Entries categorized as “Friday MP3 Shuffle” 276 results

Mike Bennett writesFriday iPod/MP3 Shuffle—Happy Birthday Phil Lynott Edition

He was the charismatic black Irishman who melded Irish folk music with hard rock, sometimes sprinkling in some Van Morrison, yielding the indelible classic, “The Boys Are Back In Town”. If you ever see a video of Thin Lizzy, one thing is obvious — Phil Lynott was a rock star. While U.S. success was fleeting, Lynott fronted the band known for its dual lead guitars, cranking out dozens upon dozens of great songs and top notch albums like Jailbreak, Live And Dangerous and Black Rose (A Rock Legend). When punk and new wave came blasting out, Lynott didn’t run and hide. He rubbed shoulders with them, paying tribute on the tune “Back in ’79” (from his first solo album) and working with Midge Ure of Ultravox. Today, you can hear other bands influenced by Thin Lizzy, such as Ted Leo + Pharmacists (check out “Timourous Me”, which is pure Lizzy homage, though Ted claims otherwise). Let’s pay tribute to the great Phil Lynott on his birthday by grabbing the ol’ iPod/MP3 player, hitting shuffle, and sharing the first 10 tunes that come up.

1. Jawbox — Send Down (Novelty): A number from the second Jawbox album, which found the band starting to really define its angular post-punk sound. This tune isn’t as intricately constructed as later song and has more of an early emo anthem vibe. In that respect, it plays a little bit closer to a Naked Raygun song. J. Robbins has a powerful enough voice to pull it off.
2. Neil Finn — Souvenir (Try Whistling This): Finn’s first solo album did a great job of building on what he had been doing with Crowded House. This means Finn continued to pen superb sophisticated pop songs with layered instrumentation, articulate lyrics and melodies on par with John Lennon, Paul McCartney, Andy Partridge and Robyn Hitchcock. This song has a neat structure, using synthesized strings in the verses to play static parts to build tension, released by a jangly guitar that kicks the chorus in. The song has many parts to it, and they flow together seamlessly.
3. The Sights — Talk To You (Are You Green?): These Detroit area garage rockers came in early during the wave of revivalists — i.e., right around the time of the The White Stripes. The band see-sawed between riffy proto-punk and cheerful Kinks-y pop tunes. On this song, both sides are on display. Which is very cool.
4. Mott The Hoople — Momma’s Little Jewel (All The Young Dudes): A mid-tempo track with a little barroom piano added to the mix. This song sounds like a more playful version of Free.
5. Big Dipper — Wet Weekend (Supercluster: The Big Dipper Anthology): A spin off of the likeminded Kansas post-punk pop band The Embarrassment, Big Dipper specialized in catchy rock tunes that were just a little bit askew. The lyrics often were a bit off-beat and the rhythms and melodies had little wrinkles that indicated they came from a post-Velvet Underground/Big Star world, rather than a more mainstream perspective. This is a very typical song, with a bouncy rhythm and a strong lead guitar line throughout the entire track, building up to a big chorus. This is the essence of ’80s college radio.
6. Kitchens of Distinction — In a Cave (Love Is Hell): The Kitchens, on their first album, hadn’t fully fleshed out their big dramatic rock sound, but it was already pretty big. This is a slow burner of a song with ample helpings of the reverbing My Bloody Valentine-ish guitar work that was their trademark. Unlike MBV, the Kitchens had a much more spacious song, which was needed so vocalist Patrick Fitzgerald could have room to emote. These guys were lumped in with the shoegazer movement, for good reason, but they had the most vocal personality by far.
7. The Guess Who — Baby’s Birthday (Shakin’ All Over): Before this Winnepeg, Canada band became stars for hits like “American Women”, they were a pretty typical ’60s rock band. They had a garage rock phase, but even during that period, they tried on all sorts of styles. This is a jangly rock tune that sounds somewhat like a Mike Nesmith Monkees’ tune. Randy Bachman’s twangy guitar sounds great.
8. The Jam — Strange Town (Direction, Reaction, Creation): A fantastic tune that combines a Motown rhythm with a classic Brit pop tune. This is one of those songs that clearly inspired bands like Blur, The Smiths, The Stone Roses and others. Paul Weller at his best.
9. All — Sugar and Spice (Allroy Sez): After Milo left The Descendents, Bill Stevenson formed the similar All. The first All album is an outstanding pop-punk record, chock full of great songs. Moreover, the playing, especially in the rhythm section, is really creative, giving the songs a unique stamp. This song is a warning about a girl who is going to break a friend’s heart. It has a dramatic, ominous feel to it, and has a super cool middle eight where the song breaks down to a whisper before slamming into the urgent chorus.
10. Watermelon Men — Seven Years (Children of Nuggets): If someone hasn’t put together a compilation of this ’80s Swedish garage band, they should. The Watermelon Men really captured the feel of the original era of garage bands, with better fidelity. This song is one of those doomy folk-psych garage tunes.

