March 29: Blonde Redhead, "In Particular"

Artist: Blonde Redhead
Song: "In Particular"
Album: Melody Of Certain Damaged Lemons
Year: 2000


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While there are many essential elements that need to be in play to create a truly unforgettable song, few are more essential than having a unique and perfectly crafted mood.  In fact, if the mood is right on a song, it can often overshadow shortfalls in other areas, as exceptional deployments of mood can "take" a listener away.  Yet countless bands seem to ignore this core aspect of music, and this enables those groups that appreciate such elements to become far easier to identify.  With this in mind, one can argue that over the past twenty years, the idea of mood has been largely ignored, leading to bands depending more on "studio magic" than actually creating via their instruments.  Thankfully, there are a handful of bands that are still striving to create complete musical works, and there are few groups over the past two decades that have released as sonically stunning a catalog as one finds in the music of Blonde Redhead.  Though they are often labeled as "indie rock," the truth of the matter is that once hearing their music, it is quickly clear that there is no category that can accurately describe their music.  This is perhaps most obvious on their absolutely mind-blowing 2000 release, Melody Of Certain Damaged Lemons, and as a whole, one would be hard pressed to find a more complete and truly perfect record in recent history.  Every song on the album is superb in its own way, and yet one can quickly understand and appreciate the unique brilliance that is Blonde Redhead via the groups' 2000 song, "In Particular."

Within moments of the song beginning, the band deploys what builds to be one of the most distinctive, yet unquestionably poppy sounds ever recorded, and it is this ability to be "artsy," whilst still making catchy music that sets Blonde Redhead so far apart from their peers.  The subtle, almost dancing guitar riff from Amedeo Pace quickly captivates the listener, as there is "something" within the sound that is impossible to ignore.  It is the way in which the riff has an underlying sense of tension or nervousness, yet is simultaneously upbeat that makes it so unique, and this persists throughout the entire song.  Complimenting this tone, the stutter-step drumming from Simone Pace is absolutely perfect, and the fills that he drops throughout the track only highlight the fierce, yet delicate balance Blonde Redhead manages to achieve on "In Particular."  Though these two pieces work brilliantly with one another, they are pushed to an entirely different level via the pulsing, dark keyboard that weaves in and out on the song, and it is this element that drives home the mood of the song.  The fact that "In Particular" has a faster pace, and yet manages to retain an almost schizophrenic quality is nothing short of stunning to experience, and one cannot help but get wrapped up in the music, as it swirls and pounds, getting deeper as the song progresses.

However, while the musical elements on "In Particular" find unique ways to blend together, it is the contrasting voice of Kazu Makino that proves to be the key element to the overall impact of the song.  The way in which her singing quickly cuts into the track is absolutely perfect, and yet it is the fact that she never needs to or tries to overpower the rest of the elements that pushes this track beyond the other songs on the album.  Working almost exclusively in the upper registers, Makino's voice is impossible to forget, and the uniquely melancholy mood of "In Particular" is brought to an unmatched level by her vocal performance.  Even on the bridge sections, when she delivers an almost breathless sound, she never fails to be anything short of phenomenal in her execution of the lyrics.  Yet it is also the words that Makino sings that give the song much of its personality, as one can argue that "In Particular" is one of the most uniquely "self aware" tracks ever recorded.  That is to say, one can sense that the band new just how captivating the music they were playing was, and there is absolute perfection when she sings lines like, "... lying on my back. I heard music, felt unsure and catastrophic, had to tell myself it's only music...it blows my mind, but it's like that..."  These words manage to capture the mood of their song perfectly, and the soaring, yet measured manner with which Kazu Makino delivers them serves as a magnificent finishing touch to the mastery that is "In Particular."

