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"Feelin' Satisfied" - Boston

They are more than just another band from Boston; they are the most essential band from Boston! I guess you cannot simply name your band after your home city without confidence you are to represent only the best sound from the area. I hardly need to introduce Boston; they are one of those essential rock bands that everyone knows and loves. Boston has a fairly short discography, and only released 2 albums in their prime. Their immensely famous debut was released in 1976 and became an instant classic in the arena rock world. They made rock 'n roll for the masses, unlike some of the other bands of the time that made rock music for rockers. For many that might be a negative, and in a lot of ways it is, but at the same time they have a sound that no matter what kind of rocker you are, they get you hooked. That clean sound is supported by damn impressive guitar work from multi-instrumentalist and founder Tom Scholz. They aren't the kind of mainstream band that can't back up their place amongst the greats, track after track off their debut and their follow-up Don't Look Back are phenomenal. Even their third album that came 8 years after has multiple great Boston tracks. Following that you can take it or leave it honestly, still fun, still good, still rocking, but that magic was lost. Alright, enough with the minor introduction, even though there is a ton more I want to talk about. I gotta save some goodies for when they inevitably get chosen for the song of the day again in the near future. Shocking it took this long into this portion of the website until they had their moment of glory. Well, "Feelin' Satisfied" is a great song for them to enter into it. One of the most powerful tracks from the album, Don't Look Back, coming in hot out of 1978. The album is a good one, and well worth the full listen, though I would still take their debut over it any day. This album feels strangely short, and the longer tracks that I cherish off of their debut don't really show up, the longest from this one is "A Man I'll Never Be" coming in at almost 7 minutes. Still a perfect playtime, but in comparison to "Foreplay/Long Time" off their debut which is only a minute longer you can feel there wasn't much drive to fill it with the same pure raw rock n roll power. There are a couple of those moments on the album, but that is alright, especially since they make up for it with some strong tracks such as "Don't Look Back", "Feelin' Satisfied", "Party", "Don't Be Afraid", and "It's Easy". "Feelin' Satisfied" is almost my favorite song from the album, but it is almost impossible to beat the title track "Don't Look Back". That song is superb, and it makes sense why it is one of Boston's most loved songs. Boston in general is severely loved; their music reaches ears and hearts no matter the generation. They were one of the first rock bands to fully grab my attention, and are also one of the first classic rock bands that I listened through a whole album with my full attention. Their debut alongside Ministry's The Land of Rape and Honey, Ramones self-titled, and Red Hot Chili Peppers By the Way defined my 7th grade experience. Anyway! I cannot help but keep talking about their debut, but let's keep on topic! Don't Look Back is still a good album, and I still find it an essential album to anyone taking in all the goodies from the 1970s, just can't help but compare the two. "Feelin' Satisfied" comes in as the first track off the album's side two. It has that classic Tom Scholz guitar intro that makes you feel like you are flying high over some city lights. It takes a little bit of a backseat once the bold vocals of Brad Delp jumps into it, but don't worry, it would hardly be a Boston song without some damn good guitar work in the form of a quick guitar solo while being cradled by snare heavy drums and thumping bass guitar work. The song is layered enough to make you have to listen to it multiple times to get the whole idea. The chorus is addictive as all hell, and gets stuck in your head without mercy. Lyrically the song is a lot of fun, it is a song written about the power of music, that nothing helps more than some rock n roll after a hard day. Music to get you grooving and moving, music to give you the power to make it through the day. You can feel it, can't you? That power? It stinks up the whole room. Like getting high but never whipping out the lighter. I am a fool for rock anthems, I love the lyrics that explain what the band is doing to your soul. For "Feelin' Satisfied" the band reaches in through your ears and gives you a hug from the inside. You feel so light as this song plays, and even if it is maybe just me, their mission was accomplished to a whole nation which launched this album to multi-platinum status. You know it is now or never, take a chance on rock 'n' roll, and give this song a listen! Enjoy! 

​​​​​​Year Released: 1978
Album: Don't Look Back (1978)
Genre: Arena Rock, Rock
Mood: Light and Breezy
Perfect For: Casual listening, Getting ready for a concert, Enjoying music, Spring nights
Where To Next: "Sing to Me" - REO​​ Speedwagon
Rating: 9 / 10

"Sixteen Tons" - Tennessee Ernie Ford

The working man anthem! "Sixteen Tons" was written and performed originally in 1947 by the immaculate country and western singer Merle Travis. I have found out that if you want top shelf country music, you are safe choosing a "Merle" or a "Hank", there are many and each are worth their weight in solid country gold. Merle Travis had a revolving theme with singing songs about miners, especially the ones getting that ol' black lung in the coal mines. "Sixteen Tons" is one of his many hits about the theme, but none survived the test of time nearly as well as "Sixteen Tons". The song has been covered by a plethora of musicians from many different sounds, but obviously it was most popular in the country and folk world. I have many favorite versions of the song, the original from Travis is great, though I also equally love the Bo Diddley version, the Don Harrison Band does a great country rock version, Johnny Cash threw in his hat and did well, and so many more, though even all those pale in comparison to the arguably most successful version out of 1955 from Tennessee Ernie Ford. When it comes to Tennessee Ernie Ford, he is a hard one to fully put a label on when it comes to his music, he jumped between multiple popular music sounds of the time. He served his time in the traditional pop sound where he found his fame, he had a ton of success under a gospel sound, and while he did great in all that, I personally adore him for the country and western albums and songs. "Sixteen Tons" is easily his most famous song, and in the modern tongue that is what many know him for, even though he could release 10 greatest hits compilations without a single repeat or moment of boredom. His brand of country music is immensely polished, it mixes together the traditional pop sound with a more down home feeling that still can speak to the common man. His voice is where the recording really shines through, that baritone singing mixing with a performance that convinces you that Ford himself was the miner in the story. Alright, enough about the man who tells us the story for a second, let's take a look into the story presented to us. "Sixteen Tons" as I mentioned earlier was written about a miner who works in the coal mines. The term "sixteen tons" is a joke term about using new workers to pull extra while the old miners kick their feet up. The average haul a miner it would in would be 9 tons a day, so when some new blood came into the earths belly they would slack off and leave it to the newbie to pull in 16 tons. The story is a prideful labor track, while also it has our character cursing the day he was born. I have been obsessed with this song for the last 5 years, no matter the version I stop what I am doing to listen to it. It seems to always come around when I am working or getting ready for work too, but once again this is a good one for the hopeless acceptance of having to slave our brief lives away. In the modern tongue, the song is kind of an overexaggeration of life, but back in the day there was truth to "another day older and deeper in debt" and the line "I owe my soul to the company store" which alludes to debt bondage that many poor fools had to deal with back in the day. It was practically slavery, but in a weird wrap around way. They pay you with currency you could only use at the company store, and a lot of the times they crafted the prices around getting you in debt so you had to keep on working, not to mention you paid rent with the same currency, and it came right out of your pay. Greedy bastards would make double the money off of you. Shit makes me sick, but I guess the silver lining is we got "Sixteen Tons" out of it. Merle Travis wrote the song and used lines from letters he got from his brother, and also the already talented pen of Travis finished out the rest. I cannot overstate how much of a good lyricist and musician that dude was, especially in the country and western field. Even if Tennessee Ernie Ford had the biggest version, I implore you to take in some Merle Travis, he is a name that is fading even though his impact to music was a major one. If you are interested, then take in his fun and informative album released in 1947 Folk Songs of the Hills, you get yourself a little history lesson of the common man and also some mighty fine singing and picking. Still, in the end, our song of the day is the ultimate version of this song. The intro is moody enough for a smokey room drinking martinis, but the lyrical content matches a day of work. It was painted with a master painter's brush, through and through a perfect song that saw itself staying at the top of the charts for 10 weeks in the country world, and then still crossed over and spent 8 weeks at the top of the pop charts. Give the song a listen, even if you already know it! There is always time for a top tier track in your day! And if there isn't then you gotta learn some time management, man! Enjoy! 

​​​​​Year Released: 1955
Chosen Album: Sixteen Tons (1960)
Genre: Traditional Pop, Country, Western
Mood: Serious
Perfect For: Labor, Getting drunk, Casual listening, Getting ready for work, Being a coal miner
Where To Next: "Nine Pound Hammer" - Merle Travis​​
Rating: 10 / 10

"East-West" - The Paul Butterfield Blues Band

Man oh man, you are getting two great songs for rambling back to back! First we brought in some southern rock, now we are getting the blues rock, all we need is some Merle Haggard, and we got ourselves a tonic of white line fever! The Paul Butterfield Blues Band is one of the most essential bands for American blues rock, some of their albums serve as stepping stones for anyone who picked up the guitar in the name of electric blues. The first time I heard their second studio album East-West was a defining moment in my life! It opened up a deep thirst for blues rock that still has never been quenched. This album works for pretty well any mood you are in, it works for practically anything you are doing throughout the day. Having a hard day at work? "All These Blues" moving into "Work Song" will serve you right. Having a damn good Sunday while having a beer outside? Their version of the blues standard "Walkin' Blues" is for you. How about if you are driving with your little lady heading back from stopping off at Wyoming? Pretty well any track will work for that, though none from this album works better than the long and somewhat chaotic "East-West". Vape juice and some of the accessories were banned in Utah during the start of this year and slowly the shops have been selling out of product, and sadly enough the day has come when you cannot find juice anywhere unless you have a connection within the vape stores. So since I was running low, and we were about an hour out from Wyoming, we decided to jump the state line and gather some stuff to see us through for the next little while. What started out as a mellow enough drive up there soon enough became an adventure of its own. About 8 miles out from Evanston, WY we saw that the westbound traffic on I-80 was at a complete stop, as we got closer to the mess we saw the cause which was a vehicle on fire. That one vehicle caused a crazy line leading almost into town, I feel bad for the diesels that get paid by the mile, and I feel even worse for those fools with piece of crap vehicles like mine that overheat or cannot stand sitting under the unforgiving desert sun. People had lawn chairs out sitting in the shade of the trailers, and there were plenty of people walking around and some trying to find a way over the fence to hit the dusty off-roading trails many people were already on kicking that shit up into the air. I love seeing those traffic jams, in a strange way it feels like temporary unity, unity is something we need badly right now in this country, nothing brings people together like shared strife. Well, I am also damn glad to not have been stuck in that shit, so after we did our shopping I had no intention to even risk joining that asphalt party, and hoped that Google would lead me right to finding a different route. After mixing maps with my own knowledge of the zone we ended up on a dumb ass road that had us off-roading for a good little bit until we finally connected to a paved road heading into Coalville in Utah, a zone we are very familiar with. There was a whole convoy of people off-roading in vehicles that I don't think were approved for it, and I could tell half of them never had those tires hit dirt since some were hauling serious ass over blind hills, but I will admit that it was entertaining to see Teslas taking on the trail alongside vans, shiny SUVs, cars and Jeeps. I was in my trusty yet temperamental Ford Ranger, so I was in good hands. Anyway! To sum it up we finally made it through this mighty large detour to get back into our home territory, and once we did make it to that beautiful paved road it wasn't long until that smooth blues sound kicked on from The Paul Butterfield Blues Band to really seal the deal of relaxing after some stress. Well... relaxing might not be the word for it. The intro to this 13 minute song is a smooth one, full of groovy playing and a great atmosphere, but that doesn't last all too long before the band takes on a more experimental stance. They bring in some improvisation that really steers the song in some strange directions, there is a little modal jazz that shows up in the track during the middle bit. Like a lot of the album, it has some styles from all across the world while still not losing that core blues rock sound. The song can jump from what feels like a surf rock instrumental to a hard rock shredding style, then right after you think you get the idea there is some raga to show up to mix it up. Each 2 minutes of this song brings something new, it seems like the band slowly ramps it up into a fervor that is hard to stand before releasing the climax, and then they start slow and easy just to do it again and again. An intense song! Though for those that cannot fully get behind this intense of an instrumental for its long playtime, you are missing out! Once you get sucked into it, there is no real escape until the song ends in an explosion of drums and loud screaming electric guitars. You feel ragged and worn down after hearing the track, honestly makes you wonder if you can ever find another blues instrumental this damn good, innovative, and orgasmic. Don't believe me? Sit on down and take the song in! I know many have trouble not preoccupying their time with quick satisfaction and cheap entertainment (thanks social media) but just for me give it a go. Pop in those headphones or turn those speakers up to a healthy volume and just kick back and listen. That, or jump behind the wheel of your trust automobile and hit the road Jack. No matter which way you decide to take it in, I hope it satisfies your soul! Enjoy! 

​​​​Year Released: 1966
Album: East-West (1966)
Genre: Blues Rock, Blues
Mood: Intense
Perfect For: Traveling, Walking, In-depth listening, Casual listening, Relaxing
Where To Next: "Blues Helping" - Love Sculpture​​
Rating: 9 / 10

"Long Time Gone" - 38 Special

38 Special is a southern rock explosion coming from the mind and talented vocals of Donnie Van Zant. Donnie is the younger brother to the frontman and singer of Lynyrd Skynyrd Ronnie Van Zant. It seems that the Van Zant family bred talent under that hot Florida sun due to most of the children taking up music in one way or another. Ronnie for Skynyrd, Donnie for 38 Special, and Johnny was the singer of Lynyrd Skynyrd after their terrible plane wreck, it is only that much more fitting for them to be all talented musicians and to have rhyming names, it was almost like it was meant to happen. I do grieve I never got more Lynyrd Skynyrd lead by Ronnie, they are one of my all-time favorite bands, but I am not too fond of the Skynyrd lead by Johnny, he takes that "southern pride" too seriously and the music doesn't have that magic like it did with the original lineup. I guess we aren't here to talk about Lynyrd Skynyrd though, today we talk about 38 Special. In comparison to his brothers group, and the southern rock scene as a whole, 38 Special didn't stay solely in the southern sound, they often brought in a lot of boogie rock, and also they cleaned up that southern rock bayou sound to put out a polished and clean almost arena rock style on many of their most known tracks like "Caught Up in You" and "Hold On Loosely". The album we are looking at today is not very cleaned up, and it is one of their lesser known albums during their prime years. Their debut self-titled album gets often overlooked, and I cannot fully understand why, I guess if you got into the band from their hits then it would feel a little more gritty and if you came here from Lynyrd Skynyrd you might find it a little bit lacking, though if you just happened upon this album at the record store it easily grabs you as a solid bluesy southern rock album that is a ton of fun. It has a sound reminiscent of The Marshall Tucker Band and the Outlaws, but fronts a more fast-paced boogie like something you would expect out of early Doobie Brothers albums. "Long Time Gone" is one of my favorites from the album, and it reminds me super heavily of driving around Utah with my girlfriend, since it played many a time upon those ol' highways. Travelers tune with a romantic backing, something of a cliché in the southern rock sound of the time, but why fix it if it ain't broke? A great lyrical theme that makes you wanna travel and rest all at the same time. 38 Special was a hard touring band, so I am sure this came from a pen of someone who knows. I am glad that Donnie didn't try ripping off Lynyrd Skynyrd due to his ties, it would have been easy to do, but I am damn glad that 38 Special is day and night in comparison. Skynyrd can often feel murky, but 38 Special always feels like a drink of cold water on a hot day. This album came before they fully found the sound that separated them from other names in the genre at the time. It wasn't until 1979s Rockin' into the Night that they dropped the more southern sound for the arena rock sound, so enjoy this album and the follow-up Special Delivery while you can. Don't get me wrong, I love their main material deeply, though I do also love this raw earlier stage in the band's discography. One thing that is damn special about their second album Special Delivery is the heartbreaking song "Take Me Back" which is a tribute song to Donnie's brother following the plane wreck. That isn't the defining song of the album, but that one track is so full of emotion it is painful to listen to. I am sure there will be a chance to talk about that song sooner than later, though for now let's get back to "Long Time Gone" and that debut album. 38 Special also holds some of my other favorite tracks from the band, like their cover of Chuck Berry's "Around and Around" which I think they do a spectacular version of, and also "Tell Everybody" which accompanied our song of the day as the singles off the album. I do have a soft spot for the final track "I Just Wanna Rock & Roll" but I always have a thing for red hot rockers written for the love of rock n roll music! Anyway, for those of you that dig the hits from the band I suggest going back and giving this album a play and also the follow-up album, it is fun to see the band's progression, and it doesn't hurt that both of those albums are worth paying full price for. Enjoy! 

