Pretty self-explanatory; the topic came up when we were at a bar and someone said that "Crimson and Clover" by Joan Jett & The Blackhearts was the best cover song ever. A-haha.
Ryan's Top 5:
1. "Everybody's Talkin'" - Harry Nilsson - This is definitely one of my favorite songs of all-time, so you bet your ass it's my favorite cover song. Fred "Not Harry Nilsson" Neil apparently performed a version of this song that pre-dates this one. Go figure!
2. "All Along the Watchtower" - Jimi Hendrix - This is the quintessential example, for me; nothing wrong with the Dylan version, but the Hendrix rendition is iconic rock.
3. "I Fought the Law" - The Clash - Once again, I like older versions of the song, but The Clash definitely knows how to amp up the ass-kickery. I'm fairly sure The Clash could cover anything and I'd like it better.
4. "I Will Survive" - Cake - Cake does the song in their own particular styling. Notably, they amend this lyric: "I should have changed my fucking lock / I would have made you leave your key." See that? They added the word "fucking." Brilliant!
5. "Stand By Me" - John Lennon - This narrowly defeats Van Halen's cover of "You Really Got Me," which loses points because The Kinks are one of my favorite bands. Anyway, I guess it's not a given that this version is incredibly superior--if you're a big R&B fan--and I'm not--so in the end this wins. Also, I like John Lennon. A lot.
Dan's Top 5:
1. Aretha Franklin - Respect (orig. by Otis Redding) - This is the only instance I can think of where the song's meaning is essentially transformed. When Aretha sings it, her womanhood is an essential element of the song.
2. Johnny Cash - Hurt (orig. by Nine Inch Nails) - Easily the newest original on the list to be covered, and by a man who was a living legend. If the Man In Black wants to sing your song, you know it's good.
3. Cream - Crossroads (orig. "Cross Road Blues" by Robert Johnson) - OK, I haven't heard the original, but "Crossroads" is my favorite Cream song.
4. Jimi Hendrix - All Along The Watchtower (orig. by Bob Dylan) - While I agree almost 100% with Ryan's selections, I've allowed myself one overlapping listing. This is it, because Jimi rocked and Dylan's got plenty of other good songs. He can spare one.
5. The Dropkick Murphys - The Fields of Athenry (orig. recorded by Danny Doyle) - Gains the quality of being much more easily adapted to sports scenarios.
Honorable Mention: Van Halen - You Really Got Me (orig. by The Kinks), Gnarls Barkley - Reckoner (orig. by Radiohead) - only omitted because it's not been released, Joe Cocker - With A Little Help From My Friends (orig. by The Beatles), Creedence Clearwater Revival - Heard It Through the Grapevine (orig. by Gladys Knight and the Pips) - omitted because it's too damn long.
Tim's Top 5:
1. If Not For You – George Harrison - The slide guitar on If Not For You works so magically, I don’t even know how to explain it. I think this is one of the greatest love songs ever recorded, not that you’ll be able to tell from that recording. And as much as I love Bob Dylan, his version of his own song just doesn’t measure up. It sounds like he was borrowing some of Hendrix’s work from All Along the Watchtower and makes it a fluff pop song. Harrison’s recording is a sincere and plaintive cry, almost an elegy in advance. The fact that it also works so well on All Things Must Pass means it would be sacrilege to put any lower down the list.
2. Hard to Handle – Black Crowes – I am a fan of Otis Redding’s version, but it’s not even a close contest. The Black Crowes completely reinvent this song and make it sound completely current (both for 1990 and 2009) and I was in disbelief when I actually opened the liner notes of Shake Your Moneymaker and saw that Otis Redding wrote the song. It’s the quintessential Black Crowes song, the best on what is an absolutely phenomenal album, and this song works blissfully well with the country-tuned sounds that they bring to the table on the album.
3. Slut – Big Star* - I include it solely because it’s on a released album, the inaptly titled “Columbia – Big Star Live at Missouri University” album that is inaptly titled, since 1) it’s not really Big Star (hence the asterisk -- it’s the second iteration of Big Star -- Alex Chilton, Jody Stephens, and two members of the Posies (Auer/Stringfellow), since Chris Bell had died long before the “reunion” show), and 2) there is no such thing as Missouri University. Nice try. But it is a phenomenal performance overrun with exuberance that far outpaces the comparatively turgid and horribly produced Todd Rundgren original. A faster tempo and the less enunciated voice of Alex Chilton prove the key here. If I ever put together a band, there is absolutely no way we would not cover this song in the style Big Star does. “S-L-U-T…she may be a slut, but she looks good to me.”
4. Do Ya – Matthew Sweet – Another live cover, this one is documented on Live From 6A, a compilation CD of recordings from Late Night with Conan O’Brien. It’s the lone track on the album that wasn’t actually performed on the show; they did the track as the sound check before the show. It’s a song that’s uniquely Matthew Sweet, perfect for his voice and unassuming tone and captures the superb musicians that he always surrounded himself with for his albums and tours. ELO isn’t a great band, but they are made to create good covers (OK Go almost made the list for covering “Don’t Bring Me Down,” but it’s hard to say their version is definitively better than the original. No such problem here.)
5. I’ll Feel A Whole Lot Better – Tom Petty – There’s nothing quite so ironic as getting on this list by covering a band who made their career by covering other people’s songs. But it worked for Tom Petty, who included this version of a Byrds hit on Full Moon Fever. The cleaner digital production is 99% of the reason that this song improves upon the Byrds song, which is one of their best. But the recording is dated, tinny, contains a heavy tambourine and sounds like a hit song played on an AM radio (unsurprisingly). Petty’s song is a much clearer recording and seems a note higher, matching the song more closely with its lyrics.