In nearly every aspect, "In Particular" is about exceeding or completely defying expectations, and one can even see these elements at play within the "external" factors on the song.  Though it seems a stark departure from the sounds with which he is usually associated, the entire Melody of Certain Damaged Lemons album was produced by none other than Guy Picciotto.  The fact that someone so closely linked with the most influential hardcore bands in history was able to help the band craft such a uniquely delicate sound is a testament to his boundless musical abilities, and yet one can also look to his influence on the record as the source of the "edge" that can be felt throughout the entire album.  Furthermore, when one considers that there were only three musicians on the song, the massive sound and mood that they create becomes all the more impressive.  Far beyond a simple label of "indie" or "art" rock, Blonde Redhead's "In Particular" is a work of musical genius that instantly sets them into their own musical grouping.  While one can hear elements of bands ranging from Sonic Youth to Björk to Joy Division within their music, there is no question at any point that their sound is completely original, and it was this record that finally separated the band from their predecessors.  Though the mood and sonic expertise is on brilliant display throughout the entire album, Blonde Redhead's 2000 song, "In Particular" rises above the others and remains one of the most unforgettable and absolutely magnificent achievements in all of music history.

March 28: Daily Guru, "Gurucast #65"

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(Left Click (PC) or Command-Click (Mac) to save it to your desktop...it's about 75MB)

One hour of amazing music and commentary from "The Guru" himself. 

Tracklist (all links are to MY review of that artist, song, or album) :
1. Neil Young, "On The Way Home"  Live At Massey Hall, 1971
2. Dinosaur Jr., "Tarpit"  You're Living All Over Me
3. Art Pepper, "Red Pepper Blues"  Art Pepper Meets The Rhythm Section
4. The Tallest Man On Earth, "King Of Spain"  The Wild Hunt
5. The Clash, "Complete Control"  Complete Control '45
6. Mac Lethal, "Rotten Apple Pie"  11:11
7. Jenna Anne, "Goodbye Little Town"
8. The Little Willies, "Best Of All Possible Worlds"  The Little Willies
9. Black Sabbath, "Falling Of The Edge Of The World"  The Mob Rules
10. The Skatalites, "Guns Of Navarone"  The Best Of The Skatalites
11. Nick Cave And The Bad Seeds, "(Are You) The One That I've Been Waiting For?"  The Boatman's Call
12. Johnny Thunders & The Heartbreakers, "Chinese Rocks"  Chinese Rocks 7"
13. Dax Riggs, "Ghost Movement"  We Sing Of Only Blood Or Love
14. Guns N' Roses, "Estranged"  Use Your Illusion II

March 27: The Creation, "Making Time"

Artist: The Creation
Song: "Making Time"
Album: Making Time (single)
Year: 1966


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Among the countless trends and odd occurrences within the long history of recorded music, few are as inexplicable as the almost random phenomenon of which bands find success and which bands never reach their full commercial potential.  In nearly every genre and every decade, one can point to a handful of bands that clearly came up short and yet gained massive public notoriety, while at the same time, there are groups that were so amazing and talented, yet remain in relative obscurity.  Though many bands have been relegated to this latter category, few make as little sense as the immensely talented and absolutely groundbreaking sound of 1960's hard rock pioneers, The Creation.  From the echoing guitar riffs to the exceptional lyrics to the captivating vocals, The Creation remain one of the most amazing bands that never receive their due credit for the impact they made on the shape of music that followed.  This is largely due to their baffling lack of record sales in the U.K., as even their peers like The Who and Led Zeppelin pointed to them as one of the most powerful bands of the era.  In later years, their music would be released on compilations that were disguised as full length albums, but it was the singles they released in 1966 that almost instantly cemented their place as music legends.  Bringing a power and attitude that was simply not present anywhere else at the time, there are few songs that are more impressive in every sense of the word than the experience one finds on The Creation's pivotal 1966 single, "Making Time."

From the moment that "Making Time" begins, the influence that the band had on all of their peers is instantly clear, and the lead guitar riff from Eddie Phillips remains today one of the most unforgettable in music history.  There is a grit and attitude within his playing that was clearly copied by bands like The Who, and this fact alone is enough for The Creation to have a rightful spot amongst music legends. In fact, there was a point where Pete Townshend asked Phillips to join the band as a second guitar player, but obviously, Phillips declined the offer.  Yet Phillips is not alone in creating the powerful, captivating mood found on "Making Time," and the almost looming bassline from Bob Garner is equally impressive.  There are points on the song were the bass seems to almost bounce, and it is this element that sets the band far apart from any of their peers.  The final element of the music, drummer Jack Jones, manages to highlight the driving grind that makes the sound on "Making Time" so unique, as he incorporates the cymbals in a far more involved manner than nearly any other group at the time.  It is the way in which the band moves as a single unit, deploying this pioneering brand of attitude-driven rock that makes the connection to punk rock and heavy metal quite clear, and after hearing "Making Time" only once, it is a song that is impossible to forget.

