"25 Years" - Avail

Like I mentioned in The Replacements song of the day post from a couple of days back, punk is one of the few genres that seem to have bands coming from all over the damn nation, both the big cities and the boonies. Country is set in its main zones, rock is set in more populous zones, metal tends to come in waves from segmented areas, but then there is punk that seems to have a strong scene in every state, or at least a couple of strong bands. Avail hails out of Virginia, and since there aren't too many other punk groups to reach out of that state, then I stand strongly that Avail represents Virginia for punk rock. They come packing a sound that is a little more mature and melodic than a lot of the remnants of the hardcore, ska punk, pop punk, skate punk, and many of the other subgenres that were elbowing their way through mainstream music of the 1990s. "25 Years" is one of the gems that comes off their sophomore album Dixie, which saw the band taking on a more melodic and confident style after their neck breaker debut Satiate. I only came across this band within the last year or so while doing my year by year project for the 1990s. Throughout the 3500 punk rock songs I have selected from trusted sources and personal experience, I would say that Avail is one of the most impactful newly discovered bands for me that has left quite the impact. I really dug this album from the first track "On the Nod" all the way until the final track, a purely odd cover of John Mellencamps "Pink Houses". After I got done with the album I gave it another spin the next day since I was honestly more impressed with the band than I thought I would be, their debut was a good one and a fun listen, but it didn't have the same impact as Dixie. I have only made it up to their 4th album Over the James, but it is within Dixie that I think the band is the strongest, and that statement is backed up by tracks like "25 Years", "Connection", "Clone", "Sidewalk", and "Virus" and the rest of the tracks that serve as a perfect middle ground before jumping back into the pure killer tracks. "25 Years" I think is my favorite song from the album easily. I love the peaceful intro that is through and through in the 1990s punk style, an intro that lasts 40 seconds can be a pretty rare find in the punk world especially within hardcore punk bands. The song then kicks into something that you can tell was influenced by Fugazi, Minor Threat, X, and some Sonic Youth, then the band went ahead and mixed in the modern kiss, a little of their own flair, and there we have Avail. I chose the track at work while simply using the urinal when this song hit its pinnacle halfway through the track, the band jumps behind the microphone asking "what's there to pray about?" before the rhythm section takes the forefront to knock you the fuck out, the same can be said about the send-off at the end of the track. This is one of those hidden gem albums from punk rock, not so hidden that the quality is down or there isn't any other fans since Avail still holds some notoriety especially with their biggest hit "Simple Song", but a hidden gem that the album lives and dies in the middle ground. Not one of the band's biggest hit albums, from a band that has been somewhat lost to the test of time, but most punks can easily find and get behind Avail if they haven't already. Well, if you are one of those punkers that need a new band to sink their teeth into, may I suggest Avail? They have been nothing but impressive so far, enough of the hardcore and enough of the melodic to make it easy for almost anyone to get behind their style, so long as they like heavier music. Anyway, that is the post, you know what to do... give it a listen! 

​Year Released: 1994
Album: Dixie (1994)
Genre: Melodic Hardcore Punk
Mood: Frustrated
Perfect For: Casual listening, Grumpy days, Driving in the heat
Where To Next: "Million" - Jawbreaker
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Rating: 7/10

"In-A-Gadda-Da-Vida" - Iron Butterfly

It was damn near impossible to choose this track for the song of the day, not because of the quality of the song, but because I hate to pull such a tremendous song this early into the website. This track has always been the card up my sleeve. If there were times I wanted to show someone who I was without telling them, then I would play this song. "In-A-Gadda-Da-Vida" is respected in so many rock circles, and it is easy to see why. Within its 17-minute playtime, you get transported to a different world, a world with purple hues in the sky and plants of colors you don't even know the name of. It is genuinely a perfect track, and that playtime is all the way utilized with a full-frontal attack of heavier psychedelic rock. Iron Butterfly is an unsung hero of the rock world, sure they had this track to scratch their name into the totem pole of rock n roll, but there is so much more from the band that fully deserved the same love. One of those bands that singlehandedly guided me when it comes to the rock of the 1960s. The first time I listened through this album, it felt like it was my birthday, or maybe a second birth. I adore this album with every fiber of my body, the same can be said with their debut Heavy and 1969s Ball. Following the band's first three albums it is honestly some take and leave, but those first three are great, but the band's crown jewel is easily this album here. It perfectly embodies the counter culture of the 1960s, with the free love nodding "Flowers and Beads", the strong loving track of "Most Anything You Want", the psychedelic freak out they serve us on "My Mirage", "In-A-Gadda-Da-Vida", and "Are You Happy", and the mystical kiss from beyond on "Termination". I love the album, and I love how one half of the album is dedicated to the title track. It is a goliath, with a great atmosphere and a damn fine place for the band to show off their skill. I have always been fond of singer Doug Ingle, his vocals are addictive and a pure blast to sing along to. He has a unique deepness that emphasizes entertainment over raw skill, which is and has been rocks creed since day one. Those vocals are shown off wonderfully on "In-A-Gadda-Da-Vida" as he sings a love song that is based around Adam and Eve, though those vocals aren't there too much throughout the song. This song is built up in I would say 3 pieces. The first part of the song is meant to grab you fully with its iconic trippy intro that moves into a sensual psychedelic love fest. In the edited version, it is pretty well just the start of the song and the end of the song. Even today the full version is rarely played across the air waves, and it wasn't much different back then so they needed a cut version for the masses, and after all it is the part of the song that honestly does hold the most value. The second part of the song is honestly for the drug users and rock connoisseurs, a long drum solo from the iconic Ron Bushy that moves into just an overall vibe of jamming. I am a fool for long songs, and Iron Butterfly surely released one of the most potent throughout rocks history. Then we have the third part of the song, a moody part of the track that sobers you just a little bit before moving right back into the same style as the start of the song at the 12:40 mark and slowly moves back into the full original form for the conclusion. The song overall is genuinely perfect and is one of my all-time favorite songs. That leads us back to the start of this post, I am honestly having a hard time confidently choosing some of my all-time favorites before I have the fan base (if I ever do since I loooove draggin my feet), but in the end does it matter? I am doing this for me and for the power of rock n roll. I have been posting the good, better, and best of rock music and its neighboring genres for the last while, but still, "In-A-Gadda-Da-Vida" showing up this early made me question if I should hold off. But it is here, and that is mainly from me following my own preset rules no matter what, if it made an impact that day it has to be chosen. Who knows, some dude in Green Bay, Wisconsin could be fresh getting into the classic rock and stumble across this website and find the track that would define their lives, much like "In-A-Gadda-Da-Vida" did for me. It is all about the spirit of rock music, that is what keeps me living, that and the love of those in my life. Speaking of love and such, this song is a great love song to show to that special lady in your life, so long as that special lady likes a long ass groovy song, and if she doesn't then maybe it is time for the ol' trade in. Just kidding. This love song like I mentioned before has an "Adam and Eve" backing, and the track was originally meant to be called "In the Garden of Eden" but due to vocalist and keyboardist Doug Ingle being drunk as a skunk on wine it came out more or less like "In-A-Gadda-Da-Vida" when playing with the idea and the band rolled with it, birthing this masterpiece. Anyway, aside from this track, Iron Butterfly doesn't have much of an impact modernly due to the test of time, they have a ton of great songs, many fronting a heavier sound than pretty well anyone at that time. They are often considered one of the earliest variations of heavy metal music. The song is hypnotic, and that is putting it simple, it is the kind of song that commands the moment, it can bring your high deep inward or your sobriety to inebriation. You know how these posts end, so do yourself a favor and give the song a listen. It isn't often you can listen to a song this iconic and important in the history books of rock music. Enjoy fully! Take it in and exhale! 

​Year Released: 1968
Album: In-A-Gadda-Da-Vida (1968)
Genre: Psychedelic Rock, Acid Rock
Mood: Hypnotic
Perfect For: Daydreaming, Getting high, Getting drunk, Being sober, Anything! This song is so good!
Where To Next: "1983...(A Merman I Should Turn to Be)" - Jimi Hendrix
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Rating: 10/10

"Comforting Sounds" - Mew

As much as Mew is a fairly respected name in the 2000s alternative rock sound, it wasn't until the last year or so that I started taking on some of their albums. I first started on 1997s A Triumph for Man, their debut that is a pure joy to listen to and halfway a hidden gem from the releases of that year. Since that one grabbed me in such a fulfilling and odd way I couldn't help but tackle their most popular album Frengers right after which holds the track of today "Comforting Sounds". That one track could honestly sell the whole album, it just so happens that it is pretty well full of tracks that soothe the soul and inspire the heart. "Comforting Sounds" is arguably the best place to start with Mew, it is also their most played and known song on Spotify, but it would be hard to not fall completely head over heels for it. I think some of what makes this album so likeable is the band chose 6 tracks from their previous albums and rerecorded them, since some of those songs really needed to see the light once more. Those tracks include "Am I Wry?", "156", "Symmetry", and "Her Voice Is Beyond Her Years" from their second album Half the World Is Watching and "She Came Home for Christmas" off of their debut. I honestly am much more fond of the redone versions we have on Frengers which is a fairly rare statement since I typically don't like the redone versions of originals often at all. I can only count maybe 8 versions, not including what I heard from Mew. Though the originals on the album hold their own weight, if not more honestly, and all tracks fall before the all mighty "Comforting Sounds" which sounds exactly as it is, 9 minutes of comforting sounds. Much like the rest of the album, it fronts an alternative rock sound that gets close to indie when it feels and the spacey side of shoegaze when it wants. I am honestly shocked the band isn't a bigger name, and wasn't at the time, even if it hardly gathered the attention of people outside their home country and the surrounding countries of Denmark. This was right down the alley of some sides of popular alternative rock in the United States, but I suppose when there are so many bands coming in and out, it can get hard to keep track of them all. I am glad modernly they are a more popular band worldwide. While the streaming era of music has its downsides, there are many upsides and one of those is giving bands another chance for others anywhere in the world to be able to take in their sweet sweet music. While I haven't made it past the band's first three albums yet, I am excited and confident their following albums will hold up just as well. Just sometimes you have to not expect each new song to be as powerful as the one you fell in love with, but when it comes to "Comforting Sounds" I cannot see how they would be able to overpower it. The kind of music that makes you want to fall in love. Or stargaze on the roof of your suburban abode as your parents fight right below you. The kind of stuff meant for late night cigarettes after a long day of life's wicked truths. The song is practically perfect and quite peaceful. An intro that holds all your attention as it kicks off, and while that peaceful nature is one of the best to have in music it can bore you a touch when doing a deep listen, but before that can fully take hold the song kicks it up a notch at the 4:20 mark. That transition always gives me chills, and also makes it easy to see why Mew is regarded as one of the leading forces at innovating and pushing the space pop genre. It is beautiful and simplistic in all the right ways, the kind of music almost anyone can get behind, especially the dreamers. The song takes you away from whatever you are doing and reminds you of childhood and gets you excited about the rest of the years to come within your own life, the good and the bad. This song is a testament to the human condition and the power that music has over the human heart. Don't believe me? Kick off your shoes and let down your hair, within the soundwaves you will be shaken between despondency and rapture. Enjoy!

