e.g. mix 2007.11: Everybody Supernova

Heart of the Sunrise by Yes from the album Fragile (1972). Like many songs by Yes, this is a song that sets some pretty lofty goals for itself. Ultimately, I believe it fails to achieve those goals. But that's part of the charm for me. The parts that are awesome are, well, awesome. The parts that aren't awesome are amusing and quaint. This is a song you can pat on the head indulgently and say, "Oh, that little ol' Heart of the Sunrise," with perhaps a shake of the head or a click of the tongue. The rest of the time, you're carried aloft on prog-rock wings of great majesty and power. Heart of the Sunrise is a good ride.
Digital Man by Rush from the album Signals (1982). When you have such giant albums as Moving Pictures or 2112 to choose from, an album like Signals usually gets swept aside. This is a shame, for I consider Signals to be one of Rush's masterpieces. It doesn't have any stand-out tracks; there is no "Tom Sawyer." However, it is mind-bogglingly, consistently, really damn good. Song after song, Signals just doesn't let you down. "Digital Man" is my favorite track from the album.
Three Days by Jane's Addiction from the album Ritual de lo Habitual (1990). Jane's Addition was one of the reasons the early 90s were so fucking awesome, and this is their magnum opus. This song has no drawbacks. The music is incredible, the lyrics are rich and wicked cool. This song is some of the best sex I've ever had, capped with an orgasm that clocks in at a minute and 23 seconds. Life is good.
Broken/Head Over Heels/Broken (Live) by Tears for Fears from the album Songs From the Big Chair (1985). Songs from the Big Chair blew everyone away when it came out. It was pretty exciting. This track (technically, two tracks) got no radio play, but it's my favorite from the album by a not insignificant margin.
Misty Mountain Hop by Led Zeppelin from the album Led Zeppelin IV (1971). The November mix was supposed to be the "long songs" mix, where none of the songs were shorter than six minutes. That fell apart when I fell in love with how this track went after the Tears for Fears. This song talks about escaping from the concerns of everyday life by retreating into Tolkien's Middle Earth. It's a theme I can really get behind, and the music is quite pleasant to my ears.
Feather Pluckin' by Presidents of the United States of America from the album The Presidents of the United States of America (1995). These guys chose their name because they wanted the absolute longest band name ever. When their videos used to air on MTV, it was amusing because the text for the band name stretched more than halfway across the screen. This is one of their (many) playful little nonsense numbers, and it gives this mix its title.
I've Got a Feeling by The Beatles from the album Let It Be (1970). There is a very specific reason that this track follows the previous track. The reason should become obvious with careful listening. If you ever wondered where PotUSA got it from, this is where.
Garden Grove by Sublime from the album Sublime (1996). With their unique brand of "keepin' it real" sensibilities, Sublime paints a picture of a world that I will never fully understand. The music is groove-tastic, and the subject matter is fascinating. This is one of those songs that makes me wish I had a convertible, so I could drive around with the top down and the music blasting, so that people I've never met would conclude that I'm really cool.
There's Never a Forever Thing by a-ha from the album Stay on These Roads (1988). This was the album where a-ha's popularity dropped off in the States. Consequently, I picked it up on vinyl in '89 for like three bucks or something. I find this song cold yet comforting and really beautiful. The music and vocals really complement each other.
The Great Gig in the Sky by Pink Floyd from the album Dark Side of the Moon (1973). When Floyd toured in support of Division Bell in '93, I jumped at the chance to go. So I got to hear this song live. It was in-fucking-credible. At 3:33 in this recording, if you listen closely, you will hear a woman speaking very softly. She is saying, "I never said I was frightened of dying." The woman is Myfanwy Watts, mother of Naomi Watts and wife of Peter Watts, the band's then executive road manager. It is Peter Watt's crazy laughter that is heard elsewhere on the album.

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