Ten To Hear Again: The Smiths – Vol. 2

Ten To Hear Again: The Smiths – Vol. 2

Listen To The List: The Smiths, Vol. 2 – Ten To Hear Again

If The Smiths you know best are songs like “Bigmouth Strikes Again”, “Panic”, “Girlfriend In A Coma” and “Stop Me If You Think You’ve Heard This One Before”, here are ten to hear again (or for the first time):

Okay, even though I love The Smiths I initially intended to only do one “Ten To Hear Again” list for them because of their small discography.  However, several people have asked if I was going to do another one and they certainly have many great songs so I decided to do a second volume.  Unlike the other groups where I have done multiple lists this is not divided by years or era, it is just another collection of great and potentially overlooked Smiths songs; hence, volume two.  So, if The Smiths you know best are songs like “Bigmouth Strikes Again”, “Panic”, “Girlfriend In A Coma” and “Stop Me If You Think You’ve Heard This One Before”, here are ten to hear again:

1. “Last Night I Dreamt That Somebody Loved Me” – From the album Strangeways, Here We Come

The last single ever released by The Smiths months after the break-up of the group, “Last Night I Dreamt That Somebody  Loved Me” is a sad and beautiful song that both Morrissey and Marr (at separate times) have said is their favorite Smiths song.  That said, it is not really a great single because of the long crowd riot intro and it loses much of its power if that intro is edited off.  Regardless, it is an excellent song and a powerful final testament to the songwriting team of Morrissey and Marr.

2. “Is It Really So Strange?” – B-Side to the single “Sheila Take A Bow”; later included on the compilation Louder Than Bombs

“Is It Really So Strange?” is a gloriously silly travelogue that shows off the humorous side of The Smiths that sometimes people forget about.  Musically, it is also a nice bridge between the more raw, jangly sound of the early albums and the slicker, more produced sound of their later work.

3. “Frankly, Mr. Shankly” – From the album The Queen Is Dead

Unquestionably one of The Smiths less significant tracks, “Frankly, Mr. Shankly” still is a tart and spritely tell-off to the workaday life from a character (Morrissey himself?) who pines for fame and fortune.  It’s the kind of sentiment that anyone who has ever worked a boring, dead-end job and dreamed of more can relate to and The Smiths turn it into fun, alt-pop gold.

4. “Death At One’s Elbow” – From the album Strangeways, Here We Come

For being so brief “Death At One’s Elbow” is actually quite an interesting song.  If one listens to just Johnny Marr’s instrumental part it is obvious this is his attempt to write the age old rock and roll trope of the “train song” – complete with chugging engine and blowing whistle.  However, rather than writing a lyric that fits that sound Morrissey instead writes an almost darkly humorous love triangle murder story, told in the first person.  It’s an unusual juxtaposition that often gets overlooked because of the song’s brevity and the fact it is buried so deep on the album but in truth it works really, really well to create an interesting song that has little like it in The Smiths catalog.

5. “You Just Haven’t Earned It Yet, Baby” – From the album Louder Than Bombs

Originally recorded to be a single and then shelved in favor of “Shoplifters Of The World Unite”, the propulsive and bratty “You Just Haven’t Earned It Yet, Baby” would have been a better choice in my opinion.  Not only does it better represent the sound and spirit of The Smiths, but it is the more interesting song.

6. “Cemetry Gates” – From the album The Queen Is Dead

The music for “Cemetry Gates” was originally written by Johnny Marr a year before the recording of The Queen Is Dead but he set it aside as being too boring to be used on an album.  However, when Morrissey later heard him play it he disagreed and encouraged Marr to flesh it out, then adding his unusual lyrics about a game played stealing quotes from headstones and trying to determine if they are real or not.  It is exactly the type of song that only The Smiths could pull off:  maudlin, silly and thoughtful all at once and Marr’s guitar part is the perfect bed for Morrissey’s words.

7. “Suffer Little Children” – From the album The Smiths

One of the very first songs ever written by Morrissey and Marr “Suffer Little Children” deals with the Saddleworth Moors Murders of their childhood and immediately establishes the sound and tone of The Smiths.  Controversial from the outset, the song mentions some of the murdered children and the killers by name, yet balances the shock of what happened with a real sense of the tragedy of it all.  At heart “Suffer Little Children” is really a song about lost innocence, and in a sense is more about Morrissey’s own childhood sense of fear and betrayal by the community, than it is about the actual crime.  It is a powerful song of wilted beauty and is quite skilled to be the work of two men barely into their 20’s and with little real background in music.

8. “Back To The Old House” – B-Side to the single “What Difference Does It Make?”; later included on the compilation Hatful Of Hollow

A simple lullaby about the conflicted emotions tied to the physical geography of our past.  “Back To The Old House” at first is a meditation on all of the bad memories that happened at there.  However, our narrator realizes that many good things also happened there as well and later regrets that he cannot return.  Of course, the genius of the song is that this could be interpreted as that we can’t go back to the physical places because they may not be there any longer (or may belong to someone else) or because we can never go back to being the person we were then.   In an unrelated note this song is also the inspiration for the Barenaked Ladies single “The Old Apartment” which was originally written as an acoustic ballad in homage to this song before being reworked into the version eventually released.

9. “Sweet And Tender Hooligan” – B-Side to the single “Sheila Take A Bow”; later included on the compilation Louder Than Bombs

Another of a handful of The Smiths album cuts that really is allowed to rock out.  Johnny Marr rips through the song like his life depends on it and second guitarist Craig Gannon carries the rhythm and fills out the sound well.  In my head I have always thought of this song as part of a triptych of songs about teenage boys behaving badly along with XTC’s “No Thugs In Our House” and Oingo Boingo’s “Only A Lad”.

10. “Meat Is Murder” – From the album Meat Is Murder

While I am not a vegetarian and this song has never really made me consider becoming one, I have always admired The Smiths for taking such a strong stance on an issue that they (or at least Morrissey) care about so passionately.  Especially as it is such an anti-rock star position is some ways, especially in the mid 1980’s.  I also must say that I vastly prefer the maudlin, almost tenderhearted version that The Smiths recorded here compared to the harsher, more obvious one that Morrissey still performs in his solo live shows.  The Smiths’ version is more subtle and the gentleness of the song is only slyly undercut by the words and the sound effects of the slaughterhouse lending it a quiet power and grace that is lacking on Morrissey’s newer version.

Ten To Hear Again: The Smiths

Ten To Hear Again: The Smiths

Listen To The List: The Smiths – Ten To Hear Again

If The Smiths you know best are songs like “This Charming Man”, “How Soon Is Now?”, “Please, Please, Please, Let Me Get What I Want” and “There Is A Light That Never Goes Out”, here are ten to hear again (or for the first time):

The Smiths are definitely one of the more difficult groups to make a list like this for because of a variety of reasons.  First, they have a rabid fan base that already knows their relatively small discography backwards and forwards.  Second, many of their best-known songs were never singles or were originally the B-sides to singles.  Third, many of their now most famous songs were less successful UK singles, while many of their more successful UK singles are now considered to be lesser tracks (not to mention that they had no real commercial American success at all).  All of this conspires to make compiling a “deep cuts” list for The Smiths something of a fool’s errand, nevertheless (being a fool) I will try.  I took as a basic guideline to exclude songs that made the cut for the two volume “Best Of” discs released in the early 90’s, but even there I wasn’t faithful as I included two tracks here, both originally B-sides, that made those albums as well.  However, if you are looking to get a little deeper into The Smiths work than what you might hear on an 80’s alternative rock radio station, this list is a decent place to start.  So, if The Smiths you know best are songs like “This Charming Man”, “How Soon Is Now?”, “Please, Please, Please, Let Me Get What I Want” and “There Is A Light That Never Goes Out”, here are ten to hear again:

1. “Girl Afraid” – B-Side to the single “Heaven Knows I’m Miserable Now”; later included on the compilation Hatful Of Hollow

“Girl Afraid” is, in a real sense, an encapsulation of everything that The Smiths were in an under three-minute package.  The song has a long instrumental intro that prominently features Johnny Marr’s innovative, jangly, anti-guitar hero playing, the tight and punchy rhythm section of Andy Rourke and Mike Joyce, and the fey singing and proto-emo, relationship dramas that Morrissey helped to invent.  “Girl Afraid” is pretty, witty and biting and every teenager who ever felt awkward can relate.

