Song of the Day 04/30/2026
"Smells Like a Freakshow" - Avatar
Welcome ladies and gents, to the rock 'n' roll circus! Few bands fit that saying better than Avatar. These dudes brought the carnival into heavy metal music. There are bands out there that would make you think that isn't the best idea. All shock, no appeal, but for Avatar, they meld the two wonderfully. Unlike many groups that have a theme, they don't overdo it. Now, I love bands like Alestorm, but how many songs can you have about piracy?! Well, a lot it would seem. Though Avatar has the imagery, style, and some songs that touch on the circus theme, they never abuse it into the ground. An aesthetic choice that lets you know what to expect out of their live shows, to warn you there might be some silly themes occasionally, and yeah, that these dudes are freaks. Before we get further into that, let's take a look at what April has brought to us on AintNoisePollution. This month has had more modern tracks than some of the others, not by a large margin, but it was certainly there. We had 17 rock tracks, 7 metal songs, 3 country ones, 2 punk tracks, and one hip-hop one to shake it up. There was only one 10 / 10 killer song this month with David Bowie, but plenty of stellar tracks; ratings don't really matter in the end. A strong month overall; hope you found something juicy for your earholes! Anyway, the last time we discussed Avatar was following a concert I went to with my girlfriend. A great show, one of the greatest I have been to, and being a budding fan at the time, it finally allowed a bulb to burst in my head. I already appreciated the band and liked a couple of tracks before going to the show, but seeing them live was what really set off this urge to get even further into the band. Since then, I have expanded my horizons of Avatar's addictive heavy metal circus style. I have only made it through three studio albums and a handful of tracks from various others. I recently checked out their debut album, Thoughts of No Tomorrow, which wasn't quite what I expected. It was good, not nearly as much as the other stuff I have burned through, but still good. I love checking out bands early material to see how they started up. For Avatar, it is a ton more metal-forward. It makes sense that they later turned into a large force for the more mainstream side of melodic death metal. The second album I listened to all the way through is the one that holds our song of the day, Black Waltz. Why this one? Well, it was the album that held the first two songs that I really got into from the band,"Let It Burn" & "Smells Like a Freakshow". I tend to have some set rules when it comes to properly understanding a band, but for Avatar I just decided to skip the struggle point and jump into where the band found themselves. I am only 3 albums deep with the band, and each has been great so far! I especially loved their most recent album, Don't Go in the Forest, and am so excited to get further into the group. There is a good chance I will leave the rest for my studies, especially since I am currently writing out, planning, and creating my massive list of albums for 2007, one of which is the next album I need from Avatar, Schlacht. Anyway, I am expecting to see more Avatar here as I move along. Something my girlfriend will be pleased about since she likes the band and tried pretty hard to get me further into them for a spell. I already knew of the group but didn't have much intention to get further into them. Well, through time and sampling, they are a band that I now thoroughly enjoy and serve as the perfect final dish for the month of April.
Sometimes it is nice to come visit the first song that turned you on to a band, and for me and Avatar, it was in the form of their first US hit and one of their most popular songs, "Smells Like a Freakshow". If someone were to ask for one song to get them into the group, there is a high chance the first song to come to mind would be "Smells Like a Freakshow". It is the kind of track that is perfect for both the metalheads that like Avatar's death metal backing but still can find a hearty home with the rockers with that hard rock jive. The track is immensely catchy and has a spectacular composition that keeps the heart racing the whole way through. Shouting vocals that are pleasant to the ear and are still easily understandable, which I appreciate Avatar for since death metal can often be difficult as hell to hear the words. "Smells Like a Freakshow" is a classic from the band, and they are sure to play this puppy at most of their performances. They did at the one last show they came through town, teasing at the song's title before kicking the song off, which got the crowd going pretty hard. The chorus is moody and eerie, the instrumentation is fun as hell which gives the track a circus feeling and gets those heads banging, and the random intense send-offs really make it one hell of a song. Lyrically it is a decent one, with enough strong lines to leave an imprint. The song comes, messes you up, and then leaves with a quiet outro. It is easy to see why this is one of their most popular tracks and also the first single of theirs to chart. My first two songs from Avatar were "Smells Like a Freakshow" and "Let It Burn" both of which come from their 4th studio album, Black Waltz. Truth be told, the songs are pretty damn similar, but in all the best kinds of ways. The whole album was intense from start to finish. One of those that are challenging to just listen to once. The album only charted in their home country of Sweden, where they hit the 25th spot on the charts. "Smells Like a Freakshow" is the track that got their foot in the door of other shores. Their fifth studio album, Hail the Apocalypse, was the first to chart in the US but didn't chart in Sweden. There was a shift in sound in Black Waltz, a sound that had Avatar running their own circus instead of chasing after the dream of acclaim. Sometimes that is all it takes, just being yourself and seeing if people dig it. Dig it, people did. Black Waltz is also the first to have frontman Johannes Eckerstrom donning the "clown" paint that helped Avatar get noticed. It has been part of Avatar ever since. It is a pretty cool look; sometimes the face paint route can backfire, but more often than not people love the strangeness of it, especially if your style is driving and unique to boot. It is funny to look into Avatar's conquest on the charts. They are stuck in their home country, move over to one with minor success, and then the next is a big success, and then they lose grip in that country's charts and move into the next country. It took them a couple of years to find that success, to gather such a strong fan base, but they certainly got there. Man, they deserve every piece of fame that came from their style. You will be agreeing as soon as you finish up your playthrough of "Smells Like a Freakshow". If this is your first time, I bet you are in for a damn good time! If you have already listened to the song so many times you know each word by heart, what is one more play? Might as well, right? So, load it up already! Enjoy!
Year Released: 2012
Album: Black Waltz (2012)
Genre: Hard Rock, Alternative Metal
Mood: Wild
Perfect For: Playing loud, Working out, Driving fast
Where To Next: "The Dying Song (Time to Sing)" - Slipknot
Rating: 8 / 10
Song of the Day 04/29/2026
"It's a Jungle Out There" - Bonnie Tyler
Now, some might foolishly put Bonnie Tyler in with the 1980s artists that had a small bundle of hits and call it that. Though, in truth, Bonnie Tyler had a pretty successful career outside of her legendary "Total Eclipse of the Heart" & "Holding Out for a Hero". I am sure many of you out there already knew this, but I too often see mention that Bonnie Tyler just had a couple of hits. Granted, those hits she had were stunningly successful and are still as loved today as they were upon release. So I can see how people got the wrong idea. For a second there, I was one of those people. I dropped that idea like it was on fire once I sat down to listen to more than her hits. Bonnie Tyler has some serious pipes with an iconic rasp to them. Do you know how her signature vocal style came about? It was more a troubled story that turned into a triumph story. In 1977, after her debut album release, she underwent vocal cord surgery. That must be one of the biggest fears of a singer, so I am sure it was a dark period in her life, but they removed the nodules, and all she had to do was heal up. During the healing period, she didn't listen to the doc all too well and shouted out in frustration, damaging them for good. Now, for many out there, that is the end of the road, but that damage gave Bonnie Tyler a special rasp to her voice. A rasp that helped set her apart from other rock & pop female vocalists of the time. Raspy vocals tend to get you noticed, both with people putting them down and for those that love the sound. I am one that loves the sound, and unlike a lot of other raspy female vocalists in the rock category, Bonnie Tyler never really went for the lusty route (don't look up the music video for "Faster Than the Speed of Night", thanks). She went with an epic feeling, something of a battle maiden, hardened yet so damn smooth. Anyway, sometimes things seem to happen for a reason, but on the other side of the coin, it is what you do with those things given, and Bonnie Tyler used her new voice to its ultimate potential. That debut is an oddity from her discography, both in its almost Dolly Parton nature and to hear her voice before it got altered. Bonnie Tyler started singing at a young age. Like many in the music world, she first found her talent while singing at church. She didn't come from the wealthiest of backgrounds, but not one that you would hear about in one of those true crime podcasts. Throughout her childhood she heard many varying forms of music due to being one of six kids, all of whom had different tastes. Her parents were simple folk, and for a second there, it seemed like Tyler was bound to follow the same path. She dropped out of high school at 16 and got a job at a grocery store. She never gave up on some of her dreams and even entered a talent show. She didn't win, but it lit a fire under her butt that never went out. After that show she had an idea of who she wanted to be and got to work signing up with a group. She didn't stick around long with her first group and decided to start up her own band called Imagination. It took a couple of years, but a passion turned into a career when she was spotted in 1975 while with her band. Within a couple of months, she put out a demo tape and got a call back from RCA Records, one of the crown jewels of the recording world. They recommended she change her name, and after compiling a list of first and last names, she ended up with Bonnie Tyler, a name that went down in the history books of music. Her first single didn't gather too much attention, so RCA threw some money into the marketing side of the business, and her next single, "Lost in France", made it to the 9th spot on the UK charts. She was on her way.
Her debut album came out in 1977, a pretty album with a ton of soul. It only charted in Sweden, but it charted well there. Her potential shone in her singles, so it was clear that the debut was just a little bit of a hiccup. Following that debut, she underwent that vocal cord surgery, and to follow suit with her new raspy voice, her second studio album is a little more rockin'. For those that just want to hear the difference, I suggest playing "Lost in France" back-to-back with "Living for the City". Her second studio album, Natural Forces, did indeed do better than her debut. As a fan, the difference is heavily felt. It is a much more put-together album, no confusion on direction, just a straight country rock attack that goes down very fine. Kind of like midshelf liquor, nothing that makes you ponder the world and money, but something worth the investment to enjoy the simple things. On that second album, Bonnie Tyler had her first big-time hit, a classic from her discography called "It's a Heartache". It wasn't common for a non-American to have such success with country music, but Bonnie Tyler did it better than some of the other popular versions put out within the same year. A great intro track to understand Bonnie Tyler before she found her comeback 1980s sound that made her a heroine of the 1980s. "It's a Heartache" was her first and last big-time hit in the 1970s, though there were still hits here and there that found success in varying countries. Diamond Cut released in 1979, and after such a big time hit and modestly successful studio album, she didn't keep the energy up for her third. Still a worthwhile album, but nothing to write home about. The same is to be said about her fourth album, Goodbye to the Island. That one went on to be one of her weakest selling albums from her prime years but is still worth the time. Two albums in a row that didn't do all too well had RCA second-thinking their spot with Bonnie Tyler, not due to the lack of talent, but due to the lack of the almighty dollar. Things were looking dicey, and RCA sadly lost a star that was about to shoot across the night sky. She jumped ship for Columbia Records and altered her style to a more frontal rock sound. No need to be little Miss Innocent anymore; it was time to show the world what she was about. Her fifth studio album, Faster Than the Speed of Night, released in 1983 and dominated that year! Easily her most essential studio album and her biggest claim to fame to solidifying her role in the 1980s rock world. She had all the right talent in her corner for this album, like Jim Steinman, who brought theater into rock music alongside Meat Loaf, Rick Derringer on guitar, and members from Bruce Springsteen's E Street Band. Faster Than the Speed of Night charted damn well, and a lot of that is due to the leading single off the album, "Total Eclipse of the Heart". Yeah, you know that tune, who doesn't? It hardly gets more legendary than that song. Shit will give you chills on your toenails with its epic power! Over half of the album is made up of covers that hardly resemble the originals, and the other few are tracks written for Bonnie Tyler. The whole album has a special sound, something all-consuming, and that is because they utilized the Wall of Sound recording style that Phil Spector famously created with plenty of bands, gaining the status as one of the most important people in the recording industry's history. It sucks that he went all coo coo at the end of his life and even maybe killed someone. Anyway, that style of recording was relentlessly used on Faster Than the Speed of Night, which gives the album this epic feeling. Bonnie Tyler is the main reason this piece of 1980s music history is so damn epic, but you can't forget about the magic of the boards. Anyway, there are a ton of great tracks on this album, and one of the best is track #5, "It's a Jungle Out There". An almost reggae track that is a ton of fun, one meant to get you dancing. "It's a Jungle Out There" is one of 6 singles that came off this album, being the one sent to Japan, a fitting place for a song about that city life. The concrete jungle, a place full of apes that are set on hostility, clever snakes that slither by and whisper sweet nothings, and a ton of monkeys along for the whole shebang. "It's a Jungle Out There" achieves fantastic results at melding that city feeling with something tropical and fun, giving it a leg up over some of the tracks for its wide reach. The track stays steady, free, and fun. The outro is strange, but for a good timing pop rock album from its respective decade, it doesn't stick out too hard. Three Dog Night also took a stab at this track in 1983 on the EP It's a Jungle. They don't even come close to the Bonnie Tyler version, but being a fan of the band, I still dig that version too. Faster Than the Speed of Night was more than an album that spawned one of the most successful singles in history with "Total Eclipse of the Heart", it is a treasure trove of primo vocal work and an atmosphere so thick you can butter your toast with it. If you never stepped away from the Bonnie Tyler hits, I have a good one for you here today. Check back in tomorrow and see what we will have in store! Thanks for stopping by! Enjoy!
Year Released: 1983
Album: Faster Than the Speed of Night (1983)
Genre: Pop Rock
Mood: Urban
Perfect For: Walking around the city at night, Casual listening, Commuting
Where To Next: "Crazy in the Night (Barking at Airplanes)" - Kim Carnes
Rating: 8 / 10
Now, some might foolishly put Bonnie Tyler in with the 1980s artists that had a small bundle of hits and call it that. Though, in truth, Bonnie Tyler had a pretty successful career outside of her legendary "Total Eclipse of the Heart" & "Holding Out for a Hero". I am sure many of you out there already knew this, but I too often see mention that Bonnie Tyler just had a couple of hits. Granted, those hits she had were stunningly successful and are still as loved today as they were upon release. So I can see how people got the wrong idea. For a second there, I was one of those people. I dropped that idea like it was on fire once I sat down to listen to more than her hits. Bonnie Tyler has some serious pipes with an iconic rasp to them. Do you know how her signature vocal style came about? It was more a troubled story that turned into a triumph story. In 1977, after her debut album release, she underwent vocal cord surgery. That must be one of the biggest fears of a singer, so I am sure it was a dark period in her life, but they removed the nodules, and all she had to do was heal up. During the healing period, she didn't listen to the doc all too well and shouted out in frustration, damaging them for good. Now, for many out there, that is the end of the road, but that damage gave Bonnie Tyler a special rasp to her voice. A rasp that helped set her apart from other rock & pop female vocalists of the time. Raspy vocals tend to get you noticed, both with people putting them down and for those that love the sound. I am one that loves the sound, and unlike a lot of other raspy female vocalists in the rock category, Bonnie Tyler never really went for the lusty route (don't look up the music video for "Faster Than the Speed of Night", thanks). She went with an epic feeling, something of a battle maiden, hardened yet so damn smooth. Anyway, sometimes things seem to happen for a reason, but on the other side of the coin, it is what you do with those things given, and Bonnie Tyler used her new voice to its ultimate potential. That debut is an oddity from her discography, both in its almost Dolly Parton nature and to hear her voice before it got altered. Bonnie Tyler started singing at a young age. Like many in the music world, she first found her talent while singing at church. She didn't come from the wealthiest of backgrounds, but not one that you would hear about in one of those true crime podcasts. Throughout her childhood she heard many varying forms of music due to being one of six kids, all of whom had different tastes. Her parents were simple folk, and for a second there, it seemed like Tyler was bound to follow the same path. She dropped out of high school at 16 and got a job at a grocery store. She never gave up on some of her dreams and even entered a talent show. She didn't win, but it lit a fire under her butt that never went out. After that show she had an idea of who she wanted to be and got to work signing up with a group. She didn't stick around long with her first group and decided to start up her own band called Imagination. It took a couple of years, but a passion turned into a career when she was spotted in 1975 while with her band. Within a couple of months, she put out a demo tape and got a call back from RCA Records, one of the crown jewels of the recording world. They recommended she change her name, and after compiling a list of first and last names, she ended up with Bonnie Tyler, a name that went down in the history books of music. Her first single didn't gather too much attention, so RCA threw some money into the marketing side of the business, and her next single, "Lost in France", made it to the 9th spot on the UK charts. She was on her way.
Her debut album came out in 1977, a pretty album with a ton of soul. It only charted in Sweden, but it charted well there. Her potential shone in her singles, so it was clear that the debut was just a little bit of a hiccup. Following that debut, she underwent that vocal cord surgery, and to follow suit with her new raspy voice, her second studio album is a little more rockin'. For those that just want to hear the difference, I suggest playing "Lost in France" back-to-back with "Living for the City". Her second studio album, Natural Forces, did indeed do better than her debut. As a fan, the difference is heavily felt. It is a much more put-together album, no confusion on direction, just a straight country rock attack that goes down very fine. Kind of like midshelf liquor, nothing that makes you ponder the world and money, but something worth the investment to enjoy the simple things. On that second album, Bonnie Tyler had her first big-time hit, a classic from her discography called "It's a Heartache". It wasn't common for a non-American to have such success with country music, but Bonnie Tyler did it better than some of the other popular versions put out within the same year. A great intro track to understand Bonnie Tyler before she found her comeback 1980s sound that made her a heroine of the 1980s. "It's a Heartache" was her first and last big-time hit in the 1970s, though there were still hits here and there that found success in varying countries. Diamond Cut released in 1979, and after such a big time hit and modestly successful studio album, she didn't keep the energy up for her third. Still a worthwhile album, but nothing to write home about. The same is to be said about her fourth album, Goodbye to the Island. That one went on to be one of her weakest selling albums from her prime years but is still worth the time. Two albums in a row that didn't do all too well had RCA second-thinking their spot with Bonnie Tyler, not due to the lack of talent, but due to the lack of the almighty dollar. Things were looking dicey, and RCA sadly lost a star that was about to shoot across the night sky. She jumped ship for Columbia Records and altered her style to a more frontal rock sound. No need to be little Miss Innocent anymore; it was time to show the world what she was about. Her fifth studio album, Faster Than the Speed of Night, released in 1983 and dominated that year! Easily her most essential studio album and her biggest claim to fame to solidifying her role in the 1980s rock world. She had all the right talent in her corner for this album, like Jim Steinman, who brought theater into rock music alongside Meat Loaf, Rick Derringer on guitar, and members from Bruce Springsteen's E Street Band. Faster Than the Speed of Night charted damn well, and a lot of that is due to the leading single off the album, "Total Eclipse of the Heart". Yeah, you know that tune, who doesn't? It hardly gets more legendary than that song. Shit will give you chills on your toenails with its epic power! Over half of the album is made up of covers that hardly resemble the originals, and the other few are tracks written for Bonnie Tyler. The whole album has a special sound, something all-consuming, and that is because they utilized the Wall of Sound recording style that Phil Spector famously created with plenty of bands, gaining the status as one of the most important people in the recording industry's history. It sucks that he went all coo coo at the end of his life and even maybe killed someone. Anyway, that style of recording was relentlessly used on Faster Than the Speed of Night, which gives the album this epic feeling. Bonnie Tyler is the main reason this piece of 1980s music history is so damn epic, but you can't forget about the magic of the boards. Anyway, there are a ton of great tracks on this album, and one of the best is track #5, "It's a Jungle Out There". An almost reggae track that is a ton of fun, one meant to get you dancing. "It's a Jungle Out There" is one of 6 singles that came off this album, being the one sent to Japan, a fitting place for a song about that city life. The concrete jungle, a place full of apes that are set on hostility, clever snakes that slither by and whisper sweet nothings, and a ton of monkeys along for the whole shebang. "It's a Jungle Out There" achieves fantastic results at melding that city feeling with something tropical and fun, giving it a leg up over some of the tracks for its wide reach. The track stays steady, free, and fun. The outro is strange, but for a good timing pop rock album from its respective decade, it doesn't stick out too hard. Three Dog Night also took a stab at this track in 1983 on the EP It's a Jungle. They don't even come close to the Bonnie Tyler version, but being a fan of the band, I still dig that version too. Faster Than the Speed of Night was more than an album that spawned one of the most successful singles in history with "Total Eclipse of the Heart", it is a treasure trove of primo vocal work and an atmosphere so thick you can butter your toast with it. If you never stepped away from the Bonnie Tyler hits, I have a good one for you here today. Check back in tomorrow and see what we will have in store! Thanks for stopping by! Enjoy!
Year Released: 1983
Album: Faster Than the Speed of Night (1983)
Genre: Pop Rock
Mood: Urban
Perfect For: Walking around the city at night, Casual listening, Commuting
Where To Next: "Crazy in the Night (Barking at Airplanes)" - Kim Carnes
Rating: 8 / 10
Song of the Day 04/28/2026
"S.O.S. (Sawed Off Shotgun)" - The Glorious Sons
Welcome to another post! A couple of choices ago we talked about the Australian-based rock group Nice Biscuit. With any of the modern rock tracks out of Australia, I praise it to high heavens and state that it will be Oceania that sees rock through this dark period. I guess those words aren't all the way true; there are quality groups across the globe fighting in the name of rock music. When it comes to Canada, there are few that are representing the genre like The Glorious Sons. This will be another one of those posts where I fumble through it since The Glorious Sons are new to me. I hate coming late to the party; I tend to be the type of dude that gets there early and hangs out in the car for a while then helps clean after. When I first discovered "S.O.S. (Sawed Off Shotgun)" I knew it was a little different from what I listen to typically, and thus I showed my girlfriend this elusive track I just found. She was like, "Yeah, everyone knows this song" and I felt like a fool. That is alright; I am used to it at this point. It is strange being someone who comes to modern music late; you'd think I wouldn't since I am literally living through it. The same is to be said about news, memes, online trends, and plenty of other topics since I don't have social media. I always get that "It's okay, Grandpa, we were just talking about some funny things that the kids say these days" look. I do it to myself, and honestly I could care less, but when it comes to music, I am always a touch confused that I miss such great tracks. In the end it makes sense; my studies are my life, and I don't often deviate from the old. Though, within the last couple of years, I have made it a point to build a ladder to get back to the modern day. It is taking a while, but I am getting there. Even my studies are moving into the 2000s now. I get that even that is 20+ years ago, but at least it follows the modern compass a little more than my usual music intake. Rock is great no matter the decade; it is the genre for good times and reckless abandon, something that never goes out of style but changes uniform. The Glorious Sons is a group that seems to somehow meld the new with the old. I have only listened to their hits and only have abused their most popular song, "S.O.S. (Sawed Off Shotgun)". Though, they aren't even close to a one-hit wonder, they have had a successful go since their debut in 2014. They have a sound completely drowning in that 2010 feeling. Strange to hear the decade differences as I age around them, something that everyone experienced before me. The progression of society and the arts are always hand in hand. Is it just me, or does it seem to take a 5-year window to really hear the difference in decade styles? 5 years between music styles always feels like two different planets. Anyway, The Glorious Sons had relative success with their debut, The Union. It was nominated for the Juno Awards in the rock category. The album is remembered for some of their most streamed tracks, like "Heavy" and "Mama". They one-upped their debut with their second studio album, Young Beauties and Fools.
Like I have said before, I really gotta catch up on some of the decade-defining rock albums that I have been missing out on. The Glorious Sons hit the peak of their career so far with their second album, Young Beauties and Fools. The band released this sucker in 2017 and decided to just put out something fun and youthful, rough around the edges and honest. I have only listened to maybe half of the album, but I can feel that, especially on our song of the day. This album holds two of their most successful songs, both in streams and sales. Both "Everything Is Alright" & "S.O.S. (Sawed Off Shotgun)" hit the top spot on the charts and achieved platinum status in Canada. The latter of which also hit the top of the mainstream rock charts in the United States. This time The Glorious Sons took home that Juno Award, becoming a hotshot in the Canadian rock world. All the way up until their most recent album, Glory, out of 2023 they charted successfully on the Canadian charts but never really got back into the US charts aside from our song of the day, "Panic Attack", and "Closer to the Sky". Success doesn't come from record sales, stream counts, and sold-out venues; it comes from finding a home within the hearts of the fans, and the Glorious Sons did just that. Their second album was written for the youth of the world, something expressed in the bittersweet album cover. It seems like we all have a picture like that at home, right? Maybe it is a generational thing. Anyway, while I haven't listened through the whole album yet, I haven't found a track that moved me nearly as much as "S.O.S. (Sawed Off Shotgun)". Yeah, the track is criminally youthful and angsty, but.... That chorus, man! That... Fuckin'.... Chorus! So damn catchy! A good-time kind of song that is energetic as sin and well written. Lyrics that revolve around real life and the struggles that make up the human existence. Struggles, struggles, struggles, and yes, medication. In a strange way this song always reminds me of Everclear. That honest feeling of a common man who is down on his luck, but in the city slicker kind of way. Personal lyrics that are far yet relatable. Anyone who led or was raised in a rougher environment can understand the chorus, but the verses are kept for everyone out there. Some angsty lines on this one, like "I'm tired of being okay against my will", but I am all about it. I cursed myself with this track, much like I did with the Killers and KoRn. Do you ever fixate on the vocalist catching his breath? The little gasps in between lines? I hate when I fixate on it since I can rarely ever go without hearing it on the song for the rest of time. "Mr. Brightside" always has me forgetting how to breathe. Probably shouldn't have told ya, huh? Well, we are here now. Though, for this track, it complements the raw energy of the track. Vocalist Brett Emmons isn't pulling any punches at creating the image of a mentally unwell young adult that fell on hard times. "S.O.S. (Sawed Off Shotgun)" is one of those tracks that have many layers. For the casual listen, you got yourself a track that weaponizes the chorus. For those that like a deeper listen, there are plenty of pieces of the track to keep you thrilled for a ton of listens. Mean grooving bass lines that play with the mellow drumming. Moving group vocals, random brass instrument (?) sounds that keep the track feeling like it came out of the 2010s. Then the song abruptly ends, leaving you wanting more. Maybe for my new music Friday I will zone more into the band, since this one track has got me absolutely hooked. I have tried gathering some more of their tracks a couple of times since I first discovered them about a year ago, but have still yet to sit down for a full album. Well, maybe the band will grab you as well! Here you go! Enjoy!
Year Released: 2017
Album: Young Beauties and Fools (2017)
Genre: Alternative Rock
Mood: Youthful
Perfect For: Hitting the town for a drink or four, Working, Summer days, Casual listening
Where To Next: "Retribution Blues" - One Bad Son
Rating: 9 / 10
Welcome to another post! A couple of choices ago we talked about the Australian-based rock group Nice Biscuit. With any of the modern rock tracks out of Australia, I praise it to high heavens and state that it will be Oceania that sees rock through this dark period. I guess those words aren't all the way true; there are quality groups across the globe fighting in the name of rock music. When it comes to Canada, there are few that are representing the genre like The Glorious Sons. This will be another one of those posts where I fumble through it since The Glorious Sons are new to me. I hate coming late to the party; I tend to be the type of dude that gets there early and hangs out in the car for a while then helps clean after. When I first discovered "S.O.S. (Sawed Off Shotgun)" I knew it was a little different from what I listen to typically, and thus I showed my girlfriend this elusive track I just found. She was like, "Yeah, everyone knows this song" and I felt like a fool. That is alright; I am used to it at this point. It is strange being someone who comes to modern music late; you'd think I wouldn't since I am literally living through it. The same is to be said about news, memes, online trends, and plenty of other topics since I don't have social media. I always get that "It's okay, Grandpa, we were just talking about some funny things that the kids say these days" look. I do it to myself, and honestly I could care less, but when it comes to music, I am always a touch confused that I miss such great tracks. In the end it makes sense; my studies are my life, and I don't often deviate from the old. Though, within the last couple of years, I have made it a point to build a ladder to get back to the modern day. It is taking a while, but I am getting there. Even my studies are moving into the 2000s now. I get that even that is 20+ years ago, but at least it follows the modern compass a little more than my usual music intake. Rock is great no matter the decade; it is the genre for good times and reckless abandon, something that never goes out of style but changes uniform. The Glorious Sons is a group that seems to somehow meld the new with the old. I have only listened to their hits and only have abused their most popular song, "S.O.S. (Sawed Off Shotgun)". Though, they aren't even close to a one-hit wonder, they have had a successful go since their debut in 2014. They have a sound completely drowning in that 2010 feeling. Strange to hear the decade differences as I age around them, something that everyone experienced before me. The progression of society and the arts are always hand in hand. Is it just me, or does it seem to take a 5-year window to really hear the difference in decade styles? 5 years between music styles always feels like two different planets. Anyway, The Glorious Sons had relative success with their debut, The Union. It was nominated for the Juno Awards in the rock category. The album is remembered for some of their most streamed tracks, like "Heavy" and "Mama". They one-upped their debut with their second studio album, Young Beauties and Fools.
Like I have said before, I really gotta catch up on some of the decade-defining rock albums that I have been missing out on. The Glorious Sons hit the peak of their career so far with their second album, Young Beauties and Fools. The band released this sucker in 2017 and decided to just put out something fun and youthful, rough around the edges and honest. I have only listened to maybe half of the album, but I can feel that, especially on our song of the day. This album holds two of their most successful songs, both in streams and sales. Both "Everything Is Alright" & "S.O.S. (Sawed Off Shotgun)" hit the top spot on the charts and achieved platinum status in Canada. The latter of which also hit the top of the mainstream rock charts in the United States. This time The Glorious Sons took home that Juno Award, becoming a hotshot in the Canadian rock world. All the way up until their most recent album, Glory, out of 2023 they charted successfully on the Canadian charts but never really got back into the US charts aside from our song of the day, "Panic Attack", and "Closer to the Sky". Success doesn't come from record sales, stream counts, and sold-out venues; it comes from finding a home within the hearts of the fans, and the Glorious Sons did just that. Their second album was written for the youth of the world, something expressed in the bittersweet album cover. It seems like we all have a picture like that at home, right? Maybe it is a generational thing. Anyway, while I haven't listened through the whole album yet, I haven't found a track that moved me nearly as much as "S.O.S. (Sawed Off Shotgun)". Yeah, the track is criminally youthful and angsty, but.... That chorus, man! That... Fuckin'.... Chorus! So damn catchy! A good-time kind of song that is energetic as sin and well written. Lyrics that revolve around real life and the struggles that make up the human existence. Struggles, struggles, struggles, and yes, medication. In a strange way this song always reminds me of Everclear. That honest feeling of a common man who is down on his luck, but in the city slicker kind of way. Personal lyrics that are far yet relatable. Anyone who led or was raised in a rougher environment can understand the chorus, but the verses are kept for everyone out there. Some angsty lines on this one, like "I'm tired of being okay against my will", but I am all about it. I cursed myself with this track, much like I did with the Killers and KoRn. Do you ever fixate on the vocalist catching his breath? The little gasps in between lines? I hate when I fixate on it since I can rarely ever go without hearing it on the song for the rest of time. "Mr. Brightside" always has me forgetting how to breathe. Probably shouldn't have told ya, huh? Well, we are here now. Though, for this track, it complements the raw energy of the track. Vocalist Brett Emmons isn't pulling any punches at creating the image of a mentally unwell young adult that fell on hard times. "S.O.S. (Sawed Off Shotgun)" is one of those tracks that have many layers. For the casual listen, you got yourself a track that weaponizes the chorus. For those that like a deeper listen, there are plenty of pieces of the track to keep you thrilled for a ton of listens. Mean grooving bass lines that play with the mellow drumming. Moving group vocals, random brass instrument (?) sounds that keep the track feeling like it came out of the 2010s. Then the song abruptly ends, leaving you wanting more. Maybe for my new music Friday I will zone more into the band, since this one track has got me absolutely hooked. I have tried gathering some more of their tracks a couple of times since I first discovered them about a year ago, but have still yet to sit down for a full album. Well, maybe the band will grab you as well! Here you go! Enjoy!
Year Released: 2017
Album: Young Beauties and Fools (2017)
Genre: Alternative Rock
Mood: Youthful
Perfect For: Hitting the town for a drink or four, Working, Summer days, Casual listening
Where To Next: "Retribution Blues" - One Bad Son
Rating: 9 / 10
Song of the Day 04/27/2026
"It Ain't Me Babe" - Johnny Cash & June Carter
Man, it has been a damn long time since we talked about Johnny Cash! The last time he was picked was back in 2024 when we talked about "One Piece at a Time". That feels like a lifetime ago. Two years feels like a lifetime ago. A different job, different city, different schedule, and a different Caleb. One thing remains, which is Johnny Cash. Since my first time hearing Johnny Cash, I have been completely hooked. He has gone on to be a musician who defines my life. Cash is the type of country musician that makes someone second-guess all they thought about country music. A man who is rooted within one genre but has a reach that goes well beyond that of country music. He is easily one of the most important musicians to come out of the 20th century, and the impact he left on a plethora of genres was well felt. That is only proven by his status of sales, being one of the highest-selling artists of all time. Coming in somewhere between 32 and 80 million units sold. That isn't some chump change, especially within country music of old. While he might not be the highest-selling country artist of all time, his person and legacy will be felt much longer than any of the others. Johnny Cash IS America. The true America, not the one that is all about patriotism and money. The America where we live in, a land that was stolen and never paid for. The same place that we all slave away just to make it through another month. Sure, Johnny Cash has his American anthems, and he is a very proud American. Though, like any true American patriot, he always wanted to see the change that would bring about a better place for those around him. A true man of the people that wasn't scared to stand up for what he believed in, no matter how it reflected on him. He has had so many moments of unity between races, lyrics that stick up for the little man, and actions that showed that he was a man so full of love. Do you know how he got his nickname "the Man in Black"? That killer nickname came from how he dressed and presented himself. Black shirt, black pants, black boots, black hair, and dark sunken wise eyes. He had the nickname for a good while before he released his hit "Man in Black" where he shows that there is more than just a style choice there. He wears all black in his own form of protest. It is a color fitting to him for the state of the world. The black signifies the poor folk of America that are beaten down by the greedy rich. For those that cannot fight back against a society that left them behind. Those that have nobody waiting for them at home, the boys who are shipped off to war to die for the wealthy, the prisoner who got swept under the rug, and all the others who need someone to fight for them. The track ends on the note that Cash will be that man, and until things get brighter in the world, he will forever be the man in black. Don't go thinking he just said those words and never did anything about it. He was very public in his stances of peace. He did it with cool grace, friendly words, and southern grace.
In 1970 Cash was invited to play in the White House for the first time for Richard Nixon. Nixon wanted Cash to play a cover of Merle Haggard's "Okie from Muskogee" and "Welfare Cadillac", both of which chastised the counterculture movement of the late 1960s and talked down on the poor, black, and anyone else that didn't fit his political agenda. For all extensive purposes, the Merle Haggard track is a satirical one that people hardly looked into to realize it wasn't one written for the hicks, much like Bruce Springsteen's "Born in the U.S.A." and Neil Young's "Keep On Rockin' in the Free World". Anyway, Johnny Cash being Johnny Cash, he didn't play those songs. Instead, he played "The Ballad of Ira Hayes" which is one of his best, a track that tells the true story of Ira Hayes, a Native American that fought during World War Two and was one of the brave soldiers that won us Iwo Jima Hill, a turning point in the Pacific War campaign. Ira Hayes was then discarded by the United States and was also shunned by his tribe, though he was a war hero. He turned to the bottle, which led to his early grave. A sad tale, and one that I urge you to play. If that wasn't enough, Johnny Cash also played "What Is Truth", one of his greatest protest songs and one of my favorites from Johnny Cash. A track that questions why people need to die in needless wars and questions why society is putting down the youth of America with their close-minded views. "What Is Truth" is a plea to society to help along the young to prosper since they are the future of the country. Seeing as how things are now, I think it fell on deaf ears, but that never once stopped Johnny Cash. For his last song, he played "Man in Black" which only solidified the messages that he brought straight to the president of the United States of America. If there was someone who needed a stern talking to, Johnny Cash was there to give it to them, be it an unruly child at a grocery store or the leader of the free world. Johnny Cash was one hell of a dude and one of the most thrilling musicians to read about. He has a massive career that spanned from 1954 to 2003, and there are posthumous releases still being released. He has many ups and downs in his career, and unlike many that were in the country music world for as long as Cash was, he had a ton of fame with his later career, which spawned some of his biggest hit songs, like the heartbreaking cover of Nine Inch Nail's "Hurt". Even thinking about that song makes me want to cry in the shower. Johnny Cash passed away in 2003 at the age of 71, just four months after losing his wife, June Carter. His last album was American IV: The Man Comes Around, which was his 76th studio album and is considered by many to be one of his greatest albums. The current count of Johnny Cash albums comes in at 130 albums, which is fuckin' insane. Johnny Cash hardly settled down, not during his fight with dope nor during his fight with faith. He released a new studio album almost yearly, and for the years he missed, he had plenty of years when he released two or three in the same year, and that is in studio albums alone. You might think that would mean he has plenty of lesser albums, but that is simply not the case. I painstakingly have listened to each one of those albums; some of them are my light at the end of the tunnel, and I have listened to them religiously for years now. When you are someone like Johnny Cash, you learn to adapt to the modern climate of music and society, something he expects out of everyone out there as well. Plus, in country music style, Johnny Cash covered a wide variety of artists and collaborated with everyone from country stars that inspired him as a child to those that he inspired from multiple generations. He is a name that will never fade, and he will forever be tied to American music.
Sorry, we haven't had a proper goliath of a post in a while, but when it comes to Johnny Cash, I let my fangirl squeals be heard! Our song of the day is Johnny Cash's cover of "It Ain't Me Babe". This is one of my favorite tracks to hear covered; I have at least 10 versions I adore! I will admit, the Johnny Cash one is a tad bit weaker than some of the others, but with it being Johnny Cash, I still adore it to pieces. The track was written by Bob Dylan, another American music icon, and the first recorded version came from Dylan as well. There have been a ton of covers of the track, which is a given since it is Bob Dylan, and there were bands out of the 1960s that made a whole career out of covering Bob Dylan. I am looking at you, The Byrds. The Turtles found massive critical acclaim from their 1965 version, and in my opinion, that is the best version. Some of my other favorites include Jan & Dean, Bobby Bare, Flatt & Scruggs, Joan Baez, David Jones, Bryan Ferry, and Peter, Paul & Mary. Johnny Cash released his version in 1965 on his 21st studio album, Orange Blossom Special. Johnny Cash and Bob Dylan had a friendship based around their admiration for each other's music. What started out as being pen pals turned into covering each other's songs and helping with lyrics. The two shared the stage during an episode of Johnny Cash's short-lived TV series, The Johnny Cash Show, in which they performed Bob Dylan's "Girl from the North Country". A heart-stopping performance that is beat by few from the country or folk genre, and one recording I never tire of. True respect, true friendship, and true musicianship. Bob Dylan used that version of the song for his classic 1969 album Nashville Skyline. Anyway, Johnny Cash covered a good couple of Bob Dylan tracks during his career, but how could you not? Johnny Cash gave his warm voice to Bob Dylan's cryptically beautiful lyrics on songs like "One Too Many Mornings", "Song to Woody", and "Forever Young". "It Ain't Me Babe" is one of three Bob Dylan songs Johnny Cash covered on Orange Blossom Special. Many flock to the album for "It Ain't Me Babe", but the other Dylan songs are "Don't Think Twice, It's Alright" and "Mama, You Been On My Mind". Orange Blossom Special is mostly made up of folk covers, and only two of the tracks on the album were written by Johnny Cash. "You Wild Colorado" is his approach to folk country and is one of the gems off the album, and the other is "All of God's Children Ain't Free" which is another politically activated song and brings us back to the previous section of the website about how Johnny Cash is an advocate for the people. "It Ain't Me Babe" in all its versions brings me back to my dating days. I was pretty rough when it came to selecting the lady I wanted to spend my time with. Some might think that I was being shrewd, but to me, I think I was being wise. No need to play around with hearts or waste time. Through my trials, I ended up with a woman who is great for me. If I ever feel guilty for even a second, I look into the eyes of my precious Alesha and know that I got the one I deserve and have no regrets. Still, "It Ain't Me Babe" was almost an anthem for me at the time. Not every line, mind, but the overall idea. That I am not some superman; I am simply me. I cannot move mountains, but I can write some mighty poetry about it. Bob Dylan hit the nail on the head with this track, one that calmly explains that he ain't the one for his admirer. Just a man, not a Hallmark movie lead or a romance novel muchacho. Dylan historians say this track was written for Bob Dylan's then girlfriend Suze Rotolo, the missus on Bob Dylan's second studio album The Freewheelin' Bob Dylan. She had a massive impact on Bob Dylan's musical growth, and there are a couple of solid tracks from Dylan revolving around her. Bob Dylan's version feels serious, the Turtles put out the emotion, and Johnny Cash's feels a little humorous. All of them are great, but each serves their own purpose. The one who sings it helps portray a different picture. Johnny Cash sang it alongside his wife, which much like some of their other duets, has this playful feeling while they take jabs at each other. Just listen to "Jackson" and tell me that kind of closeness isn't "relationship goals". Anyway, Mocha the dog is about to kick my ass so she can go on a walk, so I will appease her highness and stop the post here. Thanks for reading! If you don't hear from me again, this durned dog locked me in some basement. Be sure to come back tomorrow and see what I have in store for you. For now, have some Johnny Cash! This website was built from some of the inspiration Johnny Cash gave to me throughout my life, after all. Enjoy!
Year Released: 1965
Album: Orange Blossom Special (1965)
Genre: Country, Folk Country
Mood: Honest
Perfect For: Dating, Breaking up, Coffee in the morning, Casual listening
Where To Next: "Girl from the North Country" - Bob Dylan & Johnny Cash
Rating: 7 / 10
Man, it has been a damn long time since we talked about Johnny Cash! The last time he was picked was back in 2024 when we talked about "One Piece at a Time". That feels like a lifetime ago. Two years feels like a lifetime ago. A different job, different city, different schedule, and a different Caleb. One thing remains, which is Johnny Cash. Since my first time hearing Johnny Cash, I have been completely hooked. He has gone on to be a musician who defines my life. Cash is the type of country musician that makes someone second-guess all they thought about country music. A man who is rooted within one genre but has a reach that goes well beyond that of country music. He is easily one of the most important musicians to come out of the 20th century, and the impact he left on a plethora of genres was well felt. That is only proven by his status of sales, being one of the highest-selling artists of all time. Coming in somewhere between 32 and 80 million units sold. That isn't some chump change, especially within country music of old. While he might not be the highest-selling country artist of all time, his person and legacy will be felt much longer than any of the others. Johnny Cash IS America. The true America, not the one that is all about patriotism and money. The America where we live in, a land that was stolen and never paid for. The same place that we all slave away just to make it through another month. Sure, Johnny Cash has his American anthems, and he is a very proud American. Though, like any true American patriot, he always wanted to see the change that would bring about a better place for those around him. A true man of the people that wasn't scared to stand up for what he believed in, no matter how it reflected on him. He has had so many moments of unity between races, lyrics that stick up for the little man, and actions that showed that he was a man so full of love. Do you know how he got his nickname "the Man in Black"? That killer nickname came from how he dressed and presented himself. Black shirt, black pants, black boots, black hair, and dark sunken wise eyes. He had the nickname for a good while before he released his hit "Man in Black" where he shows that there is more than just a style choice there. He wears all black in his own form of protest. It is a color fitting to him for the state of the world. The black signifies the poor folk of America that are beaten down by the greedy rich. For those that cannot fight back against a society that left them behind. Those that have nobody waiting for them at home, the boys who are shipped off to war to die for the wealthy, the prisoner who got swept under the rug, and all the others who need someone to fight for them. The track ends on the note that Cash will be that man, and until things get brighter in the world, he will forever be the man in black. Don't go thinking he just said those words and never did anything about it. He was very public in his stances of peace. He did it with cool grace, friendly words, and southern grace.
In 1970 Cash was invited to play in the White House for the first time for Richard Nixon. Nixon wanted Cash to play a cover of Merle Haggard's "Okie from Muskogee" and "Welfare Cadillac", both of which chastised the counterculture movement of the late 1960s and talked down on the poor, black, and anyone else that didn't fit his political agenda. For all extensive purposes, the Merle Haggard track is a satirical one that people hardly looked into to realize it wasn't one written for the hicks, much like Bruce Springsteen's "Born in the U.S.A." and Neil Young's "Keep On Rockin' in the Free World". Anyway, Johnny Cash being Johnny Cash, he didn't play those songs. Instead, he played "The Ballad of Ira Hayes" which is one of his best, a track that tells the true story of Ira Hayes, a Native American that fought during World War Two and was one of the brave soldiers that won us Iwo Jima Hill, a turning point in the Pacific War campaign. Ira Hayes was then discarded by the United States and was also shunned by his tribe, though he was a war hero. He turned to the bottle, which led to his early grave. A sad tale, and one that I urge you to play. If that wasn't enough, Johnny Cash also played "What Is Truth", one of his greatest protest songs and one of my favorites from Johnny Cash. A track that questions why people need to die in needless wars and questions why society is putting down the youth of America with their close-minded views. "What Is Truth" is a plea to society to help along the young to prosper since they are the future of the country. Seeing as how things are now, I think it fell on deaf ears, but that never once stopped Johnny Cash. For his last song, he played "Man in Black" which only solidified the messages that he brought straight to the president of the United States of America. If there was someone who needed a stern talking to, Johnny Cash was there to give it to them, be it an unruly child at a grocery store or the leader of the free world. Johnny Cash was one hell of a dude and one of the most thrilling musicians to read about. He has a massive career that spanned from 1954 to 2003, and there are posthumous releases still being released. He has many ups and downs in his career, and unlike many that were in the country music world for as long as Cash was, he had a ton of fame with his later career, which spawned some of his biggest hit songs, like the heartbreaking cover of Nine Inch Nail's "Hurt". Even thinking about that song makes me want to cry in the shower. Johnny Cash passed away in 2003 at the age of 71, just four months after losing his wife, June Carter. His last album was American IV: The Man Comes Around, which was his 76th studio album and is considered by many to be one of his greatest albums. The current count of Johnny Cash albums comes in at 130 albums, which is fuckin' insane. Johnny Cash hardly settled down, not during his fight with dope nor during his fight with faith. He released a new studio album almost yearly, and for the years he missed, he had plenty of years when he released two or three in the same year, and that is in studio albums alone. You might think that would mean he has plenty of lesser albums, but that is simply not the case. I painstakingly have listened to each one of those albums; some of them are my light at the end of the tunnel, and I have listened to them religiously for years now. When you are someone like Johnny Cash, you learn to adapt to the modern climate of music and society, something he expects out of everyone out there as well. Plus, in country music style, Johnny Cash covered a wide variety of artists and collaborated with everyone from country stars that inspired him as a child to those that he inspired from multiple generations. He is a name that will never fade, and he will forever be tied to American music.
Sorry, we haven't had a proper goliath of a post in a while, but when it comes to Johnny Cash, I let my fangirl squeals be heard! Our song of the day is Johnny Cash's cover of "It Ain't Me Babe". This is one of my favorite tracks to hear covered; I have at least 10 versions I adore! I will admit, the Johnny Cash one is a tad bit weaker than some of the others, but with it being Johnny Cash, I still adore it to pieces. The track was written by Bob Dylan, another American music icon, and the first recorded version came from Dylan as well. There have been a ton of covers of the track, which is a given since it is Bob Dylan, and there were bands out of the 1960s that made a whole career out of covering Bob Dylan. I am looking at you, The Byrds. The Turtles found massive critical acclaim from their 1965 version, and in my opinion, that is the best version. Some of my other favorites include Jan & Dean, Bobby Bare, Flatt & Scruggs, Joan Baez, David Jones, Bryan Ferry, and Peter, Paul & Mary. Johnny Cash released his version in 1965 on his 21st studio album, Orange Blossom Special. Johnny Cash and Bob Dylan had a friendship based around their admiration for each other's music. What started out as being pen pals turned into covering each other's songs and helping with lyrics. The two shared the stage during an episode of Johnny Cash's short-lived TV series, The Johnny Cash Show, in which they performed Bob Dylan's "Girl from the North Country". A heart-stopping performance that is beat by few from the country or folk genre, and one recording I never tire of. True respect, true friendship, and true musicianship. Bob Dylan used that version of the song for his classic 1969 album Nashville Skyline. Anyway, Johnny Cash covered a good couple of Bob Dylan tracks during his career, but how could you not? Johnny Cash gave his warm voice to Bob Dylan's cryptically beautiful lyrics on songs like "One Too Many Mornings", "Song to Woody", and "Forever Young". "It Ain't Me Babe" is one of three Bob Dylan songs Johnny Cash covered on Orange Blossom Special. Many flock to the album for "It Ain't Me Babe", but the other Dylan songs are "Don't Think Twice, It's Alright" and "Mama, You Been On My Mind". Orange Blossom Special is mostly made up of folk covers, and only two of the tracks on the album were written by Johnny Cash. "You Wild Colorado" is his approach to folk country and is one of the gems off the album, and the other is "All of God's Children Ain't Free" which is another politically activated song and brings us back to the previous section of the website about how Johnny Cash is an advocate for the people. "It Ain't Me Babe" in all its versions brings me back to my dating days. I was pretty rough when it came to selecting the lady I wanted to spend my time with. Some might think that I was being shrewd, but to me, I think I was being wise. No need to play around with hearts or waste time. Through my trials, I ended up with a woman who is great for me. If I ever feel guilty for even a second, I look into the eyes of my precious Alesha and know that I got the one I deserve and have no regrets. Still, "It Ain't Me Babe" was almost an anthem for me at the time. Not every line, mind, but the overall idea. That I am not some superman; I am simply me. I cannot move mountains, but I can write some mighty poetry about it. Bob Dylan hit the nail on the head with this track, one that calmly explains that he ain't the one for his admirer. Just a man, not a Hallmark movie lead or a romance novel muchacho. Dylan historians say this track was written for Bob Dylan's then girlfriend Suze Rotolo, the missus on Bob Dylan's second studio album The Freewheelin' Bob Dylan. She had a massive impact on Bob Dylan's musical growth, and there are a couple of solid tracks from Dylan revolving around her. Bob Dylan's version feels serious, the Turtles put out the emotion, and Johnny Cash's feels a little humorous. All of them are great, but each serves their own purpose. The one who sings it helps portray a different picture. Johnny Cash sang it alongside his wife, which much like some of their other duets, has this playful feeling while they take jabs at each other. Just listen to "Jackson" and tell me that kind of closeness isn't "relationship goals". Anyway, Mocha the dog is about to kick my ass so she can go on a walk, so I will appease her highness and stop the post here. Thanks for reading! If you don't hear from me again, this durned dog locked me in some basement. Be sure to come back tomorrow and see what I have in store for you. For now, have some Johnny Cash! This website was built from some of the inspiration Johnny Cash gave to me throughout my life, after all. Enjoy!