Honorable mention: 99 Problems – Jay-Z – I exclude this because it’s not really a cover, even though it takes its title and chorus from Ice-T’s cut of the same name. But if it were a cover…oh, it’s on the list; Harvey Danger – Save It For Later – Harvey Danger was way too good a one-hit wonder band to burn out as fast as they did; Draggin’ the Line – R.E.M. – this one-note performance is on the Austin Powers: the Spy Who Shagged Me soundtrack, and is easily the best thing about that horrific movie. Why more people don’t cover Tommy James songs is well beyond me. They’re a guaranteed success – Mony Mony and I Think We’re Alone Now were both hits for later artists, this song is awesome, and Crimson and Clover just begs to be covered (although apparently the Joan Jett fan Ryan mentioned already thinks that job's done); All Along the Watchtower – Jimi Hendrix; It Ain’t Me Babe – The Turtles, Quinn the Eskimo – Manfred Mann - I lump these in because they’re all Bob Dylan covers. Covering Bob Dylan is obvious, but only a few stick out as real successes. The Turtles capture a sardonic taunting tone to a song that Dylan left untouched, Hendrix simply created a new song, and Manfred Mann recorded a ludicrously catchy but still inexplicable song.
Showing posts with label the clash. Show all posts
Showing posts with label the clash. Show all posts
Friday, January 30, 2009
Thursday, August 14, 2008
Top 5 Songs About Jail/Prison
Tim's Top 5:
I don’t listen to much country music at all, which really limits the opportunity to hear jail-related songs that aren’t from Dr. Dre. Given that limitation, I really like the list that I have here, though I give you liberty to interpret it broadly to include any sort of police custody or punitive conduct by the state.
1) Care of Cell 44 – The Zombies – The opening track from the seminal and all-too-good album Odessey and Oracle [sic], it’s easily the bounciest and cheeriest song you’ll hear about a prison stay.
2) Folsom Prison Blues – Johnny Cash - It’s hard not to put this at #1, but it’s really just too obvious.
3) Mama Tried – Merle Haggard (by way of The Old 97’s) - This is quintessential country storytelling. If there’s a better lesson to be had for parents that 1) their children’s acts aren’t necessarily attributable to them and 2) people who refer to their mother as mama are invariably homicidal maniacs, I’m unaware of it.
4) Jenny Was a Friend Of Mine – The Killers - Clearly the narrator of this song is in police custody for a killing, making it one of the finest police procedural songs in history. If only someone could write a song for the Miranda warnings.
5) Chain Gang – Sam Cooke - Sam Cooke wouldn’t ever serve on a chain gang, since he’d be shot to death before the police would ever get the chance to arrest him. That said, he still captures the basic ethos, if with less emotional weight than Paul Muni.
Honorable mention: “Jailhouse Rock” by Elvis Presley; “Trapped on Death Row” by Dr. Dre; “Prisoners of Love” from The Producers (non-musical version); “Doin’ Time” by Sublime (note: this song actually has nothing to do with jail or prison); “Jail Guitar Doors” by The Clash
Dan's Top 5:
Welcome back, Tim. I was beginning to think we'd lost you. Sucks about your injury, and I hope recovery goes well.
1. The Clash - I Fought The Law - This may even be my favorite Clash song, so I'm really surprised that Tim didn't mention it. My favorite part of the whole song is when the lyrics mention the "six gun" and there are six corresponding snare hits. Green Day deserves to rot in hell for their cover version. Cruel irony that Joe Strummer died first.
2. Dropkick Murphys - The Fields of Athenry - This one is an Irish tune originally from the 70's that documents the oppression exerted by the British on the Irish for attempting to survive during the famine of the late 1840's. Essentially, a man has stolen food and awaits a voyage on a prison ship to Botany Bay, Australia. It's a very sorrowful and reflective tale. So naturally, I feel its best treatment comes at the hands of the Dropkick Murphys. (It also gains points because it's not overplayed, as "Shipping Up To Boston" is)
3. Johnny Cash - Folsom Prison Blues - No explanation needed. If you feel that there is a needed explanation, go watch Walk the Line.
4. The Killers - Jenny Was a Friend of Mine - Tim summed this one up perfectly. I'm really surprised at how well the content of a police interrogation can be put to music. Funny thing is, in all the years that I've listened to this song, I've never once considered the possibility that the narrator could actually have committed the crime.
5. Elvis Presley - Jailhouse Rock - Though Elvis was apparently the king of rock 'n' roll, I've never had an affinity for most of his work. This song is pretty much the lone exception. The conclusion of The Blues Brothers, quite possibly the only good SNL-based movie in history, earns this enough points that it should be higher. But I like the position of my other picks better, and I'm way too lazy to go back and change things.
Ryan's Top 5:
The time for being obvious is now.
1. Folsom Prison Blues - Johnny Cash - "I shot a man in Reno just to watch him die." Fucking top that.
2. Jailhouse Rock - Elvis Presley - Hello, my name is Ryan, today I write lists for Rolling Stone.
3. Jailbreak - AC/DC - This song, like many of their other songs, kicks ass.
4. Holloway Jail - The Kinks - I love the way the guitar sounds in this song. And I love simple songs where the theme is People-Taking-Babies-Away. See The Ramones' "The KKK Took My Baby Away."
5. Jailbreak - Thin Lizzy - I also like catchy songs. To-NIGHT there's gonna be a jailbreak...
I don’t listen to much country music at all, which really limits the opportunity to hear jail-related songs that aren’t from Dr. Dre. Given that limitation, I really like the list that I have here, though I give you liberty to interpret it broadly to include any sort of police custody or punitive conduct by the state.
1) Care of Cell 44 – The Zombies – The opening track from the seminal and all-too-good album Odessey and Oracle [sic], it’s easily the bounciest and cheeriest song you’ll hear about a prison stay.
2) Folsom Prison Blues – Johnny Cash - It’s hard not to put this at #1, but it’s really just too obvious.
3) Mama Tried – Merle Haggard (by way of The Old 97’s) - This is quintessential country storytelling. If there’s a better lesson to be had for parents that 1) their children’s acts aren’t necessarily attributable to them and 2) people who refer to their mother as mama are invariably homicidal maniacs, I’m unaware of it.
4) Jenny Was a Friend Of Mine – The Killers - Clearly the narrator of this song is in police custody for a killing, making it one of the finest police procedural songs in history. If only someone could write a song for the Miranda warnings.
