#473 Coldplay- A Rush of Blood to the Head (2002)

I don't remember when I first heard Coldplay.  Was it their breakthrough hit Yellow, was it Clocks?  I mean, when they came out there was no escaping them really.  Before giving this album (Coldplay's second official release) a full listen, I need to state that I'm torn about them.  There's times that I fall hook, line, and sinker for their...well for their hooks.  And then there's times that the repetitiveness of the theme, the motif, it turns me way off much the way an over-pedantic teacher does.

I recently watched a Ted Talk that discussed the difference between a sermon, and a lecture.  In much the same way I'm often turned off by dogma, the hooks, the catchy underlined, highlighted, and boldfaced hooks that I identify Coldplay with, I fall for them; I get in bed with them, let them comfort me, ravage me, and then I wake up the next morning feeling cheap and manipulated.  No need to say a prayer for me--I'm more than ready to jump back in bed with A Rush of Blood to the Head (pun intended).

Politik-  like the rest of the album, the opening song was recorded in the weeks following 9-11.  The lyrics might not be about the attacks, but the gravity of the song, the sentiment lends itself quite well.  "Look at earth from outer space, everyone must find a place"

In My Place-  a song that spilled over from their first album, it was the carrot that lead them through writer's block to their second album.  It was the lead single from Rush of Blood, and garnered them a Grammy.  It's a song about a man wasting away while waiting for an unrequited love to change heart.  An interesting spin is to hear the song from the perspective of a blocked writer to his muse. "How long must you wait for it?"

God Put a Smile on your Face-  sonically... wow, so clean, full; especially in headphones it's like wine.  But I get that metronome feeling, a mechanical skeleton underneath the fleshy soul.  It reminds me a little of Radiohead, but lacks the chaos deep in the DNA... I feel pretentious saying that, because it really does sound great.

The Scientist-  the second or third single released (depending on what side of the pond you were on).  Of course I have a bias on songs lead by a piano.  The protagonist has lost his lover; is he retracing the events that led him here?  Seems like he's clueless as to what happened, "I was just guessing at numbers and figures, pulling your puzzles apart".  Einstein could have told him that Science and Love have few shared equations.

Clocks- The piano motif lead mega hit for Coldplay has been used in dozens of movies, television series, commercials, pro-wrestling, rap songs.  One use that I'm almost 100% sure was unique to my band, was when we mashed it during a Greek Fest performance into "Opa Nina Naj".   Can you hear the 123-123-12 rhythm? (No that's not my band in the link)

Daylight-  seems to me to be a metaphor of love.  "ooh and the sun will shine, yeah on this heart of mine"  It's as if musically, there are these individual loops, or patterns, let's call them building blocks.  And the song is built from layer upon layer of these colored blocks, cleverly shaped, but still displaying the jagged corners.

Green Eyes-  starts out guitar and singing, and for a minute I think there might be a song that's not going to fall into the structure, fit into a template.  But it does, and I'm feeling a little smug.

Warning Sign- The singer took someone (or something) for granted, and realized it almost too late. "I realized that you were an island and I passed you by, when you were an island to discover".  Luckily a warning sign turned him around in time.

A Whisper-  I haven't heard this song before, but right off the bat I dig the funky 3/4 time vs. 2/4 polyrhythm or hemiola.  Maybe the meter (much like in Clocks) is enough to distract me from the repetition.  "Who remembers you when you are gone, I hear the sound of the ticking of clocks"  Some musical Carpe Diem?

A Rush of Blood to the Head-  I hear the lyrics, and I can't help think of Forrest Gump and Jenny's House.  "I'm gonna buy this place and see it burn, do back the things it did to you in return."  Sometimes there's just not enough rocks.  I'm positive the song isn't about Forrest, but more so about acting impulsively, emotionally.  Surprisingly, I didn't notice a template at all for this song.  I don't dare listen again for fear of finding one.

Amsterdam- the album ends with another piano formula song:  Start with lone piano, add singing, then layer more keyboards.  Cue the rest of the band to crash in until the end... where it probably breaks with only the piano and singing again (I'm writing this before the song ends).  Is it that predictable?  Smug smile.

I won't pass judgement on the person who falls victim to the one night stand; or those who have a friend with benefits--that person they can count on to fill a need.  But after awhile, the one-nighter loses its appeal, its comfort, and becomes cliche.  Am I calling Coldplay musical-fuck-buddies?  I'm saying their songs individually are worthy, more than worthy of "getting in bed with."  They are beautifully written, almost perfect sounding, and you can count on them.  But maybe that's it--after awhile, you want something more, something spontaneous, flawed, unpredictable.

Next up #472  Def Leppard- Hysteria (1987)

#474 Otis Redding- Otis Redding Live In Europe (1967)

Otis Redding toured Europe with Booker T and the MG's (of Green Onions fame) in the spring of 1967.  On March 21 in Paris, history was made, recorded, and preserved.  This was recorded 8 months before Redding died in a small plane crash near Madison, Wisconsin; 9 months before Dock of the Bay became the first posthumous album to hit #1 on UK charts.  Something about rockers dieing young, 26 in Redding's case, that forces us to re-examine our own mortality, reminds us to carpe a little more of that diem.  Again, I'm familiar with many of the songs on the album, but I've never listened to the album straight through, until today.

Respect-  don't I feel stupid... all this time I thought Otis was covering Aretha Franklin's song--he WROTE it!  Aretha added the spelling lesson required to make it her feminist anthem.  In Otis' original version he's not demanding recognition, he's pleading for something else--Respect as euphemism for sex.

Can't Turn You Loose-  The Blues Brother's made this their live intro... well Steve Cropper and Donald Dunn were members of both the Blues Brothers and Booker T. and the MG's so perhaps they just carried the torch.  The energy of the band is only eclipsed by Redding's electricity.  "I know you think I'm gonna stop now, " spoiler alert: He doesn't.

I've Been Loving You Too Long-  A tender torch song, and one of Redding's first hit singles from 1965.  He works the crowd over and plays with pregnant pauses.  The Rolling Stones covered this song shortly after its release, and introduced Redding to a white audience crossing over.

My Girl-  a cover version of the Smokey Robinson penned hit by the Temptations.  There's a sense of urgency in this version--Hell, in almost all of Otis' songs--he's "gotta gotta gotta gotta" tell you about her.

Shake- and a quick transition from the Temptations to Sam Cooke.  Eric Burdon and the Animals would also cover this song, but Redding put the song on the map, and on the air.  Watch and take note, Ready Steady Go (the English version of American Bandstand), 1966: This is how you set a room on fire.

Satisfaction-  The Stones covered Otis, so he returns the favor and puts the horns in the original three note riff, just like Keith Richards had first intended.  Otis improvises his own words, including his signature "gotta gotta gotta"

Fa-Fa-Fa-Fa-Fa (Sad Song)-  Co Penned with Steve Cropper ("play it Steve" from Soul Man).  You probably will recognize the hook, referenced in the Arthur Conley song (co penned with Redding).

These Arms of Mine-  Damn there's some girl yelling for the song "good to me"... I mean, like over and over again.  I wonder where she is today.  Ha, someone in the horn section hit a wrong intro note!  Well, now we know it's live.  A tender song that was one of the first Otis had ever recorded in the studio, and the first time I've heard this gem, Clams and all.  I wonder if Otis motivated the MG's like Buddy Rich did his band.

Day Tripper-  It's a rare artist who could completely bastardize a Beatles song and arguably make it better.  Sprinkle a little "gotta gotta" sauce on it, and then turn up the heat and bring it to a boil.

Try A Little Tenderness-  actually was a song that Otis didn't write.  It was first recorded (albeit in a completely different feel) back in the 30's: Give it a Listen.  In the same way however, that Aretha took Respect and never looked back, this will always be Otis Redding.  I'll forgive him all the other misplaced "gotta gotta's" as long as I can have it in this song.  A train that starts at an almost stand still; before you know it this runaway hit can not be contained.

We all wonder what music would have followed, from the artists we lost too soon.  Hendrix, Joplin, Lennon... more recently Cobain, Winehouse.  Would their music have been powerful enough to change the world?  Would the world have been powerful enough to have changed them?

After touring, Otis Redding suffered from polyps on his larynx (much like what Adele is now working through) and took some time off.  He returned to the studio later that winter, wrote and recorded a song that was inspired by the Beatles Sgt. Pepper's Album.  It was a change in his sound, a change everyone around him disagreed with... they wanted him to keep doing what worked, what people expected.  Otis didn't listen, he knew it was the best he'd written so far.  He whistled the song's legendary ending; Three days later in a plane crash, his legendary end would come too.

Next Up #473  Coldplay- A Rush Of Blood to the Head (2002)

#475 Bruce Springsteen- Tunnel of Love (1987)

My best friend and I go all the way back to the 5th grade.  We're both married now (not to each other), and life has evolved where we don't get to hang out as much as we'd like, but there was about an eight year block or so of high school and college that we did pretty much everything together.  Of course, music played a tremendous role during those years, and where as my musical heroes were the Beatles, his was Bruce Springsteen.