Year Released: 1965
Album: Orange Blossom Special (1965)
Genre: Country, Folk Country
Mood: Honest
Perfect For: Dating, Breaking up, Coffee in the morning, Casual listening
Where To Next: "Girl from the North Country" - Bob Dylan & Johnny Cash
Rating: 7 / 10
Song of the Day 04/26/2026
"Lydia!" - Marty Balin
You know, in my large collection of songs, I don't have many tracks that end with an exclamation mark. Well, today we have with us one of my few. Marty Balin may have never had his solo career fully take off, but the impact he left on music with both Jefferson Airplane and Jefferson Starship was heavily felt. Balin set out to start a solo career before being one of the leading forces in Jefferson Airplane's success. In 1962 he put out two singles through Challenge Records (Gene Autry's label), but both failed to gain too much attention. He established himself as a folk singer, but few folk singers find fame. The 1960s were the prime years for mainstream folk music, and with folk rock gaining traction in the early to mid-1960s, it was clear that one might need a band to get their songs on the radio and in people's record collections. Marty Balin went on to start up a short-lived folk group called The Town Criers, who never gained too much notoriety, great folk quartet band name though. Then comes Balin's next group, Jefferson Airplane, which he mostly started. Jefferson Airplane is one of the many legendary bands to come out of the 1960s San Francisco Sound, shit, Jefferson Airplane is pretty well the flagship of that rock scene. A scene washed in free love, dope, folk rock, psychedelic rock, freedom of expression, and the counterculture that completely shook the US in the 1960s. Jefferson Airplane rode that wave with vigor, and all those things mentioned above ultimately did them in. Balin shared vocal duties with female vocalist Grace Slick and became the voice of a whole generation through their deeply written lyrics and meaningful melodies. Surprisingly, we have only talked about Jefferson Airplane once on the website, but let it be known they are one of the most important bands in my musical history. One of those groups you gotta experience for yourself, and one that you truly cannot afford to just hear their hits and move on down the line. Well, Balin found the ups and downs of fame within Jefferson Airplane. From 1966 to 1972, Jefferson Airplane sold steadily, and albums like Surrealistic Pillow, Crown of Creation, and Volunteers serve as a window into the past and are essential albums, especially Surrealistic Pillow, which is perfect from start to finish. They were one of the big bands on the bill for Woodstock and the Monterey Pop Festival. Still, even with the immense regional fame and being a revolutionary band during a cultural revolution, they started to become yesterday's news and, too, were getting too far into the wicked side of drug usage and soon enough started to fade out. The parties were getting more intense, the shows were past peace and love, with Balin even getting knocked out by a Hells Angels member during the infamous Altamont Free Concert, but that whole show went down in history as being a massive blunder. People died, the Hells Angels ran security and brought with them their brand of violence, and that concert pretty well served as the end of the counterculture movement in rock music. A damn good topic to look into if you've got the time. Maybe the next time the Rolling Stones come along, we will talk more about it. Anyway, Marty Balin saw the end coming a good while before it came to a head and left the band in 1971, cutting all communication to his past bandmates.
You cannot walk away from the rock n roll life if you make it to a certain prestige, and Balin stuck around. He took the role of producer but never got that fully off its feet. He formed a funk rock group in 1972 called Bodacious DF, and they only released one album that flew under the radar. A fun hidden gem of Balin's discography, I suggest giving the song "Drifting" a spin if you are interested in hearing it. Bodacious DF couldn't find a footing but still kept the creative mojo of Balin rolling. In 1974 he was asked to write a song and be a guest singer on the Jefferson Airplane spin-off, Jefferson Starship. He wrote "Caroline" which showed up on Jefferson Starship's debut, Dragon Fly. This marked his first time collaborating with his past friends and bandmates, and he decided to stick around and became an official member in 1975. He was with the band until 1978, after giving the group many of their greatest hits. Like what happened before, Balin felt like he couldn't really talk to the band, and Jefferson Starship was seemingly fading into ruin much like Jefferson Airplane. Grace Slick left Jefferson Starship first, and then Balin was second to go, and like that the band lost their sails. Jefferson Starship still managed to keep in space for 5 more solid years and released some of their best material, even without Slick and Balin. "Jane" is one of my favorite songs from the later years of the 1970s, and that one was led by Mickey Thomas. Anyway, Balin was left without a Jefferson aircraft once again. In 1979 he released a rock opera cast recording called Rock Justice but didn't perform on it. I have still yet to track that sucker down, but I need to since I am a fool for all things Marty Balin. After that, he decided it was time to give his solo career a swing once more and released his debut album in 1981. Balin was released through EMI Records, a label that helped him along with his rock opera project. By 1981 Balin was part of the old guard, an Icarus of rock that flew close to the sun and burned off his wings. He still had that weight, but not enough to get his solo career off the ground. Balin spawned his biggest solo hit, "Hearts", which is an essential listen from 1981. It hit the eighth spot on the charts, a high he never hit again, though his other big singles like "What Love Is" and "Atlanta Lady (Something About Your Love)" still managed to make a dent on the charts. "Atlanta Lady (Something About Your Love)" is a good pop rock track, in that there is no doubt, but for me it is the second side of that single that steals the show. "Lydia!" in my opinion is the best moment on Marty Balin's debut, and if I may be so bold, his whole solo career. This track is sensational! Balin does a pop-washed, blue eyed soul funky vocal style that I wish I could put into words. Prince did it, Mick Jagger played with it, and Beck gave it a couple of goes, but I don't know quite what it is called. Really high, funky singing that always sucks me deep into the song. "Lydia!" for some reason wasn't picked as a leading single, and if it was, maybe Balin might have found better success. Don't get me wrong, the 35th spot on the charts is still a strong one, especially from a musician who had his highest fame in the 1960s. Anyway, "Lydia!" is a song so washed in the 1980s pop sound you can taste Bonkers chewing gum. It is all about that chorus as Balin shouts in the rain to his beloved. The lyrics are a little strange, I won't lie, but the power of love in Balin's voice is enough to look past it. Once again, it is all about that chorus! It gets stuck in my head for hours each time I hear the track again. In pop style, it goes down damn smooth, and is pretty straightforward. It was cowritten by the behind the scenes songwriting icon Rick Nowels, which makes sense since the song is dipped in the starlight pop sound that Nowels still brings to music today with artists like Lana Del Rey and Dua Lipa. Pop ain't always bad, no matter what people are spoon-fed since youth to parrot, and Marty Balin shows that off with "Lydia!". Give the track a spin and see what I am talkin' about. Enjoy!
Year Released: 1981
Album: Balin (1981)
Genre: Pop Rock
Mood: Yearning
Perfect For: Dating, City lights at night, Casual listening, Getting ready for a date
Where To Next: "Miss Sun" - Boz Scaggs
Rating: 8 / 10
You know, in my large collection of songs, I don't have many tracks that end with an exclamation mark. Well, today we have with us one of my few. Marty Balin may have never had his solo career fully take off, but the impact he left on music with both Jefferson Airplane and Jefferson Starship was heavily felt. Balin set out to start a solo career before being one of the leading forces in Jefferson Airplane's success. In 1962 he put out two singles through Challenge Records (Gene Autry's label), but both failed to gain too much attention. He established himself as a folk singer, but few folk singers find fame. The 1960s were the prime years for mainstream folk music, and with folk rock gaining traction in the early to mid-1960s, it was clear that one might need a band to get their songs on the radio and in people's record collections. Marty Balin went on to start up a short-lived folk group called The Town Criers, who never gained too much notoriety, great folk quartet band name though. Then comes Balin's next group, Jefferson Airplane, which he mostly started. Jefferson Airplane is one of the many legendary bands to come out of the 1960s San Francisco Sound, shit, Jefferson Airplane is pretty well the flagship of that rock scene. A scene washed in free love, dope, folk rock, psychedelic rock, freedom of expression, and the counterculture that completely shook the US in the 1960s. Jefferson Airplane rode that wave with vigor, and all those things mentioned above ultimately did them in. Balin shared vocal duties with female vocalist Grace Slick and became the voice of a whole generation through their deeply written lyrics and meaningful melodies. Surprisingly, we have only talked about Jefferson Airplane once on the website, but let it be known they are one of the most important bands in my musical history. One of those groups you gotta experience for yourself, and one that you truly cannot afford to just hear their hits and move on down the line. Well, Balin found the ups and downs of fame within Jefferson Airplane. From 1966 to 1972, Jefferson Airplane sold steadily, and albums like Surrealistic Pillow, Crown of Creation, and Volunteers serve as a window into the past and are essential albums, especially Surrealistic Pillow, which is perfect from start to finish. They were one of the big bands on the bill for Woodstock and the Monterey Pop Festival. Still, even with the immense regional fame and being a revolutionary band during a cultural revolution, they started to become yesterday's news and, too, were getting too far into the wicked side of drug usage and soon enough started to fade out. The parties were getting more intense, the shows were past peace and love, with Balin even getting knocked out by a Hells Angels member during the infamous Altamont Free Concert, but that whole show went down in history as being a massive blunder. People died, the Hells Angels ran security and brought with them their brand of violence, and that concert pretty well served as the end of the counterculture movement in rock music. A damn good topic to look into if you've got the time. Maybe the next time the Rolling Stones come along, we will talk more about it. Anyway, Marty Balin saw the end coming a good while before it came to a head and left the band in 1971, cutting all communication to his past bandmates.
You cannot walk away from the rock n roll life if you make it to a certain prestige, and Balin stuck around. He took the role of producer but never got that fully off its feet. He formed a funk rock group in 1972 called Bodacious DF, and they only released one album that flew under the radar. A fun hidden gem of Balin's discography, I suggest giving the song "Drifting" a spin if you are interested in hearing it. Bodacious DF couldn't find a footing but still kept the creative mojo of Balin rolling. In 1974 he was asked to write a song and be a guest singer on the Jefferson Airplane spin-off, Jefferson Starship. He wrote "Caroline" which showed up on Jefferson Starship's debut, Dragon Fly. This marked his first time collaborating with his past friends and bandmates, and he decided to stick around and became an official member in 1975. He was with the band until 1978, after giving the group many of their greatest hits. Like what happened before, Balin felt like he couldn't really talk to the band, and Jefferson Starship was seemingly fading into ruin much like Jefferson Airplane. Grace Slick left Jefferson Starship first, and then Balin was second to go, and like that the band lost their sails. Jefferson Starship still managed to keep in space for 5 more solid years and released some of their best material, even without Slick and Balin. "Jane" is one of my favorite songs from the later years of the 1970s, and that one was led by Mickey Thomas. Anyway, Balin was left without a Jefferson aircraft once again. In 1979 he released a rock opera cast recording called Rock Justice but didn't perform on it. I have still yet to track that sucker down, but I need to since I am a fool for all things Marty Balin. After that, he decided it was time to give his solo career a swing once more and released his debut album in 1981. Balin was released through EMI Records, a label that helped him along with his rock opera project. By 1981 Balin was part of the old guard, an Icarus of rock that flew close to the sun and burned off his wings. He still had that weight, but not enough to get his solo career off the ground. Balin spawned his biggest solo hit, "Hearts", which is an essential listen from 1981. It hit the eighth spot on the charts, a high he never hit again, though his other big singles like "What Love Is" and "Atlanta Lady (Something About Your Love)" still managed to make a dent on the charts. "Atlanta Lady (Something About Your Love)" is a good pop rock track, in that there is no doubt, but for me it is the second side of that single that steals the show. "Lydia!" in my opinion is the best moment on Marty Balin's debut, and if I may be so bold, his whole solo career. This track is sensational! Balin does a pop-washed, blue eyed soul funky vocal style that I wish I could put into words. Prince did it, Mick Jagger played with it, and Beck gave it a couple of goes, but I don't know quite what it is called. Really high, funky singing that always sucks me deep into the song. "Lydia!" for some reason wasn't picked as a leading single, and if it was, maybe Balin might have found better success. Don't get me wrong, the 35th spot on the charts is still a strong one, especially from a musician who had his highest fame in the 1960s. Anyway, "Lydia!" is a song so washed in the 1980s pop sound you can taste Bonkers chewing gum. It is all about that chorus as Balin shouts in the rain to his beloved. The lyrics are a little strange, I won't lie, but the power of love in Balin's voice is enough to look past it. Once again, it is all about that chorus! It gets stuck in my head for hours each time I hear the track again. In pop style, it goes down damn smooth, and is pretty straightforward. It was cowritten by the behind the scenes songwriting icon Rick Nowels, which makes sense since the song is dipped in the starlight pop sound that Nowels still brings to music today with artists like Lana Del Rey and Dua Lipa. Pop ain't always bad, no matter what people are spoon-fed since youth to parrot, and Marty Balin shows that off with "Lydia!". Give the track a spin and see what I am talkin' about. Enjoy!
Year Released: 1981
Album: Balin (1981)
Genre: Pop Rock
Mood: Yearning
Perfect For: Dating, City lights at night, Casual listening, Getting ready for a date
Where To Next: "Miss Sun" - Boz Scaggs
Rating: 8 / 10
Song of the Day 04/25/2026
"Death Is Your Savior" - Kreator
Alright, alright, we have had plenty of peaceful choices these last couple of days. But who needs peace?! Look at the state of the world; we need action, we need power, and we need a band that is just that. Kreator has been here on the website previously. If I recall right, their industrial-laced track "Prevail" off their underrated 1995 album Cause for Conflict was their debut here. That was a long while ago, back in 2024, so how about we refresh your memory of these thrash metal titans? In the US we have "the Big 4 of Thrash Metal", and Europe has their own big four. The European counterparts are a ton more intense than ours. The US put out thrash metal for the metal masses, while Europe put out the kind of metal that made your grandma throw herself down the stairs. The Big Teutonic Four, as people call it, comprises Kreator, Destruction, Sodom, and Tankard. Kreator played a pivotal role in the progression of the more death-laden thrash metal sound. Their debut album, Endless Pain, flew under the radar but gathered the band a strong underground fanbase. That first album is so damn rough around the edges it feels like an artistic choice; maybe it was. One of those early thrash metal albums that are hardly thrash since it also serves as an early example of death metal and black metal. Sodom did the same thing, but not nearly as well as Kreator. Much like Sodom, Kreator took a hot minute to find fame in the metal mainstream, but that is simply the fate of the Teutonic Four. Endless Pain is one violent album that is a wicked ride through battle, bloodshed, and Baphomet, but I personally wouldn't suggest a new fan to start there. Where should you start? I am glad you asked, little Timmy. It starts with one question. Do you like the early heavy metal sound or the later? If you answered the later, then I suggest you sink your teeth into either Gods of Violence or their fuckin' intense Enemy of God. You really can't go wrong with any album if you ask me, but those two are some of the shining gems from their post-2000 discography. For me, I tend to go to Kreator for their earlier albums, and if you are someone who likes the early sound of heavy metal, then you have yourself a treasure trove of extremities. There is no better place to start than their second album, Pleasure to Kill. This blood diamond was released in 1986 and is a classic from the thrash metal genre that I think any metalhead should listen to at least once in their lives. It was here that I started and caught a Kreator bug that had me burning through their whole discography twice within the same month. Unlike many discographies out there, especially with this brand of heavy metal, I didn't even get music fatigue from it. I enjoyed every second and found some metal favorites from each album. Pleasure to Kill lets you know what to expect with a title like that. This album touches on mostly ghastly and grueling topics, and they back that up with aggressive riffage and vocal work. The kind of style that didn't get too popular until later, people simply weren't ready for the mean right hook of Kreator. In comparison to the band's debut, this one features stronger and tighter playing that seems to have a clearer vision of what Kreator wanted out of their signature sound. Their debut was recorded poorly, which is some of its appeal, but Kreator was fortunate enough to have Harris Johns come in to produce their second album. Johns found his fame working with Helloween, one of power metal's first bands. Power metal, as I am sure you know, relies a lot on crystal clear recording, but in the 1980s it still had this level of grime to keep it in the metal sound. Harris Johns went on to produce a ton of Kreator albums and the majority of worth-a-damn European heavy metal groups in the 1980s and onward.
So, with all of that said, Kreator is now in a spot where they could walk away from the grimy recording of their debut. In that debut they almost seemed like they took notes directly from Bathory and just replicated it with a thrash feeling. Don't get me wrong, our spotlighted album today is still murky and mean, but a better murky. On Pleasure to Kill they found themselves. An intense style of sinful nature that pleased people enough to see the band hit the 99th spot on the German charts. They recorded the album in the shoes of the bands that they held dear, wanting to see their name traded in the underground metal circles alongside those that influenced their lives, like Sepultura and Possessed. A worthy goal. Well, they did just that with this piece of metal history. Pleasure to Kill went on to be a highly influential heavy metal album in the thrash, black, death, and extreme metal genres far and wide. This album went to show that Europe had just as important of a role in the thrash genre as what was coming out of the US at the time. "Death Is Your Savior" is our choice off the album for today, and man oh man, what a choice! This track is so damn fast that it can make you fuckin' sick! Puking up pools of rusted daggers! All of this sound, aaalllll of this aggression, is only coming out of three dudes, which is insane. "Death Is Your Savior" is a track that, if you listen to it casually, might just seem like metal madness and chaos, but if you take the time to focus in, you will find there is a ton going on, and all of it seems to fit perfectly into its half-second of sound to help create a monster. During this stage of Kreator, they had two people trade off on vocal duties. For "Death Is Your Savior" we have Jurgen Reil (Vector) on the microphones as well as the drums. I mean, he isn't singing while drumming. I guess that is one of those "duh" moments, because if you hear those drums and their speed, I question if Reil even can find time to breathe while smashing away that damn fast. For me, I tend to favor the Mille Petrozza vocal tracks more, but strictly out of preference. Reil is a fuckin' intense vocalist and an even more intense drummer, no doubt about it. "Death Is Your Savior" is as you could probably have guessed, is all about death. The death we are talking about today covers the tale of a mighty god of war of old that spread blood and terror across the land. When you hear the cry of a banshee in the sky, you know death has come. The god of war has come to give you release and to solidify his claim to the world. Fuckin' kick-ass lyrics! I mean, you pretty much need to read the lyrics as the song goes since it is hard to understand this type of heavy metal, but for some reason that has always been some of the appeal of death and black metal to me. You might think it is a bunch of dudes singing basic lyrics backed by a blitzkrieg of sound, but once you look at the lyrics, you are like, "Okay, okay, these cats are more than spite and spunk". Kreator always does well on the lyrical themes and presentation. In "Death is Your Savior" you can feel the galloping of Death's horse. You can smell the piss and death of the battlefield. You can hear the ringing in the ears once you realize the fight you found yourself in is one of final desperation, not glory. Pleasure to Kill has so many top-quality tracks! One of the greatest albums to come out of thrash metal in the 1980s. A bona fide classic that I am more than pleased finally found its place with us here. Now, I know that this style of heavy metal ain't for everyone. And as you know, AintNoisePollution changes like Utah weather. It rains one day, snows the next, hails during 90-degree weather, and then night comes and all is still. So, who knows what tomorrow will bring? For today, we got this decadence of decay and wrath for your ears to get shredded by. Enjoy!
Year Released: 1986
Album: Pleasure to Kill (1986)
Genre: Thrash Metal, Death Metal
Mood: Furious
Perfect For: Warfare, Reading fantasy novels, Playing loud, Banging your head
Where To Next: "March to Die" - Possessed
Rating: 8 / 10
Alright, alright, we have had plenty of peaceful choices these last couple of days. But who needs peace?! Look at the state of the world; we need action, we need power, and we need a band that is just that. Kreator has been here on the website previously. If I recall right, their industrial-laced track "Prevail" off their underrated 1995 album Cause for Conflict was their debut here. That was a long while ago, back in 2024, so how about we refresh your memory of these thrash metal titans? In the US we have "the Big 4 of Thrash Metal", and Europe has their own big four. The European counterparts are a ton more intense than ours. The US put out thrash metal for the metal masses, while Europe put out the kind of metal that made your grandma throw herself down the stairs. The Big Teutonic Four, as people call it, comprises Kreator, Destruction, Sodom, and Tankard. Kreator played a pivotal role in the progression of the more death-laden thrash metal sound. Their debut album, Endless Pain, flew under the radar but gathered the band a strong underground fanbase. That first album is so damn rough around the edges it feels like an artistic choice; maybe it was. One of those early thrash metal albums that are hardly thrash since it also serves as an early example of death metal and black metal. Sodom did the same thing, but not nearly as well as Kreator. Much like Sodom, Kreator took a hot minute to find fame in the metal mainstream, but that is simply the fate of the Teutonic Four. Endless Pain is one violent album that is a wicked ride through battle, bloodshed, and Baphomet, but I personally wouldn't suggest a new fan to start there. Where should you start? I am glad you asked, little Timmy. It starts with one question. Do you like the early heavy metal sound or the later? If you answered the later, then I suggest you sink your teeth into either Gods of Violence or their fuckin' intense Enemy of God. You really can't go wrong with any album if you ask me, but those two are some of the shining gems from their post-2000 discography. For me, I tend to go to Kreator for their earlier albums, and if you are someone who likes the early sound of heavy metal, then you have yourself a treasure trove of extremities. There is no better place to start than their second album, Pleasure to Kill. This blood diamond was released in 1986 and is a classic from the thrash metal genre that I think any metalhead should listen to at least once in their lives. It was here that I started and caught a Kreator bug that had me burning through their whole discography twice within the same month. Unlike many discographies out there, especially with this brand of heavy metal, I didn't even get music fatigue from it. I enjoyed every second and found some metal favorites from each album. Pleasure to Kill lets you know what to expect with a title like that. This album touches on mostly ghastly and grueling topics, and they back that up with aggressive riffage and vocal work. The kind of style that didn't get too popular until later, people simply weren't ready for the mean right hook of Kreator. In comparison to the band's debut, this one features stronger and tighter playing that seems to have a clearer vision of what Kreator wanted out of their signature sound. Their debut was recorded poorly, which is some of its appeal, but Kreator was fortunate enough to have Harris Johns come in to produce their second album. Johns found his fame working with Helloween, one of power metal's first bands. Power metal, as I am sure you know, relies a lot on crystal clear recording, but in the 1980s it still had this level of grime to keep it in the metal sound. Harris Johns went on to produce a ton of Kreator albums and the majority of worth-a-damn European heavy metal groups in the 1980s and onward.
So, with all of that said, Kreator is now in a spot where they could walk away from the grimy recording of their debut. In that debut they almost seemed like they took notes directly from Bathory and just replicated it with a thrash feeling. Don't get me wrong, our spotlighted album today is still murky and mean, but a better murky. On Pleasure to Kill they found themselves. An intense style of sinful nature that pleased people enough to see the band hit the 99th spot on the German charts. They recorded the album in the shoes of the bands that they held dear, wanting to see their name traded in the underground metal circles alongside those that influenced their lives, like Sepultura and Possessed. A worthy goal. Well, they did just that with this piece of metal history. Pleasure to Kill went on to be a highly influential heavy metal album in the thrash, black, death, and extreme metal genres far and wide. This album went to show that Europe had just as important of a role in the thrash genre as what was coming out of the US at the time. "Death Is Your Savior" is our choice off the album for today, and man oh man, what a choice! This track is so damn fast that it can make you fuckin' sick! Puking up pools of rusted daggers! All of this sound, aaalllll of this aggression, is only coming out of three dudes, which is insane. "Death Is Your Savior" is a track that, if you listen to it casually, might just seem like metal madness and chaos, but if you take the time to focus in, you will find there is a ton going on, and all of it seems to fit perfectly into its half-second of sound to help create a monster. During this stage of Kreator, they had two people trade off on vocal duties. For "Death Is Your Savior" we have Jurgen Reil (Vector) on the microphones as well as the drums. I mean, he isn't singing while drumming. I guess that is one of those "duh" moments, because if you hear those drums and their speed, I question if Reil even can find time to breathe while smashing away that damn fast. For me, I tend to favor the Mille Petrozza vocal tracks more, but strictly out of preference. Reil is a fuckin' intense vocalist and an even more intense drummer, no doubt about it. "Death Is Your Savior" is as you could probably have guessed, is all about death. The death we are talking about today covers the tale of a mighty god of war of old that spread blood and terror across the land. When you hear the cry of a banshee in the sky, you know death has come. The god of war has come to give you release and to solidify his claim to the world. Fuckin' kick-ass lyrics! I mean, you pretty much need to read the lyrics as the song goes since it is hard to understand this type of heavy metal, but for some reason that has always been some of the appeal of death and black metal to me. You might think it is a bunch of dudes singing basic lyrics backed by a blitzkrieg of sound, but once you look at the lyrics, you are like, "Okay, okay, these cats are more than spite and spunk". Kreator always does well on the lyrical themes and presentation. In "Death is Your Savior" you can feel the galloping of Death's horse. You can smell the piss and death of the battlefield. You can hear the ringing in the ears once you realize the fight you found yourself in is one of final desperation, not glory. Pleasure to Kill has so many top-quality tracks! One of the greatest albums to come out of thrash metal in the 1980s. A bona fide classic that I am more than pleased finally found its place with us here. Now, I know that this style of heavy metal ain't for everyone. And as you know, AintNoisePollution changes like Utah weather. It rains one day, snows the next, hails during 90-degree weather, and then night comes and all is still. So, who knows what tomorrow will bring? For today, we got this decadence of decay and wrath for your ears to get shredded by. Enjoy!
Year Released: 1986
Album: Pleasure to Kill (1986)
Genre: Thrash Metal, Death Metal
Mood: Furious
Perfect For: Warfare, Reading fantasy novels, Playing loud, Banging your head
Where To Next: "March to Die" - Possessed
Rating: 8 / 10
Song of the Day 04/24/2026
"Passing Over" - Nice Biscuit
Sorry for not posting yesterday, had a plumbing issue that needed handling. Handle it I did not, buuuut that is the beauty of renting, I suppose. On better news, I am typing this to you on a new desk. It is a fancy one! One of those cheap desks that are pretending to be something fancy, buuuut like calls to like. The desk I was previously using was potentially for a child or someone who was much shorter than myself. It served its purpose and served it well. It has been with me for years while I set this website up, tore it down, and set it all up again. I can't say I will miss it, but I do strongly appreciate the desk helping me along on my journey. Alright, enough about sentimental furniture. Today we talk of a group that is pretty damn new to me. I only know one track from the sillily named Nice Biscuit, but that one track has had me really digging the band's sound. They are one of the many modern rock groups that come out of Australia. That statement has been written a ton of times here on the website. It is safe to assume that it is Oceania that is going to keep rock alive with their seamless fusing of old psychedelic styles and garage rock with the modern. A hodgepodge of multiple styles and backgrounds backed by modern recording and vision leaves the Aussies leagues ahead of the majority of other countries putting out solid rock music. Nice Biscuit is led by the cosmic co-frontwomen Grace Cuell and Billie Star. Those two together put out some haunting vocal work while the band steps in behind to dish out some westernesque psychedelic playing meant for the desert plains. Always has me floating away. "Passing Over" makes the most basic drive seem like something sinister yet thrilling—an adventure to nowhere. Like stumbling across a Native American burial ground and sticking around to explore it while on mushrooms. Yeah, I know, I would be the first to die in a horror movie. When I was first told that I was a little butt hurt, we all want to be the survivor. Though, being one of the first to die is almost the best role you can get in that slasher scenario. No need for that horror, no need to see your friends and girlfriend die; you just sort of get a machete through your chest, and there you go. Sort of a selfish outlook, but meh. Anyway! These are the feelings brought forth by Nice Biscuit! Their approach to the rock isn't meant to be that way. If anything, they call for dreaming and being at peace. Repetitive playing gets you completely hypnotized while the tension builds higher and higher with instrumental breakoffs that show off each member. Though, as someone who has always found a little bit of a witchy backing in modern psychedelia, it is difficult to be completely at ease. It always seems like there is something lurking around the corner. That uneasiness is precisely why I come to psychedelic-based music. I am excited to get more into the band but have yet to do so. Like I said before, they are damn new to me, and "Passing Over" only passed through my ears a couple of months ago, but I was instantly smitten.
Their debut on the website comes in the form of their seemingly most popular song, "Passing Over". It is their second most streamed song on Spotify. I just got done watching the music video for "Passing Over", and it made me a little sick. Strange-ass visuals that hurt the head, but once again, that unsettlingly peaceful thing shines in the music video as well. I have a massive hankering to listen to more of their material, but I have a date with Heaven Shall Burn and High On Fire today, so maybe tomorrow. These posts are always the hardest ones, since I don't know exactly what to say since I am still wet behind the ears with the band. I don't like relaying information unless I lived the information so I can give my own commentary on it. Remember, U2 has an almost spotless run with the critics, but as someone who has listened through all their stuff and some plenty of times, some of their later albums aren't as great as people are putting them out to be. I'm not talking shit, and music like all art is subjective, but parroting information isn't what AintNoisePollution is about. Nice Biscuit reminds me of some of those cool artsy places that are around the states. In Las Vegas it was in the form of MegaMart, and in Utah we have a place called Dreamscapes that pops up at random places for a year and then moves along to the next mall or random location. "Passing Over" reminds me of the feeling of the place immensely. Crazy visuals that you get to feel and walk through, but in the end you know it is all for show. Behind each art piece at Dreamscapes and behind each strum of the guitar with Nice Biscuit, there is a human behind it. Someone like you, someone who knows what is good and what isn't but is willing to take steps and chances towards a grand vision that came from their mind and soul. You can feel that each stroke of the brush and each finger on the bass strings weren't simply put there to complete a picture; they are the picture. Well, this will be a short post. It isn't because Nice Biscuit isn't worth a giant one, since they are, but more that I don't know what to say and might as well just let the music do the talking. I am hoping to see more of Nice Biscuit here on the website in time once I expand further into the group. I am pretty damn confident that we will have another since "Passing Over" is a damn good track! Even while I was playing it, my girlfriend told me that song was nice, which I rarely hear. I am the critic here, but she is one hard nut when it comes to liking something; she is the critic to the critic. It has the Alesha seal of approval, which means you gotta listen to the track. Those are just the rules. Enjoy!
Year Released: 2021
Single: Passing Over (2021)
Genre: Psychedelic Rock, Garage Rock
Mood: Floaty
Perfect For: Long drives at night, Drives through rural land, Rituals, Casual listening, Rainy days
Where To Next: "Work This Time" - King Gizzard & the Lizard Wizard
Rating: 9 / 10
Sorry for not posting yesterday, had a plumbing issue that needed handling. Handle it I did not, buuuut that is the beauty of renting, I suppose. On better news, I am typing this to you on a new desk. It is a fancy one! One of those cheap desks that are pretending to be something fancy, buuuut like calls to like. The desk I was previously using was potentially for a child or someone who was much shorter than myself. It served its purpose and served it well. It has been with me for years while I set this website up, tore it down, and set it all up again. I can't say I will miss it, but I do strongly appreciate the desk helping me along on my journey. Alright, enough about sentimental furniture. Today we talk of a group that is pretty damn new to me. I only know one track from the sillily named Nice Biscuit, but that one track has had me really digging the band's sound. They are one of the many modern rock groups that come out of Australia. That statement has been written a ton of times here on the website. It is safe to assume that it is Oceania that is going to keep rock alive with their seamless fusing of old psychedelic styles and garage rock with the modern. A hodgepodge of multiple styles and backgrounds backed by modern recording and vision leaves the Aussies leagues ahead of the majority of other countries putting out solid rock music. Nice Biscuit is led by the cosmic co-frontwomen Grace Cuell and Billie Star. Those two together put out some haunting vocal work while the band steps in behind to dish out some westernesque psychedelic playing meant for the desert plains. Always has me floating away. "Passing Over" makes the most basic drive seem like something sinister yet thrilling—an adventure to nowhere. Like stumbling across a Native American burial ground and sticking around to explore it while on mushrooms. Yeah, I know, I would be the first to die in a horror movie. When I was first told that I was a little butt hurt, we all want to be the survivor. Though, being one of the first to die is almost the best role you can get in that slasher scenario. No need for that horror, no need to see your friends and girlfriend die; you just sort of get a machete through your chest, and there you go. Sort of a selfish outlook, but meh. Anyway! These are the feelings brought forth by Nice Biscuit! Their approach to the rock isn't meant to be that way. If anything, they call for dreaming and being at peace. Repetitive playing gets you completely hypnotized while the tension builds higher and higher with instrumental breakoffs that show off each member. Though, as someone who has always found a little bit of a witchy backing in modern psychedelia, it is difficult to be completely at ease. It always seems like there is something lurking around the corner. That uneasiness is precisely why I come to psychedelic-based music. I am excited to get more into the band but have yet to do so. Like I said before, they are damn new to me, and "Passing Over" only passed through my ears a couple of months ago, but I was instantly smitten.
Their debut on the website comes in the form of their seemingly most popular song, "Passing Over". It is their second most streamed song on Spotify. I just got done watching the music video for "Passing Over", and it made me a little sick. Strange-ass visuals that hurt the head, but once again, that unsettlingly peaceful thing shines in the music video as well. I have a massive hankering to listen to more of their material, but I have a date with Heaven Shall Burn and High On Fire today, so maybe tomorrow. These posts are always the hardest ones, since I don't know exactly what to say since I am still wet behind the ears with the band. I don't like relaying information unless I lived the information so I can give my own commentary on it. Remember, U2 has an almost spotless run with the critics, but as someone who has listened through all their stuff and some plenty of times, some of their later albums aren't as great as people are putting them out to be. I'm not talking shit, and music like all art is subjective, but parroting information isn't what AintNoisePollution is about. Nice Biscuit reminds me of some of those cool artsy places that are around the states. In Las Vegas it was in the form of MegaMart, and in Utah we have a place called Dreamscapes that pops up at random places for a year and then moves along to the next mall or random location. "Passing Over" reminds me of the feeling of the place immensely. Crazy visuals that you get to feel and walk through, but in the end you know it is all for show. Behind each art piece at Dreamscapes and behind each strum of the guitar with Nice Biscuit, there is a human behind it. Someone like you, someone who knows what is good and what isn't but is willing to take steps and chances towards a grand vision that came from their mind and soul. You can feel that each stroke of the brush and each finger on the bass strings weren't simply put there to complete a picture; they are the picture. Well, this will be a short post. It isn't because Nice Biscuit isn't worth a giant one, since they are, but more that I don't know what to say and might as well just let the music do the talking. I am hoping to see more of Nice Biscuit here on the website in time once I expand further into the group. I am pretty damn confident that we will have another since "Passing Over" is a damn good track! Even while I was playing it, my girlfriend told me that song was nice, which I rarely hear. I am the critic here, but she is one hard nut when it comes to liking something; she is the critic to the critic. It has the Alesha seal of approval, which means you gotta listen to the track. Those are just the rules. Enjoy!
Year Released: 2021
Single: Passing Over (2021)
Genre: Psychedelic Rock, Garage Rock
Mood: Floaty
Perfect For: Long drives at night, Drives through rural land, Rituals, Casual listening, Rainy days
Where To Next: "Work This Time" - King Gizzard & the Lizard Wizard
Rating: 9 / 10
Song of the Day 04/23/2026
"Holdin' on to Yesterday" - Ambrosia
I love me some Ambrosia, both in the dessert form and the music form. I could talk for hours about how much I love all the varying forms of fruit dishes smothered in that sweet yet questionable cream fluff. Though, since this isn't a website about food, we won't be doing that. Ambrosia didn't name themselves after fruit salads, but for the same thing that the salad named themselves after, the "food/nectar of the gods". I would like to think that Ambrosia meant ear food, food for the soul, not the tummy. They are one underrated progressive rock group, in that there is truth. They had some successful singles and albums in their time, but I hardly hear anything about them today. Not only that, but they have been a hard-working group since their formation in 1970, only having a hiatus from 1983 to 1988. They have had some big names come through their ranks and have collaborated with some top-tier musicians, such as today's song, which features Alan Parsons. Ambrosia is a band that I have been jamming to since I discovered them about 4 years ago. This is their debut on AintNoisePollution, so we might as well give them an intro so you know who you are dealing with today. The band was put together by David Pack, Christopher North, Joe Puerta, and Burleigh Drummond in 1970. They came into the music world with a strange melding of styles. Their albums consisted of progressive rock, but they always left a side of the band that had radio appeal, especially in their latter half studio albums. Our song of the day today is one of those that jump between being deep progressive rock and that which has an easy to get behind nature that makes it easy for radio play. By this point, if you have been reading along regularly or simply love progressive rock, it is usually a safe assumption that the songs will be long. Casual music listeners don't want long songs, and radio stations don't have the time or give a shit to give a spot to a band that puts out tracks that average 8 minutes. So Ambrosia came to the batting plate with tracks that came in around 6 minutes for LP fans and 4 minutes for radio listeners. This found them getting some hits, though their albums never hit over the 10 spot on the charts. Only two of their singles made it over the 10 spot on the mainstream US charts as well, but that is what prog rock is here to do. It is a genre for the music connoisseurs. There are bands like Rush, Ambrosia, and Kansas who know how to be one with intricacy and also pop leaning tracks for the masses, but overall progressive rock is the home to those that fully listen to what is going on. I will admit, I am a little hit and miss with the genre. There are plenty of bands that take away the fun from music in trade for musical theory. Rock music itself wasn't meant to have mathematics brought into the sound; it is all about a straightforward good time. Chicks, drinks, good times, some bad times, and plenty of love songs. The simple stuff that makes life manageable, ya know? I highly respect all walks of progressive music, but at the same time, it is a genre that needs to come about at the right time of day. Ambrosia has plenty of that on their studio albums, but when it comes to their hits, it is all about that good time. Their biggest hits include "How Much I Feel", "Holdin' on to Yesterday", "Biggest Part of Me", and "You're the Only Woman (You and I)". Half of those achieved gold status and became radio staples for their respective years. There is a lot to love in Ambrosia, and with their relatively small yet highly enjoyable discography, they are a great group to do a clean runthrough of.
For me, I find my home within their self titled debut from 1975. Ambrosia had two singles come off it, our song of the day, "Holdin' on to Yesterday" and "Nice, Nice, Very Nice". "Holdin' on to Yesterday" was the band's first charting single, and a high charting single at that, coming in at the 17th spot on the US charts. "Nice, Nice, Very Nice" failed to chart all too high, but it is just as great as "Holdin' on to Yesterday". There are a ton of good songs on this sucker, and I think you would dig it if you took the time to listen through an album today. Ambrosia was nominated for best engineered recording for the Grammys but ultimately lost. Alan Parsons is the man behind the mixing board, and if you have ever listened to any Alan Parsons Project, it is clear that he knows exactly what he wants and does it in style. Parsons would return with Ambrosia for their second album, Somewhere I've Never Travelled, as the producer. To me, those are their two best albums, even if the others hold their more fortified sound that brought home some bacon. "Holdin' on to Yesterday" is one of their most popular tracks and serves as the best musical diving board into their collection of moody songs and well thought out albums. The track begins with some solid bass lines comforted by neon piano keys and trippy guitar effects. When the vocalist comes in, you know you are in the right place. They have this Moody Blues sound mixed with a commercial style reminiscent of bands like Styx and Kansas. If that ain't a damn good mixing of sounds, I don't know what is. The track keeps it pretty mellow. David Pack is the man behind the vocal work, and he also cowrote the song alongside bassist Joe Puerta. The bass is the strongest part of the track, but the sorrowful violin work from Daniel Kobialka gets the award for second most captivating. Shit, the whole band pulls together for this track. A haunting chorus with wonderful harmonies, a damn fine outro showcasing brought to you by David Pack and his guitar, jamming that starts up at random, and a rain-drenched feeling. One of hope, one of sorrow, one of time, and one of no tomorrows. The song's lyrics revolve around lost love and longing for yesterday when love was rife and time seemed unlimited. "Holdin' on to Yesterday" comes in as the third track off the album. It comes right after the perfect companion track, "Time Waits for No One", keeping the theme of Father Time's wicked way of stealing your years away. That one is a little more on the progressive side in comparison to "Holdin' on to Yesterday" which has a spacey and soft atmosphere. The whole album has plenty of highs, something for the casual listener and those that like to listen to music in a dark room with a glass of yesterday's wine. A great debut, and their quality doesn't dip. Their second album is just as grand, and while the band moved away from their progressive style for their third and fourth studio albums, they came back to it for their final studio release, Road Island. Ambrosia put out tracks for everyone, and with that in mind, they are one of the best entry-level progressive rock bands out there, namely their first two albums. Hope you can find some tunes from Ambrosia to make your weekend groovin'! If I can do that for you, then this website is worth all the work I put into it. You won't know unless you spin the track! So, what are you still doing here? Enjoy!
Year Released: 1975
Album: Ambrosia (1975)
Genre: Rock
Mood: Spacey
Perfect For: Casual listening, In-depth listening, Enjoying the time we get to ourselves, Watching years move along
Where To Next: "Lost In a Lost World" - The Moody Blues
Rating: 8 / 10
I love me some Ambrosia, both in the dessert form and the music form. I could talk for hours about how much I love all the varying forms of fruit dishes smothered in that sweet yet questionable cream fluff. Though, since this isn't a website about food, we won't be doing that. Ambrosia didn't name themselves after fruit salads, but for the same thing that the salad named themselves after, the "food/nectar of the gods". I would like to think that Ambrosia meant ear food, food for the soul, not the tummy. They are one underrated progressive rock group, in that there is truth. They had some successful singles and albums in their time, but I hardly hear anything about them today. Not only that, but they have been a hard-working group since their formation in 1970, only having a hiatus from 1983 to 1988. They have had some big names come through their ranks and have collaborated with some top-tier musicians, such as today's song, which features Alan Parsons. Ambrosia is a band that I have been jamming to since I discovered them about 4 years ago. This is their debut on AintNoisePollution, so we might as well give them an intro so you know who you are dealing with today. The band was put together by David Pack, Christopher North, Joe Puerta, and Burleigh Drummond in 1970. They came into the music world with a strange melding of styles. Their albums consisted of progressive rock, but they always left a side of the band that had radio appeal, especially in their latter half studio albums. Our song of the day today is one of those that jump between being deep progressive rock and that which has an easy to get behind nature that makes it easy for radio play. By this point, if you have been reading along regularly or simply love progressive rock, it is usually a safe assumption that the songs will be long. Casual music listeners don't want long songs, and radio stations don't have the time or give a shit to give a spot to a band that puts out tracks that average 8 minutes. So Ambrosia came to the batting plate with tracks that came in around 6 minutes for LP fans and 4 minutes for radio listeners. This found them getting some hits, though their albums never hit over the 10 spot on the charts. Only two of their singles made it over the 10 spot on the mainstream US charts as well, but that is what prog rock is here to do. It is a genre for the music connoisseurs. There are bands like Rush, Ambrosia, and Kansas who know how to be one with intricacy and also pop leaning tracks for the masses, but overall progressive rock is the home to those that fully listen to what is going on. I will admit, I am a little hit and miss with the genre. There are plenty of bands that take away the fun from music in trade for musical theory. Rock music itself wasn't meant to have mathematics brought into the sound; it is all about a straightforward good time. Chicks, drinks, good times, some bad times, and plenty of love songs. The simple stuff that makes life manageable, ya know? I highly respect all walks of progressive music, but at the same time, it is a genre that needs to come about at the right time of day. Ambrosia has plenty of that on their studio albums, but when it comes to their hits, it is all about that good time. Their biggest hits include "How Much I Feel", "Holdin' on to Yesterday", "Biggest Part of Me", and "You're the Only Woman (You and I)". Half of those achieved gold status and became radio staples for their respective years. There is a lot to love in Ambrosia, and with their relatively small yet highly enjoyable discography, they are a great group to do a clean runthrough of.
For me, I find my home within their self titled debut from 1975. Ambrosia had two singles come off it, our song of the day, "Holdin' on to Yesterday" and "Nice, Nice, Very Nice". "Holdin' on to Yesterday" was the band's first charting single, and a high charting single at that, coming in at the 17th spot on the US charts. "Nice, Nice, Very Nice" failed to chart all too high, but it is just as great as "Holdin' on to Yesterday". There are a ton of good songs on this sucker, and I think you would dig it if you took the time to listen through an album today. Ambrosia was nominated for best engineered recording for the Grammys but ultimately lost. Alan Parsons is the man behind the mixing board, and if you have ever listened to any Alan Parsons Project, it is clear that he knows exactly what he wants and does it in style. Parsons would return with Ambrosia for their second album, Somewhere I've Never Travelled, as the producer. To me, those are their two best albums, even if the others hold their more fortified sound that brought home some bacon. "Holdin' on to Yesterday" is one of their most popular tracks and serves as the best musical diving board into their collection of moody songs and well thought out albums. The track begins with some solid bass lines comforted by neon piano keys and trippy guitar effects. When the vocalist comes in, you know you are in the right place. They have this Moody Blues sound mixed with a commercial style reminiscent of bands like Styx and Kansas. If that ain't a damn good mixing of sounds, I don't know what is. The track keeps it pretty mellow. David Pack is the man behind the vocal work, and he also cowrote the song alongside bassist Joe Puerta. The bass is the strongest part of the track, but the sorrowful violin work from Daniel Kobialka gets the award for second most captivating. Shit, the whole band pulls together for this track. A haunting chorus with wonderful harmonies, a damn fine outro showcasing brought to you by David Pack and his guitar, jamming that starts up at random, and a rain-drenched feeling. One of hope, one of sorrow, one of time, and one of no tomorrows. The song's lyrics revolve around lost love and longing for yesterday when love was rife and time seemed unlimited. "Holdin' on to Yesterday" comes in as the third track off the album. It comes right after the perfect companion track, "Time Waits for No One", keeping the theme of Father Time's wicked way of stealing your years away. That one is a little more on the progressive side in comparison to "Holdin' on to Yesterday" which has a spacey and soft atmosphere. The whole album has plenty of highs, something for the casual listener and those that like to listen to music in a dark room with a glass of yesterday's wine. A great debut, and their quality doesn't dip. Their second album is just as grand, and while the band moved away from their progressive style for their third and fourth studio albums, they came back to it for their final studio release, Road Island. Ambrosia put out tracks for everyone, and with that in mind, they are one of the best entry-level progressive rock bands out there, namely their first two albums. Hope you can find some tunes from Ambrosia to make your weekend groovin'! If I can do that for you, then this website is worth all the work I put into it. You won't know unless you spin the track! So, what are you still doing here? Enjoy!
Year Released: 1975
Album: Ambrosia (1975)
Genre: Rock
Mood: Spacey
Perfect For: Casual listening, In-depth listening, Enjoying the time we get to ourselves, Watching years move along
Where To Next: "Lost In a Lost World" - The Moody Blues
Rating: 8 / 10
Song of the Day 04/22/2026
"Spooky" - Atlanta Rhythm Section (2007 Version)
Welcome back! Today we have one of the greatest tracks put out by the Atlanta Rhythm Section, but with a twist. "Spooky" is a track that is a massive part of the history and success of Atlanta Rhythm Section. You would think for its place on the website it would be getting the first ARS version out of 1979, but you would be thinking wrong. Now, I am the type of dude that tends to really dislike rerecorded hits from a band and reprises, but when it comes to "Spooky" I think the rerelease is even better. That is down to taste, and the history of the band and overall success of the original version show that this is probably just a personal preference. Even with all of that said, "Spooky" with this fresh coat of paint sounds even better. It could come down to the more aged voice of the band, but I think what makes the rerelease version of the song better is how it complements the plentiful covers of the track. The first version from Atlanta Rhythm Section has this gritty feeling that leans into the almost more spooky feeling, go figure. It feels like it was written on Halloween day after watching a horror classic and having a beer or two while chain-smoking and thinking about ladies. Though "Spooky" from Dusty Springfield or Martha Reeves has this certain smoky room feeling. Something tempting, untouchable, and purely pleasant. Still a little spooky, but not one that is drowned in an eerie feeling. In a strange way, the rerelease feels like a Dusty Springfield cover more than a Classics IV cover. Speaking of Classics IV, they were the first ones to dish out the track. It became their staple and was the most successful single they ever put out during their short lifetime. Two of the members of Classics IV, Dean Daughtry and J.R. Cobb, went on to be members of Atlanta Rhythm Section. With them they brought their shining gem, "Spooky". Daughtry was with ARS since the beginning until 2020, and Cobb joined up with the group after their debut album in 1972 and stuck around up until the end of their prime material and a little bit of touring, leaving in 1986. Easy to say they brought a special feeling to ARS, with Daughtry being one of the great rock keyboardists and Cobb bringing in some smooth guitar work. One of their most important contributions was the addition of "Spooky", even if the song came late in their career and served as one of their final big hits before fading into the past of rock music. Truth be told, I am not sure which version of "Spooky" is the most famous. The original is still a Halloween classic to this day and gets plenty of love around that time, but it seems there are more people flocking to the Dusty Springfield version. Granted, Dusty Springfield was a superstar, and her version came out in 1968, a year after the original came out from Classics IV and 11 years before the Atlanta Rhythm Section. It doesn't matter which one is the best, since they are all equally great; some just fit better for certain situations. Truth be told, I was worried about this post. I haven't really discussed a rerelease track here yet; live versions, sure, but not a rerelease. I am honestly kind of shocked. Still, I stand by the choice, and it hit hard on a fresh spring day. Even though the weather was off and on with random rain and even hail at one point, the day had that spring smell to it. You know the one, fresh flowers and slightly hot asphalt. The smell that urges you for adventure. "Spooky" played mellowly while I was on lunch heading home to take care of the evil dog Mocha. Windows down, the last drag or two on a cigarette, ominous gray clouds, and the fresh smell moving through the window. The song is certainly meant for autumn, but like I already said, some of them hit better away from spooky season.