5) Chain Gang – Sam Cooke - Sam Cooke wouldn’t ever serve on a chain gang, since he’d be shot to death before the police would ever get the chance to arrest him. That said, he still captures the basic ethos, if with less emotional weight than Paul Muni.
Honorable mention: “Jailhouse Rock” by Elvis Presley; “Trapped on Death Row” by Dr. Dre; “Prisoners of Love” from The Producers (non-musical version); “Doin’ Time” by Sublime (note: this song actually has nothing to do with jail or prison); “Jail Guitar Doors” by The Clash
Dan's Top 5:
Welcome back, Tim. I was beginning to think we'd lost you. Sucks about your injury, and I hope recovery goes well.
1. The Clash - I Fought The Law - This may even be my favorite Clash song, so I'm really surprised that Tim didn't mention it. My favorite part of the whole song is when the lyrics mention the "six gun" and there are six corresponding snare hits. Green Day deserves to rot in hell for their cover version. Cruel irony that Joe Strummer died first.
2. Dropkick Murphys - The Fields of Athenry - This one is an Irish tune originally from the 70's that documents the oppression exerted by the British on the Irish for attempting to survive during the famine of the late 1840's. Essentially, a man has stolen food and awaits a voyage on a prison ship to Botany Bay, Australia. It's a very sorrowful and reflective tale. So naturally, I feel its best treatment comes at the hands of the Dropkick Murphys. (It also gains points because it's not overplayed, as "Shipping Up To Boston" is)
3. Johnny Cash - Folsom Prison Blues - No explanation needed. If you feel that there is a needed explanation, go watch Walk the Line.
4. The Killers - Jenny Was a Friend of Mine - Tim summed this one up perfectly. I'm really surprised at how well the content of a police interrogation can be put to music. Funny thing is, in all the years that I've listened to this song, I've never once considered the possibility that the narrator could actually have committed the crime.
5. Elvis Presley - Jailhouse Rock - Though Elvis was apparently the king of rock 'n' roll, I've never had an affinity for most of his work. This song is pretty much the lone exception. The conclusion of The Blues Brothers, quite possibly the only good SNL-based movie in history, earns this enough points that it should be higher. But I like the position of my other picks better, and I'm way too lazy to go back and change things.
Ryan's Top 5:
The time for being obvious is now.
1. Folsom Prison Blues - Johnny Cash - "I shot a man in Reno just to watch him die." Fucking top that.
2. Jailhouse Rock - Elvis Presley - Hello, my name is Ryan, today I write lists for Rolling Stone.
3. Jailbreak - AC/DC - This song, like many of their other songs, kicks ass.
4. Holloway Jail - The Kinks - I love the way the guitar sounds in this song. And I love simple songs where the theme is People-Taking-Babies-Away. See The Ramones' "The KKK Took My Baby Away."
5. Jailbreak - Thin Lizzy - I also like catchy songs. To-NIGHT there's gonna be a jailbreak...
Monday, December 10, 2007
Top 5 "Essential Album Artists"
Aha! Not so fast people...it's in quotes, therefore it's a defined term. Here's the definition:
Essential Album Artist -- You have to have every album. Period. There's something on every one of them that's worth owning, and not just easily replicated by buying a greatest hits comp and going to the concerts and singing along with 1/3 of the songs and being pissed they didn't play every hit. They have to have pushed out four albums -- not counting compilations -- and they have to do it with a band with the same name, you can't just declare Ben Folds a winner by counting his three actual albums with the eponymous Five and his two solo albums. Not that you would anyway. This list gives severe glory to those who lived fast. The Sex Pistols didn't last long enough, Bob Dylan lasted far far too long.
Tim's Top 5:
1) The Beatles - This is too easy. Every one of the thirteen albums is essential because they're all good, even if Please Please Me is too teeny-bop and The White Album is too admired by everyone. Best album: Abbey Road; Worst album: probably With The Beatles, but it still has absolute masterpiece songs on it, it's just also got Please Mr. Postman, which makes me weep inside.
2) Elliott Smith - Elliott Smith has a couple of careers, spending his early days with Kill Rock Stars recording quiet and rough albums, but eventually reaching the sprawling orchestral production of Figure 8. Not only are each of Elliott's albums essential, but he also made Good Will Hunting's soundtrack essential just by including an altered version of Between the Bars and Miss Misery. And, just for good measure, his album with Heatmiser -- Mic City Sons -- is even more essential than all the others, even though it doesn't count to the overall album total. Best album: Either/Or, though I love Figure 8; Worst Album: probably Elliott Smith, but it's still a great album.
3) Pearl Jam - If you like Pearl Jam, you understand that every album, every track becomes essential, because even if the album version of Bu$hleaguer sucks, you'll hear it on an official bootleg and realize it's the greatest song you've ever heard. They can release countless compilations, concert albums, and every time one hits my radar, I still consider buying it. I own them all and although I don't listen to them as much as I should, they're all essential. Best album: Yield; Worst album: Binaural was going to get my vote, then I remembered that they recorded Ten. Ten is the winner. It may have performed a great civic duty by bringing Pearl Jam to my 13-year old consciousness, but radio play has ruined its hope of being a respectable album.
4) The Clash - Sandinista! is a mess, but it's a mess that's still got a lot of value, it's just thinly sown among the 36 tracks, and it's being compared to two of the best albums anyone ever recorded. The Clash and London Calling should both be in the top 50 albums of all time, Best album: I'll say London Calling, because I know I'm supposed to, but I really think that The Clash might be the superior album in my own mind. And Give 'Em Enough Rope blows my mind too. Worst album: definitely Sandinista!, but it's well worth it for being the one person you know who owns the album and has actually listened to it.
5) The Old 97's - Helped in no small part by the small number of albums, each one has value. They run a number of genres in the time span, with the first two being definitely more dependent on country influences with the rock sounding more like Buddy Holly than the Beatleish pop influence that overruns Satellite Rides. In between, Wreck Your Life, Too Far to Care, and Fight Songs run the gamut, but each one has at least a half dozen commendable tracks. Worst album: I'm not enamored with Hitchhike to Rhome, which is too lo-fi country for me, but I think Drag It Up is their weakest effort, because it was an all too conscious effort to return to Hitchhike without the sense of youthful reckless innocence that made an innocuous debut acceptable.