The tour guide I had back then to all things New Jersey pointed me toward songs and gave me insight that the average musical tourist passing through would have certainly missed, and I'm sure I reciprocated with things Liverpuldian.  We saw the concert that followed this album together and have often reminisced about it.  I'm lucky to have such an amazing now 30+ year friendship, and even luckier that Jovo's musical hero wasn't Jackyl.

Bruce was just coming off the whole Born in the USA album/tour/misinterpreted Jingoistic mega-movement.  He was in the last throes of a failing first marriage, and much of the album is introspective; songs about doubt, struggle, perhaps the disenchantment of love in theory, and marriage in reality.  I remind myself before listening to the album again that Bruce was 37 when writing this.  Mid life crisis, that hard steep staircase from our dream floor to reality that we all tumble down, perhaps this album was meant to carpet those steps.  Like most of us, Bruce eventually landed and found reality to be wonderful, but boy that first step can be a doozie.

Ain't Got You-  Bruce stripped down, voice, acoustic guitar, and harmonica.  You get the idea that he's setting the tone for a change in sound.  The song is too similar in concept to another favorite of my friend's and I, that I can't help but point it out.

Tougher Than the Rest-  I remember how wide and keyboard driven this sounded in concert.  Mostly recorded in Bruce's home studio.  The whole sound, drums, layered synth, it sounds heavy...weathered.  Bruce sings "well there's another dance, all you gotta say is yes, and if you're rough and ready for love, honey I'm tougher than the rest."  It's not how many times you fall, but how many times you get up that counts.

All That Heaven Will Allow-  a quick but warm and thick sounding song that first refers to the girl as all that heaven will allow, but then talks about how having the right love makes you want a long life: "I want all the time, all that heaven will allow"

Spare Parts-  a rocker albeit dark and bleak.  An unwed mother struggling to survive after the father runs off, contemplates drowning her son to avoid the commitment.  This song seems a little out of place on the album.

Cautious Man-  starts out in classic Springsteen story telling mode.  Guitar, voice... but when the pad layered synth sound comes in, it adds a gravity and depth that's breathtaking.  "On his right hand Billy'd tattooed the word Love and on his left hand was the word fear, and in which hand he held his fate was never clear"

Walk Like a Man-  is a song to Bruce's father, a song from a perspective he'd never had before, that of a husband.  Perhaps a little more forgiving and understanding of the difficulties his father endured.  "Well I was young and I didn't know what to do, when I saw your best steps stolen away from you, Now I'll do what I can, I'll walk like a man"

Tunnel of Love- Side two of the album (the last of Bruce's albums to be officially released as side one/side two) opens up with the title track.  I've always loved the metaphor, the carnival ride for marriage.  "The house is haunted and the ride gets rough, you've got to learn to live with what you can't rise above"  I bet even my best friend didn't know the middle part was a lift from the Moody Blues.  Nah, he probably knew.

Two Faces-  describes the inner struggle of man, the conflict of a duality.  One face of him swears to make her happy, and yet one makes her cry.  The writing is good, but the choice of guitar tone and organ, horrible.

Brilliant Disguise-  was the first single released (Tunnel of Love was the 2nd).  Both made it to the #1 spot on Mainstream Rock charts.  It's a song about doubt, in self and partner.  "who do I see when I look in your eyes"  I know this blog has been about listening to the music, but I can't forget the video for this.  It broke MTV ground for being the first single shot video without edits.  It's a song about trust, looking into someone's eyes; the almost painful video is a slow zoom of Bruce looking into the camera. "God have mercy on the man, who doubts what he's sure of"

One Step Up-  was the third single released from the album.  It's a song about the inability to resolve differences, degrading to cheating.  The singer accepts his role and responsibility "When I look at myself, I don't see the man I wanted to be"  Bruce recorded and played all the instruments on this song, the only other person to sing, ironically, is the woman he would marry after his break up, Patti Scialfa.

When You're Alone- I listen to this song again, and I'm struggling to find it's meaning.  At first I hear it as an angry song, and then it turns to sad, then forgiving, but then vengeful.  Maybe that's the point, so many emotions swirling around that it's difficult to think straight?

Valentine's Day-  somehow this song got past me, I'm sure I've heard it before... but I don't remember "hearing" it.  It's such a gem--perhaps in the last song on the album, the final landing on the bottom step of reality/dream, maybe that fall knocked some sense into Bruce.  "It wasn't the bitterness of a dream that didn't come true... No No baby it was you"

What a great listen that was for me, now on the adult side of the bumpy steps.  Not all marriages last, nor do many many more relationships.  Maybe the pieces don't match up, maybe there were gaps too large for the glue of love to set hold, or perhaps one or both of the people just weren't ready... I'm not going to act like I have any more answers than the next person... but I can appreciate Springsteen's tunnel of love metaphor; the ideal, excitement and dream of love upon entering, and the hard work, struggle, strain, and commitment through the sometimes dark and scary ride, that it takes to see the light at the end of it.

Next Up- #474 Otis Redding- Otis Redding Live in Europe (1967)

#476 The Paul Butterfield Blues Band- The Paul Butterfield Blues Band (1965)

Inspired by the Blues Brothers, I bought my first Blues Harp around the beginning of 1987.  Soon thereafter and unbeknownst to me, one of the musicians pivotal in the crossover of blues music to white audiences, someone who knew the southside streets of Chicago much better than Jake and Elwood, died at the age of 44.

Paul Butterfield, Elvin Bishop, Mike Bloomfield:  the son of a lawyer, a full ride scholarship physics major, and a Jewish northside heir to a catering business respectively. You'd sooner expect to find ketchup on a Chicago Style Hot Dog than these three in a blues bar back in 1963.  But they, as many white suburban kids would do for years to come, made the pilgrimage. Paul traded in his flute (yes flute) and the CSO for the Marine Band and Big John's nightclub.

I know most of the blues "standards" on the album, but there are one or two I'm not familiar with, and several written by Butterfield that I haven't heard before.  I could do some research and then say with confidence that the white flight to blues happened first in Chicago, or that it started first in London... but I'm thinking listening to blues music is better than doing research; Paul, Elvin, and Mike surely concurred.

Born In Chicago-  who better to write your first blues hit than Nick "the Greek' Gravenites.  The influences of Muddy Waters, Otis Rush and Howlin' Wolf are strong, as is the interplay between harmonica and guitar.

Shake Your Money-Maker-  this up tempo blues standard has been covered by everyone from Fleetwood Mac, Jimmy Page, Eric Clapton, The Black Crowes, and George Thorogood.  The original was recorded by Elmore James.  Suggestive lyrics for the early 60's.

Blues with a Feeling-  a cover of the Little Walter hit.  Little Walter was one of the first harmonica players to play through an amplifier with distortion and thus could "compete" with the lead guitars.  Butterfield would use this style often playing through a Fender amp and/or the house P.A. microphone.  The sound became so popular, that Shure adapted the microphone they once designed for public address systems, into a full fledged harmonica mic.

Thank You Mr. Poobah-  An instrumental original on the album and the first to credit keyboard player Mark Naftalin, another University of Chicago graduate and son of then Minneapolis mayor.  The harmonica playing is great, the guitar playing fluid, but the organ playing is sloppy at best.

Got My Mojo Workin'- The Muddy Waters standard is flawless.  Paul Butterfield's singing, it's a weird mid-point between honoring Muddy and mocking him... I'm sure it's meant as honoring, but he's imitating Muddy's grunts and groans...it's probably just me be overly critical.  Flawless, but maybe that's what is throwing me off.

Mellow Down Easy- The Willie Dixon song reminds me of Wang Dang Doodle (which he also wrote) that was made famous by Koko Taylor.  The guitar solo by Bloomfield, is fluid and wonderfully accented and weaved by the harmonica.

Screamin'-  a blues shuffle written by Bloomfield.  I've never heard this one, but I think it's my favorite on the album so far.  It showcases both Mike's guitar prowess, and the unique style of Butterfield's playing.  It's as if he incorporated his classical flute background to the blues.  Anyone remember Ralph Macchio's character in the movie Crossroads?  Coinkydink?

Our Love is Drifting-  the only original on the album with singing, it's pretty straight forward, not bad, not great.

Mystery Train-  The Junior Parker song, also made famous by Elvis' cover in 1955, is another up tempo blues standard.  It rolls in, and rolls out just as quickly; I would have liked to hear more harp/guitar soloing.

Last Night-  Another Little Walter cover.  You can't hear this and not think of Chicago.  I don't know if it's been used as movie music, but to me the sound is synonymous with the south side.  John Popper sounds like this in his wet dreams.

Look Over Yonders Wall-  was the flip side to Elmore James Shake Your Moneymaker.  The book of the song is a guy who wasn't drafted because of his bum knee, and takes advantage of lonely soldiers wives.  All's fair in love and war, and blues.

I've long since lost my adolescent fascination with the blues.  It has however matured into an appreciation for the musicianship, sound, and culture.  The early sixties, to me, seemed fertile ground for change.  The Beatles, Civil Rights, a youth movement.  Perhaps it's easy for those of us that were born afterwards, to take for granted the struggles faced by those who planted those seeds of change; those who crossed over lines: cultural, race, or artistic.

The Butterfield Blues Band would go on to perform at Monterey, and then Woodstock.  Paul Butterfield died of a heart attack at age 44 caused by drug use and heavy drinking.  Tragically, the blues does in fact cross over.

