Top 100 of 2018

Soooo...did I miss anything while I was gone? I've been putting this blog on the backburner the past few months as I acclimated to a new role and responsibilities in my day job. I'm trying to be better and keep this sucker up so in that spirit, let's wrap up 2018 the way I best know how. Here they are. The songs that provided me with inspiration and a soundtrack for another ride around the sun. 

My Spotify playlists:

Top 100 of 2018
Top 20 albums of 2018
Songs I listened to the most in 2018

1. All This Useless Energy – Jeff Rosenstock
   Punk and indie-rock polymath Jeff Rosenstock wasn't even on my radar when 2017 became 2018. That changed a few days later when I discovered Post-, Rosenstock's surprise New Year's Day release. This song, along with numbers 2-4, were all released in January and permanently lodged in my head through the summer. None more so than this cathartic rock blast that contains one of my favorite lyrics of the year, "I haven’t found the rhythm yet. To anchor down my life. I didn’t know I needed one. To hold me through the night." This song, and the rest of Post-, proved to be my anchor right out of the gate in 2018. I can only hope 2019 has an anchor this good waiting for me.
2. Baby I'm Bleeding – JPEGMAFIA "Peggy where you been at...?" Indeed. He's in my world now and if he keeps releasing glitch-rap bangers like this accessibly agro attack from his third album, "Veteran," he'll always have a spot on my Mixtape.
3. How to Socialise & Make Friends – Camp Cope
   There are lots of ways a song can hook you. Lyrics, voice, melody, chorus, the list goes on. According to my Last.FM scrobbles for 2018, this one did it all, getting 179 plays this year - over 20 more than its closest competitor, this list's number one, "All This Useless Energy."
4. Negative Space – Hookworms
   This was easily my dance jam for the year. Different than anything else I heard in 2018, it got over 100 plays (eighth most for me this year) which is pretty amazing for a dance track that is nearly seven minutes long. I spent a bunch of time with their album, Microshift, and was excited about future releases, but those aren't to be. Hookworms broke up this fall after their leader had some pretty gnarly allegations of abuse made against him. 
5. Heat Wave – Snail Mail
   Once in a while, a new voice emerges that completely captivates and dominates my headspace in an irreversible manner. Life-changing might be a bit strong, but Lindsay Jordan - aka Snail Mail - is such a voice and this song, obvious title and all, pulled down Summer Song of 2018 honors. It's been nice to see Snail Mail get some love on various critics' Best of 2018 lists. Lots of it was for "Pristine," but every now and then this song popped up on a list, which makes me smile to think that others who actually write about music for a living were as moved by "Heat Wave" as I was. And still am.
6. Scorpio Rising – Soccer Mommy
   Once in a while, two new voices emerge that completely...you get the point. In a music year dominated by women, Soccer Mommy captured my heart first with "Your Dog," then a month or two later with "Cool." Once I got around to discovering this gem of a 'love song,' I was already head over heels with Snail Mail's "Heat Wave" and couldn't imagine having two such similar, sun-kissed, sullen songs on repeat...these things usually cancel each other out and they both lose ear-time to something totally different or one of the two songs gives way to the other. This wasn't the case with "Scorpio Rising," a song that easily could have soundtracked a very emotional episode of Dawson's Creek 20 years ago. Scorpio demanded to be heard. With lyrics like, "With your love you want warmth and I'm somethin' colder. I'm putting your hands to her heart," it won't be forgotten anytime soon.
7. USA – Jeff Rosenstock
   Once in a great while, a new artist discovery ends up yielding two songs in my year-end top ten. Okay...that barely ever happens (except this year...see the Soccer Mommy songs above and below this entry), but somehow, the seven-and-a-half minutes of this song demanded to be played. And played...and played. It addresses the current political climate and the impact it has on how we look at friendships and pretty much everything. It's first three minutes or so, "USA" masquerades as a rock song, perhaps a minor 'rage' against the machine that is this country, before fading into repeated verses of "Now we're tired and bored, tired and bored, tired and bored..." That voice is temporarily silenced for the next few minutes, buried in dissonant noise until it returns, building momentum and erupting into a full-on protest mantra of "We're tired, we're bored, Et-tu USA..." A more perfectly parallel trajectory to the song's inspiration and source material couldn't have been conceived.
8. Your Dog – Soccer Mommy
   "I don't want to be your fucking dog." Those are the first eight words I heard from Soccer Mommy and they were more than enough to get my attention. As evidenced by the fact Soccer Mommy has three songs in my top 20 of the year, Sophie Allison is someone I look forward to hearing a lot more from in the years to come.
9. Little Dark Age – MGMT
   While MGMT says this is more in the vein of 80s synth-driven pop and the more accessible parts of their catalog, this still sounds pretty damn weird even for 2018. In the best possible way, of course. Another song inspired by these Trumpian times, "Little Dark Age" serves as social commentary without pummeling the listener over the head about the situation that influenced it. 
10. Ghost Town – Kanye West
    I've been a Ye fan since "Through The Wire." Sure he's evolved into the arrogant, shit-talking, narcissistic asshat we all know and loathe these days, but that doesn't diminish the fact he's still capable of greatness. The summer started with five weeks of releases featuring Kanye rapping, producing, or collaborating or all of the above. In that mess of publicity stunts, listening parties in the middle of nowhere, etc... came a few songs that rose above the hype and delivered the goods. None more so than this incredibly personal song featuring a mantra that's so 2018 it's painful...yes, literally. 
11. Full Control – Snail Mail
    Another standout from Snail Mail's excellent full-length debut, Lush. Have I mentioned I love Snail Mail?
12. Stir Fry – Migos
    Pharrell produced this jam-and-a-half from the threesome that's pretty much redefined popular rap in their own image the past couple of years. The result: your aunt half-twerking to a song about making crack cocaine. 
13. Seventeen – Tomberlin
14. When You Die – MGMT
15. How Simple – Hop Along
16. Alcohol – FIDLAR
17. Me & My Dog –  boygenius
    It's that thing where Wilson Phillips is reborn for 2018 as a female singer-songwriter Voltron. Julien Baker, Lucy Dacus, and Phoebe Bridgers all shine on the six songs they've given us thus far as boygenius, this particular track being the initial standout on a stellar EP. 
18. Everybody Wants To Be Famous – Superorganism
    How this song didn't find its way to a bigger audience - the one it deserves - is beyond me. If an internet meme could become a song, I'm pretty sure it would sound like this. 
19. Dive – Beach House
20. Cool – Soccer Mommy
21. This Is America – Childish Gambino
    From watercooler chat to viral videos, and everything in between, popular culture dictates the moments that (if only for a fleeting moment) define us as a people. The song and video became part of the discussion the instant they were released and both still hold up as some of the most interesting and important pieces of media this year.
