Track: She's Lost Control (BBC Version)
Artist: Joy Division
Original Album: The Complete BBC Recordings
Year: 1979
Where to begin? Everything about this track and how it is preformed is absolutely perfect. And it showcases their ability as a live band who are more than capable of standing alone apart from Martin Hannet's studio wizardry.
Stephen Morris' drumming is tight; his fills are spot on. And the electronic drum is the fingerprint of this song.
Hooky (playing his trademark Rickenbacker bass) provides the muscle of this tune. Just enough fuzz to remind us that punk was not that far in arrears, with melody and style in spades. A bearded guy in a post punk band? Effortlessly cool!
Bernard Sumner's guitar is just right in this track-much better than the UP version. The dissonant, crunchiness adds the perfect sense of urgency overtop of the existing framework.
And Ian... he looks to be in another plane of existence altogether. The emotions conveyed with his body and facial expressions are both frightening and riveting.
Joy Division invented post-punk, invented shoe gaze and with New Order, invented dance music (The type of dance music I like anyways) as we know it today. Without Joy Division, bands like The Cure, The Cocteau Twins, Bauhaus, Siouxsie and the Banshees would either sound altogether different, or not exist at all.
What I find so endlessly fascinating is that they were four lads just following their guts and their hearts (no musical training) and the chemistry and creativity produced something so magical in little more than a short three year span-they are still reverred some thirty five-plus years after Ian's death.
Track: Horn
Artist: Nick Drake
Original Album: Pink Moon
Year: 1972
This might very well be the most perfect song ever written.
Clocking in at a mere 1:21, it's just long enough to leave me wishing for more.
Yet there is nothing more that Nick Drake could have done to improve this perfect little gem of a tune.
"Horn" conjures up a complex range of emotions from reverance, stillness, hope, bittersweet sadness and natural beauty for me. As well as a feeling that all is absolutely perfect and right just as it is.
Just one single very simple acoustic guitar track, without any overdubs or vocals...it certainly is a testament that music need not be complex to be beautiful or captivating.
Track: Let's Get It On
Artist: Marvin Gaye
Original Album: Let's Get It On
Year: 1973
The most amorous song of all-time? Me say hell yes! The sultry wah guitar intro has become the de facto soundtrack to imply one is in the mood
. And only Barry White could possibly challenge Marvin Gaye as the romantic spokesperson of the 70s.
This is a terrifically fun song to sing along to when nobody else is around. Unfortunately, being a white guy- soulful, funky singing like Marvin Gaye is a pipe dream.
It is a beautiful, exotic and heavenly sound.
Track: Blue Monday
Artist: New Order
Original Album: NA
Year: 1983
This is the dance track to end all dance tracks. I fell in love with it the first time I heard it. And let's be clear-I'm talking about the original 12" version at 7:23 (not one of the other thousands of remixes). I love the irony of an energetic dance track paired with down trodden lyrics and theme! Only in the 80s would we see this. From the unmistakable electro kick drum intro to the oddly signatured drum fill break downs to Hooky's surf guitar bass line-it is absolute sonic genius that laid the blue print for all (worthwhile) dance music to follow.
It's effect is best received when listening on full tilt. A song that relies so heavily on rhythm must be listened to loud and cannot be listened to passively.
The other bit about New Order (that I love) that I must mention is their ability to succeed in spite of themselves and the insistence to do things their own way. The title Blue Monday
has absolutely nothing to do with the song-as is typical of New Order. Brilliant!
Rather than lip sync (as was typical of the time) New Order chose to perform the song live on Top of the Pops in 1983. The performance was legendary for all the wrong reasons due to technical difficulties and the song began to slide down the charts the very next week.
And then of course the record sleeve. Designed to look like a 5 1/4" floppy disc, it was die-cut and cost more to produce than the revenue generated per sale. Oh yeah...did I mention that nowhere on the sleeve was the song's name, a band photo or the band's name? Bloody genius!
Track: Jungle Jazz
Artist: Kool and the Gang
Original Album: Spirit of the Boogie
Year: 1975
Jungle Boogiewas the Pulp Fiction soundtrack in 1994. The bass, drums/rhythm and horn stabs were so infectious, I was instantly intoxicated by the song. I had no choice but to march over and dive headfirst into the deep end of the funk pool and discover as much about early 70s funk music as possible; which is exactly what I did.
It led me to all sorts of great funk like The Ohio Players, The JBs, Earth, Wind & Fire, Sly Stone, Barry White, Billy Preston, Marvin Gaye, Chaka Khan to name but a few. But pound for pound, I'd argue that Kool and the Gang between '69 and '76 is the best for output and pure funk/soul quality.
