Category: Lists (Page 10 of 19)

10 lame Beach Boys songs

June 18, 2007 / Captain Capm

I like a bit of The Beach Boys’ work as much as the next guy and own all their ’60s output, save for the Christmas album, and a couple of the ’70s albums. But these guys have always had a habit of putting some downright awful crap on their albums, be they at their peak or in the gutter. Here is a hastily assembled list of 10 Beach Boys songs taken from the albums I do have that I think are pretty damn super-lame. No long annotation here, just the list. Discuss it if you like.

There are in no way ranked as they are all equally craptastic to my ears.

“County Fair”
“Our Car Club”
“All Dressed Up for School”
“Pom Pom Play Girl”
“Amusement Parks U.S.A.”
“Salt Lake City”
“Graduation Day”
“Be True to Your School”
“Matchpoint of Our Love”
“Transcendental Meditiation”

It should be noted that the early Boys albums are littered with such dreck as “Our Favorite Recording Sessions” and “Cassius Clay vs. Sonny Liston.” Sad that even at that point they had to junk up their LPs with completely useless tracks.

Lists, Pop, Songs

Bullz-Eye’s eight bands that should break up, and eight bands that should reunite

June 14, 2007 / David Medsker

Late last year, after the annual Bullz-Eye holiday party, a couple members of the music staff did what they do best: they bellied up to the bar and drank some more. We began talking about bands we wish we had seen while we had the chance, which led to a conversation about which bands we’d like to see get back together. Along with some obscure favorites (we will not sleep until Sugarbomb makes another record), the three bands that we all wanted to see get back together were the Police, Squeeze, and Crowded House.

It is now six months later, and guess who’s coming to a shed, pub, or coliseum near you? Yep, the Police, Squeeze, and Crowded House.

What this means, of course, is that we have magical powers, and that by merely wishing something to be, it soon is. It also means that it was only a matter of time before we were wholly corrupted by our newfound abilities, and what began as a good-natured chat about bands that left too soon became a diatribe about which bands just need to freaking stop already. It was therefore decided: for every band that we reunite, another band must be torn asunder. Below is an example of each.

Band that should break up: U2
Listen to the Irish pre-grunge rockers’ grungy early-’80s anthems – such as “Sunday Bloody Sunday” and “New Year’s Day” – and you hear passion. Fire. Something to live for, and possibly, to die for. The Joshua Tree was the creative and sales apex for the band, and it’s been downhill for the two decades since.

After the live Rattle & Hum album, U2 reinvented itself as an upscale dance-rock band, a pretty cool parlor trick. But their problem was, there was no substance behind the beats, and the band’s relevance eroded. By the time the band rolled into 1997, it had become a parody of itself, promoting its “Pop” tour at K-Marts and hemorrhaging money when no one came to the shows.

It’s 2007, folks. No one’s denying U2’s recaptured its politically astute fan base, but it took terrorism on a massive scale – and the band’s touching, reverent salute to the victims at the following Super Bowl halftime – to get them back. They’re off again, doing poppy, say-little-if-anything tunes, trying to speak to the iPod generation on TV commercials. It’s time for Bono to become the mature, full-time political ambassador we know he can be, and reap the humanitarian good his name and reputation can accomplish. It’s time for The Edge to validate his quirky technique by launching a guitar school. As for the other two guys, they’ll make fine A&R men for record labels. But please, break up the band. There’s nothing left for them to say.– Mojo Flucke, Ph.D.

Band that should reunite: Elastica
Elastica was a band out of time not once, but twice. On their 1995 debut, when they were ripping off Blondie, the Stranglers and Wire – literally, in some cases – their Brit Pop peers were writing love letters to Paul Weller, John Lennon, Scott Walker and Ray Davies. When they finally got around to releasing their second (and last) album The Menace in 2000, the British music scene was mining the mellow gold of Travis and Coldplay, while Radiohead had finally succumbed to the robots. Elastica, meanwhile, were considered hangers-on to a defunct scene that they never belonged to in the first place. Deciding that the band was more trouble than it was worth, lead singer Justine Frischmann threw in the towel in 2001.

If she only knew what the future held. Dance rockers Franz Ferdinand are one of the biggest bands in the world, and the Arctic Monkeys, who reinvented both ‘quirky’ and ‘angular,’ are bigger than Jesus in England. The Futureheads and Shiny Toy Guns? They’re practically Elastica spinoff groups, a la General Public and Fine Young Cannibals forming from the ashes of the English Beat. You know how labels used to re-release the same song a decade after it first charted (Hello, Benny Mardones’ “Into the Night”)? “Your Arse, My Place” would be a Top 10 hit on modern rock radio right now, if given the chance.

Your moment has finally arrived, Justine. Give Donna and Annie a ring and get together for a drink or two. Dust off the gear, plug in, and take these drooling synthesizer dorks to school. –David Medsker

To see the rest of the bands that should break up and bands that should reunite, click here.

