One Last Wish

Aug 27, 2021 ∞

Wilco tonight at Artpark

Aug 27, 2021 ∞

Sleater-Kinney tonight at Artpark

May 17, 2021 ∞

Here we are now, entertain us

Note from Jason: Wow, I procrastinated a lot on this one. This issue was like 90% done for weeks. The last 10% was the hardest – putting the focused listen into words. Maybe it’s because SO much has been written about Nirvana, I didn’t think I could do it justice? Anyway, here it is… I will attempt to follow up with another issue this month to get back on track. Thanks for reading!

1991 was a huge year for music – I’m thinking we’ll be stuck here for the next few issues, as there are a number of crucial records I really need to include in this project and it just happens to be the 30th anniversary. Nirvana’s Nevermind and A Tribe Called Quest’s The Low End Theory will definitely make the cut for me.

Other classic records out that year: My Bloody Valentine’s Loveless, Pearl Jam’s Ten, Soundgarden’s Badmotorfinger, Slint’s Spiderland, The Smashing Pumpkins’ Gish, Fugazi’s Steady Diet of Nothing, Sepultura’s Arise, Geto Boy’s We Can’t Be Stopped, De La Soul’s De La Soul is Dead, my most underrated album of the 90s: God Fodder by Ned’s Atomic Dustbin, and many more — I could keep going.

This issue I’ll focus on the album that made the biggest impact of all those listed above: Nirvana’s Nevermind. Released on September 24th, the album knocked pop music off the charts – taking over the #1 slot from Michael Jackson on the Billboard 200 in early 1992. Over 24 million copies have been sold and it’s obviously on many “best of” lists – including #17 on Rolling Stone’s all-time top 500 list. Beyond the mainstream success of Nirvana, this album inspired and opened the gateway to success for many, many alternative rock bands from that point forward.

I received the cassette version for Christmas that year. It turns out, I wasn’t alone:

Nevermind had its best sales period during Christmas week of 1991, when it sold a spectacular 374,000 copies in a mere seven-day frame

Like most of us at the time, I was sucked in by “Smells Like Teen Spirit” and thoroughly enjoyed the rest of the short ride. Overall, I think Nirvana epitomized the Gen X experience: noisy, angsty sly sarcasm, and enough hooks to get you through it all. As a teenager, you couldn’t ask for anything more.

Beyond music, Nirvana obviously wasn’t the reason we moved to Seattle in 1999, but the introduction to the Seattle music scene was a huge selling point. We lived in Seattle for five years and enjoyed many bands during that time at some of the classic Seattle venues: The Crocodile, Showbox, Paramount, Rock Candy, Neumos, El Corazon/Graceland/many other names, Cha Cha Lounge, The Comet, Paradox, and many more. The 1999 to 2004 period was amazing for us in terms of shows – I can’t imagine experiencing all of the scene history that pre-dated that time.

Anyway, enough of the blathering – we all know Nirvana and Nevermind – let’s get on to the focused listen! (I just hope I can do it justice – so much has been written about this band.)

Focused Listen

Smells Like Teen Spirit

The debut single off Nevermind, it was certainly the song (and regularly played video) that jumpstarted the success of the album. Not to mention help it become one of the most recognizable songs of the last 30 years. In fact, Rolling Stone named it #9 on the 500 Greatest Songs of All Time.

Turns out, Nirvana was trying to rip off The Pixies (another of my favorite bands). Cobain in a Rolling Stone interview from January 1994:

I was trying to write the ultimate pop song. I was basically trying to rip off the Pixies. I have to admit it. When I heard the Pixies for the first time, I connected with that band so heavily that I should have been in that band—or at least a Pixies cover band. We used their sense of dynamics, being soft and quiet and then loud and hard.

Lyrically, Nirvana is one of those bands that seem to have two distinct camps: one group that think it’s all non-sensical to fit the melodies and cadence and another group that dissects every single line for meaning. To me, I think the non-sensical has a purpose for Cobain, so I lean toward the “find meaning” camp in most songs. (When this project is complete, you’ll notice I tend to love bands that have meaningful lyrics, if you haven’t already.)

As a shy introvert, my favorite part of this song has to be:

With the lights out, it’s less dangerous  
Here we are now, entertain us  
I feel stupid and contagious  
Here we are now, entertain us

I don’t think there are many songs that sum up that feeling for me as well as this one does… the constant feeling of having to entertain others just to be heard, the feeling of failure when you aren’t heard, and finding those “dark” places where you can feel comfortable being yourself. It’s quite perfect.

In the end, it’s hard to not say this is the best song on the album, given all of the accolades, though I think “Drain You” is a very close second.

In Bloom

Another video I remember seeing a lot on MTV. The song was an ode to the fans the jumped on the Nirvana bandwagon, yet didn’t understand anything about them – which became commonplace for alternative/underground rock bands in the 90s, think Rage Against the Machine, Fugazi, and the like…

The best part is the song is so damn catchy and easy to sing-a-long to — it’s the perfect honey trap.

He’s the one who likes all our pretty songs  
And he likes to sing along and he likes to shoot his gun  
But he don’t knows not what it means  
Don’t knows what it means, when I say  
He’s the one who likes all our pretty songs  
And he likes to sing along and he likes to shoot his gun  
But he don’t know what it means, don’t know what it means, and I say, “Yeah”

Come As You Are

Originally intended to be the main single on Nevermind, it was put on the backburner after the surprise success of “Smells Like Teen Spirit”.

I get why “management” picked this song as the lead single, since it has a low key, catchy almost sonic feel to it. It’s a good, safe song. Though in context of the rest of the album and Bleach before it, I think it’s a pretty non-representative sample of who Nirvana was at the time. Maybe I am wrong – I’m not a millionaire music executive after all. 🙂

Come as you are, as you were  
As I want you to be  
As a friend, as a friend  
As an old enemy  
Take your time, hurry up  
Choice is yours, don’t be late  
Take a rest as a friend  
As an old memoria

Breed

This song could be on Bleach – it’s certainly the most caustic, aggressive song on the album. Lyrically, Cobain focuses on getting stuck in the stereotypical “middle America” life:

Even if you have, even if you need  
I don’t mean to stare, we don’t have to breed  
We could plant a house, we could build a tree  
I don’t even care, we could have all three

Lithium

From Genius.com:

“Lithium” is a perfect description of manic depression, where every line is both happy and sad, up and down, while having references to God recalling when Kurt lived with a devout Christian family.

Musically, Cobain once again goes the Pixies route – I’d argue even more so than “Smells Like Teen Spirit”. It’s certainly catchy.

My favorite section of lyrics:

I’m so happy ’cause today I found my friends, they’re in my head  
I’m so ugly, that’s okay, ’cause so are you, we broke our mirrors  
Sunday mornin’ is every day for all I care and I’m not scared  
Light my candles in a daze ’cause I’ve found God

Polly

This is probably my least favorite song on the album, though I learned something new about it:

This song is about the actual kidnapping of a 14-year-old girl. In 1987, she was returning from a concert in Tacoma, Washington when she was abducted by a man named Gerald Friend. He took her back to his mobile home and raped her. The girl, whose name was not released, was tortured with a whip, a razor, and a blowtorch. She managed to escape when Friend took her for a ride and stopped for gas. He was arrested and sent to jail.

Lyrically, you can certainly hear that story after learning of the background.

Territorial Pissings

The most traditional punk song on the record – fast and aggressive. Lyrically, Cobain stuck with that theme as well, focusing the rage on the mistreatment of Native Americans and women. From Cobain:

On one hand “Territorial Pissings” references Native Americans – people smashed by raging attacks. And at the same time it’s about appreciating woman.. I hate the violence they suffer, the daily injustices for belonging to a different sex.