Honorable Mention: Oasis - I don't own Standing on The Shoulder of Giants or What's The Story, but I could easily buy both; Bruce Springsteen - warrants serious mention just because he came surprisingly close for someone with a 35 year career, but Devils & Dust is just not a good album (Magic is, however), and I've never felt a need to own Human Touch or Lucky Town. R.E.M. - god, Reveal is awful. Shame on you, Michael Stipe.
Dan's Top 5:
1. Jimi Hendrix - You could argue that he released three albums as the Jimi Hendrix Experience and one with the Band of Gypsys, but really, all that truly changed was the bass player. There's no question where all the talent was. You shouldn't just buy Jimi's albums, you should have every song memorized. Any sort of "greatest hits" collection does not do the man justice, and "Band of Gypsys" is just as good as anything he did with the Experience. Four albums, no dead weight - the epitome of what this list should be.
2. Peter Gabriel - It's interesting to see how Peter's music has evolved from when he started as a solo artist to now. It's vastly different, but there was never any loss of quality. There really aren't any weak albums, unless you count his soundtracks. Assuming not, his second album was only a modest effort, but I'll forgive that since Peter Gabriel III was one of the best (and most underrated) albums ever.
3. The Beatles - I was going to try to come up with a different fifth artist, but I realized that (a) I couldn't think of anyone, and (b) the Beatles were good enough to be repeated in this list. I probably wholeheartedly agree with Tim here, and I'd like to add that it's because of the Fab Four that we have the standard of a band writing its own songs and consisting mainly of guitar, bass, and drums.
4. Radiohead - Not only do I have all albums, but I have all the B-sides as well. Weak albums include Pablo Honey, Kid A, and Amnesiac. Awesome albums include OK Computer, The Bends, and Hail to the Thief. I credit them with having re-established the album as a valid work of art. Now if only more than a handful of artists would put more effort into making complete albums.
5. The Police - Each one of the five studio albums they made has two big hits on it, as well as a handful of other good songs. Apart from Synchronicity, no album is phenomenal, but if you're going to listen to the Police, it's not that hard to just get all the albums.
Honorable Mention - Smashing Pumpkins, Blur. They would have made it were it not for one single album (Zeitgeist, Think Tank) in their catalogue. So much for last hurrahs. (Yes, I do know Blur are back together and recording a new album.) Also, Muse. Their first album - Showbiz - was decent, but not a must-have like their other three.
Ryan's Top Five
1. The Beatles - Best: Sgt. Pepper or Abbey Road. Worst: meh, why try.
2. Badly Drawn Boy - Man, I love Badly Drawn Boy. Best: One Plus One Is One. Worst: probably Born In The UK, though it's still good.
3. The Decemberists - Four studio albums, all excellent. Best: The Crane Wife (is one of the best albums of this decade).
4. John Lennon solo - Wings had a lot of crap. John Lennon did not. Best: Imagine or Plastic Ono Band, but I actually really like Double Fantasy, nuts to everyone else.
5. Harry Nilsson - All right, I don't own all of them, as some are difficult to locate. That said, I've heard tracks from all of them. Did I mention I love Harry Nilsson? Best: The Point!
Essential Album Artist -- You have to have every album. Period. There's something on every one of them that's worth owning, and not just easily replicated by buying a greatest hits comp and going to the concerts and singing along with 1/3 of the songs and being pissed they didn't play every hit. They have to have pushed out four albums -- not counting compilations -- and they have to do it with a band with the same name, you can't just declare Ben Folds a winner by counting his three actual albums with the eponymous Five and his two solo albums. Not that you would anyway. This list gives severe glory to those who lived fast. The Sex Pistols didn't last long enough, Bob Dylan lasted far far too long.
Tim's Top 5:
1) The Beatles - This is too easy. Every one of the thirteen albums is essential because they're all good, even if Please Please Me is too teeny-bop and The White Album is too admired by everyone. Best album: Abbey Road; Worst album: probably With The Beatles, but it still has absolute masterpiece songs on it, it's just also got Please Mr. Postman, which makes me weep inside.
2) Elliott Smith - Elliott Smith has a couple of careers, spending his early days with Kill Rock Stars recording quiet and rough albums, but eventually reaching the sprawling orchestral production of Figure 8. Not only are each of Elliott's albums essential, but he also made Good Will Hunting's soundtrack essential just by including an altered version of Between the Bars and Miss Misery. And, just for good measure, his album with Heatmiser -- Mic City Sons -- is even more essential than all the others, even though it doesn't count to the overall album total. Best album: Either/Or, though I love Figure 8; Worst Album: probably Elliott Smith, but it's still a great album.
3) Pearl Jam - If you like Pearl Jam, you understand that every album, every track becomes essential, because even if the album version of Bu$hleaguer sucks, you'll hear it on an official bootleg and realize it's the greatest song you've ever heard. They can release countless compilations, concert albums, and every time one hits my radar, I still consider buying it. I own them all and although I don't listen to them as much as I should, they're all essential. Best album: Yield; Worst album: Binaural was going to get my vote, then I remembered that they recorded Ten. Ten is the winner. It may have performed a great civic duty by bringing Pearl Jam to my 13-year old consciousness, but radio play has ruined its hope of being a respectable album.
4) The Clash - Sandinista! is a mess, but it's a mess that's still got a lot of value, it's just thinly sown among the 36 tracks, and it's being compared to two of the best albums anyone ever recorded. The Clash and London Calling should both be in the top 50 albums of all time, Best album: I'll say London Calling, because I know I'm supposed to, but I really think that The Clash might be the superior album in my own mind. And Give 'Em Enough Rope blows my mind too. Worst album: definitely Sandinista!, but it's well worth it for being the one person you know who owns the album and has actually listened to it.