2. “Rubber Ring” – B-Side to the single “The Boy With The Thorn In His Side”; later included on the compilation Louder Than Bombs

“Rubber Ring” is really a showcase for the largely unheralded part of The Smiths, the rhythm section of bassist Andy Rourke and drummer Mike Joyce, who carry this unusual song.  One part heartsick ballad, one part faux-rockabilly anthem “Rubber Ring” might take a few spins to grow on you but it is superb.  I love the “You are sleeping/You do not want to believe…” sample on the outro too (which originally bled directly into the song “Asleep” on the original version of “The Boy With The Thorn In His Side” single, showing how seriously The Smiths took even non-album singles as a work of art.

3. “A Rush A Push And The Land Is Ours” – From the album Strangeways, Here We Come

The Smiths opened their final album Strangeways, Here We Come by defying the notion that they were a jangle-pop band (a sound Marr had pioneered) with the lead track “A Rush And A Push And The Land Is Ours” which eschews guitars for keyboards and xylophones and yet still sounds like The Smiths.  It wouldn’t be the only time that The Smiths defied expectations on the album, but it is one of the best.   I have personally always loved Morrissey’s growl on the word “rush” in the chorus too.

4. “London” – B-Side to the single “Shoplifters Of The World Unite”; later included on the compilation Louder Than Bombs

Anyone who has ever listened to The Smiths live album Rank knows that guitarist Johnny Marr could really sink his teeth into a tune and rock, he just rarely did so on The Smiths albums which tended to play up the pretty side of his playing and Morrissey’s lyrics and vocals.  I have always loved “London” because it is one of the few times on album that we get to hear the vicious, rowdy side of Marr’s playing.  It also is one of the few Smiths songs that really features the twin guitar attack of the time when second guitarist Craig Gannon was in the band.

5. “I Know It’s Over” – From the album The Queen Is Dead

Morrissey regularly writes about characters who realize their life is ending and they never really lived (for some this is a tragedy and for others a blessing) and “I Know It’s Over” is one of the best examples of this.  Even though “I Know It’s Over” is one of several tentpole songs on this landmark album it usually gets overlooked by fans and critics alike, which is a shame because it is a truly great song.

6. “Rusholme Ruffians” – From the album Meat Is Murder

Built off a popping bassline provided by Andy Rourke “Rusholme Ruffians” is The Smiths stab at a true rockabilly track and it works great because they reshape the genre in their own image.  While “Rusholme Ruffians” borrows both the sound and 1950’s toughness of rockabilly, Marr’s jangly guitars overlay the rhythm section and Morrissey brings a sweetness to the toughness of the words, making the song both a neo-rockabilly gem and uniquely The Smiths.

7. “Handsome Devil” – From the album Hatful Of Hollow

A rough and tumble rock track, at least by the standard of The Smiths, “Handsome Devil” barrels forward full of innuendo, double entendres, and a few straightforward come-ons and is better for it.  “Handsome Devil” served as early proof that The Smiths could rock without sounding like traditional macho rock wankers and is a deserved fan favorite.

8. “The Hand That Rocks The Cradle” – From the album The Smiths

“The Hand That Rocks The Cradle” sounds like a lullaby. In fact, it is a lullaby, albeit a very dark one.  And while there are a variety of ways to interpret this song they all at least seem to have an undercurrent of darkness and sadness to them.  It has always been among my personal favorites from their debut even though it gets overshadowed by many of the other tracks.

9. “Pretty Girls Make Graves” – From the album The Smiths

For many, many years there was so much about Morrissey regarding his past, his beliefs, his sexuality (or lack thereof), that was veiled in mystery that fans looked for hints and scraps of meanings in every line of every song.  Well, few songs seem to offer more obvious clues to some of those questions than “Pretty Girls Make Graves”.  Musically, “Pretty Girls Makes Graves” is an interesting contrast between the melodic, jaunty verses that move the story forward and the weird “chorus” where Morrissey simply wails forlornly over a drastically shifted time signature.  It gives the song a creepy, unsettled feeling that fits it message quite well even while leaving the listener slightly uncomfortable, at least until Marr’s maudlin, but beautiful coda at the end of the song.

10. “Death Of A Disco Dancer” – From the album Strangeways, Here We Come

A slow building, darkly shimmering attack on the loss of community that works its way up from a simple, pretty ballad to a cacophony of cascading chords, crashing drums, pounding bass, and crazed piano (played by Morrissey in his first instrumental contribution to a Smiths record).  It’s long been a personal favorite.

Ten To Hear Again: Sinéad O’Connor

Ten To Hear Again: Sinéad O’Connor

Listen To The List: Sinead O’Connor – Ten To Hear Again

If the Sinéad O’Connor you know best are songs like “Nothing Compares 2 U”, “Mandinka”, “The Emperor’s New Clothes” and “No Man’s Woman”, here are ten to hear again (or for the first time):

Few artists have had such a spectacular rise based on such amazing talent, and then self-destructed more quickly than Irish siren Sinéad O’Connor.  With a voice like an angel and an ability to mix genres that was years ahead of its time Sinéad O’Connor’s music was cutting edge and powerful.  However, whether because of her own passions and beliefs (or perhaps mental illness) Sinéad O’Connor managed to derail her career through a series of impulsive decisions and baffling career choices.  Enough so that she soon became better known for her personality than her music, which is tragic because she is an amazingly gifted talent.  So, if the Sinéad O’Connor you know best are songs like “Nothing Compares 2 U”, “Mandinka”, “The Emperor’s New Clothes” and “No Man’s Woman”, here are ten to hear again:

1. “Troy” – From the album The Lion & The Cobra

“Troy” was actually Sinéad O’Connor’s first single off of her debut album The Lion & The Cobra and while it didn’t have a commercial presence it is a great introduction to Sinéad O’Connor’s music.  “Troy” first and foremost is a showcase for Sinéad O’Connor’s weapon of a voice, which moves from a wounded whisper to a wailing weapon over the course of the song.  However, “Troy” is also intelligent lyrically and powerfully emotionally, drawing on elements of pop, atmospheric synth, and torch song balladry over its six minutes.  It is classic Sinéad O’Connor.

2. “I Am Stretched On Your Grave” – From the album I Do Not Want What I Haven’t Got

A genius musical blend of synthpop, celtic music, and a hip-hop beat “I Am Stretched On Your Grave” is a great example of the musical eclecticism that made O’Connor special and noteworthy early on.  Vocally, O’Connor gives a restrained performance that serves the song perfectly and shows she is the master of her amazing voice.  “I Am Stretched On Your Grave” is a personal favorite.

3. “Til I Whisper You Something” – From the album Faith & Courage

Sultry and sexy and a little bit sad, “Til I Whisper You Something” creates a careful sense of tension to set a mood of tentative desire.  Musically, the song recalls Sinéad O’Connor’s early attempts to blend alt rock, hip hop and her own Celtic background and it comes together expertly here.

4. “If U Ever” – From the album Faith & Courage

“If U Ever” is a gorgeous, heartbroken ballad that showcases O’Connor’s voice which is both controlled and emotive.  The song is given its own unique identity by adding a Celtic flavor via whistles and faux-pipes and through sampled sound effects in the song.  It is a gentle and regretful lament that is beautiful in spite of its morose nature.

5. “Take Me To Church” – From the album I’m Not Bossy, I’m The Boss

The lead single from O’Connor’s 2014 return to alternative rock after several albums of more traditional Irish folk songs and balladry, “Take Me To Church” boasts a smart hook, a strong vocal performance, and a lyric that is self-reflective and redemptive.  O’Connor seems to be trying to make a new personal start to coincide with her return to more pop-oriented music and “Take Me To Church” feels like a statement of purpose.  It also is a really good alternative pop/rock song.

