While rap is associated with MCs with tight flows, busting off a dizzying burst of rhymes with precision, not all flows have to be that way. Case in point, Biz Markie, who turns a year older today. His somewhat offbeat style worked because of his genial personality, and he quickly became a beloved figure. Alas, it was his unauthorized use of Gilbert O’Sullivan recording that led to the lawsuit that changed the face of how samples could be used. But Biz stay in the biz, whether it was working with the Beastie Boys, DJing or entertaining kids on Yo Gabba Gabba. Let’s pay tribute to the Diabolical Biz Markie by grabbing your iPod or MP3 Player, hitting shuffle and sharing the first 10 songs that come up.
AC/DC — Hells Bells (Back In Black): Back In Black is one of the largest selling albums of all-time, and that it could come in the aftermath of the death of frontman Bon Scott is frankly amazing. I think it’s a matter of top drawer material, awesome Mutt Lange production and a band that had something to prove.
Jim Croce — Mississippi Lady (50th Anniversary Collection): A pretty basic chugging mid-tempo number from the folk-pop star whose career was tragically ended by a plane crash. Croce had a fascinating quality with his vocals, a certain bluesy charm that separated from most singer-songwriters. It’s not as useful here, as this is a pretty routine song.
The Clash — Janie Jones (The Clash): This is the first cut on Side 2 of the debut album from the Clash. This is a rumbling rock tune that isn’t that sounds like a more chaotic version of a glam rock number from just a few years older. The ending still thrills me, with Mick Jones finally chiming in. By the way, Janie Jones was a tarty blonde British film star.
The Rolling Stones — Casino Boogie (Exile On Main Street): While Exile is considered by most, nowadays, as the best Stones album, it doesn’t rate as highly with me. While bluesy numbers like this one are enjoyable, I just don’t think the songwriting is as good as on other albums. Which isn’t to say I don’t like the album.
Martin Gordon — Come Out, Come Out Whoever You Are (Time Gentleman Please): The former Sparks/Jet/Radio Stars bass player got back into pop music in the last decade (after a couple decades doing session work). His music is consistent with his witty work in Jet and Radio Stars, playing smart power pop with clever lyrics. This song has a simple structure but a busy arrangement that doesn’t get in the way of the catchiness.
Diana Ross & The Supremes — The Happening (Anthology: The Best of Diana Ross & The Supremes): This is a lesser hit of The Supremes, but a really cool song. It’s a whirlygig pop tune that sounds a bit inspired by writers like Jimmy Webb, with an incredibly playful melody and arrangement. And Diana Ross is the perfect singer for this song. Add the supple Motown rhythm section and you have a wickedly cool song.
Midnight Oil — No Reaction (Head Injuries): The first two Midnight Oil albums show a band that is establishing its identity, with songs that were hard edged enough to satisfy the surf bar denizens they played in front of, while trying to accommodate their artier tendencies. This songs combines a sturdy riff and typical intensity with some nice contrasting lighter touches. One of their better early songs.
The Velvet Underground — Jesus (Closet Mix)(Peel Slowly And See): A haunting Lou Reed tune. With Lou Reed in the right channel and Nico in the left channel, this is a resonant song, with just an acoustic guitar, an electric guitar and bass. The song seems to be (appropriately) inspired by spirituals.
Hank Williams — Kaw-Liga (The Complete Hank Williams): Okay, perhaps an unrequited love song from the perspective of a cigar store indian is not politically correct nowadays, but this is one of Hank Williams’ best songs. The initial verses are high drama, an intersection of western music and the blues, contrasted with the brilliant hoedown vibe in the middle eights. And Williams’ vocal is pretty great too.
Cheap Trick — Welcome To The World (Rockford): A really good latter day Cheap Trick song, with a big inviting melody, crashing guitars, great harmonies and one of the best lead singers of all time, Robin Zander.