5) The Old 97's - Helped in no small part by the small number of albums, each one has value. They run a number of genres in the time span, with the first two being definitely more dependent on country influences with the rock sounding more like Buddy Holly than the Beatleish pop influence that overruns Satellite Rides. In between, Wreck Your Life, Too Far to Care, and Fight Songs run the gamut, but each one has at least a half dozen commendable tracks. Worst album: I'm not enamored with Hitchhike to Rhome, which is too lo-fi country for me, but I think Drag It Up is their weakest effort, because it was an all too conscious effort to return to Hitchhike without the sense of youthful reckless innocence that made an innocuous debut acceptable.
Honorable Mention: Oasis - I don't own Standing on The Shoulder of Giants or What's The Story, but I could easily buy both; Bruce Springsteen - warrants serious mention just because he came surprisingly close for someone with a 35 year career, but Devils & Dust is just not a good album (Magic is, however), and I've never felt a need to own Human Touch or Lucky Town. R.E.M. - god, Reveal is awful. Shame on you, Michael Stipe.
Dan's Top 5:
1. Jimi Hendrix - You could argue that he released three albums as the Jimi Hendrix Experience and one with the Band of Gypsys, but really, all that truly changed was the bass player. There's no question where all the talent was. You shouldn't just buy Jimi's albums, you should have every song memorized. Any sort of "greatest hits" collection does not do the man justice, and "Band of Gypsys" is just as good as anything he did with the Experience. Four albums, no dead weight - the epitome of what this list should be.
2. Peter Gabriel - It's interesting to see how Peter's music has evolved from when he started as a solo artist to now. It's vastly different, but there was never any loss of quality. There really aren't any weak albums, unless you count his soundtracks. Assuming not, his second album was only a modest effort, but I'll forgive that since Peter Gabriel III was one of the best (and most underrated) albums ever.
3. The Beatles - I was going to try to come up with a different fifth artist, but I realized that (a) I couldn't think of anyone, and (b) the Beatles were good enough to be repeated in this list. I probably wholeheartedly agree with Tim here, and I'd like to add that it's because of the Fab Four that we have the standard of a band writing its own songs and consisting mainly of guitar, bass, and drums.
4. Radiohead - Not only do I have all albums, but I have all the B-sides as well. Weak albums include Pablo Honey, Kid A, and Amnesiac. Awesome albums include OK Computer, The Bends, and Hail to the Thief. I credit them with having re-established the album as a valid work of art. Now if only more than a handful of artists would put more effort into making complete albums.
5. The Police - Each one of the five studio albums they made has two big hits on it, as well as a handful of other good songs. Apart from Synchronicity, no album is phenomenal, but if you're going to listen to the Police, it's not that hard to just get all the albums.
Honorable Mention - Smashing Pumpkins, Blur. They would have made it were it not for one single album (Zeitgeist, Think Tank) in their catalogue. So much for last hurrahs. (Yes, I do know Blur are back together and recording a new album.) Also, Muse. Their first album - Showbiz - was decent, but not a must-have like their other three.
Ryan's Top Five
1. The Beatles - Best: Sgt. Pepper or Abbey Road. Worst: meh, why try.
2. Badly Drawn Boy - Man, I love Badly Drawn Boy. Best: One Plus One Is One. Worst: probably Born In The UK, though it's still good.
3. The Decemberists - Four studio albums, all excellent. Best: The Crane Wife (is one of the best albums of this decade).
4. John Lennon solo - Wings had a lot of crap. John Lennon did not. Best: Imagine or Plastic Ono Band, but I actually really like Double Fantasy, nuts to everyone else.
5. Harry Nilsson - All right, I don't own all of them, as some are difficult to locate. That said, I've heard tracks from all of them. Did I mention I love Harry Nilsson? Best: The Point!
Sunday, November 18, 2007
Top 5 side a, track 1's
Having temporarily resuscitated the blog and doubled our production from last month, I figure I should up the ante once more before I leave the country for a week so I can finally buy the new Nine Black Alps album.
I had concocted my list a great deal of time ago, but never posted the homage, so here it is. My only preamble would be that I'm not going to snipe songs that I enjoy on an individual level because as great as "Gimme Some Lovin'" is, I don't know that it suits the album it introduces at all...so I don't mention it in the list.
Rob’s Top 5:
1) “Janie Jones” by The Clash from the album The Clash [UK]
2) “Let’s Get It On” by Marvin Gaye from the album Let’s Get It On
3) “Smells Like Teen Spirit” by Nirvana from the album Nevermind
4) “White light/White Heat” by The Velvet Underground
5) “Radiation Ruling the Nation” by Massive Attack
Having lent out my copy of the novel ages ago and never having it returned unto me, I can't provide you whatever analysis Hornby would here.
Tim’s Top 5:
*The US version of The Clash led off with “Clash City Rockers”, not nearly the track Janie Jones is, hence, I have to leave it off my list because I’ve never heard the UK album in its pure unaltered form. So, although my list looks a fair amount like Rob's, it's not the same.
It is also not a coincidence that four of the five albums (the first four) would rank among the top 50 on my list if I were ever to venture into such a fool's errand.
1) “Tangled Up In Blue” by Bob Dylan from the album Blood on the Tracks - I have, throughout many periods in my life, been certain that this is my favorite song. I'm not entirely sure why or how it reached this status, but it is Dylan's finest hour. He'd moved away from his overtly political period, gone through his diversions into Nashville Skyline and a period of underwhelming material that history has essentially overlooked. All the lyrics are memorable, even though they never really add up into one coherent story and are essentially dispensable -- Dylan himself has continued to change the lyrics after the album was released -- but the song essentially captures the story of a man wandering, which seems to describe Dylan himself for most of the decade preceding the song, trying to find himself in folk music, electrified rock, Nashville country, only to find himself in a new place with no direction -- the only thing to do was to keep on keepin' on. And so he did, and this is the result.
2) “What’s Going On” by Marvin Gaye from the album What’s Going On - Edwin Starr's "War" might typify what the post-Reagan generations will typify as a protest song from the 1960s, but this is the perfect protest in my mind. While other protest songs might inspire anger or motivate you to lash out, this is a seductive plea for humanity, not the dispatching of violence with another kind of violence. Until you really listen to the lyrics, you could have just mistaken it for another Marvin Gaye track. The song itself is so richly layered, part orchestral, part celebration of life and friendship, and part pleading for hope. It's the song that saved and destroyed Motown, and a lead-in to an uneven, but fantastic album that no one should be without. Combine this song with "Inner City Blues (Make Me Wanna Holler)" and "Mercy Mercy Me" and Marvin Gaye accomplishes more with those tracks than most great artists will in an entire career of singles.