​​​​Year Released: 1977
Album: 38 Special (1977)
Genre: Southern Rock
Mood: Rambling
Perfect For: Driving on the interstate, Working, Relaxing at home, Planning a trip
Where To Next: "Searchin' for a Rainbow" - The Marshall Tucker Band​​
Rating: 7 / 10

"Sea of Love" - The Honeydrippers

Ahhh The Honeydrippers. I am excited to finally bring them into the website! For those of you that don't know, The Honeydippers is a fun project from Robert Plant known from Led Zeppelin fame. He is one of the most respected gods of rock n roll in the game, but to front a band as massive as Led Zeppelin will easily hoist you into the forefront of rock n roll admiration. Speaking of rock n roll, it was with the creation of The Honeydrippers that Plant finally got his chance to bring forth a rhythm and blues style, a project he was hoping to put together for a long time. The album is made up of many different musicians, some from Led Zeppelin and some from other big names like the guitar god Jeff Beck and disco legend Nile Rodgers of Chic fame ("Le Freak"). Put all of these outstanding musicians in the same room, add a little bit of rhythm and blues classics to the jamming, and you got yourself The Honeydrippers. It was a short-lived thing, and they only released this one album The Honeydrippers: Volume One, which is a shame since this album is a lot of fun. "Sea of Love" is a cover of Phil Phillips, an R&B musician that is often thrown into the "swamp pop" category. That genre is little known due to how close it was to the other rock and rhythm and blues sounds at the time. It has a heavier leaning towards the horns of New Orleans, the country picking of the bayou, and a little bit of blues for safe measure. Phil Phillips is mainly known for "Sea of Love", it was the biggest hit of his career, and modernly it is what the man is known for. Some of that recognition could be from how well this song did from The Honeydrippers, and they did it in a very respectful manner, the song is still a Phil Phillips track, but the addition of strings take place of the doo-wop feeling of the song. The Honeydrippers make the track much more romantic feeling if you ask me, that and the cleaned up sound of the song make it more easily accessible for the music listeners of the time. It plays a thin line between being a tribute track of the band's youth, and being something new and exciting for the masses. There were few bands doing the same thing at the time, reaching back and covering the fading tracks of yesteryear with their own personal take while still keeping the song whole. I love the slow dancing atmosphere of the song. Robert Plant does a wonderful job of leading the dance with his soothing vocals. The band backing him up is blissful and nostalgic. The album cover is one that I adore! I often daydream of being in the time period of hot rods, sock hops, drive ins, radio DJs making history by taking chances, and a carefree feeling in the air. I wonder how I would have dressed, and I wonder a little bit if it would be like the man on the album cover. The emotion set by the couple is intense, it is whimsical and lost in love. Well more so for the girl, the dude is just too cool, has that James Dean thing going for him while the girl seems to be love drunk. The band being behind them, setting the mood for a personal heated moment of youthful wreckless abandon in the name of love. The logo work is great and memorable, it gives you a pretty good idea of what the style is going to be, and you would hardly guess that there were such iconic musicians playing together inside. A perfect project that I am so glad saw the light of day. To mix some of my favorite musicians with one of my all-time favorite styles is a true gem for me. I discovered this album years into my studies, and it knocked me the hell out! I was obsessed from "I Get a Thrill" and was completely taken by the time the famous "Sea of Love" kicked on at track number two. Even with the album only having 5 songs, there is enough quality material to make it feel like an album of 12 songs. I listened through it over and over again, and I still find it just as thrilling to this day. Blissful music made from musicians putting their full heart into the music that made them want to pick up instruments in the first place. As I already mentioned, this one is a cover of Phil Phillips, but they also took on "I Got a Woman" which is one of my favorite Elvis Presley songs and one of my favorite Ray Charles (the original). Some Ben E. King with "Young Boy Blues", "Rockin' at Midnight" is a great way to end this EP even though they changed the name from "Good Rocking Tonight", which is sometimes considered one of the first rock songs, from the underrated Roy Brown, and we cannot forget the intro track "I Get a Thrill" which is a classic from Wynonie Harris. It is easy to see that this little project picked some of the best of the best from the roots of rock music, but none have the same selling power as their version of "Sea of Love". Well, you know what happens now, give the song a listen and enjoy! 

​​​Year Released: 1984
Album: The Honeydrippers: Volume One (1984)
Genre: Rhythm & Blues, Rock and Roll
Mood: Romantic
Perfect For: Drive in movies, Kissing, Romantic evenings, Reminiscing (like in the movies)
Where To Next: "The Breakup Song" - The Greg Kihn Band​​
Rating: 9 / 10

"(sic)" - Slipknot

Well, after 3 or so months of dedicating my time to the rock, metal, and punk of 1998 I finally have collected all the tracks that made that year shine. Though, no time to rest, since it was time to jump into 1999 and there are few better places to start that transitionary year for metal music than with Slipknot's self-titled. That album is an odd one, but certainly one that any self-respecting metal head should listen to at least once in their life in completion. Like most from my generation, you would have to have been born deaf to not have heard some Slipknot, they were and still are a big name in the metal world. They have one of the wildest fan bases, and not in the Slayer way, like straight up wild types. I can usually tell someone is a Slipknot fan just by seeing them, if I don't smell them first that is, all jokes but no seriously you don't join a fan base that call themselves maggots without thinking about it or being predestined. They gained that name due to the sensational drummer Joey Jordison starting to call the other band members maggots, and soon enough the fan base caught on and kept it up to each other. Also, it's heavily used as a metaphor for the band's music and what it does to their fans, it gives them a spot to suck up all the emotion of the band and use that music as food for self growth. Well, I wouldn't per se call myself a maggot, but I am not the type to fully go all out into a fan base even to my all-time favorite bands. What I can say, though, is I really dig what Slipknot does, their brand of metal is iconic and when it comes to their debut album which holds "(sic)" I can truly never get enough. This album holds a special place in my life too, so there is some nostalgia and also the pure raw aggression of the band that makes my nipples hard. So why is it nostalgic? I am glad you asked! Such an inquisitive reader you are! Well, my dad liked music and played it often but not in the way that I heard all of what Slipknot had to offer up until that point before I went on my own musical journey, I wish it was that truth be told. No, this man would find an album that he liked, shit, sometimes he didn't even like the album but just one song, and then he would listen to that album or song on repeat for I shit you not for like half a year straight. Each morning you would wake up to the sound of a shower turning on, and you guessed it, it would be this song on repeat each time. Get in the car to go to school, there it was again. Get out of school, you know you could hear his broken ass speakers coming up the road blaring the same fuckin' song. Get home, and you get sweet relief as he pops in a DVD of the Simpsons, but he doesn't press play, nope, he lets that fucking intro on the episode selection screen run for hours and hours until the one-episode autoplay's and the cycle continues. Sometimes it felt like being in a simulation that got stuck on a loop, and due to him being high or drunk on what was the flavor for that day, I am sure that trance of repetition was addictive and comfortable. Anyway, I am not talking shit (I am) but come on! This album has plenty of other great tracks, though I would be lying if I was to say that the best part of the album wasn't the intro track "742617000027" moving into "(sic)". It's one of the best send-offs to an album I have ever heard. Heavy as a motherfucker! So at least he chose a good one. I think after he lost the CD or realized he has heard the same song for half a year straight he moved onto "Fully Alive" from Flyleaf, think he was depressed during this stage. The last thing to say about this album and my memories of growing up in Texas is about that album cover. It used to give me nightmares, I swear to hell, that and the pictures on the inside. I was home alone a lot, and I mean a lot, and I was always a little spooked to know that the CD was sitting on his nightstand in his room. Something about just knowing some creepy ass dudes in masks being in there didn't sit right with me, especially after waking up too many times at many varying hours of late night to that damn intro track. Even now it gives me chills. Reminds me of dark rural Texas. Well, now I am a grown man! Or more like a little boy stuck in a man's body (man boobs and all) and I can view this album under very different lights. When it comes to an album and a song that is more fitting for a simply PISSED OFF day, I think this might be unrivaled. I used to think KoRn was the essential pissed off band, but as I grew, I realized it was for days of desperate anger. Slipknot and this album on the other hand are anger, plain and simple. It is next of kin to that ringing in your ears when someone is seriously pissing you off. Slipknot would go on to make plenty of more depressive songs in their time, so many so that it hinders some of the later albums if you ask me. From my diving into the band, I haven't found one of their albums to be even close to the Texas chainsaw massacre atmosphere of their debut. Something depraved and angry, the kind of album that makes you sick to your stomach by the time you are done. Don't let that sound like a bad thing. That is a good thing... a damn good thing. The power of music! Emotions weaponized in the form of music. Once again, this is an album you have gotta listen to once in your life. It is a piece of metal music history, and an overall good album especially the first half of it. Strangely competent writing for such an aggressive sound, but Slipknot often surprises me with their potent lyrics. The album is crafted wonderfully, and with this much aggression, there are still some more chill moments in it. Though when it comes to "(sic)" there is nothing chill about it. So turn those speakers up and blast it! Do it for me! Do it for the devil! But most importantly, do it for yourself! Enjoy! 

​​Year Released: 1999
Album: Slipknot (1999)
Genre: Nu Metal
Mood: Relentless, Depraved
Perfect For: Being pissed, Getting pissed, Staying pissed, Driving pissed, Taking a pissed
Where To Next: "Everyone Bleeds Now" - Hatebreed​​
Rating: 9 / 10

"Fatal Charm" - Billy Idol

After such a loaded song that we had with Dream Theater, I think it is time for some music simply meant for a good time. Billy Idol is a musician that almost nobody could disagree with. His start as the frontman of punk band Generation X gave us a taste of the good time that is Billy Idol, though it wasn't until that solo work came around that he became a name synonymous with the 1980s. And much in the 1980s style, he honestly didn't have all too many hits in comparison to some other artists, but the hits he did dish out were top tier. "Fatal Charm" comes off his 3rd studio album Whiplash Smile, an album I honestly feel is a tad bit underrated even with it being platinum certified. Once again, this is a musician built on his hits, but when you go away from those hits you will be pleased to find there are still plenty of great songs within his albums. To those that are curious where to start, I will admit that it would be best to start with his greatest hits album especially 2001s Greatest Hits, though I probably have a bias there since that is where I started. I knew Billy Idol by this point in my childhood, tracks like his massive hits "Money Money", "White Wedding", "Dancing With Myself", and "Rebel Yell" are the perfect starting spot for a young rocker like myself, and those songs I knew the exact number it was on my MP3 player and would often click right to them. I burned one of his CDs, but I was still young and confused by computers at this point, so I messed it up somehow, got a way slowed down version of some album, that shit almost gave 7-year-old me nightmares. Though luckily I come from a family that loves thrifting, so getting CDs usually wasn't all too hard so long as my mom was there since my grandma usually told me no, and it was at Deseret Industries that I came across his greatest hits CD with a massive crack across the case and to my surprise my aunt bought it for me. There was no way she didn't know who he is, but honestly Billy Idol is pretty family friendly, plus I am sure the cross on the cover sort of helped. I remember getting home and playing that CD into oblivion, and strangely I would always skip the more pop based songs like "Eyes Without a Face" which has become one of my all-time favorite songs, that one is genuinely perfect in every way and I will never ever skip it when it comes on modernly. Anyway, enough about me and my getting into Billy Idol, let's talk about "Fatal Charm" for a second. As I already mentioned, this one came off of Whiplash Smile coming in at track #8. After Billy Idol's massive fame gathered from his second studio album Rebel Yell and the release of his first compilation Vital Idol (which I have always shared a love/hate relationship with) all the eyes were on this man clad in leather, iconic hair, and strutting that trademark sneer. He didn't fully disappoint, but I am sure he rubbed many casual listeners wrong when he dropped the last of his punk credentials on an album mainly made up of synthesizers and beats, much like he found gathered much attention from his big hit "Eyes Without a Face" from the previous album. I personally really love the ones he does that were made for dancing, it has always been a piece of what makes Billy Idol unique in the rock world, so an album heavily washed in that is no skin off my back. "Fatal Charm" is the epitome of one of his dancing tunes. It starts off with a big city night feeling, lurking on the streets and letting the night take fold as the world stomps all around you. Perfect music for sitting in a car at night, just taking in the heat of a summers night with a freshly lit cigarette. It is meant for taking on the town, breathing in tainted air before stepping into your favorite watering hole for cheap beer and wild women. It is the kind of track that is looking for trouble. "Fatal Charm" didn't get nearly the same attention as the hits from the album like "To Be a Lover", "Sweet Sixteen", and "Don't Need a Gun" though I feel it deserves more praise than all of those tracks. It is a damn fun track with the right atmosphere to kick the night into gear. After the success of this album Idol went on to have another hit album before starting to get into his experimental stage, and by the time he came back to his core sound the world moved on. He still has decent later albums, but his fame stayed in the 1980s, but what I do appreciate is he knew when to call it quits, unlike some bands that keep trying and putting out only subpar albums until most of the band dies off. He was involved in a motorcycle wreck in 1990 that put some things into perspective for him, and he was content to stay out of the public eye and just focus on himself. No matter how you cut it, Billy Idol had a great run and became a household name that is still respected even to this day. It is within tracks like this one here that we see that Billy Idol was a unique musician, he played both sides of the music world. He put out quality songs that drove the masses wild, but still found a spot for his own personal pieces to shine through to the fan base. Give the song a listen and see what you think! Enjoy!

Year Released: 1986
Album: Whiplash Smile (1986)
Genre: New Wave, Rock
Mood: Wild
Perfect For: Cigarettes at night, Going to the bar, Getting ready before a night out, Casual listening, Dancing
Where To Next: "Cat People (Putting Out Fire) - David Bowie (12" single version)​​
Rating: 8 / 10

"A Change of Seasons" - Dream Theater

Today we cover a goliath of a song, even by Dream Theater standards. Dream Theater is probably the biggest name in the progressive metal genre. They have countless hit songs that made it into the mainstream music circuit, a feat that not many progressive metal artists have pulled off. They are also one of the best entry points into the metal world due to their easy to get behind style, another thing that is rare to say about a progressive metal act. I have always been a little conflicted on their place in heavy metal music though admittedly. They were one of the first groups to get their hooks into me at a younger age, and certainly one of the first metal groups that stepped away from the core metal sound that fully thrilled me. Their debut album is one I try to forget released, but by the time the band hit their stride with their iconic Images and Words, they proved to be a force not be reckoned with. In comparison to most metal bands they are a little lighter, and with that in mind they certainly left behind many of the fundamentals of heavy metal for a more progressive rock style. Not everything has to be heavy in the metal world, but it is hardly heavy metal without it, still Dream Theater has many harder tracks that remind you of why they are one of the biggest, if not the biggest, name in progressive metal. Anyway, "A Change of Seasons" is a long song made up of 7 parts, half of which being instrumental parts. The first part of this epic is "The Crimson Sunrise", an instrumental bit that lets the band show off, especially the outstanding Mike Portnoy on drums, who also wrote the lyrics to the song. It sets the stage peacefully (or should we say half peaceful), it lets you find your seat and get comfy before finally the second part of the song kicks into gear entitled "Innocence" at the 3:50 mark, it is here that vocals come into play and this is also when stuff starts getting damn intense with keyboard and guitar making love right in front of your ears. Let's get the lyrical content out of the way real quick before the next part starts up. This song was written by drummer Mike Portnoy about the death of his mother who passed in a plane crash in 1984, which really makes those lyrics fucking sad, especially during the "Innocence" part of the song. Wonderfully written, he might as well have dipped the pen in blood from his own open wounds, and vocalist James LaBrie sings it wonderfully. He takes the emotion from the lyrics and thrusts them into your ears, no matter the tears and emotion that may form from them, and he almost makes the lyrics bittersweet with how he sings it. Luckily, by the time your heart has had enough of the sorrowful atmosphere, the song takes a sped up twist during the 3rd part of the song "Carpe Diem" at the 6:54 mark. That is one of my favorite parts of the song, the addition of excerpts from movies like Dead Poets Society and Table for Five really layers up the already heavily layered song. And don't get me started on that wonderful send off before the heavier part of the song kicks into gear, "The Darkest of Winters". That fourth part of the song is really a showcase for how fucking well the whole band plays together. It certainly has a heavy leaning to let the magic fingers of John Petrucci do the leading. He shreds and bends and caresses you all at the same time, up until the 5th part of the song "Another World" brings it all back together for the vocals to come in and bring in that damn sorrow once again. The boy has grown up at this point in the story, there is a certain hard edge to these lyrics, and man it must have been hard for Portnoy to write these damn lines. I couldn't imagine the trauma that consumed the days and nights of putting this song together, and then the following days of putting that raw emotion of music behind the words. The final lines of this part go hard as hell, and half of the selling power of those lines come from the performance by LaBrie and his very well respected pipes. After the mood gets brought right back down to being sorrowful it is soon replaced with a little bit of anger, and by the time the 6th part comes along at the 17-minute mark it feels like it is time for reflection. The feeling of loss and abandonment consume "The Inevitable Summer". Another instrumental bit that shows off the potency of the band, but a tad bit less than the other sections, or so one would think until the 18:40 mark shows up and gives you painful chills as the band cranks up the amps and knocks you down with a wall of sound. That moment of loss turns into pure anger and a little bit of hysteric behavior as our character is losing their shit. Soon enough it starts calming back down, and finally we end up at the last part of the song, "The Crimson Sunset" at the 20:12 mark. This part feels like achievement, overcoming the grief, but at the same time it feels like one of those endings that leave you just feeling hollow. Nothing really was gained, it isn't a happy ending, but not an unhappy ending either. More just a lesson of life, that you push on since there is nothing else to do about it. You live. You try. You laugh. You cry. Man! That song is immensely powerful! I cannot express my admiration for the power of this track! It is one you gotta be in the mood to sit through without a doubt, and for those that listen along to the song while reading, you were probably done a hot minute ago. The only thing I think hinders this song is that album cover, and while I understand the connection between the album cover and the song, I still think it is one crappy album cover, especially in comparison to many of the great ones the band has. Funnily enough, this album is considered an EP. I call bullshit, though! This "EP" is 57 minutes long! That is a full album, sucker! Still, it is technically an EP. The first half is dedicated to this one song (as you could imagine) and the other half is made up of covers, some good, some not so much, and some plain odd. The final track "The Big Medley" is a fun one, made up of Pink Floyd, Kansas, Queen, Journey, Dixie Dregg, and Genesis. Aside from that medley they also covered Elton John (a plain odd cover), another Deep Purple song this time being "Perfect Strangers" which is a unique and great pick, and a Led Zeppelin medley. As much as those covers are fun to see the band playing stuff much more tame than their usual, this EP is one you can go without playing aside from the title track. To miss out on "A Change of Seasons" is a cardinal sin! A thorough epic that was crafted from the heart and played with every piece of the band's soul. A super powerful song! So make some time and give the song a listen, it is a marvel to take in, but it does demand your full attention, and you owe it to music to give it your focus. If it ain't your cup of tea to listen to long songs, I get it, but you are missing out! Well, that is all from me! As always, enjoy! 

