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Song of the Day 09/30/2025
"Flat Top" - The Goo Goo Dolls
Well, we made it to the end of the month of September. How did it go for you? For me, it was slightly a dull one. I am getting fully used to calling Salt Lake City my home, but am still not used to never having enough money to repair my damn vehicle, don't think I will ever get used to it nor ever be in a spot in life where I can drop a grand on repairs like it is nothing. It blows my mind there are people out there who can do that, and they can do it to a nice vehicle. Shit sucks. Still, September overall was a decent month, but more of one of those months when you won't look back on it in the future with too much memory. Hope yours was full of fun stuff! Anyway, looking back on the month within this website we have had a great selection of varying styles, some on the extreme side and some on the mellow side. Our selections added up to 17 rock, 8 metal, 2 country, 2 pop, and 1 punk songs, not a bad haul, and 4 of those choices got the holy 10 / 10 rating! Well, as always, I am so glad you came along and rocked along, and I do hope you will join me for October, the month of spookiness and coziness! Alright, with all that said, let's get into the music. Today our choice is "Flat Top" from the alternative rock giants the Goo Goo Dolls. Everyone is quick to assume these dudes are a one-trick pony, but that is one statement I am proud to shut down. The band first started out as a punk outfit, an outfit that played live shows vigorously until they scraped up enough dough to release their debut studio album in 1987. Did you know the band released two albums in the 1980s? Honestly, it was shocking to me when I first started my studies in the 1980s. I was like everyone else, I abused the living hell out of their massive hit songs and that was about that, and after finding that out and trying some of their first couple of albums I can say with confidence.... it was good they found their commercial niche since those first couple aren't all that great. Now, I am not talking shit, those albums are fine albums, but nothing that was all too special. I think the best from their punk rock years was their second studio album Jed (1989), check out "Sex Maggot". The extra fun bit about that track is that it was the original name for The Goo Goo Dolls up until they thankfully changed it to The Goo Goo Dolls in 1987. Well, the band kept with their punk rock crusade while being impressively signed through Metal Blade Records until 1993 when they released their first album with a more pop rock and alternative rock style, Superstar Car Wash, a decent album through and through, yet it still falls short to the albums that came next. The band broke out into stardom upon their release of their fifth studio album, A Boy Named Goo. This album made them a name that anyone with a radio knew. It holds the band's immensely famous, and immensely good, song "Name", a song that still gets that same radio abuse in my neck of the woods. Now, this album isn't only a vessel for their hit song, no, this album holds plenty of other great songs! We will get into that in one moment. So, now that the band had the notoriety, the spotlight was on them for their next release, and they didn't let their fans down with 1998's classic Dizzy Up the Girl, an album that I hold quite dear. So from punk rock sex maggots to alternative and pop stars, it wasn't an easy road, but they made a name for themselves that will forever be tied to the 1990s alternative rock sound.
Alright, how about we check out our song and hear a little bit more about the album it came off of. "Flat Top" shows off a thing that the band needs more credit for, great songwriting and lyricism. Practically all the tracks on the album were written by John Rzeznik, the band's guitarist and vocalist, and in comparison to a lot of the alternative rock frontmen he really let his heart bleed into his lyrics. "Flat Top" isn't really a song about sorrow or heartbreak, but more a take on the evil thing that commands us even now, the media. Gross! Fuck the media! Isn't it funny that no matter the time period, there were evil words being spread in the form of fact? Crazy that humans cannot get their shit together with that. Think for yourself. Ink is easy to lay down, and modernly the keyboard is easier to command than the ink. Shit, look around you. Jump on social media for more than 30 minutes and tell me you dodged all the stupid propaganda or opinions that are written by fingers dipped in venom. Look at the state of our country, for fucks sake! I wish I could say that statement would only ring true for the US, but it seems the whole world flipped the switch to kill themselves. Crazy times man. A lot of these troubles come from the media, and those that read and don't read between the lines, or can't read at all. This is a topic I have seen pop up in every single decade I have deep dived into, be it the 1930s or be it here today when we talk about The Goo Goo Dolls. One of those lyrical themes I wish would cease to exist, but exist they shall while the media is still pissing in the wind. Now, I know you didn't come here for politics, so I will try leaving it at that. We already have enough garbage shoved down our throat. "Flat Top" starts off with a more power pop feeling, smooth guitar work before the vocals jump on in. Once again, the lyrics are potent, and even within the hits The Goo Goo Dolls does a great job at writing some thought-provoking lyrics. This song is a commentary on the exhausting media circus, both for a generation and for personal grief. "Show me what I am not, show me what I love and who I'm supposed to be" brings in the personal note and words like "conscience keeps us quiet while the crooked love to speak" bring in the societal note, and 30 years after this song released I am sad to say that the words are still relevant. People will be people though, we gotta eat the trimmings while the leaders give the food to the dogs. The same dogs that threw a fit about this album and got it banned at Walmart, yup, a Goo Goo Dolls album banned from Walmart. It was because people were complaining, thinking the album cover had a little kid smeared in blood... on an album called A Boy Named Goo. I mean, I would get it if it was titled "A Boy Named Blood", but come on, also who bitches about that? I can't even imagine myself calling up the manager to tell them an album cover hurt my wittle feelings. People have too much time on their hands. Worth a mention, they weren't offended by a naked child on an album cover. Anyway, for those who think The Goo Goo Dolls, or this album, are just a pop group doing their cliché thing, I ask you to try the album out for size. It is a well put together album, and an essential listen out of the 1990s. What do you have to lose? But before you do that, give the song a listen! Our final pick for September, and a great pick at that! Enjoy!
Year Released: 1995
Album: A Boy Named Goo (1995)
Genre: Alternative Rock
Mood: Homey
Perfect For: Having a stiff drink, Casual listening, Traveling
Where To Next: "Sick of Myself" - Matthew Sweet
Rating: 8 / 10
Well, we made it to the end of the month of September. How did it go for you? For me, it was slightly a dull one. I am getting fully used to calling Salt Lake City my home, but am still not used to never having enough money to repair my damn vehicle, don't think I will ever get used to it nor ever be in a spot in life where I can drop a grand on repairs like it is nothing. It blows my mind there are people out there who can do that, and they can do it to a nice vehicle. Shit sucks. Still, September overall was a decent month, but more of one of those months when you won't look back on it in the future with too much memory. Hope yours was full of fun stuff! Anyway, looking back on the month within this website we have had a great selection of varying styles, some on the extreme side and some on the mellow side. Our selections added up to 17 rock, 8 metal, 2 country, 2 pop, and 1 punk songs, not a bad haul, and 4 of those choices got the holy 10 / 10 rating! Well, as always, I am so glad you came along and rocked along, and I do hope you will join me for October, the month of spookiness and coziness! Alright, with all that said, let's get into the music. Today our choice is "Flat Top" from the alternative rock giants the Goo Goo Dolls. Everyone is quick to assume these dudes are a one-trick pony, but that is one statement I am proud to shut down. The band first started out as a punk outfit, an outfit that played live shows vigorously until they scraped up enough dough to release their debut studio album in 1987. Did you know the band released two albums in the 1980s? Honestly, it was shocking to me when I first started my studies in the 1980s. I was like everyone else, I abused the living hell out of their massive hit songs and that was about that, and after finding that out and trying some of their first couple of albums I can say with confidence.... it was good they found their commercial niche since those first couple aren't all that great. Now, I am not talking shit, those albums are fine albums, but nothing that was all too special. I think the best from their punk rock years was their second studio album Jed (1989), check out "Sex Maggot". The extra fun bit about that track is that it was the original name for The Goo Goo Dolls up until they thankfully changed it to The Goo Goo Dolls in 1987. Well, the band kept with their punk rock crusade while being impressively signed through Metal Blade Records until 1993 when they released their first album with a more pop rock and alternative rock style, Superstar Car Wash, a decent album through and through, yet it still falls short to the albums that came next. The band broke out into stardom upon their release of their fifth studio album, A Boy Named Goo. This album made them a name that anyone with a radio knew. It holds the band's immensely famous, and immensely good, song "Name", a song that still gets that same radio abuse in my neck of the woods. Now, this album isn't only a vessel for their hit song, no, this album holds plenty of other great songs! We will get into that in one moment. So, now that the band had the notoriety, the spotlight was on them for their next release, and they didn't let their fans down with 1998's classic Dizzy Up the Girl, an album that I hold quite dear. So from punk rock sex maggots to alternative and pop stars, it wasn't an easy road, but they made a name for themselves that will forever be tied to the 1990s alternative rock sound.
Alright, how about we check out our song and hear a little bit more about the album it came off of. "Flat Top" shows off a thing that the band needs more credit for, great songwriting and lyricism. Practically all the tracks on the album were written by John Rzeznik, the band's guitarist and vocalist, and in comparison to a lot of the alternative rock frontmen he really let his heart bleed into his lyrics. "Flat Top" isn't really a song about sorrow or heartbreak, but more a take on the evil thing that commands us even now, the media. Gross! Fuck the media! Isn't it funny that no matter the time period, there were evil words being spread in the form of fact? Crazy that humans cannot get their shit together with that. Think for yourself. Ink is easy to lay down, and modernly the keyboard is easier to command than the ink. Shit, look around you. Jump on social media for more than 30 minutes and tell me you dodged all the stupid propaganda or opinions that are written by fingers dipped in venom. Look at the state of our country, for fucks sake! I wish I could say that statement would only ring true for the US, but it seems the whole world flipped the switch to kill themselves. Crazy times man. A lot of these troubles come from the media, and those that read and don't read between the lines, or can't read at all. This is a topic I have seen pop up in every single decade I have deep dived into, be it the 1930s or be it here today when we talk about The Goo Goo Dolls. One of those lyrical themes I wish would cease to exist, but exist they shall while the media is still pissing in the wind. Now, I know you didn't come here for politics, so I will try leaving it at that. We already have enough garbage shoved down our throat. "Flat Top" starts off with a more power pop feeling, smooth guitar work before the vocals jump on in. Once again, the lyrics are potent, and even within the hits The Goo Goo Dolls does a great job at writing some thought-provoking lyrics. This song is a commentary on the exhausting media circus, both for a generation and for personal grief. "Show me what I am not, show me what I love and who I'm supposed to be" brings in the personal note and words like "conscience keeps us quiet while the crooked love to speak" bring in the societal note, and 30 years after this song released I am sad to say that the words are still relevant. People will be people though, we gotta eat the trimmings while the leaders give the food to the dogs. The same dogs that threw a fit about this album and got it banned at Walmart, yup, a Goo Goo Dolls album banned from Walmart. It was because people were complaining, thinking the album cover had a little kid smeared in blood... on an album called A Boy Named Goo. I mean, I would get it if it was titled "A Boy Named Blood", but come on, also who bitches about that? I can't even imagine myself calling up the manager to tell them an album cover hurt my wittle feelings. People have too much time on their hands. Worth a mention, they weren't offended by a naked child on an album cover. Anyway, for those who think The Goo Goo Dolls, or this album, are just a pop group doing their cliché thing, I ask you to try the album out for size. It is a well put together album, and an essential listen out of the 1990s. What do you have to lose? But before you do that, give the song a listen! Our final pick for September, and a great pick at that! Enjoy!
Year Released: 1995
Album: A Boy Named Goo (1995)
Genre: Alternative Rock
Mood: Homey
Perfect For: Having a stiff drink, Casual listening, Traveling
Where To Next: "Sick of Myself" - Matthew Sweet
Rating: 8 / 10
Song on the Day 09/29/2025
"Torn and Frayed" - The Rolling Stones
It is crazy that I have been doing these posts practically daily for about a year and a half, and only 3 of the choices have been from the legendary Rolling Stones. That is 510 posts, and only 3 are these boys? Crazy. Especially since unlike some of my other favorites, they have a massive discography, most of which has plenty of great tracks on each album. How big of a discography, you might be asking? We are talking 31 studio albums, 39 live albums (some of which are live album essentials), 28 compilations, and plenty of other releases. That is a Goliath of a collection of albums, a collection that I need to start getting on vinyl, a journey that is going to be long and expensive. Anyway, out of those 31 studio albums, 20 or so are rock classics that are well worth the listen. The Rolling Stones are often regarded as one of the greatest rock groups to ever be, usually being placed at #2 right behind their early rivals The Beatles. The Rolling Stones were the answer to The Beatles. While The Beatles started out as a clean cut boy band that sang songs about love and fun, The Rolling Stones were these longhaired ruffians that sang songs about heartache, driving cars, and even had a couple of songs with obscured sexual meaning. They were the bad boy Beatles, and much like their personas, The Rolling Stones had a different style from The Beatles even though both came along with the British beat. The Rolling Stones started out with a straight forward blues rock style with a heavy leaning on covers. Now, we won't spend the whole post comparing the two bands, because who gives a shit? Both are great bands that built a plate of rock n roll on a golden platter that bands even today are still eating off of.
Let me give you a brief history of these legends, in the form of an album timeline up until the album that holds our song of the day, Exile on Main St. (1972). Like I mentioned already, The Rolling Stones came along with a blues based British beat sound. During the earlier days of rock's second wave (the British invasion) it was a common thing for bands to release a different album in the UK and the US. Those albums held mostly the same tracks but with different track listings and a few varying tracks. The Rolling Stones were no different, and their debut album The Rolling Stones (or England's Newest Hit Makers in the US) came along in 1964. This album is a kick ass one, and I swear outside "Route 66" it often gets overlooked but to me, it is one of the band's best. I love the more tame Mick Jagger vocals this album has to offer. The band feels and sounds young, and that is because they were. They kept this blues rock meets rock n roll meets R&B sound for their following albums 12 x 5 (1964) and The Rolling Stones No. 2 (1965). Though once the band touched upon their 4th American album and 3rd British album Out of Our Heads (1965) we get a taste of the band slightly altering their sound. They brought in a bit of a more soul based style on plenty of the tracks, this album served as a taster for the sounds both of before and soon to be. I think it is one of the best places to start within The Rolling Stone's long career. After that we have Decembers Children (And Everybody's) (1965) which is another instant classic, it holds a smidgen more experimentation which leads us into Aftermath, the album that showed the band wasn't messing around and was starting to get hip with the evolution of rock sound into the late 1960s. That album holds many of their classics, the biggest being "Paint It, Black" on the US version which is still one of the band's biggest songs, if not one of the best songs in all of rock history. That album also sees the band trying out some different styles, the styles we would see take full form in the following US/UK albums Between the Buttons (1967). What I love most about that album is how well it does at transitioning the band into a new style, tracks like "Let's Spend the Night Together" and "Connection" give love to their original sound, yet "Something Happened to Me Yesterday" and "Who's Been Sleeping Here?" meet it in the alley to beat it into submission so their new style can reign supreme. That new sound shows up on their first album that was released the same in both the US and the UK, 1967's Their Satanic Majesties Request. This is an album that divides some Stones fans, but for me, I adore this album immensely. It is a psychedelic rock jewel that forever shines! While the band dabbled in psychedelic rock many times before, they didn't give it a whole album. They did it damn well, and I put it pretty high up there with some of their greatest achievements. Check it out! Anyway, after the band established themselves as a band that refuses to stick to one sound, they released their essential Beggars Banquet the following year in 1968. This album has everything you could ever want from a Rolling Stones album, the hard rock tracks, the smooth tracks, the reach back tracks, and some of their massive hits like "Street Fighting Man" and "Sympathy for the Devil". So, at this point, the band has been releasing hit album after hit album for the last 4 years and were showing no signs of slowing down, in fact they are only showing signs of furthering their fame. Let It Bleed (1969) comes along next, a bona fide rock classic that sees The Rolling Stones pulling influences from a ton of places, including even gospel. Many more hits, and more homework for you dear reader since it is an album you cannot afford to miss. The band then released the sensational live album Get Yer Ya-Ya's Out in September 1970, that live album sold damn well and sets us up perfectly for the band's infamous Sticky Fingers. This was the first album for the band to try out their 1970s rock style in full swing, a sound that people approved of across the globe, and aside from having a shlong on the album cover it is a rock essential from start to finish, another great place to start for a budding fan.
Alright, after already such an intense career that made them a name that is synonymous with rock music, we finally get to the album that holds our song of the day "Torn and Frayed". That album is the band's 10th studio album Exile on Main St., an album that I am sort of ashamed to admit that I am not too fond of. It breaks my Rolling Stone heart that I would say such a thing, but it is true. That doesn't mean I am correct in saying it is lesser than other albums, this one got great reviews upon release and even the retrospective reviews mainly have good things to say. I am not sure what my problem is, I think that it is built into the raw experimentation that is on this album. Sometimes I like that, and sometimes I don't depending on the band, and for this album it has always been one I haven't been too fond of. I will say that I do love that they put a little more country rock into this album. I will also say that this album still has a ton of great songs, some of which are tracks I refuse to skip no matter how many times I hear them. Tracks like "Tumbling Dice", "Happy", and "Torn and Frayed" are phenomenal tracks and some of the best songs to come out of the 1970s Stones catalogue. But it is the tracks that come between that rub me wrong, and I have listened through the album around 50 times throughout my life, especially when I was new to The Rolling Stones back when I was 14 or so. I wish I could praise this album, and I do for its impact on both rock at the time and The Rolling Stones timeline, but it is one that I would trade easily for another Stones album. This is all on me though, that I know, since it is heralded as one of their best releases. I know this is also part of the time period when The Rolling Stones were off the rails on tour. Crazy drug usage, smashed hotel rooms, riotous concerts, and that rock n roll lifestyle they created the image for. So why shouldn't the album match that wildness? "Torn and Frayed" is one of my favorite tracks from the album. It is a mellow one that goes down so damn smooth. It feels like the first time you find out that if you pour your whiskey into a glass full of ice, it is much smoother. The countrified twang that is on Mick Jagger's vocals is a joy, and it is one of the Stones tracks that it feels like he is having a hard time pushing the words out, but in a good way. "Torn and Frayed" is one of the most country cooked tracks they ever did, especially with that guitar work in the middle of the song. Gram Parsons (the biggest icon in country rock) was there for the band's recording of this album, and his influence is heavily felt even though he only visited for a little bit. The steel guitar on this album is played by Al Perkins, one of the best pickers on that kind of guitar, he was a key piece of what made Gram Parson's albums GP (1973) and Grievous Angel (1974) so damn dreamy. Anyway, the lyrics of the song follow a vagabond guitar player. These lyrics are some of my favorite from the deadly lyrical duo of Keith Richards and Mick Jagger. The song is a simple joy to listen to, no ifs or buts about it. So do yourself a solid and give it a spin! One of those moments you will find peace, and after a long day of work we all deserve that. Enjoy!
Year Released: 1972
Album: Exile on Main St. (1972)
Genre: Country Rock, Rock
Mood: Mellow
Perfect For: Having a stiff drink, Casual listening, Traveling
Where To Next: "Seed of Memory" - Terry Reid
Rating: 8 / 10
It is crazy that I have been doing these posts practically daily for about a year and a half, and only 3 of the choices have been from the legendary Rolling Stones. That is 510 posts, and only 3 are these boys? Crazy. Especially since unlike some of my other favorites, they have a massive discography, most of which has plenty of great tracks on each album. How big of a discography, you might be asking? We are talking 31 studio albums, 39 live albums (some of which are live album essentials), 28 compilations, and plenty of other releases. That is a Goliath of a collection of albums, a collection that I need to start getting on vinyl, a journey that is going to be long and expensive. Anyway, out of those 31 studio albums, 20 or so are rock classics that are well worth the listen. The Rolling Stones are often regarded as one of the greatest rock groups to ever be, usually being placed at #2 right behind their early rivals The Beatles. The Rolling Stones were the answer to The Beatles. While The Beatles started out as a clean cut boy band that sang songs about love and fun, The Rolling Stones were these longhaired ruffians that sang songs about heartache, driving cars, and even had a couple of songs with obscured sexual meaning. They were the bad boy Beatles, and much like their personas, The Rolling Stones had a different style from The Beatles even though both came along with the British beat. The Rolling Stones started out with a straight forward blues rock style with a heavy leaning on covers. Now, we won't spend the whole post comparing the two bands, because who gives a shit? Both are great bands that built a plate of rock n roll on a golden platter that bands even today are still eating off of.
Let me give you a brief history of these legends, in the form of an album timeline up until the album that holds our song of the day, Exile on Main St. (1972). Like I mentioned already, The Rolling Stones came along with a blues based British beat sound. During the earlier days of rock's second wave (the British invasion) it was a common thing for bands to release a different album in the UK and the US. Those albums held mostly the same tracks but with different track listings and a few varying tracks. The Rolling Stones were no different, and their debut album The Rolling Stones (or England's Newest Hit Makers in the US) came along in 1964. This album is a kick ass one, and I swear outside "Route 66" it often gets overlooked but to me, it is one of the band's best. I love the more tame Mick Jagger vocals this album has to offer. The band feels and sounds young, and that is because they were. They kept this blues rock meets rock n roll meets R&B sound for their following albums 12 x 5 (1964) and The Rolling Stones No. 2 (1965). Though once the band touched upon their 4th American album and 3rd British album Out of Our Heads (1965) we get a taste of the band slightly altering their sound. They brought in a bit of a more soul based style on plenty of the tracks, this album served as a taster for the sounds both of before and soon to be. I think it is one of the best places to start within The Rolling Stone's long career. After that we have Decembers Children (And Everybody's) (1965) which is another instant classic, it holds a smidgen more experimentation which leads us into Aftermath, the album that showed the band wasn't messing around and was starting to get hip with the evolution of rock sound into the late 1960s. That album holds many of their classics, the biggest being "Paint It, Black" on the US version which is still one of the band's biggest songs, if not one of the best songs in all of rock history. That album also sees the band trying out some different styles, the styles we would see take full form in the following US/UK albums Between the Buttons (1967). What I love most about that album is how well it does at transitioning the band into a new style, tracks like "Let's Spend the Night Together" and "Connection" give love to their original sound, yet "Something Happened to Me Yesterday" and "Who's Been Sleeping Here?" meet it in the alley to beat it into submission so their new style can reign supreme. That new sound shows up on their first album that was released the same in both the US and the UK, 1967's Their Satanic Majesties Request. This is an album that divides some Stones fans, but for me, I adore this album immensely. It is a psychedelic rock jewel that forever shines! While the band dabbled in psychedelic rock many times before, they didn't give it a whole album. They did it damn well, and I put it pretty high up there with some of their greatest achievements. Check it out! Anyway, after the band established themselves as a band that refuses to stick to one sound, they released their essential Beggars Banquet the following year in 1968. This album has everything you could ever want from a Rolling Stones album, the hard rock tracks, the smooth tracks, the reach back tracks, and some of their massive hits like "Street Fighting Man" and "Sympathy for the Devil". So, at this point, the band has been releasing hit album after hit album for the last 4 years and were showing no signs of slowing down, in fact they are only showing signs of furthering their fame. Let It Bleed (1969) comes along next, a bona fide rock classic that sees The Rolling Stones pulling influences from a ton of places, including even gospel. Many more hits, and more homework for you dear reader since it is an album you cannot afford to miss. The band then released the sensational live album Get Yer Ya-Ya's Out in September 1970, that live album sold damn well and sets us up perfectly for the band's infamous Sticky Fingers. This was the first album for the band to try out their 1970s rock style in full swing, a sound that people approved of across the globe, and aside from having a shlong on the album cover it is a rock essential from start to finish, another great place to start for a budding fan.
Alright, after already such an intense career that made them a name that is synonymous with rock music, we finally get to the album that holds our song of the day "Torn and Frayed". That album is the band's 10th studio album Exile on Main St., an album that I am sort of ashamed to admit that I am not too fond of. It breaks my Rolling Stone heart that I would say such a thing, but it is true. That doesn't mean I am correct in saying it is lesser than other albums, this one got great reviews upon release and even the retrospective reviews mainly have good things to say. I am not sure what my problem is, I think that it is built into the raw experimentation that is on this album. Sometimes I like that, and sometimes I don't depending on the band, and for this album it has always been one I haven't been too fond of. I will say that I do love that they put a little more country rock into this album. I will also say that this album still has a ton of great songs, some of which are tracks I refuse to skip no matter how many times I hear them. Tracks like "Tumbling Dice", "Happy", and "Torn and Frayed" are phenomenal tracks and some of the best songs to come out of the 1970s Stones catalogue. But it is the tracks that come between that rub me wrong, and I have listened through the album around 50 times throughout my life, especially when I was new to The Rolling Stones back when I was 14 or so. I wish I could praise this album, and I do for its impact on both rock at the time and The Rolling Stones timeline, but it is one that I would trade easily for another Stones album. This is all on me though, that I know, since it is heralded as one of their best releases. I know this is also part of the time period when The Rolling Stones were off the rails on tour. Crazy drug usage, smashed hotel rooms, riotous concerts, and that rock n roll lifestyle they created the image for. So why shouldn't the album match that wildness? "Torn and Frayed" is one of my favorite tracks from the album. It is a mellow one that goes down so damn smooth. It feels like the first time you find out that if you pour your whiskey into a glass full of ice, it is much smoother. The countrified twang that is on Mick Jagger's vocals is a joy, and it is one of the Stones tracks that it feels like he is having a hard time pushing the words out, but in a good way. "Torn and Frayed" is one of the most country cooked tracks they ever did, especially with that guitar work in the middle of the song. Gram Parsons (the biggest icon in country rock) was there for the band's recording of this album, and his influence is heavily felt even though he only visited for a little bit. The steel guitar on this album is played by Al Perkins, one of the best pickers on that kind of guitar, he was a key piece of what made Gram Parson's albums GP (1973) and Grievous Angel (1974) so damn dreamy. Anyway, the lyrics of the song follow a vagabond guitar player. These lyrics are some of my favorite from the deadly lyrical duo of Keith Richards and Mick Jagger. The song is a simple joy to listen to, no ifs or buts about it. So do yourself a solid and give it a spin! One of those moments you will find peace, and after a long day of work we all deserve that. Enjoy!
Year Released: 1972
Album: Exile on Main St. (1972)
Genre: Country Rock, Rock
Mood: Mellow
Perfect For: Having a stiff drink, Casual listening, Traveling
Where To Next: "Seed of Memory" - Terry Reid
Rating: 8 / 10
Song of the Day 09/28/2025
"Trouble, Trouble" - Foghat
I swear we have already talked about this track here, but it also could just be that I couldn't wait to talk about Foghat! Foghat is underrated, now don't be scoffing and thinking to yourself "have you even heard "Slow Ride" before?" because yes, I have, and I adore that track. Though I will never understand why someone would stop there. "Slow Ride" is certainly one of the most well-known rock songs of all time, it is a classic for a reason, it is genuinely a perfect song. The difference on Spotify between "Slow Ride" being at 250 million listens (comprising of the multiple versions in their top ten) versus their next most popular song "I Just Want to Make Love to You" at 21 million listens is a huge jump. I am damn proud of Foghat for being up that high, yet I think the true beauty of Foghat lies outside their biggest hits, even if "Driving Wheel" is one of my all-time favorite songs. Foghat has lead a long career that gave us many timeless rock classics, even if those classics never reached too high of a status. The band is currently celebrating the 50th anniversary of their essential album Fool for the City, the best place for a budding Foghat fan to start. Outside of that the band released their kick ass self-titled album in 1972, a beloved album for your dear author, they followed that album up with Rock and Roll (or Foghat 2 depending on who you ask). That second album is a hidden gem of great boogie based rock n roll! After that one, the band kept their more bluesy rock roots but turned those amps up, making them one of the many groups out of the early 1970s that would forever shift rock into something heavier. They made a good name for themselves, and earned a core fan base that usually made sure their albums made it to gold standard, but they blew up to a name everyone knows once their 5th studio album Fool for the City was released. This album holds many of their biggest songs, the immensely famous "Slow Ride", the title track "Fool for the City", and "Save Your Loving (For Me)" and I cannot help but mention one of my favorites "Drive Me Home". This was their only album to achieve platinum status, and was their highest charting album in the US. Once they hit the fame, they seemed to stumble a little bit to keep the fame up. Their sixth studio album Night Shift is a great one but does lack a little bit of that blues and boogie that made them such a blast in the first place. The album that comes after that one, Stone Blue, is another Foghat classic, but it serves as their last great. They became a band where you could just buy their single and be fine, and while a fan such as myself appreciates practically anything Foghat released, there is no doubting they lost a little steam. Granted, they still released some kick ass singles in the 1980s, but couldn't keep up with the new blood, a fate that befell the majority of hard rock groups of the 1970s. Feel free to contact me on the contact page if you want a guide into the rocking world of Foghat, since they are a band I have spent hours upon hours listening to. I was born with "Fog" on one butt cheek and "Hat" on the other. Though for today, we will be talking more about their debut album and our song of the day "Trouble, Trouble".
"Trouble, Trouble" comes off the band's debut album, which came out in the summer of 1972. Rock controlled the air waves during this time, guitar gods were coming out of the bushes in each country. Drum sticks were raising, microphones were swinging, guitars were smashing, and thick bass strings were thumping through the grooves on countless timeless records. Foghat is one of the best to have their debut come out in a year when Deep Purple was telling their tale of a burning venue, David Bowie was playing alongside the spiders from Mars, and the psychedelic sound of the previous decade was giving way to a burning hard rock with psychedelic hues. When reading one of Gene Simmons books, he mentioned it comes down to two things to make it big in music, even for the most talented, and that is time and place. Foghat came along at the right time, but missed on being in the right place. This album gained favor upon release, but was doomed to the backline aside from their hit cover of "I Just Want to Make Love to You" which hit #83 in the US charts. That song is great enough to sell the whole album, and all the other tracks are just the cherries on top. We will cover that one at a later time, in that I am certain, but we aren't here for great covers even if this album has 3 of them, today we talk of "Trouble, Trouble". This track is kick ass reckless rock heaven. The song was written by vocalist Dave Peverett, it revolves around a drunkard that cannot get his shit together. He continuously tells himself he won't drink again, just to find himself with a bottle in hand. The song has this hopeless feeling to it, but in a great rocking reckless abandon kind of way, one of my favorite atmospheres. The intro to the song gets you ready, and the band socks it to you throughout the whole thing. Just a great and straight forward rock tune. One thing I especially love about this song is you can feel some of what vocalist Dave Peverett learned with his time in Savory Brown before forming Foghat. Also, it has some of the best guitar work in Foghat's discography. Nobody ever talks about that smooth playing from Rod Price, the dude can play some smooth lines, especially with the slide guitar which earned him the title "The Magician of Slide". I mean, just check out his work on "Stone Blue" and tell me that doesn't impress you. Anyway, "Trouble, Trouble" is the second song on the album. After the intense blues rock attack of "I Just Want to Make Love to You" this track keeps that energy up without issue. This whole album goes down smooth, it is a gem to listen to while getting drunk too. It is a shame there isn't more people praising this album, since to me, it blows most of their discography out of the water, even if it isn't the sound that gained them fame. Well, I guess some things you just gotta listen to for yourself, and this is one of them! So give the track a listen, it is a fun one! Enjoy!
Year Released: 1972
Album: Foghat (1972)
Genre: Blues Rock, Rock, Hard Rock
Mood: Reckless
Perfect For: Getting drunk, Getting stoned, Getting stoned and drunk, Casual listening, Going for a drive
Where To Next: "Just Got Paid" - ZZ Top
Rating: 9 / 10
I swear we have already talked about this track here, but it also could just be that I couldn't wait to talk about Foghat! Foghat is underrated, now don't be scoffing and thinking to yourself "have you even heard "Slow Ride" before?" because yes, I have, and I adore that track. Though I will never understand why someone would stop there. "Slow Ride" is certainly one of the most well-known rock songs of all time, it is a classic for a reason, it is genuinely a perfect song. The difference on Spotify between "Slow Ride" being at 250 million listens (comprising of the multiple versions in their top ten) versus their next most popular song "I Just Want to Make Love to You" at 21 million listens is a huge jump. I am damn proud of Foghat for being up that high, yet I think the true beauty of Foghat lies outside their biggest hits, even if "Driving Wheel" is one of my all-time favorite songs. Foghat has lead a long career that gave us many timeless rock classics, even if those classics never reached too high of a status. The band is currently celebrating the 50th anniversary of their essential album Fool for the City, the best place for a budding Foghat fan to start. Outside of that the band released their kick ass self-titled album in 1972, a beloved album for your dear author, they followed that album up with Rock and Roll (or Foghat 2 depending on who you ask). That second album is a hidden gem of great boogie based rock n roll! After that one, the band kept their more bluesy rock roots but turned those amps up, making them one of the many groups out of the early 1970s that would forever shift rock into something heavier. They made a good name for themselves, and earned a core fan base that usually made sure their albums made it to gold standard, but they blew up to a name everyone knows once their 5th studio album Fool for the City was released. This album holds many of their biggest songs, the immensely famous "Slow Ride", the title track "Fool for the City", and "Save Your Loving (For Me)" and I cannot help but mention one of my favorites "Drive Me Home". This was their only album to achieve platinum status, and was their highest charting album in the US. Once they hit the fame, they seemed to stumble a little bit to keep the fame up. Their sixth studio album Night Shift is a great one but does lack a little bit of that blues and boogie that made them such a blast in the first place. The album that comes after that one, Stone Blue, is another Foghat classic, but it serves as their last great. They became a band where you could just buy their single and be fine, and while a fan such as myself appreciates practically anything Foghat released, there is no doubting they lost a little steam. Granted, they still released some kick ass singles in the 1980s, but couldn't keep up with the new blood, a fate that befell the majority of hard rock groups of the 1970s. Feel free to contact me on the contact page if you want a guide into the rocking world of Foghat, since they are a band I have spent hours upon hours listening to. I was born with "Fog" on one butt cheek and "Hat" on the other. Though for today, we will be talking more about their debut album and our song of the day "Trouble, Trouble".
"Trouble, Trouble" comes off the band's debut album, which came out in the summer of 1972. Rock controlled the air waves during this time, guitar gods were coming out of the bushes in each country. Drum sticks were raising, microphones were swinging, guitars were smashing, and thick bass strings were thumping through the grooves on countless timeless records. Foghat is one of the best to have their debut come out in a year when Deep Purple was telling their tale of a burning venue, David Bowie was playing alongside the spiders from Mars, and the psychedelic sound of the previous decade was giving way to a burning hard rock with psychedelic hues. When reading one of Gene Simmons books, he mentioned it comes down to two things to make it big in music, even for the most talented, and that is time and place. Foghat came along at the right time, but missed on being in the right place. This album gained favor upon release, but was doomed to the backline aside from their hit cover of "I Just Want to Make Love to You" which hit #83 in the US charts. That song is great enough to sell the whole album, and all the other tracks are just the cherries on top. We will cover that one at a later time, in that I am certain, but we aren't here for great covers even if this album has 3 of them, today we talk of "Trouble, Trouble". This track is kick ass reckless rock heaven. The song was written by vocalist Dave Peverett, it revolves around a drunkard that cannot get his shit together. He continuously tells himself he won't drink again, just to find himself with a bottle in hand. The song has this hopeless feeling to it, but in a great rocking reckless abandon kind of way, one of my favorite atmospheres. The intro to the song gets you ready, and the band socks it to you throughout the whole thing. Just a great and straight forward rock tune. One thing I especially love about this song is you can feel some of what vocalist Dave Peverett learned with his time in Savory Brown before forming Foghat. Also, it has some of the best guitar work in Foghat's discography. Nobody ever talks about that smooth playing from Rod Price, the dude can play some smooth lines, especially with the slide guitar which earned him the title "The Magician of Slide". I mean, just check out his work on "Stone Blue" and tell me that doesn't impress you. Anyway, "Trouble, Trouble" is the second song on the album. After the intense blues rock attack of "I Just Want to Make Love to You" this track keeps that energy up without issue. This whole album goes down smooth, it is a gem to listen to while getting drunk too. It is a shame there isn't more people praising this album, since to me, it blows most of their discography out of the water, even if it isn't the sound that gained them fame. Well, I guess some things you just gotta listen to for yourself, and this is one of them! So give the track a listen, it is a fun one! Enjoy!
Year Released: 1972
Album: Foghat (1972)
Genre: Blues Rock, Rock, Hard Rock
Mood: Reckless
Perfect For: Getting drunk, Getting stoned, Getting stoned and drunk, Casual listening, Going for a drive
Where To Next: "Just Got Paid" - ZZ Top
Rating: 9 / 10
Song of the Day 09/27/2025
"Nancy the Tavern Wench" - Alestorm
Welcome fellow swashbucklers! Today we talk about pirate metal royalty, Alestorm! They are the most well known name from the peculiar pirate metal genre of the modern day. Yes, this is heavy metal, and there is a genre within for just about anything, especially themes that revolve around power, violence, and freedom. For those curious, pirate metal has been around for a minute or two. Pirate themes were in plenty of hard rock tracks leading into the 1980s when heavy metal took off. It is an offshoot of power metal, and modernly is under the same umbrella of "epic metal", a genre that helps distinguish bands from the common power metal sound. Epic metal can be folk metal, viking metal, power metal, symphonic metal, pirate metal, and so many more varying themes. All of them are similar in style while being far from each other. It tends to have a more fantasy backing, and it uses a straight-up approach to paint pictures of battles between gods or riding unicorns. As for pirate metal, the first to fully take on the persona was Running Wild, my first taste of pirate metal before coming across Alestorm many moons ago. Running Wild was one of many that showed up with a speed metal sound, but once power metal gained power they left that behind and released their third studio album Under Jolly Roger (1987) which revolved around piracy, their following studio album Port Royal (1988) solidified their pirate theme, something that has never left. I fucking love Running Wild, and the beauty of the band is, unlike Alestorm, they don't shove piracy themes down your throat, it is a perfect melding of that intense German metal sound of the 1980s with a pirate kiss to spice things up. Now, Alestorm on the other hand? It is so much pirate talk it imposes upon itself, but that is the appeal. If you look into Alestorm for more than 5 seconds, you can tell the band doesn't take themselves seriously at all. That doesn't mean they don't kick your ass, they kick your ass so well you cannot help but ask for seconds. They are intense in the silliest way, but that intensity has gathered them a strong fan base. Which leads us into when I chose this song. My girlfriend and I went and saw them live alongside Alestorm vocalists other band Gloryhammer and the up-and-coming power metal band Glyph. We missed Glyph due to showing up late, but that is alright since I was there for Alestorm and a little Gloryhammer. This was my first time going to an epic metal show, and even for a small venue, they did quite well. One strange fan base within that building though. It was the first metal show I attended that I saw much fewer fellow long haired freaky people, and to make it stranger I saw people sipping on Powerade more than I saw them having a beer. A different vibe to say the least, but there is no doubting that people were still getting pumped as hell for songs from both Gloryhammer and Alestorm. They seemed more obsessed with the bands than many concerts I have ever been to. Both the bands did great, we saw a little bit of battle on stage as the vocalist of Gloryhammer fought off goblins with his glorious hammer. Dorky, but that is what I came for, and the crowd ate it up. Alestorm were intense, more intense than I thought they would be. I had high hopes for them to start, but they exceeded my expectations. A good yet different show, a night well spent, even if I went a little too hard on drink and smoke, as any self-respecting pirate might.