6. “4 My Love” – From the EP Gospel Oak

Sinéad O’Connor’s Gospel Oak EP is the secret gem of her discography.  It’s six songs rivalling (and maybe bettering) anything in her catalog except I Do Not Want What I Haven’t Got and I could have easily included at least three of its tracks here.  My personal favorite from it is the darkly atmospheric, Middle Eastern-tinged “4 My Love”, a song that would have earned far more attention if it had been saved for a proper album.

7. “Black Boys On Mopeds” – From the album I Do Not Want What I Haven’t Got

A stunningly biting and effective folk-based protest song done in the same vein as Dylan or other luminaries of the 1960’s, “Black Boys On Mopeds” is a scathing indictment of Thatcher’s England that is also hauntingly beautiful and sad to listen to.  It is a clear highlight of I Do Not Want What I Haven’t Got which is an amazing album front to back.

8. “Jealous” – From the album Faith & Courage

Sinéad O’Connor’s first two albums were such critical and commercial successes that she let things go to her head a bit for Universal Mother, which by no means is a bad record but is overly pompous and self-serious (way too many slow, somber songs, not to mention a bad cover of Nirvana’s “All Apologies” and a terrible attempt at rap).  However, the Faith & Courage album fixes these problems by boasting a much stronger set of songs and by not trying so hard to be “important”.  One of the best examples of this is the rhythmic and intimate feeling “let’s make-up or break-up” song “Jealous”, which is another strong highlight from the very good Faith & Courage album.

9. “House Of The Rising Sun” – B-Side to the single “Thank You For Hearing Me”

With so many great lesser known songs in her discography I debated whether or not to include a cover on this list, but ultimately I decided to for two reasons:  First, part of Sinéad O’Connor’s skill is interpreting other people’s work and making it her own (after all her biggest hit – “Nothing Compares 2 U” – was a Prince song).  Second, she tackles this classic (already mastered at least twice by The Animals and Bob Dylan) and lends it such a mournful grace that it becomes hers as well.

10. “Drink Before The War” – From the album The Lion & The Cobra

A sister song to the superb “Troy”, “Drink Before The War” is similar in tone, texture and structure.  In fact, this could almost be the sad farewell toast to loved ones before leaving for the destruction of “Troy”; or maybe the song sung by the women being left behind knowing that many of their men will die.  “A Drink Before The War” is one of Sinéad O’Connor’s best vocal performances and a highlight of the powerhouse The Lion & The Cobra.

Ten To Hear Again: Sarah McLachlan

Ten To Hear Again: Sarah McLachlan

Listen To The List: Sarah McLachlan – Ten To Hear Again

If the Sarah McLachlan you know best are songs like “Building A Mystery”, “Possession”, “Angel” and “I Will Remember You”, here are ten to hear again (or for the first time):

Canadian chanteuse Sarah McLachlan became one of the leading lights of the women’s movement that was a major part of the alternative rock revolution of the 1990’s.  Her music combined elements of the ambient and atmospheric electronic music of the time with a folk rock core and elements of U2’s cinematic grandeur.  Combine all of that with her angelic voice (which often sang quite devilish things) and you had the makings of a star.  McLachlan’s music reached a wide enough audience to help bring the alternative to the mainstream.  A trend she furthered with her “Lilith Fair” music festival; a travelling summer tour festival, similar to Lollapalooza, that featured female acts and helped to push the success of women in alternative rock throughout the 90’s.  So, if the Sarah McLachlan you know best are songs like “Building A Mystery”, “Possession”, “Angel” and “I Will Remember You”, here are ten to hear again:

1. “Drifting” – From the album Afterglow

Afterglow was the follow-up to Sarah McLachlan’s massively successful Surfacing album and on it McLachlan pulled back from some of the studio production of her previous efforts (although to say that the album was raw or stripped back would be a mistake).  “Drifting” is, at heart, a lilting piano ballad that has been dressed up in light touches of sonic trickery and is one of the best examples of McLachlan’s somewhat more restrained style working.  “Drifting” maintains a light jazzy feel at its core that serves the song well, but has just enough going on around it to keep it from being boring and overly simple.

2. “Awakenings” – From the album Laws Of Illusion

While Sarah McLachlan’s music never really opens up and rocks “Awakenings” does have a sense of coiled tension that builds and finds release through its guitars, which occasionally roar, and its percussion, which moves ahead at a stuttering, breakneck pace.  “Awakenings” may not quite rock out, but neither is it quiet and mannered either.  It is the sound of McLachlan expanding her sound within the very real confines that she and her longtime Pierre Marchand have set for themselves and it works so well it makes you wish she would do it a little more often.

3. “Wait” – From the album Fumbling Towards Ecstasy

“Wait” is an intimate ballad that has jazz influences and is the centerpiece and key track to McLachlan’s excellent album Fumbling Towards Ecstasy.  “Wait”, at least at one level, is about first desire and the inherent expectations and romanticism that is built up in youthful love and lust; and that once one gives in, once that innocence is lost, it can never be reclaimed or recreated fully.  Thus, there is a nostalgic sadness that undercuts the song, as well as it’s warning of a title – “Wait”.

4. “Plenty” – From the album Fumbling Towards Ecstasy

At its core “Plenty” is a pretty simple song about a failed, one-sided love affair.  However, “Plenty” is both a showcase for Sarah McLachlan’s haunted and beautiful voice, which is powerful despite being held back for much of the song, as well as Pierre Marchand’s ethereal and cinematic production work.  In fact, “Plenty” becomes a blueprint of sorts for the sound of much of the rest of the album as well as McLachlan’s career (and longstanding partnership with Marchand going forward).

5. “Witness” – From the album Surfacing

Drawing on elements of gospel music and religious hymns “Witness” has a quasi-religious tone to it without ever really sounding like traditional gospel or church music.  Easily the best non-single from McLachlan’s smash success Surfacing (and quite frankly a better song than several of the singles in my opinion) “Witness” is another showcase for her emotive and powerful voice and has perfect aural coloring provided by textured guitar that occasionally breaks out into short, harsh blasts that sound like fiery darts of desire cutting through the white perfection of heaven.  It is an underrated classic.

6. “Drawn To The Rhythm” – From the album Solace

“Drawn To The Rhythm” is from early in McLachlan’s career and as such is more organic and folk-based than much of her later work.  Yet, even here there is a strong sense of atmosphere and drama.  In fact, this somewhat looser feel perfectly fits the lyrics and rhythms of a song about the pull of nature upon us and discovering the mysteries of the universe.

7. “Monsters” – From the album Shine On

“Monsters” is the second single from McLachlan’s largely ignored 2014 release Shine On.  “Monsters” has a clever, upbeat pop core hiding under its darker surface elements and foreboding lyrics.  This musical juxtaposition – along with lyrics that mention creatures under the bed, monsters, dragons, wolves in sheep’s clothing, etc. – create a song that has the mood of dark fairy tale, full of both innocent wonder and disturbing darkness all at once.  “Monsters” is classic McLachlan and would have been a hit in 1994.  Sadly, twenty years later in 2014 it went almost unnoticed.  You should check it out.

8. “Song For A Winter’s Night” – From the album Wintersong

McLachlan pays tribute to fellow Canadian songwriter Gordon Lightfoot by covering his beautiful love ballad “Song For A Winter’s Night”.  McLachlan’s version is quite radically rearranged from the original, yet keeps the Lightfoot version’s gentle and warm melody as its core.  “Song For A Winter Night” was originally included on McLachlan’s first holiday album Wintersong, but in truth this is just a love song set in winter and could be appropriate on any album or at any time of year as it really has nothing to do with Christmas.  That said, it is among my personal favorite songs to play during the holiday season.

9. “I Love You” – From the album Surfacing

Gentle, atmospheric and ethereal, with an underlying current of sadness, “I Love You” finds Sarah McLachlan stealing a page from new age legend Enya and weaving it into her own formula.  The song has a languid, drifting pace that floats almost aimlessly toward its inevitable heartache.

10. “The Sound That Love Makes” – From the album Shine On

Built up from a sunny ukulele riff, “The Sound That Love Makes” is definitely a change of pace from Sarah McLachlan’s normally icy and atmospheric sound.  In fact, “The Sound That Love Makes” sounds like the forgotten lovechild of Train’s silly “Hey Soul Sister” and Israel Kamakawiwo’ole’s “Somewhere Over The Rainbow” and is a somewhat refreshing lighthearted moment from McLachlan.  The song builds itself up lightly over its brief two minutes and enters Colbie Caillat and Jack Johnson’s domain, before finding its perfect ending and not overstaying its welcome.