Mike Bennett writesFriday iPod/MP3 Shuffle—Happy Birthday Feargal Sharkey Edition

His insistent ultra-Irish voice was the perfect vehicle for songs about teenage kicks, Mars bars, perfect cousins and wanting to be a male model. Feargal Sharkey was urgent and powerful, a perfect combination of bravado and uncertainty (the former, of course, masking the latter), and an energetic, lantern-jawed frontman for the pride and joy of Derry, Northern Ireland, The Undertones. While it’s possible that the ‘tones would have been successful with another singer, due to the high quality of the songwriting, Sharkey was the spirit that made the songs reach their full potential. Sadly, he has not come along with the boys since the band reunited, and wisely, the band found another Derry singer who sounds a fair amount like Feargal. Let’s pay tribute to Mr. Sharkey by grabbing the ol’ iPod or MP3 player, hitting shuffle and sharing the first 10 tunes to come up.

1. Kenickie — Millionaire Sweeper (At The Club): A short-lived British all-female rock band who were named after a character from Grease (I think Jeff Conaway played him in the movie). Kenickie was somewhere in between Voice Of The Beehive and The Primitives, They specialized in wistful mid-tempo observational pop songs like this one. Romance never went very well in their songs, and this tune has a slight girl group vibe with a modern edge, and it comes across as sad but not utterly resigned to the prospects for love in the future. This is worth checking out as it is in dollar bins throughout the country.
2. The Swingin’ Neckbreakers — Little Miss Copycat (The Return of Rock): The Neckbreakers are an excellent example of why garage rock will never get old. The blues chord progressions are standard, while the playing is spirited and Tom Jorgenson’s rough vocals are full of personality. The Neckbreakers were more than capable of Sonics-like intensity, which they balanced with lighter tunes such as this one.
3. Glen Mercer — Whatever Happened (Wheels In Motion): The name might not be familiar, but Mercer is one of the main men behind The Feelies. He released his first solo album a few years ago, and it’s exactly what you’d expect from a Feelie. A heavy Velvet Underground influence and a mix of quieter songs with slow burning rock tunes ornamented with percussion fills. This is the best song on the whole album, and it fits in the burner category, creating a droning groove that could last forever as far as I’m concerned. I hope Mercer (or The Feelies) have something in the pipeline, as he is still a creative force.
4. Steve Forbert — You Cannot Win If You Do Not Play (The Best of Steve Forbert): One of many artists who was unfairly saddled with a Bob Dylan comparison, Forbert was a talented folk-pop songwriter with a raspy voice. His biggest problem wasn’t as prolific a songwriter as he needed to be to put out really top notch albums. But every album had some gems on it. This is an upbeat bluesy folk-rocker. Nothing amazing, but Forbert is fully engaged and this song must have killed live.
5. Divinyls — Back to the Wall (Essential Divinyls): The Aussie band best known for “I Touch Myself” started out as a ferocious rock act. I saw them open for the Psychedelic Furs in 1983, and they remain one of the loudest bands I ever heard. Saucy singer Christian Amphlett had one of the coolest raspy voices around. The band always had a penchant for hooks and their sound smoothed out as time went on. This is a mid-tempo slice of drama with a bit of ’60s pop influence. Good tune.
6. Little Richard — Slippin’ and Slidin’ (Peepin’ and Hidin’)(The Georgia Peach): This is one of Richard’s own, but it sure sounds like a Fats Domino song, because of the distinctive voice of the one and only Richard Penniman. He’s not as crazed as on his best known songs, which only allows one to hear what a fabulous singer he was when not pushing the needle in the red. One other thing — his early sides always feature great musicianship, especially the drumming, which really swings.
7. The Clash — Somebody Got Murdered (Sandinista!): As time marches on, more and more people are appreciating the greatness of Sandinista!. Obviously, over the course of nearly 3 hours of music, not every song works. But so many do. Joe Strummer and Mick Jones were spinning out some of the most amazingly diverse rock ever. This song is almost the flip side of the band’s angry cover of “Police On My Back”, with Jones full of empathy, decrying the taking of a life. The melody is fairly simple and guitar riff that drives the song is anthemic, but played in a toned down fashion.
8. Sparks — How You Getting Home? (Indiscreet): My iPod is on an Indiscreet kick, apparently. This is Sparks’ take on ’50s rock and roll. You can hear some basic traditional rock, but with loads of extra chords and tempo changes that take traditional song structures and twist them. This song actually has about five or six different sections that mix together so fluidly that they might go by unnoticed. This is a second tier Sparks song, yet it still provides another example of the genius of Ron Mael.
9. Wondermints — Darling (Wonderful World of Wondermints): The second Wondermints album is chock full of covers. This is a fantastic treatment of a song by The Stories, who are best known for their cover of Hot Chocolate’s “Brother Louie”. “Darling” is much more in the vein of The Left Banke, which is no surprise, since there were two former Left Banke members in The Stories. The Wondermints should do another covers album.
10. To My Boy — Outerregions (Messages): This British band was a throwback to the ’80s post-punk synth-pop groups. This song sounds like Orchestral Maneouvres In The Dark meets Erasure (or any Vince Clarke project). This song is excellent on many levels, from the big hooks to the layered arrangement to the fine use of dynamics. A shame this didn’t capture the public’s fancy.