It all starts with the classic opening – spontaneously included by Krist Novoselic – which was directed at the Baby Boomer generation since they seem to have forgotten the ideals The Youngbloods sang about in the classic hippie anthem “Get Together” from the 60s:

Come on, people, now  
Smile on your brother  
Everybody get together  
Try to love one another right now

Drain You

My second favorite song on the album. The chorus just ripping through while Cobain sings:

One baby to another says, “I’m lucky to have met you”  
I don’t care what you think unless it is about me  
It is now my duty to completely drain you  
I travel through a tube and end up in your infection

It’s the classic Nirvana sound that I love.

Lounge Act

The next two songs kind of do the same thing for me – similar vibe (generally a loud, catchy ripper) – though I probably prefer Lounge Act of the two, since it’s got more dynamics and better lyrics:

And I’ve got this friend, you see who makes me feel  
And I wanted more than I could steal  
I’ll arrest myself, I’ll wear a shield  
I’ll go out of my way to make you a deal  
We’ll make a pact to learn from who  
Ever we want without new rules  
And we’ll share what’s lost and what we grew  
They’ll go out of their way to prove they still  
Smell her on you  
They still smell her on you  
Smell her on you

In fact the lyrics from Lounge Act are probably the most straightforward on the album – almost traditional, well as traditional as Cobain would get on this album.

Stay Away

Another ripper, with the controversial ending: “God is gay.”

From Genius:

In a 1993 interview with The Advocate, Cobain claimed that he was “gay in spirit” and “probably could be bisexual.” He also stated that he used to spray paint “God Is Gay” on pickup trucks in the Aberdeen area—he did attend church throughout his youth, but became dissatisfied with religion.

On A Plain

Another one of my favorites, with some of the catchiest riffs on the album. It definitely lays the foundation for many alternative bands to come. I can hear bits of Weezer and The Posies to name just a few.

I’ll start this off without any words  
I got so high, I scratched till I bled  
I love myself better than you  
I know it’s wrong so what should I do?  
The finest day that I’ve ever had  
Was when I learned to cry on command  
Love myself better than you  
I know it’s wrong so what should I do? (Ooh, ooh)

Something In The Way

A mellow and mournful end to the official track listing.

Underneath the bridge  
Tarp has sprung a leak  
And the animals I’ve trapped  
Have all become my pets  
And I’m living off of grass  
And the drippings from the ceiling  
It’s okay to eat fish  
‘Cause they don’t have any feelings

Overall, I’m pleasently surprised how well this album held up over the years. It’s a classic for sure and definitely one of most important albums of my generation.

Since this album had such a huge impact, I also asked some internet friends for a tweet-length reaction from their 1991 self:

P.J. Hagerty (@aspleenic on Twitter)

This is something different. Do I like this? It’s so messy, but at the same time precise at channeling emotion. I think I like this. Someone understands my rage and confusion!

Odd-Egil Auran (@odd on Micro.blog)

I was excited like I hadn’t since about 1988 about something that sounded heavy, although at the time I didn’t know it was the death of Heavy Metal as I knew it.

Guillaume Barillot (@gbarillot on Twitter)

Honestly, my first impression was: “mmmh, fine, nothing fancy but I like the songs. This album won’t change the world, I dont get all that hype”(disclaimer: for me in 1991 the revolution was RHCP blood sugar sex magic)

Patrick Rhone (@patrickrhone on Micro.blog and Twitter)

As someone who spent his teenage years in and around the NYC punk scene of the early 1980’s, my first thought was “See, I knew punk wasn’t dead!”

Hjalmer Duenow (@hjalm on Micro.blog)

1991 I worked in a record store. I didn’t get why lightning struck for Nirvana over many other bands that sounded similar on the same record label or from the same scene. They had some nice hooks and that Butch Vig sound.

Playlist

Since Nirvana is this month’s featured artist, we’ll focus on rock music from 1991 – such a diverse mix of sounds in the (mostly) alternative scene. Enjoy! Listen on Apple Music.

Smells Like Teen Spirit – Nirvana
Rusty Cage – Soundgarden
Reclamation – Fugazi
When You Sleep – My Bloody Valentine
I Am One – The Smashing Pumpkins
Alive – Pearl Jam
Arise – Sepulture
Underlord – Into Another
P.S. New York is Burning – Jawbreaker
Impossible Figure – Jawbox
Spectra Sonic Sound – Nation of Ulysses
Kill Your Television – Ned’s Atomic Dustbin
Strong Reaction – Pegboy
Selfish – Seaweed
Red House – Shudder to Think
Seed Toss – Superchunk
Gun – Uncle Tupelo
Enter Sandman – Metallica
One – U2
Losing My Religion – R.E.M.
Alec Eiffel – Pixies
Mouth Breather – The Jesus Lizard
The Concept – Teenage Fanclub
Rave Down – Swervedriver
Counting Backwards – Throwing Muses
Stickin in My Eye – NOFX
Alice Said – Screaming Trees
Little Bones – The Tragically Hip
Whatever’s Cool With Me – Dinosaur Jr.
Running Like Thieves – Bold
Nosferatu Man – Slint
Those Who Fear Tomorrow – Integrity
Values and Instabilities – 4 Walls Falling

Totally Digging

Here are some new releases I’ve been listening to and enjoying:

Today We’re the Greatest by Middle Kids (Listen)
Life in Your Glass World by Citizen (Listen)
The Seed, The Vessel, The Roots and All by New Pagans (Listen)
Selective Punches: A Collection of Ballads & Battle Hymns by No Escape (Listen)
Sweep It Into Space by Dinosaur Jr. (Listen)
The Million Masks of God by Manchester Orchestra (Listen)
Follow my Best of 2021 playlist on Apple Music

And some older releases that have made it back into regular rotation:

Floral Green by Title Fight (Listen)
500wattburner@seven by Sparkmarker (Listen)
Brutalism by IDLES (Listen)

Musical Moving Pictures

Elsewhere

🔗 What Had Happened Was – Season Two with El-P

Open Mike Eagle and El-P talk about El-P’s career from Company Flow to Run the Jewels. I was super into Def Jux back in the early 2000s, especially El-P, Mr. Lif, and Aesop Rock, so it was amazing to hear about it first hand. A must listen if you are into indie hip hop.

—

That wraps up the sixth issue. Feel free to send me feedback, questions, ideas — anything. I’d also love if you shared this newsletter with anyone you think would enjoy and encourage them to subscribe.

See you next time.

— Jason

Apr 7, 2021 ∞

New additions 04.07.21

I picked up these two albums this week:

TV Priest’s Uppers (Listen)
Nirvana’s Nevermind (Listen)

One will be this month’s featured album. I’m sure you can guess which one it is!

Mar 21, 2021 ∞

New additions 03.21.21

Added a few new slabs of vinyl to my collection:

Soft Sounds from Another Planet by Japanese Breakfast (Listen)
Songs of Praise by Shame (Listen)
Brutalism by IDLES (Listen)
Fleet Foxes by Fleet Foxes (Listen)

Most important, my daughter bought her first record: the Prom Queen EP (Listen) from Beach Bunny. Someone will be getting a turntable for the birthday in May. 🙂

Mar 15, 2021 ∞

Fight the Power

Quick Note from Jason: This month is the first issue published from my brand new site. If you subscribed to the email via Substack you are all set – no need to re-subscribe, in fact you can manage your subscription by clicking Login on the new site.

