Youtube Killed The Video Star

I'm going to hearken back to the blog posted by Hutch a while back about the state of music today. Not music in particular, because if you look hard enough there is some good things going on. Hutch pretty much nailed it dead-on that American Idol is pretty much sucking the life out of the music industry so nothing further needs said about that. Instead, I'm going to focus more on the video side of things, a medium that my generation has found to be as necessary as our elders deemed FM radio.

First of all, let me get off my chest what I had originally intended to post about today - that is why I feel that PBS is the number one music channel on television today. On a given day, you can alternate between MTV, MTV2, VH1, and Fuse all day and not see one single music video. Not that that is a bad thing because there are only a few that I would consider viewable, but that is not my point. Just flipping around on the remote though when I want to see some music (notice how freely that phrase rolled off of my 80's-reared tongue?) I always tend to land on either PBS, or for you DirecTV subscribers Channel 101. PBS never fails to put out some high-quality programming beginning with the iconic Austin City Limits. You might have to stay up later than you'd like on a Saturday night, but it's usually worth it. Then, mix in biographical documentaries on Bob Dylan, The Rolling Stones, Woodstock, etc. with live performances by Stevie Ray Vaughan, Buddy Guy, etc. & you have quite the nice, little package. DirecTV's 101 always shows live performances by bands on the cutting edge (The Bravery, Foo Fighters, Queens Of The Stone Age) or those that you had wished you'd seen in their hey-day (R.E.M., The Cure, Tom Petty). Therefore, the absence of actual music on MTV or VH1 is not actually missed, even though the occasional Rock Honors special I'll catch on VH1 (The Who July 17th, y'all!). I also will not pay extra each month just to have VH1 Classic 1) because it's against my principles to pay extra for something I believe should be included in the value of the $50 +/mo. I pay already & 2) I'd be sorely addicted & drop out of society altogether.

So, back on track...the real reason I believe MTV & VH1 have shifted their programming to the intellectually stimulating reality shtick like A Shot of Love w/ Tila Tequila & I Love New York is because the Internet (namely youtube) has taken over as being the vehicle record companies want to utilize to promote their artists. Why? Because it's cheap, that's why!! I hardly believe there are any payola scandals that will come down on youtube - it's a free site for crying out loud. Record companies don't have to spend a dime to get these videos out there. In a sense, it's quite refreshing as Corporate America has literally been flushed from the music business. Realistically, I know that will never happen, but at least with the Internet people get to pick & choose what they seek, not be force fed the next N*Sync or Mariah Carey video that comes along.

The sentimental side of me does look back at the 80's a laugh a little though. I was a country kid so I didn't have cable TV at my house growing up. Yeah, mom & dad got a satellite & paved my basketball court AFTER I graduated high school...but I'm not bitter. Kids in my situation that wanted to keep up with the "townies" raced home after school to catch the video show on Channel 10 (the one with Julie Ivory from Columbus. Anyone...?). We also stayed up late on Friday nights to watch NBC's Friday Night Videos. I, being the organized collector that I am, utilized the other great invention of the 80's - the VCR - to catalog & record for posterity the bands & songs I thought were great at the time. "Walk This Way," "Hot For Teacher," "Jump," "Smokin' In The Boy's Room," "Money For Nothing," & "Legs" were a few of my all-time favorites. I can remember painstakingly waiting on pins & needles for my favorite video to come on & snatch it with the remote control onto tape, then to watch over & over again. Kind of like going fishing, I guess. Of course, I also taped songs off the radio too back in the day before I got my Columbia House subscription - so I'm either very cheap or extremely resourceful. Gosh, how crappy has that company gotten by the way...oh well, I'll save that for another day.

You see, after watching these videos again just now is why I think youtube is such a great thing. Not only can I search these videos, but I can also see live performances of the greatest acts in the history of rock & roll at my whim. I'm just glad youtube wasn't around when I was a kid, or I'd still be living in my parent's basement! youtube forever, Tila Tequila NEVER!!! Now get outside & enjoy some fresh air....!

Some musings as I learn to navigate the laptop keyboard while reclining in my hammock . . .

Yeah, those are my feet . . .

As many of you know, I am residing in the Outer Banks, in particular Kill Devil Hills. I’ve been here since June 20 and will tearfully depart at some point mid-August (for you burglars out there, we have a house-sitter). Anyway, it’s a difficult time but I’m trying to cope. So now, I’d like to present some totally random thoughts on life at the beach.

First off, your musical preferences change. I’m a big REM fan, have seen them several times since ‘84, blah-blah-blah. Love ‘em. But . . . they are not listening material at the beach. They’re just not. Neither is Zep or The Who. It pains me to say it, but my beloved Eels miss the cut as well. No, my friends, the beach requires a different vibe. Sure the obvious choices are included - Buffett, Marley, The Beach Boys, Jan & Dean, even Kenny Chesney. "Hot Fun in the Summertime" by Sly & the Family Stone is a must, and I enjoy listening to Carbon Leaf down here as well. Toss in a few singles like “Carolina in My Mind” by James Taylor or “It Must Be Summer” by Fountains of Wayne and my summer mix is set. Best winter pickup - wireless speakers I can take to the porch or to my beloved under-the-cottage hammock. Heaven.

Secondly, I gotta say your perspective gets a bit skewed after a while. You know, when you have nothing to do for a few weeks in-a-row the little things get magnified. For an example, one summer I think I watched “Eight is Enough” at 1:00 every afternoon for 8 consecutive weeks. At one point this conversation actually took place while I was watching a particularly intense episode:

Marianne: “Hey, where do you want to eat tonight?”
Me: [silence]
Marianne: “HEY . . .”
Me: “QUIET! Nicholas is in trouble here! The kids at school are picking on him, dammit! "

You get the idea. Another year it was “Quincy.” This year it’s “Workout”, the reality show with all the lesbians. On a related note, I'm becoming quite attached to that interior design show with Vern Yip. Vern Yip is cool.

Next, I must admit my grooming habits tend to change dramatically. You know, there are long periods of time when nobody is here but us two, so who am I to clean up for? I mean really? The other day one of the dogs tried to roll around on me so I thought it may be time for a quick shower. In addition, shaving becomes secondary. Sure, the dome stays clean as a whistle, but right now I’m sporting a spectacular neck-beard that is starting to draw stares. I really need to address that ear hair though.

Finally, those of you close to me are aware that I have been known to enjoy the occasional adult beverage. Out here on the big sandbar, as the weeks roll by, happy hour tends to move up. And up. And up. O.K., actually happy hour is from 5:00 P.M to 4:59 P.M. There, I said it. Which reminds me, my glass is empty . . .

At this point I must be off. The Raw Oysters at Awful Arthur’s are calling me. The only question is, should I shower? Let’s see, the dogs have stayed off me today. Nah . . .

Actually, I'm Not Tired Of Silly Love Songs. But Thanks For Asking.