The band chose songs from varying albums but still served up the crowd pleasers like "Drink", "Keelhauled", "Mexico" and "Fucked With an Anchor". They had a couple of songs for old time fans and mixed in some of the finer tracks from the last year or two, their newest big song "Killed to Death by Piracy" knocked me out and even the stupidly named "Frozen Piss 2" was a joy. I have yet to listen through their newest album, The Thunderfist Chronicles, but I listened to each single that came along before its release, so I was already familiar with those songs, and I think the live variation was even better. I have a soft spot for their earlier albums, but their most recent still has that potent piracy. A great show, many varying moments that were worthwhile, but one that was a joy to see was when the band performed our song of the day "Nancy the Tavern Wench". This track is the perfect example of "don't judge a book by its cover". Yes, silly name, but it is one of my favorite slower Alestorm songs, coming just behind "Pirate Song". When this song was about to kick off, vocalist Christopher Bowes let the crowd know it was time for the epic metal standard, to row! So, the band kicked off with the slow drumming, strumming, and keytaring and the crowd took their place upon that floor to row, row, row! I am a lame concertgoer, I have tons of fun, but I tend not to join the revelry like I did when I was a teen. Luckily for me, the crowed stop sitting down right in front of me, so I could have my fun watching front row without joining. Lame, I know, but I don't wanna get down there, and I was pretty far gone, so who knows if I could even get back up from that without showing my ass crack. Anyway, a damn cool thing to see in person, since I have seen many videos of people doing it for Amon Amarth shows. It was fitting for a song that is built wonderfully for pirate tales. This tale revolves around a fictitious hub for piracy called "Nancy's Harbor Cafe", a place known for its roughneck ways with a mug of mighty fine beer. The perfect place to drown your sorrows, the sorrows of the seven seas. It doesn't hurt when the barkeep is an older albeit attractive wench and allows anyone in. A great spot for a fictitious pirate out of a pulp fiction pirate novel to find their next quest and find suitable ship hands for a doomed search for cursed gold! Once again, dorky, but that is the appeal, man! "Nancy the Tavern Wench" comes off the band's debut album, one of my favorite from them, titled Captain Morgan's Revenge, a fitting title for the band's niche with piracy and drinking songs. This album is a little rawer and tavern like in comparison to some of their later albums that feature some crazy screaming and death growls on the side and heavier playing. Alestorm gained some serious power as they went, turns out there was a market for piracy themes, especially when it is backed by a high level of potent songwriting and playing that you honestly wouldn't expect out of a more comical band. Our song of the day is a more tame one, but if you liked it even a little bit, then go check out some of their others. I have found few people that weren't like "what the fuck is this and where can I get more?" since once you get sucked into their voyage across the sea you won't be forgetting what you heard any time soon. So, give the track a spin with a bottle in hand and see what you think. Enjoy!
Year Released: 2008
Album: Captain Morgan's Revenge (2008)
Genre: Pirate Metal, Folk Metal
Mood: Tavernlike
Perfect For: Getting drunk, Rowing a fake boat it seems, Casual listening, Being a pirate, Seeking quests
Where To Next: "Gloryhammer" - Gloryhammer
Rating: 8 / 10
Welcome fellow swashbucklers! Today we talk about pirate metal royalty, Alestorm! They are the most well known name from the peculiar pirate metal genre of the modern day. Yes, this is heavy metal, and there is a genre within for just about anything, especially themes that revolve around power, violence, and freedom. For those curious, pirate metal has been around for a minute or two. Pirate themes were in plenty of hard rock tracks leading into the 1980s when heavy metal took off. It is an offshoot of power metal, and modernly is under the same umbrella of "epic metal", a genre that helps distinguish bands from the common power metal sound. Epic metal can be folk metal, viking metal, power metal, symphonic metal, pirate metal, and so many more varying themes. All of them are similar in style while being far from each other. It tends to have a more fantasy backing, and it uses a straight-up approach to paint pictures of battles between gods or riding unicorns. As for pirate metal, the first to fully take on the persona was Running Wild, my first taste of pirate metal before coming across Alestorm many moons ago. Running Wild was one of many that showed up with a speed metal sound, but once power metal gained power they left that behind and released their third studio album Under Jolly Roger (1987) which revolved around piracy, their following studio album Port Royal (1988) solidified their pirate theme, something that has never left. I fucking love Running Wild, and the beauty of the band is, unlike Alestorm, they don't shove piracy themes down your throat, it is a perfect melding of that intense German metal sound of the 1980s with a pirate kiss to spice things up. Now, Alestorm on the other hand? It is so much pirate talk it imposes upon itself, but that is the appeal. If you look into Alestorm for more than 5 seconds, you can tell the band doesn't take themselves seriously at all. That doesn't mean they don't kick your ass, they kick your ass so well you cannot help but ask for seconds. They are intense in the silliest way, but that intensity has gathered them a strong fan base. Which leads us into when I chose this song. My girlfriend and I went and saw them live alongside Alestorm vocalists other band Gloryhammer and the up-and-coming power metal band Glyph. We missed Glyph due to showing up late, but that is alright since I was there for Alestorm and a little Gloryhammer. This was my first time going to an epic metal show, and even for a small venue, they did quite well. One strange fan base within that building though. It was the first metal show I attended that I saw much fewer fellow long haired freaky people, and to make it stranger I saw people sipping on Powerade more than I saw them having a beer. A different vibe to say the least, but there is no doubting that people were still getting pumped as hell for songs from both Gloryhammer and Alestorm. They seemed more obsessed with the bands than many concerts I have ever been to. Both the bands did great, we saw a little bit of battle on stage as the vocalist of Gloryhammer fought off goblins with his glorious hammer. Dorky, but that is what I came for, and the crowd ate it up. Alestorm were intense, more intense than I thought they would be. I had high hopes for them to start, but they exceeded my expectations. A good yet different show, a night well spent, even if I went a little too hard on drink and smoke, as any self-respecting pirate might.
The band chose songs from varying albums but still served up the crowd pleasers like "Drink", "Keelhauled", "Mexico" and "Fucked With an Anchor". They had a couple of songs for old time fans and mixed in some of the finer tracks from the last year or two, their newest big song "Killed to Death by Piracy" knocked me out and even the stupidly named "Frozen Piss 2" was a joy. I have yet to listen through their newest album, The Thunderfist Chronicles, but I listened to each single that came along before its release, so I was already familiar with those songs, and I think the live variation was even better. I have a soft spot for their earlier albums, but their most recent still has that potent piracy. A great show, many varying moments that were worthwhile, but one that was a joy to see was when the band performed our song of the day "Nancy the Tavern Wench". This track is the perfect example of "don't judge a book by its cover". Yes, silly name, but it is one of my favorite slower Alestorm songs, coming just behind "Pirate Song". When this song was about to kick off, vocalist Christopher Bowes let the crowd know it was time for the epic metal standard, to row! So, the band kicked off with the slow drumming, strumming, and keytaring and the crowd took their place upon that floor to row, row, row! I am a lame concertgoer, I have tons of fun, but I tend not to join the revelry like I did when I was a teen. Luckily for me, the crowed stop sitting down right in front of me, so I could have my fun watching front row without joining. Lame, I know, but I don't wanna get down there, and I was pretty far gone, so who knows if I could even get back up from that without showing my ass crack. Anyway, a damn cool thing to see in person, since I have seen many videos of people doing it for Amon Amarth shows. It was fitting for a song that is built wonderfully for pirate tales. This tale revolves around a fictitious hub for piracy called "Nancy's Harbor Cafe", a place known for its roughneck ways with a mug of mighty fine beer. The perfect place to drown your sorrows, the sorrows of the seven seas. It doesn't hurt when the barkeep is an older albeit attractive wench and allows anyone in. A great spot for a fictitious pirate out of a pulp fiction pirate novel to find their next quest and find suitable ship hands for a doomed search for cursed gold! Once again, dorky, but that is the appeal, man! "Nancy the Tavern Wench" comes off the band's debut album, one of my favorite from them, titled Captain Morgan's Revenge, a fitting title for the band's niche with piracy and drinking songs. This album is a little rawer and tavern like in comparison to some of their later albums that feature some crazy screaming and death growls on the side and heavier playing. Alestorm gained some serious power as they went, turns out there was a market for piracy themes, especially when it is backed by a high level of potent songwriting and playing that you honestly wouldn't expect out of a more comical band. Our song of the day is a more tame one, but if you liked it even a little bit, then go check out some of their others. I have found few people that weren't like "what the fuck is this and where can I get more?" since once you get sucked into their voyage across the sea you won't be forgetting what you heard any time soon. So, give the track a spin with a bottle in hand and see what you think. Enjoy!
Year Released: 2008
Album: Captain Morgan's Revenge (2008)
Genre: Pirate Metal, Folk Metal
Mood: Tavernlike
Perfect For: Getting drunk, Rowing a fake boat it seems, Casual listening, Being a pirate, Seeking quests
Where To Next: "Gloryhammer" - Gloryhammer
Rating: 8 / 10
Song of the Day 09/26/2025
"Six Foot Down" - Gene Ski
Sorry about this week, I have been late on 2 posts. It is something I try avoiding, but sometimes you just get so damn tired, that or something comes up in the day making it feel forced. I don't like forcing these posts, I want it to come from the heart. On the post for The Nude Party on 09/24 I talked about how video games do a great job of exposing music to people. Well, I too want this website to follow suit. While I cannot have it complimented with thrilling visuals or interactive music, I can try selling it with words. On some of the days, those words just cannot come together for the life of me. I can type out the whole thing and realize it is worth nothing, and that isn't negative thoughts or the artist's curse of never finding something good enough, it is fact. Who wants to read something boring? Especially on such a killer topic like music? Anyway, with that said, I do apologize if anyone came and checked to find the previous post still just sitting there. Today, I have for you a little hidden gem that I too barely just unburied. Gene Ski is an odd one to type about. I mean, he doesn't have hardly any info about him floating around on the web. He released one song, his claim to fame and our song of the day, "Six Foot Down". Outside this one song that is tied solely to his name, he also led Gene Ski & The Troubadours which had a total of 4 songs pressed onto 45's, one of which was "Six Foot Down". Then we have his work leading Gene Ski & The Mavericks, I can only find an LP tied to this one, an LP that seemed to have disappeared to the test of time. Lastly, we got Gene Ski and The Ski Boys, who released only one single before fading away. Sad to say, I don't think Gene Ski made it then nor survived the test of time into modern day. Still, that doesn't mean we can't show him some love on this website here today, right? Gene Ski is still included in the rockabilly hall of fame, but from my own experience with looking into groups and using that hall of fame as a launch point into many discoveries, they seem to give it to just about anyone who was there in the early days. Practically all the musicians deserve their place there, don't get me wrong, but it takes away the "ooh and aah" factor when you just gotta have some southern twang and hooping cat calls to get included. I think Gene Ski could have done more, if only he had come along at the right time in the right place. He came along during the 1960s with a style that has long since taken a seat. Unless you are immensely potent, you tend not to make much headway in sales. Sales aren't shit, though, so long as you love what you are doing. And when your main song is this damn good, then those sales shouldn't even be a concern.
"Six Foot Down" is the type of song that makes me wanna ramble. Makes me wanna jump in my truck and head into the desert, following a highway until I show up somewhere with bright lights and loud loud music. "Six Foot Down" is one of those depressing country songs that are veiled with a happy feeling. But does death need to be sad? It is as natural as life. So, these types of songs always show that off best, it is a natural thing. So, for our carefree lad that is having his story told in this track, all he hopes is they bury him deep with heavy ground right over him. Nothing fancy, something cheap, and his life has come to a close as easily as it came into play. A mellow song that instantly grabbed me on my new music Friday. I honestly had a good Friday for discovery; it has been a couple of weeks since I struck gold, but I made up for it on this one. We have this song here, which I listened to 5 times in a row since I took such a shine to it. I also found some more Carl Mann tracks, namely "I'm Walking the Dog", another rockabilly goodie that commanded the day. I also came across a band called Sex Mex, a plain peculiar single man project that is highly addictive, my favorite being their most popular hit "Fucking It Up". There were a couple of more that grabbed my attention, and still plenty that got a swift skip once I got to the chorus. Even if I just discovered "Six Foot Down" I would say it was a great day for musical expansion. I only wish there was more from Gene Ski. His carefree way of singing is welcoming and homey, and that eerie death lyricism with some rockabilly boppin' is something I really could use more of in my collection. Rockabilly is impossible for me to make sure all the cattle make it back to the property, no matter what, we have a couple running stray that I don't realize are there until years down the line. I find another obscure musician often enough that has been forgotten. So, thank you, Spotify, for letting me find Gene Ski! This version comes off of the compilation Driftless Dreamers in Cuca Country, Vol. 1 (2018?). It is a compilation I will need to listen to in full, especially since it wasn't until now that I even heard of a label called Cuca. If any of those other songs are even close to as good as "Six Foot Down", then it is something I gotta listen to. Well, enough about what I have listened to, let's set this track up so you have something to listen to as well. Give the track a spin, but you might wanna nail your shoes to the ground first since it is packed with that rambling fever. Enjoy!
Year Released: 1966?
Chosen Compilation: Driftless Dreamers in Cuca Country, Vol. 1 (2018?)
Genre: Rockabilly, Country, Rock n Roll
Mood: Carefree
Perfect For: Going for a drive, Traveling, Having a cigarette, Casual listening, Lazy days
Where To Next: "Sure as the Wind Will Blow" - Sanford Clark
Rating: 8 / 10
Sorry about this week, I have been late on 2 posts. It is something I try avoiding, but sometimes you just get so damn tired, that or something comes up in the day making it feel forced. I don't like forcing these posts, I want it to come from the heart. On the post for The Nude Party on 09/24 I talked about how video games do a great job of exposing music to people. Well, I too want this website to follow suit. While I cannot have it complimented with thrilling visuals or interactive music, I can try selling it with words. On some of the days, those words just cannot come together for the life of me. I can type out the whole thing and realize it is worth nothing, and that isn't negative thoughts or the artist's curse of never finding something good enough, it is fact. Who wants to read something boring? Especially on such a killer topic like music? Anyway, with that said, I do apologize if anyone came and checked to find the previous post still just sitting there. Today, I have for you a little hidden gem that I too barely just unburied. Gene Ski is an odd one to type about. I mean, he doesn't have hardly any info about him floating around on the web. He released one song, his claim to fame and our song of the day, "Six Foot Down". Outside this one song that is tied solely to his name, he also led Gene Ski & The Troubadours which had a total of 4 songs pressed onto 45's, one of which was "Six Foot Down". Then we have his work leading Gene Ski & The Mavericks, I can only find an LP tied to this one, an LP that seemed to have disappeared to the test of time. Lastly, we got Gene Ski and The Ski Boys, who released only one single before fading away. Sad to say, I don't think Gene Ski made it then nor survived the test of time into modern day. Still, that doesn't mean we can't show him some love on this website here today, right? Gene Ski is still included in the rockabilly hall of fame, but from my own experience with looking into groups and using that hall of fame as a launch point into many discoveries, they seem to give it to just about anyone who was there in the early days. Practically all the musicians deserve their place there, don't get me wrong, but it takes away the "ooh and aah" factor when you just gotta have some southern twang and hooping cat calls to get included. I think Gene Ski could have done more, if only he had come along at the right time in the right place. He came along during the 1960s with a style that has long since taken a seat. Unless you are immensely potent, you tend not to make much headway in sales. Sales aren't shit, though, so long as you love what you are doing. And when your main song is this damn good, then those sales shouldn't even be a concern.
"Six Foot Down" is the type of song that makes me wanna ramble. Makes me wanna jump in my truck and head into the desert, following a highway until I show up somewhere with bright lights and loud loud music. "Six Foot Down" is one of those depressing country songs that are veiled with a happy feeling. But does death need to be sad? It is as natural as life. So, these types of songs always show that off best, it is a natural thing. So, for our carefree lad that is having his story told in this track, all he hopes is they bury him deep with heavy ground right over him. Nothing fancy, something cheap, and his life has come to a close as easily as it came into play. A mellow song that instantly grabbed me on my new music Friday. I honestly had a good Friday for discovery; it has been a couple of weeks since I struck gold, but I made up for it on this one. We have this song here, which I listened to 5 times in a row since I took such a shine to it. I also found some more Carl Mann tracks, namely "I'm Walking the Dog", another rockabilly goodie that commanded the day. I also came across a band called Sex Mex, a plain peculiar single man project that is highly addictive, my favorite being their most popular hit "Fucking It Up". There were a couple of more that grabbed my attention, and still plenty that got a swift skip once I got to the chorus. Even if I just discovered "Six Foot Down" I would say it was a great day for musical expansion. I only wish there was more from Gene Ski. His carefree way of singing is welcoming and homey, and that eerie death lyricism with some rockabilly boppin' is something I really could use more of in my collection. Rockabilly is impossible for me to make sure all the cattle make it back to the property, no matter what, we have a couple running stray that I don't realize are there until years down the line. I find another obscure musician often enough that has been forgotten. So, thank you, Spotify, for letting me find Gene Ski! This version comes off of the compilation Driftless Dreamers in Cuca Country, Vol. 1 (2018?). It is a compilation I will need to listen to in full, especially since it wasn't until now that I even heard of a label called Cuca. If any of those other songs are even close to as good as "Six Foot Down", then it is something I gotta listen to. Well, enough about what I have listened to, let's set this track up so you have something to listen to as well. Give the track a spin, but you might wanna nail your shoes to the ground first since it is packed with that rambling fever. Enjoy!
Year Released: 1966?
Chosen Compilation: Driftless Dreamers in Cuca Country, Vol. 1 (2018?)
Genre: Rockabilly, Country, Rock n Roll
Mood: Carefree
Perfect For: Going for a drive, Traveling, Having a cigarette, Casual listening, Lazy days
Where To Next: "Sure as the Wind Will Blow" - Sanford Clark
Rating: 8 / 10
Song of the Day 09/25/2025
"Stone the Crow" - Down
You gotta love a supergroup! I mean, it is in the name but for those that don't know what a supergroup is then let me tell you. A supergroup is a band made up of members from other bands that typically hit a certain peak of fame. Many get the term mixed up, some throw in bands that had members find fame there but go on to other bands after the fact. Not a supergroup. Also, I have seen some lesser known bands get thrown in there, but they aren't a supergroup, more just another group. Now, you might be wondering who is in Down to get them to the "supergroup" status. Well firstly let me introduce to you Phil fuckin' Anselmo, one of the biggest metal icons to come out of the 1990s. He first found fame with being the second singer for Pantera. He showed up as the band was moving away from the silly speed/glam metal sound of their starting years. His performance on Pantera's 1988 release, Power Metal, is a strange one that I suggest any Pantera fan to go check out solely for how different it is. There is certainly a teaser that Pantera is about to rip your face off, but it still is holding onto that sound that gave them no favor. It is strangely reminiscent of Judas Priest and Saxon, but with a little bit of a Dokken feeling. A good album, but it would probably be even better if it wasn't tied to the Pantera name. Anyway, following that album the band put out Cowboys from Hell, an album that everyone reading this needs to stop what they are doing and give a full listen if they haven't yet. One of the most essential metal albums ever. Well, Pantera became legends within that album, and that fame only grew stronger with each release. After the classic in fighting of bands, they split up, never to do another album before the unfortunate demise of guitarist Dimebag Darrell by the hand of a crazed fan. During the heyday of Pantera, Anselmo was running a side project, nothing that could rival Pantera and was something completely different from his main meal ticket. Still heavy, there is no doubting that, and with the assistance from other members it became a band with this unique sound that balanced heavy metal, hard rock, sludge metal, and stoner rock. Down was started with other top tier musicians like Jimmy Bower who played with Eyehategod and a little later on with Crowbar. He would come along with Anselmo's other project Superjoint Ritual, and he has other groups and did many stints with multiple bands on tours. With Jimmy Bower there we have a taste of some sludge, made even stronger by the presence of the vocalist and guitarist for Corrosion of Conformity, Pepper Keenan. I have always dug the vocals of Keenan, and while he doesn't do much of that with Down, you can feel a little of him steering that ship towards doomy and gloomy glory. He is the other half to Down, being there well before the band actually released their first album. Last but certainly not least is Kirk Windstein, known for his power in the underrated sledgehammer of a band, Crowbar. This many great musicians shoved into one album is bound to be bound for glory, and glory it has achieved. Down isn't the type of band that you will see band tees of in Hot Topic, but you talk to almost any metalhead (especially the ones into some older stuff) and they will instantly know who Down is. Their reach is far in the hard rock and metal world, but how could they not be?
With all that said, let's get into the music shall we? Our song of the day is "Stone the Crow", the band's most well known song they ever put out. It is the 10th track off of the band's debut album NOLA, an album that creeped out in 1995 and was instantly met with fair praise, a lot of that coming from "Stone the Crow" which hit #40 on the Mainstream Rock Charts of that year. This one song has kept Down a known name, and honestly, I don't think that will ever fade away. The song is great from start to finish. The intro to the track is moody and shows off the band's leaning on stoner metal and stoner rock. The whole album has a little bit of an old hand in the hard rock world, it is heavily influenced by bands like Black Sabbath, has the boogie of ZZ Top and Lynyrd Skynyrd, and still even has a place for the traditional heavy metal style and some of the doom metal gods of yesteryear like Trouble. A complete package that never gets too heavy to see itself become a niche album, but still the lack of heaviness kept it low on the radar. Something that was probably for the best, since most of the members already had commitments in their main bands. As far as I am concerned, NOLA is an essential album for anyone who likes heavier music out of the 1990s. I was a quick fan as soon as I first heard "Bury Me in Smoke". For a long while when I was a teenager I was obsessed with Down, they were the perfect band to get stoned to but not get too lost in that smoke. NOLA has plenty of stony pony tracks like "Bury Me in Smoke", "Hail the Leaf", and "Stone the Crow". They are kind of like some of the doom metal bands of the 1980s or the bands that influenced the genre. They aren't like reggae, it is more the inclusion but not theme of marijuana that makes it all the much better. Young me was very into that, and older me appreciates it even more. This album was a pet project between Phil Anselmo and Pepper Keenan, they wrote a lot of the material between 1990–1995, it was originally just some fun. They released demo tapes and had them circulating around underground trading circles. Soon enough they put it all in one package and released it as a compilation, well more of a collection I guess, called Demo Collection 1992-1993 and in celebration did a show in their hometown. At that same show a record executive was there, and signed the band that same night, which leads us to NOLA. "Stone the Crow" is the powerhouse of the album, but not so much it outshines the other tracks. Songs like "Lifer", "Hail the Leaf", and my favorite "Bury Me in Smoke" are some of the most kick ass songs out of 1995 and the band's discography. "Stone the Crow" serves as their only hit, but even that hit fell below stardom. A cult band that is self efficient and hardworking, throwing out a tour here and there, and while I will admit not every song they have put out was something terrific, they keep this flow that is mesmerizing and impressive. So, if you have yet to hear this song, then I suggest you give it a go. Crafted with love over years, all for you and all for me to listen to even 30+ years later. Some things just never go out of style. Enjoy!
Year Released: 1995
Album: NOLA (1995)
Genre: Stoner Metal, Hard Rock, Stoner Rock
Mood: Heavy
Perfect For: Getting stoned, Casual listening, Playing loud while driving, Commuting
Where To Next: "Clean My Wounds" - Corrosion of Conformity
Rating: 8 / 10
You gotta love a supergroup! I mean, it is in the name but for those that don't know what a supergroup is then let me tell you. A supergroup is a band made up of members from other bands that typically hit a certain peak of fame. Many get the term mixed up, some throw in bands that had members find fame there but go on to other bands after the fact. Not a supergroup. Also, I have seen some lesser known bands get thrown in there, but they aren't a supergroup, more just another group. Now, you might be wondering who is in Down to get them to the "supergroup" status. Well firstly let me introduce to you Phil fuckin' Anselmo, one of the biggest metal icons to come out of the 1990s. He first found fame with being the second singer for Pantera. He showed up as the band was moving away from the silly speed/glam metal sound of their starting years. His performance on Pantera's 1988 release, Power Metal, is a strange one that I suggest any Pantera fan to go check out solely for how different it is. There is certainly a teaser that Pantera is about to rip your face off, but it still is holding onto that sound that gave them no favor. It is strangely reminiscent of Judas Priest and Saxon, but with a little bit of a Dokken feeling. A good album, but it would probably be even better if it wasn't tied to the Pantera name. Anyway, following that album the band put out Cowboys from Hell, an album that everyone reading this needs to stop what they are doing and give a full listen if they haven't yet. One of the most essential metal albums ever. Well, Pantera became legends within that album, and that fame only grew stronger with each release. After the classic in fighting of bands, they split up, never to do another album before the unfortunate demise of guitarist Dimebag Darrell by the hand of a crazed fan. During the heyday of Pantera, Anselmo was running a side project, nothing that could rival Pantera and was something completely different from his main meal ticket. Still heavy, there is no doubting that, and with the assistance from other members it became a band with this unique sound that balanced heavy metal, hard rock, sludge metal, and stoner rock. Down was started with other top tier musicians like Jimmy Bower who played with Eyehategod and a little later on with Crowbar. He would come along with Anselmo's other project Superjoint Ritual, and he has other groups and did many stints with multiple bands on tours. With Jimmy Bower there we have a taste of some sludge, made even stronger by the presence of the vocalist and guitarist for Corrosion of Conformity, Pepper Keenan. I have always dug the vocals of Keenan, and while he doesn't do much of that with Down, you can feel a little of him steering that ship towards doomy and gloomy glory. He is the other half to Down, being there well before the band actually released their first album. Last but certainly not least is Kirk Windstein, known for his power in the underrated sledgehammer of a band, Crowbar. This many great musicians shoved into one album is bound to be bound for glory, and glory it has achieved. Down isn't the type of band that you will see band tees of in Hot Topic, but you talk to almost any metalhead (especially the ones into some older stuff) and they will instantly know who Down is. Their reach is far in the hard rock and metal world, but how could they not be?
With all that said, let's get into the music shall we? Our song of the day is "Stone the Crow", the band's most well known song they ever put out. It is the 10th track off of the band's debut album NOLA, an album that creeped out in 1995 and was instantly met with fair praise, a lot of that coming from "Stone the Crow" which hit #40 on the Mainstream Rock Charts of that year. This one song has kept Down a known name, and honestly, I don't think that will ever fade away. The song is great from start to finish. The intro to the track is moody and shows off the band's leaning on stoner metal and stoner rock. The whole album has a little bit of an old hand in the hard rock world, it is heavily influenced by bands like Black Sabbath, has the boogie of ZZ Top and Lynyrd Skynyrd, and still even has a place for the traditional heavy metal style and some of the doom metal gods of yesteryear like Trouble. A complete package that never gets too heavy to see itself become a niche album, but still the lack of heaviness kept it low on the radar. Something that was probably for the best, since most of the members already had commitments in their main bands. As far as I am concerned, NOLA is an essential album for anyone who likes heavier music out of the 1990s. I was a quick fan as soon as I first heard "Bury Me in Smoke". For a long while when I was a teenager I was obsessed with Down, they were the perfect band to get stoned to but not get too lost in that smoke. NOLA has plenty of stony pony tracks like "Bury Me in Smoke", "Hail the Leaf", and "Stone the Crow". They are kind of like some of the doom metal bands of the 1980s or the bands that influenced the genre. They aren't like reggae, it is more the inclusion but not theme of marijuana that makes it all the much better. Young me was very into that, and older me appreciates it even more. This album was a pet project between Phil Anselmo and Pepper Keenan, they wrote a lot of the material between 1990–1995, it was originally just some fun. They released demo tapes and had them circulating around underground trading circles. Soon enough they put it all in one package and released it as a compilation, well more of a collection I guess, called Demo Collection 1992-1993 and in celebration did a show in their hometown. At that same show a record executive was there, and signed the band that same night, which leads us to NOLA. "Stone the Crow" is the powerhouse of the album, but not so much it outshines the other tracks. Songs like "Lifer", "Hail the Leaf", and my favorite "Bury Me in Smoke" are some of the most kick ass songs out of 1995 and the band's discography. "Stone the Crow" serves as their only hit, but even that hit fell below stardom. A cult band that is self efficient and hardworking, throwing out a tour here and there, and while I will admit not every song they have put out was something terrific, they keep this flow that is mesmerizing and impressive. So, if you have yet to hear this song, then I suggest you give it a go. Crafted with love over years, all for you and all for me to listen to even 30+ years later. Some things just never go out of style. Enjoy!
Year Released: 1995
Album: NOLA (1995)
Genre: Stoner Metal, Hard Rock, Stoner Rock
Mood: Heavy
Perfect For: Getting stoned, Casual listening, Playing loud while driving, Commuting
Where To Next: "Clean My Wounds" - Corrosion of Conformity
Rating: 8 / 10
Song of the Day 09/24/2025
"Ride On" - The Nude Party
This oddly named band is a new one to me, so new that I only discovered them within the last couple of weeks. I wanna start off this post with showing appreciation to video games exposing people to music. Something about playing a fake guitar on Guitar Hero sells the song, the same can be said about blowing shit up while driving, performing sport feats impossible to the common man, drifting down fictitious city curves, and so many other intense activities that are bolstered by great music choices. Some video game publishers really know what they are doing when adding songs. Grand Theft Auto is one of the best examples of that, the inclusion of certain songs that seem to be scientifically chosen for the aesthetic and theme they are going for. Also, Rockstar seems to pick lesser known songs by massive artists more than just picking their most popular. "Street Kids" by Elton John is one of his best in my books, but they could have just as easily picked "Tiny Dancer". It wouldn't have fit the mood for Grand Theft Auto IV, the gritty streets and humor calls for something like "Street Kids". I chose our song of the day after finishing up the starting campaign for EA's most recent release for the Skate franchise. Skate is another game series that has great music that completely sells the experience. I have a ton of memories of pulling off crazy lines while "Alternative Ulster" by Stiff Little Fingers sent me off to skateboard heaven. I will admit, this newest title is sort of lacking, and the choice to make it a massive free to play online game was a bold one. It is cool, it works well enough, and that Skate aesthetic is still kicking. What I appreciated most, is the pretty big track listing for the songs they included. I hardly knew any of the artists, but there were many that I did enjoy. Some classics on there too like "Urban Struggle" by The Vandals, "In Circles" by Sunny Day Real Estate, and "Fan the Fire" from Earth, Wind & Fire. What I dug the most was seeing some of the bands I have been getting further into on there, bands that define modern rock like Turnstile, Skeggs, and Amyl & The Sniffers. Overall the game needs some work, and for someone that doesn't like online play too much it was an odd experience, but once again when there was that much good music it was hard to not have cravings to go back and carve. Skate's soundtrack still doesn't even come close to what the Tony Hawk games had, but that is a bar set severely high, and Skate isn't even trying to. The series has its own aesthetic, and that aesthetic is best expressed through the songs they chose. They are two different beasts, best compared to Guitar Hero vs. Rock Band, one has the classics and the other has more variety that focuses on newer bands both unproven and well proven. Alright, that sums up our little chat, now let's see how I do talking about a band and song that is very new to me, these are my hardest posts.
While I barely started into The Nude Party, I could instantly tell they were a group for me. A modern sound with an old-fashioned style. You can tell the vocals are heavily influenced by Lou Reed by how the words are spoken. The band themselves are bell bottom boogie bangers that seemed to come right out of the 1970s. They aren't the type of group that seems to be solely drinking from the vintage cup, there is still that modern side that makes the group an easy favorite for both old timers and modern rockers alike. They have the energy to match in some of their other songs, their biggest hit "Chevrolet Van" shows that off damn well. Even though I barely came across the band within this same month, I have tried out a good handful of songs. With that in mind, I still cannot find something to top "Ride On", admittedly it could be since it was the song that got me into them or since I had it shown to me in such a grand way in Skate. Still, this song is obsessive. A strangely written song covering 3 separate characters, but all of those stories revolve around the simplicity of living for living. First we have Alfredo, a Mexican bull rider, and while he already has all he could ever want he does it since he enjoys it, even with the danger being there tenfold. My favorite piece from this song is the second set of lyrics, this time covering Juanita, who is at the age of 95 yet still works as a store greeter. She is well past her time for working, but she keeps on simply because if she slows down she might just slow down forever. She says, "cause I'm old, and my eyes are dim, and if I shut them they might not open again". Damn clever writing, and even though these pieces are pretty quick, you find some sort of understanding with each character. Life is just riding on, day in and day out, you ride on since it is better than holding onto those brakes. The verses are great, and the lyrics are potent, but it is all about that chorus. The song is already mellow, but the harmony of that chorus floors me, perfectly vintage with a modern way of handling it. With that chorus there, it is easy to not focus too much on the lyrics if you are of that sort, but if you take the time to really take the song in, you will find goosebumps invading each piece of flesh on your body. A great discovery, a discovery I have to thank EA Games (never thought I would say that) for throwing it in the game. Now a discovery I pass on to you, and I think you are going to love it! As always, thanks for reading along! So long as you keep riding on, this website will keep rocking on. So check back often and get yourself some new songs to make life worth the living. Enjoy!
Year Released: 2023
Album: Rides On (2023)
Genre: Rock, Indie Rock, Folk Rock
Mood: Earthy
Perfect For: Traveling, Skating, Relaxing, Getting stoned, Going record shopping
Where To Next: "Saturday Night Blues" - Natural Child
Rating: 8 / 10
This oddly named band is a new one to me, so new that I only discovered them within the last couple of weeks. I wanna start off this post with showing appreciation to video games exposing people to music. Something about playing a fake guitar on Guitar Hero sells the song, the same can be said about blowing shit up while driving, performing sport feats impossible to the common man, drifting down fictitious city curves, and so many other intense activities that are bolstered by great music choices. Some video game publishers really know what they are doing when adding songs. Grand Theft Auto is one of the best examples of that, the inclusion of certain songs that seem to be scientifically chosen for the aesthetic and theme they are going for. Also, Rockstar seems to pick lesser known songs by massive artists more than just picking their most popular. "Street Kids" by Elton John is one of his best in my books, but they could have just as easily picked "Tiny Dancer". It wouldn't have fit the mood for Grand Theft Auto IV, the gritty streets and humor calls for something like "Street Kids". I chose our song of the day after finishing up the starting campaign for EA's most recent release for the Skate franchise. Skate is another game series that has great music that completely sells the experience. I have a ton of memories of pulling off crazy lines while "Alternative Ulster" by Stiff Little Fingers sent me off to skateboard heaven. I will admit, this newest title is sort of lacking, and the choice to make it a massive free to play online game was a bold one. It is cool, it works well enough, and that Skate aesthetic is still kicking. What I appreciated most, is the pretty big track listing for the songs they included. I hardly knew any of the artists, but there were many that I did enjoy. Some classics on there too like "Urban Struggle" by The Vandals, "In Circles" by Sunny Day Real Estate, and "Fan the Fire" from Earth, Wind & Fire. What I dug the most was seeing some of the bands I have been getting further into on there, bands that define modern rock like Turnstile, Skeggs, and Amyl & The Sniffers. Overall the game needs some work, and for someone that doesn't like online play too much it was an odd experience, but once again when there was that much good music it was hard to not have cravings to go back and carve. Skate's soundtrack still doesn't even come close to what the Tony Hawk games had, but that is a bar set severely high, and Skate isn't even trying to. The series has its own aesthetic, and that aesthetic is best expressed through the songs they chose. They are two different beasts, best compared to Guitar Hero vs. Rock Band, one has the classics and the other has more variety that focuses on newer bands both unproven and well proven. Alright, that sums up our little chat, now let's see how I do talking about a band and song that is very new to me, these are my hardest posts.
While I barely started into The Nude Party, I could instantly tell they were a group for me. A modern sound with an old-fashioned style. You can tell the vocals are heavily influenced by Lou Reed by how the words are spoken. The band themselves are bell bottom boogie bangers that seemed to come right out of the 1970s. They aren't the type of group that seems to be solely drinking from the vintage cup, there is still that modern side that makes the group an easy favorite for both old timers and modern rockers alike. They have the energy to match in some of their other songs, their biggest hit "Chevrolet Van" shows that off damn well. Even though I barely came across the band within this same month, I have tried out a good handful of songs. With that in mind, I still cannot find something to top "Ride On", admittedly it could be since it was the song that got me into them or since I had it shown to me in such a grand way in Skate. Still, this song is obsessive. A strangely written song covering 3 separate characters, but all of those stories revolve around the simplicity of living for living. First we have Alfredo, a Mexican bull rider, and while he already has all he could ever want he does it since he enjoys it, even with the danger being there tenfold. My favorite piece from this song is the second set of lyrics, this time covering Juanita, who is at the age of 95 yet still works as a store greeter. She is well past her time for working, but she keeps on simply because if she slows down she might just slow down forever. She says, "cause I'm old, and my eyes are dim, and if I shut them they might not open again". Damn clever writing, and even though these pieces are pretty quick, you find some sort of understanding with each character. Life is just riding on, day in and day out, you ride on since it is better than holding onto those brakes. The verses are great, and the lyrics are potent, but it is all about that chorus. The song is already mellow, but the harmony of that chorus floors me, perfectly vintage with a modern way of handling it. With that chorus there, it is easy to not focus too much on the lyrics if you are of that sort, but if you take the time to really take the song in, you will find goosebumps invading each piece of flesh on your body. A great discovery, a discovery I have to thank EA Games (never thought I would say that) for throwing it in the game. Now a discovery I pass on to you, and I think you are going to love it! As always, thanks for reading along! So long as you keep riding on, this website will keep rocking on. So check back often and get yourself some new songs to make life worth the living. Enjoy!
Year Released: 2023
Album: Rides On (2023)
Genre: Rock, Indie Rock, Folk Rock
Mood: Earthy
Perfect For: Traveling, Skating, Relaxing, Getting stoned, Going record shopping
Where To Next: "Saturday Night Blues" - Natural Child
Rating: 8 / 10
Song of the Day 09/23/2025
"That's All Right" - Elvis Presley
Time for some Elvis once more! I can never get enough, and his collection of timeless tracks is massive. Elvis has such a large collection of hits that you have to specify which decade of Elvis you are talking about. For those not too familiar with his music, many of his hits and albums might meld all into one, but if you have taken the time to listen to all things Elvis you will quickly realize there is a giant stylistic shift about every 5 years. Elvis started out with a more rockabilly sound, much in Sun Record's style, and it was within that sound he broke into stardom with this new and reckless form of music that just barely broke into the light of day yet was building serious strength in the background years prior. For the first little bit it seemed it was Elvis himself that was making headlines instead of the music, but that changed pretty quick once his groundbreaking hits "Heartbreak Hotel", "I Forgot to Remember to Forget", and "Baby Let's Play House" came along to play, not to mention his self-titled debut which was the first rock n roll records to hit the top of the chart and even today is recognized as one of the most important and greatest albums in rock history. Since he was rooted in rockabilly, he was greeted with charting positions on the both the pre-billboard 100 charts and also the US Country charts. That country feeling was mostly lost once he got back from his service in the military and sold his soul to the silver screen. Did Elvis really ever own his own soul once he turned 19? He was guided heavily, especially by his manager "The Colonel", a past carny with a serious rough necked and intense approach to business that famously oversaw Elvis Presley, and also managed Hank Snow, Eddy Arnold, and a couple of others in the country world. Anyway, once Elvis got back from his time in the Army in 1960, he set his sights on Hollywood, which was a natural step for someone who went from living in a shack to driving around long shiny Cadillacs. He already was dabbling in the movies before he shipped out, but now it was time for it to take more of his time than music. His acting career is mostly forgotten in the modern day, only fans of his music (such as myself) take the time to go back to watch the movies. A lot of those movies are genuinely good, but they are from their time, so expect some silly acting. Also, I think those movies go down smoother if you are a fan of his music, since they are revolving around it more often than not. The 1960s singles, studio albums, live albums and soundtracks held plenty of the biggest hits Elvis ever put out like "Can't Help Falling in Love" which comes off the movie Blue Hawaii in 1961. Now, I am personally one that appreciates the soundtrack albums buuuut it is nothing in comparison to the compilations of the time, and naturally his singles and studio albums. His career started growing stagnant once the music world was changing, he went from being the top dog to having to compete with The Beatles, who then in turn had to compete with the heavier music coming out of California and the wise and hip folk music to come out of New York. Time was moving and Elvis was quickly finding himself becoming lower and lower on the charts. That all changed once the end of the 1960s came along and Elvis had a rebirth on the charts starting with his live recording from a television special called Elvis which released in 1968. This showed an Elvis going back to his Mississippi roots, and it also saw Elvis standing up for what he believes in, like we hear on the hair-raising "If I Can Dream". It felt like a more wise and learned Elvis that has lived a little bit more outside the fame safety net. He kept with that style, mixing in some more country or some more blues when fitting, until we got the 1970s boogie Elvis that Las Vegas dragged through the dirt one million times. Isn't it odd that the more fading period of Elvis Presley is the one everyone dresses as? What many casual fans remember as the face of Elvis instead of the young country boy that found international fame and changed the music industry?