Ten To Hear Again: David Bowie, 1999-2016

Ten To Hear Again: David Bowie, 1999-2016

Listen To The List: David Bowie, 1999-2016 – Ten To Hear Again

If the David Bowie you know best from his fourth phase of 1999-2016 are songs like “The Pretty Things Are Going To Hell”, “Where Are We Now?”, “Everyone Says Hi” and “Lazarus”, here are ten to hear again (or for the first time):

In 1999 David Bowie released the album Hours and with it settled into a comfortable and high quality last act that lasted for the course of five albums until his death in 2016.  Over this period Bowie gave up any overt efforts to stay on the cutting edge on alternative music and instead wrote music that sounded like classic Bowie by bringing together strands of his various eras without ever slavishly recreating the sound of any one.  It was a fitting last act full of some superb songs that has been sadly overlooked by many.  So, if the David Bowie you know best from 1999-2016 are songs like “The Pretty Things Are Going To Hell”, “Where Are We Now?”, “Everyone Says Hi” and “Lazarus”,  here are ten to hear again:

1. “Sunday” – From the album Heathen

“Sunday” is a moody and atmospheric song that smolders like a cinder without ever quite catching fire (and that is a good thing).  It slowly builds over the course of its nearly five minutes and leaves you without complete resolution, wanting more.  The haunted tones, muted electronics and somber aural coloring of “Sunday” is reminiscent of what Editors would do on some of their later albums.

2. “New Killer Star” – From the album Reality

On “New Killer Star” Bowie steals a page from the neon-colored glam rock of Suede, who of course originally stole much of their sound from Bowie in the first place.  Thus, “New Killer Star” is, in a sense, the sound of David Bowie coming full circle: It is the sound of Bowie updating himself through the filter of others.  This blueprint works incredibly well on “New Killer Star” as the song sounds fresh and not derivative, proving to be one of Bowie’s best latter-day rockers.

3. “Slow Burn” – From the album Heathen

“Slow Burn” is the perfect title for the desperate and frustrated sound of this song.  A mid-tempo rocker “Slow Burn” is tense and the guitar part (provided by The Who’s Pete Townshend) is exquisite and proves once again what an excellent guitarist he is.  In fact, Bowie and Townshend seem to be a well-matched team and it’s a shame that they didn’t work together more often.

4. “Thursday’s Child” – From the album Hours

A moody and mellow ballad with just a touch of soul running through it, “Thursday’s Child” is a minor gem that was released as the first single from Hours and that allowed Bowie to successfully pull back from his 90’s experimentation and embrace a warmer, more classicist sound as he entered the 21^st century.  While the single was not a commercial success, it was critically embraced and thus helped to shape the direction of the last phase of Bowie’s storied career.  “Thursday’s Child” is a warm and rich listen that recalls several moments of Bowie’s past without ever sounding dated.

5. “Slip Away” – From the album Heathen

“Slip Away” is not an official sequel to the storyline of “Space Oddity” and “Ashes To Ashes” but it feels like one.  Musically “Slip Away” mines a similar psychedelic folk vein as “Space Oddity”, while lyrically it could be an extension of the story line told in those two Bowie classics.  “Slip Away” is certainly a classic of the late career Bowie canon.

6. “The Stars (Are Out Tonight)” – From the album The Next Day

After a seven year retirement David Bowie surprised the music world and his fans by unexpectedly releasing The Next Day, a superb album that harkens back to his “Berlin Trilogy” for much of its inspiration.  One of the highlights of The Next Day is the tight, coiled intensity of “The Stars (Are Out Tonight)”, a rocker that winds together classic Bowie themes such as the cosmos, stardom and mortality into an excellent musical moment.

7. “Heat” – From the album The Next Day

“Heat” is a haunted, dusty soundscape that creates an almost palpable sense of atmosphere and the apocalypse.  “Heat” is the kind of song that immediately brings to mind classic Bowie without ever recalling any specific period of classic Bowie, making it a great song in its own right.  In fact, the perfectly placed string arrangement may well lift this overlooked gem to classic status.

8. “Cactus” – From the album Heathen

“Cactus” is a fairly faithful cover of the moody Pixies’ classic given just a bit of a Bowiesque production touch.  This may be blasphemous but as much as I like the original (and I do) I think I like Bowie’s version better.

9. “Seven” – From the album Hours

“Seven” is a pretty acoustic ballad that fit in nicely with the tail end of the Britpop movement in the late 90’s.  It may not be classic Bowie but it is a fine song and one can hear echoes of many of Bowie’s musical descendants – Suede, Oasis and James all come to mind –  within “Seven”.

10. “Blackstar” – From the album Blackstar

The title track and lead single (although at almost ten minutes in length it was not aiming for radio play) of Bowie’s swan song album released just two days before his death.  “Blackstar” is a fusion of jazz, electronica and psychedelic space rock and seems like a logical extension of Bowie’s long and varied career, as well as a sonic cousin to Radiohead’s post-OK Computer albums (it particularly reminds me a little of the Kid A track “The National Anthem”.  Not a bad way for Bowie to say goodbye for joining up with cosmos himself.

Ten To Hear Again: David Bowie, 1983-1998

Ten To Hear Again: David Bowie, 1983-1998

Listen To The List: David Bowie, 1983-1998 – Ten To Hear Again

If the David Bowie you know best from his third phase of 1983-1998 are songs like “Let’s Dance”, “China Girl”, “Modern Love” and “Blue Jean”, here are ten to hear again (or for the first time):

The third part of David Bowie’s career saw both his biggest commercial hits and his worst reviewed albums critically.  During the 1980’s new wave and other forms of alternative rock, nearly all of which looked back to Bowie as an obvious inspiration, finally began to move toward the mainstream and find success.  So it shouldn’t be a surprise that Bowie wanted to bask in a little of the glory he helped to create.  The early 80’s saw him refashion himself as a new wave pop star and he spun off a series of catchy, new wave hits that were informed by his past but sounded like the present (which he had helped shape in the first place).  The trouble was that while these singles were great, the albums (at least after Let’s Dance) were increasingly mediocre and Bowie went from sounding like a visionary at the start of the 80’s to someone who had lost his sound and soul by the end of them.  Seeming to recognize this Bowie spent the 90’s trying to earn back his reputation as a musical maverick riding the experimental edge of the avant garde.  This led to Bowie jumping from one style to another on each subsequent album as he dabbled in alt rock, Industrial, Jungle and other sounds du jour.  Bowie had always been a chameleon but now he seemed to be following the trends rather than blazing them.  All in all, what this means is that throughout the 80’s and 90’s Bowie put out some wildly inconsistent albums in a variety of wildly inconsistent styles.  Yet, through it all David Bowie still managed to have some excellent moments, many of which are underappreciated, and I have gathered some of those here.  So, if the David Bowie you know best from 1983-1998 are songs like “Let’s Dance”, “China Girl”, “Modern Love” and “Blue Jean”, here are ten to hear again:

1. “Black Tie White Noise” – From the album Black Tie White Noise

Basically a straight up R&B song given just a touch of an alt rock bite “Black Tie White Noise” is basically a duet between Bowie and R&B singer Al B. Sure! and features a prominent sax part, funky slap bass and other elements of early 90’s hip hop.  In effect, “Black Tie White Noise” is an update of Bowie’s own “Plastic Soul” period with lyrical commentary that lambasts the superficial efforts to integrate different racial communities together in the months following the Rodney King verdict and the L.A. riots.  “Black Tie White Noise” admittedly sounds a little dated now, but it is still a funky mix of rock and hip hop that was quite current at the time, although still definitely the work of Bowie.

2. “I Know It’s Gonna Happen Someday” – From the album Black Tie White Noise

As Bowie himself once said about this song, “It’s me singing Morrissey singing me” and he isn’t far off the mark.  “I Know It’s Gonna Happen Someday” is a fairly faithful cover the Morrissey song from his then recent album Your Arsenal that Morrissey has admitted was at least partially inspired by his own love for Bowie.  Bowie’s version has a gospel choir to back him and is more campy and dramatic than the original, but works very well.