​​​​​​​​​​​​​​​​​​​​​​​​​​​​​​​​​​​​​​​​​​​​​​​​​​Year Released: 1995
EP: A Change of Seasons (1995)
Genre: Progressive Metal
Mood: Rollercoaster of Emotions
Perfect For: In depth listening, Grieving
Where To Next: "The Ivory Gate of Dreams" - Fates Warning​​
Rating: 9 / 10

"Snail Hook" - Orange Goblin

I am stoked to finally talk about Orange Goblin on this website. They are the essential stoner metal / stoner rock group and have had a long and successful (as much as this genre gets successful) run, strutting 10 quality studio albums. The good thing about Orange Goblin is you know exactly what you are getting each time you start a new album. The music is loud and heavy, it is slow and droned, and most importantly it is atmospheric. Stoner metal, desert rock, and stoner rock builds itself up on repetition that is hypnotic, some bands more than others, and while Orange Goblin is certainly a little on the repetitive side there is no need to complain since their atmosphere is top tier, and they still shake it up often enough. The perfect stuff to roll up a doobie, spark it up, and let your mind fly. When I was first expanding into the stoner side of the metal world after thoroughly abusing doom metal (their roots in the metal world) I kept seeing one name on repeat. Some mystical creature that makes loud music for riding motorcycles, having a 6 pack of beer on a work night, and getting stoned in the morning under the name of Orange Goblin. Easy to say just from the band's imagery and band name I was already sold, all I had to do was press the play button. I started on their 2002 release Coup De Grace, mainly since I loved how the album cover explained the band, "the terrifying experience of Orange Goblin", and the track that fully sold me on the band was "Rage of Angels" which uses a great sample from some old movie before jumping into a loud fuzz that rumbles the stomach. From there I jumped from modern Orange Goblin to old, and I can easily say that all of it is good, not the kind of band that someone would say "I only like their first few albums". One of my favorite things about the 1990s is the presence of this style of rock music, the tamer and more atmospheric stoner rock variation is one of my all-time favorite styles, and the fucking intense motorcycle rumbling of the stoner metal genre is equally great. I love one for a mellow time while driving around in the day, and then the stoner metal is perfect for a Saturday night when you are getting a little too messed up at home. Admittedly, it has been awhile since I partied it up on a Saturday, but when I hear bands like Orange Goblin coming across my speakers, it makes me crave a night of drunken revelry with all my heart and few remaining brain cells. Anyway! Time Traveling Blues is a classic from the band, it has a little more variety in comparison to their debut and the sound is a little more cleaned up for better or worse. It starts off wonderfully with "Blue Snow" which is a bombastic intro song, and then it keeps that pace up until the oddity of the album "Time Traveling Blues" which shows off what the band would have sounded like if they came out in the 1970s. Lyrically that final song is the one that really stands out, the other ones are fun and heavy buuuut Orange Goblin isn't known for their penmanship, they are known for setting a special hot summers atmosphere. I am not talking driving in a convertible heading to the beach with your gal pals, I am talking true heat, the days that you would rather die than walk across a parking lot to your scorching hot car. Does that sound like a bad thing? Maybe. But is that what it feels like a lot of the time? For sure. There are the tracks that feel like hot wind too, like "Snail Hook" our song of the day. "Snail Hook" is the 6th track off the album, and in my opinion is one of the best from it. It holds its Black Sabbath influences high to the sky, and even though this song is repetitious 5:48 long, it still keeps you sucked into its fold. Once again, that repetitious groove is hypnotizing, it controls your mortal shell for it's playtime to make you groove. A lyrical theme of all things magical only fits the vibe. I have always had a hard time seeing the caterpillar smoking the hookah from Alice in Wonderland listening to some Grateful Dead or Pink Floyd, I think it is a ton more fitting that he was listening to a song like "Snail Hook", just seems like that kind of dude, especially in the depiction out of the book. The Disney one was listening to some world music and thinking anything rock and roll was for the unrefined. In retrospective, that bug was sort of a bastard. The song is a good one for most good time occasions, and that album cover is damn fitting and awesome! Someone get me a shirt with that! Anyway! Give Orange Goblin a listen, wontcha? Good shit for grooving along to while riding down the highway on an iron horse, trust me, I would know. Enjoy! 

​​​​​​​​​​​​​​​​​​​​​​​​​​​​​​​​​​​​​​​​​​​​​​​​​Year Released: 1998
Album: Time Traveling Blues (1998)
Genre: Stoner Metal, Stoner Rock, Hard Rock
Mood: Slow n Steady
Perfect For: Riding a motorcycle, Getting stoned, Getting drunk, Getting stoned and drunk
Where To Next: "The Prizefighter" - Slo Burn​​
Rating: 7 / 10

"I Love It Loud" - KISS

​We just barely talked about KISS a couple of posts ago, but what the hell, let's do it again! Today we will talk about "I Love It Loud" off of the band's controversial 1982 release Creatures of the Night. This album has a strong split in the fan base, there are plenty that think it is a crap album, and then there are those like me that think it is still a good album even if there are a couple of filler tracks. This was the first KISS album with Vinnie Vincent, even though he played but wasn't credited, and the last album with Ace Frehley, even though he was credited but didn't play. Creatures of the Night was a strong transitional album for KISS. Their previous album Music from "The Elder" flopped hard, and even being a big KISS fan, I know a shit album when I hear one. It seemed like it was a sign of a dying band, a band that is one of the hardest touring groups ever, and one that was selling albums like hot cakes. There were many jumping ship, switching of line-ups, command was shifting between Gene Simmons and Paul Stanley, and nobody was sure if they could trust the band to put out those platinum albums like before. The band has been with Casablanca Records since the start yet Creatures of the Night was the last one with the record label. Even with the lineup changes, stylistic changes, and label changes, there was still one thing that this album marked as the last that in retrospective is the most important, and that is this is the last KISS album to have them painting their faces. It feels like the unmasking of a luchador, or demolishing a house that once tracked the height progression of multiple generations of children. The bands makeup was one of their biggest trademarks, and it wasn't until the band released Psycho Circus in 1998 that they returned to the paint. I can see why they wanted to step away from it, especially since their sales were falling and they needed a rebirth. The attention they gathered from the unmasking helped, and then jumping into a different hard rock market was a success, maybe not to the same extent as their decade defining material in the 1970s, but still enough to keep those mansion bills paid in full. Though that is to come in their history, right now we are looking at the last album from KISS's original sound and image. Crazy we talked about Black Sabbath's last album before the big change, and now we are talking about KISS and theirs, but you that is as natural as it comes, there are few bands that don't have the change, and even fewer that don't have the change and didn't fade away 2 years after their prime. I already sort of gave Creatures of the Night a little bit of an intro with its place in KISS history, but let's try looking at this album from outside eyes. There you are, 1982, a young adult just getting off work, which is luckily close enough to home so you just take the 10-minute trek. You pass by the normal coffee shop, the old folks bar that smells of cigarillos, the nail parlor, and as you approach the turn off the main street you can hear a hard driving rhythm coming from the shop on the opposite side of the road in the distance. It sounds like something from your youth, but it melds in a little bit of the heavier sound that came from the Brits a couple of years back. You dig the sound, you dig it enough to cross the street and head towards the record shop. As you get closer you start to recognize that this is KISS, with a song and style you have yet to have heard, though admittedly you haven't bought one of their albums since 1977s Love Gun. You walk in and ask the burned out hippie behind the counter what song he is spinning, and instead of answering with words, he turns it up a little bit and hands you a cassette of KISS's new album Creatures of the Night. The album cover isn't the best, though let's be real, KISS album covers rarely are, they are novelty yet kick ass. You feel at your pocket for the pay you just got and hand over 8 crisp dollar bills and head on home, yet when you get there it occurs to you that you forgot to ask which song that one playing was, after a shrug you figure you'll find out yourself anyway, and you load it up into your half working boom box, turned the dial down to not piss off the neighbors, and pressed play. The first song didn't grip you, but the second one "Saint and Sinner" reminds you of what you loved about KISS during your youth. By the time "Rock and Roll Hell" kicks into gear, your worry of wasted money fades away and "Danger" does nothing to hinder that opinion. The first side of the cassette came to a close, you still have about an hour before you are to meet some friends a town over for a beer so you flip it over before heading into the bathroom to start getting freshened up, but something stops you as soon as the B-side starts. It is that song, you forgot it was the whole point of buying the album in the first place. "I Love It Loud" starts off with a bombastic drum intro that has you instinctively turning that stereo up, neighbors be damned. Pure raw rock music with a simple drum lead rhythm that is addictive as it comes. Getting ready for the night on the town can wait, the power of music consumes and spits you out. A simple reminder about the raw power of straight forward rock music for rock fans. Luckily the song is the start of this side of the cassette so you can easily replay it, and replay it you do a handful of times before rushing to get ready to leave. There isn't enough time to play the other tracks, but you will do that once you get home... if you have time after listening through it a couple of more times. Alright, that is enough pretending, wouldn't you say? Maybe let's get back to the post itself, though I think I explained the greatness of this song just within that story. The song is heavy and straight forward, it is one of those songs you just gotta play loud. While the drumming isn't something you would ever hear on a Dream Theater song, there is something powerful in a straight forward drum line. It is a rallying call to rock n roll, it is something easy to stomp along to, it reminds you that it is just humans like you behind those instruments that we accidentally get mixed up with some kind of demigods. I love lyrics about loud and rough rock music, and while these lyrics aren't overly deep there is a simple kick in the teeth in those words, especially with the tribal chanting and drumming sending it home. A classic KISS track, and one of the longest running champs in their discography from this album, it is played at practically every show they do, and it serves as a great crowd hyper. Anyway, be sure to turn those speakers up, kick those feet up, and relax! If you can stand still while it plays, that is. Enjoy! 

​​​​​​​​​​​​​​​​​​​​​​​​​​​​​​​​​​​​​​​​​​​​​​​​Year Released: 1982
Album: Creatures of the Night (1982)
Genre: Hard Rock
Mood: Bombastic
Perfect For: Playing loud, Driving, Drinking, Partying, Good times
Where To Next: "We Belong to the Night" - UFO​​
Rating: 9 / 10

"Junior's Eyes" - Black Sabbath

You know what is plain plum crazy? Black Sabbath has yet to be included on the song of the day blog. They are one of my all-time favorite groups, and practically all the Ozzy material and the majority of the Dio material are beloved songs of mine. One of the few groups I would get a tattoo of, like right on my forehead. So how in the hell did they miss the chance to get selected until now?! Crazy. What is even crazier is the track that got selected for their first time. "Junior's Eyes" is an oddity from the last album to include Ozzy on vocals until their later reunion decades later. Never Say Die! is an underrated one from Black Sabbath and I will die on this hill. There are plenty of great tracks, and while it was the thing that had Ozzy striking out on his own legendary solo work, I personally dig the new sound the band was heading towards. They started integrating a more jazz and progressive basis to their songwriting, I am not saying there were saxophones and swinging, what I am saying is it wasn't this heavy train pushing through anything in front of it. This album and the previous album Technical Ecstasy (1975) felt a little more cleaned up and mature, it sounds like the band fulfilled their contract of putting out 6 groundbreaking heavy as hell albums with the devil and are now on a quest to regain their souls from the fires of rock n roll. For some, that might sound like Black Sabbath just got lame, and in some ways they might have. Though, what are they supposed to do? Not keep with the changing styles and fade away? Not use their already massively impressive skills behind the pen and instrument to try out something a little different? Ozzy wasn't about it, and it caused a big crack in Black Sabbath, and while I grieve for what might have been with Black Sabbath moving into the decade where the genre they created finally blew up and expanded, I don't think I would have traded that for the solo work from Ozzy Osbourne, nor would I want to miss out on hearing what Ronnie James Dio did with Black Sabbath not to mention the other singers that put out a good song here and there with Sabbath. With all that said, let's take a little look into 1978s Never Say Die! an underrated set of songs from Black Sabbath. I will be the first to say that not every single song on this album is something you need to write home about, but the songs that are the good ones on this album are damn good. The title track "Never Say Die" is the crown jewel of the album, the song is so good that it would be worth it to buy the whole album just for this one track, and the other treasures from the album like "A Hard Road", "Over to You", "Shock Wave", and "Junior's Eyes" are just the cherry on top. In comparison to the controversial album that came before this one, Technical Ecstasy, it feels a ton more like Black Sabbath, but it kept the new-found speed and shine they took on in that previous album. None show that better than "Junior's Eyes", kind of an odd song lyrically, it was originally written by the band when they had the new (and temporary) singer Dave Walker, but due to Ozzy coming back to record the album Walker was let go. Ozzy refused to sing any of the completed songs written by Walker and the band, and altered most of the songs to boot which gives us "Junior's Eyes" its backing. The song is written about a child finding difficulty coming to terms with the death of his father, and after Ozzy altered some of those lines it was then written in tribute to his father who died in 1977. The song is pretty damn heavy, and the little lick of rising tensions in that intro really sets the stage before the rest of the band comes in. You can find the version of this song in demo form with Dave Walker on YouTube, and while it is interesting to hear, there is no denying Ozzy's presence in Black Sabbath makes it come all together. The emotion of this song is found in his vocals, it serves as the intrusive opposite to the mellow groove Tony Iommi, Geezer Butler, and Bill Ward set up. Say what you will of this album, but we see some of the most unique playing from Tony Iommi. He wasn't taking over the whole song like he does in the majority of their earlier albums, he seems content setting the mood and doing his own thing. The track comes in just shy of 7 minutes, yet each second of the song is full of thrill, it keeps you sat the whole time and even if you might start getting a little tired of the song, by the time that chorus comes by you are hooked once more. A criminally overlooked song from a sadly overlooked album, and one I am pleased to hand over to you today. Enjoy! 

​​​​​​​​​​​​​​​​​​​​​​​​​​​​​​​​​​​​​​​​​​​​​​​​Year Released: 1978
Album: Never Say Die! (1978)
Genre: Hard Rock, Heavy Metal
Mood: Moody
Perfect For: Casual listening, Working, Commuting, Getting stoned
Where To Next: "The Sails of Charon" - Scorpions​​
Rating: 8 / 10

"Tropicalia" - Beck

There are few bands that make me feel the nostalgia of my childhood like Beck does. There was a time period when my mom was seeing this dude named Stu, the relationship was doomed from the start, though he still left his mark on my music taste heading into the future. This dude was obsessed with... I am not even sure what to call it. He had a strong taste for indie rock and folk rock, but not in the traditional sense, it was balanced out with a love for britpop, neo-psychedelia, and post rock. His music taste had this strange entrancing ambiance to it that bounced off the walls of my trailer growing up. Always a blissful time, but you knew that there was going to be drinking and terrible dancing when Beck turned on. Even before my mom met Stu, I heard Beck on the radio and already appreciated his music, mainly the mainstream stuff you would have had a high chance of hearing on repeat during the 2000s such as "Loser" and "E-Pro". Speaking of "E-Pro" that is the earliest song I can think of that I had to wait for it to come back on the radio so I could find out what the hell the song was called and who it was by. This was before everyone had a computer in their pockets at all times, so if you heard a song that you wanted to jot down in your trusty notebook you would have to wait until it comes around again and gets introduced, that or ask someone if they heard the song that goes "like this", but when it comes to Beck you sound like a loon if you quote any of his random as hell lyrics. That song was a week long mental obsession for 8-year-old me, and when that Texas DJ finally came across the air waves and said, "now here is Beck!" I about broke my neck trying to find something to write the song down with, especially with a title as peculiar as "E-Pro". Anyway! Today we aren't talking about "E-Pro" nor the kick ass album it comes off of Guero, we are talking about Beck's 1998 release Mutations which holds the leading single "Tropicalia". As you might have guessed from the name of the song, this is Beck playing around with the music genre tropicalia, Beck is well known to not stick solely to one genre in his base sound, he jumps here and there so it isn't all too shocking he took this lesser known (in the USA) genre into his ears and then released it unto the populace. A blissful track and easily one of the strongest from this album, it is one of the tracks from Mutations that completely leaves behind the early Beck sound which was made out of piss washed art rock. I was not fond of Becks first 2 albums, that shit stresses me out and pisses me off when there is no reason for it to, and when Beck started to move away from that on Mellow Gold I jumped for joy! Still, more than half of that album still holds true to the lo-fi pigsty style though slowly but surely it was left behind. I started my voyage of Beckology on Mellow Gold, so I wasn't too shocked when it was time to head backwards in his discography, though for those that came along in Becks modern work it must have been like falling from Heaven and landing in West Valley City, UT. Go check it out for yourself, maybe I am just being an opinionated baby, but that first album is disgusting. Anypoo! "Tropicalia" is a divine track that uses many different instruments, samples, and sounds to create a layered track you would have to listen to a few times in a row to hear it all. My favorite is that strange window cleaning noise that starts the song and comes back here and there, and even gets its own instrumental bit. That instrumental bit is wild, there aren't many artists in my massive collection of bands and songs that jam that hard while using a ton of random noises and synthesizers. "Tropicalia" might be the crown jewel off of Mutations, though I have a serious soft spot for the dreamy "Nobody's Fault But My Own" and "Cold Brains". The album holds so many varying feelings, there is really something for anyone in its 11 tracks. Beck's previous album Odelay might be a little more recognized, but these two albums are day and night. The previous album had a heavy emphasis on hip hop based beats with an alternative rock style, but when it comes to Mutations there is a ton more of a broad selection of styles that were influenced from places both from 1998 and also stuff from years past. The true defining point of the album is its atmospheric onslaught. This isn't the kind of album you listen to in the background as you clean your house, this is the kind of album that stops you in your tracks from cleaning and coaxes you into just sitting down in a comfy chair with a cup of coffee and a blanket and letting the stress of the day go. See for yourself! But be sure to listen to this song first! I didn't type this out for nothin'! Enjoy!