I can talk Elvis all day, so I gotta reel us in so this post doesn't become any longer than it already is. Our song of the day today is Elvis's first ever single, the massively thrilling "That's All Right". This track is easily one of the most essential songs from Elvis, it shows off everything that is great about the 1950s rock. It is with tracks like this one that makes it easy to see why he is the king of rock n roll. The song was originally written and performed by bluesman Arthur Crudup, one of the most innovative blues players out of the delta blues world. Elvis would also cover some of his other tracks which found fast fame, like "So Glad You're Mine" and a personal favorite of mine, "My Baby Left Me". Crudup first recorded the original to our song of the day in 1946, later to be rerecorded with the title "That's All Right, Mama" in 1949. Elvis came along and gave it a go for Sun Records in 1954, and while it didn't shake the earth like some of his other recordings, it got heavily abused by local DJ's and that Elvis name started spreading like wildfire. A great first song to cut, it shows that Elvis is going to be one hell of a big name. Disc jockies of the time were getting bombarded with calls. The song is so big that it has been inducted into the Grammy Hall of Fame, and shows up all over the place for some of rock n rolls most respected songs. It is in my opinion one of the best songs to come out of the 1950s, and without a doubt is one of the strongest from Presley's 1950s catalogue. In comparison to the original, it is hard to tell it is the same song aside from the lyrics since the version from Elvis is a fair amount faster, and that boogie backing alongside those famous vocals gave the song a strong fresh coat of paint. The song wasn't anything more than playing around between takes of other songs, but to the well tuned ear of Sam Philips of Sun Records, he heard that playing around and saw "That's All Right" could be a sure winner. Listen to the song for yourself and you will see why. While it is happily situated in the 1950s without a doubt, it isn't completely smothered by it much like we hear on some other Elvis tracks from the time like "Baby, Let's Play House" or "Blue Moon of Kentucky", the latter of which served as the b-side to "That's All Right". With it being his first single, and a single to start with, the song didn't appear in album form until the 1959 compilation For LP Fans Only, the version we have below and one of the best places to start with Elvis if you are lost in where to start on his massive discography. When in doubt with Elvis, always go for those 1950s-1960s compilations, they are always gold! This compilation more than some others. Anyway, "That's All Right" is a damn quick song, only playing for 2 minutes before coming to a close. It is indeed one of those kinds of songs that are packed with 10 minutes of quality, and thus can be played over and over again and hardly ever grow stale. I used to beg for quarters from my mom so I could play this on the jukebox at our local Waffle House, the same Waffle House that sold a waffle called "The Elvis" made with peanut butter chips and banana. That damn thing was so tasty, I wonder if I will ever get the chance to try it again. "That's All Right" has a shitload of memories with me, and much like anything Elvis, I am obsessed with it and truly can never get enough. So, do your author a favor and give the song a listen. Take in a piece of music history and a highly respected song. Whatcha got to lose? Roll out that carpet for some rock n roll royalty and enjoy!
Year Released: 1954
Chosen Compilation: For LP Fans Only (1959)
Genre: Rockabilly, Rock n Roll
Mood: Fun
Perfect For: Casual listening, Boogie, Music history lesson, Long drives, Autumn walks
Where To Next: "Crazy Arms" - Jerry Lee Lewis
Rating: 10 / 10
Time for some Elvis once more! I can never get enough, and his collection of timeless tracks is massive. Elvis has such a large collection of hits that you have to specify which decade of Elvis you are talking about. For those not too familiar with his music, many of his hits and albums might meld all into one, but if you have taken the time to listen to all things Elvis you will quickly realize there is a giant stylistic shift about every 5 years. Elvis started out with a more rockabilly sound, much in Sun Record's style, and it was within that sound he broke into stardom with this new and reckless form of music that just barely broke into the light of day yet was building serious strength in the background years prior. For the first little bit it seemed it was Elvis himself that was making headlines instead of the music, but that changed pretty quick once his groundbreaking hits "Heartbreak Hotel", "I Forgot to Remember to Forget", and "Baby Let's Play House" came along to play, not to mention his self-titled debut which was the first rock n roll records to hit the top of the chart and even today is recognized as one of the most important and greatest albums in rock history. Since he was rooted in rockabilly, he was greeted with charting positions on the both the pre-billboard 100 charts and also the US Country charts. That country feeling was mostly lost once he got back from his service in the military and sold his soul to the silver screen. Did Elvis really ever own his own soul once he turned 19? He was guided heavily, especially by his manager "The Colonel", a past carny with a serious rough necked and intense approach to business that famously oversaw Elvis Presley, and also managed Hank Snow, Eddy Arnold, and a couple of others in the country world. Anyway, once Elvis got back from his time in the Army in 1960, he set his sights on Hollywood, which was a natural step for someone who went from living in a shack to driving around long shiny Cadillacs. He already was dabbling in the movies before he shipped out, but now it was time for it to take more of his time than music. His acting career is mostly forgotten in the modern day, only fans of his music (such as myself) take the time to go back to watch the movies. A lot of those movies are genuinely good, but they are from their time, so expect some silly acting. Also, I think those movies go down smoother if you are a fan of his music, since they are revolving around it more often than not. The 1960s singles, studio albums, live albums and soundtracks held plenty of the biggest hits Elvis ever put out like "Can't Help Falling in Love" which comes off the movie Blue Hawaii in 1961. Now, I am personally one that appreciates the soundtrack albums buuuut it is nothing in comparison to the compilations of the time, and naturally his singles and studio albums. His career started growing stagnant once the music world was changing, he went from being the top dog to having to compete with The Beatles, who then in turn had to compete with the heavier music coming out of California and the wise and hip folk music to come out of New York. Time was moving and Elvis was quickly finding himself becoming lower and lower on the charts. That all changed once the end of the 1960s came along and Elvis had a rebirth on the charts starting with his live recording from a television special called Elvis which released in 1968. This showed an Elvis going back to his Mississippi roots, and it also saw Elvis standing up for what he believes in, like we hear on the hair-raising "If I Can Dream". It felt like a more wise and learned Elvis that has lived a little bit more outside the fame safety net. He kept with that style, mixing in some more country or some more blues when fitting, until we got the 1970s boogie Elvis that Las Vegas dragged through the dirt one million times. Isn't it odd that the more fading period of Elvis Presley is the one everyone dresses as? What many casual fans remember as the face of Elvis instead of the young country boy that found international fame and changed the music industry?
I can talk Elvis all day, so I gotta reel us in so this post doesn't become any longer than it already is. Our song of the day today is Elvis's first ever single, the massively thrilling "That's All Right". This track is easily one of the most essential songs from Elvis, it shows off everything that is great about the 1950s rock. It is with tracks like this one that makes it easy to see why he is the king of rock n roll. The song was originally written and performed by bluesman Arthur Crudup, one of the most innovative blues players out of the delta blues world. Elvis would also cover some of his other tracks which found fast fame, like "So Glad You're Mine" and a personal favorite of mine, "My Baby Left Me". Crudup first recorded the original to our song of the day in 1946, later to be rerecorded with the title "That's All Right, Mama" in 1949. Elvis came along and gave it a go for Sun Records in 1954, and while it didn't shake the earth like some of his other recordings, it got heavily abused by local DJ's and that Elvis name started spreading like wildfire. A great first song to cut, it shows that Elvis is going to be one hell of a big name. Disc jockies of the time were getting bombarded with calls. The song is so big that it has been inducted into the Grammy Hall of Fame, and shows up all over the place for some of rock n rolls most respected songs. It is in my opinion one of the best songs to come out of the 1950s, and without a doubt is one of the strongest from Presley's 1950s catalogue. In comparison to the original, it is hard to tell it is the same song aside from the lyrics since the version from Elvis is a fair amount faster, and that boogie backing alongside those famous vocals gave the song a strong fresh coat of paint. The song wasn't anything more than playing around between takes of other songs, but to the well tuned ear of Sam Philips of Sun Records, he heard that playing around and saw "That's All Right" could be a sure winner. Listen to the song for yourself and you will see why. While it is happily situated in the 1950s without a doubt, it isn't completely smothered by it much like we hear on some other Elvis tracks from the time like "Baby, Let's Play House" or "Blue Moon of Kentucky", the latter of which served as the b-side to "That's All Right". With it being his first single, and a single to start with, the song didn't appear in album form until the 1959 compilation For LP Fans Only, the version we have below and one of the best places to start with Elvis if you are lost in where to start on his massive discography. When in doubt with Elvis, always go for those 1950s-1960s compilations, they are always gold! This compilation more than some others. Anyway, "That's All Right" is a damn quick song, only playing for 2 minutes before coming to a close. It is indeed one of those kinds of songs that are packed with 10 minutes of quality, and thus can be played over and over again and hardly ever grow stale. I used to beg for quarters from my mom so I could play this on the jukebox at our local Waffle House, the same Waffle House that sold a waffle called "The Elvis" made with peanut butter chips and banana. That damn thing was so tasty, I wonder if I will ever get the chance to try it again. "That's All Right" has a shitload of memories with me, and much like anything Elvis, I am obsessed with it and truly can never get enough. So, do your author a favor and give the song a listen. Take in a piece of music history and a highly respected song. Whatcha got to lose? Roll out that carpet for some rock n roll royalty and enjoy!
Year Released: 1954
Chosen Compilation: For LP Fans Only (1959)
Genre: Rockabilly, Rock n Roll
Mood: Fun
Perfect For: Casual listening, Boogie, Music history lesson, Long drives, Autumn walks
Where To Next: "Crazy Arms" - Jerry Lee Lewis
Rating: 10 / 10
Song of the Day 09/22/2025
"Finale" - Bikini Kill
Bikini Kill is a band to behold, even though the band didn't release all too much material, what is there can throw out some serious static. They are known as the pioneers of riot grrrl, a genre of punk rock that revolves around feminist themes, politics, and practically anything that is related to something that might step on someone's rights. What is more punk rock than that? It is a genre that never made it to the limelight but will forever have a strong following even into the modern day. There were multiple groups to raise their flag under the same cause, but Bikini Kill was the flagship into the storm of patriarchy. They released only two true studio albums in their time, the rest being demo albums, EP's, compilations, and a split album with Huggy Bear, another from the riot grrrl subgenre. Honestly, Bikini Kill is the type of group you can jump in just about anywhere and understand the band. I personally really dig the album we will be talking about today, Reject All American, but no matter where you first touch down you are met with raw and raunchy punk rock with a little bit of an indie bite. The band had no intention of blowing up the way they did, they wanted the music to serve as an artistic approach to the problems of society, especially against women. Still, that didn't stop the fans and other bands to jump on board this new and exciting form of protest with drum sticks and guitars in hand. Legends don't often try being legends, so is the case with Bikini Kill. No matter your view on the riot grrrl genre, or punk as a whole, you cannot deny the furious passion that fills some of the band's songs. I have heard of the genre for a long time, and even dabbled in it a good handful of times, but it wasn't until I was doing my studies in the 1990s that I fully sunk my teeth into the style. I walked away impressed to say the least, and I can see why it went on to becoming more than just music, with many adopting it as a persona outside themselves, much like punk was always meant to do. Anyway, with all that out of the way, let's get into our song of the day.
"Finale" is just as it sound, a finale. It is the final track off their second (and final so far) studio album, Reject All American. Like I mentioned previously, this is my favorite piece they have put out. It isn't one that relies solely on spunk, though it is there, but more focuses on a core sound to a style they practically created. The guitar work is a lot more thought out and smooth, but it doesn't take away from the original vision of the band. Sheer vocals are thrown right into your face without even a little remorse. The song's lyrics are spunky and empowering, mainly about how these girls are the ones with the band reputation and are moving on down the road to curb stomp your landlord. There is a little bit of The Clash, a little bit of Nirvana, some Girlschool, the artistic touch from Patti Smith, and the raw power of Dead Kennedys all wrapped into a punk package unlike any other band at the time. Many argue that riot grrrl came more from indie than punk rock, something I don't fully agree with but will easily settle for a sweet 50/50 since you can feel both influences on the band and also the influence that went right back into both genres, a feeling that is still around even today. Many of my favorite modern punk bands tend to sound a little bit like Bikini Kill. I chose this song while doing a little driving for my job, and with that awkward September hot to cold, it really matched the mood. To further its presence when time to choose my song of the day, Spotify wanted to play the song a couple of times in a row while it was frozen. My Spotify has been acting up something fierce ever since I did all that work with finalizing the 1990s collection. I think I broke my account in a way. I have been talking to their tech services, and they sent me up to the higher ups to deal with since they have no idea why my account is acting up. Now I am waiting on an email so I can continue my quest to getting this shit dealt with. It is no big deal, I mean I use and abuse the living fuck out of Spotify, so it was only a matter of time my account got too big for its britches. Still, it is annoying, I need to keep all my things rolling so I can keep dishing out some quality tracks for you to listen to! Both the hidden gems and from the legends, all for you! So hopefully we will be back up and running soon! Anyway, I am having a hard time getting that writing mojo working, maybe I will jump back on later to give this great song a proper post, since Bikini Kill and "Finale" both deserve it. Either way, you should give the song a spin, since me typing this out only does so much. Best to let the music do the talking. Enjoy!
Year Released: 1996
Album: Reject All American (1996)
Genre: Riot Grrrl, Punk Rock
Mood: Spunky
Perfect For: Driving, Casual listening, Skating, Summer days
Where To Next: "Pod" - Snooper
Rating: 8 / 10
Bikini Kill is a band to behold, even though the band didn't release all too much material, what is there can throw out some serious static. They are known as the pioneers of riot grrrl, a genre of punk rock that revolves around feminist themes, politics, and practically anything that is related to something that might step on someone's rights. What is more punk rock than that? It is a genre that never made it to the limelight but will forever have a strong following even into the modern day. There were multiple groups to raise their flag under the same cause, but Bikini Kill was the flagship into the storm of patriarchy. They released only two true studio albums in their time, the rest being demo albums, EP's, compilations, and a split album with Huggy Bear, another from the riot grrrl subgenre. Honestly, Bikini Kill is the type of group you can jump in just about anywhere and understand the band. I personally really dig the album we will be talking about today, Reject All American, but no matter where you first touch down you are met with raw and raunchy punk rock with a little bit of an indie bite. The band had no intention of blowing up the way they did, they wanted the music to serve as an artistic approach to the problems of society, especially against women. Still, that didn't stop the fans and other bands to jump on board this new and exciting form of protest with drum sticks and guitars in hand. Legends don't often try being legends, so is the case with Bikini Kill. No matter your view on the riot grrrl genre, or punk as a whole, you cannot deny the furious passion that fills some of the band's songs. I have heard of the genre for a long time, and even dabbled in it a good handful of times, but it wasn't until I was doing my studies in the 1990s that I fully sunk my teeth into the style. I walked away impressed to say the least, and I can see why it went on to becoming more than just music, with many adopting it as a persona outside themselves, much like punk was always meant to do. Anyway, with all that out of the way, let's get into our song of the day.
"Finale" is just as it sound, a finale. It is the final track off their second (and final so far) studio album, Reject All American. Like I mentioned previously, this is my favorite piece they have put out. It isn't one that relies solely on spunk, though it is there, but more focuses on a core sound to a style they practically created. The guitar work is a lot more thought out and smooth, but it doesn't take away from the original vision of the band. Sheer vocals are thrown right into your face without even a little remorse. The song's lyrics are spunky and empowering, mainly about how these girls are the ones with the band reputation and are moving on down the road to curb stomp your landlord. There is a little bit of The Clash, a little bit of Nirvana, some Girlschool, the artistic touch from Patti Smith, and the raw power of Dead Kennedys all wrapped into a punk package unlike any other band at the time. Many argue that riot grrrl came more from indie than punk rock, something I don't fully agree with but will easily settle for a sweet 50/50 since you can feel both influences on the band and also the influence that went right back into both genres, a feeling that is still around even today. Many of my favorite modern punk bands tend to sound a little bit like Bikini Kill. I chose this song while doing a little driving for my job, and with that awkward September hot to cold, it really matched the mood. To further its presence when time to choose my song of the day, Spotify wanted to play the song a couple of times in a row while it was frozen. My Spotify has been acting up something fierce ever since I did all that work with finalizing the 1990s collection. I think I broke my account in a way. I have been talking to their tech services, and they sent me up to the higher ups to deal with since they have no idea why my account is acting up. Now I am waiting on an email so I can continue my quest to getting this shit dealt with. It is no big deal, I mean I use and abuse the living fuck out of Spotify, so it was only a matter of time my account got too big for its britches. Still, it is annoying, I need to keep all my things rolling so I can keep dishing out some quality tracks for you to listen to! Both the hidden gems and from the legends, all for you! So hopefully we will be back up and running soon! Anyway, I am having a hard time getting that writing mojo working, maybe I will jump back on later to give this great song a proper post, since Bikini Kill and "Finale" both deserve it. Either way, you should give the song a spin, since me typing this out only does so much. Best to let the music do the talking. Enjoy!
Year Released: 1996
Album: Reject All American (1996)
Genre: Riot Grrrl, Punk Rock
Mood: Spunky
Perfect For: Driving, Casual listening, Skating, Summer days
Where To Next: "Pod" - Snooper
Rating: 8 / 10
Song of the Day 09/21/2025
"Voices" - Disturbed
Well, I did mention a couple posts back to know there will probably be a couple more 2000s songs integrated into this part of the website. And I can think of few bands better to kick it off with than with Disturbed. I know I often say "this band has been with me forever" but in reality I don't think there are any other groups that go so far back in my song and band collection as Disturbed. My mom can attest to that fact since there is a story she is fond of telling where, as a spry 4-year-old, I would get buckled into my car seat and then say "mama, mama play the UGH UGH song". Naturally you cannot deny someone so adamant they listen to a song, especially in a cute way, so the music would commence and I would bang my little head. Not sure where I learned it from, but there is magic in the metal that makes one act accordingly. With that being said, is Disturbed metal? It is one of those questions (alongside many others from the alternative and nu metal world) that has hindered my studies since I first started them 15 years back. Yes, they are heavy, and yes, at the time many considered this brand of heavy music to fall under the same category as other heavy metal bands. But are they? I consider them more of a hard rock, and while I am not an authority on music categorization, I have studied it my whole life. Especially heavy metal, that is what started all this, those tasty genres within genres. I think Disturbed can be considered metal for their first 2 studio albums, but once rock music as a whole started getting heavier and adopting a more metal influenced front, they fell back within the hard rock of the time in which they were sitting on the throne. Still, this is all opinion so no need to get your undies bunched up. Wait... this is the part of the post where I tell you how great the band is! Oops! *clears throat* Disturbed is one of the groups that brought heavier music to the forefront of the 2000s. It is easily said that vocalist David Draiman is one of the most recognized vocalists in the 21st century. His unique noises(?) are everyone's envy, don't sit there and try telling me you haven't tried doing the intro to "Down with the Sickness", I know you have as much as I have. You probably did it better. It feels mighty powerful when you let it go though, bloody throat and all. Anyway, it isn't just David Draiman that we see a decade defining group, it is the overall aesthetic and wide book of hits. That aesthetic is well... disturbed.... the coloring and the imagery of their stupidly named mascot "The Guy" is all part of the fun of this band. Their fan base is ravenous, their music heavy yet accessible, a sound that has been used but had yet to be perfected before their debut The Sickness, and with strangely advanced lyricism Disturbed became a classic name in the rock history books. I have been a fan since I learned how to cuss, another thing that this band helped in my life, I guess I should give that to KoRn, actually. Their multiplatinum and essential debut album used to haunt me, that album cover is so much of it's time it makes me sick, and the sound within was intense for my child ears. I grew up alongside the tracks of this album, from the famous track with a great intro "Voices" to the underrated outro "Meaning of Life". It is a great album, and one that any 2000s rock fan sound listen through, since it influenced some of the biggest names in rock and metal during our lifetime.
I guess I won't go further into the band, we will just stick with their debut. The Sickness rolled along in March of 2000. Upon its release, it was praised as a bold album that even in the weaker moments still shined through with raw vigor that can make anyone bob their head. Disturbed was a band for years before its release, and through hard work with self advertising and playing shows for anyone who came through their neck of the woods, they finally got the chance for this debut. A debut that has the quality and uniqueness that it would make you think this is the band's 3rd studio album. For years as a kid I thought Believe was their debut due to it not having this special vibe to it like The Sickness had. A truly great debut, and while it was the band's only album to not hit the top of the charts, it is easily their most recognizable and essential now. My parents both owned a copy on CD, so I always had access to it, and I too went and got the CD when I was a little older, another lesson learned about not buying music from Walmart. When I say this album has always been there, I truly mean it, I remember for a solid half of my 3rd grade year I hardly went a couple of days without playing it again and again. I have a ton of fond memories watching FMV's (fan made music videos) on OG YouTube of a ton of Disturbed songs. I always found it to pair well with the Jak & Daxter games. You can consider this an album that helped craft me, and showed me an early love for heavier music. Alright, enough gushing, let's take a look into our song of the day "Voices". When people think of great intro tracks to an album there will be a few that comes to mind, be it "Breathe/Speak to Me" by Pink Floyd, "Good Times Bad Times" by Led Zeppelin", or even "The Village Green Preservation Society" from The Kinks, and I feel confident in saying that "Voices" should be in that list. That eerie rising to power before Draiman lets the band off their leash with his famous "SWAAAT" (they claim it is "so" but I beg to differ). You can tell right from that first song that this album is something unique, something untouched and timeless. So long as there are fists for punching, legs for kicking, and heads for banging, then "Voices" will have listeners. This is one of Disturbed's most essential tracks, and is a staple for their live shows. That is another thing people never give Disturbed credit for, their live shows. Now, I have never been to one in person, but I have watched a ton of videos on YouTube, and I am always impressed. The range of David Draiman is intense! You can already tell that in the studio work, but the live is something else completely. Anyway, I love that intro to the song, and they used the perfect track to kick the album off. It without fail always gives me chills. Then the rest of the song follows suit, a chorus that gets stuck in your head, fun use of electronics, great musicianship where the band plays tight as a motherfucker, layered sound to make you want to come back time and time again, a flow that never loses your attention, eerie break at the 2-minute mark with a return that kicks your ass, and a great outro that leaves you clawing for air. Great shit, man. Time for you to check it out for yourself, or for most of y'all, to listen to it again! Get up, come on, get down with the sickness, and enjoy!
Year Released: 2000
Album: The Sickness (2000)
Genre: Nu Metal
Mood: In Your Face
Perfect For: Getting an energy rush, Working out, Laborious jobs, Casual listening
Where To Next: "742617000027" leading into "(sic)" - Slipknot
Rating: 10 / 10
Well, I did mention a couple posts back to know there will probably be a couple more 2000s songs integrated into this part of the website. And I can think of few bands better to kick it off with than with Disturbed. I know I often say "this band has been with me forever" but in reality I don't think there are any other groups that go so far back in my song and band collection as Disturbed. My mom can attest to that fact since there is a story she is fond of telling where, as a spry 4-year-old, I would get buckled into my car seat and then say "mama, mama play the UGH UGH song". Naturally you cannot deny someone so adamant they listen to a song, especially in a cute way, so the music would commence and I would bang my little head. Not sure where I learned it from, but there is magic in the metal that makes one act accordingly. With that being said, is Disturbed metal? It is one of those questions (alongside many others from the alternative and nu metal world) that has hindered my studies since I first started them 15 years back. Yes, they are heavy, and yes, at the time many considered this brand of heavy music to fall under the same category as other heavy metal bands. But are they? I consider them more of a hard rock, and while I am not an authority on music categorization, I have studied it my whole life. Especially heavy metal, that is what started all this, those tasty genres within genres. I think Disturbed can be considered metal for their first 2 studio albums, but once rock music as a whole started getting heavier and adopting a more metal influenced front, they fell back within the hard rock of the time in which they were sitting on the throne. Still, this is all opinion so no need to get your undies bunched up. Wait... this is the part of the post where I tell you how great the band is! Oops! *clears throat* Disturbed is one of the groups that brought heavier music to the forefront of the 2000s. It is easily said that vocalist David Draiman is one of the most recognized vocalists in the 21st century. His unique noises(?) are everyone's envy, don't sit there and try telling me you haven't tried doing the intro to "Down with the Sickness", I know you have as much as I have. You probably did it better. It feels mighty powerful when you let it go though, bloody throat and all. Anyway, it isn't just David Draiman that we see a decade defining group, it is the overall aesthetic and wide book of hits. That aesthetic is well... disturbed.... the coloring and the imagery of their stupidly named mascot "The Guy" is all part of the fun of this band. Their fan base is ravenous, their music heavy yet accessible, a sound that has been used but had yet to be perfected before their debut The Sickness, and with strangely advanced lyricism Disturbed became a classic name in the rock history books. I have been a fan since I learned how to cuss, another thing that this band helped in my life, I guess I should give that to KoRn, actually. Their multiplatinum and essential debut album used to haunt me, that album cover is so much of it's time it makes me sick, and the sound within was intense for my child ears. I grew up alongside the tracks of this album, from the famous track with a great intro "Voices" to the underrated outro "Meaning of Life". It is a great album, and one that any 2000s rock fan sound listen through, since it influenced some of the biggest names in rock and metal during our lifetime.
I guess I won't go further into the band, we will just stick with their debut. The Sickness rolled along in March of 2000. Upon its release, it was praised as a bold album that even in the weaker moments still shined through with raw vigor that can make anyone bob their head. Disturbed was a band for years before its release, and through hard work with self advertising and playing shows for anyone who came through their neck of the woods, they finally got the chance for this debut. A debut that has the quality and uniqueness that it would make you think this is the band's 3rd studio album. For years as a kid I thought Believe was their debut due to it not having this special vibe to it like The Sickness had. A truly great debut, and while it was the band's only album to not hit the top of the charts, it is easily their most recognizable and essential now. My parents both owned a copy on CD, so I always had access to it, and I too went and got the CD when I was a little older, another lesson learned about not buying music from Walmart. When I say this album has always been there, I truly mean it, I remember for a solid half of my 3rd grade year I hardly went a couple of days without playing it again and again. I have a ton of fond memories watching FMV's (fan made music videos) on OG YouTube of a ton of Disturbed songs. I always found it to pair well with the Jak & Daxter games. You can consider this an album that helped craft me, and showed me an early love for heavier music. Alright, enough gushing, let's take a look into our song of the day "Voices". When people think of great intro tracks to an album there will be a few that comes to mind, be it "Breathe/Speak to Me" by Pink Floyd, "Good Times Bad Times" by Led Zeppelin", or even "The Village Green Preservation Society" from The Kinks, and I feel confident in saying that "Voices" should be in that list. That eerie rising to power before Draiman lets the band off their leash with his famous "SWAAAT" (they claim it is "so" but I beg to differ). You can tell right from that first song that this album is something unique, something untouched and timeless. So long as there are fists for punching, legs for kicking, and heads for banging, then "Voices" will have listeners. This is one of Disturbed's most essential tracks, and is a staple for their live shows. That is another thing people never give Disturbed credit for, their live shows. Now, I have never been to one in person, but I have watched a ton of videos on YouTube, and I am always impressed. The range of David Draiman is intense! You can already tell that in the studio work, but the live is something else completely. Anyway, I love that intro to the song, and they used the perfect track to kick the album off. It without fail always gives me chills. Then the rest of the song follows suit, a chorus that gets stuck in your head, fun use of electronics, great musicianship where the band plays tight as a motherfucker, layered sound to make you want to come back time and time again, a flow that never loses your attention, eerie break at the 2-minute mark with a return that kicks your ass, and a great outro that leaves you clawing for air. Great shit, man. Time for you to check it out for yourself, or for most of y'all, to listen to it again! Get up, come on, get down with the sickness, and enjoy!
Year Released: 2000
Album: The Sickness (2000)
Genre: Nu Metal
Mood: In Your Face
Perfect For: Getting an energy rush, Working out, Laborious jobs, Casual listening
Where To Next: "742617000027" leading into "(sic)" - Slipknot
Rating: 10 / 10
Song of the Day 09/20/2025
"Subdivisions" - Rush
Ready to talk about Rush again? I am shocked, and a little ashamed, that they have only been included here a measly 3 times. For a band that left this much impact on rock music, and the hearts of its fans, it would be fitting that every other post should be a Rush one, but I don't make the rules. Previously, we have talked about Rush's early days with their peculiar cover of Buddy Holly's "Not Fade Away", and before that the immensely impressive "La Villa Strangiato" which has got to be one of the most advanced instrumentals in all of rock music. Easily the most jaw dropping out of the 1970s, the true golden age of phenomenal rock instrumentals. So with those two hidden gems, let talk about one of their biggest hits out of the 1980s Rush sound. I will admit, I have a sweet spot for their 1970s hard progressive rock sound, it is the main place I go to with Rush, but there is no denying that 1980s Rush is equal to it, albeit different. Just to give you a refresher on a band that you probably don't need one for, Rush is the most successful progressive rock group to ever surface on this 3rd stone from the sun. While being just a three-piece, each member has the potency of a full symphony orchestra. We have Geddy Lee on vocals and bass guitar, his singing is infamously high, and his bass work can discourage even the most talented musician from even trying (see "YYZ"). Alex Lifeson is the man behind the guitar in Rush, and while many forget to put him next to Jimmy Page or Eric Clapton on the topic of "guitar gods", he is the snake in the grass that reminds you of his bite each time you start a Rush track. Crazy masterful playing that can shred on one song, and then turn around and do classical guitar work without even taking a breath. A damn talented player that can leave you breathless, just check out "Alien Shore" and you will see what I mean. Lastly, we have Neil Peart, the best drummer in rock music. Yeah, I said it, and I will say it again even louder if you would like me to. But why even try? Most anyone would agree with me. He is crazy talented, I only wish I could do anything even a fraction as well as he plays drums. Not only that, he is one talented writer, his books are a true joy to read, and he is also the main lyricist in the majority of Rush material. I would give an example of a song that shows off his skills best, but he could make even the most simple song explode with power, just close your eyes and pick one (after their debut). Rush is known for a long and successful career, they stayed a household name for the majority of their career and released countless albums that serve as definitive albums for their respective decade. The rest you just gotta hear or put your own research into, since I don't think you want to read me ranting and raving about how kick ass Rush is for multiple paragraphs.
In Salt Lake City, we are fortunate enough to have laser shows each weekend down at the planetarium. Not the silly kind that you simply "ooh and aah" at, but the type that makes you see technicolor gods with some of the most essential rock bands to date painting images with their instruments over surrounding speakers. I cannot believe I slept on the shows for so long, and will make it a point to check out any new one to come out. Well, this time around they threw a Rush laser show, something they should have done a long time ago since Rush is almost the perfect band for it. When I first heard about it, I saw some kick ass lights to the crazy long (and genuinely perfect) "2112". Though, in the back of my mind I knew it was probably going to be 1980s Rush, a time period in the band that I cherish but still find a bit more tame in comparison to their hard rock sound. So, my lady and I got the tickets to go take the show in, on the way there I asked if she thought it was going to be the more trippy yet heavy 1970s Rush or the keyboard killed 1980s Rush, and she bet on the latter. Well, she was right, and after I got over my minor disappointment since I have a serious love for 2112, Fly By Night, A Farewell to Kings, and the rest of the band's iconic 1970s releases, I was immensely impressed. No matter what, Rush has a way to wow you. It might seem like I am talking down or saying I don't like the 1980s Rush, but that is simply not true, I do dig the majority of those albums, especially their rock staple Moving Pictures and their transitionary Permanent Waves. I find merit in the new wave washed Power Windows, and even the ones that were so close to pop, you question if this is a different band under the Rush name that will have a lawsuit coming their way. Their 1980s material might be different, but it is just as grand, it is like Sprite vs 7-Up, it all depends on what you are feeling that day. Anyway! The show was great, many golden choices and the dude behind the show, Laser Maestro, didn't rely on solely the hits and threw in some of the more hidden gems from the time period which I appreciate, even if those hardly got the same applause as songs like "Tom Sawyer" and "Spirit of the Radio". So a good show with my favorite lady, you just cannot go wrong. It was obviously here where I chose my song of the day, one of the best put together and written songs out of the 1980s, "Subdivisions".
Our song of the day comes off the band's ninth studio album, Signals. An album that split the fan base in 1982, those that kept up with Rush from their debut or more likely from their breakout album Fly by Night probably felt a touch torn. It still didn't go fully into the new wave sound, but there is no doubting how different it was even if Permanent Waves showed it was coming, and Moving Pictures showed how great it could be mixing the old with the new. They started using synthesizers and keyboards much more heavily, you could hardly the guitar work from Alex Lifeson at some points, and he is one of the best things about Rush. Still, the masses talk and since this album was the first to see them with a new-found highest charting hit in North America, "New World Man", it is hard to go back to the traditional sound. If they did, who knows if they would have survived the 1980s. They would, but with the same ol fans they have always had, the moving to the more pop leaning progressive sound was survival. I mean, tell me you know anyone who isn't all too familiar with "Tom Sawyer" or some of the other Rush hits from the decade. That easier sound teased previously took full form here with Signals, the singles off the album "New World Man", "Subdivisions", and "Countdown" are some of the best Rush has to offer out of their more tame side. "Subdivisions" being my favorite off the album, and a lot of that is built into the lyrics from drummer Neil Peart. It has a great arrangement, and its heavy use of synthesizers fit in with a lot of what was going on at the time. Even without the raw power of their earlier sound, this is in my opinion one of the best Rush songs out there. It has this strange video game feeling at the start of it, and the music video compliments that statement. Like I mentioned earlier, this song is put together creepily well. The drumming is top-notch and is the leading force throughout the song, even with the synthesizers being the thing that makes you float away. The first half of the song is mellow and heavy with emotion to get you seated, but there is still some time throughout the song for Rush to do what they do best, show off. Lyrically, this is another of Neil Peart's loaded lyrics, heavy topics approached in a raw manner. Unlike his previous niche, fantasy and sci-fi, he shifts his pen into the real world. There is no solution to the problems, but a unity between countless people that dealt with the same issues. This time around it is covering on how society runs, "conform or be cast out", youthful lyrics written for the forgotten youth by adults who went through the same thing, the strange wasteland that is suburbia. Growing up, I only had a small moment in suburbia, but there is a fog that hangs over that kind of hellhole of green grass, smiling neighbors and cookie cutter houses with domestic issues hidden within. Sure, I spent a majority of my life in a trailer park, but there was soul there. Even now when I drive in those zones, it feels like I entered the twilight zone, I feel like I don't belong, so I couldn't imagine being a youth stuck there, I would have probably been one to rebel more than I already was. The places are creepy, there is either nobody out and it is dead silent, or everyone is out at the same time taking care of their small yet meaningful piece of land. Conforming to life expectations and the smell of freshly mowed grass. "Subdivisions" revolves around that topic, and the overall flow of youth, "be cool or be cast out", with examples to follow suit. The approach to the words are direct, the hammer hitting the anvil with cleverly written words that aren't bland enough to be boring but are simple enough it hits you right in the heart and mind. The whole song is wonderful, and is essential listening for any rocker out there. So, be you a rocker or not, give the song a spin and enjoy. A loaded song that still goes down a little bit too smoothly. Enjoy!
Year Released: 1982
Album: Signals (1982)
Genre: Progressive Rock, New Wave
Mood: Futuristic
Perfect For: Focused listening, Casual listening, Seeing a laser show, Teenage frustration
Where To Next: "Changes" - Yes
Rating: 10 / 10
Ready to talk about Rush again? I am shocked, and a little ashamed, that they have only been included here a measly 3 times. For a band that left this much impact on rock music, and the hearts of its fans, it would be fitting that every other post should be a Rush one, but I don't make the rules. Previously, we have talked about Rush's early days with their peculiar cover of Buddy Holly's "Not Fade Away", and before that the immensely impressive "La Villa Strangiato" which has got to be one of the most advanced instrumentals in all of rock music. Easily the most jaw dropping out of the 1970s, the true golden age of phenomenal rock instrumentals. So with those two hidden gems, let talk about one of their biggest hits out of the 1980s Rush sound. I will admit, I have a sweet spot for their 1970s hard progressive rock sound, it is the main place I go to with Rush, but there is no denying that 1980s Rush is equal to it, albeit different. Just to give you a refresher on a band that you probably don't need one for, Rush is the most successful progressive rock group to ever surface on this 3rd stone from the sun. While being just a three-piece, each member has the potency of a full symphony orchestra. We have Geddy Lee on vocals and bass guitar, his singing is infamously high, and his bass work can discourage even the most talented musician from even trying (see "YYZ"). Alex Lifeson is the man behind the guitar in Rush, and while many forget to put him next to Jimmy Page or Eric Clapton on the topic of "guitar gods", he is the snake in the grass that reminds you of his bite each time you start a Rush track. Crazy masterful playing that can shred on one song, and then turn around and do classical guitar work without even taking a breath. A damn talented player that can leave you breathless, just check out "Alien Shore" and you will see what I mean. Lastly, we have Neil Peart, the best drummer in rock music. Yeah, I said it, and I will say it again even louder if you would like me to. But why even try? Most anyone would agree with me. He is crazy talented, I only wish I could do anything even a fraction as well as he plays drums. Not only that, he is one talented writer, his books are a true joy to read, and he is also the main lyricist in the majority of Rush material. I would give an example of a song that shows off his skills best, but he could make even the most simple song explode with power, just close your eyes and pick one (after their debut). Rush is known for a long and successful career, they stayed a household name for the majority of their career and released countless albums that serve as definitive albums for their respective decade. The rest you just gotta hear or put your own research into, since I don't think you want to read me ranting and raving about how kick ass Rush is for multiple paragraphs.
In Salt Lake City, we are fortunate enough to have laser shows each weekend down at the planetarium. Not the silly kind that you simply "ooh and aah" at, but the type that makes you see technicolor gods with some of the most essential rock bands to date painting images with their instruments over surrounding speakers. I cannot believe I slept on the shows for so long, and will make it a point to check out any new one to come out. Well, this time around they threw a Rush laser show, something they should have done a long time ago since Rush is almost the perfect band for it. When I first heard about it, I saw some kick ass lights to the crazy long (and genuinely perfect) "2112". Though, in the back of my mind I knew it was probably going to be 1980s Rush, a time period in the band that I cherish but still find a bit more tame in comparison to their hard rock sound. So, my lady and I got the tickets to go take the show in, on the way there I asked if she thought it was going to be the more trippy yet heavy 1970s Rush or the keyboard killed 1980s Rush, and she bet on the latter. Well, she was right, and after I got over my minor disappointment since I have a serious love for 2112, Fly By Night, A Farewell to Kings, and the rest of the band's iconic 1970s releases, I was immensely impressed. No matter what, Rush has a way to wow you. It might seem like I am talking down or saying I don't like the 1980s Rush, but that is simply not true, I do dig the majority of those albums, especially their rock staple Moving Pictures and their transitionary Permanent Waves. I find merit in the new wave washed Power Windows, and even the ones that were so close to pop, you question if this is a different band under the Rush name that will have a lawsuit coming their way. Their 1980s material might be different, but it is just as grand, it is like Sprite vs 7-Up, it all depends on what you are feeling that day. Anyway! The show was great, many golden choices and the dude behind the show, Laser Maestro, didn't rely on solely the hits and threw in some of the more hidden gems from the time period which I appreciate, even if those hardly got the same applause as songs like "Tom Sawyer" and "Spirit of the Radio". So a good show with my favorite lady, you just cannot go wrong. It was obviously here where I chose my song of the day, one of the best put together and written songs out of the 1980s, "Subdivisions".