3) “Rocks Off” by The Rolling Stones from the album Exile on Main Street - Exile is widely regarded as The Rolling Stones' finest album, and I'm not one to argue. It's certainly the only one I own, though a case could be made for Let It Bleed or Sticky Fingers. The song is almost the antithesis of What's Going On, while there's ostensible production, everything about the track sounds extremely raw and conveys a sense that you're actually in the same room with the band that just isn't present on any other song I can recall. It's pure energy, both frenetic and kinetic, with a half-dozen instruments and vocals taking the lead at some point. The rest of the Stones' work may only be rock 'n' roll and generally likeable, but this IS rock 'n' roll, defined. It is also worth mentioning that the producer of this track, Jimmy Miller, also was the producer on the aforementioned "Gimme Some Lovin'". Pure genius.
4) “London Calling” by The Clash from the album London Calling - While #1 and #5 on the album seem to convey a sense of unfettered optimism, London Calling is their polar opposite -- a near-suicidal screed -- that the world was facing impending disaster. It was not a subtle message, whether it was burning up in the sun, nuclear war, a new ice age, floods, or, yes, zombies. It has a screamed urgency that creates a perfect counterpoint to the fatalistic and apocalyptic inevitability. In a world certain to be wiped away in a nuclear explosion, perhaps the best you can hope for is to drown first. If you're ever facing nuclear annihilation, take the song with you to your bunker. You'll understand.
5) “Mother We Can’t Get Enough” by The New Radicals from the album Maybe You’ve Been Brainwashed Too - That's right I'm installing "new classic status" after a list of safe ones. The New Radicals' album was totally overlooked because the only reason people bought it (myself included) was "You Get What You Give", the ubiquitous song of 1999, ranking right up there with "Everybody's Free to Wear Sunscreen". With the lead single and a price of $6.99 when I bought it at Best Buy, I had little to no intention of listening to the rest of the album. Thankfully, I did. From the Yoko Ono-ish voice saying "Make my nipples hard, let's go!", this song and most of the album is pop mastery that explains easily why Gregg Alexander (the primary member of The New Radicals, as well as the producer of the album) has since become a leading producer of other music. This track, however, ranks as the pinnacle of the album, despite its too-obvious attacks on consumer culture. The rest of the album fails to reach this point, although there are three or four other semi-essential tracks, including "Jehovah Made This Whole Joint For You" and astoundingly "You Get What You Give".
Honorable mention: "Help!" by the Beatles from the album Help!; “Thunder Road” by Bruce Springsteen from Born to Run; "The Boy in the Bubble" by Paul Simon from Graceland
Ryan's Top Five
I'm a bit surprised, I didn't expect my Top 5 to turn out like it did...but I felt compelled to go with the new-one-among-some-old-safe-ones strategy, which led to me bumping some worthy contenders. But I digress.
1. "Imagine" by John Lennon from the album Imagine - Well, this is one of the best songs ever written, so, you know. It gets downplayed (even by myself) because of its omnipresence and, as Jack Black would put it, it's obviousness. Oh well.
2. "Purple Haze" by the Jimi Hendrix Experience from the (US) album Are You Experienced? - Personally, I prefer songs 3-5 on my list, but you cannot underestimate the legendary sound of this song's opening guitar riff. Led off one kick-ass album, to be sure, and one of the best albums from one of the best decades of music (excluding, of course, the 1890s).
3. "London Calling" by The Clash from the album London Calling - What Tim said. No argument here--much like song #2 on my list, this song wastes absolutely no time in kicking ass.
4. "Hells Bells" by AC/DC from the album Back in Black - And this one too. I'd be lying if I said I was the biggest AC/DC fan in the world, but that's only because I know too many other fans who are obsessed. Surely this is one of the greatest classic rock albums of all-time. I'm a big fan of ominous openings, and frankly ominousness in general; the bells here achieve said goal. Bonus points for being a better sports intro song than Welcome To The Jungle (says I).
5. "The Crane Wife 3" by The Decemberists from the album The Crane Wife - Well, here's my new one, but this song really is awesome. "The Crane Wife" is definitely one of the best albums of this decade and a masterpiece of, as Colbert put it, "hyper-literate prog rock." This song adeptly sets the tone for the rest of the album, which gels quite well.
Honorable mentions (lots, and in no order, except for the first two): "Baba O'Riley" by The Who [Who's Next], "Back in the USSR," "Sgt. Pepper," and "Taxman" by the Beatles, "Who Loves the Sun?" by The Velvet Underground [Loaded], "Take a Bow" by Muse [Black Holes & Revelations], "My Name Is Jonas" by Weezer [Weezer], "The Sounds of Silence" by Simon & Garfunkel [Sounds of Silence], "Gotta Get Up" by Harry Nilsson [Nilsson Schmilsson], "Space Oddity" by David Bowie [Space Oddity], "Five Years" by David Bowie [Ziggy], "Fight Test" by The Flaming Lips [Yoshimi], and "Go-Go Gadget Gospel" by Gnarls Barkley [St. Elsewhere]. Phew.
Dan's top 5:
I'm a bit unsatisfied with my list, since I feel like (a) I'm cleaning up after two pretty good lists by simply listing obvious omissions, and (b) there's not too much that's fresh or original about my list. I'm sure that I'll probably regret it once I stumble on something I missed on Wikipedia within the next few hours. I also maintain Tim's criterion of a decent-to-good album is also necessary for inclusion. That being said...
"Baba O'Riley" by The Who from the album Who's Next - I remember making a mix CD of the best tracks ever. The scheme was, I would pick the best track 1, the best track 2, et cetera until I ran out of room on the CD. So naturally, track one of that CD is my number one here. I remember looking through a lot of potential candidates before firmly deciding on this one the second I saw it. The "synthesizer" intro (actually just created using the arpeggio effects on a Lowrey home organ) is one of the best introductions to a song I've ever heard, and it blossoms into all-out rocking shortly thereafter.
