Santa's Funky Grooves

What is it about the Christmas season that changes all prior held images of rock iconography and reduces musicians to the likes of Pat Boone and other squeaky-clean crooners? Call me a scrooge but who ever said that Christmas songs had to be happy? Why do we expect the most embittered and enraged artists to eschew the very things that made us enjoy them in the first place just because it happens to be the day after Thanksgiving? The answer: The Christmas Album.

Every year, record companies roll out holiday compilations that turn up the schmaltz with either classic renditions of cheesy Christmas tunes or have artists create their own brand of sap (e.g. Jimmy Buffett's Merry Christmas, Alabama). What should these artists do instead, you may be asking. Should they make sad, angry tunes about suicide and cancer in order to put you in the holiday spirit? Am I suggesting that Madonna sing about Rudolph's inoperable brain tumor or Santa's aching back? Certainly not. I am just looking for a little consistency. If you are a band who have made your living writing songs about social injustice or crushing loneliness, why should this stop just because its Christmas? If your guitarist was a big fan of minor chords and heavy, distorted dirges, why would you simply play the same holiday songs everyone else plays? This is why holiday albums get a reputation for being fake, cliche' and hackneyed. Who wants to hear Twisted Sister cover "I Saw Mommy Kissing Santa Claus"? (Don't believe it exists? The album is Twisted Christmas and believe it or not, it is relatively new, released October 17th, 2006). So, for the sake of your holiday listening, here are The Top 5 Original Holiday Songs. Keep rockin around the Christmas tree.


1. "Christmas in Hollis"-Run D.M.C.: Released in 1989 on a compilation entitled A Very Special Christmas, this track tells the story of a chance encounter between Santa and the badest rap crew this side of the Queens Borough Bridge. The lyrics here are phenomenal and the horn sample is as funky as it gets. But the true genius behind this one is the greeting-card-style message it gets across without stretching the general style of the group beyond what a typical fan of Run D.M.C. would expect. You get clever but warm holiday lyrics, a good story, a funky beat and some clever rhymes. What more could you ask for?


2. "Santa Claus Go Straight To The Ghetto"-James Brown: From his 1995 album Funky Christmas, the Godfather of Soul testifies, singing about Santa bringing toys to those who need them most. James delivers his standard brand of funk and soul with a conscience for the people he grew up with. "Santa Claus, the soul brothers need you," he wails over the juke-and-jive groove. How will Santa get his sleigh to the ghetto, you ask? James suggests he "take it to the bridge!"


3. "I Won't Be Home For Christmas"-Blink 182: Blink 182 has made a career out of destroying punk rock. I mean come on, well-sung harmonies, complex riffs, songs longer than three minutes, so not punk rock. But Blink can always be counted on for clever, catchy, slightly edgy lyrics. So I guess it comes as no surprise that they went with an embittered Christmas anti-anthem, singing about chasing away carrolers with a baseball bat and spending the night in jail. This song has all the bitter rage you would expect from the trio that spent most of the late nineties singing about angst-ridden teen romance over three chord changes and power-chord riffs. This one, though, has a brand of anger that has no filter. It would be easy to write the song off as trite and over the top. But the song is very catchy and, more importantly, Marc Hoppus is very believable as a Christmas-hating asshole.


4. "Happy Xmas (War is Over)"-John Lennon: This song has to be on the list mainly because it is so indicative of its composer. Lennon once said "Imagine there's no countries / It isn't hard to do / Nothing to kill or die for / And no religion too." So it may strike some as ironic that this same man composed a song so widely celebrated as one of the most heartfelt Christmas anthems of our time. But down to his title (notice he uses Xmas, taking Christ literally out of the equation) Lennon seeks to express the universal good tidings of the holiday season. Many saw Lennon as being anti-religion (especially those of our governmental forbearers who tried to have him deported in 1972), but this was a man who was anti-war. He was a messenger for peace first and foremost. He may have seen religion as a precursor to war, a practice that has caused more problems than it solved, but this is a song that reminds us to be thankful for the things that we have and to love and respect each other around this wonderful time of the year. It is a beautiful song that loses nothing of the composer's persona or public iconography. And compare it with McCartney's famous sap-fest "A Wonderful Christmas Time." Yuck!