Kool and the Gang's first six albums are just what the doctor ordered if you love funk music, they come highly recommended from me and they are a great entry point to 70's funk music. When listening to the '69 to '76 era, it's hard to believe they are the same band (more or less) that recorded Ladie's Night
or Joanna
later on. But, hey! they did some great work early on-they earned the right to coast at the end.
But wait! You'll notice that my track of choice was Jungle Jazz
, not Jungle Boogie
.
Jungle Jazz
is an instrumental version of the track that has flute, trumpet and other horn solos instead of vocals. Did you say a funky flute solo? I'm in!
This track embodies and symbolizes everything that is awesomely funky in the world to me. It's SO funky...I can't imagine something being any funkier. And to get the full impact of the experience-take a look here at K&TG preforming the song live back in the day on The Midnight Special.
Track: Sloop John B Stack-O-Vocals
Artist: The Beach Boys
Original Album: Pet Sounds 40th Anniversary Box Set
Year: 1966
The Beach Boys output from 1961-1967 is so prolific, of such high quality and so influential that it is truly staggering for me to ponder.
Most of this came before Brian Wilson's 25th birthday.
The Beach Boys were the first rock music to really catch my ear. I was five years old when Endless Summer came out and they were enjoying a resurgence in popularity. The music just made me feel good. And, although I didn't have the vocabulary at the time to know what I loved, I learned later it was their distinctive vocal harmonies.
Ah. . . the Beach Boys' harmonies.
When I hear one of the stripped down vocals only tracks like Sloop John B
, I know there is a God. Something this beautiful could not exist without one.
Sometimes, I am literally nearly moved to tears at how breathtakingly beautiful the Beach Boys' vocal arrangements are.
Track: How Soon is Now?
Artist: The Smiths
Original Album: B-Side of William, It Was Really Nothing
12" single
Year: 1984
The Smiths are perennials on my all-time fave bands shortlist, and they have many, many songs that are near and dear (one of which you will find elsewhere on this list), but I have to go with How Soon is Now?
. I've heard it referred to as the Stairway to Heaven
of the 80s, and I would agree. Few guitar intros are as instantaneously identifiable. How Soon is Now
is the Smiths signature song-even though it is totally atypical of their style in general.
The Smiths of 1984 were a very well-drilled and hungry group. Not a weak link to be found. The rhythm section of Andy Rourke (bass) and Mike Joyce (drums) is one of the best ever, by my estimation. Morrissey was nearing the height of his lyrical powers. And Johnny Marr. Well, he's Johnny Marr. Though he has had moments of brilliance since the Smiths broke up, I believe he peaked as an artist between '84 and '87.
It's such a spacious and big sounding track. The overall vibe of the song (for me) is one of black turtleneck, sunglasses indoors, neo beatnik cool. Very, very hip.
It is boggling to the mind to contemplate a 21 year old Johnny Marr writing and recording this juggernaut of a song. And being the musicphile, trivia-geek that I am, all the lore of multi tracking the tremolo guitar to keep the time signature, the all night recording sessions and it originally being a B-side to William, It Was Really Nothing
only feed the legend of a tune like How Soon is Now?
.
Track: Golden Slumbers
Artist: The Beatles
Original Album: Abbey Road
Year: 1969
Most of the time I would say that Paul is my favorite Beatle. I've always been enamored with his serendipitous demeanor and light to John's dark.
And-we are both lefties, and I always have a soft spot for a fellow southpaw.
Being only 1:32, there isn't a lot to this song, and it's really just one part of the suite that makes up side two of Abbey Road.
Starting at the :34 mark, the verse where he sings Golden slumbers fill your eyes...Smiles awake you when you rise
...Oh man! that gets me everytime.
I imagine a young, bearded Paul at the piano belting that out, and it is such a satisfying image.
Although this track is embellished with strings and horn arrangements and such-I would bet that it would pack just as much punch and give me chills just
the same if it was just him and the piano. Proof that a song need not be long or complicated to be great.
Track: Midnight Train to Georgia
Artist: Gladys Knight & the Pips
Original Album: Imagination
Year: 1973
One of only two songs with a female vocalist, Midnight Train to Georgia
is brilliant for several reasons.
First-It has a story. It almost feels like it could be a folk or country song song in another iteration.
Second-Gladys Knight's vocals are amazing! So soulful and emotive. When I hear this song, it's in my head for days and sometimes weeks.