Mike Bennett writesFriday iPod/MP3 Shuffle—Happy Birthday Elliot Smith Edition

This week we are paying tribute to one of the more recent tragic figures in rock music, Elliot Smith. Smith got his start with the band Heatmiser, and then went on to an influential solo career, playing delicate songs with his voice rarely above a whisper, that often unfolded into beautiful melodic pop songs. The beauty never overshadowed the vulnerability that seemed to lurk in every song. Sadly, he died in 2003, and the mystery as to whether he took his own life or was murdered has still not been resolved. But today, on Mr. Smith’s birthday, let’s celebrate the great music he gave us by getting out your iPod or MP3 player, hitting shuffle and sharing the first 10 songs that come up.

1. The 1900s – Acutiplantar Dude (The 1900s): This local band is still playing out, but they are taking their own sweet time recording a follow up full length to their debut platter. At their best, as on this song, they traffic in an orch-pop sound that lies between the urbane Belle and Sebastian and more retro outfits like The Ladybug Transistor. Please put another album out soon, guys (and gals).
2. Porter Wagoner with Merle Haggard – I Haven’t Learned a Thing (The Essential Porter Wagoner): A cautionary tale from Porter, joined by Merle Haggard, of a boy who played songs in church but ignored the message, becoming a drinkin’, sinnin’ musician. What makes this duet odd is that suddenly, during the second verse, Merle starts singing, with Porter narrating the same lyrics over Merle’s vocal. What I find most interesting is that whatever lessons there are in the Bible, I don’t recall any strong anti-alcohol messages. But if this song saved one person from a life of alcoholism, it was well worth it.
3. The Move – Mist on a Monday (Movements: 30th Anniversary Anthology): This is very proper baroque British psych pop with woodwinds and dainty keyboards and strings and stuff. It was just a couple of steps from this song to the formation of Electric Light Orchestra.
4. Sparks – The Lady Is Lingering (Indiscreet): Indiscreet was Sparks’ Sgt. Peppers. The Mael brothers collaborated with legendary producer Tony Visconti on an album with lots of orchestration and augmentation, with the Maels trying on a lot of new styles. In comparison to most of the album, this song is incredibly conventional – just a catchy mid-tempo guitar track. Which, in its own way, makes it the most unconventional song on this delightful album.
5. Empire – Electric Guitar (Expensive Sound): This band was led by Bob Andrews, formerly of Generation X. The music certainly has roots in the classic catchy punk of that band, but there are some darker post-post punk overtones. This song could certainly have been an anthem for Billy Idol to wave his fist to, but it is subtler, as the guitar (which is awesome on this song) is celebrated with suspicion.