Providing what is without question the ideal finishing touch, in terms of both style and sound, vocalist Kenny Pickett quickly establishes himself as one of the greatest vocalists in music history.  Though he is clearly more on the "singing" side of things, it is the slightly-spoken, gritty vocal style that pushes "Making Time" to an entirely new level.  Much like the music over which he sings, one can easily hear how his vocal performance influenced all his peers, and when one looks at things from a chronological perspective, one can easily argue that it is Pickett's vocals that served as the blue print for nearly all of the British "hard rock" bands that emerged over the next few years.  Along with his brilliant vocal performance, the lyrics which Pickett sings also manage to rank among the greatest in history, as they manage to capture the spirit of angst-ridden youth in a manner that is perfect unlike any other song.  When Picket sings lines like, "...why do we have to carry on, always singing the same old song...," there is a call for musical revolution that is still in many ways well ahead of its time.  Furthermore, one can easily understand how a line like this was a perfect anthem for the generation that was rising, and these words can be seen as the ideal summary of the spirit of that generation.  The way that Kenny Pickett delivers this rallying cry for change is absolutely mesmerizing, and it plays as the exact element that the band needed to finish off what is an unquestionable musical masterpiece.

Taking into account the roaring guitars, spirited vocals, and the other elements that come together to make "Making Time" such a significant musical achievement, it becomes quite difficult to comprehend the fact that in its time, the song lived in relative obscurity.  While one can argue that there were a few other bands that were dominating the charts across the world, the attitude and sonic originality found on "Making Time" surely should have been enough to overcome such competition.  Yet reality is what it is, and "Making Time" barely managed to crack the top fifty on the U.K. charts.  However, as the years passed, the song proved its strength, as it endured better than many of the "hits" of the era, and even more than forty years after its initial release, the song retains its attitude and can easily hold its own with the music of the modern era.  This strength mostly lives within the repeating guitar riff from Phillips, and as the years have passed, it has earned him the status of a true guitar legend, as bands from every generation have cited him as a massive influence.  Truth be told, it is the attitude on "Making Time" that has enabled it to endure as it has, as the way in which Phillips' power chords seem to slam into Pickett's vocals is just as energizing today as it was more than four decades ago.  Though they still do not receive the accolades they so clearly deserve, it is impossible to deny the influence and sheer musical genius that one can find on The Creation's phenomenal 1966 single, "Making Time."

March 26: The Cranberries, "Sunday"

Artist: The Cranberries
Song: "Sunday"
Album: Everybody Else Is Doing It, So Why Can't We?
Year: 1993


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Though it is often overlooked due to the overwhelming presence of one or two styles of music, in retrospect, one cannot deny the fact that the first half of the 1990's was perhaps the most musically diverse period in nearly three decades.  With countless bands pushing the limits of music in so many new directions, the musical landscape has rarely been more varied, and this can even be seen within the pop hits of the era.  Even with the unexpected resurgence of psychedelia, which was being fused together with nearly every style of music, to the domination of "gangsta rap," there were still a number of bands that were able to find commercial success with their individual sound, and few groups of the era were more promising than Irish rockers, The Cranberries.  Their name alone defines the entire decade to many, and this is quite understandable, as their string of hit songs continually offered a beautiful and powerful alternative to the rest of the music scene, and yet these same songs somehow managed to simultaneously fit perfectly with the music of their peers.  Though each of their record is fantastic, it is their 1993 debut, Everybody Else Is Doing It, So Why Can't We?, that features the band in their finest hour, and every song on the album is captivating and moving in its own way.  Yet even on such an exceptional album, one can argue that there is no song that better defines everything that made The Cranberries so fantastic than one finds in their 1993 song,"Sunday,"