Third-the background singing by The Pips is probably the best background singing on any song-EVER. So smooth, fun,interesting and beautiful...it'd be a great song unto itself. Which is exactly how background singing should be (IMHO).
The era of background singers in full technicolor wearing matching suits snapping their fingers with choreographed dance moves was brief but beautiful.
Fourth-the laid back smooth snare drum intro; you know exactly what song it is, there's no mistaking it.
And lastly-a killer lyrical hook in I'd rather live in his world, than live without him in my world.
That's the type of genius that would justify a lifetime of songwriting.
Granted-Gladys Knight did not write that line, but she made it her own.
Track: Stairway to Heaven
Artist: Led Zeppelin
Original Album: Led Zeppelin IV
Year: 1971
I know what your thinking. Haven't we all heard Stairway to Heaven
enough for one lifetime? It's a valid point.
But the song just flat out kicks ass; plain and simple. For better or worse, Led Zeppelin created the blueprint for the hard rock stadium,raise your lighter template.
Jimmy Page is one of my favorite guitarists of all-time. He is so versatile. He can certainly rock with the best of them-that's no secret. But his real appeal for me is the softer, acoustic side. Songs like Bron-Yr-Aur
or The Rain Song
really show his versatility in this area.
He seems to be unencumbered by conventional song styles, melodies, chords or tunings. Frequently using alternate or open tunings, he really is all over the (fret)board.
Something interesting that I really love is how on later live versions ofStairway
(found on How the West Was Won
or The Song Remains the Same) he changes the riffs and improvises. Great stuff.
The image of Jimmy (Page) circa '75 or '76 with his arm in the air, slinging his double-neck Gibson, shirt all the way open and dragon embroidered bell bottoms; is one of the great iconic images of rock and roll bravado and decadence.
No discussion about the mighty Zepp is complete without including John Bonham. As a drummer, he is in a class entirely by himself. I don't know if it's his playing style, the way they recorded and mixed him or a combination of both. The power he generates is so bombastic, and he really makes it interesting using off beats and syncopations. Take a listen to his drumming at 4:57 of In My time of Dying
. Everytime I hear this tune, it makes me think of an 80,000# semi truck barreling down a mountain pass with no breaks.
Track: The Warmth Of The Sun
Artist: The Beach Boys
Original Album: Shut Down, Vol. 2
Year: 1964
I first heard this song at about age 5, on the Endless Summer double album. And I liked it. But not until years later was I really able to appreciate the intricate, delicate beauty of it.
One of the things I was able to appreciate later was the recording quality of this track compared to others made by their peers at or around the same time. Put it up against I Want To Hold Your Hand
(or any early Beatles songs), Baby Love
, Pretty Woman
or Youve Lost That Lovin' Feeling
and they sound like garage recordings. The Warmth of The Sun
sounds like full blown technicolor; Brian Wilson's lead falsetto is absolutely bright orange coming through the speakers.
The unusual key signature and the jump from C-Am-E♭-Cm...is what gives it that melancholic quality that feels like a sigh.
Track: Lyin Eyes
Artist: The Eagles
Original Album: One Of These Nights
Year: 1975
Those who know me will perhaps be surprised to see this song on my list. It cant be any other way though.
Roughly every two years, I go through a phase where I do an Eagles deep dive (pre The Long Run) and get really into their particular brand of American songwriting/storytelling. They are a truly remarkable band.
I really wish I could sing harmonies like bands like The Eagles and The Beach Boys do. It's such a beautiful thing to hear 3,4,5 part harmonies that are so tight.
If you get a chance,The History of The Eagles Part One is an exceptional documentary. Chocked full of concert footage from the 70s, their live performances of their classic tunes are absolutely spot on and really showcase what a tight
live act they were. And you throw in the long hair, the mustaches, the sunglasses and you have something special! Sadly-the era for this type of band (with exceptionally deep songwriting, musicianship and vocal abilities) to come up through the ranks and make it big is gone.
And throw in the fact they have Top 10 hits sung by 4 or 5 different lead singers and you have the stuff of legend.
So, about this song in particular...
Late at night a big old house gets lonely,
I guess every form of refuge has its price...
~Lyin' Eyes
This is a great story. Legend has it that Glenn Frey and Don Henley were in a swanky LA restaurant and saw a beautiful young lady come in to meet an older gentleman, they created the story that she was meeting him and cheating on her husband and that became the song out of thin air!
This song also contains one of my favorite song lyrics ever written Late at night a big old house gets lonely, I guess every form of refuge has its price...