22. 4th Dimension – KIDS SEE GHOSTS
    Kanye + Kid Cudi + Louis Prima sample = perfection.
23. Nice For What – Drake
    Keeping with my time-honored tradition of liking every ninth or so song that Drake releases, I really liked this one for a quick minute. Maybe it's the New Orleans bounce in the track or the omnipresent Lauryn Hill sample that drives this track. Both did their trick in keeping "Nice For What" in heavy rotation this past spring.
24. Turn Out the Lights – Julien Baker
25. Picture of Health – Muncie Girls
26. High Horse – Kacey Musgraves
    Country-disco from my personal favorite Dancing Queen of the Rodeo. Kacey, being said queen, landed three songs in my year-end top 40 and her damn-near perfect Golden Hour album was my pick for #3 album of the year. 
27. Lemon – N.E.R.D, Rihanna
28. 65th & Ingleside – Chance the Rapper
29. Bleeding – THICK
30. Kids See Ghosts – KIDS SEE GHOSTS
31. Point Of Demarkation – At The Drive In
32. APESHIT – The Carters
    Remember that time Queen Bey out-rapped Jigga Man? Check this song's three-minute mark for a refresher. Beyonce was the star of her and hubby Jay-Z's THE CARTERS and when she says "Get off my dick," you best listen. 
33. Too Real – FIDLAR
34. Fuck Yo Club (Bonus) – 'Lgado, Valee
    Bonus tracks are typically throwaway songs that really have no point on an album. That's the norm and I'm not saying this track isn't throwaway, but it resonated way more than any other song on 'Lgado's Nino Season did. It's not rocket science by any stretch, but it seemed like it would be a good filler jam while I waited for Kanye's weekly June releases. Life is funny. Turns out that "Fuck Yo Club" got more listens from yours truly than any song from a Kanye release this year; ten more plays than Kanye's most played track, "Ghost Town." 
35. Every 1's a Winner – Ty Segall
    The only cover song to make the list, prolific Ty Segall electrifies this seminal disco hit, infusing his garage-punk spirit into its every nook and cranny, especially the monster hook of the central riff. 
36. Slow Burn – Kacey Musgraves
37. Far Away Truths – Albert Hammond, Jr.
    It's highly likely that the Strokes will never make an album that grabs us by the leather jacket like Is This It did when it arrived (gasp) 17 years ago. It's a testament to the talent in the band that its members are still churning out solo projects that capture some of that turn-of-the-century magic displayed on the Strokes' first couple albums. Guitarist Albert Hammond, Jr last logged substantial ear time with me in 2006 with his single, "101" and returned this year for his first album since 2015.
38. Reverse (Ft. G-Eazy) – Vic Mensa, G-Eazy
39. Leave It In My Dreams – The Voidz
    The companion piece of sorts to Albert Hammond Jr.'s "Far Away Truths," The Voidz is Strokes singer Julian Casablancas' latest project, featuring a whole lot of WTF. Seriously, listen to 2018's Virtue with a very open mind. It also has the best Strokes song not recorded by the Strokes in "Leave It In My Dreams," 
40. Space Cowboy – Kacey Musgraves
    If you listen closely, you'll hear the sounds of hearts breaking as Kacey sings, "We had our day in the sun. When a horse wants to run, ain't no sense in closing the gate. So you can have your space, cowboy."
41. Charity – Courtney Barnett
42. Any Other Way – Tomberlin
43. Loading Zones – Kurt Vile
44. Only Acting – Kero Kero Bonito
    What pop music sounds like in  2018. The pop music that I listen to, at least. 
45. Wild Child – Shopping
46. Mo Bamba – Sheck Wes
47. Esther – The Hold Steady
    I love a good story. This song is one such example.
48. Hand It Over – MGMT
49. Chapel of Pines – Waxahatchee
50. December 24 – Earl Sweatshirt
    Four Decembers ago, D'Angelo returned out of nowhere with his surprise year-end release, Black Messiah. It was a Christmas gift from the music gods at the time and nothing released in the twelfth month of the year since has been on that level. Fast forward to now. Earl Sweatshirt has been in my orbit since Odd Future burst on to the scene nine years ago, but he's neverSome Rap Songs album, as 2018's expiration date drew near. Something tells me I'll be getting plenty of mileage out of both in the first weeks and months of 2019. 
51. Sleeve – Late Bloomer
52. Drunk In LA – Beach House
53. Death in Midsummer – Deerhunter
54. Feels Like Summer – Vince Staples
55. Can’t You See – FIDLAR
56. High (feat. Elton John) – Young Thug, Elton John
    Come for the iconic Elton John sample, stay for Young Thug's irresistible flow. 
57. I'll Make You Sorry – Screaming Females
58. No Going Back – Yuno
    Perfect. Pop. Song. Any questions?
59. Disappointing Diamonds Are the Rarest of Them All – Father John Misty
60. LOVEHAPPY – The Carters
61. Almost Had to Start a Fight/In and Out of Patience – Parquet Courts
62. Kong – Neneh Cherry
    Miss Buffalo Stance is still doing her thing. On this track, Neneh skews jazzy with mesmerizing results.
63. Shiggy – Stephen Malkmus & The Jicks
64. Whatever Comes to Mind – MorMor
65. Boy of Summer – Bat Fangs
66. Blood in Gutters – The Distillers
    Brody Dalle and company returned this year with a couple of singles - their first output in 15 years. This sounds as gritty and urgent as anything on Coral Fang or Sing Sing Death House. Dear Distillers: Please bring us more punk anthems like this in 2019. 
67. (You're Better) Than Ever – Illuminati hotties
68. Yikes – Kanye West
69. Grow into a Ghost – Swearin'
70. In My View – Young Fathers
71. Nameless, Faceless – Courtney Barnett
72. Soft Stud – Black Belt Eagle Scout
73. Hot Pink – Let's Eat Grandma
74. Peach – Slothrust
75. Loveline – Magic Wands
76. I Might Need Security – Chance the Rapper
    Where our hero, Chance, returns to proclaim he's bought local paper, The Chicagoist and to calls for the resignation of Chicago Mayor Rahm Emanuel. Welcome back, Chance. We missed you.
77. Middle America – Stephen Malkmus & The Jicks
78. Four Out Of Five – Arctic Monkeys
    Yes, AM is one of my favorite bands of the last 15 years. Yes, AM made a high-concept album about a lounge on the moon. And yes, despite my love of the band and the respect I have for them going outside (way outside) of their lane, I could only digest "Tranquility Base Hotel & Casino" in small bites. This particular morsel happened to taste the best.
79. Cut Yr Teeth – Kississippi
80. Fists of Fury – Kamasi Washington
    Nearly ten minutes of sax-driven jazz, courtesy of one of the new guard's best and brightest. 
81. Runnin' Outta Luck – Alex Cameron
82. Meateater – ALASKALASKA
83. I Dreamt We Spoke Again – Death Cab for Cutie
84. Bike Lane – Stephen Malkmus & The Jicks
85. Love Me Right – Amber Mark
    Unapologetic 90's R&B throwback track that simultaneously sounds retro and relevant. 
86. In My Dreams – Kali Uchis
87. Oreo – Rico Nasty
88. Bassackwards – Kurt Vile
89. We Appreciate Power – Grimes, HANA
    I only have two words for what I want out of 2019: More Grimes. 
90. Hot Summer – Gurr
91. T-Shirt – The Beaches
92. Natural – Tanukichan
93. Turn Around – Dungen, Woods
94. Elegance – Kilo Kish
95. Lucky 88 – Speedy Ortiz
96. My Contribution to This Scam – Jean Grae, Quelle Chris
97. SUPERDUPERKYLE (feat. MadeinTYO) – KYLE, MadeinTYO
98. Shirim – Melody's Echo Chamber
99. The Louder I Call, the Faster It Runs – Wye Oak
100. Duck Duck Goose – cupcakKe

The Mixtape - 8/28/18: The Summer Song of 2018 is...