6. The Lackloves – Hallmark Stars (Take a Seat) (Cathedral Square Park): Mike Jarvis is a master of retro pop songs that evoke the best of the lighter side of ‘60s (and even ‘50s) rock. This song has some majestic power pop jangly power chords that set up the Buddy Holly-meets-The Beau Brummels verses. Then the song downshifts into the sweet chorus – it’s dynamics in reverse. The harmonies also kick ass. These guys still play Milwaukee from time-to-time and are always worth seeing.
7. Mott The Hoople – Sweet Jane (All The Young Dudes): Around the time David Bowie was producing Mott and giving them commercial viability, he was also working with Lou Reed. Perhaps Ian Hunter and crew already knew of this Velvet Underground classic, but, if not, then Ziggy Stardust surely turned them onto it. Mott doesn’t mess around with the arrangement, and Hunter turns in his usual bang up glam-Dylan lead vocal to make this version, to some people, the definitive one.
8. Pernice Brothers – Goodbye, Killer (Goodbye, Killer): The new Pernice album has more of a spontaneous feeling and Joe’s vocals are a bit looser (it’s a subtle difference). This is very noticeable on the title cut. This jaunty acoustic number sounds a little bit like an old Faces number, mixing with a typically buttery smooth Pernice melody. Very nice.
9. Santigold – Shove It (Santigold): Santi White’s debut album is such a great summer pop record, mixing everything from new wavey pop to R & B to reggae inflected songs such as this put down song. Alas, until she follows up this platter, we’ll have to live with this LP for one more summer.
10. Bob Seger – Shame on the Moon (Greatest Hits II): This is probably the song that Bob lifted the melody for “Fire Lake” from and Bob felt guilty, so he had a hit with this too. This was originally written and recorded by country singer Rodney Crowell, who was, for many years, Roseanne Cash’s husband. While some folks look at this as MOR cheese, this is one hell of a song and Bob knows enough not to mess with Rodney’s tune. It is a well-suited for Seger’s sandpapery voice.

Mike Bennett writesFriday iPod/MP3 Shuffle—Happy Birthday Kate Bush Edition

Her theatrical art-pop songs took England by storm during the frenzy of the post-punk years. When you can succeed even though you are totally out of fashion, that’s a sign of a major talent. And Kate Bush was an artist who commanded attention from the moment “Wuthering Heights” came out. She was the complete package, a dazzlingly original songwriter who controlled all aspects of her work, leading to watershed albums such as The Dreaming and The Hounds of Love, and elaborate live shows. Sadly, she has a fear of flying, so other than a single appearance on Saturday Night Live early in her career, she has never played live in the States. However, if we all pay tribute to this influential artist by grabbing the ol’ iPod/MP3 player and hitting shuffle and sharing the first 10 tunes that come up, maybe she’ll have a change of heart and come across the pond to amaze us.