Alternative, Artists, External Music, Lists, Pop, Rock

Flashback Friday: “So Very Special”

June 8, 2007 / David Medsker

Mixed July 10, 1993

Actually, the tape was called “So Fucking Special,” for reasons that will soon become clear for those who haven’t already figured it out. But I’m not that same young punk anymore, and decorum compels me not to lead a piece with an expletive. Drop one in the first line of the piece, sure. But the headline? That’s just crazy.

Side One

“Daddy’s Gonna Pay for Your Crashed Car,” U2 (Zooropa)

In retrospect, the actual verses to this song are pretty flat, but hot damn, do I still love that intro and that backward bass line.

“In Yer Face,” 808 State (Ex:El)

To quote Jason Thompson, this album PWNZ. I always wanted to find an a cappella version of House of Pain’s “Jump Around” and lay it over top of 808’s “San Francisco.” If anyone can help me find that a cappella, I’d be forever in your debt.

“We Don’t Take/Hack/Charlie X,” Information Society (Hack)

Hack was one of the last records released before the sampling laws forced you to pay anyone and everyone you stole, which effectively killed sampling as an art form. You almost get the sense that they knew the window was closing when they made this song, because this song samples everyone, from James Brown, Beastie Boys and Digital Underground to Kraftwerk and Malcolm McLaren.

“Big Car (Limo Mix),” Severed Heads (Rotund for Success)

I had seen this record in stores for years, and I just knew that it was something that I would like Eventually, I found the 12” at a steep discount, and took the plunge. Now for the strange part: as much as I love this song – and I looooooove this song – I never sought out any of the band’s other stuff, though I’ve been wondering for years where that “All the way to the bottom, Maggie. You’ve made it!” quote came from.

“Thieves Like Us,” New Order (Substance)

The instrumental mix, thank you very much. Do you suppose the Human League contemplated a lawsuit for the song’s similarity to “(Keep Feeling) Fascination”? Speaking of the Human League…

“The Lebanon (extended version),” The Human League (Hysteria)

…and while we’re talking about songs that could have benefited from less singing, I will admit that I never realized how crap the lyrics to this song really were until much later. The music track, though, is fab, and the extended instrumental bits throughout confirm that.

“She Sells,” Roxy Music (Siren)

Most people have forgotten this, if they ever knew it, but Roxy Music used to rock, dude. Love that “Trampled Underfoot” bit right after the chorus.

“People Are Strange,” Echo & the Bunnymen (The Lost Boys Soundtrack)

I had recently upgraded this to CD from LP. Doors songs sound much better when they’re not performed by the Doors.

“Hayfever,” The Trash Can Sinatras (I’ve Seen Everything)

I am not joking when I say that I nearly fell out of the shower the first time I heard this song, I was so blown away. Years later, I joined an email list for fans of the Trash Cans, and one of those fans was…Will Harris. Yep, that’s how we met, for those keeping score at home.

“Sheila Take a Bow,” The Smiths (Louder than Bombs)

La la la la lala la la.

“Ride (Moby’s Odessa Mix),” Soho (Thug)

Moby had done a crazy-ass remix of “Beat It” in 1992, so when I saw that he was working with my Smiths-sampling sistahs, I was intrigued. Imagine my surprise, then, when the track was actually smoothed out rather than ramped up. While no one would ever dance to it, something about that repeated line – which I never quite understood; is she saying “Now the voices fly you”? – hypnotized me. Years later, Moby would pull a similar ambient stunt with Blur’s “Beetlebum.” I was not as amused.

Side Two

“Creep,” Radiohead (Pablo Honey)

I made this tape after visiting my buddy Steve in Cleveland. This song was all over the place that summer, and Steve and I would just walk around imitating the chunk-chunk sound of Johnny Greenwood warming up his guitar for the chorus. I bought a CD single of “Creep” instead of the album because I was convinced that they would be a one-hit wonder, and that this would be all that I would ever need from the band. Huh.

“Hollywood,” World Party (Bang!)

When I made this tape, I wouldn’t have dreamt that one day I would be interviewing Karl Wallinger, World Party’s lead singer. But one day, I did, and he was the coolest.

“Goodnight Song.” Tears for Fears (Elemental)

I was a bit burned out on “Break It Down Again” by this time, so I opted for what I was positive would be the next big hit from the album. Huh.

“The Prisoner,” Howard Jones (Cross That Line)

This one may appear to be a little out of step with everything else, but keep in mind that HoJo released his awesome Greatest Hits album on June 29 of that year. Since I never bought Cross That Line, I was thrilled to finally have this song.

“Second to None,” Electronic (“Feel Every Beat” CD single)

I bought anything and everything associated with the first Electronic album, which meant the collecting of a bunch of crap remixes, a couple decent ones, and this great B-side.

“It Must Be Obvious,” Pet Shop Boys (“So Hard” CD single)

“We’re meant to be friends. That’s what it says in the script,” Neil Tennant said. I couldn’t help but think that he was telling me something, since I was dating someone that I had no business dating. “Everyone knows when they look at us / Because they do, it must be obvious,” he says in the chorus. I always projected that the rest of that sentence was, “It must be obvious that we don’t belong together.” I would date that girl for a total of six years.