Next Up #475 Bruce Springsteen- Tunnel of Love (1987)

#477 Fugees- The Score (1996)

It's not exactly fair listening to an entire album, after recently having played a gig.  It's like presenting someone with a pizza, right after they gorged themselves on steak, or maybe white castle... I'm thinking my band gigs would be more analogous with the latter in that I associate both with copious amounts of alcohol.

I'm a fan of Lauryn Hill's singing; I've heard of Wyclef even before his Hatian political aspirations but wouldn't be able to place his voice; and I remember a couple hit songs from The Score, Fugees second and last studio album.This is my launching pad.

Red Intro-  A spoken word movie hype-type intro that reminds me of an annoying version of Flava Flav... as if there's another kind.

How Many Mics-  Lauryn Hill's rapping in the first verse.. powerful and mesmerizing.  Wyclef's on the 2nd verse, solid.  Pras on the third verse, even more so.  Over all, very clever use of rhythmic word parsing rhyme "Hands get calloused, from grippin' microphones from here to Dallas, Go ask Alice if you don't believe me, I get Inner Visions like Stevie, See me, ascend from the chalice, like the weed be."

Ready or Not-  If Lauryn's rapping didn't grab you, her singing will.  Enya sued the Fugees for unauthorized use of her song Boadicea.  I'm pretty sure the Delfonics didn't sue for the use of Ready or Not.  In a 2008 interview President Obama listed this as his favorite song.

Zealots- Built on the sample of "I only have eyes for you"  Even Lauren has a hard time making the tight loop of the music not sound repetitious.  I won't hear the Flamingo's hit the same way again.

The Beast-  I think the beast is corruption, in government, politics, police.  "Say can't you see cops more crooked than we, by the dawn's early night robbin' niggas for keys."  "Probable cause got flaws like dirty drawers"  There's also a memorable line early in the song about one of the republican candidates.  The karate "movie" at the end is a nice bonus.

Fu-Gee-La-  was the first single from the album.  Who's old enough to remember Teena Marie?  Wow, again big thanks to the Internet for giving me the lyrics to read along.  So much great detail coming at you fast, I would have otherwise missed all the words while hypnotized by the great Ramsey Lewis sample of If Lovin' You is Wrong.

Family Business-  "If I should fall asleep and death takes me away, don't be surprised son, I wasn't put here to stay"  The weaving of chorus & verse by Lauren, Wyclef, and guest rappers Forte and Omega... it's clever and engaging.  There's reference of mafioso type street violence-- family here references that.

Killing Me Softly- This is a song that should fall under the "played to death" category, but I think I still have a few hundred times I could hear it without getting my fill.  Rap and hip hop was never my thing, but a song I did love was A Tribe Called Quest's Bonita Applebaum who's sample drops early and often in this song.  When you have the vocal goods, you don't need processing, effects, or frankly instruments.  Lauren Hill is living proof of this.

The Score-  The title track from the album, has two verses of Wyclef self promoting while referring to himself in the third person-- not impressed.  Lauryn is such a gifted singer, it's almost unfair that her rapping is better than both Wyclef and Pras.  Put the W in L's column, that's the Score.

The Mask-  Great use of samples, horns, trombones... the rap is intelligent, it reminds me of the message behind Billy Joel's The Stranger.  The ending of the song has Nights in White Satin from The Moody Blues.

Cowboy-  A slam on the rap industry's image of rapper thugs, when in reality most are posers.  Possibly a diss on Tupac?  I like the nods to Kenny Roger's Gambler and Michael Jackson's Wanna Be Startin' Something.

No Woman, No Cry-  Wyclef covers Bob Marley's classic.  I'm happy to say they didn't go too far off the original, at least musically.  Lyrically, it's an account of life in Brooklyn and Jersey. Trenchtown = Trenton.

Manifest/Outro-  To Wyclef, it's weed, Jesus and crooked cops.  To Lauren, it's heart, truth, and life.  Praz,  violence and/or maybe the cowboys.  Each builds their rap around the word Manifest.  Perhaps their breakup was manifest destiny.  The outro reminds me of an old radio program, a black Prairie Home Companion?

Tom Petty sang "You don't have to live your life like a refugee".  Maybe the band took this advice to heart-- not long after the success and two Grammy's garnered from this album, they broke up.  What struck me about this album are the almost acrobatic rhythmic rhyme and flow of Ms. Lauryn Hill (I was already a fan of her singing.)

Hip Hop can be such a great link to other music, like the aforementioned Ramsey Lewis and his cover that I'd never heard before.  It can be clever, thought provoking, and intelligent; and sometimes I lose sight of this amid all the bravado, mafioso-rap, and feuding.  Perhaps it was I and not Lauryn that was Miseducated.

Next Up- #476 The Paul Butterfield Blues Band- The Paul Butterfield Blues Band (1965)

#478 LL Cool J - Radio (1985)

In 1985, I bought my first jam box.  In that same year, some kid a year older than I released his first album that would go on to sell a half million copies in less than five months.  Sadly my jam box and his album would never cross paths.  That other kid's name was James Todd Smith--later to be known as LL Cool J (Ladies Love Cool James).  With a gift of $2,000 from his grandparents, he bought two turntables, an amplifier, and a mixer.  Similarly my parents bought me an accordion.  A Squeeze Box, a Jam Box, same thing right?  Let's see where I went wrong.

I Can't Live Without My Radio-  Normally I'd be bored by the sparseness.  It's just rapping, beats, a sample or two, and a dash of scratching.  The lead single of the album has my attention to the end of LL's rapping, but loses me soon after when it's just drum beats.

You Can't Dance-  The new school of hip hop was replacing the old school.  New school was brash, abrasive, and often hardcore.  "They should drop kick you in the neck, and drag you off the floor."
Dear Yvette- Wow, OK yeah I remember this song.  And I'm sure anyone named Yvette never forgot this 4 minute non-stop cut down letter.  It accuses her of sleeping with everyone from The Three Stooges to the entire boys locker room.  "Her reputation got bigger, and so did her gap"  This would indeed sound great on that old jam box of mine.

I Can Give You More-  The second single released from the album, uses piano notes along with drum beats in a rhythmic way.  It's a love-ballad delivered through hip-hop.  If the hook of this song was set any deeper, I'd be compelled to play it again.  LL's rapping is really great on this, almost hypnotic; maybe it's because a girl's affection is on the line.

Dangerous- A song about his DJ Cut Creator.  I'm impressed by LL's lyrics, but not so much by CC's mixing and scratching.  Frankly it's a little sloppy and seems to miss beats.  Yes I know it was all done by hand, but it's been done so much better.

El Shabazz-  A hidden track to end side one of the album.  A Capella and it is "sweet like pie."  I can't tell if it's LL doing the rap with someone else, or himself via recording?  Either way its all charisma and all fun.  It's where the Beastie Boys got their "Three the Hard Way"

Rock the Bells-  was the song that J himself sampled for Mama Said Knock You Out some 7 years later.  He references Madonna, Bruce Springsteen, Prince and Michael Jackson, in this self promotional song that uses samples lifted from AC/DC as well as Chic(the Good from Good Times).  I still think Cut Creator's work is sloppy, even for the time.

I Need a Beat-  This is a remix of the original single that was released by LL a year before Radio was released.  There's too much going on in this remix: ring-modulation, syncopation, delay.  To my ear, it's a departure from the album, which isn't produced by Rick Rubin, it's "Reduced".  Give him credit for the minimalistic production style that highlighted LL's charismatic rapping.  Blame Jazzy Jay for the remix cacophony.

That's A Lie-   opens up with the horn part from Owner of a Lonely Heart by Yes.  That's Russell Simmons making all the boasts about wealth and fame.  Ironic that as one of the founders of Def Jam records and now one of the richest people in hip hop,  his net worth of over $340 million today makes many of these Lies seem tame.

You'll Rock-  was the least successful single released from the album.  I'm not a fan of the ill placed samples.  It's got plenty of break for the b-boys and b-girls to dance to, but not a lot of anything else.

I Want You-  Cool J is again using his hip-hop skills to woo a girl.  It's another rap ballad and recognized as one of the first of it's kind.  There's just something that works when you take the hardest rockers (whether it's metal, rap, punk) and channel that energy into a ballad.

While it's probably obvious to both aficionados as well as haters of hip hop and all shades in between, I'll go on record to say rap isn't my genre of choice.  Having said that, I have yet to find a genre that I can't appreciate when it's done well.  LL Cool J is a very gifted rapper, and was influential to the rise of Def Jam records.

Whether that gift was bestowed upon him (by his God or his Grandparents), or whether he earned it living a hard life, on hard streets, and doing hard work; well the answer to that question might give you the key as to why one guy in his 40's is hosting the Grammy's tonight, and the other one is hosting a blog.

Next up #477 Fugees- The Score (1996)

#479 Richard and Linda Thompson- I Want To See the Bright Lights Tonight (1974)

I feel it needs to be chronicled that Whitney Houston died last night.  Her 1984 debut album placed #254 on this list...at the rate I've been going lately, I'll be reviewing it around July 31st, 2014 (put down the calculator, I already did the math).  Maybe it's a simple function of supply and demand, but we all tend to value things, people, art more after they're gone.  For those of you old enough to remember when television stations actually signed off at the end of the day, I feel this is the only suitable goodnight for Miss Houston.