1. Robert Palmer — Sailin’ Shoes (The Very Best of the Island Years): I’m a fan of Palmer’s low key blues and R & B inspired rock. This is a really nice cover of the Little Feat track, and I believe that Little Feat actually backed him on this track. This has a funky New Orleans vibe and Palmer’s lead vocals are a bit more aggressive than usual. This is actually a medley with the song “Hey Julia”, but on this compilation, it cuts off midway through.
2. Lou Reed — The Last Shot (Legendary Hearts): A great slice of matter-of-fact decadence from Uncle Lou. This is from the follow up to Lou’s amazing Blue Mask album. It’s not as fiery, but it’s a tight mid-tempo rock tune with the great line, “shot a vein in my neck and coughed up a Quaalude.” Reed does black humor very well, making fun of addiction while taking it seriously at the same time.
3. Cheap Trick — Big Eyes (In Color): One of a dozen near perfect power pop songs on Cheap Trick’s second album. This song is centered around Bun E. Carlos’ insistent drumming and Tom Peterson’s beefy bass. The Move was certainly an influence on this song. But what puts this song over the top is the amazing instrumental break that simply soars into the atmosphere, setting up an economical Rick Nielsen guitar solo.
4. Pernice Brothers — Endless Supply (The World Won’t End): This Pernice tune has a fantastic ’70s mellow gold vibe. The use of mellotron compliments Joe Pernice’s quiet vocals. The only thing that separates this from America or England Dan and John Ford Coley is that the Pernice boys don’t pump the chorus to epic dimensions. Instead the song is more intimate and thus, more insinuating.
5. The Mysteries — Give Me Rhythm And Blues (The Girls’ Scene): A fantastic slice of British ’60s girl pop. These gals aren’t the best singers, so the producer wisely added a slight bit of echo to their voices. The song is a trifle but has a bit of a haunting quality. This would be a good song for bands in the Vivian Girls mode to cover. In fact, the Hollows would absolutely kill this song.
6. The Jesus & Mary Chain — It’s So Hard (Psychocandy): Other have tried to capture the amazing sound of the the JMC’s debut, and no one has quite succeeded. The mix of cotton candy melodies, Velvet Underground rhythms and reverberating guitars that sound like the album was recorded in an auto plant is still compelling to this day.
7. Split Enz — Albert of India (Corroborree): A stately instrumental track that showcases Eddie Rayner’s keyboard skills. This song sounds like a throwback to the band’s early art-rock days.
8. Bruce Woolley & The Camera Club — Video Killed the Radio Star (English Garden): The Buggles had the big hit with this tune, which Woolley co-wrote with Trevor Horn. Unlike the fey and ornate Buggles version, this recording is more of a rock number, though the overall arrangement is fairly similar. This version just shows what an indelible song this is, though I’ll concede that The Buggles’ version is definitive.
9. The Merry Go Round — On Your Way Out (The Merry Go Round): Another slice of ’60s pop magic from Emitt Rhodes’ original band. This song is more in the vein of The Byrds, with folk rock jangle. The Youngbloods (of “Get Together” fame) would also be a good comparison.
10. Big Black — Stinking Drunk (The Rich Man’s Eight Track Tape): A pretty typical slice of noise and aggression from this legendary Chicago post-punk band. The drum machine is set on rapid fire, Santiago Durango plays slicing lead guitar parts while Steve Albini shouts out lyrics ripped from the underbelly of life. The band’s use of dynamics is effective and Durango throws in some suprisingly melodic bits amongst the requisite fury.

Mike Bennett writesiPod/MP3 Friday Shuffle — Happy Birthday Philip Seymour Hoffman Edition

Philip Seymour Hoffman is an actor, sure, but he’s also got some rock and roll in him. Whether it’s his first big appearance in Boogie Nights, his Oscar winning turn in Capote, playing a DJ in that pirate radio movie, or his fantastic portrayal of legendary rock critic Lester Bangs in Almost Famous, Hoffman has rocked. Accordingly, let’s celebrate his birthday by grabbing an iPod or MP3 player, hitting shuffle and sharing the first ten songs that come up.