3. “Strangers When We Meet” – From the album Outside

Outside is Bowie’s attempt to incorporate industrial music into his canon and proves to be one of his less successful albums; not so much because he Bowie and Industrial music are a bad match (Bowie had used similar textures before) but because the songs were not very strong.  However, Outside concludes with the beautiful “Strangers When We Meet”.  Originally written and recorded for the soundtrack to The Buddha of Suburbia two years earlier Bowie saved it from obscurity and rerecorded it for Outside.  The version of “Strangers When We Meet” recorded for Outside is slightly harsher in tone than the original (some listeners may prefer the Buddha of Suburbia version) but either way it is a great overlooked latter-day Bowie song.

4. “I’m Afraid Of Americans” – From the album Earthling

Released as a single in an edited version with heavier guitars and Nine Inch Nails vocalist Trent Reznor on co-lead vocals “I’m Afraid Of Americans” was a minor hit on MTV.  This is the original Bowie only album version and one of my personal favorite Bowie numbers from the second half of his career.

5. “Time Will Crawl” – From the album Never Let Me Down

While the production of “Time Will Crawl” immediately places the song firmly in the 1980’s, the truth is that the song itself is one of the highlights of Bowie’s 80’s output, especially outside of Bowie’s big radio hits.  Filled with a sense of mystery, tension and impending doom, “Time Will Crawl” has an effective chilly mood to it that serves the song well.

6. “Loving The Alien” – From the album Tonight

While the album Tonight is arguably David Bowie’s critical low point, a rushed and radio ready follow-up to the new wave success of Let’s Dance, the album’s opening track “Loving The Alien” has a strange and sexy mood that is vaguely reminiscent of the glam rock of Bowie’s Ziggy Stardust period, just run through the prism of 80’s new wave.  Admittedly, “Loving The Alien” sounds a little too much like the Thompson Twins to be a true Bowie classic, but on the other hand when one remembers Bowie was trying to sound like his new wave progeny it is easier to be forgiving.  Especially since “Loving The Alien” really is a fun listen that has that mid 80’s synthpop/new wave formula down so well.

7. “Tonight” – From the album Tonight

A light and breezy synth driven reggae number that Bowie did as a duet with famed singer Tina Turner.  Your opinion on “Tonight” may depend completely on your perspective.  If you compare it to groundbreaking, cutting edge work like “Ziggy Stardust” or “Heroes” then you are going to find “Tonight” desperately lacking in depth and quality.  However, if you think of “Tonight” only as a lighthearted, reggae influenced, new wave pop song then it can be a fun song that shows a different side to Bowie’s persona.  I personally think “Tonight” is a small, if minor, gem in his incredible discography and have always been impressed at how well he and Turner’s voices work together.

8. “Cat People (Putting Out Fire)” – From the album Let’s Dance

A tense and nervy new wave number that shows Bowie has a mastery of the genre outside of his more pop-oriented new wave singles.  Technically “Cat People (Putting Out Fire)” was released as a single as it was originally written and recorded for the movie Cat People and was released as a single from the soundtrack from that movie.  However, the song and movie were largely ignored and Bowie rightly recut the track for Let’s Dance where it proved to be one of the album’s best moments outside of its three classic singles.

9. “Glass Spider” – From the album Never Let Me Down Again

Love the creepy vibe created by the spoken word part and the strange synth effects underneath it; something about it has always reminded me of Peter Murphy.  Then the song breaks into a propulsive, but very slick and cleanly produced, fuller rock section.  It is a strange song, but Bowie has always delighted in a bit of willful strangeness and I like this song because of it.

10. “Underground” – From the motion picture soundtrack Labyrinth

In the 1980’s David Bowie tried to move into the mainstream and one of the ways he did this was by playing the Goblin King in the dark (and awesome) children’s fantasia that is the movie Labyrinth.  Bowie also contributed several songs to the soundtrack including the new wave meets gospel of “Underground” that plays over the credits and main titles.  While definitely tied to the themes of the movie (and the sound of the era) it is a pretty good song on its own merits as well.

Ten To Hear Again: David Bowie, 1975-1982

Ten To Hear Again: David Bowie, 1975-1982

Listen To The List: David Bowie, 1975-1982 – Ten To Hear Again

If the David Bowie you know best from his second phase of 1975-1982 are songs like “Heroes”, “Fame”, “Young Americans” and “Ashes To Ashes”, here are ten to hear again (or for the first time):

The second part of David Bowie’s storied career saw him move through several phases quickly, leaving behind the glam rock and psychedelic folk of his early career.  1975-1982 saw Bowie move through his “Plastic Soul” phase, the experimental rock of Station To Station and the Brian Eno helmed “Berlin Trilogy” before starting the 1980’s with Scary Monsters (And Super Creeps) which revived the sound of his Ziggy Stardust period and updated it with elements of everything he had done since.  So, if the David Bowie you know best from 1975-1982 are songs like “Heroes”, “Fame”, “Young Americans” and “Ashes To Ashes”, here are ten to hear again:

1. “Always Crashing In The Same Car” – From the album Low

Although it is full of weird noises and unusual production flourishes thanks to Bowie’s collaboration with Brian Eno, underneath all of the swirling noise and beeping electronics lies a catchy pop/rock nugget in “Always Crashing In The Same Car”.  One of the more accessible moments on the important and experimental Low album, one can hear echoes of this song in the work of several later groups, most notably U2 with their similarly titled (and obviously inspired) “Daddy’s Gonna Pay For Your Crashed Car”.

2. “Yassassin” – From the album Lodger

With its Arabesque musical themes and swirling sense of mysticism “Yassassin” is a delightful slice of Romantic exoticism.  However, “Yassassin” also has a sense of mood and rhythm to it not far removed from the ska music or early new wave emerging from the underground around the same time.  The fact that “Yassassin” was released as a single shows how willing Bowie was to push to boundaries of rock music; the fact that “Yassassin” works within that context shows how gifted a talent Bowie is.

3. “Teenage Wildlife” – From the album Scary Monsters (And Super Creeps)

For “Teenage Wildlife” Bowie brought back guitarist Robert Fripp, who had provided the unique, textured guitar sound to the classic “Heroes”, and lends “Teenage Wildlife” a similar guitar sound.  While “Teenage Wildlife” is not a masterpiece approaching the level of “Heroes”, it is an interesting blending of Bowie’s style from his experimental “Berlin” period with the glam rock overtones of his Ziggy Stardust era.  This combination creates a soaring, passionate ode to teenage romance that serves as a nice capstone to Bowie’s 70’s sound (before he changed things up again for the 80’s).

4. “Beauty And The Beast” – From the album Heroes

“Beauty And The Beast” combines washes of synths, a funk/disco beat and textures that in later years would be called pseudo-industrial.  Considering that “Beauty And The Beast” was released in 1977 this is a fairly abrasive and avant garde.  In many ways it also foreshadows the danceable rock that would make up the new wave and synthpop movements a few years in the future.  While rightfully overshadowed by “Heroes”, “Beauty And The Beast” is an innovative masterpiece in its own right.

5. “Sound & Vision” – From the album Low

While the reputation of “Sound & Vision” as a classic has grown in the past few years, Bowie’s lead single from Low combined elements of his “Plastic Soul” sound with the synthetic textures he and Brian Eno were creating to create a surprisingly warm and jaunty musical framework for his quasi-detached vocals.  It is a study in contrasts that works incredibly well and served as a blueprint of sorts for legions of new wave and other groups both in the 80’s and early 2000’s.

6. “Somebody Up There Likes Me” – From the album Young Americans

Young Americans was the pinnacle of Bowie’s “Plastic Soul” era, where the Thin White Duke experimented with jazz, soul, Motown and other African American music, giving it a distinctly English and experimental twist.  “Somebody Up There Like Me”, with its gospel backing singers and horns, is a great example of Bowie’s work within this sound.