 

Miss Lindsey Jordan, aka Snail Mail, has been around since I relaunched my whole 'Mixtape' thing at the end of May. "Heat Wave" was #4 then and, after a brief wait for Kanye to rotate through the top spot in June with his own "Ghost Town" and KIDS SEE GHOSTS' "4th Dimension," it found its way to the top where it's spent the past 10 weeks. If ever a song owned (my) summer, it's this one.

As far as summer songs 2018 go, the rest of the world can have Cardi B's "I Like It" or Drake's "In My Feeling." My summer song wasn't meant to be a jam this go around. I mean, Reverse (Ft. G-Eazy) – Vic Mensa, G-Eazy, APESHIT – The Carters, and Fuck Yo Club (Bonus) – 'Lgado, Valee all outlasted any Kanye West production cut this summer, but none of them ear-wormed their way in to my heart the way "Heat Wave" did.

So the summer is nearly over and I spent it mostly listening to somber tales of love lost or, perhaps, love not even worth attempting. Sure, I rocked out a bit (thanks, THICK, Swearin', and Late Bloomer), but while I'd like to think the forecast will call for sunnier tunes, I'm presently knee-deep in Tomberlin's powerfully hushed debut, At Weddings. It's been a mainstay in my headphones these past few weeks (aka Mixtape cycles) that I've been away. Oh yeah, sorry 'bout that, by the way...life, ya know?

Tomberlin's ascension toward the top aside, it's been mostly business as usual, musically speaking. Snail Mail and Soccer Mommy have remained 1-2 the past month with the aforementioned summer song of 2018 and "Scorpio Rising" respectively. During my blogging downtime, I found great new music from Black Belt Eagle Scout (13), Kurt Vile (34), YBN Cordae (38), and Ultra Beauty (39). And as much as my 1999 self LOVED Slim Shady, his surprise Kamikaze release last week didn't get catch me buying what Mr. Mathers is selling in 2018.

The past month, Muncie Girls and Death Cab For Cutie releases aside, didn't offer me much reason to anticipate New Music Friday. That drought ends this week with a handful of new albums I'm eager to spend some time with. I'm gonna party like it's 1979 with new releases from all the Pauls - McCartney, Simon, and Carrack - and dig in to some albums I'll might still be listening to in 2019 from Waxahatchee and Mothers. I might even wax nostalgic for the 90s and check out the latest offerings from Everlast, Macy Gray, and Lenny Kravitz. Stranger things have happened; have you heard the new Eminem album?

The Mixtape 8/14/18: Lucky 7 weeks on top for "Heat Wave" by Snail Mail

Can't. Stop. Listening. Snail Mail and Soccer Mommy are 1 and 2 again this week. A combined 10 minutes or so of two distinct tales of love lost, each cutting through the noise of the real world with their own tension and release. I'm cutting this short so I can go listen to them both. Again. See you soon.

New this week:

31) Locked Up – Muncie Girls
32) Bruce Banner – Mick Jenkins
35) I Can Treat You Better – Part Time, Ariel Pink
36) Levitate – Twenty One Pilots
38) Sober Motel – DILLY DALLY
39) Soft Stud – Black Belt Eagle Scout
40) Any Other Way – Tomberlin

The Mixtape 8/7/18: Six weeks at #1 for "Heat Wave" by Snail Mail

By the thinnest of margins, Snail Mail keeps the top spot after a solid week of "Scorpio Rising" more-or-less owning my headphones. Soccer Mommy made the jump from 6 to 2, but couldn't quite dislodge the juggernaut that is Lindsey Jordan and Snail Mail, who again has two songs in the top five. Those two beautiful female voices are what's defining summer 2018 for me, but they're far from the only ladies in my ears.

This summer has given me everything from Beyonce (EVERYTHING IS LOVE by The Carters is the gift that keeps on giving), Beach House, and Courtney Barnett - each a completely different genre and vibe - to a glut of straight up ass-kicking rock: Camp Cope, THICK, Gurr, illuminati hotties, Blushh, Hop Along, electric citizen, Screaming Females, Muncie Girls...the list goes on. So many different and interesting vocal shades and styles, each rocking in their uniquely awesome way. Unfortunately, I'd bet against most of them ever tasting mainstream stardom and, for that, I question the mainstream's taste. I usually do, Beyonce excepted. Cuz Beyonce.

All good things must come to an.

This is the week where the trio of songs that first appeared on The Mixtape back in January finally take their bow, never to be seen again...until I reveal my top 100 of 2018 sometime in December. Given their longevity on the 'tape, as well as how many times I've listened to each, it's safe to say we will see those three January jams (How Simple – Hop Along, All This Useless Energy – Jeff Rosenstock, and Baby I'm Bleeding – Jpegmafia) sitting high come year's end.

Goodbye

Hasta la vista to a bunch of songs that had been regulars on the list for the last several months:

Alcohol – FIDLAR
How Simple – Hop Along
All This Useless Energy – Jeff Rosenstock
Baby I'm Bleeding – Jpegmafia

Four Out Of Five – Arctic Monkeys

and a few that weren't:

Best Hugs – DRAM
Hide It in the Night – electric citizen
Meteorological – Guerilla Toss

Hello

It's a 'spring cleaning' kind of weeks where new replaces the familiar, but this week we get a couple of returns with the new in the form of new Robyn and Neneh Cherry (where you been hiding out in your Buffalo Stance?!?) tracks. Also, Death Cab for Cutie keep serving up pretty dang good lead singles while a couple of collabos enter at the bottom, but bring with them much intrigue.