5. "Linus and Lucy"-Vince Guaraldi Trio: A taxi cab ride in San Francisco is where Charles Shultz and Lee Mendelson (producer of the Peanuts Christmas Special) first heard the Vince Guaraldi Trio. Schultz was in San Fran searching for musicians to score his beloved Peanuts characters through their first television appearance in 1965 when he heard a live Guaraldi performance on the radio. He insisted to be taken to the club and, upon arrival, introduced himself to Guaraldi and offered the already Grammy-winning artist the chance to score the upcoming Peanuts special for ABC. Guaraldi accepted and the rest is history. Besides being one of the best selling jazz albums of all time, A Charlie Brown Christmas is an American classic. I defy you to not get nostalgic listening to Guaraldi's serene but playful, joyous but respectful, and altogether sublime piano playing here. And the track I refer you to here is not even a Christmas song in the traditional sense of the word. "Linus and Lucy" had crossover appeal beyond the realm of a traditional Christmas song. So much so in fact that it became the theme for Peanuts specials later on. "Linus and Lucy" has all the joy, all the giddiness and all the unfettered beauty that come with the holiday season. But Guaraldi achieves this joy without resorting to sappy major chord swells, without cheesy lyrics, without twinkling sleighbells. This is a complex, intricate jazz piece with all the skill and precision jazz fans might expect from such an accomplished musician. But since it was introduced to the masses as a Christmas favorite, it has become a holiday tradition in many homes across the U.S. This song is a Christmas masterpiece.



Christmas came early this year, everyone. Unwrap these unabashedly original and unique holiday tracks and get into the season. Merry Christmas.

"Music saved my life, man"

Remember back in my first post when I said I had a dysfunctional relationship with music? This is the time when I explore that a bit. Many people, when pressed, will revert to their interests to categorize themselves. For example, if I were on a date with a woman and I said "so, tell me about yourself," the woman, for the sake of this aside lets call her Samantha, would most likely say "I love fashion," instead of saying "I am very fashionable." One term shows her interest in fashion while the other, while more accurately answering the question, shows less about the person. The statement "I love fashion" opens up many more potential questions from the man across the table (me) but does it really mean anything? Someone who was interested in getting laid might try to engage this kind of shallow response with a question like "Really? Do you design your own clothes?" But if I were on a date with Samantha, I might ask her if she meant what she said.

Here is what I mean: I might say something like "Really, Sam, how much do you love fashion?" Or, more interestingly, "do you feel it is possible to love something that cannot love you back." But as I said above, if I were trying to get laid, this would not be the route I would travel.

Why would I so purposefully skewer a perfectly amicable conversation with questions of minutiae and vernacular? Because I have been on many dates and, more often than not, I will be asked to describe myself only to respond with the bland, blase' response "Well Samantha, I really love music." But as I get a little older and, hopefully, a little wiser, I wonder if this is a legitimate response. There was a time when I would not be able to tell someone how much I love music but it seems the older I get, the more my love of music boarders on a psychosis that becomes easier and easier to define. But it scares the bejesus out of me to do so.

Here is what I mean: Have you ever heard someone say that some kind of music saved their life? Have you ever been at a sweaty basement rager in the circle pit for a no name punk band and heard some skinny, tattooed dirtball with a multicolored, glue-lacquered Mohawk claim that punk rock saved his life. That, without the thrash of distortion and the visceral stomping wails of his punk rock gods, he would probably be lying dead in a ditch somewhere? Or some MTV gangbanger decked in the finest FUBU gear regaling his preteen audience with stories of his days as a Bed Sty crack dealer say "Hip Hop saved my life"?

As pretentious as these statements sound, I cannot help but be a little jealous. I would love to be able to say, without a hint of irony or satire, that music saved my life, man. Because I have loved music since I was a little kid pumping old Ray Charles and Roy Orbison tapes through my hand-me-down walkman, I would love to be able to describe my connection to pop music in such a simple, expedient way. But I can't. I can't even say that music has helped me through any particularly hard times. But still I dream.

So submitted for your approval, The Top 5 Ways I Hope Music Will One Day Save My Life. This list should help my dating conversation in the future.

1. I get pulled over by the police for some summary violation, running a stop sign perhaps, and the police officer, upon hearing my intelligent but eclectic musical selection, lets me go with just a warning, dancing along to the beat as I drive off.