Atlanta Rhythm Section has already been on the website once before, back in October of last year. To give you a quick rundown, ARS is the softer side of southern rock. They started out like all the others with a straight-cut southern rock sound in 1972. They didn't come out of the Florida scene like Lynyrd Skynyrd and Molly Hatchet; they made their rebel stand in Doraville, Georgia. Their debut out of 1972 charted low but still served as a good entry point into the band. There wasn't anything all too special in that debut, and I think the band knew it. It is the only album to feature Rodney Justo on vocals, which makes this one a special one-off for the band. Their second album, Back Up Against the Wall, released in 1973, fared even worse on the charts than their debut. I personally dig this one more, especially the track "Wrong". That one is a southern rock hidden gem. Still another simple southern rock album, but the band was clearly getting better and was starting to find their own sound to stand out. Third Annual Pipe Dream released a year later and was the first album to feature a modest hit for the band with their track "Doraville". Isn't it a dream to write a song about your hometown? Just me? This is the album that things started turning around for these boys from Georgia. Once again, nothing all too crazy or off the beaten path, but still a stand-up album well worth the listen for any southern rock fan. "Doraville" charted at #36 and started to get their name circulating around. Their following album, Dog Days, is where ARS started to find their groove. It spawned the single "Dog Days" which charted fairly low in the US but found success in Canada this go-around. Dog Days gives you a taste of what the band is capable of, but they still needed to lose some of the southern rock clichés to become hot sellers. Red Tape released in 1976 and serves as the band's backslide. Sort of a weak album and one of their most forgettable. That doesn't mean it isn't a worthwhile album, but by this point it looked like Atlanta Rhythm Section wasn't going to catch air on the charts. They only had one album so far make it over the 100 mark on the charts and only one single make it over the 50 mark. I don't think anyone was ready for what was to come next. After all that hard work, ARS switched up their sound for something more mellow. A Rock and Roll Alternative is their biggest claim to fame. A great album, and I don't say that lightly. The album's title explains the sound the best. Still heavily rooted in southern rock, but with this wine and fireplace cuddle-up feeling that brought in plenty of fans and sales. It blew the band into the limelight and had many people thinking it was their debut album, just to find out they had a strong back catalog. A Rock and Roll Alternative holds their most famous song, "So Into You", which hardly sounds anything like southern rock. It is one of the only southern rock tracks that I can think of that found success in both the mainstream charts and the easy listening charts. That track is smoooooth! A Rock and Roll Alternative is the greatest place to start within the band, especially to showcase their ability to meld soft rock, boogie rock, and southern rock. They kept the energy up for their 7th studio album, Champagne Jam. A classic from 1978 and another one you cannot afford to miss out on from ARS. They found the southern rock thing wasn't working and dropped it for the most part for something a lot more boogie-based. A damn fun album that charted well, was received well, and gave the band some more of their most successful tracks, like "Imaginary Lover" and "Champagne Jam". They finally made it to the spot they deserved to be on the charts and thus released an album to celebrate it for their 8th called Underdog. Life and music are cruel, and Underdog went on to be their last album from the prime years. They still charted with their following two albums, but not like they did with A Rock and Roll Alternative, Champagne Jam, and Underdog. The singles that came from Underdog supported the album, the best being "Spooky". We already elaborated on the track in the first half of the post, so I think I will just let the music do the talking from here on. I hope we can follow up on this album in the future for a deep dive. But for now, you get one of their greatest tracks, rerecorded. So, you know what to do. Load up that track on your favorite streaming platform or media format! Enjoy!
Year Released: 2007 (Original: 1979)
Chosen Versions Compilation: Anthology: Greatest & Latest (2007)
Genre: Soft Rock
Mood: Mellow
Perfect For: Casual listening, Spring days, Autumn days, Driving, Getting cozy
Where To Next: "Spooky" - Dusty Springfield
Rating: 8 / 10
Welcome back! Today we have one of the greatest tracks put out by the Atlanta Rhythm Section, but with a twist. "Spooky" is a track that is a massive part of the history and success of Atlanta Rhythm Section. You would think for its place on the website it would be getting the first ARS version out of 1979, but you would be thinking wrong. Now, I am the type of dude that tends to really dislike rerecorded hits from a band and reprises, but when it comes to "Spooky" I think the rerelease is even better. That is down to taste, and the history of the band and overall success of the original version show that this is probably just a personal preference. Even with all of that said, "Spooky" with this fresh coat of paint sounds even better. It could come down to the more aged voice of the band, but I think what makes the rerelease version of the song better is how it complements the plentiful covers of the track. The first version from Atlanta Rhythm Section has this gritty feeling that leans into the almost more spooky feeling, go figure. It feels like it was written on Halloween day after watching a horror classic and having a beer or two while chain-smoking and thinking about ladies. Though "Spooky" from Dusty Springfield or Martha Reeves has this certain smoky room feeling. Something tempting, untouchable, and purely pleasant. Still a little spooky, but not one that is drowned in an eerie feeling. In a strange way, the rerelease feels like a Dusty Springfield cover more than a Classics IV cover. Speaking of Classics IV, they were the first ones to dish out the track. It became their staple and was the most successful single they ever put out during their short lifetime. Two of the members of Classics IV, Dean Daughtry and J.R. Cobb, went on to be members of Atlanta Rhythm Section. With them they brought their shining gem, "Spooky". Daughtry was with ARS since the beginning until 2020, and Cobb joined up with the group after their debut album in 1972 and stuck around up until the end of their prime material and a little bit of touring, leaving in 1986. Easy to say they brought a special feeling to ARS, with Daughtry being one of the great rock keyboardists and Cobb bringing in some smooth guitar work. One of their most important contributions was the addition of "Spooky", even if the song came late in their career and served as one of their final big hits before fading into the past of rock music. Truth be told, I am not sure which version of "Spooky" is the most famous. The original is still a Halloween classic to this day and gets plenty of love around that time, but it seems there are more people flocking to the Dusty Springfield version. Granted, Dusty Springfield was a superstar, and her version came out in 1968, a year after the original came out from Classics IV and 11 years before the Atlanta Rhythm Section. It doesn't matter which one is the best, since they are all equally great; some just fit better for certain situations. Truth be told, I was worried about this post. I haven't really discussed a rerelease track here yet; live versions, sure, but not a rerelease. I am honestly kind of shocked. Still, I stand by the choice, and it hit hard on a fresh spring day. Even though the weather was off and on with random rain and even hail at one point, the day had that spring smell to it. You know the one, fresh flowers and slightly hot asphalt. The smell that urges you for adventure. "Spooky" played mellowly while I was on lunch heading home to take care of the evil dog Mocha. Windows down, the last drag or two on a cigarette, ominous gray clouds, and the fresh smell moving through the window. The song is certainly meant for autumn, but like I already said, some of them hit better away from spooky season.
Atlanta Rhythm Section has already been on the website once before, back in October of last year. To give you a quick rundown, ARS is the softer side of southern rock. They started out like all the others with a straight-cut southern rock sound in 1972. They didn't come out of the Florida scene like Lynyrd Skynyrd and Molly Hatchet; they made their rebel stand in Doraville, Georgia. Their debut out of 1972 charted low but still served as a good entry point into the band. There wasn't anything all too special in that debut, and I think the band knew it. It is the only album to feature Rodney Justo on vocals, which makes this one a special one-off for the band. Their second album, Back Up Against the Wall, released in 1973, fared even worse on the charts than their debut. I personally dig this one more, especially the track "Wrong". That one is a southern rock hidden gem. Still another simple southern rock album, but the band was clearly getting better and was starting to find their own sound to stand out. Third Annual Pipe Dream released a year later and was the first album to feature a modest hit for the band with their track "Doraville". Isn't it a dream to write a song about your hometown? Just me? This is the album that things started turning around for these boys from Georgia. Once again, nothing all too crazy or off the beaten path, but still a stand-up album well worth the listen for any southern rock fan. "Doraville" charted at #36 and started to get their name circulating around. Their following album, Dog Days, is where ARS started to find their groove. It spawned the single "Dog Days" which charted fairly low in the US but found success in Canada this go-around. Dog Days gives you a taste of what the band is capable of, but they still needed to lose some of the southern rock clichés to become hot sellers. Red Tape released in 1976 and serves as the band's backslide. Sort of a weak album and one of their most forgettable. That doesn't mean it isn't a worthwhile album, but by this point it looked like Atlanta Rhythm Section wasn't going to catch air on the charts. They only had one album so far make it over the 100 mark on the charts and only one single make it over the 50 mark. I don't think anyone was ready for what was to come next. After all that hard work, ARS switched up their sound for something more mellow. A Rock and Roll Alternative is their biggest claim to fame. A great album, and I don't say that lightly. The album's title explains the sound the best. Still heavily rooted in southern rock, but with this wine and fireplace cuddle-up feeling that brought in plenty of fans and sales. It blew the band into the limelight and had many people thinking it was their debut album, just to find out they had a strong back catalog. A Rock and Roll Alternative holds their most famous song, "So Into You", which hardly sounds anything like southern rock. It is one of the only southern rock tracks that I can think of that found success in both the mainstream charts and the easy listening charts. That track is smoooooth! A Rock and Roll Alternative is the greatest place to start within the band, especially to showcase their ability to meld soft rock, boogie rock, and southern rock. They kept the energy up for their 7th studio album, Champagne Jam. A classic from 1978 and another one you cannot afford to miss out on from ARS. They found the southern rock thing wasn't working and dropped it for the most part for something a lot more boogie-based. A damn fun album that charted well, was received well, and gave the band some more of their most successful tracks, like "Imaginary Lover" and "Champagne Jam". They finally made it to the spot they deserved to be on the charts and thus released an album to celebrate it for their 8th called Underdog. Life and music are cruel, and Underdog went on to be their last album from the prime years. They still charted with their following two albums, but not like they did with A Rock and Roll Alternative, Champagne Jam, and Underdog. The singles that came from Underdog supported the album, the best being "Spooky". We already elaborated on the track in the first half of the post, so I think I will just let the music do the talking from here on. I hope we can follow up on this album in the future for a deep dive. But for now, you get one of their greatest tracks, rerecorded. So, you know what to do. Load up that track on your favorite streaming platform or media format! Enjoy!
Year Released: 2007 (Original: 1979)
Chosen Versions Compilation: Anthology: Greatest & Latest (2007)
Genre: Soft Rock
Mood: Mellow
Perfect For: Casual listening, Spring days, Autumn days, Driving, Getting cozy
Where To Next: "Spooky" - Dusty Springfield
Rating: 8 / 10
Song of the Day 04/21/2026
"Jambalaya (On the Bayou)" - Hank Williams
Now, we have talked about a ton of legendary musicians here on AintNoisePollution. Though, very few here hit the same level of influence and importance as Hank Williams. I mean, I guess that is more pointed towards country music, but Hank Williams had his hand in influencing what was to be rock music and helped along the still budding record industry. He is up there with some legendary names as being one of the most important music icons of the 20th century. In the modern tongue, Hank Williams might rub some wrong. He is the exact idea of "old but gold", a saying I don't love, but when it comes to it, that is exactly Hank. His music aged strangely, but that is some of the appeal. At the time, Hank Williams was a name synonymous with popular music. He was everywhere, and his voice and easily identifiable style influenced legions of musicians. I am no musician, but Hank Williams heavily inspired my life, and that is coming from a dude born 45ish years after the death of Hank Williams. Speaking of which, his death is a sad one. I mean, deaths of all walks are sad, but Hank Williams sort of up and died randomly, on New Year's Day no less. I am sure you know the tale, but Hank Williams died quietly in the backseat of his Cadillac while on the road heading to the next show. Williams was supposed to show up for a high-selling concert in West Virginia, quite a distance away from Alabama. With winter being in full effect, Williams was unable to fly to his next show. Instead, he hired a local college student, Charles Carr, to drive him to Charleston, WV. After a hard day of driving, it was decided to try to charter a plane in Knoxville, Tennessee, to see if the bird would fly. It left the floor but soon turned around due to bad weather. You thought it was going to be another plane death, huh? Well, after they got back into Knoxville, Carr insisted that a doctor check up on Williams since he was having adverse effects from the mixing of liquor and chloral hydrate. Carr called up Williams's tour manager about not making the Charleston show, so they canceled the show and had him charter a path towards Canton, Ohio for the New Year's Day show. They shot him full of some vitamins and morphine, and everyone helped Williams into his Cadillac. The two hit the road again, crossing into Bristol, Virginia, around midnight on January 1st. They drove on for a couple of hours. Carr at this point had been driving for 20 hours, and like anyone would, he stopped off to ask for relief from a local taxi company. They had a driver to do the job, so he joined the two for a little while until the next gas stop. While preparing to switch drivers, they noticed that Hank Williams was dead in the backseat. He had been dead long enough for rigor mortis to set in. The taxi company called up the police, and then they called into the show that Hank Williams would be performing at later that day. With the mix of remedies, booze, and the wounds from a fight that Williams got into at a bar a few days earlier, he never made that show. The show still went on, but they announced that Hank Williams wouldn't be in attendance due to his untimely death. The crowd didn't believe it at first, thinking it was some kind of joke. They made it clear that this was no laughing matter, and a hush fell on the crowd. The performers that were to play alongside Williams for the show came on stage and performed "I Saw the Light" with everyone in attendance pitching in as a tribute to the loss of one of America's most important performers. I am not one for gospel, but there is no doubting the power of "I Saw the Light". It was one of Hank Williams's most famous songs and would go on to be tightly affiliated with his death. The other track that is tightly knit to his passing is his last single before his death, "I'll Never Get Out of This World Alive".
The death of Hank Williams marked the end of an era for country music. The legions of musicians he heavily inspired were the ones to bring in the next wave of country music. Artists like Marty Robbins, George Jones, Johnny Cash, Stonewall Jackson, Johnny Horton, Hank Snow, and so many other country stars carried the flame that Williams set alight. In his time, Hank Williams released 35 hit singles, and after his death there were a string of a couple more, like the ever-famous "Your Cheatin' Heart", "Kaw-Liga", "Take These Chains from My Heart", "I Won't Be Home No More", and "Weary Blues from Waitin'". He had 12 #1 hit songs in his 6-year career, all of which went on to become country standards. The number of Hank Williams covers is crazy. I haven't come across any other musicians who have so many cover albums dedicated to them. There are so many songs you love but probably don't know were written by Hank Williams. With him coming before studio albums were the standard format of records, there are a lot of posthumous studio album releases and compilations. As much as I adore Hank Williams, this is sadly his debut on the website. Criminal, I know. Though his debut comes in the form of one of his greatest songs, "Jambalaya (On the Bayou)", so I think all should be forgiven. The song was released as a single on July 19th of 1952 and is one of his many chart toppers. It has gone on to be an essential country track, and it has been covered a ton of times. None get close to the grandeur of Williams version, but I will admit that the Fats Domino and Brenda Lee versions are damn good. The track revolves around Cajun food at a social gathering after. It was written after Williams overheard a conversation while touring alongside the Hadacol Caravan. Now, that is a whole bucket of history there. I will slightly touch on it since it is an interesting piece. Hadacol was a medicine that was under the guise of first dietary aid and then vitamin supplements. The health board, the American Medical Association, and a ton of other agencies were pissed. The mastermind, Dudley LeBlanc, wasn't licensed by any means, but he did have a knack for self-promotion. I am talking radio promotions and going so far as to have a little touring musical troupe that helped promote it. People didn't go and buy this tonic from a cart because they wanted to get healthier, quite the opposite. The caravans did so well since the bottle contained 10% alcohol, which was supposedly used as a preservative. In the many dry states that surrounded the South, they were practically serving up booze for the scrubs that lined up to buy this wonder tonic. Now, what is a drink without music? So there were many varying musicians that came along and played. Hank Williams was one of them. While on their bus, he wrote one of his biggest hits, which just so happens to be our song of the day. There are multiple mentions of Hadacol in plenty of songs, mostly blues, R&B, and country music of the time. LeBlanc might have been a conman, a nut, or just a shrewd businessman, but he helped along some great musicians, so he is okay in my books. "Jambalaya (On the Bayou)" is a catchy sucker that kicks off with a classic Hank Williams intro. The song turns mellow as Williams talks about women, partying, and yummy food. The melody comes from the song "Grand Texas" which is a much more sorrowful tale of lost love, but "Jambalaya (On the Bayou)" is anything but sorrowful. A great good-timing track that shows off some of Williams's signature sound. Lyrically it is a simple one, but that is Hank Williams for you. He gained the nickname "The Hillbilly Shakespeare" due to how well he put words together that tell a simple tale that we can all get behind. Tales of broken hearts, bad luck, faith, hard traveling, working your life away, having a drink, and finding love in familiar places. Mostly, Williams wrote more sad tunes, which gained him another nickname, "Lovesick Blues Boy". My favorite nickname for Hank Williams is "Luke the Drifter" which is what he went by when first recording songs. Man, there is so much history when it comes to Hank Williams I would need a solid chunk of posts to get even half his story here. It breaks my heart that it took this long for Hank Williams to come to the website since his music means a ton to me. He is here now, and with luck, we will have more from Williams here soon. For now, I give to you "Jambalaya (On the Bayou)" for your enjoyment. So..... Enjoy!
Year Released: 1952
Album: Honky Tonkin (1954)
Genre: Country, Western
Mood: Happy
Perfect For: Getting ready for a social gathering, Having some drinks, Summer days, Feasts
Where To Next: "Death of Hank Williams" - Jack Cardwell
Rating: 9 / 10
Now, we have talked about a ton of legendary musicians here on AintNoisePollution. Though, very few here hit the same level of influence and importance as Hank Williams. I mean, I guess that is more pointed towards country music, but Hank Williams had his hand in influencing what was to be rock music and helped along the still budding record industry. He is up there with some legendary names as being one of the most important music icons of the 20th century. In the modern tongue, Hank Williams might rub some wrong. He is the exact idea of "old but gold", a saying I don't love, but when it comes to it, that is exactly Hank. His music aged strangely, but that is some of the appeal. At the time, Hank Williams was a name synonymous with popular music. He was everywhere, and his voice and easily identifiable style influenced legions of musicians. I am no musician, but Hank Williams heavily inspired my life, and that is coming from a dude born 45ish years after the death of Hank Williams. Speaking of which, his death is a sad one. I mean, deaths of all walks are sad, but Hank Williams sort of up and died randomly, on New Year's Day no less. I am sure you know the tale, but Hank Williams died quietly in the backseat of his Cadillac while on the road heading to the next show. Williams was supposed to show up for a high-selling concert in West Virginia, quite a distance away from Alabama. With winter being in full effect, Williams was unable to fly to his next show. Instead, he hired a local college student, Charles Carr, to drive him to Charleston, WV. After a hard day of driving, it was decided to try to charter a plane in Knoxville, Tennessee, to see if the bird would fly. It left the floor but soon turned around due to bad weather. You thought it was going to be another plane death, huh? Well, after they got back into Knoxville, Carr insisted that a doctor check up on Williams since he was having adverse effects from the mixing of liquor and chloral hydrate. Carr called up Williams's tour manager about not making the Charleston show, so they canceled the show and had him charter a path towards Canton, Ohio for the New Year's Day show. They shot him full of some vitamins and morphine, and everyone helped Williams into his Cadillac. The two hit the road again, crossing into Bristol, Virginia, around midnight on January 1st. They drove on for a couple of hours. Carr at this point had been driving for 20 hours, and like anyone would, he stopped off to ask for relief from a local taxi company. They had a driver to do the job, so he joined the two for a little while until the next gas stop. While preparing to switch drivers, they noticed that Hank Williams was dead in the backseat. He had been dead long enough for rigor mortis to set in. The taxi company called up the police, and then they called into the show that Hank Williams would be performing at later that day. With the mix of remedies, booze, and the wounds from a fight that Williams got into at a bar a few days earlier, he never made that show. The show still went on, but they announced that Hank Williams wouldn't be in attendance due to his untimely death. The crowd didn't believe it at first, thinking it was some kind of joke. They made it clear that this was no laughing matter, and a hush fell on the crowd. The performers that were to play alongside Williams for the show came on stage and performed "I Saw the Light" with everyone in attendance pitching in as a tribute to the loss of one of America's most important performers. I am not one for gospel, but there is no doubting the power of "I Saw the Light". It was one of Hank Williams's most famous songs and would go on to be tightly affiliated with his death. The other track that is tightly knit to his passing is his last single before his death, "I'll Never Get Out of This World Alive".
The death of Hank Williams marked the end of an era for country music. The legions of musicians he heavily inspired were the ones to bring in the next wave of country music. Artists like Marty Robbins, George Jones, Johnny Cash, Stonewall Jackson, Johnny Horton, Hank Snow, and so many other country stars carried the flame that Williams set alight. In his time, Hank Williams released 35 hit singles, and after his death there were a string of a couple more, like the ever-famous "Your Cheatin' Heart", "Kaw-Liga", "Take These Chains from My Heart", "I Won't Be Home No More", and "Weary Blues from Waitin'". He had 12 #1 hit songs in his 6-year career, all of which went on to become country standards. The number of Hank Williams covers is crazy. I haven't come across any other musicians who have so many cover albums dedicated to them. There are so many songs you love but probably don't know were written by Hank Williams. With him coming before studio albums were the standard format of records, there are a lot of posthumous studio album releases and compilations. As much as I adore Hank Williams, this is sadly his debut on the website. Criminal, I know. Though his debut comes in the form of one of his greatest songs, "Jambalaya (On the Bayou)", so I think all should be forgiven. The song was released as a single on July 19th of 1952 and is one of his many chart toppers. It has gone on to be an essential country track, and it has been covered a ton of times. None get close to the grandeur of Williams version, but I will admit that the Fats Domino and Brenda Lee versions are damn good. The track revolves around Cajun food at a social gathering after. It was written after Williams overheard a conversation while touring alongside the Hadacol Caravan. Now, that is a whole bucket of history there. I will slightly touch on it since it is an interesting piece. Hadacol was a medicine that was under the guise of first dietary aid and then vitamin supplements. The health board, the American Medical Association, and a ton of other agencies were pissed. The mastermind, Dudley LeBlanc, wasn't licensed by any means, but he did have a knack for self-promotion. I am talking radio promotions and going so far as to have a little touring musical troupe that helped promote it. People didn't go and buy this tonic from a cart because they wanted to get healthier, quite the opposite. The caravans did so well since the bottle contained 10% alcohol, which was supposedly used as a preservative. In the many dry states that surrounded the South, they were practically serving up booze for the scrubs that lined up to buy this wonder tonic. Now, what is a drink without music? So there were many varying musicians that came along and played. Hank Williams was one of them. While on their bus, he wrote one of his biggest hits, which just so happens to be our song of the day. There are multiple mentions of Hadacol in plenty of songs, mostly blues, R&B, and country music of the time. LeBlanc might have been a conman, a nut, or just a shrewd businessman, but he helped along some great musicians, so he is okay in my books. "Jambalaya (On the Bayou)" is a catchy sucker that kicks off with a classic Hank Williams intro. The song turns mellow as Williams talks about women, partying, and yummy food. The melody comes from the song "Grand Texas" which is a much more sorrowful tale of lost love, but "Jambalaya (On the Bayou)" is anything but sorrowful. A great good-timing track that shows off some of Williams's signature sound. Lyrically it is a simple one, but that is Hank Williams for you. He gained the nickname "The Hillbilly Shakespeare" due to how well he put words together that tell a simple tale that we can all get behind. Tales of broken hearts, bad luck, faith, hard traveling, working your life away, having a drink, and finding love in familiar places. Mostly, Williams wrote more sad tunes, which gained him another nickname, "Lovesick Blues Boy". My favorite nickname for Hank Williams is "Luke the Drifter" which is what he went by when first recording songs. Man, there is so much history when it comes to Hank Williams I would need a solid chunk of posts to get even half his story here. It breaks my heart that it took this long for Hank Williams to come to the website since his music means a ton to me. He is here now, and with luck, we will have more from Williams here soon. For now, I give to you "Jambalaya (On the Bayou)" for your enjoyment. So..... Enjoy!
Year Released: 1952
Album: Honky Tonkin (1954)
Genre: Country, Western
Mood: Happy
Perfect For: Getting ready for a social gathering, Having some drinks, Summer days, Feasts
Where To Next: "Death of Hank Williams" - Jack Cardwell
Rating: 9 / 10
Song of the Day 04/20/2026
"All Hell Let Loose" - Grim Reaper
For the power and the glory, we raise our swords to the power of heavy metal! The battle of true metal was alive and well in the 1980s. There were studded leather-clad warriors fighting for the genre. Their biggest enemy was the false idols shoved down the throats of the world's youth from MTV. Things have changed a lot since then, but the early days of heavy metal have this special brand of mythology that I am obsessed with. Imagery, lyrical content, and style that made the genre more than a musical genre but a full lifestyle. People still represent the old ways even today, but metal itself moved along and changed faces many times since the days of yore. Grim Reaper was a band that lived and breathed heavy metal but felt the bite of the changing tides that ultimately did them in. The band's first two albums are core heavy metal albums, the exact idea of what heavy metal was before thrash, death, black, and industrial metal ushered in a new age for the genre. Grim Reaper is aggressive and impressive, and while they have a small discography of core albums, they serve as idols of the new wave of British heavy metal genre. They are almost closer to the speed metal genre than that of NWOBHM, but those two walked the world hand in hand and are often difficult to differentiate. Grim Reaper was an early love of mine. I first came across them when I was in 6th grade, a time period when heavy metal was this menacing and strange thing to me. I was barely just leaving behind the music that was popular at the time. My days with Fall Out Boy, My Chemical Romance, and Breaking Benjamin were coming to an end, and the age of heavy metal was upon my young ears. I was still too young to be all too compelled to listen to a full album unless I owned it on CD, but the tracks "Never Coming Back" and "See You in Hell" had a special spot on my MP3 player. I can't even remember how I first came across the group. What I do remember was going to Barnes & Noble for Christmas around that age, where my dad bought me a book of my choice. I got this one which covered the history of heavy metal. That thing was practically my bible at the time. I religiously read it, studied the pictures, and memorized random information about bands. It was there that I must have discovered Grim Reaper. I was instantly drawn to the band from its imagery. The album cover to their second album, Fear No Evil, is certainly from its time but has an appeal. A fuckin' grim reaper busting through a church window on a motorcycle?! I mean, come on, that is cool as hell! Their debut is even better with the hellscape in which Death rides upon his horse, long scythe bloodied from its last feast. The style of Grim Reaper is fuckin' intense; a lot of that comes from the vocal work of Steve Grimmett, who could shatter windows with a sneeze. Many modern metalheads have a hard time getting into this kind of metal due to the vocal style, but for me, it is a goldmine of quality heavy metal. The battle cry is a tool used to set fear into the listener. Pure power that your ears choke on. That power had little me completely entranced since a young age. I have only tried singing this way in private once, and after pissing off my throat and practically bursting a testicle, I never tried it again. It is one of my favorite tools in the heavy metal arsenal. The most impressive one I have ever heard is from Nitro on their crazy impressive track "Machine Gunn Eddie". Anyway, Grim Reaper is a group that came and went, but while they were around, they put out some damn good stuff. The band started up in 1979, and after multiple lineup changes, they released their first album in 1983. See You in Hell is one hell of an intense ride. Not so full-frontal heavy metal that each song is chill-inducing; there are still the tracks that would be modernly considered hard rock, but even those ones are mean. It was released in the UK in 1983 and in the US in 1984. It only charted in the United States even though it was a strong addition to the new wave of British heavy metal genre.
Furthermore, it is here that we also find our song of the day, "All Hell Let Loose". This is the final track off the album and is a great way to end it. The kind of song that makes you want to load up the album again. Heavy metal albums of this style do indeed grow a little stale for a full listen through, but Grim Reaper impressively keeps things lively all the way until the end. One of the most intense moments on the album is "All Hell Let Loose" with its addictive chorus. It is a straightforward track, but one still filled with great vocal prowess and guitar work, the two things that helped set Grim Reaper apart from the other rabble. It has everything you could want out of an early heavy metal song. It has a raunchy recording quality giving it an otherworldly feeling, an aggressive guitar solo, constant drums keeping you banging your head, bass work that supports the guitar the whole way through, hair-raising vocals, and even a maniacal laugh to remind you of the song's sinister nature. When it comes to the lyrics, "All Hell Let Loose" is a decent one. It covers the paranoia that revolves around your demise, something that is well-founded since at the end of the song, death does indeed come knocking. A damn good ending to an album that hardly chills the fuck out. Grim Reaper gathered a strong fan base and even charted strongly at #73 in the US with See You in Hell. They followed the album up with an equally great album, Fear No Evil, which puts the vocals even more in the spotlight and butters up the quality. Fear No Evil doesn't get the same love as the debut but is still just as kick-ass as their debut. Practically a follow-up album that doesn't switch up the band's style too much, but if it isn't broken, don't fix it. That was the first album of theirs I listened to in completion during my first run of studying heavy metal music, and I have been a big fan ever since. The band's third album, Rock You to Hell, released in 1987, was the one to sink their boat. Due to legal battles with Grim Reaper's label, Ebony Records, their third album was delayed by two years, which ultimately did them in. To not stay consistent in the late 1980s in heavy metal was a death sentence. The genre was going through a massive expansion, and Grim Reaper's brand of heavy metal was now yesterday's news. Rock You to Hell still managed to get them some fame, especially since the track "Rock You to Hell" got a lot of coverage on the radio and the MTV program Headbangers Ball. I have always found the album to be a little lacking, which is a heartbreaking thing to say out loud. There are still plenty of good tracks, but the album itself grows stale quickly. Still a worthwhile listen for both fans like myself and even those just getting into the band today. It felt like a lazy album, like the band ran out of ideas. I think they tried shooting for a more commercial sound, which worked for them well, albeit only on one of the songs. If only the music was as good as that album cover! Fuckin' killer! Many in the fan base love this album just as much as their first two, so it might just be me. I hardly ever come to it, though. It was their last album for 29 years until Grim Reaper came back under the name Steve Grimmett's Grim Reaper and released Walking in the Shadows. The band's last two albums are decent ones, fun for a group that came out of the blue to do it again, but I still stick to their core albums. Grimmett passed away in 2022, which means we will never see another Grim Reaper album. Who needs the future of Grim Reaper when their past is so full of hidden gems you would need shovels for fingers to dig them all up? After the intricate nature of Chicago, the groove-laden death metal style of Bolt Thrower, and the trippy fashion of Hawkwind, I am happy to have some balls to the wall razor cut heavy metal to get the blood pumping. This is one of my all-time favorite styles of music, and Grim Reaper is one of the bands that serve it up the best! Turn those speakers up! Raise those horns! Enjoy!
Year Released: 1983
Album: See You in Hell (1983)
Genre: Traditional Heavy Metal, NWOBHM, Speed Metal
Mood: Intense
Perfect For: Banging your head, Casual listening, Having beers with friends, Running away from Johnny law
Where To Next: "Die By the Blade" - Omen
Rating: 8 / 10
For the power and the glory, we raise our swords to the power of heavy metal! The battle of true metal was alive and well in the 1980s. There were studded leather-clad warriors fighting for the genre. Their biggest enemy was the false idols shoved down the throats of the world's youth from MTV. Things have changed a lot since then, but the early days of heavy metal have this special brand of mythology that I am obsessed with. Imagery, lyrical content, and style that made the genre more than a musical genre but a full lifestyle. People still represent the old ways even today, but metal itself moved along and changed faces many times since the days of yore. Grim Reaper was a band that lived and breathed heavy metal but felt the bite of the changing tides that ultimately did them in. The band's first two albums are core heavy metal albums, the exact idea of what heavy metal was before thrash, death, black, and industrial metal ushered in a new age for the genre. Grim Reaper is aggressive and impressive, and while they have a small discography of core albums, they serve as idols of the new wave of British heavy metal genre. They are almost closer to the speed metal genre than that of NWOBHM, but those two walked the world hand in hand and are often difficult to differentiate. Grim Reaper was an early love of mine. I first came across them when I was in 6th grade, a time period when heavy metal was this menacing and strange thing to me. I was barely just leaving behind the music that was popular at the time. My days with Fall Out Boy, My Chemical Romance, and Breaking Benjamin were coming to an end, and the age of heavy metal was upon my young ears. I was still too young to be all too compelled to listen to a full album unless I owned it on CD, but the tracks "Never Coming Back" and "See You in Hell" had a special spot on my MP3 player. I can't even remember how I first came across the group. What I do remember was going to Barnes & Noble for Christmas around that age, where my dad bought me a book of my choice. I got this one which covered the history of heavy metal. That thing was practically my bible at the time. I religiously read it, studied the pictures, and memorized random information about bands. It was there that I must have discovered Grim Reaper. I was instantly drawn to the band from its imagery. The album cover to their second album, Fear No Evil, is certainly from its time but has an appeal. A fuckin' grim reaper busting through a church window on a motorcycle?! I mean, come on, that is cool as hell! Their debut is even better with the hellscape in which Death rides upon his horse, long scythe bloodied from its last feast. The style of Grim Reaper is fuckin' intense; a lot of that comes from the vocal work of Steve Grimmett, who could shatter windows with a sneeze. Many modern metalheads have a hard time getting into this kind of metal due to the vocal style, but for me, it is a goldmine of quality heavy metal. The battle cry is a tool used to set fear into the listener. Pure power that your ears choke on. That power had little me completely entranced since a young age. I have only tried singing this way in private once, and after pissing off my throat and practically bursting a testicle, I never tried it again. It is one of my favorite tools in the heavy metal arsenal. The most impressive one I have ever heard is from Nitro on their crazy impressive track "Machine Gunn Eddie". Anyway, Grim Reaper is a group that came and went, but while they were around, they put out some damn good stuff. The band started up in 1979, and after multiple lineup changes, they released their first album in 1983. See You in Hell is one hell of an intense ride. Not so full-frontal heavy metal that each song is chill-inducing; there are still the tracks that would be modernly considered hard rock, but even those ones are mean. It was released in the UK in 1983 and in the US in 1984. It only charted in the United States even though it was a strong addition to the new wave of British heavy metal genre.
Furthermore, it is here that we also find our song of the day, "All Hell Let Loose". This is the final track off the album and is a great way to end it. The kind of song that makes you want to load up the album again. Heavy metal albums of this style do indeed grow a little stale for a full listen through, but Grim Reaper impressively keeps things lively all the way until the end. One of the most intense moments on the album is "All Hell Let Loose" with its addictive chorus. It is a straightforward track, but one still filled with great vocal prowess and guitar work, the two things that helped set Grim Reaper apart from the other rabble. It has everything you could want out of an early heavy metal song. It has a raunchy recording quality giving it an otherworldly feeling, an aggressive guitar solo, constant drums keeping you banging your head, bass work that supports the guitar the whole way through, hair-raising vocals, and even a maniacal laugh to remind you of the song's sinister nature. When it comes to the lyrics, "All Hell Let Loose" is a decent one. It covers the paranoia that revolves around your demise, something that is well-founded since at the end of the song, death does indeed come knocking. A damn good ending to an album that hardly chills the fuck out. Grim Reaper gathered a strong fan base and even charted strongly at #73 in the US with See You in Hell. They followed the album up with an equally great album, Fear No Evil, which puts the vocals even more in the spotlight and butters up the quality. Fear No Evil doesn't get the same love as the debut but is still just as kick-ass as their debut. Practically a follow-up album that doesn't switch up the band's style too much, but if it isn't broken, don't fix it. That was the first album of theirs I listened to in completion during my first run of studying heavy metal music, and I have been a big fan ever since. The band's third album, Rock You to Hell, released in 1987, was the one to sink their boat. Due to legal battles with Grim Reaper's label, Ebony Records, their third album was delayed by two years, which ultimately did them in. To not stay consistent in the late 1980s in heavy metal was a death sentence. The genre was going through a massive expansion, and Grim Reaper's brand of heavy metal was now yesterday's news. Rock You to Hell still managed to get them some fame, especially since the track "Rock You to Hell" got a lot of coverage on the radio and the MTV program Headbangers Ball. I have always found the album to be a little lacking, which is a heartbreaking thing to say out loud. There are still plenty of good tracks, but the album itself grows stale quickly. Still a worthwhile listen for both fans like myself and even those just getting into the band today. It felt like a lazy album, like the band ran out of ideas. I think they tried shooting for a more commercial sound, which worked for them well, albeit only on one of the songs. If only the music was as good as that album cover! Fuckin' killer! Many in the fan base love this album just as much as their first two, so it might just be me. I hardly ever come to it, though. It was their last album for 29 years until Grim Reaper came back under the name Steve Grimmett's Grim Reaper and released Walking in the Shadows. The band's last two albums are decent ones, fun for a group that came out of the blue to do it again, but I still stick to their core albums. Grimmett passed away in 2022, which means we will never see another Grim Reaper album. Who needs the future of Grim Reaper when their past is so full of hidden gems you would need shovels for fingers to dig them all up? After the intricate nature of Chicago, the groove-laden death metal style of Bolt Thrower, and the trippy fashion of Hawkwind, I am happy to have some balls to the wall razor cut heavy metal to get the blood pumping. This is one of my all-time favorite styles of music, and Grim Reaper is one of the bands that serve it up the best! Turn those speakers up! Raise those horns! Enjoy!
Year Released: 1983
Album: See You in Hell (1983)
Genre: Traditional Heavy Metal, NWOBHM, Speed Metal
Mood: Intense
Perfect For: Banging your head, Casual listening, Having beers with friends, Running away from Johnny law
Where To Next: "Die By the Blade" - Omen
Rating: 8 / 10
Song of the Day 04/19/2026
"Sing a Mean Tune Kid" - Chicago
Chicago is on its way to being the band that defined my first year in Salt Lake City. I have found a new appreciation for the band, which is odd since I have appreciated the band for the last many years of my life. Something about how they sound on vinyl is sublime. Now, I ain't that type of dude that thinks vinyl is superior to all the other formats and refuses to go to Starbucks, but when it comes to Chicago, I guess that I am. Maybe some of that is since Chicago's first couple of albums are all double albums. Double albums filled with a unique vibe for each one's packaging. The labor of love of standing my lazy ass up to go clean and flip the albums. Also, with Chicago in vinyl format, it really has you zoning in on the crazy shit the band does. I have always had my jaw dropping when Chicago plays, especially in their early sound, but that spotlight of over an hour of solid, tight playing that jumps between jamming one moment and solidified verses the next is best experienced when on vinyl. When it comes to an album that shows that off, I think their third album Chicago III is the best for sporadic switches in songs and sounds. Shit, this is the only Chicago album I can think of that uses audio of a toilet flushing like it is a casual thing to do. The suite to "An Hour in the Shower" and "Elegy" is an odd ride, but it shows off how Chicago can appeal to those that like intricate songwriting and those that like radio hits. Even the most successful single off the album, "Free", is part of a bigger song called "Travel Suite" which just goes to prove my previous statement. Chicago just blows my mind, man, and I absolutely adore collecting their albums. I have a rule that I cannot move on to the next purchase until I physically find the next one at a store. It has been harder than I thought it would. I'm assuming it will just become more difficult and expensive as I move through their discography. Speaking of that discography, Chicago was one of my first truly difficult discographies to do a run-through of. I was 18 the first time I sat down to listen through all their albums in order. The challenge wasn't due to a lack of great albums, in that Chicago has a massive amount, but more so the large amount of albums that are within their discography and the length of some of those albums. Chicago currently has 26 studio albums and 7 live albums, all of which have been listened to and mostly loved by yours truly. It has been a joy running through their discography again, but the first time was a chore. I have learned since then that listening through a discography as large as Chicago's back-to-back is simply a bad idea. It will leave you musically burned out by the time you get halfway through it. So, don't you even think about it. Chicago is one of the longest-running rock bands in history and one of the most successful to boot. Master musicians is putting it lightly. Even when they went the pop route, there is always something there to completely floor you, even if it is the simple beauty and vocal skills of Peter Cetera on "If You Leave Me Now". Chicago has had a crazy amount of lineup changes, so many that it would take the whole post just talking about it. If you are curious, look into it yourself, but anyone who came into Chicago was tried and true in the way of the arts. Robert Lamm, James Pankow, and Lee Loughnane are the Chicago members who have been there since the beginning, and Walter Parazaider has been with the band since 1967 but decided to retire in 2018 after some health complications. There are few bands from the 1960s that are still around, and even fewer that are still dishing out music. Chicago's most recent studio album, Chicago XXXVIII: Born for This Moment, is a decent album. One that sounds like a band that has been doing this for 55 years but is still decent overall.
We aren't here to talk about their most recent studio album, maybe some day. Today, we are gathered here for their third album, one of their greatest. Chicago III released at the start of 1971. It served as a perfect follow-up to their previous album and holds about the same theme. Chicago is still in the stage where they are outspoken lyrically and aren't afraid to ruffle the feathers of those that need some ruffling. Much like their previous album, this album is made up of equal parts straightforward rock tracks and then the progressive jazz fusion goliaths that almost eat up a whole side of an LP themselves. Side two of the album is a song called "Travel Suite" that runs for 22:30 and is made up of 6 songs. Side four is also one song, "Elegy", which is made up of six songs also. "Travel Suite" is a little easier to get into out of the two, but "Elegy" is an artistic piece that blows you out of your socks. Both play their role, both are epic, and it is up to you which is the better suite. For me, I have to go with "Elegy", but mostly because it is one of the most out-there experiences Chicago ever put out. That poem that kicks it off is great! You don't expect it to appear, and for a second there it comes off a bit silly. But once you hear the words spoken on "When All the Laughter Dies in Sorrow", you realize it is an absolute gem.
"When all the laughter dies in sorrow
And all the tears have risen to a flood
When all the wars have found a cause
In human wisdom and in blood
Do you think they'll cry in sadness?
Do you think the eye will blink?
Do you think they will curse the madness?
Do you even think they'll think?
When all the great galactic systems
Sigh to a frozen halt in space
Do you think there will be some remnant of beauty of the human race?
Do you think there will be a vestige, or a sniffle, or a cosmic tear?
Do you think a greater thinking thing will give a damn that man was here?"
Good shit. Goooood shit! That was written by Kendrew Lascelles, a man who wrote a ton of thought-provoking words in his time. It was spoken by Robert Lamm, the man who wrote our song of the day but left the singing to Peter Cetera. Our song of the day isn't a piece of a suite. "Sing a Mean Tune Kid" is a standalone track and is the first song on the album. Chicago always knows how to set the stage with their intro track, and "Sing a Mean Tune Kid" is no different. It kicks Chicago III off with a bang! The first thing you hear from this album is the word "one", which always leads me to believe there will be a "one... two... three..." but nope. An awkward silence follows for a couple of seconds, and then some overly funky music comes into the picture with a proper "one, two, three, four" send-off. Random, but this whole album is a touch random. That is why I prefer this one in comparison to some of their others. Chicago III still holds strongly to their jazz rock sound that found them fame, but there are a lot more influences on this one. "Sing a Mean Tune Kid" is certainly funk-leaning. They have some folk mixed in on some tracks, trippy-ass almost electronic music, more jamming and improv than their previous, and even a little bit of country thrown into the mix randomly. Chicago was already a trendsetter by this point, but they had to go and take it further. Their next studio album, Chicago V, drops a lot of the zany nature of this album, which is a shame but also allows Chicago III to be the black sheep album. It isn't so out there that only art snobs snap their fingers at it; this is still full-frontal rock n roll for the people! "Sing a Mean Tune Kid" is one of the tracks that isn't all that out there. It serves its purpose as the intro track. It gets that blood pumping! Gets you grooving and jamming, especially at the middle mark where Terry Kath absolutely goes off on his guitar. If you get a chance to go on YouTube and pull up some performances of Chicago from this time period, Kath looks like a caveman who had an epiphany on how to play like a madman and went and became a guitar god. Shit, even Jimi Hendrix praised him heavily, saying he was an even better guitarist than himself. This track shows that talent off, but not as heavily as some out there. "Free Form Guitar" is crazy, and so is the blistering guitar solo on "25 or 6 to 4". Shit, Chicago's debut is practically a showcase of his talents. He commands the majority of "Sing a Mean Tune Kid". Should have been called "Riff a Mean Tune Kid". The rest of the band is there and also deserves all the praise in the world. The tightness of their playing always astounds me. Almost as if they were gifted from birth to play that damn good! It ain't the case, since practice and vigor go a long way, but it still does make me question divine intervention. Chicago III is a gem, but it might not have been. It was recorded directly after a year of vigorous touring. Touring and Chicago are things that go hand in hand. If they don't tour, something is seriously up. Hell, they will be in my neck of the woods in August. Not only that, Chicago III marked the first time that the band was without original material. Their previous two albums were playthings in the making for a long time, but now they had to get out there and write some stuff while on the road. This gives the album a more worldly feeling and might be some of the reason that they brought in more styles. There's nothing like seeing the rest of the world to put things in perspective. Lyrically this album is a strong one with plenty of protest music themes and also some simplistic themes that please all sorts of listeners. Even with the road wear and new vision, the album was a big success. Hitting #2 in the US and in the top ten in most other countries. This is the first Chicago album to be titled under the iconic Roman numeral titling. It would be the last Chicago double album for a couple of years, something my girlfriend will be glad to hear. Man, this album is just so good! If you are someone who loves an album that is meant to be listened to as an album, then this one is for you. You might just need a good chunk of time to see it through. Worth every second, minute, and hour, in that I promise! It has that AintNoisePollution seal of approval! For what that is worth. Anyway, that is enough out of me; this has been one of my longest posts in a good while. Thanks for reading and rocking along with me. Enjoy!
Year Released: 1971
Album: Chicago III (1971)
Genre: Funk Rock, Jazz Fusion, Rock
Mood: Groovy
Perfect For: Focused listening, Getting inspired, Relaxing at home
Where To Next: "Where Have I Known You Before" - Return to Forever
Rating: 8 / 10
Chicago is on its way to being the band that defined my first year in Salt Lake City. I have found a new appreciation for the band, which is odd since I have appreciated the band for the last many years of my life. Something about how they sound on vinyl is sublime. Now, I ain't that type of dude that thinks vinyl is superior to all the other formats and refuses to go to Starbucks, but when it comes to Chicago, I guess that I am. Maybe some of that is since Chicago's first couple of albums are all double albums. Double albums filled with a unique vibe for each one's packaging. The labor of love of standing my lazy ass up to go clean and flip the albums. Also, with Chicago in vinyl format, it really has you zoning in on the crazy shit the band does. I have always had my jaw dropping when Chicago plays, especially in their early sound, but that spotlight of over an hour of solid, tight playing that jumps between jamming one moment and solidified verses the next is best experienced when on vinyl. When it comes to an album that shows that off, I think their third album Chicago III is the best for sporadic switches in songs and sounds. Shit, this is the only Chicago album I can think of that uses audio of a toilet flushing like it is a casual thing to do. The suite to "An Hour in the Shower" and "Elegy" is an odd ride, but it shows off how Chicago can appeal to those that like intricate songwriting and those that like radio hits. Even the most successful single off the album, "Free", is part of a bigger song called "Travel Suite" which just goes to prove my previous statement. Chicago just blows my mind, man, and I absolutely adore collecting their albums. I have a rule that I cannot move on to the next purchase until I physically find the next one at a store. It has been harder than I thought it would. I'm assuming it will just become more difficult and expensive as I move through their discography. Speaking of that discography, Chicago was one of my first truly difficult discographies to do a run-through of. I was 18 the first time I sat down to listen through all their albums in order. The challenge wasn't due to a lack of great albums, in that Chicago has a massive amount, but more so the large amount of albums that are within their discography and the length of some of those albums. Chicago currently has 26 studio albums and 7 live albums, all of which have been listened to and mostly loved by yours truly. It has been a joy running through their discography again, but the first time was a chore. I have learned since then that listening through a discography as large as Chicago's back-to-back is simply a bad idea. It will leave you musically burned out by the time you get halfway through it. So, don't you even think about it. Chicago is one of the longest-running rock bands in history and one of the most successful to boot. Master musicians is putting it lightly. Even when they went the pop route, there is always something there to completely floor you, even if it is the simple beauty and vocal skills of Peter Cetera on "If You Leave Me Now". Chicago has had a crazy amount of lineup changes, so many that it would take the whole post just talking about it. If you are curious, look into it yourself, but anyone who came into Chicago was tried and true in the way of the arts. Robert Lamm, James Pankow, and Lee Loughnane are the Chicago members who have been there since the beginning, and Walter Parazaider has been with the band since 1967 but decided to retire in 2018 after some health complications. There are few bands from the 1960s that are still around, and even fewer that are still dishing out music. Chicago's most recent studio album, Chicago XXXVIII: Born for This Moment, is a decent album. One that sounds like a band that has been doing this for 55 years but is still decent overall.
We aren't here to talk about their most recent studio album, maybe some day. Today, we are gathered here for their third album, one of their greatest. Chicago III released at the start of 1971. It served as a perfect follow-up to their previous album and holds about the same theme. Chicago is still in the stage where they are outspoken lyrically and aren't afraid to ruffle the feathers of those that need some ruffling. Much like their previous album, this album is made up of equal parts straightforward rock tracks and then the progressive jazz fusion goliaths that almost eat up a whole side of an LP themselves. Side two of the album is a song called "Travel Suite" that runs for 22:30 and is made up of 6 songs. Side four is also one song, "Elegy", which is made up of six songs also. "Travel Suite" is a little easier to get into out of the two, but "Elegy" is an artistic piece that blows you out of your socks. Both play their role, both are epic, and it is up to you which is the better suite. For me, I have to go with "Elegy", but mostly because it is one of the most out-there experiences Chicago ever put out. That poem that kicks it off is great! You don't expect it to appear, and for a second there it comes off a bit silly. But once you hear the words spoken on "When All the Laughter Dies in Sorrow", you realize it is an absolute gem.
"When all the laughter dies in sorrow
And all the tears have risen to a flood
When all the wars have found a cause
In human wisdom and in blood
Do you think they'll cry in sadness?
Do you think the eye will blink?
Do you think they will curse the madness?
Do you even think they'll think?
When all the great galactic systems
Sigh to a frozen halt in space
Do you think there will be some remnant of beauty of the human race?
Do you think there will be a vestige, or a sniffle, or a cosmic tear?
Do you think a greater thinking thing will give a damn that man was here?"
Good shit. Goooood shit! That was written by Kendrew Lascelles, a man who wrote a ton of thought-provoking words in his time. It was spoken by Robert Lamm, the man who wrote our song of the day but left the singing to Peter Cetera. Our song of the day isn't a piece of a suite. "Sing a Mean Tune Kid" is a standalone track and is the first song on the album. Chicago always knows how to set the stage with their intro track, and "Sing a Mean Tune Kid" is no different. It kicks Chicago III off with a bang! The first thing you hear from this album is the word "one", which always leads me to believe there will be a "one... two... three..." but nope. An awkward silence follows for a couple of seconds, and then some overly funky music comes into the picture with a proper "one, two, three, four" send-off. Random, but this whole album is a touch random. That is why I prefer this one in comparison to some of their others. Chicago III still holds strongly to their jazz rock sound that found them fame, but there are a lot more influences on this one. "Sing a Mean Tune Kid" is certainly funk-leaning. They have some folk mixed in on some tracks, trippy-ass almost electronic music, more jamming and improv than their previous, and even a little bit of country thrown into the mix randomly. Chicago was already a trendsetter by this point, but they had to go and take it further. Their next studio album, Chicago V, drops a lot of the zany nature of this album, which is a shame but also allows Chicago III to be the black sheep album. It isn't so out there that only art snobs snap their fingers at it; this is still full-frontal rock n roll for the people! "Sing a Mean Tune Kid" is one of the tracks that isn't all that out there. It serves its purpose as the intro track. It gets that blood pumping! Gets you grooving and jamming, especially at the middle mark where Terry Kath absolutely goes off on his guitar. If you get a chance to go on YouTube and pull up some performances of Chicago from this time period, Kath looks like a caveman who had an epiphany on how to play like a madman and went and became a guitar god. Shit, even Jimi Hendrix praised him heavily, saying he was an even better guitarist than himself. This track shows that talent off, but not as heavily as some out there. "Free Form Guitar" is crazy, and so is the blistering guitar solo on "25 or 6 to 4". Shit, Chicago's debut is practically a showcase of his talents. He commands the majority of "Sing a Mean Tune Kid". Should have been called "Riff a Mean Tune Kid". The rest of the band is there and also deserves all the praise in the world. The tightness of their playing always astounds me. Almost as if they were gifted from birth to play that damn good! It ain't the case, since practice and vigor go a long way, but it still does make me question divine intervention. Chicago III is a gem, but it might not have been. It was recorded directly after a year of vigorous touring. Touring and Chicago are things that go hand in hand. If they don't tour, something is seriously up. Hell, they will be in my neck of the woods in August. Not only that, Chicago III marked the first time that the band was without original material. Their previous two albums were playthings in the making for a long time, but now they had to get out there and write some stuff while on the road. This gives the album a more worldly feeling and might be some of the reason that they brought in more styles. There's nothing like seeing the rest of the world to put things in perspective. Lyrically this album is a strong one with plenty of protest music themes and also some simplistic themes that please all sorts of listeners. Even with the road wear and new vision, the album was a big success. Hitting #2 in the US and in the top ten in most other countries. This is the first Chicago album to be titled under the iconic Roman numeral titling. It would be the last Chicago double album for a couple of years, something my girlfriend will be glad to hear. Man, this album is just so good! If you are someone who loves an album that is meant to be listened to as an album, then this one is for you. You might just need a good chunk of time to see it through. Worth every second, minute, and hour, in that I promise! It has that AintNoisePollution seal of approval! For what that is worth. Anyway, that is enough out of me; this has been one of my longest posts in a good while. Thanks for reading and rocking along with me. Enjoy!
Year Released: 1971
Album: Chicago III (1971)
Genre: Funk Rock, Jazz Fusion, Rock
Mood: Groovy
Perfect For: Focused listening, Getting inspired, Relaxing at home
Where To Next: "Where Have I Known You Before" - Return to Forever
Rating: 8 / 10
Song of the Day 04/18/2026
"The Killchain" - Bolt Thrower
Alright, it has been a solid minute since the extreme side of the metal spectrum showed its teeth on the website. It is an acquired taste, yes I know, but I proudly throw some on the website. Who knows? Maybe this will be the track that helps you understand the wicked nature of death metal. Bolt Thrower, in a lot of ways, is one of the greatest bands to get into the genre through. They are extreme and heavy as sin in all the right ways, but on the other side of that coin, they don't lose their groove. "The Killchain" shows that off wonderfully. This is Bolt Thrower's second time on AintNoisePollution. Their first post was for the track "Zeroed", a seriously heavy motherfucker that graced my truck speakers after going to a job interview last year during my transition into Salt Lake City. Today sees us taking one of the greatest tracks from their final album, Those Once Loyal. We will get to that album soon, but first I want to point out something that was out of the blue and mighty depressive. Bolt Thrower had their phenomenal (fourth) drummer, Martin Kearns, pass away peacefully back in 2015. It was an unexpected death, the ones that usually hurt the most. Before I do any of these posts, I start with checking into the band's website if they have one. Sometimes it is to peruse their wares, and other times it is to keep up to date with tours, news, and little secret information given to the fans who check out the website. For many bands that didn't hit the big time all too heavily or just aren't the type of band to care about websites, they tend to be mighty outdated. It's always a little bit of a memory lane to see those old-fashioned websites someone threw together back in the day; mine is sort of that way. Well, Bolt Thrower had one of those. The intro screens that get you pumped and then a simple board with some options and posts. I wasn't expecting the whole website to be depressing posts about the passing of Martin Kearns. There isn't much else on the website, and what is there hasn't been updated for a minute or two. Whoever runs the website doesn't miss his birthday, and there are a ton of sad postings about the loss of a brother, a friend, and a bandmate. Talk about pain. It could be since I am also listening to a Sigur Ros album at the same time, but man, did it cut deep. A little while back I had a longtime friend that I would always stress about dying. What would I do? Would I visit his grave and share some beers? Just tell my kids about him? Could I fill in the void that would be left from losing such a dear person to me? Well, luckily and unluckily for me, he broke off the friendship in a shitty fashion, so I experienced loss in a different way before I had to the other way. I couldn't imagine the pain. Death and loss are a simple realities of life, but there is no way to be ready for them. No matter how many books you read, how many church gatherings, and no matter the amount of time. It is inevitable. We all die. It is so challenging to find the time for everyone, especially since we shove these thoughts away just to make it through another workweek. I really need to take my time more seriously. The time I want to spend with my family and girlfriend, my friends and animals, and everything else that matters more than a website or video games. Damn, I didn't mean for this post to turn into a death rant. But... That's pretty metal, right? I mean, the genre is called death metal after all. Don't think this is what they had in mind; this kind of talk is meant for doom metal and gothic metal. Soooo, let's just get back into our band of the day. Bolt Thrower is a beast of a band, being one of the greatest death metal groups out there. A hell of a statement, but one that I stand by. Bolt Thrower has been there for it all. They released their debut in 1988, a grimy and grossly brutal album called In Battle There Is No Law! which I will admit isn't as much to my taste as their later albums, but I still respect it. It comes from the deathgrind genre, a little bit of death, a little bit of grindcore, and a little bit of crust punk packaged into a pissed-off 30 minutes. For new fans, I suggest starting with their signature sound and then moving back to their debut.
Death metal was already in full motion by the time Bolt Thrower came onto the scene, but they helped push the boundaries and definition of the genre. Not only since they came into it starting with a deathcore style, but lyrically they challenged the cliche violent tendencies by bringing in an album revolving around Warhammer 40,000. For those that don't know, Warhammer 40,000 is a massively successful tabletop game that turned into a beloved franchise that has dished out many expansions to the game and also brought in video games, shows, novels, and many other forms of media. Bolt Thrower obviously loved it and has alluded to it countless times, but their second album, Realm of Chaos, is certainly the passion project. Anyway, Bolt Thrower started to find their more core sound within that album, one that ramped up the speed and battered down the gates with intense riffage and blast beats, something that fans go to their first two albums for. Their style was still forming, but their early sound is an intense treat for those into chaotic and fast death-based metals. By the time they released their third album, War Master, in 1991 they stepped away from deathcore and traded it for a more traditional death metal style. They kept their own basis and would become one of the most successful death metal groups out of the UK for their following releases. They jumped around with lyrical themes but always steered the lyrical ship into some kick-ass themes, mostly of war. We have ones about the crusades, future wars, and one of my favorite themes of theirs, World War 1. Bolt Thrower's war tracks are their ultimate tracks, and luckily for us, a good chunk of their lyrics revolve around war. Our song of the day this go-around is "The Killchain" which comes off their 8th and final studio album, Those Once Loyal, out of 2005. I wish we got more Bolt Thrower after this album since I really like their later sound, almost more than their others. It is tighter, meaner, and a little more entry-level for the extreme metals. They brought in a special groove to their sound, making it almost closer to that of Lamb of God and Pantera than Cannibal Corpse and Deicide. Those Once Loyal also marked the return of previous vocalist Karl Willetts, since he wasn't on the previous album Honour-Valour-Pride. For that album, Bolt Thrower had death metal icon Dave Ingram at the helm. It felt good having Willetts back home, though I will admit that Ingram brought his own fury to the one album he was part of. Anyway, overall I think that Those Once Loyal is a damn good album, so good that I wouldn't find it odd to start with the band's last album and then make your way to their first. I can think of few other discographies that it would work this well on. Maybe I just have a hard-on for this album, or perhaps they hit a special peak before calling the band quits for studio work. They still toured for years following 2005 but made it clear they had no intention to hit the studio again after playing with the idea of releasing another. One of the greatest moments on Those Once Loyal is the third track on the album, "The Killchain". Our song of the day is the final song from a set of six songs that create a story. The first part is "In Battle There Is No Law" off their debut, and then "World Eater" (1989), "Cenotaph" (1991), "Embers" (1992), and "Powder Burns" in 1998. I have still yet to listen to them all in order; maybe I will do that now. They are all great stand-alone tracks, especially "Embers" and "The Killchain". Our song of the day starts off with that rising power approach, an odd yet powerful choice for a third track. Quickly the band moves into a full frontal attack of heavy metal. Hard-chugging guitars and strutting drums set the stage for vocalist Karl Willetts to tell a wicked tale of war. Most of the lyrics are single words that paint the picture of the modern-day battlefield. Who needs to look the enemy in the eye when a computer from across the land can blow up a whole city? Civilian casualties be damned! Taxpayer dollars burned in the same flames that killed a family in the blink of an eye. A mean track from start to finish. You gotta give respect to the constant guitar storm of Barry Thomson and Gavin Ward. A fairly straightforward track that urges you to turn that sucker up louder and louder the whole time. No matter your opinion on death metal, I think that "The Killchain" can easily be to your liking. It doesn't come off too extreme, but it is still clear that this isn't a bunch of Boy Scouts. I guess I will just let you get into the music. Enjoy!
Year Released: 2005
Album: Those Once Loyal (2005)
Genre: Death Metal
Mood: Hostile
Perfect For: Marching off to war, Playing Warhammer 4000, Reading war history, Playing loud
Where To Next: "The Frantic Pace of Dying" - Cryptopsy
Rating: 8 / 10
Alright, it has been a solid minute since the extreme side of the metal spectrum showed its teeth on the website. It is an acquired taste, yes I know, but I proudly throw some on the website. Who knows? Maybe this will be the track that helps you understand the wicked nature of death metal. Bolt Thrower, in a lot of ways, is one of the greatest bands to get into the genre through. They are extreme and heavy as sin in all the right ways, but on the other side of that coin, they don't lose their groove. "The Killchain" shows that off wonderfully. This is Bolt Thrower's second time on AintNoisePollution. Their first post was for the track "Zeroed", a seriously heavy motherfucker that graced my truck speakers after going to a job interview last year during my transition into Salt Lake City. Today sees us taking one of the greatest tracks from their final album, Those Once Loyal. We will get to that album soon, but first I want to point out something that was out of the blue and mighty depressive. Bolt Thrower had their phenomenal (fourth) drummer, Martin Kearns, pass away peacefully back in 2015. It was an unexpected death, the ones that usually hurt the most. Before I do any of these posts, I start with checking into the band's website if they have one. Sometimes it is to peruse their wares, and other times it is to keep up to date with tours, news, and little secret information given to the fans who check out the website. For many bands that didn't hit the big time all too heavily or just aren't the type of band to care about websites, they tend to be mighty outdated. It's always a little bit of a memory lane to see those old-fashioned websites someone threw together back in the day; mine is sort of that way. Well, Bolt Thrower had one of those. The intro screens that get you pumped and then a simple board with some options and posts. I wasn't expecting the whole website to be depressing posts about the passing of Martin Kearns. There isn't much else on the website, and what is there hasn't been updated for a minute or two. Whoever runs the website doesn't miss his birthday, and there are a ton of sad postings about the loss of a brother, a friend, and a bandmate. Talk about pain. It could be since I am also listening to a Sigur Ros album at the same time, but man, did it cut deep. A little while back I had a longtime friend that I would always stress about dying. What would I do? Would I visit his grave and share some beers? Just tell my kids about him? Could I fill in the void that would be left from losing such a dear person to me? Well, luckily and unluckily for me, he broke off the friendship in a shitty fashion, so I experienced loss in a different way before I had to the other way. I couldn't imagine the pain. Death and loss are a simple realities of life, but there is no way to be ready for them. No matter how many books you read, how many church gatherings, and no matter the amount of time. It is inevitable. We all die. It is so challenging to find the time for everyone, especially since we shove these thoughts away just to make it through another workweek. I really need to take my time more seriously. The time I want to spend with my family and girlfriend, my friends and animals, and everything else that matters more than a website or video games. Damn, I didn't mean for this post to turn into a death rant. But... That's pretty metal, right? I mean, the genre is called death metal after all. Don't think this is what they had in mind; this kind of talk is meant for doom metal and gothic metal. Soooo, let's just get back into our band of the day. Bolt Thrower is a beast of a band, being one of the greatest death metal groups out there. A hell of a statement, but one that I stand by. Bolt Thrower has been there for it all. They released their debut in 1988, a grimy and grossly brutal album called In Battle There Is No Law! which I will admit isn't as much to my taste as their later albums, but I still respect it. It comes from the deathgrind genre, a little bit of death, a little bit of grindcore, and a little bit of crust punk packaged into a pissed-off 30 minutes. For new fans, I suggest starting with their signature sound and then moving back to their debut.
Death metal was already in full motion by the time Bolt Thrower came onto the scene, but they helped push the boundaries and definition of the genre. Not only since they came into it starting with a deathcore style, but lyrically they challenged the cliche violent tendencies by bringing in an album revolving around Warhammer 40,000. For those that don't know, Warhammer 40,000 is a massively successful tabletop game that turned into a beloved franchise that has dished out many expansions to the game and also brought in video games, shows, novels, and many other forms of media. Bolt Thrower obviously loved it and has alluded to it countless times, but their second album, Realm of Chaos, is certainly the passion project. Anyway, Bolt Thrower started to find their more core sound within that album, one that ramped up the speed and battered down the gates with intense riffage and blast beats, something that fans go to their first two albums for. Their style was still forming, but their early sound is an intense treat for those into chaotic and fast death-based metals. By the time they released their third album, War Master, in 1991 they stepped away from deathcore and traded it for a more traditional death metal style. They kept their own basis and would become one of the most successful death metal groups out of the UK for their following releases. They jumped around with lyrical themes but always steered the lyrical ship into some kick-ass themes, mostly of war. We have ones about the crusades, future wars, and one of my favorite themes of theirs, World War 1. Bolt Thrower's war tracks are their ultimate tracks, and luckily for us, a good chunk of their lyrics revolve around war. Our song of the day this go-around is "The Killchain" which comes off their 8th and final studio album, Those Once Loyal, out of 2005. I wish we got more Bolt Thrower after this album since I really like their later sound, almost more than their others. It is tighter, meaner, and a little more entry-level for the extreme metals. They brought in a special groove to their sound, making it almost closer to that of Lamb of God and Pantera than Cannibal Corpse and Deicide. Those Once Loyal also marked the return of previous vocalist Karl Willetts, since he wasn't on the previous album Honour-Valour-Pride. For that album, Bolt Thrower had death metal icon Dave Ingram at the helm. It felt good having Willetts back home, though I will admit that Ingram brought his own fury to the one album he was part of. Anyway, overall I think that Those Once Loyal is a damn good album, so good that I wouldn't find it odd to start with the band's last album and then make your way to their first. I can think of few other discographies that it would work this well on. Maybe I just have a hard-on for this album, or perhaps they hit a special peak before calling the band quits for studio work. They still toured for years following 2005 but made it clear they had no intention to hit the studio again after playing with the idea of releasing another. One of the greatest moments on Those Once Loyal is the third track on the album, "The Killchain". Our song of the day is the final song from a set of six songs that create a story. The first part is "In Battle There Is No Law" off their debut, and then "World Eater" (1989), "Cenotaph" (1991), "Embers" (1992), and "Powder Burns" in 1998. I have still yet to listen to them all in order; maybe I will do that now. They are all great stand-alone tracks, especially "Embers" and "The Killchain". Our song of the day starts off with that rising power approach, an odd yet powerful choice for a third track. Quickly the band moves into a full frontal attack of heavy metal. Hard-chugging guitars and strutting drums set the stage for vocalist Karl Willetts to tell a wicked tale of war. Most of the lyrics are single words that paint the picture of the modern-day battlefield. Who needs to look the enemy in the eye when a computer from across the land can blow up a whole city? Civilian casualties be damned! Taxpayer dollars burned in the same flames that killed a family in the blink of an eye. A mean track from start to finish. You gotta give respect to the constant guitar storm of Barry Thomson and Gavin Ward. A fairly straightforward track that urges you to turn that sucker up louder and louder the whole time. No matter your opinion on death metal, I think that "The Killchain" can easily be to your liking. It doesn't come off too extreme, but it is still clear that this isn't a bunch of Boy Scouts. I guess I will just let you get into the music. Enjoy!
Year Released: 2005
Album: Those Once Loyal (2005)
Genre: Death Metal
Mood: Hostile
Perfect For: Marching off to war, Playing Warhammer 4000, Reading war history, Playing loud
Where To Next: "The Frantic Pace of Dying" - Cryptopsy
Rating: 8 / 10
Song of the Day 04/17/2026
"You Know You're Only Dreaming" - Hawkwind
You ready to get spaced out? Well, if you have your bowl packed, you are in the right place. Shit, I have been out of the game for a while. I guess most people are using those carts now, huh? You know, when I was smoking habitually, I always wished there was a way to get stoned without the smell and attention. Now that it is here, I don't even smoke anymore. I don't think I am missing out on too much, though. Before I fell fully out, and the times I jump back in, I am never all too impressed with the buzz they give you. Still, to each their own, and it is the future of it all. I am sure it is an even bigger trip for those that have smoked for a long time, and even more shocking for all the poor bastards that served time for a couple of joints back when Hawkwind was releasing their kick-ass prime albums. Hawkwind is one of those bands that played on the backline of rock royalty but are just as great as bands like Led Zeppelin, Deep Purple, Black Sabbath, Thin Lizzy, and all the other groups that ushered in a new age for hard rock and eventually heavy metal. They have had some seriously impressive members in their band since they formed in 1969. Even more impressive is how many great albums they have dished out since their debut in 1970. Like many of us out there, I came across Hawkwind when first studying the metal god, Lemmy. Lemmy is king! God! And one hell of a dude. Rest in peace. Lemmy wasn't with them all too long but did serve up their biggest hit with him on vocals with "Silver Machine". Hawkwind came into the rock world with a unique sound and set of lyrics, which turned into space rock, a genre they helped create and popularize. Space rock is a genre of rock music that melds psychedelic rock, jam rock, progressive rock, jazz fusion, and the open use of synthesizers. They do all of that with sci-fi lyricism and cosmic themes, something not common for its time. It has had a couple of times emerging into the spotlight before falling behind the lines again. It thrives in the backline; it keeps the sound pure and unique. Hawkwind is easily one of the greatest from the genre and was one of the first bands to find relative success with it. Hawkwind never had too much luck in the US but found a damn strong following in the UK. Our friends across the sea always have their musical dowsing rod leading towards water. This is Hawkwind's first time on AintNoisePollution, so get ready for those boring informational posts. They are often my favorite, if that hasn't been obvious. Hawkwind started up in 1969 after Mick Slatterly and Dave Brock left the band Famous Cure. They soon enough gathered some other chaps and got to playing some tunes. They played at a local talent night and stole the show. One of the people in the crowd was none other than John Peel, the famous DJ and music journalist, who told his buddies about the band. Hawkwind didn't have any material for their show, so they decided to do a long-ass jamming session stemming from a cover of The Byrds "Eight Miles High", but it gained the attention of the right people. They did the show under the name Group X, but once things started gaining steam, they settled on the name Hawkwind by the time they got signed by Liberty Records. After some lineup changes and some background business work, they were greenlit to record their debut album in 1970. Liberty Records brought in Dick Taylor from The Pretty Things to produce the album, which gave it this clear and moody feeling, but also found some fighting with the band. It didn't sell all too well, but it got their name out there and gained them a strong local fanbase. I love that debut, especially the tracks "Hurry on Sundown", their first-ever single. One of their greatest tracks by far, and that album is, in my opinion, one of their best. A little rough around the edges, but you can tell the talent is there. That debut is also one of the first space rock albums to ever hit the shelves, which has music historians always making a stop off for its historic context.
Now that they had a fan base and some practice in the studio, it was time for their next studio album. In Search of Space is the one who holds our song of the day, but we will get there. Hawkwind always did best with a more live approach to recording, something that is obvious as day in this album. Comparing In Search of Space out of 1971 to their first live album, Space Ritual out of 1973, shows that they sound just as good live as they do in the studio. I am honestly shocked their debut on the website isn't from Space Ritual since I listen to the tracks off that sucker like I drink water. Anyway, let's bring it back into In Search of Space. This is the exact idea of a hidden gem. A damn good ride from start to finish that is prone to move you into a trance with its long jamming and trippy nature. The intro track, "You Shouldn't Do That" is a crazy one, coming in at almost 16 minutes. From my experience, most bands put those long trippy tracks on side 2 of the album, but those bands aren't Hawkwind. These dudes thrive with elongated songs that have you floating out of your seat. That debut album of theirs showed they can do a stellar jamming song just as well as they did a straightforward rock track. Their second album is the one that showed their artistic side. When I was younger, I tripped on acid to this album, and let me tell you... don't do it. I am joking. Totally do it, but it is one stressful-ass time. This damn album has so many layers; random sounds popping out of the blue after the repetitious onslaught of bass guitar has you mesmerized by the sound. "You Know You're Only Dreaming" is the second track off the album, but by the time it comes on, your hackles are raised and you feel like you entered a world you were never meant to see. A voyage into a land where the water smells of sugar and the land tries to suck you in. This is the type of psychedelic album that feels so comforting yet so devious. I don't quite know how to explain it. It is one of those albums you simply have to experience for yourself. It feels like a winter's night with the heater baking your skin. Like living your whole life in 42 minutes and then being reborn. My favorite kind of psychedelic rock album. Hawkwind's special brand comes in the form of spacey sounds and an astral feeling. Like you are floating away while the instruments lull you to sleep. To become one of them, one of the stars you see but never can touch. To become infinite. Forever dancing around the earth, forgetting about the stresses that eat at the poor monkeys that wear suits and waste their lives. "You Know You're Only Dreaming" is precisely what it sounds like. A dreamy track that makes you wonder if you are even awake. Well, are you? Hawkwind was well known to be crazy when it came to drug usage, psychedelics mostly, mind you, which had a lot of producers, engineers, and stagehands wary to work with them. They were the wild card that went out there, blitzed, and abused the sound space with cosmic energy. Though, that is only half of the album and only half of the band. The other side is a professional and driven hard rock group that decides when to step away from the psychedelic tracks to bring in an acoustic gem or a hard rock dead ringer. They make magic on these first handful of albums. Their instruments are hypnotic, and the innovative use of the electronics gives their sound this special stylistic edge. Lyrically it is trippy yet straightforward for the most part. A sickening world of cosmic sound is felt and heard in tracks like "You Know You're Only Dreaming". They knew what they were trying to do, and in that vision they released a stellar (in both ways) album that complements a night of getting high. Even sober you can thoroughly enjoy this album, but if you don't like the trippy nature, then maybe check out their next album, Doremi Fasol Latido, which is a touch more progressive than psychedelic. They have material all the way until the modern day, some of which doesn't even sound like their original style, so check those ones out too. Lemmy was around from 1972 - 1975, some of the best albums that Hawkwind put out. Not only because I am a massive Lemmy fan, but also since he brought some power to it all with his iconic, gravelly vocals and war-driven bass lines. Shit, Lemmy took the name for Motörhead from the last song he wrote for Hawkwind called "Motorhead". One you gotta check out, and then check out the even better version by Motörhead. Hawkwind is more than just a piece of Motörhead and Lemmy history, but there is no passing it up if you want to understand the metal mastery that is Lemmy Kilmister. So much music, so much history, so little time! Though, with the time you have, I think that Hawkwind would be a great use of it all. Hope you enjoyed the post and the track. We are finally caught back up! I am excited to come back and share some music with you tomorrow. For now, whip out that nice piece you use for special occasions, load it up and pack it tight, spark up, and press play on this trippy-ass space rock track. Enjoy!
Year Released: 1971
Album: In Search of Space (1971)
Genre: Space Rock, Psychedelic Rock
Mood: Stellar
Perfect For: Tripping, Getting stoned, Riding a rocket into space, Listening with headphones
Where To Next: "Star Storm" - UFO
Rating: 8 / 10
You ready to get spaced out? Well, if you have your bowl packed, you are in the right place. Shit, I have been out of the game for a while. I guess most people are using those carts now, huh? You know, when I was smoking habitually, I always wished there was a way to get stoned without the smell and attention. Now that it is here, I don't even smoke anymore. I don't think I am missing out on too much, though. Before I fell fully out, and the times I jump back in, I am never all too impressed with the buzz they give you. Still, to each their own, and it is the future of it all. I am sure it is an even bigger trip for those that have smoked for a long time, and even more shocking for all the poor bastards that served time for a couple of joints back when Hawkwind was releasing their kick-ass prime albums. Hawkwind is one of those bands that played on the backline of rock royalty but are just as great as bands like Led Zeppelin, Deep Purple, Black Sabbath, Thin Lizzy, and all the other groups that ushered in a new age for hard rock and eventually heavy metal. They have had some seriously impressive members in their band since they formed in 1969. Even more impressive is how many great albums they have dished out since their debut in 1970. Like many of us out there, I came across Hawkwind when first studying the metal god, Lemmy. Lemmy is king! God! And one hell of a dude. Rest in peace. Lemmy wasn't with them all too long but did serve up their biggest hit with him on vocals with "Silver Machine". Hawkwind came into the rock world with a unique sound and set of lyrics, which turned into space rock, a genre they helped create and popularize. Space rock is a genre of rock music that melds psychedelic rock, jam rock, progressive rock, jazz fusion, and the open use of synthesizers. They do all of that with sci-fi lyricism and cosmic themes, something not common for its time. It has had a couple of times emerging into the spotlight before falling behind the lines again. It thrives in the backline; it keeps the sound pure and unique. Hawkwind is easily one of the greatest from the genre and was one of the first bands to find relative success with it. Hawkwind never had too much luck in the US but found a damn strong following in the UK. Our friends across the sea always have their musical dowsing rod leading towards water. This is Hawkwind's first time on AintNoisePollution, so get ready for those boring informational posts. They are often my favorite, if that hasn't been obvious. Hawkwind started up in 1969 after Mick Slatterly and Dave Brock left the band Famous Cure. They soon enough gathered some other chaps and got to playing some tunes. They played at a local talent night and stole the show. One of the people in the crowd was none other than John Peel, the famous DJ and music journalist, who told his buddies about the band. Hawkwind didn't have any material for their show, so they decided to do a long-ass jamming session stemming from a cover of The Byrds "Eight Miles High", but it gained the attention of the right people. They did the show under the name Group X, but once things started gaining steam, they settled on the name Hawkwind by the time they got signed by Liberty Records. After some lineup changes and some background business work, they were greenlit to record their debut album in 1970. Liberty Records brought in Dick Taylor from The Pretty Things to produce the album, which gave it this clear and moody feeling, but also found some fighting with the band. It didn't sell all too well, but it got their name out there and gained them a strong local fanbase. I love that debut, especially the tracks "Hurry on Sundown", their first-ever single. One of their greatest tracks by far, and that album is, in my opinion, one of their best. A little rough around the edges, but you can tell the talent is there. That debut is also one of the first space rock albums to ever hit the shelves, which has music historians always making a stop off for its historic context.
Now that they had a fan base and some practice in the studio, it was time for their next studio album. In Search of Space is the one who holds our song of the day, but we will get there. Hawkwind always did best with a more live approach to recording, something that is obvious as day in this album. Comparing In Search of Space out of 1971 to their first live album, Space Ritual out of 1973, shows that they sound just as good live as they do in the studio. I am honestly shocked their debut on the website isn't from Space Ritual since I listen to the tracks off that sucker like I drink water. Anyway, let's bring it back into In Search of Space. This is the exact idea of a hidden gem. A damn good ride from start to finish that is prone to move you into a trance with its long jamming and trippy nature. The intro track, "You Shouldn't Do That" is a crazy one, coming in at almost 16 minutes. From my experience, most bands put those long trippy tracks on side 2 of the album, but those bands aren't Hawkwind. These dudes thrive with elongated songs that have you floating out of your seat. That debut album of theirs showed they can do a stellar jamming song just as well as they did a straightforward rock track. Their second album is the one that showed their artistic side. When I was younger, I tripped on acid to this album, and let me tell you... don't do it. I am joking. Totally do it, but it is one stressful-ass time. This damn album has so many layers; random sounds popping out of the blue after the repetitious onslaught of bass guitar has you mesmerized by the sound. "You Know You're Only Dreaming" is the second track off the album, but by the time it comes on, your hackles are raised and you feel like you entered a world you were never meant to see. A voyage into a land where the water smells of sugar and the land tries to suck you in. This is the type of psychedelic album that feels so comforting yet so devious. I don't quite know how to explain it. It is one of those albums you simply have to experience for yourself. It feels like a winter's night with the heater baking your skin. Like living your whole life in 42 minutes and then being reborn. My favorite kind of psychedelic rock album. Hawkwind's special brand comes in the form of spacey sounds and an astral feeling. Like you are floating away while the instruments lull you to sleep. To become one of them, one of the stars you see but never can touch. To become infinite. Forever dancing around the earth, forgetting about the stresses that eat at the poor monkeys that wear suits and waste their lives. "You Know You're Only Dreaming" is precisely what it sounds like. A dreamy track that makes you wonder if you are even awake. Well, are you? Hawkwind was well known to be crazy when it came to drug usage, psychedelics mostly, mind you, which had a lot of producers, engineers, and stagehands wary to work with them. They were the wild card that went out there, blitzed, and abused the sound space with cosmic energy. Though, that is only half of the album and only half of the band. The other side is a professional and driven hard rock group that decides when to step away from the psychedelic tracks to bring in an acoustic gem or a hard rock dead ringer. They make magic on these first handful of albums. Their instruments are hypnotic, and the innovative use of the electronics gives their sound this special stylistic edge. Lyrically it is trippy yet straightforward for the most part. A sickening world of cosmic sound is felt and heard in tracks like "You Know You're Only Dreaming". They knew what they were trying to do, and in that vision they released a stellar (in both ways) album that complements a night of getting high. Even sober you can thoroughly enjoy this album, but if you don't like the trippy nature, then maybe check out their next album, Doremi Fasol Latido, which is a touch more progressive than psychedelic. They have material all the way until the modern day, some of which doesn't even sound like their original style, so check those ones out too. Lemmy was around from 1972 - 1975, some of the best albums that Hawkwind put out. Not only because I am a massive Lemmy fan, but also since he brought some power to it all with his iconic, gravelly vocals and war-driven bass lines. Shit, Lemmy took the name for Motörhead from the last song he wrote for Hawkwind called "Motorhead". One you gotta check out, and then check out the even better version by Motörhead. Hawkwind is more than just a piece of Motörhead and Lemmy history, but there is no passing it up if you want to understand the metal mastery that is Lemmy Kilmister. So much music, so much history, so little time! Though, with the time you have, I think that Hawkwind would be a great use of it all. Hope you enjoyed the post and the track. We are finally caught back up! I am excited to come back and share some music with you tomorrow. For now, whip out that nice piece you use for special occasions, load it up and pack it tight, spark up, and press play on this trippy-ass space rock track. Enjoy!
Year Released: 1971
Album: In Search of Space (1971)
Genre: Space Rock, Psychedelic Rock
Mood: Stellar
Perfect For: Tripping, Getting stoned, Riding a rocket into space, Listening with headphones
Where To Next: "Star Storm" - UFO
Rating: 8 / 10
Song of the Day 04/16/2026
"She" - Green Day
Just a couple of posts ago we talked about Rancid, one of the bands that helped punk rock find footing in a time when there wasn't much market for that style. Punk never died, that is for sure, but it did fall out of the limelight. To some punkers, that might be a good thing, and for those like myself, I realize there is a need for the mainstream for any genre to stay relevant to musical trends. There is no band that did more for punk rock in the 1990s than Green Day, and I say that as a fact. Green Day wasn't an overnight sensation. They spent their time in the venue circuit and even released two studio albums and a handful of EPs before they became the punk megastars that controlled punk market with albums like Dookie, Insomniac, and Nimrod in the 1990s. Their conquest didn't stop there, oh no, they continued their annihilation of the charts for their whole career from that moment on. Plenty of massive highs, Dookie out of 1994 was a massive success, and then they did it again in 2004 with American Idiot. Both of those hit the diamond status, a very rare feat for any musician and even more rare in the punk rock world. To be clear, Dookie hit the 2x diamond status in the US alone. What is diamond status? 10,000,000 album sales. So, Dookie hit 20,000,000 fuckin' album sales! That is an insane number! That puppy is still selling copies to this day. Shit, even today I almost went and bought myself a copy on vinyl. Especially since I want the sweet looking baby blue vinyl! I still own the copy I had as a kid on CD, but now I need that big ol' floppy vinyl. Man, that album is so damn good! We haven't talked Green Day here for a criminally long time. In those posts I probably discussed how much Green Day has meant for my evolution. Green Day was my first favorite band when I was a kid. I was obsessed with the band! Like, watching their music videos on the daily and listening to American Idiot like it was going to be gone tomorrow. I hardly understood what the songs were even about, but I felt that fire! That electricity! I learned sadness from the music video for "Wake Me Up When September Ends" and started my rebellious streak while "Minority", "Burnout", "Know Your Enemy", and "American Idiot" played on my MP3 player. I used to wear this Green Day wristband all the damn time; I am surprised I didn't shower in it. Shit, I might have, that thing stank! If only I could relive those days, but in a way I do each time I listen to Green Day again. As I grew older, their songs became biographical in a sense. There was "When I Come Around" & "She" during my first real relationship, "Brain Stew" on countless stoned-out drives as a teen, "Viva La Gloria" throughout many of those endless summer days, and so many other songs that chronicled my aging. As a full-fledged pudgy adult, Green Day still has a constant place in my playlists and in my heart. They are a band that will forever follow me. Sure, some of the songs don't hit nearly as hard as they did when I was full of piss and vinegar, but there are the more mellow ones that complement my life better now. Plus, have you seen this fuckin' world we are living in? The songs off American Idiot have never been more relevant. Alright, alright, enough about me and my love for the band. How about we take a deeper look into the album that holds our song of the day? Dookie is a cornerstone of punk rock. It practically single-handedly showed that punk rock never died, simply changed shape to fit into the rambunctious 1990s. If you needed a single album to define punk music for each decade, Dookie would be the one for the 1990s. It has the skate punk feeling with a pop punk backing. It never stepped too far out of line from the original punk rock sound, but the places it expanded into caught on like wildfire and inspired the majority of future punk and rock musicians. Green Day certainly brought in a more rock-forward sound, less of the punk rock fury and more of the melodic. Old-fashioned punk fans have a hard time seeing Green Day as punk rock. I can't blame them; just go listen to The Exploited and then come back for some Green Day. That shit doesn't matter, genres change and expand. It is as simple as that, and Green Day was the expansion the genre desperately needed so it didn't fall into obscurity. Going into the mainstream isn't all that bad; fuck all those that scream "sell out" while they head into their factory jobs saying "yes sir, thank you sir".
The album spawned several legendary singles. Now, all the songs on Dookie are great. Though, there are those that stand above the others with strength. Tracks like "Basket Case", "Longview", "Welcome to Paradise", and "When I Come Around" are staples of punk music. They are a piece of music history! Those hits alongside the other phenomenal tracks got the album put into the National Recording Registry in 2024 for being "culturally, historically, or aesthetically significant". Their first two albums were full-frontal punk rock, but with a couple of more mellow ones. Once Green Day polished up that sound, they found themselves at the top of the charts. It alienated some of their fan base but gained a whole new notoriety that a punk band hasn't pulled off since the 1970s. Dookie is one of the highest-selling albums of all time, it won Green Day a ton of awards, and if you look up any list that calls for the "best of the 1990s" or most important punk albums, there is a sure shot that Dookie is either #1 or damn near it. Legendary, man, legendary. It cost them a lot, mainly their sense of self. They still controlled the Green Day ship but were rapidly losing their punk rock credentials, for what that is worth. The punk rock venues wouldn't let them play since the majority of the punkers thought the band was a bunch of sellouts. It was bad news to get signed by a big label, but once again, those fans have always seemed like pansies to me. Who the fuck wants to work these crap jobs their whole life? Green Day's first two albums are good, but they weren't the stuff that was to change the whole damn world. Money sure did come, in that there is no doubt, but Green Day now had a platform to demand the change they wanted in the world. They left the punk scene behind them and ushered in a new era for the genre, no matter what the schmucks on the streets were saying about them. They went away from the rushed and raw recording and entered the studio with a clear head and a vision. That vision took some time for the perfect sound, but they certainly found it. Something that melds the punk rock sound with the budding pop punk style painted a shade that everyone out there could see and appreciate, no matter your preference of music and opinion on punk rock. Wanna hear the difference between early Green Day and this new and better Green Day? Listen to the two versions of "Welcome to Paradise". The first one showed up on their second album Kerplunk, and the rerecorded version is the one we hear on Dookie. On Dookie there are the punky songs, the more rock-forward, and even some pop punk like our song of the day, "She". "She" is the band's first promotional single, and many view it to be one of their greatest songs. I have dug this song for a tremendous amount of time and have always found it to be a glass of cold water once you get to the middle of the album. It is the 8th track on the listing and comes right after the aggressive and real "Basket Case". The song was written by vocalist Billie Joe Armstrong. It was inspired by a feminist poem that his then girlfriend, Amanda, showed to him. She is the topic of two other songs, "Chump" & "Sassafras Roots". They ultimately didn't do too well, and she left him and ran off to Ecuador soon after showing her "Her", which prompted Armstrong to throw it into the tracklisting for the album. Like a lot of the other kick ass tracks off the album, "She" starts off with steady bass lines from Mike Dirnt. Man, that cat dished out some of the best punk rock song intros known to man. This song goes down much too smooth, a crisp track that is still perfectly punky but still easy enough for anyone out there to get into it. A hard-driving chorus, the band playing raw behind the cool and confident singing of Armstrong. Billie Joe Armstrong has said that it is one of his favorite Green Day tracks and will forever play it live in each set. In Dookie, Green Day feels like a three-piece band, but that is some of the greatness of it. Rush and Cream have so much density that you can't really tell, but Green Day typically feels like some dudes you know that play hard but are still just like you. That personal touch is some of what makes Green Day such a hotbed of success. They say words that reside within you, and they don't mind touching on some damn sore topics. The personal lyrics from Armstrong and the band leave you feeling like you have known the band your whole life. Authentic music with the amplifiers blaring top-tier aggression. You gotta love the band! Alright, that is the post. I did my part by typing this all out, so do yours and give the song a play, would ya? Enjoy!
Year Released: 1994
Album: Dookie (1994)
Genre: Pop Punk, Punk Rock
Mood: Youthful
Perfect For: Playing loud, Shittily singing along, Casual listening, Summer days, Confusing relationships
Where To Next: "Self Esteem" - The Offspring
Rating: 9 / 10
Just a couple of posts ago we talked about Rancid, one of the bands that helped punk rock find footing in a time when there wasn't much market for that style. Punk never died, that is for sure, but it did fall out of the limelight. To some punkers, that might be a good thing, and for those like myself, I realize there is a need for the mainstream for any genre to stay relevant to musical trends. There is no band that did more for punk rock in the 1990s than Green Day, and I say that as a fact. Green Day wasn't an overnight sensation. They spent their time in the venue circuit and even released two studio albums and a handful of EPs before they became the punk megastars that controlled punk market with albums like Dookie, Insomniac, and Nimrod in the 1990s. Their conquest didn't stop there, oh no, they continued their annihilation of the charts for their whole career from that moment on. Plenty of massive highs, Dookie out of 1994 was a massive success, and then they did it again in 2004 with American Idiot. Both of those hit the diamond status, a very rare feat for any musician and even more rare in the punk rock world. To be clear, Dookie hit the 2x diamond status in the US alone. What is diamond status? 10,000,000 album sales. So, Dookie hit 20,000,000 fuckin' album sales! That is an insane number! That puppy is still selling copies to this day. Shit, even today I almost went and bought myself a copy on vinyl. Especially since I want the sweet looking baby blue vinyl! I still own the copy I had as a kid on CD, but now I need that big ol' floppy vinyl. Man, that album is so damn good! We haven't talked Green Day here for a criminally long time. In those posts I probably discussed how much Green Day has meant for my evolution. Green Day was my first favorite band when I was a kid. I was obsessed with the band! Like, watching their music videos on the daily and listening to American Idiot like it was going to be gone tomorrow. I hardly understood what the songs were even about, but I felt that fire! That electricity! I learned sadness from the music video for "Wake Me Up When September Ends" and started my rebellious streak while "Minority", "Burnout", "Know Your Enemy", and "American Idiot" played on my MP3 player. I used to wear this Green Day wristband all the damn time; I am surprised I didn't shower in it. Shit, I might have, that thing stank! If only I could relive those days, but in a way I do each time I listen to Green Day again. As I grew older, their songs became biographical in a sense. There was "When I Come Around" & "She" during my first real relationship, "Brain Stew" on countless stoned-out drives as a teen, "Viva La Gloria" throughout many of those endless summer days, and so many other songs that chronicled my aging. As a full-fledged pudgy adult, Green Day still has a constant place in my playlists and in my heart. They are a band that will forever follow me. Sure, some of the songs don't hit nearly as hard as they did when I was full of piss and vinegar, but there are the more mellow ones that complement my life better now. Plus, have you seen this fuckin' world we are living in? The songs off American Idiot have never been more relevant. Alright, alright, enough about me and my love for the band. How about we take a deeper look into the album that holds our song of the day? Dookie is a cornerstone of punk rock. It practically single-handedly showed that punk rock never died, simply changed shape to fit into the rambunctious 1990s. If you needed a single album to define punk music for each decade, Dookie would be the one for the 1990s. It has the skate punk feeling with a pop punk backing. It never stepped too far out of line from the original punk rock sound, but the places it expanded into caught on like wildfire and inspired the majority of future punk and rock musicians. Green Day certainly brought in a more rock-forward sound, less of the punk rock fury and more of the melodic. Old-fashioned punk fans have a hard time seeing Green Day as punk rock. I can't blame them; just go listen to The Exploited and then come back for some Green Day. That shit doesn't matter, genres change and expand. It is as simple as that, and Green Day was the expansion the genre desperately needed so it didn't fall into obscurity. Going into the mainstream isn't all that bad; fuck all those that scream "sell out" while they head into their factory jobs saying "yes sir, thank you sir".
The album spawned several legendary singles. Now, all the songs on Dookie are great. Though, there are those that stand above the others with strength. Tracks like "Basket Case", "Longview", "Welcome to Paradise", and "When I Come Around" are staples of punk music. They are a piece of music history! Those hits alongside the other phenomenal tracks got the album put into the National Recording Registry in 2024 for being "culturally, historically, or aesthetically significant". Their first two albums were full-frontal punk rock, but with a couple of more mellow ones. Once Green Day polished up that sound, they found themselves at the top of the charts. It alienated some of their fan base but gained a whole new notoriety that a punk band hasn't pulled off since the 1970s. Dookie is one of the highest-selling albums of all time, it won Green Day a ton of awards, and if you look up any list that calls for the "best of the 1990s" or most important punk albums, there is a sure shot that Dookie is either #1 or damn near it. Legendary, man, legendary. It cost them a lot, mainly their sense of self. They still controlled the Green Day ship but were rapidly losing their punk rock credentials, for what that is worth. The punk rock venues wouldn't let them play since the majority of the punkers thought the band was a bunch of sellouts. It was bad news to get signed by a big label, but once again, those fans have always seemed like pansies to me. Who the fuck wants to work these crap jobs their whole life? Green Day's first two albums are good, but they weren't the stuff that was to change the whole damn world. Money sure did come, in that there is no doubt, but Green Day now had a platform to demand the change they wanted in the world. They left the punk scene behind them and ushered in a new era for the genre, no matter what the schmucks on the streets were saying about them. They went away from the rushed and raw recording and entered the studio with a clear head and a vision. That vision took some time for the perfect sound, but they certainly found it. Something that melds the punk rock sound with the budding pop punk style painted a shade that everyone out there could see and appreciate, no matter your preference of music and opinion on punk rock. Wanna hear the difference between early Green Day and this new and better Green Day? Listen to the two versions of "Welcome to Paradise". The first one showed up on their second album Kerplunk, and the rerecorded version is the one we hear on Dookie. On Dookie there are the punky songs, the more rock-forward, and even some pop punk like our song of the day, "She". "She" is the band's first promotional single, and many view it to be one of their greatest songs. I have dug this song for a tremendous amount of time and have always found it to be a glass of cold water once you get to the middle of the album. It is the 8th track on the listing and comes right after the aggressive and real "Basket Case". The song was written by vocalist Billie Joe Armstrong. It was inspired by a feminist poem that his then girlfriend, Amanda, showed to him. She is the topic of two other songs, "Chump" & "Sassafras Roots". They ultimately didn't do too well, and she left him and ran off to Ecuador soon after showing her "Her", which prompted Armstrong to throw it into the tracklisting for the album. Like a lot of the other kick ass tracks off the album, "She" starts off with steady bass lines from Mike Dirnt. Man, that cat dished out some of the best punk rock song intros known to man. This song goes down much too smooth, a crisp track that is still perfectly punky but still easy enough for anyone out there to get into it. A hard-driving chorus, the band playing raw behind the cool and confident singing of Armstrong. Billie Joe Armstrong has said that it is one of his favorite Green Day tracks and will forever play it live in each set. In Dookie, Green Day feels like a three-piece band, but that is some of the greatness of it. Rush and Cream have so much density that you can't really tell, but Green Day typically feels like some dudes you know that play hard but are still just like you. That personal touch is some of what makes Green Day such a hotbed of success. They say words that reside within you, and they don't mind touching on some damn sore topics. The personal lyrics from Armstrong and the band leave you feeling like you have known the band your whole life. Authentic music with the amplifiers blaring top-tier aggression. You gotta love the band! Alright, that is the post. I did my part by typing this all out, so do yours and give the song a play, would ya? Enjoy!
Year Released: 1994
Album: Dookie (1994)
Genre: Pop Punk, Punk Rock
Mood: Youthful
Perfect For: Playing loud, Shittily singing along, Casual listening, Summer days, Confusing relationships
Where To Next: "Self Esteem" - The Offspring
Rating: 9 / 10
Song of the Day 04/15/2026
"Not the One" - The Donnas
Man, that last post left me frustrated! Sometimes I really want to express what is within me but just cannot since the song I am talking about is one of those "you gotta experience it yourself" types. Like talking about an acid trip. Well, luckily after such an intense track, we have one simply meant to let your hair out to. The Donnas are a group that I am pretty new to. I first came across them about a year back when I was doing my deep dive into 1997, where their debut fell upon my ears. I won't lie, for a second I thought it was a Runaways album that released much later. Though, since I am a massive fan of the Runaways, I knew that wasn't a thing. It is crazy how similar The Donnas are to the Runaways. I mean, they know it too and even replicated their iconic jackets. There is copying, and then there is showing respect to your icons, and the Donnas showed their respect fully. Much like the Runaways, they are sleazy as all hell. Probably more so. The bad girl thing is here in full swing, something that gained them a strong following. I felt kind of foolish since it took me so damn long to get into the band. This kind of style is right down my alley; it is everything great about the reckless side of rock n roll. Not the type of stuff that changed the world, but made the world seem better with hues of pink lust and leather-clad blacks. The Donnas were a group a long time in the making. All the original members were born the same year, went to the same school, and started up their first version of the Donnas while in 8th grade. They formed their group to play a show for their school, the dream of all rockers during those confusing junior high years. I used to daydream about it, a concert ripped straight out of the music video for Van Halen's "Hot for Teacher". There is plenty of cringe that comes with me reminiscing about my daydreams, but who didn't want to have all the chicks swooning while doing some crazy shit on an instrument? Well, daydreams were ultimately simply dreams since by the 8th grade I was more focused on getting stoned when I got the chance, writing shitty western romance novels, and studying heavy metal. The Donnas originally called themselves "the Raggedy Annes" but eventually changed their name to the Electrocutes. You can actually find those songs on most streaming platforms. They are... Not that great, but that is how it goes when you have all the angst and a ton of time teaching yourself how to play fast and mean. Nearing the end of high school, they wanted to distance themselves from the "metal queen" approach of their music. The Electrocutes still performed, but they wanted a group to venture away from that style for something a little more mellowed out. In came the Donnas, and when they were the Donnas, they would wear jackets that had their last initial with "Donna" before it. If you couldn't tell, the Ramones were a massive influence on the Donnas, so they decided to take up their own band's name as if it was their name. They released two studio albums, 1997's self-titled debut, which is really raw and rough but enjoyable in the amateur way, and their second album, American Teenage Rock 'n' Roll Machine, which saw them sounding like a fresh cover band of the Runaways, but to people like myself, that is a good thing. During their senior year, they took some time off to tour Japan (naturally). The Donnas graduated and released their third studio album, Get Skintight, in 1999. Which isn't all too different from their previous and is a hidden little gem. The music world is a hard one, and the Donnas needed something that would get their name out there. That thing came in the form of their fourth album, The Donnas Turn 21, which released in 2001. They dropped the punk rock sound of their first three and replaced it with a gasoline-stinking hard rock sound that fit them like a glove. It was their first to chart, albeit in the indie charts, but for a group like them, that is precisely where they needed to be. It was that album that I fully fell in love with the band, and I cannot wait to get further into the group since from start to finish they have impressed me so far. Since they were on the up and up, they had to follow the same steps as previous shooting stars, leave behind their little label, and shoot for the big ones.
In 2002 the Donnas were signed by Atlantic Records, and there is a notable shift in recording quality and packaging. That sort of stole some of the recklessness of it all but allowed the Donnas to get marketed well and also solidify their bad girl stance. It might sound gross how I keep referring to a style such as theirs as "bad girl", but that is undoubtedly what it is, and there is nothing wrong with that. The Runaways, Suzi Quatro, Joan Jett, L7, and so many other groups did an impressive job with that style, and the Donnas are up there with them. 2002 saw them releasing their first big label release, Spend the Night. This is probably their most essential album, though I do have a soft spot for their earlier albums as well. I just barely got done listening to it for my first time when I chose one of its many great songs as the song of the day. There were 13 solid tracks that I could have chosen, but it was "Not the One" that I walked away with. Truth be told, the album doesn't allow for much expansion, but why should it? Does music always have to be something that reaches into the soul? There is a time and place. For the Donnas, they aren't reaching into your souls; they are reaching into your pants. Lust, rebellion, angst, empowerment, reality, and freedom of self are all put into Spend the Night. The album holds a good chunk of their most popular songs, but all are outshined by their most successful single, "Take It Off". I am pretty sure you can guess what that song is about, same with "Too Bad About Your Girl", "Take Me to the Backseat", "You Wanna Get Me High", and "Please Don't Tease". The song name fully explains what to expect, so how about our song of the day, "Not the One"? How about a track about how the character in our story (presumably meant to be Brett Anderson/Donna A.) gets with a dude and realizes he is boring as fuck? The song kicks into gear with a hard-chugging guitar intro. That sort of intro is simply meant for turning up that radio dangerously high and seeing how much power your little car can dish out on the highway. The rest of the song keeps that power up. Lyrically, it is cocky and straightforward, but you cannot blame her for chasing what she is after. If the Runaways started up during a different time, it would be the Donnas, and you can feel that in "Not the One". A damn good time fueled by guitar licks and a strong rhythm put out by bass and drums. The vocal work is mean and straightforward. All packaged together to give you one hell of a ride. I was much more impressed with Spend the Night than I thought I would be. Their previous album, The Donnas Turn 21, was a rollercoaster ride of a rock n roll party, and Spend the Night is all of that and more. A tighter playing band with better recording quality and vision. There wasn't a huge market for a band like the Donnas, but they certainly gathered a good fan base with their style. It ended up being their highest-charting album on the mainstream charts, hitting the 62nd spot in the US. That might seem sort of low, but this style already moved along. The Donnas polished up all the things they loved about the Runaways, Ramones, and Girlschool then melded it with some AC/DC-esque hard rock with a powdering of gender-reversed KISS lyricism. Gotta love it. I only have 2 more studio albums of theirs to dig into, and that makes me sad. Still, the tracks I have gathered from their other albums have kept me on a high for a while. Even today I was thinking about Spend the Night and really wanted to abandon my Friday music expansion to listen to it again. 2002 has had a ton of great albums so far for my lucky ears, but I gotta say that few have left an imprint on me like the Donnas. One of my favorite styles brought to the light once more and done quite well. You can feel the passion behind their reckless playing. For the throat good timing hard rock, that is all I ask for, and in the 2000s you might as well be asking for a winning lottery ticket. There are still plenty of hard rock groups that are phenomenal out of the time, but none reach into the past and bring out the gold like the Donnas. If this is your first time listening to the band and you like what you hear, I suggest starting with this album and making your way backwards. Their early sound is a ton of fun, but not nearly as compelling as their hard rock style. I don't know about the next two albums, so take that with a grain of salt, but I would guess this is peak Donnas. Well, that is all from me this go-around. Thanks for reading along, and I hope you dig the track! Enjoy!
Year Released: 2002
Album: Spend the Night (2002)
Genre: Hard Rock
Mood: Thrilling
Perfect For: Casual listening, Playing the dating game, Playing loud, Driving fast
Where To Next: "Wasted" - The Runaways
Rating: 8 / 10
Man, that last post left me frustrated! Sometimes I really want to express what is within me but just cannot since the song I am talking about is one of those "you gotta experience it yourself" types. Like talking about an acid trip. Well, luckily after such an intense track, we have one simply meant to let your hair out to. The Donnas are a group that I am pretty new to. I first came across them about a year back when I was doing my deep dive into 1997, where their debut fell upon my ears. I won't lie, for a second I thought it was a Runaways album that released much later. Though, since I am a massive fan of the Runaways, I knew that wasn't a thing. It is crazy how similar The Donnas are to the Runaways. I mean, they know it too and even replicated their iconic jackets. There is copying, and then there is showing respect to your icons, and the Donnas showed their respect fully. Much like the Runaways, they are sleazy as all hell. Probably more so. The bad girl thing is here in full swing, something that gained them a strong following. I felt kind of foolish since it took me so damn long to get into the band. This kind of style is right down my alley; it is everything great about the reckless side of rock n roll. Not the type of stuff that changed the world, but made the world seem better with hues of pink lust and leather-clad blacks. The Donnas were a group a long time in the making. All the original members were born the same year, went to the same school, and started up their first version of the Donnas while in 8th grade. They formed their group to play a show for their school, the dream of all rockers during those confusing junior high years. I used to daydream about it, a concert ripped straight out of the music video for Van Halen's "Hot for Teacher". There is plenty of cringe that comes with me reminiscing about my daydreams, but who didn't want to have all the chicks swooning while doing some crazy shit on an instrument? Well, daydreams were ultimately simply dreams since by the 8th grade I was more focused on getting stoned when I got the chance, writing shitty western romance novels, and studying heavy metal. The Donnas originally called themselves "the Raggedy Annes" but eventually changed their name to the Electrocutes. You can actually find those songs on most streaming platforms. They are... Not that great, but that is how it goes when you have all the angst and a ton of time teaching yourself how to play fast and mean. Nearing the end of high school, they wanted to distance themselves from the "metal queen" approach of their music. The Electrocutes still performed, but they wanted a group to venture away from that style for something a little more mellowed out. In came the Donnas, and when they were the Donnas, they would wear jackets that had their last initial with "Donna" before it. If you couldn't tell, the Ramones were a massive influence on the Donnas, so they decided to take up their own band's name as if it was their name. They released two studio albums, 1997's self-titled debut, which is really raw and rough but enjoyable in the amateur way, and their second album, American Teenage Rock 'n' Roll Machine, which saw them sounding like a fresh cover band of the Runaways, but to people like myself, that is a good thing. During their senior year, they took some time off to tour Japan (naturally). The Donnas graduated and released their third studio album, Get Skintight, in 1999. Which isn't all too different from their previous and is a hidden little gem. The music world is a hard one, and the Donnas needed something that would get their name out there. That thing came in the form of their fourth album, The Donnas Turn 21, which released in 2001. They dropped the punk rock sound of their first three and replaced it with a gasoline-stinking hard rock sound that fit them like a glove. It was their first to chart, albeit in the indie charts, but for a group like them, that is precisely where they needed to be. It was that album that I fully fell in love with the band, and I cannot wait to get further into the group since from start to finish they have impressed me so far. Since they were on the up and up, they had to follow the same steps as previous shooting stars, leave behind their little label, and shoot for the big ones.
In 2002 the Donnas were signed by Atlantic Records, and there is a notable shift in recording quality and packaging. That sort of stole some of the recklessness of it all but allowed the Donnas to get marketed well and also solidify their bad girl stance. It might sound gross how I keep referring to a style such as theirs as "bad girl", but that is undoubtedly what it is, and there is nothing wrong with that. The Runaways, Suzi Quatro, Joan Jett, L7, and so many other groups did an impressive job with that style, and the Donnas are up there with them. 2002 saw them releasing their first big label release, Spend the Night. This is probably their most essential album, though I do have a soft spot for their earlier albums as well. I just barely got done listening to it for my first time when I chose one of its many great songs as the song of the day. There were 13 solid tracks that I could have chosen, but it was "Not the One" that I walked away with. Truth be told, the album doesn't allow for much expansion, but why should it? Does music always have to be something that reaches into the soul? There is a time and place. For the Donnas, they aren't reaching into your souls; they are reaching into your pants. Lust, rebellion, angst, empowerment, reality, and freedom of self are all put into Spend the Night. The album holds a good chunk of their most popular songs, but all are outshined by their most successful single, "Take It Off". I am pretty sure you can guess what that song is about, same with "Too Bad About Your Girl", "Take Me to the Backseat", "You Wanna Get Me High", and "Please Don't Tease". The song name fully explains what to expect, so how about our song of the day, "Not the One"? How about a track about how the character in our story (presumably meant to be Brett Anderson/Donna A.) gets with a dude and realizes he is boring as fuck? The song kicks into gear with a hard-chugging guitar intro. That sort of intro is simply meant for turning up that radio dangerously high and seeing how much power your little car can dish out on the highway. The rest of the song keeps that power up. Lyrically, it is cocky and straightforward, but you cannot blame her for chasing what she is after. If the Runaways started up during a different time, it would be the Donnas, and you can feel that in "Not the One". A damn good time fueled by guitar licks and a strong rhythm put out by bass and drums. The vocal work is mean and straightforward. All packaged together to give you one hell of a ride. I was much more impressed with Spend the Night than I thought I would be. Their previous album, The Donnas Turn 21, was a rollercoaster ride of a rock n roll party, and Spend the Night is all of that and more. A tighter playing band with better recording quality and vision. There wasn't a huge market for a band like the Donnas, but they certainly gathered a good fan base with their style. It ended up being their highest-charting album on the mainstream charts, hitting the 62nd spot in the US. That might seem sort of low, but this style already moved along. The Donnas polished up all the things they loved about the Runaways, Ramones, and Girlschool then melded it with some AC/DC-esque hard rock with a powdering of gender-reversed KISS lyricism. Gotta love it. I only have 2 more studio albums of theirs to dig into, and that makes me sad. Still, the tracks I have gathered from their other albums have kept me on a high for a while. Even today I was thinking about Spend the Night and really wanted to abandon my Friday music expansion to listen to it again. 2002 has had a ton of great albums so far for my lucky ears, but I gotta say that few have left an imprint on me like the Donnas. One of my favorite styles brought to the light once more and done quite well. You can feel the passion behind their reckless playing. For the throat good timing hard rock, that is all I ask for, and in the 2000s you might as well be asking for a winning lottery ticket. There are still plenty of hard rock groups that are phenomenal out of the time, but none reach into the past and bring out the gold like the Donnas. If this is your first time listening to the band and you like what you hear, I suggest starting with this album and making your way backwards. Their early sound is a ton of fun, but not nearly as compelling as their hard rock style. I don't know about the next two albums, so take that with a grain of salt, but I would guess this is peak Donnas. Well, that is all from me this go-around. Thanks for reading along, and I hope you dig the track! Enjoy!
Year Released: 2002
Album: Spend the Night (2002)
Genre: Hard Rock
Mood: Thrilling
Perfect For: Casual listening, Playing the dating game, Playing loud, Driving fast
Where To Next: "Wasted" - The Runaways
Rating: 8 / 10
Song of the Day 04/14/2026
"Starman" - David Bowie
David Bowie is a hard man to talk about. Mainly since it feels like you're talking about multiple people to nobody. He is an enigma, a wonderful musician, and a visionary, to put it lightly. David Bowie has one of the most successful runs in music history. Not only in his legendary sales, but more so in his persona. He is a person who will forever trail along with rock music of all walks. His fingers have been in every rock pie and will be in every rock pie to come. And even 10 years after his death, he is an icon to music fans of all walks. I have always been impressed with how many people love David Bowie, people I would never expect it from. He is seemingly especially popular with women, but that is understandable. Bowie kept alive throughout the changing tides of music wonderfully, always melding his sound into what was popular at the time. Never once did he lose his core vision, and all of his albums are unmistakably from his core sound. Though, what even is his core sound? Bowie gained the nickname "the chameleon of rock" for a reason. Though, when it comes to the artsy side of music, you gotta wonder if he followed the trends or set the trends. Few musicians jumped between the lines of artistic expression through music and compelling songs that pleased the masses like David Bowie did. From an early age, David Bowie was interested in all the arts, and through family members and others in his life, he expanded into regions that few trod at his age when it comes to religion, insanity, music, and dance. Though he wasn't that kid who was too cool for the trends. He, too, got bit by the rock n roll bug from the first time he heard "Hound Dog" by Elvis Presley. The early days of rock n roll are something that Bowie brought into his music time after time well into his later years. He would dance with his family to Elvis, sing Fats Domino to himself, and even play Buddy Holly with Peter Frampton (who we just discussed a couple of days ago) during lunch break at school since they attended the high school. Small world. In an interview he said that when he first heard Little Richard singing "Tutti Frutti" it was like hearing God. During his youth he had his fair share of bands but was always frustrated with how little the others were putting into the bands. His vision saw him becoming the next big pop star, something that would indeed come true, but it took a good long while. He jumped around bands, contacted record labels, and got his talents down pat. Bowie put out his first single, "Liza Jane", in 1964 under the name Davie Jones and the King Bees. They were signed and then denied right after the single failed to gain any traction. It is a collector's piece now, funny how that goes. He rerecorded that track for his 2000 album Toy but failed to capture the same feeling as the original, but it is still a worthwhile track. Since the King Bees mainly wanted to do blues covers, Bowie moved on down the road and joined up with a different group, the Manish Boys. They released a cover of "I Pity the Fool" which also failed to gain any traction, and once again Bowie moved along. He joined another group, and history repeated itself, but Bowie was slowly gaining the power to take the stage under his own spotlight. He dropped the name Davie Jones since it was too close to Davy Jones of the Monkees and settled on the name David Bowie, named after the bowie knife. The first true David Bowie single was released in 1966, a little piece called "Can't Help Thinking About Me", but like all his other attempts under multiple bands and names, it failed. After a few more singles and signing up with a new manager, he released the novelty track "The Laughing Gnome", another flop but a very unique and odd flop. If you find yourself with a second and like Bowie, check it out since it is a plain odd piece of music, if you can call it that. Even with the string of failures, Bowie never gave up and even had his debut album come out in 1967.
That debut of his is.... Odd.... And honestly, there isn't much of merit there for a listener like myself. I like how it teases some of Bowie's talent, but it still misses the mark half of the time. It flew under the radar and served as the shining star at the top of his musical flop tree. Truth be told, I just don't think the world was ready for David Bowie. All it took was Bowie waiting two years to release his next album, and then the world was a little more prepared. His second album, and second self-titled release, out of 1969 holds one of David Bowie's most essential tracks, "Space Oddity". "Space Oddity" is one of the greatest songs he ever released, if you ask me. A 10/10 landmark of psychedelia, art, and folk. The other tracks on that album are a little weak, but that Bowie brand of talent shines brightly on that one. One thing is for certain: Bowie was a sleeping beast that had a sound so unreal that it makes you question the limitations of art in music. "Space Oddity" gained him a strong cult following in the underbelly of the UK, a fanbase that couldn't wait for his next album. That next album is 1970, the first true heavy hitter from Bowie, The Man Who Sold the World. His third album holds the uneasiness of his previous albums, but instead of doing a strange pop thing wrapped in a psychedelic wrapper, he approached it with a harder edge, a sound that sat better with people and got the album to the #24 spot on the charts. Overall, it was still a commercial failure, but the wheels were starting to turn for our strange spotlighted star. Hunky Dory is one of the ultimate David Bowie albums. It dropped the harder edge of his previous album and replaced it with emotionally damp and deep lyrics and a performance that is warm and layered. It initially sold poorly, but after his breakout success on his next album, people went back and bought the shit out of it. It is the album on which Bowie finally found his footing on and found that sound that allowed him to become the megastar he was born to be. The first album stepping away from Bowie's early period that is rife with growing pains. It is Bowie's fifth album that we see David Bowie blowing up and stepping away from being an oddity. The overly long titled album The Rise and Fall of Ziggy Stardust and the Spiders from Mars is an essential rock album. I mean essential! One that everyone should listen to at least once in their life. A deep album that is loosely based around David Bowie's alter ego, Ziggy Stardust. A glam rock martian icon who is sent to Earth as a savior during the end of the world. A man who is so in love with himself that it ultimately damns him. That story is some of the thrill of this album, but it also was some of its downfall since many found it strange and difficult to follow. You don't need to follow the story; it is simply a damn good time musically, but the story is certainly a nice touch. The leading single off the album is our song of the day, "Starman". It came before the album even came out and got people ready for the artsy attack before it hit the shelves. Plus, the single did strikingly well, so that sure doesn't hurt. It was an instant success and is one of David Bowie's greatest songs, both on the charts and in the hearts of the fans. I should have just started the post about the album and the song, since it would take a lot of time to explain the damn thing. Since I am certain we will have another from this album at some point, we will just focus in on mostly our song of the day. "Starman" was a later addition to the album and was created since Bowie's label, RCA, wanted a single. Lyrically it takes part in the story as Ziggy Stardust bringing a message of hope and salvation to the youth of the world. It is told from the point of view of one of those teens that heard the message. Bowie put out a severely important piece of music history with "Starman", it was a heavy influence on countless musicians. When Bowie performed it for Top of the Pops in 1972, a lot of the viewers decided then and there that they wanted to follow in the same steps. The way Bowie and the band performed the song and sang so intimately into the camera had some intoxicating power. That performance is viewed as one of the most important TV moments for rock music. You can watch it on YouTube, and you will see why. Bowie was something so far out, he was challenging to understand. The whole performance is rebellion incarnate, but not in the form of motorcycles and leather jackets. A freedom was found within that performance that shook the whole music world and became a life-changing moment for the budding musicians that would become legends in the late 1970s & 1980s. It is a strange song, something that needed to happen to shake up the hard rock mania taking over the world. Something to spice up the mixing bowl of rock music. Even in the studio it is an all-consuming performance, a perfectly put-together song, vocal prowess, a catchy chorus, a memorable spacey intro to fit the lyrics, and a replayability unlike the majority of songs out there. An immensely important song, and one of the most essential out of the 1970s, if I do say so myself. Now here we are in 2026, a time when David Bowie already changed the music world and people are still raving about him all these years later. I am certain you know this track, but what's the harm in playing it again? And again? And again? Enjoy!
Year Released: 1972
Album: The Rise and Fall of Ziggy Stardust and the Spiders from Mars (1972)
Genre: Glam Rock
Mood: Bizarre, Fun
Perfect For: Summer drives, Night drives, Relaxing, Showering, Stargazing
Where To Next: "Planet Queen" - T.Rex
Rating: 10 / 10
David Bowie is a hard man to talk about. Mainly since it feels like you're talking about multiple people to nobody. He is an enigma, a wonderful musician, and a visionary, to put it lightly. David Bowie has one of the most successful runs in music history. Not only in his legendary sales, but more so in his persona. He is a person who will forever trail along with rock music of all walks. His fingers have been in every rock pie and will be in every rock pie to come. And even 10 years after his death, he is an icon to music fans of all walks. I have always been impressed with how many people love David Bowie, people I would never expect it from. He is seemingly especially popular with women, but that is understandable. Bowie kept alive throughout the changing tides of music wonderfully, always melding his sound into what was popular at the time. Never once did he lose his core vision, and all of his albums are unmistakably from his core sound. Though, what even is his core sound? Bowie gained the nickname "the chameleon of rock" for a reason. Though, when it comes to the artsy side of music, you gotta wonder if he followed the trends or set the trends. Few musicians jumped between the lines of artistic expression through music and compelling songs that pleased the masses like David Bowie did. From an early age, David Bowie was interested in all the arts, and through family members and others in his life, he expanded into regions that few trod at his age when it comes to religion, insanity, music, and dance. Though he wasn't that kid who was too cool for the trends. He, too, got bit by the rock n roll bug from the first time he heard "Hound Dog" by Elvis Presley. The early days of rock n roll are something that Bowie brought into his music time after time well into his later years. He would dance with his family to Elvis, sing Fats Domino to himself, and even play Buddy Holly with Peter Frampton (who we just discussed a couple of days ago) during lunch break at school since they attended the high school. Small world. In an interview he said that when he first heard Little Richard singing "Tutti Frutti" it was like hearing God. During his youth he had his fair share of bands but was always frustrated with how little the others were putting into the bands. His vision saw him becoming the next big pop star, something that would indeed come true, but it took a good long while. He jumped around bands, contacted record labels, and got his talents down pat. Bowie put out his first single, "Liza Jane", in 1964 under the name Davie Jones and the King Bees. They were signed and then denied right after the single failed to gain any traction. It is a collector's piece now, funny how that goes. He rerecorded that track for his 2000 album Toy but failed to capture the same feeling as the original, but it is still a worthwhile track. Since the King Bees mainly wanted to do blues covers, Bowie moved on down the road and joined up with a different group, the Manish Boys. They released a cover of "I Pity the Fool" which also failed to gain any traction, and once again Bowie moved along. He joined another group, and history repeated itself, but Bowie was slowly gaining the power to take the stage under his own spotlight. He dropped the name Davie Jones since it was too close to Davy Jones of the Monkees and settled on the name David Bowie, named after the bowie knife. The first true David Bowie single was released in 1966, a little piece called "Can't Help Thinking About Me", but like all his other attempts under multiple bands and names, it failed. After a few more singles and signing up with a new manager, he released the novelty track "The Laughing Gnome", another flop but a very unique and odd flop. If you find yourself with a second and like Bowie, check it out since it is a plain odd piece of music, if you can call it that. Even with the string of failures, Bowie never gave up and even had his debut album come out in 1967.
That debut of his is.... Odd.... And honestly, there isn't much of merit there for a listener like myself. I like how it teases some of Bowie's talent, but it still misses the mark half of the time. It flew under the radar and served as the shining star at the top of his musical flop tree. Truth be told, I just don't think the world was ready for David Bowie. All it took was Bowie waiting two years to release his next album, and then the world was a little more prepared. His second album, and second self-titled release, out of 1969 holds one of David Bowie's most essential tracks, "Space Oddity". "Space Oddity" is one of the greatest songs he ever released, if you ask me. A 10/10 landmark of psychedelia, art, and folk. The other tracks on that album are a little weak, but that Bowie brand of talent shines brightly on that one. One thing is for certain: Bowie was a sleeping beast that had a sound so unreal that it makes you question the limitations of art in music. "Space Oddity" gained him a strong cult following in the underbelly of the UK, a fanbase that couldn't wait for his next album. That next album is 1970, the first true heavy hitter from Bowie, The Man Who Sold the World. His third album holds the uneasiness of his previous albums, but instead of doing a strange pop thing wrapped in a psychedelic wrapper, he approached it with a harder edge, a sound that sat better with people and got the album to the #24 spot on the charts. Overall, it was still a commercial failure, but the wheels were starting to turn for our strange spotlighted star. Hunky Dory is one of the ultimate David Bowie albums. It dropped the harder edge of his previous album and replaced it with emotionally damp and deep lyrics and a performance that is warm and layered. It initially sold poorly, but after his breakout success on his next album, people went back and bought the shit out of it. It is the album on which Bowie finally found his footing on and found that sound that allowed him to become the megastar he was born to be. The first album stepping away from Bowie's early period that is rife with growing pains. It is Bowie's fifth album that we see David Bowie blowing up and stepping away from being an oddity. The overly long titled album The Rise and Fall of Ziggy Stardust and the Spiders from Mars is an essential rock album. I mean essential! One that everyone should listen to at least once in their life. A deep album that is loosely based around David Bowie's alter ego, Ziggy Stardust. A glam rock martian icon who is sent to Earth as a savior during the end of the world. A man who is so in love with himself that it ultimately damns him. That story is some of the thrill of this album, but it also was some of its downfall since many found it strange and difficult to follow. You don't need to follow the story; it is simply a damn good time musically, but the story is certainly a nice touch. The leading single off the album is our song of the day, "Starman". It came before the album even came out and got people ready for the artsy attack before it hit the shelves. Plus, the single did strikingly well, so that sure doesn't hurt. It was an instant success and is one of David Bowie's greatest songs, both on the charts and in the hearts of the fans. I should have just started the post about the album and the song, since it would take a lot of time to explain the damn thing. Since I am certain we will have another from this album at some point, we will just focus in on mostly our song of the day. "Starman" was a later addition to the album and was created since Bowie's label, RCA, wanted a single. Lyrically it takes part in the story as Ziggy Stardust bringing a message of hope and salvation to the youth of the world. It is told from the point of view of one of those teens that heard the message. Bowie put out a severely important piece of music history with "Starman", it was a heavy influence on countless musicians. When Bowie performed it for Top of the Pops in 1972, a lot of the viewers decided then and there that they wanted to follow in the same steps. The way Bowie and the band performed the song and sang so intimately into the camera had some intoxicating power. That performance is viewed as one of the most important TV moments for rock music. You can watch it on YouTube, and you will see why. Bowie was something so far out, he was challenging to understand. The whole performance is rebellion incarnate, but not in the form of motorcycles and leather jackets. A freedom was found within that performance that shook the whole music world and became a life-changing moment for the budding musicians that would become legends in the late 1970s & 1980s. It is a strange song, something that needed to happen to shake up the hard rock mania taking over the world. Something to spice up the mixing bowl of rock music. Even in the studio it is an all-consuming performance, a perfectly put-together song, vocal prowess, a catchy chorus, a memorable spacey intro to fit the lyrics, and a replayability unlike the majority of songs out there. An immensely important song, and one of the most essential out of the 1970s, if I do say so myself. Now here we are in 2026, a time when David Bowie already changed the music world and people are still raving about him all these years later. I am certain you know this track, but what's the harm in playing it again? And again? And again? Enjoy!
Year Released: 1972
Album: The Rise and Fall of Ziggy Stardust and the Spiders from Mars (1972)
Genre: Glam Rock
Mood: Bizarre, Fun
Perfect For: Summer drives, Night drives, Relaxing, Showering, Stargazing
Where To Next: "Planet Queen" - T.Rex
Rating: 10 / 10
Song of the Day 04/13/2026
"Firehouse" - KISS
Two KISS posts in the same month?! We are in a golden month indeed. I am sure after the last post all you want to hear about is my vacation, buuuuut I guess this is my website and I can do what I want! Besides, I tend to keep it relevant to the topic of rock music, and this one certainly is. My family and I went and did the KISS mini golf in what I am presuming is KISS World. Well, their little business card said so, at least. As one might assume, it was a tremendous tourist trap, something I tend to avoid, but when it comes to KISS, I will proudly be that fat tourist in a floral shirt. Shit, I think it was the place I took the most photos. KISS means a lot to me. As I have said previously, they are a band whose discography I have absolutely destroyed from overplaying. I know the majority of their albums like the back of my hand. Not just studio albums, I mean like every album. They are one of the few bands that I listen to their greatest hits albums after I listen to a studio album of theirs and still get a hankering for a KISS live album. KISS is electrifying! They never really tried putting out anything all too crazy; they simply put out straightforward hard rock that pleased the masses. Perfect for every occasion, especially sex, and I guess mini golf. If you are a KISS fan, I suggest pulling this place up on the maps. It was hog heaven for a member of the KISS army. Wonderfully done blacklight murals, kick-ass putts under KISS related statues/fixtures like Ace Frehley's guitar and Gene Simmons's boot, a history lesson of the band as you continued along the holes, live videos of the band's performances playing in the center, and most importantly, they have KISS playing the whole time loudly. Now, for some, they might have gotten sick of nearly 2 hours of continuous KISS, but for me, there wasn't a second that I got even slightly bored. It wasn't like they were just playing the hits on repeat; they were playing some truly deep cuts in between some of the band's most respected. Even songs from the infamous Music from "The Elder" and some modern hidden gems like "Shout Mercy" from Monster and the symphony backed version of "Forever" from the band's bold live album out of 2003, KISS Symphony: Alive IV. Truth be told, they might have just had Spotify on shuffle, but to me it seemed to be a specially curated set of songs for the moment. They also allowed you to ask for any song you would like, which would lead people to believe I spent more time asking for songs than playing mini golf. In truth I only asked for one song, mainly since I felt like a nuisance and they were having electrical difficulties, and I didn't want to pull them away from their duties. Though I didn't want to leave without asking for one of my favorites from KISS, the live version of "Deuce" off the band's killer first live album, Alive. Man, that is one stellar song. It sounds dumb with me fawning over a minigolf course, but as a fan of the band and as someone who appreciated all the little hidden references on the course, I was more impressed than I thought I would be. Tourist trap? Yeah. A fucking wonderfully put together one, though? Certainly. To make things way better, they even had a KISS museum, pretty much all of which came from Gene Simmons personal collection. That damn museum had everything from Gene Simmons's authentic music awards, KISS x Hello Kitty collabs, KISS condoms, a KISS casket, Gene Simmons's collection of bass guitars, comics, glasses, action figures, tour posters, tickets, lyric sheets, and pretty much anything you could possibly imagine with a KISS logo on it. Like I have said previously, if the item is even close to big enough to slap a KISS logo on it, they merchandised that sucker. One of the coolest parts was the chance to wear a pair of Gene Simmons boots. A really cool experience, but I will admit they were a tad stinky, sticky, and terribly awkward to put on. A thoroughly memorable time that I feel fortunate to have experienced after close to 18 years of being a big fan of the band.
Since we were there for a hot minute, I could have chosen a plethora of tracks for my song of the day. It was between "Domino", "Love 'Em and Leave 'Em", and the winner of it all, "Firehouse". "Firehouse" was one of the first songs I heard from KISS when I stepped into the band. Before that I knew the same songs everyone else knew, tracks like "I Was Made for Loving You", "Detroit Rock City", "Rock and Roll All Night", and all the other big-time hits, but it was "Firehouse" that really helped me find a true love for the band. Its hearty and fun intro comes from the band's debut self-titled album out of 1974. There are few more iconic albums out of the 1970s. KISS really came along with a bucket full of gold. That album cover is iconic and memorable and would set KISS above the majority of bands out there with their outlandish persona. I have always found Peter Criss's cat makeup plain creepy on it, though, and it is quite different from the face paint he actually donned. All the other members did their own for the album cover, but Criss had his professionally done. No matter what, that album cover is a gripper and certainly had people double-taking at it, half of them taking it home to see what the hell it was about. The album only took the band a solid three weeks to get written, recorded, and packaged. All the songs were written before them getting into the studio, which helped speed things along. The album sold okay upon its release but is now considered one of their greatest. Both Ace Frehley and Gene Simmons have said that their debut is their favorite album of KISS. It is a hard toss-up for me, but their debut is one of my favorites. I tend to come to it more than any of the others, but I do love the raw and bombastic KISS style, and few albums show that off better than their debut. "Firehouse" is one of the great tracks on the album, coming in at #3 on the tracklisting. The first two tracks are "Strutter", a fast-paced track that grabs your attention, and then "Nothin' to Lose" which is a lot more tame and a lot more fun than the intro track. "Firehouse" encapsulates everything that makes KISS the band that shook the whole world. It has a damn good intro that gets you ready for some rocking. Its energy is all the way up there, and there is a little cocky edge to the song that makes it a perfect one for a peacocking kind of day. Since it is a KISS song, the damn thing is all about a hot chick, but that is the beauty of KISS. "Firehouse" during live performances is accompanied by Gene Simmons fire breathing, a classic performance that has seen "Firehouse" being one of KISS's most performed songs, achieving over 1,000 different times being played for a show. On the bands Alive! out of 1975, you get to hear the other piece of the electric performance that KISS is well known for with an expanded ending with sirens blaring. It is typically then when Gene Simmons breaks out the fire. "Firehouse" was one of the earliest KISS songs; they even played it before they got the name KISS. It was one of the songs they played while trying to get signed by Epic Records, which Don Ellis later said was one of the worst performances he ever saw. Granted, he also saw the band perform the song and then whip out a bell, which they started hammering away at before they threw a fire bucket at the poor bastard. KISS is half theatrics, so it isn't all too shocking. "Firehouse" is a song strongly tied into the history of KISS. Gene Simmons has caught his hair on fire many times and accidentally set off stage explosives with his fire act. Paul Stanley is the one who wrote the lyrics of the song, and he did it while in high school. Lastly, "Firehouse" was one of the first songs they played on television. Both in style, stage show, and raw appeal, it isn't shocking this is one of the biggest fan favorites of the KISS army. This early stage, where the band was still cocky but was doing it in the name of rock n roll is their greatest. No crazy amount of money that they still chase till this day, not legions of chicks quite yet, nor the fame enough to set up a mini golf course in Las Vegas. Just some dudes wearing face paint with leather and spikes, playing some hard-driving music meant to give the youth a damn good time. Alright, I will just end the post there while I am ahead. We are still playing the catch-up game, so if you are new to the website, please note that I am usually on top of it. I appreciate you coming along to read the post! Give the song a solid spin; you're gonna dig it! Enjoy!
Year Released: 1974
Album: KISS (1974)
Genre: Hard Rock, Rock
Mood: Fun
Perfect For: Sex, Mini golf, Playing loud, Casual listening, Paradise by the dashboard lights
Where To Next: "Woman of the World" - Aerosmith
Rating: 9 / 10
Two KISS posts in the same month?! We are in a golden month indeed. I am sure after the last post all you want to hear about is my vacation, buuuuut I guess this is my website and I can do what I want! Besides, I tend to keep it relevant to the topic of rock music, and this one certainly is. My family and I went and did the KISS mini golf in what I am presuming is KISS World. Well, their little business card said so, at least. As one might assume, it was a tremendous tourist trap, something I tend to avoid, but when it comes to KISS, I will proudly be that fat tourist in a floral shirt. Shit, I think it was the place I took the most photos. KISS means a lot to me. As I have said previously, they are a band whose discography I have absolutely destroyed from overplaying. I know the majority of their albums like the back of my hand. Not just studio albums, I mean like every album. They are one of the few bands that I listen to their greatest hits albums after I listen to a studio album of theirs and still get a hankering for a KISS live album. KISS is electrifying! They never really tried putting out anything all too crazy; they simply put out straightforward hard rock that pleased the masses. Perfect for every occasion, especially sex, and I guess mini golf. If you are a KISS fan, I suggest pulling this place up on the maps. It was hog heaven for a member of the KISS army. Wonderfully done blacklight murals, kick-ass putts under KISS related statues/fixtures like Ace Frehley's guitar and Gene Simmons's boot, a history lesson of the band as you continued along the holes, live videos of the band's performances playing in the center, and most importantly, they have KISS playing the whole time loudly. Now, for some, they might have gotten sick of nearly 2 hours of continuous KISS, but for me, there wasn't a second that I got even slightly bored. It wasn't like they were just playing the hits on repeat; they were playing some truly deep cuts in between some of the band's most respected. Even songs from the infamous Music from "The Elder" and some modern hidden gems like "Shout Mercy" from Monster and the symphony backed version of "Forever" from the band's bold live album out of 2003, KISS Symphony: Alive IV. Truth be told, they might have just had Spotify on shuffle, but to me it seemed to be a specially curated set of songs for the moment. They also allowed you to ask for any song you would like, which would lead people to believe I spent more time asking for songs than playing mini golf. In truth I only asked for one song, mainly since I felt like a nuisance and they were having electrical difficulties, and I didn't want to pull them away from their duties. Though I didn't want to leave without asking for one of my favorites from KISS, the live version of "Deuce" off the band's killer first live album, Alive. Man, that is one stellar song. It sounds dumb with me fawning over a minigolf course, but as a fan of the band and as someone who appreciated all the little hidden references on the course, I was more impressed than I thought I would be. Tourist trap? Yeah. A fucking wonderfully put together one, though? Certainly. To make things way better, they even had a KISS museum, pretty much all of which came from Gene Simmons personal collection. That damn museum had everything from Gene Simmons's authentic music awards, KISS x Hello Kitty collabs, KISS condoms, a KISS casket, Gene Simmons's collection of bass guitars, comics, glasses, action figures, tour posters, tickets, lyric sheets, and pretty much anything you could possibly imagine with a KISS logo on it. Like I have said previously, if the item is even close to big enough to slap a KISS logo on it, they merchandised that sucker. One of the coolest parts was the chance to wear a pair of Gene Simmons boots. A really cool experience, but I will admit they were a tad stinky, sticky, and terribly awkward to put on. A thoroughly memorable time that I feel fortunate to have experienced after close to 18 years of being a big fan of the band.
Since we were there for a hot minute, I could have chosen a plethora of tracks for my song of the day. It was between "Domino", "Love 'Em and Leave 'Em", and the winner of it all, "Firehouse". "Firehouse" was one of the first songs I heard from KISS when I stepped into the band. Before that I knew the same songs everyone else knew, tracks like "I Was Made for Loving You", "Detroit Rock City", "Rock and Roll All Night", and all the other big-time hits, but it was "Firehouse" that really helped me find a true love for the band. Its hearty and fun intro comes from the band's debut self-titled album out of 1974. There are few more iconic albums out of the 1970s. KISS really came along with a bucket full of gold. That album cover is iconic and memorable and would set KISS above the majority of bands out there with their outlandish persona. I have always found Peter Criss's cat makeup plain creepy on it, though, and it is quite different from the face paint he actually donned. All the other members did their own for the album cover, but Criss had his professionally done. No matter what, that album cover is a gripper and certainly had people double-taking at it, half of them taking it home to see what the hell it was about. The album only took the band a solid three weeks to get written, recorded, and packaged. All the songs were written before them getting into the studio, which helped speed things along. The album sold okay upon its release but is now considered one of their greatest. Both Ace Frehley and Gene Simmons have said that their debut is their favorite album of KISS. It is a hard toss-up for me, but their debut is one of my favorites. I tend to come to it more than any of the others, but I do love the raw and bombastic KISS style, and few albums show that off better than their debut. "Firehouse" is one of the great tracks on the album, coming in at #3 on the tracklisting. The first two tracks are "Strutter", a fast-paced track that grabs your attention, and then "Nothin' to Lose" which is a lot more tame and a lot more fun than the intro track. "Firehouse" encapsulates everything that makes KISS the band that shook the whole world. It has a damn good intro that gets you ready for some rocking. Its energy is all the way up there, and there is a little cocky edge to the song that makes it a perfect one for a peacocking kind of day. Since it is a KISS song, the damn thing is all about a hot chick, but that is the beauty of KISS. "Firehouse" during live performances is accompanied by Gene Simmons fire breathing, a classic performance that has seen "Firehouse" being one of KISS's most performed songs, achieving over 1,000 different times being played for a show. On the bands Alive! out of 1975, you get to hear the other piece of the electric performance that KISS is well known for with an expanded ending with sirens blaring. It is typically then when Gene Simmons breaks out the fire. "Firehouse" was one of the earliest KISS songs; they even played it before they got the name KISS. It was one of the songs they played while trying to get signed by Epic Records, which Don Ellis later said was one of the worst performances he ever saw. Granted, he also saw the band perform the song and then whip out a bell, which they started hammering away at before they threw a fire bucket at the poor bastard. KISS is half theatrics, so it isn't all too shocking. "Firehouse" is a song strongly tied into the history of KISS. Gene Simmons has caught his hair on fire many times and accidentally set off stage explosives with his fire act. Paul Stanley is the one who wrote the lyrics of the song, and he did it while in high school. Lastly, "Firehouse" was one of the first songs they played on television. Both in style, stage show, and raw appeal, it isn't shocking this is one of the biggest fan favorites of the KISS army. This early stage, where the band was still cocky but was doing it in the name of rock n roll is their greatest. No crazy amount of money that they still chase till this day, not legions of chicks quite yet, nor the fame enough to set up a mini golf course in Las Vegas. Just some dudes wearing face paint with leather and spikes, playing some hard-driving music meant to give the youth a damn good time. Alright, I will just end the post there while I am ahead. We are still playing the catch-up game, so if you are new to the website, please note that I am usually on top of it. I appreciate you coming along to read the post! Give the song a solid spin; you're gonna dig it! Enjoy!
Year Released: 1974
Album: KISS (1974)
Genre: Hard Rock, Rock
Mood: Fun
Perfect For: Sex, Mini golf, Playing loud, Casual listening, Paradise by the dashboard lights
Where To Next: "Woman of the World" - Aerosmith
Rating: 9 / 10
Song of the Day 04/12/2026
"I Wanna Riot" - Rancid
We are slowly catching up on posts, but it's still an uphill battle. My issue with doing this many this fast is that it always makes one or two of them a tad bit boring of posts. Plus, my brain can only handle so much typing in a sitting. Well, hopefully we catch up soon. Through the history of AintNoisePollution actually being published for all the judging eyes of the world, this is the first time I had this long of a time away from the website. It was a touch refreshing, truth be told, buuuut I have an obligation to the world and to my readers to keep dishing out those hidden gems, well-worn rockers, and all the great tracks that serve as the soundtrack to my life. For Saturday, it was all about punk rock. While in Vegas, I had the chance to stop by the Punk Rock Museum, something I had been hoping to see one day. I am not sure if my family was as thrilled, but it was quite exciting for me. Now, I ain't the type of person to ever show excitement, and sometimes I wonder if I even truly know the feeling anymore, but for any punkers out there, this is something to get excited for. I also ain't the type of dude to say, "This is the couch that Mike Ness farted on while writing "Machine Gun Blues", can you believe that?!" accompanied by squealing, but it still is certainly surreal to be around so many pieces of history. A history that I have dedicated my life to. Seeing the instruments that made the sound I have listened to for countless hours. Sure is a strange feeling, and for someone who has dedicated just about my whole life to my studies, you would think I would have had it happen a few times. Concerts aside, I never get too close to any of the real-life aspects of it all. I live in Utah, which has very little imprint on the music world outside the Osmonds and Imagine Dragons, both of which I respect but still haven't gotten all that into. So, there is no building of fame, nor are there really any spots where famous stuff went down. Las Vegas has a ton, not as much as the majority of other big cities, but still enough. Plus, half that damn city is dedicated to the icons that fill my playlists or served as the breeding ground for talents of many genres. Punk rock doesn't have too much history in Las Vegas, but I can think of few better places to have a museum dedicated to it. Punk itself is a confusing facade in a way. Now, don't go getting your panties in a twist. There was a time that being part of the fan base meant something, and off and on throughout its history there were moments of meaning. Though, like everything, it consumed itself in the long run. Las Vegas, or the Strip that is, is all one big charade. A flashing neon piss puddle that is meant to distract you long enough that you don't realize you're getting robbed. A culture built around excess, much like punk is. A mean reality that doesn't try hiding itself, much like punk shows in their lyrics. A grimy underbelly where the true culture resides instead of the flashy clothing and unique sights, much like in the punk world once again. Plus, Las Vegas thrives on tourist spots, so it might as well bring the punk fans from across the world to its city. I was pleased to see it wasn't all too much of a tourist trap. It still had the normal stuff and asked a penny for entrance, but that is to be expected. They gave you a lot of freedom to truly enjoy the place and even had a bar, though since I was with my family and we were on a schedule, I didn't have a chance to stop off. They even had Slim Jim Phantom of the Stray Cats doing the tours while I was there. Sadly, we didn't do the guided tour, but even being in the same building was exciting. Well worth the time for anyone in the area with some time on their hands. A good chunk of history, no matter your preference on punk scenes.
You aren't here to read about my thoughts on the Punk Rock Museum; you are here for the music that made that such a hot spot in the first place. Like any punk museum would, there was a special place for Rancid and the other bands that helped give punk music a resurgence in popularity in the 1990s. Rancid is one of the greatest places for a budding punk fan to find a home within the genre. Hardcore in all the right ways, traditional punk in all the right ways, and some ska to make it a grand slam package for entry-level punk music. The great thing about the band is there are the easy-to-get behind songs like our song of the day, and then there are the ones for the more advanced punkers, making it easy to fall in love with the band and never truly tire of them. Rancid has only been included one other time on AintNoisePollution when I was first starting to publish it back in 2024. So, to give a recap, we will sort of touch on who the band is. Rancid started up in 1991. It was founded by Tim Armstrong (vocals/guitar) and Matt Freeman (vocals/bass/guitar) both of whom came from the influential ska punk band Operation Ivy. Though they have a lot of East Coast style and lyricism, they actually formed up in sunny Berkeley, California. Since their self-titled debut EP in 1992 and their debut album in 1993, Rancid has released 10 studio albums total and a small fistful of compilations and EPs. They have still yet to release a live album, but that is alright. They have a ton of great albums, but none hit the same acclaim as their breakout 3rd studio album, ...And Out Come the Wolves, which is one of the greatest punk albums out of the 1990s, if not of all time. Like any band, they went through a couple of style experimentations. Some are meant for the skate park, some for the city streets, some for getting a little stoned, and many for getting mighty drunk. With Matt Freeman and Tim Armstrong coming from one of the greatest ska punk bands, it is only expected that they have some damn good ska. Truth be told, a lot of my favorite Rancid tracks are the ska ones. Our song of the day is a shining example of that ska style of theirs. "I Wanna Riot" is a hidden gem from Rancid. It first saw its release on the soundtrack to Beavis and Butt-Head Do America, which is an animated film from the Beavis and Butt-Head series, if you didn't guess it, and it was released in 1996. Alongside it was the soundtrack, which has some pretty potent tracks. I will admit, I am not a huge fan of Beavis and Butt-Head, but I have always respected the music choices and music jokes within the show. I saw the movie forever ago while at my dad's house but don't remember much about it aside from the tripping part when they are stranded in the desert. A kick-ass part where White Zombie plays in the background with some wicked visuals after one of them mistakenly eats peyote. Anyway, one of the songs on that soundtrack was "I Wanna Riot" with Rancid alongside Stubborn All-Stars. Now, that version is quite a bit different from the version we have with us today. Still good, but our version today originally had its home on the first edition of the compilation series from Epitaph Records called Punk-O-Rama in 1994. I have only listened to one or two of those, but I really have to get caught up. That version later was the B-side to the single for "Roots Radical" and ultimately found its place on the 2007 compilation B Sides and C Sides. The place I chose this time is from the band's most recent compilation, All the Moon Stompers, out of 2015. That compilation is all their best ska-based tracks all under one roof. The lyrics are punky and pissed, angsty and real. The style is hard driving enough to make you accidentally speed while bopping along like a fool. "I Wanna Riot" was recorded during prime Rancid, if that is even a thing since they were strong since the start. Though, once again, they didn't hit the same high as ...And Out Come the Wolves, which features the fantastic "Roots Radical" and gave "I Wanna Riot" a home on its B-side to the single. When I first came across this song, I instantly fell in love, and no matter how many times I have listened to it, I get the same buzz. I mean, I listen to it as a boring adult that isn't throwing any bricks, but for a second there I feel the same youthful rebellion that used to fuel rambunctious ideas as a teenager. Ah, how I have grown stale. I guess that is what happens when society beats you into the shape of a perfect tool. Anyway! "I Wanna Riot" isn't the type of track that is supposed to get you down. It is the kind of song that is meant to ramp you the fuck up. So, no matter what your day looks like and how you're feeling, give the song a try and see if there is a fire lit under your ass. Enjoy!
Year Released: 1994
Chosen Compilation: All the Moonstompers (2015)
Genre: Ska Punk, Punk Rock
Mood: Energetic
Perfect For: Driving, Getting ready for the day, Finding a home in the fire, Reckless abandon
Where To Next: "They Came to Boston" - The Mighty Mighty Bosstones
Rating: 8 / 10
Song of the Day 04/11/2026
"Sure Shot" - Beastie Boys
Hold it now and hit it! We got the Beastie Boys once more! This time it isn't a rinse and repeat post about their iconic 1986 debut, Licensed to Ill, like the other 3 posts. We have one from another of their immensely famous albums, Ill Communication. Now, the Beastie Boys are the type of hip-hop group that makes people like hip-hop and rap, no matter their background or musical taste. There is something genuinely special in their style that defies barriers. They have done plenty of styles, and each of their albums constantly shakes it up track by track to keep you impressed and satisfied. They were the first band to have a rap album hit the top of the charts. The band's 1990s albums are like 5-layer bean dips; each bite is great, but you get a little bit more of varying layers with each bite. They have a layer of hip-hop, rock, punk, funk, and jazz, all of which are chock-full of soul and drive that you cannot help but get sucked into and enjoy all the flavor. The Beastie Boys are one of the longest hang-arounds in my music catalog. One of my favorite groups when I was a kid, and nothing has changed since playing "Girls" overly loud when I was home alone while 7 or so. Time changes nothing, but it did see me expanding into practically anything I could get my hands on from the group. "Sure Shot" is a powerhouse on their fourth studio album, Ill Communication. This is easily one of their greatest albums and is also probably their most out there when it comes to flow. Each song is something wholly different. Ill Communication was released in 1994 and was met with positive sales and acclaim. It is a hard one to define and further distanced the Beastie Boys from the samplings on their previous albums for a more rock approach using real instruments. That move is some of what kept them alive and well throughout the 1990s, and their ever-evolving sound made it easy for them to do just what they pleased through the 2000s. I am sure many of you recognize this album cover and, even more likely, the iconic music video for "Sabotage", which supported this album along. "Sabotage" in itself is reason enough to buy this album 10 times over. That track is a damn well-respected rap rock song and has gotta be one of the most successful songs from that genre. It is also the Beastie Boys most well-known song, coming in at 522,602,226 streams on Spotify as of right now. "Sabotage" is fairly far from their core style, but when it comes to these dudes, there is no set style. Don't expect the rest of Ill Communication to sound much like "Sabotage" since the tracks that come before and after it are jazz-laced hip-hop classics. Once "Get It Together" finishes up, the band does a funky-ass instrumental on "Sabrosa" and then a sleazy hip-hop hitter with "The Update". Easy to say the album keeps it lively, but people love "Sabotage" and that will never change. It is one of many of the Beastie Boys tracks that will be forever loved and helped cleave their war axe into the tree of music history. Ill Communication is a definitive album of the 1990s. Licensed to Ill is perfect for a house party, Paul's Boutique is an oddity perfect for solo listening, Check Your Head is perfect for walking the streets, and Ill Communications has always hit the hardest while driving around. That is precisely when "Sure Shot" slid into the lineup for potential song of the day picks. During some hard traveling to that crystal city of sin, Las Vegas, it was "Sure Shot" that got the mood up for everyone in the car. The Beasties have a way of getting you pumped. I could be walking to the executioner's block smiling so long as the Beastie Boys were playing.
"Sure Shot" is the first track on the album, and what a way to kick it off! I admit that I have an issue with repeating the first few seconds of the song over and over again when I listen to it in private. I find the dog noise at the start silly and the perfect send-off to allow in the looping of the flute of Jeremy Steig, which they sampled from his song "Howlin' for Judy". Not a shocking sample since the group was heavily influenced by jazz albums during the recording of Ill Communication, which is as clear as a cloudless day. "Sure Shot" was indeed the best track to be playing while heading to Las Vegas. The music video was recorded in Las Vegas and shows off the interior and features of the Las Vegas Hilton Hotel and Casino, now called the Westgate. I saw the building from a distance, but through my times being in Vegas, I haven't ever lost my hard-earned money under its ceiling. Anyway! "Sure Shot" starts off with a cute dog noise before the flute commands the background of the song. It lets you know what to expect out of the album right from the get-go. "Sure Shot" was the third single released from the album and is one of the best from its 20-song track listing. Lyrically it is fun, something you should always expect out of the Beastie Boys. It features a part where they sort of apologize for some of their misogynistic lyrics that showed up on their debut; the easiest example is "Girls". Beastie Boys never forget the past when it comes to their music, and their lyrics are no different. "Sure Shot" had a couple of different versions on its single alongside the punk-leaning "Mullet Head", the complimentary "The Vibes", and the odd instrumental piece "Son of Neckbone". "Sure Shot" alongside all the other great tracks that fill this album are testaments to the Beastie Boys boldness and timeless appeal. Hip-hop that pays respect to the legends of before but carves a path forward for groups to follow the same style. Not only the style of rap rock or alternative hip-hop, but also for those that want to meld in multiple genres with a unique slap. Ill Communications is not only a hodgepodge of varying genres, it is the evolutionary line of Beastie Boys becoming one. It has the goofiness of the group's debut, the love of the funky past from Paul's Boutique, and serves as an almost direct sequel to their previous album, Check Your Head, which is another to meld in many genres and pieces of their past. In my opinion, Check Your Head is a better album, but Ill Communication is the better quality album for each member's progression and vision. It set the mold for their personas all the way until the group's disbandment in 2012 following the death of MCA. They had more than the skills to pay the bills, and Ill Communication showed that off the best. Well, Ill Communication or maybe 2004's To the 5 Boroughs. A ton to love from the Beastie Boys. Plus, they have so many random releases between their studio albums that you can hear so many sides of the group, all the good, bad, and ugly you can stand. Shit, I got a massive desire to listen to some more Beastie Boys. Sorry, All-American Rejects, your study is gonna have to wait for a little bit while I dig some Beastie Boys for the umpteenth time. You should do the same; why not start with "Sure Shot"? It is just sitting there waiting for you to spin it! Enjoy!
Year Released: 1994
Album: Ill Communication (1994)
Genre: Hip-hop
Mood: Fun
Perfect For: Driving, Gambling, Mellow days, Having a couple of drinks
Where To Next: "Beats to the Rhyme" - Run-D.M.C
Rating: 9 / 10
Hold it now and hit it! We got the Beastie Boys once more! This time it isn't a rinse and repeat post about their iconic 1986 debut, Licensed to Ill, like the other 3 posts. We have one from another of their immensely famous albums, Ill Communication. Now, the Beastie Boys are the type of hip-hop group that makes people like hip-hop and rap, no matter their background or musical taste. There is something genuinely special in their style that defies barriers. They have done plenty of styles, and each of their albums constantly shakes it up track by track to keep you impressed and satisfied. They were the first band to have a rap album hit the top of the charts. The band's 1990s albums are like 5-layer bean dips; each bite is great, but you get a little bit more of varying layers with each bite. They have a layer of hip-hop, rock, punk, funk, and jazz, all of which are chock-full of soul and drive that you cannot help but get sucked into and enjoy all the flavor. The Beastie Boys are one of the longest hang-arounds in my music catalog. One of my favorite groups when I was a kid, and nothing has changed since playing "Girls" overly loud when I was home alone while 7 or so. Time changes nothing, but it did see me expanding into practically anything I could get my hands on from the group. "Sure Shot" is a powerhouse on their fourth studio album, Ill Communication. This is easily one of their greatest albums and is also probably their most out there when it comes to flow. Each song is something wholly different. Ill Communication was released in 1994 and was met with positive sales and acclaim. It is a hard one to define and further distanced the Beastie Boys from the samplings on their previous albums for a more rock approach using real instruments. That move is some of what kept them alive and well throughout the 1990s, and their ever-evolving sound made it easy for them to do just what they pleased through the 2000s. I am sure many of you recognize this album cover and, even more likely, the iconic music video for "Sabotage", which supported this album along. "Sabotage" in itself is reason enough to buy this album 10 times over. That track is a damn well-respected rap rock song and has gotta be one of the most successful songs from that genre. It is also the Beastie Boys most well-known song, coming in at 522,602,226 streams on Spotify as of right now. "Sabotage" is fairly far from their core style, but when it comes to these dudes, there is no set style. Don't expect the rest of Ill Communication to sound much like "Sabotage" since the tracks that come before and after it are jazz-laced hip-hop classics. Once "Get It Together" finishes up, the band does a funky-ass instrumental on "Sabrosa" and then a sleazy hip-hop hitter with "The Update". Easy to say the album keeps it lively, but people love "Sabotage" and that will never change. It is one of many of the Beastie Boys tracks that will be forever loved and helped cleave their war axe into the tree of music history. Ill Communication is a definitive album of the 1990s. Licensed to Ill is perfect for a house party, Paul's Boutique is an oddity perfect for solo listening, Check Your Head is perfect for walking the streets, and Ill Communications has always hit the hardest while driving around. That is precisely when "Sure Shot" slid into the lineup for potential song of the day picks. During some hard traveling to that crystal city of sin, Las Vegas, it was "Sure Shot" that got the mood up for everyone in the car. The Beasties have a way of getting you pumped. I could be walking to the executioner's block smiling so long as the Beastie Boys were playing.
"Sure Shot" is the first track on the album, and what a way to kick it off! I admit that I have an issue with repeating the first few seconds of the song over and over again when I listen to it in private. I find the dog noise at the start silly and the perfect send-off to allow in the looping of the flute of Jeremy Steig, which they sampled from his song "Howlin' for Judy". Not a shocking sample since the group was heavily influenced by jazz albums during the recording of Ill Communication, which is as clear as a cloudless day. "Sure Shot" was indeed the best track to be playing while heading to Las Vegas. The music video was recorded in Las Vegas and shows off the interior and features of the Las Vegas Hilton Hotel and Casino, now called the Westgate. I saw the building from a distance, but through my times being in Vegas, I haven't ever lost my hard-earned money under its ceiling. Anyway! "Sure Shot" starts off with a cute dog noise before the flute commands the background of the song. It lets you know what to expect out of the album right from the get-go. "Sure Shot" was the third single released from the album and is one of the best from its 20-song track listing. Lyrically it is fun, something you should always expect out of the Beastie Boys. It features a part where they sort of apologize for some of their misogynistic lyrics that showed up on their debut; the easiest example is "Girls". Beastie Boys never forget the past when it comes to their music, and their lyrics are no different. "Sure Shot" had a couple of different versions on its single alongside the punk-leaning "Mullet Head", the complimentary "The Vibes", and the odd instrumental piece "Son of Neckbone". "Sure Shot" alongside all the other great tracks that fill this album are testaments to the Beastie Boys boldness and timeless appeal. Hip-hop that pays respect to the legends of before but carves a path forward for groups to follow the same style. Not only the style of rap rock or alternative hip-hop, but also for those that want to meld in multiple genres with a unique slap. Ill Communications is not only a hodgepodge of varying genres, it is the evolutionary line of Beastie Boys becoming one. It has the goofiness of the group's debut, the love of the funky past from Paul's Boutique, and serves as an almost direct sequel to their previous album, Check Your Head, which is another to meld in many genres and pieces of their past. In my opinion, Check Your Head is a better album, but Ill Communication is the better quality album for each member's progression and vision. It set the mold for their personas all the way until the group's disbandment in 2012 following the death of MCA. They had more than the skills to pay the bills, and Ill Communication showed that off the best. Well, Ill Communication or maybe 2004's To the 5 Boroughs. A ton to love from the Beastie Boys. Plus, they have so many random releases between their studio albums that you can hear so many sides of the group, all the good, bad, and ugly you can stand. Shit, I got a massive desire to listen to some more Beastie Boys. Sorry, All-American Rejects, your study is gonna have to wait for a little bit while I dig some Beastie Boys for the umpteenth time. You should do the same; why not start with "Sure Shot"? It is just sitting there waiting for you to spin it! Enjoy!
Year Released: 1994
Album: Ill Communication (1994)
Genre: Hip-hop
Mood: Fun
Perfect For: Driving, Gambling, Mellow days, Having a couple of drinks
Where To Next: "Beats to the Rhyme" - Run-D.M.C
Rating: 9 / 10
Song of the Day 04/10/2026
"Lions at the Gate" - Peter Frampton & Tom Morello
Alright, we are back to the rock! Thanks for your patience with these posts while I was on vacation. We aren't out of the muck quite yet; we've got plenty of catch-up work to do. Some double posts for you to read, and a ton of research, typing, proofreading, and finalizing for me. One thing is for certain, I got some mighty fine choices from that vacation. Before we get into those, let's get into the song that I chose on Friday. This is a fresh track! It just released on the Friday that it was chosen. We all know who Peter Frampton is; he is one of the guitar gods to come out of the 1970s. Frampton is mostly known for his solo work, especially his live album Frampton Comes Alive! which is one of the best live albums ever released, both in my opinion and in plenty of other rockers. Before his solo work was Peter Frampton's greatest material, he was part of The Herd, a group that had a string of great hits in the 1960s but modernly is known for being the starting grounds for Frampton's next band which broke him into the mainstream, Humble Pie. I think we have talked about Humble Pie here before, but either way, I suggest you check them out. Smooth jamming, easygoing rocking tracks, and a solid chunk of great albums await you there. Granted, Peter Frampton wasn't there when the band fully broke out with their 1972 good-time album Smokin'. He was busy starting up his solo career, which saw his debut, Winds of Change, coming in the same year of 1972. Humble Pie's Smokin' charted immensely strongly, but for Frampton, his debut fell short and was a slight commercial failure. It still managed to achieve the 177th spot on the US charts. I find Winds of Change to be one of his greatest. It has a little bit of what Frampton brought to his previous groups but with a polished style. Equally, the album is a little lost in the tide, and he still hadn't found that Frampton sound that has his later albums selling steady and strong. As is expressed in our song of the day, Frampton invites a lot of musicians to play some tunes with him. For his debut, we had Frampton playing alongside Ringo Starr, Billy Preston, and other great musicians. Wind of Change was also produced by Chris Kimsey, who helped along a ton of great albums from bands like the Rolling Stones, Duran Duran, Marillion, INXS, and many other names. He was there behind the board for a lot of Frampton albums too. He is known for a crisp sound, hence why pop groups and mainstream rock groups were often a great match for Kimsey. Anyway, Frampton had a slightly rough start, but his affiliation with the now famous Humble Pie and being a name that was known for great guitar work mixed with strong vocal skills, made it clear that Frampton was the newest rising star in the rock world. His second studio album, Frampton's Camel, released in 1973 and his third studio album, Somethin's Happening, in 1974. Both still didn't achieve over the 100 spot on the US charts but still served up some great rock music for his core fanbase. Those early albums of his feature some seriously underrated tracks. Winds of Change and Frampton's Camel would later become some of his powerhouse albums following the success of his fourth studio album, Frampton, which got the name out there practically overnight. He is no longer that obscure artist you see on those inner sleeves on other albums you bought from a label; he is now the one you are spending the weekend trying to find at your local music stores. Frampton released in 1975 and is the heart and soul of Peter Frampton. It is the first to fully have his signature sound there. A sound that is intricate, moody, rocking, and mellow. Somewhat soft rock but not chill enough to get thrown under that banner. This time he hit the 32nd spot on the charts, an achievement that got blown out of the water for his next release, Frampton Comes Alive! which came out in 1976.
There are many out there that don't dig live albums, and when I hear someone say those words, I always wonder "have they heard Frampton Comes Alive!"? That right there is a damn good album, easily one of the greatest live rock albums ever released. It has everything you could ever want out of a live album. Iconic guitar solos, great crowd energy, an aura from Peter Frampton, and many of his greatest songs. Unlike the majority of bands out there, Frampton's live material often outshines his studio versions. I can really think of few artists that I can say the same about. Frampton Comes Alive! is a beast of an album that I honestly have never gotten sick of, no matter the ridiculous amount of times I have listened to it. It is Frampton's most successful album worldwide, and in the US alone it achieved 8x platinum status. It was the best-selling album of 1976 in the US, something that never happens with a live album. This album shot Frampton into stardom! The following studio album, I'm in You, released in 1977 and too sold well. Though, I will admit, Peter Frampton hardly kept up this newfound fame and energy. I'm in You is a decent album, but just a decent album. One that I do suggest since it is worth every minute and penny, especially with the legendary cast of guest musicians, but it is nothing in comparison to that live album and some of the albums that came before. Just like that, Peter Frampton controlled the rock world, and then within 3 years simply became another name that couldn't replicate the sales or energy. That isn't due to him not being a great musician, because he is, but the music world constantly is hungry for the next thing, something that Frampton was unable to give to them. I am a big Peter Frampton fan. I have listened to everything he has put out, and some of the albums are quick go-tos for me. Though I get why people moved along, he simply set that bar too high with that legendary live album. A lot of what followed lacked that something special; it seemed soulless even if the songs were filled with great musicianship. Frampton released one more album in the 1970s entitled Where I Should Be, which is another goodie, but a goodie without much of a gripping style. In the 1980s, Frampton released four studio albums, the strongest being Breaking All the Rules out of 1981. The 1990s had one more live album, a sequel to his first live album, and one self-titled studio album in 1994. 1994's Peter Frampton is honestly an underrated one from his discography; it just shows that his style doesn't change much, but his drive is still there even 20 years later. For the 2000s, Frampton experimented with some other genres, but they still fell short. From then on, Frampton released stuff that he was currently into like jazz, acoustics, symphonies, and even stuff that I figure was meant for children. Even with his other albums not selling well, they are all decent enough for a playthrough. Recently Frampton announced his upcoming 19th studio album, Carry the Light, which is set to release a month from today. There have been two singles released off that album so far, "Buried Treasure" and our song of the day, "Lions at the Gate". Like plenty of rock artists do when they get a bit older, Carry the Light will feature a plethora of varying acts. For the second single to release from the album, "Lions at the Gate" we have Tom Morello. Strange to think the revolutionary (in both ways) guitarist for bands like Rage Against the Machine, Audioslave, Prophets of Rage, and a ton of different projects would be playing alongside Frampton. Though, Frampton's influence was left all over the place through his iconic guitar style and tone. Honestly, the two together are a great mix. The lyrics to "Lions at the Gate" are politically active, which is almost a given with Morello on board. An empowering track backed by steady splaying from Frampton and unquestionable personality brought forth by Morello's guitar. I wasn't massively impressed with the first single from Carry the Light, but with "Lions at the Gate", I am much more stoked for its release in May. A much bolder track than I expected when I saw he had a new single during my Friday music expansion. Well, only time will tell how good the album will be, but I hope this song gets you a little excited too. I never expect much out of an album released by an artist well past their charting prime, but you can't stop me from hoping. Well, give the song a play already! Enjoy!
Year Released: 2026
Album: Carry the Light (TBR May 2026)
Genre: Rock
Mood: Empowering
Perfect For: Casual listening, Going to a peaceful protest, Doing chores, Working
Where To Next: "Streets of Minneapolis" - Bruce Springsteen
Rating: 7 / 10
Alright, we are back to the rock! Thanks for your patience with these posts while I was on vacation. We aren't out of the muck quite yet; we've got plenty of catch-up work to do. Some double posts for you to read, and a ton of research, typing, proofreading, and finalizing for me. One thing is for certain, I got some mighty fine choices from that vacation. Before we get into those, let's get into the song that I chose on Friday. This is a fresh track! It just released on the Friday that it was chosen. We all know who Peter Frampton is; he is one of the guitar gods to come out of the 1970s. Frampton is mostly known for his solo work, especially his live album Frampton Comes Alive! which is one of the best live albums ever released, both in my opinion and in plenty of other rockers. Before his solo work was Peter Frampton's greatest material, he was part of The Herd, a group that had a string of great hits in the 1960s but modernly is known for being the starting grounds for Frampton's next band which broke him into the mainstream, Humble Pie. I think we have talked about Humble Pie here before, but either way, I suggest you check them out. Smooth jamming, easygoing rocking tracks, and a solid chunk of great albums await you there. Granted, Peter Frampton wasn't there when the band fully broke out with their 1972 good-time album Smokin'. He was busy starting up his solo career, which saw his debut, Winds of Change, coming in the same year of 1972. Humble Pie's Smokin' charted immensely strongly, but for Frampton, his debut fell short and was a slight commercial failure. It still managed to achieve the 177th spot on the US charts. I find Winds of Change to be one of his greatest. It has a little bit of what Frampton brought to his previous groups but with a polished style. Equally, the album is a little lost in the tide, and he still hadn't found that Frampton sound that has his later albums selling steady and strong. As is expressed in our song of the day, Frampton invites a lot of musicians to play some tunes with him. For his debut, we had Frampton playing alongside Ringo Starr, Billy Preston, and other great musicians. Wind of Change was also produced by Chris Kimsey, who helped along a ton of great albums from bands like the Rolling Stones, Duran Duran, Marillion, INXS, and many other names. He was there behind the board for a lot of Frampton albums too. He is known for a crisp sound, hence why pop groups and mainstream rock groups were often a great match for Kimsey. Anyway, Frampton had a slightly rough start, but his affiliation with the now famous Humble Pie and being a name that was known for great guitar work mixed with strong vocal skills, made it clear that Frampton was the newest rising star in the rock world. His second studio album, Frampton's Camel, released in 1973 and his third studio album, Somethin's Happening, in 1974. Both still didn't achieve over the 100 spot on the US charts but still served up some great rock music for his core fanbase. Those early albums of his feature some seriously underrated tracks. Winds of Change and Frampton's Camel would later become some of his powerhouse albums following the success of his fourth studio album, Frampton, which got the name out there practically overnight. He is no longer that obscure artist you see on those inner sleeves on other albums you bought from a label; he is now the one you are spending the weekend trying to find at your local music stores. Frampton released in 1975 and is the heart and soul of Peter Frampton. It is the first to fully have his signature sound there. A sound that is intricate, moody, rocking, and mellow. Somewhat soft rock but not chill enough to get thrown under that banner. This time he hit the 32nd spot on the charts, an achievement that got blown out of the water for his next release, Frampton Comes Alive! which came out in 1976.
There are many out there that don't dig live albums, and when I hear someone say those words, I always wonder "have they heard Frampton Comes Alive!"? That right there is a damn good album, easily one of the greatest live rock albums ever released. It has everything you could ever want out of a live album. Iconic guitar solos, great crowd energy, an aura from Peter Frampton, and many of his greatest songs. Unlike the majority of bands out there, Frampton's live material often outshines his studio versions. I can really think of few artists that I can say the same about. Frampton Comes Alive! is a beast of an album that I honestly have never gotten sick of, no matter the ridiculous amount of times I have listened to it. It is Frampton's most successful album worldwide, and in the US alone it achieved 8x platinum status. It was the best-selling album of 1976 in the US, something that never happens with a live album. This album shot Frampton into stardom! The following studio album, I'm in You, released in 1977 and too sold well. Though, I will admit, Peter Frampton hardly kept up this newfound fame and energy. I'm in You is a decent album, but just a decent album. One that I do suggest since it is worth every minute and penny, especially with the legendary cast of guest musicians, but it is nothing in comparison to that live album and some of the albums that came before. Just like that, Peter Frampton controlled the rock world, and then within 3 years simply became another name that couldn't replicate the sales or energy. That isn't due to him not being a great musician, because he is, but the music world constantly is hungry for the next thing, something that Frampton was unable to give to them. I am a big Peter Frampton fan. I have listened to everything he has put out, and some of the albums are quick go-tos for me. Though I get why people moved along, he simply set that bar too high with that legendary live album. A lot of what followed lacked that something special; it seemed soulless even if the songs were filled with great musicianship. Frampton released one more album in the 1970s entitled Where I Should Be, which is another goodie, but a goodie without much of a gripping style. In the 1980s, Frampton released four studio albums, the strongest being Breaking All the Rules out of 1981. The 1990s had one more live album, a sequel to his first live album, and one self-titled studio album in 1994. 1994's Peter Frampton is honestly an underrated one from his discography; it just shows that his style doesn't change much, but his drive is still there even 20 years later. For the 2000s, Frampton experimented with some other genres, but they still fell short. From then on, Frampton released stuff that he was currently into like jazz, acoustics, symphonies, and even stuff that I figure was meant for children. Even with his other albums not selling well, they are all decent enough for a playthrough. Recently Frampton announced his upcoming 19th studio album, Carry the Light, which is set to release a month from today. There have been two singles released off that album so far, "Buried Treasure" and our song of the day, "Lions at the Gate". Like plenty of rock artists do when they get a bit older, Carry the Light will feature a plethora of varying acts. For the second single to release from the album, "Lions at the Gate" we have Tom Morello. Strange to think the revolutionary (in both ways) guitarist for bands like Rage Against the Machine, Audioslave, Prophets of Rage, and a ton of different projects would be playing alongside Frampton. Though, Frampton's influence was left all over the place through his iconic guitar style and tone. Honestly, the two together are a great mix. The lyrics to "Lions at the Gate" are politically active, which is almost a given with Morello on board. An empowering track backed by steady splaying from Frampton and unquestionable personality brought forth by Morello's guitar. I wasn't massively impressed with the first single from Carry the Light, but with "Lions at the Gate", I am much more stoked for its release in May. A much bolder track than I expected when I saw he had a new single during my Friday music expansion. Well, only time will tell how good the album will be, but I hope this song gets you a little excited too. I never expect much out of an album released by an artist well past their charting prime, but you can't stop me from hoping. Well, give the song a play already! Enjoy!
Year Released: 2026
Album: Carry the Light (TBR May 2026)
Genre: Rock
Mood: Empowering
Perfect For: Casual listening, Going to a peaceful protest, Doing chores, Working
Where To Next: "Streets of Minneapolis" - Bruce Springsteen
Rating: 7 / 10
Song of the Day 04/09/2026
"Prodigal Son" - Iron Maiden
I think at this point we might as well make it a monthly thing to include an Iron Maiden song. This is the third month in a row to have these metal legends gracing the playlist. For April we have "Prodigal Son" from their second studio album, Killers. This is the second and final album with the original vocalist Paul Di'Anno. Di'Anno is one underrated metal icon. He doesn't get nearly the same respect as Iron Maiden's main singer, Bruce Dickinson. A true shame too. It is fairly common for the second vocalist of a band to get the stick, but it isn't all too often the other way around. Paul Di'Anno might not have the same crazy range, and sure, the Maiden material with him singing didn't age nearly as well, but he is still a dude that can belt. His material with Iron Maiden is some of my favorite. I love the raw and aggressive sound of Iron Maiden, sometimes even more than their core material, where things get a little more intricate. Paul Di'Anno's vocal style perfectly complements the early days of heavy metal when speed and youthful vigor were almost all you needed. Speed was ultimately his downfall since he got the boot from Iron Maiden due to his cocaine and alcohol problems. Bruce Dickinson has said that he went and saw the band and thought to himself, "I could do way better", and he wasn't wrong. Would Iron Maiden have made it as far with Paul Di'Anno? Probably not, but that is a timeline we will never see. Though, did Di'Anno have a damn important role in the band's progression and rise to fame? Certainly. That wild child energy sold damn well locally, and from some of that early footage you can find on YouTube, you can see why. Shit, his first audition for Iron Maiden went poorly since he was arrested for showing off his pocketknife in public. I mean, that is a pretty stupid way to get arrested, but to the reckless youth, that gets your name remembered. Still, he got the gig in time and was there for the start of it all. Iron Maiden's debut did damn well, especially for something of its style and genre. That debut out of 1980 is a pioneering album for the speed metal and thrash metal genres, planting little seeds in others minds that would later form their own bands and rise to fame. It was a mix of the new wave of British heavy metal style with a razor's edge of punk rock and even a little powdering of progressive rock. After gaining that notoriety from their debut, they released their first EP Live!! +one which was released in Japan but wasn't all too special, and then in 1981 they came along with their second studio album, Killers. Now, Killers is primo Iron Maiden. It gives you a taste of the heavy impact the band was about to have on the whole world, but still it is situated strongly in the heavy metal scene of the time. This is where Iron Maiden really started gaining true steam. It was the first album produced by Martin Burch, who would produce their next 8 albums. Their mascot, Eddie, finally showed his true face, and that face ruled the album covers from here on out. I mean, their debut has Eddie, but more of a proto-Eddie. The band was playing tighter and showed that off with the only album to feature two instrumentals. There are some mean songs on this one, but a little bit of wiggle room to show off their progressive backing. Worldly lyricism shows up more often than in their debut, which is made up of horror and shock. Most importantly, the recording was much more cleaned up, making them seem more than another long-haired heavy metal band. The album didn't chart as high as their debut in the UK but did much better worldwide in sales and charting. It was a grand success overall. The stage was set, but there was one more step for them to become legends: lose their current vocalist. Di'Anno was off the rails doing rails, not just a little nip, but afull-blown, nonstop party. It was starting to affect his performance, and he knew he wasn't the one to be able to lead Maiden into the next stage. That is when Bruce Dickinson came into the spotlight. Dickinson previously was the vocalist for the band Samson and proved his prowess while with them. Paul Di'Anno was fired professionally and could only simply watch as his newfound fame hit the floor.
It wasn't the end for Paul Di'Anno, but he would never hit the same acclaim. He would forever be known as Iron Maiden's first vocalist. In 1983 he started up his first post-Maiden project simply called Di'Anno, but it never got off the ground even after two years of giving it a go. In 1985 he joined up with a bunch of other musicians under the name Gogmagog, but that too hit a massive wall, but at least this time they got an EP out. Within the same year, he formed the band Strike, which eventually switched their name to Battlezone. Another group that released some stuff but never got too much attention aside from a song or two. Killers was his next group, and this time it went a little bit better, but if you could guess from the name, it got more attention for the Iron Maiden covers than anything else. Well, I guess it isn't really a cover, or is it? I would say so. That is the only other Di'Anno band that I have listened to to completion. He never stopped playing music though; you've got to give him that. All the way up until his death, he was playing with many different bands and fellow artists; some released material, and some simply toured around playing covers of songs. I wonder how it felt seeing something he helped create turn into solid gold. I mean, Iron Maiden at the start was mainly Steve Harris steering the ship, but Di'Anno's aggressive vocals helped get them going. I honestly feel sorry for Di'Anno, especially since I find the first two Maiden albums to have some serious fire behind them. Speaking of, how about we get into our song of the day, "Prodigal Son". This is one of the most thrilling songs on Killers. Thrilling enough that I literally woke up for just a second in the middle of the night while this song was playing to add it to some playlists that needed its love. This song's 1:15 intro is its magic. Once the song picks up speed in that intro, I always get the chills. That constant strumming that cradles twiddling bass lines fills the whole song and keeps things moving. "Prodigal Son" is a tad bit less aggressive than some of the other tracks on the album. It is track #8 on the album; it comes right after "Killers" which is one of the more intense tracks on the album. After your hackles get raised from that well.... killer track named "Killers", in comes "Prodigal Son" to cool you right down. Or so you would think, but this song gains more power as it goes along. Each member of the band has a chance to showcase their talents starting at the 3:20 mark, where guitar solos captivate. They all form back up at the 4-minute mark to bring the song to a close, replaying that chill-inducing intro that shows why Steve Harris is one of the most respected bassists in heavy metal. Then once more, but a more slowed-down version for the ending. This song is the type of track that just keeps on giving. Each time you think it might grow a little stale, they shake it up again. The track is deeper than it seems too with those lyrics. The song is based around someone who dabbled too deep into black magic and started getting consumed by it. Pretty much the whole album is songs written by Steve Harris, and this is one of the strongest he penned. A cool lyrical theme, and it is sold well by Di'Anno. The vocal work does make it seem like acceptance and fear, though you might have expected it to be more panic than a mellow scene. I can't tell if that helps or hurts the image, but within "Prodigal Son" it is the band's synergy that grasps you more than the singing. Don't get me wrong, that vocal work is still very important, but Di'Anno has always been more of an "act first, ask questions later" kind of vocalist. Not one to put on a show, just one that wants to put out the energy. While "Prodigal Son" doesn't get as much love as the majority of the other songs on Killers, it does a fantastic job of setting up its own presence and shows off what the band can do when they slow it on down for a bit, something that became more of a thing in their future. Guess we will see what you think about the song. This post has dragged on long enough. Time for you to listen to some tunes, you lucky goose, you. Enjoy!
Year Released: 1981
Album: Killers (1981)
Genre: Heavy Metal, New Wave of British Heavy Metal
Mood: Grand
Perfect For: Waking up in the middle of the night to listen to it, Focused listening, Relaxing
Where To Next: "Running for Tomorrow" - Praying Mantis
Rating: 8 / 10
I think at this point we might as well make it a monthly thing to include an Iron Maiden song. This is the third month in a row to have these metal legends gracing the playlist. For April we have "Prodigal Son" from their second studio album, Killers. This is the second and final album with the original vocalist Paul Di'Anno. Di'Anno is one underrated metal icon. He doesn't get nearly the same respect as Iron Maiden's main singer, Bruce Dickinson. A true shame too. It is fairly common for the second vocalist of a band to get the stick, but it isn't all too often the other way around. Paul Di'Anno might not have the same crazy range, and sure, the Maiden material with him singing didn't age nearly as well, but he is still a dude that can belt. His material with Iron Maiden is some of my favorite. I love the raw and aggressive sound of Iron Maiden, sometimes even more than their core material, where things get a little more intricate. Paul Di'Anno's vocal style perfectly complements the early days of heavy metal when speed and youthful vigor were almost all you needed. Speed was ultimately his downfall since he got the boot from Iron Maiden due to his cocaine and alcohol problems. Bruce Dickinson has said that he went and saw the band and thought to himself, "I could do way better", and he wasn't wrong. Would Iron Maiden have made it as far with Paul Di'Anno? Probably not, but that is a timeline we will never see. Though, did Di'Anno have a damn important role in the band's progression and rise to fame? Certainly. That wild child energy sold damn well locally, and from some of that early footage you can find on YouTube, you can see why. Shit, his first audition for Iron Maiden went poorly since he was arrested for showing off his pocketknife in public. I mean, that is a pretty stupid way to get arrested, but to the reckless youth, that gets your name remembered. Still, he got the gig in time and was there for the start of it all. Iron Maiden's debut did damn well, especially for something of its style and genre. That debut out of 1980 is a pioneering album for the speed metal and thrash metal genres, planting little seeds in others minds that would later form their own bands and rise to fame. It was a mix of the new wave of British heavy metal style with a razor's edge of punk rock and even a little powdering of progressive rock. After gaining that notoriety from their debut, they released their first EP Live!! +one which was released in Japan but wasn't all too special, and then in 1981 they came along with their second studio album, Killers. Now, Killers is primo Iron Maiden. It gives you a taste of the heavy impact the band was about to have on the whole world, but still it is situated strongly in the heavy metal scene of the time. This is where Iron Maiden really started gaining true steam. It was the first album produced by Martin Burch, who would produce their next 8 albums. Their mascot, Eddie, finally showed his true face, and that face ruled the album covers from here on out. I mean, their debut has Eddie, but more of a proto-Eddie. The band was playing tighter and showed that off with the only album to feature two instrumentals. There are some mean songs on this one, but a little bit of wiggle room to show off their progressive backing. Worldly lyricism shows up more often than in their debut, which is made up of horror and shock. Most importantly, the recording was much more cleaned up, making them seem more than another long-haired heavy metal band. The album didn't chart as high as their debut in the UK but did much better worldwide in sales and charting. It was a grand success overall. The stage was set, but there was one more step for them to become legends: lose their current vocalist. Di'Anno was off the rails doing rails, not just a little nip, but afull-blown, nonstop party. It was starting to affect his performance, and he knew he wasn't the one to be able to lead Maiden into the next stage. That is when Bruce Dickinson came into the spotlight. Dickinson previously was the vocalist for the band Samson and proved his prowess while with them. Paul Di'Anno was fired professionally and could only simply watch as his newfound fame hit the floor.
It wasn't the end for Paul Di'Anno, but he would never hit the same acclaim. He would forever be known as Iron Maiden's first vocalist. In 1983 he started up his first post-Maiden project simply called Di'Anno, but it never got off the ground even after two years of giving it a go. In 1985 he joined up with a bunch of other musicians under the name Gogmagog, but that too hit a massive wall, but at least this time they got an EP out. Within the same year, he formed the band Strike, which eventually switched their name to Battlezone. Another group that released some stuff but never got too much attention aside from a song or two. Killers was his next group, and this time it went a little bit better, but if you could guess from the name, it got more attention for the Iron Maiden covers than anything else. Well, I guess it isn't really a cover, or is it? I would say so. That is the only other Di'Anno band that I have listened to to completion. He never stopped playing music though; you've got to give him that. All the way up until his death, he was playing with many different bands and fellow artists; some released material, and some simply toured around playing covers of songs. I wonder how it felt seeing something he helped create turn into solid gold. I mean, Iron Maiden at the start was mainly Steve Harris steering the ship, but Di'Anno's aggressive vocals helped get them going. I honestly feel sorry for Di'Anno, especially since I find the first two Maiden albums to have some serious fire behind them. Speaking of, how about we get into our song of the day, "Prodigal Son". This is one of the most thrilling songs on Killers. Thrilling enough that I literally woke up for just a second in the middle of the night while this song was playing to add it to some playlists that needed its love. This song's 1:15 intro is its magic. Once the song picks up speed in that intro, I always get the chills. That constant strumming that cradles twiddling bass lines fills the whole song and keeps things moving. "Prodigal Son" is a tad bit less aggressive than some of the other tracks on the album. It is track #8 on the album; it comes right after "Killers" which is one of the more intense tracks on the album. After your hackles get raised from that well.... killer track named "Killers", in comes "Prodigal Son" to cool you right down. Or so you would think, but this song gains more power as it goes along. Each member of the band has a chance to showcase their talents starting at the 3:20 mark, where guitar solos captivate. They all form back up at the 4-minute mark to bring the song to a close, replaying that chill-inducing intro that shows why Steve Harris is one of the most respected bassists in heavy metal. Then once more, but a more slowed-down version for the ending. This song is the type of track that just keeps on giving. Each time you think it might grow a little stale, they shake it up again. The track is deeper than it seems too with those lyrics. The song is based around someone who dabbled too deep into black magic and started getting consumed by it. Pretty much the whole album is songs written by Steve Harris, and this is one of the strongest he penned. A cool lyrical theme, and it is sold well by Di'Anno. The vocal work does make it seem like acceptance and fear, though you might have expected it to be more panic than a mellow scene. I can't tell if that helps or hurts the image, but within "Prodigal Son" it is the band's synergy that grasps you more than the singing. Don't get me wrong, that vocal work is still very important, but Di'Anno has always been more of an "act first, ask questions later" kind of vocalist. Not one to put on a show, just one that wants to put out the energy. While "Prodigal Son" doesn't get as much love as the majority of the other songs on Killers, it does a fantastic job of setting up its own presence and shows off what the band can do when they slow it on down for a bit, something that became more of a thing in their future. Guess we will see what you think about the song. This post has dragged on long enough. Time for you to listen to some tunes, you lucky goose, you. Enjoy!
Year Released: 1981
Album: Killers (1981)
Genre: Heavy Metal, New Wave of British Heavy Metal
Mood: Grand
Perfect For: Waking up in the middle of the night to listen to it, Focused listening, Relaxing
Where To Next: "Running for Tomorrow" - Praying Mantis
Rating: 8 / 10
Song of the Day 04/08/2026
"Still Climbing" - Cinderella
Is it just me, or has this month had a strangely high amount of hair metal? No complaints from me; that style is one of the funnest rides that rock has ever offered up. I mean, almost down to a science does that glam scene put out music that is damn fun. Cinderella is easily one of the greatest from the glam metal scene. They came into it a little later and helped give the genre one last grand slam before it became yesterday's news in the 1990s. The rise and fall of glam metal, but that is how genres work. Forever expanding, forever moving, and forever forgetting. Cinderella started up in 1983 but didn't release their first album until 1985. In comparison to a lot of the other bands out of the glam scene, they have a relatively small discography. I do respect bands that know when to leave well enough alone. As someone who listens through bands full discographies a handful of times for my studies and enjoyment, I appreciate it when a band doesn't dish out subpar albums once they are past their prime. Some groups that doesn't apply to, but for the majority of the glam metal bands, it does. Cinderella isn't just another hair group, even if their hits shine them in that light. They have an impressive amount of material that is more blues rock than glam metal, and that is where a lot of the magic happens. Cinderella gets put up there mighty high with my favorite bands out of the 1980s. Their lyricism is always straight for the heart, and the performance by Tom Keifer completely sells those words. "Still Climbing" is one of the many songs of theirs that has always been one that explains some of what is in my soul. Others include "Somebody Save Me", "The More Things Change", and plenty of others. Cinderella was put together by the two sole members who were there from start to finish, vocalist Tom Keifer and bassist Eric Brittingham. They gathered Michael Schermick on guitar and Tony Destra on drums, both of whom left to form Britny Fox before Cinderella even released their first album. Britny Fox is another decent hair band; they are one of the groups that are so glammed up that you will have glitter in your nose for hours after listening to them. I do wonder what Cinderella would have sounded like with them since Britny Fox has some drum and guitar synergy matched by few in the glam world. Also, check out that album cover for their self-titled album; it is excruciatingly 1980s. Maybe we will cover them another time; for now let's get back into Cinderella. After those two left, they started chasing after other members, finding Jeff LaBar to fill that void for guitar work, a perfect match. While finalizing some members and finding their presence, they played shows around Philadelphia, which gained them a pretty strong local fanbase. Gene Simmons of KISS was the first to approach the band about getting them signed to PolyGram, but they turned him down. Jon Bon Jovi saw the band perform next and went out of his way to contact his talent agent friend Derek Shulman to get Cinderella a contract drawn up. Shulman was apprehensive, but after some prodding from Jovi, they were in and needed to simply sign their lives away for the glory of rock n roll. The band got right to work on putting out their debut, the immensely popular, Night Songs. One of the most essential glam metal albums to ever hit the scene, a perfect one at that from start to finish. I have absolutely abused this album ever since I was a preteen. It holds a good chunk of their most famous songs like "Nobody's Fool", "Shake Me", and "Somebody Save Me". Don't go thinking this is the kind of album that just holds some hits, nope, each song is great, and it is an album I cannot suggest enough. It was their highest-charting album and got the Cinderella name out there practically overnight. They toured for over a year after that, playing with Poison, Bon Jovi, Loudness, and David Lee Roth, and showing up at some festivals. They were a name everyone knew, and with their dominance on MTV, it was hard to avoid these dudes decked out in scarves and animal print.
After concluding their first time touring the globe, they now had to follow up their debut. Long Cold Winter is the band's second album and is just as grand as their debut. This puppy was released in 1988 and is another you simply cannot miss out on. Long Cold Winter is a much more thought-out album. Not as many party anthems on this one. They came into the studio with some expansion in mind. A little bit of long power ballads here, some blues rock there, and some strong, straight-laced hard rock to seal it all together. This album is the real deal and shows that Cinderella isn't like everyone else in the glam metal world. "Coming Home", "Gypsy Road", "Bad Seamstress Blues / Fallin' Apart at the Seams", and most importantly, "Don't Know What You Got (Till It's Gone)" have their home on Long Cold Winter. If that in itself doesn't make you want to listen to that album, then I don't know what will. A great one, and everyone seemed to agree, which granted the band their next multi-platinum album. This time it sold well upon many shores, not just in the US and Canada. The most important thing about the album is how they shifted away from the tried, true, and trodden upon glam metal sound that consumed their debut. This gave them some wiggle room for their third album, Heartbreak Station, which practically dropped it all for a blues-forward hard rock style. "Bad Seamstress Blues / Fallin' Apart at the Seams" and "The Last Mile" were the signs that Cinderella was changing up their sound. Still a great album, and one that any core Cinderella fan would never put down, but it does fall a bit short in comparison to their previous two. Heartbreak Station saw a small decline in the band's sales, but that drop was heavily felt and practically started the end for the band. Throw in some infighting between members and vocalist Tom Keifer needing surgery to save his vocal cords, and it wasn't looking good for the band. While all of that was going down, the band was trying to dish out their fourth studio album, Still Climbing. Released in 1994, it came from a time when the music world changed their tastes. Grunge was king, nu metal was rising, extreme metal escaped the underground (sort of), and rock was falling on hard times. Well, traditional rock, that is. Everything was expanding quickly, and Cinderella released an album after their previous one didn't hit the same acclaim, so it flew under the radar. I personally really dig Still Climbing. It is full of more emotion than their other releases, but that could be a little bit of desperation to still be the name people sold-out venues to go see. Sadly a good chunk of the lyrics are a little bland, but it is all about the emotion behind the words. It also came 4 years after their last album since Keifer was trying to get his voice back. It was almost doomed from the start, but due to contractual obligations and that musical itch, they got it done and still released a good one. I admittedly come to this album less than the others, but it still has plenty of classic Cinderella songs. The greatest one from this album is the title track, "Still Climbing". Lyrically, this one is the champ, and that atmosphere is moody as hell. The song covers the thing we all go through, but few of us like to look in the eye. The simple reality of climbing for the rest of our lives, no rest, no relief, just climbing until we fall off the ladder. The track takes over a minute to get into those lyrics, but it is worth the wait, especially with that intro being so gripping. That blues rock style has sounded better on few Cinderella tracks. Even with the nursed vocal cords, you can tell that Keifer is holding back but sells the words excellently. Luckily, they went the blues route, which more than allows the gravely vocal work to shine true. Still Climbing has been buried by the test of time, but it deserves the same love as their other 3 studio albums. There are plenty of great tracks here, "Still Climbing", "Hot and Bothered", "The Road's Still Long", "Blood from a Stone", and so many more songs prove that this is a goodie. We will never see another Cinderella album, but that is probably for the best. Still Climbing is a damn fine album but still shows that the band was coming to an end. Sales dropped, members were fighting, and the rock n roll lifestyle already took its toll. I am glad we still got one more, and I am even more glad that I get to share this track with you here today. Keep it up! Pass the song off to a friend or loved one! Enjoy!
Year Released: 1994
Album: Still Climbing (1994)
Genre: Hard Rock, Blues Rock
Mood: Downhearted
Perfect For: Casual listening, Summer drives, Having a drink, Working
Where To Next: "What You Give" - Tesla
Rating: 8 / 10
Is it just me, or has this month had a strangely high amount of hair metal? No complaints from me; that style is one of the funnest rides that rock has ever offered up. I mean, almost down to a science does that glam scene put out music that is damn fun. Cinderella is easily one of the greatest from the glam metal scene. They came into it a little later and helped give the genre one last grand slam before it became yesterday's news in the 1990s. The rise and fall of glam metal, but that is how genres work. Forever expanding, forever moving, and forever forgetting. Cinderella started up in 1983 but didn't release their first album until 1985. In comparison to a lot of the other bands out of the glam scene, they have a relatively small discography. I do respect bands that know when to leave well enough alone. As someone who listens through bands full discographies a handful of times for my studies and enjoyment, I appreciate it when a band doesn't dish out subpar albums once they are past their prime. Some groups that doesn't apply to, but for the majority of the glam metal bands, it does. Cinderella isn't just another hair group, even if their hits shine them in that light. They have an impressive amount of material that is more blues rock than glam metal, and that is where a lot of the magic happens. Cinderella gets put up there mighty high with my favorite bands out of the 1980s. Their lyricism is always straight for the heart, and the performance by Tom Keifer completely sells those words. "Still Climbing" is one of the many songs of theirs that has always been one that explains some of what is in my soul. Others include "Somebody Save Me", "The More Things Change", and plenty of others. Cinderella was put together by the two sole members who were there from start to finish, vocalist Tom Keifer and bassist Eric Brittingham. They gathered Michael Schermick on guitar and Tony Destra on drums, both of whom left to form Britny Fox before Cinderella even released their first album. Britny Fox is another decent hair band; they are one of the groups that are so glammed up that you will have glitter in your nose for hours after listening to them. I do wonder what Cinderella would have sounded like with them since Britny Fox has some drum and guitar synergy matched by few in the glam world. Also, check out that album cover for their self-titled album; it is excruciatingly 1980s. Maybe we will cover them another time; for now let's get back into Cinderella. After those two left, they started chasing after other members, finding Jeff LaBar to fill that void for guitar work, a perfect match. While finalizing some members and finding their presence, they played shows around Philadelphia, which gained them a pretty strong local fanbase. Gene Simmons of KISS was the first to approach the band about getting them signed to PolyGram, but they turned him down. Jon Bon Jovi saw the band perform next and went out of his way to contact his talent agent friend Derek Shulman to get Cinderella a contract drawn up. Shulman was apprehensive, but after some prodding from Jovi, they were in and needed to simply sign their lives away for the glory of rock n roll. The band got right to work on putting out their debut, the immensely popular, Night Songs. One of the most essential glam metal albums to ever hit the scene, a perfect one at that from start to finish. I have absolutely abused this album ever since I was a preteen. It holds a good chunk of their most famous songs like "Nobody's Fool", "Shake Me", and "Somebody Save Me". Don't go thinking this is the kind of album that just holds some hits, nope, each song is great, and it is an album I cannot suggest enough. It was their highest-charting album and got the Cinderella name out there practically overnight. They toured for over a year after that, playing with Poison, Bon Jovi, Loudness, and David Lee Roth, and showing up at some festivals. They were a name everyone knew, and with their dominance on MTV, it was hard to avoid these dudes decked out in scarves and animal print.
After concluding their first time touring the globe, they now had to follow up their debut. Long Cold Winter is the band's second album and is just as grand as their debut. This puppy was released in 1988 and is another you simply cannot miss out on. Long Cold Winter is a much more thought-out album. Not as many party anthems on this one. They came into the studio with some expansion in mind. A little bit of long power ballads here, some blues rock there, and some strong, straight-laced hard rock to seal it all together. This album is the real deal and shows that Cinderella isn't like everyone else in the glam metal world. "Coming Home", "Gypsy Road", "Bad Seamstress Blues / Fallin' Apart at the Seams", and most importantly, "Don't Know What You Got (Till It's Gone)" have their home on Long Cold Winter. If that in itself doesn't make you want to listen to that album, then I don't know what will. A great one, and everyone seemed to agree, which granted the band their next multi-platinum album. This time it sold well upon many shores, not just in the US and Canada. The most important thing about the album is how they shifted away from the tried, true, and trodden upon glam metal sound that consumed their debut. This gave them some wiggle room for their third album, Heartbreak Station, which practically dropped it all for a blues-forward hard rock style. "Bad Seamstress Blues / Fallin' Apart at the Seams" and "The Last Mile" were the signs that Cinderella was changing up their sound. Still a great album, and one that any core Cinderella fan would never put down, but it does fall a bit short in comparison to their previous two. Heartbreak Station saw a small decline in the band's sales, but that drop was heavily felt and practically started the end for the band. Throw in some infighting between members and vocalist Tom Keifer needing surgery to save his vocal cords, and it wasn't looking good for the band. While all of that was going down, the band was trying to dish out their fourth studio album, Still Climbing. Released in 1994, it came from a time when the music world changed their tastes. Grunge was king, nu metal was rising, extreme metal escaped the underground (sort of), and rock was falling on hard times. Well, traditional rock, that is. Everything was expanding quickly, and Cinderella released an album after their previous one didn't hit the same acclaim, so it flew under the radar. I personally really dig Still Climbing. It is full of more emotion than their other releases, but that could be a little bit of desperation to still be the name people sold-out venues to go see. Sadly a good chunk of the lyrics are a little bland, but it is all about the emotion behind the words. It also came 4 years after their last album since Keifer was trying to get his voice back. It was almost doomed from the start, but due to contractual obligations and that musical itch, they got it done and still released a good one. I admittedly come to this album less than the others, but it still has plenty of classic Cinderella songs. The greatest one from this album is the title track, "Still Climbing". Lyrically, this one is the champ, and that atmosphere is moody as hell. The song covers the thing we all go through, but few of us like to look in the eye. The simple reality of climbing for the rest of our lives, no rest, no relief, just climbing until we fall off the ladder. The track takes over a minute to get into those lyrics, but it is worth the wait, especially with that intro being so gripping. That blues rock style has sounded better on few Cinderella tracks. Even with the nursed vocal cords, you can tell that Keifer is holding back but sells the words excellently. Luckily, they went the blues route, which more than allows the gravely vocal work to shine true. Still Climbing has been buried by the test of time, but it deserves the same love as their other 3 studio albums. There are plenty of great tracks here, "Still Climbing", "Hot and Bothered", "The Road's Still Long", "Blood from a Stone", and so many more songs prove that this is a goodie. We will never see another Cinderella album, but that is probably for the best. Still Climbing is a damn fine album but still shows that the band was coming to an end. Sales dropped, members were fighting, and the rock n roll lifestyle already took its toll. I am glad we still got one more, and I am even more glad that I get to share this track with you here today. Keep it up! Pass the song off to a friend or loved one! Enjoy!
Year Released: 1994
Album: Still Climbing (1994)
Genre: Hard Rock, Blues Rock
Mood: Downhearted
Perfect For: Casual listening, Summer drives, Having a drink, Working
Where To Next: "What You Give" - Tesla
Rating: 8 / 10
Song of the Day 04/07/2026
"Rise" - Disturbed
A band that brings the violence, well, maybe brought the violence. Disturbed has chilled out as the years have moved along, but during their first couple, they were some mean mothers. I ain't talking down on modern Disturbed, but they lack that same kick-in-the-assery of their first couple. Even with that said, the band's most recent studio album out of 2022, Divisive, was actually pretty heavy. I have always been much more into the band's heavy hitters than the ballads, and after the acclaim of their cover of Simon & Garfunkel's "The Sound of Silence", it seems Disturbed put too many eggs in that basket. Either way, I was glad to see Disturbed come back to their roots a little bit with Divisive. It got me looking forward to future Disturbed releases, something that hasn't really been said since 2010's Asylum. I don't know if we will be getting another Disturbed album any time soon. We haven't heard a peep from the band since they released the single "I Will Not Break" well over a year ago. During the first leg of their most recent tour in celebration of the 25th anniversary of their landmark debut, The Sickness, it was said that Disturbed has a bunch of new songs just waiting to get released, but only time will tell. During that tour, frontman David Draiman caught some backlash from unsatisfactory political views, something that he proudly thrust out of his pierced mouth, which might delay the release since people aren't all too happy with Disturbed right now. When it comes to politics and music, I tend to fasten on the blinders a little bit since I know that great musicians can be damn fools sometimes. Plus, no matter how stinky the opinion is, each person is entitled to it. So, I won't be skipping Disturbed's new album, especially since "I Will Not Break" was a decent song. A touch cliché, but when a band has been going this long with a genre that is difficult to expand within, that is to be expected. If the next single is another slowed-down yet intense cover, I might think about putting that next album of theirs on the back burner for a little bit until I find the time. Not talking crap, but something about their cover of "The Sound of Silence" has, quite frankly, always rubbed me wrong. It could be since I have a deep love for the original. Well, no matter my opinion on one of their most famous songs and my expectations about their next album, we aren't here for that. Today we get to talk about the song "Rise" off the band's second album, Believe. Now, let it be known, there is simply no beating the band's debut. That is just one of those simple facts, that whopper is legendary for a reason, and for a band to follow up on such an iconic debut is typically one hell of a task. Disturbed stepped up to the plate strongly though with Believe in 2002. When they got into the studio to record their second album, they didn't approach it with the intent to make a copy of their debut, no matter how popular it was; they walked into it with the intent to expand their sound. Disturbed started out with a nu metal backing but seemed pretty adamant about walking away from it, turning to the alternative metal genre for a more hearty home. Alternative metal seems to be an umbrella term for things that are too heavy for rock but too mellow for heavy metal, and that is exactly Disturbed. Their albums are a track by track separation of the hard rock tracks and the metal ones. Overall, I view Disturbed to be more hard rock, especially in the modern tongue, but at the same time, putting Disturbed under the heavy metal banner also makes sense, especially pre-2010 Disturbed. Believe, in a lot of ways, is a slight downgrade from their debut, but that is alright. Once again, they had one hell of a task in front of them, and they handled it well. Outside the hits like "Prayer", "Liberate", and "Remember", it seems Believe often gets overlooked by casual fans. A tremendous shame too, since I find it to be one of the band's best and most innovative on their sound. Still situated in the nu metal sound that gained them fame, but you can tell they are setting themselves up on a life raft since the nu metal genre was quickly becoming a sinking ship in the changing tides of music.
Lyrically the album came in with a deeper lacing. Their debut was built around an "I'm twisted and gonna kick your ass" mentality. Damn fun and a good way to gather fans, but Believe is rooted in various religious themes. Disturbed has never shied away from religious themes, but none have such a heavy lyrical theme of it as Believe. I mean, are you shocked? The album name might as well tell you what the theme will be, and the album cover features many religious symbols crammed into one. I can say with gladness that the religious themes don't damn the album for those like me that don't come to heavier music for God talk. It blends it wonderfully and never imposes itself on you. This was Disturbed's first album to hit the top of the charts, doing it practically as soon as the album dropped. That was a theme that kept up for the band's following 4 albums. So long as there are those disturbed, Disturbed will be around and sell well. Believe was an album laced in hope, sadness, and loss. These themes are felt and reflected within its 12 tracks. Vocalist David Draiman underwent surgery to fix up a damaged valve that was spitting some gnarly stuff on his vocal cords. In doing so, he eased tension but also surprisingly opened up a whole new range for him to play with. If you know Disturbed, you know that Draiman can fuckin' sing! This surgery is one of the key points on why Believe is a much more mature experience than their debut. So put those new vocals there, the band's heavier focus on more melodic dynamics, personal lyricism, and an easier to get behind style, and you have a solid album. Our song of the day is right in the belly of the beast, a heavy little number called "Rise". Disturbed tends to put the majority of their best tracks at the start of their albums, a theme that I tend not to appreciate too much. It used to really bother me when I was a kid, but as I grew older, I realized that the start is to get new fans comfy before the core material rears its head. "Rise" is the last top-tier track before the band gives you their other side. Where the more balladesque and emotional tracks show for fans dedicated enough to spend a solid hour alongside the band. To take in the hits and let Disturbed sit there after would be like eating only the frosting off a cake. You miss out on what fills the belly. Sure, that sugar rush is addictive! But then you never achieve the same satisfaction from the cake. "Rise" is that bite of the cake once you get halfway through it and are simply enjoying the satisfaction of it. Man... Cake sounds pretty damn good right now, and I ain't even much of a cake person. Anyway, "Rise" is one smooth track. Heavy in all the right ways but never steps over the threshold to put them anywhere on the extreme spectrum. Once again, more hard rock than heavy metal. Draiman does a great job at his vocal work, but I wanna give special love to guitarist Dan Donegan since he is the driving force of the track. Especially at the 2:20 mark, where that chugging guitar only gains more power. Once the "anvil" noise comes into play, something that Disturbed adores, and I do too, you can't help but bang that head. Donegan is an underrated guitarist, but that tends to come with this brand of hard rock/heavy metal. A prime pick off a damn good album. Believe does indeed have a bit of a bias with me since I have listened to this sucker since I was a child. "Liberate" was a long-time favorite track of mine growing up, and it is one I am sure to turn the fuck up when it comes across one of my playlists even now. Those childhood albums always hold a special spot in your heart. Growing up in the 2000s, it was almost a given for a pissed off young chap such as myself to get sucked into the wicked world of Disturbed. Well, I guess that is enough out of me for this post. Throw on some headphones, turn it up to an almost dangerous level, and let the song take you away. Enjoy!
Year Released: 2002
Album: Believe (2002)
Genre: Hard Rock, Nu Metal
Mood: Hard Driving
Perfect For: Casual listening, Commuting, Summer days
Where To Next: "Sinner" - Drowning Pool
Rating: 7 / 10
A band that brings the violence, well, maybe brought the violence. Disturbed has chilled out as the years have moved along, but during their first couple, they were some mean mothers. I ain't talking down on modern Disturbed, but they lack that same kick-in-the-assery of their first couple. Even with that said, the band's most recent studio album out of 2022, Divisive, was actually pretty heavy. I have always been much more into the band's heavy hitters than the ballads, and after the acclaim of their cover of Simon & Garfunkel's "The Sound of Silence", it seems Disturbed put too many eggs in that basket. Either way, I was glad to see Disturbed come back to their roots a little bit with Divisive. It got me looking forward to future Disturbed releases, something that hasn't really been said since 2010's Asylum. I don't know if we will be getting another Disturbed album any time soon. We haven't heard a peep from the band since they released the single "I Will Not Break" well over a year ago. During the first leg of their most recent tour in celebration of the 25th anniversary of their landmark debut, The Sickness, it was said that Disturbed has a bunch of new songs just waiting to get released, but only time will tell. During that tour, frontman David Draiman caught some backlash from unsatisfactory political views, something that he proudly thrust out of his pierced mouth, which might delay the release since people aren't all too happy with Disturbed right now. When it comes to politics and music, I tend to fasten on the blinders a little bit since I know that great musicians can be damn fools sometimes. Plus, no matter how stinky the opinion is, each person is entitled to it. So, I won't be skipping Disturbed's new album, especially since "I Will Not Break" was a decent song. A touch cliché, but when a band has been going this long with a genre that is difficult to expand within, that is to be expected. If the next single is another slowed-down yet intense cover, I might think about putting that next album of theirs on the back burner for a little bit until I find the time. Not talking crap, but something about their cover of "The Sound of Silence" has, quite frankly, always rubbed me wrong. It could be since I have a deep love for the original. Well, no matter my opinion on one of their most famous songs and my expectations about their next album, we aren't here for that. Today we get to talk about the song "Rise" off the band's second album, Believe. Now, let it be known, there is simply no beating the band's debut. That is just one of those simple facts, that whopper is legendary for a reason, and for a band to follow up on such an iconic debut is typically one hell of a task. Disturbed stepped up to the plate strongly though with Believe in 2002. When they got into the studio to record their second album, they didn't approach it with the intent to make a copy of their debut, no matter how popular it was; they walked into it with the intent to expand their sound. Disturbed started out with a nu metal backing but seemed pretty adamant about walking away from it, turning to the alternative metal genre for a more hearty home. Alternative metal seems to be an umbrella term for things that are too heavy for rock but too mellow for heavy metal, and that is exactly Disturbed. Their albums are a track by track separation of the hard rock tracks and the metal ones. Overall, I view Disturbed to be more hard rock, especially in the modern tongue, but at the same time, putting Disturbed under the heavy metal banner also makes sense, especially pre-2010 Disturbed. Believe, in a lot of ways, is a slight downgrade from their debut, but that is alright. Once again, they had one hell of a task in front of them, and they handled it well. Outside the hits like "Prayer", "Liberate", and "Remember", it seems Believe often gets overlooked by casual fans. A tremendous shame too, since I find it to be one of the band's best and most innovative on their sound. Still situated in the nu metal sound that gained them fame, but you can tell they are setting themselves up on a life raft since the nu metal genre was quickly becoming a sinking ship in the changing tides of music.
Lyrically the album came in with a deeper lacing. Their debut was built around an "I'm twisted and gonna kick your ass" mentality. Damn fun and a good way to gather fans, but Believe is rooted in various religious themes. Disturbed has never shied away from religious themes, but none have such a heavy lyrical theme of it as Believe. I mean, are you shocked? The album name might as well tell you what the theme will be, and the album cover features many religious symbols crammed into one. I can say with gladness that the religious themes don't damn the album for those like me that don't come to heavier music for God talk. It blends it wonderfully and never imposes itself on you. This was Disturbed's first album to hit the top of the charts, doing it practically as soon as the album dropped. That was a theme that kept up for the band's following 4 albums. So long as there are those disturbed, Disturbed will be around and sell well. Believe was an album laced in hope, sadness, and loss. These themes are felt and reflected within its 12 tracks. Vocalist David Draiman underwent surgery to fix up a damaged valve that was spitting some gnarly stuff on his vocal cords. In doing so, he eased tension but also surprisingly opened up a whole new range for him to play with. If you know Disturbed, you know that Draiman can fuckin' sing! This surgery is one of the key points on why Believe is a much more mature experience than their debut. So put those new vocals there, the band's heavier focus on more melodic dynamics, personal lyricism, and an easier to get behind style, and you have a solid album. Our song of the day is right in the belly of the beast, a heavy little number called "Rise". Disturbed tends to put the majority of their best tracks at the start of their albums, a theme that I tend not to appreciate too much. It used to really bother me when I was a kid, but as I grew older, I realized that the start is to get new fans comfy before the core material rears its head. "Rise" is the last top-tier track before the band gives you their other side. Where the more balladesque and emotional tracks show for fans dedicated enough to spend a solid hour alongside the band. To take in the hits and let Disturbed sit there after would be like eating only the frosting off a cake. You miss out on what fills the belly. Sure, that sugar rush is addictive! But then you never achieve the same satisfaction from the cake. "Rise" is that bite of the cake once you get halfway through it and are simply enjoying the satisfaction of it. Man... Cake sounds pretty damn good right now, and I ain't even much of a cake person. Anyway, "Rise" is one smooth track. Heavy in all the right ways but never steps over the threshold to put them anywhere on the extreme spectrum. Once again, more hard rock than heavy metal. Draiman does a great job at his vocal work, but I wanna give special love to guitarist Dan Donegan since he is the driving force of the track. Especially at the 2:20 mark, where that chugging guitar only gains more power. Once the "anvil" noise comes into play, something that Disturbed adores, and I do too, you can't help but bang that head. Donegan is an underrated guitarist, but that tends to come with this brand of hard rock/heavy metal. A prime pick off a damn good album. Believe does indeed have a bit of a bias with me since I have listened to this sucker since I was a child. "Liberate" was a long-time favorite track of mine growing up, and it is one I am sure to turn the fuck up when it comes across one of my playlists even now. Those childhood albums always hold a special spot in your heart. Growing up in the 2000s, it was almost a given for a pissed off young chap such as myself to get sucked into the wicked world of Disturbed. Well, I guess that is enough out of me for this post. Throw on some headphones, turn it up to an almost dangerous level, and let the song take you away. Enjoy!
Year Released: 2002
Album: Believe (2002)
Genre: Hard Rock, Nu Metal
Mood: Hard Driving
Perfect For: Casual listening, Commuting, Summer days
Where To Next: "Sinner" - Drowning Pool
Rating: 7 / 10
Song of the Day 04/06/2026
"Spill the Blood" - Slayer
It has been far too long since the almighty Slayer graced AintNoisePollution. Their last post was from July of last year with the intense "Fight Till Death". Crazy it took this long for another one to get picked, especially with Slayer being one of my all-time favorite bands. Strangely enough, Slayer wasn't love at first listen like the majority of my favorite bands. It took a little bit for their claws to get sunk into my skin, but once they were in, they were fuckin' in! I have always respected the power of Slayer and their impact on music, even before I considered myself a massive fan. My first taste of Slayer was the same as the majority of us, the vicious "Raining Blood". I think I was too young to fully appreciate that piece when I was 8 or so, but as I grew older and got further into heavy metal through the entry points of bands like Metallica, Black Sabbath, Judas Priest, Iron Maiden, and the other entry-level traditional heavy metal bands, I started falling deeper and deeper in love with Slayer's iconic sound and lasting impact. My fate was sealed forever upon seeing them live; it was like seeing something so unreal that it has your brain questioning if you have been living a lie. Directly after seeing that show, I went into the band with a ferocity that hasn't been matched since. Before I saw them live, I had already run through their discography once and abused their core mainstream 1980s and 1990s masterpieces a ton, but after that show I came back with a better understanding. An understanding that had me finding reason in Slayer's infamously passionate fan base. They are a beast, a band that plays a thin line between mainstream metal and the underground. One of the most powerful forces in the army of heavy metal in the 1980s. Their impact was heavily felt, and in some ways, they left a heavier impact than any of the other bands in thrash metal's "Big 4" which consists of Metallica, Megadeth, Slayer, and Anthrax. There is not a single question that Metallica is the band out of those that had the most success, but it was within Slayer that thrash never lost its core fundamentals, and the influential tracks that came from Slayer served as the underground revolution of heavy metal, while Metallica played their music strong and proudly in the limelight. Now, music isn't a competition, but at the same time it sort of is. I am not pitting any of the Big 4 against each other; that is an argument that has grown immensely stale, but I will say that Slayer is the most intense out of them. I don't quite remember what I have said in my previous posts, but I am almost certain that I didn't miss a chance for a little history, so we will skip over that for today. How about we just take a deeper look into the album that holds "Spill the Blood", shall we? For today, we stand with one of the greatest thrash metal albums to ever hit the scene, South of Heaven. This gem was released in July of 1988 and served as an influential piece for the metal that was going to bloom in the 1990s. This is the band's second album during their massive fame period and fourth overall. Their previous album, Reign in Blood, got their name spit out across the whole world, and heavy metal was never the same. Reign in Blood is a Slayer essential, and it is one severely aggressive album. It was the middle point between the band's earlier almost death metal style and their thrash mastery that has a little lacing of commercial appeal. You would think that South of Heaven would follow suit with aggression, but it is actually a good bit more chill. Maybe "chill" isn't the right word; I think that "slowed down" would be a better word for it. South of Heaven isn't relying on raw aggression to get your hackles up; this time around it is the more well put together songs backed by better lyricism and better playing that give you the chills. You can tell that the band is still a little lost in the less fast style, and they perfect it on their 1990 album Seasons in the Abyss. This middle ground brings back some of the amateur style that is reminiscent of the early days of heavy metal just a couple of years prior. Mean playing that is simply there to get you banging your head and laying down your soul to the gods of heavy metal. I'm not saying Slayer put out something weak, but what I am saying is through their style expansion, they let off this feeling of vigor that makes up for the slight confusion. Slayer was trying out guitar solos that were better structured, vocals that were less raw and aggressive, and much less distortion overall. In that there were plenty of disappointed fans, but in retrospect, it was one of the wisest steps that Slayer took to modernize their sound and stay one of the most loved names in heavy metal music for years to come.
Today we sink our teeth into the final track off the album, "Spill the Blood". And let me tell you! This is one hell of a song to end the album with. This was one of the songs off the album that was written by guitarist Jeff Hanneman. Hanneman had a bigger hand in this Slayer album than some of the others since Kerry King, his other half of the Slayer coin on guitars, took a little bit of a step back. King didn't mean for it to go that way, but with his personal life taking more of his time and also with knowing that Hanneman was just as talented of a songwriter, he subconsciously put less effort into South of Heaven. I mean, Jeff Hanneman wrote a good chunk of Slayer's most famous songs, like "Raining Blood" and "Angel of Death". When it comes to the lyricism of Hanneman, I can usually tell it is him behind the pen if it comes with some big words, historical context, and brutality. Sure, he has some of the satanic songs too, but his have this strange edge to them. "Spill the Blood" and "Behind the Crooked Cross" are two of the best songs from South of Heaven, and both were written solely by Jeff Hanneman. Great stuff! "Spill the Blood" has that Slayer style intro that I love dearly. Something wicked this way comes. Diabolical tension that releases into bloodshed. A vial of blood overflowing before dropping and shattering on the ground. Waiting for that trumpet to throw yourselves into the ever hungry war machine. Thankfully for us, "Spill the Blood" isn't one of those songs that simply have a great intro and then lose you in the gut of the song; it is kick-ass all the way through. It has clean as hell guitars, one of the least distorted songs in South of Heaven. Plus, vocalist Tom Aryana gives singing a go instead of relying on battle cries that rally the troops and shouts that shake the earth. A pleasant change, a change that had people putting down this song when the album first came out. I love looking into albums that fared poorly with fans and critics upon release but later get looked at with admiration. It took people a second to realize that Slayer wasn't gonna be like AC/DC and just release the same thing each time, no matter how good their original core sound was. Tracks like "Spill the Blood" show that Slayer are certainly more than just another band. They can do things slow and menacing just as well as they can do it fast and mean. "Spill the Blood" kicks off with a 1:10 minute intro that is menacing as fuck before vocals finally join in to seal the package all together. With that guitar lead intro, it is difficult to focus on anything else other than the guitar for the rest of the track. Both of my ears get sucked into the dual guitar attack of Jeff Hanneman and Kerry King. Especially during that phenomenal solo starting at 2:26 that lets both guitar players have their way with your senses for a little bit. After the first part of the instrumental break is done, the band moves back into that haunting intro, and the song goes again before a more tame vocal send-off from Tom Aryana warns you of the guitar and drum dancing outro that has you begging for more. To have "Spill the Blood" be the last track couldn't have just been chance, since it is one of the greatest songs on the album in my opinion. Slayer always does an impressive job with choosing a solid one for their final track on an album, but none have matched "Spill the Blood" in raw impact on making you want to listen to their next album right off the bat. "Spill the Blood" also serves as a wonderful complement to the album's title track that serves as the first song on the album, "South of Heaven". Being someone who has left that repeat button on countless times for South of Heaven, I can say with confidence they are like sister and brother. I cannot tell you how many hours I have sunk into this album, but I can assure you it is an impressive number. It is within tracks like "Spill the Blood" that I cannot help but come back to time and time again. It holds practically everything I love about heavy metal. Alright, enough about me; let's see what you think, yeah? Give the song a spin! Turn that fucker up loud, neighbors be damned. Enjoy!
Year Released: 1988
Album: South of Heaven (1988)
Genre: Thrash Metal
Mood: Menacing
Perfect For: Playing a little too loud, Praising the gods of heavy metal
Where To Next: "Skeleton on Your Shoulder" - Coroner
Rating: 9 / 10
It has been far too long since the almighty Slayer graced AintNoisePollution. Their last post was from July of last year with the intense "Fight Till Death". Crazy it took this long for another one to get picked, especially with Slayer being one of my all-time favorite bands. Strangely enough, Slayer wasn't love at first listen like the majority of my favorite bands. It took a little bit for their claws to get sunk into my skin, but once they were in, they were fuckin' in! I have always respected the power of Slayer and their impact on music, even before I considered myself a massive fan. My first taste of Slayer was the same as the majority of us, the vicious "Raining Blood". I think I was too young to fully appreciate that piece when I was 8 or so, but as I grew older and got further into heavy metal through the entry points of bands like Metallica, Black Sabbath, Judas Priest, Iron Maiden, and the other entry-level traditional heavy metal bands, I started falling deeper and deeper in love with Slayer's iconic sound and lasting impact. My fate was sealed forever upon seeing them live; it was like seeing something so unreal that it has your brain questioning if you have been living a lie. Directly after seeing that show, I went into the band with a ferocity that hasn't been matched since. Before I saw them live, I had already run through their discography once and abused their core mainstream 1980s and 1990s masterpieces a ton, but after that show I came back with a better understanding. An understanding that had me finding reason in Slayer's infamously passionate fan base. They are a beast, a band that plays a thin line between mainstream metal and the underground. One of the most powerful forces in the army of heavy metal in the 1980s. Their impact was heavily felt, and in some ways, they left a heavier impact than any of the other bands in thrash metal's "Big 4" which consists of Metallica, Megadeth, Slayer, and Anthrax. There is not a single question that Metallica is the band out of those that had the most success, but it was within Slayer that thrash never lost its core fundamentals, and the influential tracks that came from Slayer served as the underground revolution of heavy metal, while Metallica played their music strong and proudly in the limelight. Now, music isn't a competition, but at the same time it sort of is. I am not pitting any of the Big 4 against each other; that is an argument that has grown immensely stale, but I will say that Slayer is the most intense out of them. I don't quite remember what I have said in my previous posts, but I am almost certain that I didn't miss a chance for a little history, so we will skip over that for today. How about we just take a deeper look into the album that holds "Spill the Blood", shall we? For today, we stand with one of the greatest thrash metal albums to ever hit the scene, South of Heaven. This gem was released in July of 1988 and served as an influential piece for the metal that was going to bloom in the 1990s. This is the band's second album during their massive fame period and fourth overall. Their previous album, Reign in Blood, got their name spit out across the whole world, and heavy metal was never the same. Reign in Blood is a Slayer essential, and it is one severely aggressive album. It was the middle point between the band's earlier almost death metal style and their thrash mastery that has a little lacing of commercial appeal. You would think that South of Heaven would follow suit with aggression, but it is actually a good bit more chill. Maybe "chill" isn't the right word; I think that "slowed down" would be a better word for it. South of Heaven isn't relying on raw aggression to get your hackles up; this time around it is the more well put together songs backed by better lyricism and better playing that give you the chills. You can tell that the band is still a little lost in the less fast style, and they perfect it on their 1990 album Seasons in the Abyss. This middle ground brings back some of the amateur style that is reminiscent of the early days of heavy metal just a couple of years prior. Mean playing that is simply there to get you banging your head and laying down your soul to the gods of heavy metal. I'm not saying Slayer put out something weak, but what I am saying is through their style expansion, they let off this feeling of vigor that makes up for the slight confusion. Slayer was trying out guitar solos that were better structured, vocals that were less raw and aggressive, and much less distortion overall. In that there were plenty of disappointed fans, but in retrospect, it was one of the wisest steps that Slayer took to modernize their sound and stay one of the most loved names in heavy metal music for years to come.
Today we sink our teeth into the final track off the album, "Spill the Blood". And let me tell you! This is one hell of a song to end the album with. This was one of the songs off the album that was written by guitarist Jeff Hanneman. Hanneman had a bigger hand in this Slayer album than some of the others since Kerry King, his other half of the Slayer coin on guitars, took a little bit of a step back. King didn't mean for it to go that way, but with his personal life taking more of his time and also with knowing that Hanneman was just as talented of a songwriter, he subconsciously put less effort into South of Heaven. I mean, Jeff Hanneman wrote a good chunk of Slayer's most famous songs, like "Raining Blood" and "Angel of Death". When it comes to the lyricism of Hanneman, I can usually tell it is him behind the pen if it comes with some big words, historical context, and brutality. Sure, he has some of the satanic songs too, but his have this strange edge to them. "Spill the Blood" and "Behind the Crooked Cross" are two of the best songs from South of Heaven, and both were written solely by Jeff Hanneman. Great stuff! "Spill the Blood" has that Slayer style intro that I love dearly. Something wicked this way comes. Diabolical tension that releases into bloodshed. A vial of blood overflowing before dropping and shattering on the ground. Waiting for that trumpet to throw yourselves into the ever hungry war machine. Thankfully for us, "Spill the Blood" isn't one of those songs that simply have a great intro and then lose you in the gut of the song; it is kick-ass all the way through. It has clean as hell guitars, one of the least distorted songs in South of Heaven. Plus, vocalist Tom Aryana gives singing a go instead of relying on battle cries that rally the troops and shouts that shake the earth. A pleasant change, a change that had people putting down this song when the album first came out. I love looking into albums that fared poorly with fans and critics upon release but later get looked at with admiration. It took people a second to realize that Slayer wasn't gonna be like AC/DC and just release the same thing each time, no matter how good their original core sound was. Tracks like "Spill the Blood" show that Slayer are certainly more than just another band. They can do things slow and menacing just as well as they can do it fast and mean. "Spill the Blood" kicks off with a 1:10 minute intro that is menacing as fuck before vocals finally join in to seal the package all together. With that guitar lead intro, it is difficult to focus on anything else other than the guitar for the rest of the track. Both of my ears get sucked into the dual guitar attack of Jeff Hanneman and Kerry King. Especially during that phenomenal solo starting at 2:26 that lets both guitar players have their way with your senses for a little bit. After the first part of the instrumental break is done, the band moves back into that haunting intro, and the song goes again before a more tame vocal send-off from Tom Aryana warns you of the guitar and drum dancing outro that has you begging for more. To have "Spill the Blood" be the last track couldn't have just been chance, since it is one of the greatest songs on the album in my opinion. Slayer always does an impressive job with choosing a solid one for their final track on an album, but none have matched "Spill the Blood" in raw impact on making you want to listen to their next album right off the bat. "Spill the Blood" also serves as a wonderful complement to the album's title track that serves as the first song on the album, "South of Heaven". Being someone who has left that repeat button on countless times for South of Heaven, I can say with confidence they are like sister and brother. I cannot tell you how many hours I have sunk into this album, but I can assure you it is an impressive number. It is within tracks like "Spill the Blood" that I cannot help but come back to time and time again. It holds practically everything I love about heavy metal. Alright, enough about me; let's see what you think, yeah? Give the song a spin! Turn that fucker up loud, neighbors be damned. Enjoy!
Year Released: 1988
Album: South of Heaven (1988)
Genre: Thrash Metal
Mood: Menacing
Perfect For: Playing a little too loud, Praising the gods of heavy metal
Where To Next: "Skeleton on Your Shoulder" - Coroner
Rating: 9 / 10
Song of the Day 04/05/2026
"Red Rain" - The White Stripes
Ahhhhh, the White Stripes. Few bands came out of the 2000s that had such an impact. Well, I guess they started up and released their debut in the 1990s, but it was the 2000s that served as their playground. While the world was busy chasing all the new styles that the 2000s brought into the music world with force, the White Stripes were busy freshening up the old to bring it into the light once more. They were a piece of what it took for garage rock to have its revival, a style that left a striking impact on the 2000s, and better yet, they helped popularize blues in rock music once more. Blues and rock music were always meant for each other, a match made in heaven, and there weren't many musicians dishing it out to the mainstream like the White Stripes were. Even their brand of the blues still beats around the bush and can hardly even be considered blues music half the time. Get Behind Me Satan, the album that holds our song of the day, is a prime example of just that. That one seems to be the most experimental album that the band ever put out; it also is one of the oddest, and that is saying something since Jack White tends to put out some odd stuff. I wouldn't suggest this to be someone's first album from the White Stripes, but I wouldn't warn against it either. The good thing about albums like Get Behind Me Satan is how there is often something in there for most types of music fans. There is a little bit of electric blues, some straight rockers, bluegrass, some with a modern touch-up, and some that are so drowned in distortion it makes you question the year it came out. It is a treat to take in, but for those just starting into the band, I would heavily suggest Elephant since that is a masterpiece in a different way. Get Behind Me Satan is a masterpiece in the way of art; Elephant is a masterpiece in the way of music. Both are great, but both bring up different emotions and levels of dedicated listening. Don't be thinking that Get Behind Me Satan is an album that will be utilizing hundreds of instruments and sound effects, since it is honestly in that White Stripes style that doesn't change all too much, but the expansion that each next song brings to their style keeps the thing fresh for its mighty 44 minutes of solid tunes. To make it even more impressive, the White Stripes are made up of mostly two musicians, Jack and Meg White, each of whom brings a lot to the table with an array of instruments. Plus, those two meld together better than the majority of musical duos out there. Shit, I can't think of any married (for a time) duo that had better success than the White Stripes in the history of music. They sure are a unique group. This is their debut on AintNoisePollution, which is odd since I swore we have had a White Stripes post here before. Well, I guess not, so how about we discuss who the White Stripes are? I hardly need to introduce them, but for those that need a song to put to the artist, they are the ones that put out the immensely famous "Seven Nation Army". But to put them to just one song would be plain wrong since they were a leading force in rock music of the 2000s. Plus, while that song is awesome, they have even better ones within their albums. In the grand scheme of legendary rock bands, they have a relatively small discography. Only 6 studio albums and a couple of live releases make up their discography. Their timeline, both in musical talent and vision, is shown within their albums. As Meg and Jack White moved along, they only got better. They started up in 1997, joining in on all the magic coming out of the Detroit music scene. Their first two albums got a lot of attention around their home turf and found modest success in France and the United Kingdom. It was their third album, White Blood Cells, in 2001 that they broke out of their home area and became icons in the budding garage rock revival scene. For their fourth album, they went from regional icons to superstars. Elephant released in 2003 and completely steered the rock ship for years to come. It is their most legendary album, and it holds a good chunk of their greatest songs. Easily one of the most impressive releases out of the 2000s, and one that I think everyone should listen to at least once in their life.
With the newfound worldwide recognition, all the lights were on the White Stripes to dish out another killer piece. They answered that call with Get Behind Me Satan in 2005. While the album wasn't nearly as intense as their previous, it was an album that you couldn't help but love just as much. It is just as hauntingly raw as their previous album, but it holds a little more expansion on their sound. The recording for Get Behind Me Satan feels plain strange, but a lot of that is due to the cheaper recording cost and the way that the band handled it. It was recorded during a time when the White Stripes were getting hit left and right from the music industry. There were lawsuits, fighting with other bands, and overall being a little lost on where to go next. They answered all of that by handling a good chunk of the ins and outs of the album themselves. The album cost less than 10,000 bucks to record, which was practically unheard of for such a high caliber band. Not only that, it only took a month to record all of the songs and get them prettied up. Granted, Jack and Meg have been working on a couple of the songs for the last year or more, so it was simply a matter of getting them put together well enough to press. It was recorded at Jack White's house in Detroit, which gives the sound this strange, closed in feeling, something that complements the murky and fuzzy sound of the White Stripes wonderfully. There were three singles that came from Get Behind Me Satan. "My Doorbell", "The Denial Twist", and the leading single and most essential track off the album, "Blue Orchid". But as I stated before, each song from this album brings in something new with each next turn. But, if for some odd reason you would need more convincing to listen to one great album, "Blue Orchid" would be one of the most important songs to sample. It is the first song on the track listing and sets the tone off wonderfully. By the time you get to our song of the day, you simply don't know what to expect from the band. "Red Rain" starts off with twangy guitar work that is then answered by bells and haunting singing in the background, which only further confuses and makes you wonder what is to come. Before you even get a chance to maybe wonder who is even playing, you are reminded pretty fast when you hear the bombastic drums of Meg White being complimented by heavily distorted and mean guitar. The song is one of the odd ones from the album where you can tell they were experimenting with some stuff. It became a fan favorite and is one of my favorites from the album. It is strange, enticing, comforting, and hard-driving. After you get situated in its sound blanket, the middle of the song comes around with the strange bells going off as the intensity ramps up. At the 2:36 mark, the manipulated vocals of Jack White always sort of creep me out, but that is some of the zany appeal. They always achieve impressive results at making you feel slightly unsettled. In 2025, the White Stripes released a music video for "Red Rain" which is well worth the watch; it is cool as hell. "Red Rain" is the 12th track on Get Behind Me Satan, just one track before the album comes to a close. "Red Rain" moves into "I'm Lonely (But I Ain't That Lonely Yet)" which is a piano led one. "Red Rain" gets the blood pumping for a grand ending, but then "I'm Lonely (But I Ain't That Lonely Yet)" comes back in to cool your blood and get you reaccustomed to the real world for once the album comes to a close. Those two together always leave a wonderful taste in your mouth, and always make it difficult to not restart the album for another spin. Well, I really thought their debut on the website was going to be from Elephant or De Stijl, but the obscurely charming Get Behind Me Satan will do the job, and do it well. Hope you dig the track! Enjoy!
Year Released: 2005
Album: Get Behind Me Satan (2005)
Genre: Alternative Rock, Blues Rock, Art Rock
Mood: Odd
Perfect For: Casual listening, Writing poetry, Reading, Commuting
Where To Next: "Rental Car" - Beck
Rating: 7 / 10
Ahhhhh, the White Stripes. Few bands came out of the 2000s that had such an impact. Well, I guess they started up and released their debut in the 1990s, but it was the 2000s that served as their playground. While the world was busy chasing all the new styles that the 2000s brought into the music world with force, the White Stripes were busy freshening up the old to bring it into the light once more. They were a piece of what it took for garage rock to have its revival, a style that left a striking impact on the 2000s, and better yet, they helped popularize blues in rock music once more. Blues and rock music were always meant for each other, a match made in heaven, and there weren't many musicians dishing it out to the mainstream like the White Stripes were. Even their brand of the blues still beats around the bush and can hardly even be considered blues music half the time. Get Behind Me Satan, the album that holds our song of the day, is a prime example of just that. That one seems to be the most experimental album that the band ever put out; it also is one of the oddest, and that is saying something since Jack White tends to put out some odd stuff. I wouldn't suggest this to be someone's first album from the White Stripes, but I wouldn't warn against it either. The good thing about albums like Get Behind Me Satan is how there is often something in there for most types of music fans. There is a little bit of electric blues, some straight rockers, bluegrass, some with a modern touch-up, and some that are so drowned in distortion it makes you question the year it came out. It is a treat to take in, but for those just starting into the band, I would heavily suggest Elephant since that is a masterpiece in a different way. Get Behind Me Satan is a masterpiece in the way of art; Elephant is a masterpiece in the way of music. Both are great, but both bring up different emotions and levels of dedicated listening. Don't be thinking that Get Behind Me Satan is an album that will be utilizing hundreds of instruments and sound effects, since it is honestly in that White Stripes style that doesn't change all too much, but the expansion that each next song brings to their style keeps the thing fresh for its mighty 44 minutes of solid tunes. To make it even more impressive, the White Stripes are made up of mostly two musicians, Jack and Meg White, each of whom brings a lot to the table with an array of instruments. Plus, those two meld together better than the majority of musical duos out there. Shit, I can't think of any married (for a time) duo that had better success than the White Stripes in the history of music. They sure are a unique group. This is their debut on AintNoisePollution, which is odd since I swore we have had a White Stripes post here before. Well, I guess not, so how about we discuss who the White Stripes are? I hardly need to introduce them, but for those that need a song to put to the artist, they are the ones that put out the immensely famous "Seven Nation Army". But to put them to just one song would be plain wrong since they were a leading force in rock music of the 2000s. Plus, while that song is awesome, they have even better ones within their albums. In the grand scheme of legendary rock bands, they have a relatively small discography. Only 6 studio albums and a couple of live releases make up their discography. Their timeline, both in musical talent and vision, is shown within their albums. As Meg and Jack White moved along, they only got better. They started up in 1997, joining in on all the magic coming out of the Detroit music scene. Their first two albums got a lot of attention around their home turf and found modest success in France and the United Kingdom. It was their third album, White Blood Cells, in 2001 that they broke out of their home area and became icons in the budding garage rock revival scene. For their fourth album, they went from regional icons to superstars. Elephant released in 2003 and completely steered the rock ship for years to come. It is their most legendary album, and it holds a good chunk of their greatest songs. Easily one of the most impressive releases out of the 2000s, and one that I think everyone should listen to at least once in their life.
With the newfound worldwide recognition, all the lights were on the White Stripes to dish out another killer piece. They answered that call with Get Behind Me Satan in 2005. While the album wasn't nearly as intense as their previous, it was an album that you couldn't help but love just as much. It is just as hauntingly raw as their previous album, but it holds a little more expansion on their sound. The recording for Get Behind Me Satan feels plain strange, but a lot of that is due to the cheaper recording cost and the way that the band handled it. It was recorded during a time when the White Stripes were getting hit left and right from the music industry. There were lawsuits, fighting with other bands, and overall being a little lost on where to go next. They answered all of that by handling a good chunk of the ins and outs of the album themselves. The album cost less than 10,000 bucks to record, which was practically unheard of for such a high caliber band. Not only that, it only took a month to record all of the songs and get them prettied up. Granted, Jack and Meg have been working on a couple of the songs for the last year or more, so it was simply a matter of getting them put together well enough to press. It was recorded at Jack White's house in Detroit, which gives the sound this strange, closed in feeling, something that complements the murky and fuzzy sound of the White Stripes wonderfully. There were three singles that came from Get Behind Me Satan. "My Doorbell", "The Denial Twist", and the leading single and most essential track off the album, "Blue Orchid". But as I stated before, each song from this album brings in something new with each next turn. But, if for some odd reason you would need more convincing to listen to one great album, "Blue Orchid" would be one of the most important songs to sample. It is the first song on the track listing and sets the tone off wonderfully. By the time you get to our song of the day, you simply don't know what to expect from the band. "Red Rain" starts off with twangy guitar work that is then answered by bells and haunting singing in the background, which only further confuses and makes you wonder what is to come. Before you even get a chance to maybe wonder who is even playing, you are reminded pretty fast when you hear the bombastic drums of Meg White being complimented by heavily distorted and mean guitar. The song is one of the odd ones from the album where you can tell they were experimenting with some stuff. It became a fan favorite and is one of my favorites from the album. It is strange, enticing, comforting, and hard-driving. After you get situated in its sound blanket, the middle of the song comes around with the strange bells going off as the intensity ramps up. At the 2:36 mark, the manipulated vocals of Jack White always sort of creep me out, but that is some of the zany appeal. They always achieve impressive results at making you feel slightly unsettled. In 2025, the White Stripes released a music video for "Red Rain" which is well worth the watch; it is cool as hell. "Red Rain" is the 12th track on Get Behind Me Satan, just one track before the album comes to a close. "Red Rain" moves into "I'm Lonely (But I Ain't That Lonely Yet)" which is a piano led one. "Red Rain" gets the blood pumping for a grand ending, but then "I'm Lonely (But I Ain't That Lonely Yet)" comes back in to cool your blood and get you reaccustomed to the real world for once the album comes to a close. Those two together always leave a wonderful taste in your mouth, and always make it difficult to not restart the album for another spin. Well, I really thought their debut on the website was going to be from Elephant or De Stijl, but the obscurely charming Get Behind Me Satan will do the job, and do it well. Hope you dig the track! Enjoy!
Year Released: 2005
Album: Get Behind Me Satan (2005)
Genre: Alternative Rock, Blues Rock, Art Rock
Mood: Odd
Perfect For: Casual listening, Writing poetry, Reading, Commuting
Where To Next: "Rental Car" - Beck
Rating: 7 / 10
Song of the Day 04/04/2026
"Thrills in the Night" - KISS
Man, maybe I shouldn't have chosen an AC/DC reference for the website name; perhaps it should have been a KISS reference. Hmmmm.... Psychocircus.com? Rockandrollover.com? Nah. I still stand by my choice. Plus, I was really shocked that the domain wasn't being used. I had to pay a decent penny to hold it, something I pay for yearly. Well, I have no regrets. AintNoisePollution is the perfect name to explain this website. Also, it is a nice touch when I advertise the website to people and they understand the AC/DC connection. That usually shows that I might have a new reader, a like-minded individual. Anyway, as you can see at the top of the post, we have another KISS song for today! This is their 5th time on the website, and with a discography as rockin' as theirs, there are to be many more KISS picks. We have a song from their sort of comeback album, Animalize out of 1984. I mean, KISS was still a well-known and respected name in the rock world, but they were on a massively downward slope in their career. By the time Animalize came out, KISS was having a hard time selling albums like they were before. Worse yet, they were having a hard time holding down members in their lineups. In 1980 they released their eighth studio album, Unmasked, which was their last core album before the decline. That album is a lot more pop-forward, continuing their self-sabotage of walking away from their hard rock sound. This got many of their fans leaving them behind, but KISS being KISS has their KISS Army, which is a legion of fans that will stand by the band no matter what. I find Unmasked to be alright; there are some redeeming tracks, but it tends to be one of the last places I go when I want to listen to the band. After that they released the infamous Music from "The Elder" which was so bad that it gained the title of "one of the worst albums ever made" for a long time, and even the label didn't want their name in the liner notes. Only now are people going back to see it as one of the boldest KISS ever made. They are known as a pretty straightforward band, so for a pretty straightforward band to try throwing out a concept album deserves credit where credit is due. I mean, it is a pretty bad album, especially after all the great albums KISS was putting out. I just find it to be a unique piece, nothing truly awful, but nothing you need to go see in theaters, ya know? So after that ordeal and the walking away from the hard rock sound, KISS alienated a good chunk of their fanbase. Luckily they tried coming back to their core sound with their tenth studio album, Creatures of the Night, in 1982. This is one of my favorite KISS albums, and I like the more heavy metal style they came to the table with. Still, the damage was done, and people didn't dare spend their hard-earned money on a band that had twice disappointed them. Their loss, but I can't really blame them after KISS released two blunder albums. It was the first album with Vinnie Vincent on guitar, something that we will get into here soon when we talk about our song of the day. That is an infamous topic in itself since there is so much damn drama that happened with guitarist credits around this time. Anyway, KISS put out another great, something that almost matched some of their original power, but it still fell on deaf ears. They needed something to make the world look at them again. They were falling victim to the same fate that follows each band once they start getting close to their ten years of releases. There is always a new kid in town, and styles move along. You can try following suit, but you have a massive chance of leaving those faithful fans behind. So, like many bands have done under the same circumstances, they needed a rebirth. That is where 1983's Lick It Up comes into play. Now, I find this to be one of the band's worst albums, but take that with a grain of salt since there are admittedly many great tracks on that album. The rebirth of KISS was here in Lick It Up. It was the first time KISS put out anything with their bare faces! I am sure that was a hell of a shock back in the day. It breaks some of the immersion that is KISS, not that it is a bad thing, but their makeup and stage attire made them more fiction than fact. Some rock n roll demons, playing a role to make you rock out. For just a second you forget those are some hairy dudes behind the paint saying some dirty ass things. Now, it is some older dudes who are trying to strong-arm their way into the glam metal scene that has been making crazy waves. I won't lie, KISS did it well, and their original style allowed for this transformation to take hold fairly easily. It seemed people agreed, and it got KISS another platinum record in the United States. Plus, it brought in one of their most famous songs, the title track "Lick It Up". Still, they came back with a whole new sound to their standard straight-cut hard rock sound, which was a downgrade, but in comparison to the route they were going before, it was certainly an upgrade. I just wish they kept with that Creatures of the Night style a little longer.
Lick It Up got KISS back on the charts with a strong presence, and better yet, got all the chicks coming to their shows again. A feat that a good majority of bands didn't pull off; many got lost in the maelstrom of the late 1970s, so good for KISS. They kept the energy up and released their 12th studio album the next year in 1984. I have always shared a love/hate relationship with Animalize. Mostly love, but there is always a track or two that leaves a sour taste in my mouth. This is the only KISS album to feature Mark St. John on lead guitar, since Vinnie Vincent bounced due to artistic differences. Mostly since he was starting to not get along with Paul Stanley and Gene Simmons, which is a tale as old as time. I think that is some of the bad of this album since I find Vinnie Vincent adds some serious oomph to KISS. He went on to form the Vinnie Vincent Invasion, which is one kick-ass group! While it left a strange void in KISS, the inclusion of Mark St. John was a smart one. He is one hell of a guitar player, something you will hear on our song of the day, but his ferocious style seems to kind of steal the show. That ferocity is some of the name of the game of glam metal, and I find his solos to be some of the reason that KISS had a second wind with Animalize. But when there is a new talent, there is old damning. If they actually put together this album not in a rush, they might have been on to something. Animalize was a quick release, a release where Gene Simmons practically just threw it into the wind and hoped someone would go chase it down. It was Paul Stanley doing all the chasing. Simmons was currently trying to get an acting career off the ground, something he never pulled off. During the recording of Animalize, Gene Simmons was co-starring in the 1984 film Runaway. Not only that, Simmons was trying his hand at managing other bands. So, he sort of left all the lifting to the rest of KISS but would come in to lay down some bass lines and help along the production. When he was in there, all he did was butt heads with the other members, which had new guitarist Mark St. John often in the firing line. It isn't all too shocking this is the only KISS album with him on the guitar. Even then he isn't the only one credited on the album since they had Bruce Kulick come in to do some of the solos. He was hardly even around for the following tour due to "medical issues" that he later said were a grand excuse to not be involved anymore. A mess of a recording, but even with all of that, KISS put out something decent. Nothing to write home to mom about, but decent through and through. Decent enough to go platinum in both the US and Canada. This is easily KISS's most glam-heavy album, almost to a fault. I mean, look at that album cover! What did you expect? It was practically them all watching some Bon Jovi and Mötley Crüe music videos with a notebook out taking notes. You ever see those movies where a parent trades bodies with their kid and has to learn how to fit in with the young crowd? Well, that is Animalize. I hate to put down the album, especially with being a huge KISS fan, but it is just the ugly truth. Even with their copycat antics and the cards being stacked against them, they pulled off another good album. It sold well and even spurred the hit single "Heaven's on Fire" which even now is one of their most streamed songs. Our song of the day is one to perfectly show how they were simply replicating what was going on at the time. "Thrills in the Night" was the other single to be released from the album and came with a fairly strong music video of the band playing it "live". I won't lie, the live music video is almost the better version of the song, even if it is just the band pretending to play it live. KISS are performers first, musicians second, so seeing them perform always adds that flair. The added crowd sound adds some energy to it. The song is lusty, as should be expected from KISS. They always hold the two sins of lust and pride to their heart, but that gained them plenty of fans. "Thrills in the Night" has a seriously strong recording and a strong 1980s-style chorus that is bristling with strength. The vocal performance of Paul Stanley is a touch weak, but by the time you notice that, the best part of the song comes along at the 2:30 mark, where the guitar solo comes in. One to show that they might have had one strong KISS member if they all weren't butting heads the whole damn time. That is one smooth solo and is the reason I chose this song for our song of the day. St. John was the third guitarist to leave KISS in two years, which isn't the best look. All bands go through a period where things are looking dicey, and we take a look at KISS's today. They ultimately overcame the growing pains and kept this style for a couple more albums, and then one grunge album, which is strange, and then finally came back to their roots in 1998 with Psycho Circus. KISS has one long and drama drenched history, something we will elaborate on more as they get selected. For today, we get "Thrills in the Night" off Animalize. An album I don't love but still find myself listening to it damn often, so there must be something there. Hope you dig the song! There are some better picks off the album, but I am still glad to offer this one up to you. Enjoy!
Year Released: 1984
Album: Animalize (1984)
Genre: Glam Metal, Hard Rock
Mood: Hot n Heavy
Perfect For: Casual listening, Working, Lonely big city nights
Where To Next: "The Time of Year" - Vinnie Vincent Invasion
Rating: 7 / 10
Man, maybe I shouldn't have chosen an AC/DC reference for the website name; perhaps it should have been a KISS reference. Hmmmm.... Psychocircus.com? Rockandrollover.com? Nah. I still stand by my choice. Plus, I was really shocked that the domain wasn't being used. I had to pay a decent penny to hold it, something I pay for yearly. Well, I have no regrets. AintNoisePollution is the perfect name to explain this website. Also, it is a nice touch when I advertise the website to people and they understand the AC/DC connection. That usually shows that I might have a new reader, a like-minded individual. Anyway, as you can see at the top of the post, we have another KISS song for today! This is their 5th time on the website, and with a discography as rockin' as theirs, there are to be many more KISS picks. We have a song from their sort of comeback album, Animalize out of 1984. I mean, KISS was still a well-known and respected name in the rock world, but they were on a massively downward slope in their career. By the time Animalize came out, KISS was having a hard time selling albums like they were before. Worse yet, they were having a hard time holding down members in their lineups. In 1980 they released their eighth studio album, Unmasked, which was their last core album before the decline. That album is a lot more pop-forward, continuing their self-sabotage of walking away from their hard rock sound. This got many of their fans leaving them behind, but KISS being KISS has their KISS Army, which is a legion of fans that will stand by the band no matter what. I find Unmasked to be alright; there are some redeeming tracks, but it tends to be one of the last places I go when I want to listen to the band. After that they released the infamous Music from "The Elder" which was so bad that it gained the title of "one of the worst albums ever made" for a long time, and even the label didn't want their name in the liner notes. Only now are people going back to see it as one of the boldest KISS ever made. They are known as a pretty straightforward band, so for a pretty straightforward band to try throwing out a concept album deserves credit where credit is due. I mean, it is a pretty bad album, especially after all the great albums KISS was putting out. I just find it to be a unique piece, nothing truly awful, but nothing you need to go see in theaters, ya know? So after that ordeal and the walking away from the hard rock sound, KISS alienated a good chunk of their fanbase. Luckily they tried coming back to their core sound with their tenth studio album, Creatures of the Night, in 1982. This is one of my favorite KISS albums, and I like the more heavy metal style they came to the table with. Still, the damage was done, and people didn't dare spend their hard-earned money on a band that had twice disappointed them. Their loss, but I can't really blame them after KISS released two blunder albums. It was the first album with Vinnie Vincent on guitar, something that we will get into here soon when we talk about our song of the day. That is an infamous topic in itself since there is so much damn drama that happened with guitarist credits around this time. Anyway, KISS put out another great, something that almost matched some of their original power, but it still fell on deaf ears. They needed something to make the world look at them again. They were falling victim to the same fate that follows each band once they start getting close to their ten years of releases. There is always a new kid in town, and styles move along. You can try following suit, but you have a massive chance of leaving those faithful fans behind. So, like many bands have done under the same circumstances, they needed a rebirth. That is where 1983's Lick It Up comes into play. Now, I find this to be one of the band's worst albums, but take that with a grain of salt since there are admittedly many great tracks on that album. The rebirth of KISS was here in Lick It Up. It was the first time KISS put out anything with their bare faces! I am sure that was a hell of a shock back in the day. It breaks some of the immersion that is KISS, not that it is a bad thing, but their makeup and stage attire made them more fiction than fact. Some rock n roll demons, playing a role to make you rock out. For just a second you forget those are some hairy dudes behind the paint saying some dirty ass things. Now, it is some older dudes who are trying to strong-arm their way into the glam metal scene that has been making crazy waves. I won't lie, KISS did it well, and their original style allowed for this transformation to take hold fairly easily. It seemed people agreed, and it got KISS another platinum record in the United States. Plus, it brought in one of their most famous songs, the title track "Lick It Up". Still, they came back with a whole new sound to their standard straight-cut hard rock sound, which was a downgrade, but in comparison to the route they were going before, it was certainly an upgrade. I just wish they kept with that Creatures of the Night style a little longer.
Lick It Up got KISS back on the charts with a strong presence, and better yet, got all the chicks coming to their shows again. A feat that a good majority of bands didn't pull off; many got lost in the maelstrom of the late 1970s, so good for KISS. They kept the energy up and released their 12th studio album the next year in 1984. I have always shared a love/hate relationship with Animalize. Mostly love, but there is always a track or two that leaves a sour taste in my mouth. This is the only KISS album to feature Mark St. John on lead guitar, since Vinnie Vincent bounced due to artistic differences. Mostly since he was starting to not get along with Paul Stanley and Gene Simmons, which is a tale as old as time. I think that is some of the bad of this album since I find Vinnie Vincent adds some serious oomph to KISS. He went on to form the Vinnie Vincent Invasion, which is one kick-ass group! While it left a strange void in KISS, the inclusion of Mark St. John was a smart one. He is one hell of a guitar player, something you will hear on our song of the day, but his ferocious style seems to kind of steal the show. That ferocity is some of the name of the game of glam metal, and I find his solos to be some of the reason that KISS had a second wind with Animalize. But when there is a new talent, there is old damning. If they actually put together this album not in a rush, they might have been on to something. Animalize was a quick release, a release where Gene Simmons practically just threw it into the wind and hoped someone would go chase it down. It was Paul Stanley doing all the chasing. Simmons was currently trying to get an acting career off the ground, something he never pulled off. During the recording of Animalize, Gene Simmons was co-starring in the 1984 film Runaway. Not only that, Simmons was trying his hand at managing other bands. So, he sort of left all the lifting to the rest of KISS but would come in to lay down some bass lines and help along the production. When he was in there, all he did was butt heads with the other members, which had new guitarist Mark St. John often in the firing line. It isn't all too shocking this is the only KISS album with him on the guitar. Even then he isn't the only one credited on the album since they had Bruce Kulick come in to do some of the solos. He was hardly even around for the following tour due to "medical issues" that he later said were a grand excuse to not be involved anymore. A mess of a recording, but even with all of that, KISS put out something decent. Nothing to write home to mom about, but decent through and through. Decent enough to go platinum in both the US and Canada. This is easily KISS's most glam-heavy album, almost to a fault. I mean, look at that album cover! What did you expect? It was practically them all watching some Bon Jovi and Mötley Crüe music videos with a notebook out taking notes. You ever see those movies where a parent trades bodies with their kid and has to learn how to fit in with the young crowd? Well, that is Animalize. I hate to put down the album, especially with being a huge KISS fan, but it is just the ugly truth. Even with their copycat antics and the cards being stacked against them, they pulled off another good album. It sold well and even spurred the hit single "Heaven's on Fire" which even now is one of their most streamed songs. Our song of the day is one to perfectly show how they were simply replicating what was going on at the time. "Thrills in the Night" was the other single to be released from the album and came with a fairly strong music video of the band playing it "live". I won't lie, the live music video is almost the better version of the song, even if it is just the band pretending to play it live. KISS are performers first, musicians second, so seeing them perform always adds that flair. The added crowd sound adds some energy to it. The song is lusty, as should be expected from KISS. They always hold the two sins of lust and pride to their heart, but that gained them plenty of fans. "Thrills in the Night" has a seriously strong recording and a strong 1980s-style chorus that is bristling with strength. The vocal performance of Paul Stanley is a touch weak, but by the time you notice that, the best part of the song comes along at the 2:30 mark, where the guitar solo comes in. One to show that they might have had one strong KISS member if they all weren't butting heads the whole damn time. That is one smooth solo and is the reason I chose this song for our song of the day. St. John was the third guitarist to leave KISS in two years, which isn't the best look. All bands go through a period where things are looking dicey, and we take a look at KISS's today. They ultimately overcame the growing pains and kept this style for a couple more albums, and then one grunge album, which is strange, and then finally came back to their roots in 1998 with Psycho Circus. KISS has one long and drama drenched history, something we will elaborate on more as they get selected. For today, we get "Thrills in the Night" off Animalize. An album I don't love but still find myself listening to it damn often, so there must be something there. Hope you dig the song! There are some better picks off the album, but I am still glad to offer this one up to you. Enjoy!
Year Released: 1984
Album: Animalize (1984)
Genre: Glam Metal, Hard Rock
Mood: Hot n Heavy
Perfect For: Casual listening, Working, Lonely big city nights
Where To Next: "The Time of Year" - Vinnie Vincent Invasion
Rating: 7 / 10
Song of the Day 04/03/2026
"Hong Kong" - Gorillaz
Welcome readers! Sorry about not doing a post yesterday for those of you that like to check in daily. I was correct about getting sick, but luckily it isn't one of those that completely kill you. Well, not yet, that is. I feel a little worse today, so that might be a bad sign. Either way, it broke my heart to miss doing my post. I haven't missed a day in a long time, so it was a smidge disappointing. Well, we are here today, so let's hope it is a good one! Truth be told, I don't quite know what to expect. For a funky day, we have a funk song from those funky monkeys, the Gorillaz. This is to be their fourth song on AintNoisePollution, so expect a little bit of repeat info. Gorillaz is one of those bands that everyone knows, no matter your walk of life. Their appeal and wacky style have them breaking down barriers on traditional labels, and they have the hip-hop people digging their tunes alongside seasoned rockers. Their 2005 landmark of an album, Demon Days, is one of the most essential albums to come out of the 2000s, if not one of the most essential overall. That album in itself has so much to pick apart. So many A-grade songs that truly do defy genre labels. I am sure you know this yourself since the vast majority of us out there have either listened to that album a shitload ourselves or had someone in our lives that played it enough that you know it by heart. Their grasp is deep and far, and they certainly aren't a band to be taken lightly. Gorillaz isn't your traditional band in the slightest, especially for one that hit the mainstream so damn hard. They are the most famous virtual band across the world, well, maybe excluding Japan since they have a lot of that going down, but for the majority of us, they are our best example of a virtual band. If you couldn't have guessed from the name, virtual bands are equal parts visual art and audible art. A band that doesn't actually exist as they are portrayed. Gorillaz was put together by artist Jamie Hewlett and musician Damon Albarn. Albarn is one hell of a star, being the frontman of Blur and also being the sole main musician of Gorillaz. Funnily enough, you could easily go your whole life and not know that since the styles are day and night. Plus, the Gorillaz have a ton of guest stars coming through to lay down their talents, so it isn't always Albarn singing. You would think Albarn would be satisfied with being one of the most influential musicians out of the UK, but he took it a step further by being part of the supergroup The Good, the Bad & the Queen, which has put out two albums, their debut being a stellar ride. Then, out of 2012, Albarn got with bassist of Red Hot Chili Peppers, Flea, and Tony Allen to put out an album called Rocket Juice & the Moon under the band of the same name. A kick-ass one, something I wasn't fully expecting when first listening to it a couple of years back. Anyway, Albarn is a visionary, and even with his hand being in so many pots, none show off that vision better than the Gorillaz. We have mostly talked about the band's second studio album, Demon Days, here on the website. Something that should be expected since that album is indeed legendary without a single bad track. But for today we are looking at the compilation that spawned from that album's B-sides, extras, singles, and remixes, one I have been wanting to get to for a while now, D-Sides.
As I have stated in previous posts, when it comes to the Gorillaz, I am obsessed with their first two albums, almost to a fault. I have rarely moved past them since I adore them so much and never tire of their track listings. I set aside some time last week to watch their live performance, Demon Days Live, which started up this deep desire to get deeper into the Gorillaz. Plus, that live performance ended on a pretty note with a song I hadn't heard before called "Hong Kong" and the fun "Latin Simone" which I already knew from their debut. "Hong Kong" had me instantly pulling up my phone to see if there was a studio version. When I did, I discovered that I am immensely behind in my studies when it comes to the Gorillaz. I consider myself a fan, yet I am stuck on two albums, which is pretty much against my rules. "Hong Kong" indeed did have a studio version, a much prettier one at that. It was originally included on the charity compilation Help!: A Day in the Life, which released in 2005. That compilation was released to gather some money for the War Child charity, a charity that assists those affected by war-torn countries. Gorillaz was one of many great names to fill that compilation's track listing. The version that shows up on Help!: A Day in the Life isn't the same one we hear on D-Sides, but it did serve as the first time it hit the Gorillaz recorded catalog. They rerecorded the song for the release of D-Sides. When did it release? In 2007, just two years after Demon Days was released. It was slightly expected since the Gorillaz previously put out a remix and B-side compilation for their debut self-titled album, another one I really gotta go back and listen to next called G-Sides. Anyway, after being heavily influenced to check out more Gorillaz, I took the baby step by listening to more Demon Days related material. D-Sides wasn't all that bad, maybe not as grand as I expected, but still a treat for fans of Demons Days. I will say, when I first loaded it up to listen through for my new music Friday, I had intentions of skipping the remixes. I just ain't the kind of dude that likes remixes. Unless your name is Rob Zombie or Nine Inch Nails, I'm not there. By the time I got to the end of the 13 songs that served as the first disc, I only had about an hour left at work and figured I might as well just listen to the remixes too. They were alright, and only one rubbed me wrong, which was the remix for "Kids with Guns" from Jamie T. I applaud the addition of a story, but man, did it have to be so fuckin' odd? I guess that is some of the appeal of the Gorillaz, but still. Overall, D-Sides was just alright with plenty of ups and downs, but what do you expect? It is an album made up of things that never made the cut, and it shows. That isn't me putting it down; I'm just saying the simple truth. There were still songs that made it worthwhile, like "People" & "Rockit", but none gave me the same high as "Hong Kong", the original reason I picked this album for my focus on Friday. "Hong Kong" shows off how the Gorillaz always bring in numerous different styles, many of which come from all over the world. Our song of the day is a haunting one; the dueling of acoustic guitars with the pipa (presumably) gets you hooked. By the time 2-D (Damon Albarn) comes in with the vocals, you are already tranquil and happy to be along for the ride. I think this is one of the prettiest Gorillaz songs out there, and that is a pretty big statement since some of the tracks off their most recent album, The Mountain, are damn beautiful. "Hong Kong" could have easily been included in Demon Days without screwing up the vibe all too much. Lyrically, the song is one wrapped in hidden meanings and confusion, but that is some of the appeal. I am not going to try dissecting those lyrics; when it comes to Gorillaz, it is typically pointless. I am here for the atmosphere, the chilling setting that the band sets up for us to take in. Something enchantingly wrong is present in "Hong Kong", one of the main reasons I am obsessed with Demon Days and find it difficult to move elsewhere. For my first true jump outside my comfort zone with the Gorillaz, I walked away with a stellar track that I love as much as the rest of Gorillaz and Demon Days. Such a great song hidden in a B-side compilation, a true shame, but I am glad to have brought it into the light for my ears to take in. Now it is your turn! Give the song a spin! I know I am late to the party for you feverish Gorillaz fans out there, but I say it is better late than never. I will be playing catch-up, but if I get feeling better, I will dish out the post for 04/04 tonight. Until then, have some Gorillaz! Enjoy!
Year Released: 2005
Album: D-Sides (2007)
Genre: Alternative Rock, World Music
Mood: Calming
Perfect For: Casual listening, Having tea, Chill days at home, Feeling strangely depressed
Where To Next: "I Want None of This" - Radiohead
Rating: 8 / 10
Welcome readers! Sorry about not doing a post yesterday for those of you that like to check in daily. I was correct about getting sick, but luckily it isn't one of those that completely kill you. Well, not yet, that is. I feel a little worse today, so that might be a bad sign. Either way, it broke my heart to miss doing my post. I haven't missed a day in a long time, so it was a smidge disappointing. Well, we are here today, so let's hope it is a good one! Truth be told, I don't quite know what to expect. For a funky day, we have a funk song from those funky monkeys, the Gorillaz. This is to be their fourth song on AintNoisePollution, so expect a little bit of repeat info. Gorillaz is one of those bands that everyone knows, no matter your walk of life. Their appeal and wacky style have them breaking down barriers on traditional labels, and they have the hip-hop people digging their tunes alongside seasoned rockers. Their 2005 landmark of an album, Demon Days, is one of the most essential albums to come out of the 2000s, if not one of the most essential overall. That album in itself has so much to pick apart. So many A-grade songs that truly do defy genre labels. I am sure you know this yourself since the vast majority of us out there have either listened to that album a shitload ourselves or had someone in our lives that played it enough that you know it by heart. Their grasp is deep and far, and they certainly aren't a band to be taken lightly. Gorillaz isn't your traditional band in the slightest, especially for one that hit the mainstream so damn hard. They are the most famous virtual band across the world, well, maybe excluding Japan since they have a lot of that going down, but for the majority of us, they are our best example of a virtual band. If you couldn't have guessed from the name, virtual bands are equal parts visual art and audible art. A band that doesn't actually exist as they are portrayed. Gorillaz was put together by artist Jamie Hewlett and musician Damon Albarn. Albarn is one hell of a star, being the frontman of Blur and also being the sole main musician of Gorillaz. Funnily enough, you could easily go your whole life and not know that since the styles are day and night. Plus, the Gorillaz have a ton of guest stars coming through to lay down their talents, so it isn't always Albarn singing. You would think Albarn would be satisfied with being one of the most influential musicians out of the UK, but he took it a step further by being part of the supergroup The Good, the Bad & the Queen, which has put out two albums, their debut being a stellar ride. Then, out of 2012, Albarn got with bassist of Red Hot Chili Peppers, Flea, and Tony Allen to put out an album called Rocket Juice & the Moon under the band of the same name. A kick-ass one, something I wasn't fully expecting when first listening to it a couple of years back. Anyway, Albarn is a visionary, and even with his hand being in so many pots, none show off that vision better than the Gorillaz. We have mostly talked about the band's second studio album, Demon Days, here on the website. Something that should be expected since that album is indeed legendary without a single bad track. But for today we are looking at the compilation that spawned from that album's B-sides, extras, singles, and remixes, one I have been wanting to get to for a while now, D-Sides.
As I have stated in previous posts, when it comes to the Gorillaz, I am obsessed with their first two albums, almost to a fault. I have rarely moved past them since I adore them so much and never tire of their track listings. I set aside some time last week to watch their live performance, Demon Days Live, which started up this deep desire to get deeper into the Gorillaz. Plus, that live performance ended on a pretty note with a song I hadn't heard before called "Hong Kong" and the fun "Latin Simone" which I already knew from their debut. "Hong Kong" had me instantly pulling up my phone to see if there was a studio version. When I did, I discovered that I am immensely behind in my studies when it comes to the Gorillaz. I consider myself a fan, yet I am stuck on two albums, which is pretty much against my rules. "Hong Kong" indeed did have a studio version, a much prettier one at that. It was originally included on the charity compilation Help!: A Day in the Life, which released in 2005. That compilation was released to gather some money for the War Child charity, a charity that assists those affected by war-torn countries. Gorillaz was one of many great names to fill that compilation's track listing. The version that shows up on Help!: A Day in the Life isn't the same one we hear on D-Sides, but it did serve as the first time it hit the Gorillaz recorded catalog. They rerecorded the song for the release of D-Sides. When did it release? In 2007, just two years after Demon Days was released. It was slightly expected since the Gorillaz previously put out a remix and B-side compilation for their debut self-titled album, another one I really gotta go back and listen to next called G-Sides. Anyway, after being heavily influenced to check out more Gorillaz, I took the baby step by listening to more Demon Days related material. D-Sides wasn't all that bad, maybe not as grand as I expected, but still a treat for fans of Demons Days. I will say, when I first loaded it up to listen through for my new music Friday, I had intentions of skipping the remixes. I just ain't the kind of dude that likes remixes. Unless your name is Rob Zombie or Nine Inch Nails, I'm not there. By the time I got to the end of the 13 songs that served as the first disc, I only had about an hour left at work and figured I might as well just listen to the remixes too. They were alright, and only one rubbed me wrong, which was the remix for "Kids with Guns" from Jamie T. I applaud the addition of a story, but man, did it have to be so fuckin' odd? I guess that is some of the appeal of the Gorillaz, but still. Overall, D-Sides was just alright with plenty of ups and downs, but what do you expect? It is an album made up of things that never made the cut, and it shows. That isn't me putting it down; I'm just saying the simple truth. There were still songs that made it worthwhile, like "People" & "Rockit", but none gave me the same high as "Hong Kong", the original reason I picked this album for my focus on Friday. "Hong Kong" shows off how the Gorillaz always bring in numerous different styles, many of which come from all over the world. Our song of the day is a haunting one; the dueling of acoustic guitars with the pipa (presumably) gets you hooked. By the time 2-D (Damon Albarn) comes in with the vocals, you are already tranquil and happy to be along for the ride. I think this is one of the prettiest Gorillaz songs out there, and that is a pretty big statement since some of the tracks off their most recent album, The Mountain, are damn beautiful. "Hong Kong" could have easily been included in Demon Days without screwing up the vibe all too much. Lyrically, the song is one wrapped in hidden meanings and confusion, but that is some of the appeal. I am not going to try dissecting those lyrics; when it comes to Gorillaz, it is typically pointless. I am here for the atmosphere, the chilling setting that the band sets up for us to take in. Something enchantingly wrong is present in "Hong Kong", one of the main reasons I am obsessed with Demon Days and find it difficult to move elsewhere. For my first true jump outside my comfort zone with the Gorillaz, I walked away with a stellar track that I love as much as the rest of Gorillaz and Demon Days. Such a great song hidden in a B-side compilation, a true shame, but I am glad to have brought it into the light for my ears to take in. Now it is your turn! Give the song a spin! I know I am late to the party for you feverish Gorillaz fans out there, but I say it is better late than never. I will be playing catch-up, but if I get feeling better, I will dish out the post for 04/04 tonight. Until then, have some Gorillaz! Enjoy!
Year Released: 2005
Album: D-Sides (2007)
Genre: Alternative Rock, World Music
Mood: Calming
Perfect For: Casual listening, Having tea, Chill days at home, Feeling strangely depressed
Where To Next: "I Want None of This" - Radiohead
Rating: 8 / 10
Song of the Day 04/02/2026
"Lonely Holiday" - Old 97's
Now, if there is to be one band that defined my mid-20s, it would probably be the Old 97's. More so their 1990s sound, where they spearheaded the alt-rock movement in Texas. They would later move into a strange power pop sound, still good, but not nearly as grand as their earlier material. Our song of the day serves as a sweet in-between the two styles. The band started up in 1992 and has released 13 studio albums so far. They have jumped around in sound, but they tend to keep the things around that make the Old 97's a serious underdog in the rock, country, folk, and pop world. Their lyrical theme, nihilistic views, earthy style, dreamy western guitar work, and overall knack at making compelling songs have had me coming back to them more and more as the years move along. The first time I heard them was when I was 18ish, doing my first round of musical expansion on Spotify. I found few songs that I adored more than "Time Bomb" during the great expansion, and even now, I don't think there are many songs out of the 1990s that can beat that sucker out. After that song's discovery and following abuse, I figured I would slowly move into the band's discography from the start to the finish. Since then I have listened through the band's discography a couple of times, each time walking away with more tracks to cherish. There is no beating their third studio album, Too Far to Care, an album I might as well have tattooed on my ear for how much its ran through it. Old 97's was one of the groups representing the alternative country sound in the early days of the scene getting off its feet. We talked previously about the genre just last month in the Son Volt post for "Drown" so I won't get back into it. But unlike many of the genres out there, alternative country had bands popping up all over the country. There was a scene, but many different sections of the scene, all of which brought their own flair to it. Old 97's was a powerhouse from the Texas scene. Also, unlike many of the genres, there weren't all too many phases of the genre; it came and went and then came back a little more polished up. That is some of the reason that Old 97's went the power pop route for a spell; it only matched. Lead singer Rhett Miller also had a modest solo career; most of his albums left a great impression on critics and listeners alike. While I have listened to the Old 97's discography often, I hadn't actually dived into his until my studies allowed it. His debut came out in 1989, and it is alright, but after his time with Old 97's sharpened his wit and vocal skills, The Instigator came out in 2002 and showed that he was more than your country rocker. I just barely got done with my first listen of that album a couple of days back. It was one of the albums I looked forward to the most for the year, and I wasn't disappointed. It was the perfect time for him to try reaching out for a solo career since the Old 97's just released one of their most essential albums in 2001, Satellite Rides, which is an absolute gem. That one holds the band's most famous track too, "Question", which is a damn fine track and well worth the award of the most streams on Spotify for the band. Still, I find myself hanging out in their 1990s material more often than not, but I won't deny that Satellite Rides has the band playing at their best. They kept that tight playing up but opted for a strangely murky recording style for their 2004 album Drag It Up, which I appreciate since it sort of reaches back to their earlier sound a smudge. Overall, the band has released plenty of albums that I find to be criminally underrated. Shit, even Waylon Jennings cut two songs with the band, and for those interested, you can find "Iron Road" and "The Other Shoe" on the band's 2013 EP Old 97's & Waylon Jennings. The songs were cut in 1996 after Waylon Jennings slummed into an Old 97's show and was so impressed by the band he ranted and raved about them in the Austin Chronicles. After reading the article, Rhett Miller wrote to Waylon and asked if he would be interested in collaborating on a song or two, and to their surprise, the legendary rebel of country music accepted. The rest of the EP is demos but is well worth the listen for country rock fans.
Man, I cannot keep this post on the rails! I just really dig the band and am finding it challenging to cram all this info into two paragraphs that are already crazy long and hardly count as proper paragraphs. Hey, I am self-taught. Plus, the Utah educational board failed me in English; they told me rules that weren't real and forced writing ideals that hinder expression. Goes to show what school can do for you! This is your calling, random teen reading this! Drop out! Do it! Just kidding. Don't do it. If I could go back in time, I would have spent more time trying to better my life than skipping school for days on end getting stoned and listening to music. Well.... Maybe. Probably not actually. Anyway, our song of the day comes off the band's fourth studio album, Fight Songs. Don't go thinking this is an angsty album full of powerful anthems; it isn't. The title to the album is a little bit odd, but it is also quite fitting in its own way. There are a ton of the Old 97's best tracks on this sucker. The album didn't chart anywhere but did indeed get passed around in musical circles, as alternative country always does. Even without the mainstream appeal, the band was still making waves with their newfound pace following the underground success of 1997's Too Far to Care. The track "Murder (Or a Heart Attack)" ended up getting ranked at #176 on Blender magazine's 500 Greatest Songs From 1980-2005, which is a pretty strong achievement. Blender Magazine penned themselves as the ultimate guide to pop culture, and I remember them being around for just a little bit when I was a kid. Right next to those vulture magazines that took unflattering pictures of TV stars with all sorts of slanderous shit plastered around them in sharp lettering. Even as a kid I hated those magazines; they portray all that is wrong with society. So glad to not see nearly as many of those magazines now at grocery stores. I guess everyone does it online now, but for some reason that seems a little less shitty since the internet itself is filled to the brim with human depravity. Anyway, "Lonely Holiday" is one of the gems off of Fight Songs. The track serves as the second track, and I have always found the second track to be just as important as the first. That first song gets you hooked, but that second song will play a pivotal role in making sure you stick around for the rest of it. For my first listen through, it was indeed "Lonely Holiday" that assured me that I was flying in safe skies. I chose the track while at work. After eating copious amounts of sugar and having a coffee to keep my ass chugging along, I was sort of having a bad time. High wired, high strung, high anxiety, and high "not knowing where the fuck I am". During that time, I figured I could get away with having both headphones in for a little bit. The first song that played once putting both buds in was "Lonely Holiday". It matched the feeling of my stress. Melancholic western guitars meet cleaned-up and easy-to-get-behind vocal work, setting my soul at ease. That chorus gets stuck in my head for a long while after listening to the song. The verses of "Lonely Holiday" reach into the past of the Old 97's, but that chorus thrusts the band forward into their power pop sound that saw them charting modestly for their next two albums. Once again, a perfect example song of the style they will be moving to. Once you get away from that chorus, you see yourself sitting into the band's country style. The guitar solo that shows up nearing the end of the song always makes me crave going to some new dive bar on the outskirts of town and drinking a stein of Coors Banquet. You too? Well.... Let's go! You're buying, though. I bring the tunes, you bring the booze, as simple as that. Gonna be a Sammy Hagar, 38 Special, and the Old 97s kind of night. Anyway, much in alternative country style, the lyrics are depressive but honest. That is one of the main things I go to the genre for; it seems like the words are written in my soul. I mean, this one is not the best example of that, but you get the picture. Alright, that is enough out of me. I am hoping that I am not getting sick; something feels off, but if that is the case, then I am glad to dish out at least one more solid post before I limp through the next couple. Hope you dig the track! Enjoy!
Year Released: 1999
Album: Fight Songs (1999)
Genre: Alternative Country, Country Rock
Mood: Melancholy
Perfect For: Having a cold one, Being stressed at work, Chain smoking, Relaxing, Spring drives around town
Where To Next: "The Golden State" - John Doe
Rating: 8 / 10
Now, if there is to be one band that defined my mid-20s, it would probably be the Old 97's. More so their 1990s sound, where they spearheaded the alt-rock movement in Texas. They would later move into a strange power pop sound, still good, but not nearly as grand as their earlier material. Our song of the day serves as a sweet in-between the two styles. The band started up in 1992 and has released 13 studio albums so far. They have jumped around in sound, but they tend to keep the things around that make the Old 97's a serious underdog in the rock, country, folk, and pop world. Their lyrical theme, nihilistic views, earthy style, dreamy western guitar work, and overall knack at making compelling songs have had me coming back to them more and more as the years move along. The first time I heard them was when I was 18ish, doing my first round of musical expansion on Spotify. I found few songs that I adored more than "Time Bomb" during the great expansion, and even now, I don't think there are many songs out of the 1990s that can beat that sucker out. After that song's discovery and following abuse, I figured I would slowly move into the band's discography from the start to the finish. Since then I have listened through the band's discography a couple of times, each time walking away with more tracks to cherish. There is no beating their third studio album, Too Far to Care, an album I might as well have tattooed on my ear for how much its ran through it. Old 97's was one of the groups representing the alternative country sound in the early days of the scene getting off its feet. We talked previously about the genre just last month in the Son Volt post for "Drown" so I won't get back into it. But unlike many of the genres out there, alternative country had bands popping up all over the country. There was a scene, but many different sections of the scene, all of which brought their own flair to it. Old 97's was a powerhouse from the Texas scene. Also, unlike many of the genres, there weren't all too many phases of the genre; it came and went and then came back a little more polished up. That is some of the reason that Old 97's went the power pop route for a spell; it only matched. Lead singer Rhett Miller also had a modest solo career; most of his albums left a great impression on critics and listeners alike. While I have listened to the Old 97's discography often, I hadn't actually dived into his until my studies allowed it. His debut came out in 1989, and it is alright, but after his time with Old 97's sharpened his wit and vocal skills, The Instigator came out in 2002 and showed that he was more than your country rocker. I just barely got done with my first listen of that album a couple of days back. It was one of the albums I looked forward to the most for the year, and I wasn't disappointed. It was the perfect time for him to try reaching out for a solo career since the Old 97's just released one of their most essential albums in 2001, Satellite Rides, which is an absolute gem. That one holds the band's most famous track too, "Question", which is a damn fine track and well worth the award of the most streams on Spotify for the band. Still, I find myself hanging out in their 1990s material more often than not, but I won't deny that Satellite Rides has the band playing at their best. They kept that tight playing up but opted for a strangely murky recording style for their 2004 album Drag It Up, which I appreciate since it sort of reaches back to their earlier sound a smudge. Overall, the band has released plenty of albums that I find to be criminally underrated. Shit, even Waylon Jennings cut two songs with the band, and for those interested, you can find "Iron Road" and "The Other Shoe" on the band's 2013 EP Old 97's & Waylon Jennings. The songs were cut in 1996 after Waylon Jennings slummed into an Old 97's show and was so impressed by the band he ranted and raved about them in the Austin Chronicles. After reading the article, Rhett Miller wrote to Waylon and asked if he would be interested in collaborating on a song or two, and to their surprise, the legendary rebel of country music accepted. The rest of the EP is demos but is well worth the listen for country rock fans.
Man, I cannot keep this post on the rails! I just really dig the band and am finding it challenging to cram all this info into two paragraphs that are already crazy long and hardly count as proper paragraphs. Hey, I am self-taught. Plus, the Utah educational board failed me in English; they told me rules that weren't real and forced writing ideals that hinder expression. Goes to show what school can do for you! This is your calling, random teen reading this! Drop out! Do it! Just kidding. Don't do it. If I could go back in time, I would have spent more time trying to better my life than skipping school for days on end getting stoned and listening to music. Well.... Maybe. Probably not actually. Anyway, our song of the day comes off the band's fourth studio album, Fight Songs. Don't go thinking this is an angsty album full of powerful anthems; it isn't. The title to the album is a little bit odd, but it is also quite fitting in its own way. There are a ton of the Old 97's best tracks on this sucker. The album didn't chart anywhere but did indeed get passed around in musical circles, as alternative country always does. Even without the mainstream appeal, the band was still making waves with their newfound pace following the underground success of 1997's Too Far to Care. The track "Murder (Or a Heart Attack)" ended up getting ranked at #176 on Blender magazine's 500 Greatest Songs From 1980-2005, which is a pretty strong achievement. Blender Magazine penned themselves as the ultimate guide to pop culture, and I remember them being around for just a little bit when I was a kid. Right next to those vulture magazines that took unflattering pictures of TV stars with all sorts of slanderous shit plastered around them in sharp lettering. Even as a kid I hated those magazines; they portray all that is wrong with society. So glad to not see nearly as many of those magazines now at grocery stores. I guess everyone does it online now, but for some reason that seems a little less shitty since the internet itself is filled to the brim with human depravity. Anyway, "Lonely Holiday" is one of the gems off of Fight Songs. The track serves as the second track, and I have always found the second track to be just as important as the first. That first song gets you hooked, but that second song will play a pivotal role in making sure you stick around for the rest of it. For my first listen through, it was indeed "Lonely Holiday" that assured me that I was flying in safe skies. I chose the track while at work. After eating copious amounts of sugar and having a coffee to keep my ass chugging along, I was sort of having a bad time. High wired, high strung, high anxiety, and high "not knowing where the fuck I am". During that time, I figured I could get away with having both headphones in for a little bit. The first song that played once putting both buds in was "Lonely Holiday". It matched the feeling of my stress. Melancholic western guitars meet cleaned-up and easy-to-get-behind vocal work, setting my soul at ease. That chorus gets stuck in my head for a long while after listening to the song. The verses of "Lonely Holiday" reach into the past of the Old 97's, but that chorus thrusts the band forward into their power pop sound that saw them charting modestly for their next two albums. Once again, a perfect example song of the style they will be moving to. Once you get away from that chorus, you see yourself sitting into the band's country style. The guitar solo that shows up nearing the end of the song always makes me crave going to some new dive bar on the outskirts of town and drinking a stein of Coors Banquet. You too? Well.... Let's go! You're buying, though. I bring the tunes, you bring the booze, as simple as that. Gonna be a Sammy Hagar, 38 Special, and the Old 97s kind of night. Anyway, much in alternative country style, the lyrics are depressive but honest. That is one of the main things I go to the genre for; it seems like the words are written in my soul. I mean, this one is not the best example of that, but you get the picture. Alright, that is enough out of me. I am hoping that I am not getting sick; something feels off, but if that is the case, then I am glad to dish out at least one more solid post before I limp through the next couple. Hope you dig the track! Enjoy!
Year Released: 1999
Album: Fight Songs (1999)
Genre: Alternative Country, Country Rock
Mood: Melancholy
Perfect For: Having a cold one, Being stressed at work, Chain smoking, Relaxing, Spring drives around town
Where To Next: "The Golden State" - John Doe
Rating: 8 / 10
Song of the Day 04/01/2026
"Your Mama Don't Dance" - Poison
I was thinking all day about how I would handle an April Fools post. In the end, there was nothing that was going to hit the spot. April Fools is certainly a holiday that is a lot of fun as a kid, but as an adult it just doesn't have the same appeal. That could just be me since I constantly joke each and every day and love little pranks. To a fault. Just ask those that know me. Still, I regret that I didn't pull anything that day. You can get away with murder, almost, all for the joke of the holiday. Speaking of.... What a strange holiday. I wonder where it came from. But that thought line will have to wait. For now, how about we talk about our selected artist of the day? Poison is one of the biggest names in the glam/pop/hair metal game. Easily one of the most essential names in rock music in the 1980s. They express the heart and soul of the glam metal genre. With that in mind, you should know the band gets plenty of hate. Though, you know what they say. Even negative press is still press in the end. Poison put out music that people loved! Easy to get behind party anthems, ballads that get the waterworks going, and a lyrical theme that plays into sleazy themes as easily as they play into those of the young adult that simply wants to live their life. One of the many groups out of the hair band scene that make music for having a damn good time! Poison was one of my first loves out of the rock world. Their iconic "Talk Dirty to Me" is still one of my all-time favorite songs. I still remember the first time hearing the track, and the album cover to their greatest hits album, The Best of Poison: 20 Years of Rock (2006), is forever engrained in my mind. That CD got so much play I don't even know if it works anymore, something fairly rare for me since I have always taken care of my discs. So, Poison and I go way back. A statement that I am sure hits home for the majority of us out there. No matter your stance on glam metal, Poison is just one of those bands you can't help but love. I know you pure-blooded metalheads listen to Poison on the sly; don't worry, I will keep your secret. Now, like I tend to jump into each time a band like Poison comes around, and I would like to say again that they aren't heavy metal. That is just the simple truth, no matter how MTV and mainstream media of the time threw them into the same basket. The roots are different, the style is different, and it is foolish to think everything a little heavier is heavy metal. Hence why there was a full war in the metal community back in the 1980s all the way into the 1990s. I can get why. It would be difficult to have these pretty boy bards with a more laxed style coming in and jumping onto the same boat as warlocks, barbarians, and seasoned warriors of heavy metal. Glam metal has few bands that came out of their ranks that fit the mold of heavy metal. Poison is indeed not one of them. They are a great hard rock group, one of the best to come out of the 1980s, but they aren't heavy metal. We could talk about that for literally hours, but that is simply not my desire for this post. Back into Poison. This is their second time on the website; the first was for "Look But You Can't Touch" from Open Up and Say... Ahh! the same album that holds today's song. Open Up and Say... Ahh! is their most essential album. It caused controversy upon its release due to the sexual nature of that album cover. The parents association was tripping on anything they could, so it isn't all too shocking. The album cover is of the model Bambi, and while it is a little lusty, the damn thing is pretty tame. In modern eyes, it is honestly sort of silly, but that was the 1980s. The censored cover only had her eyes showing, which is still a great one. Open Up and Say... Ahh! is the band's second studio album; it came a little less than two years after their debut, Look What the Cat Dragged In. It is the band's most successful album, and a lot of that is due to how many great hits came off that sucker. But before Poison became icons with their debut and their second album, they were just another group to hit the glam metal scene, though unlike the majority of the big names in the genre, they didn't start up in Los Angeles.
Poison did indeed eventually move on over to Los Angeles to ride the wind and chase their dreams, but at first the band was called Paris and played around their home city of Mechanicsburg, Pennsylvania. A relatively small town for how citified Poison's sound is. After finding little to no success in their home area, they uprooted and took off to the city of angels. They found pretty good success on the Sunset Strip club circuit alongside other big names out of the glam genre. After getting settled into the glory, gore, glam, and grime of Los Angeles, the band got themselves a solid manager and a troupe of female fans who would support them for the days to come. Their manager negotiated Poison's way into being a household name at the Troubadour, one of the best clubs on the Sunset Strip to see up-and-coming bands. That club has some serious history! But come on, it is L.A., that is just the way it goes. After some shows, the band's original guitarist ran on back to Pennsylvania, leaving Poison looking for a new gun in their army. It was between two fast shooters, C.C. DeVille and Slash. Yeah, that Slash, the one who would become one of the most recognized and celebrated guitarists. Could you imagine?! Poison with Slash and Guns N Roses with some other schmuck? I am damn glad that they settled on C.C. DeVille since I don't think Poison could have contained, or handled, Slash. Well, DeVille came in with one hell of a personality, which had the band butting heads with him practically instantly. He just turned down Stryper, and it seemed that the same was to happen with Poison since they argued about even which song to use for the audition. In the end, they decided that DeVille was the one due to his talent, drive, and a song that he brought with him from his previous band, "Talk Dirty to Me". That song that he brought with him was one of three hit singles that came off the band's debut in 1986. Those singles got a ton of play on MTV and became radio staples. From a small label to a big one practically overnight. No more fighting pimps on the shit-laden streets of Los Angeles; it was time for the band to go alongside some of the other well-selling bands on tour. This only furthered their grasp on 1980s rock domination.
By 1988 they were ready to release their next studio album, Open Up and Say... Ahh!, which blew their debut out of the water in sales. It is the album that holds their only #1 hit single, "Every Rose Has It's Thorns", and plenty of other outstanding tracks that defined rock music nearing the end of the 1980s. Our song of the day also comes off that album and is another of Poison's most successful songs. This isn't a Poison original, but with how well they did the cover, it might as well have been. "Your Mama Don't Dance" was the fourth single released off their second album and is one of the best to show their good-time demeanor, no matter who pays the cost. The song was originally recorded by Loggins and Messina in 1972. It was a big hit for them, and in modern eyes, one of their most recognized of all time. The rock and roll feeling of the original translates wonderfully into the Poison version. All the song needed was a line of speed, a fine dame, and a whole new generation of teenagers to play that sucker loud! "Your Mama Don't Dance" was an anthem of mine as a youth, but that is something I probably have in common with more people than I even know. The song was written just for that, and be it the Loggins and Messina version or Poison's, the message is loud and clear: rock n roll is here to stay, and your parents won't understand this new jive. Youthful as piss and smooth as butter, that is the heart and soul of "Your Mama Don't Dance". Poison had a hit single with the track, peaking at the 10th spot on the charts, and the song helped move Open Up and Say... Ahh! to the 3rd spot on the charts. Honestly, there isn't a bad song on the album. Lesser ones for sure, but all are great! Even all these years later, when I hear that drum intro, I get the deep desire to act a fool. To whip out stolen beers, load up a bowl, start up my barely working engine, and enjoy that youthful summer sun. Well, I am older now, so I mainly listen to it and reminisce, but I still can have a great time to this track! It is timeless, even if the generational gap that inspired the lyrics has mostly faded away, from rock music at least. This track has everything you could ever want from a Poison track. A fuckin' great guitar solo from C.C. DeVille, sinful lyricism, a good time atmosphere, and a freightliner of rock n roll. One of their greatest tracks and easily their best cover. This is one to crack open when you are having a bad day. It is sure to put a pep in your step. The kind of song that reminds you of why rock was such a force in the music world for such a long time. On the days when life seems too damn bland to continue, I am reminded of the simple joys by "Your Mama Don't Dance". A song that has been with me a damn long time and one that will be with me for a damn long time more. If you are new to this one, then I look forward to your first spin. Chances are you have heard this track before, and even then I am excited for you to listen to it again. Enjoy!
Year Released: 1988
Album: Open Up and Say... Ahh! (1988)
Genre: Rock
Mood: Good Timin'
Perfect For: Going for a drive with the windows down, Youthful escapades, Grabbing your 6th beer of the night
Where To Next: "Down Boys" - Warrant
Rating: 9 / 10
I was thinking all day about how I would handle an April Fools post. In the end, there was nothing that was going to hit the spot. April Fools is certainly a holiday that is a lot of fun as a kid, but as an adult it just doesn't have the same appeal. That could just be me since I constantly joke each and every day and love little pranks. To a fault. Just ask those that know me. Still, I regret that I didn't pull anything that day. You can get away with murder, almost, all for the joke of the holiday. Speaking of.... What a strange holiday. I wonder where it came from. But that thought line will have to wait. For now, how about we talk about our selected artist of the day? Poison is one of the biggest names in the glam/pop/hair metal game. Easily one of the most essential names in rock music in the 1980s. They express the heart and soul of the glam metal genre. With that in mind, you should know the band gets plenty of hate. Though, you know what they say. Even negative press is still press in the end. Poison put out music that people loved! Easy to get behind party anthems, ballads that get the waterworks going, and a lyrical theme that plays into sleazy themes as easily as they play into those of the young adult that simply wants to live their life. One of the many groups out of the hair band scene that make music for having a damn good time! Poison was one of my first loves out of the rock world. Their iconic "Talk Dirty to Me" is still one of my all-time favorite songs. I still remember the first time hearing the track, and the album cover to their greatest hits album, The Best of Poison: 20 Years of Rock (2006), is forever engrained in my mind. That CD got so much play I don't even know if it works anymore, something fairly rare for me since I have always taken care of my discs. So, Poison and I go way back. A statement that I am sure hits home for the majority of us out there. No matter your stance on glam metal, Poison is just one of those bands you can't help but love. I know you pure-blooded metalheads listen to Poison on the sly; don't worry, I will keep your secret. Now, like I tend to jump into each time a band like Poison comes around, and I would like to say again that they aren't heavy metal. That is just the simple truth, no matter how MTV and mainstream media of the time threw them into the same basket. The roots are different, the style is different, and it is foolish to think everything a little heavier is heavy metal. Hence why there was a full war in the metal community back in the 1980s all the way into the 1990s. I can get why. It would be difficult to have these pretty boy bards with a more laxed style coming in and jumping onto the same boat as warlocks, barbarians, and seasoned warriors of heavy metal. Glam metal has few bands that came out of their ranks that fit the mold of heavy metal. Poison is indeed not one of them. They are a great hard rock group, one of the best to come out of the 1980s, but they aren't heavy metal. We could talk about that for literally hours, but that is simply not my desire for this post. Back into Poison. This is their second time on the website; the first was for "Look But You Can't Touch" from Open Up and Say... Ahh! the same album that holds today's song. Open Up and Say... Ahh! is their most essential album. It caused controversy upon its release due to the sexual nature of that album cover. The parents association was tripping on anything they could, so it isn't all too shocking. The album cover is of the model Bambi, and while it is a little lusty, the damn thing is pretty tame. In modern eyes, it is honestly sort of silly, but that was the 1980s. The censored cover only had her eyes showing, which is still a great one. Open Up and Say... Ahh! is the band's second studio album; it came a little less than two years after their debut, Look What the Cat Dragged In. It is the band's most successful album, and a lot of that is due to how many great hits came off that sucker. But before Poison became icons with their debut and their second album, they were just another group to hit the glam metal scene, though unlike the majority of the big names in the genre, they didn't start up in Los Angeles.
Poison did indeed eventually move on over to Los Angeles to ride the wind and chase their dreams, but at first the band was called Paris and played around their home city of Mechanicsburg, Pennsylvania. A relatively small town for how citified Poison's sound is. After finding little to no success in their home area, they uprooted and took off to the city of angels. They found pretty good success on the Sunset Strip club circuit alongside other big names out of the glam genre. After getting settled into the glory, gore, glam, and grime of Los Angeles, the band got themselves a solid manager and a troupe of female fans who would support them for the days to come. Their manager negotiated Poison's way into being a household name at the Troubadour, one of the best clubs on the Sunset Strip to see up-and-coming bands. That club has some serious history! But come on, it is L.A., that is just the way it goes. After some shows, the band's original guitarist ran on back to Pennsylvania, leaving Poison looking for a new gun in their army. It was between two fast shooters, C.C. DeVille and Slash. Yeah, that Slash, the one who would become one of the most recognized and celebrated guitarists. Could you imagine?! Poison with Slash and Guns N Roses with some other schmuck? I am damn glad that they settled on C.C. DeVille since I don't think Poison could have contained, or handled, Slash. Well, DeVille came in with one hell of a personality, which had the band butting heads with him practically instantly. He just turned down Stryper, and it seemed that the same was to happen with Poison since they argued about even which song to use for the audition. In the end, they decided that DeVille was the one due to his talent, drive, and a song that he brought with him from his previous band, "Talk Dirty to Me". That song that he brought with him was one of three hit singles that came off the band's debut in 1986. Those singles got a ton of play on MTV and became radio staples. From a small label to a big one practically overnight. No more fighting pimps on the shit-laden streets of Los Angeles; it was time for the band to go alongside some of the other well-selling bands on tour. This only furthered their grasp on 1980s rock domination.
By 1988 they were ready to release their next studio album, Open Up and Say... Ahh!, which blew their debut out of the water in sales. It is the album that holds their only #1 hit single, "Every Rose Has It's Thorns", and plenty of other outstanding tracks that defined rock music nearing the end of the 1980s. Our song of the day also comes off that album and is another of Poison's most successful songs. This isn't a Poison original, but with how well they did the cover, it might as well have been. "Your Mama Don't Dance" was the fourth single released off their second album and is one of the best to show their good-time demeanor, no matter who pays the cost. The song was originally recorded by Loggins and Messina in 1972. It was a big hit for them, and in modern eyes, one of their most recognized of all time. The rock and roll feeling of the original translates wonderfully into the Poison version. All the song needed was a line of speed, a fine dame, and a whole new generation of teenagers to play that sucker loud! "Your Mama Don't Dance" was an anthem of mine as a youth, but that is something I probably have in common with more people than I even know. The song was written just for that, and be it the Loggins and Messina version or Poison's, the message is loud and clear: rock n roll is here to stay, and your parents won't understand this new jive. Youthful as piss and smooth as butter, that is the heart and soul of "Your Mama Don't Dance". Poison had a hit single with the track, peaking at the 10th spot on the charts, and the song helped move Open Up and Say... Ahh! to the 3rd spot on the charts. Honestly, there isn't a bad song on the album. Lesser ones for sure, but all are great! Even all these years later, when I hear that drum intro, I get the deep desire to act a fool. To whip out stolen beers, load up a bowl, start up my barely working engine, and enjoy that youthful summer sun. Well, I am older now, so I mainly listen to it and reminisce, but I still can have a great time to this track! It is timeless, even if the generational gap that inspired the lyrics has mostly faded away, from rock music at least. This track has everything you could ever want from a Poison track. A fuckin' great guitar solo from C.C. DeVille, sinful lyricism, a good time atmosphere, and a freightliner of rock n roll. One of their greatest tracks and easily their best cover. This is one to crack open when you are having a bad day. It is sure to put a pep in your step. The kind of song that reminds you of why rock was such a force in the music world for such a long time. On the days when life seems too damn bland to continue, I am reminded of the simple joys by "Your Mama Don't Dance". A song that has been with me a damn long time and one that will be with me for a damn long time more. If you are new to this one, then I look forward to your first spin. Chances are you have heard this track before, and even then I am excited for you to listen to it again. Enjoy!
Year Released: 1988
Album: Open Up and Say... Ahh! (1988)
Genre: Rock
Mood: Good Timin'
Perfect For: Going for a drive with the windows down, Youthful escapades, Grabbing your 6th beer of the night
Where To Next: "Down Boys" - Warrant
Rating: 9 / 10
