Song of the Day 03/31/2026
"Stolen Car" - Bruce Springsteen
Welcome! We are at the end of the month, and what a month it has been! It felt strangely long for me; how about you? We have had all sorts of odd choices this month. We hardly got stuck in one spot; each day was something new. This month has many shades of rock music, and some that simply helped the genre along or had nothing to do with it. It is my goal to expand your musical horizons here and to give you some info while I do it. So, thank you for reading along with me this month, and I hope you walked away with some new material. Today we have one hell of a musician. A man who defines the American existence. The singer of the common people. Not many musicians out there get even close to how well Bruce Springsteen covered certain topics. He would write albums that perfectly paint the mental image of the time they came out. Our choice for today is "Stolen Car", a song off his fifth studio album, The River. Now, I wasn't around in 1980, obviously, but through Springsteen's wonderful way of handling lyrics and composition, I feel like I sort of understand what it was like to be around then. The same is to be said about his debut all the way up until even his modern stuff, where he does indeed do a wonderful job of expressing the frustrations and realities of modern life. Springsteen has released albums pretty steadily since his debut in 1973. He is currently on his 21st studio album, and with his tour, which just kicked off yesterday, and his recent singles out of 2026, like the politically activated "Streets of Minneapolis" in January and the collaboration with Shane MacGowan on "A Rainy Night in Soho" just earlier this month, we might see another studio album yet. He is one musician that I have absolutley abused his discography! There are some albums that are a little weaker, but Bruce Springsteen weak is equal to the majority of bands greatest. Through his immensely talented pen, band, and vocal work, Bruce Springsteen always walks away with high-charting albums. None have charted higher than his 1984 landmark Born in the U.S.A. which is one of the highest-selling albums of all time. There is a ton of material to fawn over when it comes to Bruce Springsteen, almost too much since more archive releases keep hitting Spotify and I can hardly keep up. Anything new that Springsteen puts out, I am there. One thing that I have found about Bruce Springsteen is how it ages alongside you. In a strange way, you almost appreciate his music the more you age. The more life you have behind you, the more his lyrics make sense. Sure, a teenager or even a kid can totally love Bruce Springsteen, both in lyrics and atmosphere, but they too will find that his songs define your midlife existence much better than the earlier days of it. Awhile back I saw a little webcomic strip that had a couple just finishing having sex. While satisfied in bed, one of them says to the other in one way or another that they are really wanting to listen to some Bruce Springsteen. When the other says they were just thinking the same thing, they stare at each other shocked and quickly start getting ready so they can rush to the pharmacy for a Plan B pill. While I might be taking the joke wrong, I find the joke to mean that they are going to have a kid and hence be into Bruce Springsteen. Like it is something that just comes with aging, especially for those following the traditional life of working, repopulating, aging, and dying. I mean, Bruce Springsteen has plenty of songs that are from the stance of an older man talking to his son about the grand picture of life; "My Hometown" is one of the first to come to mind. He has an obscene amount of songs about family life, both the beautiful and the ugly. It is such a Springsteen trope that the artist of the comic knows it too. Once again, Springsteen talks of real life, the simple ugly truth of aging, and the beauty of showing the ropes to the next generation. He isn't just an artist that deals with those topics; he has a wide range of lyrical content, but all are filled up with life lessons in a strange way, even the fun ones. He sings songs that are straight from his own heart and also sings songs that talk of others lives, like many from the album that holds our song of the day. It always blows my mind how well he plays a character, and even more so how well he lays down raw emotion like it was simply another day at the office. An essential artist from the rock genre and one of the greatest to know how to put together a compelling album that defies the test of time.
This is the Boss's second time on the website. Next time he shows up here, which is simply a matter of time, we will give you some history, but since I spent the first portion of the post ranting and raving about his material, we will just do that next time. Let's take a look into The River, one of Bruce Springsteen's most iconic albums. I just barely picked this one up on vinyl, and I am stoked to give it a proper spin! I chose the track while at work, but that is one overly fitting place for Springsteen to creep into my ears and leave me thinking about the song all day long. The River holds a solid chunk of his most well-written songs, if you ask me. An easy enough task since this is a double album coming in at almost an hour and a half. But I can tell you from my hundreds of listens, each song off it is damn good and worth buying the album for just one of them. This is Springsteen's 5th studio album and is his first release out of the 1980s, coming out in October of 1980. In this album Springsteen attempted to replicate the sound that he and his backing band, the E Street Band, had while playing live. It gives this album a distinct feeling. It feels hollow, honest, and hopeless. Likewise, it isn't as earthy as his following album, Nebraska, but it still holds this strange feeling to it. Almost as if the songs are being played in Bruce Springsteen's head and you are reading his thoughts. The tracklisting jumps between rave-up tracks, pop-washed radio hits, and ballads that tell you tales that make you feel like you personally know the character in the story. The River achieved multiplatinum status in many countries, and those that it didn't hit that high still had it charting impressively across the board. It goes to show that while Springsteen had a way with expressing some of American culture, he still wrote lyrics that equally explained the human condition worldwide. Plus, even if you don't understand a single word he says, the atmosphere is top-notch, and the playing from the E Street Band is immensely pleasant. This album took over a year to put together, and you can tell. It is genuinely perfect from start to finish without a single hiccup in quality. Through its 20 songs, there were 7 singles released off this goliath. We have "Hungry Heart" which was a massive success and still gets heavy radio play. "Fade Away" which is strikingly honest and shows off his heartland style wonderfully. "Sherry Darling" which reminds you of Bruce Springsteen's musical influences. "The River" which is my favorite song off the album, serves as the title track. One hell of a hauntingly real song that always leaves me gasping for dopamine after its emotional onslaught. The other radio staple, "Cadillac Ranch", is one that is forever tied to heartland rock and was one of my first tastes of Bruce Springsteen when I was a child, so I have a special place for that one. "Point Blank" is one of the tracks off The River that you can tell came from his previous albums recording, Darkness on the Edge of Town, it just has that same feeling. Then lastly we have "I Wanna Marry You" which was the Japan single. That one is one of many of the Springsteen family life songs. What didn't make the cut for being a single was our song of the day, "Stolen Car". Now, this one might as well be the depressive counterpart to "Hungry Heart", a following up of its story in a way. It was written directly after Bruce Springsteen finished writing "Hungry Heart" but stylistically is more similar to "The River" and the tracks from his next album, Nebraska. This is one of the tracks I cannot wait to hear each time I listen through The River again. A song that I will stop what I am doing to listen to it in peace, almost as if I know what a failed marriage feels like. I don't, but through Bruce Springsteen, I kinda do. Ya know? Still, even if you don't know the feeling, you can sort of understand the sorrow of it all by how Springsteen handles this track. It starts off with strung-out acoustic work, something that never truly fades throughout the song's 3:53 playing time. A strange lyrical theme springs up in this song. You might think it is simply another breakup song or one of sorrow, but it is deeper than that. Our character seems to be writing this song from a stolen car. Night after night he wishes he gets pulled over simply to show somebody that he exists. Though, with each passing night, he still panics that it could go the other way, and with him being thrown into jail, he will fully disappear as if he never existed. Never exsisted to his wife, himself, and the world that never gave him the time of day. The song touches on feelings deep within us all, the fear of being forgotten. Lyrically, the song is fairly simplistic, but with how well the song was put together and sung, it takes on a new meaning. It feels like the man in the story simply fades away, especially with how hollow the ending is. This track urges you to take control of your life, to make an impact on society, and more importantly, to give love to those that love you and make sure that time doesn't rob you of the things you used to hold dear. The clock never stops moving; we are all on borrowed time, so try to set some plans up on the weekends to keep things fresh. Don't fall victim to the cage that is quick entertainment like TV and social media! I mean... still come on by AintNoisePollution... but you know what I mean. I, too, get caught up in the tide of life, and I could be a better partner, but I still try to keep things fresh so I won't be listening to "Stolen Car" from a stolen car when I am alone and forgotten by my woman. Well, I guess with all of that said, I should just let you get back to life. Be sure to come on back tomorrow. While this is a time sink for the both of us, we both walk away with great songs to fill in the colors of life's coloring book. Enjoy!
Year Released: 1980
Album: The River (1980)
Genre: Rock
Mood: Introspective
Perfect For: Focused listening, Having a late-night smoke, Thinking of the past, Thinking of the future
Where To Next: "Behind the Cathedral" - Willie Nile
Rating: 8 / 10
Welcome! We are at the end of the month, and what a month it has been! It felt strangely long for me; how about you? We have had all sorts of odd choices this month. We hardly got stuck in one spot; each day was something new. This month has many shades of rock music, and some that simply helped the genre along or had nothing to do with it. It is my goal to expand your musical horizons here and to give you some info while I do it. So, thank you for reading along with me this month, and I hope you walked away with some new material. Today we have one hell of a musician. A man who defines the American existence. The singer of the common people. Not many musicians out there get even close to how well Bruce Springsteen covered certain topics. He would write albums that perfectly paint the mental image of the time they came out. Our choice for today is "Stolen Car", a song off his fifth studio album, The River. Now, I wasn't around in 1980, obviously, but through Springsteen's wonderful way of handling lyrics and composition, I feel like I sort of understand what it was like to be around then. The same is to be said about his debut all the way up until even his modern stuff, where he does indeed do a wonderful job of expressing the frustrations and realities of modern life. Springsteen has released albums pretty steadily since his debut in 1973. He is currently on his 21st studio album, and with his tour, which just kicked off yesterday, and his recent singles out of 2026, like the politically activated "Streets of Minneapolis" in January and the collaboration with Shane MacGowan on "A Rainy Night in Soho" just earlier this month, we might see another studio album yet. He is one musician that I have absolutley abused his discography! There are some albums that are a little weaker, but Bruce Springsteen weak is equal to the majority of bands greatest. Through his immensely talented pen, band, and vocal work, Bruce Springsteen always walks away with high-charting albums. None have charted higher than his 1984 landmark Born in the U.S.A. which is one of the highest-selling albums of all time. There is a ton of material to fawn over when it comes to Bruce Springsteen, almost too much since more archive releases keep hitting Spotify and I can hardly keep up. Anything new that Springsteen puts out, I am there. One thing that I have found about Bruce Springsteen is how it ages alongside you. In a strange way, you almost appreciate his music the more you age. The more life you have behind you, the more his lyrics make sense. Sure, a teenager or even a kid can totally love Bruce Springsteen, both in lyrics and atmosphere, but they too will find that his songs define your midlife existence much better than the earlier days of it. Awhile back I saw a little webcomic strip that had a couple just finishing having sex. While satisfied in bed, one of them says to the other in one way or another that they are really wanting to listen to some Bruce Springsteen. When the other says they were just thinking the same thing, they stare at each other shocked and quickly start getting ready so they can rush to the pharmacy for a Plan B pill. While I might be taking the joke wrong, I find the joke to mean that they are going to have a kid and hence be into Bruce Springsteen. Like it is something that just comes with aging, especially for those following the traditional life of working, repopulating, aging, and dying. I mean, Bruce Springsteen has plenty of songs that are from the stance of an older man talking to his son about the grand picture of life; "My Hometown" is one of the first to come to mind. He has an obscene amount of songs about family life, both the beautiful and the ugly. It is such a Springsteen trope that the artist of the comic knows it too. Once again, Springsteen talks of real life, the simple ugly truth of aging, and the beauty of showing the ropes to the next generation. He isn't just an artist that deals with those topics; he has a wide range of lyrical content, but all are filled up with life lessons in a strange way, even the fun ones. He sings songs that are straight from his own heart and also sings songs that talk of others lives, like many from the album that holds our song of the day. It always blows my mind how well he plays a character, and even more so how well he lays down raw emotion like it was simply another day at the office. An essential artist from the rock genre and one of the greatest to know how to put together a compelling album that defies the test of time.
This is the Boss's second time on the website. Next time he shows up here, which is simply a matter of time, we will give you some history, but since I spent the first portion of the post ranting and raving about his material, we will just do that next time. Let's take a look into The River, one of Bruce Springsteen's most iconic albums. I just barely picked this one up on vinyl, and I am stoked to give it a proper spin! I chose the track while at work, but that is one overly fitting place for Springsteen to creep into my ears and leave me thinking about the song all day long. The River holds a solid chunk of his most well-written songs, if you ask me. An easy enough task since this is a double album coming in at almost an hour and a half. But I can tell you from my hundreds of listens, each song off it is damn good and worth buying the album for just one of them. This is Springsteen's 5th studio album and is his first release out of the 1980s, coming out in October of 1980. In this album Springsteen attempted to replicate the sound that he and his backing band, the E Street Band, had while playing live. It gives this album a distinct feeling. It feels hollow, honest, and hopeless. Likewise, it isn't as earthy as his following album, Nebraska, but it still holds this strange feeling to it. Almost as if the songs are being played in Bruce Springsteen's head and you are reading his thoughts. The tracklisting jumps between rave-up tracks, pop-washed radio hits, and ballads that tell you tales that make you feel like you personally know the character in the story. The River achieved multiplatinum status in many countries, and those that it didn't hit that high still had it charting impressively across the board. It goes to show that while Springsteen had a way with expressing some of American culture, he still wrote lyrics that equally explained the human condition worldwide. Plus, even if you don't understand a single word he says, the atmosphere is top-notch, and the playing from the E Street Band is immensely pleasant. This album took over a year to put together, and you can tell. It is genuinely perfect from start to finish without a single hiccup in quality. Through its 20 songs, there were 7 singles released off this goliath. We have "Hungry Heart" which was a massive success and still gets heavy radio play. "Fade Away" which is strikingly honest and shows off his heartland style wonderfully. "Sherry Darling" which reminds you of Bruce Springsteen's musical influences. "The River" which is my favorite song off the album, serves as the title track. One hell of a hauntingly real song that always leaves me gasping for dopamine after its emotional onslaught. The other radio staple, "Cadillac Ranch", is one that is forever tied to heartland rock and was one of my first tastes of Bruce Springsteen when I was a child, so I have a special place for that one. "Point Blank" is one of the tracks off The River that you can tell came from his previous albums recording, Darkness on the Edge of Town, it just has that same feeling. Then lastly we have "I Wanna Marry You" which was the Japan single. That one is one of many of the Springsteen family life songs. What didn't make the cut for being a single was our song of the day, "Stolen Car". Now, this one might as well be the depressive counterpart to "Hungry Heart", a following up of its story in a way. It was written directly after Bruce Springsteen finished writing "Hungry Heart" but stylistically is more similar to "The River" and the tracks from his next album, Nebraska. This is one of the tracks I cannot wait to hear each time I listen through The River again. A song that I will stop what I am doing to listen to it in peace, almost as if I know what a failed marriage feels like. I don't, but through Bruce Springsteen, I kinda do. Ya know? Still, even if you don't know the feeling, you can sort of understand the sorrow of it all by how Springsteen handles this track. It starts off with strung-out acoustic work, something that never truly fades throughout the song's 3:53 playing time. A strange lyrical theme springs up in this song. You might think it is simply another breakup song or one of sorrow, but it is deeper than that. Our character seems to be writing this song from a stolen car. Night after night he wishes he gets pulled over simply to show somebody that he exists. Though, with each passing night, he still panics that it could go the other way, and with him being thrown into jail, he will fully disappear as if he never existed. Never exsisted to his wife, himself, and the world that never gave him the time of day. The song touches on feelings deep within us all, the fear of being forgotten. Lyrically, the song is fairly simplistic, but with how well the song was put together and sung, it takes on a new meaning. It feels like the man in the story simply fades away, especially with how hollow the ending is. This track urges you to take control of your life, to make an impact on society, and more importantly, to give love to those that love you and make sure that time doesn't rob you of the things you used to hold dear. The clock never stops moving; we are all on borrowed time, so try to set some plans up on the weekends to keep things fresh. Don't fall victim to the cage that is quick entertainment like TV and social media! I mean... still come on by AintNoisePollution... but you know what I mean. I, too, get caught up in the tide of life, and I could be a better partner, but I still try to keep things fresh so I won't be listening to "Stolen Car" from a stolen car when I am alone and forgotten by my woman. Well, I guess with all of that said, I should just let you get back to life. Be sure to come on back tomorrow. While this is a time sink for the both of us, we both walk away with great songs to fill in the colors of life's coloring book. Enjoy!
Year Released: 1980
Album: The River (1980)
Genre: Rock
Mood: Introspective
Perfect For: Focused listening, Having a late-night smoke, Thinking of the past, Thinking of the future
Where To Next: "Behind the Cathedral" - Willie Nile
Rating: 8 / 10
Song of the Day 03/30/2026
"In the End" - Rush
Alright, alright, we had our fun touching on topics that are related to rock but not quite the idea of rock. So, how about we bring it all back in with one of rock's most loved bands, Rush! Yes, I know you are as excited as I am. This isn't the first Rush post here on the website, and it certainly won't be the last. Rush has now shown up here 6 times, making them one of my most selected artists on AintNoisePollution. As I have explained in a couple of previous posts, I choose these songs sort of at random. It is more so fate, and I can choose the song at any point. So long as the song played that day. It can be in various forms, be it a 10-second inclusion in a commercial or after listening through the band's full album. Still, it has to play. More often than not, these songs serve as a calendar for me. I can typically recall what I was doing when the song was playing and inspiration struck me. Sadly, I am just another working sap much like you; so many get picked at work. Plenty of others get picked while doing various things, such as going to a bar, shopping at a record store, driving with my lovely lady, or simply lounging around home drooling over my record collection. I wish that I could say I chose "In the End" while driving on that desert highway between Salt Lake City and Los Angeles, but the simple truth is that I was at work. I track throughout the days which song made me stop what I was doing and say, "Man.... I sure do love this band". For the 30th, it was Rush. Truth be told, this song would have been chosen at any moment; it is one of my favorites from Rush's kick-ass second album, Fly by Night. Every Rush fan out there has a favorite album of theirs, and in some ways it expresses the person's inner self better than asking them questions. For me, 2112 is my favorite Rush album, but Fly by Night is constantly chomping at its booty. I think that answer does explain who I am as a rocker; it explains my music taste and even has a little bit of my personality within it. So, why Fly by Night? Why does this one stand above practically all the other Rush albums out there? Rush has a seriously impressive discography, might I add. So, why this album? Simply put.... It is the perfect meeting point for the extravagant and the easy. Rush is well known for their progressive nature and the way that Neil Peart can go into a long drum solo while having a cup of tea. Rush might not be the most progressive rock group out there in the grand scheme of things, but they are undoubtedly the most talented at making progressive rock that is highly enjoyable to casually listen to. Fly by Night was also the exploding point for the band. Their debut is one that I cherish; I put it up there next to their greatest albums, but that opinion is one that I hold and many shy away from. That debut is a straightforward hard rock album that doesn't pull any punches but also doesn't take too many steps to distance itself from all the other great hard rock albums out of 1974. That is not the case with Fly by Night, this album was Rush's statement to the world that they weren't simply another band that would come, have a couple of hits, and then fade away while they cashed their check. Rush was a machine that dished out phenomenal tracks with a progressive nature. Few support that statement better than the album's 4th track, "By-Tor and the Snow Dog". While this is the band's first full jump into the progressive style that made them famous, that doesn't mean they left behind their simple cut hard rock roots. There are tracks here that please the progressive snobs, the casual rock fan, and the raging rockers such as myself. Our song of the day, "In the End", is one of the songs that are simply pleasant to the ear. It still has its moments that will leave you starstruck but is still one of the tamest tracks on the album.
Fly by Night released in 1975 and served as a leaping point for the band. I can't quite say this album was their breakout one since it sold fairly weakly upon its release aside from in their home country, Canada, where the album hit the #9 spot. The rerelease of the album fared much better, and it saw Fly by Night becoming one of the band's most respected albums. In the progressive rock world, record sales come second to vision, and Rush did it with style. This was the first Rush album to feature Neil Peart, the magnificent drummer and lyricist who was one of the leading reasons that Rush would find worldwide recognition in the rock world as the years moved along. Crazy to think that Peart came into the band and then practically took all the lyrical duties. This made Fly by Night have plenty more deep tracks in comparison to Rush's debut, which was mostly written by Geddy Lee. Their debut had clichéd lyrical themes. Love, friendship, lust, and the simple truths of life. Fly by Night, on the other hand, had themes of fantasy, road life, and lyrics that ask the deeper questions. Neil Peart is such a great lyricist, and through his diamond-studded pen, we got the majority of Rush's most impressive songs. Geddy Lee still is a decent lyricist, but there is no comparison to the drumming maniac Peart. Lee still wrote plenty of great Rush tracks, and for Fly by Night, he wrote "Best I Can" and "In the End". Both of those tracks almost get more plays than any of the others on the album, but only by a small margin since each song from this album is near and dear to me. Rush isn't solely Neil Peart; that is one of the most incorrect statements out there. Rush is made up of 3 immensely talented musicians, all of whom gave each and every song their all. While Peart might have wrote the majority of the band's lyrics, Geddy Lee and Alex Lifeson were back there figuring out all that needed to be played to best sell those lyrics, which is just how they liked it. I mean, Fly by Night was each member's baby, where they showed the varying backgrounds and visions each had for the band. It just so happened that they all seemed to want the same thing and liked what came out of the recording. So too did the rest of the world! With each member bringing in something serious, this album completely blows their debut out of the water. It also makes this album sort of a standout one of theirs where there isn't a constant theme. It jumps between powerful progressive epics like "By-Tor and the Snow Dog" and the relaxed rockers like "Fly by Night". The wanderlusty "Making Memories" to the ballad "Rivendale". A killer album, man, and one you gotta try out if you haven't yet. If you aren't an album person, then let me just start into our song of the day, "In the End". This is fittingly the song that tidies it all up as the final track. This is one of two of the Rush songs that were already written and being played live before Rush even had Neil Peart in the band. Both "In the End" and "Best I Can" have that feeling of the band's debut, once again, a sound that I really do love from Rush even though it isn't their core sound. "In the End" is one calming track that spotlights Geddy Lee's vocals, but not his typical intense thrusting of his voice, more a melodic and melancholy peaceful singing. That feeling holds all of your attention until the 1:42 mark, when the sweet guitar scream of Alex Lifeson joins in. A funky backing guitar gives cushion to Neil Peart to do his thing with those drumsticks. Peart tries not to steal the show on this track that he has nothing to do with, but him being the drummer he is, that is one hell of a task. After taking on the other phenomenal songs on Fly by Night, it is fun to see what Rush sounded like before Peart had a bigger part in the songs one last time. Once again, a lot more tame and straightforward, but that is why this song holds a special place in my heart. A fun track to have playing loud in the background, but one you can still focus in on, especially at the intense instrumental break at the 4-minute mark. It is strange how seamlessly Rush can move into styles. The track starts off with a much more mellow acoustic feeling, but by the middle of the song, it is a through-and-through hard rock rebel rouser. The intensity just keeps escalating up until the end, where it finishes the way it starts. Rush are legends for a reason, and anything they touch is completely drowning in their signature sound. Each of their songs after their debut feels like a full-fledged ride. An adventure from start to finish. Man, I love this band. I am sure you are feeling the same way. Some bands out there got to the top of the rock mountain by luck and looks, but Rush got there through pure musicianship. "In the End" and "Best I Can" are the band's last two tracks to be of that original Rush sound before they went full into progressive rock. I hope you dig this track! Who am I kidding? How could you not? The song hits the spot! Like a brisk swallow of cold water after a long motorcycle ride. Enjoy!
Year Released: 1975
Album: Fly by Night (1975)
Genre: Hard Rock
Mood: Easygoing
Perfect For: Hanging out with friends, Casual listening, Chill saturday nights, Buying for Caleb on vinyl
Where To Next: "It's All Over" - Nektar
Rating: 8 / 10
Alright, alright, we had our fun touching on topics that are related to rock but not quite the idea of rock. So, how about we bring it all back in with one of rock's most loved bands, Rush! Yes, I know you are as excited as I am. This isn't the first Rush post here on the website, and it certainly won't be the last. Rush has now shown up here 6 times, making them one of my most selected artists on AintNoisePollution. As I have explained in a couple of previous posts, I choose these songs sort of at random. It is more so fate, and I can choose the song at any point. So long as the song played that day. It can be in various forms, be it a 10-second inclusion in a commercial or after listening through the band's full album. Still, it has to play. More often than not, these songs serve as a calendar for me. I can typically recall what I was doing when the song was playing and inspiration struck me. Sadly, I am just another working sap much like you; so many get picked at work. Plenty of others get picked while doing various things, such as going to a bar, shopping at a record store, driving with my lovely lady, or simply lounging around home drooling over my record collection. I wish that I could say I chose "In the End" while driving on that desert highway between Salt Lake City and Los Angeles, but the simple truth is that I was at work. I track throughout the days which song made me stop what I was doing and say, "Man.... I sure do love this band". For the 30th, it was Rush. Truth be told, this song would have been chosen at any moment; it is one of my favorites from Rush's kick-ass second album, Fly by Night. Every Rush fan out there has a favorite album of theirs, and in some ways it expresses the person's inner self better than asking them questions. For me, 2112 is my favorite Rush album, but Fly by Night is constantly chomping at its booty. I think that answer does explain who I am as a rocker; it explains my music taste and even has a little bit of my personality within it. So, why Fly by Night? Why does this one stand above practically all the other Rush albums out there? Rush has a seriously impressive discography, might I add. So, why this album? Simply put.... It is the perfect meeting point for the extravagant and the easy. Rush is well known for their progressive nature and the way that Neil Peart can go into a long drum solo while having a cup of tea. Rush might not be the most progressive rock group out there in the grand scheme of things, but they are undoubtedly the most talented at making progressive rock that is highly enjoyable to casually listen to. Fly by Night was also the exploding point for the band. Their debut is one that I cherish; I put it up there next to their greatest albums, but that opinion is one that I hold and many shy away from. That debut is a straightforward hard rock album that doesn't pull any punches but also doesn't take too many steps to distance itself from all the other great hard rock albums out of 1974. That is not the case with Fly by Night, this album was Rush's statement to the world that they weren't simply another band that would come, have a couple of hits, and then fade away while they cashed their check. Rush was a machine that dished out phenomenal tracks with a progressive nature. Few support that statement better than the album's 4th track, "By-Tor and the Snow Dog". While this is the band's first full jump into the progressive style that made them famous, that doesn't mean they left behind their simple cut hard rock roots. There are tracks here that please the progressive snobs, the casual rock fan, and the raging rockers such as myself. Our song of the day, "In the End", is one of the songs that are simply pleasant to the ear. It still has its moments that will leave you starstruck but is still one of the tamest tracks on the album.
Fly by Night released in 1975 and served as a leaping point for the band. I can't quite say this album was their breakout one since it sold fairly weakly upon its release aside from in their home country, Canada, where the album hit the #9 spot. The rerelease of the album fared much better, and it saw Fly by Night becoming one of the band's most respected albums. In the progressive rock world, record sales come second to vision, and Rush did it with style. This was the first Rush album to feature Neil Peart, the magnificent drummer and lyricist who was one of the leading reasons that Rush would find worldwide recognition in the rock world as the years moved along. Crazy to think that Peart came into the band and then practically took all the lyrical duties. This made Fly by Night have plenty more deep tracks in comparison to Rush's debut, which was mostly written by Geddy Lee. Their debut had clichéd lyrical themes. Love, friendship, lust, and the simple truths of life. Fly by Night, on the other hand, had themes of fantasy, road life, and lyrics that ask the deeper questions. Neil Peart is such a great lyricist, and through his diamond-studded pen, we got the majority of Rush's most impressive songs. Geddy Lee still is a decent lyricist, but there is no comparison to the drumming maniac Peart. Lee still wrote plenty of great Rush tracks, and for Fly by Night, he wrote "Best I Can" and "In the End". Both of those tracks almost get more plays than any of the others on the album, but only by a small margin since each song from this album is near and dear to me. Rush isn't solely Neil Peart; that is one of the most incorrect statements out there. Rush is made up of 3 immensely talented musicians, all of whom gave each and every song their all. While Peart might have wrote the majority of the band's lyrics, Geddy Lee and Alex Lifeson were back there figuring out all that needed to be played to best sell those lyrics, which is just how they liked it. I mean, Fly by Night was each member's baby, where they showed the varying backgrounds and visions each had for the band. It just so happened that they all seemed to want the same thing and liked what came out of the recording. So too did the rest of the world! With each member bringing in something serious, this album completely blows their debut out of the water. It also makes this album sort of a standout one of theirs where there isn't a constant theme. It jumps between powerful progressive epics like "By-Tor and the Snow Dog" and the relaxed rockers like "Fly by Night". The wanderlusty "Making Memories" to the ballad "Rivendale". A killer album, man, and one you gotta try out if you haven't yet. If you aren't an album person, then let me just start into our song of the day, "In the End". This is fittingly the song that tidies it all up as the final track. This is one of two of the Rush songs that were already written and being played live before Rush even had Neil Peart in the band. Both "In the End" and "Best I Can" have that feeling of the band's debut, once again, a sound that I really do love from Rush even though it isn't their core sound. "In the End" is one calming track that spotlights Geddy Lee's vocals, but not his typical intense thrusting of his voice, more a melodic and melancholy peaceful singing. That feeling holds all of your attention until the 1:42 mark, when the sweet guitar scream of Alex Lifeson joins in. A funky backing guitar gives cushion to Neil Peart to do his thing with those drumsticks. Peart tries not to steal the show on this track that he has nothing to do with, but him being the drummer he is, that is one hell of a task. After taking on the other phenomenal songs on Fly by Night, it is fun to see what Rush sounded like before Peart had a bigger part in the songs one last time. Once again, a lot more tame and straightforward, but that is why this song holds a special place in my heart. A fun track to have playing loud in the background, but one you can still focus in on, especially at the intense instrumental break at the 4-minute mark. It is strange how seamlessly Rush can move into styles. The track starts off with a much more mellow acoustic feeling, but by the middle of the song, it is a through-and-through hard rock rebel rouser. The intensity just keeps escalating up until the end, where it finishes the way it starts. Rush are legends for a reason, and anything they touch is completely drowning in their signature sound. Each of their songs after their debut feels like a full-fledged ride. An adventure from start to finish. Man, I love this band. I am sure you are feeling the same way. Some bands out there got to the top of the rock mountain by luck and looks, but Rush got there through pure musicianship. "In the End" and "Best I Can" are the band's last two tracks to be of that original Rush sound before they went full into progressive rock. I hope you dig this track! Who am I kidding? How could you not? The song hits the spot! Like a brisk swallow of cold water after a long motorcycle ride. Enjoy!
Year Released: 1975
Album: Fly by Night (1975)
Genre: Hard Rock
Mood: Easygoing
Perfect For: Hanging out with friends, Casual listening, Chill saturday nights, Buying for Caleb on vinyl
Where To Next: "It's All Over" - Nektar
Rating: 8 / 10
Song of the Day 03/29/2026
"Executioner's Tax (Swing of the Axe)" - Power Trip
This month has been pretty lacking in the way of the almighty heavy metal, so let's change that. As I have mentioned here before, for the vast majority of my life I have been into older music more than the modern. Though, that doesn't mean there weren't groups that snuck through at one point or another. Before many of the modern metal groups graced my ears and had me changing my ways, there were the few genres that I dipped heavily into. One of those genres was the modern thrash metal scene, especially those that lean a little bit into the hardcore punk side of things. Power Trip was one of those groups that snatched me away from the traditional heavy metal sound. That moved into me getting deeper into so many other groups from that style, bands like Municipal Waste, Havok, Toxic Holocaust, and Exhorder. These are the bands that kept the spirit of heavy metal alive and strong in a time when roots were starting to wear thin within the genre. I accidentally stumbled upon Power Trip's debut album, Manifest Decimation, while I was in high school. I was damn impressed by it, and tracks like "Power Trip", "Conditioned to Death", and "Crossbreaker" had plenty of play blaring from my vehicle speakers. Though, I sort of lost grip with the band when time moved forward. The gap between their first and second album was 4 years, and in that time I started diving into a different side of modern heavy metal. Around that same time is when Spotify actually became a force to be reckoned with, not some little website where they might have a couple of songs from the big guns in the music world. So, as it should be, I started gorging. I was expanding my musical horizons with a fever. Band after band found itself in front of my judging ears to see if they hit the grade, and if they did, they would be added to a series of playlists that would test them even further until I washed away the dirt and got only gold. It was then that I noticed that Power Trip was back with a new album, and I pretty much set aside the rest of the day for its dissection and appreciation. Now, that debut of theirs was fuckin' killer, but as soon as "Soul Sacrifice" kicked off Nightmare Logic, I was completely knocked out. Then came the second song off the album, our song of the day, "Executioner's Tax (Swing of the Axe)" and I cannot explain how many goosebumps hit my whole body. You know those goosebumps that hurt your nipples? Yup, it was one of those. The intensity just wouldn't cease; I was starting to wonder if my nipples would forever be able to cut diamonds. And in case you were wondering, they never returned to normal. I am currently typing with them, as a matter of fact. Power Trip put out an album that rivaled even that of the best albums to come out of thrash metal in the 1980s and the 1990s. One that reached right into the heart of the thrash metal genre and pumped some adrenaline into it to show that the genre was far from over. As I mentioned before, I had a special spot for the bands that brought thrash metal back with such ferocity. A good majority of bands that did it the best brought forth that thrash metal sound with some of the genre's roots in hardcore punk. Power Trip on some tracks is more crossover thrash than anything else. Our song of the day is a prime example of just that; they sound strikingly like the Dirty Rotten Imbeciles. Maybe more a D.R.I. mixed with Exodus. I am not saying that Power Trip was just using the things that made the genre great but never added their own flair, since they certainly did, but the resemblance is there. Within Nightmare Logic, there haven't been many other albums that left such an impact on me out of the 2010s. A great one, and one I suggest to any metalhead or punker out there, no matter if you like the classics or the up-and-comers.
There is no better place to start in Power Trip than their most popular song, "Executioner's Tax (Swing of the Axe)". An essential from modern heavy metal. The song is destructive as fuck. The intro lets you know what is up. No need for a long and moody intro when getting right into your face will suffice. Mean strumming from dual guitars makes you feel like an engine revving. It isn't until the 1:09 mark when the vocals come into play. The way that Riley Gale handles the vocals shows off what I mean about the hardcore punk backing. There are songs out there so intense that you almost forget it is just a bunch of dudes playing a song. This is one of those tracks; it feels like something straight out of a flesh scattered battlefield. The track was inspired by medieval times when a person who was to be executed would pay extra to ensure a quick and smooth death by the hand of the executioner. To give it that modern touch so it doesn't fall into the power metal genre lyrically, the band put together the lyrics to reflect on how we operate as a society modernly. The shitty foods, the quick release from social media, the easy access to pornography, and all of our favorite narcotics that we eat for breakfast, lunch, second breakfast, and dinner. We are our own executioners. So, with that in mind, it is only fair that we need a soundtrack to our own demise. I think that Nightmare Logic is a perfect match. The whole album is intense, and while it doesn't switch it up all too much through its 33-minute running time, there is never a second in which you desire something different. It is great from start to finish with a complete blitzkrieg on your senses. The band hasn't released another full studio album since Nightmare Logic, which released in early 2017. They released the single "Hornet's Nest" in 2019 and in 2023 released their first live album, Live in Seattle, which is their most recent release though it was recorded in 2018. There is also the compilation Opening Fire: 2008-2014, which features a killer Prong cover of the song "Brainwave". The original vocalist, Riley Gale, passed away in 2020 from a fentanyl overdose. It was one of those deaths that hit the metal community hard. Obituary, alongside members of Power Trip, released a cover of our song of the day in response, and in the next year or two, the band Outburst released their cover of the song and donated all proceeds to the Riley Gale Foundation. The common metalhead and those that hold some of the highest spots in metal royalty grieved the loss of the frontman to one of the most impressive modern metal bands to hit the scene. Power Trip is still truckin' with Seth Gilmour at the helm, who was previously with the band Fugitive alongside Power Trip guitarist Blake Ibanez. I am excited to see what the band will do next; it is never easy to follow through after a breakthrough album, and it is even harder once you lose your vocalist. They were just recently signed to a new label and have said they intend to release a new album in 2026. If it even has a fraction of the power held within Nightmare Logic then it will be a solid sender. Only time will tell, but for any of you out there that just came across the band here today, you have a ton of stuff to cherish for a hot while. Both of the albums Power Trip put out have layers to dissect and a track for each mood you might be in, especially if that mood is pissed off. Alright, that is enough out of me for today. I will be back here tomorrow to dish up another killer track! I will admit, "Executioner's Tax (Swing of the Axe)" is one hell of a song to follow up on, but I will do my best. Knowing this website, there won't be a comparison since it will be something from left field. For now, I give you Power Trip. Be sure to crank this one up! Enjoy!
Year Released: 2017
Album: Nightmare Logic (2017)
Genre: Crossover Thrash, Thrash Metal
Mood: Aggressive
Perfect For: Pushing your speakers to the limits, Driving fast, Fast paced activities
Where To Next: "Time Is Up" - Havok
Rating: 9 / 10
This month has been pretty lacking in the way of the almighty heavy metal, so let's change that. As I have mentioned here before, for the vast majority of my life I have been into older music more than the modern. Though, that doesn't mean there weren't groups that snuck through at one point or another. Before many of the modern metal groups graced my ears and had me changing my ways, there were the few genres that I dipped heavily into. One of those genres was the modern thrash metal scene, especially those that lean a little bit into the hardcore punk side of things. Power Trip was one of those groups that snatched me away from the traditional heavy metal sound. That moved into me getting deeper into so many other groups from that style, bands like Municipal Waste, Havok, Toxic Holocaust, and Exhorder. These are the bands that kept the spirit of heavy metal alive and strong in a time when roots were starting to wear thin within the genre. I accidentally stumbled upon Power Trip's debut album, Manifest Decimation, while I was in high school. I was damn impressed by it, and tracks like "Power Trip", "Conditioned to Death", and "Crossbreaker" had plenty of play blaring from my vehicle speakers. Though, I sort of lost grip with the band when time moved forward. The gap between their first and second album was 4 years, and in that time I started diving into a different side of modern heavy metal. Around that same time is when Spotify actually became a force to be reckoned with, not some little website where they might have a couple of songs from the big guns in the music world. So, as it should be, I started gorging. I was expanding my musical horizons with a fever. Band after band found itself in front of my judging ears to see if they hit the grade, and if they did, they would be added to a series of playlists that would test them even further until I washed away the dirt and got only gold. It was then that I noticed that Power Trip was back with a new album, and I pretty much set aside the rest of the day for its dissection and appreciation. Now, that debut of theirs was fuckin' killer, but as soon as "Soul Sacrifice" kicked off Nightmare Logic, I was completely knocked out. Then came the second song off the album, our song of the day, "Executioner's Tax (Swing of the Axe)" and I cannot explain how many goosebumps hit my whole body. You know those goosebumps that hurt your nipples? Yup, it was one of those. The intensity just wouldn't cease; I was starting to wonder if my nipples would forever be able to cut diamonds. And in case you were wondering, they never returned to normal. I am currently typing with them, as a matter of fact. Power Trip put out an album that rivaled even that of the best albums to come out of thrash metal in the 1980s and the 1990s. One that reached right into the heart of the thrash metal genre and pumped some adrenaline into it to show that the genre was far from over. As I mentioned before, I had a special spot for the bands that brought thrash metal back with such ferocity. A good majority of bands that did it the best brought forth that thrash metal sound with some of the genre's roots in hardcore punk. Power Trip on some tracks is more crossover thrash than anything else. Our song of the day is a prime example of just that; they sound strikingly like the Dirty Rotten Imbeciles. Maybe more a D.R.I. mixed with Exodus. I am not saying that Power Trip was just using the things that made the genre great but never added their own flair, since they certainly did, but the resemblance is there. Within Nightmare Logic, there haven't been many other albums that left such an impact on me out of the 2010s. A great one, and one I suggest to any metalhead or punker out there, no matter if you like the classics or the up-and-comers.
There is no better place to start in Power Trip than their most popular song, "Executioner's Tax (Swing of the Axe)". An essential from modern heavy metal. The song is destructive as fuck. The intro lets you know what is up. No need for a long and moody intro when getting right into your face will suffice. Mean strumming from dual guitars makes you feel like an engine revving. It isn't until the 1:09 mark when the vocals come into play. The way that Riley Gale handles the vocals shows off what I mean about the hardcore punk backing. There are songs out there so intense that you almost forget it is just a bunch of dudes playing a song. This is one of those tracks; it feels like something straight out of a flesh scattered battlefield. The track was inspired by medieval times when a person who was to be executed would pay extra to ensure a quick and smooth death by the hand of the executioner. To give it that modern touch so it doesn't fall into the power metal genre lyrically, the band put together the lyrics to reflect on how we operate as a society modernly. The shitty foods, the quick release from social media, the easy access to pornography, and all of our favorite narcotics that we eat for breakfast, lunch, second breakfast, and dinner. We are our own executioners. So, with that in mind, it is only fair that we need a soundtrack to our own demise. I think that Nightmare Logic is a perfect match. The whole album is intense, and while it doesn't switch it up all too much through its 33-minute running time, there is never a second in which you desire something different. It is great from start to finish with a complete blitzkrieg on your senses. The band hasn't released another full studio album since Nightmare Logic, which released in early 2017. They released the single "Hornet's Nest" in 2019 and in 2023 released their first live album, Live in Seattle, which is their most recent release though it was recorded in 2018. There is also the compilation Opening Fire: 2008-2014, which features a killer Prong cover of the song "Brainwave". The original vocalist, Riley Gale, passed away in 2020 from a fentanyl overdose. It was one of those deaths that hit the metal community hard. Obituary, alongside members of Power Trip, released a cover of our song of the day in response, and in the next year or two, the band Outburst released their cover of the song and donated all proceeds to the Riley Gale Foundation. The common metalhead and those that hold some of the highest spots in metal royalty grieved the loss of the frontman to one of the most impressive modern metal bands to hit the scene. Power Trip is still truckin' with Seth Gilmour at the helm, who was previously with the band Fugitive alongside Power Trip guitarist Blake Ibanez. I am excited to see what the band will do next; it is never easy to follow through after a breakthrough album, and it is even harder once you lose your vocalist. They were just recently signed to a new label and have said they intend to release a new album in 2026. If it even has a fraction of the power held within Nightmare Logic then it will be a solid sender. Only time will tell, but for any of you out there that just came across the band here today, you have a ton of stuff to cherish for a hot while. Both of the albums Power Trip put out have layers to dissect and a track for each mood you might be in, especially if that mood is pissed off. Alright, that is enough out of me for today. I will be back here tomorrow to dish up another killer track! I will admit, "Executioner's Tax (Swing of the Axe)" is one hell of a song to follow up on, but I will do my best. Knowing this website, there won't be a comparison since it will be something from left field. For now, I give you Power Trip. Be sure to crank this one up! Enjoy!
Year Released: 2017
Album: Nightmare Logic (2017)
Genre: Crossover Thrash, Thrash Metal
Mood: Aggressive
Perfect For: Pushing your speakers to the limits, Driving fast, Fast paced activities
Where To Next: "Time Is Up" - Havok
Rating: 9 / 10
Song of the Day 03/28/2026
"Love Don't Love Noboy" - Roy Brown
Welcome back! In AintNoisePollution fashion, we will keep this month's choices fresh and exciting. For today we have with us a musician that might as well be considered the first rock artist in history. I say "might as well" since that title is forever argued over as to who should get it. I ain't gonna be telling you who I think the first rock musician is; that is for you to do the research and come to the conclusion yourself. Personally, I think there are many musicians that fit that bill; rock is the biggest genre to ever grace music and thus needed all hands on deck. The most popular genre to have such a long hold over society, and even now there are musicians who are breaking new ground in something that is considered rock but is the furthest thing from what we hear today from Roy Brown. A good chunk of what later evolved into rock music is a section of blues music called jump blues. It is a much more upbeat style of blues music with jazz and boogie influences. Jump blues is undoubtedly the most important player in the early days of rock music; it is the direct parent to both rock and R&B. The style started showing up at the start of the 1940s, and as the days moved along, the genre quickly gained some traction. It was viewed as a bold and intense genre, one that appealed to many walks of life but wasn't something fit to be played just anywhere. Crazy to think that a genre as tame as jump blues was considered something wicked and undignified in the 1940s. That eventually led the genre to wear that as a badge of honor. A genre for the reckless, a genre for the fun-loving folk across the world. One that got people out there dancing in ways that made you look like a wicked spirit took control of your body. It was one of the first forms of this brand of music to also be done by a relatively small band, much like rock did in the years to come. A ton of sound with a boatload of intensity put out by a small number of people. Roy Brown came onto the scene in 1947 with the first version of "Good Rockin Tonight", a song that is often considered to be the first rock song. Once again, I am not going into that here today. No matter who was the first to fight for the rock name, Roy Brown released one of the most important pieces of music that helped usher in the rock and roll movement. Brown went on to have plenty of other charting hits, the majority of which hit above the top 10 on the U.S. R&B charts, if not the number one spot. The ones that didn't hit those charts are still widely respected tracks. He released material until 1978 but continued playing music up until his death in 1981. Roy Brown is a name that isn't discussed too much today; his fan base mainly consists of blues lovers and rock historians such as myself, but the impact that Brown left will forever outlive his mortal vessel and ours as well. He was one of the many musicians at the start of it all, and with that in mind, I am more than honored to have him here today to make this website live up to its name, AintNoisePollution. Roy Brown is one of the many musicians from the early days of popularizing physical media that are hard to track. He was born somewhere between 1920 and 1925 in Kinder, Louisiana. He cut his teeth in churches, getting a lot of attention for his strong singing. His mother was a popular singer and organ player for the church, so it seemed to run in his blood. Singing wasn't the only thing he loved doing; he also loved to rumble. He moved to Los Angeles and entered into the welterweight division and started boxing. It didn't last all too long, so he got back to singing and won a singing competition, which had him taking off to Texas to sing in nightclubs. It wasn't paying all the bills, so he figured he would go join the army. To his disappointment but to our delight, this early rock n roll legend was denied. All worked out since he got his first full-time gig singing back home in Louisiana at a club in Shreveport called Palace Place. It was there that he got better at his craft and slowly but surely started gaining attention. He no longer had to sing out of the book of hits that people loved to hear; he was soon enough about to be the dude whose songs everyone is singing.
Being a massive fan of Wynonie Harris (me too), he was adamant about trying to offer him this song he had been performing for the last little while called "Good Rocking Tonight". Harris wasn't all too impressed and passed, but that didn't stop Brown from getting his song out there. He talked to a local blues musician in New Orleans, Cecil Gant, about him recording the song. Gant had Roy Brown sing the song over the phone to the De Luxe Records president in the middle of the night, and unlike some of the others who heard it, he loved what he was hearing. By morning he was signed to a label that was putting out some killer tracks, mostly from the R&B, jazz, and gospel genres, so Roy Brown was a happy addition to their lineup. Roy Brown was the most important musician they ever cut a song for, and that song was "Good Rocking Tonight". The track shot up just shy of the top 10 on the charts in 1947, and within the same year, he cut and released his next single, "Long about Midnight" which hit the #1 spot. From club cruiser to singing star within one year. Brown didn't let off the steam until 1951, having plenty of hit songs under his belt before the changing of the musical tides had him becoming a little less able to sell. He came back with a couple more hits near the end of the 1950s, but by that point the rock that he helped create was too busy being the talk of the town. Our song of the day is Roy Brown's first track to show up on the website, and man oh man did we choose a solid one! "Love Don't Love Nobody" was one of his last massive hits. It was released in 1950 and hit the #2 spot on the R&B charts. It was on the same black disc as "Dreaming Blues", another one of his songs you don't want to miss out on. The track is a foot-stompin' good time! The lyrics revolve around how wicked love is and how Roy Brown tries to avoid that devilish thing but still gets stung by its tail time after time. The playing of words that love doesn't love anybody; it is just a taker, not a giver. He tells you his woes with bombastic vocals, vocals you can tell heavily influenced artists like Little Richard and others from the golden days of rock and roll. The send-offs in the track are some of the best moments, one of which focuses on the brass, and the other gives you a small guitar solo. A good timing track, one that has me believing I really was meant for another time. I wish I could just once hear this song on a jukebox while drinking strange old brands of beer I have never even heard of. How do you think the beer tasted back then? I mean, it is beer, so probably the same, but I still do wonder. People are too obsessed with craft beers now. I got a tongue for the cheap and aggressive, and I desire that taste of beer while Roy Brown plays loud out of raw and half-blown jukebox speakers. This song didn't get nearly the same treatment as some of Brown's other hits, which were covered so many times it buried the original, but it still grabbed the attention of James Brown, who would release his version in 1960 and include it on his wild ride The Amazing James Brown in 1961. I guess from one Brown to another, ten years apart but both fuckin' electric! Even though it didn't get the same covers count, I find it to be one of his greatest. An outstanding track to get you hooked by his style. I chose the track while listening to a compilation of his I bought a little while back. Man, what a good album to listen to for getting a smile plastered on your face. Good stuff! Well, now I give the track to you as a little rockin' present, bow and all. Unwrap this sucker, load it up, and most importantly, enjoy!
Year Released: 1950
Chosen Compilation: 28 Big Ones (2015)
Genre: Jump Blues, R&B
Mood: Boppin'
Perfect For: Casual listening, Playing on a turntable, Having a beer
Where To Next: "Quiet Whiskey" - Wynonie Harris
Rating: 8 / 10
Welcome back! In AintNoisePollution fashion, we will keep this month's choices fresh and exciting. For today we have with us a musician that might as well be considered the first rock artist in history. I say "might as well" since that title is forever argued over as to who should get it. I ain't gonna be telling you who I think the first rock musician is; that is for you to do the research and come to the conclusion yourself. Personally, I think there are many musicians that fit that bill; rock is the biggest genre to ever grace music and thus needed all hands on deck. The most popular genre to have such a long hold over society, and even now there are musicians who are breaking new ground in something that is considered rock but is the furthest thing from what we hear today from Roy Brown. A good chunk of what later evolved into rock music is a section of blues music called jump blues. It is a much more upbeat style of blues music with jazz and boogie influences. Jump blues is undoubtedly the most important player in the early days of rock music; it is the direct parent to both rock and R&B. The style started showing up at the start of the 1940s, and as the days moved along, the genre quickly gained some traction. It was viewed as a bold and intense genre, one that appealed to many walks of life but wasn't something fit to be played just anywhere. Crazy to think that a genre as tame as jump blues was considered something wicked and undignified in the 1940s. That eventually led the genre to wear that as a badge of honor. A genre for the reckless, a genre for the fun-loving folk across the world. One that got people out there dancing in ways that made you look like a wicked spirit took control of your body. It was one of the first forms of this brand of music to also be done by a relatively small band, much like rock did in the years to come. A ton of sound with a boatload of intensity put out by a small number of people. Roy Brown came onto the scene in 1947 with the first version of "Good Rockin Tonight", a song that is often considered to be the first rock song. Once again, I am not going into that here today. No matter who was the first to fight for the rock name, Roy Brown released one of the most important pieces of music that helped usher in the rock and roll movement. Brown went on to have plenty of other charting hits, the majority of which hit above the top 10 on the U.S. R&B charts, if not the number one spot. The ones that didn't hit those charts are still widely respected tracks. He released material until 1978 but continued playing music up until his death in 1981. Roy Brown is a name that isn't discussed too much today; his fan base mainly consists of blues lovers and rock historians such as myself, but the impact that Brown left will forever outlive his mortal vessel and ours as well. He was one of the many musicians at the start of it all, and with that in mind, I am more than honored to have him here today to make this website live up to its name, AintNoisePollution. Roy Brown is one of the many musicians from the early days of popularizing physical media that are hard to track. He was born somewhere between 1920 and 1925 in Kinder, Louisiana. He cut his teeth in churches, getting a lot of attention for his strong singing. His mother was a popular singer and organ player for the church, so it seemed to run in his blood. Singing wasn't the only thing he loved doing; he also loved to rumble. He moved to Los Angeles and entered into the welterweight division and started boxing. It didn't last all too long, so he got back to singing and won a singing competition, which had him taking off to Texas to sing in nightclubs. It wasn't paying all the bills, so he figured he would go join the army. To his disappointment but to our delight, this early rock n roll legend was denied. All worked out since he got his first full-time gig singing back home in Louisiana at a club in Shreveport called Palace Place. It was there that he got better at his craft and slowly but surely started gaining attention. He no longer had to sing out of the book of hits that people loved to hear; he was soon enough about to be the dude whose songs everyone is singing.
Being a massive fan of Wynonie Harris (me too), he was adamant about trying to offer him this song he had been performing for the last little while called "Good Rocking Tonight". Harris wasn't all too impressed and passed, but that didn't stop Brown from getting his song out there. He talked to a local blues musician in New Orleans, Cecil Gant, about him recording the song. Gant had Roy Brown sing the song over the phone to the De Luxe Records president in the middle of the night, and unlike some of the others who heard it, he loved what he was hearing. By morning he was signed to a label that was putting out some killer tracks, mostly from the R&B, jazz, and gospel genres, so Roy Brown was a happy addition to their lineup. Roy Brown was the most important musician they ever cut a song for, and that song was "Good Rocking Tonight". The track shot up just shy of the top 10 on the charts in 1947, and within the same year, he cut and released his next single, "Long about Midnight" which hit the #1 spot. From club cruiser to singing star within one year. Brown didn't let off the steam until 1951, having plenty of hit songs under his belt before the changing of the musical tides had him becoming a little less able to sell. He came back with a couple more hits near the end of the 1950s, but by that point the rock that he helped create was too busy being the talk of the town. Our song of the day is Roy Brown's first track to show up on the website, and man oh man did we choose a solid one! "Love Don't Love Nobody" was one of his last massive hits. It was released in 1950 and hit the #2 spot on the R&B charts. It was on the same black disc as "Dreaming Blues", another one of his songs you don't want to miss out on. The track is a foot-stompin' good time! The lyrics revolve around how wicked love is and how Roy Brown tries to avoid that devilish thing but still gets stung by its tail time after time. The playing of words that love doesn't love anybody; it is just a taker, not a giver. He tells you his woes with bombastic vocals, vocals you can tell heavily influenced artists like Little Richard and others from the golden days of rock and roll. The send-offs in the track are some of the best moments, one of which focuses on the brass, and the other gives you a small guitar solo. A good timing track, one that has me believing I really was meant for another time. I wish I could just once hear this song on a jukebox while drinking strange old brands of beer I have never even heard of. How do you think the beer tasted back then? I mean, it is beer, so probably the same, but I still do wonder. People are too obsessed with craft beers now. I got a tongue for the cheap and aggressive, and I desire that taste of beer while Roy Brown plays loud out of raw and half-blown jukebox speakers. This song didn't get nearly the same treatment as some of Brown's other hits, which were covered so many times it buried the original, but it still grabbed the attention of James Brown, who would release his version in 1960 and include it on his wild ride The Amazing James Brown in 1961. I guess from one Brown to another, ten years apart but both fuckin' electric! Even though it didn't get the same covers count, I find it to be one of his greatest. An outstanding track to get you hooked by his style. I chose the track while listening to a compilation of his I bought a little while back. Man, what a good album to listen to for getting a smile plastered on your face. Good stuff! Well, now I give the track to you as a little rockin' present, bow and all. Unwrap this sucker, load it up, and most importantly, enjoy!