Perhaps moreso than any other band of their generation, The Cranberries had an uncanny ability for constructing absolutely beautiful musical arrangements, as they combined the "jangle" of the rising "indie rock" sound with soaring, completely captivating moods.  Though the band had a handful of hits that displayed this idea, one can experience both extremes of their sonic genius on "Sunday," and it begins with the slow, moody guitar progression from Noel Hogan.  The progression itself is rather simple, yet the amount of emotion that he conveys is far beyond that of almost any other song of the era, and it is this ability to express such high levels of sorrow and joy that defines the sound of The Cranberries.  The way in which bassist Mike Hogan gently emphasizes certain notes only adds to this overall mood, and the light touches from drummer Fergal Lawler gives the song a slow-building tension that is completely unique.  It is the manner with which the band as a whole builds this tension, with a lone violin adding to the mood, that makes "Sunday" such a superior musical experience, and after this focus introduction, the song gently explodes in the musical joy that defines the band.  The fact The Cranberries are able to completely change the face of "Sunday," yet not raise the volume in any way is part of their unique genius, and it is almost impossible to not get completely swept up in the flow of the song.  The numerous peaks and valleys that the song offers in many ways defines the band, and "Sunday" remains just as intriguing and melodically original today as it did almost twenty years ago.

However, while the music of The Cranberries is absolutely impossible to "write off" in any way, there is little argument that the focus of nearly every song is on the unparalleled voice of Delores O'Riordan.  Without question one of the most iconic voices of her generation, on "Sunday," she shows off her entire vocal range, as well as her uncanny ability to express deep emotions through this seemingly boundless scope.  While she does not go for the almost falsetto notes that define many of the bands' other songs, it is the strength and drive within her singing on "Sunday" that are far more representative of her sound, and the clearly untouched, unaltered sound of her vocals is nothing short of stunning.  Throughout the entire song, there is a raw, straightforward sound in the voice of O'Riordan, and it is this sense of authenticity that helps to draw the listener in even further, as one cannot help but get caught up in the feelings which she is expressing.  Furthermore, the words that she sings seem to be personal in a completely unique way, and they are also lyrics to which many can easily relate.  Throughout most of this record, one can find songs of the frustrations of love, and there are few lines that better sum up these feelings than when O'Riordan sings, "...and I couldn't find the words,  to say, "I love you."  And he couldn't find the time,  To say, "I need you."  It is this level of honesty, along with the sheer power of the voice of Delores O'Riordan that sets The Cranberries so far apart from every other band of their generation.

The fact that such a diverse set of musical approaches were all able to find commercial success throughout the first half of the 1990's serves as not only a testament to the talents of the bands recording, but also to the open-minded, almost tenacious musical tastes of society at the time.  Yet in retrospect, it is almost unfathomable that the light, but highly emotional music of The Cranberries would be able to find such success in the "prime" of the grunge and "gangsta rap" movements.  A majority of the "lighter" bands of the time period had already come and gone by the time The Cranberries debut album was released, and yet there is no question that to this day, they remain one of the most definitive acts of their generation.  Furthermore, one would be hard pressed to name a more instantly recognizable or powerful a voice from that time period, and to this day, it is the soft intensity of The Cranberries that helps them to remain one of the most endearing bands in history.  In a manner unlike any other group in history, The Cranberries were able to keep a delicate sound intact, even when the tone and pace of the music increased, and it is this unique balance of sounds that continues to make their songs such wonderful musical experiences.  This distinctive tone and sound are the very essence of The Cranberries, and there is no better way to experience their absolutely beautiful brand of musical mastery than their 1993 song, "Sunday."