2. My iPod is stolen and the perpetrator, upon hearing my diverse, classic yet progressive musical taste, returns my device with a thank-you note, describing how my musical choices went on to affect his life. I do not so much care if it changes him for the better or for the worse. If he listens to some of the more upbeat, new wave, indie pop or '60's bubblegum hits, he may straighten up and fly right. If he opts for some of my punk rock, rap or metal favorites, his criminal impulses may become magnified. But as I said, I don't really care.

3. I have had this fantasy about just about every girl I have ever dated. I dream that this girl (Samantha, perhaps) dumps me for Kevin, the captain of the football team and I am crushed. I spend days in my room all torn up over being dumped and, like all sad music fans, I lean on my only crutch: my record collection. After days of depressed but faithful listening, it hits me. I'll make her a mixtape. The perfect combination of songs to describe my love for her, her love for me, the private jokes we shared and, most importantly, the emotional connection of it all. This last bit is especially important. Since you are using someone else's art to explain how you feel, you must be careful of things like order, timing, pacing and mood. This mixtape is not truly effective unless it includes all songs that describe your feelings but also conveys that feeling as a whole, not just a sum of its parts. In the fantasy, Samantha finds me one day after work, and she is crying. She runs to me with the jewel case in her hands and says "I have listened to it 200 times and I have realized that I love you." She takes me back. Suck Shit, Kevin.

4. I have thought many times about being the DJ for a famous funk bands afterparty. A while back, Esquire published a story about a writer who got to attend one of Prince's famous blowouts. I always dreamed of being asked to pick the music for an event like that and being able to spin all the party albums that never get played at real parties by people my own age. I would show off my knowledge of the Disco era while spinning some new favorites (Jamiroquai, The Boogie Hustlers, Galactic) and some classic soul hits. After the party quieted at around 4am, the Purple One would approach me and ask me to make a playlist for him and his ladyfriend for the evening as they were headed to bed. I would do so and leave the party the happiest DJ alive.

5. This last one actually came true for me recently. I have always dreamed that my vast taste in music would catapult me forward in the working world. I have dreamed of a day when I would be driving my boss to a meeting or playing a stereo in the brakeroom and the boss would hear it and comment on it and the two of us would hit it off and I would develop further job security or perhaps even a promotion because of it. How did this come true for me? I was working at a pizza place in 2004. The job was easy enough but fast paced. I am a slow moving kid by nature and did not necessarily fit the pacing this shop deemed necessary. My smart ass bosses quickly nicknamed me rocket and I became the stuff of legend. But I was clueless as to how close I came to being fired after my first month working there. A few weeks after I started, my boss noticed that I was more interested in the music we were working to than the work getting done. He asked me to compile some songs for his wedding. He liked my choices so much, he played many of them at his wedding and chose one to be his official wedding song. He later told me that the only reason I didn't lose my job there after a month was because of my ability to converse on music and effectively choose music.


So I guess music did save my life after all. Or my job anyway. One dream down, four to go. Keep on dreaming, you fuckin dreamers.

Out of the Cave

I'm an old-fashioned chap. I drive a beat up American car, I keep all my notes and daily reminders hand-written on a legal pad, it took me until my second year of college to get a cell phone and the only reason I got one then was because my dorm didn't offer phone service to individual rooms. I don't trust technology further than I can throw a full sized Apple II. If I had been around in the days of the cavemen, I would have been watching the others make fire, going "What if it burns down our caves and huts?"
Despite my technofobia, there is one realm of my life where I fully embrace technology: Music. I have plugged my soul deeply into the USB port of the music industry and downloaded the universe to my various devices. I have mined the data caverns and unearthed a few diamonds. I have read the writing on the walls and interpreted the cave drawings and have come out wiser.
Barely. When I first started out, I was alone in this carbon fiber jungle with nary a high powered combination flashlight/PDA/Phone/Camera/Waffle Iron to guide me. But now that I have embraced these technological advances, I can begin to see the digital forest for the digital trees (I am of course describing my digital screensaver that has both a forest and trees).
Technology, dear readers, is changing the music industry! Shocker! Yes, its true. But which technologies are truly revolutionary and which are going, going, gone? Well I am not sure. But I can tell you which seem to be changing things tremendously. So, submitted for your approval, here are the Top 5 Technological Advances Changing The Music Industry.