-------------------------------------------------------------------------------------------------------

My first introduction to the genius of Richard Thompson came as I was nosing my way through the CD collection of a girl I dated shortly after college.  I borrowed an album that took me many months to return, and then only after purchasing my own copy.  That was 1992.  Twenty years later I'm married, that girlfriend is now a dear friend of ours both,  but I still keep Rumor and Sigh on heavy rotation.  The album I'm about to listen to was written twenty years before that, when Richard was married to Linda.  It's the first of six albums, two of which make the 500 list, that were released by them before their break-up.  I can't claim to have listened to any of them full through, so this seems a good place to start.  I wonder if Richard and Linda are dear friends now too?

When I Get to the Border-  It's like seeing a picture of a friend when he was much younger and lankier.  I can hear the youth in his voice, but his playing was just as brilliant then.  This song seemingly about heaven, has this endearing ending section of what I can only explain as a parade of instruments going by with Richard and guitar leading: concertina, dulcimer, krummhorn, penny-whistle.

The Cavalry Cross-  The drone organ intro behind his guitar playing sounds like a bagpipe.  The backing vocals are so thick and warm...was this really recorded in '73?  Also loving the hard tremolo.  Is this a song about drugs or religion?  His metaphors are loose and open for interpretation.

Withered and Died-  Linda's voice is very Natalie Merchant sounding in its pureness. The song is a heart breaking account of the loss of dreams, love, and general loss of one's way.  Richard's guitar solos are unmistakable in any decade.

I Want To See the Bright Lights Tonight-  The title song seems a complete 180 degree turn from the last song.  The double tracked vocal of Linda now sounds like Blondie, both sonically and in attitude.  The song could have come from the 80's that is until the flugelhorn of the Manchester Brass Band kicks in.  Perhaps the brass represents the stuffy old-fashioned English town the singer is trying to escape, if only for the weekend.

Down Where the Drunkards Roll-  Dulcimer and Electric Piano... who would have known such a pairing would sound so sweet?  It's another song about escape, but this time via bottle vs. train.

We Sing Hallelujah-  The krummhorn's nasally signature sound transports me to old-world England.  The song is a collection of wonderful similes, all describing the futility of a man's life.  We're all just rolling along awaiting death... yeah I know sounds depressing, but the music's great.

Has He Got a Friend For Me-  Linda sings this song of loneliness, despair, and desperation.  Knowing Richard's singing style so well, it hits me how similar her phrasing and style is to his.  I'm not sure who influenced whom.

The Little Beggar Girl-  Folk-rock has gone almost completely Irish folk-traditional here.  Linda turns on the cockney and thumbs her nose at the rich of pocket, and poor of heart.  "Oh the poor they will be rich, and the rich they will be poor, That's according to Saul when he wrote down the law, and I'd much rather be rich after than before."

The End of the Rainbow-  Wow, they don't make songs much more depressing than this.  "Life seems so rosy in the cradle.... There's nothing to grow up for anymore"  To me, the song isn't just the song, it's the story of the singer.  The song itself is pure despair, but I believe our interpretation of what has happened to the protagonist, the singer and how he has gotten to this point; that's the art.

The Great Valerio-  Whoa, metaphor 3 levels deep.  This song is about a tight-rope walker who symbolizes IMHO those that completely risk their hearts and/or do not fear death.  Or maybe the song is about those of us on the ground who are afraid, and our fascination with them above.  The name Valerio is derived from the Latin verb "valere" which means "to be strong."  Based on Erik Satie's Sports et Divertissements, Richard's ending guitar work mimics the man walking the wire, until it just stops.  Did he fall or make it to the other side?

After listening, I try to imagine these songs sung by Richard instead of Linda.  While I can't explain it, I feel much more empathy for Linda's desperation, longing and sorrow than I think I would have if Richard had sung these songs.  Is it a form of sexism, in which men are meant to be the rescuers and women the rescued?  Or is it some social programming that women more readily share these feelings and men don't?  I'm probably barking up the wrong tree here.

What I have listened to is a joint effort; a beautifully sorrowful album rich with folk instrumentation, emotive heartbreaking singing, and genius guitar playing.  All this built on the writing of a 24 yr old Richard Thompson--the album seems to have come from the vantage point of someone who's tired and broken from carrying the world on his back, someone 40 years his senior.

Next up #478  LL Cool J- Radio (1985)

#480 George Michael- Faith (1987)

I apologize for the huge gap between blogs.  My father's been dealing with some medical issues, and it has been consuming a lot of my time and energy.  My intention was to listen to an album a day.  I'll finish the 500 in a year, it may just require some catching up, have faith.

The year that I graduated from high school, George Michael graduated from the school that educated the likes of Paul Simon, Daryl Hall, Keanu Reeves, and Lenny from Laverne and Shirley.  The "where's your sidekick now" school of thought.  I'm still not sure what "the other guy" did in Wham, but it couldn't have been much, GM pretty much brought it all to his first solo album.  I don't remember if he was out of the closet or not yet, but I do recall how an 18 yr old Midwestern kid raised on Zeppelin and VH rejected this album at first.  That is, until I listened, and then it was hard to deny how good the album was.  Or at least, that's how I remember it.  Let's try it again eh?

Faith-  the second and best selling single of the album.  Built on the spine of a Bo Diddley beat, it's got dynamics, great tight harmonies, and it's a more stubborn man than I am who could hear this three minute song and not admit he wants more.  Recognize the church organ intro?

Father Figure-  the third single released from the album, actually started out as an uptempo dance song, but during mixing, Michael removed the snare drum and liked it better this way.  The churchy choir sounding backing vocals add to the religious album pseudo-theme.

I Want Your Sex-  It's really hard to imagine a time that this record breaking single was so controversial, that it was banned from airplay, but then again I suppose Footloose the movie was based on a real place.  I love the 2nd part that rarely gets airplay complete with horns, funky bass, and piano break down.  The 3rd part of it "sexy baby", I'll admit that pushes the envelope a little far, and feels a little forced.

One More Try-  Another churchy or almost gospel sounding single.  Faith again is ambiguously weaved between the fabric of love and religion.

Hard Day-  funk inspired, but a little busy to my taste.  Lot of drum programming going on.  Dare I say this is the filler of the album?  His sped up vocals at the end is very much like Prince.  This song is probably better known for the Shep Pettibone remix of it.

Hand To Mouth-  While I have a hard time hearing past all the drum sequencing again, I do for the first time hear the book to this song.  "I believe in the gods of America...but no one told me that the gods believe in nothing, so with empty hands I pray."  A little criticism of the Reagan-era American Dream that had become harder and harder to achieve.

Look At Your Hands-  A carry over song written back in the Wham days.  Honestly I had forgotten about this song; I probably would have bet the farm that this was in fact on a Wham album and not on Faith. I'm glad to be reacquainted with this strong addition, but it feels slightly out of place with the album.

Monkey-  This song sounds as fresh today as it did almost 25 yrs ago.  The strict rhythm reminds me of Nine Inch Nails (can you hear it?)  It was his fourth consecutive #1 single from the album.  I better start working on the NIN/Monkey mashup before someone beats me to it.  Maybe "I want to fuck you like an animal, a monkey?"

Kissing a Fool-  Easily my favorite song on the album (I'm a sappy piano player-what did you expect).  It was his fifth released single and the first not to hit #1.  GM recorded the vocals A Capella in one take and the loungey jazz music was added afterwards.  I'm not sure if there was a video to this, but the way my ear "sees" it is in 1940's black and white.  Ugh, I'm the fool.. here it is.  Thanks Youtube.

Faith was one of those ridiculously popular albums in the late 80's that you couldn't hide from, and really, why would you want to?  George Michael who wrote, produced, and played many of the instruments on the album deserved the diamond status (25 million copies sold).  As a well adjusted adult male, I can profess my love for this album with little hesitation.  But the true mark of the album's power, was that even as a slightly homophobic teenager in 1987, I did as well.

Next Up-  #479 Richard and Linda Thompson- I Want to See the Bright Lights Tonight (1974)

#481 The Smiths- The Smiths (1984)

This is the first of quite a few eponymous albums I'll review, and one of quite a few more that I'll admit to knowing very little about.  I had cast The Smiths away as shoe-gazer music, miserablistic, or even worse "gay"--at least I had back in the 80's when I was still steeping my musical tea in the machismo of Led Zeppelin and the Who.  I think the genre caught up with me (or vice versa) around the early 90's with my discovery of the Sundays, which then opened my ears to other introspective and similarly contemplative music.  While I'm familiar with a few of the lead singer Morrissey's songs post Smiths break-up, I can't claim having listened to any of the eleven songs on their debut.

Reel Around the Fountain-  Johnny Marr's jangly guitar and Morrissey's baritone voice work like peanut butter and jelly.  Both sounding ethereal and easy.  This song isn't complicated musically, but if it was, it would only take away from the story--the reminiscing of growing up, your first physical relationship.

You've Got Everything Now-  musically a little more "in your face" and slightly protagonist.  A song sung to an old friend or lover, about the turning of tables (perhaps two).  You can win fame and fortune, and still be a loser.