Year Released: 2003
Album: Frengers (2003)
Genre: Alternative Rock, Space Pop
Mood: Dreamy
Perfect For: Casual listening, Indepth listening, Daydreaming, Going to bed, Getting lost in thought
Where To Next: "Vapour Trail" - Ride
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Rating: 9/10

"Long Time Dyin'" - Overkill

Time and time again, Overkill has been there for me. I know the big four of thrash metal are rightfully Metallica, Megadeth, Slayer and Anthrax, but in all honesty, I think Overkill has a strong hand to fight for a claim for a spot in the big four. They have been a high performing band for 45 years, releasing some of the best thrash albums out of the 1980s, 1990s, and the 2010s, and while their 2000s material is a little less potent there are still so many good tracks that came out of those albums, just listen to "Devils in the Mist". As for the 2020s they have only released Scorched in 2023 but even that one album showed the band has still got that special something that thrusted them up to a high pedestal in the metal world. Overkill went through a change here and there in the 1990s styles, but they kept their core sound and thrash mania that gave the band a voice in the first place. I chose "Long Time Dyin'" while I was gathering all the goodies off their 9th studio album From the Underground and Below. The album was released in 1997 and didn't gather all that much attention, nor did the album get too much of it in the future. As for me, I have been a big fan of the album, and vocalist Bobby Ellsworth says it's one of his favorites as well. I have been obsessed with "Save Me" since I first got further into Overkill years and years ago, not only "Save Me" but also the heavy and wonderful "It Lives", "F.U.C.T.", "The Rip n' Tear" and a good handful more. "Long Time Dyin'" is one you cannot forget to mention when talking about this album, the intro makes you think you might have one of their slower yet heavy tracks but soon shows you it is far from the truth once the guitar goes shredding along and the song finally kicks off with a fever at the 0:55 mark carrying a rhythm that makes it damn near impossible to not turn those speakers up. By the time singer Bobby "Blitz" Ellsworth joins the party, your heart is racing, and him joining in makes the song all that better. I have always loved his vocals, that slightly wicked vocal style fits excellently with the thrash the band lays down. It blows my mind that some people overlook this album, I find it one of the most fun and exciting Overkill albums, they tried out something new with "Save Me" giving the band a little bit of an industrial metal kick in the ass, and I think they did it very well, there would be a couple of other times they dabble in that sound as well. They tried out songs with more of a hard rock feeling but backed by the fury of thrash metal on tracks like "Long Time Dyin'" and lastly they brought out a thrash side that feels like it was kissed by multiple genres on "Genocya". They have plenty of the straight forward headbangers heaven thrash metal songs too, so there isn't a complete shock to their varying styles. One thing that is expected out of the album and most of Overkills albums is their voodoo hoodoo at making you want to bang your head. Ever since the band came along with their debut Feel the Fire in 1985 they have been on a proper path of becoming the backbone to the thrash metal subgenre. I still think they deserve a higher spot in the rankings, but that is a more me thing I am sure, I love the others too and fully think they belong there, but how about we create a "big 5 of thrash metal" so Overkill can have their rightful spot on the top with the other massive names. Record sales be damned, in the metal world that doesn't amount to much. It is all about the power and the glory, and for Overkill, they have that and then some. Enjoy! 

Year Released: 1997
Album: From the Underground and Below (1997)
Genre: Thrash Metal
Mood: Heavy
Perfect For: Casual listening, Banging your head, Driving on the freeway
Where To Next: "Impact Is Imminent" - Exodus
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Rating: 8/10

"Slow Ride" - Sublime

Sublime is one of the most important bands to me, they have followed me for a damn long time since I first heard "Santeria" in passing when I was 7 or so. The perfect band for drunken karaoke (I hate spelling karaoke!) and the perfect band for having a damn good time. I have listened through their main work countless times, I have toked, smoked, poked, stroked, and went broke to their music for what feels like my whole life. They have a super easy discography to swallow, just 3 main studio albums due to the death of singer, guitarist, and frontman Bradley Nowell. Aside from those 3 great albums (especially the first and last) they have a good amount of quality compilations and later released live albums. Today we have selected "Slow Ride", a hidden gem from their collection of genre raning songs. It shows up on the 1997 compilation Second-hand Smoke, which is made up of remixes and some unreleased material. It was the first thing released after Nowell's death and gives you a taste of multiple ways Sublime could have gone, and shows off what they do best, especially in tracks like "Slow Ride", "Superstar Punani" and "Saw Red". "Slow Ride" is a fun track even with the lyrics revolving around unrequited love as the character Nowell portrays can't help but want to rush into a relationship while she wants to take it mighty slow. I get that though, I have never been good at the "taking it slow" when it comes to dating, just ask Alesha my precious girlfriend. But see where all that rushing got us, toots? Anyway, back on topic. "Slow Ride" might sound like an obscure Foghat cover, but it is a through and through Sublime track. Full of the strange humor and happy feelings, they aren't called Sublime for nothing, I love the dub stuff Sublime does and "Slow Ride" is one of the first to come to mind. The first time I listened through this compilation after I ran out of studio material I wasn't all too impressed. It is still a nice addition, especially the tracks I mentioned previously, but there are admittedly some bad songs on the collection. If you are a Sublime fan and also have beat the living hell out of their 3 main albums, I strongly suggest giving the live album/compilation Bradley Nowell and Friends a swing. For those that know their main hits and haven't gone deeper into the band, you have a lot of catching up to do and might as well start from the beginning, especially if you are more reggae minded. Don't pay attention to some of the critical reception, I am honestly not sure what the critics' problem is with the band. They are a well known and respected band and one of those groups that won't fade away, especially as long as there is accessible ganja. I think the critics just don't get the feeling of the music or are looking for U2 under every rug. If you are someone that takes those professional ratings too serious, then you should learn to form your own opinion. Shit, don't even take my ratings serious, since they are opinion based, and I have a terribly hard time being a "tough critic", I love just about anything and obviously I have a bias on my own website. If we are like-minded people then you will get my vision, and if we ain't then you can still find plenty of great songs much like what we have here with "Slow Ride". Give the song a spin and kick those feet up, it has been a long week so far, and you deserve it! Enjoy!

​​​​​Year Released: 1997
Compilation: Second-hand Smoke (1997)
Genre: Dub, Ska Punk
Mood: Mellow
Perfect For: Getting stoned, Space cruising, Heading out to the lake on a summers day, Canyon drives
Where To Next: "Spiderwebs" - No Doubt
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Rating: 8/10

"Sold My Soul" - Nazareth

Nazareth has been a long-time love of mine, through and through high quality hard rock. One of the best Scottish rock bands to ever hit the scene, and honestly one of the most potent acts that came out of the 1970s, even if they don't get the same attention as some of the others. Hits like "Hair of the Dog" and their rendition of "Love Hurts" are bona fide classics! Though it seems for a lot of people they are one of those "oh these guys did that song?" kind of band, which breaks my heart. They have a long career, full up with the ups and downs of a band that has been ongoing for over 50 years. Some of their modern stuff is still great too which is fairly rare for some of the bands that came out of the 1970s, I was pleasantly shocked when I listened through their 2018 album Tattooed on My Brain upon its release, and while I have yet to get to their most recent album Surviving the Law I am sure it will still be a goodie even without the bombastic Dan McCafferty on vocals (RIP). I first came across Nazareth when starting to get certain bands in order for my original website called "heavy metal cat" when I was 14 or so. That website was a bust, and it is still strangely up, and it is also certainly written by a 14-year-old during that time, plenty of "xD" and ":3" and cringe inducing terrible writing. Still, the soul was there, but I needed some strong foundations for my studies, so I took to separating it out by decades first for easier bite sized servings, and the 1970s proved and still proves to be the hardest spot to decide what is and what is not. I split it up 3 ways, bands that certainly are (Black Sabbath, Judas Priest, Motörhead, Saxon, Riot, Etc.), the bands that influenced the genre but aren't full-blooded metal (Led Zeppelin, Uriah Heep, Deep Purple, Alice Cooper, Mountain, Budgie, etc.) and lastly the bands that played a thin line between heavy metal and hard rock and one of those bands were Nazareth, namely albums such as Razamanaz, Hair of the Dog, and Expect No Mercy. Many consider them an early variation of metal, but I am not one of them, and while they might have had an influence on many, they were still just a red hot hard rock group. People love throwing the term heavy metal all over the place, be it hard rock groups of the 1970s, or be it the hard rock groups of the 2000s. Still, what the hell do I know? I have dedicated my life to these studies, sure, but in the end, there is no definitive answer even though I feel highly confident in mine. Anyway! For today's choice it was "Sold My Soul" a hidden gem within their 1973 rocker Razamanaz, easily one of the band's best albums. "Sold My Soul" is a favorite of the album, the lyrical content is great, there are few finer lyrical themes than selling your soul to the devil, that shit has been in rock n roll since Robert Johnson sold his at the crossroads. A pretty moody song, with a style that is a tad bit different from a lot of the band's other material, even though there is still no denying it is Nazareth. Vocalist Dan McCafferty has a voice you cannot mistake, that raspy smokers voice, the blow down your barn power behind his pipes, and lastly that performance that some vocalists forget to throw into the mix. In the songs he sings you can feel the character he is portraying, and "Sold My Soul" is a prime example of that, or maybe the band's cover of Joni Mitchell's "This Flight Tonight" which is one of their most cherished tracks. Nazareth shows off the backline of the rock world, a constant chugging band that puts out great material even without it going multi-platinum, even when they fully deserve it. So if you are one that likes the rock of the 1970s and know Nazareth just for their hits, I implore you to check out some more tracks, shit even start with the 10/10 perfect album Hair of the Dog, you ain't doing anything anyway, check it out! Wait actually! After you read some more of my website, that is. Maybe do them side by side? I think that would paint my website in some great light, after all it is for bands like Nazareth that I do this daily anyway. Enjoy!

​​​​​Year Released: 1973
Album: Razamanaz (1973)
Genre: Hard Rock
Mood: Desperate
Perfect For: Casual listening, Selling your soul, Relaxing in your car
Where To Next: "The Devil Is Singing Our Song" - James Gang
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Rating: 8/10

"Why Go" - Pearl Jam

And so we continue on with having the legends of the rock world having a spotlight in this month's song of the day page. Nothing wrong with that though, I just feel bad for those that are coming here for something brand new. Don't worry, don't worry, there will be plenty of that and there has been in the past. Still, I am not just choosing the biggest hits from the bands, there are still some hidden nuggets for the more casual fans of a band. Though I cannot say the same with today's post, pretty well anything from Ten is beloved, and some songs on the album are overkill adored especially by the radio DJs that seem to play the same 4 Pearl Jam songs on repeat... forever. Don't get me wrong "Black", "Jeremy", "Even Flow", and "Alive" are great songs, some of the most important and cherished rock songs to come out of grunge music and rock, but there are still some from Ten that need that overkill mainstream love. Anyway, if you didn't gather anything from the intro, Pearl Jam are often dubbed "the most popular American rock band of the 1990s" and that is a title I can easily get behind. They are a band of ultimate praise, and that praise is halfway held all within the album that holds our song of the day, "Why Go". I have abused this album and song for well over a decade now, one of those albums that I cannot get enough of. From start to finish, it is a perfect album, there is enough changing styles and flow to the album to keep you locked in. There are enough comfy songs that everyone knows to welcome the newbies, and there are tracks like the blissfully sad "Release" for the core fans. I could speak all day about this album, truly, but I need to focus on "Why Go" the fourth track on this quintessential album. This is one of the more fun and upbeat tracks on the album, one that shows off why Pearl Jam is still held in the grunge category, yet equally shows off their more classic rock roots that help set them apart from the other grunge bands. This is the type of song that has you drumming along with the band on your steering wheel. A classic case of "build em up to knock em down". It repeats this composition until you can hardly take anymore, luckily they balance out the power of this track with the depressing "Black" coming up next in the track listing. "Why Go" used to be one of my favorites for driving around in the summer heat when I was a teenager, most anyone who knew me at that time had this album beating into their ears almost each time they got in my jeep, especially if there was some beer around. If it wasn't this, then it was early Slayer, duality is important in a person. "Why Go" is another from Ten that is written with a special pen of realness, not the realness of a cheating woman or the realness of having to go to work again, but a realness of the kids that are trying to survive through school, the realness of a man that cannot seem to just grow up, and for "Why Go" it is the reality of mental health issues as it follows the story of a girl that got incorrectly placed in a mental ward, and after so much time committed she simply wonders "why go home?". The song actually has a sequel entitled "Leash" off of Pearl Jams follow-up album Vs. and that sequel isn't much happier and revolves around an overly strict home life after she decides to go home after "Why Go". The two songs are based off a true story of a girl that singer and main lyricist Eddie Vedder knew. Just goes to support my claim of the music being real as real can be in the album, true tales, and the ones that aren't true sure feel like it when they hit right at home at the society we all live in that obviously hasn't changed much since the release of Ten, but why would it? Humans seem to detest change and love the comfort of sticking their heads in the sand. "Why Go" makes me miss how it used to be around my town, before there were double the amount of people and a good majority of those people having it out for your blood upon their bumper. I loved running the streets, dodging the police, being content with going nowhere with that still feeling taking control of the night. It is a mix of growing up and a mix of just how the world has turned, the forever battle between losing yourself to the time and the time losing itself to the wind. Even with all that, I can still come back to reminisce within 11 track time capsules such as Ten, and who knows, I still have time to make many more memories with the great songs that fill it, "Why Go" included. 