1. The iPod: My father misses record stores. He lies awake at night, pining for the days when he would find a formidable mind for music behind the counter, waiting to engage in a battle of wits while unearthing the most recent Dixie Chicks release from the depths of the Pop/Rock/Country section. My father longs for a record store experience that probably never existed. Because like every other wholesome, nostalgic concept in America, chains took that wholesome experience and watered it down until it was unrecognizable. Do I really need a prepubescent bass player arguing with me over which Stones album rocked the hardest? Well all I can say is back off Bill or Ted or whatever it says on your Sam Goody lanyard. I can do your job from home.
The iTunes music store has almost single-handedly made the common record store obsolete. But it is more than just the digital experience of a once analog exercize that makes this service so omnipresent. Its some damn good marketing. Apple did it right. They used their commercials as yet another gateway into the world of music, which is essentially what they are selling. Those silohouetted dancers reminded people how great discovering new music is.
Not only the TV ads, the basic product itself is an advertisement. When the iPod was first released, Apple outfitted each new iPod with a pair of white ear buds. WHITE!? But monochromatic black rubber wiring is all I have ever known. And ear buds? The black headband style is so stylish. But headphone purists be damned, Apple went ahead anyway and immediately achieved brand recognition off of every unit sold. Now no matter where you are, if you have white headphones, everyone knows you have an iPod.
And just as an aside, I love the diversity this machine grants me. I would like to issue a challenge to anyone out there who reads this blog (all 9 of you). I contend that I have the most diverse selection of music on any iPod in the universe. There is something for everyone and, perhaps more importantly, something everyone can puzzle over ("why do you have so much Linda Ronstadt?", "Who is Habib Koite and Bamada?"). What can I say, there is something about knowing that I can listen to the Alvin and the Chipmunks Christmas album any time I want that gives me a sense of pride.
Because of this diversity, I happen to enjoy the shuffle function a great deal because I never know what I am going to get. Picture this: I can get from 3 Inches Of Blood to A Flock Of Seagulls in just four turns of the click wheel. I never hear three consecutive like songs. This is not me bragging about my musical knowledge. This is a planned, orchestrated feel that I want in a portable jukebox. Don't get me wrong, I love all these songs. But the diversity is really important to me.
According to the Recording Industry Association of America (RIAA), internet downloads and online music sales have increased from 2.9% to 14.2% since the release of the iPod in 2001. Apple has watched its stock price climb from $9.50 in 2001 to $59.95 in 2005. These numbers have high powered music execs seeing red. In the same year as Apple reported its highest jump in profit, New York-based Warner Music, which employs Madonna and rapper Mike Jones, reported third-quarter losses totaling $179 million, causing Warner CEO Edgar Bronfman Jr. to call for a raise in the per-song price of digital downloading at a Goldman Sachs conference in New York. The Seattle P-I Business Times quoted Bronfman, saying “"The market ought to be able to decide, not a single retailer." Apple CEO and founder Steve Jobs chocks this reaction up to greed and said that attitudes like those expressed by Mr. Bronfman will only lead to increased piracy, as he said in a Paris news conference in early 2005.
Apple now reports more than 600 million songs sold since their launch in 2003. These rates are reportedly on the rise as the site currently reports sales of 1.8 million songs a day worldwide. As big-label execs refuse to adapt, the people have spoken and continue to have their voices heard. Tired of paying $16 a disc, music fans will continue to rally against the man and get what they want. Can you get more Rock & Roll than that?

2. MySpace.com
MySpace is another technology I was slow to embrace. But now that I have, I see it is a wonderful tool for getting recognition as a musician or creative person. With just a few clicks, you can be inside someone's entire world and that is wonderful...if you are into that sort of thing. Personally, when I first started on MySpace, I thought it was a lot more effective as a mailman for spam and shitty webcams than for intellectual and creative networking. But once I began searching, I found a lot of new music to listen to and a lot of new ideas being shared and it has really changed how I find and listen to new music. File sharing and illegal download sites, while drastically hurting the income of major labels, have helped indie artists gain exposure. Now MySpace stands to be the go-to source for independent music. But just how far will the site be able to go?
MySpace plans to sell the music of 3 Million independent artists on their hugely successful friend-file data bank. Bloggers all over the web have been putting their two cents in on this issue. Blogger Mark Evans sites MP3.com, a website boasting all independent music that has been a dismal failure. But with MySpace’s network of over 100 Million members, finding a viable market strategy is a must.
The site has proven its worth as a barometer for bands looking to test the strength of their fan base. Listeners can send comments and messages directly to their favorite musicians, get concert updates and even preview upcoming album tracks before they are released. And this service is completely free. Some bands even have links to download their music. It remains to be seen how far music fans will follow MySpace and if the indie web giant can put a dent in the iTunes internet-music monopoly.