Admitting that you like Paul McCartney around most people I know is almost like admitting that you love to hit small, cute puppies. In front of small, cute children. Small, cute children that you push to the ground after you're done with the puppy. I will say this, Paul is my least favorite Beatle. I even like Ringo more than Paul when it comes to choosing one of the Fabs. George Harrison is my pick, by far. I think I would be most like him if I were in a band. Kind of the "other guy" that has loads of talent, but is content with slowly working his way up. Not that I'm patting myself on the back or anything. I can't relate to Beatle Paul. I just can't. After Revolver, it's hard for me to take his stuff seriously. I listen, and I'm hearing John and George going in one, more serious direction, and Paul is still writing this silly stuff.

But, that's Beatle Paul. If we're talking Post-Beatles...I'll take Paul over any of the others any day of the week. How can this happen, you ask? George had a NICE solo career. Real nice. So nice in fact, that "Let It Down" might be one of my favorite songs of all time...but it wasn't enough, not for me. And John...I'll say it...didn't his solo stuff seem a bit forced? maybe even a bit phony? Keep in mind, this is coming from a relative kid, born in 1983 (the best album to come out that year? for my money, it's gotta be Cyndi Lauper's first one. I'm not ashamed.), but when I listen to Imagine (the entire album, not just the song)...I don't buy it. I only half buy Plastic Ono Band. The best song on either of those albums is "How Do You Sleep", and I get the feel that it's just John coming down on Paul for doing the same things that he himself was doing. And the less said about Two Virgins, the better. I'm not saying that Plastic Ono or Imagine are totally "bad" albums...I just don't buy them. I do buy Double Fantasy, and to me, THAT'S one of the best post-Fab album for any of them. I know there's a Beatle expert or two roaming RHT, so I'm treading carefully, BUT....Paul had to have the best solo career, and it was because he owned up to what he was.

I was talking with someone like 2 weeks ago, and they were ripping into Band On The Run, because it was "too poppy". Well, you don't say. An ex-Beatle making *gasp*...Pop music?!?!? I always feel like people rip Paul's solo stuff because there might still be some lingering bitterness that he left the Beatles in the first place. I'll give the critics the first album. I wasn't into McCartney's first solo effort, but Ram? yeah, it was overproduced...but what do you expect? I love Paul's solo stuff because he owned what he was, and he still does own what he is. He's a guy that would rather change the world with poppy love songs that with scathing social commentary. Sure, he has his causes (I just saw a disturbing photo of him holding an animal. I don't know what the animal was, but it has haunted my dreams.), but he is what he is. He's a pop genius who writes silly, catchy tunes. People often ask if Paul is a true artist, or just a clever craftsman...I'll take the latter, BUT, he may be the MOST clever craftsman music has ever seen, and that may be better than a true artist who is just a true artist. True art still needs crafting, am I right?

I've said it before, but Band On The Run blows any other Post-Beatle effort out of the water, for me at least. The intro/title track alone is enough to make that statement. It's again, overproduced and overblown, but if you'd followed his career to that point, you knew what you were getting into when you put it in your stereo. Every song on the album is crafted (there's that word again...) perfectly, and it totally fits (It also has the best album cover, but that's an argument for another time). And in his response to Lennon ("Let Me Roll It"), he takes the high road in a way that only he could do. Sure, Paul has had some faults along the way in his solo career, depending on who you ask, I wasn't a fan of Run Devil Run, or a few others...but he took a lot of chances, so he's going to have some misses here and there. His misses were still less embarrassing than John's misses (Walls And Bridges? ewww...), and he came out (when they were both alive, to be fair) looking better, because he was easier to stomach. That's what this comes down to. As a foursome, he was the easiest Beatle to stomach, and that was irritating because he was just to sweet, or just too silly, or just too much like your dad. But apart from that, those same qualities made him endearing to me, at least....and the fact that John and George kind of lacked that made them a little less all inclusive.

So, yes. I love Paul McCartney's solo career. More than John's. More than George's. And Ringo? Well...he tried, didn't he?

Lamenting The NBA Finals, And The Rise And Fall Of Hip-Hop's Greatest Hope.

****NOTE: For some reason (probably my poor computer skills), this blog did not post last week...but, here it is now. My apologies, and enjoy.****

NBA, or RHT? I was torn. I'm sorry...what can I say? KG is my favorite player, possibly of all time! I had to pick NBA...and who doesn't like Kobe? (aside from half of the basketball world, and most casual fans...but aside from them...who doesn't like Kobe?), so anyway. Sorry. Had I known the Lakers would melt down like the ice in my root beer right now, I wouldn't have even watched.

Anyway, it got me thinking about legacies. KG is no longer that "great player without a ring", but Kobe might be on the road to being that "great player who can't hack it in the finals" and Pau Gasol has the market cornered on "Big man who would get posted up by my niece"...so there's sports. But, what about music? I read about Kanye West's latest meltdown at Bonnaroo just last week (http://www.eonline.com/uberblog/b142905_kanye_booed_bonnaroo.html), and while I wasn't totally surprised, I was a still just a little bit let down I think. Though it is ROCK hard times, I would hope that I could touch on hip-hop for just one blog.....Sorry fellas, I won't make a habit of it.

Flashing back to about 2001....mainstream hip-hop was just flat out uninteresting. I am a total hip-hop fan, leaning more towards supporting the underground aspect of it, but I appreciate the mainstream rap as well, understanding that it's an important platform for getting fans who otherwise would not be interested. So, needless to say, I was let down by the constant same-sounding mainstream rap of 2001. Then, late in the year, Jay-Z released his (Now classic, and probably one of the best rap albums ever...) Blueprint album, with a new sound. Filled with classic soul samples, and heavy instruments. If you're like me, you read the inside of albums, finding out producers, writers, etc. The common trend with the Blueprint was that every song except one was produced by Kanye West. At the time, I know it's hard to imagine, but no one thought much of West, if they thought of him at all. He was no different than The Neptunes, Just Blaze, or any other young up/coming rap producer. Even when the first single off of the Blueprint ("H to the Izzo") came out, I don't remember being overly impressed with the production. The guy sampled "I Want You Back" by the Jackson 5? ok...who hasn't? But with each sampled beat, most music fans began to appreciate his approach even more. It wasn't that he was sampling...it was HOW he was sampling. In most cases, samples in rap prior to this were heavily focused on the vocals of the sample, as opposed to the actual beat of the sample. I mean, I like "Mo' Money Mo' Problems" just as much as any late 90's rap addict...but hearing Diana Ross' looped voice as loud as possible over and over wears on you. So, with West, you got very little vocal sampling, and the focus was on the music. What else you got, that was new was a new way of sampling, learned from Dr Dre* (more on Dre later), where you have actual live instruments playing the sampled beats in some cases, as opposed to just taking a sampled track, turning it over, and rapping over it. It's important to note here that I am all for sampling in music, as long as it's tasteful, and creative. West covered both of these in sampling everything...he even sampled The Doors AND David Bowie in one song alone ("Five To One" and "Fame" were used for the song "The Takeover"), and Kanye West's sound was crowned as hip-hop's saving grace.