28) Grow into a Ghost – Swearin'
30) Autumn Love – Death Cab for Cutie
34) Missing U – Robyn
35) Hope You're Happy – Baked
37) Kong – Neneh Cherry
38) What's the Use? – Mac Miller
39) #NeverUseTheInternetAgain – Homeboy Sandman, Edan
40) Hoodrich Disco – Rome Fortune, Toro y Moi

Will all this 'new' hang around long, or will it make way for newer new in the form of these four songs that have been creepin' on my radar the past couple days:

Bruce Banner – Mick Jenkins
Rank & File – Moses Sumney
Complicated – Mura Masa, Nao
Soft Stud – Black Belt Eagle Scout

10FTW - The early days of Grunge

As Stereogum reported, Grunge unofficially turned 30 yesterday with the anniversary of the first Sub-Pop Mudhoney single, "Touch Me, I'm Sick." Yesterday was also the 37th (?!?!?!) birthday of the channel formerly known as Music Television, MTV. I'm thankful to have experienced it during it's prime, when it showcased music videos, music-related news, concerts...you know, MUSIC. Before I go off on a 'back in my day' rant, I'll just drop this line of discussion right here. Right now. Back to grunge.

The Mixtape 7/31/18: Five weeks at #1 for "Heat Wave" by Snail Mail

If anything, July has been consistent. For each of the five Mixtape Tuesdays that occured during the first month of 2018's backside, the top two have been #1) Heat Wave / Snail Mail and #2) How to Socialise & Make Friends / Camp Cope. The # 3 slot was held down either by one of two different KIDS SEE GHOST songs or, for the past three weeks, Vic Mensa and G-Eazy's "Reverse."

The Mixtape 7/24/18: Snail Mail, Camp Cope, Vic Mensa (again)

It's the same top three as last week, but there's plenty of action elsewhere on this week's Mixtape.

Snail Mail sits comfortably on top for a fourth week with Heat Wave while another track from their album-of-the-year contender Hush, Full Control, climbs from 16 to 8.

My Five Favorite Things This Past Week

A Chance Return

Chance dropped four new songs this past Thursday and they're all really different, but all really good. The aptly named I Might Need Security is my standout. Chicago's prodigal son is back with a bang, announcing his purchase of city culture catch-all blog, The Chicagoist and calling out the Windy City's Mayor, Rahm Emanuel, all with a sped-up, pitch-shifted Jamie Foxx hook that I dare you to unhear.  Chance is an advocate for Chicago and for its people and it's great to see him back with a fire in his belly.

The Mixtape 7/17/18: Snail Mail, Camp Cope, Vic Mensa

The Heat Wave continues at the top as Lindsey Jordan aka Snail Mail continues her dominance. The top 10 looks a bit different with all things Kanye finally falling out to make room for a few big movers, namely:

Movin' On Up

Bleeding / Thick (10-6)
Fuck Yo Club / 'Lgado, Valee (13-7)
Hot Pink / Let's Eat Grandma (14-8)

The Mixtape 7/10/18: Snail Mail, Camp Cope, Kids See Ghosts

The Summer slowdown is in effect.

This past New Music Friday was the first one that I can remember this year where there wasn't anything that excited me. No new albums. No new singles. Nada.

The Kanye effect is similarly slowing down. Instead of being on three of the top five tracks as he has been the past few weeks, Kanye represents the top 3 with Kid Cudi on the title track off their KIDS SEE GHOSTS while other KSG and Ye tracks are starting to begin their descent down the Mixtape.

What's not slowing is the upward movement for Late Bloomer's "Sleeve," (6) a rockin' romp reminiscent of The Replacements as interpreted by the Goo Goo Dolls when they started to discover songcraft (around their third full-length album). Vic Mensa's collabo with G-Eazy, "Reverse," (5) moves in to the top five this week, taking one of those Kanye vacancies. Courtney Barnett, one of my favorite artists of the past five years, is approaching the top 3 with "Charity," (4) one of several standouts off her latest album, Tell Me How You Really Feel.

I don't see much on this Friday's new releases that excites me at face value, so here's hoping some random singles come around and provide some of that new tunes feeling I've been missing in July.

The Mixtape 7/3/18: Snail Mail, Camp Cope, Kids See Ghosts

Slow and steady wins the race

After five weeks of being denied the Mixtape's top spot by Childish Gambino, Kanye West, and Kids See Ghosts, Snail Mail has reached the pole position. I had a suspicion that would be the case as the rush from the June-long fix of new Kanye-centric tunes wears off. Snail Mail's "Heat Wave" has been around a couple months, while Camp Cope's "How to Socialise and Make Friends" has been tattooed on my grey matter since the end of January. Those tunes have legs and I can easily see both songs ending up in my top 10 of 2018. It's actually not that hard to imagine both being near the top of the Mixtape for several more weeks.

10FTW: Songs From The Backseat

"I like the peace

In the backseat

I don't have to drive

I don't have to speak

I can watch the countryside

And I can fall asleep"

- "In the Backseat" by Arcade Fire

Some of my best childhood moments are centered around music. Songs that elicited pure joy when, by chance, they'd come on the car radio while riding around town with my folks. It seems like forever ago - I'm acutely aware of just how cyclical generational perceptions are - but I can't resist the urge to become my parents for a moment and say, "When I was a kid, things were different." Because they were. There weren't a lot of options to entertain a kid in a car back then and music was most definitely not on-demand. If you had good reception, you'd get whatever tunes the local radio DJs served up. Some songs were played more than others, but by and large, you'd be treated to a pretty random mix of current songs, along with 'oldies' from the decade before.

If I was in the car with my parents, the radio was usually on. It's just how it always was. Looking back, there were a handful (maybe armload) of songs that sound-tracked that blissful moment when all I knew were the storefronts, green spaces, and neighborhoods around town that shaped the limited reality of my five - nine-year-old self. I still hear these songs from time-to-time, though it's rarely a random occasion anymore. I put on these little aural bites of comfort food and reflect on those mostly extinct hometown images from my most innocent of days. Many of the stores no longer stand and roads exist where fields once extended seemingly forever. New freeways have been constructed. Generations have come and gone, though Facebook tells me many folks I knew have hung around there for the long haul. The very few parts of town that still possess a sense of familiarity within their appearance are personal treasures of mine and keep me connected to my history, much like the 20 songs in the two playlists that follow.

The time spent in the backseat of my parents' cars as we went to the store, the drive-in, the beach...wherever the day happened to take us, is responsible for some of my fondest memories. The view from the backseat was a carefree one; one without bad drivers or clueless pedestrians. A view accompanied by some great songs that have become ingrained in my fiber, serving as mileposts in the story of my life. A view free from the constrictions of a seat belt - we didn't have much use for those things in the '70s. It was a view experienced from the bucket seat of a turd-brown Ford Pinto and the luxurious expanse of our Cadillac or Grenada's leather (or was it pleather) bench seat.

These are not my favorite songs from my childhood, nor are they what I consider the 'best' songs of the 70s. They're simply the songs that, for a few minutes, remove the chaos of adulthood and slow the constant churn of reality to a crawl.