Miserable Lie-  a song that starts out sweet, and abruptly turns angry.  As I read the lyrics, I think the Miserable Lie was a promise of love merely to take someone's virginity "you have destroyed my flower-like life".  I understand the device of playing sweet(love) and then abruptly playing hard, but Morrissey's falsetto howls at the end are sorta tough to get through.

Pretty Girls Make Graves-  Musically the song reminds me of a ska version of Men at Work's Land Down Under, but breaks away for interesting choruses and bridge.  Lyrically it's about a gay man being courted by a woman who isn't aware of his sexuality, and the conflicting frustration he has feeling jealousy when she finds someone else along with feeling that "nature played this trick on me."

The Hand That Rocks the Cradle-  The music and the lyrics sound slightly disjointed, as if this was a poetry reading and the house band decided to play some jingle jangle Byrds music to back it.  Having said that, the poetry is dark-- the singer has sexually abused a child, or it could just be a parent so obsessed with protecting the child, or it might not be a child at all... it's open for interpretation, but to me it's clearly dark.

This Charming Man-  Very upbeat and Cure-like in it's feel and bass-forward sound.  The singer is riding his bike up a hill when he gets his tire punctured.  Such a great line of irony and foreshadowing "Will nature make a man of me yet?"  His rescuer does one better.  Great "book".

Still Ill-  The music is so happy, and the lyrics are so sad.  Is this blues?  The singer's "illness" could be depression, could be love, or maybe it's just the past that he needs to get past.

Hand In Glove-  One of the first songs written between Marr and Morrissey in a matter of hours; it hit #3 on indie charts, followed by This Charming Man and What Difference Does it Make taking the #2 and #1 spots at the same time.  Marr plays harmonica over the intro and outro to give a sense of working class, similar to the Beatle's Love Me Do.  "Yes we may be hidden by rags, but we've something they'll never have."

What Difference Does It Make-  peaked at #12 on the pop charts in the UK (#1 on indie charts).  Great opening guitar riff.  Old childhood friends, one reveals he's gay, and the other is "looking very old tonight"--old in his way of thinking, he can't accept him as a friend anymore.

I Don't Owe You Anything-  I think this is the clunker of the album--musically it's kinda vanilla.  The book is pretty straight forward--the singer is obsessed with someone, who doesn't return his interest, but will allow him to come over for sex on occasion.

Suffer Little Children-  A song written about the Manchester Moors Murders, of children back in the early 60's who were of the same age as Morrissey.  "You might sleep but you will never dream"
This is truly an album to me.  The term album originates from when 78's were sold in a book form, much like a photo-album.  Each of the pictures of this book are of the same setting (Manchester, England), the same time (the early homophobic 80's), and of different angles of the same subject (child abuse).  A very heady and risky subject at the time, for a band's first release, but one that Morrissey couldn't be more forward and honest about, and one that needed the skillful Johnny Marr to write the disarming music for.

I was 15 in 1984, and surely would not have been caught dead listening to songs about homosexuality, or even introspective songs w/o power chords.  Sadly, I can't even claim 10 years later that I was much different.  I have grown (and will hopefully continue to) considerably since then, musically and personally.

I can listen to mafioso rap and seek to understand the struggle of the street.  I can listen to an album written from the perspective of an abused gay youth, and seek to know his confusion; his struggle to find himself when the world around doesn't understand.  Perhaps it's not just my growth, but society's as well, that today we can look and learn upon these once closeted subjects almost as commonly as we do the name Smith.

Next Up #480 George Michael- Faith (1987)

#482 Elvis Costello and the Attractions- Armed Forces (1979)

Such conflicting feelings--I'm excited to finally review an album that I know song by song in order, verbatim so-to-speak.  I'm also a little upset that it came so soon, or rather that it's not rated higher than 482.  Regardless of the placement, Elvis Costello's third album was his first to hit the top 10 in the US.

I didn't appreciate Elvis Costello until long after the punk/new-wave era was over.  I do clearly remember watching, taping, and studying the Rolling Stone Magazine's 20 Years of Rock television special that aired in 1987. It was an all inclusive musical encyclopedia full of amazing footage, interviews and insight into all of my music heroes at that time, from the Beatles to Van Halen.  I still have that videotape complete with the commercials that aired which alone are worth the watch;  but the part that I can't help but recall, in shame, is how appalled I was at the inclusion of this Buddy Holly imitator Elvis Costello.  My best friend and I would watch this and cringe, how did this geeky sad-sack bribe his way onto the show?  It would take 4 years of college, or rather the maturation that those years provided, to turn this "Geeky Buddy Holly" into one of my musical icons, almost on par with the Beatles, and far exceeding the Van Halens of that era for me.

When I "got it", when I finally was ready for the genius of Mr. MacManus, it didn't take me long to arm myself with the ammunition of his forces.  I had probably purchased every one of his then 11 or 12 Cd's by the end of 1992--I was out of college and had a job, and Cd's were my vice.  I can't recall what album I bought first, or what song first caught my ear, but it was nothing short of an obsession.  I will attempt in this blog, to recreate 1992 and give Armed Forces a virgin listen... but it will be the equivalent of a hooker feigning shyness.

Accidents Will Happen-  It's a wonderful short story full of so many devices, and all skillfully placed in a three minute box.  Clever use of word-play, layering, hooks, bridges.  The end of it sounds like a clock ticking away, much like the life wasted by the character of this song, who realizes not only is he trapped in the wrong relationship, but in turn has trapped the other person too: "you used to be a victim now you're not the only one"

Senior Service-  It's fast, like a snide comment that goes over everyone's head.  Elvis Costello makes quick commentary about how corporations put workers at odds with each other; your loss is my promotion.  "They took me in the office and they told me very carefully, the way that I could benefit from death and disability"

Oliver's Army-  I've read mention to Oliver Cromwell, the English leader who defeated Scotland and the country of Elvis' heritage, Ireland.  "Have you got yourself an occupation"  It's a song against England's (or any superpower's) occupation and dominion of the poorer countries of the world.  Could Oliver also refer to Oliver Twist?  Both sides recruited poor young boys to do the dirty work in their army.

Big Boys-  How did keyboardist Steve Naive create a canvas of sound (using that era's palette) that doesn't sound dated?  It's 1979, they should sound silly, but they don't.. they are perfect.  To me the song is about faking maturity until you have it, but then realizing you've painted yourself into a corner.

Green Shirt-  Again, I love the keyboard sounds. I haven't listened to this in forever with headphones--so much is missed on speakers.  Farfisa and Vox keyboards were actually popular in the late 60's, but early on  with the Attractions, it was all Naive could afford, lucky for us.

Party Girl-  a song about meeting a kindred spirit, someone that you know is rare, special; tragically you know it can't work.  In a parallel universe, Elvis and the young female art student he met on tour in Minnesota, could have been. "We're so hard to find, I could give you anything but time"  A slow song, Party Girl ends side one to the album

Goon Squad-  the original title to Armed Forces was "Emotional Fascism"  You feel that anger and resentment in the driving beat that begins side two to the album.

Busy Bodies-  is Elvis exploring the trivialization of sex?  "Busy bodies getting nowhere"  The main character is ironically accomplishing nothing getting busy but then something more ironic happens--love?

Sunday's Best-  a circus like waltz.  Some of Elvis' strongest harshest lyrical content is often softened or snuck under the radar with whimsical music.  I love how he often uses the apostrophe to purposely confuse a noun from an adjective.  In this case Sunday's refers to both "Sunday is best" and the possessive "Sunday's best".  To me the song is about aristocracy's manipulation of the poor--recruit them to fight unnecessary foreign wars (motivated by religion).  The rich line the pockets of their "Sunday's best" while they "put them all in boots and khaki, blame it all upon the darkies"  This song was not included on the US version of the album.

Moods For Moderns-  very playful in it's structure, starting and stopping and different time signatures.  I love the twist of a phrase "I get hit looking for a miss"

Chemistry Class-  "people pleasing people pleasing people like you"  A song about being physically attracted to someone you really hate.

Two Little Hitlers-  The last song on the album, Godwin's law is not applicable.  To me this song has always been about couples that are mutually using one another.  But after listening to it again, all that goes out the window, and I wonder if I've been hearing it wrong all along.  Is it about hiding behind the will of someone else instead of taking ownership of your decisions?

There's so much I love about Elvis Costello--His razor sharp wit, his acerbic outlook on the world, the way he twists a phrase.  I can't remember the last time I listened to this album with earphones, but the music, the Attractions have never sounded better to me.  How did I shun EC in 1987? How did Rolling Stone only place this album at #482?  I guess accidents do happen.

Next up-  #481  The Smiths- The Smiths (1984)

#483 The Notorious B.I.G. - Life After Death (1997)

I took a day off from the blog.  Sorry if anyone was counting on it.  I saw the 2 hour double CD, and it intimidated me.  In fact, there's a good chance I won't finish this in one sitting.  My band of over 12 years is playing its first official gig tonight, after a six month hiatus.  It was my intention to nap a few hours before, but sleep's just not coming to me.  I'll make the assumption that B.I.G. won't make me drowsy.

