e.g. mix 2007.01: Painted Big

The title of this mix comes from the second track, "Blood." The actual lyric is, "Paint Ed Big," referring to the singer Eddie Vedder. I chose to distort the lyric to my own ends, making it a more general metaphor.

La valse d'Eugénie / Jenny wore black by Men Without Hats from the album Pop Goes the World (1987). I thought the retro piano stylings of "La valse d'Eugénie" made for a good CD intro track. I have a soft spot in my heart for Men Without Hats. Most famous for "The Safety Dance," they have always impressed me with their ability to couch powerful emotional content in a chirpy, unassuming package. If you pay attention to the lyrics, you might enjoy their hidden depths as I do. Or it's possible I'm reading too much into it. Regardless, the album Pop Goes the World had a profound effect on my life. The mystical character of Jenny, featured in this track, shows up in a number of tracks from the album and has always fascinated me.
Blood by Pearl Jam from the album Vs. (1993). When 1992's Ten catapulted Pearl Jam into international superstardom, front man Eddie Vedder, an emotional sort, freaked out about it a little. The result was a moodier, darker tone in Vs., their sophomore effort. The change in tone disappointed many, myself included. Now that I've had a decade or so to reflect on the album, though, I've developed an appreciation for Vs. that differs (in a good way) from my appreciation for what came before it. This song, in particular, is a veritable roller coaster. It is intense, fervent, defiant, afraid, and very real.
Jesus Just Left Chicago by ZZ Top from the album Tres Hombres (1973). This marvelous track just oozes cool all over the joint. This is my favorite ZZ Top song. In a perfect universe, it is the only ZZ Top song.
Astronomy Domine by Pink Floyd from the album Piper at the Gates of Dawn (1967). Pre-Gilmour Syd Barrett-era Pink Floyd was a strange and wondrous beast. The bizarre whimsy and unabashed grooviness of this track makes me smile.
With No Definite Future And No Purpose Other Than To Prevail Somehow... by The Mermen from the album A Glorious Lethal Euphoria (1995). I truly enjoy surf guitar. I like that such a distinctive style of music can have such varying interpretations. To guitarist Jim Thomas and his band, the Mermen, surf guitar music is a trippy, moody, dark, awe-inspiring realm of wonder, sorrow, fear, and exultation. This particular track is one of their thoughtful numbers. I plan on serving up more of their tracks on later mixes. They make brilliant music.
Trepak by Modern Mandolin Quartet from the album A Winter's Solstice III (1990). What can I say? It may be a bit of a non-sequitur, but this is a fun piece, a bit of a change of pace, and an excellent palate-cleanser after the previous track. The Modern Mandolin Quartet has made it its mission to bring mandolin to a wider audience. They're nifty.
We Are Family by Sister Sledge from the album We Are Family (1979). Disco has an undeniable appeal for me. It's just so damn optimistic. The country had clawed its way out of Vietnam and Watergate, and it was ready to celebrate. Disco provided the soundtrack. Sister Sledge was a group of four singers, all of them sisters. So when they sing, "We are family," they mean it literally. Not surprisingly, the song became a feminist anthem in its celebration of sisterhood.
Cars by Gary Numan from the album The Pleasure Principle (1979). Gary Numan pioneered synthesizer music and ushered in the New Wave movement of the 80s. I like the juxtaposition of this song with the previous song. It's sort of disco, but with a geek twist.
Epic by Faith No More from the album The Real Thing (1989). Faith No More was a weird band. You had a metal head on guitar, a jazz bassist, a classical pianist, and other various individuals. The Real Thing was their breakthrough album. This track was the big hit, and showcases the band's ability to seamlessly blend hard rock and hip hop, which was a fairly new thing in 1989. The outro piano solo is total wicked cool. I can still see that fish flopping around in the video.
Later Tonight by Pet Shop Boys from the album Please (1986). I thought this piano and synth number went well after "Epic's" piano outro. This is a song that I have always found touching, sensuous, and sexy. The Pet Shop Boys have a knack for romantic pathos, and this piece showcases that strength.
Heaven Knows by Robert Plant from the album Now and Zen (1988). Now and Zen is a fantastic album, despite its inclusion of the mystifyingly popular "Tall Cool One." "Heaven Knows" is the opening track, and sets the tone for the rest of the album. It is sparse, masterful, delicious pop-rock. Jimmy Page is on hand for the guitar solo. Trivia time: There's a line in the song that goes, "See the whites of their eyes, then shoot / With all the romance of the Tonton Macoute." The Tonton Macoutes were a Haitian militia founded in 1959. Modeled after the German Brownshirts and Italian Blackshirts, the group was notorious for its widespread and brutal oppression of political dissidents. The term "Tonton Macoutes" is the Haitian equivalent to "Bogeyman."
Ataypura by Yma Súmacc from the album The Big Lebowski Soundtrack. Say what you will about the Cohen brothers, but they sure know how to pick a movie soundtrack. I'm glad they dug this one up. I highly enjoy the exotic flavor of it, and the vocal performance is amazing. Yma Súmac is a Peruvian vocalist who achieved international acclaim in the 50s. At her peak, it is said she could span five octaves.
The Coast by Paul Simon from the album The Rhythm of the Saints (1990). For this album, Paul Simon worked with Latin American drummers to create a unique pop experience. The drums made this track a good fit to follow "Ataypura." For me, The Rhythm of the Saints is a mixed bag, but I really like a few of the songs. This selection was Paul Simon's choice for first track on the album, but the suits insisted that the first single, "Obvious Child," be given the first slot. As usual, Simon's lyrics are top notch. This song is ironically cynical and at the same time hopeful and uplifting.
Freeway by Porno For Pyros from the album Good God's Urge (1996). More freakery from Perry Farrell, this time with his post-Jane's-Addiction project. This song is from the second and final Porno For Pyros album, and it is my favorite of theirs. A complex and thematically dense song, "Freeway" uses a driving metaphor to express some ideas about relationships, obsessive devotion, jealousy, and vehicular murder-suicide. As a bonus, the song profoundly rocks.
Carouselambra by Led Zeppelin from the album In Through the Out Door (1979). Compared to earlier albums, John Paul Jones played a larger role in In Through the Out Door, the final Led Zeppelin studio album. Lots of late-seventies synthesizer goodness to be had, along with the unique, hard-rock mysticism that is guitarist Jimmy Page's hallmark. This is a fantastic track, with several musical ideas intertwined. The lyrics, of course, are completely unintelligible, as is the case with much of Zeppelin's catalog. Thanks to the wonder of the Internet, however, the "Carouselambra" lyrics are available here (you need to scroll down a bit). I don't know what they mean exactly, but they sure sound cool.
Down by the Sea by Men at Work from the album Business as Usual (1982). I've always liked the Australian band Men at Work. They aren't just the "Down Under" guys. On the contrary, this is a band with surprising depths. "Down by the Sea" is the final track on their first album, and it is a fine example of their clean, understated style. I particularly enjoy the drums on this song— minimalist and quite pleasing.

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