Some, like "Sir Duke," "Don't Go Breaking My Heart," and "Still The One" bring back the innocence of youth. Others remind me just how far removed from that innocence I am. "Just The Way You Are," "Reminiscing," and "Silly Love Songs" were favorites of my mother; songs that made her light up from ear to ear. I haven't had the fortune of seeing her smile in over 12 years so those songs, painful as they can be to hear sometimes, are nostalgic as much as they're therapeutic. My dad has been gone for much longer - this December will mark 25 years without him. I can't hear "The Gambler," "Bad, Bad Leroy Brown," or "Rhinestone Cowboy" and think of anything other than being in the car with my pops while we sang the choruses of those classics together.

"Dream Weaver," was unlike anything else I heard on the radio at the time, so it was always a treat when it would come on. That doesn't mean I can listen to more than 30 seconds of it now, but man...I really loved that song back then. "50 Ways to Leave Your Lover" was just fun wordplay that was easy to remember. Thanks for that one, Mr. Rhymin' Simon. Like the aforementioned signature tune of Kenny Rogers, "Take The Money and Run" and "American Pie" unfolded their stories as the songs played on. Cinematic sequences correlating with the songs' lyrical journeys played out in the movie theater of my mind. I had a pretty good imagination as an only child and it was fun for me to close my eyes and envision how what I was hearing might look like on the big screen.

In the backseat, I discovered how funky music could be, courtesy of Stevie Wonder's "Superstition." It's still one of the funkiest damn things I've ever heard. I internalized the words of Henley, Frey, and JD Souther's "The Best Of My Love" before I really knew how devastating they actually were. "You see it your way. I see it mine. But we both see it slipping away." I just got goosebumps typing that. Dang. Those words, much like others from the best Eagles songs, are lyrical daggers that cut through the bullshit and serve up a reality most would prefer to brush aside with a pained, yet blissful, ignorance. Those words moved me then, though in a way I couldn't understand as a child who was focused on far more important things (what the new Saturday morning cartoons would be once Fall came around, who would win Battle of the Network Stars, or when I might get to go to Skipper's next) than a relationship's impending implosion. And...this was a big one, the backseat was where I found a loophole that allowed me to 'innocently' sing along to a popular song and get away with saying a bad word. It felt like I was breaking the law without anyone around me being the wiser. Thanks, "Rich Girl."

I always had a great bedroom filled with toys from parents who really didn't have the means, but always found the way, to give me most of what they knew I wanted. I'd eventually have a bike that would take me on adventures around my part of town. Later on, I'd experience the 'joy' of what people dealt with in the front seat; insanely slow stoplights, rush-hour traffic, flat tires. None of it ever matched the weightlessness I felt while in the backseat. Such levity came with brevity, but these songs keep that magical time alive.

      

Cover to Cover - Foo Fighters

Imitation is the sincerest form of flattery. Sure. It's also bound to polarize the hell out of music fans who don't want the perfection of a song in its original state tarnished by some rando-band's half-ass attempt at recapturing what made it great in the first place. I am such a fan, but I'm also open-minded enough to know that every so often a cover song comes along that can hang with its inspiration.

Whether a cover song works or not is purely subjective, though I hope to God we can all come together and agree that Madonna NEVVVVVVVVVVVER should've covered a classic like Don McLean's "American Pie." Scientific studies have proven that the day Madonna's version was unleashed was the day the music actually did die.

From time to time, I'll pick an artist or topic or theme or whatever feels right and present related cover songs for your judgmental consumption. Let's start with one of the best cover bands on the planet (they've had a few pretty solid original songs too). This one's for you, Shelly!

Most of the Foo Fighters' covers aren't on Spotify, so here are my top five cover songs performed by Dave Grohl and company.

5. Tie Your Mother Down / Queen

The hard-rock leanings of this early Queen classic make perfect sense for the Foos to showcase their own brand of rawk on. Grohl headbangs while drummer Taylor Hawkins handles the vocals. 

4.  Born on the Bayou / CCR

Hurricane Katrina brought the pain in 2005, enough so that "A Concert For Hurricane Relief" was aired nationwide to provide awareness and garner donations for the poor souls impacted by the unnatural response to this natural disaster. I watched the entire concert and no single performance dropped my jaw more than the Foos' covering this Creedence Clearwater Revival swamp-jam. 

3. Down in the Park / Gary Numan

Gary Numan has always been ahead of his time. The popularity that electronic and new wave artists would have with sounds that he, and others of the time (Kraftwerk, etc..) pioneered would elude him after his 'one-hit wonder,' "Cars," but science fiction and a dystopian existence would continue to serve as thematic foundations for his icy, synth-driven creations. The Foos rock the hell out of this Gary Numan and Tubeway Army track from the late 70s.

2. Band on the Run / Paul McCartney and Wings

One of my all-time favorite songs by one of my all-time favorite artists. If you're going to cover Macca, you better bring your A-game and that's just what Dave and the gang did here. 

1. Baker Street / Gerry Rafferty

Gerry Rafferty's biggest hit is lodged in my all-time top 20. Year after year. Without fail. It's been a favorite since I first heard it on the radio way back in 1978. The original's iconic saxophone solo is replaced here with a guitar lick that works quite well. There is also a slight lyrical tweak and a heavier overall vibe that enables it to stand up against, and stand out from, Rafferty's classic.

The Waiting Room - Lizzo, Melody's Echo Chamber, GRAVEDGR, Jain, Electric Citizen

I'm always looking to unearth tomorrow's favorite song, today. While these may not be the next big things on a larger scale - or even set up residence in the always-churning, 40-song universe of The Mixtape - they are still getting some ear-time and might just end up my (or your) next jam-du-jour.


Boys / Lizzo - Brand new (released yesterday) and coming soon to a pool party near you. This is a jam and a half that I have to believe would make Missy Elliott proud.


 
Shrim / Melody's Echo Chamber - This one's for the headphones. The last song on Melody Prochet's brand-new Bon Voyage is the one that's sticking out for me as it slithers and shimmers somewhere between head-nodding psyche-pop and toe-tapping dance-cut.



RAMPAGE / GRAVEDGR - I don't always listen to EDM, but when I do, which is borderline 'next-to-never', it's this track by an act I had previously never heard of who only has this one song on Spotify currently.



Alright / Jain - My friend's friend sent him this song the other day. Said friend of mine then sent it my way a short while later. Now it's my duty to pass it on to anyone who is hankering to hear a great pop song with an immediately catchy chorus. Who is Jain? I have no idea, but if all her songs are close to this good, I'm looking forward to finding out.



Hide It In The Night / Electric Citizen - I stumbled upon this yesterday (thanks, Instagram) and it instantly made me want to grow out my hair, book a precautionary chiropractic appointment, and bang my head like it's 1983 again. Sounding like the best parts of Black Sabbath, Rush, and Blue Oyster Cult, propped up with a swagger reminiscent of early Aerosmith, this 2:59 ass kicking makes me remember why heavy metal will never be anything I consider a 'guilty pleasure'. There's zero guilt in the thrill this song gives me.