​​​​​​​​​​​​​​​​​​​​​​​​​​​​​​​​​​​​​​​​​​​​​​​​​Year Released: 1998
Album: Mutations (1998)
Genre: Folk Rock, Tropicalia
Mood: Peaceful
Perfect For: Relaxing, Driving around, Errands, Having wine
Where To Next: "Never There" - Cake​​
Rating: 8 / 10

"Today Your Love, Tomorrow the World" - Ramones

Ah... the Ramones. It has been a little bit since we have talked about them, the previous post was covering their famous "Rock 'n' Roll High School" which was one of my many anthems during my high school years (go figure). Though today we take a look at a lesser-known track from them, even though it is off one of the most important and recognizable albums to ever hit the rock world. "Today Your Love, Tomorrow the World" is the final track off their landmark 1976 debut album and while it isn't the strongest track on its 14-song track listing, I can't think of a better one on the album to take the place of the closing song. It is simple by nature, and much in Ramones fashion, it melds the music the band listened to growing up with the punk rock edge they helped package for the masses to obsess over all the way until modern day. Most of the B-Side of the album had the lyrics written by bassist Dee Dee Ramone, one of the masterminds behind the Ramones national success. The Ramones lyricism isn't typically something you write on the subway wall, a lot of the time it is something you would write on the bathroom wall. Straight forward is the name of the game and with a special loony edginess to boot, but that is some of what makes the Ramones such a sensational band. It isn't always about what you say, but how you say it, and for the Ramones they always say it in a way that is hard to tell if they are being serious or just playing around with the matter. One thing I have always found the Ramones underrated for is their inclusion of love songs. Punk rock is famous for a lot of themes, be it political slander or songs written in the blood of their enemies, but love songs are a rare one, especially as punk moved on. A lot of the time it isn't even the "why don't you love me" kind of songs we would hear later in skate punk and pop punk, nor the "you left me behind, and I AM PISSED" love songs from the hardcore scene in the 1980s. It is straight forward gushy lovey dovey tracks reminiscent to something you would hear coming out of Del Shannon. I guess for a band that always wore their influences on their sleeves, they can get away with it, but if you know the Ramones I really don't think they were intending to ask in the first place. Now, why would I write all that out when our song of the day isn't even a love song? Honestly, I am not sure, I guess I found a thing to talk about and I did, that and for many that might be reading this but aren't familiar with this song it would seem like one. But here comes the drop... the song is actually about Dee Dee Ramones being bullied as a child while living in Germany but still standing at attention when the USA flag goes by. Dee Dee has always had an obsession with Nazi memorabilia, but don't go get yourself in a tizzy and burn your generic Ramones tee, that is not saying he is a Nazi nor he believes in the ideology. I think for many, especially back then, there is a strange allure to the wicked. I will be the first to say that the Germans always knew what they were doing when it came to wicked appeal. Their outfits were intimidating, dark, and sharp, and the same is easily said about their symbols. Be it World War 1 or during the Nazi party's control during World War 2. So, if you are a pissed off youth, or someone who likes the black and red color scheme I could see how this sinful and wicked symbol could be a little luring. It is like a sacred fruit, and many different themes throughout history have weaponized it. I mean, shit, look at heavy metal for instance. Their usage of satanic images and themes is a prime example of just that, and most of the bands weren't even practicing satanists, they just thought that shit looked cool. I am not defending a Nazi, just can see where he is coming from. Though, what I cannot fully defend is what the lyrics were intended to originally say before the record label did a "yeah... how about no" and asked him to change it. Practically the first few lines were supposed to repeat "I am a Nazi" over and over again. Which.... yeah... I can see the problem there, even if it is set up for the story side of it not that Joey Ramone is a Nazi, especially with his Jewish descent. Story wise it would work out fine, but that is problematic from the start. I don't think I would be typing about it right now if that was the case, just due to its dumb lyrics. Punk later had a problem with Nazi punks, and Ramones being thrown in with that would be stupid especially over a story, you can only pull that shit off if you write it well and "Today Your Love Tomorrow the World" is certainly not written well enough with its simple lyrics that hardly seem to connect to the other lines of the song. I will stand by this song still being a great one, and a fitting one for the album, an underrated Ramones song that is a joy to listen to. But it is one of those that you can easily forget the lyrics, since while they are better with trading "I am a Nazi" with "I am a shocktrooper" there still isn't much of quality. Luckily Joey Ramone is already a hard singer to understand, and double lucky the record label didn't want stupid filth crammed into a 2-minute song. I will say again though, Dee Dee is not per se a Nazi, though his obsession and flaunting of its imagery is something to still not take lightly. Ramones is still an innocent and fun band, and they don't deserve to be thrown in with the scum that flooded punk music a couple of years after its true start with this album. I mean, shit, both Joey and Tommy Ramone are Jewish. Do with that what you will, but do that after you give the song a listen for me. Thanks! Enjoy! 

​​​​​​​​​​​​​​​​​​​​​​​​​​​​​​​​​​​​​​​​​​​​​​​​Year Released: 1976
Album: Ramones (1976)
Genre: Punk Rock
Mood: Raw
Perfect For: Casual listening, Fast paced activities
Where To Next: "Nazi Punks Fuck Off" - Dead Kennedys​​
Rating: 7 / 10

"Carr Jam 1981" - KISS

For many, KISS isn't the first place you would look for a damn good instrumental track, but for those of us that love all things rocking, we know that KISS can really set them up and knock them down when they want to. I have never fully understood the hate I hear towards the band. Are they arrogant? For sure. Are their songs reminiscent of a Wagner piece? Nope. But can these cats really rock? Hell! Yes! There are no real frills to their music, it is straight forward and easy to get behind. There isn't any other band as sex obsessed than KISS, I mean like 90% of their songs are about chicks and often about sex. Each of them are good musicians too, once again they aren't doing the most inventive things, but what they do they do super well. Their 1975 live album Alive! shows off the potent and skilled side of the band more than any other place, so if you are someone who is rolling their eyes while reading this, then I suggest you go give it a listen. If you hate KISS because they sold out, then maybe look around you outside, real life runs off of money, and KISS started the group for chicks and money, something they got a shitload of. They are the ones that really seemed to find the business in merch and selling the shirt off your back for a couple of thousand dollars, even more so than the colonel did for Elvis... well maybe. Is that so bad? I don't think I would go to that extent if I got famous, but I don't blame those that do. If you dislike the band due to their persona, then I don't know what you tell you there. The outfits and face paint is some of the fun, and since they pushed the limits of what pyrotechnics could do during that time, it makes it seem like much more of a carnival show than that of a traditional rock show. Anyway, I always feel the need to defend them since I have heard countless times the plain slander people give to them, and more often than not they think KISS just did "Rock and Roll All Nite" and "Detroit Rock City". There is so much more to the band! So, if you that sounds like you, do some research and feed your ears with some plain and straight forward hard rock music that can surprise, let me suggest you listen to three tracks and see if you still can say they are tasteless. Start with "Black Diamond" then head to "Hard Luck Woman" and lastly stop off at "Unholy". Speaking of "Unholy", that is the crown jewel off of 1992s underrated gem Revenge, the same album that holds our song of the day today "Carr Jam 1981". With all my ranting finished, let's jump into the track. As I mentioned earlier, KISS isn't usually your first thought for putting out a great instrumental, though they do have them. Off their debut they have the sensual "Love Theme from Kiss" which is a joy for driving slow on a summer's day, the odd and not very KISS "Fanfare" off the unfortunate album Music from the Elder, and if you count it, we have the damn beautiful song "Fractured Mirrors" off of Ace Frehley's "solo" album in 1978. Plenty of decent ones, and then there are the ones that kind of aren't all that great to have in the band's deck, like "Fanfare". "Carr Jam 1981" is one to cherish and show off though, it starts off aggressive and funky. It is hard to even tell it is KISS honestly, each member is playing tightly with the other. It has some Joe Satriani "Surfing with the Alien" vibe to it, with obviously a little less crazy guitar work. Still, KISS does a great job, and I am especially fond of the spotlight they put on the drums by Eric Carr, but how could they not since this was included on the album as a tribute due to his passing in the year prior to its release from heart cancer. Fucking cancer. I have always found him to be an underrated drummer, his time in KISS from 1980 to 1991 really electrified their sound. If it wasn't for his inclusion, I am not sure if they would have had that raw power to survive amongst the young bucks in the hair metal world. Eric Singer also did well behind the kit on the other songs off the album, there is no doubting that, but in comparison to Eric Carr I am not sure. Also, what the hell is their thing with "Eric's" anyway? Guess it isn't that weird since there are plenty of people named Eric, but two on the same album is sort of weird. Anyway, you know the rest of the band for the most part, you cannot even think of rock without seeing Gene Simmons' face, and the same can be said about Paul Stanley. We still got Bruce Kulick on guitar too, an underrated KISS member and musician overall. Anyway! This song will kick your ass, and it is even more special due to its paying respects to Eric Carr. Give the song a listen and enjoy!

​​​​​​​​​​​​​​​​​​​​​​​​​​​​​​​​​​​​​​​​​​​​​​​Year Released: 1992
Album: Revenge (1992)
Genre: Hard Rock
Mood: Bombastic
Perfect For: Casual listening, Rocking, Appreciating drummers, Laborious jobs
Where To Next: "Rip It Out" - Ace Frehley​​
Rating: 8 / 10

"Sucking My Love" - Diamond Head

The love I have for Diamond Head is all consuming, they are another band that seemed to be put together just for young Caleb to come across them. They are the band with one of the highest responsibilities for getting me hooked on metal music, which then turned into a lifelong obsession with music studies and eventually the labor of love you are reading now. They really didn't have too long of a run in the grand scheme but the imprints they left behind with their studded tires on the metal world was unreal. There is a chance there wouldn't be a Metallica, and furthermore there is a chance that certain metal subgenres would never have blown up the way they did. Diamond Head flew under the radar for the mainstream music world, even though their brand of hard rock and heavy metal did meld well with plenty of heavier names at the time. Diamond Head is one of the leading forces in the new wave of British heavy metal scene. For those that aren't well versed in heavy metal history, that is the genre that set in stone heavy metal's presence in the music world. It was their style that gave thrash metal their sound in the future, and it gave an entry point (and mass influence) to many of the genres to come. In the modern tongue, the genre certainly feels like hard rock more than metal, but for those that listen to the whole heavy metal genre there is no doubting the seeds they planted, and for their time it was some seriously heavy and influential shit. Pedal to the metal... well metal... that took no prisoners. It was a genre made by pissed off youth that were left behind during a recession, and that anger shouted more than spoke to others going through the same thing. The pounding of the factories melded wonderfully with the wasted youth. Alright, if you want more of a lesson on that, you will have to wait. Though, if you are to start your studies into heavy metal, then I cannot suggest enough to start with this genre. Early metal is great at showing roots, but you need to understand the core sound and fundamentals of heavy metal to truly see the whole picture, NWOBHM is that core. Anyway, Diamond Head means an obscene amount to me, mainly the first three albums naturally, and I have done almost anything you can imagine with them playing at one point or another. "Am I Evil?" is my second all-time favorite song, and that might not seem like much to the common music listener, but for someone like me that is like branding a song upon my brain and ass, I don't say something like that lightly. "Sucking My Love" comes off the band's debut album Lightning to the Nations, their most important album to ever release (though I will admit I love Borrowed Time just a little bit more). The album is fucking great, a perfect heavy metal album from its respective decade and style, and what makes it perfect is a couple of things that we will cover here and now. First, let's talk about that guitar work. In 1980 there were a ton of bands putting out jaw dropping guitar playing, I mean shit, we had Van Halen's Women and Children First within that same year, but when it comes to full-blooded heavy metal there weren't too many that played quite like Brian Tatler. The raunchy yet haunting tone of the guitar, the aggressive in your face manner of the playing, and its cradling of the vocals coming out of Sean Harris is perfect. Keep that cradling in mind as you listen through this song and some other tracks from the album. For a guitarist to be so abrasive yet still can happily play in the backline isn't always the easiest feat, though Diamond Head pulls it off wonderfully. It isn't so aggressive that it scares people away, but for those that listen in on it, you will find something wonderful. Second, the lyrical work of the album has this carefree feeling to it, there are the songs that are well written like "Am I Evil?" and then there are the youthful songs like what we have here today with "Sucking My Love". While the song jumps between shrouding its meaning, there is no denying that it is about oral sex, but unlike many oral sex songs it seems he gives it as much as he receives it. If you aren't already feeling the sleazy nature of this song, just wait until the more mellow part that is sent off by some guitar work at the 4:25 mark. A whole long section with a lusty feeling, they gotta add in the chimes and all to set the imagery as the vocals repeat "faster", it gets more intense as it goes too. Luckily, with its more Led Zeppelin vibe to it, you can play it without people instantly thinking It's supposed to be sex noises, it isn't like White Zombie which does not shroud it or the cursed mental imagery that comes out of Black Flag's "Slip It In". Some might wonder why this is even a part of the song, but to me, it is some of the selling point, and that brings us to the final point on what makes this album a perfect one from 1980. It is in that duality, many of the groups of the time fronting a heavy metal sound found their sound and abused it. Motörhead did it, and honestly never really stopped, Saxon kept their same sound for years, though Diamond Head typically kept their albums and sound fresh while still never losing their core sound. "Sucking My Love" is damn moody, and they even dedicated half of this song to the feeling of lust. The track that comes before it "The Prince" is a fast ditty that raises your hair, and then "Am I Evil?" is a well put together guitar attack that burns off your hair. Each song compliments the other while still making sure you can tell the song changed. I know that isn't the most epic thing ever, but metal tends to be copy and paste throughout their albums, and that is more than alright, I mean that is what a band and a genre does. Though, once again, Diamond Head crafts an album you can listen to multiple times in a row and still find it just as thrilling as the first time. It is smooth enough for entry level metalheads at the time to not get rubbed wrong, but still heavier than sin enough for those that have been around since the start to find a happy home within. I will go to my grave with Diamond Head being one of my favorites, they influenced my life heavily, and even now as I sit here typing this out in a jean vest with spikes in it, I remember I was listening through their third album Canterbury when I was first studding it by hand so many years ago. If I ever have kids, this is going to be one of the bands that I pass on like sacred knowledge, and if they don't appreciate it I might drown them in the bath tub, just joking... or am I? Well, as always, enjoy! Thanks for reading! 