Our song of the day comes off the band's ninth studio album, Signals. An album that split the fan base in 1982, those that kept up with Rush from their debut or more likely from their breakout album Fly by Night probably felt a touch torn. It still didn't go fully into the new wave sound, but there is no doubting how different it was even if Permanent Waves showed it was coming, and Moving Pictures showed how great it could be mixing the old with the new. They started using synthesizers and keyboards much more heavily, you could hardly the guitar work from Alex Lifeson at some points, and he is one of the best things about Rush. Still, the masses talk and since this album was the first to see them with a new-found highest charting hit in North America, "New World Man", it is hard to go back to the traditional sound. If they did, who knows if they would have survived the 1980s. They would, but with the same ol fans they have always had, the moving to the more pop leaning progressive sound was survival. I mean, tell me you know anyone who isn't all too familiar with "Tom Sawyer" or some of the other Rush hits from the decade. That easier sound teased previously took full form here with Signals, the singles off the album "New World Man", "Subdivisions", and "Countdown" are some of the best Rush has to offer out of their more tame side. "Subdivisions" being my favorite off the album, and a lot of that is built into the lyrics from drummer Neil Peart. It has a great arrangement, and its heavy use of synthesizers fit in with a lot of what was going on at the time. Even without the raw power of their earlier sound, this is in my opinion one of the best Rush songs out there. It has this strange video game feeling at the start of it, and the music video compliments that statement. Like I mentioned earlier, this song is put together creepily well. The drumming is top-notch and is the leading force throughout the song, even with the synthesizers being the thing that makes you float away. The first half of the song is mellow and heavy with emotion to get you seated, but there is still some time throughout the song for Rush to do what they do best, show off. Lyrically, this is another of Neil Peart's loaded lyrics, heavy topics approached in a raw manner. Unlike his previous niche, fantasy and sci-fi, he shifts his pen into the real world. There is no solution to the problems, but a unity between countless people that dealt with the same issues. This time around it is covering on how society runs, "conform or be cast out", youthful lyrics written for the forgotten youth by adults who went through the same thing, the strange wasteland that is suburbia. Growing up, I only had a small moment in suburbia, but there is a fog that hangs over that kind of hellhole of green grass, smiling neighbors and cookie cutter houses with domestic issues hidden within. Sure, I spent a majority of my life in a trailer park, but there was soul there. Even now when I drive in those zones, it feels like I entered the twilight zone, I feel like I don't belong, so I couldn't imagine being a youth stuck there, I would have probably been one to rebel more than I already was. The places are creepy, there is either nobody out and it is dead silent, or everyone is out at the same time taking care of their small yet meaningful piece of land. Conforming to life expectations and the smell of freshly mowed grass. "Subdivisions" revolves around that topic, and the overall flow of youth, "be cool or be cast out", with examples to follow suit. The approach to the words are direct, the hammer hitting the anvil with cleverly written words that aren't bland enough to be boring but are simple enough it hits you right in the heart and mind. The whole song is wonderful, and is essential listening for any rocker out there. So, be you a rocker or not, give the song a spin and enjoy. A loaded song that still goes down a little bit too smoothly. Enjoy!
Year Released: 1982
Album: Signals (1982)
Genre: Progressive Rock, New Wave
Mood: Futuristic
Perfect For: Focused listening, Casual listening, Seeing a laser show, Teenage frustration
Where To Next: "Changes" - Yes
Rating: 10 / 10
Song of the Day 09/19/2025
"Zither" - R.E.M.
R.E.M. are one of those groups that you know anything they release is going to be well worth a listen. They have released 15 studio albums so far, all of which are great ones that I try to come back to when I get the chance. It always feels like coming home. When I was 8 or so I first came across their compilation In Time: The Best of R.E.M 1988-2003 (2003), and at that time I was obsessed with their fun and quirky 1980s commercial hits like "Stand" but as I grew older and started getting more into the band I found myself obsessed with the more brooding R.E.M., a spot I still often come back to more than the other sounds. I have enjoyed a summer day to Green, cried to Automatic for the People, and got a little too messed up as their debut Murmur mellowly played in the background. They have always been a band that seemed to be there since a young age, a statement I think many people could agree with for themselves. R.E.M. are a very well known name for a reason, I think a lot of that appeal comes from their core sound and style. No matter the album, or the singles, they walk to the beat of their own drum. When it is time for expansion, they always seem to do what they think is best, and there are a ton of bands that followed suit with this new tweaking to their alternative rock sound. Their most recent studio album Collapse into Now (2011) saw the band going full circle, they returned to the style that gathered them the fans in the first place. A great album to end a mighty successful career, and unlike many groups that have been going for over 20 years, it still holds up just as well as some of the bands multiplatinum releases in their heyday. R.E.M. has a sound for just about everyone, and it has a shitload for those that like the alternative rock sound of the 1980s into the 1990s. I was still going through my horde of great songs collected out of the 1990s, which holds a fair amount of R.E.M. tracks. As I slaved away trying to compile all those songs into a playlist, which had Spotify losing its mind, it simply wasn't crafted to do what I was trying to do. It always seems Spotify is pointed towards the casual music player, instead of music heads. I love to think there is a server in Spotify HQ that has "Caleb" written on a poorly held on piece of masking tape. Well, I was asking Spotify to allow me to move 4000 songs, in which it refused, so I slowly moved all that shit over. While doing that, "Zither" by R.E.M. came slithering out of my speakers, and it was hard to not just listen to that song over and over again.
"Zither" comes off the band's 10th studio album New Adventures in Hi-Fi, an album that came out in 1996, a year rife with great albums. Even with the competition from Beck, Tool, Sublime, Rage Against the Machine, and so many more great bands, R.E.M. stood strong with its release and reached up to the #1 spot in many countries across the world. Many view this album as R.E.M.'s decline, a statement which is wildly wrong even if I will admit they sort of stumbled with the next album Up (1998), but it seemed everyone was trying to integrate electronic music into their style at that time, so I don't hold it against them. Anyway, New Adventures in Hi-Fi is a classic if you ask me for R.E.M., it still has that melancholy style, but it feels a touch more mature and personal than their previous album Monster (1994). It is an album that many modern fans tend to overlook, mainly due to it being in between one of their best and one of their worst albums. This album is a long one too, which might turn off a couple of the casual listeners. It is worth its running time, each song is fresh in its own right while not stepping too out of line of the album's feel. It also features Patti Smith (see "Land") on the album's leading single "E-Bow the Letter", a nice touch since she is a phenomenal musical visionary. Though, we are here today to talk of "Zither". This song is an instrumental piece that is reminiscent of the dreamy pop that came out of the late 1950s. A little bit of a twangy sound that wants to lull you to sleep. Perfect song when you need to zone in and study or, for me, zone in and get some playlist work done. Do you ever get that feeling when you are on the computer in a dark room? I don't quite know how to explain it, but for a moment you feel like the outside world doesn't fully exist? It could be the feeling of peace, true rest, and for someone that doesn't chill hardly ever (especially mentally) I rarely get the chance to hit that feeling. Well, "Zither" helped me achieve that feeling, and depending on where you are listening to it and reading this post you might be hitting that same feeling of pure bliss. This song sort of reminds me of "Sleep Walk" by Santo & Johnny, it holds the same westeresque feeling. This song might not be a defining track off of New Adventure in Hi-Fi, but for me, it is one of the tracks I always look forward to when listening to the album again. The last thing to say about the song is the use of the autoharp, an instrument I swear was gathering dust in recording studios across the world, especially as far as country and rock were concerned. Well, give the track a listen, it is an easy-going one that you can listen to just about anywhere and fall in love with the moment. Enjoy!
Year Released: 1996
Album: New Adventures in Hi-Fi (1996)
Genre: Instrumental Rock, Instrumental Pop
Mood: Sleepy
Perfect For: Relaxing, Riding a horse, Going to bed, Early morning drives
Where To Next: "Sleep Walk" - Santo & Johnny
Rating: 7 / 10
R.E.M. are one of those groups that you know anything they release is going to be well worth a listen. They have released 15 studio albums so far, all of which are great ones that I try to come back to when I get the chance. It always feels like coming home. When I was 8 or so I first came across their compilation In Time: The Best of R.E.M 1988-2003 (2003), and at that time I was obsessed with their fun and quirky 1980s commercial hits like "Stand" but as I grew older and started getting more into the band I found myself obsessed with the more brooding R.E.M., a spot I still often come back to more than the other sounds. I have enjoyed a summer day to Green, cried to Automatic for the People, and got a little too messed up as their debut Murmur mellowly played in the background. They have always been a band that seemed to be there since a young age, a statement I think many people could agree with for themselves. R.E.M. are a very well known name for a reason, I think a lot of that appeal comes from their core sound and style. No matter the album, or the singles, they walk to the beat of their own drum. When it is time for expansion, they always seem to do what they think is best, and there are a ton of bands that followed suit with this new tweaking to their alternative rock sound. Their most recent studio album Collapse into Now (2011) saw the band going full circle, they returned to the style that gathered them the fans in the first place. A great album to end a mighty successful career, and unlike many groups that have been going for over 20 years, it still holds up just as well as some of the bands multiplatinum releases in their heyday. R.E.M. has a sound for just about everyone, and it has a shitload for those that like the alternative rock sound of the 1980s into the 1990s. I was still going through my horde of great songs collected out of the 1990s, which holds a fair amount of R.E.M. tracks. As I slaved away trying to compile all those songs into a playlist, which had Spotify losing its mind, it simply wasn't crafted to do what I was trying to do. It always seems Spotify is pointed towards the casual music player, instead of music heads. I love to think there is a server in Spotify HQ that has "Caleb" written on a poorly held on piece of masking tape. Well, I was asking Spotify to allow me to move 4000 songs, in which it refused, so I slowly moved all that shit over. While doing that, "Zither" by R.E.M. came slithering out of my speakers, and it was hard to not just listen to that song over and over again.
"Zither" comes off the band's 10th studio album New Adventures in Hi-Fi, an album that came out in 1996, a year rife with great albums. Even with the competition from Beck, Tool, Sublime, Rage Against the Machine, and so many more great bands, R.E.M. stood strong with its release and reached up to the #1 spot in many countries across the world. Many view this album as R.E.M.'s decline, a statement which is wildly wrong even if I will admit they sort of stumbled with the next album Up (1998), but it seemed everyone was trying to integrate electronic music into their style at that time, so I don't hold it against them. Anyway, New Adventures in Hi-Fi is a classic if you ask me for R.E.M., it still has that melancholy style, but it feels a touch more mature and personal than their previous album Monster (1994). It is an album that many modern fans tend to overlook, mainly due to it being in between one of their best and one of their worst albums. This album is a long one too, which might turn off a couple of the casual listeners. It is worth its running time, each song is fresh in its own right while not stepping too out of line of the album's feel. It also features Patti Smith (see "Land") on the album's leading single "E-Bow the Letter", a nice touch since she is a phenomenal musical visionary. Though, we are here today to talk of "Zither". This song is an instrumental piece that is reminiscent of the dreamy pop that came out of the late 1950s. A little bit of a twangy sound that wants to lull you to sleep. Perfect song when you need to zone in and study or, for me, zone in and get some playlist work done. Do you ever get that feeling when you are on the computer in a dark room? I don't quite know how to explain it, but for a moment you feel like the outside world doesn't fully exist? It could be the feeling of peace, true rest, and for someone that doesn't chill hardly ever (especially mentally) I rarely get the chance to hit that feeling. Well, "Zither" helped me achieve that feeling, and depending on where you are listening to it and reading this post you might be hitting that same feeling of pure bliss. This song sort of reminds me of "Sleep Walk" by Santo & Johnny, it holds the same westeresque feeling. This song might not be a defining track off of New Adventure in Hi-Fi, but for me, it is one of the tracks I always look forward to when listening to the album again. The last thing to say about the song is the use of the autoharp, an instrument I swear was gathering dust in recording studios across the world, especially as far as country and rock were concerned. Well, give the track a listen, it is an easy-going one that you can listen to just about anywhere and fall in love with the moment. Enjoy!
Year Released: 1996
Album: New Adventures in Hi-Fi (1996)
Genre: Instrumental Rock, Instrumental Pop
Mood: Sleepy
Perfect For: Relaxing, Riding a horse, Going to bed, Early morning drives
Where To Next: "Sleep Walk" - Santo & Johnny
Rating: 7 / 10
Song of the Day 09/18/2025
"I Believe" - Quo Vadis
I was actually closer to the end of my 1990s studies than I realized, so much closer so that I will probably be done with it today. I still have a ton of work to do with playlists and such, but bringing the 1990s to a close feels refreshing and surreal. I have been doing it almost every day for the last 2 1/2 years. A ton of changes have happened in that time, and those changes were playing on my mind while Rob Zombie, Red Hot Chili Peppers, Wilco, Old 97's, and so many other great groups played through my speakers. I will miss it, but this will mark a moment in my musical expansion like no other. I have abused (and I mean ABUSED) the 1950s - 1990s for most of my life, never expanding too far into the 2000s outside the groups I loved and the bands I heard growing up. But here I go, and I am very excited, and am even more excited to have my readers beside me as I move through it. So, expect a little more of a leaning on music out of the 2000s. But have no fear! I will keep having a wide spectrum of guitar-based music here for your partaking, no matter the decade. With all that said, let's jump into our song of the day. I could think of no way better to celebrate the closing of the 1990s than listening through some of the songs that made the decade so damn exciting for me. I say with pride that there were a shitload of great songs that I collected, the final count coming to 4,223 premium songs, so to choose just one from those I listened to that day was a tough one. You would think it would have been one of the legends out of that decade like Nirvana or even legends of yesteryear like AC/DC, but the song that grabbed me the most is from an insanely talented and underrated band, a band new to me but since first listening to their debut Forever... (1996) I knew they were going to be one of my best discoveries. Quo Vadis is a death metal band out of Canada, now don't go sighing if you are one of those that don't like the extreme metals, in a strange way Quo Vadis is one of the easily accessible death metal bands I have ever heard. Don't let that make you think they ain't heavy, because that is far from the truth. They are the type of heavy that makes you piss blood. The kind of music I always question if I should have someone sign a waver to access this website. Though even with all that, they aren't so extreme that it makes you... annoyed? I figured that is the feeling people often get from death metal when they ain't into it. I honestly don't think that will be the case with Quo Vadis. What makes that a possibility is their death metal style being part of the technical and atmospheric death metal style. Easily one of the best things that started showing up in the 1990s, but wouldn't gain the full smack down until into the 2000s.
"I Believe" comes off their 2000 album Day into Night, now if you paid attention to the previous portion of the post you might be wondering why I had a 2000s song show up in my 1990s selection. My answer to that is a simple one, I fucked up, but this is one of those fuckups that was a great fuck up. What does that Bob Ross dude say? "We don't make mistakes, we make happy accidents"? Well, this album was my happy accident. I will fix it for my playlists, but for now I don't care, especially when the song is this.... damn.... good! Anyway, "I Believe" is one of the many kick ass songs to come off of Day into Night. It is one of the best off the album, hands down. It sounds brutal in my truck, since I have decent speakers and a subwoofer. Now that I am here listening to it again, it is still great buuuut having that sub punching me in the back of the head sure complimented the song. The shining star on the album is easily the drummer Yanic Bercier, that cat can play! The rest of the band completely deserve praise too though. The vocals are very reminiscent of Carcass, a band you would be honored to hear someone say you sound like, and that dual guitar attack gives a little less "djent" more thrash metal Gojira. I guess if a mommy Carcass and a daddy Gojira really loved one another, and there was a milkman named Morbid Angel, you would have yourself Quo Vadis, a bastard child that may be aggressive and loud but is still lovable. It blows my mind this band doesn't gather more attention. Day into Night is easily one of the best albums I gathered this last while. I am damn excited to hear what comes next from them, something I will do once I get to the 2004 portion of my studies for their follow-up (and most popular) album, Defiant Imagination. But we aren't here to talk about that album, let's get back to Day into Night. The album lets you know what you are in for right when the first track takes off, following that each song is crafted wonderfully to keep this intense atmosphere somewhere between despair and battle frenzy. "I Believe" is the 9th track on the album, it comes right before the mind shattering duo tracks "Point of No Return", a great way to send off the album. What makes "I Believe" the power track and chosen song off that album is the part near the end, the song already is giving it to you with elevated playing, but once the silence comes, and you think the song is through they come back with a double bass drum onslaught on your senses. I am not even listening to it right now, but even thinking about it is giving me intense chills. So once again, if you aren't one for death metal, throw all that shit away and try the song out. Be sure to at least stick around long enough to hear that part I am talking about. Heavy enough to turn a baby into a grown man. Alright, I don't know where to go next with this post so let's end it sweet, yeah? Thanks for reading along, and enjoying some of my finds from the 1990s (even if this isn't one of them). I hope to serve up great songs out of the 2000s for your enjoyment! Stick around and stay tuned to AintNoisePollution! Enjoy!
Year Released: 2000
Album: Day into Night (2000)
Genre: Technical Death Metal
Mood: Intense
Perfect For: Playing loud in your vehicle, Appreciating the talent of some humans, High energy activities
Where To Next: "Blind Bleeding the Blind" - Carcass
Rating: 8 / 10
I was actually closer to the end of my 1990s studies than I realized, so much closer so that I will probably be done with it today. I still have a ton of work to do with playlists and such, but bringing the 1990s to a close feels refreshing and surreal. I have been doing it almost every day for the last 2 1/2 years. A ton of changes have happened in that time, and those changes were playing on my mind while Rob Zombie, Red Hot Chili Peppers, Wilco, Old 97's, and so many other great groups played through my speakers. I will miss it, but this will mark a moment in my musical expansion like no other. I have abused (and I mean ABUSED) the 1950s - 1990s for most of my life, never expanding too far into the 2000s outside the groups I loved and the bands I heard growing up. But here I go, and I am very excited, and am even more excited to have my readers beside me as I move through it. So, expect a little more of a leaning on music out of the 2000s. But have no fear! I will keep having a wide spectrum of guitar-based music here for your partaking, no matter the decade. With all that said, let's jump into our song of the day. I could think of no way better to celebrate the closing of the 1990s than listening through some of the songs that made the decade so damn exciting for me. I say with pride that there were a shitload of great songs that I collected, the final count coming to 4,223 premium songs, so to choose just one from those I listened to that day was a tough one. You would think it would have been one of the legends out of that decade like Nirvana or even legends of yesteryear like AC/DC, but the song that grabbed me the most is from an insanely talented and underrated band, a band new to me but since first listening to their debut Forever... (1996) I knew they were going to be one of my best discoveries. Quo Vadis is a death metal band out of Canada, now don't go sighing if you are one of those that don't like the extreme metals, in a strange way Quo Vadis is one of the easily accessible death metal bands I have ever heard. Don't let that make you think they ain't heavy, because that is far from the truth. They are the type of heavy that makes you piss blood. The kind of music I always question if I should have someone sign a waver to access this website. Though even with all that, they aren't so extreme that it makes you... annoyed? I figured that is the feeling people often get from death metal when they ain't into it. I honestly don't think that will be the case with Quo Vadis. What makes that a possibility is their death metal style being part of the technical and atmospheric death metal style. Easily one of the best things that started showing up in the 1990s, but wouldn't gain the full smack down until into the 2000s.
"I Believe" comes off their 2000 album Day into Night, now if you paid attention to the previous portion of the post you might be wondering why I had a 2000s song show up in my 1990s selection. My answer to that is a simple one, I fucked up, but this is one of those fuckups that was a great fuck up. What does that Bob Ross dude say? "We don't make mistakes, we make happy accidents"? Well, this album was my happy accident. I will fix it for my playlists, but for now I don't care, especially when the song is this.... damn.... good! Anyway, "I Believe" is one of the many kick ass songs to come off of Day into Night. It is one of the best off the album, hands down. It sounds brutal in my truck, since I have decent speakers and a subwoofer. Now that I am here listening to it again, it is still great buuuut having that sub punching me in the back of the head sure complimented the song. The shining star on the album is easily the drummer Yanic Bercier, that cat can play! The rest of the band completely deserve praise too though. The vocals are very reminiscent of Carcass, a band you would be honored to hear someone say you sound like, and that dual guitar attack gives a little less "djent" more thrash metal Gojira. I guess if a mommy Carcass and a daddy Gojira really loved one another, and there was a milkman named Morbid Angel, you would have yourself Quo Vadis, a bastard child that may be aggressive and loud but is still lovable. It blows my mind this band doesn't gather more attention. Day into Night is easily one of the best albums I gathered this last while. I am damn excited to hear what comes next from them, something I will do once I get to the 2004 portion of my studies for their follow-up (and most popular) album, Defiant Imagination. But we aren't here to talk about that album, let's get back to Day into Night. The album lets you know what you are in for right when the first track takes off, following that each song is crafted wonderfully to keep this intense atmosphere somewhere between despair and battle frenzy. "I Believe" is the 9th track on the album, it comes right before the mind shattering duo tracks "Point of No Return", a great way to send off the album. What makes "I Believe" the power track and chosen song off that album is the part near the end, the song already is giving it to you with elevated playing, but once the silence comes, and you think the song is through they come back with a double bass drum onslaught on your senses. I am not even listening to it right now, but even thinking about it is giving me intense chills. So once again, if you aren't one for death metal, throw all that shit away and try the song out. Be sure to at least stick around long enough to hear that part I am talking about. Heavy enough to turn a baby into a grown man. Alright, I don't know where to go next with this post so let's end it sweet, yeah? Thanks for reading along, and enjoying some of my finds from the 1990s (even if this isn't one of them). I hope to serve up great songs out of the 2000s for your enjoyment! Stick around and stay tuned to AintNoisePollution! Enjoy!
Year Released: 2000
Album: Day into Night (2000)
Genre: Technical Death Metal
Mood: Intense
Perfect For: Playing loud in your vehicle, Appreciating the talent of some humans, High energy activities
Where To Next: "Blind Bleeding the Blind" - Carcass
Rating: 8 / 10
Song of the Day 09/17/2025
"Goin' Back" - Carole King
When you think "world's greatest songwriter" Carole King best be one of the first thoughts to come to mind. She is a legend behind the pen, and an overall great musician. Carole King led a long and happy career, even though few of her albums hit the same status as some of the artists that recorded her songs. Still, she is a prolific writer that always seems to give me chills with that King bite in her words. These aren't the words that are written in varying shades of imagination like Bob Dylan, nor is the type of clever word play we might see from Willie Nelson, but it is lyrics that are easy to get behind that are written like Emily Dickinson was reborn with a guitar and piano within reach. She sings songs of forlorn lovers, writes tunes covering the strangeness of a simple life, and she puts her pen to paper in the name of pure human condition. She is one with nature, her words are the same as you hear on the wind while going on a hike. I cannot chock it all up to just Carole King, her partner in matrimony and song craftsmanship Gerry Goffin is half of the power behind their songs. I will not doubt that the John Lennon and Paul McCartney lyrical duo is a serious power force, but the Goffin/King duo is right behind them, and in many ways outshine them. Carole King was behind many of the defining hits from multiple decades, she first put out some of the power on The Shirelles "Will You Love Me Tomorrow" in 1960, one of the greatest songs out of that year, if not the whole decade. Following that she put her pen to work, and that skillful composition she is known for with other decade defining hits like "Take Good Care of My Baby" by Bobby Vee, "Chains" for The Cookies (later to be covered by The Beatles), "Up on the Roof" by The Drifters, "Don't Bring Me Down" by The Animals, and so many more. Not all of her lyrical knack came out of the 1960s, her touch has been on hundreds of songs, most coming from covers of her original songs. Well, we are on the topic now of her songs, so let's take a little time to look into the woman behind them. Carole King was born in New York City in 1942. She showed an interest in music by the time she turned three, and instead of laughing it off, her parents took the steps to push for it. Her mother started teaching her some minor stuff on piano, and to their joy they found their daughter had a natural talent behind that piano, which lead to getting into more serious stuff while still at the crazy young age of 4 including musical theory. It doesn't stop there, she moved up in school faster than other kids since she had a natural talent in mathematics and English. It seems Carole King really was destined for greatness in the music industry. Once the 1950s were in full swing, she started up her own little band and alongside future legend Paul Simon and released her first song in 1958 called "The Right Girl". Time moved along, and she started attending collage where she met her longtime partner Gerry Goffin. They married, dropped out of school, and got to life, but all that changed once the duo found themselves on the "songwriter" line on The Shirelles massive hit "Will You Love Me Tomorrow". The rest is history, a history you are about to audibly take into your ear holes.
Carole King has a massive list of talents in the music world, and a lot of that is shown off on her debut solo album Writer, which came out in the Spring of 1970. In some ways, this album lacks, which is odd to type out since the person we are talking about is Carole King. Though, I won't lie, there are the tracks that take your breath away, and then there are the ones that are just alright. Some of that is chocked up to the poor quality of recording, but even with that there you can tell Carole King is someone to not question on talent. This album would become a classic from her discography once she broke into stardom with the legendary follow-up album Tapestry (1971). The majority of the songs were written by the power duo Goffin/King, some of which were recorded previously by other artists, but the credits for songwriting are still with Carole King. Some of those songs are "Up on the Roof" by the Drifters, "I Can't Hear You No More" by Betty Everett, and "Child of Mine" by Billy Joe Royal. There are others, and some of the songs off this album that found their first version on it would later be recorded by many other artists. None even get close to the appealing "Goin' Back" though. The song was originally written for Dusty Springfield, who landed a big hit with it in 1966. A shitload of other musicians covered it too, The Byrds released it as a single and included it on their 1967 album The Notorious Byrd Brothers, aside from those massively successful versions we have Black Oak Arkansas, Diana Ross, The New Seekers, The Pretenders, Phil Collins, and so many more musicians from various walks of music covering this song. Who is the best, you might be asking? Well, music is art and art is subjective so that is for you to decide for yourself. Now, who do I think does it best, you might be asking? That is one of those loaded questions. Overall, I am head over heels for Carole King's version, but I will admit that The Byrds have the best chorus. "Goin' Back" is a song revolving around growing up and the loss of innocence. It is a bittersweet song, a song about trying to go back to a simpler time. Carole King sounds so beautifully and innocent, it sounds like she is singing straight from her bleeding heart. I too am someone that feels like I never fully grew up. I have found everyone lies to themselves when it comes to aging, we are all still those lost and scared children under all this new unfortunate body hair, car troubles, and pesky bill collectors. King sings of missing the things that made childhood what it was, climbing trees and playful thoughts. Caring actions to those we care about, no ties to words when they are simply words from the heart. Though, as I am sure you will agree, the defining set of words off the song is "thinking young and growing older is no sin". Those words scream more than say a simple truth of life. I want to return to some of my views then, living a day for the sake of living. Now I have to keep on schedule since time seems to act as sand that no matter what slips through my fingers aside from the annoying sand that gets stuck in my butt crack. Life is strange, you know? How do you spend your time? Well, seems you are here reading this, a great way to spend your time if I do say so myself. You know what is a better way to spend your time? No, not spending time with loved ones, come on now, it is listening to this kick ass song! I spent my time typing this out, all for the love of rock n roll, so do your part and give it a play. It is kind of a sad one, I won't lie, but it is also a sweet song that is skillfully put together and sung. Enjoy!
Year Released: 1970
Album: Writer (1970)
Genre: Soft Rock
Mood: Real
Perfect For: Coffee mornings, Casual listening, Reminiscing, Adulting, Relaxing in nature
Where To Next: "Different Drum" - Stone Poneys
Rating: 9 / 10
When you think "world's greatest songwriter" Carole King best be one of the first thoughts to come to mind. She is a legend behind the pen, and an overall great musician. Carole King led a long and happy career, even though few of her albums hit the same status as some of the artists that recorded her songs. Still, she is a prolific writer that always seems to give me chills with that King bite in her words. These aren't the words that are written in varying shades of imagination like Bob Dylan, nor is the type of clever word play we might see from Willie Nelson, but it is lyrics that are easy to get behind that are written like Emily Dickinson was reborn with a guitar and piano within reach. She sings songs of forlorn lovers, writes tunes covering the strangeness of a simple life, and she puts her pen to paper in the name of pure human condition. She is one with nature, her words are the same as you hear on the wind while going on a hike. I cannot chock it all up to just Carole King, her partner in matrimony and song craftsmanship Gerry Goffin is half of the power behind their songs. I will not doubt that the John Lennon and Paul McCartney lyrical duo is a serious power force, but the Goffin/King duo is right behind them, and in many ways outshine them. Carole King was behind many of the defining hits from multiple decades, she first put out some of the power on The Shirelles "Will You Love Me Tomorrow" in 1960, one of the greatest songs out of that year, if not the whole decade. Following that she put her pen to work, and that skillful composition she is known for with other decade defining hits like "Take Good Care of My Baby" by Bobby Vee, "Chains" for The Cookies (later to be covered by The Beatles), "Up on the Roof" by The Drifters, "Don't Bring Me Down" by The Animals, and so many more. Not all of her lyrical knack came out of the 1960s, her touch has been on hundreds of songs, most coming from covers of her original songs. Well, we are on the topic now of her songs, so let's take a little time to look into the woman behind them. Carole King was born in New York City in 1942. She showed an interest in music by the time she turned three, and instead of laughing it off, her parents took the steps to push for it. Her mother started teaching her some minor stuff on piano, and to their joy they found their daughter had a natural talent behind that piano, which lead to getting into more serious stuff while still at the crazy young age of 4 including musical theory. It doesn't stop there, she moved up in school faster than other kids since she had a natural talent in mathematics and English. It seems Carole King really was destined for greatness in the music industry. Once the 1950s were in full swing, she started up her own little band and alongside future legend Paul Simon and released her first song in 1958 called "The Right Girl". Time moved along, and she started attending collage where she met her longtime partner Gerry Goffin. They married, dropped out of school, and got to life, but all that changed once the duo found themselves on the "songwriter" line on The Shirelles massive hit "Will You Love Me Tomorrow". The rest is history, a history you are about to audibly take into your ear holes.
Carole King has a massive list of talents in the music world, and a lot of that is shown off on her debut solo album Writer, which came out in the Spring of 1970. In some ways, this album lacks, which is odd to type out since the person we are talking about is Carole King. Though, I won't lie, there are the tracks that take your breath away, and then there are the ones that are just alright. Some of that is chocked up to the poor quality of recording, but even with that there you can tell Carole King is someone to not question on talent. This album would become a classic from her discography once she broke into stardom with the legendary follow-up album Tapestry (1971). The majority of the songs were written by the power duo Goffin/King, some of which were recorded previously by other artists, but the credits for songwriting are still with Carole King. Some of those songs are "Up on the Roof" by the Drifters, "I Can't Hear You No More" by Betty Everett, and "Child of Mine" by Billy Joe Royal. There are others, and some of the songs off this album that found their first version on it would later be recorded by many other artists. None even get close to the appealing "Goin' Back" though. The song was originally written for Dusty Springfield, who landed a big hit with it in 1966. A shitload of other musicians covered it too, The Byrds released it as a single and included it on their 1967 album The Notorious Byrd Brothers, aside from those massively successful versions we have Black Oak Arkansas, Diana Ross, The New Seekers, The Pretenders, Phil Collins, and so many more musicians from various walks of music covering this song. Who is the best, you might be asking? Well, music is art and art is subjective so that is for you to decide for yourself. Now, who do I think does it best, you might be asking? That is one of those loaded questions. Overall, I am head over heels for Carole King's version, but I will admit that The Byrds have the best chorus. "Goin' Back" is a song revolving around growing up and the loss of innocence. It is a bittersweet song, a song about trying to go back to a simpler time. Carole King sounds so beautifully and innocent, it sounds like she is singing straight from her bleeding heart. I too am someone that feels like I never fully grew up. I have found everyone lies to themselves when it comes to aging, we are all still those lost and scared children under all this new unfortunate body hair, car troubles, and pesky bill collectors. King sings of missing the things that made childhood what it was, climbing trees and playful thoughts. Caring actions to those we care about, no ties to words when they are simply words from the heart. Though, as I am sure you will agree, the defining set of words off the song is "thinking young and growing older is no sin". Those words scream more than say a simple truth of life. I want to return to some of my views then, living a day for the sake of living. Now I have to keep on schedule since time seems to act as sand that no matter what slips through my fingers aside from the annoying sand that gets stuck in my butt crack. Life is strange, you know? How do you spend your time? Well, seems you are here reading this, a great way to spend your time if I do say so myself. You know what is a better way to spend your time? No, not spending time with loved ones, come on now, it is listening to this kick ass song! I spent my time typing this out, all for the love of rock n roll, so do your part and give it a play. It is kind of a sad one, I won't lie, but it is also a sweet song that is skillfully put together and sung. Enjoy!
Year Released: 1970
Album: Writer (1970)
Genre: Soft Rock
Mood: Real
Perfect For: Coffee mornings, Casual listening, Reminiscing, Adulting, Relaxing in nature
Where To Next: "Different Drum" - Stone Poneys
Rating: 9 / 10
Song of the Day 09/16/2025
"Fade Away" - Blur
Fittingly enough, we have both the Gorillaz and Blur in the same month, but anything Damon Albarn is alright with me. It would be insane to be one of the most successful musicians in two separate decades, especially for two different groups. Blur was one of the leading power forces in the Britpop scene in the 1990s, a music scene that controlled the UK and bled into the waters finally ending up in the United States where they had a home, even though our defining genre, grunge, didn't seem to make it over there as easily. Bands like Oasis, Blur, Pulp, and Suede are essential listening for anyone taking the dive into the 1990s, each of them brings something special to that sound. Oasis has this mainstream knack, Blur has a heavy leaning on the legends of the past like The Kinks, Suede weaponized an experimental pop rock sound with a heavy leaning towards a sound reminiscent to The Stone Roses type of bands, and last by not lease we have Pulp who came in hot with a more conventional rock sound that even has some punk leaning. There are a ton more great groups to come out of the scene, like I said it is the heaviest footprint left on the 1990s by the Brits. Blur is easily one of the most explosive out of the scene, but that is honestly an album-by-album statement, since some are blissful and some are strangely heavy. Blur released their debut album in 1991, a dreamy and mellow album under the title Leisure. That album contains 12 songs of quality, yet the band still didn't hit that stride that made them a household name. Their second studio album Modern Life Is Rubbish (1993) follows suit while still hitting #7 on the UK charts. Still an outstanding album that is considered perfect in retrospect, but they still didn't hit the big time, even though this album shows off more of the core sound that would have them becoming legends in due time. I think that second album is one of their best, but I will admit that it seems small in the shadow of their following album, Parklife (1994). This was the album that had me fully falling in love with Blur. I love that album cover and its sound is crisp and potent, every song stands alone with vigor, and it really is a joy of an album to listen to. Parklife came along just a couple of months before Oasis dropped their debut Definitely Maybe, and there we have it, Britpop rose to power with legions of various bands forming under the same banner.
Year after year we were getting better albums, but there is no doubting that a lot of that sound came from these dudes here. Blur became one of the faces of British music upon their 4th studio album, The Great Escape (1995). This album charted across the globe, many of the country's charts showing them being in the top 10, and with UK, Ireland, and Iceland placing them at #1. The album didn't fare too well in the USA, but who needs them? The US took a long ass time to get with it. Within this album we have plenty of Blurs best tracks, one of the most notable is "Country House" which was the band's first #1 hit in the UK, and was the song to throw Oasis's "Roll with It" out of that spot. Oasis did not "roll with it" and then the "battle of Britpop" was started, a long-time rivalry between Oasis and Blur for control of the charts. I love me some music rivalries, competition often makes the best of people, especially when your art is what is at stake. The media went along for the ride, and what was two bands both having hits turned into taking jabs at one another, north England and south England at war with guitars, and cheap tabloids milking it for all it was worth. Who won? Honestly, I am not too sure, but in the long run it seems like Oasis might have, at least in the US. Both are great bands, but it is unfair to compare the two. The Beatles vs. The Rolling Stones, Metallica vs. Megadeth, W.A.S.P. vs. Stryper, rock has always had its rivalries, nothing gathers people more than opinions, but I will admit few got more coverage than Oasis vs. Blur. Anyway, back to the music. The Great Escape has only great songs on its almost hour long playtime. The album cover is an odd one, but is heavy with metaphor, especially with the majority of the album being loosely a concept album revolving around detachment and withdrawal. Our song of the day, "Fade Away", is exactly that. What at first seems like a good ol' love song with an island feeling, soon enough turns into a sad tale of fading love. This couple starts up in a fever, young and strong, but life sure takes its toll and time moves along awfully fast. They move to where they desire and then start working their life away, both in leisure and labor, and soon enough they start noticing that change in themselves physically. One of my favorite lines from the song is "their birth had been the death of them", classic Blur nihilism. The song shows off the pop in Britpop in the second half of the song, I won't lie that it gets a little repetitive, but that doesn't bother me none, especially with the accompanying brass instruments being there. A welcome addition to the album that I think is just as good as the hits, no fillers on this album, that is for damn sure. A smooth and fun song through and through, a song that is ready for you to listen to! So have fun with that, I bet you will, I sure did. Enjoy!
Year Released: 1995
Album: The Great Escape (1995)
Genre: Britpop, Alternative Rock
Mood: Blissful
Perfect For: Casual listening, Relaxing, Reflecting on life, Going for a mellow drive, Chilling at home
Where To Next: "Roll with It" - Oasis
Rating: 8 / 10
Fittingly enough, we have both the Gorillaz and Blur in the same month, but anything Damon Albarn is alright with me. It would be insane to be one of the most successful musicians in two separate decades, especially for two different groups. Blur was one of the leading power forces in the Britpop scene in the 1990s, a music scene that controlled the UK and bled into the waters finally ending up in the United States where they had a home, even though our defining genre, grunge, didn't seem to make it over there as easily. Bands like Oasis, Blur, Pulp, and Suede are essential listening for anyone taking the dive into the 1990s, each of them brings something special to that sound. Oasis has this mainstream knack, Blur has a heavy leaning on the legends of the past like The Kinks, Suede weaponized an experimental pop rock sound with a heavy leaning towards a sound reminiscent to The Stone Roses type of bands, and last by not lease we have Pulp who came in hot with a more conventional rock sound that even has some punk leaning. There are a ton more great groups to come out of the scene, like I said it is the heaviest footprint left on the 1990s by the Brits. Blur is easily one of the most explosive out of the scene, but that is honestly an album-by-album statement, since some are blissful and some are strangely heavy. Blur released their debut album in 1991, a dreamy and mellow album under the title Leisure. That album contains 12 songs of quality, yet the band still didn't hit that stride that made them a household name. Their second studio album Modern Life Is Rubbish (1993) follows suit while still hitting #7 on the UK charts. Still an outstanding album that is considered perfect in retrospect, but they still didn't hit the big time, even though this album shows off more of the core sound that would have them becoming legends in due time. I think that second album is one of their best, but I will admit that it seems small in the shadow of their following album, Parklife (1994). This was the album that had me fully falling in love with Blur. I love that album cover and its sound is crisp and potent, every song stands alone with vigor, and it really is a joy of an album to listen to. Parklife came along just a couple of months before Oasis dropped their debut Definitely Maybe, and there we have it, Britpop rose to power with legions of various bands forming under the same banner.
Year after year we were getting better albums, but there is no doubting that a lot of that sound came from these dudes here. Blur became one of the faces of British music upon their 4th studio album, The Great Escape (1995). This album charted across the globe, many of the country's charts showing them being in the top 10, and with UK, Ireland, and Iceland placing them at #1. The album didn't fare too well in the USA, but who needs them? The US took a long ass time to get with it. Within this album we have plenty of Blurs best tracks, one of the most notable is "Country House" which was the band's first #1 hit in the UK, and was the song to throw Oasis's "Roll with It" out of that spot. Oasis did not "roll with it" and then the "battle of Britpop" was started, a long-time rivalry between Oasis and Blur for control of the charts. I love me some music rivalries, competition often makes the best of people, especially when your art is what is at stake. The media went along for the ride, and what was two bands both having hits turned into taking jabs at one another, north England and south England at war with guitars, and cheap tabloids milking it for all it was worth. Who won? Honestly, I am not too sure, but in the long run it seems like Oasis might have, at least in the US. Both are great bands, but it is unfair to compare the two. The Beatles vs. The Rolling Stones, Metallica vs. Megadeth, W.A.S.P. vs. Stryper, rock has always had its rivalries, nothing gathers people more than opinions, but I will admit few got more coverage than Oasis vs. Blur. Anyway, back to the music. The Great Escape has only great songs on its almost hour long playtime. The album cover is an odd one, but is heavy with metaphor, especially with the majority of the album being loosely a concept album revolving around detachment and withdrawal. Our song of the day, "Fade Away", is exactly that. What at first seems like a good ol' love song with an island feeling, soon enough turns into a sad tale of fading love. This couple starts up in a fever, young and strong, but life sure takes its toll and time moves along awfully fast. They move to where they desire and then start working their life away, both in leisure and labor, and soon enough they start noticing that change in themselves physically. One of my favorite lines from the song is "their birth had been the death of them", classic Blur nihilism. The song shows off the pop in Britpop in the second half of the song, I won't lie that it gets a little repetitive, but that doesn't bother me none, especially with the accompanying brass instruments being there. A welcome addition to the album that I think is just as good as the hits, no fillers on this album, that is for damn sure. A smooth and fun song through and through, a song that is ready for you to listen to! So have fun with that, I bet you will, I sure did. Enjoy!