The Mixtape 6/26/18: KSG, Kanye, Snail Mail

Happy Holidays 

This past month has been like Christmas for the rap fan in me. A glut of albums (KIDS SEE GHOSTS, Kanye West, The Carters, Pusha T, Rico Nasty) and tracks from Vic Mensa, 'Lgado, Ski Mask The Slump God, and Valee have been keeping the House Party in my head going while a generation behind me, unfortunately, deals with the loss of 20-year-old XXXTENTACION and potential next-big-thing PA rapper, 21-year-old Jimmy Wopo, both shot to death. I'm not going in to the societal elephant-in-the-rooms that are guns and mental illness here, but suffice it to say that my heart breaks at the suicides, homicides, and other unnecessary exits that so many have taken the last several years. Okay...back to the music.

The rap fest resulting from the above artists (and others) makes up around a third of this week's list, but it's not the only genre at the table. I love me a little bit of everything and am happiest when The Mixtape is reppin' most of the genres that I enjoy. To that point, this week has everything from the indie-pop perfection of Snail Mail, Camp Cope, and Hop Along to angsty snot-rock courtesy of FIDLAR, Jeff Rosenstock, and THICK. 

Want to dance? Hookworms, Drake, and the new Chic (💖), Chaka Khan, and Ariana Grande jams  should keep your feet moving. 

If you're in search of a lazy summer day vibe, may I suggest chilling out to the slinky (Natalie Prass), the soulful (MorMor) and the sublimely droning (Beach House). 

Sadly, we're without jazz as Kamasi Washington's nearly 10-minute odyssey, "Fists of Fury," fell off the 40 this week after a couple of months in its lower register. His full-length Heaven and Earth was released this past Friday. Once I commit to diving into it completely, you might see some more of his insanely good creations make their way on the 'tape in the near future.

On the horizon

New albums from Drake and Gorillaz come out this Friday, but I can't say I'm that excited for either. I tend to really like every tenth Drake song I hear and Gorillaz, while a mainstay of my auditory diet during the 00's, are a 'take it song-by-song' kind of act for me these days. 

What I am excited for (as both a music fan and a dorky grammar-loving English major) is the second full-length release from Let's Eat Grandma. Sure, no comma may result in some geriatric drama, but  LEG's transformative tunes are more than worth that risk.

Summer (Song) Time

Happy Summer Solstice, everyone! Summertiiiiiiiime, and the music's breeeeeezy.

What exactly is the "Summer Song" of a given year, anyway? Is it the most popular song between June and September that infects or informs the mainstream masses? Does "summer" need to be included in the title? Does the song have to be released during the summer or can it be a song that just feels like summer? What summer 'feels' like to any given individual is entirely objective, though I believe a majority of music lovers would agree that a Summer Song should replicate the effects of Vitamin D given off by that big flaming ball of gas sitting up in the sky. A fun, joyful jam that gets booties shaking and sound systems quaking. Really though, we already have YACHT's "Summer Song." What else do we need?

Apparently, a lot, considering many sites have already proclaimed their front-runners for 2018's Summer Song:

NPR, Fader, Refinery 29, Esquire, and Rolling Stone are among those that have already named one or more songs that will dominate the summer. If they're to be believed, this summer is Cardi B's for the taking. Billboard (the industry bible of music charts) even has a playlist of their Top 100 Summer Songs of All Time, spanning over 60 years of genre-hopping, chart-topping, and sometimes jaw-dropping tunes.

For me, a given year's Summer Song is usually something upbeat and sunny that demands my attention more than any other between Memorial Day and Labor Day. It's usually nowhere close to what the mainstream music audience gravitates toward. I generally have different needs and tastes than the music-listening masses so, when I embrace a Summer Song that is high on the charts, it's got to be one helluva track for me to get on board with...something so catchy, ubiquitous or otherwise earwormy, like 2013's "Blurred Lines" by Robin Thicke, T.I., and Pharrell. I didn't want to like that song as much as I did, but it sounded enough like Marvin Gaye's forever funky "Got To Give It Up" that I couldn't resist it. Much like Gaye's family couldn't resist suing Thicke and company for plagiarism -  a suit they ultimately won and one that was upheld earlier this year.

My Summer Song better brighten my mood the second I hear it and sound dope af when I'm cruisin' 'round town, bumpin' it from the stock stereo of my three-year old Prius. So yeah, it has to be something I connect with and feel so deeply that any reservations I have about screaming its chorus with the windows down are quashed in an instant like that whole Drake / Meek Mill beef from a few months and few thousand news cycles ago.

I can't tell you what my 2018 Summer Song will be until the next few months are in the rearview mirror; however, I can share some of my Summer Songs past and make a few predictions about songs that may be contenders for this year's title.

UPDATE: Cancel all other contenders for 2018. Chic just dropped the first single off their first album in 26 years (coming out Sept. 16), "Till The World Falls." I think we may have a winner. Stay tuned...


      

Girl Talk's 'Feed the Animals' turns 10

I just typed this post's title and damn if I don't feel borderline geriatric. Girl Talk's pop music pastiche 'mash'terpiece, Feed The Animals is a decade (and a day) old and honestly, my feelings on it haven't changed an iota. I was enamored with it when it came out, enough so to write two separate pieces about it - one for a Post-Modernism and Popular Culture college class and a much shorter one (below) that originally appeared on my Left Off The Dial blog on July 3, 2008 - and still find myself hungering to hear it straight through when the urge hits. Which is often.

We'll revisit my decade-old thoughts in a minute, but can I first say that I love this album as much today as I did when it was first released? It spoke to me like nothing else had since the landmark sample orgy that was the Beastie Boys' Paul's Boutique. As a teenager armed with only a dual-cassette stereo, I managed to make what I called Mega Mixes, essentially a stylistic precursor to mashups. These minutes-long mixes were a labor of love in that each one involved cuing up a pre-determined song part perfectly on one tape, then hitting Play on that tape deck plus Record on the second tape deck simultaneously to capture the few seconds of the track so it perfectly synced up with the snippet that proceeded it and the one that would follow. That process looks like hell when it's written out and would only net me a few seconds of what would often turn in to a five or seven minute mix. I'd sit in my room, hours on end, completely entranced and engulfed in the process. Lather, rinse, repeat. It was the 80s, I was an only child, and I literally couldn't think of anything I'd rather be doing than that. The final product was often worth it - single artist song collages, remixes of remixes, and in my best moments, creations remotely resembling a rough draft of a Girl Talk composition that wouldn't exist for another 20 years. Man, did I kill a ton of time in the sonic sanctuary of my bedroom back then.