3. PitchforkMedia.com
Quite possibly the most well-written, consistently clever and decidedly in-depth music journalism site on the internet to date, Pitchfork Media has made a career out of exhaustive discussion. While traditional journalists and editors may cringe at a standard album critique stretching well beyond 800 words, Pitchfork Media’s tagline touts the site as “The Home of the Gratuitously In-Depth Record Review.” And nerds like me eat it up with a spoon.
The site was started in late 1995 in Minneapolis, Minnesota by a young high-school kid named Ryan Schreiber. Influenced by local college radio, Schreiber wanted to create a new way for fans to hear local music. Schreiber started locally, in the blossoming Minnesota music scene. By 1999, he had enough clout to publish 4 reviews a day, along with a cadre of columnists and reporters adding articles. The site is now headquartered out of Chicago and publishes daily, giving the most lengthy and meticulous analysis currently available in a music publication.
Pitchfork does not stop at record reviews. The site interviews artists from all music genres from soul to hip-hop to folk to electronica. Columnists, blogs, download links and new featured artists are also available every day. The site even has single track reviews.
Where some sites will publish 200-400 words on an entire album, the writers at Pitchfork can write about one track from an artist. Where else can an independent artist get this kind of publicity?
The site currently boasts 170,000 readers a day and has been cited by publications like the Washington Post and The New York Times as being a barometer for the independent music scene. Bands such as The Arcade Fire, Clap Your Hands, Say Yeah! and Tapes n’ Tapes have all commented on Pitchfork’s involvement in their success.
So stay abreast to the newest indie music with the most nerdy, most amazingly passionate, most strikingly meticulous music site out there. Who knows, you just might learn something.

4. YouTube.com
By now, everyone has seen the OKGO! video on YouTube. We are all familiar with the pitch-perfect choreography of Damien Kulash and company jumping over, under and around six moving treadmills. As of October 16th, the video has been viewed over 7 million times, making it the 9th most viewed video in the history of YouTube.com.
What has this video popularity done for the band? The unconventional and extremely low-budget videos left the band with a huge publicity budget. The video’s underground popularity has led to appearances on the Colbert Report and the MTV Video Music Awards, where the band performed the full treadmill dance. Since the MTV performance, OKGO’s album, Oh No has reached as high as #2 on the Billboard album charts.
Not bad, considering Capitol Records contributed no money and had no knowledge of the production of the video. The choreography was done by Kulash’s sister and the video reportedly cost less than $20 to make.
YouTube has allowed many artists to distribute videos who otherwise would not have the chance. Bands like The Black Keys, the Raconteurs, and various lesser known acts have produced videos of a more artistic, creative caliber than those you might see on MTV. But this is not the only way YouTube is seeking to supplant the Music Television giant.



In an interview with Reuters, YouTube co-founder Steve Chen expressed his vision to collect the rights to “every music video ever made.” His target is 12-18 months and his progress has not been as lacking as some may suspect. YouTube’s popularity and market viability would lead many to ask where the lawsuits are. Surprisingly though, record labels have turned a blind eye to the numerous copyright laws broken by the site on a daily basis. But as the site gears up for its biggest project ever, they will have to deal with the labels they have been able to exploit.
Think about the possibilities of this though. How many scorned music fans have bemoaned the loss of MTV as a source of music, watching the channel instead become a melting pot of reality TV banality? How many have turned over to MTV 2 hoping to find musical solace, only to find the newest reruns of Pimp My Ride and Laguna Beach? YouTube seeks to provide a home for all those music fans who miss seeing their favorite stars express themselves visually. All videos past and present, there for the taking.
If successful, YouTube could reopen an entirely new source for music. And allow you to watch Lionel Richie’s Hello video whenever you want. What more could you ask for?