1. The Boomtown Rats — Mood Mambo (Mondo Bongo): Coming on the heels of the twin successes of Tonic For The Troops and The Fine Art Of Surfacing, this Irish rock band turned from new wave pop to more of a post-punk direction, incorporating more world music influences into their sound. The opening cut off of Mondo Bongo made this obvious, with its crazy percussion and rubbery basslines. This song is not very faithful to Afrobeat, but that’s okay, as it works well with Bob Geldof’s stream of consciousness lyrics. While the Rats never fully turned away from catchy pop rock, this track announced that they were going to find more interesting ways to do it.
2. Catherine Wheel — Judy Staring at the Sun (Happy Days): This is a warm melodic piece from the British band, with Tanya Donnelly of Belly accompanying Rob Dickinson on vocals at points during the track. This is a very insinuating track with an understated yet intense lead vocal from Dickinson and a wonderful pop chorus. This song always feels like it’s on the verge of exploding, and even with a spirited guitar solo, the tension between the sweet melody and the seething undercurrents makes it very compelling.
3. The Saints — Memories Are Made of This (Eternally Yours): The first two Saints albums are blistering punk classics, with furious guitars over R & B fueled songs. The band then shifted a bit, keeping the R & B base and extreme intensity, but using more acoustic guitars. This tune from the second album basically foretold the direction The Saints would maintain for the next 20 years. This song has a grandeur and a great lead vocal from Chris Bailey, who had very little range but a compelling personality.
4. Public Enemy — You’re Gonna Get Yours (Yo! Bum Rush The Show): This song is about Chuck D.‘s Oldsmobile 98, and the samples fromThe Bomb Squad give this tune the feel of a cinematic car chase. This is the first track on Public Enemy’s debut album and it announced a truly unique group. Chuck D.‘s authoritative voice, the contrast of Flavor Flav (who is a bit limited on this track) and the constant energy of the music tracks. Yet this sounds positively primitive compared to the album that followed it.
5. Hot Chocolate — Brother Louie (Every 1’s A Winner: The Best of Hot Chocolate): The first big British hit for this multi-ethinic pop/soul band who later scored in the U.S. with “You Sexy Thing”. This dramatic tale of interracial lovers was covered by The Stories, and was a smash here two. The Stories’ version has a much more over-the-top vocal, whereas here, Hot Chocolate is a bit more low key. Moreover, this version has two spoken word interludes, where the lovers’ parents explain how they don’t want either a “honky” or a “spook” in their family. I think this version, which is much more in the urban soul vein of Issac Hayes and The Temptations, is superior. It’s one hell of a song.
6. Free — Travelling Man (Molten Gold: The Anthology): Free is pretty much only remember for one song, “Alright Now”, but they put out a lot of swell blues rock records int he ’70s. Unlike Paul Rodgers’ next group, Bad Company, Free was not as decidely commercial, though the music was certainly accessible. This song showcases a great Rogers vocal and some nifty lead guitar work. This is music for people who wish Led Zeppelin hadn’t been quite so bombastic.
7. Blur — Trouble in the Message Centre (Parklife): For a few albums, Blur reached Brit-pop perfection, mixing trenchant (but rarely condescending) observations about middle class life with music that followed in the footsteps of everyone from The Kinks to Madness to XTC. This song is a bit new wavey and behind the glossy mid-tempo pop, there’s a hint of sadness.
8. The Oranges — Saturday Night (Right To Chews: Bubblegum Classics Revisited): This Japanese ’70s bubbleglam revivalist band was clearly inspired by The Bay City Rollers, so having them do the Rollers best known tune on a bubblegum tribute was a natural. Since the band usually does not sing entirely in English, this track shows they can handle the second language. More importantly, they have a ball with this dumb fun classic.
9. Air Miami — I Hate Milk (Me, Me, Me): This side project from Mark Robinson of Unrest was a mix of hyper-caffienated pop numbers with some dreamier detours. This lead track from the band’s sole album simply percolates with energy. The verses are static buzzing guitars and crimped drumming which opens up in the chorus (“Please, please, someone kill me soon” — upbeat!), while retaining the stifling repetitive chords in the background. Paranoid fun.
10. The Shazam — Fallin’ All Around Me (Tomorrow The World): The third Shazam album should have broke them. Little Steven had been playing them on his show and Hans Rotenberry crafted a great mix of rocking power pop and mid-tempo charmers that sounded like lost ’70s rock classics. This song falls in the latter category, sounding like a Cheap Trick song leavened with a little California Laurel Canyon pop. One of about six should-have-been hits on this excellent album.