Fast forward to present day and I've listened to Feed The Animals so many times that it's recontextualized the way I hear the full-length versions of songs contained in it. My expectations for a song that I grew up hearing all the time, like The Guess Who's "These Eyes," no longer serves as a nostalgic trip to my childhood. Girl Talk has delightfully ruined me to the point that I can't hear that song now without instinctively singing the chorus from Mary J. Blige's "Real Love" instead of "These Eyes...cry every night...for you." The same can be said for others. Lil Mama's one-hit wonder, "Lip Gloss" no longer has purpose without the rapid-fire six-stringed assault of Metallica's "One" propping it up. Salt-n-Pepa's 80s anthem "Push It" sounds infinitely better when it's battling against the yeah yeah yeaaaaaaaaah refrain of Nirvana's "Lithium," And I know for a fact that I'll never hear my favorite Of Montreal track, "Gronlandic Edit", without the expectation that Prince's guitar riff from the Purple One's classic "Kiss" will pop up as the tail-end of ...Edit's chorus ("all of the beauty's waaaaaaaaasted") fades out.

Girl Talk took my teenage obsession of curating and crafting Mega Mixes to a whole different planet than I could've possibly imagined. I mean, seriously...I'm still writing about Feed The Animals 10 years later and, with a little luck, I'll still be chirping about it when the album celebrates its 20th anniversary. Until then, here's what I had to say about it shortly after its release.

Girl Talk's Mash-up Mc Nuggets

Juxtaposition. A $10 word that is the crux of Girl Talk's latest (and for that matter every) album, Feed The Animals. Greg Gillis is Girl Talk - a downright polarizing artist - hellbent on taking his brilliant 2006's Night Ripper to the next level. Essentially the musical equivalent of George Dubya- you're either with him or against him - Gillis doesn't allow for middle ground with his art. That's because his “songs” are constructed from all that has come before him.

Gillis serves up a musical stew of others' lyrical snippets, beats, and music to create something familiar, yet wholly unique. Hip-hop and slightly tweaked, yet quickly recognizable guitar parts, are his meat and 'taters. Sticking with my gastronomic analogy, Gillis' unique placement of obscure and ubiquitous samples provide the broth that brings it all into a steaming hot bowl of…well, that depends on interpretation. Detractors say it's derivative and akin to thievery. Supporters praise Gillis for creating postmodern sonic pastiches that stand on their own as original constructions. I lean with the latter, due to Gillis' inventive brilliance.

The concept of a mash-up - taking two songs and blenderizing them - is this decade's version of a cover song. Like most cover songs, a mash-up's noble intent is often not enough to prevent a horrid end product. Gillis takes mash-up's ideology a step further and then proceeds to clone it repeatedly in each "song". What the listener often gets is an alternately awkward and brilliant 25 sample pile-up that is the result of a four-decade excavation of pop, rock, hip-hop, soul and funk. Feed The Animals finds Gillis one step closer to perfecting this formula.

Outkast and UGK get busy over the Spencer Davis Group’s 41-year-old chugging bass line/organ intro of “Gimme Some Lovin’.” Unk’s unstoppable club jam of the last 18 months, “Walk It Out,” and Pete Townshend’s 25-year-old “Let My Love Open The Door” exchange greetings. Rapper T.I. and Sinead O’Connor bounce off each other while a Too Short line about fellatio assumes the roll of chorus. At least for 15 seconds. That’s just the album’s first track, “Play Your Part (pt 1)” - a primer for the 53 minute ADD fest to come.

Gillis has a knack for taking older favorites and slamming them up against the latest hits. The result is a series of memory lane strolls and “WTF?!?” moments that re-contextualize a few generations’ worth of musical nuggets. Avril Lavigne’s smash “Girlfriend” and the well from which it draws (Toni Basil’s “Mickey”) are snipped, clipped, and reshaped into a canvas for Dolla to rap, “Who The Fuck Is That?” over. This is just the first minute of “Shut The Club Down,” which eventually plucks Rod Stewart’s “Young Turks” from the back of pop music’s collective consciousness, re-imagining it as a backing track for Ahmad before Lil’ Jon crashes the party altogether. "WHAT! WHAT?!?"

Gillis has effectively bridged the gap between ubiquitous and obscure. There are tons of these head-scratching and booty-shaking moments on Feed The Animals, commanding multiple listens to absorb it all.

Girl Talk’s aural collages invite music fans regardless of age or genre loyalty. The truly initiated will discover new within the recognizable and never hear the familiar the same way again. There's a little something in this stew for everyone to love or hate.

Whether you call him a a genius or an easy target for copyright infringement lawyers, Gillis acknowledges every sample in his liner notes to avoid becoming the latter, yet never fully realizes the former. Instead, Gillis and his creations lie in the gray area. A place his audience and critics will not be spending a lot of time in. This particular blogger, however, has leased a timeshare in Gillis' musical scavenger hunt.

And for all y'all music nerds like myself, here's a cheat sheet of samples on Feed The Animals.

The Mixtape 6/19/18: Kanye, Snail Mail, Beach House (again)

While it's same as it ever was at the top of the 'tape, there's all kinds of new tunes, mostly of the hip-hop / rap variety, popping up just in time for summer. I'm legit stunned that a Jay Z and Beyonce joint release (let's be honest, it's Bey's album, Jigga is window dressing) came out and is somehow available on Spotify. EVERYTHING IS LOVE (remember when caps lock abuse was the equivalent of digital screaming; not just a titling trend that should've started and ended with Kendrick's DAMN. last year) was a left-field surprise in a month-long parade of release party wonkiness brought to you by the guy that used to produce the 'greatest rapper alive'.

Am I still bitter that the bulk of Jay Z's catalog is not available for streaming on Spotify? Entirely possible. It's just nice to hear Jigga man on something other than his Linkin Park MTV Mash Up thingy. I miss The Blueprint (just the first one, though). I'll take Hova's The Black Album over Metallica's any day. And seriously, I could use some Reasonable Doubt in my life right now. But for now, there is The Carters (it's a family affair). A victory lap of sorts after the raw revelations of Bey and Jay's Lemonade and 4:44. 

In other news, Nas failed to impress on his latest, Nasir, Kanye's latest release on his GOOD Records label. It was the fourth straight week of a live-streamed listening party followed up the next day eventually with a digital release. Hopefully Nasir's track list won't fluctuate like KIDS SEE GHOSTS has the past couple weeks. Seriously, Ye, stop shuffling your tracks and the songs behind their titles. It's confusing as hell and no one needs that kind of drama in their life.

About KIDS SEE GHOSTS...a couple tracks from that Kanye / Kid Cudi collabo have settled in nicely to my daily rotation and this week's top ten. But it's not just the 'Ye show up top. Courtney Barnett released her second full-length solo album, Tell Me How You Really Feel last month and "Charity" from that great sophomore release is proving to be a standout on an album packed with well-crafted songs.

As I mentioned, there are a bunch of new entries this week. The Carter's "EVERYTHING IS LOVE" bows, as do tracks from Vic Mensa and G-Easy, Rico Nasty, Ski Mask The Slump God, and miss Chaka Khan, amongst others. I had zero expectations for a new Chaka Khan release, her first release in over a decade, but color me pleasantly surprised. "Like Sugar" is an old-school funk fest that's keeping me dancing in my chair throughout the work day and quickly becoming an early dark horse contender for my 2018 Summer Song. The booty wants what the booty wants.