Year Released: 1950
Chosen Compilation: 28 Big Ones (2015)
Genre: Jump Blues, R&B
Mood: Boppin'
Perfect For: Casual listening, Playing on a turntable, Having a beer
Where To Next: "Quiet Whiskey" - Wynonie Harris
Rating: 8 / 10
Song of the Day 03/27/2026
"Stackerlee" - Dave Van Ronk
Dave Van Ronk is the exact idea of a hidden hero. I won't lie, folk music has had a ton of such icons, but few helped the progression of the folk scene that came out of New York City in the 1960s like Dave Van Ronk. His presence in the local folk scene gained him the nickname "the Mayor of MacDougal Street". For those that don't know, MacDougal Street is one historic little stretch in Manhattan that played a massive role in the progression of folk music to eventually find a new mainstream appeal. There was a little cafe there called The Gaslight Cafe that saw some of the biggest names to be come through its doors to read poetry and perform folk standards and new enlightened material. Acts like Bob Dylan, Tom Paxton, Phil Ochs, Ramblin' Jack Elliot, Paul Clayton, Joni Mitchell, Joan Baez, and yes, Dave Van Ronk. It wasn't only famous for being a sort of training ground for folk musicians; practically anyone who came to New York City with an artistic inclination would stop into this famous spot. You might see Bob Dylan reading a cheap novel and sipping on begged coffee one night, and then come back to see a bunch of kids grouped around a copy of Emily Dickinson's greatest works trying to find the words that express the hollowness in their souls, making you wonder if you will see their name in the jukebox by the end of the year. It was also famous for having others come through. Electric musicians like Jimi Hendrix, Bruce Springsteen, and Eric Clapton. Comedians like Bill Cosby. Plenty of blues big shots came through and played, and later on they even had some rockers come through to spice things up. The Gaslight Cafe closed its doors in 1971, and like so many other gems that helped progress human culture out of New York City, it is now another piece of history that people forget was there. MacDougal Street has a ton of other places that played a big role in many different arts; it was just that type of place, but with it being the heart of Greenwich Village, that is to be expected. It would be the first place I would check out if I went on vacation to Manhattan, but these poor boy blues hold me strong, and I probably will never see the streets of New York City. Dave Van Ronk was a friend and often a mentor to a lot of the big names that came out of the folk revival of the 1960s, but he was never one that got too much attention himself. Even those that he didn't personally talk to still were influenced by his music and words; some even consider him to have played a role in getting the folk rock movement rolling with his reworking of "House of the Rising Sun" which the Animals later recorded and practically instantly became a legendary rock song. Dave Van Ronk was a one-stop shop when it came to all things music, especially that of the forgotten past. He was a walking dictionary of folk standards, ol English ballads, gospel, ragtime, and blues music. He released plenty of albums in his time, none of which really hit the charts, but the impact his music had was heavily felt. His name and music are still passed around to this day in the folk crowds. A man for the music, sort of like a nomadic wiseman, but a nomadic music wiseman that was tall as hell and made sure to leave an impression on you with elegant speech. He was a longtime activist against anything that stepped on the rights of his common man. He was one of those that were arrested during the Stonewall riots, a poorly executed raid on the Stonewall Inn, which was a gay bar owned by the mob. It caused a pretty big riot and saw both the patrons of the bar, who were just trying to live their lives, and the foolish police officers duking it out and getting injured. Van Ronk was one of them, and he was one big dude, so it was only natural he was to be one of the ones arrested. That event was a pretty big one of the time for LGBTQ rights and sparked a new age for the gay rights movement in America. We have come far since then, but humans are still as dumb as they were then, so we still have one hell of a way to go. Maybe one day. Van Ronk also showed up for countless shows supporting many causes and went to his grave never stopping the fight against those infringing on our rights. If that ain't what folk is meant to be about, I don't know what is.
Our song of the day comes from Dave Van Ronk's most essential album in the modern tongue. Many come to 1962's Folksinger for the powerful track "Hang Me, Oh Hang Me". That song is one of his finest essential tracks, one that I suggest starting with to understand who Van Ronk is. Though, there are plenty of other renditions of folk and blues standards to keep you satisfied. There are some silly ones on there; tracks like "Chicken is Nice" and "You've Been a Good Old Wagon" really break the tension since the other songs tend to be pretty serious tracks. Van Ronk is a master when it comes to giving old songs the modern touch. He does it with a smile and bombastic vocals that rattle your skeleton. Our song of the day this go-around is "Stackerlee", a song that I love every variation I have ever heard. There are a ton of versions of "Stackerlee", so many that you would need some serious time to listen to them all. The song has plenty of names, like "Stacolee", "Stagger Lee", "Stack-O-Lee", and like the first version ever recorded and published, "Stack O' Lee Blues". The first recorded version was released in 1923 by the Waring's Pennsylvanians, a dance band that found relative success in the early days of music recordings. Since then there have been hundreds of covers from massively successful names like Bob Dylan, Grateful Dead, Nick Cave and the Bad Seeds, Fats Domino, Neil DIamond, and so many more. The man who gave the song its second wind, and the finest variation if I do say so myself, was Lloyd Price with his hit version out of 1959 called "Stagger Lee". A lot of the versions you will hear of the track are based around that rockin' piece. There have been so many different versions it is unreal, some that tell the story from various points of view. The story of "Stagger Lee" is a true one, based around the murder of Bill Lyons by "Stag" Lee Shelton on Christmas Day in 1895. It became a folk standard and one of the greatest murder ballads to hit the scene. Many use it as a warning for those that, as Dave Van Ronk will tell you when you listen to the song, "when you lose your money, learn to lose". A cautionary tale for some, a good timing tale for others, but we all hear the clear as day warning. Lee Shelton was a pimp and gambler who acted like a big man upon the streets of St. Louis. After some words and the theft of his hat, Shelton shot Bill Lyons dead, took back his hat with style, and walked away with a strut. He got arrested and served 25 years for the murder but eventually got out just to commit an assault and robbery, which landed him back in the clink, where he died. It is strange how people are obsessed with bad folk; it must just seem so unreal for us that follow the straight and narrow. I am sure it is the same across the world, but we Americans sure love the wicked. We love the outlaws, the gangsters, the crazed murderers, the con men, and the ruthless cats that don't take any lip. The many versions of "Stagger Lee" show off just that. We still keep this song alive and well today, and thus the tale continues on for future generations to hear fresh. A lot of the lyrics to the song are a little overexaggerated, but that is part of the fun of folk tales. Dave Van Ronk has his version start off with pretty acoustic playing. He moves into it with bluesy-sounding vocals, and his version of the tale has Lee Shelton taking form as some legendary killer. A scary sucker that you need the whole police force and a gatling gun to take down. Nobody wants to take a chance against this bad fellow when he has that Saturday night special in his pocket. They eventually hang Stagger Lee, and he goes to hell just to take that joint over. Even the devil doesn't want to trifle with this killer. That is what I mean when it comes to them blowing the story out of proportion, but it sure is a fun tale that amplifies the image of this common killer turned folk hero. Each part of the song reminds you of the message that should hang in the back of your head. If you are to lose your dough, be sure to keep your head and learn to take it well. Some cards will be pissed upon by Lady Luck, and some will give you gold. The last thing you should take from this story is that you don't mess with a man's hat; that is just one of those rules. One quick ass way to piss someone off is to mess with their hat. It pisses me off too, and I am often a pretty calm dude. This story is a popular one in the blues and folk, and a Stetson hat became part of the dressing style of both of the genres. It tends to show that the musician isn't messing around. If you lose your money, learn to lose. If you see a man wearing a Stetson hat, even if it would be odd now, maybe cross the street and move on with your day. I am certain we will see another version of this song show up here, but for today we get the version from the hidden folk hero Dave Van Ronk. Enjoy!
Year Released: 1962
Album: Folksinger (1962)
Genre: Folk
Mood: Earthy
Perfect For: Casual listening, Having a cold beer, Hot summer days, Taking in a cautionary tale
Where To Next: "Stagger Lee" - Lloyd Price
Rating: 8 / 10
Dave Van Ronk is the exact idea of a hidden hero. I won't lie, folk music has had a ton of such icons, but few helped the progression of the folk scene that came out of New York City in the 1960s like Dave Van Ronk. His presence in the local folk scene gained him the nickname "the Mayor of MacDougal Street". For those that don't know, MacDougal Street is one historic little stretch in Manhattan that played a massive role in the progression of folk music to eventually find a new mainstream appeal. There was a little cafe there called The Gaslight Cafe that saw some of the biggest names to be come through its doors to read poetry and perform folk standards and new enlightened material. Acts like Bob Dylan, Tom Paxton, Phil Ochs, Ramblin' Jack Elliot, Paul Clayton, Joni Mitchell, Joan Baez, and yes, Dave Van Ronk. It wasn't only famous for being a sort of training ground for folk musicians; practically anyone who came to New York City with an artistic inclination would stop into this famous spot. You might see Bob Dylan reading a cheap novel and sipping on begged coffee one night, and then come back to see a bunch of kids grouped around a copy of Emily Dickinson's greatest works trying to find the words that express the hollowness in their souls, making you wonder if you will see their name in the jukebox by the end of the year. It was also famous for having others come through. Electric musicians like Jimi Hendrix, Bruce Springsteen, and Eric Clapton. Comedians like Bill Cosby. Plenty of blues big shots came through and played, and later on they even had some rockers come through to spice things up. The Gaslight Cafe closed its doors in 1971, and like so many other gems that helped progress human culture out of New York City, it is now another piece of history that people forget was there. MacDougal Street has a ton of other places that played a big role in many different arts; it was just that type of place, but with it being the heart of Greenwich Village, that is to be expected. It would be the first place I would check out if I went on vacation to Manhattan, but these poor boy blues hold me strong, and I probably will never see the streets of New York City. Dave Van Ronk was a friend and often a mentor to a lot of the big names that came out of the folk revival of the 1960s, but he was never one that got too much attention himself. Even those that he didn't personally talk to still were influenced by his music and words; some even consider him to have played a role in getting the folk rock movement rolling with his reworking of "House of the Rising Sun" which the Animals later recorded and practically instantly became a legendary rock song. Dave Van Ronk was a one-stop shop when it came to all things music, especially that of the forgotten past. He was a walking dictionary of folk standards, ol English ballads, gospel, ragtime, and blues music. He released plenty of albums in his time, none of which really hit the charts, but the impact his music had was heavily felt. His name and music are still passed around to this day in the folk crowds. A man for the music, sort of like a nomadic wiseman, but a nomadic music wiseman that was tall as hell and made sure to leave an impression on you with elegant speech. He was a longtime activist against anything that stepped on the rights of his common man. He was one of those that were arrested during the Stonewall riots, a poorly executed raid on the Stonewall Inn, which was a gay bar owned by the mob. It caused a pretty big riot and saw both the patrons of the bar, who were just trying to live their lives, and the foolish police officers duking it out and getting injured. Van Ronk was one of them, and he was one big dude, so it was only natural he was to be one of the ones arrested. That event was a pretty big one of the time for LGBTQ rights and sparked a new age for the gay rights movement in America. We have come far since then, but humans are still as dumb as they were then, so we still have one hell of a way to go. Maybe one day. Van Ronk also showed up for countless shows supporting many causes and went to his grave never stopping the fight against those infringing on our rights. If that ain't what folk is meant to be about, I don't know what is.
Our song of the day comes from Dave Van Ronk's most essential album in the modern tongue. Many come to 1962's Folksinger for the powerful track "Hang Me, Oh Hang Me". That song is one of his finest essential tracks, one that I suggest starting with to understand who Van Ronk is. Though, there are plenty of other renditions of folk and blues standards to keep you satisfied. There are some silly ones on there; tracks like "Chicken is Nice" and "You've Been a Good Old Wagon" really break the tension since the other songs tend to be pretty serious tracks. Van Ronk is a master when it comes to giving old songs the modern touch. He does it with a smile and bombastic vocals that rattle your skeleton. Our song of the day this go-around is "Stackerlee", a song that I love every variation I have ever heard. There are a ton of versions of "Stackerlee", so many that you would need some serious time to listen to them all. The song has plenty of names, like "Stacolee", "Stagger Lee", "Stack-O-Lee", and like the first version ever recorded and published, "Stack O' Lee Blues". The first recorded version was released in 1923 by the Waring's Pennsylvanians, a dance band that found relative success in the early days of music recordings. Since then there have been hundreds of covers from massively successful names like Bob Dylan, Grateful Dead, Nick Cave and the Bad Seeds, Fats Domino, Neil DIamond, and so many more. The man who gave the song its second wind, and the finest variation if I do say so myself, was Lloyd Price with his hit version out of 1959 called "Stagger Lee". A lot of the versions you will hear of the track are based around that rockin' piece. There have been so many different versions it is unreal, some that tell the story from various points of view. The story of "Stagger Lee" is a true one, based around the murder of Bill Lyons by "Stag" Lee Shelton on Christmas Day in 1895. It became a folk standard and one of the greatest murder ballads to hit the scene. Many use it as a warning for those that, as Dave Van Ronk will tell you when you listen to the song, "when you lose your money, learn to lose". A cautionary tale for some, a good timing tale for others, but we all hear the clear as day warning. Lee Shelton was a pimp and gambler who acted like a big man upon the streets of St. Louis. After some words and the theft of his hat, Shelton shot Bill Lyons dead, took back his hat with style, and walked away with a strut. He got arrested and served 25 years for the murder but eventually got out just to commit an assault and robbery, which landed him back in the clink, where he died. It is strange how people are obsessed with bad folk; it must just seem so unreal for us that follow the straight and narrow. I am sure it is the same across the world, but we Americans sure love the wicked. We love the outlaws, the gangsters, the crazed murderers, the con men, and the ruthless cats that don't take any lip. The many versions of "Stagger Lee" show off just that. We still keep this song alive and well today, and thus the tale continues on for future generations to hear fresh. A lot of the lyrics to the song are a little overexaggerated, but that is part of the fun of folk tales. Dave Van Ronk has his version start off with pretty acoustic playing. He moves into it with bluesy-sounding vocals, and his version of the tale has Lee Shelton taking form as some legendary killer. A scary sucker that you need the whole police force and a gatling gun to take down. Nobody wants to take a chance against this bad fellow when he has that Saturday night special in his pocket. They eventually hang Stagger Lee, and he goes to hell just to take that joint over. Even the devil doesn't want to trifle with this killer. That is what I mean when it comes to them blowing the story out of proportion, but it sure is a fun tale that amplifies the image of this common killer turned folk hero. Each part of the song reminds you of the message that should hang in the back of your head. If you are to lose your dough, be sure to keep your head and learn to take it well. Some cards will be pissed upon by Lady Luck, and some will give you gold. The last thing you should take from this story is that you don't mess with a man's hat; that is just one of those rules. One quick ass way to piss someone off is to mess with their hat. It pisses me off too, and I am often a pretty calm dude. This story is a popular one in the blues and folk, and a Stetson hat became part of the dressing style of both of the genres. It tends to show that the musician isn't messing around. If you lose your money, learn to lose. If you see a man wearing a Stetson hat, even if it would be odd now, maybe cross the street and move on with your day. I am certain we will see another version of this song show up here, but for today we get the version from the hidden folk hero Dave Van Ronk. Enjoy!
Year Released: 1962
Album: Folksinger (1962)
Genre: Folk
Mood: Earthy
Perfect For: Casual listening, Having a cold beer, Hot summer days, Taking in a cautionary tale
Where To Next: "Stagger Lee" - Lloyd Price
Rating: 8 / 10
Song of the Day 03/26/2026
"Listen Up" - bis
There are some posts that I don't look forward to dishing out. It has nothing to do with the song or artist, but more so that I don't know what to say. These posts take me some time to get out and solidified, and some take a good chunk longer. That is usually due to two things, if the band is still new to me and if the band is honestly challenging to define. For our spotlighted artists of this post, bis, they are both of those things. "Listen Up" seems to be power pop, riot grrrl punk rock, and birtpop all tied into one fast-paced package. I came across bis when doing my deep dive into all things rock, metal, and punk for the 1990s. From my first taste of their debut, The New Transistor Heroes, out of 1997 and I have moved along release by release, collecting all the good tracks the band put out. I will say, there have been none that gripped me as much as "Listen Up". The track comes from the band's second studio album, Social Dancing. That album holds a good chunk of their most listened to tracks on Spotify. "Am I Loud Enough" holds the top place, and while that is another goodie, I think that my heart still stands with "Listen Up" as my favorite bis track I have listened to since taking a bite out of the band. Overall, the band came and went. They never quite got the ship that would see them being icons, but that is more than alright. They have released 6 studio albums in their time, two of which got some attention in Europe and Japan. Their first taste of success came out of Japan with their debut album, which hit the 19th spot. The album is strangely Japanese, but that is coming from their big city feeling. Not the big city feeling of rhe Scorpions "Big City Nights" or "New York Minute" from Don Henley, but more the underside. That dude puking on the street from drinking too much, illuminated like a forsaken deity by the neon lights. The parking ticket you rip up knowing that the next month will be hell. Getting a crappy tattoo on a whim from a tattoo parlor simply called "Tattoo." It is for the reckless young adult that is running away from the sad reality of aging and not seeing dreams come true. Plus, Japan probably also loved the album cover that is shamelessly cute. That debut holds some mighty good tracks, but it is within their second album that they hit their peak of not only energy but also vision. Social Dancing saw the band trying some stuff out but never losing touch with their pop punk beginnings. Through that experimenting, the band had a perfect palette of styles that made it so almost anyone can get into their sound. They have the furious punk songs with pop fundamentals like our song of the day, but they also include some straightforward indie, alternative rock, Britpop, and even a little bit of trip hop, which is a joy. Overall, Social Dancing is heavily washed in some eurodance music. The album goes down smooth but keeps you on your toes. I was honestly surprised with how much this album stood out among the wide variety of rock and punk albums that released in 1999. The intro track "Making People Normal" had me worried. The song starts off with so much eurodance feeling that I thought I was going to have a stinker album. There's nothing wrong with the genre, but it doesn't have too much of a place within a rock study. "Making People Normal" is an enjoyable track but still had me on edge, especially since their first album came off much more aggressive. The following track too got me thinking I had a dance-based album on my hands. "I'm a Slut" is a track with quite the aggressive name, but that name gave me a little sign that we are going to get into something intense here soon. Naturally, the third track still had me not impressed, the fittingly titled "Eurodisco". That song confirmed this will be an oddity. I honestly thought about moving through the album a little bit faster but was glad that I didn't since I would have missed out on "Theme from Tokyo", "Shopaholic", and my favorite track, "Listen Up" which closes the album.
There is a certain aesthetic that I love to show up in music. I wish I could better explain what it is. The closest I can get is that of Jet Set Radio, a video game series that never had its chance in the limelight but left a crazy impact on my life. There have been two releases from the game, Jet Set Radio (Jet Grind Radio in the US) and Jet Set Radio Future. The latter of the two is a game that influenced my life heavily. I love everything about it. One of the biggest things that has it still constantly playing around in my head is the soundtrack to the game. A lot of that soundtrack came from the music composer Hideki Naganuma, who was heavily influenced by the American hip-hop and techno sound. Not only that, they had others that helped along the first game of the series come back and even included some real bands on the song list. They all flow so damn well, and I don't think we will ever see another game with this bold of a style, vision, and song listing. Man, I wish they would come back with a port or something for that game; it was so fucking good! There are spiritual successors that I have played, but none scratch the same itch. What I am trying to say is I could have seen "Listen Up" showing up on that soundtrack. Maybe somewhere alongside the Cibo Matto song "Birthday Cake". Even with all of that said, it is difficult to place bis anywhere. They had so many different sounds running through them, which makes them an oddity but also a favorite for those that like something off the beaten path. There were moments I found they were strangely close to Bikini Kill, and then other moments they sounded like a La Bouche cover band at your local bar. That is some of their appeal, but it also makes it hard for them to ever hit the mainstream. I am sure that wasn't fully their drive; not all bands want the big time, but I am sure that temptation is there. How could it not be? Well, if that was the goal for bis, they missed the mark. What they did do was become local icons and find relative success in multiple countries, only finding a little bit of love from the US for their song "Detour" off the same album that holds our song of the day. Also, bis was the band that did the original intro song to the Powerpuff Girls, which is their other claim to fame within the States. "Listen Up" starts up like something out of an arcade game with some punky guitar work. The song quickly moves into a song that amps you up. In bis style they have plenty of rallying shouts that keep the blood pressure up. I think the little shouts from Manda Rin are what make me love this song. It always gives you something to look forward to. Lyrically the track is angsty and in your face. Through the albums lacking recording quality and overall aggressive aesthetic, it makes it hard to understand some of the words. Though, I am not convinced that was a concern since the atmosphere and drive in the track are where the magic rests. Their third album is hardly rock, but since I was so impressed by this song, I added it to my list anyway for my 2001 deep dive. It was a good one, but I don't think there is any beating their second album, especially with "Listen Up". The band broke up in 2003 but reformed fully back in 2009, which eventually gave us their fourth studio album, Data Panik Etcetera, in 2014. I have a long way to go in my studies until I will see the band again, but from the tracks that I gathered, I have plenty to enjoy until that day comes. I don't consider myself a fan of a band until I live my life beside them, and bis still has a long way to go. Still, with its inclusion on AintNoisePollution and with them showing up on more and more of my playlists, I may just consider myself a fan yet. Well, I hope the track is to your liking. If it ain't, well, poo poo for you, but be sure to come back tomorrow and see what I have for you. As always, thank you for reading and spending time here with me today. Enjoy!
Year Released: 1999
Album: Social Dancing (1999)
Genre: Indie Rock, Pop Punk
Mood: Energetic
Perfect For: Casual listening, Working out, Spicing up a boring day at work
Where To Next: "Finale" - Bikini Kill
Rating: 7 / 10
There are some posts that I don't look forward to dishing out. It has nothing to do with the song or artist, but more so that I don't know what to say. These posts take me some time to get out and solidified, and some take a good chunk longer. That is usually due to two things, if the band is still new to me and if the band is honestly challenging to define. For our spotlighted artists of this post, bis, they are both of those things. "Listen Up" seems to be power pop, riot grrrl punk rock, and birtpop all tied into one fast-paced package. I came across bis when doing my deep dive into all things rock, metal, and punk for the 1990s. From my first taste of their debut, The New Transistor Heroes, out of 1997 and I have moved along release by release, collecting all the good tracks the band put out. I will say, there have been none that gripped me as much as "Listen Up". The track comes from the band's second studio album, Social Dancing. That album holds a good chunk of their most listened to tracks on Spotify. "Am I Loud Enough" holds the top place, and while that is another goodie, I think that my heart still stands with "Listen Up" as my favorite bis track I have listened to since taking a bite out of the band. Overall, the band came and went. They never quite got the ship that would see them being icons, but that is more than alright. They have released 6 studio albums in their time, two of which got some attention in Europe and Japan. Their first taste of success came out of Japan with their debut album, which hit the 19th spot. The album is strangely Japanese, but that is coming from their big city feeling. Not the big city feeling of rhe Scorpions "Big City Nights" or "New York Minute" from Don Henley, but more the underside. That dude puking on the street from drinking too much, illuminated like a forsaken deity by the neon lights. The parking ticket you rip up knowing that the next month will be hell. Getting a crappy tattoo on a whim from a tattoo parlor simply called "Tattoo." It is for the reckless young adult that is running away from the sad reality of aging and not seeing dreams come true. Plus, Japan probably also loved the album cover that is shamelessly cute. That debut holds some mighty good tracks, but it is within their second album that they hit their peak of not only energy but also vision. Social Dancing saw the band trying some stuff out but never losing touch with their pop punk beginnings. Through that experimenting, the band had a perfect palette of styles that made it so almost anyone can get into their sound. They have the furious punk songs with pop fundamentals like our song of the day, but they also include some straightforward indie, alternative rock, Britpop, and even a little bit of trip hop, which is a joy. Overall, Social Dancing is heavily washed in some eurodance music. The album goes down smooth but keeps you on your toes. I was honestly surprised with how much this album stood out among the wide variety of rock and punk albums that released in 1999. The intro track "Making People Normal" had me worried. The song starts off with so much eurodance feeling that I thought I was going to have a stinker album. There's nothing wrong with the genre, but it doesn't have too much of a place within a rock study. "Making People Normal" is an enjoyable track but still had me on edge, especially since their first album came off much more aggressive. The following track too got me thinking I had a dance-based album on my hands. "I'm a Slut" is a track with quite the aggressive name, but that name gave me a little sign that we are going to get into something intense here soon. Naturally, the third track still had me not impressed, the fittingly titled "Eurodisco". That song confirmed this will be an oddity. I honestly thought about moving through the album a little bit faster but was glad that I didn't since I would have missed out on "Theme from Tokyo", "Shopaholic", and my favorite track, "Listen Up" which closes the album.
There is a certain aesthetic that I love to show up in music. I wish I could better explain what it is. The closest I can get is that of Jet Set Radio, a video game series that never had its chance in the limelight but left a crazy impact on my life. There have been two releases from the game, Jet Set Radio (Jet Grind Radio in the US) and Jet Set Radio Future. The latter of the two is a game that influenced my life heavily. I love everything about it. One of the biggest things that has it still constantly playing around in my head is the soundtrack to the game. A lot of that soundtrack came from the music composer Hideki Naganuma, who was heavily influenced by the American hip-hop and techno sound. Not only that, they had others that helped along the first game of the series come back and even included some real bands on the song list. They all flow so damn well, and I don't think we will ever see another game with this bold of a style, vision, and song listing. Man, I wish they would come back with a port or something for that game; it was so fucking good! There are spiritual successors that I have played, but none scratch the same itch. What I am trying to say is I could have seen "Listen Up" showing up on that soundtrack. Maybe somewhere alongside the Cibo Matto song "Birthday Cake". Even with all of that said, it is difficult to place bis anywhere. They had so many different sounds running through them, which makes them an oddity but also a favorite for those that like something off the beaten path. There were moments I found they were strangely close to Bikini Kill, and then other moments they sounded like a La Bouche cover band at your local bar. That is some of their appeal, but it also makes it hard for them to ever hit the mainstream. I am sure that wasn't fully their drive; not all bands want the big time, but I am sure that temptation is there. How could it not be? Well, if that was the goal for bis, they missed the mark. What they did do was become local icons and find relative success in multiple countries, only finding a little bit of love from the US for their song "Detour" off the same album that holds our song of the day. Also, bis was the band that did the original intro song to the Powerpuff Girls, which is their other claim to fame within the States. "Listen Up" starts up like something out of an arcade game with some punky guitar work. The song quickly moves into a song that amps you up. In bis style they have plenty of rallying shouts that keep the blood pressure up. I think the little shouts from Manda Rin are what make me love this song. It always gives you something to look forward to. Lyrically the track is angsty and in your face. Through the albums lacking recording quality and overall aggressive aesthetic, it makes it hard to understand some of the words. Though, I am not convinced that was a concern since the atmosphere and drive in the track are where the magic rests. Their third album is hardly rock, but since I was so impressed by this song, I added it to my list anyway for my 2001 deep dive. It was a good one, but I don't think there is any beating their second album, especially with "Listen Up". The band broke up in 2003 but reformed fully back in 2009, which eventually gave us their fourth studio album, Data Panik Etcetera, in 2014. I have a long way to go in my studies until I will see the band again, but from the tracks that I gathered, I have plenty to enjoy until that day comes. I don't consider myself a fan of a band until I live my life beside them, and bis still has a long way to go. Still, with its inclusion on AintNoisePollution and with them showing up on more and more of my playlists, I may just consider myself a fan yet. Well, I hope the track is to your liking. If it ain't, well, poo poo for you, but be sure to come back tomorrow and see what I have for you. As always, thank you for reading and spending time here with me today. Enjoy!
Year Released: 1999
Album: Social Dancing (1999)
Genre: Indie Rock, Pop Punk
Mood: Energetic
Perfect For: Casual listening, Working out, Spicing up a boring day at work
Where To Next: "Finale" - Bikini Kill
Rating: 7 / 10
Song of the Day 03/25/2026
"Girl from Ohio" - The Outlaws
With March coming to a close, I gotta say that I am impressed with the amount of chill songs that made up this month. March has always been a melancholy month for me. The aging of my birthday and the reflection on another year, the changing of the seasons which leaves the soul confused and hungry, and the annoying daylight savings giving the ol' brain a confusing punch. So, it isn't all too shocking. Even with all of that, we have had some serious heavy hitters to keep things interesting. For today, we have another chill track, but not like what we had with Superchunk, R.E.M., and Glenn Frey. We have the calming nature of a desert landscape, the distant cattle call of a dusty nomad, the whine of the highway, and the cold whistle screaming from a southbound train. The Outlaws are the group that will consume our post today with their kick-ass "Girl from Ohio". The band's debut is what most people remember the Outlaws for. That album is a guitar onslaught, one of the most guitar-heavy southern rock albums out there. It features their thrilling and perfect "Green Grass and High Tides" which is rocker hog heaven. A crazy long guitar solo and an outstanding flow that keeps you sat and sated for its almost 10-minute running time. That debut of theirs also features "There Goes Another Love Song" which is bonafide southern rock solid gold! But don't go thinking they are the kind of band you only need one album for. Sure, it never hits the same high as that debut in their mid-sized discography, but there is still plenty to love! With this being their debut on AintNoisePollution, we gotta serve up some introduction. Just a couple of posts ago we talked about Blackfoot, a group that showed the rock world how to mix the heavy with the southern, but when it comes to the Outlaws brand of southern rock, they were one of the greatest to show how to bring the southern rock sound back to its country roots. Alongside the Pure Prairie League, Ozark Mountain Daredevils, and the Marshall Tucker Band, they were one of the greatest to play the thin line between country and rock. When I go record shopping, I am never sure which of those categories I am going to see one of their albums in. I think the Outlaws biggest claim to fame in the southern rock world is from what I mentioned before, a super guitar-forward sound. Lynyrd Skynyrd, Molly Hatchet, and many others never shied away from belting out some damn long guitar solos that have you gasping for air, but for the Outlaws it was one of their biggest selling points. Something else I would like to point out about the band is how great they are at writing lyrics. Sometimes it keeps the cliché lyrical content, but on others they write outstanding traveling songs and heartbreak ballads that completely move you. They started up in 1967 originally under the name The Four Letter Words; that version of the band only lasted a year or two. They recorded two albums, but neither ever saw the light of day. I wonder what they sounded like. Plenty of infighting and people coming and going made it clear that the Four Letter Words were never to be the next big thing. By 1970 the band got their shit together and started playing some shows under the name the Outlaws. They were still a group stuck in the 1960s, doing covers from big names of the time, but once the southern rock thing started kicking up some dust, the band moved towards the more country side of rock music. It still was a couple of years before they got signed onto a proper label with the help of Lynyrd Skynyrd frontman Ronnie Van Zandt backing them. They released their debut self-titled album in 1975, and it quickly became a classic in the southern rock world. It spurred two of their greatest songs and showcased the band's style. That album is their highest seller and is honestly their biggest claim to fame. They didn't have another crazy big chart climber all the way until 1980, when their cover of "(Ghost) Riders in the Sky" charted at 31 in the US and 15 in Canada. A great electrified version of a country classic, one I think you should check out if you already dig the versions from artists like Johnny Cash, Spike Jones, the Ramrods, and so many other top-tier acts.
So, yeah, the Outlaws never really hit the same fame as a lot of the bigger names in the southern rock world, but they should not be taken lightly. Even if it is just for their hits, they are a group that I am confident deserves a solid couple of pages in the rock history books. After their debut did well on the charts and got their name out, they now had to do it all over again. They approached their second album, Lady in Waiting, with a wider range of musical styles. A move that I think did them in. I'm not saying that Lady in Waiting is a weak album, but with them losing some of that knack for guitar solos and smacks across the head with beer bottles, it just became another album. All good songs, some better than others, but it simply doesn't have the same magic as their debut. To make matters worse for the album, it came along during some of the most prime years for southern rock. A time when people were wanting more "Free Bird" guitar solos and heart jerkers like "Can't You See". There was a market for bands like the Atlanta Rhythm Section and Head East, but those groups rose to power during the dominion of the market during the Great Disco Crisis of the Late 1970s. I don't think people knew how to feel about this guitar frenzy turned commercial cliché, and thus, the album only hit the 36th spot on the charts, and up until 1980's Ghost Riders, kept on dropping with each next release. This all might sound like I am taking jabs at the album, and in some ways I am, but I want to make it clear that this is still an album worth every minute, especially if you are into southern rock and country rock. Some of the great things about this album are it serving as the home for their cover of "Freeborn Man", one of my favorite country and boogie tracks out there. The album also features some of the Outlaws other gems like "Breaker-Breaker", "Prisoner", and my personal favorite from the album, "Girl from Ohio". This is honestly one of my favorite Outlaws tracks overall and is one of the leading reasons I think that Lady in Waiting is well worth the listen. The intro to the track is severely country-laced; it sets you up to take in this easy-going country rock style song. That chorus is one that gives you chills with the great vocal harmony. The lyrical content covers the longing for your sweet lady's arms after a hard travel. A slightly common lyrical theme for country and its rock cousin. I am sure it was written from the heart by the writer, guitarist, and part time singer for the Outlaws, Henry Paul. Fun fact, Henry Paul went on to help form Blackhawk in the 1990s, a country group that had its fair share of hits. I am a little hit and miss on their material, but when it comes to country, that is a given past the 1970s. It all comes down to taste, but I dig what he does in Blackhawk for the most part. The song is pretty damn mellow, and from personal experience, it really helps along a solid drive through rural land. The type of song that you get a cigarette out for and prepare to stare off at nothing for a while aside from the white lines on the blacktop. Thinking of that girl from Ohio, even if you have never set foot in that state. "Girl from Ohio" became a fan favorite for the band, and that is coming from a pretty big fan of the band. I have listened through their full discography only once in my life. Their first 6 are where it is at, and it is within those that I come back to often. Their albums honestly have plenty of ups and downs, but those ups are sky-high! I think our song of the day is one of the greatest songs to be their debut on our little corner of the internet. It shows their country rock style but still allows enough guitar work to remind you of their strong presence in the southern rock world. If this track wasn't to your taste, go check out "Green Grass and High Tides". I have mentioned before that there have been a few songs out there that hit a certain degree of epicness. There are rarely two in the same year within a genre, and for 1975 it is "Green Grass and High Tides" that is that one-of-a-kind epic ride. Well, that is all from me; now it is your turn! Play the song! Play the song! Play the song! Annnnd enjoy!
Year Released: 1976
Album: Lady in Waiting (1976)
Genre: Country Rock, Southern Rock
Mood: Road-Worn
Perfect For: Going for a long drive away from the city, Dusty plains, Casual listening, Getting ready in the morning
Where To Next: "Searchin' for a Rainbow" - Marshall Tucker Band
Rating: 8 / 10
With March coming to a close, I gotta say that I am impressed with the amount of chill songs that made up this month. March has always been a melancholy month for me. The aging of my birthday and the reflection on another year, the changing of the seasons which leaves the soul confused and hungry, and the annoying daylight savings giving the ol' brain a confusing punch. So, it isn't all too shocking. Even with all of that, we have had some serious heavy hitters to keep things interesting. For today, we have another chill track, but not like what we had with Superchunk, R.E.M., and Glenn Frey. We have the calming nature of a desert landscape, the distant cattle call of a dusty nomad, the whine of the highway, and the cold whistle screaming from a southbound train. The Outlaws are the group that will consume our post today with their kick-ass "Girl from Ohio". The band's debut is what most people remember the Outlaws for. That album is a guitar onslaught, one of the most guitar-heavy southern rock albums out there. It features their thrilling and perfect "Green Grass and High Tides" which is rocker hog heaven. A crazy long guitar solo and an outstanding flow that keeps you sat and sated for its almost 10-minute running time. That debut of theirs also features "There Goes Another Love Song" which is bonafide southern rock solid gold! But don't go thinking they are the kind of band you only need one album for. Sure, it never hits the same high as that debut in their mid-sized discography, but there is still plenty to love! With this being their debut on AintNoisePollution, we gotta serve up some introduction. Just a couple of posts ago we talked about Blackfoot, a group that showed the rock world how to mix the heavy with the southern, but when it comes to the Outlaws brand of southern rock, they were one of the greatest to show how to bring the southern rock sound back to its country roots. Alongside the Pure Prairie League, Ozark Mountain Daredevils, and the Marshall Tucker Band, they were one of the greatest to play the thin line between country and rock. When I go record shopping, I am never sure which of those categories I am going to see one of their albums in. I think the Outlaws biggest claim to fame in the southern rock world is from what I mentioned before, a super guitar-forward sound. Lynyrd Skynyrd, Molly Hatchet, and many others never shied away from belting out some damn long guitar solos that have you gasping for air, but for the Outlaws it was one of their biggest selling points. Something else I would like to point out about the band is how great they are at writing lyrics. Sometimes it keeps the cliché lyrical content, but on others they write outstanding traveling songs and heartbreak ballads that completely move you. They started up in 1967 originally under the name The Four Letter Words; that version of the band only lasted a year or two. They recorded two albums, but neither ever saw the light of day. I wonder what they sounded like. Plenty of infighting and people coming and going made it clear that the Four Letter Words were never to be the next big thing. By 1970 the band got their shit together and started playing some shows under the name the Outlaws. They were still a group stuck in the 1960s, doing covers from big names of the time, but once the southern rock thing started kicking up some dust, the band moved towards the more country side of rock music. It still was a couple of years before they got signed onto a proper label with the help of Lynyrd Skynyrd frontman Ronnie Van Zandt backing them. They released their debut self-titled album in 1975, and it quickly became a classic in the southern rock world. It spurred two of their greatest songs and showcased the band's style. That album is their highest seller and is honestly their biggest claim to fame. They didn't have another crazy big chart climber all the way until 1980, when their cover of "(Ghost) Riders in the Sky" charted at 31 in the US and 15 in Canada. A great electrified version of a country classic, one I think you should check out if you already dig the versions from artists like Johnny Cash, Spike Jones, the Ramrods, and so many other top-tier acts.
So, yeah, the Outlaws never really hit the same fame as a lot of the bigger names in the southern rock world, but they should not be taken lightly. Even if it is just for their hits, they are a group that I am confident deserves a solid couple of pages in the rock history books. After their debut did well on the charts and got their name out, they now had to do it all over again. They approached their second album, Lady in Waiting, with a wider range of musical styles. A move that I think did them in. I'm not saying that Lady in Waiting is a weak album, but with them losing some of that knack for guitar solos and smacks across the head with beer bottles, it just became another album. All good songs, some better than others, but it simply doesn't have the same magic as their debut. To make matters worse for the album, it came along during some of the most prime years for southern rock. A time when people were wanting more "Free Bird" guitar solos and heart jerkers like "Can't You See". There was a market for bands like the Atlanta Rhythm Section and Head East, but those groups rose to power during the dominion of the market during the Great Disco Crisis of the Late 1970s. I don't think people knew how to feel about this guitar frenzy turned commercial cliché, and thus, the album only hit the 36th spot on the charts, and up until 1980's Ghost Riders, kept on dropping with each next release. This all might sound like I am taking jabs at the album, and in some ways I am, but I want to make it clear that this is still an album worth every minute, especially if you are into southern rock and country rock. Some of the great things about this album are it serving as the home for their cover of "Freeborn Man", one of my favorite country and boogie tracks out there. The album also features some of the Outlaws other gems like "Breaker-Breaker", "Prisoner", and my personal favorite from the album, "Girl from Ohio". This is honestly one of my favorite Outlaws tracks overall and is one of the leading reasons I think that Lady in Waiting is well worth the listen. The intro to the track is severely country-laced; it sets you up to take in this easy-going country rock style song. That chorus is one that gives you chills with the great vocal harmony. The lyrical content covers the longing for your sweet lady's arms after a hard travel. A slightly common lyrical theme for country and its rock cousin. I am sure it was written from the heart by the writer, guitarist, and part time singer for the Outlaws, Henry Paul. Fun fact, Henry Paul went on to help form Blackhawk in the 1990s, a country group that had its fair share of hits. I am a little hit and miss on their material, but when it comes to country, that is a given past the 1970s. It all comes down to taste, but I dig what he does in Blackhawk for the most part. The song is pretty damn mellow, and from personal experience, it really helps along a solid drive through rural land. The type of song that you get a cigarette out for and prepare to stare off at nothing for a while aside from the white lines on the blacktop. Thinking of that girl from Ohio, even if you have never set foot in that state. "Girl from Ohio" became a fan favorite for the band, and that is coming from a pretty big fan of the band. I have listened through their full discography only once in my life. Their first 6 are where it is at, and it is within those that I come back to often. Their albums honestly have plenty of ups and downs, but those ups are sky-high! I think our song of the day is one of the greatest songs to be their debut on our little corner of the internet. It shows their country rock style but still allows enough guitar work to remind you of their strong presence in the southern rock world. If this track wasn't to your taste, go check out "Green Grass and High Tides". I have mentioned before that there have been a few songs out there that hit a certain degree of epicness. There are rarely two in the same year within a genre, and for 1975 it is "Green Grass and High Tides" that is that one-of-a-kind epic ride. Well, that is all from me; now it is your turn! Play the song! Play the song! Play the song! Annnnd enjoy!
Year Released: 1976
Album: Lady in Waiting (1976)
Genre: Country Rock, Southern Rock
Mood: Road-Worn
Perfect For: Going for a long drive away from the city, Dusty plains, Casual listening, Getting ready in the morning
Where To Next: "Searchin' for a Rainbow" - Marshall Tucker Band
Rating: 8 / 10
Song of the Day 03/24/2026
"You're Gonna Kill That Girl" - Ramones
1, 2, 3, 4! Here come the Ramones! There is no way you don't know the Ramones, and if you don't, then you can see yourself out. All jokes! The Ramones is one of the greatest punk rock bands to ever hit the scene. They have a wholly unique sound that aged like fine wine. There are ups and downs through the Ramones long career, a career that seemed to go on longer than practically any other punk rock band from the original punk scene in the 1970s. They have had 14 studio albums and 4 mainline live albums. Sadly, all the original Ramones members passed away by 2014, the last of whom was drummer Tommy Ramone, who was the band's first drummer. The Ramones had a strangely high number of drummers come and go. Dee Dee, Joey, and Johnny all died within a year or two of each other, starting with Joey who passed away in 2001 from lymphoma. Ramones have been on the website two other times, the lyrically bold and confusing "Today Your Love, Tomorrow the World" from their debut and a Caleb classic, "Rock 'n' Roll High School" before it. Today we have "You're Gonna Kill That Girl" from the band's second studio album, Leave Home. I will say, while the Ramones serve up some excellent one-liners, I have always found their lyricism a bit strange and lacking. It is often silly, and even more often pretty damn straightforward. As you can see in my other posts, lyrics hold a seriously high spot in what makes me like a song. That same rule doesn't hinder any group per se, so long as they can back up the mundane lyrics with genuinely entertaining musicianship. The Ramones come with plenty of that; they are quirky and a joy to listen to with their own brand of wackiness. The nasally and laid-back vocal work of Joey is something that will forever be talked about when punk rock or rock music as a whole is brought up. That nasally style is part of the core sound of the 1970s Ramones; as time went on, he seemed to want to get away from it. Trying some more serious singing on tracks like "Bonzo Goes to Bitburg" and "Howling at the Moon (Sha-La-La)". Though, the 1970s had the Ramones in their rawest and meanest form. A form where Sinatra singing had no place, and the same is to be said about flayed-out guitar solos. Fast, aggressive, youthful, and meant to get you stomping your feet around. It wasn't just within their sound that the Ramones became quick legends; it was their persona. They would come out on stage in leather jackets, ripped skinny jeans, basic T-shirts, and Converse, forming a simplistic yet powerful persona. Somewhere between being the dude you passed on the street and someone you would expect to be lugging sound equipment out the back of a tour bus for some of the biggest bands out there. None left a bigger impact than Joey Ramone, who really was unlike anyone else around the New York City music scene at the time on that microphone. He wasn't trying to be anyone; he was simply being himself. This image and their intense, straightforward sound gained them attention strikingly fast. Their fan base was growing, and they were one of the main groups that ushered in a new sound, a thing penned at the time as "punk". Now, the Ramones may as well be the ones who fully brought punk rock to the masses. No more roots, no more art rock bands, and certainly no more glam rock bands, there was something new and intense hitting the music world. And it was hitting it hard. Labels and music journalists were smart enough to notice this new thing and jumped on it. The Ramones were signed to Sire Records in 1975, and their debut self titled album came along the next year. That debut is arguably the most important punk album to ever come out. Completely out there and easy to get behind. It was certainly written for the youth, especially of the reckless caliber. They got all 14 songs finished, recorded, and done within 7 days, very punk rock. Not only that, they did something that was practically unheard of by 1976, the majority of the songs were under 2 minutes. That might have been common back in the early days of rock and roll, or even some country artists are known for their short playing time, but in the mainstream rock world, that is a good way to shoot yourself in the foot. It became another normality in punk rock, especially in the international 1970s punk scene, and it became an even bigger thing to do in the hardcore punk world. That debut is legendary, like, the actual idea of a legendary album. It has significant historical presence in the music world. It is also fucking great to boot, not just a band that happened to come around at the right time. The Ramones are the kind of band that belong to every decade and not any of them all at the same time.
That debut didn't chart as high as you would think with how I presented it. That wasn't the goal, and I am not even sure if the Ramones were prepared to become one of the biggest names of all time. Their notoriety came in time, but with that debut out, they became folk heroes upon the streets of New York City. The name started spreading like wildfire. So, to keep the heat up, the band naturally had to follow up that iconic debut. Leave Home could have easily been a replica of Ramones, but this one was used to show how diverse the band could be. Well, as diverse as the Ramones can get, I suppose, they have one hell of a signature sound. Leave Home was released in January 1977, less than a year after their debut. The album focuses more on a diverse set of songs that shows the influences on the band, almost to a fault. I adore this album, and it seems the rest of the punk rock fandom agrees that it is one of their many classics. I love the diversity; each track brings in something fresh while keeping the theme strong. It wasn't too crazy of a jump from their debut, so don't expect the same style jump they did in the 1980s, but I am glad the band showed they were more than piss and vinegar. They were piss, vinegar, and nitrous oxide. The Ramones included a more pop sound in some of the songs; tracks like "Oh, Oh, I Love Her So", "Swallow My Pride", and the cover of "California Sun" are some prime examples of that. This pop leaning would become a staple for their sound, and plenty of my favorites of theirs are from this style. There are still the aggressive as sin songs like "Commando", "Pinhead", and "Gimme Gimme Shock Treatment", so have no fear, dear punkers, but the duality between the pop-backed tracks and the distorted to death punk tracks really makes this a standout album in the 1970s punk catalog. In many ways, this album is quite goofy, but that is some of its appeal. Our song of the day is one of the weaker tracks but still a damn welcome addition to the website. "You're Gonna Kill That Girl" is a prime example of my statement earlier saying that the Ramones aren't all too deep in their lyrics. This track just repeats itself the whole time for the 2:36 playing time. It is the longest song on the original track listing of the album. I guess that might be why it is a tad bit repetitive. Now, sometimes that would make it so the song gets knocked down on rating, but the Ramones aren't here to make you think of world peace during this stage in their career; they are here to play fast and play it fun. The whole band comes together to play tight on this track. "You're Gonna Kill That Girl" is a core Ramones song to show off their style. It brings in a little bit of the band's influence of 1960s R&B girl groups but melds it with intense distortion. The atmosphere is strangely happy, though the lyrics are pretty dark. I am guessing the song is about seeing a girl getting beat in the street and thinking to yourself, "huh, I think he's gonna kill that girl". The lyrics don't give us a hero story where he saves her or even takes her away from the dude; it just seems to be a passing thought while our character is riding the bus. The ending where Dee Dee Ramone is feeding the backing vocals repeating "kill, kill, kill" is my favorite part. It takes you out of the more poppish sound and reminds you of what genre you are listening to right now. This is one of the songs that make it clear that the Ramones claws sank deep into the souls of future punk bands. The Misfits are one of the first to come to mind; they are just a more Halloweened-out Ramones. Maybe with more intensity and shock appeal, but you can easily see how the Misfits drank deeply from the Ramones well. That is roots for you; all big-time bands tend to be tied together in one way or another. There isn't a band out there that is completely original; that is just how art works. Though I will say that the Ramones did come close to being a true original for their time. If they didn't wear their influences on their sleeves so heavily, that is. I find that to be one of the Ramones greatest attributes, and it was something they never lost all the way until their final album. They show love to those that influenced them, much like artists still do today for our punk rock heroes. Ramones will forever be icons in the music world, even 100 years from now if humanity survives that long. If you dig the track, I suggest listening to the rest of the album. Practically every song off it is a goodie! Especially with the repressings of the album that include "Sheena Is a Punk Rocker" which is a Ramones classic and genre defining. Enjoy!
Year Released: 1977
Album: Leave Home (1977)
Genre: Punk Rock
Mood: Fast 'n' Easy
Perfect For: Casual listening, Repetitive tasks, Going for a jog
Where To Next: "Some Kinda Hate" - Misfits
Rating: 7 / 10
1, 2, 3, 4! Here come the Ramones! There is no way you don't know the Ramones, and if you don't, then you can see yourself out. All jokes! The Ramones is one of the greatest punk rock bands to ever hit the scene. They have a wholly unique sound that aged like fine wine. There are ups and downs through the Ramones long career, a career that seemed to go on longer than practically any other punk rock band from the original punk scene in the 1970s. They have had 14 studio albums and 4 mainline live albums. Sadly, all the original Ramones members passed away by 2014, the last of whom was drummer Tommy Ramone, who was the band's first drummer. The Ramones had a strangely high number of drummers come and go. Dee Dee, Joey, and Johnny all died within a year or two of each other, starting with Joey who passed away in 2001 from lymphoma. Ramones have been on the website two other times, the lyrically bold and confusing "Today Your Love, Tomorrow the World" from their debut and a Caleb classic, "Rock 'n' Roll High School" before it. Today we have "You're Gonna Kill That Girl" from the band's second studio album, Leave Home. I will say, while the Ramones serve up some excellent one-liners, I have always found their lyricism a bit strange and lacking. It is often silly, and even more often pretty damn straightforward. As you can see in my other posts, lyrics hold a seriously high spot in what makes me like a song. That same rule doesn't hinder any group per se, so long as they can back up the mundane lyrics with genuinely entertaining musicianship. The Ramones come with plenty of that; they are quirky and a joy to listen to with their own brand of wackiness. The nasally and laid-back vocal work of Joey is something that will forever be talked about when punk rock or rock music as a whole is brought up. That nasally style is part of the core sound of the 1970s Ramones; as time went on, he seemed to want to get away from it. Trying some more serious singing on tracks like "Bonzo Goes to Bitburg" and "Howling at the Moon (Sha-La-La)". Though, the 1970s had the Ramones in their rawest and meanest form. A form where Sinatra singing had no place, and the same is to be said about flayed-out guitar solos. Fast, aggressive, youthful, and meant to get you stomping your feet around. It wasn't just within their sound that the Ramones became quick legends; it was their persona. They would come out on stage in leather jackets, ripped skinny jeans, basic T-shirts, and Converse, forming a simplistic yet powerful persona. Somewhere between being the dude you passed on the street and someone you would expect to be lugging sound equipment out the back of a tour bus for some of the biggest bands out there. None left a bigger impact than Joey Ramone, who really was unlike anyone else around the New York City music scene at the time on that microphone. He wasn't trying to be anyone; he was simply being himself. This image and their intense, straightforward sound gained them attention strikingly fast. Their fan base was growing, and they were one of the main groups that ushered in a new sound, a thing penned at the time as "punk". Now, the Ramones may as well be the ones who fully brought punk rock to the masses. No more roots, no more art rock bands, and certainly no more glam rock bands, there was something new and intense hitting the music world. And it was hitting it hard. Labels and music journalists were smart enough to notice this new thing and jumped on it. The Ramones were signed to Sire Records in 1975, and their debut self titled album came along the next year. That debut is arguably the most important punk album to ever come out. Completely out there and easy to get behind. It was certainly written for the youth, especially of the reckless caliber. They got all 14 songs finished, recorded, and done within 7 days, very punk rock. Not only that, they did something that was practically unheard of by 1976, the majority of the songs were under 2 minutes. That might have been common back in the early days of rock and roll, or even some country artists are known for their short playing time, but in the mainstream rock world, that is a good way to shoot yourself in the foot. It became another normality in punk rock, especially in the international 1970s punk scene, and it became an even bigger thing to do in the hardcore punk world. That debut is legendary, like, the actual idea of a legendary album. It has significant historical presence in the music world. It is also fucking great to boot, not just a band that happened to come around at the right time. The Ramones are the kind of band that belong to every decade and not any of them all at the same time.
That debut didn't chart as high as you would think with how I presented it. That wasn't the goal, and I am not even sure if the Ramones were prepared to become one of the biggest names of all time. Their notoriety came in time, but with that debut out, they became folk heroes upon the streets of New York City. The name started spreading like wildfire. So, to keep the heat up, the band naturally had to follow up that iconic debut. Leave Home could have easily been a replica of Ramones, but this one was used to show how diverse the band could be. Well, as diverse as the Ramones can get, I suppose, they have one hell of a signature sound. Leave Home was released in January 1977, less than a year after their debut. The album focuses more on a diverse set of songs that shows the influences on the band, almost to a fault. I adore this album, and it seems the rest of the punk rock fandom agrees that it is one of their many classics. I love the diversity; each track brings in something fresh while keeping the theme strong. It wasn't too crazy of a jump from their debut, so don't expect the same style jump they did in the 1980s, but I am glad the band showed they were more than piss and vinegar. They were piss, vinegar, and nitrous oxide. The Ramones included a more pop sound in some of the songs; tracks like "Oh, Oh, I Love Her So", "Swallow My Pride", and the cover of "California Sun" are some prime examples of that. This pop leaning would become a staple for their sound, and plenty of my favorites of theirs are from this style. There are still the aggressive as sin songs like "Commando", "Pinhead", and "Gimme Gimme Shock Treatment", so have no fear, dear punkers, but the duality between the pop-backed tracks and the distorted to death punk tracks really makes this a standout album in the 1970s punk catalog. In many ways, this album is quite goofy, but that is some of its appeal. Our song of the day is one of the weaker tracks but still a damn welcome addition to the website. "You're Gonna Kill That Girl" is a prime example of my statement earlier saying that the Ramones aren't all too deep in their lyrics. This track just repeats itself the whole time for the 2:36 playing time. It is the longest song on the original track listing of the album. I guess that might be why it is a tad bit repetitive. Now, sometimes that would make it so the song gets knocked down on rating, but the Ramones aren't here to make you think of world peace during this stage in their career; they are here to play fast and play it fun. The whole band comes together to play tight on this track. "You're Gonna Kill That Girl" is a core Ramones song to show off their style. It brings in a little bit of the band's influence of 1960s R&B girl groups but melds it with intense distortion. The atmosphere is strangely happy, though the lyrics are pretty dark. I am guessing the song is about seeing a girl getting beat in the street and thinking to yourself, "huh, I think he's gonna kill that girl". The lyrics don't give us a hero story where he saves her or even takes her away from the dude; it just seems to be a passing thought while our character is riding the bus. The ending where Dee Dee Ramone is feeding the backing vocals repeating "kill, kill, kill" is my favorite part. It takes you out of the more poppish sound and reminds you of what genre you are listening to right now. This is one of the songs that make it clear that the Ramones claws sank deep into the souls of future punk bands. The Misfits are one of the first to come to mind; they are just a more Halloweened-out Ramones. Maybe with more intensity and shock appeal, but you can easily see how the Misfits drank deeply from the Ramones well. That is roots for you; all big-time bands tend to be tied together in one way or another. There isn't a band out there that is completely original; that is just how art works. Though I will say that the Ramones did come close to being a true original for their time. If they didn't wear their influences on their sleeves so heavily, that is. I find that to be one of the Ramones greatest attributes, and it was something they never lost all the way until their final album. They show love to those that influenced them, much like artists still do today for our punk rock heroes. Ramones will forever be icons in the music world, even 100 years from now if humanity survives that long. If you dig the track, I suggest listening to the rest of the album. Practically every song off it is a goodie! Especially with the repressings of the album that include "Sheena Is a Punk Rocker" which is a Ramones classic and genre defining. Enjoy!
Year Released: 1977
Album: Leave Home (1977)
Genre: Punk Rock
Mood: Fast 'n' Easy
Perfect For: Casual listening, Repetitive tasks, Going for a jog
Where To Next: "Some Kinda Hate" - Misfits
Rating: 7 / 10
Song of the Day 03/23/2026
"In Every Dream Home a Heartache" - Roxy Music
Well, we have another oddity for this month. Roxy Music might be remembered by casual listeners for their immensely catchy and immensely poppy 1980s pop anthem "More Than This". To think that is the core Roxy Music sound would be to think wrong. They are a cornerstone of art rock, but to call them simply art rock would also be wrong. They helped usher in a whole new sound for the glam rock craze in the 1970s, a genre that tended to have most of the bands sounding the same and not taking all too many chances within their own genre. Roxy Music may be one of the earliest examples of a new wave sound, even if the genre wasn't even fully forming at this point. Their influence was heavily felt, and a lot of that came from their bold tracks like our song of the day today. To top it all off, each member was a beast in their own right. All the main members went on to either have a strong solo career or a solid career in the music industry. None found more success than that of Brian Eno and Bryan Ferry. Eno's solo career and place behind the mixing board are something of legend. Few helped electronic music and art rock along like Brian Eno. I think we talked a little bit about him in our DEVO post. He had his hand in mainstream music as well, producing albums for legends like Coldplay, Peter Gabriel, and U2. Roxy Music as a whole was a holy grail of musical expansion and influence, so it isn't all too shocking that the members went on to achieve great things. The band started up in 1970 after Bryan Ferry lost his job teaching ceramics. He already had a little band put together called The Gas Board, and after adding a few people to the ranks, like Andy Mackay, who came in tow with plenty of instruments, most important to Roxy Music's legacy the VCS 3 synthesizer, which became part of Roxy Music's iconic sound. This lured in Brian Eno, who would be the band's technical advisor. He also owned a reel-to-reel tape recorder, a necessity if you are going to record your own funk from your bunk. The band originally went by the name Roxy until they found out there was already a band named that in the United States and switched to Roxy Music. They played together but never seemed to have too much intent on hitting the big time. In late 1970, Bryan Ferry tried out to be the next singer of King Crimson, the progressive rock legends, but was turned down. Still, King Crimson liked the sound of his voice and personally took on the quest of getting Roxy Music noticed by labels. In 1971 Roxy Music put together their first demo tape and threw out a classified listing for this up and coming avant-garde rock band. Paul Thompson was the one who replied to the listing. Thompson is one underrated drummer; he whacked those sticks with plenty of bands, and his time with Roxy Music is some of his finest playing. Never easy to play alongside so much electronics, but Thompson did it in style, to say the least. They played their first show in 1971 and quickly started gaining attention, especially from critics and talent scouts. Within the next year, the band was losing and gaining members until it was smoothed out and they had the core members. They got signed, and it was time for them to see what they got upon the charts. Their debut came along in the summer of 1972, a self-titled release that charted strongly at spot #10 on the UK charts. A third of the critics didn't know what to say, a third of the critics ripped the album to shreds, picking on whatever they could, especially the looks of the band, and then the final portion of critics were enamored by the music. It was something they had hardly heard up until that point. Something so out there and bold that it caught you off guard. In my retrospective seat, the album isn't all too crazy now, but I can see how this was something bold for the time of its release. It isn't all too shocking that their debut had a heavy hand in the early days of punk rock. The style isn't very punk, but the expression that takes place within its ten tracks is that of shock. In your face and uncaring of what things you might have to say about it. Personally, I didn't even know what to think about it from its first playing. I won't lie; my first time listening to it was one of disgust, but as I tried a few more times as I aged, I found diamonds hiding inside each track. It is the perfect melding point of progressive snobbery and glam rock lunacy.