"Wouldn't It Be Nice" by The Beach Boys from the album Pet Sounds - Barry would give me so much shit for this one, since it's such an obvious choice. I had to include it though, since none of you other jerks decided to give props to one of the best pop albums ever. Probably the album's most recognizable song, as well, and the epitome of chamber pop.
"Space Oddity" by David Bowie from the album Space Oddity - One of Bowie's masterpieces, I think it's a shame that it hasn't been mentioned yet. Even though it sounds dated, especially when compared to everything else Bowie has done, it's still a masterful bit of songwriting and performance. Loses just a few points because the song tends to overshadow most of the rest of the album (at least in my eyes. Yes, I do realize how much "Memory of a Free Festival" kicks ass.)
"Jenny Was a Friend of Mine" by the Killers from the album Hot Fuss - My new classic status is bumped up to #4 instead of the usual #5, simply because Hot Fuss was such a great album. This first kickass track was a sign that this band was fresh and new, sort of the same way Jacqueline was a great start to Franz Ferdinand's eponymous debut. Of course, if I had chosen that one, it would have been way too obvious that I was sucking up to Tim. This way, it's a bit more subtle.
"Tom Sawyer" by Rush from the album Moving Pictures - I doubt anyone else from the Top 5 likes progressive rock at all, much less Rush. I figured I'd give credit to this album, and this song in particular, which is probably Rush's biggest hit. It was a major step forward in the 80's synthesizer era, as it was released in 1981. This album, along with Van Halen's 1984 album, would prove that synthesizers could be used in rock music and still kick ass.
Honorable Mention - "Bridge Over Troubled Water" by Simon and Garfunkel from the album Bridge Over Troubled Water, also most of Ryan's honorable mentions.
I had concocted my list a great deal of time ago, but never posted the homage, so here it is. My only preamble would be that I'm not going to snipe songs that I enjoy on an individual level because as great as "Gimme Some Lovin'" is, I don't know that it suits the album it introduces at all...so I don't mention it in the list.
Rob’s Top 5:
1) “Janie Jones” by The Clash from the album The Clash [UK]
2) “Let’s Get It On” by Marvin Gaye from the album Let’s Get It On
3) “Smells Like Teen Spirit” by Nirvana from the album Nevermind
4) “White light/White Heat” by The Velvet Underground
5) “Radiation Ruling the Nation” by Massive Attack
Having lent out my copy of the novel ages ago and never having it returned unto me, I can't provide you whatever analysis Hornby would here.
Tim’s Top 5:
*The US version of The Clash led off with “Clash City Rockers”, not nearly the track Janie Jones is, hence, I have to leave it off my list because I’ve never heard the UK album in its pure unaltered form. So, although my list looks a fair amount like Rob's, it's not the same.
It is also not a coincidence that four of the five albums (the first four) would rank among the top 50 on my list if I were ever to venture into such a fool's errand.
1) “Tangled Up In Blue” by Bob Dylan from the album Blood on the Tracks - I have, throughout many periods in my life, been certain that this is my favorite song. I'm not entirely sure why or how it reached this status, but it is Dylan's finest hour. He'd moved away from his overtly political period, gone through his diversions into Nashville Skyline and a period of underwhelming material that history has essentially overlooked. All the lyrics are memorable, even though they never really add up into one coherent story and are essentially dispensable -- Dylan himself has continued to change the lyrics after the album was released -- but the song essentially captures the story of a man wandering, which seems to describe Dylan himself for most of the decade preceding the song, trying to find himself in folk music, electrified rock, Nashville country, only to find himself in a new place with no direction -- the only thing to do was to keep on keepin' on. And so he did, and this is the result.
2) “What’s Going On” by Marvin Gaye from the album What’s Going On - Edwin Starr's "War" might typify what the post-Reagan generations will typify as a protest song from the 1960s, but this is the perfect protest in my mind. While other protest songs might inspire anger or motivate you to lash out, this is a seductive plea for humanity, not the dispatching of violence with another kind of violence. Until you really listen to the lyrics, you could have just mistaken it for another Marvin Gaye track. The song itself is so richly layered, part orchestral, part celebration of life and friendship, and part pleading for hope. It's the song that saved and destroyed Motown, and a lead-in to an uneven, but fantastic album that no one should be without. Combine this song with "Inner City Blues (Make Me Wanna Holler)" and "Mercy Mercy Me" and Marvin Gaye accomplishes more with those tracks than most great artists will in an entire career of singles.
3) “Rocks Off” by The Rolling Stones from the album Exile on Main Street - Exile is widely regarded as The Rolling Stones' finest album, and I'm not one to argue. It's certainly the only one I own, though a case could be made for Let It Bleed or Sticky Fingers. The song is almost the antithesis of What's Going On, while there's ostensible production, everything about the track sounds extremely raw and conveys a sense that you're actually in the same room with the band that just isn't present on any other song I can recall. It's pure energy, both frenetic and kinetic, with a half-dozen instruments and vocals taking the lead at some point. The rest of the Stones' work may only be rock 'n' roll and generally likeable, but this IS rock 'n' roll, defined. It is also worth mentioning that the producer of this track, Jimmy Miller, also was the producer on the aforementioned "Gimme Some Lovin'". Pure genius.
4) “London Calling” by The Clash from the album London Calling - While #1 and #5 on the album seem to convey a sense of unfettered optimism, London Calling is their polar opposite -- a near-suicidal screed -- that the world was facing impending disaster. It was not a subtle message, whether it was burning up in the sun, nuclear war, a new ice age, floods, or, yes, zombies. It has a screamed urgency that creates a perfect counterpoint to the fatalistic and apocalyptic inevitability. In a world certain to be wiped away in a nuclear explosion, perhaps the best you can hope for is to drown first. If you're ever facing nuclear annihilation, take the song with you to your bunker. You'll understand.