If you subcribed via RSS or read issues by visiting the Substack site, you will need to update your links. This will be the permanent home for One Last Wish from here on out.

I’m super excited about this for a few main reasons:

I can own my content and not worry about Substack going away or changing for the worse.
I can publish other posts, without having to include it in a newsletter.
I can offer a way to support the site through Cash App and PayPal tips.
I am looking into offering perks for supporters, including record giveaways and other benefits. (More on that once I can finalize details.)

The monthly issues will always be free and found here on this site.

Thanks for reading and following along. Last month was the most successful issue to date, so I really appreciate all of the interest.

Onward to issue five! (I hope it’s worth the wait – it’s a long one.)

Believe the Hype: Public Enemy’s Fear of a Black Planet

While Living Colour was my first true experience with overtly political lyrics, the next logical step, given my love for hip hop, had to be Public Enemy. My first PE purchase (and the focus of this issue) was the cassette version of Fear of a Black Planet – released in April of 1990.

Public Enemy was formed in 1985 by Chuck D and Flavor Flav. Fear of a Black Planet was Public Enemy’s third studio album — a followup to 1988’s It Takes a Nation of Millions to Hold Us Back and 1987’s debut Yo! Bum Rush the Show. The album is certified platinum by the RIAA and both “Fight the Power” and “911 is a Joke” both reached #1 on Billboard’s Hot Rap Singles chart.

My first exposure to Public Enemy was music videos off the It Takes a Nation of Millions to Hold Us Back album via MTV’s Yo! MTV Raps. Songs like “Bring the Noise”, “Don’t Believe the Hype” and “Rebel Without a Pause” certainly sold me on Public Enemy – they were the real deal.

In addition to MTV and their first two releases, Do the Right Thing by Spike Lee had a big impact on me – not only as the debut of “Fight the Power”, but the overall message and power of the Lee’s work. It’s still one of my favorite movies to this day.

The absolute peak of my Public Enemy experience was at the 1994 University at Buffalo Fall Fest during my freshman year of college. There you would have seen eighteen year old me, up front for PE, getting a high five from Flavor Flav after he came to life out of a casket on stage early in their set. It was an otherworldly experience I will never forget.

Now that we have a little backstory, let’s dig in to my focused listen:

1. Contract on the World Love Jam

PE was no stranger to criticism, so what better way than to open your third album with samples of that criticism. Face it head on.

From Genius.com:

“A lot of the samples on ‘Contract’ came from me taping radio stations, taking bites of interviews and commercials. Sometimes I might go through the dial, just sampling at random, keeping it on a cassette, listen to the cassette, and say, ‘Well, being that I’m the lyric writer, how should I arrange these fragments so they’ll add up to a kind of a song?’ That’s how ‘Contract’ came along.

2. Brothers Gonna Work it Out

The first full song kicks off Fear with PE’s classic sound – driving bass, borderline caucaphonic noise, and that classic hip hop beat. Chuck D’s lyrics don’t hold back either:

History shouldn’t be a mystery  
Our stories real history  
Not ***his*** story

and:

In 1995, you’ll twist to this  
As you raise your fist to the music  
United we stand, yes divided we fall  
Together we can stand tall  
Brothers that try to work it out  
They get mad, revolt, revise, realize  
They’re super bad  
Small chance a smart brother’s  
Gonna be a victim of his own circumstance  
Sabotaged, shell-shocked, rocked and ruled  
Day in the life of a fool

At almost 14 and questioning everything I’d been taught, Public Enemy could get you hyped and teach at the same time. It’s exactly what I needed at that age… and still enjoy today.

3. 911 is a Joke

Probably one of PE’s most recognizable songs (and video) – this was Flavor Flav at the top of his game. Only he could deliver this message:

4. Incident at 66.6 FM

Chuck D on this track:

“Incident At 66.6 FM’ was actually a live radio interview that I did at WNBC in New York before a show we did with Run-DMC at Nassau Coliseum. Those people you hear in the record actually called the station.

5. Welcome to the Terrordome

This song was Chuck D’s response to the Professor Griff anti-semitism controversy and the media focus.

Never be a brother like, “Me go solo”  
Laser, anesthesia, maze ya  
Ways to blaze your brain and train ya  
The way I’m livin’, forgiven, what I’m givin’ up  
X on the flex, hit me now  
I don’t know about later  
As for now, I know how to avoid the paranoid  
Man, I’ve had it up to here  
Yeah, I wear got ’em going in fear  
Rhetoric said and read just a bit ago  
Not quitting, though signed the hard rhymer

Musically the song is a banger, with samples from James Brown, The Temptations, Kool & the Gang, and The Jackson 5. So damn good. Chuck D is in attack mode lyrically the whole damn song too. It’s a treat.

6. Meet the G That Killed Me

From Genius:

Dabbling a little in the homophobic territory of early ‘90s rap on this controversial skit, Public Enemy speaks on the then recent subject of AIDS in the black community.

7. Pollywannacraka

8. Anti-N***** Machine

Chuck D’s commentary on how the police system, government, and laws work to censor Black Americans – whether it’s literally censoring music, voting, or the taking of one’s life at the hands of the police. Still very relevant 30+ years later, as we watch George Floyd, Breonna Taylor, and sadly many others… as well as Republican controlled states rush to make voting more difficult after the 2020 election.

9. Burn Hollywood Burn

A criticim of Hollywood and the treatment (and stereotypes) of Blacks in media:

Hollywood or would they not  
Make us all look bad like I know they had  
But some things I’ll never forget, yeah  
So step and fetch this shit  
For all the years we looked like clowns  
The joke is over — smell the smoke from all around

And an interesting annotation from Genius.com taught me something new:

Stepin Fetchit (the name is a variation of the phrase “step and fetch it”) was the stage name of the black film actor Lincoln Theodore Monroe Andrew Perry. He played the “laziest man in the world” in dozens of movies in the 1920’s and 30’s.

10. Power to the People

This feels like a song that was made to take the listener out of Side A. Not necessarily a throw away song, but not one I’d target to listen to on an album this good.

11. Who Stole the Soul?

PE jumps back into side two head first. The song focuses on the continued attack on Black people’s soul – their creativity, home, family and livelihood. All while having to experience holidays and other symbols of America that have some relation to slavery and the plight of Black Americans over the generations. That in itself has to be soul killing.

We choose to use their ways  
And holidays notice some of them are heller days  
Invented by those that never repented  
For the sins within that killed my kin

The song features samples of The Beatles, James Brown, and the Magic Disco Machine.

12. Fear of a Black Planet

The title track – another song that is still relevant today, with the increasing popularity of white nationalism and white supremicist ideas/policy.

13. Revolutionary Generation

This song deals with America and the black community’s poor treatment of women.

Cause I’m tired of America dissin’ my sisters  
(For example, like they dissed Tawana)  
And they try to say that she’s a liar  
My people don’t believe it, but even now they’re getting higher

Another historical tidbit from Genius:

Tawana Bawley is an African-American woman who accused 6 white men including police officers of raping her. The judgement and racial stereotypes that ensued from the media and, ahem, whitey caused people to think she lying.

14. Can’t Do Nuttin’ for Ya Man!

Another Flavor Flav jam. Love it – he was certainly on his A game this record.

Runnin’ for your life, by the knife  
Runnin’ from your wife, yikes!  
You should’ve stuck with home  
Off your mind to blow your dome  
It was you that chose your doom  
You built the maze you can’t get through  
I tried to help you all I can  
Now I can’t do nuttin’ for you man

15. Reggie Jax

A freestyle from Chuck D – very Run DMC in flow – with some references to previous songs and recycled themes/phrases.