7. “Wild Is The Wind” – From the album Station To Station

David Bowie morphs himself into his best Bryan Ferry styled crooner for “Wild Is The Wind”, a song that calls to mind wild, open spaces and lonely people living in lonely places.  Bowie’s wavering voice lends the song a wilted, weary quality that serves the song well and makes it seem a musical counterpart to some doomed Gothic romance like Bronte’s Wuthering Heights or a modern apocalyptic dystopia.

8. “Up The Hill Backwards” – From the album Scary Monsters (And Super Creeps)

“Up The Hill Backwards” is a stomping pop/rock number that is actually a biting tell-off to all the journalists and gossipmongers who felt the need to talk about Bowie’s divorce from his first wife.  Catchy and snarky, “Up The Hill Backwards” features the great chorus: “It’s got nothing to do with you/If one can grasp it”.  An interesting look at the role of the music press and whether stars have the right to some privacy in their personal lives.  When the press decided the answer was no, Bowie turned it back on them and called them out; in the process turning them into scary monsters (and super creeps).

9. “Boys Keep Swinging” – From the album Lodger

“Boys Keep Swinging” was actually the lead single (and a sizable hit in many places around the world) from Bowie’s album Lodger.  However, it was considered too androgynous and genderbending to be a hit in the American market so “Look Back In Anger” was released as the single here.  Thus, at least in the USA, “Boys Keep Swinging” remains a largely underappreciated masterpiece of bouncy pop/rock.  This is too bad because “Boys Keep Swinging” is one of the best tracks on Lodger and an obvious influence on the later Britpop movement.

10. “Station To Station” – From the album Station To Station

“Station To Station” is the over ten minute masterpiece that opens as a dark, tense and angular rocker that helps to create the ominous sound of post-punk before shifting its mood and tempo and becoming an upbeat, almost inspiring anthem that draws on Bowie’s “Plastic Soul” period as well as elements of disco and pop.  Then “Station To Station” shifts again into something akin to a party rocker as the glories of love overcome the darkness of the world.  It was built to be a song suite or magnum opus and, as such, has a certain hubris and pretentiousness to it.  However, its length and attitude is an important part of what makes the song work so well.  It aims big and Bowie has the talent and star power to pull it off.

Ten To Hear Again: David Bowie, 1967-1974

Ten To Hear Again: David Bowie, 1967-1974

Listen To The List: David Bowie, 1967-1974 – Ten To Hear Again

If the David Bowie you know best from his first phase of 1967-1974 are songs like “Space Oddity”, “Changes”, “Suffragette City” and “Rebel Rebel”, here are ten to hear again (or for the first time):

For David Bowie the first phase of his career, the years 1967-1974, saw him struggle to find his footing and then, once he did, rise to fame as a groundbreaking trendsetter with both his music and his image.  His first three albums during this period found Bowie shift from eccentric English folkie to disillusioned psychedelic hippy to theatrical glam hard rocker and likely would have found his career ending without ever really being noticed if not for scoring a hit with “Space Oddity” which rode the fervor over the moon landing in 1969 to success.  However, after this opening run of very different albums Bowie seems to find his footing by combining all of these elements together into a visionary sound and unique image (the androgynous alien rock star character Ziggy Stardust) and manages to release a five album run that is among the most influential of all time.  So, if the David Bowie you know best from 1967-1974 are songs like “Space Oddity”, “Changes”, “Suffragette City” and “Rebel Rebel”, here are ten to hear again:

1. “Five Years” – From the album The Rise and Fall of Ziggy Stardust & The Spiders From Mars

The opening track to David Bowie’s epic The Rise and Fall of Ziggy Stardust & The Spiders From Mars “Five Years” is the perfect theatrical narrative to introduce such a grandiose and silly concept as the impending end of the world and its potential salvation by an androgynous alien rock star.  The amazing thing about “Five Years” is how well it works to both introduce the themes and tone of the album and how great it is as a stand-alone track with elements of classic rock, glam and Broadway all running through it.  “Five Years” is the perfect start to one of the most important albums in rock and roll history.

2. “Watch That Man” – From the album Aladdin Sane

“Watch That Man” is an upbeat, danceable track with a distinct R&B and gospel flair to it, even if it never really sounds very connected to actual R&B or gospel.  It definitely points the way forward toward Bowie’s later “Thin White Duke” period and his experimentation with blue-eyed soul.  “Watch That Man” though still has a strong sense of rock and roll in it as well and feels like much of the work of rock bands of the era like The Rolling Stones, who were strongly influenced by traditional rhythm and blues and gospel music and used in to influence their rock.  Bowie has done something similar on “Watch That Man”, even while still making it completely his own.

3. “Aladdin Sane” – From the album Aladdin Sane

The title track from the excellent follow up album to The Rise and Fall of Ziggy Stardust & The Spiders From Mars, “Aladdin Sane” (a clever twist on the phrase: A lad insane) is an off-centered journey that borrows from jazz and lounge music to create a strangely twisted pop/rock masterpiece.  Groovy and familiar in places, but full of strange turns and unexpected detours “Aladdin Sane” sounds like the music from the house band for a futuristic jazz cabaret for the mentally ill and is all the better for it.

4. “Andy Warhol” – From the album Hunky Dory

A darkly atmospheric, acoustic rocker “Andy Warhol” foreshadows the feel and aesthetic of post-punk (still seven or eight years away) even if it doesn’t quite have the same sound.  On “Andy Warhol” Bowie draws upon his folk rock roots but twists that style into something more menacing and abrasive than traditional 1960’s folk rock usually was.

5. “Soul Love” – From the album The Rise and Fall of Ziggy Stardust & The Spiders From Mars

Another excellent track from The Rise and Fall of Ziggy Stardust & The Spiders From Mars, “Soul Love” draws on a variety of musical influences, including R&B, soul, early rock and baroque pop, to create a wonderfully eclectic track.  “Soul Love” is also one of the warmer and more pop-oriented numbers on the album and thus has become a fan favorite.

6. “Unwashed And Somewhat Slightly Dazed” – From the album Space Oddity

“Unwashed And Somewhat Slightly Dazed” is the oldest track on this list.  In fact, it is the only song here to actually be released in the 1960’s and the sound and spirit of the hippy influenced 1960’s can be heard running through it.  Opening with a folky section that isn’t too far removed from the English folk of Bowie’s debut the song eventually opens up into a swampy and bluesy full-throated rocker.  “Unwashed And Somewhat Slightly Dazed” is a good song on its own but it is also an interesting listen as it sounds very different than the atmospheric folk of “Space Oddity” – the hit from this album – or any of the wide array of musical styles Bowie would later try on.  Even from a chameleon like David Bowie “Unwashed And Somewhat Slightly Dazed” is an outlier, but a fun one.

7. “The Man Who Sold The World” – From the album The Man Who Sold The World

Bowie’s third album The Man Who Sold The World left behind his folk and hippy rock affectations and allowed him to explore harder, more experimental rock.  While the album was a commercial failure at the time, in hindsight its reputation has improved, creating a glam/metal crunch not too different in places from what Led Zeppelin was doing.  “The Man Who Sold The World” is the strange and eerie title track, made much more famous years later by Nirvana’s bleak and haunting cover of it on their MTV Unplugged performance.

8. “Diamond Dogs” – From the album Diamond Dogs

A sleazy, glam strut that is reminiscent of T-Rex or Roxy Music, “Diamond Dogs” has both rock and roll bravado and a bluesy swagger.  The title track of Bowie’s last album from this era of his career, “Diamond Dogs” was one last hurrah with the spirit of Ziggy Stardust (even though the character himself had already been put to bed) before Bowie shifted gears stylistically for the rest of the 70’s.  “Diamond Dogs” is decadent fun from its opening refrain of “This aint rock and roll!  This is genocide!” to its groovy, stomping conclusion.

9. “Cracked Actor” – From the album Aladdin Sane

“Cracked Actor” is a hard rocking stomper that is one of David Bowie’s better attempts at hard rock.  Driven by a huge drumbeat and a fat bass groove “Cracked Actor” is a visceral force that was made to be played live.  Bowie’s harmonica part is also a nice little touch to give the song a classic rock feel.