5) “Mother We Can’t Get Enough” by The New Radicals from the album Maybe You’ve Been Brainwashed Too - That's right I'm installing "new classic status" after a list of safe ones. The New Radicals' album was totally overlooked because the only reason people bought it (myself included) was "You Get What You Give", the ubiquitous song of 1999, ranking right up there with "Everybody's Free to Wear Sunscreen". With the lead single and a price of $6.99 when I bought it at Best Buy, I had little to no intention of listening to the rest of the album. Thankfully, I did. From the Yoko Ono-ish voice saying "Make my nipples hard, let's go!", this song and most of the album is pop mastery that explains easily why Gregg Alexander (the primary member of The New Radicals, as well as the producer of the album) has since become a leading producer of other music. This track, however, ranks as the pinnacle of the album, despite its too-obvious attacks on consumer culture. The rest of the album fails to reach this point, although there are three or four other semi-essential tracks, including "Jehovah Made This Whole Joint For You" and astoundingly "You Get What You Give".
Honorable mention: "Help!" by the Beatles from the album Help!; “Thunder Road” by Bruce Springsteen from Born to Run; "The Boy in the Bubble" by Paul Simon from Graceland
Ryan's Top Five
I'm a bit surprised, I didn't expect my Top 5 to turn out like it did...but I felt compelled to go with the new-one-among-some-old-safe-ones strategy, which led to me bumping some worthy contenders. But I digress.
1. "Imagine" by John Lennon from the album Imagine - Well, this is one of the best songs ever written, so, you know. It gets downplayed (even by myself) because of its omnipresence and, as Jack Black would put it, it's obviousness. Oh well.
2. "Purple Haze" by the Jimi Hendrix Experience from the (US) album Are You Experienced? - Personally, I prefer songs 3-5 on my list, but you cannot underestimate the legendary sound of this song's opening guitar riff. Led off one kick-ass album, to be sure, and one of the best albums from one of the best decades of music (excluding, of course, the 1890s).
3. "London Calling" by The Clash from the album London Calling - What Tim said. No argument here--much like song #2 on my list, this song wastes absolutely no time in kicking ass.
4. "Hells Bells" by AC/DC from the album Back in Black - And this one too. I'd be lying if I said I was the biggest AC/DC fan in the world, but that's only because I know too many other fans who are obsessed. Surely this is one of the greatest classic rock albums of all-time. I'm a big fan of ominous openings, and frankly ominousness in general; the bells here achieve said goal. Bonus points for being a better sports intro song than Welcome To The Jungle (says I).
5. "The Crane Wife 3" by The Decemberists from the album The Crane Wife - Well, here's my new one, but this song really is awesome. "The Crane Wife" is definitely one of the best albums of this decade and a masterpiece of, as Colbert put it, "hyper-literate prog rock." This song adeptly sets the tone for the rest of the album, which gels quite well.
Honorable mentions (lots, and in no order, except for the first two): "Baba O'Riley" by The Who [Who's Next], "Back in the USSR," "Sgt. Pepper," and "Taxman" by the Beatles, "Who Loves the Sun?" by The Velvet Underground [Loaded], "Take a Bow" by Muse [Black Holes & Revelations], "My Name Is Jonas" by Weezer [Weezer], "The Sounds of Silence" by Simon & Garfunkel [Sounds of Silence], "Gotta Get Up" by Harry Nilsson [Nilsson Schmilsson], "Space Oddity" by David Bowie [Space Oddity], "Five Years" by David Bowie [Ziggy], "Fight Test" by The Flaming Lips [Yoshimi], and "Go-Go Gadget Gospel" by Gnarls Barkley [St. Elsewhere]. Phew.
Dan's top 5:
I'm a bit unsatisfied with my list, since I feel like (a) I'm cleaning up after two pretty good lists by simply listing obvious omissions, and (b) there's not too much that's fresh or original about my list. I'm sure that I'll probably regret it once I stumble on something I missed on Wikipedia within the next few hours. I also maintain Tim's criterion of a decent-to-good album is also necessary for inclusion. That being said...
"Baba O'Riley" by The Who from the album Who's Next - I remember making a mix CD of the best tracks ever. The scheme was, I would pick the best track 1, the best track 2, et cetera until I ran out of room on the CD. So naturally, track one of that CD is my number one here. I remember looking through a lot of potential candidates before firmly deciding on this one the second I saw it. The "synthesizer" intro (actually just created using the arpeggio effects on a Lowrey home organ) is one of the best introductions to a song I've ever heard, and it blossoms into all-out rocking shortly thereafter.
"Wouldn't It Be Nice" by The Beach Boys from the album Pet Sounds - Barry would give me so much shit for this one, since it's such an obvious choice. I had to include it though, since none of you other jerks decided to give props to one of the best pop albums ever. Probably the album's most recognizable song, as well, and the epitome of chamber pop.
"Space Oddity" by David Bowie from the album Space Oddity - One of Bowie's masterpieces, I think it's a shame that it hasn't been mentioned yet. Even though it sounds dated, especially when compared to everything else Bowie has done, it's still a masterful bit of songwriting and performance. Loses just a few points because the song tends to overshadow most of the rest of the album (at least in my eyes. Yes, I do realize how much "Memory of a Free Festival" kicks ass.)
"Jenny Was a Friend of Mine" by the Killers from the album Hot Fuss - My new classic status is bumped up to #4 instead of the usual #5, simply because Hot Fuss was such a great album. This first kickass track was a sign that this band was fresh and new, sort of the same way Jacqueline was a great start to Franz Ferdinand's eponymous debut. Of course, if I had chosen that one, it would have been way too obvious that I was sucking up to Tim. This way, it's a bit more subtle.
"Tom Sawyer" by Rush from the album Moving Pictures - I doubt anyone else from the Top 5 likes progressive rock at all, much less Rush. I figured I'd give credit to this album, and this song in particular, which is probably Rush's biggest hit. It was a major step forward in the 80's synthesizer era, as it was released in 1981. This album, along with Van Halen's 1984 album, would prove that synthesizers could be used in rock music and still kick ass.
Honorable Mention - "Bridge Over Troubled Water" by Simon and Garfunkel from the album Bridge Over Troubled Water, also most of Ryan's honorable mentions.
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