e.g. mix 2006.11: The Singing in the Forest

You Can't Do That by The Beatles. John Lennon berates his hard-won sweetie for talking to another man, and threatens to "let you down and leave you flat." By today's standards, this song is thematically bankrupt. However, for me, that's part of the charm. John Lennon's brand of romantic psychosis is beautiful and terrible. And, of course, the song rocks and rolls in that oft-imitated, never quite duplicated Beatles way.
Ain't No Right by Jane's Addiction. Let's be blunt: (Jane's Addiction front man) Perry Farrell is a fuckin' weirdo. And nowhere is that more evident than in this little number from Ritual de lo Habitual. In the beginning, we have some sort of half-crazed ranting about sex, drugs, rock-n-roll, and the personal, private nature thereof. The song proper (which, incidentally, rocks hard enough to require a roll-bar) is a violently hedonistic anthem the like of which must be heard to be believed. Goddamn goodness knows, indeed.
Church on Tuesday by Stone Temple Pilots. This one time, I was talking to my buddy Isaac, and it came out that he didn't think much of Stone Temple Pilot's album No. 4. I was flabbergasted. It's my favorite of theirs, and this song is one of the reasons why. The verse is lazy, leisurely, time-signature shifting, challenging rock. The chorus seems to coalesce magically from this almost free-form verse, and is a descending chord progression laid on top of a masterful groove. My favorite part of the song is when the Beatles-esque "bomp-bomp-bah" vocal kicks in, providing an enthralling countermelody. Bloody brilliant.
Pictures of Matchstick Men by Status Quo. I don't care if you've never picked up a guitar in your life; you can play the opening riff of this song. I guarantee it. Perhaps it is that very simplicity that makes the lick work. This song is trippy British rock from 1968, and it is delicious. Trivia: The song was written in a toilet, to which songwriter Francis Rossi had retreated to escape his wife and mother-in-law.
Living a Boy's Adventure Tale by a-ha. I used this track in this spot because 80s new wave synth-rock is about as different as you can get from trippy 60s British rock, and I enjoyed the contrast. The flow works because Morten Harket's ethereal howling is interposed between the two styles of music and is hitting notes sympathetic to those in the previous track. This is one of my favorite a-ha tracks. It is interesting, engaging, and in a minor key.
The New Pollution by Beck. Another stylistic departure from the previous track. This track is all about the groove, and a pleasant groove it is. The use of saxophone is excellent, and pure Beck.
Jolene by Cake. Cake is one of my favorite bands, and this is my all-time favorite love song. (But then, I'm a little weird.) The lyrics are simply perfect. I can't really express why casting someone's face in lead is such an affecting gesture for me, but there it is. The chord progression is simple, direct, and intensely powerful, and the lead guitar sets it off sublimely. I love this track.
Here and Now by Letters to Cleo. Mid-nineties alt-rock. This song isn't great, but it is good. I love the sixteenth notes on the vocals in the chorus; they give the song a unique flavor and fantastic energy. Still, the main reason this song is here is that it provides a perfect bridge between the previous track and the next track.
The Powerpuff Girls (End Theme) by Bis. I don't know anything about this band. I've heard a couple other songs from them, and I didn't like them at all. This song, however, makes me want to jump around. I used to watch Powerpuff Girls on Cartoon Network all the time, and listening to the theme over the ending credits was a definite high point. Musically, it's a simple little number, but it captures the essence of the Powerpuff Girls perfectly. It is cheerful, enthusiastic, energetic, and above all, cute.
Horseshoes by Moxy Früvous. Moxy Früvous is a unique band out of Toronto, and this is my favorite song of theirs. I love the bizarre chord changes and the dense vocal harmonies that are two of the hallmarks of this band. Thematically, the distribution and subsequent dodging of horseshoes as a metaphor for life is quirky, offbeat, and amusing.
Liquid Mercury by Jimmy Page. This is one of the two good tracks from former Led Zeppelin guitarist Jimmy Page's 1988 Outrider album. Not much to say about it. It's instrumental guitar-driven rock, and I like it.
Synchronicity I by The Police. Synchronicity was the first album I ever bought, and this is the first track on that album. Frenetic and intriguing, this is a song that benefits from repeated listenings.
Frizzle Fry by Primus. Not much to say about this one. This is a clever little track with several interesting musical themes distributed throughout, tied together by Les Claypool's unlikely vocals and superlative bass work. In other words, it's a Primus song.
Babe I'm Gonna Leave You by Led Zeppelin. I thought this song flowed well from the previous track, and it's not a bad song. The only problem is that it's a bit too long. Underscoring the nice guitar work and power rock is the ever-present thought of, "Get on with it, guys." Still, a decent track from my favorite band.
Limelight by Rush. Yep, it's Rush. Always interesting, sometimes amazing. This song isn't one of the amazing ones, but it's solid, quality rock with excellent lyrics. A very satisfying listen.
All Souls Night by Loreena McKennitt. Loreena McKennitt is an accomplished musician with an incredibly beautiful voice, and she chooses to surround herself with virtuosos and play Celtic-themed stuff. She's really damn good, and this is the opening track on what might be her strongest album, The Visit. Breathtaking.
Through the Eye of the Needle by Doug Wood. Instrumental acoustic guitar featuring a lot of tapping. Tapping isn't all that common with acoustic guitar and gives the track a refreshing sound. (If you're curious, tapping is a technique where you don't pluck the strings; instead, you tap the strings against the frets to make them ring out. It's a unique sound, and the technique allows you to do some things you can't do on the guitar when playing conventionally.) I had the pleasure of seeing Mr. Wood perform this piece live at a Borders a few years ago, and it sold the album (I Am Kiroc). The song has great energy and expresses a certain indefinable joy that is very appealing to me.
Midnight by Joe Satriani. Joe Satriani is famous for being the guy who tutored both Steve Vai and Kirk Hammett, both giants of electric guitar. Joe is a virtuoso, and one of the finest electric guitarists of all time. "Midnight" is from his first album, all the way back in 1987. Like the previous track, it features tapping, this time on electric guitar. In fact, it's exclusively tapping with no conventional playing at all, and it is a masterpiece of the technique.

Back to e.g. mix

Back to SimplePhrase Closet

BITSOW