I’m here to live for the love of my people  
Kickin’ it all about rebuildin’ so all the children  
Avoid the self-destruction  
So long I’m gonna do y’all a favor  
Cause I got the flavor yea yeah

16. Leave This Off Your Fu*ckin Charts

17. B Side Wins Again

Musically, a driving bass line and PE’s patented style help make this one of the better tracks on Fear. Featuring samples from Kool & the Gang and the Commodores. Lyrically, the song pulls no punches:

And the suckers on the right get cynical  
Cause the record’s to the left and political  
And you search the stores  
Attack the racks with your claws  
For the rebels without a pause

18. War at 33 1/3

This song aim to challenge the status quo and the history taught by schools and the media – whether it’s portraying Black people as the enemy in the media or simply not given them credit for playing a major part in building the country:

Can I live my life without ’em treatin’  
Every brother like me like I’m holdin’  
A knife alright time to smack Uncle Sam  
Who don’t give a damn, look at the flag  
My blood’s a flood  
Without credit  
Black and close to the edit  
I fed it, you read it, just remember who said it

There are a lot of theories as to why the song is titled the way it is – one is a reference to the speed of the song, which is way faster than most PE songs.

19. Final Count of the Collision Between Us and the Damned

20. Fight the Power

One of PE’s best and well known songs. Chuck D on what inspired it:

I wanted to have sorta like the same theme as the original ‘Fight the Power” by the Isley Brothers and fill it in with some kind of modernist views of what our surroundings were at that particular time.

The lyrics definitely hit hard:

As the rhythm’s designed to bounce  
What counts is that the rhyme’s  
Designed to fill your mind  
Now that you’ve realized the pride’s arrived  
We got to pump the stuff to make ya tough  
From the heart  
It’s a start, a work of art  
To revolutionize make a change nothing’s strange  
People, people we are the same  
No we’re not the same  
‘Cause we don’t know the game  
What we need is awareness, we can’t get careless  
You say what is this?  
My beloved let’s get down to business  
Mental self defensive fitness

The music is anthemic, featuring samples from James Brown, Bob Marley, Rick James, Sly and the Family Stone, Trouble Funk, Afrika Bambaataa, and many more. The classic PE sound.

Then there’s the video. I definitely remember watching that on Yo! MTV Raps:

Listening to these songs and prepping for this issue, I couldn’t believe how good this album was – even 30+ years later. This was Public Enemy at it’s creative peak. It Takes a Nation of Millions may be their breakthrough and an important album on it’s own, but the confidence PE exudes on Fear is just palpable.

One of my favorite things about Public Enemy and music in general is it’s ability to teach and experience empathy – whether it’s political in nature, a culture you may not have much exposure to, heartache, or immense joy. Listening to and experiencing someone else’s feelings is one of the most crucial life skills in my opinion. I imagine as this project ages, that will become even more clear with each new issue.

In terms of this album specifically, I know it set the stage for who I am in terms of my beliefs and interests. It’s certainly what helped open me up to punk/hardcore music, reading books by folks like James Baldwin, Noam Chomsky and Howard Zinn, and having an interest in politics/social justice in general. I know I will be forever grateful to Chuck D, Flavor Flav, and Public Enemy.

Playlist

This issue’s theme is 1989 + 1990 — 30 of my favorite songs from these two years. Enjoy the playlist on Apple Music.

It’s Funky Enough – The D.O.C.
Turnover – Fugazi
Personal Jesus – Depeche Mode
Kool Thing – Sonic Youth
Fight the Power – Public Enemy
Velouria – Pixies
Here’s Where the Story Ends – The Sundays
Happiness is a Warm Gun – The Breeders
Shake Your Rump – Beastie Boys
Stop – Jane’s Addiction
Cave-In – Codeine
Fourth of July – Galaxie 500
Modern Man – Bad Religion
Sweetness and Light – Lush
Slow Down – Brand Nubian
Graveyard Shift – Uncle Tupelo
Ball and Chain – Social Distortion
Jackin’ for Beats – Ice Cube
The Humpty Dance – Digital Underground
Waiting Room – Fugazi
I Left My Wallet in El Segundo – A Tribe Called Quest
Wave of Mutilation – Pixies
About a Girl – Nirvana
I Wanna Be Adored – The Stone Roses
So Wat Cha Sayin’ – EPMD
Picture of You – The Cure
Sound System – Operation Ivy
Soul Craft – Bad Brains
Gas Face – 3rd Bass
Start Today – Gorilla Biscuits

Follow me on Apple Music.

Totally Digging

Here are a few recently released albums (well more than a few – it’s been a good few weeks!) I’ve been listening to:

Family Album by Lia Ices (Listen) — she returned to more of an indie folk sound on this album, but the great songwriting remains.
Clothbound by The Sonder Bombs (Listen) — for fans of Beach Bunny and Paramore. Solid all around.
Collapsed in Sunbeams by Arlo Parks (Listen) — awesome bedroom indie pop. Been looking forward to this for awhile.
Uppers by TV Priest (Listen) — post-punk in the vein of The Fall, Gang of Four, Nick Cave and newer bands like IDLES and Shame.
Ignorance by The Weather Station (Listen) — a mix of Broken Social Scene, Fleetwood Mac, and Talk Talk. Super good.
Stay Gone by Calyx (Listen) — a mix of Lemuria, Husker Du, and Swearin’. Fast, noisy, chaotic, and sometimes catchy punk. Like it a lot.
Pastel by FRITZ (Listen) — a little shoe gaze, dream pop, and alt-rock all mixed into one — think Alvvays crossed with Hatchie. Love it.
Little Oblivions by Julien Baker (Listen) – to be honest, I haven’t put as much time into this album and I really want to focus on it. The songs I have listened to are everything you would expect from someone as talented as Baker. I am pretty confident this will end up on my year end list.
Life is Not a Lesson by Glitterer (Listen) – fuzzy grunge pop from the bassist of Title Fight. One of my favorite releases from the last few weeks. Perfect spring time, driving with the window down, turn it up loud music.
The Shadow I Remember by Cloud Nothings (Listen) – sounds like Cloud Nothings and that’s perfectly fine by me. Saw them in 2017 opening for the New Pornographers. Super good band.
Show Me How You Disappear by IAN SWEET (Listen) – One of my favorite albums so far this year. I saw her in 2017 supporting Ted Leo. I liked her debut Shapeshifter a lot, but this one is better. Quirky, well done indie pop. Please check it out!
Driver by Adult Mom (Listen) – bedroom/indie pop similar to what the Crutchfield sisters do in their solo work, Waxahatchee, and PS Eliot. Like it a lot.
As the Love Continues by Mogwai (Listen) – one of their best albums in years.

And a few older ones on repeat:

Ices by Lia Ices (Listen) — more of an electronic sound than her other albums. The songs features lots of loops, a tropical feel at times, and general happy sound all highlighted by her awesome vocals. Perfect for the winter doldrums.
An End Has a Start by Editors (Listen) — Strangely I wasn’t familiar with this band prior to seeing it highlighted on an acquaintances Instagram feed. Interpol crossed with Frightened Rabbit and The National. Right up my alley.
Luca by Alex Maas (Listen) – psych-rock/indie folk from the singer of The Black Angels. Some really great moments on this album.
Left and Leaving by The Weakerthans (Listen) — a classic from one of my favorite bands. I picked up the vinyl as well.
Population by The Most Serene Republic (Listen) — one of my favorite live bands. Quirky indie-pop similar to Broken Social Scene.