Year Released: 1995
Album: The Great Escape (1995)
Genre: Britpop, Alternative Rock
Mood: Blissful
Perfect For: Casual listening, Relaxing, Reflecting on life, Going for a mellow drive, Chilling at home
Where To Next: "Roll with It" - Oasis
Rating: 8 / 10
Song of the Day 09/15/2025
"Today" - Jefferson Airplane
Where do I even start with Jefferson Airplane? Their status as pioneers in the psychedelic rock sound? Their importance in counter culture? The rampant psychedelic usage that inspired their landmark album Surrealistic Pillow? There are so many kick ass stories and pieces of history within Jefferson Airplane, I would need a whole page just for that. But for now, these little posts will have to do, even though they never shine the light these bands deserve. For me, Jefferson Airplane is a band that I will forever have a deep love for. Surrealistic Pillow is one of the best albums of all time if you ask me, and I have cherished its sweet sweet sound for well over 10 years now. Their others also get a ton of playtime but nothing in comparison to that album. Jefferson Airplane is one of the bands that define the San Francisco sound, a time period of rock that was all about peace, love, unity, civil unrest, drugs, free love, and revolution all backed by an earthy sound that drank deeply from the rock, folk, and country cup. These guys are just one of many from that sound, others being Big Brother and the Holding Company (Janis Joplin), Quicksilver Messenger Service, Blue Cheer, Country Joe and the Fish, Grateful Dead, and so many other fantastic bands. The style is a lot more tame, often heavily psychedelic, and it uses a wide array of instrumental experimentation. Yet, there were still many from the scene that fronted a heavier sound that could be considered a predecessor to heavy metal. It was truly a breeding ground of talent and art, something like we haven't seen ever again. It was the counter culture, a Bohemian explosion of color and sound that people still revel in to this day, me being one of them. One of the most kick ass and sublime sounds to ever come out of rock music, and Jefferson Airplane was at the head of it. Their debut album Jefferson Airplane Takes Off (1966) is a classic from the San Francisco sound with its bold yet aggregable folk rock style. It is the only album with Signe Toly Anderson singing the female lead vocals, alongside the original drummer Skip Spence she left the band following the album's release, she would be replaced by Grace Slick who practically became the face of Jefferson Airplane. That debut is a solid album, I would even say it is my second favorite Jefferson Airplane album, some real quality tracks in there that you should not sleep on, especially if you dig folk rock or psychedelic rock. Less than a year later the band released their second studio album Surrealistic Pillow (1967) and there you have it, the band was put down in the history books. The album is flawless from start to finish. The kind of 11 tracks that you can feel were looked over with a magnifying glass. Each song brings something new, but still keeps safely within its own sound. There was hardly anything like this out at the time, it felt earthy but spectral all at the same time. It holds this unsettling atmosphere that is addictive and is another album I really think everyone should listen to at least once in their lifetime.
Surrealistic Pillow is the album that holds our song of the day, "Today", which is cozily nuzzled in the first half of the album at track #4. It comes between the band's lovey and easy "You're My Best Friend" and the snowed in feeling of "Comin' Back to Me". As I mentioned previously, there are a ton of varying lovable sounds that don't shake that strange feeling this album gives off. Be it the massively successful hits like "White Rabbit" and "Somebody to Love", both of which are as classic as classic can get for 1960s rock, or the lesser known tracks that have that same bite like "3/5 of a Mile in 10 Seconds" and "Today". It is a shrouded album, there is something simply unsettling about its atmosphere, and I think that is why this album was immensely popular to trip on LSD to. I personally have listened to this album on a ton of different trips, it became a go to since it always gave you this really weird trip. It isn't as stressful as some of the Pink Floyd albums, and it isn't as thrilling as Jimi Hendrix. It creates its own space, that 33 minute playtime has you learning ancient knowledge, hating yourself, loving yourself, reflecting on yourself, and losing yourself all within its folds. I have many core memories that give me chills thinking back on it now. I will forever feel that feeling when listening to this album, some might view that as tainting it, but honestly I think it is quite the opposite. This album truly showed me myself, even if that sounds a bit cliché and dorky, but no I am being real with you, this album practically single-handedly guided me on many core decisions in my life. I would often take these trips that I liked to call a "trip of life", I would go into it with one question I wanted answered. It could be life guidance like "should I switch jobs" and "should I leave my woman", or it could be a little deeper of questions I wanted my true self to answer such as "what do I want out of life", "is there an escape to the inevitable corporate existence", "do I really know what happiness even is" and then I would put that tab on my tongue and would often walk away with an unshakable answer. The trick is to never ask more than you can answer, no "what is life" but more "what do I want out of life". More often than not it was this album playing when I found my answer, it set me at ease, it let me actually appreciate my core simple existence and think it through with unafraid eyes. Some of those revelations were good and some were bad, but more often than not it was found. As for "Today" this was the song that really showed me a lot, its intro has you floating away before sweet and soothing words come out of Marty Balin. A topic revolving around true love, devotion, and the inner strength to be real with your own emotions. Its hypnotic guitar work is from Grateful Dead and rock legend Jerry Garcia, who shows up sporadically on the album. This song is the best example for that shrouded feeling I keep mentioning. It feels like driving on a freshly snowed on road with nobody on it, it feels like you are trapped in a bittersweet dream, and while it is a little stressful it is overpowered by divine bliss. I wouldn't be shocked if it is the same feeling you get when drowning. I wouldn't be shocked at all if this is the song playing as I relive my memories before that light in my eye goes out. A beautiful song, something that sounds straight forward yet is bristling with all sorts of different sounds being served on a mother pearl platter. I cannot put into words how much this song means to me, and I certainly cannot explain how it makes me feel right now as I am listening to it again. This whole album is great, and it really is an album that rests in my heart and soul. So, do me and yourself a favor and try this album out for size. Set up some time, truly relax before setting that needle. An album that takes you for a ride, an internal rollercoaster of emotions, and by the end of it you will see why this album is a true piece of music history. Enjoy!
Year Released: 1967
Album: Surrealistic Pillow (1967)
Genre: Psychedelic Rock, Folk Rock
Mood: Odd
Perfect For: Tripping, Getting stoned, Day napping, Relaxing, Thinking clearly, Writing love letters
Where To Next: "Bass Strings" - Country Joe & the Fish
Rating: 9 / 10
Where do I even start with Jefferson Airplane? Their status as pioneers in the psychedelic rock sound? Their importance in counter culture? The rampant psychedelic usage that inspired their landmark album Surrealistic Pillow? There are so many kick ass stories and pieces of history within Jefferson Airplane, I would need a whole page just for that. But for now, these little posts will have to do, even though they never shine the light these bands deserve. For me, Jefferson Airplane is a band that I will forever have a deep love for. Surrealistic Pillow is one of the best albums of all time if you ask me, and I have cherished its sweet sweet sound for well over 10 years now. Their others also get a ton of playtime but nothing in comparison to that album. Jefferson Airplane is one of the bands that define the San Francisco sound, a time period of rock that was all about peace, love, unity, civil unrest, drugs, free love, and revolution all backed by an earthy sound that drank deeply from the rock, folk, and country cup. These guys are just one of many from that sound, others being Big Brother and the Holding Company (Janis Joplin), Quicksilver Messenger Service, Blue Cheer, Country Joe and the Fish, Grateful Dead, and so many other fantastic bands. The style is a lot more tame, often heavily psychedelic, and it uses a wide array of instrumental experimentation. Yet, there were still many from the scene that fronted a heavier sound that could be considered a predecessor to heavy metal. It was truly a breeding ground of talent and art, something like we haven't seen ever again. It was the counter culture, a Bohemian explosion of color and sound that people still revel in to this day, me being one of them. One of the most kick ass and sublime sounds to ever come out of rock music, and Jefferson Airplane was at the head of it. Their debut album Jefferson Airplane Takes Off (1966) is a classic from the San Francisco sound with its bold yet aggregable folk rock style. It is the only album with Signe Toly Anderson singing the female lead vocals, alongside the original drummer Skip Spence she left the band following the album's release, she would be replaced by Grace Slick who practically became the face of Jefferson Airplane. That debut is a solid album, I would even say it is my second favorite Jefferson Airplane album, some real quality tracks in there that you should not sleep on, especially if you dig folk rock or psychedelic rock. Less than a year later the band released their second studio album Surrealistic Pillow (1967) and there you have it, the band was put down in the history books. The album is flawless from start to finish. The kind of 11 tracks that you can feel were looked over with a magnifying glass. Each song brings something new, but still keeps safely within its own sound. There was hardly anything like this out at the time, it felt earthy but spectral all at the same time. It holds this unsettling atmosphere that is addictive and is another album I really think everyone should listen to at least once in their lifetime.
Surrealistic Pillow is the album that holds our song of the day, "Today", which is cozily nuzzled in the first half of the album at track #4. It comes between the band's lovey and easy "You're My Best Friend" and the snowed in feeling of "Comin' Back to Me". As I mentioned previously, there are a ton of varying lovable sounds that don't shake that strange feeling this album gives off. Be it the massively successful hits like "White Rabbit" and "Somebody to Love", both of which are as classic as classic can get for 1960s rock, or the lesser known tracks that have that same bite like "3/5 of a Mile in 10 Seconds" and "Today". It is a shrouded album, there is something simply unsettling about its atmosphere, and I think that is why this album was immensely popular to trip on LSD to. I personally have listened to this album on a ton of different trips, it became a go to since it always gave you this really weird trip. It isn't as stressful as some of the Pink Floyd albums, and it isn't as thrilling as Jimi Hendrix. It creates its own space, that 33 minute playtime has you learning ancient knowledge, hating yourself, loving yourself, reflecting on yourself, and losing yourself all within its folds. I have many core memories that give me chills thinking back on it now. I will forever feel that feeling when listening to this album, some might view that as tainting it, but honestly I think it is quite the opposite. This album truly showed me myself, even if that sounds a bit cliché and dorky, but no I am being real with you, this album practically single-handedly guided me on many core decisions in my life. I would often take these trips that I liked to call a "trip of life", I would go into it with one question I wanted answered. It could be life guidance like "should I switch jobs" and "should I leave my woman", or it could be a little deeper of questions I wanted my true self to answer such as "what do I want out of life", "is there an escape to the inevitable corporate existence", "do I really know what happiness even is" and then I would put that tab on my tongue and would often walk away with an unshakable answer. The trick is to never ask more than you can answer, no "what is life" but more "what do I want out of life". More often than not it was this album playing when I found my answer, it set me at ease, it let me actually appreciate my core simple existence and think it through with unafraid eyes. Some of those revelations were good and some were bad, but more often than not it was found. As for "Today" this was the song that really showed me a lot, its intro has you floating away before sweet and soothing words come out of Marty Balin. A topic revolving around true love, devotion, and the inner strength to be real with your own emotions. Its hypnotic guitar work is from Grateful Dead and rock legend Jerry Garcia, who shows up sporadically on the album. This song is the best example for that shrouded feeling I keep mentioning. It feels like driving on a freshly snowed on road with nobody on it, it feels like you are trapped in a bittersweet dream, and while it is a little stressful it is overpowered by divine bliss. I wouldn't be shocked if it is the same feeling you get when drowning. I wouldn't be shocked at all if this is the song playing as I relive my memories before that light in my eye goes out. A beautiful song, something that sounds straight forward yet is bristling with all sorts of different sounds being served on a mother pearl platter. I cannot put into words how much this song means to me, and I certainly cannot explain how it makes me feel right now as I am listening to it again. This whole album is great, and it really is an album that rests in my heart and soul. So, do me and yourself a favor and try this album out for size. Set up some time, truly relax before setting that needle. An album that takes you for a ride, an internal rollercoaster of emotions, and by the end of it you will see why this album is a true piece of music history. Enjoy!
Year Released: 1967
Album: Surrealistic Pillow (1967)
Genre: Psychedelic Rock, Folk Rock
Mood: Odd
Perfect For: Tripping, Getting stoned, Day napping, Relaxing, Thinking clearly, Writing love letters
Where To Next: "Bass Strings" - Country Joe & the Fish
Rating: 9 / 10
Song of the Day 09/14/2025
"Scream Out" - Suicidal Tendencies
It seems we can never get enough ST on this website! I mean, they have only been included a measly 4 times, but it is safe to say there is much love for the band here. Suicidal is one of those groups that practically define me. They hold one of my favorite sounds, that sweet funky crossover thrash sound, a sound they practically thrusted into the limelight for all metalheads, punks, rockers, and even the casual music listener. Their massively successful song "Institutionalized" gets quoted more than practically any other song. They aren't the type of group to just release one good song and then disappear, no, Suicidal Tendencies has had a long career where they have released countless classics. The band started up in 1980 by vocalist Mike Muir (AKA Cyco Miko) and he has gone on to be the sole full-time member of the band, but there is simply no Suicidal without Cyco Miko. I have seen the band live a good handful of times, and have watched their live performances countless times, and I can say with confidence that this dude is unlike any other. The way he moves, rages, jigs, and tweaks on stage is something to take in. A great performer and an even better musician, his vision helped crossover thrash become a true respected genre in the metal world with help from D.R.I. and Stormtroopers of Death. Before this, the only thing that punk and heavy metal really had in common was a more extreme style and Motörhead. It is still something that many of from both fan bases struggle with still, which is dumb. Anyway, before ST and the others, there wasn't much of a market for a group that could meld punk and metal, and I don't think anyone saw Suicidal Tendencies coming along and bringing everyone together with such a bang. Suicidal Tendencies released their debut album in 1983, an album that is unique in comparison to the others since it is practically solely hardcore punk. There is the little teaser in there that metal certainly has its spot in their sound, especially on tracks like "Memories of Tomorrow" and "Institutionalized", but aside from that it is a pure hardcore punk goldmine. That was my first album I listened to by them, and it was like popping my ear cherries, and even today I am head over heels for it! Their follow-up album Join the Army is another album I adore with all of my attention span (which is actually pretty high). That second studio album is where ST takes on their sound of crossover thrash, there are heavy as sin metal based tracks like "Suicidal Maniac", "Join the Army", and "War Inside My Head" and then the more punk based ones to match with "Possessed to Skate" and "Human Guinea Pig". Though each track is a perfect melding of punk and metal, and aside from the album cover, it is a perfect album, even if it fared a little less well with the masses. It was here that the band gathered themselves an army, a fanatical fan base, and with that army they moved along to their 3rd album How Will I Laugh Tomorrow When I Can't Even Smile Today. Within this album they perfected their sound, and went a step further with bringing in a little bit of funk, and that funk was there to stay. The writing on this album was packed tight, the playing was smooth and funky, the vocals were a little less freakish, and all in all it was just a superior sound, even if I do cherish those first two albums. Suicidal Tendencies started leaving more of the punk behind and adding in a little more thrash metal. They kept that sound and style, adding a little more of this here and a little less there for the next multiple good albums. While they never hit massive sales, their fan base grew stronger with each release, and the culture of the band exploded, so who really needs sales when you got that?
Our song of the day "Scream Out" comes off of the band's ninth studio album Freedumb, which came along in 1999. Good for Suicidal Tendencies to release strong songs and albums for over 10 years at this point. I will admit, some of their albums before this one are hit-and-miss in my books, but when it comes to Freedumb they come back extremely strong. Each song on the album is potent, and randomly very aggressive. They returned to their roots, left behind some of the slower emotional songs, and focused on a direct assault of aggression. When I was first going through all their albums (ahhhh better days) I wasn't looking forward to this album. Its album cover is ugly, and after I went through and was disappointed by Suicidal for Life (1994) I found myself worried I was going through another discography that loses its footing once you get past the fifth studio album. I ate my words when the first track "Freedumb" kicked off. I ate my words with a big ol smile, since even just that one song shows that ST is far from one of those groups. They had that fire that I first fell in love with in this album, and it was even funkier than some of their previous albums! The drops and hooks are molten, and for a young metalhead, it found a happy home in my albums to abuse for years to come. As I grew older, I came to find out that some of the songs on this album hold a higher notoriety than most of their core 1980s albums. "Cyco Vision" is one of the band's most known and loved songs, and I think a lot of that is how Suicidal Tendencies is one of the best bands for skating. They knew it too, having tracks like "Possessed to Skate" being a classic for skate videos far and wide. Freedumb is an album that perfectly compliments that reckless extreme sport. Anyway, our song of the day is another to support that claim. "Scream Out" arguably has the best intro on the album, that funk is funky as fuck. It is in tracks like this you can feel the influence from Cyco Miko's other project Infectious Groovies, another band you should check out following this track. "Scream Out" is what happens when you mix hardcore punk, metal, and funk all together. Do you headbang? Kick something? Shout? Thrash? Dance? Make love? Mosh? Punch someone? Well, I would say all of the above would work. This kind of song always gets your blood pumping! So much raw aggression shoved into a 2:29 playing time. Lyrically it compliments that, but in the end isn't anything all too special, just another pissed off and proud song. It all comes down to the drums and bass guitar this go around, they make this track feel like you are on a flaming train. Well, I guess you just got to see for yourself. So give the song a play today and sign that life away. Join the suicidal army! Enjoy!
Year Released: 1999
Album: Freedumb (1999)
Genre: Crossover Thrash, Hardcore Punk
Mood: Intense
Perfect For: Working out, Skating, Running, Driving fast, Riding motorcycles
Where To Next: "Hatebomb" - Discharge
Rating: 7 / 10
It seems we can never get enough ST on this website! I mean, they have only been included a measly 4 times, but it is safe to say there is much love for the band here. Suicidal is one of those groups that practically define me. They hold one of my favorite sounds, that sweet funky crossover thrash sound, a sound they practically thrusted into the limelight for all metalheads, punks, rockers, and even the casual music listener. Their massively successful song "Institutionalized" gets quoted more than practically any other song. They aren't the type of group to just release one good song and then disappear, no, Suicidal Tendencies has had a long career where they have released countless classics. The band started up in 1980 by vocalist Mike Muir (AKA Cyco Miko) and he has gone on to be the sole full-time member of the band, but there is simply no Suicidal without Cyco Miko. I have seen the band live a good handful of times, and have watched their live performances countless times, and I can say with confidence that this dude is unlike any other. The way he moves, rages, jigs, and tweaks on stage is something to take in. A great performer and an even better musician, his vision helped crossover thrash become a true respected genre in the metal world with help from D.R.I. and Stormtroopers of Death. Before this, the only thing that punk and heavy metal really had in common was a more extreme style and Motörhead. It is still something that many of from both fan bases struggle with still, which is dumb. Anyway, before ST and the others, there wasn't much of a market for a group that could meld punk and metal, and I don't think anyone saw Suicidal Tendencies coming along and bringing everyone together with such a bang. Suicidal Tendencies released their debut album in 1983, an album that is unique in comparison to the others since it is practically solely hardcore punk. There is the little teaser in there that metal certainly has its spot in their sound, especially on tracks like "Memories of Tomorrow" and "Institutionalized", but aside from that it is a pure hardcore punk goldmine. That was my first album I listened to by them, and it was like popping my ear cherries, and even today I am head over heels for it! Their follow-up album Join the Army is another album I adore with all of my attention span (which is actually pretty high). That second studio album is where ST takes on their sound of crossover thrash, there are heavy as sin metal based tracks like "Suicidal Maniac", "Join the Army", and "War Inside My Head" and then the more punk based ones to match with "Possessed to Skate" and "Human Guinea Pig". Though each track is a perfect melding of punk and metal, and aside from the album cover, it is a perfect album, even if it fared a little less well with the masses. It was here that the band gathered themselves an army, a fanatical fan base, and with that army they moved along to their 3rd album How Will I Laugh Tomorrow When I Can't Even Smile Today. Within this album they perfected their sound, and went a step further with bringing in a little bit of funk, and that funk was there to stay. The writing on this album was packed tight, the playing was smooth and funky, the vocals were a little less freakish, and all in all it was just a superior sound, even if I do cherish those first two albums. Suicidal Tendencies started leaving more of the punk behind and adding in a little more thrash metal. They kept that sound and style, adding a little more of this here and a little less there for the next multiple good albums. While they never hit massive sales, their fan base grew stronger with each release, and the culture of the band exploded, so who really needs sales when you got that?
Our song of the day "Scream Out" comes off of the band's ninth studio album Freedumb, which came along in 1999. Good for Suicidal Tendencies to release strong songs and albums for over 10 years at this point. I will admit, some of their albums before this one are hit-and-miss in my books, but when it comes to Freedumb they come back extremely strong. Each song on the album is potent, and randomly very aggressive. They returned to their roots, left behind some of the slower emotional songs, and focused on a direct assault of aggression. When I was first going through all their albums (ahhhh better days) I wasn't looking forward to this album. Its album cover is ugly, and after I went through and was disappointed by Suicidal for Life (1994) I found myself worried I was going through another discography that loses its footing once you get past the fifth studio album. I ate my words when the first track "Freedumb" kicked off. I ate my words with a big ol smile, since even just that one song shows that ST is far from one of those groups. They had that fire that I first fell in love with in this album, and it was even funkier than some of their previous albums! The drops and hooks are molten, and for a young metalhead, it found a happy home in my albums to abuse for years to come. As I grew older, I came to find out that some of the songs on this album hold a higher notoriety than most of their core 1980s albums. "Cyco Vision" is one of the band's most known and loved songs, and I think a lot of that is how Suicidal Tendencies is one of the best bands for skating. They knew it too, having tracks like "Possessed to Skate" being a classic for skate videos far and wide. Freedumb is an album that perfectly compliments that reckless extreme sport. Anyway, our song of the day is another to support that claim. "Scream Out" arguably has the best intro on the album, that funk is funky as fuck. It is in tracks like this you can feel the influence from Cyco Miko's other project Infectious Groovies, another band you should check out following this track. "Scream Out" is what happens when you mix hardcore punk, metal, and funk all together. Do you headbang? Kick something? Shout? Thrash? Dance? Make love? Mosh? Punch someone? Well, I would say all of the above would work. This kind of song always gets your blood pumping! So much raw aggression shoved into a 2:29 playing time. Lyrically it compliments that, but in the end isn't anything all too special, just another pissed off and proud song. It all comes down to the drums and bass guitar this go around, they make this track feel like you are on a flaming train. Well, I guess you just got to see for yourself. So give the song a play today and sign that life away. Join the suicidal army! Enjoy!
Year Released: 1999
Album: Freedumb (1999)
Genre: Crossover Thrash, Hardcore Punk
Mood: Intense
Perfect For: Working out, Skating, Running, Driving fast, Riding motorcycles
Where To Next: "Hatebomb" - Discharge
Rating: 7 / 10
Song of the Day 09/13/2025
"Feel Good Inc." - Gorillaz
Ready for some good ol' musical whiplash? Well, today the choice is for the all mighty Gorillaz, a group that never stops expanding their sound and never stops pushing out top tier music. The group was formed by visionary Damon Albarn, who is the frontman and vocalist for the multiplatinum selling rock group Blur. As for the Gorillaz, it was the creative marriage of Albarn's musical knack and artist Jamie Hewlett. The term "virtual band" wasn't even a thing until the Gorillaz showed up, it was a new and exciting idea in the music world, I mean I guess the first group to do it was Alvin and the Chipmunks, but it feels weird to fully accept them as the first, still Gorillaz brought the idea to a whole new level. A whole new level that put them on the radar of everyone in the 2000s, especially with their second studio album, Demon Days (2005). That album is one of many that mean the world to me, it was a stepping stone of musical expansion as a child, and is a big reason on why I am into many different sounds since the Gorillaz never stay put even within one studio album. The music videos of those songs have a happy home within my memories, I used to religiously watch those puppies. I loved the lore and the sleazy art style of Jamie Hewlett. It set the bar very high for other bands at the time. Those music videos were put together extremely well, the lore was plentiful and accessible, and the band went so far to let you have a little interactive game if you loaded the CD into the disc drive of your computer. The band was so cool and mysterious as a kid, it really felt like it wasn't humans making the music, but these little characters they set up. As a kid, I had a crush on Noodle, the bands "guitarist". My sister owned a copy of the Gorillaz Demon Days, and I used to steal that from her as much as I could. I have plenty of memories of listening to that CD all day long. It is still the only piece of physical media that I played so much that I broke it. Being a kid, I didn't tell my sister what I did and plotted out this whole scheme when it would have just been easier to be honest about it. I went so far to "accidentally" bring it along with me to Texas when I was living with my dad and disposing of it there. So I was without my precious Demon Days for a good long while up until my dad told me that our cat ate the Easter bunny one year when he forgot to make the holiday special for little boy blue, and after some tears he felt guilty enough to let me go get some CDs from Walmart. Obviously I picked up Demon Days again, and also I think I got The Used's Lies for the Liars, I cannot quite remember what the other CD was I picked up, but I think it was KoRn's Greatest Hits Vol. 1 which my father then went and stole from me and I never saw it again. That was also my first taste of good ol supermarket censorship on CD's, I found out the hard way never to buy KoRn from Walmart. Need an example of why? Try listening to the censored version of "Y'all Want a Single". Can't blame him for stealing that CD though, that is a great compilation! Anyway, there is a happy ending for my sister, since I gave over the new copy once she came to visit us in Texas with my mom. She never even knew, but I did take away a great CD from her, it was the last time I ran off with someone else's music, well aside from pirating buuuut meh. No need to do that now with streaming. Alright, enough about story time, let's get back into the Gorillaz.
Gorillaz were the heart and soul of the 2000s. A timeless band that is still as one of a kind now as they were then. Our song of the day today "Feel Good Inc." is by far their most recognized song, so recognized it is about to cross over the 2 billion listens mark on Spotify alone. That is more than practically any other song I regularly listen to. Gorillaz reaches far and wide, they have fans in any genre that you can think of. They are addictive and have this silly nature that anyone with ears can get behind. And like I mentioned already, they don't stay in one genre, so there really is something for everyone within their 9 main studio albums. "Feel Good Inc." features the hip hop group De La Soul that first found mass fame with their 1989 debut album 3 Feet High and Rising. Gorillaz always rubs shoulders with the best of the best, and "Feel Good Inc." is no different. The song is the sixth track off of Demon Days, a perfect refresher as you move through the album. It is a little more level-headed after taking in "Dirty Harry", and the tracks before "Dirty Harry" are a little darker atmospherically. "Feel Good Inc." is exactly what it says in that title, an all around fun song that goes down so damn smooth it should be a crime. The song is often regarded as one of the best songs to come out of the 2000s, a statement I fully agree with, it really was impossible to not hear this song back in the day, and not even in the annoying way! It was always a great time to hear that well known intro! Demon Days itself was a titan of an album, out of nowhere the whole musical spectrum shifted to revolve around the Gorillaz, a true decade defining band if there ever was one. A piece of musical history I would suggest everyone listen to once in their life, but with an album of this level of power, it is impossible to listen to just once. It will follow you throughout life. "Feel Good Inc." is one of the reasons this album sold so damn well, it was an instant classic as soon as that single came along. This song won the best pop collaboration for its respective year, and earned the band this crazy fame and notoriety, even though anyone who helped out with the album was hidden behind a skillfully drawn character. The band's self-titled debut that came 4 years before Demon Days already put them up on the charts and gathered legions of fans, but it was this album that set them on a throne. Tracks like "Feel Good Inc.", "Dirty Harry", and "Dare" are too good! And the rest of the songs off the album are perfectly put together, some of the moody ones like "Kids with Guns", "November Has Come", "White Light", and "Don't Get Lost in Heaven" really hit the spot just as much as the funkier ones like "Every Planet We Reach Is Dead". A perfect album that you should listen to right now if you haven't for a little while. It will make your day, I promise. It is nostalgic for me, and also I find something new to cherish each time I give it another listen. Perfect. Great. Outstanding. Amazing. Innovative. One of a kind. "Feel Good Inc." is just the cherry on top of the best sundae you will ever eat. So dig in! Enjoy!
Year Released: 2005
Album: Demon Days (2005)
Genre: Alternative Rock, Rap Rock
Mood: Feel Good
Perfect For: Casual listening, Shittily singing on Guitar Hero, Relaxing, Good time drives, Enjoying the day
Where To Next: "Time to Pretend" - MGMT
Rating: 9 / 10
Ready for some good ol' musical whiplash? Well, today the choice is for the all mighty Gorillaz, a group that never stops expanding their sound and never stops pushing out top tier music. The group was formed by visionary Damon Albarn, who is the frontman and vocalist for the multiplatinum selling rock group Blur. As for the Gorillaz, it was the creative marriage of Albarn's musical knack and artist Jamie Hewlett. The term "virtual band" wasn't even a thing until the Gorillaz showed up, it was a new and exciting idea in the music world, I mean I guess the first group to do it was Alvin and the Chipmunks, but it feels weird to fully accept them as the first, still Gorillaz brought the idea to a whole new level. A whole new level that put them on the radar of everyone in the 2000s, especially with their second studio album, Demon Days (2005). That album is one of many that mean the world to me, it was a stepping stone of musical expansion as a child, and is a big reason on why I am into many different sounds since the Gorillaz never stay put even within one studio album. The music videos of those songs have a happy home within my memories, I used to religiously watch those puppies. I loved the lore and the sleazy art style of Jamie Hewlett. It set the bar very high for other bands at the time. Those music videos were put together extremely well, the lore was plentiful and accessible, and the band went so far to let you have a little interactive game if you loaded the CD into the disc drive of your computer. The band was so cool and mysterious as a kid, it really felt like it wasn't humans making the music, but these little characters they set up. As a kid, I had a crush on Noodle, the bands "guitarist". My sister owned a copy of the Gorillaz Demon Days, and I used to steal that from her as much as I could. I have plenty of memories of listening to that CD all day long. It is still the only piece of physical media that I played so much that I broke it. Being a kid, I didn't tell my sister what I did and plotted out this whole scheme when it would have just been easier to be honest about it. I went so far to "accidentally" bring it along with me to Texas when I was living with my dad and disposing of it there. So I was without my precious Demon Days for a good long while up until my dad told me that our cat ate the Easter bunny one year when he forgot to make the holiday special for little boy blue, and after some tears he felt guilty enough to let me go get some CDs from Walmart. Obviously I picked up Demon Days again, and also I think I got The Used's Lies for the Liars, I cannot quite remember what the other CD was I picked up, but I think it was KoRn's Greatest Hits Vol. 1 which my father then went and stole from me and I never saw it again. That was also my first taste of good ol supermarket censorship on CD's, I found out the hard way never to buy KoRn from Walmart. Need an example of why? Try listening to the censored version of "Y'all Want a Single". Can't blame him for stealing that CD though, that is a great compilation! Anyway, there is a happy ending for my sister, since I gave over the new copy once she came to visit us in Texas with my mom. She never even knew, but I did take away a great CD from her, it was the last time I ran off with someone else's music, well aside from pirating buuuut meh. No need to do that now with streaming. Alright, enough about story time, let's get back into the Gorillaz.
Gorillaz were the heart and soul of the 2000s. A timeless band that is still as one of a kind now as they were then. Our song of the day today "Feel Good Inc." is by far their most recognized song, so recognized it is about to cross over the 2 billion listens mark on Spotify alone. That is more than practically any other song I regularly listen to. Gorillaz reaches far and wide, they have fans in any genre that you can think of. They are addictive and have this silly nature that anyone with ears can get behind. And like I mentioned already, they don't stay in one genre, so there really is something for everyone within their 9 main studio albums. "Feel Good Inc." features the hip hop group De La Soul that first found mass fame with their 1989 debut album 3 Feet High and Rising. Gorillaz always rubs shoulders with the best of the best, and "Feel Good Inc." is no different. The song is the sixth track off of Demon Days, a perfect refresher as you move through the album. It is a little more level-headed after taking in "Dirty Harry", and the tracks before "Dirty Harry" are a little darker atmospherically. "Feel Good Inc." is exactly what it says in that title, an all around fun song that goes down so damn smooth it should be a crime. The song is often regarded as one of the best songs to come out of the 2000s, a statement I fully agree with, it really was impossible to not hear this song back in the day, and not even in the annoying way! It was always a great time to hear that well known intro! Demon Days itself was a titan of an album, out of nowhere the whole musical spectrum shifted to revolve around the Gorillaz, a true decade defining band if there ever was one. A piece of musical history I would suggest everyone listen to once in their life, but with an album of this level of power, it is impossible to listen to just once. It will follow you throughout life. "Feel Good Inc." is one of the reasons this album sold so damn well, it was an instant classic as soon as that single came along. This song won the best pop collaboration for its respective year, and earned the band this crazy fame and notoriety, even though anyone who helped out with the album was hidden behind a skillfully drawn character. The band's self-titled debut that came 4 years before Demon Days already put them up on the charts and gathered legions of fans, but it was this album that set them on a throne. Tracks like "Feel Good Inc.", "Dirty Harry", and "Dare" are too good! And the rest of the songs off the album are perfectly put together, some of the moody ones like "Kids with Guns", "November Has Come", "White Light", and "Don't Get Lost in Heaven" really hit the spot just as much as the funkier ones like "Every Planet We Reach Is Dead". A perfect album that you should listen to right now if you haven't for a little while. It will make your day, I promise. It is nostalgic for me, and also I find something new to cherish each time I give it another listen. Perfect. Great. Outstanding. Amazing. Innovative. One of a kind. "Feel Good Inc." is just the cherry on top of the best sundae you will ever eat. So dig in! Enjoy!
Year Released: 2005
Album: Demon Days (2005)
Genre: Alternative Rock, Rap Rock
Mood: Feel Good
Perfect For: Casual listening, Shittily singing on Guitar Hero, Relaxing, Good time drives, Enjoying the day
Where To Next: "Time to Pretend" - MGMT
Rating: 9 / 10
Song of the Day 09/12/2025
"Nachtkrapp" - Gràb
I think we need a little something to spice up this month's playlist. We already have some metal, but none hit the extreme metalmark yet this month. I know that extreme metal is super hit-and-miss with rockers, and even some metalheads, but it has been the present and will surely be the future for heavy metal music. I doubt heavy metal will go back to its traditional roots any time soon, the modern metal sound is damn far from the sound out of the 1980s that was still rooted in one way or another to hard rock of yesteryear, well so far as the mainstream sound went. The extreme metal genre we will be sitting with today is the murky and all consuming black metal genre. Black metal has been the oddity genre since it showed in the mid 1980s. In comparison to the other main metal subgenres, black metal found its sound and for the most part kept with it. Even some of the modern groups I come across have a ton in common with the original first wave of black metal that came out of the 1980s, and they have even more with the golden days of black metal in the 1990s. Our band we are looking at today, Gràb, wasn't even slightly ashamed to show their heavy influence by the infamous Norwegian black metal scene. I cannot blame them though, as much as I love the atmospheric and symphonic black metal that came out of the 2000s and of today, there is no doubting the best years for the genre were during the 1990s. Gràb is a sadly overlooked goldmine of black metal, they have tracks that were straight up ripped out of the Darkthrone and Enslaved play book, but on the other side of the coin they keep this atmospheric black metal sound that I think helps keep them in the more modern side of the genre. I came across them less than a year ago, since I often check out the hundreds of hidden bands out of the genre when I get a second. They grabbed my attention quickly with this song "Nachtkrapp", and following that I listened to the band's debut album that holds our song of the day, Zeitlang. If you haven't guessed it yet, Gràb hails from Bavaria, and thus the majority of their material is in German or old Bavarian. I have come to understand that the best extreme metals out there always come out of Europe, and often out of Germany. Something about the ancient land always produces top tier eerie music, and as an American we rarely have any music that hits that atmosphere. The band has two albums out right now, and while I have only listened to their debut to completion, I fully intend to check out that follow up Kremess which was released this year. Maybe I will make time for it this upcoming Friday. Well, I suppose it is time we talk about the song of the day, so let's get into it!
"Nachtkrapp" is a track that is about a creature out of European folklore. It is a giant dark as night raven that is used as a cautionary tale for children, they say that it flies around at night with empty eye sockets that will cause you to drop dead if you gaze into them. So if your kid is acting up and won't get to bed, then you have your new bedtime story to inspire them to save their sorry souls and just go to sleep. I love those folklore tales, they are always dark and messed up, but much like the music we are listening today, there is certainly an appeal there. So with this song being about the night raven, you already know you are about to enter a mystical land of sweet quiet death. That album cover tells you what you are about to agree to as well. "Nachtkrapp" is the second song off the album, but the first real song since track one is an introduction to the album. I have always adored how black metal uses intro and outro tracks, it ties together the album wonderfully. This song is murky as they come, it feels like you are venturing up a dark mountain side with heavy snow coming down, seeing apparitions in the veil of snowfall. I wish I could tell you more about the lyrics, but with it being in a different language and already being black metal, I cannot make out a single word. Another thing I love about black metal is how the lyrics are often diabolically well written, but you cannot understand a single word, yet unlike most other genres it doesn't hurt a single thing, if anything it compliments it. As for this song, the atmosphere is a perfect mix between Bathory, Dimmu Borgir, and Immortal. It goes down so damn smooth and without fail always takes over the moment no matter when you are listening to it. Even with its low quality and repetition, it has a crazy good atmosphere that makes you feel death as much as you feel life. Shit, I chose this track for the song of the day as I brushed my teeth in the morning, and it made my brushing feel like I was gearing up for a battle I knew I was going to lose my life in. It gave me this strong desire to listen through Emperor's 1994 black metal gem In the Nightside Eclipse, which I did as soon as I made it to work and found some time to listen through an album real quick. Love that album. Gràb is just as powerful as many in the genre, and while I have a ton of beloved modern black metal bands, this group certainly stands above the others with their expert melding of old and new black metal sounds. Though I will admit there isn't much of a gap between those sounds. Well, no matter your opinion on black metal, do me a favor and try this song out. It is good, haunting, atmospheric, and not extreme enough to deter those who aren't into the style. Enjoy!
Year Released: 2021
Album: Zeitlang (2021)
Genre: Black Metal, Atmospheric Black Metal
Mood: Murky
Perfect For: Moonlight hikes, Casual listening, Heading off to war, Being a pallbearer, Feeling the kiss of white death
Where To Next: "Tuiflsrijtt" - Drudensang
Rating: 8 / 10
I think we need a little something to spice up this month's playlist. We already have some metal, but none hit the extreme metalmark yet this month. I know that extreme metal is super hit-and-miss with rockers, and even some metalheads, but it has been the present and will surely be the future for heavy metal music. I doubt heavy metal will go back to its traditional roots any time soon, the modern metal sound is damn far from the sound out of the 1980s that was still rooted in one way or another to hard rock of yesteryear, well so far as the mainstream sound went. The extreme metal genre we will be sitting with today is the murky and all consuming black metal genre. Black metal has been the oddity genre since it showed in the mid 1980s. In comparison to the other main metal subgenres, black metal found its sound and for the most part kept with it. Even some of the modern groups I come across have a ton in common with the original first wave of black metal that came out of the 1980s, and they have even more with the golden days of black metal in the 1990s. Our band we are looking at today, Gràb, wasn't even slightly ashamed to show their heavy influence by the infamous Norwegian black metal scene. I cannot blame them though, as much as I love the atmospheric and symphonic black metal that came out of the 2000s and of today, there is no doubting the best years for the genre were during the 1990s. Gràb is a sadly overlooked goldmine of black metal, they have tracks that were straight up ripped out of the Darkthrone and Enslaved play book, but on the other side of the coin they keep this atmospheric black metal sound that I think helps keep them in the more modern side of the genre. I came across them less than a year ago, since I often check out the hundreds of hidden bands out of the genre when I get a second. They grabbed my attention quickly with this song "Nachtkrapp", and following that I listened to the band's debut album that holds our song of the day, Zeitlang. If you haven't guessed it yet, Gràb hails from Bavaria, and thus the majority of their material is in German or old Bavarian. I have come to understand that the best extreme metals out there always come out of Europe, and often out of Germany. Something about the ancient land always produces top tier eerie music, and as an American we rarely have any music that hits that atmosphere. The band has two albums out right now, and while I have only listened to their debut to completion, I fully intend to check out that follow up Kremess which was released this year. Maybe I will make time for it this upcoming Friday. Well, I suppose it is time we talk about the song of the day, so let's get into it!