We aren't here to talk about that debut; we are here today to talk about the band's second studio album, For Your Pleasure. If you haven't guessed it by now, if you looked into the band yourself, they have a thing for lust. Their album covers show it off plenty of times, and their lyrics tend to follow suit depending on where you land. For our song of the day, it is sleazy but rife with a more profound meaning. There really weren't many songs out at the time that talked about a sex doll, but yup, Roxy Music took it on within "In Every Dream Home a Heartache". In my opinion, their second album blew the first one out of the water. That debut of theirs was an attention grabber, that much is certain, but For Your Pleasure takes their style to the next level. It holds the leash strongly on art rock; there is so much experimentation it makes it hard for music historians such as myself to know when the hell the songs even came out without looking into it. In the more out-there styles, it tends to completely alienate the casual listener fanbase, but it does create a whole cult following for the band's style. That goes a long way in the progression of music, and Roxy Music did a lot of that within our song of the day. "In Every Dream Home a Heartache" is one weird-ass song, I won't lie. It is strange and so damn haunting. All the words are spoken in monologue, and those words are much too easy to fall into a trance by when listening to the song. Each time this track comes along in one of my playlists, I contemplate skipping it. But by a few lines in, I find myself unable. That voice is so damn diabolical and unhinged. The story gets stranger and stranger until the silly "but you blew my mind" line comes along and the band forms up to give you chills with an absolute explosion of sound. In the song's oddness, we got one of Roxy Music's most loved songs. The song was inspired by the collage "Just what is it that makes today's home so different, so appealing?" by Richard Hamilton. I ain't one that is all too fond of pop art, but if it made a song this powerful, then I am happy for it to be around. The piece revolves around consumerism and the drab domestic existence. Bryan Ferry wrote this unhinged song, and he added his own personal touch on his ideals around materialism and the damage done. The song was originally supposed to be much longer, but he cut it down to make it easier to take in and understand. A smart move. While this song completely steals the air out of your lungs, I find it to be the perfect length even with its fake-out ending. The song pretends it is over before coming back even trippier with an overkill of phase-shifting instrument work. It sounds like something you would expect out of a psychedelic band from the 1960s, not this enigmatic band that put out a song about shunning consumerism and its inevitable lead-up into getting yourself a sex doll to worship in your cold, empty house. You can easily see how "In Every Dream Home a Heartache" became one of the group's iconic tracks. It is unlike almost any other song. It is depraved and strange. It sucks you into its trance and leaves you feeling gross all the way until the intense guitar lead attack of the outro. You would think this would be the final song from For Your Pleasure with how demanding it is on your senses, but it is only the ending of side 1 of the LP. I am sure it psyched people out back then, thinking they needed to flip the album over with that fake-out ending. For some of my readers that came here for some straightfor the throat rock music, I apologize, but give the song a solid go, and you will not be disappointed. Even if it isn't for you, I bet a million bucks you won't forget the song any time soon. I hardly need to defend the track; it is respected thoroughly by art & experimental rock fans. As much as I hate to admit it, I have never been too much of a Roxy Music fan. They have a bunch of tracks I dig, but I just never became a big fan even though I have listened to each of their albums both in study and in leisure. Artsy-fartsy stuff has always been hit and miss with me. That doesn't mean I don't respect the fuck out of them, though. I know how important this group was to music as a whole, and once again, I still gathered a strong set of songs that I love to listen to, today's choice being one of them. For those that never heard the group outside "More Than This", I give to you the purest expression of art within rock music. Enjoy!
Year Released: 1973
Album: For Your Pleasure (1973)
Genre: Art Rock
Mood: Sinister
Perfect For: Zoning out, Playing in a dark room, Appreciating the power of music
Where To Next: "Fat Lady of Limbourg" - Brian Eno
Rating: 7 / 10
Well, we have another oddity for this month. Roxy Music might be remembered by casual listeners for their immensely catchy and immensely poppy 1980s pop anthem "More Than This". To think that is the core Roxy Music sound would be to think wrong. They are a cornerstone of art rock, but to call them simply art rock would also be wrong. They helped usher in a whole new sound for the glam rock craze in the 1970s, a genre that tended to have most of the bands sounding the same and not taking all too many chances within their own genre. Roxy Music may be one of the earliest examples of a new wave sound, even if the genre wasn't even fully forming at this point. Their influence was heavily felt, and a lot of that came from their bold tracks like our song of the day today. To top it all off, each member was a beast in their own right. All the main members went on to either have a strong solo career or a solid career in the music industry. None found more success than that of Brian Eno and Bryan Ferry. Eno's solo career and place behind the mixing board are something of legend. Few helped electronic music and art rock along like Brian Eno. I think we talked a little bit about him in our DEVO post. He had his hand in mainstream music as well, producing albums for legends like Coldplay, Peter Gabriel, and U2. Roxy Music as a whole was a holy grail of musical expansion and influence, so it isn't all too shocking that the members went on to achieve great things. The band started up in 1970 after Bryan Ferry lost his job teaching ceramics. He already had a little band put together called The Gas Board, and after adding a few people to the ranks, like Andy Mackay, who came in tow with plenty of instruments, most important to Roxy Music's legacy the VCS 3 synthesizer, which became part of Roxy Music's iconic sound. This lured in Brian Eno, who would be the band's technical advisor. He also owned a reel-to-reel tape recorder, a necessity if you are going to record your own funk from your bunk. The band originally went by the name Roxy until they found out there was already a band named that in the United States and switched to Roxy Music. They played together but never seemed to have too much intent on hitting the big time. In late 1970, Bryan Ferry tried out to be the next singer of King Crimson, the progressive rock legends, but was turned down. Still, King Crimson liked the sound of his voice and personally took on the quest of getting Roxy Music noticed by labels. In 1971 Roxy Music put together their first demo tape and threw out a classified listing for this up and coming avant-garde rock band. Paul Thompson was the one who replied to the listing. Thompson is one underrated drummer; he whacked those sticks with plenty of bands, and his time with Roxy Music is some of his finest playing. Never easy to play alongside so much electronics, but Thompson did it in style, to say the least. They played their first show in 1971 and quickly started gaining attention, especially from critics and talent scouts. Within the next year, the band was losing and gaining members until it was smoothed out and they had the core members. They got signed, and it was time for them to see what they got upon the charts. Their debut came along in the summer of 1972, a self-titled release that charted strongly at spot #10 on the UK charts. A third of the critics didn't know what to say, a third of the critics ripped the album to shreds, picking on whatever they could, especially the looks of the band, and then the final portion of critics were enamored by the music. It was something they had hardly heard up until that point. Something so out there and bold that it caught you off guard. In my retrospective seat, the album isn't all too crazy now, but I can see how this was something bold for the time of its release. It isn't all too shocking that their debut had a heavy hand in the early days of punk rock. The style isn't very punk, but the expression that takes place within its ten tracks is that of shock. In your face and uncaring of what things you might have to say about it. Personally, I didn't even know what to think about it from its first playing. I won't lie; my first time listening to it was one of disgust, but as I tried a few more times as I aged, I found diamonds hiding inside each track. It is the perfect melding point of progressive snobbery and glam rock lunacy.
We aren't here to talk about that debut; we are here today to talk about the band's second studio album, For Your Pleasure. If you haven't guessed it by now, if you looked into the band yourself, they have a thing for lust. Their album covers show it off plenty of times, and their lyrics tend to follow suit depending on where you land. For our song of the day, it is sleazy but rife with a more profound meaning. There really weren't many songs out at the time that talked about a sex doll, but yup, Roxy Music took it on within "In Every Dream Home a Heartache". In my opinion, their second album blew the first one out of the water. That debut of theirs was an attention grabber, that much is certain, but For Your Pleasure takes their style to the next level. It holds the leash strongly on art rock; there is so much experimentation it makes it hard for music historians such as myself to know when the hell the songs even came out without looking into it. In the more out-there styles, it tends to completely alienate the casual listener fanbase, but it does create a whole cult following for the band's style. That goes a long way in the progression of music, and Roxy Music did a lot of that within our song of the day. "In Every Dream Home a Heartache" is one weird-ass song, I won't lie. It is strange and so damn haunting. All the words are spoken in monologue, and those words are much too easy to fall into a trance by when listening to the song. Each time this track comes along in one of my playlists, I contemplate skipping it. But by a few lines in, I find myself unable. That voice is so damn diabolical and unhinged. The story gets stranger and stranger until the silly "but you blew my mind" line comes along and the band forms up to give you chills with an absolute explosion of sound. In the song's oddness, we got one of Roxy Music's most loved songs. The song was inspired by the collage "Just what is it that makes today's home so different, so appealing?" by Richard Hamilton. I ain't one that is all too fond of pop art, but if it made a song this powerful, then I am happy for it to be around. The piece revolves around consumerism and the drab domestic existence. Bryan Ferry wrote this unhinged song, and he added his own personal touch on his ideals around materialism and the damage done. The song was originally supposed to be much longer, but he cut it down to make it easier to take in and understand. A smart move. While this song completely steals the air out of your lungs, I find it to be the perfect length even with its fake-out ending. The song pretends it is over before coming back even trippier with an overkill of phase-shifting instrument work. It sounds like something you would expect out of a psychedelic band from the 1960s, not this enigmatic band that put out a song about shunning consumerism and its inevitable lead-up into getting yourself a sex doll to worship in your cold, empty house. You can easily see how "In Every Dream Home a Heartache" became one of the group's iconic tracks. It is unlike almost any other song. It is depraved and strange. It sucks you into its trance and leaves you feeling gross all the way until the intense guitar lead attack of the outro. You would think this would be the final song from For Your Pleasure with how demanding it is on your senses, but it is only the ending of side 1 of the LP. I am sure it psyched people out back then, thinking they needed to flip the album over with that fake-out ending. For some of my readers that came here for some straightfor the throat rock music, I apologize, but give the song a solid go, and you will not be disappointed. Even if it isn't for you, I bet a million bucks you won't forget the song any time soon. I hardly need to defend the track; it is respected thoroughly by art & experimental rock fans. As much as I hate to admit it, I have never been too much of a Roxy Music fan. They have a bunch of tracks I dig, but I just never became a big fan even though I have listened to each of their albums both in study and in leisure. Artsy-fartsy stuff has always been hit and miss with me. That doesn't mean I don't respect the fuck out of them, though. I know how important this group was to music as a whole, and once again, I still gathered a strong set of songs that I love to listen to, today's choice being one of them. For those that never heard the group outside "More Than This", I give to you the purest expression of art within rock music. Enjoy!
Year Released: 1973
Album: For Your Pleasure (1973)
Genre: Art Rock
Mood: Sinister
Perfect For: Zoning out, Playing in a dark room, Appreciating the power of music
Where To Next: "Fat Lady of Limbourg" - Brian Eno
Rating: 7 / 10
Song of the Day 03/22/2026
"Priests and Paramedics" - Pedro the Lion
This month has seen us talking about artists that mean the world to me and those that are relatively new to me. Well, for today, we have one of the artists that are fairly new to me. Pedro the Lion may have a strange name, but their power is there in droves. Pedro the Lion was a name I never really heard until I was doing my year-by-year studies. Indie rock in general is a genre that I dabbled in plenty but never fully jumped into. By the time the 1990s were in full swing, I had a new massive catalogue to leap into with indie rock. The genre honestly is consuming the majority of my time in the 2000s, but there weren't truckloads of new bands in the 1990s. There were still plenty of names finding modest fame in the 1990s; one of them was Pedro the Lion. I won't lie, I saw the name of the group and was a little concerned. I have gone through plenty of lesser albums from bands that come in with a silly name and was convinced I was about to sink another 40 minutes into an album that I would have been just fine never listening to. Pedro the Lion put out their debut in 1998, It's Hard to Find a Friend, and after they gained more notoriety, it was released again in 2001. I am not quite sure which version I listened to, but I will say that I was fairly impressed with the debut. It was moody in all the right ways, silly at times, but through and through a competent debut. It comes forth with the indie rock sound in its clutches, a sound that allows an artist to express whatever they are feeling whenever they are feeling it. That was just the start for Pedro the Lion to become underground heroes of the indie rock and emo worlds. Since then I have only listened to two other studio albums from the group. We will get to that here soon. First off, I think we should elaborate on who Pedro the Lion is. No, as much as the mental imagery of a bunch of lions playing instruments is quite pleasant, it is mainly just one dude. No, before you ask, his name is not Pedro. David Bazan is the visionary behind Pedro the Lion. He started the group up in 1995 upon the rainy streets of Seattle. Have we talked about how you can sort of feel you understand a place without ever visiting just by their scenes? Seattle stuff sounds like Seattle stuff, much like Las Vegas sounds like Las Vegas, and so on. I guess it isn't all too shocking; we are products of our environment, after all. The music that came out of Seattle is one of the leading reasons that I am dying to go visit there, or even just uproot one night and run away to the Emerald City. That melancholic style has always resided well within my soul in all the varying styles that came out of there. Pedro the Lion is melancholic to say the least. Nihilistic but not whiny, reality in the form of cheap smokes and secondhand novels to dream about. Other musicians have come and gone from Pedro the Lion, but David Bazan has always remained. It is his love child after all. Bazan also went on to form the Headphones, who will have their chance to be heard when I get to 2005 in my studies. A changing year for Bazan and his art since Pedro the Lion stopped putting stuff out in 2006. He eventually came home and released some more albums from 2019 on. I will be sad when I stop seeing the group show up in my studies, and at the rate I am going, I will be 34 before I even get to 2019. I truly hope Bazan comes back with fire, and if I feel that lonesome urge to listen to more of his music, I always have his solo material. Anyway! Pedro the Lion is sort of a character, and some of the albums are from his point of view, some are concept albums, and some are from a strangely personal place, especially those that poke at themes of Christianity. The band is known for their lyrical knack and for the unique take on having the songs be told from the first person, which is a nice and personal touch. Honestly, I am always a little bit lost on the posts where I talk about an artist I don't know all too well, so expect a shorter one.
How about we just look at our song of the day and see where the post takes us? For today, we have the ninth track from Pedro the Lion's third studio album, Control. I barely finished listening to the album just last night, and even though there was a song or two that could have taken the spot for today's post, it was "Priests and Paramedics" that fully controlled the moment. While this is only my third album from Pedro the Lion, I have a gut feeling it might be my favorite since the album really shook me to the core. It is one sad album, but I am one sad dude, so it fit the puzzle magnificently. "Priests and Paramedics" is easily my favorite track from the album, even if the band's "Options" is the their most famous song. Control holds a good majority of Pedro the Lion's most respected songs. Tracks like "Options", "Magazine", & "Rapture". All of those are great, but they don't have the same hollow feeling as "Priests and Paramedics". If you jumped into a random song, like you likely will be doing today here at AintNoisePollution, you will likely find them peculiar. This is a concept album that revolves around a bored businessman who has an affair. Like he deserves, he gets caught and thus gets murdered by his current wife. The murder happens in our song of the day. Outside the story, the album also touches on simply being sick and tired of the way of the world. For the most part, I didn't pay all too much attention to the story, much like I didn't with Pedro the Lion's previous studio album, Winners Never Quit. Now, don't get me wrong, concept albums are a lot of fun, especially if they are well put together like what we have here with us today. I just sometimes get lost, and then I miss the punchline. I am all about concept albums that don't force the story on you, and while Control sort of does, you can casually listen to the track and not think too deeply about some of the lyrics. Pedro the Lion, to me, has always excelled at clearing the fog for the lyrics that are going to reside within you, leaving behind some of the story for a moment to seem like a normal song. For "Priests and Paramedics" you don't get too sucked into the lyrics until the haunting ending. I genuinely stared off for a good while when first listening to the track. The intro sucks you into the sad reality of paramedics and how they wake up in the morning just to go see some mangled bodies. The story then moves into the murder after getting picked up by the same paramedics. He wakes up in the ambulance, and the paramedics try calming him down, but he inevitably slips into death. His funeral goes well enough, but nobody was crying all too loud. It is in what the priest says that haunts you to the bone with a simplistic hit of reality.
You're gonna die
We're all gonna die
Could be twenty years
Could be tonight
Lately I have been wondering why
We go to so much trouble
To postpone the unavoidable
And prolong the pain of being alive
You know, I have been thinking a lot about death recently. It is like a strange cloud that has been haunting me. It is strange coming to terms with the end, an end we will hardly ever see coming and will rarely be prepared for. Our brain simply can't get the thoughts wrapped around it, much like a color we have never seen or a song we never heard. The great unknown. There is a beauty in the dark embrace of death. It is one thing we all have in common. No matter if you are a beggar or a king, we all are going to die. In a strange way it is comforting. The equalizer. People typically only band together with strangers over tragedy, and death is the ultimate bonding mechanism. Death can bring families back together or rip them apart. Death can make strangers all tied together under unfortunate circumstances. Death is the bridge for man, yet we fear it so. We all have our reasons. Some don't want to leave their kids behind without being able to dry their tears. Some might simply want to see their one dream come true. There are those like me that have started a lifelong project and cannot handle the fact they might not ever see it done. Some people are simply too stubborn to die. Life is so damn precious, but also so damn awful. We drown ourselves in escapes but still desire to live on. It almost seems like society is yet another subscription plan. We spend our day at work to make the money, we go out to spend the money, we pay rent, and we sleep soundly until the next day. Contemplate suicide in the morning. Spend the day working. Spend the night eating and sleeping. Do it again. And again. And again. Lose sense of who we are in this mind numbing cycle of the modern man. True life rests outside this little life we create for ourselves, but humans love their comfort, and I am no different. Plus, if you don't subscribe to society's plan, you will be scoffed at by those that were born with a lifelong membership prepaid by their wealthy parents. People that will never know the burden on the soul this wasted life brings to us all. Maybe that is just life, and I am too desperate trying to find a way out. Wasting my life in the clouds of hope, another distraction to avoid looking the mundane reality of our existence in the eye. But, as Pedro the Lion asks, why do we go to such pains to prolong this subscription? Once again, we all have our reasons. I wonder how brave I will be when it comes time to die. **Clears throat** Well, this is why I don't go to parties I suppose. I blame Pedro the Lion! This is precisely what they are about. Cold reality served up on a strange shaped platter. It is within this depressive sound and atmosphere I have found a home for three albums. I look forward to what else the band has in store. I do question if I hit the peak of their discography with Control, because the album was a damn good ride, but only time will tell. Maybe we will have another Pedro the Lion post, but for their debut here on AintNoisePollution, I happily give to you "Priests and Paramedics". Oh! And hang in there. No matter how heavy this life plan gets, there are always things to make it worth the price. Great music, good wine, family, bendy straws, nature, cats, yummy food, love, and so much more. Stay strong, friend, but never lose touch with reality regarding death. We are all born to die. Maybe that will give you comfort about the person holding up the fast lane on the freeway. Enjoy!
Year Released: 2002
Album: Control (2002)
Genre: Indie Rock
Mood: Candid
Perfect For: Being tired, Staring off at nothing, Writing poetry, Cigarettes at 2 AM
Where To Next: "Weightless Again" - The Handsome Family
Rating: 8 / 10
This month has seen us talking about artists that mean the world to me and those that are relatively new to me. Well, for today, we have one of the artists that are fairly new to me. Pedro the Lion may have a strange name, but their power is there in droves. Pedro the Lion was a name I never really heard until I was doing my year-by-year studies. Indie rock in general is a genre that I dabbled in plenty but never fully jumped into. By the time the 1990s were in full swing, I had a new massive catalogue to leap into with indie rock. The genre honestly is consuming the majority of my time in the 2000s, but there weren't truckloads of new bands in the 1990s. There were still plenty of names finding modest fame in the 1990s; one of them was Pedro the Lion. I won't lie, I saw the name of the group and was a little concerned. I have gone through plenty of lesser albums from bands that come in with a silly name and was convinced I was about to sink another 40 minutes into an album that I would have been just fine never listening to. Pedro the Lion put out their debut in 1998, It's Hard to Find a Friend, and after they gained more notoriety, it was released again in 2001. I am not quite sure which version I listened to, but I will say that I was fairly impressed with the debut. It was moody in all the right ways, silly at times, but through and through a competent debut. It comes forth with the indie rock sound in its clutches, a sound that allows an artist to express whatever they are feeling whenever they are feeling it. That was just the start for Pedro the Lion to become underground heroes of the indie rock and emo worlds. Since then I have only listened to two other studio albums from the group. We will get to that here soon. First off, I think we should elaborate on who Pedro the Lion is. No, as much as the mental imagery of a bunch of lions playing instruments is quite pleasant, it is mainly just one dude. No, before you ask, his name is not Pedro. David Bazan is the visionary behind Pedro the Lion. He started the group up in 1995 upon the rainy streets of Seattle. Have we talked about how you can sort of feel you understand a place without ever visiting just by their scenes? Seattle stuff sounds like Seattle stuff, much like Las Vegas sounds like Las Vegas, and so on. I guess it isn't all too shocking; we are products of our environment, after all. The music that came out of Seattle is one of the leading reasons that I am dying to go visit there, or even just uproot one night and run away to the Emerald City. That melancholic style has always resided well within my soul in all the varying styles that came out of there. Pedro the Lion is melancholic to say the least. Nihilistic but not whiny, reality in the form of cheap smokes and secondhand novels to dream about. Other musicians have come and gone from Pedro the Lion, but David Bazan has always remained. It is his love child after all. Bazan also went on to form the Headphones, who will have their chance to be heard when I get to 2005 in my studies. A changing year for Bazan and his art since Pedro the Lion stopped putting stuff out in 2006. He eventually came home and released some more albums from 2019 on. I will be sad when I stop seeing the group show up in my studies, and at the rate I am going, I will be 34 before I even get to 2019. I truly hope Bazan comes back with fire, and if I feel that lonesome urge to listen to more of his music, I always have his solo material. Anyway! Pedro the Lion is sort of a character, and some of the albums are from his point of view, some are concept albums, and some are from a strangely personal place, especially those that poke at themes of Christianity. The band is known for their lyrical knack and for the unique take on having the songs be told from the first person, which is a nice and personal touch. Honestly, I am always a little bit lost on the posts where I talk about an artist I don't know all too well, so expect a shorter one.
How about we just look at our song of the day and see where the post takes us? For today, we have the ninth track from Pedro the Lion's third studio album, Control. I barely finished listening to the album just last night, and even though there was a song or two that could have taken the spot for today's post, it was "Priests and Paramedics" that fully controlled the moment. While this is only my third album from Pedro the Lion, I have a gut feeling it might be my favorite since the album really shook me to the core. It is one sad album, but I am one sad dude, so it fit the puzzle magnificently. "Priests and Paramedics" is easily my favorite track from the album, even if the band's "Options" is the their most famous song. Control holds a good majority of Pedro the Lion's most respected songs. Tracks like "Options", "Magazine", & "Rapture". All of those are great, but they don't have the same hollow feeling as "Priests and Paramedics". If you jumped into a random song, like you likely will be doing today here at AintNoisePollution, you will likely find them peculiar. This is a concept album that revolves around a bored businessman who has an affair. Like he deserves, he gets caught and thus gets murdered by his current wife. The murder happens in our song of the day. Outside the story, the album also touches on simply being sick and tired of the way of the world. For the most part, I didn't pay all too much attention to the story, much like I didn't with Pedro the Lion's previous studio album, Winners Never Quit. Now, don't get me wrong, concept albums are a lot of fun, especially if they are well put together like what we have here with us today. I just sometimes get lost, and then I miss the punchline. I am all about concept albums that don't force the story on you, and while Control sort of does, you can casually listen to the track and not think too deeply about some of the lyrics. Pedro the Lion, to me, has always excelled at clearing the fog for the lyrics that are going to reside within you, leaving behind some of the story for a moment to seem like a normal song. For "Priests and Paramedics" you don't get too sucked into the lyrics until the haunting ending. I genuinely stared off for a good while when first listening to the track. The intro sucks you into the sad reality of paramedics and how they wake up in the morning just to go see some mangled bodies. The story then moves into the murder after getting picked up by the same paramedics. He wakes up in the ambulance, and the paramedics try calming him down, but he inevitably slips into death. His funeral goes well enough, but nobody was crying all too loud. It is in what the priest says that haunts you to the bone with a simplistic hit of reality.
You're gonna die
We're all gonna die
Could be twenty years
Could be tonight
Lately I have been wondering why
We go to so much trouble
To postpone the unavoidable
And prolong the pain of being alive
You know, I have been thinking a lot about death recently. It is like a strange cloud that has been haunting me. It is strange coming to terms with the end, an end we will hardly ever see coming and will rarely be prepared for. Our brain simply can't get the thoughts wrapped around it, much like a color we have never seen or a song we never heard. The great unknown. There is a beauty in the dark embrace of death. It is one thing we all have in common. No matter if you are a beggar or a king, we all are going to die. In a strange way it is comforting. The equalizer. People typically only band together with strangers over tragedy, and death is the ultimate bonding mechanism. Death can bring families back together or rip them apart. Death can make strangers all tied together under unfortunate circumstances. Death is the bridge for man, yet we fear it so. We all have our reasons. Some don't want to leave their kids behind without being able to dry their tears. Some might simply want to see their one dream come true. There are those like me that have started a lifelong project and cannot handle the fact they might not ever see it done. Some people are simply too stubborn to die. Life is so damn precious, but also so damn awful. We drown ourselves in escapes but still desire to live on. It almost seems like society is yet another subscription plan. We spend our day at work to make the money, we go out to spend the money, we pay rent, and we sleep soundly until the next day. Contemplate suicide in the morning. Spend the day working. Spend the night eating and sleeping. Do it again. And again. And again. Lose sense of who we are in this mind numbing cycle of the modern man. True life rests outside this little life we create for ourselves, but humans love their comfort, and I am no different. Plus, if you don't subscribe to society's plan, you will be scoffed at by those that were born with a lifelong membership prepaid by their wealthy parents. People that will never know the burden on the soul this wasted life brings to us all. Maybe that is just life, and I am too desperate trying to find a way out. Wasting my life in the clouds of hope, another distraction to avoid looking the mundane reality of our existence in the eye. But, as Pedro the Lion asks, why do we go to such pains to prolong this subscription? Once again, we all have our reasons. I wonder how brave I will be when it comes time to die. **Clears throat** Well, this is why I don't go to parties I suppose. I blame Pedro the Lion! This is precisely what they are about. Cold reality served up on a strange shaped platter. It is within this depressive sound and atmosphere I have found a home for three albums. I look forward to what else the band has in store. I do question if I hit the peak of their discography with Control, because the album was a damn good ride, but only time will tell. Maybe we will have another Pedro the Lion post, but for their debut here on AintNoisePollution, I happily give to you "Priests and Paramedics". Oh! And hang in there. No matter how heavy this life plan gets, there are always things to make it worth the price. Great music, good wine, family, bendy straws, nature, cats, yummy food, love, and so much more. Stay strong, friend, but never lose touch with reality regarding death. We are all born to die. Maybe that will give you comfort about the person holding up the fast lane on the freeway. Enjoy!
Year Released: 2002
Album: Control (2002)
Genre: Indie Rock
Mood: Candid
Perfect For: Being tired, Staring off at nothing, Writing poetry, Cigarettes at 2 AM
Where To Next: "Weightless Again" - The Handsome Family
Rating: 8 / 10
Song of the Day 03/21/2026
"Drown" - Son Volt
Music is the expression of the soul. Music is also often the remedy for the heavy soul. When it comes to one genre that both destroys and heals your heart, it is alternative country. A loosely termed genre that encompasses plenty of names, all of which are often different from each other but hold the same fundamentals. Those fundamentals were crafted by the country stars in the real early days of the genre, musicians that sang songs for the common folk. As time moved along, so did country music; some stuck to the set path, and others branched off. Alternative country is more heavily influenced by those that walked the path of the vagabond folk country pickers, and the whiskey-drowned outlaws. Then you gotta meld in some of the other pieces of alernative country, bring in a little bit of punk rock and hard rock for bold steps away from the mainstream, take in a little bit of alternaitve rock and indie rock for a dream like and honest atmosphere, keep the lyrical themes of folk, and add in a little slap of heartland rock and americana and you have yourself a wholly unique genre that stepped away from rock, folk, and country to become a force of its own while still holding those influnces close at heart. It feels like a dreaming boy left the country to see the streets of Manhattan, or maybe a hardworking man that pulls doubles leaving it all behind on a whim and returning to the country. A style that can suit just about anyone since it tells you things we all know but often are too afraid to look in the face. While the scene was in the works since the early 1980s, punk rock bands brought in the damn fun cowpunk genre, which brought Western aesthetics to the copy-and-paste genre that is punk rock. Southern rockers with a hard edge to them that shunned the clean recording style for the grainy lo-fi. Mainstream roots rock bands that helped set the stage for this unique sound to gain some traction all the way back in the 1970s. Then there were the underrated bands of the country rock world of the 1960s and 1970s, immensely influential artists that never got their time in the light. It took a while for the genre to see the light of day. What they needed most was someone to bring it to the masses, an icon to this style that was honestly difficult to define and put in a category. The band that stepped up to the plate was Uncle Tupelo. Now, this is a band you don't want to sleep on. If you are a fan of the modern side of alternative country, be sure to go back and pay respects to the group that practically wrote the blueprints to the alternative country sound. Uncle Tupelo was relatively short-lived for the crazy impact they had on the rock, americana, folk, and country world. In 1990 they released the essential and outstanding, No Depression, an album that will leave you feeling completely roadworn and introspective practically as soon as you start the album. From 1990 onward, alternative country started its rise to modest power, even if the genre was still lacking a true name or placement. Uncle Tupelo released 4 studio albums before breaking up in 1994, a sad yet necessary step for the furthering of the genre since all the members of Uncle Tupelo went on to form some of the other biggest and most influential names in the genre. The majority of them went on to form Wilco, a group that was strongly situated in the alternative country scene but soon enough traded it to be one of the most famous names in the indie rock and alternative rock world. I think we have discussed Wilco here before, and if not, we will be there some day soon. Uncle Tupelo had shared vocal duties, but a lot of my favorites from the band were sung by Jay Farrar. Following the falling out of Uncle Tupelo, Farrar went on to form Son Volt, the band that holds our song of the day.
Sure, Son Volt isn't nearly as influential and bold as Uncle Tupelo, but they are still regarded as one of the most essential alternative country groups to date, something I thoroughly agree with. Son Volt isn't as rough around the edges as Uncle Tupelo. It holds everything that Farrar brought to the table in Uncle Tupelo, but it is a little more cleaned up with a commercial coating that saw their debut in 1995, Trace, shooting up near the top on the US Heatseekers charts but settling on 166 on the main charts. Trace is a fuckin' great album, perfect for a hollowed-out day when thinking appears to be more painful than that of boredom. None found such a happy home with the masses as "Drown", our song of the day. "Drown" is the band's highest-charting single and was a serious deal upon its release in 1995. In the modern day it nips at the heels of "Windfall" of being their most timeless track, one of many of the great songs to come off the band's debut. As is the Jar Farrar vocal standard, the words seem hard to say, painful and desperate. "Drown" is an honest song with witty lyrics written by Farrar. The song revolves around all those wicked feelings that follow a breakup. Blaming the other person and just the plain feeling of being completely exhausted by all that the heart and soul just went through. I am fortunate enough that I haven't had to feel that for a long while now; love sure is confusing. A lyrical theme we all can understand one way or another, and even if you never had a relationship, you can still reflect on the lyrics with the idea of being alienated by the theme of love. Some of what makes all of Jay Farrar's music so thrilling is the lyrics and the way he sings them. They are words for you and me, and the vocals come from a place of muffled pain. The rest of Trace follows the same feeling of "Drown", and all the other songs are just as grand. Son Volt never found the same fame with any of their other releases from retrospective eyes, but from what I have listened to from their first 5 albums, they all seem to be worth your time and then some. Trace is considered one of the greatest alternative country albums of all time. Uncle Tupelo broke up due to the infighting between Jay Farrar and Jeff Tweedy. Tweedy went on to form Wilco, who released their debut album, A.M., a couple of months before Son Volt released Trace. To the snickering pride of Farrar, Trace more than outsold Wilco's debut. A victory that I am sure felt fairly sweet, but hopefully Farrar didn't watch what was soon to happen when Wilco switched their sound and hit the big time in the 2000s. Well, as you know, music is all subjective; one band is not better than the other, it all comes down to taste. Still, there is no denying that some of the greatest music came out of rivalries and the sad human obsession with competition. Who doesn't want to be on top? Especially when your art is on the line? Son Volt won off the line but eventually fell behind in the long haul. Alternative country wasn't meant to ever hit the top of the charts; that would have it lose some of its humanity. I think Son Volt continuously having a small brush with the limelight kept the music pure and honest. Son Volt gathered a ton of dedicated fans and could sell out shows easily. Their albums more often than not charted modestly but strongly. All I have heard from them has only been truly great albums, ones I come back to when I find the time. I just so happened to come back and revisit their debut, which led me to choosing it for my song of the day. It matched the morning feeling well. The unfortunate truth is that you have to leave the comfort and safety of your warm bed soon. And even if the day will be filled with fun stuff (it was), there is always a piece of you that wants to hide under your blankets and never come out. The raw reality and the strength to meet it are portrayed within Son Volt's Trace. So, what are you waiting for? Try the album out, but be sure to take a little nip from the Son Volt bottle first with "Drown" to see if it is to your taste. Enjoy!
Year Released: 1995
Album: Trace (1995)
Genre: Alternative Country
Mood: Honest
Perfect For: Lonesome mornings, Introspective thoughts, Breakups, Changing of the times, Casual listening
Where To Next: "Looking for a Way Out" - Uncle Tupelo
Rating: 8 / 10
Music is the expression of the soul. Music is also often the remedy for the heavy soul. When it comes to one genre that both destroys and heals your heart, it is alternative country. A loosely termed genre that encompasses plenty of names, all of which are often different from each other but hold the same fundamentals. Those fundamentals were crafted by the country stars in the real early days of the genre, musicians that sang songs for the common folk. As time moved along, so did country music; some stuck to the set path, and others branched off. Alternative country is more heavily influenced by those that walked the path of the vagabond folk country pickers, and the whiskey-drowned outlaws. Then you gotta meld in some of the other pieces of alernative country, bring in a little bit of punk rock and hard rock for bold steps away from the mainstream, take in a little bit of alternaitve rock and indie rock for a dream like and honest atmosphere, keep the lyrical themes of folk, and add in a little slap of heartland rock and americana and you have yourself a wholly unique genre that stepped away from rock, folk, and country to become a force of its own while still holding those influnces close at heart. It feels like a dreaming boy left the country to see the streets of Manhattan, or maybe a hardworking man that pulls doubles leaving it all behind on a whim and returning to the country. A style that can suit just about anyone since it tells you things we all know but often are too afraid to look in the face. While the scene was in the works since the early 1980s, punk rock bands brought in the damn fun cowpunk genre, which brought Western aesthetics to the copy-and-paste genre that is punk rock. Southern rockers with a hard edge to them that shunned the clean recording style for the grainy lo-fi. Mainstream roots rock bands that helped set the stage for this unique sound to gain some traction all the way back in the 1970s. Then there were the underrated bands of the country rock world of the 1960s and 1970s, immensely influential artists that never got their time in the light. It took a while for the genre to see the light of day. What they needed most was someone to bring it to the masses, an icon to this style that was honestly difficult to define and put in a category. The band that stepped up to the plate was Uncle Tupelo. Now, this is a band you don't want to sleep on. If you are a fan of the modern side of alternative country, be sure to go back and pay respects to the group that practically wrote the blueprints to the alternative country sound. Uncle Tupelo was relatively short-lived for the crazy impact they had on the rock, americana, folk, and country world. In 1990 they released the essential and outstanding, No Depression, an album that will leave you feeling completely roadworn and introspective practically as soon as you start the album. From 1990 onward, alternative country started its rise to modest power, even if the genre was still lacking a true name or placement. Uncle Tupelo released 4 studio albums before breaking up in 1994, a sad yet necessary step for the furthering of the genre since all the members of Uncle Tupelo went on to form some of the other biggest and most influential names in the genre. The majority of them went on to form Wilco, a group that was strongly situated in the alternative country scene but soon enough traded it to be one of the most famous names in the indie rock and alternative rock world. I think we have discussed Wilco here before, and if not, we will be there some day soon. Uncle Tupelo had shared vocal duties, but a lot of my favorites from the band were sung by Jay Farrar. Following the falling out of Uncle Tupelo, Farrar went on to form Son Volt, the band that holds our song of the day.
Sure, Son Volt isn't nearly as influential and bold as Uncle Tupelo, but they are still regarded as one of the most essential alternative country groups to date, something I thoroughly agree with. Son Volt isn't as rough around the edges as Uncle Tupelo. It holds everything that Farrar brought to the table in Uncle Tupelo, but it is a little more cleaned up with a commercial coating that saw their debut in 1995, Trace, shooting up near the top on the US Heatseekers charts but settling on 166 on the main charts. Trace is a fuckin' great album, perfect for a hollowed-out day when thinking appears to be more painful than that of boredom. None found such a happy home with the masses as "Drown", our song of the day. "Drown" is the band's highest-charting single and was a serious deal upon its release in 1995. In the modern day it nips at the heels of "Windfall" of being their most timeless track, one of many of the great songs to come off the band's debut. As is the Jar Farrar vocal standard, the words seem hard to say, painful and desperate. "Drown" is an honest song with witty lyrics written by Farrar. The song revolves around all those wicked feelings that follow a breakup. Blaming the other person and just the plain feeling of being completely exhausted by all that the heart and soul just went through. I am fortunate enough that I haven't had to feel that for a long while now; love sure is confusing. A lyrical theme we all can understand one way or another, and even if you never had a relationship, you can still reflect on the lyrics with the idea of being alienated by the theme of love. Some of what makes all of Jay Farrar's music so thrilling is the lyrics and the way he sings them. They are words for you and me, and the vocals come from a place of muffled pain. The rest of Trace follows the same feeling of "Drown", and all the other songs are just as grand. Son Volt never found the same fame with any of their other releases from retrospective eyes, but from what I have listened to from their first 5 albums, they all seem to be worth your time and then some. Trace is considered one of the greatest alternative country albums of all time. Uncle Tupelo broke up due to the infighting between Jay Farrar and Jeff Tweedy. Tweedy went on to form Wilco, who released their debut album, A.M., a couple of months before Son Volt released Trace. To the snickering pride of Farrar, Trace more than outsold Wilco's debut. A victory that I am sure felt fairly sweet, but hopefully Farrar didn't watch what was soon to happen when Wilco switched their sound and hit the big time in the 2000s. Well, as you know, music is all subjective; one band is not better than the other, it all comes down to taste. Still, there is no denying that some of the greatest music came out of rivalries and the sad human obsession with competition. Who doesn't want to be on top? Especially when your art is on the line? Son Volt won off the line but eventually fell behind in the long haul. Alternative country wasn't meant to ever hit the top of the charts; that would have it lose some of its humanity. I think Son Volt continuously having a small brush with the limelight kept the music pure and honest. Son Volt gathered a ton of dedicated fans and could sell out shows easily. Their albums more often than not charted modestly but strongly. All I have heard from them has only been truly great albums, ones I come back to when I find the time. I just so happened to come back and revisit their debut, which led me to choosing it for my song of the day. It matched the morning feeling well. The unfortunate truth is that you have to leave the comfort and safety of your warm bed soon. And even if the day will be filled with fun stuff (it was), there is always a piece of you that wants to hide under your blankets and never come out. The raw reality and the strength to meet it are portrayed within Son Volt's Trace. So, what are you waiting for? Try the album out, but be sure to take a little nip from the Son Volt bottle first with "Drown" to see if it is to your taste. Enjoy!
Year Released: 1995
Album: Trace (1995)
Genre: Alternative Country
Mood: Honest
Perfect For: Lonesome mornings, Introspective thoughts, Breakups, Changing of the times, Casual listening
Where To Next: "Looking for a Way Out" - Uncle Tupelo
Rating: 8 / 10
Song of the Day 03/20/2026
"Only the Lonely (Know the Way I Feel) - Live" - Roy Orbison
Welcome! Today we are graced with one of the most impressive musicians from the rock 'n' roll days, the Big O, the Caruso of Rock, Roy Orbison. We talked about Roy Orbison here before, but both of those posts came out of 2024 when I was still learning how I wanted these posts to go. Shit, I am still trying to figure that out, but looking back on those posts, it is clear that the quality is better both in writing and material modernly. Anyway, Roy Orbison is here with us again today with a hidden gem from Roy Orbison's discography. Our song of the day is off Roy Orbison's live album A Black & White Night Live, a live CD that came from a Roy Orbison (and Friends) special that aired on January 3rd, 1988. It naturally got put into laserdisc, VHS, DVD, and everything else that followed, and lucky for you and lucky for me, it also got released in CD form in 1989. Since then it has been rereleased a couple of times (we are running off the 1999 release), all of which are great versions. The more songs I can get from this set, the better. I have listened to the album a couple of times; it is one of those live albums that keep you satisfied the whole playing time, and some of the songs almost topple the studio version. Almost. Though I never carved out the time to watch the full performance. On Friday morning I was fighting off some stomach issues, and while lying in bed like a discarded baguette, somewhere lost between sleeping and lounging in bed, I figured it was time to watch the performance. It was great, much better than I expected. It is one seriously cinematic live performance. Not because Orbison was smashing guitars and doing lines off the back of a paper plate, but because the whole thing was recorded in noir-esque black and white, like the video's name entails. Roy Orbison is well-known for his persona. He would wear tinted shades, which he started doing to combat stage fright, but it gives him a signature look alongside his all-black outfit, dyed black hair, black guitar, and a stage presence that hardly moves away from the microphone while he belts some serious singing out. And I mean serious! Roy Orbison is a severely respected singer; he hits notes that people could only dream of. One moment he is singing so high that birds chirp back, and then the next he brings it on so low down that the earth shakes in response. An immensely talented singer that can easily make you cry even on your birthday. Getting off topic. The black and white theme is damn cool, and with the recording being kept up throughout the years, it looks very clean and almost surreal. It was a worthwhile watch, to say the least. Since it was recorded in 1987, released in 1988, and put into CD form in 1989, Roy Orbison is quite a bit older and is late into his career. Still, even with the many years between his debut single in 1956 and this live performance in 1987, he can still seriously wow you with his vocal prowess. Not many musicians can do that; most come back with a voice altered by age, but for Orbison, he comes in just as fresh as he did when he was a young chap. Something else to love about the recording is who else is included in it. The video was put out under the name "Roy Orbison and Friends", so who are those friends? Top-tier musicians, musicians that show how impactful Orbison's music was for different generations. There are plenty of people who helped out, some more than others, and some simply doing the background singing. There is Bruce Springsteen, Elvis Costello, the TCB band, who served as Orbison's backing band after their time with Elvis from 1969 until his death in 1977, Bonnie Raitt, Jackson Browne, Jennifer Warnes, Tom Waits, JD Souther, k.d. Lang, and plenty of others. The shots would sometimes hit the crowd, and it was surreal to see some other icons sitting at tables, like Billy Idol and Kris Kristofferson. All these people are here for the love of Roy Orbison and the impact his music had on their lives. Orbison had a massive one on mine, and if I could go back in time, I would make it a point to somehow make it to that performance. Well, all that talent under one roof is bound to make for one memorable performance. Bruce Springsteen and Elvis Costello had a bigger role there than anyone else. Orbison even performed "The Comedians" with Costello, who wrote the song for Orbison for his 1989 comeback album Mystery Girl, which was also Orbison's last album during his lifetime.
"Only the Lonely" is one of Roy Orbison's greatest songs and is the song that kicks off the live album. Originally Orbison released the single "Only the Lonely" in 1960 to massive acclaim. It would be featured on his immaculate debut studio album, Lonely and Blue, in 1961. While that is technically his first studio album, he already had plenty of singles through Sun Records that got put onto the compilation, Roy Orbison at the Rock House, so in some ways that is a better debut to show where Orbison came from. "Only the Lonely" is the perfect track to show off how Orbison could appeal to most crowds of the time, be it the rock 'n' rollers, R&B fans, or the pop fans. He started out as one of the strongest rockabilly artists in the 1950s but slowly moved into his signature pop-touched rock songs in the early 1960s. The majority of his tracks are sad and lonesome, something he was destined for and had the voice to suit. I mean, his first two mainline albums are called Lonely and Blue and Crying, so what did you expect? Happy songs? "Only the Lonely" instantly became one of his signature songs, so it is only fitting it is the track to kick off the show. Through this song, Orbison became a household name. He was one of the first to popularize the "Nashville sound", a genre of country music that is so damn polished that it often hit high up on both the country and pop charts. Not crossover country, mind you, but an early example of it. Orbison isn't quite a country musician, but his style was suitable for many country fans to fall in love with it. He is a hard man to pin to one genre; he is a singer who sings to all folk no matter their walks. "Only the Lonely" was one of three hit songs that he cut for RCA while in his trial period. For our song of the day, it comes in under the title of "Only the Lonely (Know the Way I Feel)" for some reason, but we will simply be calling it "Only the Lonely". The song starts off with the backing vocals sending the track off in a doo-wop fashion. Melancholic backing vocals set the stage for our man of the hour to grace the stage. The live version isn't as hauntingly hollow as the studio version, but the emotions are still certainly there. This was one of the songs that I was listening to quite intently to see if Orbison could still hit those crazy high notes. Something that he did without much issue. I know this track and the majority of Orbison's prime albums like the back of my hand, so I knew exactly what was going to come. I kicked myself for taking so long to actually watch this live album that I have listened to often for the last couple of years. I highly suggest it for those that like watching live performances; it is unlike any other that you will see. Each song is great, not a single dull moment. Orbison really was a one of a kind musician, and he led a pretty sad life, something he could portray wonderfully in his music. Like the majority of musicians from the golden age of rock and roll, he had one hell of a time keeping his name on the charts. Orbison released 20 studio albums in his lifetime, but only 8 charted high, all of which were in the UK. He was a name everyone knew, but nobody was seemingly buying. A strange phenomenon. The fans he did have were massive ones; I would have been one of them if I were around during that time. Nobody can sing to the lonely like Orbison can. Shit, nobody can sing like Orbison can to start with. Orbison did have an impressive number of hit singles, though, and the majority of albums he did release were great. That is coming from someone who has listened to them all plenty of times, and some well over 100 times. He just seemed like a good dude. Musicians that met him were completely taken aback by how humble and, well... human he was. He had a deep love for all things machine and was known to follow vehicles he liked until they pulled over, and he would try buying the car off the person on the spot. He shows off that love for vehicles in many of his album covers and lyricism. Not only that, but he, too, loved motorcycles, but that caused him some serious grief since he lost his wife while they were cruising around when a truck struck her and she died at the hospital. One of my biggest fears. I couldn't imagine it. I don't want to even think about it. He threw himself into grief-stricken work and wrote the soundtrack to a movie he starred in and also to a series of cover albums of country stars. All of which sold poorly, and Orbison got his first dose of no sales due to the music scene changing and people flocking to the poetic destruction of the counterculture movement in the late 1960s. There is so much more to the Orbison story, something I hope to share more of sooner than later. Well, I won't keep you any longer. Do yourself a favor and try the track out. Be sure to listen to the studio version as well! If you are bored, maybe try out that recording of the performance; it is one you don't want to miss out on. Thanks for reading! Enjoy!
Year Released: 1989
Album: A Black & White Night Live (1999 Release Version)
Genre: Pop, Rock and Roll
Mood: Lonesome
Perfect For: Lonely days, Lonely nights, Lonesome drives, Lonesome walks
Where To Next: "You Gave Me a Mountain - Live 1973" - Elvis Presley
Rating: 7 / 10
Welcome! Today we are graced with one of the most impressive musicians from the rock 'n' roll days, the Big O, the Caruso of Rock, Roy Orbison. We talked about Roy Orbison here before, but both of those posts came out of 2024 when I was still learning how I wanted these posts to go. Shit, I am still trying to figure that out, but looking back on those posts, it is clear that the quality is better both in writing and material modernly. Anyway, Roy Orbison is here with us again today with a hidden gem from Roy Orbison's discography. Our song of the day is off Roy Orbison's live album A Black & White Night Live, a live CD that came from a Roy Orbison (and Friends) special that aired on January 3rd, 1988. It naturally got put into laserdisc, VHS, DVD, and everything else that followed, and lucky for you and lucky for me, it also got released in CD form in 1989. Since then it has been rereleased a couple of times (we are running off the 1999 release), all of which are great versions. The more songs I can get from this set, the better. I have listened to the album a couple of times; it is one of those live albums that keep you satisfied the whole playing time, and some of the songs almost topple the studio version. Almost. Though I never carved out the time to watch the full performance. On Friday morning I was fighting off some stomach issues, and while lying in bed like a discarded baguette, somewhere lost between sleeping and lounging in bed, I figured it was time to watch the performance. It was great, much better than I expected. It is one seriously cinematic live performance. Not because Orbison was smashing guitars and doing lines off the back of a paper plate, but because the whole thing was recorded in noir-esque black and white, like the video's name entails. Roy Orbison is well-known for his persona. He would wear tinted shades, which he started doing to combat stage fright, but it gives him a signature look alongside his all-black outfit, dyed black hair, black guitar, and a stage presence that hardly moves away from the microphone while he belts some serious singing out. And I mean serious! Roy Orbison is a severely respected singer; he hits notes that people could only dream of. One moment he is singing so high that birds chirp back, and then the next he brings it on so low down that the earth shakes in response. An immensely talented singer that can easily make you cry even on your birthday. Getting off topic. The black and white theme is damn cool, and with the recording being kept up throughout the years, it looks very clean and almost surreal. It was a worthwhile watch, to say the least. Since it was recorded in 1987, released in 1988, and put into CD form in 1989, Roy Orbison is quite a bit older and is late into his career. Still, even with the many years between his debut single in 1956 and this live performance in 1987, he can still seriously wow you with his vocal prowess. Not many musicians can do that; most come back with a voice altered by age, but for Orbison, he comes in just as fresh as he did when he was a young chap. Something else to love about the recording is who else is included in it. The video was put out under the name "Roy Orbison and Friends", so who are those friends? Top-tier musicians, musicians that show how impactful Orbison's music was for different generations. There are plenty of people who helped out, some more than others, and some simply doing the background singing. There is Bruce Springsteen, Elvis Costello, the TCB band, who served as Orbison's backing band after their time with Elvis from 1969 until his death in 1977, Bonnie Raitt, Jackson Browne, Jennifer Warnes, Tom Waits, JD Souther, k.d. Lang, and plenty of others. The shots would sometimes hit the crowd, and it was surreal to see some other icons sitting at tables, like Billy Idol and Kris Kristofferson. All these people are here for the love of Roy Orbison and the impact his music had on their lives. Orbison had a massive one on mine, and if I could go back in time, I would make it a point to somehow make it to that performance. Well, all that talent under one roof is bound to make for one memorable performance. Bruce Springsteen and Elvis Costello had a bigger role there than anyone else. Orbison even performed "The Comedians" with Costello, who wrote the song for Orbison for his 1989 comeback album Mystery Girl, which was also Orbison's last album during his lifetime.
"Only the Lonely" is one of Roy Orbison's greatest songs and is the song that kicks off the live album. Originally Orbison released the single "Only the Lonely" in 1960 to massive acclaim. It would be featured on his immaculate debut studio album, Lonely and Blue, in 1961. While that is technically his first studio album, he already had plenty of singles through Sun Records that got put onto the compilation, Roy Orbison at the Rock House, so in some ways that is a better debut to show where Orbison came from. "Only the Lonely" is the perfect track to show off how Orbison could appeal to most crowds of the time, be it the rock 'n' rollers, R&B fans, or the pop fans. He started out as one of the strongest rockabilly artists in the 1950s but slowly moved into his signature pop-touched rock songs in the early 1960s. The majority of his tracks are sad and lonesome, something he was destined for and had the voice to suit. I mean, his first two mainline albums are called Lonely and Blue and Crying, so what did you expect? Happy songs? "Only the Lonely" instantly became one of his signature songs, so it is only fitting it is the track to kick off the show. Through this song, Orbison became a household name. He was one of the first to popularize the "Nashville sound", a genre of country music that is so damn polished that it often hit high up on both the country and pop charts. Not crossover country, mind you, but an early example of it. Orbison isn't quite a country musician, but his style was suitable for many country fans to fall in love with it. He is a hard man to pin to one genre; he is a singer who sings to all folk no matter their walks. "Only the Lonely" was one of three hit songs that he cut for RCA while in his trial period. For our song of the day, it comes in under the title of "Only the Lonely (Know the Way I Feel)" for some reason, but we will simply be calling it "Only the Lonely". The song starts off with the backing vocals sending the track off in a doo-wop fashion. Melancholic backing vocals set the stage for our man of the hour to grace the stage. The live version isn't as hauntingly hollow as the studio version, but the emotions are still certainly there. This was one of the songs that I was listening to quite intently to see if Orbison could still hit those crazy high notes. Something that he did without much issue. I know this track and the majority of Orbison's prime albums like the back of my hand, so I knew exactly what was going to come. I kicked myself for taking so long to actually watch this live album that I have listened to often for the last couple of years. I highly suggest it for those that like watching live performances; it is unlike any other that you will see. Each song is great, not a single dull moment. Orbison really was a one of a kind musician, and he led a pretty sad life, something he could portray wonderfully in his music. Like the majority of musicians from the golden age of rock and roll, he had one hell of a time keeping his name on the charts. Orbison released 20 studio albums in his lifetime, but only 8 charted high, all of which were in the UK. He was a name everyone knew, but nobody was seemingly buying. A strange phenomenon. The fans he did have were massive ones; I would have been one of them if I were around during that time. Nobody can sing to the lonely like Orbison can. Shit, nobody can sing like Orbison can to start with. Orbison did have an impressive number of hit singles, though, and the majority of albums he did release were great. That is coming from someone who has listened to them all plenty of times, and some well over 100 times. He just seemed like a good dude. Musicians that met him were completely taken aback by how humble and, well... human he was. He had a deep love for all things machine and was known to follow vehicles he liked until they pulled over, and he would try buying the car off the person on the spot. He shows off that love for vehicles in many of his album covers and lyricism. Not only that, but he, too, loved motorcycles, but that caused him some serious grief since he lost his wife while they were cruising around when a truck struck her and she died at the hospital. One of my biggest fears. I couldn't imagine it. I don't want to even think about it. He threw himself into grief-stricken work and wrote the soundtrack to a movie he starred in and also to a series of cover albums of country stars. All of which sold poorly, and Orbison got his first dose of no sales due to the music scene changing and people flocking to the poetic destruction of the counterculture movement in the late 1960s. There is so much more to the Orbison story, something I hope to share more of sooner than later. Well, I won't keep you any longer. Do yourself a favor and try the track out. Be sure to listen to the studio version as well! If you are bored, maybe try out that recording of the performance; it is one you don't want to miss out on. Thanks for reading! Enjoy!