Rap, especially mafioso rap, is far outside my comfort zone.  I've heard of B.I.G. (aka Biggie Smalls, Big Poppa) I know he was shot dead and that this album was released soon thereafter, and I'm familiar with the title "Mo Money Mo Problems" but admittedly not so much the song.  This is the springboard for my dive.

CD 1  

Life After Death Intro-  Just like the TV show Lost, the CD opens with a "previously on Ready to Die"--Biggie's first album.  I'm lying if I don't think the titles are ironic, about his dying.  It's musical exposition--was B.I.G. in a coma? Did he die?  I think the mini-series is about to begin.

Somebody's Gotta Die-  This is a tough listen, only because I have such a hard time focusing on lyrics versus music.  Also Biggie's rapping, is masked with talking on the right channel.  So, I find myself looking up the words on the Internet.  And now I'm following the narrative, and it is a full story.  It's well written, and tragic.

Hypnotize-  is the first single released from the album. It made BIG the fifth artist to hit #1 posthumously.  If you grew up in the 70's, you know the sample: Rise from Herb Alpert.  Much like listening to a convo in a foreign language, I can get the vibe of what's going on by the tone, but the words aren't optional when you take B.I.G. and my A.D.D.  The gist of the song is that he and Puff are successful, and representing the east coast--was it worth the translation?

Kick in the Door-  Back to this TV theme; now it's a talk show intro.  Violence and Guns, putting down the west coast rappers, and boxing out his position as King of the East.  The music and "book" is very flat or one-dimensional.

Fuck You Tonight-  Features R.Kelly just about the same time his hit "I believe I can fly" came out.  First thing I notice is the great jazzy chord changes on the rhodes piano background.  Other than the raw subject matter, I think the song is a solid groove, complete with sweet bridge.  I realize this is the R&B fan in me, enjoying the break from the violence.

Last Day-  A young trio of rappers known as the "LOX" does most of the song.  Another song that seems one dimensional to me... it boils down to "I'm harder than you, I'm more real, and don't fuck with me."

I Love the Dough-  I like this from the beginning, it's the music, the fullness--70's like disco strings, and am I picking up on a nod to Rod Stewart's "Do Ya Think I'm Sexy" with that synthesizer?  Maybe it's Jay-Z's influence on this song, but it's got me hooked.

What's Beef-  A little thicker than one dimensional, maybe one and a half.  Biggie's elaborating on the kind of crippling fear someone has when they cross him..  Beef is the metaphor for this worry i.e. "I don't want no Beef."

B.I.G. Interlude-  A throwaway transition blurb of drum machine and some lines

Mo Money Mo Problems- The second single from the album hit #1 and made Biggie the first artist to have  two number one hits posthumously.  I hear the Diana Ross sample of "I'm Coming Out" and it instantly puts me at musical ease, Puff's influence?  Note, I learned that rappers often refer to a gun as a "gat" short for Gatling gun.  I'm so white sometimes, it hurts.

Niggas Bleed-  A full narrative, it's a nice change.  It's a story of a robbery, or a hit, or the internal struggles of a man in the crime, is he admitting his fear, or is he psyching himself up? "Picture me being scared, of a nigga that breathe the same air as me"I Got a Story To Tell-  It's actually a humorous song about a close call, where Biggie uses his brains instead of his bullets.  It's funny hearing the rap, and then hearing the story told over the music.

I'll probably never understand the rap genre, or the posturing, the violence... and definitely never understand why an artist like Biggie would have to die from it.  In spite of my distance from the music, listening and reading Big Poppa, I realize what a gift he had, and what a shame it is to lose him to something as trifling as bravado.

CD 2

Notorious Thugs-  I'm finally rested and sober enough to listen to the second disc.  It's like someone turned  the treble knob down about three notches, but that's my ears, not the CD.  The first track features Bone Thugs-n-Harmony, and BIG steps up his speed in a big way; he has to just to keep up with the rapid flow of Bizzy, Krayzie, and Layzie.  I think the triplet-note rapping of Krayzie was my favorite on this.

Miss U-  "Shit is real in the field"  A slower soulful song taken from Diana Ross' Missing You (about the loss of Marvin Gaye). Biggie remembers friends who were lost to the violence of the street.

Another- features Lil' Kim where she and Biggie sling insults at each other after mutual infidelity.

Going Back to Cali-  Puff and Big are going to California... the land of their rivals.  "All I got is Beef with those that violate me, I shall annihilate thee"  The talk box used is part of the West Coast hip hop sound but the feuding continues.

Ten Crack Commandments-  How to be a successful gangsta dealer, steps 1-10. "Money and Blood don't mix, like two dicks" And yes, that is Public Enemy's Chuck D you hear in the sample.

Playa Hater-  Haha, Biggie sang! I wasn't crazy, this is totally Cheech and Chong's Basketball Jones! "Please don't hate me because I'm beautiful baby"  I think this is my favorite song on CD 2.

Nasty Boy-  intro about a girl who's into something unorthodox.  It uses samples from Liquid Liquid's Cavern -famous as the origin of Grandmaster's White Lines.

Sky's the Limit-  The third single released from the album.  The song features Atlanta's 112 (also on Miss U)  It's inspirational and musically engaging, layered and dynamic.  I take it back, this is my fave on CD2.

The World Is Filled-  "with pimps and ho's but we'll just talk about those I knows"  The reverb heavy percussion on the 2 beat reminds me of the tennis ball sounding beat on Marvin Gaye's Mercy Mercy Me.

My Downfall- if that didn't remind you of Marvin Gaye, then the reference to You're All I Need To Get By should.  The song about persevering against those who pray for your downfall, features DMC.

Long Kiss Goodnight-  A song about killing someone, my least favorite on the CD, not because it's not well produced, or musically solid.. it is.  It's just fills me with anger, and in turn makes me sad that it escalated the east-coast feud; the screaming and the voices in the background, it just makes my heart hurt.

You're Nobody (till somebody kills you)- A play on Dean Martin's You're Nobody Till Somebody Loves You.  The last song on the album, it makes me wonder if Biggie knew what awaited him... and then I wonder, if he could have imagined anything but.  It features Faith Evans (Biggie's widow to be)

Christopher Wallace made a name for himself as B.I.G. but also shared the fame.  On Life After Death, he truly played the Godfather role, by also featuring R.Kelly, The LOX,  Jay-Z, Kelly Price, 112, Lil' Kim, Faith Evans and more.

An old biker friend of mine once told me that there are two kinds of bikers: Those who've been in an accident, and those who will.  Perhaps Biggie knew there wasn't an If to the end-game of his lifestyle, but only a When.  I can't help question Why.  It's the hate and feuding which lead to Biggie and Tupac's murders, that makes me dislike the mafioso-rap genre, in spite of the amazing performances.  I don't hate the player, I hate the game.

Next Up- #482 Elvis Costello and the Attractions- Armed Forces (1979)

#484 Merle Haggard and the Strangers- Branded Man (1967)

Back from the SOPA inspired internet blackout.  I think it's important to bring it up in this blog, because the act could have the effect of limiting our exposure to music, art and information.  I wouldn't be listening to Merle Haggard on a cold January morning without internet freedom; let's find out if that's a blessing or a curse.

Without going back and counting, I'll bet I've been wrong more times than I was right on this blog, about my preconceived notions of an artist or genre of music that I wasn't familiar with.  I've said in the past, I'm neither a fan nor a hater of country music.  I've jokingly said over the years that I like country music, but only 15 minutes at a time.  Branded Man is one of the shortest albums I've encountered yet at just under 30 minutes.

Branded Man-  The title track of the album, seems autobiographical.  Merle had multiple run-ins with the law since the age of 13 that concluded with a 3 year stay in San Quentin for attempting to rob a tavern.  In today's world, this might be called "street-cred".  The single hit #1 on country charts.  Decent three part harmonies, but nothing else about the song impresses me; no payoff.  That last major 7th note ends the song is very Debbie Downerish.

Loneliness is Eating Me Alive-  I immediately like this, and no it's not just the piano.  This sounds an awful lot like Willie Nelson.  It's a slow shuffle and bluesy, and while it has absolutely nothing to do with Christmas, I can't get that image out of my mind as it plays.  Weird.

Don't Get Married-  Another autobiography prison song, with a Latin feel.  Ha, sucker, he tried stealing a diamond ring for the girl he wanted to marry.  Now he's asking her to wait for him.  Nice harmonies, nice book and nice feel... but it seems cut short.  Someone get these poor fellas a bridge and maybe a story twist?

Somewhere Between-  Again, loving the harmonies, but I'm realizing what's been the rock in my shoe with each of the songs thus far.  It's the constant soloing guitar.  It just doesn't seem to fit: sound, playing, and note choices.  Replace each of the solos and phrase-work with a fiddle, and it would be much improved.

You Don't Have Very Far to Go-  The awkward intro chord changes remind me of Roy Orbison's "You Got It". The whole song actually does come to think of it.  Damnit!  If that guitarists throws in that weird major 7th note resolution one more time..he's fired!  If that's his signature note, then I want him to print from now on.

Gone Crazy-  Steel-guitar.  A little too much of it, almost seems to compete with Merle's singing.

I Threw Away the Rose-  A song about losing love and control to the bottle.

My Hands are Tied-  Another Latin inspired song in 3/4 time.  A song about prison but maybe not the iron bars type?  No, it is about the iron bars type... not a lot of symbolism on this album.