​​​​​​​​​​​​​​​​​​​​​​​​​​​​​​​​​​​​​​​​​​​​​​Year Released: 1980
Album: Lighting to the Nations  (1980)
Genre: New Wave of British Heavy Metal, Traditional Heavy Metal
Mood: Lusty
Perfect For: Sex, Oral Sex, Casual listening, Driving at night
Where To Next: "Stop Me" - Anvil​​
Rating: 8 / 10

"Choice Is Yours" - Stick Figure & Slightly Stoopid

Hello again dear readers, hope the weekend was a good one for you. Utah seems to be having some difficulties keeping their guns at home the last few days, two shootings both claiming innocents by misfire plagues my fellow Utahns minds, as it rightfully should. Crazy world man, and the media jumps on each tragedy like salivating dogs, sickening humanity. Though, is humanity truly all that bad? Who am I kidding... but there is a silver lining to our shared experience upon this ball of hate we call home. That silver lining is beautiful music, beautiful women, beautiful nature and beautiful moments. Today's band has a revolving theme with all of those things, the ever blissful and potent reggae band Stick Figure. I have seen them live a good handful of times, both because I truly appreciate their music and also since my mother and stepfather love them, so I get those free tickets (thanks again!). I chose this song while attending their concert, I think it was my 3rd or 4th time seeing them, and they always do fantastic. This time around, they played at the Utah First Credit Union Amphitheater (previously known as the USANA), a venue I have always had mixed emotions about. While I despise the crammed crowds and muggy heat that comes from inside venues, I am also not too fond of outdoor venues since they are never as loud. I like me a good and loud concert, so long as the people behind the dials do it well. That and indoor venues feel so much more personal. USANA does hold a place in my heart since I saw Ozzy Osbourne there which is a core memory of mine, and also the place I saw Lynyrd Skynyrd, Tesla, Gojira, Mastodon, and a couple more bands that mean a lot to me. I have been drunk or stoned off my gob a good handful of times there. Speaking of getting drunk there, the fucking beers were over 20 dollars a pop! 20 bucks! Highway robbery! I still bought it... but shit... they are practically begging me to smuggle a Miller in my rectum. Anyway, still a great show, and my favorite part of the show was having Cocoa the tour dog being on stage. I swear I haven't seen that pupper on stage the last couple of times, but since the previous ones had pyrotechnics, I can understand why. I adore how Stick Figure followed the same thing Sublime did years back with Bradley's Dalmatian Lou Dog. There are few things that please the crowd more than seeing a dog. Oh yeah! Pets! Alright, so the silver lining to life on Earth is beautiful music, beautiful women, beautiful nature, beautiful animals, and beautiful moments. "Choice Is Yours" comes off of Stick Figures 6th studio album Set in Stone, one of their best albums easily, it holds many of their most endearing songs such as "Smokin' Love" which holds the top place on their Spotify streams, and also the blissful "Sound of the Sea" make up some of Stick Figures best known tracks. It holds some of my favorites of theirs as well, like "Fire on the Horizon" and our song of the day "Choice Is Yours". I am also a huge Slightly Stoopid fan, so when I saw the single get released back in 2015 I was stoked! A little worried, mind you, sometimes collabs don't turn out but are still fun, so I was a tad bit nervous to press that play button. Though once I did, let me tell you how pleased I was! It felt like drinking cold water after a hike, or taking a piss after holding it in for a sketchy long time while stuck in traffic. A damn good song, and it shows that Slightly Stoopid still has got it too since they came before Stick Figure by a good couple of years. Then came 2018, and we get their next great song together "World on Fire" which almost outshines our song of the day. One serves wonderfully for nighttime while the other serves wonderfully for the daytime, I will leave that up to you for which ones is which. "Choice Is Yours" like I mentioned before is prime Stick Figure. It is moody in all the right ways, groovy in all the right ways, and in Stick Figure style it is dreamy in all the right ways. They are the kind of group that gives you chills over and over again. They wield the dub drop like a grenade, each time you think you are back to just relaxing they hit you with another groove that is scientifically coded to get you sucked into the rhythm and lose yourself within. One thing you have got to love about reggae is how blissful it is, it sets your soul at ease, and then they slip in some empowering lyricism that really strike right for the heart and brain. Lyrically, it isn't meant to be deep, it is meant to just talk to you and tell you everything is alright. And everything is alright. This world might be on fire, it seems year by year things are taking a worse turn, but what is there to do about it? We can kick and scream all we want, but in the end, sometimes accepting what is and what isn't is the best way to achieving happiness. I am not saying be an ostrich and stick your head in the sand, what I am saying is why sit there and dwell on all the awful shit in this world? It is wasted energy and wasted thoughts, think of the bright side of life is that is doable for you. In this song they use the revolving theme in reggae of this breed that is summed up in just a couple of words, "happiness is a state of mind", and while I cannot get my brain to understand that fully there is a pure hard truth in those words. Life is what you make of it, though there is just too much danger knocking at the door for your brain to accept it easily. So stay strong out there people, carry around some kindness, it is much lighter and easier to tote around than hatred. Oh! And listen to the song! A great way to de-stress when wicked thoughts creep along. Enjoy!

​​​​​​​​​​​​​​​​​​​​​​​​​​​​​​​​​​​​​​​​​​​​​Year Released: 2015
Album: Set In Stone (2015)
Genre: Reggae
Mood: Peaceful
Perfect For: Seeing live, Getting stoned (duh), Having a beer, Relaxing after work, Enjoying the sunny day
Where To Next: "Got Me On the Run" - Slightly Stoopid, Stick Figure, Pepper​​
Rating: 8 / 10

"Been Caught Stealing" - Jane's Addiction

If there was one group that showed the changing tides of music at the end of the 1980s, it was Jane's Addiction. For a group that only released 2 studio albums in their prime, the impact they left on music is something of legend. Modernly they are still well known, and I honestly think it will be that way forever. They had a 1990s rock sound on their debut studio album Nothing's Shocking before it really showed up, and many of the songs from that album are timeless, you cannot fully tell which decade it came from, and that is some of the staying power of the band. Aside from their debut and the follow-up studio album Ritual de lo Habitual, they released two other studio albums 2003's Stray which is still a decent album though it is never the same when you release an album over 10 years later. Then the story stays the same when they released The Great Escape Artist in 2011, which I know still gathered a fairly decent fan base, but I will admit that I am not one of them, sometimes it is better to leave well enough alone, I would be lying if I said I disliked "Irresistible Force" though since that is the true shining track from the album even if it is a little odd. Who am I kidding, though? A little odd is some of the band's selling power, it was unlike anything at its time and even now there are few that can pull off that Jane's Addiction sound. Our song of the day "Been Caught Stealing" is one of the band's most famous songs, coming just barely behind "Jane Says" for the top spot. There is a sensational jive behind the song, one of those that is impossible to not get sucked into and feel all its musical power. There hasn't been any other "I am gonna steal some shit and there is nothing you can do about it" songs of this appeal. A fun song that makes you want to go shoplift. Back in the day I sure had some sticky fingers, they were always in the way, I would go in for a soda and somehow before I knew it my pockets were stuffed with candy. That theme carried on and defined my idea of fun for a good chunk of my transitionary period between childhood and being a preteen. I have always been drawn to rebellion, being a rebel without a cause was my lifeblood as a kid. The older I got, I traded that form of rebellion to the more beneficial and innocent rebellion of getting baked and trying my hand at whatever else I could get those same sticky fingers on. Growing up I had plenty of varying rackets that I took part in to get my spare cash, back in the day the ability to be able to buy soda and other things was power. You see a cute girl you know is going to be in your English class? You would find her favorite soda out, or something her parents wouldn't let her try like Red Bull, then you hand it over to her before y'all start your read along of The Outsiders. Worked almost every time. Plus, you could sell items for almost double the price of the stores if you sell it out of your backpack or locker, especially to the kids that parents wouldn't let them have sugar or caffeine. Since I got those snacks and more with my luxury five-finger discount I got myself some decent cash, well so far as it goes for a kid. Now, why do I rant on about this story? Because I had "Been Caught Stealing" loaded up on that MP3 player almost every time I went into the grocery store to fill my backpack. I would be nervous walking to my target for the day, wonder if this is gonna be the one that will make my parents roast my hide but as soon as I heard that whimsical intro with the dogs barking it got me ready. Kind of like popping in Cypress Hill's Black Friday to your CD player before dropping off some green gold to your Mormon classmates a few neighborhoods down. "Been Caught Stealing" was my ritual for my solo thieving excursions, and even now when I hear it my fingers start itching even though I left that part of me far behind. I am not condoning stealing, it's like... bad and stuff... but IF you were to do it, just be sure to target big companies, only assholes steal from small businesses. Also, from my experience alongside other reckless youth, if you do ever get caught, don't be a little baby and throw a fit, that shit only makes things worse and is plain embarrassing. The times it went bad for me, you just fess up and move on, unless it's a fat retail clerk then just outrun his ass, minimum wage never pays enough to chase down some longhaired punk with a bag full of starbursts. Anyway! Let's get back into the music, eh? As you could have told from my stories and from the title of this song, the song is about shoplifting. The intro to the song will drive your dog plumb crazy but even that little pooch will be vibing along to the song once it fully swings off. An incredibly fun song that gets stuck in your head for hours upon hours. It is easy to see why this is one of the bands most famous songs, and one of the most popular to come out of the 1990s. Catchiness is the name of the game, the clapping and rhythm is addictive. The lyrical content is top notch, not because it was written with a pen on fire, but because it was written with a stolen pack of BIC pens. Classic sinful lyricism that must have convinced more kids than just me to slip some gum into their pocket for the thrill of it all. The lyrics melding into the atmosphere of the song really sells this piece, it feels like youth, it feels like careless abandon, it feels like a hot summer's day in the backyard with a beer. It is the audio personification of fun, shit the song could be about stomping puppies, and it would still have that same bite to it. A through and through classic! I am sure you have already heard the song plenty of times, who hasn't? Though that shouldn't stop you from taking it in once again! The rest of the album is also fucking great, a 9/10 album for certain, but there aren't many tracks from it that reach this high. This is peak Jane's Addiction, shit, this is peak alternative rock. Perry Farrell is always a joy to listen to singing along, there is a homey factor in his tone, it feels like listening to a dear friend. Well, time to do your part since I did mine, play the song and enjoy! Also, shoplifting ain't worth that shit once you are an adult, nobody will hire a thief. If there are kids reading this, then maybe don't do it, and if you are going to do it be certain to do it smart, plan this shit out like a miniature heist, track employees and see which ones look like this job is eating their soul, that is the one you wanna weaponize to seeing it through. Don't hit the same one twice in a row, unless you don't see the same crew on shift. Buy something every second time you go, something that makes it seem like you are a youth of unsatisfactory circumstances, tomato soup and bread, etc. I don't even know how it is today, and I bet it isn't even slightly worth it nowadays. Overall, it is easier just to mow some lawns and eat your candy in a pure way, sooner or later the fun comes to a head, and that head is often yours in the guillotine. This website is free, and I give to you songs that will last a lifetime in comparison to a couple of minutes of reckless fun. Enjoy!

​​​​​​​​​​​​​​​​​​​​​​​​​​​​​​​​​​​​​​​​​​​​Year Released: 1990
Album: Ritual de lo Habitual (1990)
Genre: Alternative Rock
Mood: Fun!
Perfect For: Shoplifting, Summer, Going for a walk, Good times
Where To Next: "2X4" - Blind Melon​​
Rating: 10 / 10

"Beer Barrel Polka (Roll Out the Barrel)" - The Andrew Sisters

Welcome readers, thanks for stopping by! Time is limited, and is something you can never get back, so the fact that you chose to come here and read this to gather some new tunes is mighty appreciated! I try to keep these posts fresh, but there is only so much you can do when you do one every day, and the topic tends to be just a different flavor from the last post. This month has had plenty of variety, so why change that now? I must be in a peculiar mood this month since I am not getting caught in my blocks like usual, each day has been something new and fresh to type and talk about. Today we look at The Andrew Sisters once again, this is their 3rd time showing up on the website and each time I am excited to talk about these gals. They ruled the music world for a good portion of time, having their first charting hit in 1936 with their version of "Bei Mir Bist Du Schoen" and for the following years up until the changing musical tides of the 1950s they were one of the most celebrated names in music. Wonderful singers that are a pure joy to listen to, only top tier musicians played behind these sisters and each song brings something special to your ears. Their material during World War 2 is their finest time, the patriotic songs were performed with raw conviction, and modernly they come off a tad bit eerie, which makes and breaks them to the modern ear. The three of them continued their music all the way into 1967 when the oldest sister LeVerne passed away from cancer. These sisters saw 113 charting billboard hits, and furthermore 46 reached the top ten, which outshines both the Beatles and Elvis Presley, but doesn't outshine some of the stars from our lifetime. There are few that had a better career than them, and they played alongside many of the other massive names of the time. Now, from a time period of feverish patriotism, Plymouths, and prohibition being a thing of the past, the nation needed a musical group with a serious swing to it. Plenty were there to serve up a good time, but there weren't any that seemed to have nearly as much fun making music than The Andrew Sisters. Their vocal harmonies are something of study still to this day, their fun way of singing along and the overall persona of these sisters simply forces a smile on your face. Listen to our song of the day for example, the way that Patty Andrews plays around while singing gives it a silly yet serious feeling, she is the main singer for most of the Andrew Sisters material though the other two sing tightly behind her creating a silken sheet of singing. "Beer Barrel Polka" was a polka composed by Czech composer Jaromir Vejvoda under varying names, the lyrics were added in later and then the Andrew Sisters got their hands on it and thrusted it into being a popular drinking song of the time. It was their 13th hit single and 6th top 10 single by the middle of 1939. Though, for our version today it isn't the studio version that had soldiers stamping their feet, today we listen to their performance of it alongside Glenn Miller from the Chesterfield Broadcasts collection. Glenn Miller was a reputable and well respected trumpeter and arranger in the late 1930s into the early 1940s. From 1939-1942, his orchestra was the highest selling dance band in America. So since there is fun and fancy-free, the Andrew Sisters weren't far behind, and it was desisted they came together to chop out some great tunes. Truth be told I am not 100% sure when this version came out, the thing about this old of music is it is damn hard to get information for unless I found some strange old book to pick through, which typically would be a joyous occasion for me, but sometimes even that is damn hard to find. I know the Chesterfield Broadcasts was a radio show where Glenn Miller had his band play with varying people on vocals, a lot of the time it was the Andrew Sisters. The song was already big across the ocean before The Andrew Sisters did it, and then they put their version out on disc, and it became a classic amongst the soldiers in 1939, so if the energy was kept up I would say this version must have come out the same year or the one after.... so lets go for 1940, fuck it. The song is screamingly from its time, I mean the intro to the track is praising of cigarettes (which as a smoker I appreciate) and then the song kicks off swinging in classic polka style. Makes you want to dance, and I don't even know what dance was popular at the time (I guess the polka). The song has a youthful love feeling, a good time backing for partying. Might be odd for some listeners to imagine people losing their mind to this song, but being someone who has got drunk plenty of times to this type of music, I can ensure you it is genuinely perfect for it. In this version you can feel the raw energy behind each and every note, the song is put together wonderfully to get a little reckless. Guess that is something you just gotta experience, so give the song a listen! Nothing to lose, but everything to gain! Enjoy! 

​​​​​​​​​​​​​​​​​​​​​​​​​​​​​​​​​​​​​​​​​​​​Year Released: 1940?
Chosen Compilation: Glenn Miller and the Andrew Sisters: The Chesterfield Broadcasts (2003?)
Genre: Jazz, Polka
Mood: Rambunctious
Perfect For: Dancing, Getting drunk, Casual listening, Weekend fun
Where To Next: "American Patrol" - Glenn Miller​​
Rating: 8 / 10

"Evil Woman" - Spooky Tooth

Today we talk about one of the most underrated bands in rock history, the strangely named Spooky Tooth. This is the kind of group that has been covered a ton of times by many big names, the kind of group that put out top quality rock music but never got the attention they deserved. They still had a decent career all things considered, but I believe they deserve so much more. The band is made up of great musicians, such as Gary Wright that had moderate success in the mid 1970s especially on his 3rd solo album The Dream Weaver which is one great album, in my opinion it isn't as great as his work with Spooky Tooth but what use is there comparing two different sounds? Spooky Tooth is a breeding ground of rock n roll talent, their albums are mostly all great and have high replayability, and many of the members went on to make great strides in other big names or like Mick Jones who went on to help form Foreigner, Jones isn't on our song of the day and was only in Spooky Tooth on the three albums You Broke My Heart So I Busted Your Jaw (1973), Witness (1973), and The Mirror (1974). All good albums, but I do have a soft spot for the band's first couple of albums, especially 1969's Spooky-Two, which holds our song of the day. That album is a rock gem, from start to finish there is only great tracks, some are even better than great like their two biggest hits "Evil Woman" and "Better By You, Better Than Me" the latter was famously covered by the metal gods themselves, Judas Priest, and they were accused of using subliminal messaging on that song that caused a dual suicide, obviously the case was dismissed, it is crazy how dumb people were back then towards music... actually, it isn't that crazy... people today are still daft, I always wonder if they are more now. Anyway, the band's crown jewel is our song of the day today, "Evil Woman". This song is fucking great, each time it comes across my headphones or speakers, I am damn impressed with it. It is put together super well, its blues backing packs a serious punch. The track was written by Larry Weiss, a freelance songwriter that wrote plenty of iconic 1960s hits from multiple different genres. Lyrically, the song isn't anything all too impressive, but when you mix in the performance from Spooky Tooth, now we are cooking with fire! The lyrics (as you already guessed it) revolve around a wicked woman that is dragging our character's heart over coals, a cliché lyrical theme but some things never really go out of style. The song comes in at the 9-minute mark, but it doesn't even feel half that long due to its strong grabbing power that holds you in its embrace the whole time. Now, I don't mean that in the way of you are hooked and paying attention the whole time, the thing is blues rock which is a genre that you can either pay full attention to and be impressed or let it play in the background and enjoy its atmosphere. The song starts off moody and reminds you which year it came out of with that mellow rising to power with the keyboard, and finally the guitar and bass come in to play along to set this atmosphere of a bayou night. The dueling vocals keep it feeling fresh, even with its repetitious manner. By the time the chorus comes along you are fully jiving along, even if you don't mean to, just an example of the pure and simple power of music. By the point you might get the idea of the song, they mix it up at the 3:45 minute mark with an instrumental jam that really lets each member of the band show off for a good bit before they reel it back in together, especially guitarist Luther Grosvenor. The instrumental portion of the song really backs up my claim to them being on the most underrated groups in rock music, so much power and talent came out of this damn group. They only were around 7 years, but in that time they put out really great stuff, many of which has a happy home within my own music collection. I came to them years back when I was heavily heavily into Judas Priest (still am) and wanted to listen to the originals from the songs they covered. I was instantly hooked by Spooky Tooth, I admittedly hated the band's name at first, but after listening through an album or two I couldn't really think of a better name for the group. They are Spooky Tooth, hidden gems of the rock world, a band you simply cannot afford to overlook unless you desire to anger the gods of rock n roll! Let your hair out, we made it to the weekend, man! A perfect time to just kick those stinky feet up and take in some damn good tunes. Enjoy!