"Nachtkrapp" is a track that is about a creature out of European folklore. It is a giant dark as night raven that is used as a cautionary tale for children, they say that it flies around at night with empty eye sockets that will cause you to drop dead if you gaze into them. So if your kid is acting up and won't get to bed, then you have your new bedtime story to inspire them to save their sorry souls and just go to sleep. I love those folklore tales, they are always dark and messed up, but much like the music we are listening today, there is certainly an appeal there. So with this song being about the night raven, you already know you are about to enter a mystical land of sweet quiet death. That album cover tells you what you are about to agree to as well. "Nachtkrapp" is the second song off the album, but the first real song since track one is an introduction to the album. I have always adored how black metal uses intro and outro tracks, it ties together the album wonderfully. This song is murky as they come, it feels like you are venturing up a dark mountain side with heavy snow coming down, seeing apparitions in the veil of snowfall. I wish I could tell you more about the lyrics, but with it being in a different language and already being black metal, I cannot make out a single word. Another thing I love about black metal is how the lyrics are often diabolically well written, but you cannot understand a single word, yet unlike most other genres it doesn't hurt a single thing, if anything it compliments it. As for this song, the atmosphere is a perfect mix between Bathory, Dimmu Borgir, and Immortal. It goes down so damn smooth and without fail always takes over the moment no matter when you are listening to it. Even with its low quality and repetition, it has a crazy good atmosphere that makes you feel death as much as you feel life. Shit, I chose this track for the song of the day as I brushed my teeth in the morning, and it made my brushing feel like I was gearing up for a battle I knew I was going to lose my life in. It gave me this strong desire to listen through Emperor's 1994 black metal gem In the Nightside Eclipse, which I did as soon as I made it to work and found some time to listen through an album real quick. Love that album. Gràb is just as powerful as many in the genre, and while I have a ton of beloved modern black metal bands, this group certainly stands above the others with their expert melding of old and new black metal sounds. Though I will admit there isn't much of a gap between those sounds. Well, no matter your opinion on black metal, do me a favor and try this song out. It is good, haunting, atmospheric, and not extreme enough to deter those who aren't into the style. Enjoy!
Year Released: 2021
Album: Zeitlang (2021)
Genre: Black Metal, Atmospheric Black Metal
Mood: Murky
Perfect For: Moonlight hikes, Casual listening, Heading off to war, Being a pallbearer, Feeling the kiss of white death
Where To Next: "Tuiflsrijtt" - Drudensang
Rating: 8 / 10
Song of the Day 09/11/2025
"God" - John Lennon
This song is a heavy one, so I hope you came ready and willing. John Lennon is as legendary as you can get in the rock world. His face will forever be known, and the speculation around his death and "did Yoko kill the Beatles?" will forever be a topic amongst rockers. I am not here to talk about either of those here today, I honestly don't really care, and my opinion doesn't mean jack anyway. What matters to me is the impact John Lennon had on rock music, he almost had more impact on rock music than anyone else out there, only being rivaled by the legends of the early rock n roll days. He was one of the leading forces in the Beatles, being one of the most common vocalists and one of the most gifted lyricists of his day. That lyricism went even further with his solo work, and today is a great example of that. The lyrics for "God" are infamous, but it isn't the lyrics that get me here, it is the way he says those words, but we will get to that. First, I got to give an introduction to someone who truly needs no introduction. John Lennon started his quest in the rock world with The Quarrymen, a group that would go on to become The Beatles. The Beatles, as you know, are internationally famous and one of the flagstaffs of rock music. They are as famous as you can get, and their discography is practically perfect, every single song seems to be a sensation within itself. I don't need to tell you that though, The Beatles are known. The lyrical duo of John Lennon and Paul McCartney is the most successful in music history, and The Beatles as a whole were a powerhouse of musical influence, innovation, and mass appeal. They brought rock out of the awkward growing pains in the start of the 1960s, and stayed on the top all the way until their final album in 1970 Let It Be.
We can cover more about The Beatles later down the road, but honestly, since you are here, you already know about those boys out of Liverpool. Following infighting, media circus rides, varying opinions of direction, women, confusion, frustration, and human ego The Beatles found their end. During this time period each member was playing around with solo work, and it was easy to see that it was the end, the dream was over. John Lennon had an awful start, and I am not ashamed of saying it, his first two plain peculiar albums alongside Yoko Ono Unfinished Music No. 1: Two Virgins and its companion Unfinished Music No. 2: Life With the Lions both released in 1968 & 1969 show off this avant-garde sound but to me, it sounds like someone wailing into a microphone with lips touching it and someone beating the shit out of a child's play piano. I love John Lennon, musically he is my favorite Beatle, but those first two albums are terrible. Terrible. They were released during the ending years while Lennon was still in The Beatles. The same is said about his third solo album Wedding Album, another awful album, but I will admit it is a little bit better mainly since there is more time for some straight spoken word which is a little bit better than the normal ear rape, but only by a little. If you are someone who wants to listen to everything The Beatles related then you got to sit through them, but if you aren't, then don't waste your time unless you want a headache, a chuckle, and a stomach ache. That leads us to our focused album today, 1970s John Lennon/Plastic Ono Band, which is Lennon's first solo album following the break-up of The Beatles. Unlike his previous three, this album is immaculate! A fucking great album that I cannot praise enough. It is beautiful yet so damn heavy.
John Lennon/Plastic Ono Band is an album everyone has got to listen to once in their life before they die. Many claim it is one of the most important and best albums of all time, and while my heart rests more with John Lennon's 1971 studio album Imagine, I cannot deny that this album in someways out shines it, especially in the moodiness of it. With all the confusion and loss that John Lennon was going through, it is expected for this album to be intense and full of raw emotion. This album is so full of emotion, you feel sodden once it is through. The album is influenced by the reliance of his wife, The Beatles coming to a harsh close, and most importantly the therapy approach John Lennon took on known as "primal therapy". An approach to curing psychosis from childhood trauma (a theme in a shitload of John Lennon material) by reexperiencing childhood pain. No matter on your opinion if that approach works, it could easily mess with your psyche, especially after 4 straight weeks of working at it. So with all those influences, life changes, and therapy we get this album which talks of personal pain, mainly revolving around unsolved trauma. "God" is the 10th track off the album, it is practically the final track since "My Mummys Dead" hardly counts as a full song. "God" is one of many legendary tracks off the album, and in my opinion I find this to be the most personal song from John Lennon. It is a bold one no matter how you cut it, John Lennon has always been one to speak his mind for better or worse. He was kind of a dick about it more often than not. Still, the simple lyrics of "God" are soaked in tears as John Lennon denounces his belief in the things that controlled society at the time, including himself. The first set of lyrics has been a favorite of mine for a long ass time. The song starts off with mellow piano work, and before you get a chance to get seated, Lennon hits you with the first line "god is a concept, by which we measure our pain". He repeats it one more time, and then he moves into all he doesn't believe. Magic, I-Ching, bible, tarot, Hitler, Jesus, Kennedy, Buddha, mantra, Gita, yoga, kings, Elvis, Zimmerman, and finally in a haunting way, he says those famous words from the track "I don't believe in Beatles". So he personally shuts down many faiths, starting with spirituality and them moving into Christianity, Buddhism, cleromancy, Hinduism, and most left standing. He denounces famous icons in the public eye, being John Kennedy, Elvis Presley, Bob Dylan (Zimmerman), and once again The Beatles. For the first moment of the song it seems a little silly he keeps repeating himself with "I don't believe in..." but soon enough you are really sucked in by the power of the words. By the time he says "I don't believe in Beatles" the song goes quiet. It feels like after he laid out his heart for everyone to stab, he walks offstage. The next portion of the song is a little... heartwarming in a way. It is genuinely his rebirth in the form of music. Kind of like burning old love letters, or saying goodbye one last time before they bury a loved one. John Lennon finally says after all the previous lines that he only believes in himself, himself and Yoko. The only things that are real, the only things that are reality.
To truly stomp in the point of his new-found self, he uses some previous Beatles songs to show he is no longer that man. Those last few lines really make me sad, not even sure why, honestly, but just the emotion alone gets me a little choked up. He alludes to "Yesterday" and "I Am the Walrus", and burns the pictures of himself as this certain icon in the music world. He no longer wanted to be an icon, he just wants to be himself. I couldn't imagine the pain each of The Beatles were going through at the time. They were all each other's family, day in and out they were The Beatles, the biggest band ever to be, they ruled the music world. They hit a level of godliness that has never been hit again. That has got to be seriously taxing on someone, especially someone as broken as John Lennon. Now that is gone, or as John Lennon said it "the dream is over". For better or worse, those four were in this ride together, and now it was done. I have lost a close friend that I thought would be there for life, and even looking back on those 10 or so years of deep friendship being extinguished within 2 months, I feel this incredible loss that I know will never be filled once again. So if I had that with all the money and notoriety to back it up, how would I feel losing it all? Especially since they lifted off at such a young age, and violently quick, it probably felt like a dream the whole way through until one day you realize that indeed you are not that guy. You are no longer the "dream weaver" who makes everything come true, and you were never your past persona, even if it was a silly ass name like "the walrus". This song is painful. Beautiful, yet painful. I love it though, and I can think of few songs that are this damn soul wearing. John Lennon was the one to give The Beatles a send-off, he renounced all that everyone perceived, he did all that within 4 minutes. It must have felt great yet so sad to write this song and listen through it once it was all done. If it was me, I don't think I would ever actually listen to the song again once it was done. Though, since it isn't me I can promise you that I will continue to cherish and abuse this song so long as I live. A perfect song, especially with being a massive John Lennon fan. I could rewrite over and over again about how heavy this song is for the heart, but some things you have to simply experience for yourself and this is one of them. If you read this all the way through, I truly do appreciate it! But now it is time for you to do your part and listen to the song. As always, please do enjoy!
Year Released: 1970
Album: John Lennon/Plastic Ono Band (1970)
Genre: Soft Rock, Rock
Mood: Emotional
Perfect For: In depth listening, Feeling low down, Changing times, Rainy days
Where To Next: "Here Today" - Paul McCartney
Rating: 10 / 10
This song is a heavy one, so I hope you came ready and willing. John Lennon is as legendary as you can get in the rock world. His face will forever be known, and the speculation around his death and "did Yoko kill the Beatles?" will forever be a topic amongst rockers. I am not here to talk about either of those here today, I honestly don't really care, and my opinion doesn't mean jack anyway. What matters to me is the impact John Lennon had on rock music, he almost had more impact on rock music than anyone else out there, only being rivaled by the legends of the early rock n roll days. He was one of the leading forces in the Beatles, being one of the most common vocalists and one of the most gifted lyricists of his day. That lyricism went even further with his solo work, and today is a great example of that. The lyrics for "God" are infamous, but it isn't the lyrics that get me here, it is the way he says those words, but we will get to that. First, I got to give an introduction to someone who truly needs no introduction. John Lennon started his quest in the rock world with The Quarrymen, a group that would go on to become The Beatles. The Beatles, as you know, are internationally famous and one of the flagstaffs of rock music. They are as famous as you can get, and their discography is practically perfect, every single song seems to be a sensation within itself. I don't need to tell you that though, The Beatles are known. The lyrical duo of John Lennon and Paul McCartney is the most successful in music history, and The Beatles as a whole were a powerhouse of musical influence, innovation, and mass appeal. They brought rock out of the awkward growing pains in the start of the 1960s, and stayed on the top all the way until their final album in 1970 Let It Be.
We can cover more about The Beatles later down the road, but honestly, since you are here, you already know about those boys out of Liverpool. Following infighting, media circus rides, varying opinions of direction, women, confusion, frustration, and human ego The Beatles found their end. During this time period each member was playing around with solo work, and it was easy to see that it was the end, the dream was over. John Lennon had an awful start, and I am not ashamed of saying it, his first two plain peculiar albums alongside Yoko Ono Unfinished Music No. 1: Two Virgins and its companion Unfinished Music No. 2: Life With the Lions both released in 1968 & 1969 show off this avant-garde sound but to me, it sounds like someone wailing into a microphone with lips touching it and someone beating the shit out of a child's play piano. I love John Lennon, musically he is my favorite Beatle, but those first two albums are terrible. Terrible. They were released during the ending years while Lennon was still in The Beatles. The same is said about his third solo album Wedding Album, another awful album, but I will admit it is a little bit better mainly since there is more time for some straight spoken word which is a little bit better than the normal ear rape, but only by a little. If you are someone who wants to listen to everything The Beatles related then you got to sit through them, but if you aren't, then don't waste your time unless you want a headache, a chuckle, and a stomach ache. That leads us to our focused album today, 1970s John Lennon/Plastic Ono Band, which is Lennon's first solo album following the break-up of The Beatles. Unlike his previous three, this album is immaculate! A fucking great album that I cannot praise enough. It is beautiful yet so damn heavy.
John Lennon/Plastic Ono Band is an album everyone has got to listen to once in their life before they die. Many claim it is one of the most important and best albums of all time, and while my heart rests more with John Lennon's 1971 studio album Imagine, I cannot deny that this album in someways out shines it, especially in the moodiness of it. With all the confusion and loss that John Lennon was going through, it is expected for this album to be intense and full of raw emotion. This album is so full of emotion, you feel sodden once it is through. The album is influenced by the reliance of his wife, The Beatles coming to a harsh close, and most importantly the therapy approach John Lennon took on known as "primal therapy". An approach to curing psychosis from childhood trauma (a theme in a shitload of John Lennon material) by reexperiencing childhood pain. No matter on your opinion if that approach works, it could easily mess with your psyche, especially after 4 straight weeks of working at it. So with all those influences, life changes, and therapy we get this album which talks of personal pain, mainly revolving around unsolved trauma. "God" is the 10th track off the album, it is practically the final track since "My Mummys Dead" hardly counts as a full song. "God" is one of many legendary tracks off the album, and in my opinion I find this to be the most personal song from John Lennon. It is a bold one no matter how you cut it, John Lennon has always been one to speak his mind for better or worse. He was kind of a dick about it more often than not. Still, the simple lyrics of "God" are soaked in tears as John Lennon denounces his belief in the things that controlled society at the time, including himself. The first set of lyrics has been a favorite of mine for a long ass time. The song starts off with mellow piano work, and before you get a chance to get seated, Lennon hits you with the first line "god is a concept, by which we measure our pain". He repeats it one more time, and then he moves into all he doesn't believe. Magic, I-Ching, bible, tarot, Hitler, Jesus, Kennedy, Buddha, mantra, Gita, yoga, kings, Elvis, Zimmerman, and finally in a haunting way, he says those famous words from the track "I don't believe in Beatles". So he personally shuts down many faiths, starting with spirituality and them moving into Christianity, Buddhism, cleromancy, Hinduism, and most left standing. He denounces famous icons in the public eye, being John Kennedy, Elvis Presley, Bob Dylan (Zimmerman), and once again The Beatles. For the first moment of the song it seems a little silly he keeps repeating himself with "I don't believe in..." but soon enough you are really sucked in by the power of the words. By the time he says "I don't believe in Beatles" the song goes quiet. It feels like after he laid out his heart for everyone to stab, he walks offstage. The next portion of the song is a little... heartwarming in a way. It is genuinely his rebirth in the form of music. Kind of like burning old love letters, or saying goodbye one last time before they bury a loved one. John Lennon finally says after all the previous lines that he only believes in himself, himself and Yoko. The only things that are real, the only things that are reality.
To truly stomp in the point of his new-found self, he uses some previous Beatles songs to show he is no longer that man. Those last few lines really make me sad, not even sure why, honestly, but just the emotion alone gets me a little choked up. He alludes to "Yesterday" and "I Am the Walrus", and burns the pictures of himself as this certain icon in the music world. He no longer wanted to be an icon, he just wants to be himself. I couldn't imagine the pain each of The Beatles were going through at the time. They were all each other's family, day in and out they were The Beatles, the biggest band ever to be, they ruled the music world. They hit a level of godliness that has never been hit again. That has got to be seriously taxing on someone, especially someone as broken as John Lennon. Now that is gone, or as John Lennon said it "the dream is over". For better or worse, those four were in this ride together, and now it was done. I have lost a close friend that I thought would be there for life, and even looking back on those 10 or so years of deep friendship being extinguished within 2 months, I feel this incredible loss that I know will never be filled once again. So if I had that with all the money and notoriety to back it up, how would I feel losing it all? Especially since they lifted off at such a young age, and violently quick, it probably felt like a dream the whole way through until one day you realize that indeed you are not that guy. You are no longer the "dream weaver" who makes everything come true, and you were never your past persona, even if it was a silly ass name like "the walrus". This song is painful. Beautiful, yet painful. I love it though, and I can think of few songs that are this damn soul wearing. John Lennon was the one to give The Beatles a send-off, he renounced all that everyone perceived, he did all that within 4 minutes. It must have felt great yet so sad to write this song and listen through it once it was all done. If it was me, I don't think I would ever actually listen to the song again once it was done. Though, since it isn't me I can promise you that I will continue to cherish and abuse this song so long as I live. A perfect song, especially with being a massive John Lennon fan. I could rewrite over and over again about how heavy this song is for the heart, but some things you have to simply experience for yourself and this is one of them. If you read this all the way through, I truly do appreciate it! But now it is time for you to do your part and listen to the song. As always, please do enjoy!
Year Released: 1970
Album: John Lennon/Plastic Ono Band (1970)
Genre: Soft Rock, Rock
Mood: Emotional
Perfect For: In depth listening, Feeling low down, Changing times, Rainy days
Where To Next: "Here Today" - Paul McCartney
Rating: 10 / 10
Song of the Day 09/10/2025
"Every Monday" - Marvelous 3
Marvelous 3 might be known modernly as a one hit wonder, but that doesn't mean there isn't more under that name of greatness outside "Freak of the Week". One of my favorite things to discover when doing my year-by-year studies is when a band I formerly knew for one song, and once again is considered a one hit wonder actually has a ton of great material. When it comes to the 1990s, it seems it is a 40% chance. That in the end is a fairly high number, and with that in mind Marvelous 3 were one of the best discoveries in that percentile. I have only made it through two albums thus far, their debut Math and Other Problems, and their most popular release Hey! Album. Their debut came along in 1997, showing off their pop punk sound that leans more on the safe side of pop punk instead of the border lining emo sound that was just starting their claim in the harder music world in 1997. That album holds some enjoyable tracks, nothing to sell the world over, but a straight-up good local sounding debut that anyone into the 1990s rock sound can find a happy home in. All of that can also be said about their follow-up album Hey! Album, one that impressed me enough in my year-by-year studies, I sat down and gave it a solid full focus listen the following days after. The album is nihilistic and isn't scared to show the mental health issues oozing out of frontman Butch Walker's nose as he lays down simplistic vocals, strangely potent guitar work, and lyricism that shouts more than speaks for those lost in the turbulence of life, especially those in their 20s. Butch Walker first cut his teeth in the early 1990s glam metal outfit SouthGang, a band that I hate to admit I wasn't all too impressed with outside their only minor hit "Tainted Angel". A good group, but nothing too special to help separate it from the other glam metal bands that were starting to falter around the start of the 1990s. For a music historian, or a fan of Marvelous 3, I would suggest them, but for the casual music listener I think you will be safe to overlook them. I wouldn't suggest you do the same with Marvelous 3 though, their second album is a welcome addition to the already chock-full great releases to come out of 1998. It is in songs like their big hit "Freak of the Week", and the backing power tracks "You're So Yesterday", "Every Monday", and "Indie Queen" that really make this album a beautiful mess to take in. The kind of album that leaves you a little bit hollow, but that is what I love about 1990s melancholy albums.
"Every Monday" is my favorite song off the album, and so far as I have made it through their material, the favorite song I have heard from them yet. Their catchiness is shown off best on the track, and its pop music with depressive lyrics really encompasses what Hey! Album is all about. It starts off reminiscent of a poppy alternative rock sound, something that might rub some listeners wrong, but if you give the song a second you easily get sucked into its soundwaves. A simple song that covers the story of a man that lives his life in a cloud of liquor and loss. As Neil Young said, "only love can break your heart, try to be sure right from the start" so you can avoid being an empty shell of a person with a broken heart. I love the emotion behind this track, it feels as hopeless and the lyrics portray. He feels flustered as he spends the week alone and drunk, and then the weekend drunkenly paying a lady to just listen to him even though she will have sex for free. Then after all that boozing and losing, here comes Monday again to let all those emotions take fold again. Repeat cycle. I have stated previously that I wish I felt that before, I have learned loss before and I learned a ton more about it within the last 2 years alone than ever before, but I want to feel just once how it feels to lose your woman. Now, if you are reading this Alesha, I am not saying to leave me... cause like... that wouldn't be cool ya know? But what I am saying is I don't fully understand these songs as much as I should. I have broken hearts and have been broken up with before, so I get the general idea, but I never felt this damn low over it. If it happened now, it would be sickeningly shattering, I can't even fathom the emotions as I type this out, but in the past I kind of just shrugged it off. I think it is a personal thing though; I could have my toe accidentally cut off at work and say "hmm... sure is something" before promptly passing the fuck out. I am not the type to get too caught up in the bad shit, which I would say is a good trait, but a therapist would probably beg to differ, luckily for me, I don't go to therapy, so I don't gotta worry about that. Gotta play the system! Can't know you are fucked up if a professional never tells you! Just kidding. Anyway, "Every Monday" sure feels hopeless. It feels hollow and confused. The emotion on the sleeve style is something in itself, but to mix that with melancholy is pure gold. A great find from my deep dive through the 1990s, which I am about to finish! Well, about to finish meaning in about a month give or take, but then I can take on the 2000s so expect more from that decade. Alright, well I didn't really tell you shit about the band nor the song buuuut I guess that is why I made the playlist so you can listen to it yourself. Soooo enjoy!
Year Released: 1998
Album: Hey! Album (1998)
Genre: Alternative Rock, Pop Punk, Pop Rock
Mood: Depressive
Perfect For: Casual listening, Walking into work on a Monday, Having a beer, Break ups
Where To Next: "All the Kids Are Right" - Local H
Rating: 7 / 10
Marvelous 3 might be known modernly as a one hit wonder, but that doesn't mean there isn't more under that name of greatness outside "Freak of the Week". One of my favorite things to discover when doing my year-by-year studies is when a band I formerly knew for one song, and once again is considered a one hit wonder actually has a ton of great material. When it comes to the 1990s, it seems it is a 40% chance. That in the end is a fairly high number, and with that in mind Marvelous 3 were one of the best discoveries in that percentile. I have only made it through two albums thus far, their debut Math and Other Problems, and their most popular release Hey! Album. Their debut came along in 1997, showing off their pop punk sound that leans more on the safe side of pop punk instead of the border lining emo sound that was just starting their claim in the harder music world in 1997. That album holds some enjoyable tracks, nothing to sell the world over, but a straight-up good local sounding debut that anyone into the 1990s rock sound can find a happy home in. All of that can also be said about their follow-up album Hey! Album, one that impressed me enough in my year-by-year studies, I sat down and gave it a solid full focus listen the following days after. The album is nihilistic and isn't scared to show the mental health issues oozing out of frontman Butch Walker's nose as he lays down simplistic vocals, strangely potent guitar work, and lyricism that shouts more than speaks for those lost in the turbulence of life, especially those in their 20s. Butch Walker first cut his teeth in the early 1990s glam metal outfit SouthGang, a band that I hate to admit I wasn't all too impressed with outside their only minor hit "Tainted Angel". A good group, but nothing too special to help separate it from the other glam metal bands that were starting to falter around the start of the 1990s. For a music historian, or a fan of Marvelous 3, I would suggest them, but for the casual music listener I think you will be safe to overlook them. I wouldn't suggest you do the same with Marvelous 3 though, their second album is a welcome addition to the already chock-full great releases to come out of 1998. It is in songs like their big hit "Freak of the Week", and the backing power tracks "You're So Yesterday", "Every Monday", and "Indie Queen" that really make this album a beautiful mess to take in. The kind of album that leaves you a little bit hollow, but that is what I love about 1990s melancholy albums.
"Every Monday" is my favorite song off the album, and so far as I have made it through their material, the favorite song I have heard from them yet. Their catchiness is shown off best on the track, and its pop music with depressive lyrics really encompasses what Hey! Album is all about. It starts off reminiscent of a poppy alternative rock sound, something that might rub some listeners wrong, but if you give the song a second you easily get sucked into its soundwaves. A simple song that covers the story of a man that lives his life in a cloud of liquor and loss. As Neil Young said, "only love can break your heart, try to be sure right from the start" so you can avoid being an empty shell of a person with a broken heart. I love the emotion behind this track, it feels as hopeless and the lyrics portray. He feels flustered as he spends the week alone and drunk, and then the weekend drunkenly paying a lady to just listen to him even though she will have sex for free. Then after all that boozing and losing, here comes Monday again to let all those emotions take fold again. Repeat cycle. I have stated previously that I wish I felt that before, I have learned loss before and I learned a ton more about it within the last 2 years alone than ever before, but I want to feel just once how it feels to lose your woman. Now, if you are reading this Alesha, I am not saying to leave me... cause like... that wouldn't be cool ya know? But what I am saying is I don't fully understand these songs as much as I should. I have broken hearts and have been broken up with before, so I get the general idea, but I never felt this damn low over it. If it happened now, it would be sickeningly shattering, I can't even fathom the emotions as I type this out, but in the past I kind of just shrugged it off. I think it is a personal thing though; I could have my toe accidentally cut off at work and say "hmm... sure is something" before promptly passing the fuck out. I am not the type to get too caught up in the bad shit, which I would say is a good trait, but a therapist would probably beg to differ, luckily for me, I don't go to therapy, so I don't gotta worry about that. Gotta play the system! Can't know you are fucked up if a professional never tells you! Just kidding. Anyway, "Every Monday" sure feels hopeless. It feels hollow and confused. The emotion on the sleeve style is something in itself, but to mix that with melancholy is pure gold. A great find from my deep dive through the 1990s, which I am about to finish! Well, about to finish meaning in about a month give or take, but then I can take on the 2000s so expect more from that decade. Alright, well I didn't really tell you shit about the band nor the song buuuut I guess that is why I made the playlist so you can listen to it yourself. Soooo enjoy!
Year Released: 1998
Album: Hey! Album (1998)
Genre: Alternative Rock, Pop Punk, Pop Rock
Mood: Depressive
Perfect For: Casual listening, Walking into work on a Monday, Having a beer, Break ups
Where To Next: "All the Kids Are Right" - Local H
Rating: 7 / 10
Song of the Day 09/09/2025
"Tired World (Chapter Six)" - Saga
Aright, we have taken in some pretty big names this month but let's take a little time to shine some light on an underrated rock group, the epic Canadian group Saga. Saga isn't your exact idea of a hidden gem, they have a strong cult following and even had some high charting albums with their progressive meets new wave rock approach on their 1980s albums Heads or Tales (1983), Worlds Apart (1981), and Behaviour (1985). Granted, those albums charted high in Europe mostly, they had a harder time busting into the Canadian market, and a much harder time in the United States. When it comes to progressive rock, the USA hardly gives a group the time if they don't have some solid singles to back up the rest of the album. We are a very point and click country, and we also don't find all too much value in things that don't sell high, quality or talent doesn't matter to the capitalist meat grinder. Saga is a band that honestly took me by surprise when I was working through their 1970s - 1980s material, I thought it was going to be another silly prog band that followed in the same steps as Asia and 90125 Yes with finding a spot for progressive rock in the ever-changing music world that was the late 1970s and early 1980s. They are so much more than that, their debut which we will talk more on in a little bit thoroughly impressed me. A hidden gem as far as I am concerned during the heavy hitting 1970s rock world's prime, and after listening through it the first time I knew I was going to love what they did next, and love it is exactly what I did. Following their debut, the band started gaining a little more traction, becoming radio staples in Finland and Germany. They released three studio albums before their fourth had them breaking out into fame, even gaining their first gold selling records out of their home country of Canada, the band's classic Worlds Apart which is a pure joy to listen to start to finish. The band doesn't get so progressive that it is unenjoyable for casual listening, they can please both the typical music listener and the progressive rock heads all at the same time. I will admit, I am hit and miss with some progressive rock, and while I appreciate each band I have heard lay it down, there are a few that really grasp me and Saga is one of them.
Well with their little introduction out of the way, let's focus on why we are here to start with, our song of the day "Tired World (Chapter Six)". This is the final song of the band's 1978 self-titled debut. Honestly, my favorite album they have put out, even if many of their fans don't seem to agree outside "Humble Stance". It is an album with perfect form, easy enough to take in the songs individually yet you won't get the full picture if you just cherry-pick. Another album that I strongly suggest listening from start to finish, it is honestly worth every second of its running time. The album starts off with "How Long", a perfect track for you to get your feet wet before the band commences running you down with intricate playing that never strays too far from its strange new wave backing. Saga is one of those bands that do live albums just as great as their studio work, I think that is some of what makes them such a cult band in the progressive world. I guess it is a rite of passage for a progressive rock group worth their weight in mathematics to be able to back up their rock live. Through my year by year studies, I often sigh when I see I have to take on a 17 song long live album out of the blue. That is not the case with progressive rock, I know it is going to be a moment that I find a new love for the power of music and those that make it. For Saga, I find their best live album to be The Chapters Live (2005), but I admittedly have a thing for concept albums if done right. Also, when it comes to Saga, I appreciate their "chapters" songs, much like our song of the day, which since it is just sitting right there we might as well give it a play and talk about it a little bit. "Tired World (Chapter Six)" is one of the best out of Saga's... saga of songs that covers the quirky story of Albert Einstein being brought back from the dead by aliens to save humanity, now that might sound sort of loony, and I am not denying that it isn't, but it is at least unique. What is even more unique is the "musical puzzle" in which the order of chapter releases came out, we have chapter six here today and also "Will It Be You? (Chapter Four)" off of that debut, and the other tracks are spread amongst their first couple of albums, chapter one being the sixth track off their second studio album Images at Twilight. Not sure why they had to do that, but I guess it gives you a reason to listen to the others if you want to see Albert Einstein start as a crazy old man on the sidewalk, die, come back, save humanity, and then watch as humanity cannot save themselves. Anyway! You will have to listen through it yourself to see that it is actually a kick ass set of 16 songs. Though, for today, let's just stick with "Tired World (Chapter Six)". The song is the final track off that debut I keep mentioning, and what a way to end the album. It is funky and fun, soothing you into your seat with a fun use of keyboards and synthesizers before the vocals join in on the party telling the tale of a sleeping dead world. The selling point for me is the hypnotic nature of the song, which lets the vocalist Michael Sadler paint a picture. That trance is broken once the band lets you go at the 2:55 mark, but then this new floaty spaced out feeling takes control. Smooth playing and continual smooth bass lines lull you into nirvana for the remainder of the song. Each new minute brings something exciting to the table, some of it will give you some intense chills too. Well, I guess I will let you be and listen to the song for yourself. It is worth it! Great composition, great lyrics, great atmosphere, and most importantly it is some straight up great playing. Enjoy!
Year Released: 1978
Album: Saga (1978)
Genre: Progressive Rock
Mood: Hypnotic
Perfect For: Casual listening, In depth listening, Morning drives
Where To Next: "Wildest Dreams" - Asia
Rating: 7 / 10
Aright, we have taken in some pretty big names this month but let's take a little time to shine some light on an underrated rock group, the epic Canadian group Saga. Saga isn't your exact idea of a hidden gem, they have a strong cult following and even had some high charting albums with their progressive meets new wave rock approach on their 1980s albums Heads or Tales (1983), Worlds Apart (1981), and Behaviour (1985). Granted, those albums charted high in Europe mostly, they had a harder time busting into the Canadian market, and a much harder time in the United States. When it comes to progressive rock, the USA hardly gives a group the time if they don't have some solid singles to back up the rest of the album. We are a very point and click country, and we also don't find all too much value in things that don't sell high, quality or talent doesn't matter to the capitalist meat grinder. Saga is a band that honestly took me by surprise when I was working through their 1970s - 1980s material, I thought it was going to be another silly prog band that followed in the same steps as Asia and 90125 Yes with finding a spot for progressive rock in the ever-changing music world that was the late 1970s and early 1980s. They are so much more than that, their debut which we will talk more on in a little bit thoroughly impressed me. A hidden gem as far as I am concerned during the heavy hitting 1970s rock world's prime, and after listening through it the first time I knew I was going to love what they did next, and love it is exactly what I did. Following their debut, the band started gaining a little more traction, becoming radio staples in Finland and Germany. They released three studio albums before their fourth had them breaking out into fame, even gaining their first gold selling records out of their home country of Canada, the band's classic Worlds Apart which is a pure joy to listen to start to finish. The band doesn't get so progressive that it is unenjoyable for casual listening, they can please both the typical music listener and the progressive rock heads all at the same time. I will admit, I am hit and miss with some progressive rock, and while I appreciate each band I have heard lay it down, there are a few that really grasp me and Saga is one of them.
Well with their little introduction out of the way, let's focus on why we are here to start with, our song of the day "Tired World (Chapter Six)". This is the final song of the band's 1978 self-titled debut. Honestly, my favorite album they have put out, even if many of their fans don't seem to agree outside "Humble Stance". It is an album with perfect form, easy enough to take in the songs individually yet you won't get the full picture if you just cherry-pick. Another album that I strongly suggest listening from start to finish, it is honestly worth every second of its running time. The album starts off with "How Long", a perfect track for you to get your feet wet before the band commences running you down with intricate playing that never strays too far from its strange new wave backing. Saga is one of those bands that do live albums just as great as their studio work, I think that is some of what makes them such a cult band in the progressive world. I guess it is a rite of passage for a progressive rock group worth their weight in mathematics to be able to back up their rock live. Through my year by year studies, I often sigh when I see I have to take on a 17 song long live album out of the blue. That is not the case with progressive rock, I know it is going to be a moment that I find a new love for the power of music and those that make it. For Saga, I find their best live album to be The Chapters Live (2005), but I admittedly have a thing for concept albums if done right. Also, when it comes to Saga, I appreciate their "chapters" songs, much like our song of the day, which since it is just sitting right there we might as well give it a play and talk about it a little bit. "Tired World (Chapter Six)" is one of the best out of Saga's... saga of songs that covers the quirky story of Albert Einstein being brought back from the dead by aliens to save humanity, now that might sound sort of loony, and I am not denying that it isn't, but it is at least unique. What is even more unique is the "musical puzzle" in which the order of chapter releases came out, we have chapter six here today and also "Will It Be You? (Chapter Four)" off of that debut, and the other tracks are spread amongst their first couple of albums, chapter one being the sixth track off their second studio album Images at Twilight. Not sure why they had to do that, but I guess it gives you a reason to listen to the others if you want to see Albert Einstein start as a crazy old man on the sidewalk, die, come back, save humanity, and then watch as humanity cannot save themselves. Anyway! You will have to listen through it yourself to see that it is actually a kick ass set of 16 songs. Though, for today, let's just stick with "Tired World (Chapter Six)". The song is the final track off that debut I keep mentioning, and what a way to end the album. It is funky and fun, soothing you into your seat with a fun use of keyboards and synthesizers before the vocals join in on the party telling the tale of a sleeping dead world. The selling point for me is the hypnotic nature of the song, which lets the vocalist Michael Sadler paint a picture. That trance is broken once the band lets you go at the 2:55 mark, but then this new floaty spaced out feeling takes control. Smooth playing and continual smooth bass lines lull you into nirvana for the remainder of the song. Each new minute brings something exciting to the table, some of it will give you some intense chills too. Well, I guess I will let you be and listen to the song for yourself. It is worth it! Great composition, great lyrics, great atmosphere, and most importantly it is some straight up great playing. Enjoy!
Year Released: 1978
Album: Saga (1978)
Genre: Progressive Rock
Mood: Hypnotic
Perfect For: Casual listening, In depth listening, Morning drives
Where To Next: "Wildest Dreams" - Asia
Rating: 7 / 10
Song of the Day 09/08/2025
"Warm Machine" - Bush
Bush gets a lot of unwarranted hate, but that is coming from the eyes of someone who wasn't there for their main fame. It seems bands that were ultra popular amongst the more boring portion of society always get misunderstood. Pearl Jam and Bush are prime examples of that curse, and when I meet people who don't like those groups I tend to ask why, especially for Pearl Jam since those dudes are a barrel full of monkeys worth of fun, and I always tend to get the same responses. "They are overrated", "my brother's football friends listened to them", "but are they Alice in Chains?" and so on and so forth. It more so seems to be people's unlearned opinions take fold as fact. Bush for example wrote songs that were approachable, they were cleaned up and approached many topics people can get behind. The classic heartbreak songs, the driving songs, the hopeful songs, but even with those basic themes at the helm they still set aside time for heavier topics or personal lyrics, but most of the people that put the band down never actually took the time to listen and see. Anyway, I will leave that topic at that, I just wanted to say that Bush is worth all their sales, they are worth their place amongst some of the most respected names to come out of 1990s rock music. Bush found fame with their 1994 debut album Sixteen Stone, an album that is a synonymous name with 1990s rock music. That one album has been certified multiplatinum in many countries, but strangely only hit the silver status in their own home. I ain't too shocked though, Bush jumped on the grunge bus at the end of its line. The Brits weren't too into grunge music when they had Britpop in full swing on their shores, a genre that easily matches what was brewing in the US. Most of the original grunge groups were altering their sound in 1994, some went for a heavier sound, some went back to their punk roots, some the artsy fartsy route, and some didn't make it out alive. Hence, why this album and the majority of Bush's earlier studio albums are put under the "post grunge" banner. This album is a classic through and through, one I never get sick of, and I have abused it for years upon years. In my opinion, it is one of the most impressive debut albums in rock history, not because every song is a killer track, but how well it melded into the sound of the time. No need to expand with experimentation here, it is straight forward music made for the people. Following that album, Bush released Razorblade Suitcase in 1996, an album of mixed reviews. After selling such a great album, most bands falter on the follow-up, and as much as I personally really enjoy the album, it is nothing in comparison to Sixteen Stone. There are the redeeming songs, but you could grab a greatest hits album to get all of those and skip the more lost feeling tracks on the rest of the album. Ain't talking too much shit, like I said I am a fan of the album, but Sixteen Stone is one hell of a shadow to live under. That album still went multiplatinum and is another classic from Bush, especially since it holds the tracks "Swallowed", "Bonedriven", and "Distant Voices" some of my personal favorites from the band. After those two albums we have their last album out of the 1990s, The Science of Things, which released in October of 1999.