Some of Us Never Learn-  OK THAT GUITARIST IS FIRED.  Another song about alcohol.  Oh wait, is that Merle's playing?  That sour-note must be his idea, why else would it be almost featured on each song?  Maybe he never learned.

Long Black Limousine-  Somebody died.  His old lover.  Ah, there's that spoken middle part that always remind me of Boys to Men.  At least this song has a little ironic twist.  Finally something literary.

Go Home-  More Latin 3/4 time.  A tale of love and Texas racism.  Well, maybe a half-tale, a story with no point.  Maybe Del Griffith co-wrote these ditties.

Well this time I'm putting the W down in my column.  I thought this album wasn't going to appeal to me, and it didn't.  I'm giving every album the same fair objective shake.  Are these songs without merit?  Well, the title song hit #1, and a bunch of qualified people voted it on this list, so perhaps the merit is just lost on me.  Merle's got a solid country voice, but if that's his guitar style, it just plain old sucks on this album.  The harmonies and backup singing is a joy to listen to, but hardly groundbreaking or relevant in some way.

A half an hour poorly spent?  Even a bad day of listening to music is better than a good day in prison.

Next up #483  The Notorious B.I.G. - Life After Death (1997)

#485 Loretta Lynn- Greatest Hits (1982)

I need to call foul on this.  It's called the "Rolling Stone's 500 Greatest Albums of All Time."  An album to me is a singular piece of work, a book written by an artist with a beginning and an end--not a compilation of great moments, not a "mix-tape of pure awesome", or even a nod to an amazing artist.  By this standard, each artist on this list should have their greatest hits compiled, and then rated.  I start this blog in protest; I realize it's not Loretta's fault but rather the voters, and so I'll err on the side of the coal-miner's daughter.

Wine, Women and Song- was one of her first hits from 1964 released on Decca records.  The song isn't anything special, but her voice couldn't be more adorable.

Happy Birthday- the hit from her first solo album in 1965, it's another song of self-respect--leaving her man after being mistreated.

You Ain't a Woman Enough (To Take My Man)- from the 1966 album of the same name, it was her highest charting single up to this point, hitting #2.  Sounds like she's found a good man now, one worth fighting for.

Don't Come Home a Drinkin' (With Lovin' On Your Mind)- from the 1967 album of the same name (a pattern?)  She finally hits #1 with this song, and the album itself is the first by a female country singer to be certified gold selling over 500,000 copies.  The song--it's more man trouble.

Fist City-  Yep, title track from the 1968 album of the same name(aotsn), that also hit #1.  Lynn had proven herself a successful writer by this point, and was able to use more of her own songs on each album--this was her twelfth album in a scant 5 years.  I'd liked to have met the man in her life, that was the inspiration for all this drama (in this song she confronts a woman who's after her man)

You've Just Stepped In (From Stepping Out On Me)- The #2 charting hit song of 1969 appeared on her album "Your Squaw Is on the Warpath" who's cover has been on politically incorrect lists for years.  Until I say otherwise, assume all songs are about man-trouble.

Woman of the World (Leave My World Alone)- Her third #1 single, and on her second 1969 aotsn.  If she's not mad at her man, she's out fighting with other women.  In this case she defending her man against a city slicker devil hoochie that is awkwardly described in the lyric "I wear more in swimming, than you wear to parties, where you go."

Coal Miner's Daughter-  The autobiographical #1 hit (1970 aotsn) was unlike all the man-trouble songs prior.   It was her first to cross over from the country charts to the pop charts peaking at #83. Do I really need to reference the Sissy Spacek movie?  I will however mention the 2 modulations common in country music.  It starts in D and ends in E and changing keys at the 1 and 2 minute marks almost perfectly... good thing the song lasts exactly 3.

After the Fire is Gone-  Loretta teams up for the first time with Conway Twitty on their 1971 album.  They would release a duet album each year for the next 10 years.  Sounds like these two, both frustrated with their spouses, have finally found solace in each other.  I'll admit, this one reminds me a little of Hee Haw.

Lead Me On-  The second #1 single for the duet.  This pair that found solace in ATFIG, is now taking it to the next step on their second duet album released in 1972.

One's on the Way- A lighter whimsical song about a domestic goddess in Kansas who's frantically juggling responsibilities, children and pregnancy.  The song was written by renaissance man Shel Silverstein,  famous for writing songs like Johnny Cash's "A Boy Named Sue", and Dr. Hook's "Cover of a Rolling Stone".  The song mentions "the pill".

I'm going off script for a brief minute.  The Pill was one of Loretta's biggest and most controversial hits, and is conspicuously left off of this compilation.  She recorded it in 1972, her record label suppressed it until 1975, and many country radio stations also banned it from play.  I feel this song, along with her advocacy for ordinary women belongs in her "greatest hits".

Rated "X"- also controversial in it's exposing of the double standards applied to divorced men vs divorced women during that time.

Love is the Foundation-  was Loretta's 7th #1 single, and can be found on her 1973 aotsn.  Did I catch that right, I think she's actually content in this song.

Louisiana Woman, Mississippi Man- An uptempo duet with Conway on the 1973 aotsn.  The first that I have heard electric guitar in the intro, although it quickly downshifts to steel guitar.  Also the first I've heard so far that is flat out happy - a nice change of pace.  I was beginning to worry about that poor Kentucky girl.

As Soon As I Hang Up the Phone-  The phone call makes me laugh -- I want to hear Conway Twitty say "Hello Darlin'"  The song is a little gimmicky, it's a pseudo-duet.  Conway interjects spoken word on the phone, while Loretta sings this 1974 hit.  Have the duet pair finally broken up?

Trouble in Paradise-  Her eighth #1 hit as a solo artist.  She's sticking with her man "till the devil goes away"

When the Tingle Becomes a Chill- from the 1976 aotsn.  A song about losing love for someone.

Feelin's- Conway duet from 1975 aotsn.

Out Of My Head and Back In My Bed-  1978 aotsn.  Sounds like she's done being victim, and now out going after what she wants.

Somebody Somewhere (Don't Know What He's Missin' Tonight) - 1976 aotsn.  These last four all seem like throwaway songs.

She's Got You-  Hit #1 for Lynn in 1977, on a tribute album to Patsy Cline who originally recorded it.  It's seems a little too straight forward for me.  I prefer Elvis Costello's cover of it personally.

I Can't Feel You Anymore-  maybe it's the late 70's disco strings, but this song makes me feel icky.  It all feels a little forced.

I feel like I just finished an entire Whitman's sampler box of candies.  Twenty-two candies to be exact, in under an hour.  Quick math reveals each song averaged only 2.5 minutes.  I think my metaphor fits, because at first I was furiously trying one bite sized morsel after another and they were delish, but by the end of the box, they started making me ill.

One thing I will attest to, is her work-ethic.  Loretta recorded thirty-seven albums in a span of about fourteen years--further math reveals she was popping out 2.5 albums per year (coincidence?)  Married at the age of 13, she even popped out four kids before she was 19; six by the time she hit 25.

I'll give her loads of credit for all her achievements, but this is a greatest hits album.  And I'll bet dimes to donuts that these aren't the songs she'd have picked.  Maybe I'd have conceded if she wrote a song especially for this collection entitled "Greatest Hits".

Next Up- #484 Merle Haggard and the Strangers- Branded Man (1967)

#486 Funkadelic- Maggot Brain (1971)

I have a hard time discerning between Funkadelic, Parliment and P-Funk...suffice to say all are brain-child to George Clinton.  Maggot Brain was the third album released by the Funkadelic line-up.  What makes it distinguishable enough to be on the list?  Let's find out.

Maggot Brain - "Mother Earth is pregnant for the third time, for y'all have knocked her up"  I enjoy the "street poetry" that opens up this 10+ minute acid-waltz guitar solo instrumental that comprises one third of the album.  Clinton directed guitarist Eddie Hazel's to play the one take guitar solo as if someone told him his mother was dead, but then he found out it wasn't true.  For me, it's like going to see an epic 3D movie, but no one gave me the glasses, ya dig?

Can You Get to That-  An acoustic guitar groove that at first reminds me of a mix of the Black Crowes "She Talks to Angels" and The Band's "Up On Cripple Creek"... but quickly becomes a celebration of gang singing. "I once had a life, or rather,  it once had me" an allusion to the Beatles Norwegian Wood or am stretching?

Hit it and Quit it-  Could this possibly be the first time the Hammond B-3 Organ has made a prominent appearance on the blog?  Another classic sound of rock that never sounds dated to me.  Normally paired with the Leslie Rotating Cabinet, it made the keyboard player's weighty gear the most despised by touring band's road crew for years until lighter synthesizers could better emulate the unmistakable sound.

You and Your Folks, Me and My Folks-  I'm sure it sounded funky and all back in the day, but that ring modulator or maybe it's a pipe-reverb on the drums, I find it hard to listen to, and it ruins the song for me.

Super Stupid-  A marriage of Jimi Hendrix, organ, and Rare Earth's "I Just Wanna Celebrate".  Lenny Kravitz sounds like this when he's dreaming, and Audioslave has often covered this gem.