Musical Moving Pictures

Arlo Parks Live on KEXP at Home

Beach Bunny – Good Girls (Don’t Get Used) on Jimmy Kimmel

Lemuria @ The Fest 17

Lia Ices – Live

Manchester Orchestra: A Black Mike to the Surface

Elsewhere

Oh, live music. Someday.

—-

That wraps up the fifth issue. Feel free to send me feedback, questions, ideas — anything. I’d also love if you shared this newsletter with anyone you think would enjoy and encourage them to subscribe.

See you next time.

— Jason

Jan 25, 2021 ∞

In the Days of My Youth

This story is as old as time: parents try to show their kids “good” music, kids roll their eyes and proceed to put their headphones back on / tune out / leave the room. Whatever that generation’s go-to “blow your parents off” move is… I did the same to my parents and my kids have done the same to me.

For me, my musical journey to date had involved discovering hip hop through Run DMC and rock music through Living Colour. Getting into rock music brought me to many new places, from liking Guns N’ Roses and Motley Crue to INXS and Depeche Mode. One place I had yet to explore, mainly due to “hearing” it so often from my parents, was classic rock.

That all changed when my friend Brian continually talked about how good Led Zeppelin was and I did my best to pretend I knew exactly what he meant. Of course I knew the name Led Zeppelin. In fact, I heard them many times over the years, but I didn’t actually listen.

Luckily, my parents had a few records and tapes I could listen to when they weren’t home or paying attention. I got hooked. (I also listened to their Rolling Stones, The Beatles, Black Sabbath, and Heart records while I was at it…)

My favorite Zeppelin album has to be their sixth, Physical Graffiti, the double album released in 1975. (Listen) It’s a long listen, but I also think it’s the band at their creative peak — exploring and combining many of their styles and influences like Middle Eastern music, funk, metal, jazz, pop, country, folk, blues, and prog rock. It’s quite the journey.

I was overjoyed to come across a used copy at Revolver Records a few years back, as I was browsing the “just in” used crates. It’s a regular spin that we like to enjoy — and by “we” I mean the entire family. Amazing how that worked out!

Here are the notes from my recent focused listens:

Custard Pie
Zeppelin kicks off their album with an upbeat groove — wound up, loud blues with lyrics chock full of Robert Plant’s patented sexual double-entendres.

The Rover
The band continues the high powered album opening with a combination of Southern rock, blues, and metal. Serious swagger. Some of Jimmy Page’s best guitar work, in my opinion.

In My Time of Dying
My oh my, John Bonham’s drum playing starting at around the 3:50 minute mark are some of the craziest beats — literally playing along with the guitar, matching Page’s riffs. The Bonham video I included in the video section below highlights many of the ways he was a unique, innovative, and powerful drummer at the time (and his legend has only grown since he passed away.) It’s a long song, but that passage alone is worth hearing.

Houses of the Holy
Originally recorded for Zeppelin’s previous album of the same name, it finally made the cut and we’re the better for it, as it’s one of their most popular songs. I hear some pop influence, which definitely carries over into the next song.

Trampled Under Foot
Influenced by Stevie Wonder’s Superstition, this song rocks the funk/Southern rock/blues crossover with serious swagger again — love it.

Kashmir
My favorite Zeppelin song. Absolutely epic in every way. Apparently it was written after a long trip down a straight, seemingly never ending road in the desert of Morocco. We played this song many times on our two cross-country road trips, so it makes total sense. A perfect song for driving. A perfect song.

In the Light
One of the few songs Zeppelin was never able to play live, as they couldn’t replicate the synthesizer sound outside the studio. It was also meant to be a follow-up to “Stairway to Heaven”. Almost orchestral, the psychedelic keys and slow groove would have surely been a crowd pleaser for the era.

Bron-Yr-Aur

Down by the Seaside
Another holdover from a previous recording session, this song slows things down even more after the instrumental interlude of Bron-Yr-Aur. Written almost 40 years ago, the lyrics are still so appropriate for today’s fast paced, over scheduled world:

Down in the city streets  
See all the folk go racing, racing  
No time left, oh no  
To pass the time of day

Ten Years Gone
Lyrically, one of my favorite songs. Like this opening verse:

Then, as it was, then again it will be  
And though the course may change sometimes  
Rivers always reach the sea  
Flying skies of fortune, each a separate way  
On the wings of maybe, downing birds of prey  
Kind of makes me feel sometimes, didn’t have to go  
But as the eagle leaves the nest, got so far to go

Musically, there are little hints here and there of Zeppelin’s usual groove. The bulk of the song is slow with a pop and orchestral influence, which fits well with the break-up theme of the lyrics.

Night Flight
I’d put this as the weakest song on the album. Thankfully it closes out the slow section of the album, as tracks 7 through 11 really took things down a notch after the blistering opening.

The Wanton Song
Zeppelin is back with the loud, blues influence groove on this track. The song began as a sound check during the 1973 tour and eventually morphed into what it became on Physical Graffiti. I really dig the main riff.

Boogie With Stu
An impromptu jam with Ian Stewart who played piano on Zeppelin recordings (as well as with the Rolling Stones.) Stewart didn’t play live with Zeppelin, so this song was also never played in concert.

Black Country Woman
Another song intended for Houses of the Holy. An acoustic track recorded in Mick Jagger’s garden. Essentially another filler to extend the playing time to fit a double album.

Sick Again
The closing track — an uneven song about a groupie. The song shines in moments, but falls apart just as quickly.

And as a final note to parents out there: don’t give up. Most importantly keep listening to music together, no matter what. Music is such an important part of our world… it brings people together, it can teach empathy and love, it can be political on one end and it can be a mindless, fun release on the other.

I’ve been known to enjoy a few pop songs that my kids dig. Thankfully, my girls have done the same with musicians I like, in fact we took the family to see Snail Mail for one daughter’s 11th birthday, including a front row spot and a guitar pick / set list from Lindsey Jordan herself. Another daughter is learning Queen’s Bohemian Rhapsody for her bass recital and my third daughter is playing a Beach Bunny song for her drum recital. So proud.

Music is life. Give that to your kids.

Playlist

To accompany this issue’s theme, here is a playlist of some of my favorite classic rock songs from the 60s and 70s.

All Along the Watchtower – The Jimi Hendrix Experience
Gimme Shelter – The Rolling Stones
Somebody to Love- Jefferson Airplane
Fortunate Son – Creedence Clearwater Revival
You Really Got Me – The Kinks
Baba O’Riley – The Who
Paranoid – Black Sabbath
Barracuda – Heart
Bohemian Rhapsody – Queen
T.N.T. – AC/DC
Go Your Own Way – Fleetwood Mac
Runnin’ with the Devil – Van Halen
Kashmir – Led Zeppelin
Wish You Were Here – Pink Floyd
Surrender- Cheap Trick
Heart of Gold – Neil Young
The Spirit of Radio – Rush
Vitamin C – Can
Sunshine of Your Love – Cream
Roadhouse Blues – The Doors
Here Comes the Sun – The Beatles

Follow me on Apple Music.