​​​​​​​​​​​​​​​​​​​​​​​​​​​​​​​​​​​​​​​​​​​Year Released: 1969
Album: Spooky Two (1969)
Genre: Blues Rock, Rock
Mood: Murky
Perfect For: Relaxing, Hot summer days, Having a beer
Where To Next: "Let Me Swim" - Cactus​​
Rating: 9 / 10​

"Ends" - Everlast

Everlast has one strange career, a career that gathered a fan base that came from many walks of life. He practically thrusted a certain type of hip hop into the limelight, and I am not sure what to call that hip hop. It certainly appeals to a certain kind of white person, and I know that white person all too well since I grew up with plenty of them, both from growing up in a trailer park and also since my dad's side of the family have multiple. The type of dude that gets drunk after work, though works damn hard, and might pop some pills when he has the money after buying cartons of Newport reds. Now, that might seem like I am talking shit, but it is honestly quite the opposite, there is a whole market for the white trash and Everlast tapped into it. I have heard many other musicians follow in his footsteps; he talks about real life amongst the filth of humanity. Talks about the dope head that didn't know any better and got bit by the bulb. He brings up societal issues from a stern standpoint. He does all that and more with some great beats and guitar backings, and not in the Kid Rock way, no... Everlast sounds damn serious. His marketing towards the rusty truck light beer drinkers is a wise one, and left him with a strong fan following from both those types and also from the masses, especially with his MASSIVE hit "What It's Like" which comes off this same album. I will say once again though, I am not talking shit, I can get behind the impact he had on a much different side of hip hop. I, too, am a little trashy, and you know what they say, you can take a boy out of the white trash, but you cannot take the white trash out of the boy. Most of that has been left behind, but there still is a little kiss of it in my personality, but you cannot leave behind your roots too easily. If it helps, I am more the Budweiser trashy than the Bud Light trashy. Alright, enough about me and my fellow trailer trash, let's get into the music. "Ends" is a serious track that comes off his breakthrough album (and a 1990s classic) Whitey Ford Sings the Blues. The album doesn't have too much blues musically, but it is indeed packed full of blue themes. This album saw him standing fully alone, since he was recording completely separate from the powerhouse hip hop group House of Pain which he was at the head of. There are still some notes from what he learned in that group, and you can feel it on the more hip hop based tracks like "Money (Dollar Bill)". But that isn't where he found his fame, it is in songs like "Ends" and "What It's Like" that his true talent shines. He tells stories better than many I have heard, the atmosphere is spot on with the gritty realness of it all too. "Ends" covers varying stories about those that chase money for one reason or another, starting with a businessman that walks too far from his territory and dies trying to get some money to pay for his new found addiction. It ends with the story of two punks that were playing the streets as good friends, but as the story goes, one got robbed by the other for that money. Now, Everlast certainly has many of these kinds of tracks, I mean that is his bread and butter after all but when it comes to "Ends" I think it is certainly one of the best written. We are all depraved when it comes to getting that money, maybe not on the crime side for most of us listeners but you cannot fully blame any of the tales since it comes down to the one thing we waste our life chasing, it could be to keep the power on or to gain the power to shut off the lights on those you disagree with. For me, I have tried my best to never let money control me, but in the end, it stresses me the hell out and I want more. I just want to be able to repair my truck and not grow pale when I see the tab after a night of drinking on the town. Ends are what we all chase unless you don't have any, but who the hell doesn't? Anyway, Everlast alongside many others wrote a damn good track that speaks serious but still finds time to throw some humor into it all. The second story is my favorite, damn well put together and the execution is perfect. What I think is crazy is how easily Everlast got thrown into the rock world. This album is predominantly hip hop aside from the leading singles, but those singles are what people know Everlast for. This one album has so many different styles, some on the extreme side and some that are just a casual and great time. I have listened through this album countless times in my life, always puts a damn smile on my face. I don't think there is anyone who has melded rap with guitars so damn well, well enough to have a strong fan base even all these years later. It all comes down to the atmosphere and penmanship, storytelling hardly ever feels this good in rock music. It always feels like he sits you down to tell you some real shit and you walk away a stronger and better man, or a broken man depending if it is you he talks of. There are always the rap clichés in his albums, but with a variety like this, it is easy to look past it. This is the type of album you would see in the most unexpected persons collection. Its reach goes far, and some of the tracks (especially "What It's Like") are forever set in stone in music and rock history. Don't let the intro to this post scare you away from his music, there are plenty of trashy songs from him, but that's part of the appeal and not every song is. I mean, one of his biggest hit songs is called "White Trash Beautiful" from the album of the same name, and you guessed right, the album cover is him sitting in front of a mobile home with a pit bull at his feet. Speaking of album covers, I think this is one of the best out of 1998, simple yet effective, and you know exactly what you are in store for from that album cover. Anyway, give the song a good listen and enjoy! It isn't the typical stuff on this website, but shit, what even is? Every day brings something different here, sure would grow stale if every post was my losing my mind about The Rolling Stones, if this song wasn't for you then be sure to come back tomorrow and see what is shaking. Enjoy!

​​​​​​​​​​​​​​​​​​​​​​​​​​​​​​​​​​​​​​​​​​Year Released: 1998
Album: Whitey Ford Sings the Blues (1998)
Genre: Hip Hop, Folk Rock, Rock?, Who even knows
Mood: Stern
Perfect For: Rolling a joint, Driving, Chilling at home, Having a jack and coke... without any ice
Where To Next: "Bartender Song" - Rehab​​
Rating: 9 / 10 ​

"The Straight Life" - Bobby Goldsboro

There are moments on this website when I feel a little awkward posting some album covers, Bobby Goldsboro's album Word Picture is one of them, but admittedly it is much better than some of them. This man is talented as hell with his vocals, and even his time on the silver screen and televisions in family living rooms were a blessing from Goldsboro, but when it comes down to that damned hair, I am not a fan. Even as time moved along, it almost seemed to get worse. Guess this isn't a blog surrounding hairstyles so let's get back to me staying in my own lane. Bobby Goldsboro had a steady career, a career that never got him thrust into stardom, though he was a damn well known name and had a good handful of chart topping hits in his time. I first came across him when I listened through his biggest hit album Honey which as you guessed, holds his most well respected song "Honey", a song that is so damn depressing! I have heard few that are so god-damned sad! Though don't get thinking he is the kind of artist that keeps that sorrowful theme like a lot of country, folk and adult contemporary artists do once they find their niche. If you have yet to have heard that song then I suggest giving it a play real quick, because it is so damn good, just be sure to have a tissue handy. Today we talk about "The Straight Life", a song that was originally recorded by Sonny Curtis. Sonny Curtis was one of the Crickets that played alongside Buddy Holly and kept the albums coming from them once "the day the music died" came around. The Crickets didn't do hardly as well without Buddy Holly, but there are still so many great tracks they put out and some are immensely beloved tracks of mine. I think Sonny Curtis is a great songwriter and puts together pop based songs that can appeal to almost anyone. "The Straight Life" shows off some of that writing, what might just seem like another ramblers tune from the country world makes love to a family forward pop song. Strange lyrics are thrown in there, and for the first listen it might seem a little silly and not always in the good way. Like the third verse in the song, instead of saying something simple like "she reminds me of our love when I see her" he chooses something a little more specific and homey like

"Suddenly all my silly thoughts disappear,
She comes to me softly with crackers and beer,
Winkin' and blinkin' and blowin' in my ear,
Runnin' away with my mind"
 
and while that might not be the most thought-provoking lyrics you read today, there is a special coziness to it. That is what I like about Sonny Curtis, it doesn't hurt that he is more than a competent musician and an underrated musician from the rock n roll days. Admittedly, even though he is the one to write the song, it is Bobby Goldsboro that owns this song with how well he performed it. Glen Campbell also does a great version, but it needs that strong pop backing for it to have that special bite. It isn't the atmosphere that sells this song to me, while that is still good, it is built in those lyrics. My favorite theme in a song is a traveler's tune, since it is something I constantly struggle with. I love my girlfriend with all my heart, truly, not one of those sexual based infatuations or some codependent acceptance of life, I am talking about true love unlike any other love I have ever felt. I love my mother and family too, so if you are reading this, there is no reason to take it personally. Many a year ago I got bit by the rambling bug, it seems I can never be satisfied unless I am upon the road. There is never a day that goes by that I don't daydream of being somewhere else, it is a damned outlook on life, I might get to Seattle and wish I was in rural Minnesota, then I would get there and wish I had a boat to sail off a different way. Though reality is a whole different beast, you can dream all day and find yourself dreaming your life away instead of finding joy in your own area. I get around Utah, there is no doubt, many of these posts were made after a day of traveling, but still. The American mythology of riding the rails, driving your motorcycle across the USA on a whim, and so many others are all lies, lies that were crafted by other wanderlust warriors such as myself so we can all suffer. So the lyrics of "The Straight Life" hit mighty different to me than maybe they will to you. A whimsical track filled with that dreamer's disease, but it is a reality track in comparison to some of those Merle Haggard tracks. You can dream of it all day, but those do soften when you get together with the ones you love. Could I honestly do it? That is the question that crosses my mind too often. I don't think I could. The straight life is the simple truth of life for people like me, no matter how much I fight it, seems my path was chosen earlier than I realize. Born to ramble, destined to roost. Anyway! "The Straight Life" is a happy response to many of the other traveling tunes that came out of the music world in the 1960s. Just a simple and easy going song that compliments a summer's day wonderfully. Give the song a listen, would ya? If you dig it, and you too deal with the ol white line fever, then feel free to contact me and I will make you a personal playlist that will make it even worse. Enjoy! 

​​​​​​​​​​​​​​​​​​​​​​​​​​​​​​​​​​​​​​​​​​Year Released: 1968
Album: Word Pictures (1968)
Genre: Pop, Country
Mood: Swell
Perfect For: Casual listening, Going for a drive
Where To Next: "Just Another Man" - Glen Campbell​​
Rating: 7 / 10 

"Evil" - 45 Grave

45 Grave was a fairly short-lived band, but within those years and random revivals they gathered a strong cult fan following. They are fairly new to me, I discovered them when my studies took me to the 1983 deep dive, a year that I have always loved for music, the metal is raw and brutal and the rock was squeaky clean to the point it brought in a safe zone for the more mellow side of rock to stand strong. For those that don't know, 1983 was a year for mass expansion in most music genres, the punk craze that separated many music fans in the late 1970s was coming to a close and the children that spawned from punk vs disco vs early heavy metal vs traditional rock fuckfest took what they learned from those genres and bettered them and or melded them together. That brings us to 45 Grave, a group led by the unique singer Dinah Cancer, and she had a vision to follow in the footsteps of the few that tried their hand at the peculiar genre deathrock. It has nothing to do with death metal, so get that out of your head, but the death theme is certainly in the forefront. Think of a gothic cemetery, or a grizzly crime scene in the back country, or shit even some stuff straight out of House of 1000 Corpses. They set that atmosphere by playing eerie gothic rock and some of the glam rock of yesteryear, and melding those two sets the stage for a great time, so long as you are in the mood for something wicked. For 45 Grave, they put in a bit of punk rock to truly seal the deal. It gives their sound a vintage feeling, sounds like something the band Coven might have done on their 1969 album Witchcraft Destroys Minds & Reaps Souls but with a heavier leaning. I have found few I appreciate more from the deathrock genre than 45 Grave. The true innovators of the genre Christian Death might be the ultimate place to start within the genre, but it is within 45 Grave that you find a fast favorite. I am all for groups that come out much later than their sound and do it super well, it is even better when they have a vintage sound but incorporate the sound of the time as well. "Evil" comes off the group's debut album, Sleep in Safety. It was released in 1983, and is their only main studio album aside from 2012s Pick Your Poison, which I have still yet to get to, but you bet your ass I will get there, especially if it is even half as potent as this album. Anyway, Sleep in Safety is the band's essential album hands down, and is a classic from the genre and for all the right reasons. The horror themes are clear as day as soon as you see that uncanny album cover, and the first song on the album "Insurance from God" sets the tone that consumes its 42-minute playtime. It is fold after fold of great songs, the fun "Surf Bat" keeps the energy up and tracks like "Violent World" and "Evil" keep you locked into its spiderwebs with smooth playing that leaves you confused on what kind of dancing matches it. "Evil" is my favorite from the album, the first time I heard it I was pretty damn impressed to say the least. One of those songs that no matter what I am doing I stop and check out the band for some other songs even though I know this album fairly well already though I only discovered it 3 years back or so. A damn smart choice to have it as the second song on the album, after the already good intro track the album still needed that steel toed kick and "Evil" gives it to you. The intro has a damn good bass guitar start that soon kicks off into a protopunk rhythm that is reminiscent of surf rock and a little bit of the Misfits on their more calm songs. The main focus of the song is certainly the vocals, they aren't anything to write home about but do a wonderful job of keeping the theme. The lyrics are nothing all too special, but they revolve around the theme of evil, so that is an easy sell with me. I think the laugh halfway through the track is damn good too. Believe it or not, a laugh can make or break a song for me. Sometimes they are too damn silly or cringe me right out, but when it comes to the one Dinah Cancer gives us in the song, I think it is perfect. Sort of silly but as much as you would expect from a band that is obviously obsessed with old horror movies, and I don't mean the slashers, I mean the 1960s classics and before. The ones that aren't scary, but they have this feeling that is great and mystical. One of the best types of films to play in the background as you get drunk, the stories are often overkill so much so that it is hard to not chuckle at it. I still remember the first time I saw Killer Clowns from Outer Space, that movie is killer (no pun intended), and you can see how it became a cult classic. Cleverly put together with many scenes that are memorable as hell. Making human cocoons out of cotton candy? Come on man, that shit is cool! That one is a late 1980s gem that I cannot suggest enough if you want something to just watch and say "what the fuck". Anyway! 45 Grave is also a titan of the horror punk genre, a genre I have always had a soft spot for, horror movies and punk rock were a match made in heav... er.... hell. Deathrock never truly picked up, but its post punk backing let them slide in with many under that big ol genre umbrella. There are still many great names keeping the sound up too, it is one of those genres that will always lure people in, just not many of them. Wonder if you will be one of them, give the song a listen and find out for yourself and as always... enjoy! 

​​​​​​​​​​​​​​​​​​​​​​​​​​​​​​​​​​​​​​​​​Year Released: 1983
Album: Sleep in Safety (1983)
Genre: Deathrock, Horror punk
Mood: Possessed
Perfect For: Classic horror movie party, Getting drunk, Casual listening, Driving fast
Where To Next: "Kiss Kiss Bang Bang" - Specimen​​
Rating: 7 / 10 

"Just to Satisfy You" - Waylon Jennings & Willie Nelson

Has there ever been a better country duo than Waylon Jennings and Willie Nelson? Maybe. Though if you ask me, they are my favorite two country musicians to be playing together, their country vision under the outlaw banner took the genre far and their Texas roots made them fast friends and you can feel that bond when they play together. I swear Willie Nelson has done a song with practically any musician you can name, not really of course, but it sure seems he is everywhere being a musician who has done a ton with legends of his time, the modern big shots, and the masterminds of Willie Nelson's youth. But once again, I don't think he sounded nearly as good with any of them as much as he does alongside Hoss. Waylon Jennings is one of my all-time favorite artists, he is another that seems to write songs that were crafted within our kindred spirits. Between him and Johnny Cash they make up my all-time favorite country musicians. I love his 1960s material with all my heart, and when he finally got control of his own music in the 1970s, he put out just as many tracks that reside within my heart and soul. He is one of the few country musicians that I love all his varying hits and albums from every decade he ever touched. Waylon Jennings was one of the biggest icons in the outlaw country world, and one with the most success within its chaw spittin' legacy. He had a very successful career, putting out 46 studio albums and a good amount of live albums, and the good majority of those albums are true country classics. "Just to Satisfy You" was originally recorded by Waylon Jennings in 1964, before stardom hit him, though it did alright in Arizona. This showed off a more folk side of Walyon Jennings, I mean, he was one of the many that record labels tried their damndest to push into country music simply called folk country. It is one of my all-time favorite country sounds and Waylon Jennings did damn well, even if he didn't have all too much freedom during that time period in his career. You always hear tales about roughnecking rock record labels, but nobody talks about how intense the music industry was in country music. Anyway, this being one of his earliest modest hits and a through and through classic of his, he re-released it in 1969 in the album of the same name to much better response from the country world due to his status. A great album and an awesome version of the track, in some ways I dig it more than the version we chose today, but once again it is damn hard to beat a Willie and Waylon duo track. After the album, Just to Satisfy You, he let that song alone in the recording studio but still played it while touring. Finally, we get the version that is our song of the day, 1982's country hit with Willie Nelson in tow. The track stayed at #1 on the country billboard charts for two weeks, and served as an iconic song for the start of 1982. Country hits best during autumn and winter for me, something about the quiet lonesome nights and the melancholy days cries for country to do its thing across my speakers. Modern country leans towards summer with ferocity, and maybe that is some of the reason I am not as fond of it. It doesn't have that gritty sorrow to it like most of the old country does, "Just to Satisfy You" with just Waylon Jennings supports that claim, but our version here doesn't as well. Anyway, this duet comes off of Waylon Jennings 28th studio album Black on Black, certainly one of his best from the 1980s, and I would bid that it is the strongest from the album even if songs like "Honky Tonk Blues" (a Hank Williams cover) and "Shine" put up one hell of a fight. The album follows suit with a lot of the old guns in the country world pushing into a much cleaner and different country world. Not every song is something notable, but for being that far into his career and still putting out some hits speaks volumes about his potent writing and playing. During this time, Waylon was in severe debt to almost anyone you could name. In country style, his wreckless abandon caught up with him, and he even admitted in his biography that he was spending over $1,000 on drugs almost daily. Even with still selling out shows and selling albums like hot cakes, he couldn't keep up with his own demons and the ever greedy claws of the music industry. You can almost feel the inebriation on a lot of the album, the atmosphere of the album borderlined between sounding like a studio recording and a live recording. Not sure if that was purposeful, and while I honestly love what they tried doing with it, I cannot help but feel a little high too while listening to it. Our song of the day is lively as they come, even with the more depressive lyricism. In comparison to his other versions, this one has a more happy feeling to it, and not many other instruments aside from the tradition country set. Willie Nelson doesn't take over the song with him being there, and you can feel that this is without a doubt a Waylon song more than a Willie, even though their styles are often similar to each other once they hit their outlaw country phase. The B-side from the single is the sleazy track "Get Naked with Me" which is an odd choice to have on the back of a hit single, and an even bolder song to end the album with. If it wasn't for the hits I am not sure if the album would be too memorable, but that doesn't stop me from still really enjoying it. Alright, that is enough from me for the day, the rest depends on you. So, give the song a listen and maybe sharped up your country tastes and check out some of Waylon's other phenomenal albums, that or go listen to some Willie, either way you will walk away satisfied. Enjoy!