“Walking in My Shoes (Random Carpet Mix),” Depeche Mode (“Walking in My Shoes” CD single)

Thanks to his work with Scritti Politti and Seal, I was all about William Orbit in the early ‘90s, and while I am still a huge fan of his Strange Cargo III album, it is now clear to me that everything this man will ever do will sound just like this.

“Cold as Stone,” a-ha (Memorial Beach)

Anyone who hasn’t heard a-ha since the glory days of “Take On Me” and “The Sun Always Shines on TV” will be shocked, shocked when they hear this. Eight minutes in length, with a pseudo-spaghetti western intro and outro and booming drums, this is not your mother’s a-ha. Of course, because it wasn’t their mother’s a-ha, no one cared, and the album stiffed. But they should have cared, damn it.

“UMF,” Duran Duran (The Wedding Album)

There are times when Simon LeBon is as subtle as a jackhammer. “I’m making love to the ultimate mind”? Gee, what ever could that ‘F’ in the title stand for? Still, as British faux-funk goes, this was a fun one, and I always wondered if this would have fared better as a follow-up to “Come Undone” than “Too Much Information” did.

“Deep Forest,” Deep Forest (Deep Forest)

Courtesy of my then-roommate Hope. I never realized until now how much that vocal sounds like Bjork.

“Future Love Paradise (Reprise),” Seal (Future Love EP)

I have at least one alternate version, and in some cases seven versions, of every song from Seal’s first album. This was the last piece to fall, and while this reprise isn’t earth-shattering or anything, it’s still pretty cool.

“Beauty Stab,” ABC (Beauty Stab)

I had a couple minutes of tape to fill, and while ABC’s “rock record” is generally frowned upon, I still dig it.

Alternative, Artists, Electronica, Flashback Friday, Lists, Pop, Rock, Songs

Mix Disc Monday: I’ve been everywhere, man

May 21, 2007 / David Medsker

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.

Alternative, Lists, Mix Disc Monday, Pop, Rock, Songs

The Best Albums You’ve Never Ever Heard (Well, PROBABLY Not, Anyway)

April 15, 2007 / Will Harris

Okay, music fans, correct us if we’re wrong, but unless you’re one of those wannabe hipsters that only buys this week’s buzz album, we’re guessing that somewhere in your collection, you’ve got an LP, a cassette, a CD, or even an 8-track that you picked up on a whim, fell in love with, and absolutely love to tell people about… and your introduction usually begins, “Look, I know you’ve probably never heard of this person/these guys, and I don’t know why it didn’t sell a million copies, but, seriously, you’ve got to hear it.”

Maybe they’re a local or regional band who never made the big time. Maybe they did make it to a major label, but the musical climate wasn’t right…or the label didn’t bother to promote the album…or, heck, maybe the band broke up five minutes after the record was released. Whatever the case, far too many great albums have ended up selling far too few copies, which is why we’ve taken it upon ourselves to try and rescue some of these all-too-unheralded releases from obscurity. We’ve also managed to get in touch with almost all of the artists whose albums we’re praising in this piece – the lone exception had the very good excuse of having died, but we did, at least, get in touch with one of the producers of his album – and asked them to answer a quick Q&A for us. So not only will you (probably) be introduced to several new albums, but you’ll also feel like you know a little bit about the person or persons responsible for recording them.

Here’s just one example:

The Argument: Your New Favorite Band (Self-released, 2000)

Recommended If You Like: Ben Folds Five, Barenaked Ladies, Toad the Wet Sprocket

The critics can go on and on about how quirky bands don’t last long unless they’re named Barenaked Ladies, and about how songs like “Inflatable Amy” are downright laughable…and, hey, the Argument’s lead singer, Scott Simons, can even say he’s “embarrassed” by his former band’s self-released debut. But when you burn an album into your iTunes and, even seven years later, you can’t stop listening to it, there’s a higher power at work – or, then again, maybe Simons and his band mates had something special that not enough industry types recognized. (Personally, I’m going with the latter.) This West Virginia quartet toured so much in a van pursuing “the dream of being rock stars” that, eventually, their van and their will both stalled with an empty tank. While the album is out of print, its endearing combination of pop, rock, jazz, soul and every other influence under the sun showcases a solid group of musicians who could string melodic hooks and harmonies together as well as anyone. – Mike Farley

Notable Tracks – “Grudge,” “Disappear,” “The Ballad of Ernestine Jackson”

Our interview with Scott Simons of The Argument can be found here.

Check out The Best Albums You’ve Never, Ever Heard (Well, Probably Not, Anyway) in its entirety by clicking here…then feel free to come back and offer up some of your own favorite unheralded albums!

Alternative, Artists, CD Reviews, Country, External Music, Lists, Lost Bands, News, Pop, Rock, Songs