​​​​Year Released: 1991
Album: Ten (1991)
Genre: Grunge, Rock
Mood: Serious
Perfect For: Driving in the summer heat, Having a beer, Casual listening, Getting off work
Where To Next: "Breed" - Nirvana
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Rating: 8/10

"The Small Hours" - Metallica

It seems we are picking a lot of the legends of music this month, but that is only fitting for a website fully dedicated to the spirit and love of rock, metal, classic country, and punk. Metallica is a band that doesn't need an intro, and to back it up this is their fourth addition to the song of the day blog, so I am sure you have already heard it. If you need to know more about a band that is this incredibly famous, then go get yourself a book that says "heavy metal" on the front and hit yourself in the face with it. I am one that loves all sides of Metallica, well almost all sides... I am looking at you Lulu... but my favorite stage of the band is the pre-Master of Puppets Metallica. When there is still that crude early metal slash behind their sound, before they went all in with a cleaner sound that, while it is still just as heavy, doesn't have that same stab that we hear on Kill Em All and Ride the Lightning. All of that is opinion based, but if you made it this far into the website, you already know this little corner of the internet reeks of my stench. Though even when they polished up their sound a bit they still left a spot for people like me to get a little more of their earlier sound, and that is found off their 1987 EP The $5.98 E.P. - Garage Days Re-Revisited. An EP made solely out of covers, the 5 tracks on this album would be included on their cover album Garage Inc. as well. Still the original release of this EP has become a pretty big collector's piece, one of the few collectors pieces I would genuinely want. The choices on the EP are great, and they serve as a good source to see what helped make Metallica well... Metallica. The heavy leaning on new wave of British heavy metal bands is prevalent, but there still is some punk and early metal to make this a memorable 25 minutes. We have Diamond Head's "Helpless" to start the album off, which kicks it right into gear, and being a big Diamond Head fan myself, I love both versions of the track. Then we move onto the song of the day, "The Small Hours" by Holocaust, a band that is crazy underrated and once I started listening through their albums I was shocked that the band doesn't get more recognition. I am honestly not sure which version I like more, the gross feeling that consumes Holocaust's version is addictive and is a favorite sound of mine from metal music. Though Metallica's version is a bit harder, the haunting intro serves as a harbinger of head banging, and when the song fully kicks off your nipples are hard and your ears entranced. Though what could potentially sell me on the Metallica version is the outro, once the band turns the amps to 11 and send us off with an "all aboard" before taking us for another circle on their Metallica merry-go-round. I still will not decide which version I like more, maybe you should give the two tracks a spin side my side and see which one you like first, and then I will. I will show you mine if you show me yours. After that track we have "The Wait", a strange cover in all honesty, and I wonder which member of the band chose Killing Joke. Still a good track and a stellar choice, but I would say the weakest out of the 5 tracks on the EP. Next up we got "Crash Course in Brain Surgery" one of the best songs from the early metal titans Budgie. A band that might as well be my spirit band, I love their material as much as my own metaphorical child. Metallica does the song justice, still keeping some of the original feel while modernizing it with a Metallica left hook. There is no beating the original with this one, and I will die on that hill, their Budgie and Diamond Head covers always fall short, but you cannot blame Metallica when their competition is THAT mighty, but like always that is opinion based. Lastly, we have track 5, which is a cover of the Misfits "Last Caress" and "Green Hell". A bold as hell choice for Metallica, they still put the metal in "metal up your ass", "Last Caress" has some shock appeal ridden lyricism and James Hetfield says it loud and proud. Misfits was always a little sleazy on their lyrics, and that sleaziness must have rubbed off on Metallica, especially in reference to some of the concert banter and stage personas. Metallica does a great version of the two tracks, and I have always had a strong fondness for the transition point between "Last Caress" and "Green Hell". The second half of the song has always been my favorite, a neck breaking part for sure. Anyways! I better lay off the ol keyboard before I have to upgrade my website plan for more space. Give the track a listen and compare for yourself on who does a better version of "The Small Hours". Raise those horns!

​​​​Year Released: 1987
EP: The $5.98 E.P. - Garage Days Re-Revisited (1987)
Genre: Thrash Metal
Mood: Stirring
Perfect For: Casual listening, Physical activity, Head banging
Where To Next: "The Small Hours" - Holocaust
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Rating: 8/10

"Linchpin" - Fear Factory

I should create my own personal holiday "the day I first discovered Fear Factory", a day when I go get myself a 6 pack of that stronger liquor store beer and listen to just Fear Factory all day. I would first have to remember what day that was, but still, a day worth celebrating since the band is great. "Linchpin" was the first place I started with the band, and that had me moving into the album it came off of Digimortal. An album filled with great tracks with the crown jewel being "Linchpin", which also might be the band's most popular and essential track. I mean, how could you not love the song? So long as you like heavier music and such, Fear Factory rarely ever disappoints. The band went through their sound changes, but it was within the trilogy of concept albums (starting with 1995's Demanufacture and ending with 2001's Digimortal) that the band found their core sound that made them a titan in the metal world in the 1990s and the 2000s. That trilogy follows the story of man's struggle against a machine ran government, and while the albums aren't like some concept albums that need to be treated like an album, those 3 albums do a damn good job at making each song accessible in whatever way you wanna take it in. You can listen to the song and not even know it is from a concept album, or much like myself, you can listen to it in order to get the full story and impact. The story isn't the coolest thing out there, but it is bold for the band to dedicate 3 albums to it, and the fact that they did it so well speaks strongly for the band's competence at controlling the heavy metallic atmosphere of the album. Fear Factory found its home in an industrial metal and groove metal pas de deux sound. Their first album leans more towards a death metal sound, but once the follow-up album came and gave the band a foothold in the metal community, they were proudly part of the industrial metal movement. They have changed their style up since but no matter what they keep that industrial metal core molten hot. I can't think of too many other bands that did it better than Fear Factory when it comes to new bands doing industrial metal in the 1990s. Nobody can beat Ministry and Godflesh, but Fear Factory certainly proved to be a grand follow up and a strong band to apply a new coat of paint to that meat mulching machine. I have a sweet spot for their first couple of albums, but I would be lying if their modern albums don't take the oxygen out of the air. They have the same energy and heaviness as their previous albums, and don't seem to be slowing down anytime soon. Fear Factory is one of those bands you can pick up almost any album, and it can serve as a great starting point for the band to become one of your next favorites. My favorite album of theirs is Demanufacture but Mechanize is a strong second. If you haven't caught on by now, the band has an obsession with mechanical and cybernetic themes, but that is a prefect theme for an industrial metal band, I mean the genre is called industrial metal after all. "Linchpin" is a super respected song so I wouldn't be shocked if you already know it by heart, but in the off chance that you don't know the track then give it a listen and add it to your working out playlist! Perfect for anything high octane! 

​​​Year Released: 2001
Album: Digimortal (2001)
Genre: Industrial Metal
Mood: Intense
Perfect For: Driving fast, Working out, Taking on a rush at work, Energizing
Where To Next: "Love Dump" - Static-X 
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Rating: 8/10

"Something to Du" - The Replacements

Man, the Replacements always scratch that itch, half of their music is so damn lonesome and the other half is energetic and punk licked. "Something to Du" is on the energetic punk licked side of the band, and while I favor the dreamy other half of the band's main work, there sure is something special in their through and through punk releases. This track comes off their 1981 debut Sorry Ma, Forgot to Take Out the Trash, an album that relies heavily on the punk rock sound that came out of the 1970s. Playing a thin line between keeping a more traditional punk sound and moving over into the hardcore punk sound that kept punk alive and well throughout the changing styles of the 1980s. The Replacements had plenty of good albums that came out from 1981 up until 1990, and the band kept mostly the same members. A special nod of appreciation to the brothers Bob & Tommy that kept the electricity of the band high even when they went on to be one of the pioneers of alternative rock in the 1980s, Bob is on guitar and Tommy on the bass guitar. I am not saying there is anything lesser about vocalist Paul Westerberg, he too is a great punk frontman, and drummer Chris Mars who showed off what makes the fast as hell punk drumming style so damn compelling. The band all together is a punkers wet dream, and then later on they front a softer sound that has me wanting to take late night drives each time those songs start up. "Something to Du" is a track written about and for their fellow punkers from Minnesota, Husker Du, a band that helped form the 1980s punk sound. While Minnesota is known for their lakes, burger innovation with the "juicy lucy", and the Mall of America, we cannot forget their importance to the changing punk scene during the time. We always focus on California and New York with punk rock, yet it is a genre that had plenty of powerful bands showing up across the country. Punk isn't a self lubricating machine, there has to be some attention to it, or it fades into some strange musical corners, that or it eats itself and everyone starts stabbing each other until the genre falls apart and then comes back stronger again and again. The genre will never die so long as there is youthful strife in the world, and if you checked out the news today, I think they still have plenty to be pissed about. I like a lot of what the modern punk sound puts out, heavy fuzz and pure chaotic pleasure, but I would be lying if I thought that any decade could beat the punk of the 1980s. That stance that cannot be shaken is found in the anger of the hardcore punk scene, it is found in the bands that melded an alternative sound into punk, it is held strong by punks that kept the tradition of the 1970s but the spite of the 1980s, much like The Replacements. Anyway, most of all the tracks from The Replacements debut we are talking of today are goodies. I think their classic "Takin' a Ride" is one of their strongest tracks, especially within their punk sound. "Something to Du" is up there with a lot of their greatest tracks in my opinion. Track #10 "Johnny's Gonna Die" which was written in reference to Johnny Thunders of New York Dolls and Heartbreaker fame, is another great one to keep the spirit of punk rolling along smooth. Aside from that, there are many more tracks that are worthwhile, certainly an album that anyone who likes punk rock could get behind. That could be you, dear reader, so as always it is now time to give the song a listen and lose it! Enjoy!

​​Year Released: 1981
Album: Sorry Ma, Forgot to Take Out the Trash (1981)
Genre: Punk Rock
Mood: Energetic
Perfect For: Casual listening, Deciding which Husker Du album to play next, Summer drives, Having a cheap beer
Where To Next: "Divide and Conquer" - Husker Du
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Rating: 7/10

"Not Fade Away" - Rush

Rush are absolute legends, but like many of the legends of rock, they had a slightly less strong beginning. Before Rush changed the whole rock world with their progressive onslaught of innovative compositions and songwriting, they were simply just another hard rock group. I have a big soft spot for Rush's self-titled debut, I love the raw and amateur style of that album and have always been slightly disappointed there wasn't more material from that time. There were two songs that I couldn't get my hands on aside from some poor quality version on YouTube, and that was the band's first single "Not Fade Away" and "You Can't Fight It". Both tracks show off a very unexperienced Rush, though with that inexperience touch brings in a sound that is as true as rock music can get, youthful vigor and straight to the point musical hostilities. This was a Rush before the world's best drummer, Neil Peart, joined their ranks, but still had the talented John Rutsey behind the sticks. So for today we chose their version of Buddy Holly's "Not Fade Away", one of those early rock tracks that have been abused and reused time and time again, but when it comes to one of the strongest musicians in the rock n roll era to cover then there are few better places to go than Buddy Holly and the Crickets. Like I was mentioning previously, I could not get my hands on the Rush cover of this track. It became one of the most rare and expensive recordings that passed around the inner rock music fold, only few were made and even fewer were held onto. I tend to keep a constant eye on what new albums that are coming out from the bands that I love, and since there are hundreds upon hundreds of bands, it can get a little cluttered. I saw months back that Rush was going to release a compilation entitled Rush 50, a compilation that holds 50 different songs from their first ever recorded song until their final recorded live performance. So instantly I got excited, finally their first single wouldn't be held behind a media lock! I waited month by month until the day arrived and that is what I spent my new music Friday focusing on, all the different versions of beloved tracks and new live renditions for my ears to pick apart and enjoy. Though, the crown jewel was the first two songs on the compilation, and especially "Not Fade Away". I am a massive Buddy Holly fan, so I like to hear my other favorites giving his songs a whirl. I am not going to lie, it isn't the best track or rendition, but it serves as a cool look into the ambitious sound of their first recordings. You can feel the youth in the song, and while it would have been cool to have "Not Fade Away" included on their debut, I think it was best left out since I love that album just as it is. That debut doesn't get the love it deserves, spit on by Rush fans since it isn't very Rush, and spit on by casual rockers since aside from "Working Man" it doesn't get the same attention as their other intense releases. Anyway, I am damn glad the song finally was added to streaming services, and even more glad it is accessible in more forms that a flimsy single only pressed in 1973. I think if they treated the song in a "short and sweet" manner it would have been better, once the fun of the song fades away the song just keeps repeating the same lines with heavy reverb. It does put Rush into a more "space rock" kind of feeling, which I dig, but the song has a hard time fully grabbing me, especially in comparison to the other rockers on their debut. For those Rush fans out there that have missed out on this track, I think you will have a blast, but for those that casually like Rush, you might find it a tad bit lacking. I dig the track, a great background kind of song as you cruise along, and an even better song to appreciate the start of such a legendary band. Kind of feels like looking at your parent's yearbook photos in a strange way. Anyways! As always, thanks for reading and give the track a listen. 