Fast forwarding to 2003. West had been pretty quiet since all of the Blueprint hype died down, until he was in a near-fatal(?) car accident and hospitalized. During this time, he released a mixtape ("I'm Good") which contained an assortment of mostly unheard tracks of West freestyles, and instrumentals. Followed by the promise of a debut album in 2004, music was buzzing. Sure, West had (and still has) glaring vocal deficiencies. His flow is choppy, his lyrics can be corny...but he wasn't totally bad either. He was witty in the same way that Will Smith USED to be, and his delivery was so passionate, it was hard not to get wrapped up in his rhymes. The College Dropout, released in 2004 has to be by far the best debut album in rap history. I think (Eric B. and Rakim's) Paid In Full is the only album close, but there were no expectations attached to that album like there were to this one. A concept album based off of society's view on college education, I bought it the day it came out (sometime in February), and didn't stop listening to it until the end of the summer. Every song was close to perfect. The music and production was superb, even better than the Blueprint. Riskier samples (The guy sampled Michael Bolton!) were pulled off even more perfectly, and any lyrical faults that West had were covered up because he had a support staff of tons of guest artists. It was like he learned from The Chronic (um...the album, not the drug), and built on it. It might be hard to imagine now, just 4 years later, but at the time, he seemed to be the new likeable savior to rap music. The artist that could bridge the gap between generations. Example being this: does my 59 year old Father listen to rap? not at all. But, he could appreciate The College Dropout, because the samples and the soulful vibe took him back to music he grew up with. And there was a quirky humility about West at the time. You did get the vibe that yeah, he thought that maybe he was just a little bit better than average, but he was also in touch with his fears, and his faults. He might have even been a bit hypocritical in the same vein as Tupac, but he did something that Pac never did: he owned up to it. In "All Falls Down", he laments black people for spending too much money on jewelry and cars and not enough on the things that are really important, but in the last verse, he states "But I can't even act holier than though, 'cause I went to Jacob with 25,000 before I had a house, and I'd do it again, 'cause I wanna be on 106&Park pushin' a Benz". There was something impressive about a rap artist who was that in touch with all of his faults.

And then, around late 2005, something happened. A second album, Late Registration came out to similar fanfare. Critical and commercial praise. But something was different. West went from being in touch with his fears and faults, to having seemingly none at all in his mind. And the ones that he did have were not his fault. The most introspective song on Late Reg was "Roses", and that was the only glimpse of vulnerability on the album. And don't get me wrong, I loved the album. Loved it. It was just a different kind of appreciation. And, hey, here we go...I'll talk about the "George Bush/Black People Thing" (while not spouting any political views). As a black person who has been to New Orleans a few times post Katrina, the people down there in general (that I spoke with) were outraged. Black AND White. Some people there said they didn't listen to him anymore after that. Reason being, Kanye West used their REAL pain, and suffering, and tragedy as a soapbox for his political statement, and it didn't help matters. And what's worse, HE didn't personally help matters as far as touching down and lending a helping hand, but no one claimed that HE didn't care about black people. I wasn't as outraged as the whole of New Orleans, but I also don't live there. I did think that the cries of "Kanye West is a racist!" were a bit unfounded, but he badly botched that situation, and it seemed all downhill from there. Award tantrums...how many Grammys does someone really need to confirm their greatness? I watched a documentary on Rick Rubin where it showed Grammys in the bathroom, in closets, etc. West has griped 3 times for not winning album of the year (and, again, in fairness to him at least in 2004, and this past year, he had a fair argument. He ran into Herbie Hancock this past year, and there was just no way though. He was doomed from the start), and it just gets old. Winning best rap album is not always an easy feat. He says he wants to be the biggest artist in the world, bigger than U2, Green Day, and etc. That doesn't resonate with people. The reason U2 are so big is because they DON'T openly want to be the biggest band in the world. Somewhere in between 2004 and late 2005, West forgot about the human factor that made him great. He is still the prominent producer in urban music. Period...he's the best there is, and could be the best ever if he keeps up at this rate. His production skills are matched by few. But that's never been questioned. I think what people, even in rap circles, tend to question is why he's so set on turning away the fans and the industry that built him up. His latest effort, Graduation, is just as remarkable as the previous 2. It's almost as though he can't miss, but for me, Grad was tainted when the day of it's release (to 4 and 5 star reviews), West stated "This isn't even the best I can do". Well, then why release it? Why put out an album that's not your best effort? It gets to a point where, for me, it's like 'Look, we know. We get it, you're good. But tone it down a notch'. The thing that STILL makes Jay-Z and Nas great is that we just know that they're good, and they don't have to constantly remind us. Graduation was a great album, but it was a great self-serving album. And it was obvious. "The Glory" might be the greatest song West has ever done. Containing a Laura Nyro sample, it's just amazing to listen to musically...sadly, you get to the lyrics, and you realize that it's about 3 minutes of Kanye showering himself with praise (not to mention the cringe-inducing point in the song where he rhymes Louis Vuitton with....Louis Vuitton), and when that happens, when he writes songs about how great he is...it's THEN when you realize that he will never be the biggest artist in the world. People used to say he was hard to hate. But, it gets easier by the moment. Kanye West will always make inspired music, but the question is who is he inspiring? It's not art for art's sake anymore. It's Kanye West making art for Kanye West's sake**. And that's sad. I'll always enjoy it, but I haven't listened to Graduation since the week it came out. Get some Lupe Fiasco in your life.

*Not a popular opinion with rap fans, but when are we going to realize that Dr. Dre has pretty much coasted for about 9-10 years off of one album. The Chronic, probably one of the best albums in music history, but what NOTABLE has he done since then? I'll save it for later though.

**For an actual solid new song featuring Kanye, give "I Put On" a listen. It's not a bad listen at all.

Lastly, an R.I.P. to George Carlin, and a hope that all of my RHT peers are enjoying any vacations that the summer has thrown their way.

Digging Your Toes In The Sand w/ Jack Johnson

As we wish our fearless leader (Shoe) godspeed on his much deserved (eh hmmm) vacation at OBX, we wanted to make sure he was properly outfitted with the proper attire (Jesus sandals & black knee-highs), the proper adult beverages (sorry it was Smirnoff - the budget is shot), and the proper tunes to take in the sun & the sand by. Recommended SPF = Jack Johnson this season, and just about any other season you need to just kick back and mellow-out. The guy is so basic & laid-back, he takes all the thought out of listening and provides the perfect soundtrack to any vacation on the beach.

For those of you living under a rock, Jack Johnson splashed onto the scene in 2001 with Brushfire Fairytales, which includes my personal favorite "Bubble Toes." Before getting into the music business, the Hawaii-born Johnson was an accomplished surfer. After a severe surfing accident at the age of 17, Johnson turned to music as part of his recovery. "I like to joke that I hit my head so hard that that's why I'm so mellow, but I think it did mellow me out" he states in a March 2008 interview with Rolling Stone. Taking time out from surfing and focusing on music led to forming relationships with G. Love & Ben Harper, two talented recording artists in their own right. Both contributed to Jack Johnson's soundtrack for the the 2006 film Curious George.