March 25: Captain Beyond, "Dancing Madly Backwards (On a Sea of Air)"

Artist: Captain Beyond
Song: "Dancing Madly Backwards (On a Sea of Air)"
Album: Captain Beyond
Year: 1972


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Though the formation of so-called "super groups" is almost always impossible to predict, in nearly every case, the music yielded was someone easy to comprehend, as it was a combination of those involved.  Rarely does the music of such a band take an entirely new direction, and this is understandable, as it was their sound in the first place that made them worthy of being in such a band.  Yet there are a few cases where a team of exceptional musicians came together, and the resulting sound had little in common with the previous sounds of the members, and in one case, the group has somehow managed to fade into relative rock obscurity.  Bringing together members of Deep Purple and Iron Butterfly, along with one of the finest drummers of his generation, few groups could boast similar pedigrees to that found in Captain Beyond.  However, even with such a history, a name, and the resulting music, few are aware of the bands' existence, yet their 1972 self-titled debut remains without question one of the greatest rock albums ever recorded.  Perfectly balancing all of the talents of the band, few records are as mesmerizing as one can find here, and it is an ideal example of the whole being far greater than the sum of its parts.  Many of the songs flow directly into the next, and yet it is the albums' lead track, "Dancing Madly Backwards (On a Sea of Air)," that quickly proves why Captain Beyond is such an extraordinary band.

Even from the first notes of "Dancing Madly Backwards (On a Sea of Air)," the song has a feel that quickly draws in the listener, as the shuffling drum beat from Bobby Caldwell is nothing short of perfect.  Having honed his talents with the likes of Johnny Winter, he is able to establish the groove before the rest of the band enters. and though simple, his opening progression sets the tone for the monumental musical achievement that quickly follows.  As the guitar of former Iron Butterfly member Larry Reinhardt enters the song, the full personality of the group becomes apparent, as there is a heavy, yet not overwhelming feel to "Dancing Madly Backwards (On a Sea of Air)."  It is within the guitar work that the somewhat strange style of the band comes into focus, as there is clearly a "southern rock" element present, and looking at the band members' former groups, this seems rather out of place.  However, the band deploys this style with absolute perfection, and one would think that this was the sound they'd been playing their entire lives.  The way in which the bassline from fellow ex-Iron Butterfly member Lee Dorman injects a groove and attitude into the song is truly fantastic, and there is a chemistry between the trio of musicians that remains largely unrivaled.  The "jam" section that occurs in the latter half of the song is absolutely mind blowing, and it is in this moment that one can hear the link to all of the band members' exploratory past.

Working in perfect harmony with the music over which he sings, former Deep Purple vocalist Rod Evans provides the idea finishing touch to the sound on "Dancing Madly Backwards (On a Sea of Air)."  Easily working the entire vocal range, there is a swagger within his voice that helps to give the song even more personality.  Furthermore, there is a "twang" in his singing that is as "southern" as one can find anywhere, and it is amazing to compare his vocals within the realm of Captain Beyond to his other recordings.  The ease with which he is able to sing in this style almost instantly ranks him with the finest vocalists in history, and it is this almost unexpected sound that adds further intrigue to "Dancing Madly Backwards (On a Sea of Air)."  Yet it is also the content of the lyrics that makes his performance so fantastic, and the title of the song perfectly reflects the mood that is conveyed through both the music and singing.  There is a fantastic sense of tension that runs throughout the song, and yet at the same time, it is almost impossible to not get completely caught up in the rhythm.  The way in which Evans is able to quickly paint an almost sci-fi idea of floating above the world with your problems below is absolutely superb, and there is a unique magic that can be felt when he sings lines like, "...forget about your cares, and remember underneath you is just a sea of air..."  It is the way that he masterfully works each word that makes his performance so exceptional, and this proves to be the ideal finishing element to "Dancing Madly Backwards (On a Sea of Air)."

It is almost impossible to understand just how or why Captain Beyond has faded into relative obscurity over the decades, as even with a short listening, the outstanding talents of the group become quickly apparent.  Furthermore, there is an absolutely unique sound to their music, as they find a way to blend the "southern rock" style with a sci-fi feel, and this has never been done elsewhere to the standards one finds throughout their 1972 debut album.  The hard-hitting, deep groove that the band deploys remains fresh and completely captivating even after countless listenings, and this in itself is an undeniable marker of a truly fantastic song.  Yet it is the combined effort of the four musicians that makes "Dancing Madly Backwards (On a Sea of Air)" such an exceptional achievement, and it is songs like this that prove the real power that can come from amazing musicians who are able to put their egos aside for the betterment of the group as a whole.  After hearing "Dancing Madly Backwards (On a Sea of Air)," it is impossible to deny Captain Beyond the status of "super group," and it also becomes apparent that the name they selected is rather fitting of their unique musical sound.  From the twisting guitars to the almost looming bass to the soaring vocals, there is truly not an off moment anywhere on the song, and it is the absolute uniqueness of the band and song that set Captain Beyond and their 1972 song, "Dancing Madly Backwards (On a Sea of Air)" so far apart from every other song in the history of recorded music.

March 24: The English Beat, "Mirror In The Bathroom"

Artist: The English Beat
Song: "Mirror In The Bathroom"
Album: I Just Can't Stop It
Year: 1980


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Though it had many side-effects across the globe in the years that followed, the way in which the "punk explosion" of 1977 re-shaped music in England was nothing short of revolutionary.  The fact that so many bands suddenly brought a similar edge to their music was a sign of how well the punk ethos fit with society at the time, and yet this musical direction was interpreted in a number of different ways.  In fact, one can directly tie the rise of punk rock with the re-emergence of the ska sound a few years later, and though it went largely unnoticed in the U.S., this wave of ska revival was perhaps the finest to date.  However, while bands like The Specials and Madness had already released seminal records, it was not until 1980 when the "two tone" sound began to cross the ocean, and this was largely due to The English Beat.  The band was without question one of the most important and influential groups of the ska revival of this era, and following a handful of well received singles, the group released their seminal 1980 full length, I Just Can't Stop It.  Bursting with energy and a unique take on the "new" ska sound, there is perhaps no other album from the era that has retained its power as completely as this album.  While most of the bands' biggest hits are on this record, few can compare to the sound and impact that can be found within The English Beat's monumental 1980 song, "Mirror In The Bathroom."

The entire core of "Mirror In The Bathroom" sets itself with the opening notes of the song, as the bassline from David Steele is without question one of the most memorable in all of music history.  The deep, winding groove that it instantly sets manages to completely capture the listener, and this element of the song is able to have just as much impact even after three decades of existence.  The way in which the bass locks into rhythm with drummer Everett Morton is nothing short of perfect, and there is a completely unique cadence that the two are able to inject into the song.  It is this element that quickly sets "Mirror In The Bathroom" aside from any similar music, as the rhythm section maintains an amazing amount of tension throughout the song, whilst also giving "Mirror In The Bathroom" an irresistible dance feel.  Yet while this duo is certainly the core of the appeal of the song, it is the way in which The English Beat is able to infuse so many other sounds and feelings that truly makes this song such a magnificent musical achievement.  Perhaps the most notable element outside of the rhythm section is the saxophone that seems to jump in and out of the song with an uncanny sense of the feel of the song.  Truth be told, this is in fact former Prince Buster and Desmond Dekker horn legend, Saxa, and his presence alone gives the band all the "street cred" they could need.  Yet it is also the perfectly toned, almost slinky guitar work from Andy Cox that complete the sound, and there are few songs from anywhere in history that have a similar somewhat dark groove as one finds on "Mirror In The Bathroom."

While some may argue that it takes a bit of a "back seat" to the brilliant musical arrangement, one cannot overlook the importance and unique perfection that can be found within the vocals of Dave Wakeling and "toaster," Ranking Roger.  Though the latter of the two is not as present here as on most of the other songs of The English Beat, Wakeling delivers one of the finest performances of his career, and the almost "spacey" feel that can be found in his vocals is yet another way in which the song stands far apart from its peers.  Within Wakeling's singing, there is a tone which one can hear all across pop music from the 1980's, and it is likely due to this element, along with the fantastic musical arrangement, that enabled "Mirror In The Bathroom" to find a wider audience.  However, one cannot deny the fact that the rather un-subtle and suggestive lyrics of the song did not have something to do with its notoriety, and it is within the lyrics that the darker mood of the song becomes far more apparent.  The nervous, almost unhinged tone that comes forth in the lyrics manages to perfectly match the tension and mental instability suggested by the lyrics, as lines like, "...cures you whisper make no sense, drift gently into mental illness..." perfectly highlight the paranoia from this blunt exploration of cocaine addiction.  Though this approach to the subject is a bit taboo, it in no way detracts from the overall impact of the song, and few performers have delivered as perfect a feeling as Dave Wakeling does on "Mirror In The Bathroom."