Back in our Minds-  It's hard not to laugh at the Jaw Harp (Jew's Harp) bouncing back and forth in this song.  It disarms you, and I think that's the point in this song about brotherhood and reconciliation.

Wars of Armageddon-  Crying babies, protesting crowds, sirens and more color the backing funk music.  This almost 10 minute experimental bookend to Maggot Brain makes up another third of the album.  I did laugh at the "more power to the people, more pussy to the power, more pussy to the people, more power to the pussy" sequence.

With the first and last track totaling 20 minutes, there's only about 17 minutes of music in-between.  Look, after two hours of Smashing Pumpkins, I'm not complaining, but does this album belong on the list?  My vote is no.  Eddie Hazel's guitar work is phenomenal, yes.  The 4-5 songs in-between are funky, but maybe I missed what was so groundbreaking or relevant about Maggot Brain.  It's short enough that I could re-listen to it twice more to seek enlightenment and still have 9 minutes left over from yesterday's double disc marathon, but I think this album was meant to Hit it and Quit it.

Next up-  #485  Loretta Lynn- All Time Greatest Hits (2002)

#487 The Smashing Pumpkins- Mellon Collie & the Infinite Sadness

I realized at some point I'd encounter the intimidating double-album.  Up until now, all of the reviews I've done were for albums whose length averaged between 45 to 50 minutes--LP records have a practical maximum capacity of 25 minutes a side.  When compact discs became the standard the musical canvas expanded to 74 and then 80 minutes.

Billy Corgan referred to their double disc album as "The Wall" for Generation X'ers.  At almost 40 minutes longer than Pink Floyd's masterpiece, Mellon Collie compels me to change the format of my blog.  Do I review each disc individually, do I only talk about songs of special merit, and can I carve 2 hours out of my day all at once to give this a solid listen?  I could spend my time comparing and contrasting blog formats, or I could just follow the advice of the Greek Goddess of Victory and  "Just Do It."

Disc 1

Mellon Collie and the Infinite Sadness: The piano instrumental intro to the album.  My wife always says what people first see when they walk through your front door, sets the tone for the rest of your home.  While I wish the fake sounding digitally sampled string section that accompanies the piano were live musicians, I  understand the tone of sadness this song sets for the album ahead (oh yeah, and sadness is right up there in the track and album title too in case you missed it).

Tonight, Tonight- The first thing that strikes me ironically, are how powerful the strings sound.  They should, they are not fake now but rather the Chicago Symphony Orchestra 30 piece string section.  I'm a sucker for the marriage of rock and classical, and equally a sucker for dynamics--the varying of degrees of loud and soft, gentle and furious-- and this song is flush with it.  Was Billy Corgan inspired by West Side Story?

Jellybelly-  If grunge was a teddy-bear, I'd hug the shit outta this warm fuzzy guitar tone.

Zero- Again, I love the guitar tone on this the third single released (Tonight Tonight was #4)  Great angst, great dynamics, great production by studio heavyweights Flood and Alan Moulder.

Here Is No Why-  Reminds me of David Bowie with its change of meter and guitar-forward sound.

Bullet With Butterfly Wings- The lead single earned the band a Grammy in '97 for best hard rock performance.  Listen to the build up and release of tension between verse and chorus.

To Forgive- It's best to follow a song where you cash in all your chips of rage and fury, with something slow and quiet.  The album represents the loneliness and sadness of Billy's adolescence- "empty party afternoons won't come back"

Fuck You (An Ode to No One)- a hard driving rhythmically intense train that rolls to a stop? Nope!

Love- Phaser and crunch heavy.  It's a grilled cheese sandwich on acid.

Cupid De Locke- doesn't lead with guitars, it's all layered with looped keyboard sequences; it's dreamy.  I keep waiting for Björk to emerge in this slight homage to Romeo and Juliet (maybe Billy was watching West Side Story after all).  Björk doesn't emerge, nor do the guitars.

Galapogos-  sounds like a companion piece to Tonight Tonight.  I've noticed on many of the songs thus far, that Billy refers to himself as a "fool".  An ongoing theme?  Just when I think the song is winding down, the bridge turns it up a notch.  To me, it's a song about growing up, or changing, perhaps adapting. I'd never heard this song, but it's definitely the disc's hidden gem to me.

Muzzle-  while this song got passed over for the fifth released single (33) it still charted on Billboard mainstream and modern rock charts.  Frankly the song doesn't impress me--maybe it's because of the dynamic tapestry I've heard so far on the album-- comparatively speaking, it just seems to go nowhere.

Porcelina of the Vast Oceans-  fades in eerily, with nice use of pulsing synths to color the background of this instrumental?  Surprise, it's got a hard edge part, and finally singing.  This song to me, is about a teenager who finds escape in some type of drug.  Maybe "Porcelina" is his companion in the bathroom while shooting up or getting high?

Take me Down- one of only two songs on the album written by guitarist James Iha.  It's a great contrast to Billy's voice.  It's soft and smooth. It sounds to me like it's written from the perspective of someone who just died, or maybe it's just the relationship that died.  This whole CD has been an exercise in dynamics, contrast and pendulum swings.  If it is indeed intended to represent a teenager's life, then it hit the bullseye.

Disc one of the album is entitled "Dawn to Dusk"  I didn't pay much attention to that before listening to it this morning, but now I think I'll follow it as advice.  I'll return later tonight to listen to disc two: "Twilight to Starlight"

Disc Two

Where Boys Fear to Tread-  Long noisy and angry intro to disc two.  Is this setting the tone?  It's full of resent and it's cut short.

Bodies- Another aggressive angry song of resentment, the adjustment from denial to anger or disillusionment. "love is suicide"  Stage two on the Kubler-Ross model of grief.

33- The fifth and final single from the album, and first released after firing of drummer Chamberlain related to touring keyboardist Melvoin's heroin overdose.  The song to me is a more mature adjustment to break up than Bodies.  Billy's working his way past depression and into acceptance. "deep in thought I forgive everyone, as the cluttered streets greet me once again"  Is it a song about growing up, or his divorce?

In the Arms of Sleep-  Another slower quieter shuffle, classic unrequited love.  If you are still tracking the Kubler-Ross model, perhaps this should have appeared between Bodies and 33, because it's the movement from bargaining into depression.

1979-  probably my favorite song on the album, and the second single released.  It's pure nostalgia. Without inspection, I think it's the first song on the album where Billy remembers his difficult childhood, in a positive way.  I guess it wasn't all bad.  I never realized how much this sounds like the Cure.  It's the loops and sequenced electronic-future bookend of the album, where BulletWBW was the hard-rock-past bookend.

Tales of a Scorched Earth-  "I lie just to be real, I die just to feel"  I don't think there's a harder more thrashed song on the album.  It's as if the Pumpkins keep daring you to pigeonhole them into a sound, luring you down a narrow path just to make you realize you need to completely turn around.

Thru the Eyes of Ruby-  Swirling and phaser-lush, it's dreamy, and lyrically it's heavy.  I thought I had an idea of what it's about, but the disjointed acoustic guitar outro just made me doubt.  Anyone have a read on this?

Stumbleine-  Just Billy alone with acoustic guitar.  A song about feeling alone, misunderstood, and flawed... hoping somewhere there's someone out there "Stumbleine" just as flawed that's meant for him.  The lyrics seem much in the rhythmic style of Lennon's I Am the Walrus.  Listen to it with headphones and tell me if it's just my recording of it, that has his voice "twitching" on/off in stereo.

X.Y.U.- After the soft acoustic, I now have come to expect an all off face smasher.  This song is rage, rage, and insanity.  It's a tough listen, not because it's not good, it's tough because it's painful to admit or imagine feeling this destructive.  (OK yeah, musically it's pretty dissonant and dark too)

We Only Come Out at Night-  And back to electronic, calm, sequenced.  It's starting to feel a little manic depressive now, the swings between rage and sweetness.  Chill out Twilight fans, it's not about vampires, but rather people who feel misunderstood, freaks.  I think night is more of a metaphor for not wanting attention.

Beautiful-  Another slow electronic song that could have easily pulled from a Cure or Bjork album.  "You just can't tell who you'll love and who you won't"  Is this Billy trying to give hope to kids that might have felt lost like he did?

Lily (my one and only)- whimsical ditty about a crazy peeping tom, in hopeless denial.

By Starlight-  The fourth song in a row, void of the rage and anger of the rest of the album.  It's as if by this point in his growing up, he's tired of the blaming and able to put it behind him; he's at last found someone; or perhaps he's finally on meds and stable?  

Farewell and Goodnight- All four members of the SP sing on this lullaby which Corgan and Iha wrote together. It puts to sleep disc two and the album, but more so says farewell and goodnight to the tumultuous melancholy and seemingly infinite sadness of adolescence.

I was well beyond my teen years when this album was released in 1995.  After listening to this full through, I can see the catharsis it must have provided for so many younger than I.  It runs a gamut of emotions: loneliness, anger, resent, withdrawal and hope--just another stereotypical day in the life of a teenager.

Disc two was a much more conceptual listen than was the first, but it dealt more with resolution and healing; and consequently was not as entertainingly destructive.  Because at the end of the day, whether it's Pink Floyd or Smashing Pumpkins, who doesn't love insanity, provided it's someone else?

Next up-  #486 Funkadelic- Maggot Brain (1971)