Category Archives: Songs & Singles

Oct 24 2012
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Songs & Singles

My Favorite U2 Song

A few weekends ago I was in a crepe restaurant waiting for some breakfast.  I was holding down a table for a group of my friends; the place was packed, with a line wrapped around the counter.  Sunday (bloody Sunday) morning was in full effect: I was mildly hung-over and the prospect of a new work-week loomed large.

And what did I hear?  What did I hear while my head ached and I waited for my corn beef hash?  Irish rockers U2 wailing out “Vertigo” on the restaurant’s sound system.  I whipped out my iPhone, and as I do from time to time, I posted something snarky and nasty on Facebook about the song and the band. Almost immediately I got feedback, the general consensus: What the hell is wrong with you, Jason? U2 is awesome.      

A long time ago, I used to fall to peer pressure when it came to what was hip or cool,  but those days are long since passed.  I like what I like and I don’t give a fuck.  I purchased the first two Lady GaGa albums, and I’m admitting it! On my Axl Rose-themed music blog!!! So believe me when I tell you, I like you but I could care less what you think of what I like or don’t like. When it comes to U2 I’m so torn.  On one hand, I love classic U2.  I think THE JOSHUA TREE is an amazingly, triumph of an album.  On the other hand, “Vertigo” is pretty much the worst U2 song ever.  Their current output has left me cold at times, though I did finally come around on their last album.

I remember in the early 1990’s when U2 came to Kansas City to film a music video for “Last Night On Earth” and how all the people who interacted with them said nothing but nice things. I remember when I thought U2 was lame and over-the-hill…and then ALL THAT YOU CAN’T LEAVE BEHIND came out and proved me wrong.  

I saw U2 in 2001 a month after 9/11 and Bono had me in near tears projecting the names on the side of our local arena–so when I tell you that U2 is one of the most disappointing bands I’ve ever known, realize that comes form a place of love.  What disappoints me about them? The same things that I find disappointing in myself: they’re lazy.  U2 used to consistently put out fucking life-affirming, kick-ass rock music. Music that was not only bad-ass but had a clear message either about how fucked up our world was or how it could be a better place.  This year? I’m listening to U2 sing in Spanish about what? 1-2-3?

What’s wrong with “Vertigo”? Where to start…how about it’s not nearly as good as “Another Day.”  I bet you’ve never heard “Another Day.”  Don’t feel bad if you haven’t, it just means you got laid in High School and aren’t crippled by your obsession of obscure rock music like I am.  The song came out in 1980 just before U2 released their first album BOY, and it’s my all-time favorite U2 song.  The song, which features a memorable punky-yodel from Bono, and vaguely recalls a Steve Miller song, is great for none of the reasons I like U2.

Only 2 luftballons…

It’s not particularly political and doesn’t make any large point.  The song is super-unique musically (again, I swear there’s a Steve Miller song that sounds just like it).  So why do I love it?  “Another Day” is pure and fun.  There’s a simple, but awesome guitar lick and Bono sounds like he’s having fun.  The song also has a bit of a tough-edge (pun intended) near the end with the Edge’s guitar solo…but it’s not an over-the-top wank-fest.

“Another Day” is a young, hungry band having a blast…”Vertigo” is an bunch of old men resting on their laurels.  If you can honestly listen to “Another Day” and tell me “Vertigo” is a better song…then you’re completely delusional and need professional help.

Seriously though, “Another Day” is a lost classic that I love dearly.  Long live U2.  Fuck “Vertigo.”

EDIT 10/25/2012: So while I was writing this I was trying to figure out which Steve Miller song “Another Day” reminded me of.  Today at work it came to me, like something from a dream–“Swingtown.”  It’s the vocals, nothing else really is similar.  Anyway, mystery solved.

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Sep 18 2012
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Songs & Singles

“3 Pears” by Dwight Yoakam

Inspiration, it is said,  can come from the most unlikely of sources.   Case-in-point: I heard an interesting interview with country-singer Dwight Yoakam today.  He was promoting his new album 3 PEARS, and he said that the title track was inspired by Martin Scorsese’s documentary about George Harrison.  There was footage in the documentary of John Lennon goofing-off and wearing three pairs of glasses.  It was a blink-and-you’ll-miss-it kind of moment, a throw-away bit of footage that stuck with Yoakam and inspired him to write a song.

As a music geek, and a student of humanity, I find these little anecdotes to be priceless nuggets.

Uno. Dos. Tres.