5. Nugs.net
While many fans may see the live music streaming site Nugs.net as a haven for hippie jam-heads, the ability to hear a band’s live performance before you buy tickets is a huge resource. And since the site’s facelift in late 2004, the artist list has expanded to include many different types of music.
Nugs.net started out as a tape-trading site for Grateful Dead and Phish fans to share concert recordings and musical tidbits. The site then became a stash of free concert downloads and short concert stories. And while the site still has a link to many of the free concert streams, they have updated the scope of their news and links, they have added a streaming radio station and they have begun offering new concert streams and downloads for a small fee.
Nugs.net brings the concert experience to the listener. This has many implications for both casual musical observers and die-hard fans. If you are interested in a band, for example, and you know a few songs and a friend invites you to their concert, you may want to check out a live stream before you shell out $30 for a ticket. And for a die-hard fan, you can leave behind the days of posting on message boards and tape-trading sites to find concert recordings. Nugs.net has it all laid out for you.



These musical breakthroughs are a positive for my generation. It shows our ingenuity and refusal to conform to unfair industry regulation. It shows our creativity to invent despite the censorship of corporate record labels. And it allows us to get music for free! So surf on, web crawlers, surf on.

Side One, Track One

"What Came First, The Music or the Misery?"--Rob Gordon

This is the first line of one of my favorite movies. In the film High Fidelity, John Cusack plays Rob Gordon, a man struggling through life and relationships while grappling with an addiction to music. The film, adapted from the novel by British author Nick Hornby, struggles with a paradox ever-present to any music fan: songs make up the soundtrack of our lives but our lives are not always happy. True music fans have pop songs so ingrained in their everyday lives that they cannot help but be a bit conflicted. For some, music can be a crutch, an enabler. Music for some is as addictive as heroin, as emotional as religion or as alarming as electroshock therapy. Do I find solace in this music or do I hide within it? Can you love something that can't love you back? As Gordon opines in HF, "Did I listen to pop music because I was miserable, or was I miserable because I listened to pop music."

I feel I have begun to paint my little corner of the internet a depressing black with this post. I do not intend to say that pop music has made me miserable. Quite the contrary. Perhaps what I mean to say is this: I am in love with pop music but we have a dysfunctional relationship.

With this blog, I hope to catalog my obsession with music while reviewing and paying homage to some musicians who are currently producing some truly inspiring work but are not getting the recognition they deserve. But this being the first post, I would like to go through a listing exercise that the characters in High Fidelity play. In this exercise, I seek to list the best side-ones, track-ones ever produced. When playing this game, a lot is at stake. The first song on an album is the litmus test, the signpost for the tracks to come. Should it be a killer? Should it be an emotional tear-jerker? Should it be soulful or tough? What do these first tracks portray about the albums they are featured on? Hoping to make a mixtape soon? Try these openers on for size.


1. Taxman-The Beatles-Revolver

With lyrics just dripping with irony, the Beatles, who were already rich and famous at this point in their careers, complain about one of life's assured headaches: taxes. The dichotomy of feeling here between the band's working-class upbringing and their new-found fame and success is what this album strives to achieve. Before 1965, albums like "A Hard Day's Night" and "Please Please Me" showed the band's ability as songwriters. With Lennon/McCartney taking the reins almost exclusively, the musicianship continued to reflect old R&B sounds coupled with English "skiffle" rythyms from their native Liverpool. But that all changed with the release of two records: Rubber Soul and Revolver. Rubber Soul was a change in form from electrified pop tunes to a more experimental sound including Harpsichord solos and sitar riffs thrown into the top-notch pop songs. But Rubber Soul still saw John and Paul doing the heavy lifting. It was not until the 1966 release of Revolver that George Harrison was aloud to experiment, as three of his compositions appear on this album. Giving George and Ringo more room to expand musically gave this album the most eclectic feel of any Beatles album. The straight-ahead rock of Taxman is an assurance to the listener that the Beatles do not lose any cred with this experimental disc. But the irony and bitterness of the lyrics leaves promise for strange stuff to come.