Year Released: 1989
Album: A Black & White Night Live (1999 Release Version)
Genre: Pop, Rock and Roll
Mood: Lonesome
Perfect For: Lonely days, Lonely nights, Lonesome drives, Lonesome walks
Where To Next: "You Gave Me a Mountain - Live 1973" - Elvis Presley
Rating: 7 / 10
Song of the Day 03/19/2026
"You Belong to the City" - Glenn Frey
Shall we keep up the chill songs? I still have that Superchunk song playing through my head. It will have to take a step down for our song of the day, though. Glenn Frey has already had one post on AintNoisePollution for his song "Smuggler's Blues" which came off his second solo album, The Allnighter. Unlike our song of the day, it wasn't written for the show Miami Vice, but like our song of the day, it is still affiliated. "Smuggler's Blues" went on to be the name of an episode of the show, something not too shocking since its style could have easily suited that show's pretty legendary soundtrack and aesthetic. Well, our song of the day is one of those songs that fills the soundtrack. "You Belong to the City" shouldn't solely be remembered for its inclusion in Miami Vice; it is one of Glenn Frey's most enduring songs and is always an utter joy to listen to. For those of you that don't know, Glenn Frey was cofounder of the Eagles. He shared vocal duties, the frontman role, and some of the guitar work with the other side of his coin, Don Henley. The Eagles, as you know, is one of the most essential rock bands to ever hit the scene. They started out with a country rock style, probably my favorite phase of the band, but then went on to a more straightforward yet deep arena rock style. By 1980 the band went on hiatus until 1994, a time when the majority of the members went on to create their own formidable solo careers. I don't think anyone found the same acclaim as Don Henley, but Glenn Frey still had a mighty successful career. His success was based around the hit singles such as our song of the day, "Smuggler's Blues", "Soul Searchin'", "True Love", and "The One You Love" with plenty of other singles popping up and having their fair share of time on the airwaves. I have listened through all of his solo albums, and they are all a good time. Nothing all too crazy, or something that even gets close to chipping the Eagles statue of grandeur, but still relatively good. I do stand by that he lived and breathed his hit singles during his career. When the Eagles got back together in 1994/1995, Frey was there for the whole ride. There simply is no Eagles without Glenn Frey; he played a pivotal role in their progression, and his vocal work on plenty of their songs helped get hit singles left and right. By 2007 the band got back in the studio to record their final album, Long Road Out of Eden, sort of a stinker of an album but one I am still happy to spin since I love all things Eagles. Long Road Out of Eden is an interesting piece since it shows the Eagles under a more modern recording style, and it also shows off a little bit of what the early members of the Eagles learned in their time away from each other. During tours, the Eagles would play the solo material as well; all things came full circle for the fans that never stepped away from supporting the Eagles and their solo work. There was talk of another Eagles album dropping after some successful touring in the 2010s. Though that is something we will likely never see since in 2016 Glenn Frey passed away, leaving a massive hole in one of America's strongest rock bands. The Eagles still were active and are currently embarking on their final tour, and unlike some bands out there (I am looking at you, KISS), I do believe this will be the end of the band. Sometimes it is best to leave well enough alone, especially with members passing away and not really needing to tour since the Eagles will forever get plenty of love. They are just that kind of band. Well, I hope they don't try releasing anything else since it really wouldn't feel the same without Frey. Unlike some of the other Eagles, Glenn Frey put out material that was quite a bit different from what is heard in the Eagles. Our song of the day is a perfect example of just that.
"You Belong to the City" is easily one of Glenn Frey's greatest tracks, both in the Eagles and in his solo work. It holds a perfect nighttime atmosphere, completely illuminated by the city lights. The song was written for the crime TV series Miami Vice in 1985, and a single for it was released within the same year. That single hit the top of the US mainstream rock charts and the second spot on the Billboard Hot 100. This isn't a rocker, so don't get that in your head before playing it. This one is quite pop-heavy, but in that sweet sweet 1980s style that still allows some playing around. Glenn Frey has plenty of material that might as well be thrown in with the adult contemporary genre. His songs are a bit more mature than the other Eagles members solo work, something that admittedly has me coming to it less often. I gotta be in the mood for a song like "You Belong to the City". Not that it is a bad thing, since when it does come around at the perfect moment, it completely consumes all of my affection and attention for its playing time. Then it gets put on the website for me to rant and rave about to you, my dear reader, who probably is sick of me having repetitive posts. Anyway, "You Belong to the City" is so 80s it makes you sneeze leopard print. Alongside "Miami Vice Theme" by Jan Hammer, "You Belong to the City" helped get the Miami Vice Soundtrack to hit the top spot on the Billboard 200, something unlikely for a soundtrack to do, no matter how popular the show might be. I have always wanted to watch the show to completion, buuuuut I have too much to do and ain't got time for over 100 episodes of a show. I love all things that were influenced by the show, be it Grand Theft Auto: Vice City or just the overall aesthetic and fashion of the show. Still, I am too busy of a boy. Anyway! I am more familiar with the soundtrack to the show than anything else. The reason I came to the soundtrack originally was for this song before Spotify was the beast we know and love modernly. I was probably 12 or so and was starting to dip into the Eagles solo material, mainly the hits, since Joe Walsh completely wormed his way into my young ears and I wanted more. Plus, do you really need an excuse to listen to such a memorable soundtrack? Phil Collins, Glenn Frey, and Grandmaster Melle Mel all on the same track listing? Count me in! The other soundtracks put out from the show are also good, but I haven't ever listened to them outside of cherry-picking tracks from it. Glenn Frey put out a track that will forever have the show being in everyone's thought cloud. It just so happened it is one of his greatest as well. Frey had his songs on plenty of famous movies and shows, but none hit the same spot as "You Belong to the City". That smooooooth saxophone intro makes you want to bring out the good stuff, that smooth hooch you only drink around your birthday. Set the fire on YouTube since most of us don't have fireplaces anymore. Get that cozy big blanket. Tune into its sensual and dreamy feeling. The music video to "You Belong to the City" is exactly what you would expect, moody and sensual. The lyrics to "You Belong to the City" are well written for city life. This atmosphere is something that always has me daydreaming about New York City during a rainstorm. Man, I wish I could see it. I know it is one of those things that will never happen. Doesn't mean I can't smell the street, feel the tension, and dream from the comfort of my home about it while Glenn Frey sings strongly alongside the saxophone played by studio session musician Bill Bergman. Glenn Frey played everything in the song aside from the drums and saxophone. Not that there are too many other things going on, that saxophone is more important than anything else in the song. Strong and smooth. Strong and smooth. You can find an Eagles version of the song in their live DVD Farewell 1 Tour: Live from Melbourne, released in 2005. You used to be able to find the clip for "You Belong to the City" on YouTube, but I haven't checked in a long while. Well, I hope this song cures your soul! It is one that honestly burdens mine; it makes me dream a little too hard. Brings me right down since I am someone who lives with his head in the clouds. I would be mad if the song wasn't so damn good. Enjoy!
Year Released: 1985
Chosen Compilation: Solo Collection (1995)
Genre: Pop
Mood: Night Fever
Perfect For: Nightlife, Lonely city nights, Driving under city lights, Public transit, Bar hopping
Where To Next: "Running With the Night" - Lionel Richie
Rating: 9 / 10
Shall we keep up the chill songs? I still have that Superchunk song playing through my head. It will have to take a step down for our song of the day, though. Glenn Frey has already had one post on AintNoisePollution for his song "Smuggler's Blues" which came off his second solo album, The Allnighter. Unlike our song of the day, it wasn't written for the show Miami Vice, but like our song of the day, it is still affiliated. "Smuggler's Blues" went on to be the name of an episode of the show, something not too shocking since its style could have easily suited that show's pretty legendary soundtrack and aesthetic. Well, our song of the day is one of those songs that fills the soundtrack. "You Belong to the City" shouldn't solely be remembered for its inclusion in Miami Vice; it is one of Glenn Frey's most enduring songs and is always an utter joy to listen to. For those of you that don't know, Glenn Frey was cofounder of the Eagles. He shared vocal duties, the frontman role, and some of the guitar work with the other side of his coin, Don Henley. The Eagles, as you know, is one of the most essential rock bands to ever hit the scene. They started out with a country rock style, probably my favorite phase of the band, but then went on to a more straightforward yet deep arena rock style. By 1980 the band went on hiatus until 1994, a time when the majority of the members went on to create their own formidable solo careers. I don't think anyone found the same acclaim as Don Henley, but Glenn Frey still had a mighty successful career. His success was based around the hit singles such as our song of the day, "Smuggler's Blues", "Soul Searchin'", "True Love", and "The One You Love" with plenty of other singles popping up and having their fair share of time on the airwaves. I have listened through all of his solo albums, and they are all a good time. Nothing all too crazy, or something that even gets close to chipping the Eagles statue of grandeur, but still relatively good. I do stand by that he lived and breathed his hit singles during his career. When the Eagles got back together in 1994/1995, Frey was there for the whole ride. There simply is no Eagles without Glenn Frey; he played a pivotal role in their progression, and his vocal work on plenty of their songs helped get hit singles left and right. By 2007 the band got back in the studio to record their final album, Long Road Out of Eden, sort of a stinker of an album but one I am still happy to spin since I love all things Eagles. Long Road Out of Eden is an interesting piece since it shows the Eagles under a more modern recording style, and it also shows off a little bit of what the early members of the Eagles learned in their time away from each other. During tours, the Eagles would play the solo material as well; all things came full circle for the fans that never stepped away from supporting the Eagles and their solo work. There was talk of another Eagles album dropping after some successful touring in the 2010s. Though that is something we will likely never see since in 2016 Glenn Frey passed away, leaving a massive hole in one of America's strongest rock bands. The Eagles still were active and are currently embarking on their final tour, and unlike some bands out there (I am looking at you, KISS), I do believe this will be the end of the band. Sometimes it is best to leave well enough alone, especially with members passing away and not really needing to tour since the Eagles will forever get plenty of love. They are just that kind of band. Well, I hope they don't try releasing anything else since it really wouldn't feel the same without Frey. Unlike some of the other Eagles, Glenn Frey put out material that was quite a bit different from what is heard in the Eagles. Our song of the day is a perfect example of just that.
"You Belong to the City" is easily one of Glenn Frey's greatest tracks, both in the Eagles and in his solo work. It holds a perfect nighttime atmosphere, completely illuminated by the city lights. The song was written for the crime TV series Miami Vice in 1985, and a single for it was released within the same year. That single hit the top of the US mainstream rock charts and the second spot on the Billboard Hot 100. This isn't a rocker, so don't get that in your head before playing it. This one is quite pop-heavy, but in that sweet sweet 1980s style that still allows some playing around. Glenn Frey has plenty of material that might as well be thrown in with the adult contemporary genre. His songs are a bit more mature than the other Eagles members solo work, something that admittedly has me coming to it less often. I gotta be in the mood for a song like "You Belong to the City". Not that it is a bad thing, since when it does come around at the perfect moment, it completely consumes all of my affection and attention for its playing time. Then it gets put on the website for me to rant and rave about to you, my dear reader, who probably is sick of me having repetitive posts. Anyway, "You Belong to the City" is so 80s it makes you sneeze leopard print. Alongside "Miami Vice Theme" by Jan Hammer, "You Belong to the City" helped get the Miami Vice Soundtrack to hit the top spot on the Billboard 200, something unlikely for a soundtrack to do, no matter how popular the show might be. I have always wanted to watch the show to completion, buuuuut I have too much to do and ain't got time for over 100 episodes of a show. I love all things that were influenced by the show, be it Grand Theft Auto: Vice City or just the overall aesthetic and fashion of the show. Still, I am too busy of a boy. Anyway! I am more familiar with the soundtrack to the show than anything else. The reason I came to the soundtrack originally was for this song before Spotify was the beast we know and love modernly. I was probably 12 or so and was starting to dip into the Eagles solo material, mainly the hits, since Joe Walsh completely wormed his way into my young ears and I wanted more. Plus, do you really need an excuse to listen to such a memorable soundtrack? Phil Collins, Glenn Frey, and Grandmaster Melle Mel all on the same track listing? Count me in! The other soundtracks put out from the show are also good, but I haven't ever listened to them outside of cherry-picking tracks from it. Glenn Frey put out a track that will forever have the show being in everyone's thought cloud. It just so happened it is one of his greatest as well. Frey had his songs on plenty of famous movies and shows, but none hit the same spot as "You Belong to the City". That smooooooth saxophone intro makes you want to bring out the good stuff, that smooth hooch you only drink around your birthday. Set the fire on YouTube since most of us don't have fireplaces anymore. Get that cozy big blanket. Tune into its sensual and dreamy feeling. The music video to "You Belong to the City" is exactly what you would expect, moody and sensual. The lyrics to "You Belong to the City" are well written for city life. This atmosphere is something that always has me daydreaming about New York City during a rainstorm. Man, I wish I could see it. I know it is one of those things that will never happen. Doesn't mean I can't smell the street, feel the tension, and dream from the comfort of my home about it while Glenn Frey sings strongly alongside the saxophone played by studio session musician Bill Bergman. Glenn Frey played everything in the song aside from the drums and saxophone. Not that there are too many other things going on, that saxophone is more important than anything else in the song. Strong and smooth. Strong and smooth. You can find an Eagles version of the song in their live DVD Farewell 1 Tour: Live from Melbourne, released in 2005. You used to be able to find the clip for "You Belong to the City" on YouTube, but I haven't checked in a long while. Well, I hope this song cures your soul! It is one that honestly burdens mine; it makes me dream a little too hard. Brings me right down since I am someone who lives with his head in the clouds. I would be mad if the song wasn't so damn good. Enjoy!
Year Released: 1985
Chosen Compilation: Solo Collection (1995)
Genre: Pop
Mood: Night Fever
Perfect For: Nightlife, Lonely city nights, Driving under city lights, Public transit, Bar hopping
Where To Next: "Running With the Night" - Lionel Richie
Rating: 9 / 10
Song of the Day 03/18/2026
"Like a Fool" - Superchunk
When I was younger, I lived in North Carolina, a place that has had a fair amount of great groups and scenes run through its green landscape. At the time, I didn't even know some potent groups came from North Carolina, our selected band being one that helped define the Chapel Hill scene in the 1990s. In my defense, I was still in the groundwork stage of my studies. I was also obsessed with heavy metal at the time; I was a one-man army fighting for the glory of true heavy metal in the suburban waste of Holly Springs. So, I didn't have time for most other genres, and even less for that of indie rock. Yes, I know some damn good metal groups came out of North Carolina. Corrosion of Conformity, Morbid Angel, FireHouse, Between the Buried and Me, alongside plenty more. There were a couple of metal scenes that formed in the state, mostly around the Raleigh area. North Carolina isn't remembered for their impact on metal music, they are remembered fondly as a launching point for the indie rock genre, a genre that had the late 1990s and 2000s in a vise grip that still holds strong. The Chapel Hill music scene had Superchunk in the foreground, but there were plenty of other legends like the unfortunately named and damn odd Squirrel Nut Zippers, Southern Culture on the Skids, Ben Folds Five, and many more groups. The scene was known for its DIY approach to recording and melding a peaceful indie vibe with some noise rock-based experimentation and even some alternative country. Not all too shocking since North Carolina had a place in the bluegrass world, but being a state graced by the Appalachians, it is a given. Anyway! Superchunk doesn't lean into the countryside; they were the strongest to come forth with a strange hodgepodge of ferocious punky indie rock and a soul-calming alternative laced indie rock. Indie rock wasn't the kind of genre you expected to make much money out of in the early days; it often hardly even got criticism since the critics were busy bashing something else. In time the genre became a force to be reckoned with, and in my opinion, one of the leading causes of the demise of traditional rock in the 2000s. I guess I can't blame them for that; things change, and so do definitions. Rock had its day, and by the point Superchunk had their debut come out in 1990, the definition of rock was already altered beyond repair. Now, Superchunk wasn't trying to be the next Boston or AC/DC, they simply were jamming with some buds, and an album fell out of it. That debut of theirs is a mean one, not something I fully expected. It goes for the throat, kisses you on the wound, puts on a Band-Aid, and then rips it off with a grimace. Not the best album to hit 1990, but certainly a good one to get pissed-off teens amped up. That debut doesn't fully express the band, but it serves as a decent starting point if you are interested in doing a discography run. I only came across Superchunk while doing my studies, so I am still pretty fresh to their discography. They impressed me enough that I gathered a solid chunk, a superchunk if you will, of songs from their 1990s material and a track or two from their 2001 album Here's to Sitting Up. After that 2001 album, the band didn't release another studio album until 2010's Majesty Shredding, which seems to have been an essential release from them, something for me to look forward to! Anyway, that debut didn't drop my jaw but did get the Superchunk name circulating around in my brain. Their second album, No Pocky for Kitty, changed things up for the band. A group I thought was a little artsy & a lot angsty but quite melodic in their debut flipped the coin into something much more mature. Still mean when it wanted to be, but overall it was the beast while it slept. I also find the album cover funny, so that helped its image. Still, it didn't completely flabbergast me; that honor went to the band's third album, On the Mouth. Now this one shows off the band in one of their greatest lights. It holds the aggressive temperament of their debut but blissfully melds it with something dreamy. I listened to that puppy twice in a row when I was doing my section of 1993, and even now that I am talking about it, I kind of want to go back and do it again. So, yeah, I was now deeply interested in the band and couldn't wait until the 1994 section rolled around so I could listen to their next one.
Within a month or two I moved along into the band's fourth studio album, Foolish. The wait was worth it since, in my opinion, this release blew the others out of the water. The album dropped in April of 1994, and like their others, failed to find too high of a spot on the charts. When I first saw that album cover, I got a little worried, it seemed to be the type of album cover that accompanies a band that fell off the king's chair. That might sound mean, but don't worry, my opinions don't fully matter. This isn't a website where we discuss the ins and outs of visual art; my expertise is of the audible arts. You know, album covers express so much about what you are about to take in. It is the thing that gets you to take a chance at the record store, the thing you represent on t-shirts or put proudly at the front of your record collection. The painting for Foolish was created by Superchunk bassist Laura Ballance, which adds a nice personal touch to the album. The group is known for their DIY recording style, so the album art should be no different. The album was put out through Mac McCaughan (vocalist and guitarist) and Laura Ballance's record label they started up in 1989 called Merge Records. So, everything from start to finish on this album was put out by the raw determination of Superchunk. With that in mind, the album is pretty damn personal. Following the release of the album, McCaughan and Ballance broke up, with McCaughan pulling the plug, which makes some of the songs have this extra cut to them. Like what happened with Fleetwood Mac and plenty of other groups, these songs became a vessel of pain for those that had to perform them night after night on tour. Our song of the day is the strongest off the album in my opinion, though "Driveway to Driveway" was the song off the album that became the band's most loved song. "Like a Fool" is right on its heels of notoriety, and it was within the song that I found myself becoming a sure fan of the band. It is the song that kicks off the album, and even though it has been well over a year since my first listen through of this song and album, I still get goosebumps with how well the band comes in. A long intro that completely melts you down until the 50 second mark, when things start getting the move on. That part is my favorite; it gets quieter and quieter, and then the drums break up the silence with a smack. It got your attention, and now it is time for the vocals to come in. The lyrics to "Like a Fool" are damn well written; they are a set of words that seem to have been written in someone's personal collection of poetry. Simplistic to read, but it is the emotion behind the words that has you entranced. "Like a Fool" is the first track on the album, a spectacular choice. One that gets you completely lost in the band all within the first minute and a half. A good chunk of the song is dedicated to creating this space of repetitious yet potent playing that has you losing track of time. I chose the song while taking a drive for work. A mighty strange run, I might add, to a vendor that might have been currently getting poisoned from noxious gas, or maybe they were just recently released from the loony bin and decided to start up a metal casting company. Either way, the whole experience had me feeling very strange. It almost seemed like Superchunk was simply waiting to play this song once I got to a straight and mellow part of the highway to unleash "Like a Fool". The song had me staring off at nothing and everything. I could have sat through 4 green lights and not even known. I mean, not really, but with the intoxicatingly dreamy atmosphere of this track, how would I even know? Time came to a crawl. I died and was born again within its 4:42 playing time. A perfect track to come along when it did, and one that kept playing in my head for the rest of the day. The rest of the album follows suit with plenty of intense highs and low-down dreamy lows. The type of album that leaves you hollow by the end of it with its emotion on the sleeve lyrics and surreal atmosphere. Well, I guess that sums up the post. It is now your turn to give the song a spin! Lucky ducky. Enjoy!
Year Released: 1994
Album: Foolish (1994)
Genre: Indie Rock
Mood: Dreamy
Perfect For: Going for a mellow drive, Casual listening, Cigarettes at an overlook
Where To Next: "Say Your Name" - Ashley Stove
Rating: 8 / 10
When I was younger, I lived in North Carolina, a place that has had a fair amount of great groups and scenes run through its green landscape. At the time, I didn't even know some potent groups came from North Carolina, our selected band being one that helped define the Chapel Hill scene in the 1990s. In my defense, I was still in the groundwork stage of my studies. I was also obsessed with heavy metal at the time; I was a one-man army fighting for the glory of true heavy metal in the suburban waste of Holly Springs. So, I didn't have time for most other genres, and even less for that of indie rock. Yes, I know some damn good metal groups came out of North Carolina. Corrosion of Conformity, Morbid Angel, FireHouse, Between the Buried and Me, alongside plenty more. There were a couple of metal scenes that formed in the state, mostly around the Raleigh area. North Carolina isn't remembered for their impact on metal music, they are remembered fondly as a launching point for the indie rock genre, a genre that had the late 1990s and 2000s in a vise grip that still holds strong. The Chapel Hill music scene had Superchunk in the foreground, but there were plenty of other legends like the unfortunately named and damn odd Squirrel Nut Zippers, Southern Culture on the Skids, Ben Folds Five, and many more groups. The scene was known for its DIY approach to recording and melding a peaceful indie vibe with some noise rock-based experimentation and even some alternative country. Not all too shocking since North Carolina had a place in the bluegrass world, but being a state graced by the Appalachians, it is a given. Anyway! Superchunk doesn't lean into the countryside; they were the strongest to come forth with a strange hodgepodge of ferocious punky indie rock and a soul-calming alternative laced indie rock. Indie rock wasn't the kind of genre you expected to make much money out of in the early days; it often hardly even got criticism since the critics were busy bashing something else. In time the genre became a force to be reckoned with, and in my opinion, one of the leading causes of the demise of traditional rock in the 2000s. I guess I can't blame them for that; things change, and so do definitions. Rock had its day, and by the point Superchunk had their debut come out in 1990, the definition of rock was already altered beyond repair. Now, Superchunk wasn't trying to be the next Boston or AC/DC, they simply were jamming with some buds, and an album fell out of it. That debut of theirs is a mean one, not something I fully expected. It goes for the throat, kisses you on the wound, puts on a Band-Aid, and then rips it off with a grimace. Not the best album to hit 1990, but certainly a good one to get pissed-off teens amped up. That debut doesn't fully express the band, but it serves as a decent starting point if you are interested in doing a discography run. I only came across Superchunk while doing my studies, so I am still pretty fresh to their discography. They impressed me enough that I gathered a solid chunk, a superchunk if you will, of songs from their 1990s material and a track or two from their 2001 album Here's to Sitting Up. After that 2001 album, the band didn't release another studio album until 2010's Majesty Shredding, which seems to have been an essential release from them, something for me to look forward to! Anyway, that debut didn't drop my jaw but did get the Superchunk name circulating around in my brain. Their second album, No Pocky for Kitty, changed things up for the band. A group I thought was a little artsy & a lot angsty but quite melodic in their debut flipped the coin into something much more mature. Still mean when it wanted to be, but overall it was the beast while it slept. I also find the album cover funny, so that helped its image. Still, it didn't completely flabbergast me; that honor went to the band's third album, On the Mouth. Now this one shows off the band in one of their greatest lights. It holds the aggressive temperament of their debut but blissfully melds it with something dreamy. I listened to that puppy twice in a row when I was doing my section of 1993, and even now that I am talking about it, I kind of want to go back and do it again. So, yeah, I was now deeply interested in the band and couldn't wait until the 1994 section rolled around so I could listen to their next one.
Within a month or two I moved along into the band's fourth studio album, Foolish. The wait was worth it since, in my opinion, this release blew the others out of the water. The album dropped in April of 1994, and like their others, failed to find too high of a spot on the charts. When I first saw that album cover, I got a little worried, it seemed to be the type of album cover that accompanies a band that fell off the king's chair. That might sound mean, but don't worry, my opinions don't fully matter. This isn't a website where we discuss the ins and outs of visual art; my expertise is of the audible arts. You know, album covers express so much about what you are about to take in. It is the thing that gets you to take a chance at the record store, the thing you represent on t-shirts or put proudly at the front of your record collection. The painting for Foolish was created by Superchunk bassist Laura Ballance, which adds a nice personal touch to the album. The group is known for their DIY recording style, so the album art should be no different. The album was put out through Mac McCaughan (vocalist and guitarist) and Laura Ballance's record label they started up in 1989 called Merge Records. So, everything from start to finish on this album was put out by the raw determination of Superchunk. With that in mind, the album is pretty damn personal. Following the release of the album, McCaughan and Ballance broke up, with McCaughan pulling the plug, which makes some of the songs have this extra cut to them. Like what happened with Fleetwood Mac and plenty of other groups, these songs became a vessel of pain for those that had to perform them night after night on tour. Our song of the day is the strongest off the album in my opinion, though "Driveway to Driveway" was the song off the album that became the band's most loved song. "Like a Fool" is right on its heels of notoriety, and it was within the song that I found myself becoming a sure fan of the band. It is the song that kicks off the album, and even though it has been well over a year since my first listen through of this song and album, I still get goosebumps with how well the band comes in. A long intro that completely melts you down until the 50 second mark, when things start getting the move on. That part is my favorite; it gets quieter and quieter, and then the drums break up the silence with a smack. It got your attention, and now it is time for the vocals to come in. The lyrics to "Like a Fool" are damn well written; they are a set of words that seem to have been written in someone's personal collection of poetry. Simplistic to read, but it is the emotion behind the words that has you entranced. "Like a Fool" is the first track on the album, a spectacular choice. One that gets you completely lost in the band all within the first minute and a half. A good chunk of the song is dedicated to creating this space of repetitious yet potent playing that has you losing track of time. I chose the song while taking a drive for work. A mighty strange run, I might add, to a vendor that might have been currently getting poisoned from noxious gas, or maybe they were just recently released from the loony bin and decided to start up a metal casting company. Either way, the whole experience had me feeling very strange. It almost seemed like Superchunk was simply waiting to play this song once I got to a straight and mellow part of the highway to unleash "Like a Fool". The song had me staring off at nothing and everything. I could have sat through 4 green lights and not even known. I mean, not really, but with the intoxicatingly dreamy atmosphere of this track, how would I even know? Time came to a crawl. I died and was born again within its 4:42 playing time. A perfect track to come along when it did, and one that kept playing in my head for the rest of the day. The rest of the album follows suit with plenty of intense highs and low-down dreamy lows. The type of album that leaves you hollow by the end of it with its emotion on the sleeve lyrics and surreal atmosphere. Well, I guess that sums up the post. It is now your turn to give the song a spin! Lucky ducky. Enjoy!
Year Released: 1994
Album: Foolish (1994)
Genre: Indie Rock
Mood: Dreamy
Perfect For: Going for a mellow drive, Casual listening, Cigarettes at an overlook
Where To Next: "Say Your Name" - Ashley Stove
Rating: 8 / 10
Song of the Day 03/17/2026
"Rattlesnake Rock 'N' Roller" - Blackfoot
Blackfoot is a group that rudely got thrown in the value bin. Strange too since they had one of the cleanest and strongest put-together southern rock sounds out there. Nothing new, but more a perfect variation of that cornerstone rock genre. They are a group that has always pleased my rock n roll soul. When they started up in 1970 and released their debut in 1975, they were hellbent on following in the same massive footprints left by southern rock legends Lynyrd Skynyrd, something that seemed to be a theme in the southern rock world of the 1970s. They never quite cut it, never got the same notoriety as Skynyrd or some of the other southern rock bands. What they did do was successfully merge hard rock with southern rock, and they were one of the greatest to do so. That hard rock backing had this special edge to it, something that lured in strong core fans but was still too sharp for the casual listener to get fully into. Molly Hatchet were the ones to perfect the hard rock and southern rock love affair, but Blackfoot was the first to truly do it justice. I find Blackfoot to be criminally underrated. Before I got into my music studies for the 1970s, I was already fairly familiar with the band. I had listened through their potent Strikes a couple of times during my initial obsession with southern rock but never expanded too much further outside that album and the hits. When it was finally time to take on all their discography, I was damn pleased to have the chance to listen to more from Blackfoot. I will say, the band had sort of a rough start; their debut album, No Reservations, out of 1975 had plenty of filler songs, ones that just didn't make the grade. I will admit, I do adore that album for its lyrical content and overall vibe, but in comparison to what came later, there is something left to desire. Still, I didn't let that shake me, I know some bands have a rocky beginning. Their second album, Flyin' High, followed suit. There were plenty of good songs but not many solid senders. Still, Flyin' High did indeed show that the band was maturing; they were gaining some serious traction. For their third album, that is where things start getting great. In 1979 we have their most successful album, and the one that holds a good chunk of their most respected songs, Strikes. This is an album I suggest to anyone who likes classic rock, and especially southern rock. From start to finish, it is an outstanding album. Once again, nothing that was breaking new ground, but their now signature style of seamlessly melding hard rock with southern rock finally came together with raw vigor. I am sure that I am not alone in the stance that Strikes is an essential southern rock album, and the tracks "Highway Song", "Train, Train", "Road Fever", and "Left Turn on a Red Light" are all classics from the genre. Man, I cannot praise that album enough. By 1979, southern rock was going through a strange transition; the core of the genre's sound was pretty well dying right in front of our ears. It was giving way to a more electrified style of the genre, and with the reemergence of rockabilly in the 1980s, there were plenty of people melding the two sounds. The artists who helped bring forth southern rock, and those that jumped onto that hellbound train during its prime too, were going through a little bit of a transition. Some of the groups took the "southern" part of the genre too seriously, and some of the others went a more country route, and for Blackfoot, they went the more hard rock route before making the foolish attempt to appeal to the masses and lose their hard rock credentials in the name of chasing after MTV. The band never lost that southern rock tinge and even went full on into the core southern rock sound later in their career, but for their fourth album, you can feel the difference. Tomcattin' is another essential from Blackfoot, there are enough quality tracks here to keep you satisfied for a hot while. The same is to be said about their fifth album, Marauder, which I find to be their best put-together album, even if it didn't fare as well as their essential Strike. For many out there, including myself, this is considered to be the last great Blackfoot album, but the others are still decent.
When I say that the band was following in the footsteps of Lynyrd Skynyrd, I don't mean that with any malice. Skynyrd was a force to be reckoned with; there aren't any other groups that melded the southern style with rock music like Skynyrd did. Blackfoot vocalist/guitarist Rickey Medlocke knew better than most since he was part of Skynyrd before they became famous, and you can listen to him singing vocals on a couple of tracks on the compilation Skynyrd's First and... Last. It is a trip to hear it. Blackfoot came out of Tampa, Florida, like the majority of the southern rock giants, and I find them to be one of the greatest and most underrated to come out of the southern rock sound. Our song of the day is a testament to just that. "Rattlesnake Rock 'n' Roller" is one of the band's greatest tracks. Aside from the unfortunate Blackfoot songs that included synthesizers, I also consider it to be one of their boldest. The intro is what I am talking about; it is one of those that almost hinder the song much like "Fox Chase". For a core fan such as myself, I cherish all the ones that feature vocalist Rickey Medlocke's grandfather, Shorty Medlocke. He has a hand in a lot of the best Blackfoot tracks, and his banjer pickin' is great stuff. It complements the style of Blackfoot wonderfully, something people agreed with since "Rattlesnake Rock 'n' Roller" is regarded as one of the band's greatest songs. Alongside the singles "Diary of a Workingman" and "Fly Away" from Marauder, it is one of the songs that helped keep the Blackfoot name alive and well all the way into the modern day. Shorty gives a spoken word intro that turns into a banjo solo before the amplified-to-hell guitars come in to let Blackfoot beat you around. For first-time listeners to the band, you might be a little turned off to the song due to the intro. It doesn't let you know what is in store, and while that intro is some of the appeal of the track, I won't lie that I wish the song didn't have it. Still, once the banjo gives way to the guitar work, I always get completely sucked into the song. Lyrically it is a reckless track, one where the band talks about how much they love rockin' but never lose sense of self. They are country boys, ones that are rough around the edges and find their kicks traveling around the country and rockin' out the city folks. That is the glory of southern rock, it brings everyone together in the name of rock music, no matter if you are from a 1000 horse city or a 2 horse town. "Rattlesnake Rock 'N' Roller" is a mean one; it doesn't chill the hell out as soon as the intro is through. Thrilling vocals are cradled by in your face raunchy guitar work and a steady rhythm section. Through and through it is a good timing track, one that never loses appeal no matter how many times you listen to it. From personal experience, the song hits best when you have a beer in hand. It makes you want to act out. It has been a long time go-to song and band for tying one on, almost like it was scientifically crafted to complement cheap beer and expensive cigarettes on a summer evening. While this is easily the greatest moment on Marauder, the whole album goes down smooth. There are the slightly bland parts, sure, but overall the album is worth every cent. The fact that I haven't acquired it on vinyl yet is astounding, but now I know which album I am looking for this weekend. A classic southern rock album and an essential from the band. Blackfoot is mainly known for their 3 prime albums Strike, Tomcattin', and Marauder. As someone who has listened through their complete discography, those three are certainly the ones with the most bite. Some straightforward classic rock that can curbstomp you with a hard rock boot or make you desire dirt roads at high speeds with their southern rock. A band you cannot afford to miss out on, that is just a simple truth. They aren't some hidden gem; I am sure plenty of you out there know the band already, but if you are someone who has been satisfied with the hits but never got more into the band, you are missing out on some damn good rock 'n' roll! It is in those hard-working bands that rock will forever live on, and Blackfoot hardly got off the road to even have a bathroom break. They are a classic group from the rock genre, and one that I happily share here with you today. Even if you know the track, give it another spin, would ya? It has this way to make you wanna hit the road for a beer run. Enjoy!
Year Released: 1981
Album: Marauder (1981)
Genre: Southern Rock, Hard Rock
Mood: Reckless
Perfect For: Getting drunk, Going out for a drive, Getting drunk then going out for a drive, Casual listening
Where To Next: "On the Prowl" - Molly Hatchet
Rating: 9 / 10
Blackfoot is a group that rudely got thrown in the value bin. Strange too since they had one of the cleanest and strongest put-together southern rock sounds out there. Nothing new, but more a perfect variation of that cornerstone rock genre. They are a group that has always pleased my rock n roll soul. When they started up in 1970 and released their debut in 1975, they were hellbent on following in the same massive footprints left by southern rock legends Lynyrd Skynyrd, something that seemed to be a theme in the southern rock world of the 1970s. They never quite cut it, never got the same notoriety as Skynyrd or some of the other southern rock bands. What they did do was successfully merge hard rock with southern rock, and they were one of the greatest to do so. That hard rock backing had this special edge to it, something that lured in strong core fans but was still too sharp for the casual listener to get fully into. Molly Hatchet were the ones to perfect the hard rock and southern rock love affair, but Blackfoot was the first to truly do it justice. I find Blackfoot to be criminally underrated. Before I got into my music studies for the 1970s, I was already fairly familiar with the band. I had listened through their potent Strikes a couple of times during my initial obsession with southern rock but never expanded too much further outside that album and the hits. When it was finally time to take on all their discography, I was damn pleased to have the chance to listen to more from Blackfoot. I will say, the band had sort of a rough start; their debut album, No Reservations, out of 1975 had plenty of filler songs, ones that just didn't make the grade. I will admit, I do adore that album for its lyrical content and overall vibe, but in comparison to what came later, there is something left to desire. Still, I didn't let that shake me, I know some bands have a rocky beginning. Their second album, Flyin' High, followed suit. There were plenty of good songs but not many solid senders. Still, Flyin' High did indeed show that the band was maturing; they were gaining some serious traction. For their third album, that is where things start getting great. In 1979 we have their most successful album, and the one that holds a good chunk of their most respected songs, Strikes. This is an album I suggest to anyone who likes classic rock, and especially southern rock. From start to finish, it is an outstanding album. Once again, nothing that was breaking new ground, but their now signature style of seamlessly melding hard rock with southern rock finally came together with raw vigor. I am sure that I am not alone in the stance that Strikes is an essential southern rock album, and the tracks "Highway Song", "Train, Train", "Road Fever", and "Left Turn on a Red Light" are all classics from the genre. Man, I cannot praise that album enough. By 1979, southern rock was going through a strange transition; the core of the genre's sound was pretty well dying right in front of our ears. It was giving way to a more electrified style of the genre, and with the reemergence of rockabilly in the 1980s, there were plenty of people melding the two sounds. The artists who helped bring forth southern rock, and those that jumped onto that hellbound train during its prime too, were going through a little bit of a transition. Some of the groups took the "southern" part of the genre too seriously, and some of the others went a more country route, and for Blackfoot, they went the more hard rock route before making the foolish attempt to appeal to the masses and lose their hard rock credentials in the name of chasing after MTV. The band never lost that southern rock tinge and even went full on into the core southern rock sound later in their career, but for their fourth album, you can feel the difference. Tomcattin' is another essential from Blackfoot, there are enough quality tracks here to keep you satisfied for a hot while. The same is to be said about their fifth album, Marauder, which I find to be their best put-together album, even if it didn't fare as well as their essential Strike. For many out there, including myself, this is considered to be the last great Blackfoot album, but the others are still decent.
When I say that the band was following in the footsteps of Lynyrd Skynyrd, I don't mean that with any malice. Skynyrd was a force to be reckoned with; there aren't any other groups that melded the southern style with rock music like Skynyrd did. Blackfoot vocalist/guitarist Rickey Medlocke knew better than most since he was part of Skynyrd before they became famous, and you can listen to him singing vocals on a couple of tracks on the compilation Skynyrd's First and... Last. It is a trip to hear it. Blackfoot came out of Tampa, Florida, like the majority of the southern rock giants, and I find them to be one of the greatest and most underrated to come out of the southern rock sound. Our song of the day is a testament to just that. "Rattlesnake Rock 'n' Roller" is one of the band's greatest tracks. Aside from the unfortunate Blackfoot songs that included synthesizers, I also consider it to be one of their boldest. The intro is what I am talking about; it is one of those that almost hinder the song much like "Fox Chase". For a core fan such as myself, I cherish all the ones that feature vocalist Rickey Medlocke's grandfather, Shorty Medlocke. He has a hand in a lot of the best Blackfoot tracks, and his banjer pickin' is great stuff. It complements the style of Blackfoot wonderfully, something people agreed with since "Rattlesnake Rock 'n' Roller" is regarded as one of the band's greatest songs. Alongside the singles "Diary of a Workingman" and "Fly Away" from Marauder, it is one of the songs that helped keep the Blackfoot name alive and well all the way into the modern day. Shorty gives a spoken word intro that turns into a banjo solo before the amplified-to-hell guitars come in to let Blackfoot beat you around. For first-time listeners to the band, you might be a little turned off to the song due to the intro. It doesn't let you know what is in store, and while that intro is some of the appeal of the track, I won't lie that I wish the song didn't have it. Still, once the banjo gives way to the guitar work, I always get completely sucked into the song. Lyrically it is a reckless track, one where the band talks about how much they love rockin' but never lose sense of self. They are country boys, ones that are rough around the edges and find their kicks traveling around the country and rockin' out the city folks. That is the glory of southern rock, it brings everyone together in the name of rock music, no matter if you are from a 1000 horse city or a 2 horse town. "Rattlesnake Rock 'N' Roller" is a mean one; it doesn't chill the hell out as soon as the intro is through. Thrilling vocals are cradled by in your face raunchy guitar work and a steady rhythm section. Through and through it is a good timing track, one that never loses appeal no matter how many times you listen to it. From personal experience, the song hits best when you have a beer in hand. It makes you want to act out. It has been a long time go-to song and band for tying one on, almost like it was scientifically crafted to complement cheap beer and expensive cigarettes on a summer evening. While this is easily the greatest moment on Marauder, the whole album goes down smooth. There are the slightly bland parts, sure, but overall the album is worth every cent. The fact that I haven't acquired it on vinyl yet is astounding, but now I know which album I am looking for this weekend. A classic southern rock album and an essential from the band. Blackfoot is mainly known for their 3 prime albums Strike, Tomcattin', and Marauder. As someone who has listened through their complete discography, those three are certainly the ones with the most bite. Some straightforward classic rock that can curbstomp you with a hard rock boot or make you desire dirt roads at high speeds with their southern rock. A band you cannot afford to miss out on, that is just a simple truth. They aren't some hidden gem; I am sure plenty of you out there know the band already, but if you are someone who has been satisfied with the hits but never got more into the band, you are missing out on some damn good rock 'n' roll! It is in those hard-working bands that rock will forever live on, and Blackfoot hardly got off the road to even have a bathroom break. They are a classic group from the rock genre, and one that I happily share here with you today. Even if you know the track, give it another spin, would ya? It has this way to make you wanna hit the road for a beer run. Enjoy!
Year Released: 1981
Album: Marauder (1981)
Genre: Southern Rock, Hard Rock
Mood: Reckless
Perfect For: Getting drunk, Going out for a drive, Getting drunk then going out for a drive, Casual listening
Where To Next: "On the Prowl" - Molly Hatchet
Rating: 9 / 10
Song of the Day 03/16/2026
"You Can't Do That" - The Beatles
Our current standing has the most AintNoisePollution picks trophy going to The Beatles. I am a little shocked by that. I mean, I truly adore the Beatles but didn't fully expect them to be holding the lead for such a solid chunk of time. Is it all that shocking? The Beatles are one of the ultimate rock bands ever to form. They have a completely legendary run of studio albums, all of which are perfect! Well, aside from maybe that of Yellow Submarine, but half of that is a soundtrack, so we have got to overlook it a little bit. Anyway! They have been selected 7 times, which might not seem that much, especially with us having 678 posts so far, but that is 7 times that they completely wowed me. Made me want to talk about the glory of the Fab Four. Funnily enough, we haven't double-dipped from the same album yet. For today we have "You Can't Do That" one of the goodies that fill the band's legendary third studio album, A Hard Day's Night. This is the album that shows that the Beatles are a true force to be reckoned with. It was the first Beatles album to feature all original material. In the 1960s it was almost a given to have a couple of covers on your album, especially in the British beat genre. More often than not other bands included a Beatles cover, but the Beatles covered plenty of tunes from rock n roll, R&B, and soul. Another thing that was fairly common during this time in music history was having two different versions of albums, one for North America and one for Europe, and A Hard Day's Night is no different. We will be zeroing in on the ultimate version out of the UK, but be sure to check out the US track listing if you are a someone who likes to hear it all, like myself. The US version is a soundtrack album and thus has strange instrumentals and a strange order of songs that don't hit the same spot nearly as well as the UK version. I hardly even consider the US one to be A Hard Day's Night, I consider it to be the soundtrack counterpart. The UK version still features plenty of songs from the movie of the same name. For those curious, feel free to go check the movie out. I saw it many moons ago when I was first getting really into the Beatles. I am sure it is still just as cringe-inducing, which is some of the campy appeal, but that isn't the appeal I like more often than not. Well, we aren't here today to talk about the movie; we are here to talk about the great rock music that fills the band's launching album. What I mean by a "launching album" is where this album stands in the Beatles story. This being the first album that is solely made up of original material puts it in a different league. It shows the band taking the next step with their sound instead of relying on the pop sound of the previous years. It was the time for the Beatles to completely steer how rock music was going to get taken in. This was the last from their core discography with a straight-cut pop-rock sound. They would later release stellar folk rock in their next album, and then following that, they took their musical expansion even further with some artistic rock and eventually some genre-defining psychedelic rock before ending their stellar run on an almost hard rock sound. It has always been difficult to tell if music was following the Beatles or if the Beatles were simply following the music. When some new style showed up, the Beatles were there to have a massive hit off it. Which would then have people replicating that Beatles hit and furthering the genre. Anyway, as for A Hard Day's Night, the band was still very much in their "boy band" stage. A part of the Beatles that I do dig, but I was happy to see them move away from during my first true discography run of theirs. This album took the Beatles a little less than half a year to get it all together. The writing for the songs started directly after they had another massively successful album with With the Beatles. They did their first show in the United States, the massively famous show they did on the Ed Sullivan Show, where you can hardly even hear the band since there were frantic chicks losing their minds all over the damn place. Heaven or hell? What I am trying to say is that Beatlemania was in full swing and their legendary status didn't seem to get to their heads. If anything, it seemed to strengthen the band's drive to become fully their own with a truly signature sound away from covers. They went on to release one of the most legendary rock albums in its history. Even if the majority of the tracks are a lot more pop-leaning than anything else. In the modern tongue, this is prime classic rock out of the 1960s, but back then it stood firmly atop the pop and rock bordering fence. What even was rock in 1964?
Our song of the day is the strangely aggressive "You Can't Do That". Not aggressive in style, aggressive in lyricism. You can typically tell it is a John Lennon lead song during this time period if it's strangely threatening. This song was baked for a little too long in the jealousy oven. I mean, it is a fair enough song, he threatens his lady that if he sees her talking to another man again, he is gonna leave her behind. John Lennon is the one who sings this track, but like the majority of A Hard Day's Night, it was penned by the perfect lyrical duo Lennon-McCartney. In the grand scheme of "don't you cheat on me songs" from John Lennon, this one is a bit more tame than their catchy as sin "Run for Your Life". One of the best parts of this track is how much power is in those vocals; they seem honest and serious. This song wouldn't have been anything without the iconic guitar work from George Harrison, who simply wrote one of the best guitar intros to the album in one sitting while at the studio. This was the first Beatles track to be recorded with Harrison wielding the famous 12-string Rickenbacker, and you can feel the big difference between the guitar tone in this one and the others. They would replicate the style the guitar put out here on plenty of their later chart toppers and foot stompers. Practically all of A Hard Day's Night had that guitar sending you over the hill. "You Can't Do That" was served up as the B-side to the single "Can't Buy Me Love". It seems the Beatles were all about telling you what you can and can't do. We ain't gonna go into "Can't Buy Me Love" here today; that blissful song we will save for another time. "You Can't Do That" was on its way to being one of the strongest singles from the album. It took them 9 goes until they had the version we are hearing here today. Once McCartney wrote "Can't Buy Me Love", our song of the day took the back row for that song. A wise move since "Can't Buy Me Love" is one of the greatest Beatles tracks to be. "You Can't Do That" comes in fast and leaves fast; it isn't one with a laid-out instrumental bit. All of A Hard Day's Night tracks barely touch over the 2-minute mark. Something that was fairly common for its time. Gotta fit all you can on that LP. As one might expect, the single "Can't Buy Me Love" and "You Can't Do That" held a strong spot at the top of the charts practically globally. It was their second most successful single following "I Want to Hold Your Hand". Now, a lot of that is due to "Can't Buy Me Love" but the addition of "You Can't Do That" only strengthened the single and certainly A Hard Day's Night. Great guitar work, strong vocals, simplistic and firm lyricism, and the ever-powerful Beatles knack for knowing how to make a hit like it was simply another day at the office. For them, hits came naturally, and with the help of the music industry, the Beatles had an avenue to see it through. A Hard Day's Night is one of the Beatles greatest musical achievements. It is challenging to have an album co-release with a movie, but it all went over famously well. A Hard Day's Night is often regarded as one of the most essential British rock albums, something I thoroughly agree with. It is their most potent from their early sound and served as the perfect stepping stone for the band to find their own true footing both within their fans and in rock music as a whole. If you haven't listened to the album, I truly do suggest it. It is one of those that you just gotta listen to at least once in your lifetime. Once again, this one is a little more pop washed than some of their later work, but each and every song is perfect in each second that it plays. So, I will keep this post a short one, and just let you get into the music. I hope you dig it! Tune your ear to that guitar and you will find yourself turning to butter. The power of music. Well, you know what to do! Enjoy!
Year Released: 1964
Album: A Hard Day's Night (1964)
Genre: Rock, Pop
Mood: Serious
Perfect For: Casual listening, Playing for your cheating partner on date night, Writing
Where To Next: "Here Without You" - The Byrds
Rating: 8 / 10
Our current standing has the most AintNoisePollution picks trophy going to The Beatles. I am a little shocked by that. I mean, I truly adore the Beatles but didn't fully expect them to be holding the lead for such a solid chunk of time. Is it all that shocking? The Beatles are one of the ultimate rock bands ever to form. They have a completely legendary run of studio albums, all of which are perfect! Well, aside from maybe that of Yellow Submarine, but half of that is a soundtrack, so we have got to overlook it a little bit. Anyway! They have been selected 7 times, which might not seem that much, especially with us having 678 posts so far, but that is 7 times that they completely wowed me. Made me want to talk about the glory of the Fab Four. Funnily enough, we haven't double-dipped from the same album yet. For today we have "You Can't Do That" one of the goodies that fill the band's legendary third studio album, A Hard Day's Night. This is the album that shows that the Beatles are a true force to be reckoned with. It was the first Beatles album to feature all original material. In the 1960s it was almost a given to have a couple of covers on your album, especially in the British beat genre. More often than not other bands included a Beatles cover, but the Beatles covered plenty of tunes from rock n roll, R&B, and soul. Another thing that was fairly common during this time in music history was having two different versions of albums, one for North America and one for Europe, and A Hard Day's Night is no different. We will be zeroing in on the ultimate version out of the UK, but be sure to check out the US track listing if you are a someone who likes to hear it all, like myself. The US version is a soundtrack album and thus has strange instrumentals and a strange order of songs that don't hit the same spot nearly as well as the UK version. I hardly even consider the US one to be A Hard Day's Night, I consider it to be the soundtrack counterpart. The UK version still features plenty of songs from the movie of the same name. For those curious, feel free to go check the movie out. I saw it many moons ago when I was first getting really into the Beatles. I am sure it is still just as cringe-inducing, which is some of the campy appeal, but that isn't the appeal I like more often than not. Well, we aren't here today to talk about the movie; we are here to talk about the great rock music that fills the band's launching album. What I mean by a "launching album" is where this album stands in the Beatles story. This being the first album that is solely made up of original material puts it in a different league. It shows the band taking the next step with their sound instead of relying on the pop sound of the previous years. It was the time for the Beatles to completely steer how rock music was going to get taken in. This was the last from their core discography with a straight-cut pop-rock sound. They would later release stellar folk rock in their next album, and then following that, they took their musical expansion even further with some artistic rock and eventually some genre-defining psychedelic rock before ending their stellar run on an almost hard rock sound. It has always been difficult to tell if music was following the Beatles or if the Beatles were simply following the music. When some new style showed up, the Beatles were there to have a massive hit off it. Which would then have people replicating that Beatles hit and furthering the genre. Anyway, as for A Hard Day's Night, the band was still very much in their "boy band" stage. A part of the Beatles that I do dig, but I was happy to see them move away from during my first true discography run of theirs. This album took the Beatles a little less than half a year to get it all together. The writing for the songs started directly after they had another massively successful album with With the Beatles. They did their first show in the United States, the massively famous show they did on the Ed Sullivan Show, where you can hardly even hear the band since there were frantic chicks losing their minds all over the damn place. Heaven or hell? What I am trying to say is that Beatlemania was in full swing and their legendary status didn't seem to get to their heads. If anything, it seemed to strengthen the band's drive to become fully their own with a truly signature sound away from covers. They went on to release one of the most legendary rock albums in its history. Even if the majority of the tracks are a lot more pop-leaning than anything else. In the modern tongue, this is prime classic rock out of the 1960s, but back then it stood firmly atop the pop and rock bordering fence. What even was rock in 1964?
Our song of the day is the strangely aggressive "You Can't Do That". Not aggressive in style, aggressive in lyricism. You can typically tell it is a John Lennon lead song during this time period if it's strangely threatening. This song was baked for a little too long in the jealousy oven. I mean, it is a fair enough song, he threatens his lady that if he sees her talking to another man again, he is gonna leave her behind. John Lennon is the one who sings this track, but like the majority of A Hard Day's Night, it was penned by the perfect lyrical duo Lennon-McCartney. In the grand scheme of "don't you cheat on me songs" from John Lennon, this one is a bit more tame than their catchy as sin "Run for Your Life". One of the best parts of this track is how much power is in those vocals; they seem honest and serious. This song wouldn't have been anything without the iconic guitar work from George Harrison, who simply wrote one of the best guitar intros to the album in one sitting while at the studio. This was the first Beatles track to be recorded with Harrison wielding the famous 12-string Rickenbacker, and you can feel the big difference between the guitar tone in this one and the others. They would replicate the style the guitar put out here on plenty of their later chart toppers and foot stompers. Practically all of A Hard Day's Night had that guitar sending you over the hill. "You Can't Do That" was served up as the B-side to the single "Can't Buy Me Love". It seems the Beatles were all about telling you what you can and can't do. We ain't gonna go into "Can't Buy Me Love" here today; that blissful song we will save for another time. "You Can't Do That" was on its way to being one of the strongest singles from the album. It took them 9 goes until they had the version we are hearing here today. Once McCartney wrote "Can't Buy Me Love", our song of the day took the back row for that song. A wise move since "Can't Buy Me Love" is one of the greatest Beatles tracks to be. "You Can't Do That" comes in fast and leaves fast; it isn't one with a laid-out instrumental bit. All of A Hard Day's Night tracks barely touch over the 2-minute mark. Something that was fairly common for its time. Gotta fit all you can on that LP. As one might expect, the single "Can't Buy Me Love" and "You Can't Do That" held a strong spot at the top of the charts practically globally. It was their second most successful single following "I Want to Hold Your Hand". Now, a lot of that is due to "Can't Buy Me Love" but the addition of "You Can't Do That" only strengthened the single and certainly A Hard Day's Night. Great guitar work, strong vocals, simplistic and firm lyricism, and the ever-powerful Beatles knack for knowing how to make a hit like it was simply another day at the office. For them, hits came naturally, and with the help of the music industry, the Beatles had an avenue to see it through. A Hard Day's Night is one of the Beatles greatest musical achievements. It is challenging to have an album co-release with a movie, but it all went over famously well. A Hard Day's Night is often regarded as one of the most essential British rock albums, something I thoroughly agree with. It is their most potent from their early sound and served as the perfect stepping stone for the band to find their own true footing both within their fans and in rock music as a whole. If you haven't listened to the album, I truly do suggest it. It is one of those that you just gotta listen to at least once in your lifetime. Once again, this one is a little more pop washed than some of their later work, but each and every song is perfect in each second that it plays. So, I will keep this post a short one, and just let you get into the music. I hope you dig it! Tune your ear to that guitar and you will find yourself turning to butter. The power of music. Well, you know what to do! Enjoy!
Year Released: 1964
Album: A Hard Day's Night (1964)
Genre: Rock, Pop
Mood: Serious
Perfect For: Casual listening, Playing for your cheating partner on date night, Writing
Where To Next: "Here Without You" - The Byrds
Rating: 8 / 10
Song of the Day 03/15/2026
"Deconstructing Self-Destruction" - Killer Be Killed
Welcome! Today we take a peek at a band pretty new to me. I only know one track from Killer Be Killed, but I intend to change that sooner than later. I first came across them during my playthrough of the infamous Saints Row reboot in 2022. Everyone hates that game, but I thought it was still decent. Nothing like the original series, they are practically two different series with the same name, but it was still a very pretty game with an okay story and vibe. Saints Row has always had a good set of songs on their radio stations, especially in the first two, and I have discovered a fair amount of artists throughout my life from those games. It sucks we will likely never see another one, but seeing their downgrade with each new release, maybe it is for the best. They were playing around with the idea of releasing a Saints Row game that takes place in the 1970s, which is a fuckin' phenomenal idea. That would be damn cool! And think about all the music choices. The idea was pitched, but nobody bit, so the idea will fade away into the collection of Saints Row "what ifs". When it comes to open-world crime games, that is a genre that is always crammed full of great song choices. None did it better than Grand Theft Auto, but Saints Row is a close second. When I was a young lad, I discovered a solid couple of bands from Saints Row 2, a lot of which was of the extreme metal variation. For years upon years I was never all too fond of the extreme side of heavy metal. Respected it, but never went out of my way to listen to them. Saints Row 2 helped me break down a few barriers, not a full sell, but with their Saints de Fleur golden wrecking ball, there was now a crack in that wall. Chimaira, The Dillinger Escape Plan, Opeth, and Mastodon were all shown to me from the game. Opeth and Mastodon went on to be some of my favorite metal bands post-2000 and have a happy place as some of my favorite artists. The same is to be said about some of the bands that Saints Row 3 showed me, and Saints Row 4 gave me a taste of the modern side of rock when I was a staunch listener of older music. Saints Row (2022) didn't really show me all too many bands, but the ones it did left an impression on me. That game gave me an easy avenue to get into the garage rock sound of the 2020s and other modern rock styles. Bands like the IDLES, La Luz, and White Reaper have been some fast favorites of mine that I have expanded into since. Especially La Luz, man those chicks can play! I am completely smitten with their westernesque style that has me floating away. There may be those readers out there that find it odd that I only barely found out about those bands within the last couple of years, but when it comes to modern music, I find myself blinded by the vast amount of artists out there. Plus, if you have been here before; there really aren't too many modern tracks showing up. I am getting there, I am getting better and more learned as the years move along. My studies are in 2002 right now, which is already unfamiliar territory for me, and that was 24 years ago. Feel old yet? Shit, I was around for that time, and I still don't know hardly any of the stuff I am sinking my teeth into outside the bands I discovered as a child and have held onto since. So, yeah, it took me a while, but I am getting there and am hoping to include more as time moves on. Anyway, it wasn't only modern rock that I found some new material to dig into; the same is to be said about the game showing me some modern heavy metal. When I first started the game up and could simply drive around instead of doing missions, I probably spent a solid hour just listening to all the songs that are going to complement this new gaming experience of mine. When I flipped it over to the metal station, I knew undoubtedly I was in good hands. The radio station is simply called Nuclear Blast, a record label I am well familiar with as being one of the strongest modern metal labels and a cornerstone of heavy metal releases since 1987, even though their first big-time release was in 2002 with Meshuggah's face-melting Nothing. They have always been a spot that I go to when I get that itch to find a new band in the modern metal tongue. So, yeah, I was pretty pleased to see they had a station that held mostly their artists. Some groups I already knew, like Kataklysm, Accept, Hatebreed, Slayer, and Meshuggah. Then there were these other bands I had never heard before, bands like the one who holds our attention for today, Killer Be Killed.