Totally Digging

Here are a few recent albums I’ve been listening to:

Drunk Tank Pink by Shame (Listen)
Uppers by TV Priest (Listen)
Welfare Jazz by Viagra Boys (Listen)
Blame Game (EP) by Beach Bunny (Listen)
Conflicted original motion picture soundtrack by Griselda & BSF (Listen)

And a few older ones on repeat:

Reconstruction Site by The Weakerthans (Listen)
Day for Night by The Tragically Hip (Listen)
O by Damien Rice (Listen)
Mean Everything to Nothing by Manchester Orchestra (Listen)

Musical Moving Pictures

Press Gang – TV Priest

Water in the Well – Shame

Julien Baker – Live on KEXP at Home

Snapcase – July 23, 1997 – Buffalo, NY

Broken Social Scene – House of Strombo (2019)

What makes John Bonham such a good drummer?

Elsewhere

A text thread with some friends had us talking about underrated bands. My list included:

Doughboys, Garden Variety, Idlewild, Kerosene 454, McClusky, Ned’s Atomic Dustbin, The Posies, Saintseneca, Shades Apart, Shudder to Think, Wintersleep, Verbal Assault, and The Van Pelt.

My friend Chris (AKA The Itinerant Printer) shared his:

Wampire, Jesca Hoop, Old Canes, The Good Life, Into Another, Owls, Bold, Dungen, Embrace, Deer Tick.

What bands do you think are underrated? Share in the comments!

That wraps up the fourth issue. Feel free to send me feedback, questions, ideas — anything. I’d also love if you shared this newsletter with anyone you think would enjoy and encourage them to subscribe.

See you next time.

— Jason

Jan 2, 2021 ∞

Only You Can Set You Free

Whereas Run D.M.C.’s Raising Hell was my first album and my first music purchase, Living Colour’s Vivid was my first rock album. Released in May 1988, I was just about to turn 12 years old and was finishing my 6th grade year. I started skateboarding that year, reading Thrasher magazine, and generally expanding my horizon through many new experiences.

One of my biggest memories from the 6th grade year was skating with my friend Chris in the church parking lot near my house, boom box on the curb, and blasting Vivid and Guns N’ Roses Appetite for Destruction as we learned how to skate.

Looking back, Living Colour was the gateway that eventually got me interested in punk and hardcore music. In fact, I’ve come to realize it’s the keystone of my interests — hip-hop, punk, hardcore, pop music, and progressive politics.

The album has become so important to me, I was overjoyed when I came across a vinyl copy at my favorite local record store, Revolver Records, a couple years back. It’s a treasured part of my collection.

With that, I think it’s time to dive in and look back at each track. Here are some highlights from my focused listens over the last few weeks:

Cult of Personality
The Living Colour song everyone alive during that era knows… the iconic music video, the driving main riff, and my oh my the lyrics. It was certainly the first political song I liked and it hit at a perfect time. My daughters are currently 12 and 13 and this is exactly the time you start learning about injustice and what the world is really like in school. My parents weren’t as outwardly political as my wife and I are, but the social studies curriculum certainly starts to open eyes at this age.

You gave me fortune, you gave me fame
You gave me power in your god’s name
I’m every person you need to be
Oh, I’m the cult of personality

Couldn’t be any more appropriate 30+ years later.

I Want to Know
A love song with a heavy pop influence. I definitely enjoyed this song in the 80s, but not so much now. Other than nostalgia, of course.

Middle Man
An ode to being OK with who you are and not chasing other people’s expectations. I can certainly appreciate this song now as an adult, but at the time I wasn’t quite sure of the message.

‘Middle Man’ came from a suicide note Corey wrote when he was a teenager. “I was maybe 16, 17 years old, and I was just fed up with everything,” he said. “I was feeling just down and depressed. When I initially started writing it, it was going to be an open letter to anybody that found me, that I was tired of being caught up in everybody’s mess. I was tired of being in the middle of things. I’m tired of being the middle man. And then in the midst of me working this out in my head, it dawned on me that this was not a bad place to be in some cases, that at least I was somewhere. It doesn’t mean that it’s the best place in the world, but it doesn’t mean it’s the worst, either. So it actually got me out of the idea that I needed to stop being. It changed my life.”
– from Genius.com

Desperate People
Another favorite of mine. The main riff is so good. Glover’s lyrics focus on, what I assume is, the drug culture of the 80s and the lengths people went to in order to fit in. Between “Just Say No” of the Reagan era and my own personal beliefs to not drink or do drugs at the time (that lasted well into my college years), I could certainly relate to this song growing up.

You get your sunshine from a tab of paper
Then you’re sittin’ in a spinning room
The clock is tocking, it’s laughing at you
Your life’s a mystery without a clue
The crowd you’re in thinks you’re so amusin’
They’re oh so flattering and so sincere
They stand and laugh as they watch you crumble
And when you cry for help they don’t hear

Open Letter (to a Landlord)
This song is on the slower side, but it’s well written and I love the political lyrics. Glover addresses gentrification, capitalism, violence, and drugs in a very personal manner. Certainly my first exposure to these subjects as a white, suburban middle class 12-year old in 1988.

Funny Vibe
More political, funk/hip-hop-inspired thrash featuring Chuck D and Flavor Flav from one of my other faves: Public Enemy.

Memories Can’t Wait (Talking Heads cover)
I had no idea this was the Talking Heads song until a few years ago! It’s certainly a Living Colour-influenced take on this classic. The Talking Heads version is very post-apocalyptic and dark, so I can see why they (as a metal band) would be drawn to this song. Their version is very good and one of my favorite tracks on the album.

Broken Hearts
A slow, plodding love song that fit the era, but seems out of place in the grand scheme of the album.

Glamour Boys
I certainly remember this video and enjoying this song in 1988. The riff in the chorus is pretty solid, but in the end it’s a song that fits the 80’s well. Beyond the nostalgia it’s hard to sync songs like Broken Hearts and Glamour Boys with the band I remember and the influence it had on me as a 12 year old.

What’s Your Favorite Color? (Theme Song)

Which Way to America?
An overtly political song on inequality and racism. Another one of my favorites from the album and one of the songs, like Cult, that epitomizes the funk-influenced metal that is Living Colour. It’s also the most metal song on the record.

I look at the T.V
Your America’s doing well  
I look out the window
My America’s catching hell
–  
I just wanna know  
Which way do I go
To get to your America?

Bonus: Should I Stay or Should I Go? (The Clash cover – CD bonus track)

I certainly wished I heard this version in 1988, if only to get me on to The Clash earlier. I did get into Big Audio Dynamite a few years later, mainly due to their song Rush, so the dots were already connecting in many ways.

—-

Living Colour is Corey Glover on vocals, Vernon Reid on guitar, Muzz Skillings on bass, and Will Calhoun on drums. Vivid reached #6 on the Billboard 200 and “Cult of Personality” won a Grammy for best hard rock performance.

Buy Living Colour’s Vivid on Amazon
Buy Vivid on Discogs
Even better, hit up your local record store!

Playlist

Continuing on with my recent newsletter theme, I put together a playlist of my favorite songs from 1986 to 1988.

Welcome to the Jungle – Guns N’ Roses
Bone Machine – Pixies
Jane Says – Jane’s Addiction
Desire – U2
Everyday Is Like Sunday – Morrissey
You Are (The Government) – Bad Religion
Teen Age Riot – Sonic Youth
Orange Crush – R.E.M.
Waiting Room – Fugazi
Cult of Personality – Living Colour
Children’s Story- Slick Rick
Clean Sheets – Descendents
Need You Tonight – INXS
Never Let Me Down Again – Depeche Mode
Pour Some Sugar On Me – Def Leppard
Paul Revere – Beastie Boys
It’s Tricky – Run-DMC
You Give Love a Bad Name – Bon Jovi
Bigmouth Strikes Again – The Smiths
In a Jar – Dinosaur Jr.
Happy When It Rains – The Jesus and Mary Chain
Alex Chilton – The Replacements
Faith – George Michael
Rebel Without a Pause – Public Enemy
Ain’t No Half-Steppin’ – Big Daddy Kane
Just Like Heaven – The Cure
Bizarre Love Triangle – New Order
Sledgehammer – Peter Gabriel
Paid in Full – Eric B. & Rakim
I Against I – Bad Brains
You Gots To Chill – EPMD
The Bridge Is Over – Boogie Down Productions
Straight Outta Compton – N.W.A.
One – Metallica

Follow me on Apple Music.