Bush has always been an autumn band for me, their atmosphere of warm hopelessness is exactly what autumn is to me. I wish I was more than a bubbling baby in 1999 so I could have bought this album upon release to feel it in full force. The album didn't gather the same attention as their previous two, the music world was changing and there wasn't too much room for coattail riding grunge acts. Plus they waited for 3 years in between releases, so that more casual listening fan base already moved onto the next big thing as those types tend to do, but the core fans were there, and the album still achieved platinum status in North America. I have always found The Science of Things to be one of Bush's best. They left behind some of their "copy and paste" material for something fresh and a smidgen experimental. They included some more electronic backing, which I found to really spice up the album. It separates Bush from their cliché sound, they now have something more mature, bold, and smooth. I honestly think this album is close to as good as Sixteen Stone, it is a beast of its own that you cannot even compare to the band's debut since it is a good bit different. A great step for Bush to leave behind their normal style, it was a move that let them move into the 2000s, maybe not with the same coverage, but with a sound that is pleasant and agreeable. The album is mainly known for the singles "The Chemicals Between Us", "Letting the Cables Sleep", and "Warm Machine". "The Chemicals Between Us" is one of Bush's most well known tracks, and really is one of the leading selling forces of this album. I still hear it get regular playing time on radio stations where I live. But my heart goes out to the third single off the album, "Warm Machine", which is also our song of the day. This is the song that starts off the album, it gives you a taste of this new Bush, for better or worse. It is still rooted in their grunge sound, so I am sure most of the fans weren't too quick to stop the album, but you can still feel it is a little more thought out. It has a much more intimate sound, more relaxed and flowy. This song has always easily set my mind at ease after a long day, or once again compliments a frost kissed morning when autumn gives way to winter. Some may say this album was a forgettable one, but when there are tracks like "Warm Machine" there it shows those that say that must have corks in their ears and bum holes. Once again, Bush never once tried being something they were not. They weren't trying to be showy or the new cocky kid in town, just a band out of London that only asks for your attention and maybe a little bit of cash to buy their albums. The Science of Things is an underrated gem out of 1999, a simple good time that was hard to find since most of the bands in 1999 were fronting electronica, rap rock, or rinse and repeat quirky indie. So, give the song a listen today and see what you think about it. There is no way you have missed Bush up until this point, and no matter your opinion, there is always another chance to hear a band with unbiased ears. Enjoy!
Year Released: 1999
Album: The Science of Things (1999)
Genre: Alternative Rock, Post Grunge
Mood: Mellow
Perfect For: Casual listening, Autumn walks, Early morning coffee runs, Relaxing
Where To Next: "Stellar" - Incubus
Rating: 8 / 10
Bush gets a lot of unwarranted hate, but that is coming from the eyes of someone who wasn't there for their main fame. It seems bands that were ultra popular amongst the more boring portion of society always get misunderstood. Pearl Jam and Bush are prime examples of that curse, and when I meet people who don't like those groups I tend to ask why, especially for Pearl Jam since those dudes are a barrel full of monkeys worth of fun, and I always tend to get the same responses. "They are overrated", "my brother's football friends listened to them", "but are they Alice in Chains?" and so on and so forth. It more so seems to be people's unlearned opinions take fold as fact. Bush for example wrote songs that were approachable, they were cleaned up and approached many topics people can get behind. The classic heartbreak songs, the driving songs, the hopeful songs, but even with those basic themes at the helm they still set aside time for heavier topics or personal lyrics, but most of the people that put the band down never actually took the time to listen and see. Anyway, I will leave that topic at that, I just wanted to say that Bush is worth all their sales, they are worth their place amongst some of the most respected names to come out of 1990s rock music. Bush found fame with their 1994 debut album Sixteen Stone, an album that is a synonymous name with 1990s rock music. That one album has been certified multiplatinum in many countries, but strangely only hit the silver status in their own home. I ain't too shocked though, Bush jumped on the grunge bus at the end of its line. The Brits weren't too into grunge music when they had Britpop in full swing on their shores, a genre that easily matches what was brewing in the US. Most of the original grunge groups were altering their sound in 1994, some went for a heavier sound, some went back to their punk roots, some the artsy fartsy route, and some didn't make it out alive. Hence, why this album and the majority of Bush's earlier studio albums are put under the "post grunge" banner. This album is a classic through and through, one I never get sick of, and I have abused it for years upon years. In my opinion, it is one of the most impressive debut albums in rock history, not because every song is a killer track, but how well it melded into the sound of the time. No need to expand with experimentation here, it is straight forward music made for the people. Following that album, Bush released Razorblade Suitcase in 1996, an album of mixed reviews. After selling such a great album, most bands falter on the follow-up, and as much as I personally really enjoy the album, it is nothing in comparison to Sixteen Stone. There are the redeeming songs, but you could grab a greatest hits album to get all of those and skip the more lost feeling tracks on the rest of the album. Ain't talking too much shit, like I said I am a fan of the album, but Sixteen Stone is one hell of a shadow to live under. That album still went multiplatinum and is another classic from Bush, especially since it holds the tracks "Swallowed", "Bonedriven", and "Distant Voices" some of my personal favorites from the band. After those two albums we have their last album out of the 1990s, The Science of Things, which released in October of 1999.
Bush has always been an autumn band for me, their atmosphere of warm hopelessness is exactly what autumn is to me. I wish I was more than a bubbling baby in 1999 so I could have bought this album upon release to feel it in full force. The album didn't gather the same attention as their previous two, the music world was changing and there wasn't too much room for coattail riding grunge acts. Plus they waited for 3 years in between releases, so that more casual listening fan base already moved onto the next big thing as those types tend to do, but the core fans were there, and the album still achieved platinum status in North America. I have always found The Science of Things to be one of Bush's best. They left behind some of their "copy and paste" material for something fresh and a smidgen experimental. They included some more electronic backing, which I found to really spice up the album. It separates Bush from their cliché sound, they now have something more mature, bold, and smooth. I honestly think this album is close to as good as Sixteen Stone, it is a beast of its own that you cannot even compare to the band's debut since it is a good bit different. A great step for Bush to leave behind their normal style, it was a move that let them move into the 2000s, maybe not with the same coverage, but with a sound that is pleasant and agreeable. The album is mainly known for the singles "The Chemicals Between Us", "Letting the Cables Sleep", and "Warm Machine". "The Chemicals Between Us" is one of Bush's most well known tracks, and really is one of the leading selling forces of this album. I still hear it get regular playing time on radio stations where I live. But my heart goes out to the third single off the album, "Warm Machine", which is also our song of the day. This is the song that starts off the album, it gives you a taste of this new Bush, for better or worse. It is still rooted in their grunge sound, so I am sure most of the fans weren't too quick to stop the album, but you can still feel it is a little more thought out. It has a much more intimate sound, more relaxed and flowy. This song has always easily set my mind at ease after a long day, or once again compliments a frost kissed morning when autumn gives way to winter. Some may say this album was a forgettable one, but when there are tracks like "Warm Machine" there it shows those that say that must have corks in their ears and bum holes. Once again, Bush never once tried being something they were not. They weren't trying to be showy or the new cocky kid in town, just a band out of London that only asks for your attention and maybe a little bit of cash to buy their albums. The Science of Things is an underrated gem out of 1999, a simple good time that was hard to find since most of the bands in 1999 were fronting electronica, rap rock, or rinse and repeat quirky indie. So, give the song a listen today and see what you think about it. There is no way you have missed Bush up until this point, and no matter your opinion, there is always another chance to hear a band with unbiased ears. Enjoy!
Year Released: 1999
Album: The Science of Things (1999)
Genre: Alternative Rock, Post Grunge
Mood: Mellow
Perfect For: Casual listening, Autumn walks, Early morning coffee runs, Relaxing
Where To Next: "Stellar" - Incubus
Rating: 8 / 10
Song of the Day 09/07/2025
"Southern Dissolution" - Black Label Society
Man oh man do I love Black Label Society, this band practically defined my youth, and Zakk Wylde might as well have influenced my dressing style more than anyone. Just wish I had the money to fully dress like him... and also had the guns to boot... and the ability to grow a beard.... that man's stage attire is cool as hell especially with Black Label Society. Zakk Wylde is known as one of the best metal and hard rock guitarists to ever be, his time with Ozzy Osbourne (1987 - 2025) holds some of the best guitar work to come out of the 1980s and 1990s. His project album Pride & Glory is one of the most entertaining southern rock albums out of its respective decade, and the acoustic based solo work albums Book of Shadows (1996) and Book of Shadows II (2016) show a side of Zakk Wylde that steps away from the shredding but didn't even close to walk away from his outstanding guitar work. His last little project outside his work with Ozzy Osbourne and Black Label Society is Zakk Sabbath, which as you could have guessed, is him covering the kick ass material of the heavy metal godfathers Black Sabbath. I have listened through everything Zakk Wylde has ever put out, even going so far as to listen through stuff I cannot easily access on YouTube and other sites that have the hidden material modernly, few musicians I take that step for, but Zakk Wylde is one of my icons and also serves as my all-time favorite guitarist. And for someone who has spent their whole existence for the love of rock music of all shades, that is a hell of a statement. That guitar work is shown off better nowhere else than with Black Label Society. So, we have talked about the mastermind behind those bending strings, Zakk Wylde, but let's get a little more into his flagstaff band Black Label Society. BLS is one extreme band, not in the way of harsh vocals or blast beats that make your heart stop, but more in the way of ferocious instruments pushing forward some seriously impressive metal and hard rock. The band is heavily based around biker themes, their stage show and attire match the lyrical and atmosphere of the leather clad rebel upon an iron horse. Sonic Brew served as the band's debut in 1998, crafted after Zakk Wylde's solo work and time with his project Pride & Glory failed to turn many heads. Instead of doing another solo album, Wylde decided to put together a group that was long-lasting with a vision and set style. They used Japan as the testing ground at the end of 1998, and then released it to the rest of the world the following year. The album certainly turned heads, but still not to a level of godhood, that wouldn't come until the band's fourth studio album, The Blessed Hellride. Even with this new-found status BLS still didn't sell albums to platinum sales, but that is okay, what they created was a core fan base that was obsessed. I have found that every single Black Label Society album is genuinely great and worth full price, no matter which year you come across them, and while it doesn't change all too much stylistically that is part of the glory of the almighty Black Label Society. A timeless group that rests somewhere between being very famous and not very well known, music for the love of music, no need for fast bucks and cheap thrills, just straight forward heavy music that whispers in your ear to have another beer on a work night.
Our song of the day this go around is "Southern Dissolution" which comes off the band's eighth studio album Order of the Black. This is the band's highest charting album, peaking at number 4 on the US charts, and personally this is one of my all-time favorites from them. I guess I might have a little bit of a bias though since this was the first time actually hearing Black Label Society. When I was a kid, I would religiously walk my happy ass all the way to the library so I could check out a shitload of CD's once a week. The dude that oversaw all the media knew me personally, and would often ask what I thought about this album or that album when he saw me gather them, sometimes even giving suggestions. I am sure I was annoying since they would only let people rent 10 CDs at a time, but for me, I checked out as many as I could carry, but I am sure he saw this long haired sunburnt kid with a fiery passion and let it slide. If anything he seemed to feed my passion, I hope he never got in trouble since I would take almost 40 at a time, but in my defense I listened to each and every one of them and returned them safe and sound on time. Man, I spent so much time gathering CDs there and found so many great tunes that way. I really appreciate that guy, and I appreciate Orem library for having a great media selection, since it served as a stepping stone for countless discoveries in my young ears. I would spend well over 2 hours collecting albums to try out, it was obsessive, and I would be so pumped searching through them that I would get a hell of a headache on the way home. So there I was on one faithful day, flipping through the newly donated CDs and I saw this epic looking album, a sharp steel cross with a skull in the middle of it laying on black leather. A simplistic album cover that was flourishing with mystery, and the album title on the cross saying Order of the Black sure aided the already evil mystic air floating around it. So obviously I added it to the selections for that week and headed on home. Even though I had a pretty good walk in front of me before it got dark, my hands kept pulling that CD out of the album holder just to look at it. Curiosity. Infatuation. Thrill. Well, finally I got to my house and thanked the stars that nobody was home. I rushed to my room, shut the door, loaded the CD into that ol trusty barely working CD tray, turned it up, flicked that light off, and pushed play. The chills I got when "Crazy Horse" kicked off is something I have never experienced again. It was one hell of a high, and right off the bat I was like wait.... is this the guy from Ozzy Osbourne? I knew No More Tears like the back of my hand, and there is no mixing up that guitar sound, so I pulled up the slip and saw the name Zakk Wylde on the liner notes and simply grinned. Together again. I discovered something wicked, something that I knew at that moment would follow me through life. Song after song I sat there in the dark and sucked it all in, and if I recall right I just left it on repeat until I fell asleep. I was so damn thrilled with this find that the following day I begged my dad to play this CD while we went and did errands, and even he was into it. I have a core memory of enjoying criminally loud music that day as "Overlord" blared from those shitty Chevrolet Suburban speakers. I got the CD to keep later that year come Christmas, which I am sure the library was glad of since I would renew my hold of it on repeat for months, and when I had to let someone else have a turn I would share but rent it again once it was on the shelf. Ahhhh.. good memories. Shoot! I didn't even talk about "Southern Dissolution"! Well, it is gonna be a long one.
This album has been a cherished one since its discovery, and it got heavy rotation during my teen years into my adult years. "Southern Dissolution" is a heavy as sin track, bombastic drumming makes love to the shredding from Zakk Wylde. Wylde handled the guitar work, vocals, piano, production, and musical direction, leaving the bass work to John DeServio and the drumming to Will Hunt, known for his drumming with Evanescence and a ton of other bands. "Southern Dissolution" isn't the most revolutionary song, but it is one of the best from the album. Its lyrics are depressive yet strengthening, a theme that is loud and proud on Order of the Black. But the lyrics can be a little more tame when this song goes so damn hard, my favorite part of the track is the outro. A headbangers wet dream of an ending. The ending of the song gives you one hell of an eargasm, which leaves you worn and ready for the best ballad on the album, "Time Waits for No One". If this album first came out on vinyl, I would wager that "Southern Dissolution" would serve as the final song on side one. The first half of the album is all for the throat tracks, but a lot of the fun of Order of the Black comes from the pretty, yet still heavy as sin songs on the second half. It is hard to not talk about every song on this cherished album, but I gotta keep on track (no pun intended). Like I mentioned before, Black Label Society never really changed up their style all too much, each album has some oddity tracks, but the heavy ones are always about the same. Something that I don't mind in the slightest, so long as that set style always gets my rocks off. "Southern Dissolution" is another copy and paste heavy as hell song, but even with that, I find it to be underrated. In the modern eye, this album doesn't get nearly the love as some of the band's other ass kickers, even with its highest spot on the charts of the time. I get it, I really do, since the albums Mafia and The Blessed Hellride are damn intense and perfect, but I find this album to be just as great. Well, guess you will have to see for yourself, won't ya? Even if you already know the band, be sure to check out some of the hidden gems off this album, and if you are someone who is first hearing BLS then I am happy to present to you this song. Enjoy!
Year Released: 2010
Album: Order of the Black (2010)
Genre: Heavy Metal, Hard Rock
Mood: Intense
Perfect For: Making your neck hurt, Driving fast, Steering wheel drumming, Casual listening
Where To Next: "On March the Saints" - Down
Rating: 8 / 10
Man oh man do I love Black Label Society, this band practically defined my youth, and Zakk Wylde might as well have influenced my dressing style more than anyone. Just wish I had the money to fully dress like him... and also had the guns to boot... and the ability to grow a beard.... that man's stage attire is cool as hell especially with Black Label Society. Zakk Wylde is known as one of the best metal and hard rock guitarists to ever be, his time with Ozzy Osbourne (1987 - 2025) holds some of the best guitar work to come out of the 1980s and 1990s. His project album Pride & Glory is one of the most entertaining southern rock albums out of its respective decade, and the acoustic based solo work albums Book of Shadows (1996) and Book of Shadows II (2016) show a side of Zakk Wylde that steps away from the shredding but didn't even close to walk away from his outstanding guitar work. His last little project outside his work with Ozzy Osbourne and Black Label Society is Zakk Sabbath, which as you could have guessed, is him covering the kick ass material of the heavy metal godfathers Black Sabbath. I have listened through everything Zakk Wylde has ever put out, even going so far as to listen through stuff I cannot easily access on YouTube and other sites that have the hidden material modernly, few musicians I take that step for, but Zakk Wylde is one of my icons and also serves as my all-time favorite guitarist. And for someone who has spent their whole existence for the love of rock music of all shades, that is a hell of a statement. That guitar work is shown off better nowhere else than with Black Label Society. So, we have talked about the mastermind behind those bending strings, Zakk Wylde, but let's get a little more into his flagstaff band Black Label Society. BLS is one extreme band, not in the way of harsh vocals or blast beats that make your heart stop, but more in the way of ferocious instruments pushing forward some seriously impressive metal and hard rock. The band is heavily based around biker themes, their stage show and attire match the lyrical and atmosphere of the leather clad rebel upon an iron horse. Sonic Brew served as the band's debut in 1998, crafted after Zakk Wylde's solo work and time with his project Pride & Glory failed to turn many heads. Instead of doing another solo album, Wylde decided to put together a group that was long-lasting with a vision and set style. They used Japan as the testing ground at the end of 1998, and then released it to the rest of the world the following year. The album certainly turned heads, but still not to a level of godhood, that wouldn't come until the band's fourth studio album, The Blessed Hellride. Even with this new-found status BLS still didn't sell albums to platinum sales, but that is okay, what they created was a core fan base that was obsessed. I have found that every single Black Label Society album is genuinely great and worth full price, no matter which year you come across them, and while it doesn't change all too much stylistically that is part of the glory of the almighty Black Label Society. A timeless group that rests somewhere between being very famous and not very well known, music for the love of music, no need for fast bucks and cheap thrills, just straight forward heavy music that whispers in your ear to have another beer on a work night.
Our song of the day this go around is "Southern Dissolution" which comes off the band's eighth studio album Order of the Black. This is the band's highest charting album, peaking at number 4 on the US charts, and personally this is one of my all-time favorites from them. I guess I might have a little bit of a bias though since this was the first time actually hearing Black Label Society. When I was a kid, I would religiously walk my happy ass all the way to the library so I could check out a shitload of CD's once a week. The dude that oversaw all the media knew me personally, and would often ask what I thought about this album or that album when he saw me gather them, sometimes even giving suggestions. I am sure I was annoying since they would only let people rent 10 CDs at a time, but for me, I checked out as many as I could carry, but I am sure he saw this long haired sunburnt kid with a fiery passion and let it slide. If anything he seemed to feed my passion, I hope he never got in trouble since I would take almost 40 at a time, but in my defense I listened to each and every one of them and returned them safe and sound on time. Man, I spent so much time gathering CDs there and found so many great tunes that way. I really appreciate that guy, and I appreciate Orem library for having a great media selection, since it served as a stepping stone for countless discoveries in my young ears. I would spend well over 2 hours collecting albums to try out, it was obsessive, and I would be so pumped searching through them that I would get a hell of a headache on the way home. So there I was on one faithful day, flipping through the newly donated CDs and I saw this epic looking album, a sharp steel cross with a skull in the middle of it laying on black leather. A simplistic album cover that was flourishing with mystery, and the album title on the cross saying Order of the Black sure aided the already evil mystic air floating around it. So obviously I added it to the selections for that week and headed on home. Even though I had a pretty good walk in front of me before it got dark, my hands kept pulling that CD out of the album holder just to look at it. Curiosity. Infatuation. Thrill. Well, finally I got to my house and thanked the stars that nobody was home. I rushed to my room, shut the door, loaded the CD into that ol trusty barely working CD tray, turned it up, flicked that light off, and pushed play. The chills I got when "Crazy Horse" kicked off is something I have never experienced again. It was one hell of a high, and right off the bat I was like wait.... is this the guy from Ozzy Osbourne? I knew No More Tears like the back of my hand, and there is no mixing up that guitar sound, so I pulled up the slip and saw the name Zakk Wylde on the liner notes and simply grinned. Together again. I discovered something wicked, something that I knew at that moment would follow me through life. Song after song I sat there in the dark and sucked it all in, and if I recall right I just left it on repeat until I fell asleep. I was so damn thrilled with this find that the following day I begged my dad to play this CD while we went and did errands, and even he was into it. I have a core memory of enjoying criminally loud music that day as "Overlord" blared from those shitty Chevrolet Suburban speakers. I got the CD to keep later that year come Christmas, which I am sure the library was glad of since I would renew my hold of it on repeat for months, and when I had to let someone else have a turn I would share but rent it again once it was on the shelf. Ahhhh.. good memories. Shoot! I didn't even talk about "Southern Dissolution"! Well, it is gonna be a long one.
This album has been a cherished one since its discovery, and it got heavy rotation during my teen years into my adult years. "Southern Dissolution" is a heavy as sin track, bombastic drumming makes love to the shredding from Zakk Wylde. Wylde handled the guitar work, vocals, piano, production, and musical direction, leaving the bass work to John DeServio and the drumming to Will Hunt, known for his drumming with Evanescence and a ton of other bands. "Southern Dissolution" isn't the most revolutionary song, but it is one of the best from the album. Its lyrics are depressive yet strengthening, a theme that is loud and proud on Order of the Black. But the lyrics can be a little more tame when this song goes so damn hard, my favorite part of the track is the outro. A headbangers wet dream of an ending. The ending of the song gives you one hell of an eargasm, which leaves you worn and ready for the best ballad on the album, "Time Waits for No One". If this album first came out on vinyl, I would wager that "Southern Dissolution" would serve as the final song on side one. The first half of the album is all for the throat tracks, but a lot of the fun of Order of the Black comes from the pretty, yet still heavy as sin songs on the second half. It is hard to not talk about every song on this cherished album, but I gotta keep on track (no pun intended). Like I mentioned before, Black Label Society never really changed up their style all too much, each album has some oddity tracks, but the heavy ones are always about the same. Something that I don't mind in the slightest, so long as that set style always gets my rocks off. "Southern Dissolution" is another copy and paste heavy as hell song, but even with that, I find it to be underrated. In the modern eye, this album doesn't get nearly the love as some of the band's other ass kickers, even with its highest spot on the charts of the time. I get it, I really do, since the albums Mafia and The Blessed Hellride are damn intense and perfect, but I find this album to be just as great. Well, guess you will have to see for yourself, won't ya? Even if you already know the band, be sure to check out some of the hidden gems off this album, and if you are someone who is first hearing BLS then I am happy to present to you this song. Enjoy!
Year Released: 2010
Album: Order of the Black (2010)
Genre: Heavy Metal, Hard Rock
Mood: Intense
Perfect For: Making your neck hurt, Driving fast, Steering wheel drumming, Casual listening
Where To Next: "On March the Saints" - Down
Rating: 8 / 10
Song of the Day 09/06/2025
"The Stroll" - The Diamonds
Ready for a little musical whiplash? It sure seems to be the theme so far for this month, but variety is the spice of life. Today we look at The Diamonds, one of Canada's premier vocal quartet groups to come out of the great pop sound of the 1950s and early 1960s. The Diamonds are one of the many pop, R&B, and doo-wop groups that I am overly familiar with their hit songs and compilations, though not too familiar with their studio albums. I cannot be fully to blame though, it seems much like old country music these great groups are media locked. Sure, you can find their stuff on YouTube or oddity websites, but practically all of those studio albums are mainly found on vinyl. Due to my new-found obsession with collecting vinyl records, which has an insane list of "need to get", I intend to change that and play through those albums once I find them. Speaking of my new-found love for these physical pieces of music history, a record store that I liked when I stopped in previously was having a big event with a couple of other vendors that I attended. My girlfriend and I got a ton of great albums, many of which I was dying to own physically. Her best pick from the haul was Derek and the Dominos with their legendary sole studio album Layla and Other Assorted Love Songs, but my favorite from the haul is tied between an original 1958 copy of Johnny Cash's Sings the Songs That Made Him Famous from the rock n roll breeding ground label Sun Records and the soundtrack to one of my favorite movies American Graffiti. That soundtrack is a steal for anyone who wants a compilation of a bunch of rock n roll, doo-wop, pop, and surf rock classics all wrapped up with introductions from the king of disc jockeys Wolfman Jack. That movie was a musical awakening for me when I was 14, I was already really into Elvis Presley and Fats Domino but that movie's soundtrack and overall aesthetic made me fall deeply in love with the 1950s, something that has never left me. After watching through that movie after pretending I was sick so I could stay home, I instantly jumped over to the computer and pirated that compilation, and it stayed with me on every MP3 or iPod I ever had. So it was only natural I picked it up on vinyl, and it was one of the ultimate goals when I knew this event with a shitload of records was coming up. I paid the man 12 bucks for the album, which for an album that contained 41 top tier songs from some of early rock's most renowned names, that is a steal! Once we got home, and it was that sacred hour of "which album should we listen to first", I already knew which one it was to be. Track after golden track of rock n roll radio played through those speakers, and I could have picked any, but this time around it was "The Stroll" from The Diamonds that fully grabbed my attention.
"The Stroll" is the band's highest charting song on the US Cashbox chart coming in at #1 and second highest charting song on the pop charts falling just behind their previous massive hit "Little Darlin'". Modernly, it is also their second most popular song, but their biggest hit "Little Darlin'" is simply too powerful and cutesy to overpower. "The Stroll" is my favorite song from The Diamonds, and even with me only have listened through their compilation from their time with Mercury Records, I am confident in my claim it is their most thrilling track. The song, as you might have guessed it, is revolving around the dance of the same name. These kinds of dance songs were immensely popular nearing the end of the 1950s and the first 3 years of the 1960s. Dance halls became a regular sight, and that teenage craze that was rock n roll music was in full swing. Year by year, songs came along that made you slip off your shoes and dance! If you ever want a history on it, check out "Land of 1000 Dances" from Wilson Pickett. Some kind of magic from the speakers that made the cool kids as much as the unpopular kids fall in love with that magic moment, and for "The Stroll" that magic moment only lasts 2:30. One thing I love about this decade of music is how fast the songs are, but even with its short playtime, it feels you lived a whole lifetime within its soundwaves. "The Stroll" has growling and yawning instrument work that is obsessive. You can see how The Diamonds had their hand in popularizing a more R&B style to the straight laced pop crowd of North America. The song was written by Clyde Otis, a big name in the R&B and rock world at the time, he wrote a shitload of the classics to come out of 1950s and 1960s rock, R&B, blues, pop, and soul like "Kiddio" and "(Ain't That) Lovin' You, Baby" which much like most of Clyde Otis lead songs have been covered a crap load of times. They all have that special touch from him too, you could be a scrawny white dude or a seasoned blues man and the songs come out sounding fairly similar, often mellow and always great. "The Stroll" is one of his finest achievements, and the song went on to be covered by Chubby Checker, The Smithereens, and a couple of others, but none do it better than The Diamonds. Strangely enough, the song was never covered by Chuck Willis, the self entitled "King of the Stroll". The Diamonds might have "The Stroll" for one of their claim to fame songs, but they got nothing on Chuck Willis, he certainly is the king of the stroll, be it short-lived. Anyway! Check out the song for a little American history, music history, and some damn good easy swaying music. Enjoy!
Year Released: 1957
Chosen Compilation: The Best of the Diamonds: The Mercury Years (1996)
Genre: Pop, Rock and Roll, R&B
Mood: Mellow
Perfect For: Slow dancing, Relaxing, Doing chores, Winter drives, Lazy Sundays
Where To Next: "I Put the Bomp (In the Bomp Bomp Bomp)" - Frankie Lymon
Rating: 8 / 10
Ready for a little musical whiplash? It sure seems to be the theme so far for this month, but variety is the spice of life. Today we look at The Diamonds, one of Canada's premier vocal quartet groups to come out of the great pop sound of the 1950s and early 1960s. The Diamonds are one of the many pop, R&B, and doo-wop groups that I am overly familiar with their hit songs and compilations, though not too familiar with their studio albums. I cannot be fully to blame though, it seems much like old country music these great groups are media locked. Sure, you can find their stuff on YouTube or oddity websites, but practically all of those studio albums are mainly found on vinyl. Due to my new-found obsession with collecting vinyl records, which has an insane list of "need to get", I intend to change that and play through those albums once I find them. Speaking of my new-found love for these physical pieces of music history, a record store that I liked when I stopped in previously was having a big event with a couple of other vendors that I attended. My girlfriend and I got a ton of great albums, many of which I was dying to own physically. Her best pick from the haul was Derek and the Dominos with their legendary sole studio album Layla and Other Assorted Love Songs, but my favorite from the haul is tied between an original 1958 copy of Johnny Cash's Sings the Songs That Made Him Famous from the rock n roll breeding ground label Sun Records and the soundtrack to one of my favorite movies American Graffiti. That soundtrack is a steal for anyone who wants a compilation of a bunch of rock n roll, doo-wop, pop, and surf rock classics all wrapped up with introductions from the king of disc jockeys Wolfman Jack. That movie was a musical awakening for me when I was 14, I was already really into Elvis Presley and Fats Domino but that movie's soundtrack and overall aesthetic made me fall deeply in love with the 1950s, something that has never left me. After watching through that movie after pretending I was sick so I could stay home, I instantly jumped over to the computer and pirated that compilation, and it stayed with me on every MP3 or iPod I ever had. So it was only natural I picked it up on vinyl, and it was one of the ultimate goals when I knew this event with a shitload of records was coming up. I paid the man 12 bucks for the album, which for an album that contained 41 top tier songs from some of early rock's most renowned names, that is a steal! Once we got home, and it was that sacred hour of "which album should we listen to first", I already knew which one it was to be. Track after golden track of rock n roll radio played through those speakers, and I could have picked any, but this time around it was "The Stroll" from The Diamonds that fully grabbed my attention.
"The Stroll" is the band's highest charting song on the US Cashbox chart coming in at #1 and second highest charting song on the pop charts falling just behind their previous massive hit "Little Darlin'". Modernly, it is also their second most popular song, but their biggest hit "Little Darlin'" is simply too powerful and cutesy to overpower. "The Stroll" is my favorite song from The Diamonds, and even with me only have listened through their compilation from their time with Mercury Records, I am confident in my claim it is their most thrilling track. The song, as you might have guessed it, is revolving around the dance of the same name. These kinds of dance songs were immensely popular nearing the end of the 1950s and the first 3 years of the 1960s. Dance halls became a regular sight, and that teenage craze that was rock n roll music was in full swing. Year by year, songs came along that made you slip off your shoes and dance! If you ever want a history on it, check out "Land of 1000 Dances" from Wilson Pickett. Some kind of magic from the speakers that made the cool kids as much as the unpopular kids fall in love with that magic moment, and for "The Stroll" that magic moment only lasts 2:30. One thing I love about this decade of music is how fast the songs are, but even with its short playtime, it feels you lived a whole lifetime within its soundwaves. "The Stroll" has growling and yawning instrument work that is obsessive. You can see how The Diamonds had their hand in popularizing a more R&B style to the straight laced pop crowd of North America. The song was written by Clyde Otis, a big name in the R&B and rock world at the time, he wrote a shitload of the classics to come out of 1950s and 1960s rock, R&B, blues, pop, and soul like "Kiddio" and "(Ain't That) Lovin' You, Baby" which much like most of Clyde Otis lead songs have been covered a crap load of times. They all have that special touch from him too, you could be a scrawny white dude or a seasoned blues man and the songs come out sounding fairly similar, often mellow and always great. "The Stroll" is one of his finest achievements, and the song went on to be covered by Chubby Checker, The Smithereens, and a couple of others, but none do it better than The Diamonds. Strangely enough, the song was never covered by Chuck Willis, the self entitled "King of the Stroll". The Diamonds might have "The Stroll" for one of their claim to fame songs, but they got nothing on Chuck Willis, he certainly is the king of the stroll, be it short-lived. Anyway! Check out the song for a little American history, music history, and some damn good easy swaying music. Enjoy!
Year Released: 1957
Chosen Compilation: The Best of the Diamonds: The Mercury Years (1996)
Genre: Pop, Rock and Roll, R&B
Mood: Mellow
Perfect For: Slow dancing, Relaxing, Doing chores, Winter drives, Lazy Sundays
Where To Next: "I Put the Bomp (In the Bomp Bomp Bomp)" - Frankie Lymon
Rating: 8 / 10
Song of the Day 09/05/2025
"Architecture of Aggression" - Megadeth
I swear there is never enough metal on the song of the day blog, but my choices are what they are. On this day, it was all about this Megadeth track, even though there were so many other great songs none could even start to compete. Megadeth has showed up here 3 times so far, but I would be lying if I remember exactly what I wrote, so let's treat it like a normal post, yeah? Megadeth is one of the most successful metal bands of all time, and one of the big four of thrash metal. Dave Mustaine is one of the most respected musicians in the metal world, his look is iconic, those vocals are impossible to mix up with someone else, and that sweet guitar work out of his Jackson has enough power to make even the metal gods drop their jaws and panties. Megadeth was first started up as a vessel for pent-up rage, drug abuse, rent money, and an LP full of bloodlust for Metallica that left Mustaine high and dry right before they blew up. That betrayal started a chronicle of heavy metal beef that hasn't been matched since, people are still asking you "Metallica or Megadeth" all these years later, I have even been asked by people that weren't even alive when that shit was going down. My answer is always the same, it is like heads vs tails, some days it is more likely to land on heads over tails, but in the end it is the same quarter. Both bands are important to heavy metal's evolution, and are both just as power and grand. Dave Mustaine put together his band upon his return to LA after being kicked out of Metallica, and with this new-found line up, material he had already been working on for Metallica, the need for money, and the thirst for notoriety we got the bands first album Killing Is My Business... and Business Is Good! an album that didn't shake the sea but showed off the band had power and wasn't going to stop their rampage any time soon. Its poor production gives this album something special in comparison to other Megadeth, guess that is why you don't spend half the money on drugs and food, but that recording is honestly most of the reason I return to that album since it is so raw and neck breaking. Following that they released Peace Sells... but Who's Buying?, a classic album in the thrash world and finally the band had a standing that they could take on the titans that were Metallica. Following that album each release got tighter and more powerful, and while Megadeth never toppled Metallica, they became a beast of their own and pushed both the underground metal sound as much as the mainstream metal sound into the rock history books. Megadeth is fucking great, iconic songs in iconic albums. They have had a strong career all the way up until the late 1990s and early 2000s, and even with those albums lacking in comparison to the others, there are enough great songs to make them a worthwhile listen. Then they started back up again with their polished core sound on 2007's United Abominations and got right back to knocking heads. I have a strong love for their 1980s and early 1990s material, that stuff has had me banging my head practically since I learned how to move the damn thing. The album that holds "Architecture of Aggression", our song of the day, is an album that has literally always been there for me.
1992 was an immensely powerful year for heavy metal music. Music made with the energy of gods, and live shows blessed by Lucifer himself. Pantera was sitting pretty as metal hotshots with Vulgar Display of Power, Darkthrone put out their essential black metal album A Blaze in the Northern Sky, and it was one of the last years that metal still stood as one, the old metal bands were releasing just as great of albums as the new blood. Even with so many outstanding albums coming out of one year, none come even close to Megadeth's fifth studio album, Countdown to Extinction. This album holds plenty of Megadeth's most iconic tracks like "High Speed Dirt", "Symphony of Destruction", "Sweating Bullets", and "Skin o' My Teeth". Each and every track on this album is phenomenal, even the more odd ones like "Captive Honour" and "Psychotron". Like I mentioned earlier this album has always been there with me, it was one both of my parents owned and would play fairly regularly, and it seemed it must have been their favorites too since I didn't hear too much of the bands other stuff practically ever. So no matter whose house I was at, I could go to the trusty CD holder and fish out that disc with a kick ass picture of Vic Rattlehead taking count on an abacus made out of human skulls. I never tire of this album, no matter the year or the place, always a crowd pleaser too so long as they love the power of metal, or let's be real, has ears. An essential album for any metalhead, I cannot state that enough, and if you have yet to listen to it, then what are you even doing here?! This album kept the political theme of the band's previous album Rust in Peace, having a heavy emphasis on war themes, climate concerns, and injustices. Lyrically, Dave Mustaine has always been more talented than the majority of the heavy metal world, and I say that with unshakable conviction. From the band's prime material, it seems each song is methodically put together to really shake you to your core. The guitar work is fast and brutal while being beautiful, the drumming is furious without fail, bassist David Ellefson is one of the greatest metal bassists to be, and the way Dave Mustaine sells those lyrics with his iconic sneering vocals is something you just gotta hear to understand. All of those things are shown off best on this album and 1990s Rust in Peace.
"Architecture of Aggression" is the 3rd track on the album, it keeps you sweating after the blitzkrieg attack of "Skin o' My Teeth" and "Symphony of Destruction". This is one of the war themed tracks off the album, a skillfully written track with some lines that really floor me. The chorus is one of them, with the lines "great nations built from the bones of the dead, with mud and straw; blood and sweat, you know your worth when your enemies praise your architecture of aggression". Heavy shit man, the rest of the song has more beloved lines that explore the terrible thing that is war with a blunt approach. This song really pulls no punches, the hard driving drums from Nick Menza is in-fucking-tense! He has always been metal drumming royalty, and "Architecture of Aggression" shows it off well, even if he is playing more as the tail gunner in this track. This track just goes to show how Countdown to Extinction is one of the best entry level metal albums out there, its feeling never fully passes into the extreme side of metal, but there is no doubting it is heavier than anything that the rockers were putting out at the time. A straight forward metal track that compliments the album wonderfully. As a teenager, Megadeth was a given when it was time to drink, and more often than not it would be this album here. As a youth you don't know how to drink like a gentleman, it is all about drinking until you drop, drinking until you shout METAAAAL as vomit shoots out of your nose. I would start this album off, and then by the time "Architecture of Aggression" rolled around I would be certainly feeling the buzz kicking in, and even now I feel a little tipsy when I hear the chorus of this track. I can shittily air guitar practically this whole song, just don't ask me to show you, that is for private enjoyment only. I wish I could grab this album and marry it. Truly. There are some albums that I cherish so much that it makes me sick that I cannot express it in some way aside from praising songs on my little ol' website. It is frustrating in a way. Have you ever felt that way about an album or song? I always figured it is what dogs feel when they get the zoomies. Maybe it is... love? But not in the normal way? I wish I could explain it better, I really do. This album is one of many that do that to me. It is just so damned gooood! Anyway, that is enough out of me flipping out about a 3 1/2-minute song, but I cannot help it! You know what to do, give the song a listen and enjoy!
Year Released: 1992
Album: Countdown to Extinction (1992)
Genre: Thrash Metal, Heavy Metal
Mood: Hard n Heavy
Perfect For: Banging your head, Drumming on the steering wheel, Getting drunk, Casual listening
Where To Next: "Mouth for War" - Pantera
Rating: 8 / 10
I swear there is never enough metal on the song of the day blog, but my choices are what they are. On this day, it was all about this Megadeth track, even though there were so many other great songs none could even start to compete. Megadeth has showed up here 3 times so far, but I would be lying if I remember exactly what I wrote, so let's treat it like a normal post, yeah? Megadeth is one of the most successful metal bands of all time, and one of the big four of thrash metal. Dave Mustaine is one of the most respected musicians in the metal world, his look is iconic, those vocals are impossible to mix up with someone else, and that sweet guitar work out of his Jackson has enough power to make even the metal gods drop their jaws and panties. Megadeth was first started up as a vessel for pent-up rage, drug abuse, rent money, and an LP full of bloodlust for Metallica that left Mustaine high and dry right before they blew up. That betrayal started a chronicle of heavy metal beef that hasn't been matched since, people are still asking you "Metallica or Megadeth" all these years later, I have even been asked by people that weren't even alive when that shit was going down. My answer is always the same, it is like heads vs tails, some days it is more likely to land on heads over tails, but in the end it is the same quarter. Both bands are important to heavy metal's evolution, and are both just as power and grand. Dave Mustaine put together his band upon his return to LA after being kicked out of Metallica, and with this new-found line up, material he had already been working on for Metallica, the need for money, and the thirst for notoriety we got the bands first album Killing Is My Business... and Business Is Good! an album that didn't shake the sea but showed off the band had power and wasn't going to stop their rampage any time soon. Its poor production gives this album something special in comparison to other Megadeth, guess that is why you don't spend half the money on drugs and food, but that recording is honestly most of the reason I return to that album since it is so raw and neck breaking. Following that they released Peace Sells... but Who's Buying?, a classic album in the thrash world and finally the band had a standing that they could take on the titans that were Metallica. Following that album each release got tighter and more powerful, and while Megadeth never toppled Metallica, they became a beast of their own and pushed both the underground metal sound as much as the mainstream metal sound into the rock history books. Megadeth is fucking great, iconic songs in iconic albums. They have had a strong career all the way up until the late 1990s and early 2000s, and even with those albums lacking in comparison to the others, there are enough great songs to make them a worthwhile listen. Then they started back up again with their polished core sound on 2007's United Abominations and got right back to knocking heads. I have a strong love for their 1980s and early 1990s material, that stuff has had me banging my head practically since I learned how to move the damn thing. The album that holds "Architecture of Aggression", our song of the day, is an album that has literally always been there for me.
1992 was an immensely powerful year for heavy metal music. Music made with the energy of gods, and live shows blessed by Lucifer himself. Pantera was sitting pretty as metal hotshots with Vulgar Display of Power, Darkthrone put out their essential black metal album A Blaze in the Northern Sky, and it was one of the last years that metal still stood as one, the old metal bands were releasing just as great of albums as the new blood. Even with so many outstanding albums coming out of one year, none come even close to Megadeth's fifth studio album, Countdown to Extinction. This album holds plenty of Megadeth's most iconic tracks like "High Speed Dirt", "Symphony of Destruction", "Sweating Bullets", and "Skin o' My Teeth". Each and every track on this album is phenomenal, even the more odd ones like "Captive Honour" and "Psychotron". Like I mentioned earlier this album has always been there with me, it was one both of my parents owned and would play fairly regularly, and it seemed it must have been their favorites too since I didn't hear too much of the bands other stuff practically ever. So no matter whose house I was at, I could go to the trusty CD holder and fish out that disc with a kick ass picture of Vic Rattlehead taking count on an abacus made out of human skulls. I never tire of this album, no matter the year or the place, always a crowd pleaser too so long as they love the power of metal, or let's be real, has ears. An essential album for any metalhead, I cannot state that enough, and if you have yet to listen to it, then what are you even doing here?! This album kept the political theme of the band's previous album Rust in Peace, having a heavy emphasis on war themes, climate concerns, and injustices. Lyrically, Dave Mustaine has always been more talented than the majority of the heavy metal world, and I say that with unshakable conviction. From the band's prime material, it seems each song is methodically put together to really shake you to your core. The guitar work is fast and brutal while being beautiful, the drumming is furious without fail, bassist David Ellefson is one of the greatest metal bassists to be, and the way Dave Mustaine sells those lyrics with his iconic sneering vocals is something you just gotta hear to understand. All of those things are shown off best on this album and 1990s Rust in Peace.
"Architecture of Aggression" is the 3rd track on the album, it keeps you sweating after the blitzkrieg attack of "Skin o' My Teeth" and "Symphony of Destruction". This is one of the war themed tracks off the album, a skillfully written track with some lines that really floor me. The chorus is one of them, with the lines "great nations built from the bones of the dead, with mud and straw; blood and sweat, you know your worth when your enemies praise your architecture of aggression". Heavy shit man, the rest of the song has more beloved lines that explore the terrible thing that is war with a blunt approach. This song really pulls no punches, the hard driving drums from Nick Menza is in-fucking-tense! He has always been metal drumming royalty, and "Architecture of Aggression" shows it off well, even if he is playing more as the tail gunner in this track. This track just goes to show how Countdown to Extinction is one of the best entry level metal albums out there, its feeling never fully passes into the extreme side of metal, but there is no doubting it is heavier than anything that the rockers were putting out at the time. A straight forward metal track that compliments the album wonderfully. As a teenager, Megadeth was a given when it was time to drink, and more often than not it would be this album here. As a youth you don't know how to drink like a gentleman, it is all about drinking until you drop, drinking until you shout METAAAAL as vomit shoots out of your nose. I would start this album off, and then by the time "Architecture of Aggression" rolled around I would be certainly feeling the buzz kicking in, and even now I feel a little tipsy when I hear the chorus of this track. I can shittily air guitar practically this whole song, just don't ask me to show you, that is for private enjoyment only. I wish I could grab this album and marry it. Truly. There are some albums that I cherish so much that it makes me sick that I cannot express it in some way aside from praising songs on my little ol' website. It is frustrating in a way. Have you ever felt that way about an album or song? I always figured it is what dogs feel when they get the zoomies. Maybe it is... love? But not in the normal way? I wish I could explain it better, I really do. This album is one of many that do that to me. It is just so damned gooood! Anyway, that is enough out of me flipping out about a 3 1/2-minute song, but I cannot help it! You know what to do, give the song a listen and enjoy!
Year Released: 1992
Album: Countdown to Extinction (1992)
Genre: Thrash Metal, Heavy Metal
Mood: Hard n Heavy
Perfect For: Banging your head, Drumming on the steering wheel, Getting drunk, Casual listening
Where To Next: "Mouth for War" - Pantera
Rating: 8 / 10
Song of the Day 09/04/2025
"Escape from the Prison Planet" - Clutch
Clutch sure is an oddity, but that oddness fits them like a glove, and they pull it off damn well much like Primus and Faith No More. It is often a risky game to step off the beaten path in the rock world, especially if you desire fame, but Clutch got that and more with their unique style. They are considered one of the pioneers of stoner rock, their sound isn't what you would expect out of Kyuss or Fu Manchu, it has this mainstream radio friendly groove that lets them sit with all sorts of different names on tour. Speaking of touring, Clutch is one of those hardworking bands that never seem to cease touring, a show I hope I get a chance to see sooner than later. Ever since their debut Transitional Speedway League: Anthems, Anecdotes and Undeniable Truths in 1993 they have released steady studio albums, rarely having more than a two-year gap between them. I have kept up with their releases ever since catching up upon my discovery of them back in 2016. A damn fun group that never changes up their sound too much, but I would be sad if they did, since that sound is gold. Their first 3 albums played an important role in my expanding horizons in rock music all those years ago, none did more for that expansion than their self-titled 2nd studio album. I have a serious soft spot for that album since it includes more of their "space rock" sound on tracks like "Spacegrass", "Escape from the Prison Planet", "Big News", and a couple of others. They also show off that stoner rock sound they are known for, and include some more bluesy tracks much like they leaned into on their previous album. That self-titled is a bona fide stoner rock classic. The bands follow-up album The Elephant Riders sees the band moving into their core sound, a sound they kept for years following, and while I have a seriously deep love for their self-titled, it was a wise step for them to become a powerhouse in the stoner rock world. Clutch plays a thin line between being a cult band and being a band everyone knows. Give "Electric Worry" a play and tell me you didn't already know that track (assuming you don't know Clutch much already). When I first came across the band it was "Electric Worry" that had that strange familiarity to it, like I have heard it a shitload somewhere but couldn't put my finger on where. I am very excited to have them on the website today, since even with their 617,000 monthly listeners on Spotify alone, I swear I never hear anyone talking about these dudes.
Our song of the day today comes off of their self titled album we were just talking about. In an album full of great songs, most of which revolve around space, "Escape from the Prison Planet" still separates itself from the others. Much in Clutch style, the lyrics are silly but gripping, clever yet simple all at the same time, and most importantly strangely very well written. Lyrics aren't everything though, you often need some solid great music to back it up, and luckily for us there is no lacking of quality bombastic sound. By the time you make it to "Escape from the Prison Planet" which is the 5th song off the album, you already have a gist on the goofiness that is Clutch, that "what the hell did he say?" turns into "what will he say next?" and aside from "Spacegrass" I would say our song of the day is the best written and performed song off the album. The moody, spacey feeling in the background gives vocalist Neil Fallon a stage to tell his story. A story that revolves around a few different scenes, mainly revolving around a man who intends to fly off into space even with the government breathing down his neck, or maybe he is an alien or at least thinks he is. The song references plenty of different alien themed things, most importantly Bob Lazar which was a famous conspiracy theorist who claimed to have been there for the infamous Area 51 events working as a physicist helping reverse engineer alien technology in that hot Nevada sun, well I am sure he was in a bunker, but you get the point. He is one of the most famous in the conspiracy world, both since he went on camera and also since he "leaked" plenty of intel. This same dude also helped create a pyrotechnics festival which takes place in that same Nevada desert, oh, and he was also arrested for aiding a prostitution ring which saw him going through court mandated psychotherapy (coincidence?! I think not! Brainwashing, man!) and later on getting arrested for transporting restricted chemicals across state lines. With all that in mind, is it too shocking he is included in a song all about escaping from Earth to join those that already live on Mars? Nope. One of the many reasons it is impossible to not love Clutch, stupid lyrics that are still written with a pen on fire. There are few albums better to space cruise to, I mean, "Spacegrass" seemed to be literally made for just that. Space cruise referring to getting baked and going for a little drive around town with no place to go. If someone is gonna get stoned in my car, there is a 80% chance "Spacegrass" is going to be next up in queue, if not that then "Space Oddity" from David Bowie or "Do It Again" by Steely Dan. Anyway, I guess that just about sums up the song. Give "Escape from the Prison Planet" a listen today! Free your mind! Don't believe the lies! Enjoy!
Year Released: 1995
Album: Clutch (1995)
Genre: Stoner Rock, Space Rock, Hard Rock
Mood: Bombastic
Perfect For: Speaking erratically about them damned reptilians in office!, Getting stoned, Going for a drive
Where To Next: "Lunarville 7, Airlock 3" - Orange Goblin
Rating: 8 / 10
Clutch sure is an oddity, but that oddness fits them like a glove, and they pull it off damn well much like Primus and Faith No More. It is often a risky game to step off the beaten path in the rock world, especially if you desire fame, but Clutch got that and more with their unique style. They are considered one of the pioneers of stoner rock, their sound isn't what you would expect out of Kyuss or Fu Manchu, it has this mainstream radio friendly groove that lets them sit with all sorts of different names on tour. Speaking of touring, Clutch is one of those hardworking bands that never seem to cease touring, a show I hope I get a chance to see sooner than later. Ever since their debut Transitional Speedway League: Anthems, Anecdotes and Undeniable Truths in 1993 they have released steady studio albums, rarely having more than a two-year gap between them. I have kept up with their releases ever since catching up upon my discovery of them back in 2016. A damn fun group that never changes up their sound too much, but I would be sad if they did, since that sound is gold. Their first 3 albums played an important role in my expanding horizons in rock music all those years ago, none did more for that expansion than their self-titled 2nd studio album. I have a serious soft spot for that album since it includes more of their "space rock" sound on tracks like "Spacegrass", "Escape from the Prison Planet", "Big News", and a couple of others. They also show off that stoner rock sound they are known for, and include some more bluesy tracks much like they leaned into on their previous album. That self-titled is a bona fide stoner rock classic. The bands follow-up album The Elephant Riders sees the band moving into their core sound, a sound they kept for years following, and while I have a seriously deep love for their self-titled, it was a wise step for them to become a powerhouse in the stoner rock world. Clutch plays a thin line between being a cult band and being a band everyone knows. Give "Electric Worry" a play and tell me you didn't already know that track (assuming you don't know Clutch much already). When I first came across the band it was "Electric Worry" that had that strange familiarity to it, like I have heard it a shitload somewhere but couldn't put my finger on where. I am very excited to have them on the website today, since even with their 617,000 monthly listeners on Spotify alone, I swear I never hear anyone talking about these dudes.
Our song of the day today comes off of their self titled album we were just talking about. In an album full of great songs, most of which revolve around space, "Escape from the Prison Planet" still separates itself from the others. Much in Clutch style, the lyrics are silly but gripping, clever yet simple all at the same time, and most importantly strangely very well written. Lyrics aren't everything though, you often need some solid great music to back it up, and luckily for us there is no lacking of quality bombastic sound. By the time you make it to "Escape from the Prison Planet" which is the 5th song off the album, you already have a gist on the goofiness that is Clutch, that "what the hell did he say?" turns into "what will he say next?" and aside from "Spacegrass" I would say our song of the day is the best written and performed song off the album. The moody, spacey feeling in the background gives vocalist Neil Fallon a stage to tell his story. A story that revolves around a few different scenes, mainly revolving around a man who intends to fly off into space even with the government breathing down his neck, or maybe he is an alien or at least thinks he is. The song references plenty of different alien themed things, most importantly Bob Lazar which was a famous conspiracy theorist who claimed to have been there for the infamous Area 51 events working as a physicist helping reverse engineer alien technology in that hot Nevada sun, well I am sure he was in a bunker, but you get the point. He is one of the most famous in the conspiracy world, both since he went on camera and also since he "leaked" plenty of intel. This same dude also helped create a pyrotechnics festival which takes place in that same Nevada desert, oh, and he was also arrested for aiding a prostitution ring which saw him going through court mandated psychotherapy (coincidence?! I think not! Brainwashing, man!) and later on getting arrested for transporting restricted chemicals across state lines. With all that in mind, is it too shocking he is included in a song all about escaping from Earth to join those that already live on Mars? Nope. One of the many reasons it is impossible to not love Clutch, stupid lyrics that are still written with a pen on fire. There are few albums better to space cruise to, I mean, "Spacegrass" seemed to be literally made for just that. Space cruise referring to getting baked and going for a little drive around town with no place to go. If someone is gonna get stoned in my car, there is a 80% chance "Spacegrass" is going to be next up in queue, if not that then "Space Oddity" from David Bowie or "Do It Again" by Steely Dan. Anyway, I guess that just about sums up the song. Give "Escape from the Prison Planet" a listen today! Free your mind! Don't believe the lies! Enjoy!
Year Released: 1995
Album: Clutch (1995)
Genre: Stoner Rock, Space Rock, Hard Rock
Mood: Bombastic
Perfect For: Speaking erratically about them damned reptilians in office!, Getting stoned, Going for a drive
Where To Next: "Lunarville 7, Airlock 3" - Orange Goblin
Rating: 8 / 10
Song of the Day 09/03/2025
"I Wanna Be Your Lover" - Prince
Few in the music world hit the same notoriety as Prince. His larger than life stage persona, sensational multi-platinum selling career, timeless classics out of the 1980s and the 1990s, and a talent behind anything "music" you can think of has led Prince to being one of the most recognized music icons of the 20th century. Prince has always been a hard one to pin down on what genre he belongs to, but some visionaries in the music world simply cannot be tied to one or two genres. This man did an obscene amount for the music world with his own music and also in the role of producer for many musicians ranging from the lesser known musicians to fellow superstars. So, who is Prince? Well, the first thing to bring up is his real name is Prince, not a stage name. So, I guess with that in mind, he might have been destined to be a creative force, or to be bullied throughout life, or both. He showed a knack for music at a young age, writing his first song at the age of 7. He started his music forward life at the age of 17 when he laid down guitar tracks for the local Minneapolis band 94 East, and while that project never took off, it gathered the attention of local bigwigs in the music world. It was the first step for Prince, following his discovery he got approved for a 3 album deal from Warner Bros Records, where he had creative freedom to test out his talent. He left his home for the city of angels, Los Angeles, a story that is as cliché as someone from Kentucky leaving their home for the bottle. Out of that deal we got three albums, the funky disco debut For You which didn't gather too much attention even with the leading single "Soft and Wet" becoming a minor hit. His follow-up album Prince which released in 1979 was met with much better critical acclaim and admiration from the masses, being his breakout album. In this album Prince found his spot, he dabbled in that sexy sexuality that made him such a sensation later on, but still kept it a little more tame focusing on straight R&B, funk, and pop. His 3rd studio album (fittingly titled) Dirty Mind is where Prince took on that sexual theme to the extreme! I mean, do yourself a favor and google that album cover if you don't know it already, and you will see what I mean. But let's pull this in a little bit since Prince has one long and glorious story and return to that second studio album Prince.
Prince didn't get too down about his debut falling on deaf ears, he pushed forward and instantly turned around and started working on his follow-up album. Throughout the album's 41-minute playtime, you can feel that dedication. Each recording seems to be nitpicked until the song is perfect. 1979 saw disco starting to slow down and varying forms of R&B taking its place year by year, and Prince was riding that wave, still dabbling in that disco sound but starting a sound that was fully his own. The album released 5 singles, two of which released solely out of the United States, but the three that released here "I Wanna Be Your Lover", "Why You Wanna Treat Me So Bad?", and "Still Waiting" gathered plenty of attention especially "I Wanna Be Your Lover" which was Prince's first big hit reaching number 11 on the Billboard 100. The rest of the album didn't do as hot, but still, it was a step up from his previous album, and it showed that Prince was soon going to mix up the music world. For me, this was one of the first Prince songs that fully grabbed my attention. It is funky in all the right ways, and the obvious sexual tension in the song is addictive. There have been plenty of days that I get the song stuck in my head out of nowhere and simply have to give it a play, hence why it is here today. There are two main versions of the song, the single version which cuts out the boogie which serves as the second half of the song of the album version. There is no argument which version is better, it is all about Prince laying down some high as hell vocals and then turning around to some jamming on synthesizers and keyboards. It shows off what Prince was capable of when he put his mind to his music. Once again, all you can feel is pure, raw human dedication to art. Lyrically, the song isn't anything all too special. But it isn't what Prince says, it is how he says it. Great vocals tell the story of a man that knows he can outperform his love interest's other partners, both in romance and in the sack. On paper the song seems like a love song with a little sex, but when Prince puts certain emphasis and pauses on words it takes on a much more sexual feeling. Everyone knew what was up, but for people then and people now, it is what you come to Prince for. His talent behind the pen got better as the years went on too, shit, from this release forward each album overall just gets better up until the peak of the first purple mountain Purple Rain in 1984 and then again with Diamonds and Pearls in 1991. "I Wanna Be Your Lover" is the perfect first hit, truly sexy and truly powerful, it is impossible to not groove along to, another thing Prince wears like a glove in his music. The second part of the song is a ton of fun, gotta have a dance part I suppose. The only thing that this album and song is lacking is a good album cover. But at the same time, this is a damn good album cover for what the music is within, kind of like the cheesy 80s metal album covers or the 2000s gangster rap ones, it creates this mythos that separates Prince from the mortal man he is. Still, I wouldn't wear a shirt with that steamy shirtless dude, but I will admit that the logo work is top notch and really pulls it all together. The album cover serves as the first taste of an album before you buy it, and I wonder what people thought when they saw it on the shelves. Granted, if they heard any of the songs off the album before buying it, they knew exactly what was within. Lust in the form of music. Guess that is why this song spent 2 weeks at the number one spot on the soul charts. Well, I guess that is enough rambling about Prince. Give the song a spin! Enjoy!
Year Released: 1979
Album: Prince (1979)
Genre: Dance-Pop, Disco, Funk
Mood: Lusty
Perfect For: Sex, Making love, Getting busy, Fooling around, Doing the deed, Copulation, Fornication, Did I mention sex?
Where To Next: "Give It To Me Baby" - Rick James
Rating: 9 / 10
Few in the music world hit the same notoriety as Prince. His larger than life stage persona, sensational multi-platinum selling career, timeless classics out of the 1980s and the 1990s, and a talent behind anything "music" you can think of has led Prince to being one of the most recognized music icons of the 20th century. Prince has always been a hard one to pin down on what genre he belongs to, but some visionaries in the music world simply cannot be tied to one or two genres. This man did an obscene amount for the music world with his own music and also in the role of producer for many musicians ranging from the lesser known musicians to fellow superstars. So, who is Prince? Well, the first thing to bring up is his real name is Prince, not a stage name. So, I guess with that in mind, he might have been destined to be a creative force, or to be bullied throughout life, or both. He showed a knack for music at a young age, writing his first song at the age of 7. He started his music forward life at the age of 17 when he laid down guitar tracks for the local Minneapolis band 94 East, and while that project never took off, it gathered the attention of local bigwigs in the music world. It was the first step for Prince, following his discovery he got approved for a 3 album deal from Warner Bros Records, where he had creative freedom to test out his talent. He left his home for the city of angels, Los Angeles, a story that is as cliché as someone from Kentucky leaving their home for the bottle. Out of that deal we got three albums, the funky disco debut For You which didn't gather too much attention even with the leading single "Soft and Wet" becoming a minor hit. His follow-up album Prince which released in 1979 was met with much better critical acclaim and admiration from the masses, being his breakout album. In this album Prince found his spot, he dabbled in that sexy sexuality that made him such a sensation later on, but still kept it a little more tame focusing on straight R&B, funk, and pop. His 3rd studio album (fittingly titled) Dirty Mind is where Prince took on that sexual theme to the extreme! I mean, do yourself a favor and google that album cover if you don't know it already, and you will see what I mean. But let's pull this in a little bit since Prince has one long and glorious story and return to that second studio album Prince.
Prince didn't get too down about his debut falling on deaf ears, he pushed forward and instantly turned around and started working on his follow-up album. Throughout the album's 41-minute playtime, you can feel that dedication. Each recording seems to be nitpicked until the song is perfect. 1979 saw disco starting to slow down and varying forms of R&B taking its place year by year, and Prince was riding that wave, still dabbling in that disco sound but starting a sound that was fully his own. The album released 5 singles, two of which released solely out of the United States, but the three that released here "I Wanna Be Your Lover", "Why You Wanna Treat Me So Bad?", and "Still Waiting" gathered plenty of attention especially "I Wanna Be Your Lover" which was Prince's first big hit reaching number 11 on the Billboard 100. The rest of the album didn't do as hot, but still, it was a step up from his previous album, and it showed that Prince was soon going to mix up the music world. For me, this was one of the first Prince songs that fully grabbed my attention. It is funky in all the right ways, and the obvious sexual tension in the song is addictive. There have been plenty of days that I get the song stuck in my head out of nowhere and simply have to give it a play, hence why it is here today. There are two main versions of the song, the single version which cuts out the boogie which serves as the second half of the song of the album version. There is no argument which version is better, it is all about Prince laying down some high as hell vocals and then turning around to some jamming on synthesizers and keyboards. It shows off what Prince was capable of when he put his mind to his music. Once again, all you can feel is pure, raw human dedication to art. Lyrically, the song isn't anything all too special. But it isn't what Prince says, it is how he says it. Great vocals tell the story of a man that knows he can outperform his love interest's other partners, both in romance and in the sack. On paper the song seems like a love song with a little sex, but when Prince puts certain emphasis and pauses on words it takes on a much more sexual feeling. Everyone knew what was up, but for people then and people now, it is what you come to Prince for. His talent behind the pen got better as the years went on too, shit, from this release forward each album overall just gets better up until the peak of the first purple mountain Purple Rain in 1984 and then again with Diamonds and Pearls in 1991. "I Wanna Be Your Lover" is the perfect first hit, truly sexy and truly powerful, it is impossible to not groove along to, another thing Prince wears like a glove in his music. The second part of the song is a ton of fun, gotta have a dance part I suppose. The only thing that this album and song is lacking is a good album cover. But at the same time, this is a damn good album cover for what the music is within, kind of like the cheesy 80s metal album covers or the 2000s gangster rap ones, it creates this mythos that separates Prince from the mortal man he is. Still, I wouldn't wear a shirt with that steamy shirtless dude, but I will admit that the logo work is top notch and really pulls it all together. The album cover serves as the first taste of an album before you buy it, and I wonder what people thought when they saw it on the shelves. Granted, if they heard any of the songs off the album before buying it, they knew exactly what was within. Lust in the form of music. Guess that is why this song spent 2 weeks at the number one spot on the soul charts. Well, I guess that is enough rambling about Prince. Give the song a spin! Enjoy!
Year Released: 1979
Album: Prince (1979)
Genre: Dance-Pop, Disco, Funk
Mood: Lusty
Perfect For: Sex, Making love, Getting busy, Fooling around, Doing the deed, Copulation, Fornication, Did I mention sex?
Where To Next: "Give It To Me Baby" - Rick James
Rating: 9 / 10
Song of the Day 09/02/2025
"Get Behind Me Satan and Push" - Billie Jo Spears
Welcome readers, thanks for taking the time to check out the post! Today we are getting a little liquor drunk with this hidden country gem "Get Behind Me Satan and Push". Now, I tend to not be one for Christian songs, there are the few that squeeze through and some I straighten up love without shame, country from the 1940s-1960s have some really good ones. I think what makes them good is they are kind of... creepy. Churches in themselves are creepy though. I am sure that the abuse in horror movies and the old gothic churches have their hand in that imagery. Growing up in a place that churches were literally everywhere, I had my fair share of get-togethers in them. I have memories that feel like fever dreams of playing in them for family gatherings when the lights were off to the rest of the church aside from the main part. You would run around the place and see countless cracked open doors, always wondering if something was lurking within. All the pictures of Jesus and other beautiful yet haunting paintings seemed to be staring right into you. Playing hide and seek always had me hoping I would be found sooner than later since I wasn't all too fond of hiding behind stacks of chairs in a dead quiet and dusty room barely being able to see due to not being able to turn on the light since we weren't supposed to be in random rooms. I am sure it is a memory that most can relate to if they were from Utah County. Churches and the LDS were a daily burden while living in that zone, one of those feelings that you simply cannot understand unless you grew up there, and that is an obvious observation while conversing with those in Salt Lake County, which is only one county north. Alright, enough about that side tangent. Churches are a smidge creepy, and the country music that came out of the love of those churches can easily be creepy too, especially if they have lower quality recording. While our song of the day isn't a song about the love of god, quite the opposite actually, that recording quality is there with its strangely eeriness.
Billie Jo Spears was one of many female country musicians that gathered notoriety from their more feminist stanced lyrics, a thing that was unheard of for a good while, aside from Kitty Wells, and gained traction due to the feminism movement of the 1960s. The floodgate was opened, and it became a lyrical theme that sold well and socked it to the male dominant country music industry, tracks like "The Pill" from Loretta Lynn, "Your Good Girls' Gonna Go Bad" from Tammy Wynette, "Harper Valley P.T.A." by Jeannie C. Riley and "Mr. Walker, It's All Over" from our very own Billie Jo Spears are classics from that movement. I love it when this happens in a male dominant genre, it has this feeling of pure defiance that is inspirational and makes you want to cheer it on. Billie Jo Spears had those songs, but she equaled that out with varying lyrical themes that didn't leave her under a certain niche. She never gained immense fame throughout her career, but to me, she is one of the most entertaining female country performers to come out of the 1960s into the 1970s. She has this tough girl country baked vocals that rivaled the more pretty balladeer female vocalists that sucked up the attention of the masses. "Get Behind Me Satan and Push" comes off her debut studio album The Voice of Billie Jo Spears which released in 1968. It gained positive acclaim and then faded away, though the singles "He's Got More Love On His Little Finger" and her cover of "Harper Valley P.T.A." did well enough to use it as a stepping stone for her flourishing career. Aside from the singles it consists of a lot of covers, the most unique being her version of Bobbie Gentry's "Ode to Billie Joe", which no, is not about Billie Jo Spears. It is in country style to have a lot of your debut be covers of popular songs of the last year or current year, and some sprinkling of original material. I dig the album, and would be happy to have it on vinyl *hint hint*. Even with all the good covers, I cannot help but find the best track to be our song of the day "Get Behind Me Satan and Push". The song covers the story of a pissed off woman who intends to go beat the chick up who stole her man. She even drove from Kentucky to Georgia to do just that, but she needs a little extra power to see it through, so she asks the devil to give her a little shove in the right direction to Fist City, USA. A catchy as hell song, and a perfect atmosphere for the hell-raiser type of country music. There is a little bit of a rockabilly backing to the track to match that sinful lyricism. Well, glad to have her here, I think she helps kick this month off with a fever. Give the song a listen, even if you ain't into country music. Luckily for you, country has short songs, and also luckily for you, those short songs and full up to the brim of greatness. Enjoy!
Year Released: 1968
Album: The Voice of Billie Jo Spears (1968)
Genre: Country
Mood: Sinful
Perfect For: Casual Listening, Driving across state lines to beat someone up, Getting drunk
Where To Next: "This Gun Don't Care" - Wanda Jackson
Rating: 7 / 10
Welcome readers, thanks for taking the time to check out the post! Today we are getting a little liquor drunk with this hidden country gem "Get Behind Me Satan and Push". Now, I tend to not be one for Christian songs, there are the few that squeeze through and some I straighten up love without shame, country from the 1940s-1960s have some really good ones. I think what makes them good is they are kind of... creepy. Churches in themselves are creepy though. I am sure that the abuse in horror movies and the old gothic churches have their hand in that imagery. Growing up in a place that churches were literally everywhere, I had my fair share of get-togethers in them. I have memories that feel like fever dreams of playing in them for family gatherings when the lights were off to the rest of the church aside from the main part. You would run around the place and see countless cracked open doors, always wondering if something was lurking within. All the pictures of Jesus and other beautiful yet haunting paintings seemed to be staring right into you. Playing hide and seek always had me hoping I would be found sooner than later since I wasn't all too fond of hiding behind stacks of chairs in a dead quiet and dusty room barely being able to see due to not being able to turn on the light since we weren't supposed to be in random rooms. I am sure it is a memory that most can relate to if they were from Utah County. Churches and the LDS were a daily burden while living in that zone, one of those feelings that you simply cannot understand unless you grew up there, and that is an obvious observation while conversing with those in Salt Lake County, which is only one county north. Alright, enough about that side tangent. Churches are a smidge creepy, and the country music that came out of the love of those churches can easily be creepy too, especially if they have lower quality recording. While our song of the day isn't a song about the love of god, quite the opposite actually, that recording quality is there with its strangely eeriness.
Billie Jo Spears was one of many female country musicians that gathered notoriety from their more feminist stanced lyrics, a thing that was unheard of for a good while, aside from Kitty Wells, and gained traction due to the feminism movement of the 1960s. The floodgate was opened, and it became a lyrical theme that sold well and socked it to the male dominant country music industry, tracks like "The Pill" from Loretta Lynn, "Your Good Girls' Gonna Go Bad" from Tammy Wynette, "Harper Valley P.T.A." by Jeannie C. Riley and "Mr. Walker, It's All Over" from our very own Billie Jo Spears are classics from that movement. I love it when this happens in a male dominant genre, it has this feeling of pure defiance that is inspirational and makes you want to cheer it on. Billie Jo Spears had those songs, but she equaled that out with varying lyrical themes that didn't leave her under a certain niche. She never gained immense fame throughout her career, but to me, she is one of the most entertaining female country performers to come out of the 1960s into the 1970s. She has this tough girl country baked vocals that rivaled the more pretty balladeer female vocalists that sucked up the attention of the masses. "Get Behind Me Satan and Push" comes off her debut studio album The Voice of Billie Jo Spears which released in 1968. It gained positive acclaim and then faded away, though the singles "He's Got More Love On His Little Finger" and her cover of "Harper Valley P.T.A." did well enough to use it as a stepping stone for her flourishing career. Aside from the singles it consists of a lot of covers, the most unique being her version of Bobbie Gentry's "Ode to Billie Joe", which no, is not about Billie Jo Spears. It is in country style to have a lot of your debut be covers of popular songs of the last year or current year, and some sprinkling of original material. I dig the album, and would be happy to have it on vinyl *hint hint*. Even with all the good covers, I cannot help but find the best track to be our song of the day "Get Behind Me Satan and Push". The song covers the story of a pissed off woman who intends to go beat the chick up who stole her man. She even drove from Kentucky to Georgia to do just that, but she needs a little extra power to see it through, so she asks the devil to give her a little shove in the right direction to Fist City, USA. A catchy as hell song, and a perfect atmosphere for the hell-raiser type of country music. There is a little bit of a rockabilly backing to the track to match that sinful lyricism. Well, glad to have her here, I think she helps kick this month off with a fever. Give the song a listen, even if you ain't into country music. Luckily for you, country has short songs, and also luckily for you, those short songs and full up to the brim of greatness. Enjoy!
Year Released: 1968
Album: The Voice of Billie Jo Spears (1968)
Genre: Country
Mood: Sinful
Perfect For: Casual Listening, Driving across state lines to beat someone up, Getting drunk
Where To Next: "This Gun Don't Care" - Wanda Jackson
Rating: 7 / 10
Song of the Day 09/01/2025
"Believe in Love" - Scorpions
Another band that it is quite shocking to have a website all about rock n roll but be missing a key player in the genre's success in the 1980s. Scorpions are internationally famous for their impressive amount of timeless hits like "No One Like You", "Still Loving You", "Rock You Like a Hurricane", "Winds of Change" and so many more. Scorpions stung me at a younger age, they practically describe my preteen years, I abused the living daylights out of their 1979-1999 material. They are one of those bands that I can still smell my old room when they start playing. It became somewhat of a ritual to play a Scorpions track as soon as I got home, it was like finally scratching an itch that wouldn't let me be all day long. The Scorps have 19 studio albums and a good handful of live albums, over half of those albums are necessary listening for any self-respecting rock fan. Good time albums with enough rocking power to make your hair stand up that is equaled with ballads that are just as grand, a statement I will say about few since I tend to go the rocking route instead of the ballad way. The band started out in 1972 as a hard rock outfit that didn't gather all too much attention, but year by year they put the work in and got their sound together. After a couple of albums that were good but not good enough to see their name on billboards, some shaking of lineups, and stylistic changes, we finally got the first albums I would consider to be a "classic Scorpions album", 1977's Taken by Force. A lusty album that fit in strangely well with the budding heavy metal genre. The vocals from Klaus Meine knocked you dead with raw power on "I've Got to Be Free" and the ballad "Born to Touch Your Feelings", but I would argue that the true selling point on the album is that guitar work from Ulrich Roth and Rudolf Schenker. Top tier playing that gives you that UFO and Judas Priest feeling, and also set them up on this hard rock "heavy metal" stance that gave them the traction to become one of the world's premier hard rock groups. Following that heavy album, the band found the fame they very much deserved on Lovedrive, an album that I cherish and find to be just as thrilling now as it was when I first gave it a listen forever ago. The band gained more and more power with each release, some of their songs were being overplayed on radios, and their shows were sold out almost anywhere they stopped. They made it. They were superstars in the rock world. That wave was ridden up until music changed its direction moving into the 1990s, and while they still put out quality albums like Eye II Eye and Pure Instinct, it was all about their hits now. I won't lie, not every Scorpions album is a good one, but for someone like me, I still found joy in each album I listened to, and I've listened through every studio album they ever released. Alright, that gives you a quick crash course, if you want more you will have to do the research yourself or just wait until the next Scorpions pick. They are a great band to listen through their discography, especially the hit albums.
Our song of the day comes off their 1988 release Savage Amusement, probably the weakest out of the legendary 1980s releases, but don't take that as slander, it is still a great album. Songs like "Rhythm of Love", "Every Minute Every Day", "Walking On the Edge", and most importantly "Believe in Love" are some of the best songs to come from the Scorpions. "Rhythm of Love" was the main single and hit off the album, it is often regarded as the best song off the album. I disagree with it being the best, even if I love the song, but I gotta give that to our song of the day "Believe in Love". A wise choice for the final song on the album, it has this special power to make you want to start the album over again just to feel the buzz. If it fails to do that for you, there is no doubting it is a great way to send the album off. A power ballad that is only rivaled by "Still Loving You" for being their best. This song sets up the chorus with skill, impressive vocals and mellow playing from the band give the song a special feeling, and much like "Still Loving You" it has this heartbroken feeling to it. The type of heartbreak that keeps you up at night. That feeling shrouds the whole song up until the chorus comes into play and gives you chills. It only stays for a little bit before getting gloomy once again after some smooth guitar work. That chorus comes back and controls the remainder of the song. A great tune and a classic from the Scorpions, though it doesn't get the same amount of attention as some of their others. It is the crown jewel off of Savage Amusement, and I will die on this hill, yet I don't think too many in the fan base would want to fight me on it. There is a ton of great material from Scorpions, and this is just another addition to the collection. So do yourself a favor and add it to your collection too! Enjoy!
Year Released: 1988
Album: Savage Amusement (1988)
Genre: Hard Rock, Pop Metal
Mood: Heartbroken
Perfect For: Casual listening, Cigarettes at night, Mellow drives
Where To Next: "Long Cold Winter" - Cinderella
Rating: 8 / 10
Another band that it is quite shocking to have a website all about rock n roll but be missing a key player in the genre's success in the 1980s. Scorpions are internationally famous for their impressive amount of timeless hits like "No One Like You", "Still Loving You", "Rock You Like a Hurricane", "Winds of Change" and so many more. Scorpions stung me at a younger age, they practically describe my preteen years, I abused the living daylights out of their 1979-1999 material. They are one of those bands that I can still smell my old room when they start playing. It became somewhat of a ritual to play a Scorpions track as soon as I got home, it was like finally scratching an itch that wouldn't let me be all day long. The Scorps have 19 studio albums and a good handful of live albums, over half of those albums are necessary listening for any self-respecting rock fan. Good time albums with enough rocking power to make your hair stand up that is equaled with ballads that are just as grand, a statement I will say about few since I tend to go the rocking route instead of the ballad way. The band started out in 1972 as a hard rock outfit that didn't gather all too much attention, but year by year they put the work in and got their sound together. After a couple of albums that were good but not good enough to see their name on billboards, some shaking of lineups, and stylistic changes, we finally got the first albums I would consider to be a "classic Scorpions album", 1977's Taken by Force. A lusty album that fit in strangely well with the budding heavy metal genre. The vocals from Klaus Meine knocked you dead with raw power on "I've Got to Be Free" and the ballad "Born to Touch Your Feelings", but I would argue that the true selling point on the album is that guitar work from Ulrich Roth and Rudolf Schenker. Top tier playing that gives you that UFO and Judas Priest feeling, and also set them up on this hard rock "heavy metal" stance that gave them the traction to become one of the world's premier hard rock groups. Following that heavy album, the band found the fame they very much deserved on Lovedrive, an album that I cherish and find to be just as thrilling now as it was when I first gave it a listen forever ago. The band gained more and more power with each release, some of their songs were being overplayed on radios, and their shows were sold out almost anywhere they stopped. They made it. They were superstars in the rock world. That wave was ridden up until music changed its direction moving into the 1990s, and while they still put out quality albums like Eye II Eye and Pure Instinct, it was all about their hits now. I won't lie, not every Scorpions album is a good one, but for someone like me, I still found joy in each album I listened to, and I've listened through every studio album they ever released. Alright, that gives you a quick crash course, if you want more you will have to do the research yourself or just wait until the next Scorpions pick. They are a great band to listen through their discography, especially the hit albums.
Our song of the day comes off their 1988 release Savage Amusement, probably the weakest out of the legendary 1980s releases, but don't take that as slander, it is still a great album. Songs like "Rhythm of Love", "Every Minute Every Day", "Walking On the Edge", and most importantly "Believe in Love" are some of the best songs to come from the Scorpions. "Rhythm of Love" was the main single and hit off the album, it is often regarded as the best song off the album. I disagree with it being the best, even if I love the song, but I gotta give that to our song of the day "Believe in Love". A wise choice for the final song on the album, it has this special power to make you want to start the album over again just to feel the buzz. If it fails to do that for you, there is no doubting it is a great way to send the album off. A power ballad that is only rivaled by "Still Loving You" for being their best. This song sets up the chorus with skill, impressive vocals and mellow playing from the band give the song a special feeling, and much like "Still Loving You" it has this heartbroken feeling to it. The type of heartbreak that keeps you up at night. That feeling shrouds the whole song up until the chorus comes into play and gives you chills. It only stays for a little bit before getting gloomy once again after some smooth guitar work. That chorus comes back and controls the remainder of the song. A great tune and a classic from the Scorpions, though it doesn't get the same amount of attention as some of their others. It is the crown jewel off of Savage Amusement, and I will die on this hill, yet I don't think too many in the fan base would want to fight me on it. There is a ton of great material from Scorpions, and this is just another addition to the collection. So do yourself a favor and add it to your collection too! Enjoy!
Year Released: 1988
Album: Savage Amusement (1988)
Genre: Hard Rock, Pop Metal
Mood: Heartbroken
Perfect For: Casual listening, Cigarettes at night, Mellow drives
Where To Next: "Long Cold Winter" - Cinderella
Rating: 8 / 10