It was 2005, however, that provided Johnson with his biggest success to this point with In Between Dreams. This is one of those albums that has absolutely nothing wrong with except it has a last song - a "magnum opus" if you will as we throw that term around to some degree on RHT. "Banana Pancakes," "Good People," "Sitting, Waiting, Wishing" and "Breakdown" are all great songs that provide a vibe of plain & simple relaxation for your ears and mind. This is one of those albums that will fit nicely in any time capsule to exhibit was was actually right with my generation. We value time with our friends & families, plus we're not afraid to step away and get away from it all.

Well, there's my contribution to Shoe's knapsack as he hitchhikes down to NC. Thelma greatly regrets that the travel budget was squandered on lottery tickets, MD 20/20 & Lucky Strikes, but bless her heart, she was only trying to invest in our future. Still much safer than playing the stock market...plus who would pay over $4.00 for a gallon of gas anyways? Happy hoofing, Shoe!

A Boy Named Sue

I was recently prompted by management to please the masses by writing and posting another witty blog on this juggernaut of musical forum (RHT). Instead, I chose to write the following.

The purpose of this blog, and that is something that sets my blogging apart from the rest of this frivolous information - purpose, is to point out the stupidity of some of our all-time favorite musicians. It seems as much as we love these self-indulgent musical geniuses; stardom, money and fame in general sets in and creates a mindset that fools them into thinking they can break all the rules. Now let's be clear, I'm not talking about breaking rules rock stars are supposed to break (like hotel room etiquette), I mean basic laws of the planet. Like not hanging a douche-bag-esque moniker on you offspring. Still not follow? Ok, consider the following . . . .

Below I've compiled a list of some of the best (worst) names ever bestowed by a musician. I'll report, you decide:

Alice Cooper named one of his children - Dashiell Cooper - His other child is named Sonora Cooper. Girls? Boys? I like to call the latter kid Scooper.

Brian Littrell (of supergroup Backstreet Boys) - named his boy Baylee Thomas Wylee Littrell - I'm pretty sure the only other Wylee I've ever heard of is a coyote. I predict the kid to be a chronic failure.

Eryka Badu (your real name is Erica!) - has a kid named Seven Sirus Benjamin - George Castanza eat your heart out. aka the S.S. Benjamin.

Shania Twain - She named her kid Eja. Isn't that a typo? Or just the abbreviation for ejaculation? Whatever it is, Shania gets bonus points for being married to a dude named Mutt. (and YES, this image had to be this big!)

And the king of namos muy estupido - Mick Jagger. His kids (at least the ones claimed) : Georgia May Ayeesha Jagger (can these be rearranged into a phrase? perhaps a code to a Stones tune), Karis Hunt (surname of mother - warning to kid, be careful using only the first initial - K.Hunt), and Jade Sheena Jezebel Jagger - how much more racy can a name be? Hmmm, I think I'll name my daughter after the most notorious whore in all of history. Even Keith would have known better. Riiiight, man. (Check that - Keith Richards - son Dupree)

Rock steady fellas.

Walking In Dad's Giant Footsteps

So what do you do if your father is a famous musician known and admired by millions all over the world? For probably 99.9% of children in this position, you look into accounting or some other avocation. Walking in your father's footsteps when he's reached the pinnacle in his field is a risky proposition. The writing's on the wall - you'll never be as good as your old man. It seems cruel, but that's just the way it is. However, some have tried and done quite nicely for themselves either carrying the family banner or branching out & trying to make a name for themselves independent of dad's reputation. Either way, you've got to give these folks credit. If it's in your blood, you've got to pursue it - or at least attempt it. Some attempts have admittedly been laughable, while others have earned their own legs to stand on. Below is a list I've compiled for your perusing that you can add to or comment on. Also, I wanted to share my favorite song about the father/child relationship that always puts things into perspective. Oh, by the way - Happy Father's Day.

Frank Sinatra - Nancy
Elvis Presley - Lisa Marie
Bob Dylan - Jakob
Bob Marley - Ziggy, Damian, Julian, Stephen, Ky-Mani
John Lennon - Julian, Sean Ono
George Harrison - Dhani
Woody Guthrie - Arlo
Loudon Wainwright III - Martha, Rufus
John Bonham - Jason
Eddie Van Halen - Wolfgang
Ricky Nelson - Matthew, Gunnar
Brian Wilson - Wendy, Carnie
John Phillips - Chynna
Johnny Cash - Roseanne
Hank Williams - Hank Jr.
Waylon Jennings - Shooter
Mel Tillis - Pam
Billy Ray Cyrus - Miley (I can't believe I just put this on here)

Songs That Stimulate Your Brain and Impact Your Life

Some songs grab you with the hook. Others, the lyrics. If you’re lucky the song has both. For me, there have been several songs whose words, to me, have had a tremendous impact. Below I’ll list them. Let's start at the beginning . . .

Nowhere Man - The Beatles (1965)

It should come as no surprise that the four guys from Liverpool were the first to write a song that made me think. Before “Nowhere Man” I just liked music for the beat and the melody, never expecting to learn anything. Still, when I heard these lyrics I was mesmerized . . .

Doesn’t have a point of view
Knows not where he’s going to
Isn’t he a bit like you and me?

You know, I was just a kid but I knew exactly what they were saying - wake up, young man, and see what’s all around you.

Blowin in the Wind - Bob Dylan (1964)

Although this song came out before “Nowhere Man,” it never made it to my rural Ohio existence until later. Let’s just say Dylan’s protest stuff wasn’t in rotation on Mom and Dad’s turntable. When I finally got a listen, though, I was blown away:

Come senators, congressmen please heed the call

Don't stand in the doorway don't block up the hall

For he that gets hurt will be he who has stalled

There's a battle outside and it is ragin'.

It'll soon shake your windows and rattle your walls

For the times they are a-changin'.

Those lyrics, which addressed political divide and the generation gap, may have planted the seeds that eventually grew into my liberal outlook, much to the chagrin of a couple of my conseravtive RHT brethren. The song became an anthem of the civil rights movement as well. Powerful stuff.

The "Fish" Cheer / I-Feel-Like-I'm-Fixin'-To-Die Rag - Country Joe & the Fish (1967)

Well, if I hadn’t had it figured out yet Country Joe drove the point home with these lyrics:

Well, come on mothers throughout the land,

Pack your boys off to Vietnam.

Come on fathers, don't hesitate,

Send 'em off before it's too late.

Be the first one on your block

To have your boy come home in a box.

Ouch. Needless to say the song didn’t get a lot of airplay on conservative WLW over in The Natti. After midnight I could get WLS out of Chicago though, and my ears were forever cooked.

Good Vibrations - The Beach Boys (1966)

It wasn’t the lyrics that blew me away with this song, but rather the music. Brian Wilson’s “pocket symphony” showed me that a rock song could go deeper musically than it ever had before. The varied instrumentation was groundbreaking (A cello? Are you serious?). And what the hell was that woo-woo sounding thing? I found out later it was an electro-theremen, but all I knew at the time was that it sounded cool as hell. We all know that Lennon and McCartney were trying desperately to keep up with Wilson in the studio production department during the mid-60’s. The album Pet Sounds, and this song, illustrates why.