In addition to Chaka bringing the funk and the aforementioned glut of hip-hop / rap that entered my world this week, I'm also geeking out to Natalie Prass' slinky "Oh My" which sounds like it could've been released in the 80s. Speaking of the 80s, George Benson is back in action on Gorillaz' "Humility". He's not singing, but his signature guitar breathes life in to would probably otherwise be an unmemorable song. Also, it's really weird (and quite awesome) to say that George Benson, who was on my weekly list back in the 80s with hits like "Give Me The Night" and "Turn Your Love Around", has returned to it in 2018. Anything is possible. Cue the Rick Astley comeback. Oh god...please don't.

Happy Father's Day

My dad and I never really talked about music. We just didn't have that common ground. We were close and he loved me like I was his own - he came in to my life when I was 4 and passed away when I was on the cusp of 23 - but he was often working two jobs to make ends meet and wasn't around as much as I wish he would've been. You know, "Cats in the Cradle" shit.

That said, he was a beautiful human, possessed a very kind heart and incredible work ethic, and I'm proud to say that I see many of his better qualities in myself. He was the rock of our family and a role model for me in multiple aspects of my life. Happy Father's Day, big guy. I miss you. Hey...wait. I do remember he liked and listened to "Mack the Knife" by Bobby Darin from time to time. It's the only song I remember him caring about. Not a bad choice at all. This one's for you, dad. 💖

The Mixtape 6/12/18: Kanye / Snail Mail / Beach House

I've been dunking my head and bobbing for good Kanye jams the last couple weeks. Came up with a few that remind me why I'm still able to compartmentalize Kanye the artist and Kanye the douchebag in my head. I've never been so conflicted with a singular musician, but that's fodder for a different post. My point is I'm down with some new Kanye tracks, one so much that it bumped "This is America" right out of the top five. 070 Shake has been a talking point in the media for being the highest high point on Ye. Rightfully so. But it's Yeezy's verse that actually wrung the most emotion out of me. And I find myself caring about Kid Cudi as much as I did in 2009.

So yeah, I drank the water and Kanye sits up top this week. Snail Mail is right behind and, truthfully, I see myself still listening to "Heat Wave" long after "Ghost Town" has dropped off my conscience.

Beach House's "Dive" is the musical equivalent of waves crashing on a beach; fitting that it just continues to rise as summer gets closer.


    

BackTracks: Best of 1995

We first got alternative rock on our radio dial in the Vancouver / Portland area, where I grew up, back in May 1991. Our AM radio dial. After years of a fixed selection of oldies, classic rock, adult-contemporary, country and mainstream pop music comprising our primary radio options, we were finally blessed with 970 AM The Beat. A station that sometimes came in, sometimes didn't. It was AM, so there was an inherent level of static and background fuzz that, I guess at the time, made it feel like you were listening to something different, something slightly underground. The Beat played a style of music that was undergoing an evolution, as mid-late 80's modern rock morphed to the much more marketable (and profitable) "Alternative Rock." Want to make something edgy? Slap "Alternative" on it. That was the deal in the 90s. A deal that eventually went sour as 'alternative' came to represent the norm with the music sounding like a diluted, regurgitated version of Alternative Rock's glory-days persona for years to come. But I get ahead of myself.

On March 6, 1995, my life changed when 94.7 on the Portland FM dial became "94-7 NRK". That's 'NewRocK', not 'NeRK'. Nearly four years after 970 AM The Beat debuted, I could finally hear with clarity, the sonic stew of Nirvana, Pearl Jam, Red Hot Chili Peppers, Jane's Addiction, et. all. A universe of music, previously accessible only via MTV or during one of my many early 90s road trips to Seattle where I'd steal a few days of exposure to the Emerald City's alt-rock taste maker, 107.7 FM The End, was now in my lap and providing me with more exposure to new acts than I ever had before. Dreams really did come true. 

I recently located several notebooks containing my ritualistic weekly top 30 or 40 lists, scrawled out almost exclusively in blue ink, for the better part of 1995-2001. While there are gaps in the chronicling of my musical tastes over time, I was quite diligent during the latter half of the decade; a time when my musical tastes were guided more by Seattle bands and the many flavors of Alternative Rock (now coming at me faster than samples in a Baskin-Robbins) than any pop or rock acts that ruled the mainstream. There was also a notable and significant lack of hip-hop in my diet, again, outside of what I could catch on MTV. Portland wouldn't get a hip-hop / rap station (AM or FM) until KXJM Jammin' 95.5 appeared in 1999 and my life was changed. Again. But I get ahead of myself. Also again.

Today, I'm focusing on the year where I fully shifted from champion of the "Seattle Sound" (I hated the term 'grunge' back then...still not my favorite) to connoisseur of myriad new acts that sounded similar, in that they sounded nothing like each other or anything I had heard before. Yes, Nirvana's influence and sound informed much of alternative rock for the remainder of the 90s, but there were a lot of acts that didn't settle for straight up pillaging, preferring instead to use their time in the spotlight to showcase their own identity and voice. 

It was 1995, a year we were introduced to a nice Canadian lady who transitioned from You Can't Do That On Television to you can do that in a movie theater. A year where Portland band, Everclear, made a nationwide dent in the alternative rock picture with Sparkle and Fade, an album that could more or less double as their Greatest Hits (since their first release, World of Noise, isn't on Spotify). We met a spunky So Cal gal who, it became quickly evident to see, was infinitely more than just a girl. The guy that produced Nirvana's Nevermind had his own band, while the guy that played drums for Nirvana also decided to give the next phase of his career a shot. There were lots of great singles by lots of loud bands. I was front row at the rock and roll buffet and going back for seconds, thirds, and fourths, for acts I'd never heard of. Many of whom wouldn't be heard from again. 

One of my recently unearthed notebooks produced what you see here - my top 100 of 1995. Yes, I did year-end lists too - I even had formulas to determine year-end placement. Some people are stats-nerds for sports, I've always been a stats nerd for music. In finding this list, I rediscovered songs I had completely deleted from my personal RAM. I loved the tracks on here from Dandelion, Ruth Ruth, Jawbreaker, and Seaweed back then, but had completely ceased to remember they ever existed. I've listened to them (and the songs on my playlist below) several times this weekend. The discovery of my notebooks was worth it, if only for those four songs being back in my life again. I'm sure similar discoveries await me for the rest of my 90s lists that I've yet to examine.

The handwritten images below represent my 1995 self's tastes at a particular intersection of space and time. The Spotify playlist is what 2018 me (with hindsight) still considers the essential songs of 1995 from my top 100. I'm sure there were lots of other genres with their respective hits in '95, but I resided in Alterna-ville almost exclusively at that point and most of the mainstream hits just didn't resonate that strongly with me. Seal, Shaggy, Boyz II Men, Blues Traveller...I'm talking to y'all. 

 

My Best of 1995 playlist. The year alternative broke for me. Again. In no particular order.