e.g. mix 2007.03: Don't Bring Me Down

Long Sleeves by Jolie Ruelle. Jolie Ruelle makes interesting music by marrying organic guitar lines with electronic beats and voice riffs. Electronica walks a fine line with me. It seems like I either like it with significant enthusiasm, or I think it sucks hard. As you might have surmised, this is one of the ones I like. It speaks to me of sober ponderings over mugs of hot tea.
100 Ways by Porno for Pyros from the album Good God's Urge (1996). When Porno for Pyros' second album came out, I heard the first single, "Tahitian Moon," and thought it was cool. I looked forward to another serving of Perry Farrell's unique take on hard rock, in the same vein as their self-titled debut. I got my next paycheck and headed to the music store, picked up a copy, and went home eagerly to play it. The first track, "Porpoise Head," came on, and I said, "What?" It was not what I had been led to expect. By the time the second track, "100 Ways," started, it was beginning to sink in that I was in for a very different Porno For Pyros experience. This album was to be an album of atmospheric grooviness the like of which has not been heard before or since. This track is a sentimental and clever little love/lust song about absence and its fondness-enhancing qualities.
The View by The Gun & Doll Show. This is a band I stumbled across on the internet; they had some songs available for download. I love this track. It makes me think of flying dreams. There are stores, and houses, a public park, and a freeway bridge. Pay attention to the brilliant drum work.
Mexican Radio by Wall of Voodoo from the album Call of the West (1982). I like the way the intro to this song recalls the repetitive groove of the previous track while being quite dissimilar. I love the Eighties aesthetic on this track; it's one of my favorites from the era-- geeky, dancy, and cool all at once. Thematically, I enjoy the metaphor for life in Reagan's America that is presented here. I think this song is cut from the same cloth as Bloom County, and I enjoy the association.
Hard Day by George Michael from the album Faith (1987). Ah, Faith. George Michael's first solo album after leaving Wham. The big single, of course, was the infamous "I Want Your Sex," followed by "Faith" and "Father Figure." It's pretty easy to see why "Hard Day" never got any airplay. On an album with such giant, flashy tunes, "Hard Day" lacks the required pizzazz. Despite that, it's a solid little tune. Good beat, good bass line, good lyrics, good theme. I like the synth-woodwind intro, too. But my favorite part is at the end where the song's addressee speaks up via George Michael's electronically modified voice and converses with the unmodified vocal. It has fantastic attitude.
Voodoo Child (Slight Return) by The Jimi Hendrix Experience from the album Electric Ladyland (1968). Some people think Hendrix isn't the greatest electric guitarist of all time. It's possible that those people are mistaken. I've never been a hundred percent certain on the issue. What I am certain of is that the man was goddamn brilliant. Check out the sheer power, energy, and emotion that just bleeds out of this forty-year-old recording. Far out. This track earned Hendrix the number 11 spot on Guitar World's recent 100 Greatest Guitar Solos list.
Lady Marmalade by LaBelle. I know very little about this track, other than it seemed to fit well after the Hendrix, and I like it. Apparently it's famous or something.
Hole in the Bucket by Spearhead from the album Home (1994). I first heard this song when my man Troy played it for me one day. He'd taped it off of Dr. Demento (remember tapes?). It still seems a little odd to me that this song would get play on a weird comedy show. Sure, on the surface it's light-hearted and it has comedic elements. But you don't have to dig very deep before you start uncovering stinging social commentary. I've always found this song to be powerful and moving.
W.M.A. by Pearl Jam from the album Vs. (1993). Nothing funny about this one. Another cut from Pearl Jam's sophomore effort. The album was noteworthy for its powerful drumming, and this song is probably the prime example of that. The drums are complemented perfectly by the bass line, and the spartan guitar work is nicely layered. W.M.A. stands for White Male American, and the song draws attention to the fact that the majority of power is in the hands of, well, white male Americans. There is definitely some bashing of law enforcement going on here, if that's your thing. In the liner notes for the track, the phrase "Police Man" is labeled "verb noun." So when Vedder sings "Police man," he's talking about an action rather than an individual. I've always thought that was clever.
Sludge Factory by Alice in Chains from the album Alice in Chains (1995). Well, W.M.A. took the mix in a negative direction. Time now to grind your face in it. This dirge-like ditty is from Alice In Chains' final studio album and touches on various themes, including being a tool for the record companies, corporate greed and corruption in general, drug use, and suicide. I like this song because it sounds so motherfucking hard it makes me smile every time I hear it. Best line: "Twenty hours won't print my picture milk carton size."
Job's Eyes by Far from the album Tin Cans with Strings to You (1996). And so we continue with the slow, grinding, and heavy. My favorite scene in all of Buffy the Vampire Slayer is in the first-season episode, "The Pack." In the particular scene, Xander and four other students, who have been possessed by the spirit of hyenas, make their mean, swaggering way through a courtyard full of students. The scene is filmed in slow-motion, and is filthy with attitude. This song is the soundtrack for the sequence, and totally makes the scene work. After watching the episode a second time, I knew I had to have it. The album's disappointing if you're not into emocore, which I'm not. But this song made it worth it. Well, with the proviso that you don't listen to the whole thing. The last couple minutes of the song is pointless, crushingly boring noise. This version has been edited by yours truly to trim that off. Believe me, it's better this way.
On a Plain by Nirvana from the album Nevermind (1991). When Nirvana's second album, Nevermind, came on the scene, it changed the music world forever. I'm not exaggerating; it was an incredibly exciting time. Hard to believe it was 16 years ago. Anyway, This song keeps the grunge but ups the tempo and the mood of the mix a bit. It has always been one of my favorites from Nevermind, perhaps because it is one of the few songs on the album that approaches being upbeat, thereby providing nice contrast.
America by Simon & Garfunkel from the album Greatest Hits. Using the vocal similarities as a pivot point, this track swings the mix from grunge to folk rock. I was pretty pleased (and pretty surprised) with how well the switchover works. This is perhaps my favorite Simon & Garfunkel tune. Musically, it's sweeping and beautiful, and the thematic content is right up my alley, expressing indefinable yearning and gentle, insistent sorrow against a backdrop of the road. Solid gold.
Ventura Highway by America from the album History: America's Greatest Hits. Once I thought of it, I pretty much had to follow a song entitled, "America" with a selection from the band, America. Luckily, this track follows nicely, both musically and thematically (it's another road song). America was one of the bands my parents listened to, and I've been enjoying them since I was born.
Suite: Judy Blue Eyes by Crosby, Stills & Nash from the album Greatest Hits. More folk rock, with one of the all time great love songs to wind things up.

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