From the first time I heard "Deconstructing Self-Destruction" I was in love with it. Heavy in all the right ways, slow in all the right ways, fast in all the right ways, and fuckin' mean. I was especially fond of the guitar work, something that seemed all too familiar to me for listening to the band for the first time. Don't you hate that feeling? Man, do I find it frustrating! It is like you know the song though you know you haven't heard it before, or not for a long time. It has been happening a lot since starting my 2000s studies. I just got done with Simple Plan's ungodly adolescent No Pads, No Helmets... Just Balls for the first time, and I swear I knew half the songs, though I am pretty sure I have never listened to the band, even as a kid. Anyway, the same was to be said about Killer Be Killed. Naturally I stopped what I was doing to look into the band to see why; maybe they were included in a game before, or possibly they just sounded too close to Strapping Young Lad? After I saw one legendary name on the personnel for this album, I slapped my head like I could've had a V8. It is Max Cavalera, the metal madman who breaks new ground in each great band that he helps throw together. Killer Be Killed is just another place for him to vent his frustration on 6 strings and write lyrics that are easily felt within each of us. For those of you out there that don't recognize the name Max Cavalera co-founded Sepultura, a band that started out as an early example of death-backed thrash metal and eventually went on to be one of the biggest names in the metal world in the late 1980s and early 1990s. Following his departure from the band, he put together the industrial metal band Nailbomb, which is some seriously heavy shit. They only released one album, but his next band Soulfly went on to be one of the greatest bands in nu metal and groove metal of all time with a ton of top-tier albums. If that wasn't enough, he also co-founded the Cavalera Conspiracy with his brother, arguably Cavalera's most extreme band. Then we have his most recent project, Go Ahead and Die, which keeps that extreme style up. I still need to get further into them, I have only sampled them so far. "Drug-O-Cop" has been a common one blaring from my speakers on the way to work, though. And last but not least, we have our chosen band of the day, Killer Be Killed, a band I still have hardly listened to for no apparent reason since this song showcases how fuckin' great their other stuff has gotta be. Killer Be Killed started up in 2011 and has released 2 studio albums so far. Our song of the day comes off their second album, Reluctant Hero, which was released in 2020. It seems to have gathered less attention than their debut, but with "Deconstructing Self-Destruction" and "Dream Gone Bad" being two of their most streamed songs, it is safe to assume their second album is just as loved as their debut. Once again, I really need to make the time to listen to more of the band! Killer Be Killed isn't just a home for Max Cavalera; it is a project with some serious heavy hitters. We got Greg Puciato on those vocals and guitar, who is from the Dillinger Escape Plan. Ben Koller on the sticks, a man who gave us the mean punches in the metalcore band Converge. Then finally, we got Troy Sanders of Mastodon fame, who handles the bass with power! He also helps out on the vocals both in Mastodon and Killer Be Killed. All three of Puciato, Cavalera, and Sanders take turns at the microphone; each track brings in something new, and songs like "Dream Gone Bad" and our song of the day give each member a chance to shine within the same song. It is strange to hear them all sing together since all three are much different singers with quite slightly backgrounds. As for "Deconstructing Self-Destruction" it is mostly Greg Puciato. Our song of the day has a pretty heavy Mastodon feeling to it. Like a strange hybrid between all these different titans bringing in all they learned and helping create to serve up a pristine and heavy sound that is addictive. I love these kinds of supergroups; it is a fuckfest of metal mastery! "Deconstructing Self-Destruction" was written by all four of the band members, which is probably why each minute of the song brings in something new to keep things interesting before the song abruptly ends. If you are a fan of the bands mentioned above or the other bands they were in that I didn't mention, I think you will love this song. I am sure you already know the song and band, and like always with modern music, I am late to the party. Still, that won't stop me from telling you how great this track is! So, no matter who you are, give the song a chance. It has something for modern metalheads as much as it has something for those stuck in the old sound like myself. Enjoy!
Year Released: 2020
Album: Reluctant Hero (2020)
Genre: Groove Metal, Heavy Metal
Mood: Aggressive
Perfect For: Testing your speakers, Commuting home from work, Having a beer, Playing some Saints Row (2022)
Where To Next: "Andromeda" - Mastodon
Rating: 8 / 10
Welcome! Today we take a peek at a band pretty new to me. I only know one track from Killer Be Killed, but I intend to change that sooner than later. I first came across them during my playthrough of the infamous Saints Row reboot in 2022. Everyone hates that game, but I thought it was still decent. Nothing like the original series, they are practically two different series with the same name, but it was still a very pretty game with an okay story and vibe. Saints Row has always had a good set of songs on their radio stations, especially in the first two, and I have discovered a fair amount of artists throughout my life from those games. It sucks we will likely never see another one, but seeing their downgrade with each new release, maybe it is for the best. They were playing around with the idea of releasing a Saints Row game that takes place in the 1970s, which is a fuckin' phenomenal idea. That would be damn cool! And think about all the music choices. The idea was pitched, but nobody bit, so the idea will fade away into the collection of Saints Row "what ifs". When it comes to open-world crime games, that is a genre that is always crammed full of great song choices. None did it better than Grand Theft Auto, but Saints Row is a close second. When I was a young lad, I discovered a solid couple of bands from Saints Row 2, a lot of which was of the extreme metal variation. For years upon years I was never all too fond of the extreme side of heavy metal. Respected it, but never went out of my way to listen to them. Saints Row 2 helped me break down a few barriers, not a full sell, but with their Saints de Fleur golden wrecking ball, there was now a crack in that wall. Chimaira, The Dillinger Escape Plan, Opeth, and Mastodon were all shown to me from the game. Opeth and Mastodon went on to be some of my favorite metal bands post-2000 and have a happy place as some of my favorite artists. The same is to be said about some of the bands that Saints Row 3 showed me, and Saints Row 4 gave me a taste of the modern side of rock when I was a staunch listener of older music. Saints Row (2022) didn't really show me all too many bands, but the ones it did left an impression on me. That game gave me an easy avenue to get into the garage rock sound of the 2020s and other modern rock styles. Bands like the IDLES, La Luz, and White Reaper have been some fast favorites of mine that I have expanded into since. Especially La Luz, man those chicks can play! I am completely smitten with their westernesque style that has me floating away. There may be those readers out there that find it odd that I only barely found out about those bands within the last couple of years, but when it comes to modern music, I find myself blinded by the vast amount of artists out there. Plus, if you have been here before; there really aren't too many modern tracks showing up. I am getting there, I am getting better and more learned as the years move along. My studies are in 2002 right now, which is already unfamiliar territory for me, and that was 24 years ago. Feel old yet? Shit, I was around for that time, and I still don't know hardly any of the stuff I am sinking my teeth into outside the bands I discovered as a child and have held onto since. So, yeah, it took me a while, but I am getting there and am hoping to include more as time moves on. Anyway, it wasn't only modern rock that I found some new material to dig into; the same is to be said about the game showing me some modern heavy metal. When I first started the game up and could simply drive around instead of doing missions, I probably spent a solid hour just listening to all the songs that are going to complement this new gaming experience of mine. When I flipped it over to the metal station, I knew undoubtedly I was in good hands. The radio station is simply called Nuclear Blast, a record label I am well familiar with as being one of the strongest modern metal labels and a cornerstone of heavy metal releases since 1987, even though their first big-time release was in 2002 with Meshuggah's face-melting Nothing. They have always been a spot that I go to when I get that itch to find a new band in the modern metal tongue. So, yeah, I was pretty pleased to see they had a station that held mostly their artists. Some groups I already knew, like Kataklysm, Accept, Hatebreed, Slayer, and Meshuggah. Then there were these other bands I had never heard before, bands like the one who holds our attention for today, Killer Be Killed.
From the first time I heard "Deconstructing Self-Destruction" I was in love with it. Heavy in all the right ways, slow in all the right ways, fast in all the right ways, and fuckin' mean. I was especially fond of the guitar work, something that seemed all too familiar to me for listening to the band for the first time. Don't you hate that feeling? Man, do I find it frustrating! It is like you know the song though you know you haven't heard it before, or not for a long time. It has been happening a lot since starting my 2000s studies. I just got done with Simple Plan's ungodly adolescent No Pads, No Helmets... Just Balls for the first time, and I swear I knew half the songs, though I am pretty sure I have never listened to the band, even as a kid. Anyway, the same was to be said about Killer Be Killed. Naturally I stopped what I was doing to look into the band to see why; maybe they were included in a game before, or possibly they just sounded too close to Strapping Young Lad? After I saw one legendary name on the personnel for this album, I slapped my head like I could've had a V8. It is Max Cavalera, the metal madman who breaks new ground in each great band that he helps throw together. Killer Be Killed is just another place for him to vent his frustration on 6 strings and write lyrics that are easily felt within each of us. For those of you out there that don't recognize the name Max Cavalera co-founded Sepultura, a band that started out as an early example of death-backed thrash metal and eventually went on to be one of the biggest names in the metal world in the late 1980s and early 1990s. Following his departure from the band, he put together the industrial metal band Nailbomb, which is some seriously heavy shit. They only released one album, but his next band Soulfly went on to be one of the greatest bands in nu metal and groove metal of all time with a ton of top-tier albums. If that wasn't enough, he also co-founded the Cavalera Conspiracy with his brother, arguably Cavalera's most extreme band. Then we have his most recent project, Go Ahead and Die, which keeps that extreme style up. I still need to get further into them, I have only sampled them so far. "Drug-O-Cop" has been a common one blaring from my speakers on the way to work, though. And last but not least, we have our chosen band of the day, Killer Be Killed, a band I still have hardly listened to for no apparent reason since this song showcases how fuckin' great their other stuff has gotta be. Killer Be Killed started up in 2011 and has released 2 studio albums so far. Our song of the day comes off their second album, Reluctant Hero, which was released in 2020. It seems to have gathered less attention than their debut, but with "Deconstructing Self-Destruction" and "Dream Gone Bad" being two of their most streamed songs, it is safe to assume their second album is just as loved as their debut. Once again, I really need to make the time to listen to more of the band! Killer Be Killed isn't just a home for Max Cavalera; it is a project with some serious heavy hitters. We got Greg Puciato on those vocals and guitar, who is from the Dillinger Escape Plan. Ben Koller on the sticks, a man who gave us the mean punches in the metalcore band Converge. Then finally, we got Troy Sanders of Mastodon fame, who handles the bass with power! He also helps out on the vocals both in Mastodon and Killer Be Killed. All three of Puciato, Cavalera, and Sanders take turns at the microphone; each track brings in something new, and songs like "Dream Gone Bad" and our song of the day give each member a chance to shine within the same song. It is strange to hear them all sing together since all three are much different singers with quite slightly backgrounds. As for "Deconstructing Self-Destruction" it is mostly Greg Puciato. Our song of the day has a pretty heavy Mastodon feeling to it. Like a strange hybrid between all these different titans bringing in all they learned and helping create to serve up a pristine and heavy sound that is addictive. I love these kinds of supergroups; it is a fuckfest of metal mastery! "Deconstructing Self-Destruction" was written by all four of the band members, which is probably why each minute of the song brings in something new to keep things interesting before the song abruptly ends. If you are a fan of the bands mentioned above or the other bands they were in that I didn't mention, I think you will love this song. I am sure you already know the song and band, and like always with modern music, I am late to the party. Still, that won't stop me from telling you how great this track is! So, no matter who you are, give the song a chance. It has something for modern metalheads as much as it has something for those stuck in the old sound like myself. Enjoy!
Year Released: 2020
Album: Reluctant Hero (2020)
Genre: Groove Metal, Heavy Metal
Mood: Aggressive
Perfect For: Testing your speakers, Commuting home from work, Having a beer, Playing some Saints Row (2022)
Where To Next: "Andromeda" - Mastodon
Rating: 8 / 10
Song of the Day 03/14/2026
"Mr. Speed" - KISS
We just got done talking about Iron Maiden, a band that is legendary for plenty of reasons, and one of them was how well they marketed their mascot Eddie. If you ever take the time to think about the business end of music and the bands that ushered in a new era for the merchandise side of rock culture, then KISS is the band that should first come to mind. KISS is infamous for how hard they go with their merchandise. They practically crafted the way that concerts and merch work modernly. Before I do any of these posts, I tend to check the artist's website just to check up on what is new since I don't have social media. I always stop off at the shop to see if there are any killer deals and mostly just to daydream about owning some of the stuff. You might as well consider me a music merch dragon; I practically sleep on all the merch I can't help but keep buying. KISS has a crazy amount of things to buy, you could buy a lifetime of wardrobe choices, and when death arrives, you can buy a custom KISS casket like Dimebag Darrell is buried in. If there is enough space on any item out there to stamp a KISS logo on, they have likely done it. The KISS fanbase is to blame; they are one feverish group when it comes down to making a personality of rock merch. I don't think there is a fanbase out there that matches them, maybe Elvis coming in as a hot second. While looking through the band's website, I noticed they are collaborating with Precious Sound, the first company to sell golden records. Like.... Genuine gold records that you can play on your turntable. Naturally, KISS is one of the few groups that have one of their singles in gold. I kind of want it.... I am not even the kind of dude that likes golden stuff, but it would be one hell of a collector's item. The single is for "Strutter", a favorite of mine from the band. So, dear reader, think about all the time I spend here researching and typing this stuff out for you! Can't you find it in your heart to buy me that golden record? It is only 1,500 big ones. I am sure you have that in stray cash just hanging out around the house, I sure do, I typically keep it next to my solid gold toilet in case my house servant runs out of toilet paper for me. All jokes. That is a lot of cash for that thing, though I will admit that I am mighty curious how it would sound. Rich people, man. Shit, I would respect a rich person more for buying that tacky record than for spending it on stupid meals or selfish trips on their private jet to impoverished regions. Anyway, a golden single proudly displayed on the band's website is precisely who KISS is. Many spit on the band for that, but I honestly kind of like it. They made a full-fledged business out of their band, with the sin of greed being stamped on their forehead. Now, I would be one of those people that collected KISS stuff more if I had the scratch, but I do not. I am not one of those rockers that talk down on KISS for how they handled business. I adore their music. KISS is a group that means an obscene amount to me. I have listened through their discography over and over again more than the majority of bands out there. I love how simplistic their style is, nothing too heavy or intricate, just good time music that is often dirty and sinful. Our song of the day is a decent example of that dirty feeling, and the lyrical content matches with the shitty "cause you ain't lady enough to keep the master satisfied" line, amongst others. That is some of the appeal; it can be plain raunchy on some of the KISS tracks. They are a poster child of rock music, rock culture, and rock stage shows. While their music isn't anything revolutionary, KISS did an obscene amount for the progression of rock music. I was troubled by hearing about the passing of Ace Frehley this last year; he was one of the best members of KISS. Through his solo work, he showed his raw passion for rock music, not just the dollar signs that came from it. I would consider him the most talented out of the original KISS as well, and my claim is strengthened with the band's material following 1981's Music from "The Elder" being less driving than the stuff that came before after he left the group due to artistic differences. Rest in peace, Ace. It seems we are now starting to lose all the true champions from rock's prime years. Well, for our focused album and our song of the day, Ace Frehley is immortalized through hooky guitar lines.
"Mr. Speed" is the 7th track on the band's great fifth studio album, Rock and Roll Over. The album came out in 1976, one of the greatest years in rock history. Earlier in the same year, KISS released their rock essential Destroyer, their greatest ever release, but outside KISS we had Boston's self-titled, Aerosmith's Rocks, Heart's Dreamboat Annie, Thin Lizzy's Jailbreak, and the iconic 2112 from Rush. There are plenty of other iconic releases from the year, but I would type my fingers to the bone typing all of them out. KISS released two hit albums within the same year. Destroyer is as essential a rock album as has ever been released. That album showed that KISS was more than a one-trick pony, and all the critics were tying a noose thinking their career of bashing KISS in magazines was over. Well, luckily for them, KISS didn't keep up that newfound energy. Instead, they returned to their original sound later that year with the release of Rock and Roll Over. I adore this album; it is one of my favorites from the band, even if it is admittedly one of the sleaziest ones they have put out. Rock and Roll Over is arguably the best album cover that KISS has ever put out as well, the same dude came back to do Sonic Boom in 2009. The album didn't do as well as their previous release with Destroyer, but still served as a perfect follow-up on the charts. There were two singles that were released off the album, the essential "Calling Dr. Love" and one of my favorite KISS songs, "Hard Luck Woman". For those that know me in real life, you probably know "Hard Luck Woman" just as well as I do since I have played it religiously since I was a wee child. I find something to cherish in each track on the album, but none hit the same spot as "Hard Luck Woman". Originally the song was written by vocalist Paul Stanley to pitch to Rod Stewart, but after the success of the previous ballad "Beth" sung by drummer Peter Criss, they decided to have him perform "Hard Luck Woman" on Rock and Roll Over. Strangely, you can see how this would have been a perfect Rod Stewart song. I can perfectly hear how it would sound if he were to record it. It would have likely sounded similar to "Mandolin Wind". We can elaborate on "Hard Luck Woman" another day, trust me, it is just a matter of time. For today, it is all about "Mr. Speed", one of those classic KISS sex songs. Truth be told, I have always wondered why the ladies call him Mr. Speed. That sort of seems like a self-burn, like the character, or in this case Paul Stanley since he sings it, doesn't last all too long in the sack. It sort of reminds me of the Flight of the Concords track "Business Time", a funny as hell track that I suggest. Anyway, what does he mean then? Does he get the chick off within seconds? She just can't keep up with this sexual beast? Does he come and go (no pun intended) fast as hell? The story starts off after one of KISS's greatest guitar intros from Ace Frehley with talking about the lady really needing some lovin', but she has got to take those chances to find it and then presumably getting turned down for not being good enough for the characters sexual desires. The next verse is all about the foreplay, but it still falls short for the character in the story. Then, without giving me an answer with the lyrics, the rest of the song repeats the chorus in KISS style with call-outs to keep the song fresh. The guitar tone that Frehley has here in this song and album is great, much like he was doing in the band's second album, Hotter Than Hell. The lyrics to the song are very KISS but also are pretty shock-laden, leaving me desiring more oomph than just another KISS sex song. But that guitar work! Now that is where it is at! It is the main reason this song is getting a higher rating. I often get lost in the guitar more than anything else in the track because it is so damn pleasant to the ears. The song is catchy as hell, the lyrics are silly, and it is all done with that KISS masterful stroke that shows why they are one of the most notorious bands in all of rock history. What is this? Their fourth time on the website? If it isn't made clear yet, KISS is a great group that serves up simple hard rock that pleased a whole generation of Americans. Even now, KISS is one of the most listened to classic rock artists and sucks up new fans with each passing moon. I have been a big fan of the band for years now, and through KISS I found a massive dedication for all things rock music. They are titans, and these rock titans recorded "Mr. Speed", a track I now give to you. Keep it going! Send this track to your wife; she will love the lyrics, I promise. Before you do it, be sure to hide the pans and throw an ice pack in the freezer for later. For the... Uh.... Beer and pizza she will certainly be buying you. Good luck! Enjoy!
Year Released: 1976
Album: Rock and Roll Over (1976)
Genre: Hard Rock
Mood: Erotic
Perfect For: Casual listening, Driving in the heat, Dirty thoughts
Where To Next: "Rag Doll" - Aerosmith
Rating: 8 / 10
We just got done talking about Iron Maiden, a band that is legendary for plenty of reasons, and one of them was how well they marketed their mascot Eddie. If you ever take the time to think about the business end of music and the bands that ushered in a new era for the merchandise side of rock culture, then KISS is the band that should first come to mind. KISS is infamous for how hard they go with their merchandise. They practically crafted the way that concerts and merch work modernly. Before I do any of these posts, I tend to check the artist's website just to check up on what is new since I don't have social media. I always stop off at the shop to see if there are any killer deals and mostly just to daydream about owning some of the stuff. You might as well consider me a music merch dragon; I practically sleep on all the merch I can't help but keep buying. KISS has a crazy amount of things to buy, you could buy a lifetime of wardrobe choices, and when death arrives, you can buy a custom KISS casket like Dimebag Darrell is buried in. If there is enough space on any item out there to stamp a KISS logo on, they have likely done it. The KISS fanbase is to blame; they are one feverish group when it comes down to making a personality of rock merch. I don't think there is a fanbase out there that matches them, maybe Elvis coming in as a hot second. While looking through the band's website, I noticed they are collaborating with Precious Sound, the first company to sell golden records. Like.... Genuine gold records that you can play on your turntable. Naturally, KISS is one of the few groups that have one of their singles in gold. I kind of want it.... I am not even the kind of dude that likes golden stuff, but it would be one hell of a collector's item. The single is for "Strutter", a favorite of mine from the band. So, dear reader, think about all the time I spend here researching and typing this stuff out for you! Can't you find it in your heart to buy me that golden record? It is only 1,500 big ones. I am sure you have that in stray cash just hanging out around the house, I sure do, I typically keep it next to my solid gold toilet in case my house servant runs out of toilet paper for me. All jokes. That is a lot of cash for that thing, though I will admit that I am mighty curious how it would sound. Rich people, man. Shit, I would respect a rich person more for buying that tacky record than for spending it on stupid meals or selfish trips on their private jet to impoverished regions. Anyway, a golden single proudly displayed on the band's website is precisely who KISS is. Many spit on the band for that, but I honestly kind of like it. They made a full-fledged business out of their band, with the sin of greed being stamped on their forehead. Now, I would be one of those people that collected KISS stuff more if I had the scratch, but I do not. I am not one of those rockers that talk down on KISS for how they handled business. I adore their music. KISS is a group that means an obscene amount to me. I have listened through their discography over and over again more than the majority of bands out there. I love how simplistic their style is, nothing too heavy or intricate, just good time music that is often dirty and sinful. Our song of the day is a decent example of that dirty feeling, and the lyrical content matches with the shitty "cause you ain't lady enough to keep the master satisfied" line, amongst others. That is some of the appeal; it can be plain raunchy on some of the KISS tracks. They are a poster child of rock music, rock culture, and rock stage shows. While their music isn't anything revolutionary, KISS did an obscene amount for the progression of rock music. I was troubled by hearing about the passing of Ace Frehley this last year; he was one of the best members of KISS. Through his solo work, he showed his raw passion for rock music, not just the dollar signs that came from it. I would consider him the most talented out of the original KISS as well, and my claim is strengthened with the band's material following 1981's Music from "The Elder" being less driving than the stuff that came before after he left the group due to artistic differences. Rest in peace, Ace. It seems we are now starting to lose all the true champions from rock's prime years. Well, for our focused album and our song of the day, Ace Frehley is immortalized through hooky guitar lines.
"Mr. Speed" is the 7th track on the band's great fifth studio album, Rock and Roll Over. The album came out in 1976, one of the greatest years in rock history. Earlier in the same year, KISS released their rock essential Destroyer, their greatest ever release, but outside KISS we had Boston's self-titled, Aerosmith's Rocks, Heart's Dreamboat Annie, Thin Lizzy's Jailbreak, and the iconic 2112 from Rush. There are plenty of other iconic releases from the year, but I would type my fingers to the bone typing all of them out. KISS released two hit albums within the same year. Destroyer is as essential a rock album as has ever been released. That album showed that KISS was more than a one-trick pony, and all the critics were tying a noose thinking their career of bashing KISS in magazines was over. Well, luckily for them, KISS didn't keep up that newfound energy. Instead, they returned to their original sound later that year with the release of Rock and Roll Over. I adore this album; it is one of my favorites from the band, even if it is admittedly one of the sleaziest ones they have put out. Rock and Roll Over is arguably the best album cover that KISS has ever put out as well, the same dude came back to do Sonic Boom in 2009. The album didn't do as well as their previous release with Destroyer, but still served as a perfect follow-up on the charts. There were two singles that were released off the album, the essential "Calling Dr. Love" and one of my favorite KISS songs, "Hard Luck Woman". For those that know me in real life, you probably know "Hard Luck Woman" just as well as I do since I have played it religiously since I was a wee child. I find something to cherish in each track on the album, but none hit the same spot as "Hard Luck Woman". Originally the song was written by vocalist Paul Stanley to pitch to Rod Stewart, but after the success of the previous ballad "Beth" sung by drummer Peter Criss, they decided to have him perform "Hard Luck Woman" on Rock and Roll Over. Strangely, you can see how this would have been a perfect Rod Stewart song. I can perfectly hear how it would sound if he were to record it. It would have likely sounded similar to "Mandolin Wind". We can elaborate on "Hard Luck Woman" another day, trust me, it is just a matter of time. For today, it is all about "Mr. Speed", one of those classic KISS sex songs. Truth be told, I have always wondered why the ladies call him Mr. Speed. That sort of seems like a self-burn, like the character, or in this case Paul Stanley since he sings it, doesn't last all too long in the sack. It sort of reminds me of the Flight of the Concords track "Business Time", a funny as hell track that I suggest. Anyway, what does he mean then? Does he get the chick off within seconds? She just can't keep up with this sexual beast? Does he come and go (no pun intended) fast as hell? The story starts off after one of KISS's greatest guitar intros from Ace Frehley with talking about the lady really needing some lovin', but she has got to take those chances to find it and then presumably getting turned down for not being good enough for the characters sexual desires. The next verse is all about the foreplay, but it still falls short for the character in the story. Then, without giving me an answer with the lyrics, the rest of the song repeats the chorus in KISS style with call-outs to keep the song fresh. The guitar tone that Frehley has here in this song and album is great, much like he was doing in the band's second album, Hotter Than Hell. The lyrics to the song are very KISS but also are pretty shock-laden, leaving me desiring more oomph than just another KISS sex song. But that guitar work! Now that is where it is at! It is the main reason this song is getting a higher rating. I often get lost in the guitar more than anything else in the track because it is so damn pleasant to the ears. The song is catchy as hell, the lyrics are silly, and it is all done with that KISS masterful stroke that shows why they are one of the most notorious bands in all of rock history. What is this? Their fourth time on the website? If it isn't made clear yet, KISS is a great group that serves up simple hard rock that pleased a whole generation of Americans. Even now, KISS is one of the most listened to classic rock artists and sucks up new fans with each passing moon. I have been a big fan of the band for years now, and through KISS I found a massive dedication for all things rock music. They are titans, and these rock titans recorded "Mr. Speed", a track I now give to you. Keep it going! Send this track to your wife; she will love the lyrics, I promise. Before you do it, be sure to hide the pans and throw an ice pack in the freezer for later. For the... Uh.... Beer and pizza she will certainly be buying you. Good luck! Enjoy!
Year Released: 1976
Album: Rock and Roll Over (1976)
Genre: Hard Rock
Mood: Erotic
Perfect For: Casual listening, Driving in the heat, Dirty thoughts
Where To Next: "Rag Doll" - Aerosmith
Rating: 8 / 10
Song of the Day 03/13/2026
"Powerslave" - Iron Maiden
Oh man, do we have an epic one for today! Iron Maiden is well respected for their powerful songs, especially those like "Powerslave", "To Tame a Land", "Empire of the Clouds", "Flight of Icarus", "The Clairvoyant", and we cannot forget "The Trooper" among so many other thrilling songs. Iron Maiden is one of the gods of heavy metal. Their career has been matched by very few, only being beat out by the likes of Metallica and maybe Black Sabbath; in fact, Maiden is the second highest selling metal band to date. That is so long as you keep out the hard rock bands that got ushered into the metal scene, bands like Mötley Crüe, Guns N' Roses, and Linkin Park. In the metal world, getting yourself up to that point is usually met with a ton of stupid labels. Things like "sellout" are the first to come to mind. I hate those types of metalheads, they can kick rocks, but strangely I rarely hear that about Iron Maiden. It seems they are respected in pretty much all circles, naturally, they will have a few haters, which is to be expected, but overall they seem to have a clean sweep with just about everyone. A portion of that is likely due to Iron Maiden never getting all too extreme. Their style is cleaned up so rockers and metalheads can both really get into it. Through wise imagery, storytelling, and a signature sound, Iron Maiden is a name that will forever be synonymous with the heavy metal genre. This is our third time on the website talking about Iron Maiden. Honestly, I am shocked it isn't more, but I am sure AintNoisePollution will be filled up here soon with Maiden. Our first post was about the underrated "Futureal" from the band's blunder album Virtual XI, and the second was "Wasting Love" from Fear of the Dark which we just talked about last month. If you missed those, I suggest going back for some of their history. Both have two of the unique Eddie designs, with the Fear of the Dark Eddie being one of the creepiest and well-designed. Who is Eddie? Well, I would kick you in the shin if I could. It is the mascot of the band! I would wager Eddie is the most famous band mascot ever, and he shows up on the cover of each mainline Iron Maiden album art. There are so many cool variations, enough variations that Iron Maiden had a successful mobile game called Legacy of the Beast that has you fighting alongside the Eddies. I played that for a little bit when it first came out. It was a damn cool idea with a great aesthetic. I'm just not much into mobile games. Anyway, when the band was first starting up, they made a papier-mâché mask that would spew blood that they called "the Head". It became a pretty big part of their show, and by the time they got signed Eddie came along for the ride. When asked what the name of the mask was, they replied "the Head" which sounded a lot like "Ed" with their heavy British accent, and everyone just assumed that was the thing's name. His proper name is Edward T. Head, but we all just call him Eddie. The band's first true single, "Running Free", is the first to have Eddie. I love that artwork; it has this creepy back alley where Eddie is chasing an unsuspecting rocker right into the arms of a monster who will likely eat him. This first variation of Eddie is shrouded in mystery, but it is a gripping image. Since then he has been featured on practically everything, be it the album art, most singles, merch, advertisements, and so on. He is almost as iconic as the band's music. Most of the art comes from the talented hand of Derek Riggs who came up with Eddie, but a couple of other people have tried their hands at Eddie. Riggs has done some album covers for other bands, but none are as impressive as those that he did for Iron Maiden. Man, metal had some damn cool mascots for their bands. I wonder why more genres don't do mascots. I mean, rap and rock have had a couple, but not like Eddie. For today we are taking a look at the band's 1984 phenomenal Powerslave, easily one of their most impressive albums, which is saying something serious since every studio album of theirs has something of merit. I think the Egyptian Eddie is one of my favorite designs; there is a sense of power in his soulless eyes. From start to finish, Powerslave is a testament to the timeless tracks that Iron Maiden dished out like it was a natural thing to do. It holds a good chunk of their most impressive tracks and I would say is one of the greatest places to jump into the band, maybe coming second to their groundbreaking Number of the Beast. I will never be able to pick a single Iron Maiden album to be my favorite; that is just one of those questions I refuse to answer, but Powerslave would easily be one fighting for the king's throne.
So, what makes Powerslave stand above the majority of Iron Maiden's massively successful 17 studio album run? How about the songs that make up the album? Tracks like "Aces High" and "2 Minutes to Midnight" already have it placing near the top for their greatest albums, especially "Aces High". Both of those songs are Iron Maiden classics! But the real mojo is in the other tracks. "The Duelists" and "Flash of the Blade" show their presence in the heavy metal world with pure glory. The instrumental "Losfer Words (Big 'Orra)" is something to marvel at. "Rime of the Ancient Mariner" shows off how talented the band is at writing a completely compelling song, even if it comes in well over 10 minutes. That track was their longest one for a damn long time until "Empire of the Clouds" took the trophy home with its 18-minute playing time in 2015. "Rime of the Ancient Mariner" is a beast of a song; you need to grab popcorn for that sucker, just be sure not to choke. "Back in the Village" is the only song on the album that is a baby bit weaker, but a weak Iron Maiden song from their prime is often equal to the greatest hits of the majority of other heavy metal acts. That leaves us with my favorite track off the album, the iconic, the thrilling, the goddamn sensational "Powerslave". I mean, the song is the album's title track, a choice that isn't made lightly. It has a piece of what makes all the other songs on the album spectacular. It has the commercial appeal of "Aces High", the intricacy of "Losfer Words (Big 'Orra)", some of the power and the glory of "Flash of the Blade", and the epic feeling of "Rime of the Ancient Mariner". Each time I listen through the album, I think I have already hit the peak moment of the album each time the next track comes on, but once "Powerslave" is over, I know that this is the highest high this album ever hits. The kind of track to give you full-body chills. If you have yet to guess it from the album art and such, Powerslave has an Egyptian theme. The title track is no different and covers the theme of a pharaoh meeting death. He defies his demise, questioning why a god must die, a man who arrogantly believes he is too powerful for death. Can you really blame him? He has been led to believe that someone so powerful shouldn't die, but death does come, and it is then that he realizes he is simply a slave to the power of death, like we all are. A heavy thing to grapple with, and the topic of death is one that creeps over me often, and it is such a strange topic to mentally pick at. Why fear it? Death is as natural as life; for a god, a ruler, a peasant, or a warrior, we all are slaves to the power of death. Well, for "Powerslave" it starts off with a haunting wailing of death. The song kicks into gear once the drums send it off and the rest of the band joins in with a cliché Egyptian style brought forth by dueling guitars and that iconic bass work from Steve Harris. Bruce Dickinson uses his iconic vocal prowess to suck you into the story. I don't feel bad for our character; he lived a lavish life where death and power were his to wield. He can plead all he wants, but another will sit upon his throne and too will die. The song starts off with his cries of frustration until he dies at the 3:00 minute mark, a beautifully haunting instrumental break that never fails to give me chills. Something melancholic turns into a fast-paced, head-banging-inducing guitar onslaught with each member supporting the guitar solo along famously. It isn't until the 5:20 mark that we get back to the story. Our mortal god is now dead and is put into his sarcophagus with a warning to not open his tomb or he will strike you down. Classic. This whole song is perfect, but I love the ending almost more than the rest. The intense vocals from Bruce Dickinson and the way the band ends it fairly abruptly make you feel so damn hollow. Shit, it gives me a headache sometimes since I was so entranced in the song, and then bam, it is over. Luckily the rest of the album is dedicated to "Rime of the Ancient Mariner," so you get sucked right back into another of Iron Maiden's most enchanting songs. Man, do I love this album, and especially this song. I chose the song of the day when I had a random deep desire to spend most of my work shift listening to as many Iron Maiden covers as I could get my grubby hands on. "Powerslave" was one that kept popping up, the best of which came from Testament, but Iron Maiden is not an easy band to cover. I would often listen to a cover of the song and then really want to hear the original, so the day turned into me listening to a cover and then the original back and forth all day. "Flash of the Blade" from Avenged Sevenfold and then the original, "Powerslave" from Testament and back to the original, one of my favorite covers of Iron Maiden's "Hallowed Be Thy Name" from Cradle of Filth and back to the original. There is also a strangely large amount of great covers of "Remember Tomorrow". Eventually that just turned into me listening to the glory of Iron Maiden all day. I had the chorus of "Powerslave" playing through my head even later when I was doing my music studies and knew I just had to bring it to the website. Sometimes it frustrates me that I cannot fully express how phenomenal a song is here. I sure try, but I just can't express it fully. "Powerslave" is great; they should have included it on the Voyager satellites. It is an achievement in music! Well, I will never be fully able to express what is within my soul. I should be simply content with sharing this song with you, though I am sure you might already know it. You know what to do. Play the song already! Enjoy!
Year Released: 1984
Album: Powerslave (1984)
Genre: Heavy Metal
Mood: Haunting
Perfect For: Accepting death, Reflecting on the fragile balance of existence, Headbanging, Getting chills
Where To Next: "Egypt (The Chains Are On)" - Dio
Rating: 10 / 10
Oh man, do we have an epic one for today! Iron Maiden is well respected for their powerful songs, especially those like "Powerslave", "To Tame a Land", "Empire of the Clouds", "Flight of Icarus", "The Clairvoyant", and we cannot forget "The Trooper" among so many other thrilling songs. Iron Maiden is one of the gods of heavy metal. Their career has been matched by very few, only being beat out by the likes of Metallica and maybe Black Sabbath; in fact, Maiden is the second highest selling metal band to date. That is so long as you keep out the hard rock bands that got ushered into the metal scene, bands like Mötley Crüe, Guns N' Roses, and Linkin Park. In the metal world, getting yourself up to that point is usually met with a ton of stupid labels. Things like "sellout" are the first to come to mind. I hate those types of metalheads, they can kick rocks, but strangely I rarely hear that about Iron Maiden. It seems they are respected in pretty much all circles, naturally, they will have a few haters, which is to be expected, but overall they seem to have a clean sweep with just about everyone. A portion of that is likely due to Iron Maiden never getting all too extreme. Their style is cleaned up so rockers and metalheads can both really get into it. Through wise imagery, storytelling, and a signature sound, Iron Maiden is a name that will forever be synonymous with the heavy metal genre. This is our third time on the website talking about Iron Maiden. Honestly, I am shocked it isn't more, but I am sure AintNoisePollution will be filled up here soon with Maiden. Our first post was about the underrated "Futureal" from the band's blunder album Virtual XI, and the second was "Wasting Love" from Fear of the Dark which we just talked about last month. If you missed those, I suggest going back for some of their history. Both have two of the unique Eddie designs, with the Fear of the Dark Eddie being one of the creepiest and well-designed. Who is Eddie? Well, I would kick you in the shin if I could. It is the mascot of the band! I would wager Eddie is the most famous band mascot ever, and he shows up on the cover of each mainline Iron Maiden album art. There are so many cool variations, enough variations that Iron Maiden had a successful mobile game called Legacy of the Beast that has you fighting alongside the Eddies. I played that for a little bit when it first came out. It was a damn cool idea with a great aesthetic. I'm just not much into mobile games. Anyway, when the band was first starting up, they made a papier-mâché mask that would spew blood that they called "the Head". It became a pretty big part of their show, and by the time they got signed Eddie came along for the ride. When asked what the name of the mask was, they replied "the Head" which sounded a lot like "Ed" with their heavy British accent, and everyone just assumed that was the thing's name. His proper name is Edward T. Head, but we all just call him Eddie. The band's first true single, "Running Free", is the first to have Eddie. I love that artwork; it has this creepy back alley where Eddie is chasing an unsuspecting rocker right into the arms of a monster who will likely eat him. This first variation of Eddie is shrouded in mystery, but it is a gripping image. Since then he has been featured on practically everything, be it the album art, most singles, merch, advertisements, and so on. He is almost as iconic as the band's music. Most of the art comes from the talented hand of Derek Riggs who came up with Eddie, but a couple of other people have tried their hands at Eddie. Riggs has done some album covers for other bands, but none are as impressive as those that he did for Iron Maiden. Man, metal had some damn cool mascots for their bands. I wonder why more genres don't do mascots. I mean, rap and rock have had a couple, but not like Eddie. For today we are taking a look at the band's 1984 phenomenal Powerslave, easily one of their most impressive albums, which is saying something serious since every studio album of theirs has something of merit. I think the Egyptian Eddie is one of my favorite designs; there is a sense of power in his soulless eyes. From start to finish, Powerslave is a testament to the timeless tracks that Iron Maiden dished out like it was a natural thing to do. It holds a good chunk of their most impressive tracks and I would say is one of the greatest places to jump into the band, maybe coming second to their groundbreaking Number of the Beast. I will never be able to pick a single Iron Maiden album to be my favorite; that is just one of those questions I refuse to answer, but Powerslave would easily be one fighting for the king's throne.
So, what makes Powerslave stand above the majority of Iron Maiden's massively successful 17 studio album run? How about the songs that make up the album? Tracks like "Aces High" and "2 Minutes to Midnight" already have it placing near the top for their greatest albums, especially "Aces High". Both of those songs are Iron Maiden classics! But the real mojo is in the other tracks. "The Duelists" and "Flash of the Blade" show their presence in the heavy metal world with pure glory. The instrumental "Losfer Words (Big 'Orra)" is something to marvel at. "Rime of the Ancient Mariner" shows off how talented the band is at writing a completely compelling song, even if it comes in well over 10 minutes. That track was their longest one for a damn long time until "Empire of the Clouds" took the trophy home with its 18-minute playing time in 2015. "Rime of the Ancient Mariner" is a beast of a song; you need to grab popcorn for that sucker, just be sure not to choke. "Back in the Village" is the only song on the album that is a baby bit weaker, but a weak Iron Maiden song from their prime is often equal to the greatest hits of the majority of other heavy metal acts. That leaves us with my favorite track off the album, the iconic, the thrilling, the goddamn sensational "Powerslave". I mean, the song is the album's title track, a choice that isn't made lightly. It has a piece of what makes all the other songs on the album spectacular. It has the commercial appeal of "Aces High", the intricacy of "Losfer Words (Big 'Orra)", some of the power and the glory of "Flash of the Blade", and the epic feeling of "Rime of the Ancient Mariner". Each time I listen through the album, I think I have already hit the peak moment of the album each time the next track comes on, but once "Powerslave" is over, I know that this is the highest high this album ever hits. The kind of track to give you full-body chills. If you have yet to guess it from the album art and such, Powerslave has an Egyptian theme. The title track is no different and covers the theme of a pharaoh meeting death. He defies his demise, questioning why a god must die, a man who arrogantly believes he is too powerful for death. Can you really blame him? He has been led to believe that someone so powerful shouldn't die, but death does come, and it is then that he realizes he is simply a slave to the power of death, like we all are. A heavy thing to grapple with, and the topic of death is one that creeps over me often, and it is such a strange topic to mentally pick at. Why fear it? Death is as natural as life; for a god, a ruler, a peasant, or a warrior, we all are slaves to the power of death. Well, for "Powerslave" it starts off with a haunting wailing of death. The song kicks into gear once the drums send it off and the rest of the band joins in with a cliché Egyptian style brought forth by dueling guitars and that iconic bass work from Steve Harris. Bruce Dickinson uses his iconic vocal prowess to suck you into the story. I don't feel bad for our character; he lived a lavish life where death and power were his to wield. He can plead all he wants, but another will sit upon his throne and too will die. The song starts off with his cries of frustration until he dies at the 3:00 minute mark, a beautifully haunting instrumental break that never fails to give me chills. Something melancholic turns into a fast-paced, head-banging-inducing guitar onslaught with each member supporting the guitar solo along famously. It isn't until the 5:20 mark that we get back to the story. Our mortal god is now dead and is put into his sarcophagus with a warning to not open his tomb or he will strike you down. Classic. This whole song is perfect, but I love the ending almost more than the rest. The intense vocals from Bruce Dickinson and the way the band ends it fairly abruptly make you feel so damn hollow. Shit, it gives me a headache sometimes since I was so entranced in the song, and then bam, it is over. Luckily the rest of the album is dedicated to "Rime of the Ancient Mariner," so you get sucked right back into another of Iron Maiden's most enchanting songs. Man, do I love this album, and especially this song. I chose the song of the day when I had a random deep desire to spend most of my work shift listening to as many Iron Maiden covers as I could get my grubby hands on. "Powerslave" was one that kept popping up, the best of which came from Testament, but Iron Maiden is not an easy band to cover. I would often listen to a cover of the song and then really want to hear the original, so the day turned into me listening to a cover and then the original back and forth all day. "Flash of the Blade" from Avenged Sevenfold and then the original, "Powerslave" from Testament and back to the original, one of my favorite covers of Iron Maiden's "Hallowed Be Thy Name" from Cradle of Filth and back to the original. There is also a strangely large amount of great covers of "Remember Tomorrow". Eventually that just turned into me listening to the glory of Iron Maiden all day. I had the chorus of "Powerslave" playing through my head even later when I was doing my music studies and knew I just had to bring it to the website. Sometimes it frustrates me that I cannot fully express how phenomenal a song is here. I sure try, but I just can't express it fully. "Powerslave" is great; they should have included it on the Voyager satellites. It is an achievement in music! Well, I will never be fully able to express what is within my soul. I should be simply content with sharing this song with you, though I am sure you might already know it. You know what to do. Play the song already! Enjoy!
Year Released: 1984
Album: Powerslave (1984)
Genre: Heavy Metal
Mood: Haunting
Perfect For: Accepting death, Reflecting on the fragile balance of existence, Headbanging, Getting chills
Where To Next: "Egypt (The Chains Are On)" - Dio
Rating: 10 / 10
Song of the Day 03/12/2026
"Attack" - System of a Down
Ladies and gentlemen, I have for you today one of rock and metal's strangest yet most captivating bands that have ever hit the mainstream, System of a Down. This is the second time System of a Down has hit AintNoisePollution, but that doesn't make this post any less impactful. "Attack" has one hell of an aggressive intro, much more frontal and abusive than the majority of their songs out there, hence why it was only a matter of time until it showed up here. Today is the day, but we will get there. System of a Down gained immense fame for plenty of reasons, be it their natural ability at standing out from a crowd since they are outlandish, songs that completely defined their respective years they released music, strong stances on political and societal issues, and so much piss and vigor it makes you drunk. Another thing that gained them some fame is their lyrics, lyrics that are wonderfully written to make you think things through. Take a look at "Prison Song", "B.Y.O.B.", "Hypnotize", "Attack", and "Aerials" all of which are packed with wisely put together lyrics. On the other side of the System of a Down coin, they also have some comically odd lyrics, one of my favorites being off "Vicinity to Obscene" with the line "banana, banana, banana, banana, terracotta, terracotta, pie" which are wise words indeed. Also, the band has plenty of songs that say some of the boldest shit that a mainstream band might have gotten away with, songs like "Cigaro" which my old coworker used to blare on his speakers at work and would always make me feel uncomfortable. That same dude got arrested for shooting at cars on the highway after a road rage incident. That cat was crazy, not the fun kind of crazy, like a time bomb kind of crazy. I wonder where he ended up. I hope he is doing well since he was still a good person at heart, just had some serious demons. With that in mind, it isn't all too shocking that he was a big System of a Down fan; it seems to be a theme with this form of hard rock and heavy metal. Like calls to like. Now, I too have been a big fan of System of a Down for a damn long time. My father's copy of Toxicity used to play religiously when I was a child, so by the time I was even old enough to type something into a computer or get enough money to buy a CD, I knew the album all too well. For some reason he only stuck with that one System of a Down album for probably his whole life, something I don't blame him for since that one is a perfect album all the way through. I will never skip a System of a Down song unless it is one of the songs like "Cigaro", "Violent Pornography", or "P.L.U.C.K." if I am with the wrong company. Don't wanna give Nana a heart attack, see? The band has a special sound, one heavily dipped in the late 1990s and early 2000s, but like the finest of wines and stinkiest of cheeses, it aged to perfection. A sound that so many groups tried replicating, but there is simply no replicating System of a Down. Their obscenity and unique style made that a fact, no matter who jumped onto their off-kilter wagon. All the members of the band are of Armenian descent, and I suppose it was fate they all met each other to start up a band seemingly destined to take the fight to the masses. Vocalist Serj Tankian and guitarist/vocalist Daro Malakian attended the same school as children, but due to their age gap, they never met each other until they just happened to meet at a recording space. The two of them, alongside bassist Shavo Odadjian and some other chums, started up a band named Soil (not the 2000s nu metal group). The band played only one show before it fizzled out, and half the band left, leaving Malakian, Odadjian, and Tankian without a band and starting it all over. This go-around they got a new name that they took from one of Daro Malakian's poems named "Victims of a Down" but switched the victim for system to appeal to a larger group and also so they could be alphabetized next to their favorite band, Slayer. A smart move. After plenty of shows around Los Angeles and dishing out demo tapes, they caught the eyes of legendary producer Rick Rubin, who told them to keep in touch. They recorded their final demo album specifically meant to further his interest, and it struck home. By 1998 they had gotten into a big-time studio and recorded their self titled debut album. To everyone's shock, the album shot up the Heatseekers charts and did mighty well for such a strange debut. Rubin really loved the band but didn't think as many people would take to the band as they did. That debut of theirs only grew in status, sales, and fame after the band released their fuckin' iconic second studio album, Toxicity, in 2001.
You know that album, so I won't get into it, but there are few albums out of the early 2000s that were this great. I mean it, and I will die on this hill, this album is one of the greatest from the 2000s. Honestly, I don't think I will have to fight you too hard on this one, because you know it is true. That album shot them into immense stardom! Their name and the hit singles such as "Chop Suey!", "Toxicity", and "Aerials" were being praised and played loudly all across the globe. They took another year before releasing their third album, the very System of a Down named Steal This Album! which saw the band getting back to their roots now that they had gathered a feverish fan base. They could be themselves and didn't have any care about appealing to everyone. Shit, they could have put out an hour of them farting into a microphone after Toxicity and people would have bought it up, probably taking it as a big middle finger to corporate America. Lyrically that one is strange, but even with some of the tracks not having the same commercial slap to them, they are just as grand as those on Toxicity. It sold well, not nearly as well as their previous, but I like to think that is because many people took the album name too literally. There was a few-year gap between their third and fourth studio albums, but they made up for it tenfold by releasing two of their greatest within the same year in 2005. That set is the albums Mezmerize and Hypnotize. Releasing two stellar albums in the same year was a somewhat common phenomenon in the 1950s–1979, but hardly any bands were doing that in the 2000s. That could be due to how the music industry was during that time or simply because other bands weren't System of a Down. Well, both the albums are great! Hypnotize went on to be their final album, but with a song released sporadically since then and the band currently going on tour, I think now is one of the greatest times for System of a Down to get back into that studio. Shit, with the way of the world and the status of the United States falling into a dictatorship, they would have plenty of new fans and be able to please the fanatics that have followed the band for years. The members of that band have always sort of shut down the hopes of another album; each is content with the legacy left by the band and has their own solo material they are working on. Our song of the day comes off their fifth studio album, Hypnotize, and as I stated earlier, it is a mean motherfucker. It is the first track off the album, and its placement I am sure was put there to let you know that this album is not messing around. They might as well have highlighted that parental advisory sticker of glory on the CD when it was released. Now, for those elitist metalheads out there scoffing and spitting at what I am saying, think of other mainstream bands of the time that went this damn hard and got away with it. "Attack" wasn't being broadcasted over the radio, sure, but the album achieving platinum status within months of its release shows that we all know someone who owned this album at some point or another. I am certainly one of them, I think I still own all the System of a Down CDs from my youth. In comparison to Hypnotize's companion album that was released earlier in 2005, Mezmerize, it doesn't hold the same modern notoriety, but you simply cannot have one without the other. I love them both equally. It is like choosing between children; you have a favorite, but it is wrong to say it out loud. I am my mom's favorite, you heard me, Kendra! Anyway, "Attack" kicks off the album with a bang with its mean style and lyrics to match it. The song revolves around war and propaganda. System of a Down is rivaled by few at how great they are at writing sometimes cryptic lyrics that are loaded with pissed-off meanings, especially when it comes to war and inhumanity. The band always makes me sit there and ponder how dumb humans are for hours after. We could be so much more, so much better, but we are all hateful and selfish things that only consume and attack. The masses eat up hate speech so we can dehumanize our fellow man. They know what they are doing; it doesn't feel as personal if you kill something that is so unlike you. Dumb humans. We have it coming, ya know? I think we all do deserve to die. I do, you do. Not in small batches, that is damn wrong, but as a species. We have it coming. Well, I am sure you didn't come here to get depressed with the state of the world, but once you saw it was System of a Down, you should have expected it. "Attack" sets off the tone of Hypnotize, it is a wicked ride of raw aggression complimented by damn impressive guitar work, gut-wrenching drumming, funky and supportive bass onslaught, in your face vocal work, and yes, a ton of poetically significant lyricism that makes you feel guilty for being part of such a fiendish species. Music only shows that things don't change; the only thing that changes is the shades of red. Well, I am glad you came here, and I hope that this website is a place for you to just enjoy the simple things in life. Art. Conversation. Music. And System of a Down. Enjoy!
Year Released: 2005
Album: Hypnotize (2005)
Genre: Heavy Metal, Nu Metal, Hard Rock
Mood: Aggressive
Perfect For: Writing poetry, Thinking on the folly of man, Playing loud, Commuting
Where To Next: "Evolution" - KoRn
Rating: 7 / 10
Ladies and gentlemen, I have for you today one of rock and metal's strangest yet most captivating bands that have ever hit the mainstream, System of a Down. This is the second time System of a Down has hit AintNoisePollution, but that doesn't make this post any less impactful. "Attack" has one hell of an aggressive intro, much more frontal and abusive than the majority of their songs out there, hence why it was only a matter of time until it showed up here. Today is the day, but we will get there. System of a Down gained immense fame for plenty of reasons, be it their natural ability at standing out from a crowd since they are outlandish, songs that completely defined their respective years they released music, strong stances on political and societal issues, and so much piss and vigor it makes you drunk. Another thing that gained them some fame is their lyrics, lyrics that are wonderfully written to make you think things through. Take a look at "Prison Song", "B.Y.O.B.", "Hypnotize", "Attack", and "Aerials" all of which are packed with wisely put together lyrics. On the other side of the System of a Down coin, they also have some comically odd lyrics, one of my favorites being off "Vicinity to Obscene" with the line "banana, banana, banana, banana, terracotta, terracotta, pie" which are wise words indeed. Also, the band has plenty of songs that say some of the boldest shit that a mainstream band might have gotten away with, songs like "Cigaro" which my old coworker used to blare on his speakers at work and would always make me feel uncomfortable. That same dude got arrested for shooting at cars on the highway after a road rage incident. That cat was crazy, not the fun kind of crazy, like a time bomb kind of crazy. I wonder where he ended up. I hope he is doing well since he was still a good person at heart, just had some serious demons. With that in mind, it isn't all too shocking that he was a big System of a Down fan; it seems to be a theme with this form of hard rock and heavy metal. Like calls to like. Now, I too have been a big fan of System of a Down for a damn long time. My father's copy of Toxicity used to play religiously when I was a child, so by the time I was even old enough to type something into a computer or get enough money to buy a CD, I knew the album all too well. For some reason he only stuck with that one System of a Down album for probably his whole life, something I don't blame him for since that one is a perfect album all the way through. I will never skip a System of a Down song unless it is one of the songs like "Cigaro", "Violent Pornography", or "P.L.U.C.K." if I am with the wrong company. Don't wanna give Nana a heart attack, see? The band has a special sound, one heavily dipped in the late 1990s and early 2000s, but like the finest of wines and stinkiest of cheeses, it aged to perfection. A sound that so many groups tried replicating, but there is simply no replicating System of a Down. Their obscenity and unique style made that a fact, no matter who jumped onto their off-kilter wagon. All the members of the band are of Armenian descent, and I suppose it was fate they all met each other to start up a band seemingly destined to take the fight to the masses. Vocalist Serj Tankian and guitarist/vocalist Daro Malakian attended the same school as children, but due to their age gap, they never met each other until they just happened to meet at a recording space. The two of them, alongside bassist Shavo Odadjian and some other chums, started up a band named Soil (not the 2000s nu metal group). The band played only one show before it fizzled out, and half the band left, leaving Malakian, Odadjian, and Tankian without a band and starting it all over. This go-around they got a new name that they took from one of Daro Malakian's poems named "Victims of a Down" but switched the victim for system to appeal to a larger group and also so they could be alphabetized next to their favorite band, Slayer. A smart move. After plenty of shows around Los Angeles and dishing out demo tapes, they caught the eyes of legendary producer Rick Rubin, who told them to keep in touch. They recorded their final demo album specifically meant to further his interest, and it struck home. By 1998 they had gotten into a big-time studio and recorded their self titled debut album. To everyone's shock, the album shot up the Heatseekers charts and did mighty well for such a strange debut. Rubin really loved the band but didn't think as many people would take to the band as they did. That debut of theirs only grew in status, sales, and fame after the band released their fuckin' iconic second studio album, Toxicity, in 2001.
You know that album, so I won't get into it, but there are few albums out of the early 2000s that were this great. I mean it, and I will die on this hill, this album is one of the greatest from the 2000s. Honestly, I don't think I will have to fight you too hard on this one, because you know it is true. That album shot them into immense stardom! Their name and the hit singles such as "Chop Suey!", "Toxicity", and "Aerials" were being praised and played loudly all across the globe. They took another year before releasing their third album, the very System of a Down named Steal This Album! which saw the band getting back to their roots now that they had gathered a feverish fan base. They could be themselves and didn't have any care about appealing to everyone. Shit, they could have put out an hour of them farting into a microphone after Toxicity and people would have bought it up, probably taking it as a big middle finger to corporate America. Lyrically that one is strange, but even with some of the tracks not having the same commercial slap to them, they are just as grand as those on Toxicity. It sold well, not nearly as well as their previous, but I like to think that is because many people took the album name too literally. There was a few-year gap between their third and fourth studio albums, but they made up for it tenfold by releasing two of their greatest within the same year in 2005. That set is the albums Mezmerize and Hypnotize. Releasing two stellar albums in the same year was a somewhat common phenomenon in the 1950s–1979, but hardly any bands were doing that in the 2000s. That could be due to how the music industry was during that time or simply because other bands weren't System of a Down. Well, both the albums are great! Hypnotize went on to be their final album, but with a song released sporadically since then and the band currently going on tour, I think now is one of the greatest times for System of a Down to get back into that studio. Shit, with the way of the world and the status of the United States falling into a dictatorship, they would have plenty of new fans and be able to please the fanatics that have followed the band for years. The members of that band have always sort of shut down the hopes of another album; each is content with the legacy left by the band and has their own solo material they are working on. Our song of the day comes off their fifth studio album, Hypnotize, and as I stated earlier, it is a mean motherfucker. It is the first track off the album, and its placement I am sure was put there to let you know that this album is not messing around. They might as well have highlighted that parental advisory sticker of glory on the CD when it was released. Now, for those elitist metalheads out there scoffing and spitting at what I am saying, think of other mainstream bands of the time that went this damn hard and got away with it. "Attack" wasn't being broadcasted over the radio, sure, but the album achieving platinum status within months of its release shows that we all know someone who owned this album at some point or another. I am certainly one of them, I think I still own all the System of a Down CDs from my youth. In comparison to Hypnotize's companion album that was released earlier in 2005, Mezmerize, it doesn't hold the same modern notoriety, but you simply cannot have one without the other. I love them both equally. It is like choosing between children; you have a favorite, but it is wrong to say it out loud. I am my mom's favorite, you heard me, Kendra! Anyway, "Attack" kicks off the album with a bang with its mean style and lyrics to match it. The song revolves around war and propaganda. System of a Down is rivaled by few at how great they are at writing sometimes cryptic lyrics that are loaded with pissed-off meanings, especially when it comes to war and inhumanity. The band always makes me sit there and ponder how dumb humans are for hours after. We could be so much more, so much better, but we are all hateful and selfish things that only consume and attack. The masses eat up hate speech so we can dehumanize our fellow man. They know what they are doing; it doesn't feel as personal if you kill something that is so unlike you. Dumb humans. We have it coming, ya know? I think we all do deserve to die. I do, you do. Not in small batches, that is damn wrong, but as a species. We have it coming. Well, I am sure you didn't come here to get depressed with the state of the world, but once you saw it was System of a Down, you should have expected it. "Attack" sets off the tone of Hypnotize, it is a wicked ride of raw aggression complimented by damn impressive guitar work, gut-wrenching drumming, funky and supportive bass onslaught, in your face vocal work, and yes, a ton of poetically significant lyricism that makes you feel guilty for being part of such a fiendish species. Music only shows that things don't change; the only thing that changes is the shades of red. Well, I am glad you came here, and I hope that this website is a place for you to just enjoy the simple things in life. Art. Conversation. Music. And System of a Down. Enjoy!
Year Released: 2005
Album: Hypnotize (2005)
Genre: Heavy Metal, Nu Metal, Hard Rock
Mood: Aggressive
Perfect For: Writing poetry, Thinking on the folly of man, Playing loud, Commuting
Where To Next: "Evolution" - KoRn
Rating: 7 / 10
Song of the Day 03/11/2026
"This Flight Tonight" - Nazareth
I don't think there is another Scottish rock band out there that hit the same point of acclaim as Nazareth did. Nazareth has been a long-time backbone to rock and hard rock. Through incredible hard work and continuous touring, the band got their name into the history books of rock music. Tracks like "Hair of the Dog" and "Love Hurts" are classics from the rock genre, tracks everyone recognizes. A couple of their most famous songs are covers, but the power they bring to those tracks almost rewrote them into their hits. "Love Hurts" is a prime example of just that. The song was originally recorded by the Everly Brothers in 1960. A stellar song from start to finish, but it has one hell of a time keeping up with the dreamy and desperate feeling that is the Nazareth version. "Love Hurts" is easily more recognizable from Nazareth; they took it over, and it almost became their song. Our song of the day today, "This Flight Tonight" follows the same suit. The song was written and recorded by the folk goddess, Joni Mitchell. Joni Mitchell loved the Nazareth version; she comically opened up her concerts with "I'm going to perform a Nazareth song". Now, that is one hell of a compliment. Joni Mitchell is an icon but felt her own song was completely taken by Nazareth. They just got that much power. They aren't a hard rock band that is all fire; there is a ton of soul to the group, and that soul is what helped them stand apart from the hundreds of guitars that were screaming in the name of rock. Nazareth has their fair share of covers, but their original material is just as spectacular. They have been a longtime champion of my "favorites" list. Nazareth has been with me for the grand majority of my life. From the first time I heard "Hair of the Dog" on the show My Name Is Earl, I was an instant fan. Not to go off topic, but I don't think there has ever been another show that had such a great soundtrack. Each episode was full of iconic songs and plenty of hidden gems. My girlfriend would fight back, saying that Supernatural beats it, but I ain't gonna hear that static. My Name Is Earl was not only a great show that got stolen from us, but that damned soundtrack helped me and many others find their home in some hard rock heaven. Not only that, they included songs from all sorts of genres, but mostly rock. Man... I miss that show... There really aren't too many shows like it now. Not that I am an authority on shows, quite the opposite actually, but maybe some of that is due to them not being nearly as soulful as My Name Is Earl. You'd get a life lesson, a great story, and a Lynyrd Skynyrd song all within the same episode. Anyway, Nazareth was one of many great artists I discovered from that show at a young age. I downloaded and had that one Nazareth song on my original MP3 player, a time when 81 songs was enough to keep me satisfied. Simpler times. Simpler times. As time moved on, I got further and further into the band, and by the time I was 15, I had gone through their discography many times over. I can listen to the full Hair of the Dog and Razamanaz albums in my head without missing a single part. Nazareth is a big part of me, and I am happy to have one of their greatest tracks here with us today. This is their third time on the website, but the last choice was last March, so I would say we are past due on some Nazareth.
Honestly, I am not sure what we talked about last time. I am sure it was "this band is so good" and "oh... my... god.... Becky", but if it ain't broken, why fix it? Nazareth started up in 1968 with remnants of The Shadettes, a group that found some local following in Dunfermline but never made it all too far. Nazareth didn't find their name from any biblical themes; strangely, they named their band after the town of Nazareth, Pennsylvania. You might be like, why? But they got the name from The Band song "The Weight", which makes a lot more sense. I just Google Earthed that town, and it is pretty small but cute. Not "I will name my band after this place" cute, but cute. Anyway, the band uprooted to London in 1970 and got right to getting their name out there. Their debut album released in 1971, a self titled hidden gem of hard rock that isn't as powerful as some of their later albums but still serves as a decent debut. It went fairly unnoticed by the masses but still spurred two hit songs. Their second album, Exercises, didn't fare all too much better but now showed that Nazareth won't be pushed away. They got their sound down, and people were digging it, and that got them thrown onto a tour with Deep Purple, who were kings of the rock world by this point. Roger Glover (bassist of Deep Purple & Rainbow) took a personal interest in Nazareth, and that is when things really changed for these boys from Scotland. Razamanaz was produced by Roger Glover, and the quality between their second album and their third was heavily felt, literally. Razamanaz was the band's breakout album and is, hands down, one of their greatest achievements. It left behind some of the blues-tinged hard rock sound for something more straightforward and commercial. Great guitar licks are met with cafeteria lady vocals that predate Brian Johnson of AC/DC. An exciting album from start to finish that takes no prisoners. A perfect complimenting album to the hard rock sensation that consumed rock music in the early 1970s. I could talk all day about my deep love for Razamanaz and its buckets of great songs, but maybe we will do that next time, or go back and check out my post from last year. It might be a fun experience to see how I have grown as a writer and perhaps how much you have learned here since then. Anyway, that album is great, and Roger Glover had a hand in pointing the band in the right direction. He stuck around for some of their next albums, and their fourth album is where we will stop for the day. Loud 'n' Proud is another titan of an album from Nazareth. This one has a little bit more texture than Razamanaz, and kept up the band's newfound image as being hard rock soldiers. They didn't waste any time getting this album together; it was released in the same year as their third album. Loud 'n' Proud released in November of 1973, and while it modernly doesn't hold the same acclaim as their previous album, it sold much better when released in 1973. It was the band's highest-reaching album to date, going platinum in Australia and charting at the 10th spot and higher in the majority of Europe. The United States was still dragging their ape arms in the dirt on Nazareth, but we were getting there. Some of what made this album such a smash was the leading single, and our song of the day, "This Flight Tonight". Joni Mitchell originally recorded the song in 1971, where it showed up on her iconic album, Blue. An essential folk album for anyone wanting to take in some mellow and skillfully crafted music. The band could have picked any from that kick-ass album, but their style mixed perfectly with "This Flight Tonight". The style difference between the two is striking. The Nazareth version has this feeling of movement brought forth by the constant thumping bass guitar and galloping guitar work that dances with the vocals from Dan McCafferty, which are absolutely explosive. The Joni Mitchell version is a more fitting style for the lyrics, but that same style is a little more hollow than that of Nazareth. Tension builds throughout the whole song until the 1:20 mark, where intense vocals kick off the song; it just gets better as the song moves along. An impressive cover, one that really does steal the show from the original. I am not quite sure that I have a favorite, but if there was a gun to my head, I guess I would pick Nazareth or just not answer to be stubborn. The lyrics are written in Joni Mitchell style. A song that is pretty simple to understand but written with a talented pen that adds frills to simple themes. The song is about the regret of leaving your lover behind while taking off and wanting to tell the pilot to turn that bird around. Nazareth wasn't just a band looking for their next hit; they genuinely loved Joni Mitchell and would always listen to her every chance they got while traveling around. How could you not? Especially with the aggressive yet beautiful "This Flight Tonight". The love continues on down the line since the Nazareth version of "This Flight Tonight" was then used to write one of rock's most iconic guitar intros on Heart's "Barracuda". All things are connected, and more often than not they are tied back to Joni Mitchell. I hope this song becomes one of your favorites, and even if you have heard it before, why not check it out again? Music is the spice of life, and Nazareth will always spice up your day. They will make you jam even at your own funeral. Enjoy!
Year Released: 1973
Album: Loud 'n' Proud (1973)
Genre: Hard Rock
Mood: Constant motion
Perfect For: Traveling, Getting on a plane, Being away from home, Casual listening
Where To Next: "Raised on Robbery" - Joni Mitchell
Rating: 9 / 10
I don't think there is another Scottish rock band out there that hit the same point of acclaim as Nazareth did. Nazareth has been a long-time backbone to rock and hard rock. Through incredible hard work and continuous touring, the band got their name into the history books of rock music. Tracks like "Hair of the Dog" and "Love Hurts" are classics from the rock genre, tracks everyone recognizes. A couple of their most famous songs are covers, but the power they bring to those tracks almost rewrote them into their hits. "Love Hurts" is a prime example of just that. The song was originally recorded by the Everly Brothers in 1960. A stellar song from start to finish, but it has one hell of a time keeping up with the dreamy and desperate feeling that is the Nazareth version. "Love Hurts" is easily more recognizable from Nazareth; they took it over, and it almost became their song. Our song of the day today, "This Flight Tonight" follows the same suit. The song was written and recorded by the folk goddess, Joni Mitchell. Joni Mitchell loved the Nazareth version; she comically opened up her concerts with "I'm going to perform a Nazareth song". Now, that is one hell of a compliment. Joni Mitchell is an icon but felt her own song was completely taken by Nazareth. They just got that much power. They aren't a hard rock band that is all fire; there is a ton of soul to the group, and that soul is what helped them stand apart from the hundreds of guitars that were screaming in the name of rock. Nazareth has their fair share of covers, but their original material is just as spectacular. They have been a longtime champion of my "favorites" list. Nazareth has been with me for the grand majority of my life. From the first time I heard "Hair of the Dog" on the show My Name Is Earl, I was an instant fan. Not to go off topic, but I don't think there has ever been another show that had such a great soundtrack. Each episode was full of iconic songs and plenty of hidden gems. My girlfriend would fight back, saying that Supernatural beats it, but I ain't gonna hear that static. My Name Is Earl was not only a great show that got stolen from us, but that damned soundtrack helped me and many others find their home in some hard rock heaven. Not only that, they included songs from all sorts of genres, but mostly rock. Man... I miss that show... There really aren't too many shows like it now. Not that I am an authority on shows, quite the opposite actually, but maybe some of that is due to them not being nearly as soulful as My Name Is Earl. You'd get a life lesson, a great story, and a Lynyrd Skynyrd song all within the same episode. Anyway, Nazareth was one of many great artists I discovered from that show at a young age. I downloaded and had that one Nazareth song on my original MP3 player, a time when 81 songs was enough to keep me satisfied. Simpler times. Simpler times. As time moved on, I got further and further into the band, and by the time I was 15, I had gone through their discography many times over. I can listen to the full Hair of the Dog and Razamanaz albums in my head without missing a single part. Nazareth is a big part of me, and I am happy to have one of their greatest tracks here with us today. This is their third time on the website, but the last choice was last March, so I would say we are past due on some Nazareth.
Honestly, I am not sure what we talked about last time. I am sure it was "this band is so good" and "oh... my... god.... Becky", but if it ain't broken, why fix it? Nazareth started up in 1968 with remnants of The Shadettes, a group that found some local following in Dunfermline but never made it all too far. Nazareth didn't find their name from any biblical themes; strangely, they named their band after the town of Nazareth, Pennsylvania. You might be like, why? But they got the name from The Band song "The Weight", which makes a lot more sense. I just Google Earthed that town, and it is pretty small but cute. Not "I will name my band after this place" cute, but cute. Anyway, the band uprooted to London in 1970 and got right to getting their name out there. Their debut album released in 1971, a self titled hidden gem of hard rock that isn't as powerful as some of their later albums but still serves as a decent debut. It went fairly unnoticed by the masses but still spurred two hit songs. Their second album, Exercises, didn't fare all too much better but now showed that Nazareth won't be pushed away. They got their sound down, and people were digging it, and that got them thrown onto a tour with Deep Purple, who were kings of the rock world by this point. Roger Glover (bassist of Deep Purple & Rainbow) took a personal interest in Nazareth, and that is when things really changed for these boys from Scotland. Razamanaz was produced by Roger Glover, and the quality between their second album and their third was heavily felt, literally. Razamanaz was the band's breakout album and is, hands down, one of their greatest achievements. It left behind some of the blues-tinged hard rock sound for something more straightforward and commercial. Great guitar licks are met with cafeteria lady vocals that predate Brian Johnson of AC/DC. An exciting album from start to finish that takes no prisoners. A perfect complimenting album to the hard rock sensation that consumed rock music in the early 1970s. I could talk all day about my deep love for Razamanaz and its buckets of great songs, but maybe we will do that next time, or go back and check out my post from last year. It might be a fun experience to see how I have grown as a writer and perhaps how much you have learned here since then. Anyway, that album is great, and Roger Glover had a hand in pointing the band in the right direction. He stuck around for some of their next albums, and their fourth album is where we will stop for the day. Loud 'n' Proud is another titan of an album from Nazareth. This one has a little bit more texture than Razamanaz, and kept up the band's newfound image as being hard rock soldiers. They didn't waste any time getting this album together; it was released in the same year as their third album. Loud 'n' Proud released in November of 1973, and while it modernly doesn't hold the same acclaim as their previous album, it sold much better when released in 1973. It was the band's highest-reaching album to date, going platinum in Australia and charting at the 10th spot and higher in the majority of Europe. The United States was still dragging their ape arms in the dirt on Nazareth, but we were getting there. Some of what made this album such a smash was the leading single, and our song of the day, "This Flight Tonight". Joni Mitchell originally recorded the song in 1971, where it showed up on her iconic album, Blue. An essential folk album for anyone wanting to take in some mellow and skillfully crafted music. The band could have picked any from that kick-ass album, but their style mixed perfectly with "This Flight Tonight". The style difference between the two is striking. The Nazareth version has this feeling of movement brought forth by the constant thumping bass guitar and galloping guitar work that dances with the vocals from Dan McCafferty, which are absolutely explosive. The Joni Mitchell version is a more fitting style for the lyrics, but that same style is a little more hollow than that of Nazareth. Tension builds throughout the whole song until the 1:20 mark, where intense vocals kick off the song; it just gets better as the song moves along. An impressive cover, one that really does steal the show from the original. I am not quite sure that I have a favorite, but if there was a gun to my head, I guess I would pick Nazareth or just not answer to be stubborn. The lyrics are written in Joni Mitchell style. A song that is pretty simple to understand but written with a talented pen that adds frills to simple themes. The song is about the regret of leaving your lover behind while taking off and wanting to tell the pilot to turn that bird around. Nazareth wasn't just a band looking for their next hit; they genuinely loved Joni Mitchell and would always listen to her every chance they got while traveling around. How could you not? Especially with the aggressive yet beautiful "This Flight Tonight". The love continues on down the line since the Nazareth version of "This Flight Tonight" was then used to write one of rock's most iconic guitar intros on Heart's "Barracuda". All things are connected, and more often than not they are tied back to Joni Mitchell. I hope this song becomes one of your favorites, and even if you have heard it before, why not check it out again? Music is the spice of life, and Nazareth will always spice up your day. They will make you jam even at your own funeral. Enjoy!
Year Released: 1973
Album: Loud 'n' Proud (1973)
Genre: Hard Rock
Mood: Constant motion
Perfect For: Traveling, Getting on a plane, Being away from home, Casual listening
Where To Next: "Raised on Robbery" - Joni Mitchell
Rating: 9 / 10
Song of the Day 03/10/2026
"Leave" - R.E.M.
Alright, so far we have had some pretty solid choices this month. We have had the legends of the radio age, stars of the underground, and musicians with revolution in mind. For today, we have a band that hits all those marks, R.E.M. Man, grammar can be such a pain. Do you put a period after an abbreviation like with R.E.M.? Shit... Now, do you do it with a question mark? Ahem.... Yes.... R.E.M.! Damn! I can't escape it. Alright, well, I am assuming this will be a problem with this post. R.E.M. is a band that held through all the waves of rock, alternative, and pop music since their debut album, Murmur, in 1983. That debut of theirs is quite a bit different from the pop anthems of the later 1980s, the depressive radio-friendly alternative rock tracks of the 1990s, and the artistic explosion of albums that made up their 2000s albums. Even though I have been jamming to R.E.M. for a damn long time, I have still yet to make it further into their material following 2001's Reveal, which I barely listened to from start to finish a couple of weeks back for my studies. I always look forward to a year of my studies that features R.E.M., they always put out albums with a serious kick. Before my studies hit the 2000s (I am currently in 2002, listening to the Plain White T's second album Stop) I was stuck in the 1990s and before R.E.M., it was a thing I couldn't seem to break. I was just obsessed and still, even now, refuse to move forward from the albums of theirs that I adore. I mean, it is made clear with our choice today, which is the band's second time on AintNoisePollution, the first choice was "Zither" from the same album we will be talking about today. Do you have any bands like that? Ones that have a pretty, sparkling clean, critically acclaimed run, but you simply can't move on from those beloved albums? I have quite a few of those groups, R.E.M. being one of the first examples that come to mind. I will admit, I have a love/hate relationship with their debut album Murmur. A cardinal sin in their fanbase, but it just isn't the first album I go to click on when I pull up their artist page. My finger always darts to the albums Out of Time, Reckoning, Automatic for the People, and the spectacular Green. That doesn't mean I don't love the ones in between those puppies, but it is a simple case of not being able to break out of my own obsessions. I am getting better, and I challenge myself to listen to the others more often. Just this week at work I gave Monster another spin since it had been a while. Such a good one, which had me riding an R.E.M. high, and within the next day or two I had a deep desire to listen to their 1996 diamond, New Adventures of Hi-Fi. That is where our song of the day comes into play. I had to take a longer drive at work in the company vehicle to drop off some goodies and pick up some material, so I figured this would be a good time to have a solid playthrough of an album with minimal interruptions. Well, the weather and mood were right, and I walked away with plenty of stellar tracks to be in the running for my song of the day. "Leave" was the winner by a long shot; this song puts you into a deep trance with the continuous attack from that synthesizer. That attack is what makes "Leave" stand above plenty of the other tracks on the album. I do stand by that the instrumental "Zither" as being one of the greatest moments on the album with its vintage feeling, but "Leave" is a more potent track overall. The song starts off mellow, like the majority of the album, setting up this mood of uneasiness. It comes in at a little over 7 minutes, but I swear you live a whole lifetime by the time it is over. That intro sets up false expectations for the track; the transition past the one-minute mark is when things get interesting. It almost feels comical how hard the shift is from the desert-baked dreamy atmosphere into something modern and melancholic. Not only that, "Leave" is also the longest R.E.M. studio track ever recorded. Strange to imagine since its seven-minute running time doesn't feel all too long, but that is often a sign of a long song that is compelling the whole way through.
"Leave" is the 6th song on the album, and in vinyl format it serves as the final track on the first LP of the double album. That first LP is named the "hi side", with the other being the "fi side". New Adventures in Hi-Fi came out in 1996 after tedious recording that took a year to perfect; you can feel the raw dedication throughout the whole thing. Upon its release it sold well but marked a period of declining record sales for the band. The core fans were there for the whole ride, but the masses were starting to let go of these icons. A lot of that came from the direction the band was moving, which was into a more easy to get into sound. The band wasn't shaken; they viewed this as the peak of their fame, and why shouldn't they? This album is great and much deeper than some of their earlier recordings, and I will die on this hill. Just take a look at "Leave", that song is so damn heavy with emotions it can make you sick. Emotion sickness, if you will. There are so many tracks that follow suit like "Bittersweet Me" and "How the West Was Won and Where It Got Us". Just a loaded album that impresses you throughout its running time, which is over an hour. For many casual listeners, double albums can be daunting; they take a good chunk of time, and I know people do grow bored by the repetition of style. Though I think everyone out there can get behind New Adventures in Hi-Fi, the thing from start to finish feels like a journey for the soul. So, the band was slowly sinking into becoming yesterday's news, but as time moved along, the band proved otherwise with tighter playing and that their natural ability to meld thrilling alternative rock with artistry was alive and well. The band released their following studio album, Up, two years later, one that utilized the mass hysteria that electronic music established in the 1990s. They did well jumping onto that boat, a little bit too well if I am to be honest. I wasn't expecting such a good album when I first listened to it a year or two back. Now, it isn't New Adventures in Hi-Fi, this album is a hard one to beat, but still a competent and enjoyable album. Since I showed up to the party late, I didn't get rubbed wrong with their musical expansion, but I am sure it alienated a good chunk of the fanbase, especially those that came to R.E.M. for their hits. Modernly many share my love for New Adventures in Hi-Fi, some even regarding it as one of their greatest, even with plenty of their massively successful albums standing right next to it. It takes some bold risks, even bringing in this strange country rock sound into it from time to time, especially on "Zither". Even Patti Smith wanted a piece of the action and showed up on "E-Bow the Letter". If Patti Smith jumps on board, you know you've got yourself a piece of music that the masses will question yet dig, but the fans will really love and be able to pick apart the varying songs for years. What I love most about the album is the road-worn feeling of it all. The album cover explains the feeling of the album best, a shot of a desert landscape taken from the road in Nevada. Being a Utahn, I am more than familiar with this landscape and the feelings it brings up. Isolation. Loneliness. New beginnings. Peace. All of which are themes that are brought up in the album. Tracks like our song of the day and a couple of others have themes around travel, one of my favorite lyrical themes and atmospheres. A lot of what gives this album that road-worn feeling is it being recorded while on the road. They got all the bones of the album from recordings of them playing while on tour, and they replicated that at a wide variety of studios across the US. Songs played on the stage, tested on the bus, and perfected upon the open road. It gives this album a unique feel, but that was some of what critics bashed the album for. It is a little flatter than some of the other albums the band has put out. A sound that is so damn layered you need a seriously strong set of headphones to hear even half of it. So, yeah, I can see how they were rubbed wrong. But with my retrospective goggles on, I find this album to be a testament to R.E.M.'s timeless appeal and versatility. There is something for every kind of music fan in their discography. A discography I am excited to get further into as my studies allow it. Well, that is all from me, time for the music! Give the song a go. Thanks for reading along. Enjoy!
Year Released: 1996
Album: New Adventures in Hi-Fi (1996)
Genre: Alternative Rock, Folk Rock
Mood: Hypnotic
Perfect For: Feelin' depressed, Casual listening, Driving in stressful situations
Where To Next: "Dark Matter" - Porcupine Tree
Rating: 8 / 10
Alright, so far we have had some pretty solid choices this month. We have had the legends of the radio age, stars of the underground, and musicians with revolution in mind. For today, we have a band that hits all those marks, R.E.M. Man, grammar can be such a pain. Do you put a period after an abbreviation like with R.E.M.? Shit... Now, do you do it with a question mark? Ahem.... Yes.... R.E.M.! Damn! I can't escape it. Alright, well, I am assuming this will be a problem with this post. R.E.M. is a band that held through all the waves of rock, alternative, and pop music since their debut album, Murmur, in 1983. That debut of theirs is quite a bit different from the pop anthems of the later 1980s, the depressive radio-friendly alternative rock tracks of the 1990s, and the artistic explosion of albums that made up their 2000s albums. Even though I have been jamming to R.E.M. for a damn long time, I have still yet to make it further into their material following 2001's Reveal, which I barely listened to from start to finish a couple of weeks back for my studies. I always look forward to a year of my studies that features R.E.M., they always put out albums with a serious kick. Before my studies hit the 2000s (I am currently in 2002, listening to the Plain White T's second album Stop) I was stuck in the 1990s and before R.E.M., it was a thing I couldn't seem to break. I was just obsessed and still, even now, refuse to move forward from the albums of theirs that I adore. I mean, it is made clear with our choice today, which is the band's second time on AintNoisePollution, the first choice was "Zither" from the same album we will be talking about today. Do you have any bands like that? Ones that have a pretty, sparkling clean, critically acclaimed run, but you simply can't move on from those beloved albums? I have quite a few of those groups, R.E.M. being one of the first examples that come to mind. I will admit, I have a love/hate relationship with their debut album Murmur. A cardinal sin in their fanbase, but it just isn't the first album I go to click on when I pull up their artist page. My finger always darts to the albums Out of Time, Reckoning, Automatic for the People, and the spectacular Green. That doesn't mean I don't love the ones in between those puppies, but it is a simple case of not being able to break out of my own obsessions. I am getting better, and I challenge myself to listen to the others more often. Just this week at work I gave Monster another spin since it had been a while. Such a good one, which had me riding an R.E.M. high, and within the next day or two I had a deep desire to listen to their 1996 diamond, New Adventures of Hi-Fi. That is where our song of the day comes into play. I had to take a longer drive at work in the company vehicle to drop off some goodies and pick up some material, so I figured this would be a good time to have a solid playthrough of an album with minimal interruptions. Well, the weather and mood were right, and I walked away with plenty of stellar tracks to be in the running for my song of the day. "Leave" was the winner by a long shot; this song puts you into a deep trance with the continuous attack from that synthesizer. That attack is what makes "Leave" stand above plenty of the other tracks on the album. I do stand by that the instrumental "Zither" as being one of the greatest moments on the album with its vintage feeling, but "Leave" is a more potent track overall. The song starts off mellow, like the majority of the album, setting up this mood of uneasiness. It comes in at a little over 7 minutes, but I swear you live a whole lifetime by the time it is over. That intro sets up false expectations for the track; the transition past the one-minute mark is when things get interesting. It almost feels comical how hard the shift is from the desert-baked dreamy atmosphere into something modern and melancholic. Not only that, "Leave" is also the longest R.E.M. studio track ever recorded. Strange to imagine since its seven-minute running time doesn't feel all too long, but that is often a sign of a long song that is compelling the whole way through.
"Leave" is the 6th song on the album, and in vinyl format it serves as the final track on the first LP of the double album. That first LP is named the "hi side", with the other being the "fi side". New Adventures in Hi-Fi came out in 1996 after tedious recording that took a year to perfect; you can feel the raw dedication throughout the whole thing. Upon its release it sold well but marked a period of declining record sales for the band. The core fans were there for the whole ride, but the masses were starting to let go of these icons. A lot of that came from the direction the band was moving, which was into a more easy to get into sound. The band wasn't shaken; they viewed this as the peak of their fame, and why shouldn't they? This album is great and much deeper than some of their earlier recordings, and I will die on this hill. Just take a look at "Leave", that song is so damn heavy with emotions it can make you sick. Emotion sickness, if you will. There are so many tracks that follow suit like "Bittersweet Me" and "How the West Was Won and Where It Got Us". Just a loaded album that impresses you throughout its running time, which is over an hour. For many casual listeners, double albums can be daunting; they take a good chunk of time, and I know people do grow bored by the repetition of style. Though I think everyone out there can get behind New Adventures in Hi-Fi, the thing from start to finish feels like a journey for the soul. So, the band was slowly sinking into becoming yesterday's news, but as time moved along, the band proved otherwise with tighter playing and that their natural ability to meld thrilling alternative rock with artistry was alive and well. The band released their following studio album, Up, two years later, one that utilized the mass hysteria that electronic music established in the 1990s. They did well jumping onto that boat, a little bit too well if I am to be honest. I wasn't expecting such a good album when I first listened to it a year or two back. Now, it isn't New Adventures in Hi-Fi, this album is a hard one to beat, but still a competent and enjoyable album. Since I showed up to the party late, I didn't get rubbed wrong with their musical expansion, but I am sure it alienated a good chunk of the fanbase, especially those that came to R.E.M. for their hits. Modernly many share my love for New Adventures in Hi-Fi, some even regarding it as one of their greatest, even with plenty of their massively successful albums standing right next to it. It takes some bold risks, even bringing in this strange country rock sound into it from time to time, especially on "Zither". Even Patti Smith wanted a piece of the action and showed up on "E-Bow the Letter". If Patti Smith jumps on board, you know you've got yourself a piece of music that the masses will question yet dig, but the fans will really love and be able to pick apart the varying songs for years. What I love most about the album is the road-worn feeling of it all. The album cover explains the feeling of the album best, a shot of a desert landscape taken from the road in Nevada. Being a Utahn, I am more than familiar with this landscape and the feelings it brings up. Isolation. Loneliness. New beginnings. Peace. All of which are themes that are brought up in the album. Tracks like our song of the day and a couple of others have themes around travel, one of my favorite lyrical themes and atmospheres. A lot of what gives this album that road-worn feeling is it being recorded while on the road. They got all the bones of the album from recordings of them playing while on tour, and they replicated that at a wide variety of studios across the US. Songs played on the stage, tested on the bus, and perfected upon the open road. It gives this album a unique feel, but that was some of what critics bashed the album for. It is a little flatter than some of the other albums the band has put out. A sound that is so damn layered you need a seriously strong set of headphones to hear even half of it. So, yeah, I can see how they were rubbed wrong. But with my retrospective goggles on, I find this album to be a testament to R.E.M.'s timeless appeal and versatility. There is something for every kind of music fan in their discography. A discography I am excited to get further into as my studies allow it. Well, that is all from me, time for the music! Give the song a go. Thanks for reading along. Enjoy!
Year Released: 1996
Album: New Adventures in Hi-Fi (1996)
Genre: Alternative Rock, Folk Rock
Mood: Hypnotic
Perfect For: Feelin' depressed, Casual listening, Driving in stressful situations
Where To Next: "Dark Matter" - Porcupine Tree
Rating: 8 / 10
Song of the Day 03/09/2026
"You and Me" - Alice Cooper
Welcome! Today we talk about Alice Cooper, the godfather of shock rock! This is Alice Cooper's second time on AintNoisePollution, with his first being the fun yet moody "Go to Hell". Now, Alice Cooper is known for numerous things. He is an icon of the hard rock and shock rock world. What is shock rock, you might be asking? Well, it is one of those genres that explain themselves from their titles. Shock rock is rock music, often hard rock, that utilizes shocking imagery, lyrical content, and stage shows, and is often highly theatrical on the stage. Alice Cooper wasn't the first to come along with shock rock, but he was the first to truly set it in stone. Frank Zappa was one of the earlier examples of having outlandish shows that bordered on insanity, but there were plenty of names that came before. I consider Screamin' Jay Hawkins to be the first shock rock artist. His hoodoo blues music was insane for its time, and his stage show of him popping out of coffins or performing with crazy stage attire while casting hexes on the crowd was way out of line with what was going on in music at the time. His stage show went on to inspire a ton of people; artists like Arthur Brown would come out in flaming headpieces or do strange carnivalesque shows with his artistic hard rock. We will have a time and place to discuss all of them, I am sure, but for now we zone in on Alice Cooper. Cooper would perform Houdini-themed feats on stage. Pretending to hang himself, getting his head cut off and then appearing behind the guillotine once the smoke cleared, and so many more kick-ass things. He was famous for performing with snakes on stage, singing to the crowd while losing it in a straightjacket, getting shocked to death by the electric chair, bold signature makeup, crazy ringleader attire, and the list could go on. He was one of the first to successfully bring in horror imagery to rock music. Alice Cooper is damn famous for his music, having over 10 hit albums and many genre-defining songs, but there is no doubting that Alice Cooper left an even heavier imprint on rock music with his stage shows. It turned normal hard rock shows into something wholly different, almost like a devious traveling circus or, better yet, a freak show. Alice Cooper is one of rock music's biggest icons, and his addition to this month will certainly make the playlist a dead ringer. Now, if you are reading this while listening to our song of the day, or listened to it first, you might be a little confused. "You and Me" is the furthest thing you would assume his sound was going to be, and you would be right. "You and Me" is much different than the majority of Alice Cooper's work. Being someone who has listened to mostly everything by Alice Cooper many times over, it isn't all that unreal to have a ballad on one of his albums. I personally find that some of Alice Cooper's best material are the mellow ones, especially the ballads. He is one hell of a performer, but he still cut his teeth in the world of cinema. Sure, mostly horror films, but you can tell he had a thing for the starlets of the silver screen. They were the ones that gave Cooper the ideas for his famous attire and make up after all. So why not have some songs that you would expect might show up on those films? "You and Me" is one of Alice Cooper's most lovey dovey tracks, even though it seems a little more lusty than lovey with those lyrics. The song was the leading single off Alice Cooper's third solo album and 10th overall Alice Cooper album, Lace and Whiskey. When I was first running through Alice Cooper's discography when I was 14 or so I was taken completely back by how much I loved this album! It is still one of my favorites of his, it shows him in a much more professional light. No "Dead Babies" or "Go to Hell" to be had here. It was inspired heavily by noir films and novels (one of my favorites), something that is easily told by the album cover and also the music video to "You and Me". Alice Cooper is a character in a way, and for years Alice Cooper was the beast that brought forth shocking images and lyricism. Cooper decided to drop some of that and take on the character "Maurice Escargot" for this album, hence why this one stands apart from everything else Cooper put out in his time.
The standard hard rock Alice Cooper stuff is what made him famous, but this more intimate album always makes me feel that much closer to this rock superstar. Don't get me wrong, there are still some heavy hitters on this album; it is still Alice Cooper who put the album out. But it is almost drowned out by ballads, strange comedic country rock tracks, plenty of love songs, and the song that had this album finding some divide in the fanbase, "(No More) Love at Your Convenience", which is a little too close to disco for comfort. As you know, disco was the devil; it was the genre the majority of full-blooded rockers unified to destroy in the 1970s. So, how would you feel if one of the strongest icons in the rock world put out a disco track? For me being to the party decades too late, I could care less, but I can see how it made people look twice and feel a little betrayed. Alice Cooper always blazed his own path, so I don't think he was all too concerned. Through him doing what he saw fit it Lace and Whiskey spurred his last top 10 hit single in the United States all the way until "Poison" in 1989 with the ballad we have here today. So, the risk was worth it, but many took it as Alice Cooper finally coming to an end, which was far from the truth. Sure, he was beaten. Alice had been fighting a devilish alcohol addiction for a while now, and following the end of the tour supporting the album, he got himself help. His fight wasn't over until 1983, when he finally got his shit together. Good for you Alice, that is one hard fight. Anyway, Lace and Whiskey only furthered Alice Cooper's drop in record sales, and the critics weren't all too kind about the album. There were plenty of fans that were completely into this more mellow Alice Cooper, and the fans are the ones that matter since they will keep the lights on so long as you keep putting out the music they love. Australia has always been one of Alice Cooper's strongest fanbases, and with Lace and Whiskey it was no different, with the album charting at the #3 spot on their charts in comparison to the United States, where it hit the 42nd spot. No matter your opinion on the album, our song of the day is incredibly easy to get behind. It ended up being the strongest song from the whole album, and thus, it is the best one for you to sample if you are interested in taking in the full album. Much in Alice Cooper style, it is a strange ride of an album, but you will be completely satisfied by the end of it. "You and Me" sounds like it was made for Broadway, which could be taken as a pro or a con. It is the kind of song that always gets stuck in my head for hours after I give it a play. It is one calming track that makes you think of your best gal. Not the kind of love song that feels like it is written in some teenage girl's diary. This is a love song for the common person. It is a sweet set of lyrics that will make you want to go home when you are stuck at work. Alice Cooper hinted that he was going to have a massive hit with a ballad in his previous albums. In Go to Hell we had "I Never Cry" and "I'm Always Chasing Rainbows", and before that, on the essential Welcome to My Nightmare, we got a taste for the softer side with "Only Women Bleed", which is one of the best Alice Cooper tracks out there. I am not sure if I mentioned it earlier, but I have a serious soft spot for the chill Alice Cooper songs. The number of times I am going to load up some Alice Cooper and choose the ballads always astounds me since he got most of his fame from the heavy hitters. The cover for the single "You and Me" is somewhat uncanny, with Alice Cooper without any makeup on looking like your common Joe that got a chance to cut a soft rock single. It is a relaxing photo, so it complements the music well, but it is always a strange one to look at. Alice Cooper found such strong success with the single that he even performed it on the Muppets in a duet with Miss Piggy, which might seem odd but tracks strongly with Alice Cooper. It is always a little shocking that Alice Cooper found such crazy fame with the Alice Cooper Band in the late 1970s but left it all behind to follow his own passions in music. Through his following his heart and doing it in such style, it only made Alice Cooper a bigger legend as time went on, even if his album sales tanked deeper and deeper until the incredibly 1980s Trash in 1989, which got his name back out there again and charting. Alice Cooper is the type of musician that will forever be talked about, a name that has so many outstanding songs, albums, and feats tied to it. So, for today, I give to you one of his finest soft rock tracks, "You and Me". So, stop reading this post, load up Lace and Whiskey, cook some gourmet instant noodles, pour that cheap wine into some glasses, and have yourself a romantic evening with your partner. Don't have a partner? Well, drink all that wine yourself, or maybe pour some on the floor for your dog or cat to lap up. It's good for them, I promise! Just be sure to give this song a spin! Enjoy!
Year Released: 1977
Album: Lace and Whiskey (1977)
Genre: Soft Rock
Mood: Romantic
Perfect For: Date night, Making dinner with your loved one, Stargazing, Casual listening, Getting homesick
Where To Next: "Two Out of Three Ain't Bad" - Meat Loaf
Rating: 8 / 10
Welcome! Today we talk about Alice Cooper, the godfather of shock rock! This is Alice Cooper's second time on AintNoisePollution, with his first being the fun yet moody "Go to Hell". Now, Alice Cooper is known for numerous things. He is an icon of the hard rock and shock rock world. What is shock rock, you might be asking? Well, it is one of those genres that explain themselves from their titles. Shock rock is rock music, often hard rock, that utilizes shocking imagery, lyrical content, and stage shows, and is often highly theatrical on the stage. Alice Cooper wasn't the first to come along with shock rock, but he was the first to truly set it in stone. Frank Zappa was one of the earlier examples of having outlandish shows that bordered on insanity, but there were plenty of names that came before. I consider Screamin' Jay Hawkins to be the first shock rock artist. His hoodoo blues music was insane for its time, and his stage show of him popping out of coffins or performing with crazy stage attire while casting hexes on the crowd was way out of line with what was going on in music at the time. His stage show went on to inspire a ton of people; artists like Arthur Brown would come out in flaming headpieces or do strange carnivalesque shows with his artistic hard rock. We will have a time and place to discuss all of them, I am sure, but for now we zone in on Alice Cooper. Cooper would perform Houdini-themed feats on stage. Pretending to hang himself, getting his head cut off and then appearing behind the guillotine once the smoke cleared, and so many more kick-ass things. He was famous for performing with snakes on stage, singing to the crowd while losing it in a straightjacket, getting shocked to death by the electric chair, bold signature makeup, crazy ringleader attire, and the list could go on. He was one of the first to successfully bring in horror imagery to rock music. Alice Cooper is damn famous for his music, having over 10 hit albums and many genre-defining songs, but there is no doubting that Alice Cooper left an even heavier imprint on rock music with his stage shows. It turned normal hard rock shows into something wholly different, almost like a devious traveling circus or, better yet, a freak show. Alice Cooper is one of rock music's biggest icons, and his addition to this month will certainly make the playlist a dead ringer. Now, if you are reading this while listening to our song of the day, or listened to it first, you might be a little confused. "You and Me" is the furthest thing you would assume his sound was going to be, and you would be right. "You and Me" is much different than the majority of Alice Cooper's work. Being someone who has listened to mostly everything by Alice Cooper many times over, it isn't all that unreal to have a ballad on one of his albums. I personally find that some of Alice Cooper's best material are the mellow ones, especially the ballads. He is one hell of a performer, but he still cut his teeth in the world of cinema. Sure, mostly horror films, but you can tell he had a thing for the starlets of the silver screen. They were the ones that gave Cooper the ideas for his famous attire and make up after all. So why not have some songs that you would expect might show up on those films? "You and Me" is one of Alice Cooper's most lovey dovey tracks, even though it seems a little more lusty than lovey with those lyrics. The song was the leading single off Alice Cooper's third solo album and 10th overall Alice Cooper album, Lace and Whiskey. When I was first running through Alice Cooper's discography when I was 14 or so I was taken completely back by how much I loved this album! It is still one of my favorites of his, it shows him in a much more professional light. No "Dead Babies" or "Go to Hell" to be had here. It was inspired heavily by noir films and novels (one of my favorites), something that is easily told by the album cover and also the music video to "You and Me". Alice Cooper is a character in a way, and for years Alice Cooper was the beast that brought forth shocking images and lyricism. Cooper decided to drop some of that and take on the character "Maurice Escargot" for this album, hence why this one stands apart from everything else Cooper put out in his time.
The standard hard rock Alice Cooper stuff is what made him famous, but this more intimate album always makes me feel that much closer to this rock superstar. Don't get me wrong, there are still some heavy hitters on this album; it is still Alice Cooper who put the album out. But it is almost drowned out by ballads, strange comedic country rock tracks, plenty of love songs, and the song that had this album finding some divide in the fanbase, "(No More) Love at Your Convenience", which is a little too close to disco for comfort. As you know, disco was the devil; it was the genre the majority of full-blooded rockers unified to destroy in the 1970s. So, how would you feel if one of the strongest icons in the rock world put out a disco track? For me being to the party decades too late, I could care less, but I can see how it made people look twice and feel a little betrayed. Alice Cooper always blazed his own path, so I don't think he was all too concerned. Through him doing what he saw fit it Lace and Whiskey spurred his last top 10 hit single in the United States all the way until "Poison" in 1989 with the ballad we have here today. So, the risk was worth it, but many took it as Alice Cooper finally coming to an end, which was far from the truth. Sure, he was beaten. Alice had been fighting a devilish alcohol addiction for a while now, and following the end of the tour supporting the album, he got himself help. His fight wasn't over until 1983, when he finally got his shit together. Good for you Alice, that is one hard fight. Anyway, Lace and Whiskey only furthered Alice Cooper's drop in record sales, and the critics weren't all too kind about the album. There were plenty of fans that were completely into this more mellow Alice Cooper, and the fans are the ones that matter since they will keep the lights on so long as you keep putting out the music they love. Australia has always been one of Alice Cooper's strongest fanbases, and with Lace and Whiskey it was no different, with the album charting at the #3 spot on their charts in comparison to the United States, where it hit the 42nd spot. No matter your opinion on the album, our song of the day is incredibly easy to get behind. It ended up being the strongest song from the whole album, and thus, it is the best one for you to sample if you are interested in taking in the full album. Much in Alice Cooper style, it is a strange ride of an album, but you will be completely satisfied by the end of it. "You and Me" sounds like it was made for Broadway, which could be taken as a pro or a con. It is the kind of song that always gets stuck in my head for hours after I give it a play. It is one calming track that makes you think of your best gal. Not the kind of love song that feels like it is written in some teenage girl's diary. This is a love song for the common person. It is a sweet set of lyrics that will make you want to go home when you are stuck at work. Alice Cooper hinted that he was going to have a massive hit with a ballad in his previous albums. In Go to Hell we had "I Never Cry" and "I'm Always Chasing Rainbows", and before that, on the essential Welcome to My Nightmare, we got a taste for the softer side with "Only Women Bleed", which is one of the best Alice Cooper tracks out there. I am not sure if I mentioned it earlier, but I have a serious soft spot for the chill Alice Cooper songs. The number of times I am going to load up some Alice Cooper and choose the ballads always astounds me since he got most of his fame from the heavy hitters. The cover for the single "You and Me" is somewhat uncanny, with Alice Cooper without any makeup on looking like your common Joe that got a chance to cut a soft rock single. It is a relaxing photo, so it complements the music well, but it is always a strange one to look at. Alice Cooper found such strong success with the single that he even performed it on the Muppets in a duet with Miss Piggy, which might seem odd but tracks strongly with Alice Cooper. It is always a little shocking that Alice Cooper found such crazy fame with the Alice Cooper Band in the late 1970s but left it all behind to follow his own passions in music. Through his following his heart and doing it in such style, it only made Alice Cooper a bigger legend as time went on, even if his album sales tanked deeper and deeper until the incredibly 1980s Trash in 1989, which got his name back out there again and charting. Alice Cooper is the type of musician that will forever be talked about, a name that has so many outstanding songs, albums, and feats tied to it. So, for today, I give to you one of his finest soft rock tracks, "You and Me". So, stop reading this post, load up Lace and Whiskey, cook some gourmet instant noodles, pour that cheap wine into some glasses, and have yourself a romantic evening with your partner. Don't have a partner? Well, drink all that wine yourself, or maybe pour some on the floor for your dog or cat to lap up. It's good for them, I promise! Just be sure to give this song a spin! Enjoy!
Year Released: 1977
Album: Lace and Whiskey (1977)
Genre: Soft Rock
Mood: Romantic
Perfect For: Date night, Making dinner with your loved one, Stargazing, Casual listening, Getting homesick
Where To Next: "Two Out of Three Ain't Bad" - Meat Loaf
Rating: 8 / 10
Song of the Day 03/08/2026
"People, Let's Stop the War" - Grand Funk Railroad
All aboard! This rock 'n' roll train is running right off the track with today's choice! Now, we have talked about Grand Funk here before; we wouldn't be much of a rock n roll website if we didn't. Still, this is only their second choice on the website, their first being the hidden gem "In Need" back in November. So, like always, I might double-dip in giving you a history lesson you never asked for. We shall see how the post goes. Anyway, Grand Funk Railroad is the epitome of hard rock music. There were plenty of hidden gems of hard rock in the 1970s, but Grand Funk wasn't quite one of them, though they shared a similar sound. So they serve as the flag carrier of this brand of hard rock. You might be thinking that is odd since there are bands like Led Zeppelin, Deep Purple, Yes, Rush, and plenty of others that came out of the 1970s that had waaaaay more success than Grand Funk. Though I don't quite put Grand Funk beside those guys, other than maybe Deep Purple. I put Grand Funk with bands like Toad, Cactus, Black Oak Arkansas, Free, Foghat, and James Gang. Bands that served as pure examples of hard rock music, perhaps with a little bit of a groovin' backing. When it comes to groovin' Grand Funk Railroad has that in a chokehold! I mean, just look at that band name. What did you expect? Anyway, I am losing my train of thought. Train of thought... that is a strange saying... now I need to look into what it fully means. And here I go again. Alright, focus! Grand Funk Railroad are champions of original hard rock. They never got the same sales as the majority of bands that hold the same level of notoriety, but what they had was a legion of passionate fans. I have seen few fan bases that are so damn into a band, and being one of those fans, it is easy to see why you would fall so damn deeply in love with their style. Their first couple of albums were innovative and bold with the aggressive stance that even some people consider to be proto-metal. I do not, but I can see how people might think that. On Time, Grand Funk, Closer to Home, and Live Album all are heavy pieces, and they are the main Grand Funk albums that I abuse. Don't worry, I still have an equal love for their later sounds. From Survival in 1971 to 1976's Good Singin', Good Playin', we see the band mixing the rock sound of the time with their core hard rock mania. This is the time period the band released a good chunk of their most respected songs and had their time in the limelight with tracks like "Some Kind of Wonderful", "We're an American Band", and "The Loco-Motion" among plenty of others. This time period has also been the easiest for me to gather on vinyl, hence the selection of "People, Let's Stop the War", but we will get there. Grand Funk would go on to release two more studio albums in the 1980s, Grand Funk Lives in 1981 and the unfortunate What's Funk? in 1983, both of which were ghosts of the band we heard in the 1960s and the 1970s. Still decent, and being a big fan of the band, they both have gotten plenty of love from me, especially Grand Funk Lives with its cover of The Animals "We Gotta Get Out of This Place". Honestly, aside from the last two, you could jump into the band's discography anywhere and come out smelling of roses. They are a damn good band, and one that I will carry with me for the rest of my life. What is it about Grand Funk Railroad that has them holding such a strong place in my heart? It is all about that funk! These boys bring some serious hard rock into their albums and mix it with some blues and plenty of boogie! Those three together always leave me smiling and wanting more! Others have done the same sound, be it ZZ Top, Bachman Turner Overdrive, or Free, but I don't think any mixed all three better than Grand Funk did on their earlier albums.
Alright, enough praising for a second. Our choice for today is "People, Let's Stop the War", one of the glistening gems that come off the band's fifth studio album, E Pluribus Funk. This was one of many of the great rock albums to come out of 1971. For years I abused Grand Funk on varying digital formats; at first it was on the iPod, and then that moved into streaming as the way we took music in changed. I never owned a physical version of the album and never put too much thought into the album cover. For those that don't know, E Pluribus Funk on vinyl comes in a sleeve that pretends to be a giant coin. Take a peek at that album cover below and just imagine it without the black background. It is one damn cool album cover and packaging! When I picked it up, it was at a little hidden gem of a record treasure trove within an antique store in Tooele. I was shocked to see this album that I have adored for years in front of me and was even more thrilled to find that it was actually a big-ass coin. I love the design, but it does have its drawbacks, like not having an inner sleeve to match its strange shape, and also with it always being cracked open, so dust collected in that thing like crazy. That is often one of the biggest negatives to crate digging in an antique store; everything is so damn dusty most of the time. This one took some extra care to get all cleaned up and worthy of my needle. Grand Funk has a couple of cool album packages. My first record I picked up from them was We're an American Band, which tricked me into thinking I found some special version for cheap on one of my first record shopping trips. It naturally comes in a yellow vinyl with a plain and shiny golden cover with some stickers. Their album Shinin' On comes with 3D glasses to view the album's art with. Then for CD and some vinyl releases, they came with stickers or other goodies. I know that doesn't seem all that insane, but for someone who collects records, it is damn cool! Alright, didn't I say I wasn't gonna be praising for a second? Where was I? Oh yeah! "People, Let's Stop the War" is the second track off the band's 1975 killer E Pluribus Funk. It comes right after the most popular track off the album, "Footstompin' Music". "People, Let's Stop the War" was the first single to come off the album, and in my opinion, it is the greatest from it. I love this song! Lyrically it is uplifting, stylistically it is well... groovy! The intro makes you feel like you are taking a nasty pull off a freshly packed hookah. Once the guitar and bass guitar come together to funk you up, you envision yourself blowing some perfect smoke rings like you are a caterpillar on a giant-ass mushroom. Then everyone comes together to have you groovin'. I can't help but bop my head forward like a damned pigeon while this song plays. It has a perfect mix of calm and energetic vibes, which helps it meld wonderfully into any rock playlist you place it in. Lyrically, as you guessed it, the song is strongly anti-war. Questioning what is wrong with everyone, why chant at the pro-war rallies when you should be looking around at all these people with kids out there fighting for the rich mans gain. We could be sinking into a war ourselves right now, so while this song is certainly from its time, it may just become a song that plays a part in our own timeline. Scary thought, but there will always be those against wars, me being one of them. Wonder how it is going to go when people start burning their draft cards. Well, if we start repeating history, I hope there is a modern band to take the spot of great protest music like what was coming out of the 1960s and the 1970s. This one is a shining example of great protest music. Thought-provoking lyrics that aren't all too deep so you can easily understand the stance. Words are one thing; it seems everyone is busy talking instead of listening nowadays, but you can't miss the instrument work in this track. It is funky and hard-driving, while once again, peaceful. One of the highest highs on an album full of great material. Sure, it isn't some wild stuff that has you calling up ma and pa to tell them about this new thing. It isn't trying to, they simply wanna show up and play music for you. Music that is easy to get into, music that can play in the foreground or in the background. Jammy, funky, rockin', and oh so damn soul-pleasing. The cool album packaging only helps it along for this being one memorable album to listen to on my turntable. One last little quick fact about the album cover is what is on the back of the album cover. It features a picture of Shea Stadium, which Grand Funk put there as a "look at us go" since they beat the Beatles at selling out that venue faster than they had. Selling it out in 72 hours, I couldn't imagine those lines. Might sound like a jab, but I doubt that was the intent. Beating the Beatles at something was like winning the rock lottery; hardly anyone beats the Beatles, especially back then. So, might as well celebrate and plaster that sucker on the back of your next hit album. Alright, enough about all of that. I will just let you get into the music, this track is so damn good! I am very excited for you to listen to it. Please accept this gift of rock. Enjoy!
Year Released: 1971
Album: E Pluribus Funk (1971)
Genre: Rock, Hard Rock
Mood: Groovy
Perfect For: Getting stoned, Lounging around, Going for a sunny drive, Casual listening
Where To Next: "State of the Union" - Chicago
Rating: 9 / 10
All aboard! This rock 'n' roll train is running right off the track with today's choice! Now, we have talked about Grand Funk here before; we wouldn't be much of a rock n roll website if we didn't. Still, this is only their second choice on the website, their first being the hidden gem "In Need" back in November. So, like always, I might double-dip in giving you a history lesson you never asked for. We shall see how the post goes. Anyway, Grand Funk Railroad is the epitome of hard rock music. There were plenty of hidden gems of hard rock in the 1970s, but Grand Funk wasn't quite one of them, though they shared a similar sound. So they serve as the flag carrier of this brand of hard rock. You might be thinking that is odd since there are bands like Led Zeppelin, Deep Purple, Yes, Rush, and plenty of others that came out of the 1970s that had waaaaay more success than Grand Funk. Though I don't quite put Grand Funk beside those guys, other than maybe Deep Purple. I put Grand Funk with bands like Toad, Cactus, Black Oak Arkansas, Free, Foghat, and James Gang. Bands that served as pure examples of hard rock music, perhaps with a little bit of a groovin' backing. When it comes to groovin' Grand Funk Railroad has that in a chokehold! I mean, just look at that band name. What did you expect? Anyway, I am losing my train of thought. Train of thought... that is a strange saying... now I need to look into what it fully means. And here I go again. Alright, focus! Grand Funk Railroad are champions of original hard rock. They never got the same sales as the majority of bands that hold the same level of notoriety, but what they had was a legion of passionate fans. I have seen few fan bases that are so damn into a band, and being one of those fans, it is easy to see why you would fall so damn deeply in love with their style. Their first couple of albums were innovative and bold with the aggressive stance that even some people consider to be proto-metal. I do not, but I can see how people might think that. On Time, Grand Funk, Closer to Home, and Live Album all are heavy pieces, and they are the main Grand Funk albums that I abuse. Don't worry, I still have an equal love for their later sounds. From Survival in 1971 to 1976's Good Singin', Good Playin', we see the band mixing the rock sound of the time with their core hard rock mania. This is the time period the band released a good chunk of their most respected songs and had their time in the limelight with tracks like "Some Kind of Wonderful", "We're an American Band", and "The Loco-Motion" among plenty of others. This time period has also been the easiest for me to gather on vinyl, hence the selection of "People, Let's Stop the War", but we will get there. Grand Funk would go on to release two more studio albums in the 1980s, Grand Funk Lives in 1981 and the unfortunate What's Funk? in 1983, both of which were ghosts of the band we heard in the 1960s and the 1970s. Still decent, and being a big fan of the band, they both have gotten plenty of love from me, especially Grand Funk Lives with its cover of The Animals "We Gotta Get Out of This Place". Honestly, aside from the last two, you could jump into the band's discography anywhere and come out smelling of roses. They are a damn good band, and one that I will carry with me for the rest of my life. What is it about Grand Funk Railroad that has them holding such a strong place in my heart? It is all about that funk! These boys bring some serious hard rock into their albums and mix it with some blues and plenty of boogie! Those three together always leave me smiling and wanting more! Others have done the same sound, be it ZZ Top, Bachman Turner Overdrive, or Free, but I don't think any mixed all three better than Grand Funk did on their earlier albums.
Alright, enough praising for a second. Our choice for today is "People, Let's Stop the War", one of the glistening gems that come off the band's fifth studio album, E Pluribus Funk. This was one of many of the great rock albums to come out of 1971. For years I abused Grand Funk on varying digital formats; at first it was on the iPod, and then that moved into streaming as the way we took music in changed. I never owned a physical version of the album and never put too much thought into the album cover. For those that don't know, E Pluribus Funk on vinyl comes in a sleeve that pretends to be a giant coin. Take a peek at that album cover below and just imagine it without the black background. It is one damn cool album cover and packaging! When I picked it up, it was at a little hidden gem of a record treasure trove within an antique store in Tooele. I was shocked to see this album that I have adored for years in front of me and was even more thrilled to find that it was actually a big-ass coin. I love the design, but it does have its drawbacks, like not having an inner sleeve to match its strange shape, and also with it always being cracked open, so dust collected in that thing like crazy. That is often one of the biggest negatives to crate digging in an antique store; everything is so damn dusty most of the time. This one took some extra care to get all cleaned up and worthy of my needle. Grand Funk has a couple of cool album packages. My first record I picked up from them was We're an American Band, which tricked me into thinking I found some special version for cheap on one of my first record shopping trips. It naturally comes in a yellow vinyl with a plain and shiny golden cover with some stickers. Their album Shinin' On comes with 3D glasses to view the album's art with. Then for CD and some vinyl releases, they came with stickers or other goodies. I know that doesn't seem all that insane, but for someone who collects records, it is damn cool! Alright, didn't I say I wasn't gonna be praising for a second? Where was I? Oh yeah! "People, Let's Stop the War" is the second track off the band's 1975 killer E Pluribus Funk. It comes right after the most popular track off the album, "Footstompin' Music". "People, Let's Stop the War" was the first single to come off the album, and in my opinion, it is the greatest from it. I love this song! Lyrically it is uplifting, stylistically it is well... groovy! The intro makes you feel like you are taking a nasty pull off a freshly packed hookah. Once the guitar and bass guitar come together to funk you up, you envision yourself blowing some perfect smoke rings like you are a caterpillar on a giant-ass mushroom. Then everyone comes together to have you groovin'. I can't help but bop my head forward like a damned pigeon while this song plays. It has a perfect mix of calm and energetic vibes, which helps it meld wonderfully into any rock playlist you place it in. Lyrically, as you guessed it, the song is strongly anti-war. Questioning what is wrong with everyone, why chant at the pro-war rallies when you should be looking around at all these people with kids out there fighting for the rich mans gain. We could be sinking into a war ourselves right now, so while this song is certainly from its time, it may just become a song that plays a part in our own timeline. Scary thought, but there will always be those against wars, me being one of them. Wonder how it is going to go when people start burning their draft cards. Well, if we start repeating history, I hope there is a modern band to take the spot of great protest music like what was coming out of the 1960s and the 1970s. This one is a shining example of great protest music. Thought-provoking lyrics that aren't all too deep so you can easily understand the stance. Words are one thing; it seems everyone is busy talking instead of listening nowadays, but you can't miss the instrument work in this track. It is funky and hard-driving, while once again, peaceful. One of the highest highs on an album full of great material. Sure, it isn't some wild stuff that has you calling up ma and pa to tell them about this new thing. It isn't trying to, they simply wanna show up and play music for you. Music that is easy to get into, music that can play in the foreground or in the background. Jammy, funky, rockin', and oh so damn soul-pleasing. The cool album packaging only helps it along for this being one memorable album to listen to on my turntable. One last little quick fact about the album cover is what is on the back of the album cover. It features a picture of Shea Stadium, which Grand Funk put there as a "look at us go" since they beat the Beatles at selling out that venue faster than they had. Selling it out in 72 hours, I couldn't imagine those lines. Might sound like a jab, but I doubt that was the intent. Beating the Beatles at something was like winning the rock lottery; hardly anyone beats the Beatles, especially back then. So, might as well celebrate and plaster that sucker on the back of your next hit album. Alright, enough about all of that. I will just let you get into the music, this track is so damn good! I am very excited for you to listen to it. Please accept this gift of rock. Enjoy!
Year Released: 1971
Album: E Pluribus Funk (1971)
Genre: Rock, Hard Rock
Mood: Groovy
Perfect For: Getting stoned, Lounging around, Going for a sunny drive, Casual listening
Where To Next: "State of the Union" - Chicago
Rating: 9 / 10
Song of the Day 03/07/2026
"Fairies Wear Boots" - Zakk Sabbath
Hello all, hope you are ready for another solid dose of rock n roll! We are coming in a little hotter with our chosen song for today, a cover that truly does the original justice. I have been celebrating my birthday for the latter half of this week. I ain't the type to think I just get one day, nah, that whole week is mine to command! Selfish, I know, but why not? I have known many that shun their birthday, some even hoping nobody notices and then mope about it later. Not me, I love my birthday. I don't want the praise, but I do like the freedom to do things my way a little more than usual. Plus, it is a week of my favorite things. Great food at my favorite places, excuses to go buy records, thrifting, antique stores, and, most importantly, plenty of adventures full of my favorite songs! For the last two years I have gone to a concert around my birthday; this time around it was the almighty Black Label Society, a group I have been dyin' to see live for a while now. Last year I had the chance to go hear some hot licks from Reverend Horton Heat, which was a ton of fun. Anyway, this year it was all about Black Label Society. They did great; it was all the shredding you could ask for. I will say, I wasn't all too fond of the venue this time. This is my second visit to The Union Event Center, the first being Avatar, which we talked about a couple of months back. After Avatar, I thought it was going to be one of my favorite venues. Sure, it is annoying that you can't have your beer with you in the crowd, but there was a decent flow and a fun spot to drink on the upper level. Teens, kids, and families deserve their chance to come to a show, so it is a trade that I will make so everyone can soak up all that sweet music. Well, for Black Label Society, it was not as great a venue this go-around. It sounded good, there weren't many blind spots, and there was still room for the much larger group that came this time, but I still walked away a little rubbed wrong. It is strange to see Black Label Society without having a beer in hand, sort of like going to church without the Bible. Once again, no big deal; it is an all-ages show at an indoor venue, so I get it. My issue this time around was a mix between the crowds and the venue's lack of knowing how to handle those crowds. For Avatar it was a good turnout, but nothing like this one; it was fuckin' busy! The merch line didn't really show which way to point, and after awkwardly trying to find the start of the line for a second to no success, my girlfriend and I figured it would be best to get up on the upper level and see if we could even see if there was a start of the line. Well, we got a beer and went to an overlook to scope it out, and there wasn't a fuckin' start. There were like four lines that would fizzle out, join, split off, and then people somehow ended up in that line. I am not sure if that is common for some venues since I admittedly don't go to as many concerts as people might think I would, but it was annoying there was no control. A piece of that could be the people who went, sort of making their own line. I will say, there were numerous stupid bastards at this concert. While that doesn't reflect the vision of Black Label Society, it isn't all too shocking in retrospect. I envisioned bikers, rockers, and metalheads banding together as the Utah Chapter of the Black Label Berserkers, but ultimately it was more a shitload of overly drunk people that thought they were the smelliest piece of garbage in that trash can. People were getting their feathers ruffled left and right, and even my passive ass almost kicked this drunk dude in the side of the knee since he wanted to start a fight after I pushed him back from ramming into me and my lady. Luckily his friend ushered him away, saving us both the hassle of macho man bullshit. Anyway, I wasn't too pleased with the fan base. I am a die-hard fan of Black Label, and nothing will change that, but there were too many people who took the lyrics of the songs a little too seriously. No, you aren't an outlaw biker since you bought the Black Label patches; if anything, you are a Zakk cosplayer. Something I would respect if you didn't act like an ass hat that wanted to get shitfaced at an all-ages show. Have some decorum. Yes, I wrote that while picking my nose, so who am I to say anything? Now, don't go thinking I was rubbed wrong solely because of that one childish altercation; it was happening everywhere. So, not the venue's fault, more the people who came to the show. So, why bash the venue? I am still a fan and want to go again, since I think it could be a great one. I just think it isn't the right one to go to these big-time shows, but where else are bands like Black Label Society that are damn famous but not pop star famous supposed to go in Utah during the cold season?
Alright, that is enough about that. You came here for the music! Not my diary entry. I will say, Black Label Society put on one great show! Straightforward, not one of those shows with theatrics, just a straightforward shred fest where they played some of their greatest songs and two that are to come out on their new album and already have singles put out. I don't think I have ever been to a concert with so many guitar changes; it almost seemed like a show and tell of Zakk's crazy impressive guitar collection. Black Label Society was the headliner, but there were two opening bands. The first was Dark Chapel, a band run by Black Label Society guitarist Dario Lorina. I know only one of their songs, but I was down to see them live, especially since the Black Label Society affiliation. They did well, but I wish I caught more of their stage time since I was highly distracted with trying to figure out the merch line, preplanning an evacuation route if something crazy were to happen, and more importantly, when I wanted to go get my first overpriced drink. I will be sure to check out more from the band, but there is a good chance it will have to wait until I get to my 2020 studies of rock and metal. The second band was Zakk Sabbath, and for all those Zakk Wylde lovers such as myself, you will know that is Wylde's Black Sabbath cover band. Zakk Wylde does an outstanding job replicating Ozzy's vocal work, which is to be expected with him finding his first true taste of fame as Ozzy's guitarist from 1988's No Rest for the Wicked and on. I will say, I think I liked the Zakk Sabbath show more than Black Label Society; it was damn impressive and thrilling. It is the melding of two of my favorite bands, and since I never had a chance to see Sabbath in their prime, it was my closest avenue to seeing them live. Black Sabbath is one of my all-time favorite groups, one that has been with me since the start and I never tire of. Zakk did all the songs justice, and during the performance of "N.I.B." he did what he does best, completely awe the crowd by coming out to play with everyone. We got a pretty poor place in the back since I am too chicken to push past everyone, but I was sure glad I didn't try since he came and played practically right next to us. Now, I ain't the type to worship another human, even though it might not seem that way with how I talk in these posts, but to have Zakk Wylde, my favorite guitarist, standing on a gear trunk and shredding right there was sort of surreal. Sadly, it was with his back turned towards us while he pointed at the other side of the tech cage, but still, it was intense. Naturally the crowd rushed on in, and some tried touching him and his guitar, which I find super disrespectful, but overall it was a great time, even if I was a little distracted with staring at my girlfriend while she gathered some stuff she dropped, like the helpful chap I am. But it was Zakk Wylde, man! When will I get a chance for that again? Well, after he had his time shredding and the band kept the rhythm of the ending of "N.I.B." he returned to the stage to finish the song off. A great moment in the concert, and if it wasn't his own cover band before his own main show, I am sure it would have pissed off the headliners since I don't think it hit the same high again the whole show. With all that said, you would think I would have chosen their cover of "N.I.B." but I was also highly impressed with their version of "Fairies Wear Boots", a longtime favorite of mine from Black Sabbath.
These posts of covers are always a confusing one to pull off. I know it sounds silly, but I don't want to spill all the beans for the day that I end up having the original become the chosen version, even if it may be a year from now. For some songs, like the Glen Campbell one from the first of this month, I know that there is a solid chance I won't choose the original any time soon. But when it comes to Black Sabbath, I could choose a different track for a whole year and still come into it with something to say. Anyway, I mentioned to my girlfriend that covering Black Sabbath is one daunting task; each member is incredibly impressive at what they do. I had already been ripping apart all the Zakk Sabbath material that is on Spotify, so I knew that they would do stellar, but I wanted to see if it was simply studio magic. If my stupid grin there didn't answer it, they did an outstanding job. It was a Black Sabbath show put on by three people, which is already impressive, but they didn't miss a single beat. Since it is Zakk Wylde, that is to be expected, but they kept the feeling completely authentic and true to the Black Sabbath vision. Naturally it had that Zakk Wylde guitar style mixed in with Tony Iommi's, but in both the Ozzy work and the BLS material that Wylde put out, you can tell that Iommi was a massive influence on his signature style. For our song of the day, it is obviously the studio version of "Fairies Wear Boots" which is a little more intense and straightforward than the live version I heard in concert. That live version sounded strikingly like Black Sabbath, even though Zakk would cut off to the side to bring in as many shredding solos as he could fit into the show. Zakk Wylde, much like the majority of us out there, discovered Black Sabbath at a young age and never came back the same. You can feel the passion in both the studio version and in concert. Sort of like growing up always wanting to be Tony Iommi and then waking up one day to realize in some ways those childhood dreams came true. This cover is electric, man, it is so damn aggressive! The original has this mysticism to it, but for the Zakk Sabbath version, it comes in hot and heavy, allowing that eerie feeling to pop up here and there if it has a chance to stand against the bombastic nature of it all. It is as much of a tribute to past gods as it is getting the ol' metalmobile a new set of paint to lure in some new fans to its sinful serenade. "Fairies Wear Boots" came off the only studio album to be put out by Zakk Sabbath, simply titled Greatest Riffs. It is 8 tracks of some of Black Sabbath's all-time greatest tracks. I was waiting for its release when I caught wind of it back in 2024, and it was a great set of songs to sink my teeth into then as it is now. The album cover is based on Black Sabbath's 1976 compilation We Sold Our Soul for Rock 'n' Roll, a necessary stop-off for anyone who is just now getting into Black Sabbath. I think it is one of their greatest album covers and albums; it is one that I have thoroughly enjoyed since my first time playing it when I was 10 or so. During an interview with Metal Hammer, Wylde said that the first album he ever bought was that gem right there, so it is only fitting it is also the album art for the first Zakk Sabbath studio album. Well, he said that he previously bought some 45s of pop stars, but it was Black Sabbath that set him on the path he was destined for. The path of the shred! 6 out of 8 songs that show up on Greatest Riffs were also on that compilation; the other two are "Into the Void" which is a fan favorite, and we have "Solitude" which is a bold Sabbath track to take on since it is one of their strangest out of the Ozzy era. Well, if you are a Black Label Society fan, a Sabbath fan, an Ozzy fanatic, or simply someone who likes foundation-rattling guitar, then I strongly suggest Greatest Riffs. Cover albums are often the greatest way to fully understand a band or musician, to understand them on a personal level, since music to me expresses the inner soul. Wylde never even tried to hide his love for Ozzy as a mentor, musician, and icon, so you won't find any shocking new info about his influences, but it is still worth your time. Throughout the concert he paid tribute to the Prince of Darkness many times, something that the crowd was more than happy to do in return. And as it should be, when "In This River" started up for the Black Label set, there were big murals paying tribute to his dear friend Dimebag Darrell of Pantera and his brother Vinnie Paul. "In This River" is in tribute to Dimebag, and it has been included in each BLS concert since its release. Well, I guess that is enough out of me. Thanks for reading along! Hope you dig the track and are compelled to listen through some more Zakk Sabbath material and the originals. Enjoy!
Year Released: 2024
Album: Greatest Riffs (2024)
Genre: Heavy Metal
Mood: Energetic
Perfect For: Banging your head, Driving fast, Getting drunk, Paying your tributes to the gods of heavy metal
Where To Next: "Hole in the Sky" - Pantera
Rating: 8 / 10
Hello all, hope you are ready for another solid dose of rock n roll! We are coming in a little hotter with our chosen song for today, a cover that truly does the original justice. I have been celebrating my birthday for the latter half of this week. I ain't the type to think I just get one day, nah, that whole week is mine to command! Selfish, I know, but why not? I have known many that shun their birthday, some even hoping nobody notices and then mope about it later. Not me, I love my birthday. I don't want the praise, but I do like the freedom to do things my way a little more than usual. Plus, it is a week of my favorite things. Great food at my favorite places, excuses to go buy records, thrifting, antique stores, and, most importantly, plenty of adventures full of my favorite songs! For the last two years I have gone to a concert around my birthday; this time around it was the almighty Black Label Society, a group I have been dyin' to see live for a while now. Last year I had the chance to go hear some hot licks from Reverend Horton Heat, which was a ton of fun. Anyway, this year it was all about Black Label Society. They did great; it was all the shredding you could ask for. I will say, I wasn't all too fond of the venue this time. This is my second visit to The Union Event Center, the first being Avatar, which we talked about a couple of months back. After Avatar, I thought it was going to be one of my favorite venues. Sure, it is annoying that you can't have your beer with you in the crowd, but there was a decent flow and a fun spot to drink on the upper level. Teens, kids, and families deserve their chance to come to a show, so it is a trade that I will make so everyone can soak up all that sweet music. Well, for Black Label Society, it was not as great a venue this go-around. It sounded good, there weren't many blind spots, and there was still room for the much larger group that came this time, but I still walked away a little rubbed wrong. It is strange to see Black Label Society without having a beer in hand, sort of like going to church without the Bible. Once again, no big deal; it is an all-ages show at an indoor venue, so I get it. My issue this time around was a mix between the crowds and the venue's lack of knowing how to handle those crowds. For Avatar it was a good turnout, but nothing like this one; it was fuckin' busy! The merch line didn't really show which way to point, and after awkwardly trying to find the start of the line for a second to no success, my girlfriend and I figured it would be best to get up on the upper level and see if we could even see if there was a start of the line. Well, we got a beer and went to an overlook to scope it out, and there wasn't a fuckin' start. There were like four lines that would fizzle out, join, split off, and then people somehow ended up in that line. I am not sure if that is common for some venues since I admittedly don't go to as many concerts as people might think I would, but it was annoying there was no control. A piece of that could be the people who went, sort of making their own line. I will say, there were numerous stupid bastards at this concert. While that doesn't reflect the vision of Black Label Society, it isn't all too shocking in retrospect. I envisioned bikers, rockers, and metalheads banding together as the Utah Chapter of the Black Label Berserkers, but ultimately it was more a shitload of overly drunk people that thought they were the smelliest piece of garbage in that trash can. People were getting their feathers ruffled left and right, and even my passive ass almost kicked this drunk dude in the side of the knee since he wanted to start a fight after I pushed him back from ramming into me and my lady. Luckily his friend ushered him away, saving us both the hassle of macho man bullshit. Anyway, I wasn't too pleased with the fan base. I am a die-hard fan of Black Label, and nothing will change that, but there were too many people who took the lyrics of the songs a little too seriously. No, you aren't an outlaw biker since you bought the Black Label patches; if anything, you are a Zakk cosplayer. Something I would respect if you didn't act like an ass hat that wanted to get shitfaced at an all-ages show. Have some decorum. Yes, I wrote that while picking my nose, so who am I to say anything? Now, don't go thinking I was rubbed wrong solely because of that one childish altercation; it was happening everywhere. So, not the venue's fault, more the people who came to the show. So, why bash the venue? I am still a fan and want to go again, since I think it could be a great one. I just think it isn't the right one to go to these big-time shows, but where else are bands like Black Label Society that are damn famous but not pop star famous supposed to go in Utah during the cold season?
Alright, that is enough about that. You came here for the music! Not my diary entry. I will say, Black Label Society put on one great show! Straightforward, not one of those shows with theatrics, just a straightforward shred fest where they played some of their greatest songs and two that are to come out on their new album and already have singles put out. I don't think I have ever been to a concert with so many guitar changes; it almost seemed like a show and tell of Zakk's crazy impressive guitar collection. Black Label Society was the headliner, but there were two opening bands. The first was Dark Chapel, a band run by Black Label Society guitarist Dario Lorina. I know only one of their songs, but I was down to see them live, especially since the Black Label Society affiliation. They did well, but I wish I caught more of their stage time since I was highly distracted with trying to figure out the merch line, preplanning an evacuation route if something crazy were to happen, and more importantly, when I wanted to go get my first overpriced drink. I will be sure to check out more from the band, but there is a good chance it will have to wait until I get to my 2020 studies of rock and metal. The second band was Zakk Sabbath, and for all those Zakk Wylde lovers such as myself, you will know that is Wylde's Black Sabbath cover band. Zakk Wylde does an outstanding job replicating Ozzy's vocal work, which is to be expected with him finding his first true taste of fame as Ozzy's guitarist from 1988's No Rest for the Wicked and on. I will say, I think I liked the Zakk Sabbath show more than Black Label Society; it was damn impressive and thrilling. It is the melding of two of my favorite bands, and since I never had a chance to see Sabbath in their prime, it was my closest avenue to seeing them live. Black Sabbath is one of my all-time favorite groups, one that has been with me since the start and I never tire of. Zakk did all the songs justice, and during the performance of "N.I.B." he did what he does best, completely awe the crowd by coming out to play with everyone. We got a pretty poor place in the back since I am too chicken to push past everyone, but I was sure glad I didn't try since he came and played practically right next to us. Now, I ain't the type to worship another human, even though it might not seem that way with how I talk in these posts, but to have Zakk Wylde, my favorite guitarist, standing on a gear trunk and shredding right there was sort of surreal. Sadly, it was with his back turned towards us while he pointed at the other side of the tech cage, but still, it was intense. Naturally the crowd rushed on in, and some tried touching him and his guitar, which I find super disrespectful, but overall it was a great time, even if I was a little distracted with staring at my girlfriend while she gathered some stuff she dropped, like the helpful chap I am. But it was Zakk Wylde, man! When will I get a chance for that again? Well, after he had his time shredding and the band kept the rhythm of the ending of "N.I.B." he returned to the stage to finish the song off. A great moment in the concert, and if it wasn't his own cover band before his own main show, I am sure it would have pissed off the headliners since I don't think it hit the same high again the whole show. With all that said, you would think I would have chosen their cover of "N.I.B." but I was also highly impressed with their version of "Fairies Wear Boots", a longtime favorite of mine from Black Sabbath.
These posts of covers are always a confusing one to pull off. I know it sounds silly, but I don't want to spill all the beans for the day that I end up having the original become the chosen version, even if it may be a year from now. For some songs, like the Glen Campbell one from the first of this month, I know that there is a solid chance I won't choose the original any time soon. But when it comes to Black Sabbath, I could choose a different track for a whole year and still come into it with something to say. Anyway, I mentioned to my girlfriend that covering Black Sabbath is one daunting task; each member is incredibly impressive at what they do. I had already been ripping apart all the Zakk Sabbath material that is on Spotify, so I knew that they would do stellar, but I wanted to see if it was simply studio magic. If my stupid grin there didn't answer it, they did an outstanding job. It was a Black Sabbath show put on by three people, which is already impressive, but they didn't miss a single beat. Since it is Zakk Wylde, that is to be expected, but they kept the feeling completely authentic and true to the Black Sabbath vision. Naturally it had that Zakk Wylde guitar style mixed in with Tony Iommi's, but in both the Ozzy work and the BLS material that Wylde put out, you can tell that Iommi was a massive influence on his signature style. For our song of the day, it is obviously the studio version of "Fairies Wear Boots" which is a little more intense and straightforward than the live version I heard in concert. That live version sounded strikingly like Black Sabbath, even though Zakk would cut off to the side to bring in as many shredding solos as he could fit into the show. Zakk Wylde, much like the majority of us out there, discovered Black Sabbath at a young age and never came back the same. You can feel the passion in both the studio version and in concert. Sort of like growing up always wanting to be Tony Iommi and then waking up one day to realize in some ways those childhood dreams came true. This cover is electric, man, it is so damn aggressive! The original has this mysticism to it, but for the Zakk Sabbath version, it comes in hot and heavy, allowing that eerie feeling to pop up here and there if it has a chance to stand against the bombastic nature of it all. It is as much of a tribute to past gods as it is getting the ol' metalmobile a new set of paint to lure in some new fans to its sinful serenade. "Fairies Wear Boots" came off the only studio album to be put out by Zakk Sabbath, simply titled Greatest Riffs. It is 8 tracks of some of Black Sabbath's all-time greatest tracks. I was waiting for its release when I caught wind of it back in 2024, and it was a great set of songs to sink my teeth into then as it is now. The album cover is based on Black Sabbath's 1976 compilation We Sold Our Soul for Rock 'n' Roll, a necessary stop-off for anyone who is just now getting into Black Sabbath. I think it is one of their greatest album covers and albums; it is one that I have thoroughly enjoyed since my first time playing it when I was 10 or so. During an interview with Metal Hammer, Wylde said that the first album he ever bought was that gem right there, so it is only fitting it is also the album art for the first Zakk Sabbath studio album. Well, he said that he previously bought some 45s of pop stars, but it was Black Sabbath that set him on the path he was destined for. The path of the shred! 6 out of 8 songs that show up on Greatest Riffs were also on that compilation; the other two are "Into the Void" which is a fan favorite, and we have "Solitude" which is a bold Sabbath track to take on since it is one of their strangest out of the Ozzy era. Well, if you are a Black Label Society fan, a Sabbath fan, an Ozzy fanatic, or simply someone who likes foundation-rattling guitar, then I strongly suggest Greatest Riffs. Cover albums are often the greatest way to fully understand a band or musician, to understand them on a personal level, since music to me expresses the inner soul. Wylde never even tried to hide his love for Ozzy as a mentor, musician, and icon, so you won't find any shocking new info about his influences, but it is still worth your time. Throughout the concert he paid tribute to the Prince of Darkness many times, something that the crowd was more than happy to do in return. And as it should be, when "In This River" started up for the Black Label set, there were big murals paying tribute to his dear friend Dimebag Darrell of Pantera and his brother Vinnie Paul. "In This River" is in tribute to Dimebag, and it has been included in each BLS concert since its release. Well, I guess that is enough out of me. Thanks for reading along! Hope you dig the track and are compelled to listen through some more Zakk Sabbath material and the originals. Enjoy!
Year Released: 2024
Album: Greatest Riffs (2024)
Genre: Heavy Metal
Mood: Energetic
Perfect For: Banging your head, Driving fast, Getting drunk, Paying your tributes to the gods of heavy metal
Where To Next: "Hole in the Sky" - Pantera
Rating: 8 / 10
Song of the Day 03/06/2026
"So Much Trouble in the World" - Bob Marley
Isn't it crazy that Bob Marley is barely having his debut here on AintNoisePollution? Well, I guess not really since this isn't a reggae website, but when it comes to a reggae artist who had a heavy hand in the progression of rock music, it would be Marley. How could it not be? Bob Marley is a bona fide legend, an icon that will never fade from the public eye. Plus, AintNoisePollution doesn't stick solely to rock if that hasn't been clear enough yet. Anyway, Bob Marley is finally having his first song here on the website. The choice for today comes off his eleventh studio album, Survival. This one is great, and I swear it often gets overlooked in comparison to some of his other blissful albums. Maybe that is just from what I am seeing. Bob Marley had a pretty long career, one that is massively celebrated across the world. In the US, it was Bob Marley that got reggae fully to our shores as a genre with power. Reggae has always played in the backline here, but even with that, everyone knows Bob Marley. He is synonymous with stoner culture, which is a great way to keep your name relevant to music. Sublime did it, and the Grateful Dead did it, but none are so tied into stoner culture like Bob Marley is. All for obvious reasons. You cannot walk into a smoke shop here in Utah without seeing him somewhere in there. Imagery and such does play its role; much like KISS and The Rolling Stones, it seems like people know the logos and faces better than they know the music half the time. For those that only dabble in Bob Marley, you are missing a massive part of the musical mastery that is Bob Marley. Reggae was gaining power during the arrival of Bob Marley, and he had one of the heaviest hands in setting the stage for reggae to leave its home shores of Jamaica. He has one of the most interesting stories in music history. That tends to be an average for most of the top-selling musical artists of all time, but Marley has an even more intense one. All the good stuff that makes the best stories. Societal strife, hard times, good times, assassination attempts, raw dedication to his trade, activism, and a whole slew of other themes. I could easily make this post the biggest one to ever hit the website, but I will not since I think we both simply wanna get into the music half the time. Bob Marley was born in 1945 in a poor yet influential environment in Nine Mile, Jamaica. He showed signs of liking music at a young age and was heavily influenced by his grandmother. By the time he was in his preteen years, he started up a music group with fellow reggae legend Bunny Wailer. They were childhood friends and later became somewhat stepbrothers after their parents had a daughter. Around this same time everyone moved over to Kingston, and since Bob Marley and Bunny Wailer now lived together, there was a lot more time to play around with their sound. They heard R&B from broadcasts that came all the way from the United States and also were hearing a lot more ska-based music around Kingston. They merged the two styles together and picked up Peter Tosh along the way, another reggae icon. Now that they had almost a full band, they figured it was time to name themselves, and the name they settled on was The Teenagers, a fitting name with the influence of American R&B being part of their style, especially since The Teenagers were more of a vocal group since nobody knew how to play instruments. This was the proto-Wailers, and they added in more members as things moved along. They dropped the Teenagers name for the Wailing Rudeboys, which eventually moved into the Wailing Wailers, and finally we get to the name that went down in the history books, simply The Wailers. Even before they settled on the name, Bob Marley put out some singles, strange ones to listen to in modern times since they are quite a bit different from tracks like our song of the day. The Wailers put out some material and got discovered in 1963 and put out their first true single in 1964, one of Marley's greatest from the early days, "Simmer Down" which hit the top of the charts in Jamaica. A legend was born, and for the years following, Bob Marley was dishing out some great, and I mean great, albums and singles.
Once again, he has one hell of a story, and I am simply moving through it quickly and without detail so I don't hold you up all day. After The Wailers gained that local fame, things changed up for Marley for a little bit. He got married and decided to uproot to Delaware for a little while. It must have been a strange change, but it was a necessary step since Marley and the band started making music with Lee "Scratch" Perry, and it was there that the Wailers fully got their act and sound together. They were only together for about a year before a falling out happened. During this time, Jamaica was going through a change in popular music. What was sunshine and happy roots music was getting slower and deeper. The Wailers were one of the best to ride that wave, and with their collaborations with producer Leslie Kong, we hear some of the earliest roots of reggae music as we know it now. It was lively yet mean, harmonic yet plain, dance-worthy but easy to lounge around the house. A perfect medium between the Jamaican music of the previous years and this new style that had hardly been heard up until that point. For me, I consider this the ultimate time period for the Wailers, but mostly since it holds some of my favorite Bob Marley songs like "Stop That Train", "Soul Captives", and "Soul Shakedown Party". Still, the style was heavily rooted in their home shores of Jamaica, and Marley wanted to try to appeal to the markets outside his own shores. The band ran off and reworked plenty of their earlier songs into something that was more pop than anything else in hopes of getting a wider audience, but his residency in London was fairly short this time around. In time the right opportunity rolled around with the US-based recording company CBS Records, which gave The Wailers their first true chance to have their records make it all over the place. They had been releasing albums before their first with CBS Records, Catch a Fire, but this one was the first to be a grand slam for reggae music in the United States. Things only got better, even if the Wailers were going through plenty of infighting, which had many spin-offs popping up left and right. Well, the rest is history. Bob Marley was a trendsetter and played a massively important role in many musicians journeys, be it in Jamaica, in the United States, or in the UK, in reggae music, punk, and rock. Man, I am butchering the history lesson of Bob Marley. Me trying to shorten this post is like when you try putting the Christmas tree back in the box. So, how about we just get into our song of the day? Today we talk of one of the greatest tracks to come from Bob Marley and the Wailers's 11th studio album, Survival. This is a Marley essential, to say the least, and it is worth going out and buying a copy of Survival just for "So Much Trouble in the World". It is the first song off the album, and what a way to start the album off. Survival is a much more aggressive album in comparison to Marley's previous album, Kaya, which was a much more relaxed album that was simply happy to be there. Marley was never scared to speak his mind, and I think it rubbed people wrong when he was beating around the bush on Kaya. Survival goes for the throat but still does it in the name of peace. The classic saying goes, "If you want peace, prepare for war" or however it goes. Truth be told, I have always disliked that saying, but there is no doubting its presence in human nature. Anyway, as for "So Much Trouble in the World" it is a song about how doomed this planet is. It covers various topics, all of which point out the terrible things going on. Things like war, poverty, selfish endeavors by the rich, ecological themes, and societal strife. A great song to set the mood of the album off. A fun album that isn't as rootsy as his earlier albums, but for 1979, that is to be expected. A straightforward reggae track, but a complete joy to listen to no matter what you are doing. A good time yet with a sinister undertone demanding a change. Bob Marley has always served as a powerful current in getting people to join for change. So, even with the great music, his presence in music evolution, and stoner culture icon status, Bob Marley is also remembered for how much power is in his music. The kind of power that demands you change your wicked ways or help out your brother so together you can serve as the axe that cuts down the rotten tree. Well, I know this post felt a little rushed, and for that I am sorry. Some posts I flow, some I do not, but screw all this typing. Play the song, go enjoy a simple walk, and think of new ideas to help those around you, but first you must listen to the wise words of Bob Marley. Enjoy!
Year Released: 1979
Album: Survival (1979)
Genre: Reggae
Mood: Empowering
Perfect For: Driving around, Hot summer days, Self reflection, Sparking change
Where To Next: "Kingdom Rise Kingdom Fall" - Wailing Souls
Rating: 8 / 10
Isn't it crazy that Bob Marley is barely having his debut here on AintNoisePollution? Well, I guess not really since this isn't a reggae website, but when it comes to a reggae artist who had a heavy hand in the progression of rock music, it would be Marley. How could it not be? Bob Marley is a bona fide legend, an icon that will never fade from the public eye. Plus, AintNoisePollution doesn't stick solely to rock if that hasn't been clear enough yet. Anyway, Bob Marley is finally having his first song here on the website. The choice for today comes off his eleventh studio album, Survival. This one is great, and I swear it often gets overlooked in comparison to some of his other blissful albums. Maybe that is just from what I am seeing. Bob Marley had a pretty long career, one that is massively celebrated across the world. In the US, it was Bob Marley that got reggae fully to our shores as a genre with power. Reggae has always played in the backline here, but even with that, everyone knows Bob Marley. He is synonymous with stoner culture, which is a great way to keep your name relevant to music. Sublime did it, and the Grateful Dead did it, but none are so tied into stoner culture like Bob Marley is. All for obvious reasons. You cannot walk into a smoke shop here in Utah without seeing him somewhere in there. Imagery and such does play its role; much like KISS and The Rolling Stones, it seems like people know the logos and faces better than they know the music half the time. For those that only dabble in Bob Marley, you are missing a massive part of the musical mastery that is Bob Marley. Reggae was gaining power during the arrival of Bob Marley, and he had one of the heaviest hands in setting the stage for reggae to leave its home shores of Jamaica. He has one of the most interesting stories in music history. That tends to be an average for most of the top-selling musical artists of all time, but Marley has an even more intense one. All the good stuff that makes the best stories. Societal strife, hard times, good times, assassination attempts, raw dedication to his trade, activism, and a whole slew of other themes. I could easily make this post the biggest one to ever hit the website, but I will not since I think we both simply wanna get into the music half the time. Bob Marley was born in 1945 in a poor yet influential environment in Nine Mile, Jamaica. He showed signs of liking music at a young age and was heavily influenced by his grandmother. By the time he was in his preteen years, he started up a music group with fellow reggae legend Bunny Wailer. They were childhood friends and later became somewhat stepbrothers after their parents had a daughter. Around this same time everyone moved over to Kingston, and since Bob Marley and Bunny Wailer now lived together, there was a lot more time to play around with their sound. They heard R&B from broadcasts that came all the way from the United States and also were hearing a lot more ska-based music around Kingston. They merged the two styles together and picked up Peter Tosh along the way, another reggae icon. Now that they had almost a full band, they figured it was time to name themselves, and the name they settled on was The Teenagers, a fitting name with the influence of American R&B being part of their style, especially since The Teenagers were more of a vocal group since nobody knew how to play instruments. This was the proto-Wailers, and they added in more members as things moved along. They dropped the Teenagers name for the Wailing Rudeboys, which eventually moved into the Wailing Wailers, and finally we get to the name that went down in the history books, simply The Wailers. Even before they settled on the name, Bob Marley put out some singles, strange ones to listen to in modern times since they are quite a bit different from tracks like our song of the day. The Wailers put out some material and got discovered in 1963 and put out their first true single in 1964, one of Marley's greatest from the early days, "Simmer Down" which hit the top of the charts in Jamaica. A legend was born, and for the years following, Bob Marley was dishing out some great, and I mean great, albums and singles.
Once again, he has one hell of a story, and I am simply moving through it quickly and without detail so I don't hold you up all day. After The Wailers gained that local fame, things changed up for Marley for a little bit. He got married and decided to uproot to Delaware for a little while. It must have been a strange change, but it was a necessary step since Marley and the band started making music with Lee "Scratch" Perry, and it was there that the Wailers fully got their act and sound together. They were only together for about a year before a falling out happened. During this time, Jamaica was going through a change in popular music. What was sunshine and happy roots music was getting slower and deeper. The Wailers were one of the best to ride that wave, and with their collaborations with producer Leslie Kong, we hear some of the earliest roots of reggae music as we know it now. It was lively yet mean, harmonic yet plain, dance-worthy but easy to lounge around the house. A perfect medium between the Jamaican music of the previous years and this new style that had hardly been heard up until that point. For me, I consider this the ultimate time period for the Wailers, but mostly since it holds some of my favorite Bob Marley songs like "Stop That Train", "Soul Captives", and "Soul Shakedown Party". Still, the style was heavily rooted in their home shores of Jamaica, and Marley wanted to try to appeal to the markets outside his own shores. The band ran off and reworked plenty of their earlier songs into something that was more pop than anything else in hopes of getting a wider audience, but his residency in London was fairly short this time around. In time the right opportunity rolled around with the US-based recording company CBS Records, which gave The Wailers their first true chance to have their records make it all over the place. They had been releasing albums before their first with CBS Records, Catch a Fire, but this one was the first to be a grand slam for reggae music in the United States. Things only got better, even if the Wailers were going through plenty of infighting, which had many spin-offs popping up left and right. Well, the rest is history. Bob Marley was a trendsetter and played a massively important role in many musicians journeys, be it in Jamaica, in the United States, or in the UK, in reggae music, punk, and rock. Man, I am butchering the history lesson of Bob Marley. Me trying to shorten this post is like when you try putting the Christmas tree back in the box. So, how about we just get into our song of the day? Today we talk of one of the greatest tracks to come from Bob Marley and the Wailers's 11th studio album, Survival. This is a Marley essential, to say the least, and it is worth going out and buying a copy of Survival just for "So Much Trouble in the World". It is the first song off the album, and what a way to start the album off. Survival is a much more aggressive album in comparison to Marley's previous album, Kaya, which was a much more relaxed album that was simply happy to be there. Marley was never scared to speak his mind, and I think it rubbed people wrong when he was beating around the bush on Kaya. Survival goes for the throat but still does it in the name of peace. The classic saying goes, "If you want peace, prepare for war" or however it goes. Truth be told, I have always disliked that saying, but there is no doubting its presence in human nature. Anyway, as for "So Much Trouble in the World" it is a song about how doomed this planet is. It covers various topics, all of which point out the terrible things going on. Things like war, poverty, selfish endeavors by the rich, ecological themes, and societal strife. A great song to set the mood of the album off. A fun album that isn't as rootsy as his earlier albums, but for 1979, that is to be expected. A straightforward reggae track, but a complete joy to listen to no matter what you are doing. A good time yet with a sinister undertone demanding a change. Bob Marley has always served as a powerful current in getting people to join for change. So, even with the great music, his presence in music evolution, and stoner culture icon status, Bob Marley is also remembered for how much power is in his music. The kind of power that demands you change your wicked ways or help out your brother so together you can serve as the axe that cuts down the rotten tree. Well, I know this post felt a little rushed, and for that I am sorry. Some posts I flow, some I do not, but screw all this typing. Play the song, go enjoy a simple walk, and think of new ideas to help those around you, but first you must listen to the wise words of Bob Marley. Enjoy!
Year Released: 1979
Album: Survival (1979)
Genre: Reggae
Mood: Empowering
Perfect For: Driving around, Hot summer days, Self reflection, Sparking change
Where To Next: "Kingdom Rise Kingdom Fall" - Wailing Souls
Rating: 8 / 10
Song of the Day 03/05/2026
"Times Like These (Acoustic Version)" - Foo Fighters
Welcome back! Hope you are ready for a song chock-full of emotion for today's pick. Foo Fighters hardly need an introduction, and even if they did, I already gave you one back in January when we talked of their sensational "Rope". For today, we have one of their most famous songs but in acoustic form. You know, I love acoustic music, but I tend not to be too fond of acoustic versions of songs that I have held dear for a long time. They always feel like they are missing something. But, occasionally, I come across a great one that sometimes even gets close to toppling the regular version. Now, "Times Like These" doesn't quite take the spot of the electric version, but the acoustic is a gem in itself. I think it portrays the emotion of the song a little better; it brings in a human attribute that acoustic music always excels at. It makes these stars simply feel like one of us. Yeah, they are human, but the path they walk is day and night from our often mundane existence. The version we are talking of today comes from Foo Fighter's 00020225, one of many Foo Fighters EPs that feature rare recordings, live tracks, and B-sides to singles that never got a place on an album or compilation. The series is called Foo Files, and there are a ton of great tracks on them. Being someone who has listened to practically everything they put out up until 2021's Medicine at Midnight, I ate these EPs up when they were released. Man, I really have to get on top of my shit and listen to their two most recent studio albums since they are to release their 12th studio album in April called Your Favorite Toy. I hope to find some time to get to them before the day comes, and if not, then I will be three albums behind. Anyway, as I have mentioned before, I tend not to jump into most bands archive releases. I sort of accidentally found myself listening to the first from the Foo Files 00950025 when it came out in 2019. It sort of felt like it was a forbidden fruit that I simply heard in passing and loaded up. The Foo Files came out on media streaming services, and I am honestly not sure if they have any of them released in physical format yet, but since they are collections of items that showed up on previous singles and regional promotions, I would say no. Well, when I stumbled upon that first one, I honestly didn't expect much. It just seemed like another mainstream rock group throwing out plenty of filler material, but before I knew it, I was sucked into the EP. Only being 3 tracks long, I am sure that I listened to it 5 times within that week. I was especially fond of the live version of "For All the Cows" which has its studio version on the Foo Fighters self titled debut. Well, since then I have kept up on their Foo Files releases as they come out, even if I am behind on the studio albums. They chose great tracks; this isn't just some filler stuff but an addition to the great collection of songs they brought into the modern age. I am damn glad that they didn't let some of these versions and stand-alone songs become collector items and get stuck on their CD singles. Their most recent one, 00959525, has been one of the greatest so far, with B-sides coming off their debut, a welcome addition since I am head over heels for early Foo Fighters. Alright, enough about the then and the now; let's talk about our song of the day, which I guess is.. sort of talking about the then... but meh. Let's get into it!
I am sure most of us here know "Times Like These". It was one of their most popular songs to come off the band's fourth studio album, One by One, in 2002. That album is explosive! Grohl wanted to make an album that reflected the band's live energy, something he pulled off with grace. In comparison to their other albums, that one feels more raw and reckless, especially on the leading single "All My Life", another one I am sure we are all familiar with. Still, even something that is rowdy needs a moment to catch its breath, and that is where "Times Like These" comes into play. It was the second single off the album, but since I am sure we will cover the studio version here some day, I will gloss over it and try to zone in on the acoustic version chosen for today. The acoustic version of "Times Like These" originally showed up as an additional track to the "Low" DVD/EP that was released only in the US and Canada. "Low" is another rough-necked track from One by One, and its popularity was some of the reason the album did so damn well. Well, as everyone knows, when you want deep cuts into a band that came out in the CD era, check out those singles! While I knew that, I never really thought to do it with Foo Fighters until they did it for me with the Foo Files. With this being from a DVD more than a CD, I am sure I would have missed it anyway. Well, it would have been a shame since this version is great! For the other single versions of "Low", they feature a live cover of Husker Du's "Never Talking To You Again", another track you don't wanna miss out on, especially if you are a Husker Du fan. If you don't know Husker Du, I do suggest trying them out for size. One of the easiest punk bands to get into out of the 1980s. Strangely, the cover of "Never Talking to You Again" and the live version of "Enough Space" don't show up on the same Foo File release we are covering today. Wonder why. I would have loved to listen to them without pulling the puppies up on YouTube, and even then I cannot be sure I am listening to the right version. Well, we have "Times Like These" in acoustic form, so I will take it. The other tracks featured on 00020225 are some damn good live versions, covers of bands like the B-52's and the Psychedelic Furs, and tracks that were featured on some soundtracks. Alright, let's zone in on talking about our song of the day. I am a big fan of "Times Like These", the song always sets my heart at ease, but the acoustic version is even more powerful. It is slower and more earthy; a little touch of blandness fades away by the time you hit the middle of the track. The song was written by Grohl during an uncertain moment in the band's history. He wears his emotions on his sleeve as he reminds himself of the simple beauty of existence. Those strengthening lyrics curl wonderfully around the calming strumming. He questions his path, and you can feel the raw emotion of his choices put out within his vocals. Even with it being an acoustic version, Grohl still steps up to bat nearing the end of the song, where, like in the studio version, he projects his voice with raw conviction. It gives me chills in the studio version, much like this version does as well. The whole atmosphere of this version is calming, so damn still you could hear a pin drop. It is best taken in while being by your lonesome. Either just you and the highway or you and a quiet room. I can see why this version never met the light of day, but you would be a fool to pass up on it simply since you saw the "acoustic" in the song's title. Sometimes those acoustic tracks are the ones to show if a musician is worth their weight. So much is touched up in the studio work. Acoustic tracks can be as well, but still, you cannot cover up the lack of talent. Live songs and acoustic versions are where a musician is really shoved against the wall to see if they can keep up. So do the Foo Fighters? Namely Dave Grohl? That is up to you, dear reader, but I will say that they killed it. Hope you dig the song! If it ain't for you, then there is always tomorrow. Take a deep breath, spin the song, and just relax, man. There are few moments allotted for that in our day-to-day life, but this is one of those moments. Enjoy!
Year Released: 2003
Chosen EP: 00020225 (2019)
Genre: Rock, Acoustic Rock
Mood: Heartfelt
Perfect For: Casual listening, Going for a drive, Listening with both headphones in, Lonely nights
Where To Next: "Guaranteed" - Eddie Vedder
Rating: 8 / 10
Welcome back! Hope you are ready for a song chock-full of emotion for today's pick. Foo Fighters hardly need an introduction, and even if they did, I already gave you one back in January when we talked of their sensational "Rope". For today, we have one of their most famous songs but in acoustic form. You know, I love acoustic music, but I tend not to be too fond of acoustic versions of songs that I have held dear for a long time. They always feel like they are missing something. But, occasionally, I come across a great one that sometimes even gets close to toppling the regular version. Now, "Times Like These" doesn't quite take the spot of the electric version, but the acoustic is a gem in itself. I think it portrays the emotion of the song a little better; it brings in a human attribute that acoustic music always excels at. It makes these stars simply feel like one of us. Yeah, they are human, but the path they walk is day and night from our often mundane existence. The version we are talking of today comes from Foo Fighter's 00020225, one of many Foo Fighters EPs that feature rare recordings, live tracks, and B-sides to singles that never got a place on an album or compilation. The series is called Foo Files, and there are a ton of great tracks on them. Being someone who has listened to practically everything they put out up until 2021's Medicine at Midnight, I ate these EPs up when they were released. Man, I really have to get on top of my shit and listen to their two most recent studio albums since they are to release their 12th studio album in April called Your Favorite Toy. I hope to find some time to get to them before the day comes, and if not, then I will be three albums behind. Anyway, as I have mentioned before, I tend not to jump into most bands archive releases. I sort of accidentally found myself listening to the first from the Foo Files 00950025 when it came out in 2019. It sort of felt like it was a forbidden fruit that I simply heard in passing and loaded up. The Foo Files came out on media streaming services, and I am honestly not sure if they have any of them released in physical format yet, but since they are collections of items that showed up on previous singles and regional promotions, I would say no. Well, when I stumbled upon that first one, I honestly didn't expect much. It just seemed like another mainstream rock group throwing out plenty of filler material, but before I knew it, I was sucked into the EP. Only being 3 tracks long, I am sure that I listened to it 5 times within that week. I was especially fond of the live version of "For All the Cows" which has its studio version on the Foo Fighters self titled debut. Well, since then I have kept up on their Foo Files releases as they come out, even if I am behind on the studio albums. They chose great tracks; this isn't just some filler stuff but an addition to the great collection of songs they brought into the modern age. I am damn glad that they didn't let some of these versions and stand-alone songs become collector items and get stuck on their CD singles. Their most recent one, 00959525, has been one of the greatest so far, with B-sides coming off their debut, a welcome addition since I am head over heels for early Foo Fighters. Alright, enough about the then and the now; let's talk about our song of the day, which I guess is.. sort of talking about the then... but meh. Let's get into it!
I am sure most of us here know "Times Like These". It was one of their most popular songs to come off the band's fourth studio album, One by One, in 2002. That album is explosive! Grohl wanted to make an album that reflected the band's live energy, something he pulled off with grace. In comparison to their other albums, that one feels more raw and reckless, especially on the leading single "All My Life", another one I am sure we are all familiar with. Still, even something that is rowdy needs a moment to catch its breath, and that is where "Times Like These" comes into play. It was the second single off the album, but since I am sure we will cover the studio version here some day, I will gloss over it and try to zone in on the acoustic version chosen for today. The acoustic version of "Times Like These" originally showed up as an additional track to the "Low" DVD/EP that was released only in the US and Canada. "Low" is another rough-necked track from One by One, and its popularity was some of the reason the album did so damn well. Well, as everyone knows, when you want deep cuts into a band that came out in the CD era, check out those singles! While I knew that, I never really thought to do it with Foo Fighters until they did it for me with the Foo Files. With this being from a DVD more than a CD, I am sure I would have missed it anyway. Well, it would have been a shame since this version is great! For the other single versions of "Low", they feature a live cover of Husker Du's "Never Talking To You Again", another track you don't wanna miss out on, especially if you are a Husker Du fan. If you don't know Husker Du, I do suggest trying them out for size. One of the easiest punk bands to get into out of the 1980s. Strangely, the cover of "Never Talking to You Again" and the live version of "Enough Space" don't show up on the same Foo File release we are covering today. Wonder why. I would have loved to listen to them without pulling the puppies up on YouTube, and even then I cannot be sure I am listening to the right version. Well, we have "Times Like These" in acoustic form, so I will take it. The other tracks featured on 00020225 are some damn good live versions, covers of bands like the B-52's and the Psychedelic Furs, and tracks that were featured on some soundtracks. Alright, let's zone in on talking about our song of the day. I am a big fan of "Times Like These", the song always sets my heart at ease, but the acoustic version is even more powerful. It is slower and more earthy; a little touch of blandness fades away by the time you hit the middle of the track. The song was written by Grohl during an uncertain moment in the band's history. He wears his emotions on his sleeve as he reminds himself of the simple beauty of existence. Those strengthening lyrics curl wonderfully around the calming strumming. He questions his path, and you can feel the raw emotion of his choices put out within his vocals. Even with it being an acoustic version, Grohl still steps up to bat nearing the end of the song, where, like in the studio version, he projects his voice with raw conviction. It gives me chills in the studio version, much like this version does as well. The whole atmosphere of this version is calming, so damn still you could hear a pin drop. It is best taken in while being by your lonesome. Either just you and the highway or you and a quiet room. I can see why this version never met the light of day, but you would be a fool to pass up on it simply since you saw the "acoustic" in the song's title. Sometimes those acoustic tracks are the ones to show if a musician is worth their weight. So much is touched up in the studio work. Acoustic tracks can be as well, but still, you cannot cover up the lack of talent. Live songs and acoustic versions are where a musician is really shoved against the wall to see if they can keep up. So do the Foo Fighters? Namely Dave Grohl? That is up to you, dear reader, but I will say that they killed it. Hope you dig the song! If it ain't for you, then there is always tomorrow. Take a deep breath, spin the song, and just relax, man. There are few moments allotted for that in our day-to-day life, but this is one of those moments. Enjoy!
Year Released: 2003
Chosen EP: 00020225 (2019)
Genre: Rock, Acoustic Rock
Mood: Heartfelt
Perfect For: Casual listening, Going for a drive, Listening with both headphones in, Lonely nights
Where To Next: "Guaranteed" - Eddie Vedder
Rating: 8 / 10
Song of the Day 03/04/2026
"I'm On Fire" - Chelsea
Our posts for March have had 3 stellar artists, all of whom helped define their genre for that decade. For today we have a hidden gem. Chelsea was a punk rock group that found minor success nearing the end of the 1970s and entering the 1980s. They are more so viewed as a launching point for other talents to make their waves in various punk rock bands. Chelsea fronts a less aggressive punk rock sound, something more in line with hard rock and even a little splash of heavy metal. Sort of like the New York Dolls meets Stiff Little Fingers. They were one of the many young and spunky punk rock bands that came out of London in the 1970s. The band was started up in 1976 by John Krivine and Steph Raynor, the owners of Acme Attractions, which was a counterculture boutique hot spot in London. I love those kinds of shops; it was a leading cause of what made me want to live up in Salt Lake City since my hometown had more "cult" than culture. Anyway, Acme Attractions lured in many people with their clothing that touched on fetish wear, punk clothing, trippy sunglasses, so many animal prints you would think you walked into a safari, and everything shocking. The store gained notoriety quickly, and it became a common stop-off for anyone looking for something new and exciting to spice up their wardrobe. Fashion became a massive problem in the punk world, so much so that many in the 1980s reflected on the 1970s punks with malice. They viewed them as posers, a bunch of people who are missing the meaning of the music and want to jump on this new popular trend of rebellion. "So eager to please, peer pressure decrees". Well, no matter your stance on the matter, it did indeed hurt the core scene. It made a fashion circus out of a music genre. Don't get me wrong, that old punk wear is fucking killer, but you can see how it lured in all sorts, some of which had a lot of money and would spend plenty of scratch on something to make them look like they aren't the thing that the music was bashing. There is indeed a good side to the fashion side of punk music in the 1970s. It did help things move along. What do record stores, studios, tour buses, venues, and tour managers all have in common? They cost money. The root of all evil, that holy dollar that we all drool over. The accountant for Acme Attractions went on to start up The Roxy. He created the place so people had somewhere to go after they all came together in the shop and then went to party. The Roxy was punk rock's first club, and it is still a famous talking point among music historians such as myself, and there have been plenty of live albums recorded there, my favorite being from the Buzzcocks. The Roxy has been gone for a hot while now; it is currently a swimwear store. Shame. Anyway, do you know whose idea it was for The Roxy to start up? It was Gene October, the vocalist of Chelsea. Another thing that the strange romance between fashion and punk music is what bands did come out of it, Chelsea being a prime example of just that. It would seem we got a little off topic. Sorry about that, I guess I will see if I can bring it back in. So, it was the owners of Acme Attractions that put together the band. They didn't even play in the band, but they still are the ones that put it together. The first lineup consisted of Gene October, who was working as a male model for the fashion industry, and bassist Tony James, who was in the band London SS alongside John Towe, who also came along for the start of Chelsea. On guitars they had a then-unknown name, a dude named William Broad, what a name right? I guess it would be more fitting to call him as we know him now, Billy Idol. Yup. That Billy Idol. Some of what has kept the Chelsea name around was having Billy Idol there. Though Billy Idol never showed up on any of the albums, he left the band with Tony James after the band performed a couple of shows to go start up Generation X. That is where the Billy Idol story really kicks off, but we will get there in due time.