​​Year Released: 1973
Single: Not Fade Away / You Can't Fight It (1973)
Chosen Compilation: Rush 50 (2025)
Genre: Rock
Mood: Raw
Perfect For: Casual listening, Pulling into your favorite fast food joint late at night
Where To Next: "Not Fade Away" - The Rolling Stones
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Rating: 6/10

"Don't Stop" - Fleetwood Mac

It is crazy to think that it took 316 song of the day posts to finally get to Fleetwood Mac, a band that is hardly matched when it comes to raw mainstream appeal. Well, more so the Nicks-Buckingham era of the band, but when you ask someone if they like Fleetwood Mac they aren't typically thinking of the bombastic blues that came before the Californicated pop appeal era. Anyway! Fleetwood Mac are legends, they conjured up some of the biggest hits to ever grace the rock world, albums like Rumours and their 1975 self-titled blew them into a stardom that hardly any other recording band was thrusted into as dramatically and high on cocaine. That thrust was felt deeply by the band, the old guns of the band were now put into a light that burned, the newbies in the band (Stevie Nicks & Lindsey Buckingham) cut out years of work in their musical career joining up with Fleetwood Mac and finally saw their names in lights. Those names would soon go on to haunt the other, but I really don't know if Fleetwood Mac would have had the same impact if it wasn't for them being rock n roll's favorite soap opera. Many of their songs were fueled by the failing relationships of not only Nicks & Buckingham but also John and Christine McVie and lastly the relationship between Mick Fleetwood and model Jenny Boyd. Easy to say there was a lot of fooling around and drama, and you can feel that raw tension in a good majority of Fleetwood Mac songs from that time. Though today we chose a track that shrouds the malice behind the words. "Don't Stop" was written by Christine McVie following her divorce from bassist John McVie. Unlike some of the more stern lyrics between Nicks & Buckingham, McVie brings forth a song of working through the issue and trying to get to a happy place after an unhappy experience. I honestly like how this one doesn't come right out and say "packing up, shacking up is all you want to do" or hurtful things along those lines. It is a bittersweet pop rock classic, both for Fleetwood Mac and for rock and pop music as a whole. A song that shows how potent Lindsey Buckingham's voice is with Christine's, a pretty song that is always there to make you feel better, post divorce or not. Like anything during this point in Fleetwood Mac, Buckingham was there to methodically put the song together to really have that slap to it. That man has a fine-tuned ear that always puts out quality, both in his underrated solo work and the legendary material in Fleetwood Mac, not only that he is a wonderful guitarist and I swear people rarely talk about that, but in some of the more radio abused Fleetwood Mac tracks he doesn't fully show it off. Buckingham infamously put his nose in everyones songs, and while "Don't Stop" is through and through a McVie song, there is no doubting that Buckingham kiss. Anyway, "Don't Stop" was the third single released off their momentous hit album Rumours which is one of the most important and highest selling albums ever. It is made up of only top tier tracks, and "Don't Stop" being there on its 11 song track listing just proves the greatness of the album. It is extremely mainstream but that just means it is easy to get behind, what I love most about Fleetwood Mac is their accessibility, but even with that accessibility there are still so many layers to each song, a strange intricacy behind a simple sounding song with a strong pop appeal. Furthermore, it is the kind of stuff that music fans that like something casual can fall in love with, and the same can be said about fans like myself that like to listen in depth. The song is simply addictive, it is there to lend you a smile, to give you the strength of understanding yesterday is gone but to keep on looking towards tomorrow. It worked on me when I chose the track, so if you are ever feeling down and stressed, then give this song a listen and let its glitter take away your woes. Enjoy!

​Year Released: 1977
Album: Rumours (1977)
Genre: Pop Rock
Mood: Uplifting
Perfect For: Beating back the blues, Walking down the street, Casual listening, Perfect Spring afternoons
Where To Next: "Swingtown" - Steve Miller Band
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Rating: 8/10

"Slide off Your Satin Sheets" - Johnny Paycheck

Johnny Paycheck is almost as close to an outlaw as you can get in outlaw country. The genre loves a more sinful lick to the traditional country lyricism and style, and it is my favorite genre of country music for just that reason. There is a realness to that subgenre, instead of the realism of just the common man, much like traditional country lyricism and atmosphere goes for. Outlaw country tells the tales of the road, gives a story to the nameless rebel in small town America, they sing the sad songs of losing the fight with addiction, serving time with a fist clenched in anger and a tear in the eye, and so many more themes that you have to be from that side of the track to understand. While the good majority of artists that are in the outlaw country subgenre mainly portray a character, there are some that lived a wilder life and Johnny Paycheck is one of them. He served in the navy in the 1950s but after a short stint he got court marshalled for assaulting a naval officer, that earned him 2 years in the clink. Upon his release he relocated to Nashville, Music City USA, and tried his hand singing tenor backing to some big names such as Willie Nelson, Ray Price, Roger Miller, Faron Young, Skeets McDonald, and most importantly George Jones who he helped write songs and had a more serious spot in his backing band. He certainly has a great voice for country music, so it really isn't too shocking he had a piece of so many huge names in the genre. I have always felt he tries replicating George Jones, though if you know anything about George Jones he is damn near impossible to replicate due to his serious skill with that voice, if I had the choice to be able to sing like anyone it would either be George Jones or Roy Orbison since both have serious range and are a complete joy to your ears. Anyway, after he tried his hand at songwriting and showed true promise it was time for him to take the leap into running his own show, so he changed his name to Johnny Paycheck and then released a small string of hits in the 1960s. Once outlaw country fully picked up a couple of years later he had a fast home within their ranks, preforming some of the decade's most notable country hits such as the widely known "Take This Job and Shove It". Back to what makes Johnny Paycheck a true outlaw, if it wasn't for the previous stint he served as a youth that made him closer to an outlaw, it would have to be the shooting of a man in an Ohio bar, which had him potentially serving 7 long years but he only served almost 2 years before being pardoned, he was lucky to not have killed the guy cause then there would be no paycheck for Jonny. Then like any true country outlaw, he got screwed by the IRS in the end, but that is just a given for the old guns. "Slide off Your Satin Sheets" is one of Paychecks most notable songs and is a personal favorite of mine from his underrated discography. A great lyrical theme of sleeping with a rich mans unsatisfied woman. He had a full chance to make the song sleazy, and while the lyrical content is a touch sleazy, Paycheck still keeps it tight and mighty purrty, not even intending for a more shock appeal backing. The emotion behind the words really sells the piece, plus that chorus will get stuck in your head for hours. A great country tune that expresses some of the core country roots of the 1970s, but like all genres near the end of that decade, things were about to take a change for better or worse. Johnny Paycheck for sure showed the vocal style and recording for a lot of what country was to sound like in the 1980s and beyond within this track. A great song for those that like traditional country music to get into, and the same can be said for the outlaws. For those that don't like country too much this one might be a hard sell in comparison to the work of Johnny Cash or Don Gibson. "Slide off Your Satin Sheets" is one of the many country tracks that right when I hear that intro I know I am gonna be in for a great time! I was just at work when this kicked on and I couldn't help but to be taken out of my gloom for it's almost 3-minute playtime. A great track that I love to follow along the story to, the sexual tension but also the strange sorrow that radiates from it is all consuming. A "mansion on the hill" kind of lyricism that seemed to be a fairly common theme in country music, especially some of the tracks that came out of the 1950s and the 1960s. Though I can get why, country is the music of the common people, and me being one of those common people, I was raised to beat myself up on not having enough money, it trickles down to not feeling worthy for your woman. It isn't the biggest issue of mine, though I do sometimes feel bad for my lady since I cannot afford to take her on a vacation once a year or even truly help with a vacation fund when I can barely make a purchase that is over 80 dollars without going broke. "A man can make money, but money cannot make the man" is what I stand by, but it doesn't stop me from getting those broke boy blues. Anyway, hope you enjoy the track! Thanks for reading!
(Side note: Spotify has it titled incorrectly as "Slide off Your Satin")

​Year Released: 1977
Album: Slide off Your Satin Sheets (1977)
Genre: Country
Mood: Guilty, Lusty
Perfect For: Sex, Casual listening, Getting a mellow buzz
Where To Next: "Mansion On the Hill" - George Jones
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Rating: 9/10

"Temple of the King" - Rainbow

Damn, have we really not talked about Rainbow yet? I thought for sure we had at least one addition to the blog, but according to my notes, we have yet to talk Rainbow. Well, much like the previous post about Cream, Rainbow is made out of pure raw talent, most of which either came from previous impactful bands or went on to become full legends of their own. Rainbow is one of many that Ronnie James Dio brought his vocals into to paint pictures of dragons and maidens, and used the force of his voice to give you chills or command you to listen with all you got. Rainbow is the first band that Dio found big success in, his previous groups (namely Elf) are great in their own right, but in comparison to Rainbow you can see why they fell short. Rainbow was created and ran by Ritchie Blackmore, a highly respected guitar god that was a driving force in the legendary Deep Purple, in which he left due to artistic differences. Blackmore wanted more of the hard rock heaven that Deep Purple was dishing out and dishing out well, while Deep Purple was starting to move to the softer side of rock music. While Deep Purple certainly wasn't the same moving onto the next phase of the band without Blackmore, it was one of those splits that I don't shed too many tears for due to Rainbow birthing from it and Deep Purple finding a second sound that saw them through the rest of the 1970s. Anyway, Ritchie Blackmore gathered previous Elf musicians Ronnie James Dio, drummer Gary Driscoll, bassist Craig Gruber, and keyboardist Mickey Lee Soule, and the rest is rock n roll history. This album shows off what Elf would have sounded like if they let it all go and fronted a heavier sound instead of the blues-based one, and when it comes to a harder sound, few did it better at that time than the guitar wizard Ritchie Blackmore. Rainbow's debut Ritchie Blackmore's Rainbow released in 1975 and fronted a heavy metal sound before metal was truly formed, especially the more power metal side of the whole genre. Many metalheads of the following decade would cite Rainbow as a big influence, namely Ritchie Blackmore and Ronnie James Dio, and even with the Dio era of Rainbow only giving us 4 studio albums, I can see why it shook up the playing field. This debut is heavy as hell for its time, legendary tracks like "Man on the Silver Mountain" are hard rock classics, the mystical touch of "The Temple of the King" & "Sixteenth Century Greensleeves" help separate this album from being a Deep Purple clone or hard rock copy and paste, and lastly the straight forward rocking nature of "Snake Charmer", "Self Portrait" and "Black Sheep of the Family" serve as a steady grounding to lure fans into the world of Rainbow. Following this album, they released Rising one of my all-time favorite albums. That album is so bombastic and well put together it takes your breath away. For now, we talk of their first album and this debut serves just as well, but it is a little more on the comfy side of the hard rock spectrum. "Temple of the King" is one of the more mellow tracks on the album, I chose it while driving to work on a snowy morning. It had me constantly zoning out while waiting at traffic lights, the beauty of snow falling mixed with the soothing vocals of Ronnie James Dio will do that to you. I cherish Rainbow's slower tracks just as much as their heavier ones, and the power duo of Ronnie James Dio and Ritchie Blackmore behind the lyrics is a joy, something fresh and new to both of their already great careers in hard rock. "Temple of the King" serves as an early example of power metal and is a pretty unique song for its time since most hard rock groups weren't touching on the 'kings, queens and guillotines" lyricism as much as the "chicks, tits and slits" lyricism that filled the macho world of hard rock during the latter half of the 1970s. "Temple of the King" is a haunting song that paints a wonderful picture, a picture of life and death and the story that unfolds within those years. A song of reflection while following the story of a man beckoned to the temple of the king, what he finds there he shares with the world. A great song, and like most anything from Rainbows' first 4 albums, it is iconic and left its seeds there to grow into future generations. I will forever be impressed with this track and the rest of the album. This song in particular makes me feel like I am one with the musicians, that I have a part in the story, even if that part is to listen and learn from its mysticism. A beautiful song that even now makes me want to stare at nothing and not miss a single note by the band. Dio has always easily sucked people in with his theatrical vocals, but I can think of few better tracks to show that off than "Temple of the King".

Year Released: 1975
Album: Ritchie Blackmore's Rainbow (1975)
Genre: Hard Rock
Mood: Magical
Perfect For: Focused listening, Getting absorbed in its sound, Driving in the snow, Mellow nights, Drinking mead
Where To Next: "The Magicians Birthday" - Uriah Heep 
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Rating: 9/10

"Sitting on Top of the World" - Cream

Cream is one of the most important and powerful bands in rock history. They serve as a prime example of the harder blues treasure trove that was the 1960s. Cream is made out of only top tier musicians, so it is no surprise that even with only 3 members they match the same bombastic output you could expect from a band with 6 members. First off we have the iconic Eric Clapton on guitar and sometimes vocals, Clapton genuinely is god, one of the biggest legends that ever touched those sweet six strings. He found fame originally in the Yardbirds before moving into John Mayall & the Bluesbreakers for their iconic debut Blues Breakers, and then finally Clapton went on to form Cream, the band of topic today and also one of the biggest names to come out of the 1960s and one of the first supergroups to come out in rock music. Next up we have the man behind the sticks, one of the best drummers ever (and that isn't even opinion based) Ginger Baker. Almost anyone can drum fast, and most people can hold a steady beat, but when it comes to Ginger Baker there is pure ferocity behind his violent style that never breaks the blues molding of Cream and challenged the whole world with the question of what it means to be a drummer. He melded blues, world music, jazz, and rock into a beautiful bouquet of beats, and is regarded as one of the originators of jazz fusion. He got his start in Blues Incorporated and The Graham Bond Organisation both of which didn't make much headway with the masses but served as a breeding ground of young talent. In the latter is where Ginger Baker met Cream bassist and singer Jack Bruce, speaking of Jack Bruce, let's talk about a musician that played the bass guitar with strings of power and wrote many of the essential tracks to the 1960s. He drifted here and there before Cream, but there was no doubting his power and easy placement in the band. He met Baker while playing with The Graham Bond Organisation and Clapton while on a short stint with John Mayall & the Bluesbreakers, and it seemed destined that those three were destined for rock n roll royalty. Cream released their blues dosed debut Fresh Cream in 1966 and that album put them on the radar of everyone with ears, but it wasn't until their follow-up album Disraeli Gears that they became the bona fide legends we know and love today. Their whole discography is perfect, and while it might be a short one (4 studio albums and 2 main live albums) the pure quality of the releases matches some band's 15 album collection. They are literal gods, and it is shown on each song they ever put out. One of the few bands that I will listen to literally anything I can get my greasy paws on, and each time I walk away completely satisfied. Today we talk of "Sitting on Top of the World" off of their 3rd studio album Wheels of Fire, a blues staple that has been covered by many artists, much like "Smokestack Lightning" from Howlin' Wolf, if you are worthy of your blues chops then "Sitting on Top of the World" is the test. Originally the track was released in 1930 from the influential delta blues group the Mississippi Sheiks, the track had country music meeting the blues forming a love affair that the two have always shared. A great track that fully found its known form once it was recorded by Howlin' Wolf with his iconic Chicago blues sound, and that version is much more reminiscent of what we hear in the Cream version and almost every version following. Cream does a wonderful job, and if I am so bold, I would claim that their version is the best I have heard, and I mean that from someone who has easily heard over 30 different versions of the track (Doc Watson is a close second). "Sitting on Top of the World" shows off just how good Cream was at bringing the blues to the table, stabbing some narcotics into it, turning that amp up to 11 and then letting it all flow into a memorable 5 minutes of glory. This used to be one of my go-to tracks while I was loading a bowl, and still serves as a classic of mine to play loud and mellow when it is time for a drink. My love for this track gives no quarts and expects none in return much like anything that came off of Wheels of Fire, well aside from "Pressed Rat and Warthog" since that track is an odd one. Aside from that one track the album is completely golden, the same can be said about their other albums, you don't become one of the biggest names in rock music by just sitting there. "Sitting on Top of the World" is an uplifting sad track, why care if your woman left you when you're sitting on top of the world. A great song to get over a breakup or simply the blues, if there is one place to talk about the blues it is the blues. If you are someone who hasn't taken in Cream's discography, you should be ashamed! Ashamed I tell you! There is so much great music sitting there for your ears delight and you're twiddlin' your fingers. Play some damn music, man, Cream is a literal goldmine of great tracks for the blues lovers, the psychedelic rangers, and the rockers. The great thing about Cream is you can start just about anywhere and get your rocks off, truly a band of wonder. I may sound preachy at the end of these posts but I mean it this time, give the band a full listen aside from "White Room" and "Sunshine of Your Love". Do it for me! Do it for your loved ones! Set your soul free! But most importantly.... do it for rock n roll!

​​​​​​​​​​​​​​​​​​Year Released: 1968
Album: Wheels of Fire (1968)
Genre: Blues Rock
Mood: Strung Out
Perfect For: Relaxing, Getting over heartache, Getting a buzz on, Driving in the summer heat 
Where To Next: "Born Under a Bad Sign" - The Paul Butterfield Blues Band
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Rating: 9/10

“Copperhead Road” - Steve Earle 
 
Steve Earle has led a successful career even if he only pops in every so often to have a hit that everyone and their dog can easily love. The biggest of his hits is “Copperhead Road” which came off the album of the same name in 1988. Steve Earle has always been a name that is hard to tie down to just one genre, his first album is a little more on the country side while his two following releases rely much heavier on a rock sound reminiscent to the heartland rock sound from John Mellencamp but a little bit more intense, though he loves whipping up a country rock track that will keep both the country fans and the rockers appetites sated. “Copperhead Road” literally blew my mind the first time I heard it come over the radio, and it still doesn’t miss the mark on impressing me now, even if I have heard the song hundreds upon hundreds of times. The track is heavier than country music but still keeps that twang, it can hold its head high next to plenty of the hard rock of the time while still being nothing like them. The fact that the song came out in 1988 is crazy, there were a few other bands with a similar style but nothing like the raw power that Steve Earle brought to the table in “Copperhead Road”. The album is full of tracks like these, though what sets “Copperhead Road” apart from the others is its potent storytelling nature. It follows the story of 3 generations of the Pettimore family, a family known in the area as moonshiners and hell raisers. While there is a focus on John Lee Pettimore III they still give an introduction to his pappy and his pappys pappy. His grandfather was a reclusive cook of that mountain swill, and his father was an infamous moonshine bootlegger that lived and died by the shine. Then finally we have the main character, another from the Pettimore family destined for the same fate on Copperhead Road in Johnson County, Tennessee. Instead of moonshining, he turned to the seed and turned Copperhead Road into a plantation to grow marijuana. From what he learned in Vietnam, he used the tactics of the Viet Cong to stay out of the law's hands. A wonderfully written track, a perfect story that is amplified by the build up and let it loose style of the track. As far as I am concerned, the song is genuinely perfect. A great execution at selling the story, you can literally smell that mountain dew and cannabis as he talks about it. I get chills once the song kicks off at the 2:30 mark. Steve Earle is one of the most celebrated heartland rock musicians and within tracks like this one, “The Galway Girl”, “Feel Alright”, “The Devil’s Right Hand”, “Guitar Town” and so so so many more easily show off why he is a powerhouse. An A+ grade musician that writes plenty of insanely well put together songs that plenty of different music fans can easily get behind. A special leaning towards sin helps set him apart from the easily digestible nature of the poetic Bruce Springsteen and Jackson Browne, the good time feeling of his music helps set him apart from the rabble too, touching on serious topics but the serious topics of a bar fly. His utilization at bringing all the musical styles of the past and freshening them up makes him practically timeless as well. Bringing the country of then and before and kicking it up a notch with a heavier sound, bringing rockabilly to the forefront once again and then moving in a little bit of some folksy rock on top of it brings so many different beloved sounds into the light once more and all commanded under his grizzly vocals and astute songwriting. “Copperhead Road” is damn near impossible to beat in his discography, but take it from a fan, there are too many tracks to cherish of his. Great stuff! “Copperhead Road” is the crown jewel of his collection, easily one of my favorite songs out of the 1980s. If this is your first listen, then I envy you! Enjoy it! Though with a track this powerful and well known I am sure it ain't your first spin.

​​​​​​​​​​​​​​​​​Year Released: 1988
Album: Copperhead Road (1988)
Genre: Country Rock, Heartland Rock, Rock, Outlaw Country
Mood: Countrified
Perfect For: Summer drives, Hiking, Drinking, Good times, Focused listening, Off-roading 
Where To Next: "The Road Goes On Forever" - The Highwaymen
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Rating: 10/10​

"Strawberry Letter 23" - The Brothers Johnson

Today we talk about the brothers Lightnin' Licks and Thunder Thumbs, George and Louis Johnson who make up the Brothers Johnson, a funk duo that brought forward 4 platinum selling funky albums from their debut in 1976 to their last big hit in 1980 Light Up the Night. For this selection we chose their immensely famous and well-known track "Strawberry Letter 23" that serves as their most popular release, though these brothers released multiple classics from the more disco side of funk music. "Strawberry Letter 23" is a damn near perfect track, originally from R&B musician Shuggie Otis who recorded it for his 1971 album Freedom Flight, and if you are someone who likes psychedelic music, soul and funk then that album is an essential listen. A mellow album that has some damn impressive guitar work, the first time I listened through that album I was immensely impressed. I liked the Shuggie Otis version of "Strawberry Letter 23" first but couldn't shake the feeling I already knew the track from somewhere, and that is when I rediscovered the more well-known version from The Brothers Johnson. I cannot stress enough how you don't want to miss out on Night Flight from Shuggie Otis, but this post isn't about him, it just would have been wrong not to praise the original. Though when you compare the two it is easy to see which version is the better one, granted that is opinion based, and that version is the cover from The Brothers Johnson. This song is well respected, the perfect song to hear in the background as you are shopping, or a great one to come over the radio during the golden hour no matter your scenery. Shit, a good majority of The Brothers Johnson is great for the golden hour and also for the nighttime. A lot of disco-based things hit the best at night but for "Strawberry Letter 23", "Stomp!" and "Ain't We Funkin' Now" they are the rare disco exemption of them being best in that sweet spot before the sun gives way to the moon. I cannot imagine there is anyone who couldn't get sucked into this track, its smooth manner works great in the background but also can consume the room with its mellow mood in the forefront. The track is smooth as butter but still funky enough to make you want to dance along. The song's lyrics let us get an inside look in the letters sent between those in love, a great lyrical concept that few have touched upon. A sweet set of lyrics but I think the song really shines near the ending with its repetitious groove that grips the last minute. The intro is iconic, don't get me wrong, but I get lost in the rhythm more than the lyrics, but this kind of music is built for that. Who has time to listen when you are getting down? Though I really cherish that ending, even with its repetitious manner, the song holds you the whole time. Perfect for a drive home after a beer or two, just that mellow warm night feeling as you can cozy down in the driver's seat and appreciate the beauty of the traffic lights and aggressive BMWs. The song does a wonderful job of melding the powerful funk of the 1970s with the pop and disco notes. The type of music almost anyone can get behind so long as they aren't scared of things that have mass appeal, but those that are too cool don't matter too much anyhow. A song for lovers and dreamers with a style that aged like fine wine, it is certainly nestled in the changing tides of music in the late 1970s, but with something this great The Brothers Johnson have themselves a timeless track. Hopefully you dig it too! Give it a listen on your next peaceful Sunday drive home, don't play it too loud but certainly not too quiet, this song thrives in the power of taking in the sounds of the world while taking in its mellow beat. Enjoy!

​​​​​​​​​​​​​​​​Year Released: 1977
Album: Right on Time (1977)
Genre: Funk, Disco, Pop
Mood: Sensual, Mellow
Perfect For: Summer night drives, Getting ready for a date, Casual listening, Hitting the town
Where To Next: "The Show Is Over" - Evelyn "Champagne" King
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Rating: 9/10

"Oh What a Beautiful World" - Willie Nelson & Rodney Crowell

Willie Nelson is an American icon; he is one of the most recognizable people in the music industry. Not only that, he has a crazy impressive amount of songs, both ones he wrote for others to record and ones that he recorded himself. A true visionary in the country world, and a musician that just won't leave well enough alone, he is now 91 years old, and we chose a song off his new album coming out in April, Oh What a Beautiful World. Truth be told I typically avoid most musicians "old person stage", I am damn glad they can keep it going and still release some good songs, but something about the old person voice makes me sad. Johnny Cash is a prime example of that, just listen to his cover of the Beatles "In My Life" and you will see why it feels so sad to me. Willie Nelson is the same, I think country music is the only genre that sometimes I find some pure gold really late into their career. A good portion of rock musicians can't seem to get that "thing" back in their later career, but country musicians strangely seem to find wisdom in their old age that gets expressed through their music. Anyway, Willie Nelson is on his 77th solo studio album! 77th fucking solo studio album, and with the albums that he collaborated with other musicians, that puts him at 102 studio albums. That is fucking unreal and some of the reason I decided to not have a country album review section (yet) since I would have to listen through a Willie Nelson album every other review just to finish before I die. I would be down since I absolutely cherish a ton of Willie Nelson albums, but still, I would rather not double down that hard, even if Willie Nelson does know how to mix it up in his discography. His 1960s albums are hardly anything like his outlaw stage in the 1970s into the 1980s and even within that stage he still released albums like 1978's Stardust which is hardly country at all. The man knew what he was doing, a talented feller through and through. "Oh What a Beautiful World" was chosen while taking a delivery 2 hours out of town due to a mess-up by my coworker. When I came in and heard that I might have to take a long drive to drop off an engine, I was damn happy, I love drives and I love drives even more when I get paid for it! This route took me through the canyons too and then into the desert, so there was enough altering scenery to make it entertaining, even if I have driven this path countless times. Right when I entered the pretty mouth of Spanish Fork canyon, that is when Willie Nelson's new track came along in my headphones for my new music Friday. Now like I mentioned earlier, I tend to avoid some of the later releases from artists, but I still try setting aside some time for anything Willie Nelson, sometimes I gather some gold, and sometimes I get coal, but for this day I got gold. The song kicked on and I couldn't help but actually appreciate the same trees and mountainsides I have seen for years under practically every weather condition Utah can throw at it. It inspired me in multiple ways, to maybe chill out for a second and literally see the forest for the trees, to think more of the future and not just the dream of what it could be. Take steps both for my own health and for the health of those I care about. Sometimes the power of music shocks the hell out of me, I didn't want that much reflective thought, though I will admit it made the drive fly by. "Oh What a Beautiful World" almost seems hellbent on sitting you down to talk naked truth. To pull in the reins, take in the scenery and give your hoss some extra oats for being there with you. The song makes me think of the past, both of the good and the bad, it makes me dwell on myself but not in a hateful manner, just a true vision into my own heart. Even with the political climate being messed up, and humans seemingly getting more stupid and hateful each day, that doesn't stop the world from spinning and from it showing off its shades of green and blues for those that appreciate her. Mankind will someday be dust in the wind, just a failed period of earth's history that nobody will remember or care, the earth will regrow and while it may take a very long time, there will still be beauty even if there is no one there to appreciate it. Because this is a beautiful world, and sometimes it is very hard to remember that when your own heart and head are full of such sorrow and hate. So thank you, Willie Nelson, even this far into your career you are putting out the same degree of impactful music that shows off what a beautiful world it is.

​​​​​​​​​​​​​​​​Year Released: 2025
Album: Oh What a Beautiful World (TBR 2025)
Genre: Country
Mood: Raw
Perfect For: Nature drives, Hiking, Camping, Deep thought, Memory lane
Where To Next: "In My Life" - Johnny Cash
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Rating: 8/10

"Dominance and Submission" - Blue Oyster Cult

We all know "Don't Fear the Reaper" and "Burnin' for You" but the lack of ultimate praise I see for Blue Oyster Cult is disgusting. The band is great and truly one of a kind, bringing forth a proto-metal kick and mixing in a whole slew of different styles into an unsettling hard rock sound that has more texture than a tree. Most of the band's songs need a couple of listens to hear all that is going on, and their style of recording on the first 3 albums make you feel like you are in some strange realm between realms that feels so empty yet there is so much sound happening all around you, yet you cannot see it, just perceive it. Blue Oyster Cult went through a couple of different rock style changes throughout their now 16 studio album collection, but my favorite sound of theirs comes off their first two albums. "Dominance and Submission" comes off their 3rd studio album Secret Treaties released in 1974. An album that shows a little bit of a softer side of a band and melds together their earlier sound with the sound that blew them straight into the limelight in their following album. The fun "Career of Evil" is great for a motorcycle ride, the odd "Dominance and Submission" and "Flaming Telepaths" give that classic Blue Oyster Cult unique kiss, and "Astronomy" has you dreaming of the stars and melding into your chair as you relax. The album is a full send and is truly damn near perfect, heavy when it needs to be heavy and mellow when you need something chill. While this album's themes are perfectly situated with Blue Oyster Cult they didn't write any lyrics on the album, leaving that duty with the producer Sandy Pearlman and Richard Meltzer which holds a spot as one of the first rock critics, Pearlman too was a music journalist. We also have the legendary poet and musician Patti Smith behind the intro track "Career of Evil" which is one of the best tracks on the album and also have some great lyrics, but when it comes to Patti Smith there are few that do it better. "Dominance and Submission" holds some strange lyrics, a loose true retelling of Sandy Pearlman's drive back from a new year's party in 1964. The power of the radio, the changing of the night due to the voodoo music playing over the speakers. For Pearlman it was the Beatles coming over the radio, and while that might not be a jaw-dropper modernly, The Beatles were some serious shit when they first were coming around. Aside from some alluding to a story, I am honestly not sure what the hell the lyrics are about, but with or without Blue Oyster Cult writing the lyrics I am honestly usually pretty lost when it comes to their lyrics. It matches the mystical feeling of their music though, and lyrics aren't everything, especially when you rock this hard. The song is a statement to the strength of rock music, a genre that wasn't foreseen to be taking over the world until it happened in force. Most people agreed that it was what the world needed and the world received. You can be part of a bigger picture while sitting by yourself, all from the power of rock n roll. The dominance of music on the soul, the strength of the all-consuming intoxicating soundwaves. The submission to its will, the beauty of its swan song, the raw human emotion behind each strum and the unity found within its fan base. While the golden age of rock music may be behind us, the feeling is still there, and you can feel it each time you pick up one of your favorite records from that era. Something this powerful will never be squished under a heel, be it the heel of other genres or the tides of time, there's magic in the music and that magic is in us all. 

​​​​​​​​​​​​​​​​Year Released: 1974
Album: Secret Treaties (1974)
Genre: Hard Rock
Mood: Rockin'
Perfect For: Casual listening, Driving around listening to music
Where To Next: "Shinin' On" - Grand Funk Railroad
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Rating: 8/10

"The Show Must Go On" - Grim Reaper

Grim Reaper has been my safety net in the metal world since I first heard Metallica's "Whiplash" when I was 8 and went off on a lifelong obsession fueled by the devil himself. While they have a relatively small discography, their 3 main albums have followed me throughout my life, always giving me one rockin time to head bang along to. From the first time I heard "See You In Hell" I found myself with a minor obsession, it came around the same time the other new wave of British heavy metal bands entered my life. Alongside Saxon, Motörhead, Iron Maiden, Tygers of Pan Tang, and Diamond Head there was Grim Reaper which was a bit rawer and the vocals from Steve Grimmett were a bit more operatic and intense. They carved their own sound and path that would soon become a standard style of metal, namely in the speed metal genre. For those that this is their first time giving the band a listen I will warn you that "The Show Must Go On" is a rarity in their collection of songs, it honestly barely sounds anything like them, much more toned down and Grimmett pulls in the reigns and pushes out a more traditional hard rock vocal style. This track certainly stands out from their discography, and it is a nice way to calm the album down before the ending track "All Hell Let Loose" continues on with their original sound and amazes you, leaving you wanting more. Grim Reaper didn't really bring in a sound that changed the metal world, nor did they really refine it and perfect it, they were one of the many bands that came along with the early days of metal and faded away before anyone had a chance to realize how great they are. Their closest claim to fame is "See You In Hell" a track both loved and spit on by the metal community, but if you know anything about the metal community, everything is covered in spat and opinionated shat. I love the band, I love the small venue feeling of their songs, the raw nature of the music that fronts that "true metal" sound Manowar preaches about. It came from a time when metal was young and new, before everything was heavier than thou. The brits were bringing out the big guns and shaking the world while the Americans were still preparing for an all out heavy metal tussle against the world. "See You In Hell" is Grim Reapers lasting carving on the podium of heavy metal, but there is still much more to the band than that one song. "The Show Must Go On" shows off that while the band loved their one sound and beat it into the ground, there still is some wiggle room between the face melting guitars and potent drumming. I have found some of my favorite tracks from the new wave of British heavy metal genre sometimes don't fit the traditional mold. Judas Priests "Prisoner of Your Eyes" and "To the Devil His Due" by Diamond Head are some that first come to mind. "The Show Must Go On" also holds one of my favorite lyrical themes, having to scratch that wandering bug while your woman cries waves goodbye with tears in her eyes, a conceited daydream but one that all ramblers understand. Naturally I would never want to see my lady cry, so I stay, but that doesn't keep me from daydreaming less about the tears and more about how it would feel to leave it all behind, for the show must go on. I ain't a rock star though, so there is no touring for me, I am just another fan that will fade away nameless but while I live I pump my fist to all the great music this world has to offer with a beer in hand. Grim Reaper is one mighty worthy of pumping my fist and accompanying me throughout my journey, mundane as it might be. The softer side of Grim Reaper always hits right, and their normal fast stuff always hits even better. A band that is lost somewhere between being a historic bookmark in the metal world and forgotten in the trials of time. For me, they will forever have a cozy home within my heart and on my playlists. If you have that metal itch then scratch it with a metal point, and the scythe of the reaper is waiting. Enjoy!

​​​​​​​​​​​​​​​Year Released: 1983
Album: See You In Hell (1983)
Genre: Hard Rock, New Wave of British Heavy Metal
Mood: Solemn
Perfect For: Casual listening, Driving on a rainy night, Daydreaming
Where To Next: "Call Me" - Diamond Head
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Rating: 7/10

"The Dragon Lies Bleeding" - HammerFall

HammerFall is often regarded as one of the most impressive and successful out of the 2nd wave of power metal. They didn't add anything new to the mixing pot but sharpened & polished the subgenre to a sheen. Furthermore, they helped set the pace that many power metal bands still keep today. They have had their ups and downs with releases, but still even their weaker album holds plenty of great tracks. They are currently on their 13th album and while I haven't listened to their newest one, I have listened through the other 12 (some I have abused into dust) and I can say with confidence that they always release something good. Even though they have had varying lineups, they kept a core sound that seemed to get fresher as time moved on and their budget allowed it. Power metal half the time relies on clean recordings, and HammerFall is no different. My personal favorite from HammerFall is probably their debut Glory to the Brave, which is a power metal goldmine. Second to that is their 3rd album Renegade which shows off the band really getting tight in their playing, and from then on there are plenty more great ones. Glory to the Brave came along in 1997, a time when power metal was getting its full second wind and was representing a truer traditional heavy metal feeling when most bands seemed to want to slaughter in the death metal circuits or were busy with the nu metal sound that was releasing strong decade defining albums. Albums like Glory to the Brave, Visions by Stratovarius and Imaginations from the Other Side coming from the mighty Blind Guardian showed off that power metal was still doing very well in the metal world, they are one of the subgenres of metal that seem self-sufficient, never changing the world but never fading out, a strong genre that always lures in fans, especially those that like the lighter side of heavy metal. I first came across this album when I was about 11, and I have been faithful to the band ever since, I love their brand of power metal and I think that Stefan Elmgren is an immensely underrated guitarist, and while he isn't on this chosen song or album I am sure we will hear some more HammerFall as the website continues on. HammerFall demands your attention when they play, their fast as lightening guitar work and forceful vocals has you gathering arms and fitting your armor. The intense galloping rhythm of the battle between bass and drums gets you battle frenzied. A lyrical theme of conquest, battle, power and glory is the genre's bread and butter and HammerFall is no different, they hardly ever leave the theme which is both good and bad, but look at that album cover and tell me you expected a song about pizza. I used to religiously play this song when playing Skyrim when it first came out, HammerFall was one of my go-tos to play in the background before I found out that Dimmu Borgir is strangely a perfect fit. While doing the filler quest lines and traveling I think HammerFall & Rhapsody takes the cake, but when it comes to the epic fights or hunting down the dragon priests I think few fit it better than some symphonic black metal. Back on topic! "The Dragon Lies Bleeding" is the opening track to their debut, you don't just choose a crap track for many potential fan's first listen. It has got to be a zinger, something that grabs the person and floors them, and HammerFall does just that with "The Dragon Lies Bleeding". The track is epic and all about the glory of slaying the dragon! One of the ultimate tropes in fantasy. The song is intense but doesn't stay around too long, by the time you are banging your head and sharpening your sword the song ends, but do not fear adventurer, there is still a whole album for you to sink your teeth into! Enjoy!