10. “Rock & Roll Suicide” – From the album The Rise and Fall of Ziggy Stardust & The Spiders From Mars

Decidedly theatrical and campy, with a heavy dose of glam and what later generations would call emo, “Rock & Roll Suicide” is the closing track to the excellent The Rise and Fall of Ziggy Stardust & The Spiders From Mars.  From it’s simple folk rock start to its Broadway like climax, “Rock & Roll Suicide” is so influential that is has almost become a cliché.

Ten To Hear Again: R.E.M., 2000-2011

Ten To Hear Again: R.E.M., 2000-2011

Listen To The List: R.E.M., 2000-2011 – Ten To Hear Again

If the R.E.M. you know best from their fourth phase of 2000-2011 are songs like “Imitation Of Life”, “Leaving New York”, “Supernatural Superserious” and “Bad Day”, here are ten to hear again (or for the first time):

R.E.M. in the 21^st century finally moved out of the limelight and into the role of elder statesmen of alternative rock, at least at home in the United States where their commercial success waned considerably.  Oddly, R.E.M. became more successful than ever in Europe during this time and many of these “failed” singles listed above were actually some of their biggest hits ever in Europe.  That said, the four albums R.E.M. released in the new Millennium definitely fall into two groups.  The first two – Reveal and Around The Sun – try to weave the electronic experimentation of their recent work with the pastoral lushness of their peak period to various degrees to success.  These albums have a lot of very good songs but they are also the two most inconsistent records in R.E.M.’s catalog.  The second two – Accelerate and Collapse Into Now – drop nearly all of the electronic elements of their recent work and harken back to their late 80’s period, while still managing to incorporate the lessons of their peak period and are much stronger albums front to back.  However, many fans of R.E.M. do not know these albums well (if at all) as they quite following the band sometime around Monster or New Adventures In Hi-Fi.  If this is you consider checking out this list as you might find you have missed some really good work from one of the greatest bands of all time (and if you don’t know the four “hits” listed check those out too).  So, if the R.E.M. you know best from 2000-2011 are songs like “Imitation Of Life”, “Leaving New York”, “Supernatural Superserious” and “Bad Day”, here are ten to hear again:

1. “Living Well Is The Best Revenge” – From the album Accelerate

Fast and ferocious and with none of the studio fussiness that sometimes plagued R.E.M.’s recent albums “Living Well Is The Best Revenge” opens Accelerate with a fire and a frenzy.  The guitars roar like an angry Document outtake and the drums (courtesy of former Ministry drummer Bill Rieflin) crash the rockers from Life’s Rich Pageant.  With one song R.E.M. announced they were done messing around in the studio, they were a band again and they were back.  Well worth a listen for those who may have fallen off of the R.E.M. bandwagon.

2. “It Happened Today” – From the album Collapse Into Now

Like so many other great R.E.M. songs of the past “It Happened Today” is an affirmation for change, only this time it is also a victory cry.  Opening as a simple and melodic ballad it builds into a soaring and triumphant moment where Michael Stipe, Mike Mills and Pearl Jam’s Eddie Vedder’s (here on an excellent, subtle guest appearance) voices all merge into a wonderful, powerful finale.

3. “Mr. Richards” – From the album Accelerate

A ripping attack on crooked politicians and fallen morality figures “Mr. Richards” is another superb and gritty rocker that recalls R.E.M.’s IRS years without blatantly ripping them off.  The song also has a clever vocal rhythm that seems to pull the lull the listener in until Stipe yells “Pay attention! Pay attention!”.  It’s a little sarcastic and bratty in its “I told you so” attitude and better for it.

4. “Houston” – From the album Accelerate

Opening with the scathing indictment “If the storm doesn’t kill me the government will/I’ve got to get that out of my head”, “Houston” is a feisty narrative tale about those displaced by Hurricane Katrina and the government’s failure of those people.  In spite of that darkly perfect opening line “Houston” is a hopeful song about resiliency and new opportunities, but almost as a reminder that all is not yet well the song is also intercut with organ blasts that sound like warning sirens.  It is an incredibly effective and all too brief number.

5. “Oh My Heart” – From the album Collapse Into Now

A direct sequel to Accelerate’s “Houston”, “Oh My Heart” is about the devastation of New Orleans and the Gulf Coast after Hurricane Katrina and the long (and in some cases impossible) task of rebuilding the Crescent City and the lives of the people who live there.  “There storm didn’t kill me/The government changed” is a reference back to “Houston” and a statement of purpose for those who decided to stay in New Orleans and rebuild.  “Oh My Heart” shares a certain sound and tone with “Houston” but is much more maudlin and resigned in feeling, once again allowing Peter Buck to show off his skill with the mandolin.  On its own it is a heartfelt love letter to a battered city, and when paired with “Houston” it is a great musical statement about the resiliency of man against natural and manmade obstacles.

6. “Aftermath” – From the album Around The Sun

“Aftermath” is a jaunty, mid-tempo number that walks a careful tightrope between hope and despair.  Musically, “Aftermath” is a warm, pop-oriented number that seems on the edge of breaking into full blown pop song glory but never quite gets there (I believe completely intentionally).  Lyrically, the song seems to deal with the aftermath of the end of a relationship (maybe through death, maybe not) and the idea the highs and lows that come with that for the person left behind; the idea that some days things seem like they may be okay and other days everything falls apart again.  “Aftermath” does a great job of capturing this dichotomy.  The song is not quite fast or slow, not quite happy or sad, not quite pop song or ballad.  Yet, it works very well in creating its conflicted mood.

7. “I’ve Been High” – From the album Reveal

After the electronic experimentation of Up received a lukewarm reception from critics and fans alike (mistakenly, I believe) R.E.M. retreated a little and attempted to graft the lush, warm and pastoral sound of Out Of Time to their sonic trickery for Reveal.  In doing so they created a warm, summer-themed album that sounds great while it is playing but doesn’t leave a strong lasting impression on individual songs, with few exceptions.  One of those standout tracks though is the excellent ballad “I’ve Been High” which perfectly captures what R.E.M. was trying to do on Reveal.  On “I’ve Been High” R.E.M. weave various electronic effects and programmed drumming into a gorgeous, lazy, humid ballad about memories of past loves.  It is definitely a late career highlight.

8. “The Outsiders” – From the album Around The Sun

“The Outsiders” is a vaguely electronic, vaguely hip-hop influenced call for change.  In truth, it is a fairly simple song that quietly pulls the listener in with a subtle rhythm and a pleasant guitar hook over the chorus.  All of it though is really just a set up though for a rap by A Tribe Called Quest member Q-Tip who comes in near the end and lends the song a sense of strength and purpose.

9. “Final Straw” – From the album Around The Sun

“Final Straw” was written as a protest song against the policies of George W. Bush’s post 9/11 America.  While more direct than many of R.E.M.’s political songs from the 1980’s “Final Straw” still is not overtly obvious, lending itself to shades of meaning and interpretation.  Musically, it is an effective marriage of a traditional acoustic folk balladry and electronic effects, creating a sort of modern update of a Dylanesque protest song.

10. “Discoverer” – From the album Collapse Into Now

A ringing and rocking statement of purpose and discovery that effectively kicks off (and closes via a coda) R.E.M.’s swan song Collapse Into Now.  “Discoverer” is a song that sounds like R.E.M. circa 2011 but also draws on various strands of R.E.M.’s discography and weaves them into a satisfying whole.  On “Discoverer” you can hear elements of the arena rock of Life’s Rich Pageant, the ringing guitars of Murmur, the acoustic balladry of Automatic For The People, the larger than life stomp of Monster and the simplified rush of Accelerate all present.  Yet, “Discoverer” is definitely a new song with its own sound and purpose.  Proving R.E.M. had it right up until they decided to call it a day and that they did it on their own terms right up to the end.