From the band's start in 1976 to their debut album in 1979, there were plenty of lineup changes. A step the band took was in 1977 when they released their single "Right to Work" which many claim to be one of the greatest punk singles you have yet to have heard. It is damn good and is the band's most successful song to ever be released. By the time they released their next single, there was already a new handful of band members. It became the usual, one day it would be James Stevenson on guitar, the next would be some random dude, the next was that random dude's dog he left there. So long as the music kept playing, all was well. The only constant member of Chelsea was Gene October, who was rapidly gaining status as an important figure in the London punk scene. They were playing shows regularly but were hardly releasing any material. By the time they got to their debut, they only had three singles out, pretty much one for each year they were around. None of those singles made it on their debut; two of them did come out on the compilation, Alternative Hits, which came out following the band's debut. Well, I guess we are already where we need to be to move into talking about that debut. Truth be told, I never heard the Chelsea name before starting my studies of punk rock, taking in anything I could get out of each year. When 1979 came along, I was riding a massive high of Gang of Four, The Clash, and The Members, so when Chelsea came along, I didn't look at it too hard. Still, there were a couple of songs that left an impression on me, and I went back and listened to the album again without it being surrounded by such punk essentials. I was impressed, not as much as I have been with some other bands, but it was a straightforward good time. An album that didn't force you to listen, nor did they even ask you to; they simply played, and you were there to take it all in. I gathered a small handful of good tracks from the album, but none left an imprint like "I'm On Fire" did. "I'm On Fire" starts up as you would expect from an album of this style. Solid thumping bass holds strong next to steady guitar work and easy to drum along to drum lines. The chorus of the song is a little reminiscent of the New York Dolls , a theme that shows up a couple of times in the album. Must have been an influence, but the New York Dolls bite was felt worldwide, so duh. "I'm On Fire" is the first song on the album, which is a great choice since the song is a damn energetic and fun one. 1979 had a lot of great punk albums; it was one of the strangest years in the genre since it was plain to see that the punk tides were shifting to something different. Even with all the competition, Chelsea put out a pretty decent debut. "I'm On Fire" is the type of track that you can listen to a solid couple of times in a row and still enjoy the hell out of yourself. The heavy distortion of the verses gets you pumped, and then the guitar-focused chorus always gives you something to look forward to. It is their most popular studio album, and if it included "Right to Work" I would say it was their most important release. Even without their most famous song, it stands strong. On Spotify, "I'm On Fire" is their most streamed track, and I wouldn't be shocked if I was a reason for that since I dig the hell out of the song. Since the band never really got off the ground, their Spotify is a little bit of a mess. I am not sure who is watching it, but they might want to fix it up since there is a lot of random stuff on there. There is a lullaby song that I, for some reason, listened to the full thing, a strange German (?) pop song from a bunch of teenagers that for some reason put a compilation out, and a shit load of Barbie songs that just released from some recent Barbie movie. So... if you got to check out the band after this song, don't confuse yourself. Obviouslly you aren't going to be like "damn, did these guys change", but a forewarning. I am currently listening to the Barbie song, and while it might be for you, it isn't for me. Well... Maybe. Watch it be the song for tomorrow. What the fuck am I even talking about? I think this means the post is about over and I need to get back to this Local H album, not bad so far. Chelsea has a ton of albums; they released 12 studio albums and a chunk of live albums in their time. I have only listened to maybe 3 of them for my studies, maybe I will make the time to try the other ones out. Either way, it is now your turn to listen to the song, and the Barbie one after if that is your jam. Enjoy!
Year Released: 1979
Album: Chelsea (1979)
Genre: Punk Rock
Mood: Catchy
Perfect For: Casual listening, Commuting, Having a couple of beers
Where To Next: "Chatterbox" - New York Dolls
Rating: 7 / 10
Our posts for March have had 3 stellar artists, all of whom helped define their genre for that decade. For today we have a hidden gem. Chelsea was a punk rock group that found minor success nearing the end of the 1970s and entering the 1980s. They are more so viewed as a launching point for other talents to make their waves in various punk rock bands. Chelsea fronts a less aggressive punk rock sound, something more in line with hard rock and even a little splash of heavy metal. Sort of like the New York Dolls meets Stiff Little Fingers. They were one of the many young and spunky punk rock bands that came out of London in the 1970s. The band was started up in 1976 by John Krivine and Steph Raynor, the owners of Acme Attractions, which was a counterculture boutique hot spot in London. I love those kinds of shops; it was a leading cause of what made me want to live up in Salt Lake City since my hometown had more "cult" than culture. Anyway, Acme Attractions lured in many people with their clothing that touched on fetish wear, punk clothing, trippy sunglasses, so many animal prints you would think you walked into a safari, and everything shocking. The store gained notoriety quickly, and it became a common stop-off for anyone looking for something new and exciting to spice up their wardrobe. Fashion became a massive problem in the punk world, so much so that many in the 1980s reflected on the 1970s punks with malice. They viewed them as posers, a bunch of people who are missing the meaning of the music and want to jump on this new popular trend of rebellion. "So eager to please, peer pressure decrees". Well, no matter your stance on the matter, it did indeed hurt the core scene. It made a fashion circus out of a music genre. Don't get me wrong, that old punk wear is fucking killer, but you can see how it lured in all sorts, some of which had a lot of money and would spend plenty of scratch on something to make them look like they aren't the thing that the music was bashing. There is indeed a good side to the fashion side of punk music in the 1970s. It did help things move along. What do record stores, studios, tour buses, venues, and tour managers all have in common? They cost money. The root of all evil, that holy dollar that we all drool over. The accountant for Acme Attractions went on to start up The Roxy. He created the place so people had somewhere to go after they all came together in the shop and then went to party. The Roxy was punk rock's first club, and it is still a famous talking point among music historians such as myself, and there have been plenty of live albums recorded there, my favorite being from the Buzzcocks. The Roxy has been gone for a hot while now; it is currently a swimwear store. Shame. Anyway, do you know whose idea it was for The Roxy to start up? It was Gene October, the vocalist of Chelsea. Another thing that the strange romance between fashion and punk music is what bands did come out of it, Chelsea being a prime example of just that. It would seem we got a little off topic. Sorry about that, I guess I will see if I can bring it back in. So, it was the owners of Acme Attractions that put together the band. They didn't even play in the band, but they still are the ones that put it together. The first lineup consisted of Gene October, who was working as a male model for the fashion industry, and bassist Tony James, who was in the band London SS alongside John Towe, who also came along for the start of Chelsea. On guitars they had a then-unknown name, a dude named William Broad, what a name right? I guess it would be more fitting to call him as we know him now, Billy Idol. Yup. That Billy Idol. Some of what has kept the Chelsea name around was having Billy Idol there. Though Billy Idol never showed up on any of the albums, he left the band with Tony James after the band performed a couple of shows to go start up Generation X. That is where the Billy Idol story really kicks off, but we will get there in due time.
From the band's start in 1976 to their debut album in 1979, there were plenty of lineup changes. A step the band took was in 1977 when they released their single "Right to Work" which many claim to be one of the greatest punk singles you have yet to have heard. It is damn good and is the band's most successful song to ever be released. By the time they released their next single, there was already a new handful of band members. It became the usual, one day it would be James Stevenson on guitar, the next would be some random dude, the next was that random dude's dog he left there. So long as the music kept playing, all was well. The only constant member of Chelsea was Gene October, who was rapidly gaining status as an important figure in the London punk scene. They were playing shows regularly but were hardly releasing any material. By the time they got to their debut, they only had three singles out, pretty much one for each year they were around. None of those singles made it on their debut; two of them did come out on the compilation, Alternative Hits, which came out following the band's debut. Well, I guess we are already where we need to be to move into talking about that debut. Truth be told, I never heard the Chelsea name before starting my studies of punk rock, taking in anything I could get out of each year. When 1979 came along, I was riding a massive high of Gang of Four, The Clash, and The Members, so when Chelsea came along, I didn't look at it too hard. Still, there were a couple of songs that left an impression on me, and I went back and listened to the album again without it being surrounded by such punk essentials. I was impressed, not as much as I have been with some other bands, but it was a straightforward good time. An album that didn't force you to listen, nor did they even ask you to; they simply played, and you were there to take it all in. I gathered a small handful of good tracks from the album, but none left an imprint like "I'm On Fire" did. "I'm On Fire" starts up as you would expect from an album of this style. Solid thumping bass holds strong next to steady guitar work and easy to drum along to drum lines. The chorus of the song is a little reminiscent of the New York Dolls , a theme that shows up a couple of times in the album. Must have been an influence, but the New York Dolls bite was felt worldwide, so duh. "I'm On Fire" is the first song on the album, which is a great choice since the song is a damn energetic and fun one. 1979 had a lot of great punk albums; it was one of the strangest years in the genre since it was plain to see that the punk tides were shifting to something different. Even with all the competition, Chelsea put out a pretty decent debut. "I'm On Fire" is the type of track that you can listen to a solid couple of times in a row and still enjoy the hell out of yourself. The heavy distortion of the verses gets you pumped, and then the guitar-focused chorus always gives you something to look forward to. It is their most popular studio album, and if it included "Right to Work" I would say it was their most important release. Even without their most famous song, it stands strong. On Spotify, "I'm On Fire" is their most streamed track, and I wouldn't be shocked if I was a reason for that since I dig the hell out of the song. Since the band never really got off the ground, their Spotify is a little bit of a mess. I am not sure who is watching it, but they might want to fix it up since there is a lot of random stuff on there. There is a lullaby song that I, for some reason, listened to the full thing, a strange German (?) pop song from a bunch of teenagers that for some reason put a compilation out, and a shit load of Barbie songs that just released from some recent Barbie movie. So... if you got to check out the band after this song, don't confuse yourself. Obviouslly you aren't going to be like "damn, did these guys change", but a forewarning. I am currently listening to the Barbie song, and while it might be for you, it isn't for me. Well... Maybe. Watch it be the song for tomorrow. What the fuck am I even talking about? I think this means the post is about over and I need to get back to this Local H album, not bad so far. Chelsea has a ton of albums; they released 12 studio albums and a chunk of live albums in their time. I have only listened to maybe 3 of them for my studies, maybe I will make the time to try the other ones out. Either way, it is now your turn to listen to the song, and the Barbie one after if that is your jam. Enjoy!
Year Released: 1979
Album: Chelsea (1979)
Genre: Punk Rock
Mood: Catchy
Perfect For: Casual listening, Commuting, Having a couple of beers
Where To Next: "Chatterbox" - New York Dolls
Rating: 7 / 10
Song of the Day 03/03/2026
"Kitty" - The Presidents of the United States of America
Man, what a band name. I have never been quite sure how to feel about it, but it fits the band marvelously. For the sake of my sanity and for the sake of this post's word count, we will be calling them "the band" and "The Presidents" from here on out. Well, this isn't the first time the Presidents hit AintNoisePollution. This is their second time with us here. The first post was for the song "Meanwhile Back in the City" back in November. That one is a good one, but not quite the essential one we have here with us today. Truth be told, I am not sure what the last post was made up of. I can't quite recall if we went over the band's history or if it was one of those posts where I ramble on about shit that has nothing to do with the song in the first place. Well, I will give you a brief rundown on who The Presidents are. They were one of the oddities that came out of the 1990s alternative rock world. They are known for their silly lyrics backed by a seriously potent style. For some, comedy tends to take the forefront, and they fill in the blanks with simple chords or raunchy shock appeal. For the Presidents, it comes in the form of romance, the marriage of comedy and strong songwriting. Our song of the day is the brightest shining example of just that, but we will get there in time. For those of you out there that maybe just got released from prison after a 50-year sentence, or perhaps were born just last night and already learned how to read, there is one thing you have to know about the 1990s rock world. There were many cities, states, and countries out there putting out some kick-ass music, but none controlled the airwaves like the bands that came out of Seattle. Be it for the grunge that became radio staples, punk-leaning art pop that ruled the underground, indie that would soon be a formidable force, or the quirky alternative rock. When it comes to the quirky alternative rock side, it was the Presidents who stood there strongest. Sure, the band only had one big hit album that holds the majority of their most beloved songs, but true fans will know there is plenty to be had outside their self titled debut. Also, as most true fans will know, there is still no beating that debut; it is a gem! The band was fairly short lived, they came along with two albums, one in 1995 and the other in 1996, before the band broke up so vocalist Chris Ballew could try stepping out to have a solo career (which didn't quite work out). They got back together in 2000 and released their third studio album, Freaked Out and Small, which we talked about in the last post. I won't repeat myself on that one, so go check it out for yourself if you'd like. They then released studio albums in 2004, 2008, and 2014. I am taking a while to get around to their full discography. They have been a band that I get stuck in one place with, mostly since some of their tracks on their first two, especially, are a ball. The band was originally put together by vocalist and bassist/guitarist (if you can call his contraption a guitar) Chris Ballew and the guitarist/bassist (once again, if you can even call that a guitar) Dave Dederer. They went through a couple of band names before settling on The Presidents of the United States of America. They settled on the band name since it stood out and was slightly comical, a thing they too brought with them into their music. Chris Ballew previously was part of a band called Egg, who would play on the streets of Seattle. It was there that a lot of the President's songs were first written. Now, the Presidents are hardly punk, but with a little tongue-in-cheek humor and being bold enough to comically meow in the background of a song like in "Kitty", you gotta have a little bit of a punk knack. Meowing may not be very punk, but cats are... so.... yeah. Not sure where I was going with that. Anyway! After the duo got their band name and started jamming, they realized they might want a drummer. Enter Jason Finn. Finn was already with a band called Love Battery, who found moderate fame and were signed by Sub Pop Records for a while there. He was with them off and on while still being in the Presidents. Now a three piece they played their first show in 1993, recorded their first demo in 1994, and were signed in the same year.
In 1995 the band released their debut self titled album, one that completely took the world off guard. It held some 1990s essentials like the forever cherished "Lump" and "Peaches". Everyone knows those tracks. It also holds our song of the day, "Kitty", which is damn odd but irresistibly fun. We cannot forget about "Dune Buggy" which was the fourth single off the album but didn't fare as well as the others. I have a fondness for the songs "Boll Weevil", "Naked and Famous", and "Back Porch" as well, and the list could truly go on. Even if the band can come off as peculiar, they released one killer album for their debut. Killer enough to hit triple platinum in the United States alone. They never hit the same high with any of their other releases, but I do suggest still trying them out if you like their self titled. One of the best moments on the album is the intro track, "Kitty". Now, I hope you are ready for a ride with this one! This is the kind of track you might turn down when you pull up to a red light, or maybe you are the type to go in loud and proud with the silly songs. The fact they decided to use this as an intro track has always made me chuckle. Not that it is a bad song, oh no, but more so that the band had fewer.... out there songs, and this was the one they chose. I guess it lets you know what you are in for. If it was just a silly song about cats with no real backing, I would shun the decision for it being their opener, but this song is good. I mean reeeaaaaaal good! Way better than it has any right to be. Cleverly written with great composition to keep you fully in for the whole ride. A whirlwind of emotions. The start of the track is the prime example of the Presidents signature sound, deceptively simple. Lyrically the song is written about the deep desire to pet a stray cat, even if it is a little shit. It is based on a true story, but that isn't all too shocking. I think most of us out there have wanted to pet a stray cat. I deal with it every day I close up the warehouse I work at since there are some that live in the nearby field. They don't want anything to do with me. I don't want anything to do with me either, so I get it. Anyway, the song is mellow and builds the mood wonderfully before the overly catchy chorus comes in. The band does a fantastic job of replicating those gravely stray tomcat meows. It soon enough becomes almost hypnotic. Those meows are a good portion of what makes this song great, especially at the part where the little bastard scratches our character. He seems completely taken aback at being kicked out of the house to sleep outside. That part always makes me chuckle. I am a fool for cat humor. Another thing that really makes this track a standout one is that music video. If you haven't seen it, I suggest pulling it up. I think it is the only music video I know of that is taken from an animal's perspective. Naturally it is the point of view of a kitty slinking around the band while they play the song. Whoever the cameraman was that pretended to be a cat did it strikingly well, and it was all done in one take. It does a great job of ramping up in the video when the song itself gains some energy at the chorus and the heavier ending. The house in the music video is gross, but that is some of the aesthetic. Check it out! You won't be disappointed. After "Kitty" livens up the album, the band moves into "Feather Pluckin'" and then their crown jewel, "Lump" which became an alternative rock staple. That debut is such a joy to listen to, and not every track is as silly as "Kitty". I will say over and over again that even with a strange topic of song, the band shows how damn good they are at mixing compellingly simple-sounding jams with comedic themes. At first I wasn't sure how people would take the track. Then, as I added it to the playlist and started plotting how this post was going to be, I decided I don't really care. Don't get me wrong, I want you to have only the best here on AintNoisePollution, but you are listening to it. A kick-ass song about a kitty? Are you fucking kidding me? This is what this website was started for! This is peak music. Well, if you don't like the song, I can do one about dogs next time. Or maybe birds. Hmmmm.... Are there any armadillo songs? Those little bastards are underrated on the cute meter. Alright, that is enough about the Presidents and animals. Come back next time to see what we have here. You know what to do. Play the song! Enjoy!
Year Released: 1995
Album: The Presidents of the United States of America (1995)
Genre: Alternative Rock
Mood: Silly
Perfect For: Casual listening, Petting your dear fur baby, Summer, Bettering your mood
Where To Next: "Poppies" - Marcy Playground
Rating: 9 / 10
Man, what a band name. I have never been quite sure how to feel about it, but it fits the band marvelously. For the sake of my sanity and for the sake of this post's word count, we will be calling them "the band" and "The Presidents" from here on out. Well, this isn't the first time the Presidents hit AintNoisePollution. This is their second time with us here. The first post was for the song "Meanwhile Back in the City" back in November. That one is a good one, but not quite the essential one we have here with us today. Truth be told, I am not sure what the last post was made up of. I can't quite recall if we went over the band's history or if it was one of those posts where I ramble on about shit that has nothing to do with the song in the first place. Well, I will give you a brief rundown on who The Presidents are. They were one of the oddities that came out of the 1990s alternative rock world. They are known for their silly lyrics backed by a seriously potent style. For some, comedy tends to take the forefront, and they fill in the blanks with simple chords or raunchy shock appeal. For the Presidents, it comes in the form of romance, the marriage of comedy and strong songwriting. Our song of the day is the brightest shining example of just that, but we will get there in time. For those of you out there that maybe just got released from prison after a 50-year sentence, or perhaps were born just last night and already learned how to read, there is one thing you have to know about the 1990s rock world. There were many cities, states, and countries out there putting out some kick-ass music, but none controlled the airwaves like the bands that came out of Seattle. Be it for the grunge that became radio staples, punk-leaning art pop that ruled the underground, indie that would soon be a formidable force, or the quirky alternative rock. When it comes to the quirky alternative rock side, it was the Presidents who stood there strongest. Sure, the band only had one big hit album that holds the majority of their most beloved songs, but true fans will know there is plenty to be had outside their self titled debut. Also, as most true fans will know, there is still no beating that debut; it is a gem! The band was fairly short lived, they came along with two albums, one in 1995 and the other in 1996, before the band broke up so vocalist Chris Ballew could try stepping out to have a solo career (which didn't quite work out). They got back together in 2000 and released their third studio album, Freaked Out and Small, which we talked about in the last post. I won't repeat myself on that one, so go check it out for yourself if you'd like. They then released studio albums in 2004, 2008, and 2014. I am taking a while to get around to their full discography. They have been a band that I get stuck in one place with, mostly since some of their tracks on their first two, especially, are a ball. The band was originally put together by vocalist and bassist/guitarist (if you can call his contraption a guitar) Chris Ballew and the guitarist/bassist (once again, if you can even call that a guitar) Dave Dederer. They went through a couple of band names before settling on The Presidents of the United States of America. They settled on the band name since it stood out and was slightly comical, a thing they too brought with them into their music. Chris Ballew previously was part of a band called Egg, who would play on the streets of Seattle. It was there that a lot of the President's songs were first written. Now, the Presidents are hardly punk, but with a little tongue-in-cheek humor and being bold enough to comically meow in the background of a song like in "Kitty", you gotta have a little bit of a punk knack. Meowing may not be very punk, but cats are... so.... yeah. Not sure where I was going with that. Anyway! After the duo got their band name and started jamming, they realized they might want a drummer. Enter Jason Finn. Finn was already with a band called Love Battery, who found moderate fame and were signed by Sub Pop Records for a while there. He was with them off and on while still being in the Presidents. Now a three piece they played their first show in 1993, recorded their first demo in 1994, and were signed in the same year.
In 1995 the band released their debut self titled album, one that completely took the world off guard. It held some 1990s essentials like the forever cherished "Lump" and "Peaches". Everyone knows those tracks. It also holds our song of the day, "Kitty", which is damn odd but irresistibly fun. We cannot forget about "Dune Buggy" which was the fourth single off the album but didn't fare as well as the others. I have a fondness for the songs "Boll Weevil", "Naked and Famous", and "Back Porch" as well, and the list could truly go on. Even if the band can come off as peculiar, they released one killer album for their debut. Killer enough to hit triple platinum in the United States alone. They never hit the same high with any of their other releases, but I do suggest still trying them out if you like their self titled. One of the best moments on the album is the intro track, "Kitty". Now, I hope you are ready for a ride with this one! This is the kind of track you might turn down when you pull up to a red light, or maybe you are the type to go in loud and proud with the silly songs. The fact they decided to use this as an intro track has always made me chuckle. Not that it is a bad song, oh no, but more so that the band had fewer.... out there songs, and this was the one they chose. I guess it lets you know what you are in for. If it was just a silly song about cats with no real backing, I would shun the decision for it being their opener, but this song is good. I mean reeeaaaaaal good! Way better than it has any right to be. Cleverly written with great composition to keep you fully in for the whole ride. A whirlwind of emotions. The start of the track is the prime example of the Presidents signature sound, deceptively simple. Lyrically the song is written about the deep desire to pet a stray cat, even if it is a little shit. It is based on a true story, but that isn't all too shocking. I think most of us out there have wanted to pet a stray cat. I deal with it every day I close up the warehouse I work at since there are some that live in the nearby field. They don't want anything to do with me. I don't want anything to do with me either, so I get it. Anyway, the song is mellow and builds the mood wonderfully before the overly catchy chorus comes in. The band does a fantastic job of replicating those gravely stray tomcat meows. It soon enough becomes almost hypnotic. Those meows are a good portion of what makes this song great, especially at the part where the little bastard scratches our character. He seems completely taken aback at being kicked out of the house to sleep outside. That part always makes me chuckle. I am a fool for cat humor. Another thing that really makes this track a standout one is that music video. If you haven't seen it, I suggest pulling it up. I think it is the only music video I know of that is taken from an animal's perspective. Naturally it is the point of view of a kitty slinking around the band while they play the song. Whoever the cameraman was that pretended to be a cat did it strikingly well, and it was all done in one take. It does a great job of ramping up in the video when the song itself gains some energy at the chorus and the heavier ending. The house in the music video is gross, but that is some of the aesthetic. Check it out! You won't be disappointed. After "Kitty" livens up the album, the band moves into "Feather Pluckin'" and then their crown jewel, "Lump" which became an alternative rock staple. That debut is such a joy to listen to, and not every track is as silly as "Kitty". I will say over and over again that even with a strange topic of song, the band shows how damn good they are at mixing compellingly simple-sounding jams with comedic themes. At first I wasn't sure how people would take the track. Then, as I added it to the playlist and started plotting how this post was going to be, I decided I don't really care. Don't get me wrong, I want you to have only the best here on AintNoisePollution, but you are listening to it. A kick-ass song about a kitty? Are you fucking kidding me? This is what this website was started for! This is peak music. Well, if you don't like the song, I can do one about dogs next time. Or maybe birds. Hmmmm.... Are there any armadillo songs? Those little bastards are underrated on the cute meter. Alright, that is enough about the Presidents and animals. Come back next time to see what we have here. You know what to do. Play the song! Enjoy!
Year Released: 1995
Album: The Presidents of the United States of America (1995)
Genre: Alternative Rock
Mood: Silly
Perfect For: Casual listening, Petting your dear fur baby, Summer, Bettering your mood
Where To Next: "Poppies" - Marcy Playground
Rating: 9 / 10
Song of the Day 03/02/2026
"Tomorrow" - Silverchair
Welcome! Today we are here to talk about Silverchair. Our selected track, "Tomorrow", is their most famous by a long shot. Especially in the US. Funnily enough, when I was a kid, I thought that Silverchair was a one-hit wonder. I mean, it is the 1990s, a place where one-hit wonders were a dime a dozen. I only heard "Tomorrow" from them on repeat, never any of their other great songs. I kept that perception for a solid chunk of my life until I turned my studies to rock as well instead of just heavy metal. I was probably 15 or 16 the first time I listened to one of their full albums and actually looked into the band. I was shocked, to say the least, that they were the same age as myself when they recorded their debut album, Frogstomp. The vocals we hear on "Tomorrow" don't sound anything like a child, and the band's playing is tight and well-greased, something that full-fledged adults tend to struggle with on their debut. Frogstomp is one great album, and as soon as it finished and my studies into them started, I kicked myself for just assuming something about a band. Since then I have been a big fan. Tracks from Frogstomp, Freak Show, and Neon Ballroom fill plenty of my playlists with their alternative rock and grunge sound. So, who is Silverchair? How did they gain a ton of fame at the age of 15? They hail from down under, Australia way, and they got their start after winning a national competition that rewarded some studio time and a chance to get their name out there. They were local stars and found a ton of fame across the ocean upon many shores outside of Oceania. They melded wonderfully with what was going on in the States when they released their debut in 1995. Frogstomp became a grunge classic alongside the epic releases from Nirvana, Alice in Chains, Soundgarden, and so on. A pretty rare case for a band outside the United States, and even more rare for a bunch of kids to do it that well. They were certainly not the one-hit wonder I put them out to be for my earlier life; they are a bunch of dudes who put out plenty of hit albums and songs. All five of their studio albums hit the #1 spot on the Australian charts, and though Frogtstomp is their most famous album, their others still did great outside their home. The band started up as a little playing around when drummer Ben Gillies and guitarist/vocalist Daniel Johns started up a little group where they would rap over drum tracks on an electric keyboard. They called themselves "the Silly Men" and even went so far as to throw random shows in classes where they attended. As time moved along, they moved into high school, where they met bassist Chris Joannou. They changed up their name and what they played. No more rapping for their classmates; they started playing covers of the hard rock legends like Led Zeppelin and Deep Purple. They put in for multiple competitions, but it was their submission of the demo version of "Tomorrow" to a national competition called "Pick Me" that got them launched from local lads to rock hotshots. The reward for winning the competition was to be able to professionally record "Tomorrow" and put out a video for it. The song did marvelously, and the band was luring in countless labels wanting to sign them.
"Tomorrow" is the band's most famous song. Like I mentioned earlier, it is a radio staple in my area. Growing up, I swear you would hear it multiple times a day. Typically, that would be an annoyance for music listeners like myself, but I have always had a deep fondness for "Tomorrow". While I didn't have the annoying but fun problem of the older generations, I still had a point in my life where I would have to chase down songs on the radio to find out who it was by. Each time they played "Tomorrow" I hoped and prayed they would tell me who the hell the song was by. I can remember Silverchair being elusive with this song, much like System of a Down was when the radio would play "BYOB" and Beck with "E-Pro". All of those songs still make my brain start trying to figure out who they are, even though I am well seasoned in each of them. Anyway, "Tomorrow" was their most played song in the United States and elsewhere. The song is... well... explosive. It is one intense song! One of the greatest out of the 1990s by a long shot. The buildup before the whole band comes together on the chorus always gives me chills. "Tomorrow" is the second track off of their debut, Frogstomp, which was released in 1995. As I am sure you could have guessed with the previous info, it was the first single released off the album. The single gained them three ARIA awards in 1995: highest-selling single, single of the year, and breakthrough artist. All of which when they were still teenagers! Not just 18 year olds, but fuckin' 15 year olds. Man, that is so damn cool. I was busy smoking up and listening to tunes instead of writing them. We all have our role to play in the rock n roll circus. I just wish I wasn't the clown. All jokes. Anyway, the song didn't bring in anything new to the music world, but that is alright. It was the perfect answer to the grunge call that bugled all the way over the seas. They did it perfectly with more angst and energy than the majority of big-time bands of the time. For a bunch of kids, they released a song on an album full of great guitar riffs, mean drumming, and fun to listen to vocals that shake the floor. The lyrics are pretty straightforward and come from the pen of inspired youth. It was put together while the band was in their first group, The Innocent Criminals. The words were written by Daniel Johns and Ben Gillies. Johns said it was inspired by a show he watched that saw a rich man being forced into experiencing poverty for a day, being stuck in a hotel until he was released "tomorrow". Lyrically the track is aggressive, and the music video matches suit and became a staple of rock music videos upon its release. Very much from its time with flashing images and ugly close-up shots that paint the image of the words wonderfully. Anyway, Silverchair didn't have just this one great song on Frogstomp, the rest is a treat as well. I have an equal love for the songs "Faultline", "Pure Massacre", "Madman", and especially "Israel's Son." Many claimed the album was the last stand of grunge music, one of the last true greats before the genre came to a close and gave way to post-grunge. I am not sure that I agree with that, but I will say that this album was a solid send-off for other bands to come in with their own take on grunge music for the next almost ten years. A great album with many great tunes that defined hard rock and grunge of the second half of the 1990s. I know you already know the track; it is one you couldn't have missed, but maybe try it again now with this newfound information. If you like the song, perhaps try out this album and their follow-up, Freak Show. They are the only two with this raw sound, later they moved into some experimentation but still don't completely lose their core sound. Frogstomp is an awesome album you cannot miss out on, and look at that album cover! Frogs are so cute! Anyway, there is the post. Enjoy!
Year Released: 1994
Album: Frogstomp (1995)
Genre: Grunge
Mood: Aggressive
Perfect For: Playing loud, Summer days, Working stupid jobs for stupid money
Where To Next: "Possum Kingdom" - Toadies
Rating: 10 / 10
Welcome! Today we are here to talk about Silverchair. Our selected track, "Tomorrow", is their most famous by a long shot. Especially in the US. Funnily enough, when I was a kid, I thought that Silverchair was a one-hit wonder. I mean, it is the 1990s, a place where one-hit wonders were a dime a dozen. I only heard "Tomorrow" from them on repeat, never any of their other great songs. I kept that perception for a solid chunk of my life until I turned my studies to rock as well instead of just heavy metal. I was probably 15 or 16 the first time I listened to one of their full albums and actually looked into the band. I was shocked, to say the least, that they were the same age as myself when they recorded their debut album, Frogstomp. The vocals we hear on "Tomorrow" don't sound anything like a child, and the band's playing is tight and well-greased, something that full-fledged adults tend to struggle with on their debut. Frogstomp is one great album, and as soon as it finished and my studies into them started, I kicked myself for just assuming something about a band. Since then I have been a big fan. Tracks from Frogstomp, Freak Show, and Neon Ballroom fill plenty of my playlists with their alternative rock and grunge sound. So, who is Silverchair? How did they gain a ton of fame at the age of 15? They hail from down under, Australia way, and they got their start after winning a national competition that rewarded some studio time and a chance to get their name out there. They were local stars and found a ton of fame across the ocean upon many shores outside of Oceania. They melded wonderfully with what was going on in the States when they released their debut in 1995. Frogstomp became a grunge classic alongside the epic releases from Nirvana, Alice in Chains, Soundgarden, and so on. A pretty rare case for a band outside the United States, and even more rare for a bunch of kids to do it that well. They were certainly not the one-hit wonder I put them out to be for my earlier life; they are a bunch of dudes who put out plenty of hit albums and songs. All five of their studio albums hit the #1 spot on the Australian charts, and though Frogtstomp is their most famous album, their others still did great outside their home. The band started up as a little playing around when drummer Ben Gillies and guitarist/vocalist Daniel Johns started up a little group where they would rap over drum tracks on an electric keyboard. They called themselves "the Silly Men" and even went so far as to throw random shows in classes where they attended. As time moved along, they moved into high school, where they met bassist Chris Joannou. They changed up their name and what they played. No more rapping for their classmates; they started playing covers of the hard rock legends like Led Zeppelin and Deep Purple. They put in for multiple competitions, but it was their submission of the demo version of "Tomorrow" to a national competition called "Pick Me" that got them launched from local lads to rock hotshots. The reward for winning the competition was to be able to professionally record "Tomorrow" and put out a video for it. The song did marvelously, and the band was luring in countless labels wanting to sign them.
"Tomorrow" is the band's most famous song. Like I mentioned earlier, it is a radio staple in my area. Growing up, I swear you would hear it multiple times a day. Typically, that would be an annoyance for music listeners like myself, but I have always had a deep fondness for "Tomorrow". While I didn't have the annoying but fun problem of the older generations, I still had a point in my life where I would have to chase down songs on the radio to find out who it was by. Each time they played "Tomorrow" I hoped and prayed they would tell me who the hell the song was by. I can remember Silverchair being elusive with this song, much like System of a Down was when the radio would play "BYOB" and Beck with "E-Pro". All of those songs still make my brain start trying to figure out who they are, even though I am well seasoned in each of them. Anyway, "Tomorrow" was their most played song in the United States and elsewhere. The song is... well... explosive. It is one intense song! One of the greatest out of the 1990s by a long shot. The buildup before the whole band comes together on the chorus always gives me chills. "Tomorrow" is the second track off of their debut, Frogstomp, which was released in 1995. As I am sure you could have guessed with the previous info, it was the first single released off the album. The single gained them three ARIA awards in 1995: highest-selling single, single of the year, and breakthrough artist. All of which when they were still teenagers! Not just 18 year olds, but fuckin' 15 year olds. Man, that is so damn cool. I was busy smoking up and listening to tunes instead of writing them. We all have our role to play in the rock n roll circus. I just wish I wasn't the clown. All jokes. Anyway, the song didn't bring in anything new to the music world, but that is alright. It was the perfect answer to the grunge call that bugled all the way over the seas. They did it perfectly with more angst and energy than the majority of big-time bands of the time. For a bunch of kids, they released a song on an album full of great guitar riffs, mean drumming, and fun to listen to vocals that shake the floor. The lyrics are pretty straightforward and come from the pen of inspired youth. It was put together while the band was in their first group, The Innocent Criminals. The words were written by Daniel Johns and Ben Gillies. Johns said it was inspired by a show he watched that saw a rich man being forced into experiencing poverty for a day, being stuck in a hotel until he was released "tomorrow". Lyrically the track is aggressive, and the music video matches suit and became a staple of rock music videos upon its release. Very much from its time with flashing images and ugly close-up shots that paint the image of the words wonderfully. Anyway, Silverchair didn't have just this one great song on Frogstomp, the rest is a treat as well. I have an equal love for the songs "Faultline", "Pure Massacre", "Madman", and especially "Israel's Son." Many claimed the album was the last stand of grunge music, one of the last true greats before the genre came to a close and gave way to post-grunge. I am not sure that I agree with that, but I will say that this album was a solid send-off for other bands to come in with their own take on grunge music for the next almost ten years. A great album with many great tunes that defined hard rock and grunge of the second half of the 1990s. I know you already know the track; it is one you couldn't have missed, but maybe try it again now with this newfound information. If you like the song, perhaps try out this album and their follow-up, Freak Show. They are the only two with this raw sound, later they moved into some experimentation but still don't completely lose their core sound. Frogstomp is an awesome album you cannot miss out on, and look at that album cover! Frogs are so cute! Anyway, there is the post. Enjoy!
Year Released: 1994
Album: Frogstomp (1995)
Genre: Grunge
Mood: Aggressive
Perfect For: Playing loud, Summer days, Working stupid jobs for stupid money
Where To Next: "Possum Kingdom" - Toadies
Rating: 10 / 10
Song of the Day 03/01/2026
"The World I Used to Know" - Glen Campbell
March has started off with rain and music to suit it, one of my favorite duos. Glen Campbell is having his debut this month, a musician that suits March mighty well. He isn't simply a country musician, even if that is where his main fame came from. In many ways you can consider Glen Campbell a mix between Neil Diamond and Ray Price. I mean, he is his own man, and this man had quite the successful career. So if anything, we should be comparing people to him. His notable singing and guitar playing landed him with high-charting hits and albums in both the country and pop charts in the United States. Our brothers up north in Canada are one of the other countries that love that country sound, and they were quite fond of the mellow style of Glen Campbell. He is a legend in the country world and was one of the earlier examples of a country musician that could appeal to many different kinds of music listeners. For those that spit on the country genre, I give to you Glen Campbell. He is the type of musician that will have you dropping your preconceived biases on country music. Glen Campbell grew up as any country boy might, a son of sharecroppers that could barely scrape two quarters together. He still managed to get his hands on a guitar at the age of 4 and played ever since all the way up until his death in 2017. It was a cheap Sears catalog guitar, but it got the job done. Much like many of the country stars, his family was into music. "Singing seems to help a troubled soul". He had a natural ability with that guitar, something that would later be a leading force in his fame. He was even playing on radio stations by the age of 6, a child prodigy. Glen, alongside the other Campbells, worked their tails off to get some dough. He would pick cotton for a good chunk of his childhood but still found time to hone his skills on those 6 strings when he wasn't working. He wasn't ever traditionally trained on the guitar but learned all he needed from hearing his icon Django Reinhardt. For those of you that don't know, Django is practically the father of the guitar playing we know and love now. He had his prime years during the jazz craze of the 1930s and 1940s. He wrote plenty of jazz standards, especially in the gypsy jazz genre that he created. We can talk about him another time, but I just wanted to fill you in. It is kind of interesting to hear Glen Campbell's guitar work; it is a mix between Reinhardt and Chet Atkins. Campbell would let his guitar take the backline in some of his later material, especially following his crossover country success like "Summer Nights". If you want an album that really shows off his guitar prowess, then go listen to some of the tracks off his incredibly underrated debut Big Bluegrass Special (1962) and The Astounding 12-String Guitar of Glen Campbell (1964). Anyway, back to it, Glen Campbell dropped out of school in the 10th grade, dedicating the majority of his time to working alongside his brothers on doing plenty of jobs to get some cash. Like all of us out there, he found out that it wasn't the way he wanted to live. He dropped working and took his music seriously, playing shows anywhere he could, be it church-run programs or local fairs. He had hopes of getting discovered so he could play his guitar on the radio, and after his family moved to Austin, TX, he had a better place to reach for the stars. He appeared on radio shows and local TV broadcasts, and during the same time he started up his own band and played some shows at nightclubs. His first band was called the Western Wranglers, but they never tried too hard to hit the big time; they just wanted to play some music. Two years later, Glen Campbell grew tired of doing the same ol' and packed his bags to head off to Los Angeles, the city of fallen angels, and the place to get your music out there. He entered the music industry as a session musician and had a daytime job at American Music, and it was there that he wrote songs and recorded demos. People loved what they heard, and he became a musician people wanted. He joined up with the renowned session musician group The Wrecking Crew, which has had some incredible musicians passing through their ranks. Campbell played on a ton of songs; most were country laced but he had his hand in plenty of other genres as well. He was a talented guitar player and songwriter, so it wasn't all too shocking.
This is shaping up to be a giant post, so I will start just poking here and there until we get to the album that holds our song of the day. Campbell got his name out there and met many different big-time musicians who helped him forward. He got his chance to embark on his own in 1961 when he released his first single, "Turn Around, Look at Me" which was a moderate success. It hit the #64 spot on the charts and showed off the smooth style of Glen Campbell. If you are a Campbell fan, I suggest finding the 1961 version of that track. It is sort of silly to hear this very young Campbell while he still has his baby voice. Beautiful as all get-out and very pleasant, but a little more cutesy than some of his later vocal work. Anyway, while it wasn't a massive success, it indicated that Campbell was as great a solo musician as a session musician. Following the single, Campbell was still having a hard time breaking into the big time. He started up a couple of different bands, none of which got him where he needed to be. By 1963, Glen Campbell had been part of 586 recorded songs, but still he wasn't the star he wanted to be. It wasn't until 1967 that he had his chance to make a name for himself. He had his first high-charting country track, a cover of Jack Scott's "Burning Bridges", which also spawned the Glen Campbell album of the same name in 1967. The album itself didn't chart, but it got him noticed in the country world; people were now waiting for this smooth singer to release his next album. Release that album he did just a couple of months later in 1967, his absolutely essential Gentle on My Mind. If I could only tell you how much this album means to me, that album cover and all the songs are engrained in my mind. It would be an album I would want to be buried with. The title track, which gained him massive fame, is one of my all-time favorite songs; it is one that resides within my soul! A kindred spirit. 1967 was Glen Campbell's year. He released 3 albums, all of which were perfect, and two of which hit the top spot on the charts. "Gentle on My Mind" was an overnight hit, becoming one of the most requested and recognizable classic country songs of all time. From 1967 until 1977 Glen Campbell released gem after gem, the majority of which hit the top of the charts. For a musician who helped others become stars, it is easy to say that Glen Campbell eventually outshone the majority of those artists. He became a name that went down in the music history books. All of that hard work paid off. He even had a little bit of comeback success in the 21st century. For today, we will talk about his breakout album and overall sixth album, Gentle on My Mind. 1967 was one of the greatest years in music, something I say with confidence. Rock was having an expansion into something heavier and groovier, punk was having early roots starting to show, and so was heavy metal. For country, they were having a high for both the lawmen and the outlaws. Glen Campbell released three of the greatest albums out of that year, if not out of that decade. None beat our chosen album, Gentle on My Mind, this one is just too good. It isn't a straight-cut country album; there are the more pop-leaning tracks on here, but that is something that never left Campbell once he got the taste for it. Many remember the album for the title track, but those that listen to that one track and then move along are fools. There are plenty of other great tracks on the album, none hitting the same high, sure, but still plenty of great ones. I have a deep love for "Just Another Man", "Catch the Wind", and our song of the day, "The World I Used to Know".
In country of the time style, a good chunk of the tracks are covers. Even the legendary "Gentle on My Mind" was originally done by John Hartford, who masterfully mixed folk with country music. We also have a cover of Donovan's "Catch the Wind", "Cryin'" from Roy Orbison, "Without Her" originally from Harry Nilsson, "It's Over" from pop singer Jimmie Rodgers, and plenty of others. "The World I Used to Know" was written by Rod McKuen, but the first popular version was recorded by Jimmie Rodgers. His version is pretty, but I think Glen Campbell knocks his out of the water. Gentle on My Mind has a theme of an honest and innocent rambling man, one of the greatest themes in 1960s country music. "The World I Used to Know" hits the album's mood and theme wonderfully. It's kind of a cold track, but I like the honesty in its tone. There have been plenty of great versions, many of which I am head over heels for. I love the beauty of the Jimmie Rodgers version, the barebones feeling of Rod McKuen's, the peaceful Kingston Trio take on it for their live album Back in Town, and the old-time feeling of Glen Yarbrough's. Still, none beat out the Glen Campbell version. His version feels a little more fast paced, the spanish guitar playing joyfully in the background really keeps things moving along. Glen Campbell lets his strong vocals show through in the chorus, but outside that he keeps his vocals pretty tame. Something that keeps the honest feeling there, something that makes it feel like it is your own thoughts. A song of borrowed time, how you cannot stop the wild wind from blowing. Our character in the song knows what he is, and while he loves his woman, he is still the man he used to be and will likely be moving down the road. He whispers sweet things and tells all the right lies. He is there for her and truly cares, but that lonesome whistle calls to his rambling shoes. So for today, he is there and he will love, but by tomorrow he might be moving down the line no matter whose heart he drags along with him. After all, love is just a state of mind. Once again, sort of a cold song, but I have a romanticism for the ramblin' kind. Something I used to consider myself, but now I am merely a sad shell of my past self. Sigh. Anyway, in another fucking great song from the album, "Just Another Man" is almost a complimentary track to our song of the day. That one covers the same theme, but this time it has a happy ending. It almost seems the character that pops up often on this album is simply searching for a reason for life. As I have grown older, "Just Another Man" has spoken more to me than the tracks that push the wind at my back, urging me to go. Man, I cannot express how much this album speaks to me; it was like finding a missing piece of myself the first time I listened through it. Like someone put the words in my mouth that I have been trying to speak. So, thanks, Glen Campbell. "The World I Used to Know" was helped along by the legendary Leon Russell, one of rock music's greatest songwriters and performers. Russell played piano on the whole album but went by Russell Bridges on the personnel listings. There were plenty from the Wrecking Crew on this album, which must have felt a little odd for Campbell, but it is through them that this album has such a flawless tone. James Burton helped out on the acoustic guitar and also the electric guitar. Burton is one of the greatest guitarists of all time, but not many know his name. So is the fate of the session musician. We also have the bassist Joe Osborn, who helped a shitload of hit songs find your speakers in both the Wrecking Crew and also in the A-Team. Jim Gordon played the drums, a famous California-based session musician and the drummer for Derek and the Dominos, that has a very interesting and sad story. Finally, we have the red-hot banjo picking from Doug Dillard, who has been a longtime titan in the bluegrass world. With this much talent, this album was bound to be a chart topper. We cannot give all the credit to the backing band; it is within Glen Campbell that we find a home. His singing is top-notch and beautiful. His guitar playing is country-baked and grounded but still potent. He gives you a sneak peek of his talent with the guitar he takes a picture with for the album cover. Not many musicians were strutting a 12-string on their album covers. But there weren't many players out there like Glen Campbell. Anyway, I didn't mean for this to turn into a long post, but here we are. Hope you dig the track! If you like it, check out some more. Campbell is more than the soft singer of crossover hits like "Rhinestone Cowboy", "Southern Nights", "Galveston", and "Wichita Lineman." His early work is so full of great core country classics you would need to take some time off work to hear it all. Well, enjoy the song, will ya? We will see Campbell here again soon, of that I am sure, and hopefully it won't be as big of a post so you can just get into the song. Enjoy!
Year Released: 1967
Album: Gentle on My Mind (1967)
Genre: Country
Mood: Honest
Perfect For: Casual listening, Long drives, Daydreaming, Rainy days
Where To Next: "Walkin' Back to Georgia" - Jim Croce
Rating: 8 / 10
March has started off with rain and music to suit it, one of my favorite duos. Glen Campbell is having his debut this month, a musician that suits March mighty well. He isn't simply a country musician, even if that is where his main fame came from. In many ways you can consider Glen Campbell a mix between Neil Diamond and Ray Price. I mean, he is his own man, and this man had quite the successful career. So if anything, we should be comparing people to him. His notable singing and guitar playing landed him with high-charting hits and albums in both the country and pop charts in the United States. Our brothers up north in Canada are one of the other countries that love that country sound, and they were quite fond of the mellow style of Glen Campbell. He is a legend in the country world and was one of the earlier examples of a country musician that could appeal to many different kinds of music listeners. For those that spit on the country genre, I give to you Glen Campbell. He is the type of musician that will have you dropping your preconceived biases on country music. Glen Campbell grew up as any country boy might, a son of sharecroppers that could barely scrape two quarters together. He still managed to get his hands on a guitar at the age of 4 and played ever since all the way up until his death in 2017. It was a cheap Sears catalog guitar, but it got the job done. Much like many of the country stars, his family was into music. "Singing seems to help a troubled soul". He had a natural ability with that guitar, something that would later be a leading force in his fame. He was even playing on radio stations by the age of 6, a child prodigy. Glen, alongside the other Campbells, worked their tails off to get some dough. He would pick cotton for a good chunk of his childhood but still found time to hone his skills on those 6 strings when he wasn't working. He wasn't ever traditionally trained on the guitar but learned all he needed from hearing his icon Django Reinhardt. For those of you that don't know, Django is practically the father of the guitar playing we know and love now. He had his prime years during the jazz craze of the 1930s and 1940s. He wrote plenty of jazz standards, especially in the gypsy jazz genre that he created. We can talk about him another time, but I just wanted to fill you in. It is kind of interesting to hear Glen Campbell's guitar work; it is a mix between Reinhardt and Chet Atkins. Campbell would let his guitar take the backline in some of his later material, especially following his crossover country success like "Summer Nights". If you want an album that really shows off his guitar prowess, then go listen to some of the tracks off his incredibly underrated debut Big Bluegrass Special (1962) and The Astounding 12-String Guitar of Glen Campbell (1964). Anyway, back to it, Glen Campbell dropped out of school in the 10th grade, dedicating the majority of his time to working alongside his brothers on doing plenty of jobs to get some cash. Like all of us out there, he found out that it wasn't the way he wanted to live. He dropped working and took his music seriously, playing shows anywhere he could, be it church-run programs or local fairs. He had hopes of getting discovered so he could play his guitar on the radio, and after his family moved to Austin, TX, he had a better place to reach for the stars. He appeared on radio shows and local TV broadcasts, and during the same time he started up his own band and played some shows at nightclubs. His first band was called the Western Wranglers, but they never tried too hard to hit the big time; they just wanted to play some music. Two years later, Glen Campbell grew tired of doing the same ol' and packed his bags to head off to Los Angeles, the city of fallen angels, and the place to get your music out there. He entered the music industry as a session musician and had a daytime job at American Music, and it was there that he wrote songs and recorded demos. People loved what they heard, and he became a musician people wanted. He joined up with the renowned session musician group The Wrecking Crew, which has had some incredible musicians passing through their ranks. Campbell played on a ton of songs; most were country laced but he had his hand in plenty of other genres as well. He was a talented guitar player and songwriter, so it wasn't all too shocking.
This is shaping up to be a giant post, so I will start just poking here and there until we get to the album that holds our song of the day. Campbell got his name out there and met many different big-time musicians who helped him forward. He got his chance to embark on his own in 1961 when he released his first single, "Turn Around, Look at Me" which was a moderate success. It hit the #64 spot on the charts and showed off the smooth style of Glen Campbell. If you are a Campbell fan, I suggest finding the 1961 version of that track. It is sort of silly to hear this very young Campbell while he still has his baby voice. Beautiful as all get-out and very pleasant, but a little more cutesy than some of his later vocal work. Anyway, while it wasn't a massive success, it indicated that Campbell was as great a solo musician as a session musician. Following the single, Campbell was still having a hard time breaking into the big time. He started up a couple of different bands, none of which got him where he needed to be. By 1963, Glen Campbell had been part of 586 recorded songs, but still he wasn't the star he wanted to be. It wasn't until 1967 that he had his chance to make a name for himself. He had his first high-charting country track, a cover of Jack Scott's "Burning Bridges", which also spawned the Glen Campbell album of the same name in 1967. The album itself didn't chart, but it got him noticed in the country world; people were now waiting for this smooth singer to release his next album. Release that album he did just a couple of months later in 1967, his absolutely essential Gentle on My Mind. If I could only tell you how much this album means to me, that album cover and all the songs are engrained in my mind. It would be an album I would want to be buried with. The title track, which gained him massive fame, is one of my all-time favorite songs; it is one that resides within my soul! A kindred spirit. 1967 was Glen Campbell's year. He released 3 albums, all of which were perfect, and two of which hit the top spot on the charts. "Gentle on My Mind" was an overnight hit, becoming one of the most requested and recognizable classic country songs of all time. From 1967 until 1977 Glen Campbell released gem after gem, the majority of which hit the top of the charts. For a musician who helped others become stars, it is easy to say that Glen Campbell eventually outshone the majority of those artists. He became a name that went down in the music history books. All of that hard work paid off. He even had a little bit of comeback success in the 21st century. For today, we will talk about his breakout album and overall sixth album, Gentle on My Mind. 1967 was one of the greatest years in music, something I say with confidence. Rock was having an expansion into something heavier and groovier, punk was having early roots starting to show, and so was heavy metal. For country, they were having a high for both the lawmen and the outlaws. Glen Campbell released three of the greatest albums out of that year, if not out of that decade. None beat our chosen album, Gentle on My Mind, this one is just too good. It isn't a straight-cut country album; there are the more pop-leaning tracks on here, but that is something that never left Campbell once he got the taste for it. Many remember the album for the title track, but those that listen to that one track and then move along are fools. There are plenty of other great tracks on the album, none hitting the same high, sure, but still plenty of great ones. I have a deep love for "Just Another Man", "Catch the Wind", and our song of the day, "The World I Used to Know".
In country of the time style, a good chunk of the tracks are covers. Even the legendary "Gentle on My Mind" was originally done by John Hartford, who masterfully mixed folk with country music. We also have a cover of Donovan's "Catch the Wind", "Cryin'" from Roy Orbison, "Without Her" originally from Harry Nilsson, "It's Over" from pop singer Jimmie Rodgers, and plenty of others. "The World I Used to Know" was written by Rod McKuen, but the first popular version was recorded by Jimmie Rodgers. His version is pretty, but I think Glen Campbell knocks his out of the water. Gentle on My Mind has a theme of an honest and innocent rambling man, one of the greatest themes in 1960s country music. "The World I Used to Know" hits the album's mood and theme wonderfully. It's kind of a cold track, but I like the honesty in its tone. There have been plenty of great versions, many of which I am head over heels for. I love the beauty of the Jimmie Rodgers version, the barebones feeling of Rod McKuen's, the peaceful Kingston Trio take on it for their live album Back in Town, and the old-time feeling of Glen Yarbrough's. Still, none beat out the Glen Campbell version. His version feels a little more fast paced, the spanish guitar playing joyfully in the background really keeps things moving along. Glen Campbell lets his strong vocals show through in the chorus, but outside that he keeps his vocals pretty tame. Something that keeps the honest feeling there, something that makes it feel like it is your own thoughts. A song of borrowed time, how you cannot stop the wild wind from blowing. Our character in the song knows what he is, and while he loves his woman, he is still the man he used to be and will likely be moving down the road. He whispers sweet things and tells all the right lies. He is there for her and truly cares, but that lonesome whistle calls to his rambling shoes. So for today, he is there and he will love, but by tomorrow he might be moving down the line no matter whose heart he drags along with him. After all, love is just a state of mind. Once again, sort of a cold song, but I have a romanticism for the ramblin' kind. Something I used to consider myself, but now I am merely a sad shell of my past self. Sigh. Anyway, in another fucking great song from the album, "Just Another Man" is almost a complimentary track to our song of the day. That one covers the same theme, but this time it has a happy ending. It almost seems the character that pops up often on this album is simply searching for a reason for life. As I have grown older, "Just Another Man" has spoken more to me than the tracks that push the wind at my back, urging me to go. Man, I cannot express how much this album speaks to me; it was like finding a missing piece of myself the first time I listened through it. Like someone put the words in my mouth that I have been trying to speak. So, thanks, Glen Campbell. "The World I Used to Know" was helped along by the legendary Leon Russell, one of rock music's greatest songwriters and performers. Russell played piano on the whole album but went by Russell Bridges on the personnel listings. There were plenty from the Wrecking Crew on this album, which must have felt a little odd for Campbell, but it is through them that this album has such a flawless tone. James Burton helped out on the acoustic guitar and also the electric guitar. Burton is one of the greatest guitarists of all time, but not many know his name. So is the fate of the session musician. We also have the bassist Joe Osborn, who helped a shitload of hit songs find your speakers in both the Wrecking Crew and also in the A-Team. Jim Gordon played the drums, a famous California-based session musician and the drummer for Derek and the Dominos, that has a very interesting and sad story. Finally, we have the red-hot banjo picking from Doug Dillard, who has been a longtime titan in the bluegrass world. With this much talent, this album was bound to be a chart topper. We cannot give all the credit to the backing band; it is within Glen Campbell that we find a home. His singing is top-notch and beautiful. His guitar playing is country-baked and grounded but still potent. He gives you a sneak peek of his talent with the guitar he takes a picture with for the album cover. Not many musicians were strutting a 12-string on their album covers. But there weren't many players out there like Glen Campbell. Anyway, I didn't mean for this to turn into a long post, but here we are. Hope you dig the track! If you like it, check out some more. Campbell is more than the soft singer of crossover hits like "Rhinestone Cowboy", "Southern Nights", "Galveston", and "Wichita Lineman." His early work is so full of great core country classics you would need to take some time off work to hear it all. Well, enjoy the song, will ya? We will see Campbell here again soon, of that I am sure, and hopefully it won't be as big of a post so you can just get into the song. Enjoy!
Year Released: 1967
Album: Gentle on My Mind (1967)
Genre: Country
Mood: Honest
Perfect For: Casual listening, Long drives, Daydreaming, Rainy days
Where To Next: "Walkin' Back to Georgia" - Jim Croce
Rating: 8 / 10