​​​​​​​​​​​​​​Year Released: 1997
Album: Glory to the Brave (1997)
Genre: Power Metal
Mood: Epic
Perfect For: Playing fantasy video games, D&D, Casual listening, Slaying dragons
Where To Next: "Land of Immortals" - Rhapsody
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Rating: 8/10

"Shine On You Crazy Diamonds (Parts VI - IX)" - Pink Floyd

I am honestly damn shocked that it took this long into the website to finally pick a song from Wish You Were Here, one of Pink Floyd's many masterpieces. The last two times I have talked about Pink Floyd were both from my all-time favorite album Dark Side of the Moon and were a while ago when I was still earning my sea legs on these posts. Now that I have an idea on how I want them to sound, and honestly have gotten better at them, I am glad to finally be able to talk about Pink Floyd a little more coherently. Well, much like my previous post about the Eagles, Pink Floyd really doesn't need an introduction. Their lasting career speaks for itself, their early strange British as all hell experimental sound is something to get inspired by, though once they found their footing in the full-bodied psychedelic side there was no turning back from becoming one of the biggest names to ever grace the music world. They have a timeless sound that gathers legions of fans no matter which generation they may be, I came way after the band released this album and so many more, but I swear I was born to "Echoes", if not conceived to it, I wonder if my parents know which song I was conceived to... is that an odd question? Yeah, maybe, but I need to know! Chances are it was probably not Pink Floyd, but for my character arc I will pretend that is how it went. Anyways! Pink Floyd is legendary and so damn good! Like too good! Maybe I am fangasming all over the keyboard buuuuut it's the simple truth, the band is fucking stellar. Don't believe me? Well, give this song a go and you shall see for yourself! "Shine On You Crazy Diamonds" is a two-piece song, combined the song comes in at pretty well 26 minutes, and while parts I - V is arguably the better portion of the song I do have a soft spot for parts VI - IX, especially at the 6-minute mark, that portion always has me floating away no matter what I might be doing. The song (much in Pink Floyd style) starts off tense and builds up the stress all the way up until the release at the 2:30 mark. I can talk from experience that this song is a great one to trip to, especially if you play it using headphones or moderately loud speakers. You go through a whole journey which sober or high is half the appeal of Pink Floyd, you can start the song at home and somehow randomly end up in a riverbed by the end of it and be alright with that, if not just a smidge confused. They are a band of power that can move you with a tremendous wall of sound that hardly ever lets you breathe, and when it does let you breathe, it is false hope before they steal the air from you once more. "Shine On You Crazy Diamonds" is written about and dedicated to Syd Barrett, one of the founding members of Pink Floyd who departed due to mental illness and rampant LSD use. His last appearance on a Pink Floyd studio album was 1968's Saucerful of Secrets, and after his departure he released a haunting and intense solo album entitled The Madcap Laughs in 1970 that most Pink Floyd fans will find enjoyable.  If the band kept the two parts of "Shine On You Crazy Diamonds" together we would have one truly epic song, even with the song being split up in two parts you feel like you've lived a whole life during their individual playtimes. Wish You Were Here is already full up of those type of drifting, dying and dreaming tracks but all pale in comparison to the masterpieces that is the "Shine On You Crazy Diamonds" two piece. The immensely famous title track "Wish You Were Here" shows off where the band will be going soon, and it is easy to understand why that is one of their most endearing songs and "Welcome to the Machine" & "Have a Cigar" are timeless classics from the album, but even with all that power it doesn't come close to how much of an impact "Shine On You Crazy Diamonds" has. A perfect composition of psychedelic rock, every inch of the song is so well put together it hardly seems like human minds were behind it all. I could talk and talk about this album, but I already wrote out a whole biography and hardly even touched the main topic, so I am going to stop while I am ahead! So do me a favor and listen to the song, would ya? I hardly need to tell you about how fucking great the song is when you could be listening to it yourself. Enjoy!

​​​​​​​​​​​​​Year Released: 1975
Album: Wish You Were Here (1975)
Genre: Psychedelic Rock 
Mood: Intense and Mellow alllll at the same time
Perfect For: LSD, Getting stoned, Going for a drive, In-depth listening, Relaxing
Where To Next: "Then Came the Last Days of May" - Blue Oyster Cult
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Rating: 10/10

"You Never Cry Like a Lover" - Eagles

The Eagles really don't need much of an introduction, they are almost as legendary as you can get in the music world. They are one of the highest selling artists of the 1970s and have sold 200 million albums worldwide, they are still a household name today and I don't see that going away anytime soon. Songs like "Hotel California", "One of These Nights", "Take It Easy", and so many damn more are some of the genre defining rock that made the 1970s the ultimate decade in rocks long history. The greatest hits album Their Greatest Hits (1971-1975) was awarded with the title of the best-selling album of the century, 2x diamond in Canada and 38x platinum in the United States and that isn't even talking about the other countries. If your albums are already winning awards and accolades then it is safe to assume your greatest hits is going to sell well, but has any compilation even got close to THAT WELL?! Anyway, "You Never Cry Like a Lover" may not have been included on that album, though "Already Gone" and "Best Of My Love" still represented the album that holds today's track On the Border. A personal favorite of mine from the Eagles, but I admittedly have a sweet spot for pre-One of These Nights Eagles (yet that doesn't mean I don't adore that album and after as well). I just like the ones that are a little more country licked, even though On the Border plays right on the border of the country rock sound of before and the more Californicated version of the band to come on strong on their following album. "You Never Cry Like a Lover" is a Don Henley lead soft rocker from the album's strong 10 song track listing. A wonderfully sung and put together track, a bold one to place between the famous "Already Gone" and the fast pickin' bluegrass fed "Midnight Flyer", it hardly feels like the same band when you play those three side by side, but the Eagles have proven time and time again that they aren't a one-trick pony, if it rocks then be sure that the Eagles are there to roll with it. "You Never Cry Like a Lover" came to me on one of Utah's famous "is it fucking winter or spring" days. There was a joyous feeling in the air, the sun was out strong caressing the skin yet not beating the hell out of you like that damned summer sun *shakes fist*. I was feeling that peaceful easy feeling that has me daydreaming about selling everything I own and running away to a different town, or envisioning how it would look if I bought a cabin in the woods and then died the following year since I don't know how to hunt or forage (they don't have a Wendy's in the mountains right?). The Eagles are always a safe bet for those kinds of days, when the weather is literally perfect, and it doesn't even sound cliché when someone says "how about that weather". Makes you want to drive and listen to sweet rock n roll all day, lukewarm sweet tea in the cupholder and a half pack of smokes that dwindles one more every 30 minutes. I have tested every single Eagles track on the road and can say with confidence that they are one of the most pleasant for the rhapsody of man and machine upon the open highway. "You Never Cry Like a Lover" is one of the Eagles best slower songs, with Don Henley behind the microphone painting a lonesome picture, it leaves a lasting impression on you. The love hungry lyricism and feeling of a man hopelessly in love with a woman that isn't invested in their relationship is sold wonderfully by the band. Cleverly written in that Eagles way that is still easy to cut with a knife and chew slowly, Don Henley has always been an underrated lyricist, both in the Eagles and in his solo work. Anyway! Great song from the Eagles and that marks our second addition to the website from the Eagles and both were from On the Border. So maybe this is a sign from the gods of rock n roll to give the album a listen today! If not, at least crank up your vehicle and give this song a play, let's see if you are able to stop from driving all night. Enjoy!

​​​​​​​​​​​​​Year Released: 1974
Album: On the Border (1974)
Genre: Soft Rock
Mood: Lovelorn 
Perfect For: Driving in that fresh spring sun, Cigarettes & coffee, Mellow mornings, Girl problems
Where To Next: "Late for the Sky" - Jackson Browne
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Rating: 8/10

"Birthday Cake" - Cibo Matto

One of the oddest yet most addictive songs to have been included in this website thus far! "Birthday Cake" is a track full of vim and vigor, and for a song with this many electric tendencies it is comical enough that it's simply about baking a cake. I haven't been able to find a straight answer about what the song is truly about though, some claim it is once again a peaceful song about a mother baking a cake for her son's birthday. Some claim the mother is adding a lot of stuff to the cake to make the son and his wife feel frisky in hopes for a grandchild. Then lastly some claim that the mother is drugging the cake with psychedelics, and while they mention LSD I am not sure if it points that direction, though admittedly the lyrics admit that the mother adds some pot to the cake, as any good mother should. Anyway, the track is intense and a whole cake load of fun! I first heard this song off the soundtrack to the unique Jet Set Radio Future, a game that helped define who I am, and a game that really needs a strong comeback. I can think of few games that have had a better soundtrack, especially when more than half of the songs are originals put together just for the game. Sega games never shy away from having great songs for their games, but Jet Set Radio Future has some of the best stuff, and while I haven't played the game for over a decade I still know each one by heart. Man, that game was so damn cool with its unique art style and story, truly a one of a kind game and half of what makes the game so special is the songs that play as you grind around and spray paint everything in sight while evading the police. The game made a point to mix together the hip hop sound from the United States with the electronica and J-Pop from Japan, though the songs from legit artists range from rock to trip hop. Cibo Matto being included with "Birthday Cake" is a perfect match for the flow and energy of the game. I cannot express how sad I am that there is no modern port or anything for the game, and while it might be an unpopular opinion, Jet Grind Radio doesn't hold even a candle to its redo masterpiece that is Future. Anyway, if you are a gamer and have an original Xbox be sure to give the game a go buuuut since it came with the console I am sure you already have, play it again for me! Cibo Matto is more than just an addition to some obscure video game, they had a fairly good career that saw them releasing 3 studio albums, 2 of which came out of the 1990s, and while I have yet to get around to listening through them "Birthday Cake" has seemed to haunt me throughout my life, foretelling an obsession with a raunchy style of music. I heard the song while shopping at the Raunch Records in Salt Lake City and I felt like I fell into a different realm, I have never heard the track outside my own listening. Don't get me wrong, Cibo Matto isn't some unknown obscurity, though they're niche enough to never have hit the mainstream. So when I heard it come over the speakers I was fairly impressed to hear it in the wild, knew right then and there that I have to write a dedication post or something and lo and behold, it was the song of the day. Now here you are, taking time out of your day, so you might as well give it a listen! Tune in, turn on and drop out!

​​​​​​​​​​​​​Year Released: 1996
Album: Viva! La Woman (1996)
Genre: Avant-pop, Trip Hop
Mood: Electric
Perfect For: Shopping at your local counter culture shop, High energy activities, Inline skating around the streets of future Tokyo
Where To Next: Honestly I am not sure. "Fucking in Rhythm & Sorrow" - The Sugarcubes???​
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Rating: 7/10

"Super 8" - Jason Isbell

Jason Isbell is a fairly new artist to be taken into the fold. Thus far I have been impressed enough with his work, especially with the critically acclaimed Southeastern which holds plenty of great tracks, some on serious topics and some on the casual. The track I really adore from that album is "Super 8" which holds lyricism that I have feared as well. I am not some touring musician that is raising hell, but each time I stay at a Super 8 or Hotel 6 I wonder what it would say about me if I died right there on those crunchy and odd smelling bed covers. Don't get me wrong, those kinds of rooms are my favorite, if there isn't cigarette burns on the sheets then I don't want to stay! Plus, you cannot beat that price, nor can the other poor reprobates that travel the roads, like calls to like. Back to the song and the artist, what got me turned in the direction of Jason Isbell is looking into the individual band members of the legendary country rockers Drive-By Truckers, a group that I have carried with me for years now, and a band that got me wondering what is it about them that  can bring forth a timeless country rock sound that was abused time and time again in every decade since its birth in the 1960s. Half that answer is found within musicians like Jason Isbell who was with the band from 2001 to 2007 a time when the Drive-By Truckers released some of their most celebrated albums. He played a pretty serious role in the band and then went off to do his own projects, most of which has been impressive but like I said before, he is still fairly new to me, I have only listened through maybe 3 albums and a handful of tracks, yet none have gripped me as much as "Super 8". A track talking about not wanting to die in a super 8 motel, which is a fitting end for a hellraiser that flies off the wall on cocaine, after he got attacked by an angry man with a fungo bat. A comical enough track that Isbell sells strangely all too well, you can almost smell that mildew smell that the Super 8 is infamous for. I have always been fond of a good storyteller and Isbell seems to have that part down packed, I love me a storyteller that can tell of a wicked life with both a smile and a cup full of regret. I am excited to get further into Isbell once I start my thousands of songs and albums for my 2000s & 2010s study in the next year or two. For now though, I still find time occasionally to try another album out. He has a voice that is great to drive and sing along to, and as mentioned before, his work with Drive-By Truckers isn't anything to take lightly. He took all he learned from the band into his solo work and the great material alongside the 400 Unit. Give the track a listen and see if it scratches an itch, the kind of music made for playing out of rusted out trucks right after stopping off for some McDoubles. Enjoy!