Fortunate Son - Creedence Clearwater Revival (1969)

Ah, John Fogerty’s ode to the advantages of the privileged as they related to the draft. It is sung from the viewpoint of somebody being drafted, and since I was 14 at the time the draft was looming ominously in my future. I listened, and when Fogerty sang these lyrics, it hit home with me . . .

Some folks inherit star spangled eyes,

Ooh, they send you down to war, lord,

And when you ask them, how much should we give?

Ooh, they only answer more! more! more!

It ain’t me, it ain’t me, I aint’ no military son, son.

It ain’t me, it ain’t me; I ain’t no fortunate one.

Southern Man - Neil Young (1970)

This was Neil’s shot at racism in the south, and I was listening intently. I’d remembered the “white’s only” drinking fountains on my family’s yearly vacations down south, and I also remember my parents pointing out why that was terribly wrong.

Southern man better keep your head

Don't forget what your good book said

Southern change gonna come at last

Now your crosses are burning fast, southern man.

Pretty strong stuff that elicited a legendary response from Skynyrd with “Sweet Home Alabama.” The song also led to a bunch of death threats aimed at Neil Young, which he famously ignored.

The Last Resort - The Eagles (1976)

This was Don Henley’s missive about the American west directed at polluters and corporate greed. I always thought it was vastly underrated.

Some rich men came and raped the land, nobody caught ‘em
Put up a bunch of ugly boxes, and Jesus, people bought ‘em.

And later on . . .

We satisfy our endless needs and justify our bloody deeds,

In the name of destiny and the name of God.

And you can see them there, on Sunday morning

They stand up and sing about what it's like up there

They call it paradise, I don't know why

You call someplace paradise, kiss it goodbye.

Well, there they are. The most influential songs of my life. So, what are the songs that influenced you or had an impact? Whaddaya got?

I Took The Dare & Lived To Tell About It: EELS

OK - Anyone that knows anything about the cast of characters on RHT knows that there is only one, definitive expert on Eels. That would be Shoe. Which makes me taking on Mr. E's music make perfect sense, huh? Alright - so I took the Eels challenge, and now I'm hear to give you my findings. I'll qualify that as personal opinion, that way it can't be wrong. If you want the facts, go here or ask Shoe for a fireside chat. I'm sure not everyone will agree, but then again what kind of a place would this be if we all did?

I'm going to take you back about 3 years ago, when I was at one of the lowest points in my life. I needed to make some changes, so my good buddy Shoe (in his infinite wisdom) recommends a dose of Eels for my ears. Well, let's just say that's like giving a crack-head some heroin just to "change the mood." Luckily, I still had enough of my wits about me that my mind rejected Eels after I went out & purchased Blinking Lights And Other Revelations. Thank God my other buddy Willie was there with an introduction to QOTSA & EODM to recharge my spirit. Seriously folks, E's music should come with an owner's manual. This is not something you take lightly; it'll hurt you if you're not careful.

Back to the present time. I'm all better now, & my mind is wide open to new experiences. About the time RHT comes into existence, Shoe pushes some more Eels my way. He knowing I'm a sucker for a good hook, I get started at the beginning (like I should have before) with 1996's "Novocaine For The Soul." Then I work in some of 2000's "Mr. E's Beautiful Blues" and I'm now off & running. The guy can make some great music, exploring different rhythms and cadence in his vocals. What I meant earlier about needing instructions to listen to E's music came as I got a 2-disc set from Shoe, along with the explanation for where this cat is coming from. A lot of death & tragedy in E's (Mark Everett) life has provided the foundation for the Eels catalog. His material can be extremely intense & personal, making you feel uncomfortable much like you are at a viewing the night before a funeral. Luckily, E has the ability to inject a dry sense of humor into the proceedings that helps you get through an otherwise disturbing experience, but still you are left with that sting that keeps swelling.

I was able to take away about 17 songs that were keepers - so there's a little for everyone. I was thinking of a parallel to use for this post, & one song that coming back to me was "Tom Traubert's Blues." I used to despise this song as part of an old Rod Stewart compilation I had, but when I saw the original songwriter Tom Waits perform it live on my Old Grey Whistle Test DVD I was overcome. Much the same as with the music of Eels - you have to be in the right frame of mind to appreciate it, and once you are it is special, without a doubt. Not all of it is my cup of tea, but I do have a fair amount of respect now for the man called E.

RHT Interviews Continued: Meet Hanif

Today we bring you Hanif, RHT's resident hip-hop expert and general all-around music junkie. Read below and find out all about him, including the story behind his RHT photo . . .

RHT: Where did you grow up? Small town? Big city? Mountain abode?

Hanif: I grew up on the Eastside of Columbus, Ohio. It was a pretty rough area, but that made for a great community atmosphere. One of those things where everyone's parents knew each other, and if kids got out of line, there were community spankings, etc.

RHT: Yeah, when I grew up any adult could beat you if you acted up. Wasn't a bad deal really. The guy who owned the local gas station knocked the hell out me once for being an idiot. I didn't tell my dad because I knew I'd get smacked again. But this is your interview. Sorry. Let's move on - what's the first record you ever bought? Listened to?

Hanif: I bought Mariah Carey's "Music Box" from Singing Dog like the day it came out. I had a little bit of money, and I had to find an album without that dreaded Parental Advisory sticker, and that was it. The first record I recall listening to was After Bathing At Baxter's by Jefferson Airplane when I was like 3. My parents were hippies, and that's just what I recall.

RHT: What record, early in your life, had the biggest impact? Why?

Hanif: Motown records. All of them. Like not the big ones though, like I remember Martha and the Vandellas Watchout!, and some early Miracles and Four Tops albums. Having good soul music in my life at an early age was good, and I was surrounded by it. I think back on this and find it funny, but my parents had seperate record collections, which I find odd. It's like you're sharing a home, kids, finances, etc....but her Supremes records better not mix in with his Fleetwood Mac.

RHT: Rank your musical tastes by genre.

Hanif: Hip-hop is first and foremost. And then everything else follows. Soul, Rock, Pop, Jazz, etc.

RHT: Where did you go to high school? College?

Hanif: I went to high school at Beechcroft here in Columbus, and I stayed close to home and went to Capital University in Bexley.

RHT: What do you do for fun aside from listening to music?

Hanif: What? I don't get the question. No, seriously....I am a sports fanatic. I play soccer, basketball, etc. I also chase girls who are out of my league for fun.

RHT: What do you do for a living? Hold any weird jobs in your past?

Hanif: I work for the fine state of Ohio currently, but the weirdest job I've had was working at Pizza Hut. It's not as cool as you would think.

RHT: Yeah, Chuck E. Cheese's is where it's at. Any life-changing moments growing up?

Hanif: My mother passed away when I was 13. I was a big mama's boy, and still have some of those traits in me even now. So, nothing was more life changing than that. I also consider the fact that I was forced to learn piano to be pretty life changing. My Grandmother taught me the hard way, pretty much standing over me demanding that I play until I got it right. I think she's still waiting for my first gold record.

RHT: Any favorite movies/TV shows growing up? Now?

Hanif: I stand by High Fidelity as the greatest movie ever made. By far. I also love the Five Heartbeats, it's like what I WISH the story of the Temptations was. Annnnnddddd The Wonder Years might be the best show ever.

RHT: Any favorite foods? Restaurants?

Hanif: I only eat when I'm not writing for and/or reading RHT. So, I don't know what food is.

RHT: What have you done that no one would guess you'd done, by just looking at you?

Hanif: The list is long, I think people have a general stereotype of me just by looking, but I think in general people are shocked that I a.) know anything about music beyond rap, and b.) played soccer in college. Those two are big. I'm really short, so if I saw myself, I wouldn't imagine myself playing any sport in college.

RHT: Any other amazing things our readers should know about you?

Hanif: The picture of myself on here (Taken by my talented buddy David Merz) is not to be taken seriously. I always have to explain it...it was a joke, but in a weird way, the Pixies hoodie (which is now ruined, by the way...) and the bandana (which was actually pink, so it's a good thing the picture is in black and white) make for an interesting combo. And that is not a 40 in the bag...it's actually green tea. I've never had a drink in my life, and I don't have a good reason for why, so don't ask. I'm kidding. Ask all you want.

RHT: What was the most interesting trip you have ever taken?

Hanif: Supervesey has had the best answer to this already. I can't top it.

RHT: Pick one rock star, living or dead, that you could spend an hour with over dinner.
Hanif: Ummm......wow....I think I could probably talk to Roky Erickson for a solid hour. That would be crazy. I would pick Lindsey Buckingham, but I've read that he can be quite abrasive.

RHT: Thanks for coming down to RHT for the interview.

Hanif: My pleasure. And thank you for sending the RHT Chopper to pick me up.

RHT: S-h-h-h-h . . . you got the chopper, DJ got the private jet, but SuperVesey had to get here in his '85 Yugo.

Live At Ryman Auditorium - Snoop Dogg

Sometimes it can be pulled off. When the late great Ray Charles decided to do a country album, most everyone around him thought he was crazy. However, sometimes talent supercedes all boundaries and, in Ray's case, brilliant music is born. Enter Snoop Dog (imagine the theme song to "The Good, The Bad, and The Ugly" playing in the background). Word on the street is that Snoop is fixin' to drop some hayseed on his next LP. He recently appeared as a presenter at a Country Music Awards show (does it really matter which one?) and has been hinting that a new track due out in the near future will have a country flavor and be dedicated to the Man in Black himself - Johnny Cash. I'm pretty sure that if 'ol Johnny were still around he would have just bit off a piece of Snoop's ear amid the mud the blood and the beer. Am I wrong or is this just wrong. I would say this dramatic right turn/career-ender is on par with Reba McEntire cutting a duet with what's left of The Ramones (is there anything left? - I hope or I'll get slaughtered in the comments). With this upcoming musical-suckage exposed, it brings to mind some other horrific crossover attempts. If you think it comes off weird going from rap to country - how about going from country to rock?

Remember when Garth Brooks became Chris Gaines? I am laughing out loud just thinking about the "David Copperfield/hot chick with soul patch" look he was going for on the cover. Here is what Wikipedia had to say about Garth's crossover- "Although critics admired Brooks for taking a musical risk, the majority of the American public was either totally bewildered or completely unreceptive to the idea of Garth Brooks as anything but a pop-country singer." - and they weren't even trying to be funny! Whoever those "admiring critics" were they should have their throats slashed with jagged shards of Chris Gaines' CD's. When "the majority of the American public is left totally bewildered" it wasn't a good idea. I think Garth lost his mind humping Trisha Yearwood somewhere in the mid-90's.

Whether it's Snoop exchanging Gin and Juice for a Six Pack to Go or any other ill-fated crossover (see Bon Jovi lately), these douche-bags are due whatever comes their way.

Why do they do this? It would be like if Michael Jordan suddenly decided to play a totally different . . . . oh wait. At any rate, I hereby admonish you all to weigh in with your most despised crossover debacle.

ps - Wanna see how it's done right? Check out Jack White and Loretta Lynn on "Van Lear Rose" or Jerry Lee Lewis on "Thirty Nine and Holding"

RHT Interview #2 - Introducing DJ

Today we are happy to continue our critically acclaimed RHT Interviews. We were lucky enough to corner DJ, he of the sardonic wit and caustic sarcasm, and put him on the proverbial hotseat. Enjoy . . .

RHT: Where did you grow up? Small town? Big city? The Shire?
DJ: I grew up in the country west of Greenfield, OH adjacent to my Grandpa's farm. Pretty basic upbringing - I spent a lot of time outdoors helping my Dad and Grandpa, playing sports, fishing & listening to WLW (especially Reds games) with Grandpa. A pretty basic, rural upbringing.

RHT: Ah, Greenfield, the home of Johnny Paycheck. What's the first record you ever bought? Johnny perhaps?
DJ: The first record I ever called my own was The Game by Queen. It had the sweetest cover I'd ever seen; shiny, metallic silver. "Another One Bites The Dust" was the lure, "Crazy Little Thing Called Love" set the hook, and "Play The Game" reeled me in. As soon as I figured out that the singers & musicians on the radio weren't actually inside the radio studio full-time, I started exploring my parents record collection. The first records I remember listening to were my parents albums such as Jan & Dean's Little Ol' Lady From Pasadena, and a neat compliation of my Dad's that had Sam The Sham & The Pharoah's "Wooly Bully," and "Charlie Brown" by The Coasters. My Mom had some 45's by the Beatles, Tommy James & The Shondells, and Smokey Robinson. My Dad also had a Pat Paulsen For President political satire album too, which I thought was hilarious. My parents must have thought I was very weird.

RHT: What record, early in your life, had the biggest impact?
DJ: Probably "Hey Jude" and "Revolution" by The Beatles.

RHT: Why?
DJ: The day the music died - December 8, 1980. I was 8 years old. John Lennon was shot dead in NYC. I was stuck to the TV - the first time I realized the magnitude of The Beatles and John Lennon. I wanted to know everything about them, and continuously played "Hey Jude" wondering how Lennon's boys were feeling at the time. I was the first time I ever had a serious conversation with my parents about music and pop culture in general. Up until then music had been just fun and games, but a whole different sub-context was opened up for me on that day.

RHT: Yoko had called for 10-minutes of silence the following Sunday and I went to C-Bus to take part in the local memorial service. Sad days indeed. Sigh. OK, rank your musical tastes by genre. DJ: I love rock & roll, mainly from the blues perspective. The blues can be interpreted in so many ways, but I like mine heavy & loud. One of our good family friends growing up had all of the early Led Zeppelin stuff which I dove into headfirst. Led Zeppelin is the perfect marriage of all music genres, especially the blues. My Grandpa was a bluegrass man so I like the instrumentation there. My Mom listened to Motown, so I like the Detroit soul sound. Being in Shoe's classes in junior high opened up the whole alternative scene to me in the mid-80's (you're f'ing old, dude). I never fully appreciated it then, but I never forgot the lessons learned in those classes. You da man, Shoe.

RHT: I've influenced many to the dismay of several. Where did you go to high school? College?
DJ: Graduated from Greenfield McClain in 1990. Attended Eastern Michigan for two years with my buddy Tate (where I got hooked on Neil Young), then finished college at Ohio University - Chillicothe.

RHT: What do you do for a living? Hold any weird jobs in your past?
DJ: I've been the Purchasing Manager at a company in Wilmington, OH for the past 6-1/2 years. I've worked in the propane business, sold clothes & shoes retail, read electric & gas meters for DP&L (which could be traumatic), and sold live bait as a kid at my Granparent's store.

RHT: Any life-changing moments growing up?

DJ: Probably my car accident when I was 19. A lot of "what ifs" there I still kick around to this day.

RHT: Any favorite movies/TV shows growing up?

DJ: I was a Star Wars geek as a kid. The perfect story of good vs. evil. I loved The Exorcist too - completely terrified by that movie but I loved it. I also like Pulp Fiction, The Godfather, and flicks like that. On TV, I liked Saturday Night Live a lot growing up - I had all those classic skits memorized. Nowadays, if I'm not watching sports on TV I'll watch Law & Order: SVU - I dig Mariska Hargitay.

RHT: I seem to remember a mean impersonation of "Bull" from Night Court as well. Any favorite foods? Restaurants?

DJ: I'm so far from a health food junkie. Pizza is one of my major food groups, but I'm trying to cut back. Generations Pizza in Wilmington takes care of me very well.

RHT: And you them undoubtedly. What have you done that no one would guess you'd done, by just looking at you?

DJ: I don't know - looks are deceiving I guess. I look pretty basic, I am basic to an extent, and I'm very quiet. Perfect recipe for a serial killer. (Oh, I forgot the wry sense of humor thing).

RHT: What was the most interesting trip you have ever taken?
DJ: Probably a canoe trip I took with a bunch of friends in the early 90's. We got so drunk we should all be dead. Not a smart thing to do, but we all survived. I miss those care-free days.

RHT: Canoeing and alcohol. Not a good mix. Same thing with alcohol and M-80s, but I'll save that for my interview. Let's move on - pick one rock star, living or dead, that you could spend an hour with over dinner.

DJ: Bob Dylan - the man's on a different level intellectually from anyone else.

RHT: Agreed. Thanks for flying in to HQ for the sit-down.

DJ: Anytime. Thanks for the airfare.

A List That We Can Disagree On To Pass Time. Top 10 Albums Of The Past Decade.

We all do it. All of us music geeks. We get bored, and we make "top" lists. Don't act like you don't, it's cool. We can admit it here if nowhere else. What would High Fidelity have done for any of us if it didn't make us believe that the act of ranking your top 5 all time track 1 side 1 songs (mine is "Love's In Need Of Love Today" off of Songs In The Key Of Life, in case you were wondering) was totally normal and ok?

Well, it's raining. And I'm feeling like maybe this will stimulate some of my peers on a day such as today. Not to mention, I am putting off wedding gift shopping for another hour or so. When making a list like this, I always try to nail down the top 3 first, and stand by them. That makes the rest so much easier. My top 5 MC's haven't changed for like 14 years (there was a point after Biggie died where I bumped him up to 2, and knocked Nas down to 3, but that faded....oh, and Rakim is first. Don't be surprised.), and I hope to keep it that way. Standing by the choices on your list is critical. Nas went through a phase where he made at LEAST 3 horrible albums in a row, but did he drop out of the top 5? no way.

So, with that in mind, here's my top 10 best rock (or pretty much rock, pop, etc.) albums of the past 10 years (1998-2008)....enjoy and debate. Except no one ask me why there's no Radiohead albums on this list. I will lose my mind. Also, "Smile" by Brian Wilson would have made it, but didn't...I felt that it wouldn't be fair to the other albums in some ways.

10.) Interpol - Turn On The Bright Lights (2002):

I stopped caring that Interpol ripped off Joy Division once I heard the song "NYC". I was really offended at first, and then I realized how much they understood what they were doing. This is like a throwback post-punk album, with more intriguing instrumentation. I think this album just lost some appeal with Interpol's next releases. A trend that will continue in this list.

9.) Sleater-Kinney - The Hot Rock (1999):

I think I've said quite enough about S-K here, but the thing is...they never made a bad record. Any album they made in the past decade could have made the cut, but this one is the one that I think is the most all-inclusive. There's something for everyone here. Ballads ("The Size Of Our Love", "God Is A Number") to intense all out rockers ("Get Up"). The only gripe with this is that really hardcore S-K fans seemed to dislike the toned down vocals and the fact that the ladies actually discovered melody. Um. How dare they. It's a perfect transitional album for their career.

8.) Neutral Milk Hotel - In The Aeroplane Over The Sea (1998):

Ah, NMH. The band only made 2 albums, and I've never met anyone who has a bad thing to say about either of them (The first, 1996's "On Avery Island" may be better than this one, at least to me...), so naturally I should hate them. But, I don't. This is an album that I think is slightly overrated (Rate Your Music has it as the 41st best album ever made...), but I've come to accept that it's good. It's like that album in your collection that you know is a great album, but you just don't listen to often because it's not practical. It's a good album, but not easy to listen to. I would never read reviews before listening to it if I were you. If you do, you'll go into it expecting some life changing magical experience, and it's not that...it's just a very good record, which isn't a bad consolation prize.

7.) The Strokes - Is This It (2001):

This COULD be one of the best debut albums in rock history. Easily (that's another list for another time though...), but the Strokes went from Rock's saviors to somewhat of a messy Velvet Underground ripoff pretty quickly. Still, you can't go wrong with the title track, and "Last Night". Don't think of what The Strokes are now. Just think of what they were....that's what I do.

6.) Brand New - The Devil And God Are Raging Inside Me (2006):

The newest album on this list, I think that prevented me from putting it higher for some reason, even though I love it. Brand New's body of work is just flat out impressive no matter how you look at it, and their albums just keep getting better. There are 2 instrumental tracks on the album ("Welcome To Bangkok", "--"), which I wasn't really into at first, but warmed to as I listened to the album more. They toe the line of "emo", but it's so acceptable that if you have hangups about listening to music labeled as such, you lose those hangups right away with the opening song.

5.) Modest Mouse - The Moon And Antartica (2000):

Pick a MM album. Any one...they're all going to at least be solid, at best be classic. This one, to me is in that "at best" range. It's a bit noisy and experimental at times, a bit Sonic Youth-ish...which is challenging for the group, but it's still a MM album at heart, as the lyrics, and topics of choice won't let you forget.

4.) Taking Back Sunday - Tell All Your Friends (2002):

Ah, the story of Taking Back Sunday. First off, be unashamed to like this album. People who write it off as another whiny "emo" record are missing what I think will be remembered as a classic once it ages a bit more. This came out when I was finishing my freshman year of college, and I spent at least half of summer vacation blasting every song on this album. It's amazing. It could be at 3, had I not stuck to my rules and changed my top 3 after I decided on it. It's telling that the consensus "worst" song on the album ("You're So Last Summer") is still being played and covered by everyone now, even though the album isn't even 10 years old. The lyrics may be considered terrible, but they'll make you smile regardless (lines like "We're both such magnifacent liars, So crush me baby, I'm all ears"...) The downside to this is that listening to this album will make you think "wow, what HAPPENED to these guys??". They're a case of just setting the bar too high. The first song on their first album ("You Know How I Do") may be the best song they've ever made. And they've just failed in trying to reach this level again. Their last album, 2005's Louder Now, was just horrible. Again, like the Strokes...Remember them for what they were.