Ten To Hear Again: R.E.M., 1994-1999

Ten To Hear Again: R.E.M., 1994-1999

Listen To The List: R.E.M., 1994-1999 – Ten To Hear Again

If the R.E.M. you know best from their third phase of 1994-1999 are songs like “What’s The Frequency, Kenneth?”, “Bang & Blame”, “E-Bow The Letter” and “The Great Beyond”, here are ten to hear again (or for the first time):

By 1994 R.E.M. had become massive international superstars on the backs of a series of largely intimate and acoustic albums that they had not toured behind.  So, with their fame at its peak and the alternative rock revolution they helped create reaching its zenith R.E.M. decided to rock out again; they just didn’t do it in a way that anyone expected.  First releasing the day-glo glam meets murky grunge rock of Monster before embracing sonic experimentation in a way they never had before on the criminally underrated New Adventures In Hi-Fi, which sounds like the lovechild of Monster and Automatic For The People.  Already pursuing new directions, R.E.M. was then forced to do so when drummer Bill Berry announced his retirement from the band, leaving the band to expand their sound more than they ever had before on Up before ending the century scoring the soundtrack to the Andy Kauffman bio flick Man On The Moon.  It is sometime during this period that many of their fans drifted off, which is really too bad as the music from this era is some of their most interesting.  So, if the R.E.M. you know best from 1994-1999 are songs like “What’s The Frequency, Kenneth?”, “Bang & Blame”, “E-Bow The Letter” and “The Great Beyond”, here are ten to hear again:

1. “Leave” – From the album New Adventures In Hi-Fi

A brief opening of organ and acoustic guitar lend “Leave” a somber beginning, then the drums, electric guitar and a sampled siren-like loop kick in and the centerpiece of the excellent New Adventures In Hi-Fi album is off to the races.  A song about moving on, both emotionally and physically, “Leave” is the heart of both the lyrical themes and musical style of New Adventures In Hi-Fi, an album that has travel and movement as a repeated theme and was largely written and recorded on the road during R.E.M.’s massive tour in support of Monster.  With its frenzied music paired with Stipe’s rather languid vocals “Leave” manages to create a mood of both movement and stasis at once, perhaps implying that leaving behind your emotional baggage is more difficult than just changing your physical location.  Michael Stipe famously dislikes his vocals on this track, going so far to record an alternate version of the song that was used as a bonus track on the extended edition of the In Time hits compilation, but I personally think his vocals here on the original are the main reason the song works so well and the superior version.

2. “Crush With Eyeliner” – From the album Monster

No album has more of a consistent sound and theme than R.E.M.’s 70’s glam meets 90’s grunge that makes up Monster.  Sexy, sleazy and darkly disturbing in its lyrics and featuring fat, reverb-drenched, process and layered guitars Monster was the rock album R.E.M. promised, just not the one anyone was expecting and it turned off a lot of fans.  However, those who gave it a chance will find an album that is almost completely unique and compellingly listenable.  One of the songs that best typifies the sound and spirit of Monster is the crunchy, cocky glam strut of “Crush With Eyeliner”, which Stipe said was written as an homage to proto-punks the New York Dolls and their ability to exaggerate a song and make it seem sleazy and over-the-top.  “Crush With Eyeliner” is among my personal favorites from R.E.M. and my definite top choice from Monster.

3. “Circus Envy” – From the album Monster

Fuzzy and fizzy, dirty and distorted, there is nothing like “Circus Envy” anywhere else in R.E.M.’s canon (except maybe the trashy and silly Fables Of The Reconstruction era B-side “Burning Hell” which does have a certain similarity) and “Circus Envy” is better for it.  The bass riff tears through the song while the guitars drone away in what is just short of being white noise; all while Stipe’s vocals are so distorted and buried in the mix that they take real work to make out, which is maybe for the best.  If the only R.E.M. you like is “Everybody Hurts” and “Shiny Happy People” then this is not the R.E.M. for you, but I for one am so glad this little nugget of angst exists.

4. “So Fast, So Numb” – From the album New Adventures In Hi-Fi

A sonic cousin to New Adventures In Hi-Fi’s rock-oriented second single “Bittersweet Me”, but in my opinion “So Fast, So Numb” is a much more interesting track.  Another song from New Adventures In Hi-Fi about physical and emotional movement “So Fast, So Numb” exudes a feeling of forward motion and of the wide open spaces of the American West due to the superbly placed use of some barroom styled piano throughout the track.

5. “Wall Of Death” – B-Side to the single “E-Bow The Letter”

Throughout their career R.E.M. has actually covered quite a few songs as B-sides of singles or for tribute albums, most of which are fun novelties and not much more.  That is not the case for R.E.M.’s superb cover of Richard Thompson’s ode to the Americana of the traveling carnival – “Wall Of Death”.  R.E.M’s version features beautiful vocals harmonies, light touches of folk and country music that connect the song to various phases of R.E.M.’s own history and influences, and lyrical themes of travel and loss that fit in perfectly thematically with R.E.M’s own work from the period.  Indeed, “Wall Of Death” would have been an excellent addition to New Adventures In Hi-Fi even though it is a cover.

6. “Why Not Smile” – From the album Up

“Why Not Smile” is one of my personal favorites from Up, the first album R.E.M. made after drummer Bill Berry decided to leave the band to pursue a quieter life.  R.E.M. had already begun to experiment more with their core sound on their previous record New Adventures In Hi-Fi but the loss of Berry freed them (or maybe forced them) to really rethink the sound and direction of the band.  That said, “Why Not Smile” is not all that radical.  Originally conceived as a gentle acoustic ballad (you can hear this original version as a bonus track on the extended edition of the In Time hits compilation) but then revamped (and improved) significantly for Up.  The Up version starts out as the simple acoustic ballad but then layers on organ, processed electric guitar, programmed percussion, and other electronic sound effects to build a glorious cacophony over that original, simple riff, which can still be heard beneath it all.  “Why Not Smile” both recalls R.E.M.’s earlier sound while also fitting in nicely with the experimental nature of Up.

7. “Hope” – From the album Up

“Hope” is a unicorn.  It is a true one of a kind; there is nothing else like it in R.E.M.’s long and varied discography.  Almost nothing of the sound and aesthetic of Chronic Town or Murmur (or even Green or Out Of Time) can be found here, yet “Hope” very much feels like the work of R.E.M.  As a piece of music “Hope” is almost completely synthetic, largely created with synthesizers and in computers, with any live instrumentation being broken down and reprocessed in the studio.  “Hope” is more akin to the work of Radiohead, Garbage or Wilco than it is R.E.M.’s peers.  Yet, Michael Stipe’s lyrics (while intelligible) are still impressionistic and interesting and the melody (even if it is somewhat borrowed; the band realized it is very similar to Leonard Cohen’s “Suzanne” and gave him a co-writing credit even though he didn’t actually work on the song) is strong.  “Hope” is the sound of R.E.M. trying to start over, in a sense, without Berry.  While not all of Up is completely successful “Hope” is a fascinating look at how good R.E.M. could be even without their signature sound.

8. “How The West Was Won And Where It Got Us” – From the album New Adventures In Hi-Fi

The opening track and one of the more experimental ones on New Adventures In Hi-Fi (indeed, more than any other track here this points the way toward Up except that Bill Berry’s live drumming grounds the track in a way that is missing from much of Up) “How The West Was Won And Where It Got Us” built on a vaguely hip-hop beat and is full of empty space that evokes a sense of the wide-open deserts of the American West (and matches the album cover).  Those empty spaces are then filled with eerie synth noises that sound like a digital wind blowing and Mike Mills’ electronic barroom piano.  I love it.

9. “Departure” – From the album New Adventures In Hi-Fi

Musically “Departure” almost sounds like a raucous outtake from Document, a throwback to a different era for the band.  Lyrically it is yet another song on New Adventures In Hi-Fi about moving on, physically and emotionally.  It is a great song to play while driving fast down long, open roads.  I think I have always liked it better than I should too because of the references to both Salt Lake City and the Salt Flats, which are home for me.

10. “Falls To Climb” – Up

“Falls To Climb” is the last track on Up, which is a long album, and for a long time I don’t think I really gave it a fair listen.  Then, one day the song just clicked with me and I fell in love with it.  Musically, like much of Up, it is quite different than R.E.M.’s previous work, but in truth “Falls To Climb” is largely about Michael Stipe’s words and vocal melody, which rise from despair to be triumphant (I have often wondered if the title should really be punctuated “Falls, To Climb”).  And when the live drums kick in at the end of the song, martial and proud, it gives the music a sense of strength that matches his words and that seems extra authentic since most of the album does not use live drums.