​​​​​​​​​​​​Year Released: 2013
Album: Southeastern (2013)
Genre: Alternative Country
Mood: Burned Out
Perfect For: Driving aimlessly, Getting some fast food, Casual listening, Summer afternoons
Where To Next: "Dead or in Jail" - William Clark Green​
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Rating: 7/10

"Galaxy 500" - The Reverend Horton Heat

Y'all ready for a psychobilly freakout? The Reverend Horton Heat has been laying down that twangy, comedic, and fast as lightening rockabilly sound for 40 years. They are arguably the most important psychobilly band to ever enter the scene, especially with their debut Smoke Em If You Got Em which is a goldmine of great rocking twangy tracks. While their debut holds a special place in the rock world in the 1990s, there are many more great albums within their well oiled discography. The selected track for today is "Galaxy 500" which shows off the lyrical themes that the reverend Jim Heath brings to the table, a love for classic cars and the reality of poorly constructed relationships. I was fortunate enough to see them live and that is when I chose this for the song of the day, the song was split into three separate parts and spanned much longer than the typical 3-minute running time of the studio version. I swear there was at least 5 minutes straight of guitar fury from the godfather of psychobilly. Jim Heath is a damn impressive guitarist and to see him commanding that Gretsch on stage was a joy, plus the comedic banter of the concert kept the fun feeling in the air. For sure one of the strangest concerts I have been to, but that is exactly what I came along for. I am severely picky on which concerts to go to and which to pass on, both since the tickets are fucking expensive now and with my wide array of bands that I cherish I would be busy weekly and broke forever. Though, when I saw that the Reverend Horton Heat was coming to Utah, I just had to buy the tickets. I have been a fan for many years now, and an avid fan of rockabilly music as a whole, so it would be a cardinal sin to miss out on this show. He did not disappoint and the whole band did wonderful as did the supporting acts. An overall great show that was damn loud and damn exciting. I could have chose so many tracks for my song of the day, the bands cover of Johnny Cash's "Big River" was great, the classic and iconic "Psychobilly Freakout" had the crowd going wild, and seeing them play "It's a Dark Day" which has always been a favorite of mine felt like a minor dream come true. Great performers and musicians that hold the throne in the strange realm of music that is psychobilly. Anyway, "Galaxy 500" was easily one of the most impressive songs of their set list, and is also one of the strongest off their 2002 album Lucky 7. A song about a dude getting the boot by his woman and losing everything from the fish to his soul but none of that matters so long as he has his Ford Galaxy 500. The mental imagery he paints of the split is strangely comical, a slow build up of all the things he is losing up until he reminds himself "but things aint so bad, cause I've got a Galaxy 500". I sometimes get upset with not having the finer things in life but sometimes all it takes is the reminder of having one thing that you cherish still. The character portrayed wonderfully by Jim Heath in a strange way is the winner in his divorce, while he may have lost his house and all, he hasn't lost his pep which goes a lot further in life than the dog, fish, cat, house, dishes, friends, and a soul... actually maybe not, but for the character he has all he needs. "Galaxy 500" is a classic from the Revs discography, and serves as a perfect example of the chaotic yet addictive soul of psychobilly.

​​​​​​​​​​​Year Released: 2002
Album: Lucky 7 (2002)
Genre: Psychobilly
Mood: Hopeful
Perfect For: Driving fast, Casual listening, Seeing live, Getting drunk
Where To Next: "It Thing Hard-On" - The Cramps​
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Rating: 7/10

"Tell Me Baby" - Red Hot Chili Peppers

I am damn glad to include the Chili Peppers on the website once again, previously we talked about their breakthrough album Blood Sugar Sex Magik, but today we talk about their mainstream filtered masterpiece Stadium Arcadium. The band is damn near impossible not to fall in love with. They are one of the most well known rock groups to grace earth, and one of the most respected rock groups of fans from all sorts of different genres and lifestyles. I have met few that don't love the group, the only person I have met was easily swayed once I didn't say "this is that band you claim to dislike". Isn't it strange how some people hate on bands yet it almost seems they just like hearing themselves putting it down more than actually being committed to their opinions? I cannot count the times I ask "do you like this song" and they say "hell yeah" and I drop the bomb it was the band they were just talking down on yesterday. I get disliking a song but not a band as a whole, there is typically something under the original shell to appreciate. Anyway! Why are we talking negative on a post about the Red Hot Chili Peppers?! They are arguably one of the most fun bands to grace our ears. "Tell Me Baby" keeps the same flow of Stadium Arcadium which is no flow at all but a compilation of great and easy to take in tracks. The album is a well respected album, and while not every track is something to drop your undies for, this double album holds 28 tracks of tracks ranging from decent to phenomenal. It holds the songs "Snow (Hey Oh)", "Slow Cheetah", "Dani California", "Desecration Smile" and our choice for today "Tell Me Baby". All of those tracks are legendary in their discography, and the rock stations across the nation seems to take their pick of them and play them 20 times a day for better or worse. "Tell Me Baby" is easily one of the best from the album and is the strongest track from the second half of the album (side Mars). This is the type of song to get stuck in my head for days on end. For my birthday me and my girlfriend went up to Arches National Park, and while I have lived in Utah for most of my life I have yet to actually complete the delicate arch hike. The delicate arch is practically our state's mascot and local celebrity. I live fairly far from that part of Utah, which means I need time off work to make it down that way, but this time we decided to say fuck it and get it done. The hike itself was fairly easy luckily, and took a good portion of time to see it through, it felt a little bit like seeing a sacred photo in person when we got there. Like seeing the actual Mona Lisa, or maybe how it feels to see the White House, an image you've seen your whole life being right in front of you, it honestly felt quite surreal. Anyway, once we got back to the truck and drank some tea, we continued our conquest to check out more of the often phallic shaped rocks of Arches. A great day full of so many great moments, my lady always makes my birthday special, and so does the music playing over the speakers. I thought for sure it was going to be some classic country which matched the desert vibe, or maybe some hard rock from the 1970s that filled my truck while roaring down the highway, but it was strangely "Tell Me Baby" by RHCP that triumphed that day. I ain't complaining though, the song is great and one of the most catchy ones from them, which is quite the statement since they are as funky as white boys can get. So funky in fact that the song got accidentally skipped and my precious Alesha herself went back to restart it, she stole my damn job! I was glad to hear the song again though, especially with that fast and funky intro. The song is great, radio friendly while still keeping the fun and quirky feeling reminiscent of their 1990s material. Another great song of the day for my birthday, and a moment surrounded by pretty scenery and pretty Alesha's that will forever be carved upon my mind.

​​​​​​​​​​Year Released: 2006
Album: Stadium Arcadium (2006)
Genre: Rock, Funk Rock
Mood: Fun
Perfect For: Driving, Sex, Casual listening, Parties
Where To Next: "The Denial Twist" - The White Stripes​
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Rating: 9/10

"Diamond Dogs" - David Bowie

Welcome all for another rock n roll hoochie coo post, first I would like to apologize for falling multiple days behind. It was my birthday and I was out of town, and even when I was in town I was running around like the devil was on my tail. Now it is the first chill morning, so I figured I had better scrape together some time to catch up for my dear readers. Today we are talking about those they call the diamond dogs. David Bowie has had a long career with sounds varying from psychedelic folk all the way to heavy electronic music, he is a visionary in almost anything he does and everything he does comes from the strange eyes he casts on the world. "Diamond Dogs" is the title track from the album that had David Bowie leaving behind his previous "Ziggy Stardust" stage and finding himself settled in a less glam based rock sound that gets close to the proto-punk sound of the early 1970s. Diamond Dogs has a good handful of strong tracks such as Bowie's massively successful song "Rebel Rebel", the fan favorite softer track "Sweet Thing" and a Caleb favorite "Diamond Dogs". I love that intro, a great set up for the song to take off, and the comment at the intro serves as a perfect send off for Ziggy Stardust and an introduction to Bowie's new persona Halloween Jack, the leader of the infamous diamond dogs. Like most of Bowie's work in the 1970s, there are a ton of personas, seemingly deep lyricism, story telling, and oddity and "Diamond Dogs" is no different. The track covers the tale of Halloween Jack and the diamond dogs, a group of kids who terrorize the urban wasteland of Manhattan on rollerskates, which is some kick ass "rock mythology" imagery but is also equally plain peculiar especially modernly where similar themes don't show up anywhere in the United States entertainment. I wish there were some modern versions of the plain odd cult classic films of the last century, movies like The Warriors and Death Race 2000 or even the fucking weird David Bowie movie The Man Who Fell to Earth. Anyway, Bowie has always been proven to be a plain peculiar man, though I think that is half the draw, and I have yet to meet a David Bowie fan that doesn't seem to have a screw loose... wait... what does that say about me? The rest of the album following tracks 1 & 2 vary in themes, to the pre-punk rock imagery of "Rebel Rebel" to the George Orwell themed tracks from his landmark novel 1984. Aside from "Rebel Rebel" this album seems to get forgotten by casual Bowie fans, yet it features some of his best vocal performances from the 1970s and the atmosphere has that confused edge of a musician that doesn't know where to go next which feels fresh. Speaking of where he went next, Bowie released David Live which was recorded during the diamond dogs tour, it melds the more base rock n roll side of Bowie with the glam of Ziggy Stardust. Following that release we got into the next phase of David Bowie, that sweet sweet softer side that put out countless memorable blue-eyed soul, pop, disco, and art rock tracks and albums up until his mid 1990s electronic fuzz fest. "Diamonds Dogs" holds a special place in my heart from his legendary discography, a perfect rocking feeling with fun lyricism, and an intro that instantly seats you and keeps you there throughout the track. The largest shortcoming of the album and song is that ugly album cover, still very Bowie buuuut also still very terrible. I guess art is subjective though, so who knows? Maybe one of you readers out there like "dog/human hybrid... things". 

​​​​​​​​​​Year Released: 1974
Album: Diamond Dogs (1974)
Genre: Rock, Proto-Punk
Mood: Rockin' Easy
Perfect For: Casual listening, Hot day's walk, Getting ready for the day
Where To Next: "100 Years Ago" - The Rolling Stones​
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Rating: 8/10

"She Goes Down" - Motley Crue

Motley Crue is hailed as the "world's most notorious rock band" and while I am not quite sure if that is a self-proclaimed title or not, there is truth behind it. Motley Crue is known for their massively successful core albums, antics, stage show, persona, parties, and living as the embodiment of sex, drugs & rock 'n' roll. So, is it all too shocking they have a song such as "She Goes Down"? The song starts off with a zipper going down and a sensuous giggle, so if you didn't get what the song was about from the title then that will serve it to you. Their 5th studio album Dr. Feelgood is considered their best studio album to date, and while I don't deny that claim I still have a serious soft spot for Too Fast for Love and Shout at the Devil, yet I can see why this is regarded as their best release. It holds some of their best tracks such as the much loved "Kickstart My Heart" and the title track "Dr. Feelgood" which are legendary songs, though each song on the album holds its own spot of power and notoriety. "She Goes Down" is one of many of the great tracks that fill an album of filth, debauchery, and swagger. "She Goes Down" shows off all three of those themes within its 4 1/2-minute playtime. Like I mentioned before, the song is all about receiving oral from a country gal that can apparently give you a heart attack. I have heard plenty of dudes say that if they were to choose how to die, it would be during sex, and I don't see the appeal of that. I don't like the mental imagery of my pale ass, naked to the world, getting scraped onto a gurney and sent off to the coroner. Not to mention that poor chick, talk about a sex drive buster, but at the same time it would be kind of cool to be able to say you fucked someone to death... Maybe that aint a proper thing to say on the internet... SEE WHAT MOTLEY CRUE DOES TO YOU?! Call up the parent's association stat! All jokes aside, even with its heavily repetitious nature about receiving oral the song is still a goodie with that Motley Crue egotism that we know and love them for. Motley Crue is one of those timeless bands that will forever have a place with rockers from all walks of life. They are one of the hard rock groups that are borderline heavy metal too, their debut came along at a time when they could be easily considered part of the early days of heavy metal, both with their look and their music. As their career moved on and as did metal, it is hard to put them in the same roster. They are metal to MTV, but "true metal" they are not. Still, none of that really matters when you are this damn good, so metalheads and rockers can become one under the banner of music that is all for the love of rock. Motley Crue is the spirit of rock music, especially in the turbulent and reckless decade that was the 1980s. Through their larger than life sound and a persona as rock 'n roll outlaws, Motley Crue gave themselves a spot on the pedestal of the all-time greats in the rock world. If this is your first time giving Crue a listen (which is damn near impossible) then maybe this isn't the best place to start, album wise you are in the right place, but this is one of the weaker tracks from the almighty Dr. Feelgood but don't let me sound like I am putting the track down, it is more like getting a whole pizza and one of the slices has just a little less peperoni on it. Anyways, you know what I am going to say now since I can never seem to end these posts on a different note, check the song out already and enjoy!

​​​​​​​​​Year Released: 1989
Album: Dr. Feelgood (1989)
Genre: Hard Rock, Glam Metal
Mood: Naughty
Perfect For: Daydreams about night things in the middle of the afternoon, Summer drives, Drinking
Where To Next: "Animal (Fuck Like a Beast)" - W.A.S.P.​
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Rating: 7/10