​​​​​​​​​​​​​​​​​​​​​​​​​​​​​​​​​​​​​​​​Year Released: 1982
Album: Black on Black (1982)
Genre: Country
Mood: Catchy
Perfect For: Getting a little more than buzzed, Casual listening, Relaxing, Camping
Where To Next: "Reasons to Quit" - Merle Haggard & Willie Nelson​​
Rating: 9 / 10 

"Amphetamine Annie" - Canned Heat

Welcome readers, are you ready to boogie?! Canned Heat serves up only the best kind of boogie based rock. I first came across them while starting my dive into the goldmine of music that came out of the rock world in the 1960s, and it blows my mind on how modernly people tend to forget who they are aside from those big hits. They were a well respected name back in the day, and helped popularize bringing boogie into rock music once again. This album (fittingly titled) Boogie with Canned Heat was their first to incorporate a sound that set them apart from other blues rock groups of the time, and it is easily one of their most important and enjoyable. It holds their immensely famous "On the Road Again" which is one of many that keeps them firmly placed in the hall of greats for rock music. I do love that song, it was one of my first tastes of the band before I went overboard on abusing their albums, but in the end I think it has a hard time holding up to some of my other favorites off the album like "World in a Jug", "An Owl Song" and our song of the day today "Amphetamine Annie". Speaking of that song, let's just jump right in and talk a little about it. The song is a bold cautionary tale of a woman that is getting worse and worse into the bad side of the drug world. Smoking pot and taking some psychedelics is the good side of the drug world, wholesome and heavy yet productive and spiritual. Though, the character in our story takes it a step further and starts playing with the stuff that eats one's soul and body. During a time when drug use was growing more acceptable and rampant, everyone needed a band with already a little bit of grab to tell them how it is. Canned Heat has always been respected for their place in the counterculture movement, they have songs that tell you things straight, songs that say things that a lot of other groups wouldn't say. This one is no different, don't get me wrong, there were plenty of drug songs at the time, I mean how could there not be? Though there weren't many that talked about the bad side of drug usage, and tell it from a point of view of someone who has seen, used and knows. The song got a fair amount of radio play, I am sure that plenty of people loved getting high to the song and also some probably found a home within it that were watching someone becoming a shell of a human chasing that crystal clear. Long story short, you can see where this song is going lyrically, she starts just having a little bit, but before we know it she is checking out the windows and getting more and more unhealthy before, you guessed it, she sped her way to the grave. Canned Heat is an essential listen for those that love that 1960s and early 1970s rock sound that revolves around the blues. After you get done playing the Beatles, Rolling Stones, Hendrix, Cream, and the other absolute legends of 1960s rock music, then Canned Heat should be the next up for the bands that fell just below that mark but had an almost equal impact. Each album of theirs is a little bit different, too, so you will easily find your home within one of them. For me, this album and their debut are my favorites, a pure boogie blues rock national reserve that just keeps on giving. I chose this track while driving through a quaint farm town in Idaho, it was surrounded by other tracks that were simply made for that moment in my life. "Delaware Slide" from George Thorogood, "Bloody 98" from Blue Mountain, "One More Try" from the Gregg Allman Band, and some Chuck Berry for safe measure made a pretty tame little town feel like one bristling with energy. Eventually we moved into Burley, ID, the most populous town in that region, and the playlist changed feel into Simon and Garfunkel, Steely Dan, and Bruce Springsteen. The whole travel had plenty of great tunes, but I knew once Canned Heat took off with "Amphetamine Annie" that I found my song of the day. Such a damn good song, one with great lyrical content and execution. A driving blues rhythm that was made for driving at a somewhat fast speed with the strong smell of freshly mowed grass in the air. If you are looking for a group with a serious right hook, and well thought out little jams that make you wanna get down, then Canned Heat is for you! So give the song a listen and see what you think! If this one isn't for you then try another, many styles and vocalists fill their tasty discography. Get yourself a Swiss army knife and dig into some Canned Heat! Enjoy!

​​​​​​​​​​​​​​​​​​​​​​​​​​​​​​​​​​​​​​​Year Released: 1968
Album: Boogie with Canned Heat (1968)
Genre: Blues Rock
Mood: Baked
Perfect For: Getting high, Having a drink, Casual listening, Driving in a rural area
Where To Next: "The Pusher" - Steppenwolf​​
Rating: 8 / 10 

"Helena" - My Chemical Romance

For those that read this daily, I do apologize about missing a day. Busy driving my ass to Idaho for a day of fun, and when I got back, I wasn't chomping at the bits to get back to the grindstone. Well, with that out of the way, let's talk about some sweet sweet music, today focusing on the pop punk legends My Chemical Romance. I have a buddy that has been an avid fan forever, I haven't seen his ass (I don't think?) but I wouldn't be shocked if there was a big ol' "MCR" right on the left cheek. I trust his musical compass, even if ours do differ here and there, so for him to be such a fan from such a young age and still going strong, then there has to be some magic within. Like many from my generation, you would have to have been born with genetical corks in your ears to not have heard these guys. Their third studio album The Black Parade helped define the music world of the 2000s, and is often regarded as one of the all-time greatest. Me personally, I dug their music when it was popular but never took the deep dive, and even since this website's creation years ago I have only listened through their debut from a critic standpoint. I have listened through The Black Parade a couple of times throughout my life, and half of those songs from it follow the same logic of not being able to fully avoid the tracks. I have been impressed by most anything I have heard though, I just am saving them for my year by year deep dive into the 2000s and let me tell you, that part of the project is long overdue, but I should be starting it by the end of summer so long as my pace keeps up. I am damn excited to stick my big nose into more of their music, both since they are iconic and also because what I have heard impresses me through and through, plus the little dose of nostalgia goes a long way. As I have mentioned previously one hundred times, I too take part in "new music Fridays", usually I burn through Spotify's Discover Weekly playlist and then go my own way for musicians, genres and bands I need to get further into. One of the songs that showed op on that playlist was Anberlin's "Feel Good Drag", a song I am already quite fond of and have dug since I heard it on the alternative radio channel back in 2008. Though, that song lit a fire under my ass. I could feel fingerless gloves creeping onto my hands, I could feel the hatred for my wealthy suburban parents that I don't even have, the desire to binge-watch Invader Zim, I could feel my desire for second hand cigarette butts from the mall trash can, and most of all I felt an immense pull to listen to some emo and pop punk music. So, I stopped the playlist halfway through and did just that, starting smooth and easily with the groups that I already dig and are much more on the rock side of the emo world like Paramore, My Chemical Romance, and AFI's less punk more emo days. That is when I chose this song, but we will get to that. I also tried my hand at some groups I have never heard of, and those that previously rubbed me wrong. I think emo based music has to go through the same process I had to do for black metal and sludge metal, which is abuse it until I find exactly what it is I have been missing. Listen to each point, take myself out of my own ears, and hear it in a pure and raw point, much like a child first getting their first iPod and a gift card back in the day. Hour after hour as I kept it rolling I found myself getting more and more into it, and now I even went and bought black nail polish, a fresh razor blade and eyeliner, all jokes. Alright, enough about the story time, let's talk about My Chemical Romance and their very well respected hit "Helena". The song comes off their second album Three Cheers for Sweet Revenge, the album is considered their breakthrough album and eventually landed them with a multi-platinum classic for scene kids of the time. I have listened through their first album, and I wasn't all too impressed, once again I am not one for the emo side most of the time, not because it is lacking anywhere but simply because my tastes haven't fully expanded that way (I am sure they will, almost certain) so the tracks from this one are like a breath of fresh mountain air. They resorted to a more cleaned up and accessible sound for rockers and emo fans alike. The album holds plenty of their biggest hits like "I'm Not Okay (I Promise)", "Helena", and "The Ghost of You", and there are even more fan favorites from the album. "Helena" is a sickeningly emotional track, starting off with a moody and mellow intro before flying into a rhythm that reminds you what pop punk is all about. Written in memory of vocalist Gerard Way and his brother bassist Mikey Way's grandmother who passed away, probably where a lot of that emotion comes from. One of those "Good Riddance (Time of Your Life)" death tracks, you cannot tell if it's nice or sad, something you play at a funeral or something you scream sing in the shower after the passing of a loved one. From everything I have heard from the band, there is enough emotion to drown a whole damn town, I feel like a used shop rag after listening to a couple of their tracks in a row. That is power ladies and gentlemen, and it seems I am not alone since they moved a whole generation with their music with their fairly small discography to boot. I am so excited to get further into them once my studies go that way, more excited than hardly any other band I can think of that I haven't already abused from the 2000s. Well, now it is your turn to listen to the song, fair is fair, enjoy! 

​​​​​​​​​​​​​​​​​​​​​​​​​​​​​​​​​​​​​​​​Year Released: 2004
Album: Three Cheers for Sweet Revenge (2004)
Genre: Emo, Pop Punk
Mood: Emotional
Perfect For: Driving after a stressful day, Casual listening, Cigarettes
Where To Next: "Caraphernelia" - Pierce the Veil​​
Rating: 8 / 10

"Bullet in the Head (Live)" - Rage Against the Machine

Once again, we have another band that I am insanely shocked they haven't shown up on this part of the website yet. Rage Against the Machine has been by my side what feels my whole life since I first heard their cover of "Renegades of Funk". The sort of group that I was instantly head over heels for, and even now after I have abused their relatively small catalogue for years upon years they still are fresh as daisies. I would sit on my back and listen to their songs on repeat when I was in grade school, a ton of their songs complimented my youthful vandalism streak in middle school, their songs were my anthem in high school, my young adult years have been consumed by them, and as I move into full adulthood their lyrics have stayed true to this fucked up world and thus still have a heavy impact on my life today. The band is known for so many things, they were innovators to a funky driven rap rock / metal that hardly anyone can touch. There have been a ton of bands penned as the "modern RATM" but in the end they don't even come close, but how could you? These guys are all top tier musicians, with a vision that is fueled by bristling spite. Tom Morello is a damn fun guitarist and one of a kind, drummer Brad Wilk brings some serious beats to the insightful and heavy lyricism, Tim Commerford grounds the band with a funky bass guitar, and last but not least we have Zack de la Rocha serving as the microphone fiend. His vocals and lyrics are something out of this world, and most any song deserves multiple listens in the row to really drink in that raw fucking power. These dudes go right for the throat every time, and they know exactly who their enemy is and how to break them down with the pen and amps. They lead a career chock-full of great stories and bold maneuvering that no other band has pulled off, they seemed to be more of a spokesman for activism more than musicians but if you have the talent to move people, then move people you shall, and move people they did. One story I love, since I am a Utahn, is the one where they were accidentally billed when the organizer had no idea what they just did. Back in 1996 a town a few stones down from my own hometown was throwing a little festival that included all you could expect out of a farm festival at their fairgrounds, now according to local lore the organizer was looking for a tractor pulling show and saw "Rage Against the Machine" and didn't think much of it and agreed to have them come on down. Now, keep in mind for you that aren't from Utah, that area is run by the Mormons, the good majority of everyone there is LDS and the few that aren't are highly obsessed with their trucks and horses (suspiciously a little too much). So when it comes to if they are fans, chances were severely low especially back then, especially since the lyrics Zack de la Rocha writes seems pointed exactly at the people from Spanish Fork. Anyway, so after they realized their mistake, it was too late. Stores were closing up, some even boarded their windows, and neighborhoods were blocked off to stop the massive groups of teenagers, drug users, punks, bikers, rockers, scary longhairs, and the worst of all... minorities! "Lions, Tigers & Bears, oh my!" The city went so far that most civilians pitched in 10 bucks to try getting the band to not come, though it all hit a dead end, and if they knew anything about RATM they wouldn't have even tried, fuel to the fire. Overall the concert wasn't all too eventful, there were no cop cars torched and the sheriff's daughter was left with her purity, but in the end Spanish Fork banned all concerts for years and years to come. There is more to the story, and you can google it yourself if you want more, you might still be able to find an old video on YouTube too. In the end it goes to show how far ignorance seeds itself in a community, and I have never been too fond of Spanish Fork, growing up it was arrogant cowboys, and now it still has those cowboys, but they sold their horses for a big ass truck and overly strong cologne. Urban fucking cowboys. So, with that in mind, let's move into "Bullet in the Head", one of the greatest from the band's debut and one of the most exciting on the band's 1998 compilation/live album Live and Rare. This album was originally only sold in Japan, and was a rare find back in the day, modernly you can buy it and find it on practically any streaming services. When I was first going through all RATM had to offer, I pirated the bastard but was still too novice to fully appreciate a live album, especially one of this caliber. It wasn't until I was a teenager that I came back to the album and realized I have been sleeping on a true gem. Their cover of "Fuck the Police" is awesome, and the same is easily said about tracks like "Bullet in the Head", "Take the Power Back" and most of the live side of the album. There is also the "rare" side, which holds some of the band's demos. I love "Clear the Lane" and "Darkness" with all my heart, and they show off a younger side of the band that is a little more rap based. One of the greatest things about the live version of "Bullet in the Head" is how close it is to the studio version, so it doesn't scare you off at the start if you aren't a live song kind of person. This song shows off the crazy fun playing of Tom Morello behind the guitar, if you can even call that just guitar playing, he jumps between being a six string slinger, a DJ, a bird, an electrical current, static Satan, and a bluesman. Crazy guitarist man, nobody like him, and it doesn't hurt he is cool as hell. I mean, the whole band does great, but this is certainly a showing off track for Morello. The execution of the vocals is great too, you can tell the whole concert is feeling the energy that the whole band is giving out. The lyrics from "Bullet in the Head" are some of the band's best, straight to the point and aggressive, following the philosophy of RATM. The government has been caught before, and probably is still, using media to control us and while it might not work on the handful of us, it is highly effective on the masses. Do I need to remind you who is in office? I tend to never get political on this website, we are here for music not more stress, but what did you expect when you saw RATM show up? They are the exact idea of a political band, and they throw some of the meanest punches in that field. Well, this post is going to be a long ass one, so I gotta start summing it up. This song shows off some of the reasons the band is forever going to be known, and so long there are tyrants trying to rule our lives, they will be relevant. Their live energy is fucking intense, and each member is a diamond in a bucket of shit. Though they didn't last all too long, each and every song is equal to a whole album from most bands. A truly iconic group that I hope we will be able to talk about again soon, since I didn't have enough time to rant and rave about them as much as I wanted. This will do for now, give the track a listen, and if you are someone who likes them for their hits then I strongly suggest starting at their debut and working through their amazing discography. If you already have, then it is time to check out their oddity albums, maybe even starting here because it shows RATM in their rawest form. Enjoy!

​​​​​​​​​​​​​​​​​​​​​​​​​​​​​​​​​​​​​​​​​Year Released: 1998
Compilation: Live & Rare (1998)
Genre: Rap Rock, Rap Metal
Mood: Energetic
Perfect For: Casual listening, Outside chores, Feeling pissed, Enjoying some guitar work
Where To Next: "What Are You Afraid Of" - Clawfinger​​
Rating: 7 / 10

"Storm in My Mind" - Possessed

Possessed is the essential death metal band from the 1980s. They were one of the most innovative metal groups to come out of the ever evolving and ever competitive nature of the metal world during its early days. Even though the band only released 2 full albums and one EP during their prime years, the impact of their music still vibrates the ground all these years later. Death metal wasn't really a thing up until this point, there were bands dabbling in a more extreme style, but most of them either faded away due to obscurity or took the extreme nature of their metal to a whole new level and helped create a different genre. We have Slayer with their first couple pushing out a sound that was heavier than their thrash brethren, and groups like Celtic Frost and Kreator sounding like something coming straight out of hell. But did any really commit fully to this new emerging extreme style? No, not really. That is where we have Possessed come into play. Possessed is hailed as the first even death metal band, and a lot of that comes from the vocals from Jeff Becerra which was unlike most anything out at the time. Growling vocals is the bread and butter of death metal, especially during those earlier years before blast beats made you piss blood. Death metal is one of the strongest genres in the metal world, and unlike many that have come and went, they are still going very strong, and I know for a fact that so long as there is heavy metal to corrupt the innocent that death metal will be there for the ride. We have talked about the genre a good handful of times, so I will leave that alone and focus on our song of the day and Possessed. Today our song comes off of the band's first EP, The Eyes of Horror. Not only does this EP have one kick ass album cover, but it also holds a much more potent and well thought out sound from the band. Tracks like "Storm in My Mind", "Confessions" and "Swing of the Axe" are some of my favorites from them, but in the grand scheme of Possessed this EP often gets overlooked. Not because it lacks the punch of their 2 prime albums and the fantastic later release Revelations of Oblivion, but simply because it is an EP and also isn't their beloved debut Seven Churches. Admittedly this isn't the best place to start your deep dive into Possessed, but with a song practically made out of head banging hook heaven it isn't the worst either. When I was at work (thank fuck I can listen to music at work once more) I just about collapsed from the pure raw power of this track. It starts off with a more new wave of British heavy metal feeling, but once that drop comes along at 1:15 you are thrown into a moshing world of sin and demons. Now, since this is death metal you might be thinking to yourself that it is going to be this style for the rest of the song but fear not, Possessed is a whole different caliber of death metal so they threw in a slower section to give your neck a rest with a more slowed down and tame headbanging before jumping back in. I just barely started at this job last week so I couldn't very well be smashing all their fancy product and headbanging, so I was practically sweating from every orifice to not lose my mind to the metal might. There are so many different parts of this song practically begging to lurch your whole body into violent headbanging and spasms. Speaking of headbanging, I haven't honestly went all out since I was a teenager. You watch Wayne's World and other rock culture movies and think that looks fun until you really give it a go, talk about a headache. The people at concerts that are doing it throughout the performance must either practice that shit or are just fine with a pounding headache and neck spasms that last weeks. Does that make me less of a metalhead? Maybe. I used to be a little self-conscious about it honestly, but you can feel the power of the music without losing your mind. Plus, I hate having my vision obscured by my long hair, makes me feel like I am falling. So here I am typing about how you simply cannot fight against the violent urge to head bang, so maybe I am a liar, but my head is certainly banging... mentally. Brain banging! Nah... that sounds like some kind of face fucking porno or a tacky horror B flick. Well, I stand by it. This song is prime brain banging! Possessed is the master of the brain bang! And the head bang! With a band name like Possessed they damn well better be. The Eyes of Horror is a nice breather from their main studio albums, and it shows off the band at their final stage before walking away from the fire hydrant after pissing on it. They still preform here and there, even though singer Jeff Becerra is wheelchair bound due to a robbery and attempt on his life back in 1989. I cannot state how much impact this band has had both on me, and on metal music as a whole. The drumming was something new and much faster than that of hardcore punk or thrash metal. The guitar work was on a whole new level of playing, and yes the vocals were the true separating point from other bands. See for yourself, look into metal leading up to their debut, and you will see a big void for extreme metals aside from those starting a black metal sound and even then. So next time you are having a beer, pour one out for Possessed, or just drink it since those liquor store beers can be expensive and listen to some Possessed! Your neighbors will love you for it! Enjoy! 

​​​​​​​​​​​​​​​​​​​​​​​​​​​​​​​​​​​​​​​​Year Released: 1987
EP: The Eyes of Horror (1987)
Genre: Death Metal
Mood: Ferocious
Perfect For: Brain banging, Head banging, Warehouse work, DEEEESTRUCTION
Where To Next: "Through the Eye of Terror" - Bolt Thrower​​
Rating: 8 / 10

"Every Little Thing" - Yes

We all know and love Rush, they brought a serious fever to the progressive rock scene. What was once an obscure rock genre soon enough found a platform to casual rock fans, as much as they did to the progressive rock fans that already were. While Rush might be the most well known, and for a damn good reason, there is another band that helped define progressive rock and was there well before Rush fully found their own in the progressive sound on their 1975 game changer Fly by Night. Yes first hit the scene in 1969 when their debut gathered just a little bit of attention. That first album is a predecessor to most progressive rock bands. It didn't chart in any country nor did it sell all too well but, much in progressive rock style, it was loved by critics and gathered the band a strong backbone fan base to take off into the beast that practically forced progressive rock into the album charts. In the late 1960s Yes toured viciously across the United Kingdom, and for those that had a chance to see them live, everyone knew that they were something truly special. There were plenty of harder rock groups on the scene at the time, but not many could put out such a polished sound with that harder edge like Yes. Their vision was notable, and their instrument work backed up that vision tenfold, so soon enough they got signed to Atlantic records, which wasn't the easiest task for a still wet behind the ears band. They would go on to be one of the leading forces of Atlantic Records in their rock section. Yes serves as the perfect band for those that want to get into the more technical side of rock music but don't want it to go over the top. They meld a commercial rock sound perfectly with the progressive sound. I love progressive music, but even I can get bored with it and even with all that insanely impressive playing it can come off bland at some points. I mean, this is rock n roll, baby! You just pop the cork off the bottle and drink right from its glass lips, but for a lot of progressive rock it seems like you gotta take the time to go get a frosted glass, non fridge tray ice, and buy that nice whiskey. So sometimes, it really hits the spot and is worth your time, and then other times you want something cheap and easy that all pisses (or pukes) the same. Getting side tracked again, let's talk about our song of the day for a second or two. "Every Little Thing" is sort of an oddity for the band, they are well known for their original material, but that doesn't stop them from having some strong covers. I would say Yes has a small handful of covers that made it onto albums, and their debut which holds "Every Little Thing" has two of those covers. Our song of the day originally was recorded by The Beatles off their 1964 hit (isn't everything Beatles a hit?) album Beatles for Sale. Everyone and their dog and their dog's dog has covered The Beatles, and let me tell you, pretty well most of them really cannot even stand a chance against the original. Though when it comes to "Every Little Thing", Yes might just have beat them. Both the original and the cover are worth many listens, a truly great Beatles track that perfectly mixed the whimsical and happy lyrics with a more depressive feeling, and when it comes to the earlier to mid career Beatles there is a ton of layers and stuff going on. But if you listen to it back to back with our chosen version there is hardly any similarities until almost two minutes in when we get a taster before the vocals come in right after the band throws a little bit of "Day Tripper" into there. One track stands at 2 minutes, while the hard rocking progressive version comes in at 5 1/2 minutes. The song takes off instantly with a spotlight on the progressive legend Bill Bruford on drums. Truly, he leads the whole song with the kind of playing that makes Keith Moon drop his sticks in awe. Bombastic as a motherfucker. The rest of the band is well worth a listen to one at a time too, since they fold in a lot of flourishes here and there. Much like any of the prime years for Yes, it feels like the band is all playing as one massive force, every single note feels preplanned to smack you on the ass. This first album doesn't show it off nearly as much as the band's legendary later work, but you can tell they are a rising force. So, this goes full circle into whom the better version is? I honestly have to go with Yes personally, but in the end it has got to be a tie. I mean, they are two well different versions, one has a better atmosphere (Beatles) but then the other is overall a much more compelling song. "Every Little Thing" is a hidden shining gem from the band's discography of 23 studio albums and almost as many live albums. So if you are sitting there thinking you need a little more progressive rock in your life, then look no further than Yes. Like I mentioned previously, they are the ultimate place to jump into the genre. Legends of the rock world without a doubt, and one of the most essential and impressive rock outfits to come out of the 1970s. "Every Little Thing" comes off one of their admittedly weaker albums, but it does have a special raw heaviness to it that has me coming back when I get the chance. Enjoy!

​​​​​​​​​​​​​​​​​​​​​​​​​​​​​​​​​​​​​​​Year Released: 1969
Album: Yes (1969)
Genre: Progressive Rock
Mood: Bombastic
Perfect For: Casual listening, Steering wheel drumming, Getting stoned
Where To Next: "Why Am I So Short?" - Soft Machine​​
Rating: 7 / 10

"The Bomb" - L7

​Welcome readers, today we take a little look at the femme fatale group L7. They are one of those groups that you can understand simply at face value yet at the same time there is so much about the band that honestly makes them hard to define. They are too different to simply be thrown in with the grunge sound that came out of Seattle, yet they fall a tad bit short to be classified as heavy metal. They are too mainstream and have too little in common with punk rock to join in with them, and when it comes to pop music you can throw that right out the window, especially with "The Bomb" and the rest that comes off their third studio album Hungry for Stink. Hard rock? Maybe, but that is putting them somewhere and washing my hands of it, so for now let's take a step back and look into grunge music as a whole to see where they budded from. Grunge has a long history, it seemingly took forever for it to actually pick up and also for a name to form around all the decade defining bands that came out of the 1990s and a little before and a little after. Grunge really is a pot of all sorts of rock based genres mixed together with an old rusty spoon. First bands having a sound that really set grunge on its path are groups like Mudhoney, Green River, and the Melvins, all of which were revolving of the visionary record label Sup Pop records, I hope with all my heart I can go visit it one day. They are one of those labels that you can always trust with a good release, so long as you appreciate their vision. Anyway, all three of those bands were based heavily in a punk sound, now, not like the sound we talked about yesterday with DRI, but something reminiscent of punk yet nothing like it. Punk rock can change their color on a dime, things that were punk yesterday are no longer punk and the same can be said about the new noise, and those bands were pumping out stuff unlike anyone else at the time. Fast forward only a couple of years, and we start to see some of the more mainstream action that we know today showing up, Soundgarden came along and put out their first couple which gained a little traction, and then following them, we had plenty of bands pop up under a similar sound, the biggest obviously being Nirvana. Yet, even with Nirvana their roots were shown immensely in their debut Bleach, which offers up one of the purest forms of grunge music ever created. Add in a little big (strangely) of the glam metal genre and its evolution, and the alternative metal of the early 1990s, and you got yourself a genre that really changed the whole climate of music for a solid couple of years. So how about L7? Think the Melvins and those others that started up in the mid 1980s. "Need" from Mudhoney and pretty well anything off their essential Superfuzz Bigmuff shows exactly where L7 came from. I mean, the band's first album is dipped heavily in the stink of punk rock, and much like many from grunge music they soon moved into a more commercial and comfy sound that challenged what you could get away with saying on the radio. A big middle finger that equally also gave them fame and money while not fully compromising their original vision and image. L7's debut is nothing to shake a stick at, still good but in comparison to their follow-up album Smell the Magic under the wing of Sub Pop it is lacking. Though even Smell the Magic pales in comparison to the album that blew them into stardom and being an essential band of their respective decade, Bricks Are Heavy. You can hardly hold your head high in the 1990s rock world if you haven't given this album a spin, and while not every single track is outstanding, there are more than enough that singe your butt hairs, nose hairs, and ear hairs. A heavy album with a unique sound that you cannot mistake for another group, great lyricism meets a slowed down and intense grunge sound that is criminally catchy. Though, we can wait to talk about that when I inevitably chose a track from that album eventually. Today we look at the album that came after their breakthrough, and for most bands this is their make or break album, as for L7... it showed that they were a band to not be messed with since they released another that kicked you into the mud, even if it didn't gather the same attention as their previous release did. Now, what I love most about Hungry for Stink is their return to the heavier and more distorted sound of their early years yet match that droned out mess with even better writing from vocalist Donita Sparks and a much more thought out and well put together flow of tracks. "The Bomb" is exactly that, through and through. It serves as my favorite track from the album, even though "Stuck Here Again" and "Fuel My Fire" come right on its heels. The main thing that helps this one be the more memorable track from the album is its aggressive nature backed by lyricism that bites to the bone. Right from the get-go of this track, your hackles are raised. Its grimy rhythm seeps into your blood, and no matter your age, you have no choice but to get pumped. Grandma would throw down those crutches to stick it to the patriarchy and rub a cheerleaders face into the mud. The song serves as a wonderful release from the frustrations of life. A song to get the blood pumping all in the name of anger and frustration. It is a nasty song from a nasty album, just as god intended it. So give the song a play, you got nothing to lose. Just make sure your boss or annoying ass coworker isn't within arms length, or within rock throwing distance for that matter. Enjoy! 

​​​​​​​​​​​​​​​​​​​​​​​​​​​​​​​​​​​​​​Year Released: 1994
Album: Hungry for Stink (1994)
Genre: Grunge, Hard Rock
Mood: Angry
Perfect For: Skating, Driving home after an annoying day at work or school, Driving fast, Riding motorcycles
Where To Next: "Insecurities" - The Gits​​
Rating: 8 / 10

"Counter Attack" - D.R.I.

Ahhhh the Dirty Rotten Imbeciles.... gotta love the punk thrash attack they offer. Everyone talks about Suicidal Tendencies when it comes to the band that mixed punk and metal music, and while they are certainly the most successful band to ever do so, it would be a sin against the metal gods if you overlooked these bastards we are talking about today. Much like ST, the Dirty Rotten Imbeciles melded thrash metal with hardcore punk in a genre that would soon become known as crossover thrash, a genre that never faded and was bound to come along at some point or another. Pure blooded metalheads tend to not go the punk route all too often, which is odd since the two genres share so many defining points. Granted, I can get it, I have met many that I cannot sway to the hardcore punk side of the punk genre, especially if you like structure and less repetition more than atmospheric aggression. Still, it was bound to happen, and I am not sure if there were any better bands to usher it in than D.R.I., Suicidal Tendencies, Cro-Mags, Stormtroopers of Death, and more. The genre would die and then have a rebirth in the 1990s with bands like Biohazard, Hatebreed, and other bands that would soon enough serve as the launching point of metalcore. Funnily enough, metalcore is the only genre that completely changed what the hell its title even meant in the time I have been doing my studies. When I was first getting into separating and deep diving individual subgenres of heavy metal music, metalcore simply meant the melding of hardcore and metal, hence the name metalcore. Now, the cores are a beast of their own, some keep the original roots of crossover thrash, and some hardly resemble anything from the past, which makes them hard to classify, especially the ones who defy the metal gods but still wear the cloth. I set aside the "cores" for my studies until another time, but I am slowly getting more and more into it, especially deathcore and grindcore, but I would need to launch a very, very long project to fully get it down, and in time I will, it is my sacred duty to study it all. Studying the subgenres is what started off this whole life long passion of my studies into rock, metal, punk and more, so talking about it always makes me feel gitty. I started when I was around 9 years old, and have done it every single day of my life for the most part since. Alright, enough about me, let's hear some more about D.R.I. and our song of the day "Counter Attack". If you are someone who plays the song while reading these posts, then you might need to listen to it many times on repeat, since it comes in at an insanely long playtime of 26 seconds. So, for those that don't listen to hardcore punk then you might be thinking "what the hell" but believe it or not there are ones that are much shorter than this. It is comical to listen to this kind of album since it's a clusterfuck of random words that stop and go, same guitar intro with slightly different lyrics and then BAM the song is over. I am a fool for long songs, I mean shit, I am listening to Symphony X while I am typing this, but there still is something special to quick as hell songs. Plus, if you listen to it while in the sack you can tell your mates that you lasted for 8 whole songs, just don't tell them the album, say you were listening to Sleep's Holy Mountain or a Grateful Dead live album. "Counter Attack" comes off the band's 2nd studio album which released in 1985. It still has the band's hardcore punk roots before they moved over to the more metal side of their discography. My heart rests in their crossover thrash sound, but I would be lying if I said I don't love this album. Being someone who loves hardcore punk, this is a kick ass album, it shows off the lyrics that help separate the band from other punk and metal groups, and since the song has 25 tracks you are bound to find a track to cherish. If you don't like one, then just wait a minute, and you will be on the next track or the next 3. They crammed 25 separate songs into an album with a 34-minute running time, so the chances are that at least one must be for you. I honestly cannot tell you too much about "Counter Attack" since the song starts the same as it ends, pure aggression that is a joy to listen to, but it comes in just as fast as it fades out. The lyrical content is angsty, pissed, yet pretty great, though good luck understanding what the hell they say since they cram 13 lines into just a couple of seconds. Pretty well, it is a hardcore punk song, so it is uplifting lyrical content to get you to bust out from the chains society has fitted for you since birth. Young me would be writing this shit on my notebook without a doubt (and I very well might have), but older me can still respect it, but it doesn't speak as loud when all you want is a beer after working your butt off to make your boss a richer man. You win society *sigh* you win... Anyway! I hope there is some pissed off teen that comes across the song and says "wow... my mom would HATE this" and becomes a big DRI fan. I loved them as soon as I heard them, and still even now cannot get enough! The perfect crossover thrash band that kept their hardcore punk roots while they moved into a thrash metal sound. Give the song a listen, and if it isn't for you, but you still are someone who likes Suicidal Tendencies then go check out their other tracks, maybe "Five Year Plan" from their album Crossover which is the album that gave a name to the crossover thrash genre. As always, enjoy!

​​​​​​​​​​​​​​​​​​​​​​​​​​​​​​​​​​​​​Year Released: 1985
Album: Dealing with It! (1985)
Genre: Hardcore Punk
Mood: Chaotic
Perfect For: Getting pumped before a concert, Having a beer, Trying to chug the beer in its playtime
Where To Next: "Victim in Pain" - Agnostic Front​​
Rating: 7 / 10