Yoakam talked about the duality of Lennon–how much he loved to joke but how sad he was inside.  The three glasses make an almost-mask, covering his face, a perfect metaphor for how Lennon used comedy to hide.  Yoakam’s song, called “3 Pears,” a joke-title no doubt an homage to how Lennon’s band chose to spell it’s name, is really good.

The song is a fun bit of hippie-country, the kind that’s sadly in short supply these days.  I really dig how Yoakam lyrically invokes Lennon with a couple of pseudo-psychedelic phrases.

My favorite:

“That means where you are is where you at
When your head is cold, to ṗut on a hat”

“3 Pears” is a shiny-happy song that really surprised me, and I’ll bet it’ll surprise you too.  Check out the rest of 3 PEARS while you’re at it–it’s a damn fine album.

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Sep 17 2012
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Songs & Singles

“Who” by David Byrne & St. Vincent

I’m not sure what I was expecting when I heard that David Byrne and St. Vincent had gotten together and made an album.  I just knew that I had to hear it.  A few months back I got on a Talking Heads-kick, so I was interested to find out if Byrne still had it.  And my it I mean: a propensity for the tasteful, the odd, and the tastefully-odd.

The Talking Heads were cultural anthropologists masquerading as a strange-sounding band.  It’s kind of a miracle to me that they were even popular in the 1980’s.  When I was revisiting their hits like “Burning Down The House,” “Wild Wild Life,” and the sublimely weird “Once In A Lifetime*,” I was struck by how un-pop The Talking Heads were. That they played on the radio along side Cyndi Lauper and Bruce Springsteen is utterly amazing to me.

Surely, I thought to myself before listening to “Who,” old-man Byrne has mellowed with age. Well fear not purveyors of all things freaky, David Byrne is still really strange.  I don’t really know much about St. Vincent except that she’s an indie-darling with a weird name who’s supposedly a really good guitar player.  Instead of being the chirpy song-bird I thought she was, I discovered that St. Vincent is more of a mysterious siren (color me curious about her solo-work).

Byrne and St. Vincent’s future so bright…they gotta wear shades.

The first song on LOVE THIS GIANT, “Who” is also the lead single.  It’s a daft and loopy number,  built almost entirely around horns and thumping drums (so much for St. Vincent’s guitar work).  Lyrically, “Who” is a series of semi-profound questions posed by Byrne, which is beautifully answered a single chorus from St. Vincent: “Who is an honest man?” It’s brilliant, catchy, auteur-pop that reminds me of fellow 80’s-freak Peter Gabriel’s solo-work.  LOVE THIS GIANT is a fantastic collaborative effort between the two artists, but “Who” is Bryne’s baby.  This one wormed it’s way into my heart, give it a listen and see if it doesn’t do the same to you.

Turns out Byrne still has it.  

*A song that I desperately need to analyze in a post all-to itself.

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Aug 31 2012
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Ramblings, Songs & Singles

“Drug Chart” by The Flaming Lips

Ever since I saw The Flaming Lips on Sunday night, I’ve been obsessed with their song, “Drug Chart.”  The song was a mystery to me at the show, so afterwords I did a little research and found out the song was part of their Gummy Skull series.  Part awesome limited-edition packaging, part thumbing of the proverbial-nose at modern music distribution, The Flaming Lips put out some songs on a USB encased in a life-sized candy replica of a human skulls.   They’ve been charging a few hundred bucks  per skull and only made a small quantity, which is super-cool if you were a bit well-off and able to buy one.  I’d heard of this project, but didn’t realized they’d been doing it for more than one song release.  Apparently they put out a bunch of music this way back in 2011.

“To listen, or not to listen…that is your question!”

Thus, the reason I was totally bewildered by “Drug Chart” on Sunday, was because it was a very limited released song.  It’s a strange song and an even stranger choice for the band to play live (especially at a festival).  The song opens with a hypnotic drum roll and anemic baseline.  Just when you’re nice and lulled, Wayne starts coo-ing about a litany of drugs, including marijuana and crystal meth.  Does that sound incredibly stupid to you?  It kinda is…but for some reason, I fucking love this song.  I can’t even explain why I love, because I can barely understand it.

The mysterious quality to the song is appealing.  But it’s more than that.  I can’t quite put my finger on it.  I wish I could read the lyrics, but alas I have been unable to find them online (I will be your best friend forever if you find them).  I guess it’s just as well, I’m sure I’d be disappointed if I was able to decode the song properly.  For now I’m content to let the mystery wash over me: I’ve been listening to it on repeat and enjoying the rush.

If you’re a bit of a freak, youu can listen to the song:

And if you decided you want to take multiple “trips” like I’ve been doing…you can go here and download the whole thing for free, along with all the other Gummy Skull songs. You can even download the song “7 Skies H3” a 24-song(!).

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Aug 20 2012
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Ramblings, Songs & Singles

The Legend of “You Really Got Me”

Perfection.  There are some who think perfection is only an idea, a theory that can never be truly realized.  And then there are people who have heard “You Really Got Me” by The Kinks.  I have nothing against complex, intricate music; I think there’s something to be said about an intricate symphony.  But when it comes to rock music, simpler is always better.  When Ray Davies wrote “You Really Got Me” in 1964, I’m confident that he wasn’t aware of the importance of what he was doing, he wasn’t trying to change the world, just write a tune.   But as one of the first successful songs built exclusively around a power chord, “You Really Got Me” proved hugely influential.

Simply put, heavy metal and punk rock could not exist without “You Really Got Me.”  That is not my opinion, it is a fact.

The riff that launched a 1,000 bands. It’s the rock music equivalent of E=MC2

But besides being built around a simple, repetitive power chord, “You Really Got Me” is notable for a unique distortion effect created by guitarist Dave Davies who cut the speaker cone of his amplifier with a razor blade.  The simple song with a unique sound was an instant hit, and saved The Kinks.  According to Ray Davies, the band’s record contract included a provision that The Kinks had ave a hit within three songs or their label would drop them.  The band’s first single, a cover of “Long Tall Sally” and follow-up single “You Still Want Me” proved to be dismal failures.  That put an incredible amount of pressure on the band, who literally had one shot to write a hit song or lose their deal with Pye Records, their record label.

“Fuck Off”

Interestingly, there are two legends surrounding the song, both involving the song’s guitar solo.  One of the rumors circulating is that Page played the guitar solo on “You Really Got Me,” but he didn’t.  During the 1960’s, Jimmy Page was the world’s most unfamous, famous guitar player.  Instead of being in a band, Page worked as a session man, or hired gun, playing on just about any and all tracks that paid.  He wasn’t well-known to the general public, but behind the scenes he was well regarded as a top-session guitarist.  Ironically, more people probably heard him play anonymously than when he was in  Zed Zeppelin.  He’s even on the theme-song for GOLDFINGER of all things.  And while The Kinks did use Page as a session player, he didn’t play on “You Really Got Me.”  The truth, it turns out, is stranger than fiction.

Ray Davies amazingly claims that not only did Kinks guitarist Dave Davies play the guitar solo, but that the word “fuck” is in original recording of the song.  The story goes that as the band was recording the song, Ray shouted to Dave Davies (in encouragement )as Dave started to play the solo.  Misinterpreting this gesture (imagine if you were about to record a solo and someone just randomly yelled at you) Dave, who was standing before a hot mic, allegedly told Ray to “Fuck off.”  Ray Davies claims that they kept the take, and that the band tried to cover it up with an “Oh No” but that it’s still there.  Davies says that with improved CD-quality sound technology the “fuck off” is quite audible.  After studying the song for several hours, I can tell you that there is without a doubt an “oh no!” just before the solo…beyond that…I just don’t hear it.

Regardless, “You Really Got Me” is an amazing song that launched the career of The Kinks and also changed rock music forever.

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Aug 13 2012
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News Like Item, Ramblings, Songs & Singles, Videos

New ZZ Top Song Is Pretty Radical

Last Wednesday I packed a bag and hit the beach.  Vacations are fun, but long flights suck, which is why I always hit the local bookshop for some rock magazines before I go anywhere.  I tend to read books while in the air and nervously flip through magazines during the pre-boarding activities.  Anyway, I picked up the latest issues of my two all-time favorite rock ‘zines: MOJO and Classic Rock Magazine.  Both are British, come with a free promo CD, and are ridiculously expensive for this Missouri boy.   But despite the small fortune I had to shell out, they were both worth it (tangent: why are there no good American music magazines?).  Now that I’m home, I’ve been spending a little time with the promotional CD’s, which is a fun way to come-down from a vacation.

This month’s Classic Rock Magazine featured a ZZ Top cover-story and this month’s CD  has their new song “I Gotsta Get Paid.”  The song is off their forth-coming album LA FUTURA.  I’ve never written ZZ Top off, per say, but I’ve never eagerly anticipated their more recent albums either. Expecting a by-the-books “Dinosaur of Rock”-type album I pretty much wrote LA FUTURA off.  But then I heard that the bearded boys had fired their managers and hired super (bearded) producer Rick Rubin to produced LA FUTURA.  Needless to say, my interest perked up considerably.

Rick Rubin, the 4th member of ZZ Top.

So how is the song?  “I Gotsta Get Paid” is actually pretty damn good.  The song, a pretty obscure cover of “25 Lighters” an old rap song by DJ DMD, has an appropriately swampy groove.  Billy Gibbons voice is just getting better (and scarier) with age.  The song, while heavily influenced by Rubin, remains true to ZZ Top’s blue roots.  Rubin’s got a knack for taking older acts and breathing new life into their careers, and from what I’ve heard of LA FUTURA, it sounds like he may have done it again.

You can listen to the first four songs of LA FUTURA on Spotify (released as an EP titled TEXICALI).  Give it a listen and tell me what you think:

And for those that are interested, here’s the original version of the song:

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Aug 06 2012
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Ramblings, Songs & Singles

“Reelin’ In The Years”

Like coffee, Steely Dan is a bit of an acquired taste.  I grew up in a household where, for a few years, there were only two CD’s in the house: The Beatles REVOLVER and A DECADE OF STEELY DAN.  That greatest hits compilation gathered quite a bit of dust.  The appeal of a band like The Beatles is instant and able to transcend age and experience.  The appeal of a band like Steely Dan is…a bit more complicated.

To be fair, I never gave Steely Dan more than a causal listen before casting them off as “lame.”  I must say, the band has a certain reputation among rock fans, many write them off as “dad rock”, self-indulgent, and worst of all: boring.  One of my all-time favorite comedians, George Carlin, even has a pretty funny joke that has the lameness of the band’s fans as part of it’s punchline.  Another factor at play in my inability to fully enjoy Steely Dan was my own ignorance of jazz.  Steely Dan, unlike most rock bands, are more jazz-influenced than they are blues-influenced. Jazz is a funny thing, and like coffee (and Steely Dan) a bit of an acquired taste.

“You been tellin’ me you’re a genius
Since you were seventeen
In all the time I’ve known you
I still don’t know what you mean”

And so, I remained ignorant of the greatness of Steely Dan until my second-to-last year of college.  I was driving home from school one autumn afternoon when I heard “Reelin’ In The Years” on the local classic rock radio station.  I’m sure I’d heard it before, but I must not have been ready because that afternoon I was struck-dumb by the song.

“Reelin’ In The Years” is  awesome for two reasons: the blazing guitar work and the incredible delivery of the lyrics.  The guitar work is exceptional, so much so that guitar god Jimmy Page has been quoted as saying that the guitar solo in “Reeling In The Years” is his all-time favorite solo.  That’s mighty praise.  Singer Donald Fagen has gone on to sort of roll his eyes when it comes to the song, calling it “Dumb but effective.”   And I guess it’s effective, like a shotgun’s effective when fired within a foot of it’s target.  To be fair, “Reelin’ In The Years” is a great blunderbuss of a song compared to the more nuanced work Steely Dan produced over their long run.  I guess the fact that it’s more of a straight-up rocker is part of the reason it’s the most-played Steely Dan song on classic radio today.

“Reelin’ In The Years” would be an noteworthy if all it consisted of was Elliott Randall’s out-of-this-world solo-but then there are the song’s lyrics, which perfectly match the quality of the guitar work.  Like all of Steely Dan’s best songs, “Reelin’ In The Years” is equal parts bitter and wistful.  “Reelin’ In The Years” is accusatory and at the same time filled with a sad-sort of desperation.  Steely Dan’s lyrics are famously opaque, but on “Reelin’ In The Years” the band is a bit more on-the-nose obvious than usual, without the usual literary flair or West Coast double-talk found in most of their songs.  I think that’s another reason why the song is so popular on classic rock radio: it doesn’t take a PhD in English to figure out what the hell the song is about.

Admittedly not the coolest dudes in rock.

All the best lyrics in the world don’t mean anything if the delivery is off, though.  The lyrics, though a bit dumbed-down as far as Steely Dan songs go, are delivered spectacularly.  They come come fast and furious.  There’s so much venom in Fagen’s voice as he spits the words out, his voice barely keeping up with the wailing guitar.  The amount of information, the sheer volume of emotion and narrative conveyed so perfectly and so quickly it’s downright Dylan-esque.

The song ended and I switched off the radio.  I went home and got online and started reading about the band, trying to figure out which album I was going to buy first.  A month later I went back home to visit my parents, before I left I found that dusty copy of A DECADE OF STEELY DAN.  Without asking, I slipped the album into my duffle bag and have never looked back.  I never thought I’d be a Steely Dan fan, but I am.

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