Totally Digging

Here are a few recent albums I’ve been listening to:

evermore by Taylor Swift (Listen) – another one?!
One More Day by Clearbody (Listen) – grunge influenced shoegaze
Closer Still by Change (Listen) – year’s best hardcore record
Inlet by Hum (Listen) – what a reunion. So good.

Musical Moving Pictures

Bartees Strange on KEXP

The Music Theory Behind Phoebe Bridgers

Hayley Williams Tiny Desk (Home) Concert

Every Time I Die – Buffalo, NY (Go Bills)

Blu & Exile – KEXP at Home

Elsewhere

Julien Baker offered up the stems for her first single “Faith Healer” off her upcoming album Little Oblivions, to allow for remixes and reinterpretations. Pretty cool!
How Music Persisted During the Pandemic – Pitchfork – I touched on this briefly in my write up on Phoebe Bridgers last month. Music and musicians certainly continued to make a big impact in 2020, even if it couldn’t be “live” in the traditional sense. I suspect it will be a big change that lasts well beyond the pandemic — a whole new way to reach fans.
What Awaits Us: A Beyond Story – a documentary on the classic hardcore band Beyond. Queueing this up soon.
The Mask of Doom – RIP MF Doom.

That wraps up the third issue! Feel free to send me feedback, questions, ideas — anything. I’d also love if you shared this newsletter with anyone you think would enjoy and encourage them to subscribe.

See you next time.

— Jason

Dec 20, 2020 ∞

2020 was a Punisher

2020 was something else, right? Beyond the pandemic and resulting economic destruction, a lot has changed — some for the better and, unfortunately, a lot took a turn for the worse, including so many needless deaths from this virus.

Small businesses, including many of the bands and musicians I love, had to re-invent themselves when they relied so heavily on in-person commerce. Curbside pickup, contactless delivery, and paid livestreams all became commonplace during this year.

As an introvert, I couldn’t help but like a lot of these changes, though one thing I can’t imagine living without is live music. I’ve been to so many concerts and seen hundreds of bands since my teenage years — the experience of seeing live music is really hard to beat. (Though as I age, standing for such long periods of time is starting to be much less enjoyable!)

One of the artists that seemed to immediately jump in to this new world was Phoebe Bridgers. In many ways it was forced, as she kicked off the promotional efforts for her new album on February 26th with her video for Garden Song — right around the time everything got really bad in Italy, New York City, and other places around the world.

Since then, Bridgers has done many livestreams, whether it’s solo on Instagram or live performances with her band on talks shows, virtual festivals, and YouTube. She certainly isn’t letting the pandemic slow down her art.

—

A couple of my favorite live performances were her appearance on the Seth Meyers show:

And her Tiny Desk Concert on NPR Music:

The thing I enjoy and envy most about Phoebe Bridgers is her honesty and transparency — how comfortable she is with herself, doing whatever she’s doing. She not only bares all through her songwriting, but in interviews too. With humor and introspection. It’s a marvel to witness.

When I started this newsletter I was a little concerned that modern albums wouldn’t impact as me as much as older music or as quickly as I’d need to include them in an edition. Luckily, artists like Phoebe Bridgers exist and Punisher is not only good enough to be my top album for 2020, but one of my all-time favorites.

Let’s dig in to some highlights.

Highlights

I was lucky enough to score the indie-exclusive version on “red and swirly” vinyl from Revolver Records in my hometown of Buffalo. The record came with this awesome, diary-like booklet that included lyrics, doodles, and drawings that accompany each song. Reading along with each song and taking in the artwork brought me back to my bedroom in college, when I poured over the inserts of my favorite hardcore records to learn every word of every song. Such a welcome addition in 2020. I wish more musicians put in as much effort.

The best part of the album are her lyrics, which compliment 2020 really well. As she told Apple Music, the theme is: “the idea of having these inner personal issues while there’s bigger turmoil in the world—like a diary about your crush during the apocalypse.”

Musically, my favorite songs are the upbeat Kyoto, which tells a story of both loving and hating something at the same time.

A less upbeat (but more upbeat than most of the songs on the album) ICU (aka I See You), which is about a relationship she had with her drummer. The feeling of being depressed, then falling in love and hoping the person can fix you. Then ultimately breaking up after developing a codependency.

And then she saves the best for last — the final song, I Know the End. The song starts out slow and meadering, then builds and builds into the final verse and releases with the glorious cacophony of the final chorus, including horns, noises, screaming… a perfect way to end a perfect album in 2020.

Over the coast, everyone’s convinced  
It’s a government drone or an alien spaceship  
Either way, we’re not alone  
I’ll find a new place to be from  
A haunted house with a picket fence  
To float around and ghost my friends  
No, I’m not afraid to disappear  
The billboard said “The End Is Near”  
I turned around, there was nothing there  
Yeah, I guess the end is here

Enough of me blabbering on about how great this record is — just go listen to it already, will you?!

My Top 20 from 2020

Punisher by Phoebe Bridgers
Saint Cloud by Waxahatchee
RTJ4 by Run the Jewels
Ultra Mono by Idles
Honeymoon by Beach Bunny
Spilligion by Spillage Village
folklore by Taylor Swift
Color Theory by Soccer Mommy
Hannah by Lomelda
Jump Rope Gazers by The Beths
Miles by Blu and Exile
Shore by Fleet Foxes
Melee by Dogleg
SUGAREGG by Bully
Woman in Music Pt 3 by HAIM
Off Off On by This Is The Kit
Burst by Snarls
Streams of Thought, Vol 3: Cane and Abel by Black Thought
Likewise by Frances Quinlan
A Written Testimony by Jay Electronica

To listen to these and more, check out my 2020 Album of the Year Finalists playlist on Apple Music. And while you are at it, check my tops songs from 2020 playlist.

What was your top album from 2020?

Musical Moving Pictures

This Is The Kit — Live on KEXP

Small Brown Bike live at Cake Shop

Slow Pulp – KEXP at Home

Elsewhere

Remember live music?

—-

Some other Best of 2020 lists to check out:

And I’m sure there will be a 100 more by the time I hit publish.

That wraps up the second issue! Feel free to send me feedback, questions, ideas — anything. I’d also love if you shared this newsletter with anyone you think would enjoy and encourage them to subscribe.

See you in 2021.

— Jason

Dec 19, 2020 ∞

Without saying your age, post 4 albums that came out when your were 14.

Nov 25, 2020 ∞

First Issue, First Album

My First Album

As we start this newsletter journey, I felt the natural place to start was at the beginning. For me, the true joy of music, discovery, and finding my own taste started with Run-DMC’s Raising Hell.

Not only was was Raising Hell the first cassette I bought with my own (10th birthday) money – purchased at K-Mart in Lockport, NY shortly after release in 1986 – but it was the first album I listened to repeatedly, memorizing all of the lyrics. It was also the first record I bonded with friends over: my friend Alex and I would listen repeatedly in his bedroom or while playing Sega Genesis – we’d each take turns being Run or DMC, nailing our parts as we went through each song.