3.) Yeah Yeah Yeahs - Fever To Tell (2003):

Yes. The curveball choice. Every list has one. Look, I know a lot of people hate them, and the Siouxsie Sioux comparisons run rampant everytime Karen O's name gets bought up (call me crazy, but I just don't see it. She's WAY better.) But come on, this is a great album. I'll go bold enough to say that even if you take "Maps" off of this album, it'd still be on my list. This album could have the best opening track of any album of the past decade. "Rich" is no joke...it rocks hard enough to get your attention, and the lyrics let you know early on that these guys (and this girl) are not to be taken lightly. And the album never slows down. It's perfect because it's constantly building and getting better. "Y Control" is better than "Maps", but the final song ("Modern Romance") is better than both of them. It's truly what an album should be.

2.) The White Stripes - Elephant (2003):

I'm sure you didn't think you all would get out of this without a Stripes album. I won't say anything about this, because enough has been said...but man, was 2003 a good year for music or what?

and....

1.) Arcade Fire - Funeral (2004):

This is number one mostly because I think right now it could stand up in the conversation of greatest all time, and not just past decade. I think you could put it up against the best albums ever made, and it would still make some of the cuts. The most amazing thing is that the musical aspect of it is so good, you forget that there are even lyrics, but when you remember to listen to the lyrics, you're even more blown away. I know it might have something to do with the slight Springsteen influence, but I love this band, and I love this album even more.

So, there you have it. A lot didn't make the cut that deserved to, like any Black Keys album, and the very first Fall Out Boy record (Take This To Your Grave)...but, no list is perfect. Except this one, actually. This one is perfect.

Panic! When Questionable Bands Make Good Albums (Part One.)

I didn't listen. Even as the critical and commercial success poured in. I refused to listen to, or give into the fact that Panic At The Disco's second album (Pretty. Odd.) was any good. I know t his has been touched on on RHT prior to this, but really...how could I? after a first album that I could barely get through, I was done with Panic, a band who I didn't see much in anyway. I cast them off as a cheap Fall Out Boy rip off. But, and given the current state of things, I have to take credit for this...I did say way back then: "You know, Ryan Ross could be a decent songwriter once he figures out where he's coming from". I felt like he didn't get it. Like there was no way he wanted to write lyrics like he was writing, and to melodies that were catchy, but nothing else. Everyone and their relatives are writing catchy stuff now, so playing the "catchy" card doesn't work anymore.

And now this....I didn't even listen after I heard the first single, "Nine In The Afternoon"...I just thought, 'hmmm...different for those guys', and moved on avoiding them. Even when I picked up my respected music mag of choice, Paste (a magazine run entirely by the snobbiest of snobs), and saw that they gave Pretty. Odd. 3.5/5 stars, I avoided it. (It breaks down to like a 4.5...the fact that the folks at Paste would even listen to a Panic record, and take the time to review it in their magazine next to like Tom Waits gives it an extra 1 point...) I avoided it until last week, when I heard the highly touted "That Green Gentleman". It was a horrible musical moment. You know what I mean, when you hear something that you can't deny is good, and you stop, and say 'what is that?????' and then you're told that it's like Michael Bolton or something.

That Green Gentleman is a throwback song in almost every sense of the word. I caved. I gave in, and borrowed the record from a friend of mine (who prior to the critical lovefest, wouldn't be caught dead listening to such music...), and knuckled down, telling myself that there was no way I would like it. It didn't work. I mean, for what it is, it's a good record. Ok, so Ryan Ross (not that there's not other members, but it's just one of those situations where you can see and hear where the talent balance lies in this band) is ripping off the Beatles with no remorse. From the cover art, to the videos, to the songs...he's pretty much trying to re-create some Sgt. Pepper melodies that 15 year old girls won't hate. But you know what? I dig that. I dig that he's not trying to hide the fact. And I dig that he would take on such a task in the first place. Rip off the greats, shoot for ripping off arguably the greatest album of all time, and if you fall short, you've still got a decent record, right? Sonically, it's a really fun, feel good album, and the titles aren't annoyingly long and ridiculous anymore. And the long ones are actually kind of cool. I'll take "The Piano Knows Something I Don't Know" over "There's a Good Reason These Tables Are Numbered Honey, You Just Haven't Thought of It Yet" any day.

It's like the younger bands are getting the point. Shamelessly rip off those before you. My Chemical Romance was in this same position just like last year. People wrote them off, and then they discovered A Night At The Opera, and decided to make The Black Parade (an album that also shocked critics, fans, and myself). It's the same formula, the same concept. So, what to make of this? I mean, lets face it...average to below average artists make good records a lot. But then what happens when it becomes socially acceptable to think an artist is actually good? It's like the reverse sophomore slump. I think we're so unused to seeing an artist actually get better as their career goes on. I like to call it the Justin Timberlake effect. Look, we all smiled and nodded at N'Sync as our girlfriends, nieces, wives, mistresses, etc. fell for them. We hated them, but kind of tolerated them at the same time, because they contributed to the happiness of things that we loved (Much like Ray Allen in the NBA playoffs for Celtics fans, but that's a different story), but then Justin goes solo. Puts out an album that's accepted by critics and shows some growth, but you still force yourself to hate him a little bit...just less. He puts out a second album that may (I don't think this is that bold of a statement, but work with me...) change the face of solo male pop music, and he commands respect now. It had to be what it was like when Michael Jackson put out Off The Wall.

Point being, you've got to respect artistic growth. Look, Panic could sell records. Sticking with the formula on their first album, they could sell records doing anything. But they didn't. Much like (fanboy alert) Lindsey Buckingham after Rumours, deciding that yeah, that was fun...but not daring. I always think it's funny when I read about how Tusk was a "failure" for "only" selling like 4 million copies. How warped was/is the music industry? Success is exciting, but only if it's playing by label rules? It took like 20 years for Tusk to get the appreciation it deserved, and fortunate for Panic at the Disco, people have caught on quicker. The face of popular music is shifting, and people are filling in their roles. Justin Timberlake has his eye on MJ's crown, John Mayer is trying to be Clapton these days, Timbaland is Phil Spector, and so on. So, what if, and bear with me here, what if Ryan Ross and his mates really are the closest thing we're going to have to the Beatles? Tricky comparison, and I don't totally stand behind it, I'm just trying to get the minds of the readers working. They're young (At 23, bassist Jon Walker is the oldest of the 4), they've got growing popularity, and they've got a young, learning songwriter with an ear for melody, and better lyrics than you would expect.

So, is this just one good album? Or is Panic at the Disco the future of pop music?

To Be Continued....