. Wow! To be able to encapsulate so much in one or two lines is truly amazing.
Curiously, several of my all-time favorite lyrics happen to be written by either Glenn Frey or Don Henley. Maybe I'll do a blog on favorite lyrics...
Track: Dear Prudence
Artist: The Beatles
Original Album: The Beatles (aka The White Album)
Year: 1968
Somebody who fancies themselves a true music aficionado with only two Beatles song on their list of faves?
And even funnier, I'm a Paul guy. Almost all of my fave Beatles tunes are Paul's songs.
I REALLY love the Beatles. When I see Paul on TV, I practically get veklempt. There is no doubt of their genius, and I am not here to challenge their place in history. But, for me-when it comes down to iconic rock bands of all-time, The Beach Boystake the cake over the Beatles nearly any day. With all due respect to George Martin-The Beach Boys production is light years ahead of the Beatles.
The Beatles' sound is like Super 8 color home movies, while the Beach Boys (from 63-67) are bright, full Technicolor.
But let's talk about Dear Prudence
.
I'll do my They don't make 'em like that anymore
spiel briefly. Bare with me.
The song was written on the Beatles legendary trip to India in 1968 about Mia Farrow's sister who would retreat
in her hut for extended meditation periods. The song was Lennon requesting that she come out, see the sun and remember that she is part of everything.
You just don't get that kind of back story anymore. The kids today don't know what they're missing.
From the opening shimmering guitar chords and ominous repeating bass notes, the song is on a constant ascent throughout. Then at around 3:19, the song begins the final crescendo into a rapturous explosion driven by the lead guitar riff.
This tune has a strange dichotomy of achingly beauty, while somehow being a little spooky at the same time. It's pure magic.
Here's an interesting li'l nugget about the song...- Ringo had temporarily left The Beatles at the time they were recording The White Album, Paul McCartney plays drums on the track.
Track: Ain't No Mountain High Enough
Artist: Diana Ross
Original Album: Diana Ross
Year: 1970
This song may come as a surprise to those who know me. It is certainly not the stereotypical type
of tune people might associate with me (Joy Division, Smiths, Cure). But, should I find myself stranded on a desert island, I would need plenty of positive energy and optimism to keep spirits high until I was rescued; this song has all of that in spades!
Until (very) recently, I was not even aware that the Marvin Gaye/Tami Terrell version of this song was
in fact the same song; the difference is so significant. It appeared on Diana Ross' first solo album; the
song was written by Ashford & Simpson.
The outright optimism of this song is so infectious for me, it feels like I can break free of any
chains, any oppression, or anything that might be blocking the way between me and glory. At 4:36, the song
busts wide open into all out blessed euphoria! It's hard-if not impossible-to feel anything but complete and
utter zealotry during the remainder of the song.
I suppose it's what the kids today might call a Power Song
.
Track: I Just Wasn't Made For These Times
Artist: The Beach Boys
Original Album: Pet Sounds
Year: 1966
Brian Wilson's confessions of self doubt, sadness and longing are feel so genuine and vulnerable; it'd be very
difficult to find a song where the singer opens up with such candor. Music history is full of songs that deal with sadness, loss, self loathing and yearning, but nothing out there as tender and real as this, and with his heart and soul totally on the line.
I can certainly relate to what he's saying, and I think most people probably can. Isn't that the very
essence of what music is about?
We certainly take it for granted now that Pet Sounds is a bonafide work of genius. At the time it was being created, Wilson was leading the Beach Boys out of their cars, surfing and girls music into much more ambitious, unchartered territory with Pet Sounds (and later with SMiLE). He had opposition from the band and management, and certainly nagging doubts that fans would like it. Such a sensitive artist forging ahead for the sake of his vision is part of history that is perhaps underestimated and forgotten. I for one am glad he did!
I would REALLY LOVE to see an extensive documentary of the recording of Pet Sounds.
For a real treat, take a listen to the Stack-O-Vocals version
of this song from the Pet Sounds 40th Anniversary Box Set.
Track: Transmission
Artist: Joy Division
Original Album: The Complete BBC Recordings
Year: 1979
This song, as with She's Lost Control
, were both recorded performances (from the same episode-September 1979) on the BBC television program Something Else. The were totally on song that night and left it all out on the stage.
Generally speaking, I prefer Joy Division's studio work to their live recordings, primarily due to poor sound quality of their live work. And then there is also the magic that Martin Hannett brings to the studio work that makes Joy Division such a unique band.
However, the recording included here of Transmission
(coupled with the video) is really something special.
The song unto itself is little more than a punk/pop tune. The guitar and bass are nothing particularly special. But when you lay those overtop of the drums and the vocals, that's what separate it from the rest of the pack.
Stephen Morris is one of my favorite drummers of all time-so skilled, so clever and endless energy. I love what he does with hi-hat and toms in Transmission
. His fills add the perfect amount of fervor for Ian to build on. Joy Division with any other drummer would be a different band altogether.
Ian's lyrics are really otherworldly, to me. The fourth verse is really a special bit of writing. Very thought provoking, especially when heard (or seen) beside Ian's delivery during performance. He has such a magnetic presence on stage that it's hard to take your eyes off him. Some of that comes from the fact there is so little (quality) footage of JD. But that detracts little from him as a performer and singer.
Watch at 2:18 or 2:19 (about the time he takes his mike out of the stand). His dancing, his facial expressions and his presence in general is totally and utterly spell-binding. The song totally hits me at gut level and gives me chills almost everytime. It's impossible for me to listen to Joy Division passively.
I'm never quite sure if I feel elated, angry or sad at the conclusion of Transmission
. I do know that I feel very alive, though.
Track: The Draize Train
Artist: The Smiths
Original Album: Rank
Year: 1988
The Draize Train
has the distinction of being the one and only instrumental song amongst my desert island discs.
Originally appearing as the B-side to Panic
, this version was recorded live in London during The Queen is Dead tour in October of 1988.
As is generally true for me with most artists, I prefer studio over live recordings. And the same is true for The Smiths.
The problem is that their studio work is so lush, so complex and so tight; they set the bar very high for themselves to replicate live.
The Draize Train
can only be described as Johnny Marr off the leash and in full flight. It's a straight ahead, driving, head-bobbing, all-out jam session.
Wait... What?The Smiths jamming?
Well, OK...Morrissey is Morrissey. But you cannot listen to this track and tell me that his backing band does not kick ass!
Not many bands can challenge The Smiths for musicianship.
Mike Joyce (drums)-Brilliant drummer! I'd rank him up there with John Bonham and Stephen Morris. Very versatile-it seems there is nothing he cannot do.
Andy Rourke (Bass Guitar)-I think it was Andy Rourke that first tuned me into bass guitar as an interesting instrument. The intro to Rusholme Ruffians, I think it was. Playing with a pick or with his fingers, he is technical, melodic and the perfect accompanist for Joyce and Marr.
Johnny Marr (Lead Guitar)-What can one say about Johnny Marr's guitar playing that hasn't already been said? The answer is probably not much. In my world, he is a living legend and in his work with The Smiths, he hardly put a foot wrong.
I reckon what I love most about The Draize Train is how the song continues to climb and the emotional intensity of the song continues to escalate throughout. Marr's lead guitar is neither wanking or show boating. I've always thought of it as Johnny Marr's version of the blues. The song feels like having a really good cry and getting it all out, feeling emotionally spent and then moving on.
Track: Not to touch the Earth
Artist: The Doors
Original Album: Waiting for the Sun
Year: 1968
I'm not a huge fan of The Doors, but I can't resist the crazed lunacy of Not to touch the Earth
.
I just can't resist Jim Morrison when he's in this mode (as in The End
, The Crystal Ship
or Riders on the Storm
). I can only imagine how
utterly freaky this song sounded in 1968 amidst the artists of the day.
Who knows what the song is actually about, that doesn't even matter. The mood that is created is absolutely unreal, and surreal. It is utterly
impossible to listen to this tune passively or without becoming completely enveloped in it's madness.
In fact, I think The Doors are laying some groundwork for the future of goth. Certainly Siouxsie and the Banshees owe a great deal to The Doors.
A song like Eve White/Eve Black
, or Voodoo Dolly
with the dark, demented psychedlia are surely influenced by Not to touch the Earth
.
Or The Cure on tracks like Pornography
or (to a slightly lesser-but still similar extent) Give me It
.
I picked up my guitar recently to figured this song out, and one thing I learned about it's construction that adds to the building sense of tension
is each verse is using the same chord pattern ascending in key. The first verse starts on E♭ as it's root note, the second verse starts on F as the
root note and the third verse starts on F#. Then you add a little Jim Morrison baritone on top, with his tripped out poetry and continually escalating his
delivery and it's magic. Or, maybe black magic?
Jim Morrison has to be in the top 10 easily of all-time as far as rock group front men. I would have to think The Doors would be
pretty unremarkable with anybody else up front.