The love of Run-DMC evolved creatively as well – we eventually started writing our own raps as Run-PVD (as creative a name as you could expect from a 10-year old) with our friend Eric. We even performed in the hall for our 5th grade student teacher the following school year.

The discovery of Hip-Hop was universe expanding for me in many ways – especially after a childhood of exposure to classic and yacht rock via my parents. Run-DMC led me to LL Cool J’s Bigger and Deffer, the Beastie Boys’ Licensed to Ill, and the Fat Boys’ Crushin’. From there: Public Enemy, Slick Rick, A Tribe Called Quest, De La Soul, Erik B. & Rakim, Nas, BDP, 3rd Bass, Black Sheep, Digital Underground, the D.O.C., Geto Boys, Ice Cube, Young MC, and Digable Planets. I was hooked.

Highlights From My Focused Listen and Reflection

Tracks

1. “Peter Piper” – 3:23

Wow, that drum and cowbell combo, sampled from Take Me To The Mardi Gras by Bob James, is so iconic. The lyrics, relying so heavily on nursery rhymes and fairy tales, made for a relatable introduction (for a 10-year old, at least) to the album.

2. “It’s Tricky” – 3:03

We are not thugs (we don’t use drugs) 
but you assume (on your own) 
They offer coke (and lots of dope) 
but we just leave it alone It’s like that y’all (y’all), 
but we don’t quit 
You keep on (rock!) shock! cause this is it…

As a ten year old, drugs and alcohol weren’t really a thing yet, but these lyrics did influence me as a young person. I didn’t drink alcohol until I was 21 and I’ve (still) never done drugs. Hardcore music and straight edge helped me get through the teenage years, but hearing this early on definitely had an impact.

Easily identifiable samples: Mickey by Toni Basil and My Sharona by The Knack.

3. “My Adidas” – 2:47

One of my favorites. This song definitely sparked my desire for Adidas in elementary school. For the record, I had black with white stripes.

Got a pair that I wear when I’m playin ball 
With the heel inside, make me 10 feet tall

4. “Walk This Way” – 5:09

Given my childhood to date, I was obviously familiar with Aerosmith, so this song was a weird mix of familiarity and something so new.

The Walk this Way video sums up my relationship with music and Run-DMC as a whole for me at that point in time: my parents were obviously Aerosmith playing their music loud and I was rebelling against it, experimenting with my own tastes, and putting my own spin on things. Such a good video.

5. “Is It Live” – 3:07

6. “Perfection” – 2:52

7. “Hit It Run” – 3:10

Now how devastating can an MC be? 
My name is Darryl, but you can call me D 
Hit it Run!

One of the hardest/toughest songs on the album. Run kicks it with some fast, aggressive beat boxing, while DMC’s rhymes don’t hold anything back… it’s certainly a precursor for modern day Hip-Hop music.

8. “Raising Hell” – 5:32

The title track continues the momentum started on Hit it Run — this time with an awesome metal-influenced guitar riff. Had Walk this Way not been a single, this track would have gotten way more attention.

The lyrics to start the track were some of my favorites:

Kings from Queens from Queens come Kings 
We’re raisin hell like a class when the lunchbell rings 
The king will be praised, and hell will be raised 
S-s-s-suckers try to faze him but D won’t be fazed 
So what’s your name? 
D.M.C.! 
The King is me! 
Your High-ness, or His Majesty! 
Now you can debate, you c-c-c-concentrate 
But you can’t imitate D.M.C. the Great!

9. “You Be Illin’” – 3:26

Man, this song! I vividly remember doing this song with Alex in his dining room area. Such fun, corny lyrics… how can you not enjoy this song?

(To)day you won a ticket to see Doctor J 
Front row seat (in free!) no pay 
Radio in hand, snacks by feet 
Game’s about to start, you kickin’ popcorn to the beat 
You finally wake up, Doc’s gone to town 
Round his back, through the hoop, then you scream “Touchdown!” 
You be illin’

10. “Dumb Girl” – 3:31

11. “Son of Byford” – 0:27

12. “Proud to Be Black” – 3:15

Lyrics and other goodies from Genius.com

Listen to Raising Hell on Apple Music:

Open in Apple Music

Listen to Raising Hell on Spotify:

Buy the Vinyl

Support your local record shop! But if not, here are a few online options:

What was your first record, cassette, or CD?

My November Playlist

I love this idea from Merlin Mann and Do By Friday: the “Follow Your Nose” playlist…

Pick a song you love and start a playlist
Go to the artist’s page and view the Related Artists/Fans Also Like section – then pick a group you aren’t familiar with…
Go to their page and start listening to their top songs & add one you like to your playlist.
Repeat 2 and 3 from that artist page, building out your playlist until you are bored or hit an artist where you can’t do #2.

Almost like a choose your own music musical adventure. So much fun!

Here’s my first attempt in Apple Music.

November, without a blush

Without a Blush by Hatchie
Lucky Girl by Fazerdaze
Show Me How by Men I Trust
Persephone by Yumi Zouma
Shadow by Wild Nothing
Nausea by Craft Spells
Dreaming by Seapony
Please Be My Third Eye by La Sera
Found Love in a Graveyard by Veronica Falls
Capricornia by Allo Darlin’

Feel free to follow me on Apple Music. I’d love to see and listen to your playlists!

My Favorite Recent Releases

Short Songs for End Times by The Casket Lottery (Listen)

Their first album since 2012. I vaguely remember seeing this band when we lived in Seattle in the early 2000s, though I wasn’t ever a super fan. This release however, was exactly what I needed at the moment it game out. Their sound is a good mix of post-hardcore and emo — think the almgamation of The Get Up Kids, Sparta, Thrice, Snapcase, and Grade. I only wish more of the bands I loved in the 90s and early 2000s released new, better recorded material like The Casket Lottery.

Side note: I rediscovered the band Small Brown Bike while listening to this, so that’s a bonus. They’ve been on rotation ever since. Check out The River Bedand Dead Reckoning.

Collapsed in Sunbeams by Arlo Parks (Listen)

Not officially out until 2021, but based on the collection of singles that have been released, I’d guess this album will be on many “Best of 2021” lists. Part bedroom indie pop, part R&B… all super talented songwriter.

Closer Than They Appear by Lyric Jones (Listen)

I love smooth jazzy beats and loops — classic hip hop. Lyric Jones delivers that and more on one of my favorite hip hop releases from 2020.

Hopefully you enjoyed the first issue! Feel free to send me feedback, questions, ideas — anything. I’d also love if you shared this newsletter with anyone you think would enjoy and encourage them to subscribe.

Until next month! (I’ll be tackling my “Best of 2020” picks next issue.)

Nov 22, 2020 ∞

$5 gigs, not $10m deals: the story of US punk label Dischord Records | Music - The Guardian →

My all-time favorite record label.

Nov 17, 2020 ∞

File this in the “surprised I didn’t pay more attention to this band” category: Small Brown Bike

So good.

Nov 2, 2020 ∞

Follow Your Nose -- a choose your own musical adventure

I love this idea from Merlin Mann and Do By Friday: the “Follow Your Nose” playlist…

Pick a song you love and start a playlist
Go to the artist’s page and view the Related Artists/Fans Also Like section – then pick a group you aren’t familiar with…
Go to their page and start listening to their top songs & add one you like to your playlist.
Repeat 2 and 3 from that artist page, building out your playlist until you are bored or hit an artist where you can’t do #2.

Almost like a choose your own music musical adventure. So much fun!

Here’s my first attempt: