a 100% match name-wise, but way too cute to pass up.
“Everybody Loves Jill,” Cowboy Mouth (Easy)
This song is surely written about the Jill that my friend Garrett just married. Not only does she have fiery, spectacularly untamed red hair, she loves the color red to boot, which matches the “She’s got a red house, that goes with her red boat” sing-song lyric to a tee. I’ll never forget Jill’s nieces (ages eight and under) all singing this song to her (first time they’d ever heard it) at her wedding reception.
BE Model: Jill, May 2002
BE GND: Jill, April 2002
“Laura,” Scissor Sisters (Scissor Sisters)
According to iTunes, I’ve played this song 25 times. Multiply that by about 20, and that should cover the times I’ve played it in the car, on the stereo, in the iPod or Discman, or put it on a mix for a friend. If you’re feeling melancholy, there is also the just-as-awesome “Laura” by Billy Joel, from what I consider his best album ever, The Nylon Curtain.
BE Model: Laura, August 2004
“Goodbye Lucille #1,” Prefab Sprout (Two Wheels Good)
Or from the album Steve McQueen, if you’re on the other side of the pond. This is the slow-jamz part of the mix, but there was something about that line “Life’s not complete ‘til your heart’s missed a beat / And you’ll never make it up, or turn back the clock / No, you won’t” that appealed to both the hopeless romantic and eternal pessimist in me.
“Veronica,” Elvis Costello (Spike)
Admit it: even though you know that Betty would never break your heart, you still want Veronica just the same. Come on, do you know any Bettys that look like this?
BE Model: Veronica, May 2006
“Who Killed Tangerine?,” Tears for Fears (Everybody Loves a Happy Ending)
No, I don’t know anyone named Tangerine, either, but since the lyric that follows the title in the song is “prettiest girl I’ve ever seen,” it counts. Besides, I take every chance I get to pimp this awesome, awesome song.
“Calling Sarah,” Jellyfish (Bellybutton)
Yes, I’ve listed three Jellyfish-related songs in the last two weeks. Click on the link below, and I think you’ll cut me a break.
BE Girl Next Door: Sarah, January 2003
“The Jessica Numbers,” New Pornographers (Twin Cinema)
The one moment where the archives dictated the mix disc: I originally pegged “Jackie, Dressed in Cobras,” from the same band and album, for this slot. But we had no Jackies on file. And frankly, I’m surprised we only had three Jessicas. Isn’t everyone in their twenties named Jessica?
BE Model: Jessica, September 2006
BE GND: Jessica, August 2002
BE Model: Jessica, September 2001
“Kelly Watch the Stars,” Air (Moon Safari)
If you’re feeling really adventurous, look for the mix of this that Moog Cookbook – aw, damn it, yet another Jellyfish reference – did of it for the soundtrack to the little-seen movie “Splendor.” Groovy, baby.
“Fly High Michelle,” Enuff Z’Nuff (Enuff Z’Nuff)
They hit the scene at the peak of hair metal, and they had absolutely nothing to do with the other bands on the scene…aside from the hair, that is. Upon hearing this ballad, I thought, “Man, if only Cheap Trick had done this instead of “The Flame.” We have more Michelles in the archives than we can count, but here are my two faves.
BE Model: Michelle, March 2006
BE Model: Michelle, March 2005
“Celestine,” Kirsty MacColl (Tropical Brainstorm)
This song should be the theme for Ali Larter’s character on “Heroes,” the dual-personality Niki. “Oh yes, she’s hot, she’s hot, she’s hot / She’s just a wild and wicked slut / And she lives inside my head, and stops me sleeping.” Yes, yes, and yes.
“Summer Moved On,” A-ha (Minor Earth, Major Sky)
My heartfelt apologies to “She Sheila,” the Producers song that originally held this slot. I originally planned on this piece consisting of more traditional names, but I’d already broken that with “Who Killed Tangerine?” And besides, this way I get to plug both a tragically overlooked A-ha song from 2000 and a girl who actually deserves the name Summer. Does anyone watch “The O.C.” anymore?
BE GND: Summer, June 2004
“Susan,” Aimee Mann (Bachelor No. 2)
After writing a slew of songs with boy’s names in them – “David Denies,” “Long Gone (Buddy),” “’J’ for Jules” – Mann penned “Susan,” with a melody so bouncy that you’d hardly notice its remorseful undercurrent. If this one doesn’t do it for you, try her song “Goodbye Caroline,” from the great The Forgotten Arm.
BE GND: Suzi, August 2005
BE GND: Susie, February 2002
“For Nancy,” Pete Yorn (musicforthemorningafter)
‘cause it alllllready iiiiiiiiiiis…..
Bonus track: “Darling Nikki,” Prince and the Revolution (Purple Rain)
I’m only including this because we have a gaggle of Nikkis in our library. Check-ch-check-check-check, check them out.
BE GND: Nikki, March 2006
BE Model: Nikki, January 2006
BE GND: Nikki, September 2005
BE GND: Nikki, June 2005
Filed under: Rock and Pop and Songs and Lists and Mix Disc Monday
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Posted on 10.22.06 by David Medsker @ 11:43 pm
Welcome to the debut of our newest installment, Mix Disc Monday. It is exactly what you think it is. We won’t even bother to insult your intelligence by explaining the concept to you. In this age of iTunes playlists and podcasts, we know that you’re a step ahead of us. Fifteen songs about…well, whatever inspires us that day.
It therefore seemed fitting that we kick off this weekly event with a timely list of songs whose titles evoke images of All Hallow’s Eve. Most of the songs aren’t dark or scary, but do they have to be? If that’s what you want, listen to the main theme to “Requiem for a Dream” over and over again, if you have the guts. Oh, and feel free to pepper the proceedings with “Bring out your dead” quotes from “Monty Python and the Holy Grail.”
Ministry: “Everyday Is Halloween” (Early Trax)
Mmm-mmm bop mmm bop bop. Mmm-mmm bop mmm bop bop. Al Jourgensen says he hates this song now. Fool.
The Jazz Butcher: “The Devil Is My Friend” (Bloody Nonsense)
This long lost B-side (I won’t lie, you’re gonna have a hell of a time finding this one) is still the only song I know by the Jazz Butcher. But any band that’s friends with Frank Sinatra, Love & Rockets and the devil is a friend of mine.
Bow Wow Wow: “I Want Candy” (We Are the ‘80s)
Not everything about Halloween involves scaring people, you know.
Squirrel Nut Zippers: “Hell” (Hot)
I found a version of this on Napster back in the day that was filled with quotes from “The Simpsons.” Innnnnn the afterlife (“D’oh!”), you could be headed for the serious strife (“D’oh!”). Now you make the scene all day (Buuuuuurp), but tomorrow there’ll be hell to pay. Best, mash-up, ever.
The Killers: “Bones” (Sam’s Town)
Tim Burton was the perfect person to direct this video. If only he could have done something about the rest of the album…
Oingo Boingo: “Dead Man’s Party” (Dead Man’s Party)
While we’re talking about Tim Burton, we may as well give a shout-out to his composer’s former day job.
L7: “Pretend We’re Dead” (Bricks Are Heavy)
Girls can do grunge too, you know. Come on, come on, come on.
Concrete Blonde: “Bloodletting (The Vampire Song)” (Bloodletting)
How a lazy cover of “Sympathy for the Devil” by Guns ‘n Roses played over the credits of “Interview with a Vampire” instead of this is not just a mystery but a crime.
Dead or Alive: “Something in My House” (Mad, Bad and Dangerous to Know)
Here’s the thing that people forget about Dead or Alive: their guitarist could shred, dude. For extra creep factor, find the 12” mixes, which have quotes from “The Exorcist” in them.
Book of Love: “Witchcraft” (Lullaby)
There’s something about the sound of Samantha wiggling her nose that gets me every time. That, and Susan Ottaviano’s voice, which my wife once described as “beautifully bored.” Yep, that sounds about right.
B-52’s: “Devil in My Car” (Wild Planet)
Heeeeeeelp!
Jellyfish: “The Ghost at Number One” (Spilt Milk)
It was a tossup between this and “The Ghost in You” from the Psychedelic Furs, but in the interest of keeping the energy levels up, we chose this mash note to Queen about a dead rock star who still dominates the pop charts. Awfully prescient, since this predates the deaths of Tupac and Biggie. Jellyfish were prophets.
Roger Joseph Manning, Jr.: “Creepie People” (The Land of Pure Imagination)
I probably should have put David Bowie’s “Scary Monsters and Super Creeps” in this slot instead of back to back Jellyfish-related tunes (Manning played keys for the’Fish). But hot damn, I just love this new record of his. And you should, too.
Gnarls Barkley: “The Boogie Monster” (St. Elsewhere)
You either love or hate this one. I’m in the former group, if only because it reminds me of Mike Wazowski, Sully and Boo from “Monsters Inc.” Kitty!
Divine Comedy: “The Happy Goth” (Absent Friends)
And on what day would Goths be happier than Halloween? The chorus to this is just money: “Well, her clothes are blacker than the blackest cloth / And her face is whiter than the snows of Hoth / She wears Doctor Martens and heavy cross / But on the inside, she’s a happy Goth.” The snows of Hoth? God, I love Neil Hannon.
P.S. To see the most unintentionally funny Goth clip ever on YouTube, click here.
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