2. Baba O'Riley-The Who-Who's Next

Since their infancy, The Who were a band who stood for all that is great about rock and roll. They had long hair, they sang about rebellion and anger, they smashed their own equipment, and they wrote some of the greatest songs of all time. Baba O'Riley is so many things to this album. It is experimental an exploratory, using each instrument to its full potential with no regard to radio length. It is boundless, starting off with a repetitive, hypnotic surge, pushing forth into verses interspersed with musical interplay, and ending with a tempo and genre shift with a country-fiddle stomp. But this is the best part: it still works as a pop song in spite of itself. Without a clearly defined chorus, the song runs five minutes and eight seconds; hardly a trimmed-down effort unless you take into consideration that Townsend's original composition ran over nine. But the song works alongside any other 70's rocker. The verses growl with rock intensity but Daltry's vocal swells on the "Teenage Wasteland" bits show an emotional depth and attachment to the song. This duality is what The Who does best over the rest of this album. Not one song on Who's Next is strictly what it appears to be at the outset. Listen to Bargain, Going Mobile or Behind Blue Eyes. All these songs have moments where they deviate from the original mission of the song to explore a depth of emotion beyond what is present at the outset. Baba O'Riley clearly states this song-writing trend from the outset, grabbing the listener by the throat and not letting go until the last note has expired.

3. And She Was-Talking Heads-Little Creatures

In a period of music when the notion of traditional pop music was being challenged by synth and new-wave posers and falsetto cheeseballs, Talking Heads achieved musical experimentation through a hard-and-fast commitment to traditional songwriting. Many of their songs hinge on the verse-chorus-verse-chorus-bridge-chorus framework and do not deviate. What set the Heads apart was their ability to write amazing hooks over aggressive, almost heavy metal drumbeats. With Little Creatures, David Byrne sings about how a new addition to his family allowed him to examine his own life and the new directions and challenges each new day brings. Little Creatures was a departure in a way for the band in that it was more accessible, more poppy and experimented with country and world-beat elements not before seen. Eccentricities were still present, as with all things Byrne laid his hand to, but each of these tracks is a solid, tight-knit work from start to finish. Each song has a clear direction and sticks to it throughout. And She Was shows this trend as it is perhaps the most tight, straight-forward pop effort of the Heads' career. It cements this album as a pop effort right from the beginning, establishing direction and a clear lyrical point of view.

4. Maxwell Murder-Rancid-And Out Come The Wolves

Murder, mayhem, destruction, what could be more punk rock? When the dysfunct members of Operation Ivy came together again, punk fans knew there would be some gritty tracks mixed in with some pop and ska sensibilities. Former Op-Ivy cast members Tim Armstrong and Matt Freeman had not forgotten their old band and retained some bitterness in its untimely demise. On songs like "Journey To The End Of The East Bay," the lyrics do the talking as to feelings of regret over the loss of Op Ivy. But opening tracks in punk rock are far from cerebral. Opening a punk album is all about intensity and aggression. There is no room for emotion. That is why Maxwell Murder, the most aggressive, rage-inducing track on Wolves, is so important in establishing the bitter tone of this album. In fact, the rest of the album has many angry moments lyrically, but musically feels like a celebration. The opening track has a blistering, vitriolic slam to it, but once that musical rage is released, the lyrics take the driver's seat. Op Ivy fans need both sides of the punk menu on display. Starting out with a short, guttural scream like Maxwell Murder, with its high-octane guitar crashes and one of the greatest bass solos of all time, really allows a true punk fan to enjoy the more ska-related tunes that much more.

5. Sexx Laws-Beck-Midnight Vultures

Returning to the quick-witted, grassroots funk of his early Lollapalooza appearances, Beck released Midnight Vultures in 2002. The album is an homage, with funk-and-soul-inspired tunes reminiscent of sexpots like Prince and Frank Zappa. Each track drips with soulful pop but interspersed with Beck's electronic noise meanderings that make his sound so unique. This is an album which has Beck examine seventies funk through his personal lens, producing a sound that is at once familiar and unique. Down to the two X's in the title, Sexx Laws clearly defines this principal. With a rockin horn section, a thick bass line and a driving beat that will not be denied, the traditional funk elements are here for all to see. But underneath all of this, Beck's country influences shine through the funk fury. Pedal Steel notes, parlor piano licks and even a banjo riff come through on the choruses and the closing jam. With some of the most varied instrumentation he ever produced, the sound here is tight, driven but distinct and unique. The mission achieved here is strived for on every other track on the album and that is truly what should be achieved by a Track One.


There it is kiddos. Study them, absorb them, add them to your collection. What better way to start a blog about music than to rank the best Track Ones. I hope its not all down hill from here!