Strangely enough, while "Mirror In The Bathroom" was a respectable commercial hit for The English Beat, many of the following generation are more familiar with the cover of the song that was released by U.S. rockers, Fifi in the mid-1990's.  However, one can also argue that this version helped to introduce The English Beat to an entirely new audience, as there is no question that the original recording is still just as captivating and powerful today as it was when it was first released.  This longevity is largely due to the fact that, even across the world of ska, "Mirror In The Bathroom" stands alone, as the nervous, dark feeling it conveys is rather uncommon within the style.  In fact, the balance that The English Beat is able to achieve between the irresistible danceable sound and this almost desperate tone is second to none, and one can hear the wide-ranging influence of this approach throughout many other pop hits of the decade that followed.  Furthermore, it is songs like "Mirror In The Bathroom" that provide a clear link between the punk revolution of the late 1970's, and the post-punk sound that emerged in its aftermath.  While bands like Joy Division took the ethos and stayed more on the punk side, it is groups like The English Beat that retained the sentiment, but infused it into an entirely new style.  Truth be told, one would be hard pressed to find a more original or engaging song from any point in music history, and the fact that the dark groove remains just as hypnotic serves as a testament to the sheer musical brilliance that can be found within The English Beat's classic single, "Mirror In The Bathroom."

March 23: Soul Asylum, "Somebody To Shove"

Artist: Soul Asylum
Song: "Somebody To Shove"
Album: Grave Dancer's Union
Year: 1992


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Though it is an exceptionally rare occurrence, there are a few instances throughout the course of music history, where any way that one attempts to label a band almost instantly renders itself inaccurate.  While it is to be expected that some may simply incorrectly label a band as something they are not, it is not often that the definition that most use to "correct" such a label is also an incomplete way of describing the sound of a band.  Though it does not happen often, this was exactly the circumstance that seemed to follow Minneapolis-based rockers, Soul Asylum.  By the time the band gained international fame, they had already been recording for nearly a decade, and perhaps due to the time in which their most commercially successful album was released, as well as the image they portrayed, the band was lumped in with the "grunge" movement that was dominating the airwaves in 1992.  If one takes a step back, it is quite clear that they have very few similarities with such a sound, and many moved to label the band as "alternative rock."  However, when one looks deeper into the album in question, 1992's Grave Dancer's Union, it is easy to make the argument that the bands' sound is so distinctive, that if they are given such a label, it cannot be applied to any other band.  Bringing a melodic, yet aggressive tone, there is no song that better highlights the brilliantly unique sound of Soul Asylum than one finds in their 1992 single, "Somebody To Shove."

The instant that "Somebody To Shove" begins, the tone of the song, as well as just how different the bands' musical approach is becomes quickly apparent.  The almost chaotic, warning-like sound that comes from the guitar of Dan Murphy gives the listener no choice but to pay complete attention, and the way in which the song quickly drops into the full band sound is absolute musical perfection.  It is in the first few bars of the "full band" portion of the song where one can understand why the group is so far apart from their peers, as the tone and mood they are able to create remains largely unmatched to this day.  The light, yet aggressive second guitar from Dave Pirner gives the song a link to almost folk sounds, and yet it is also this same aspect that gives "Somebody To Shove" its full, almost overwhelming sound.  The rhythm section of bassist Karl Mueller and drummer Grant Young is also at the top of their game, and the strict cadence which they put forth gives the song an almost punk-like mood.  It is perhaps due to this overwhelming amount of attitude coming through on the song that enabled many to link the group to the grunge movement, yet it is impossible to deny that there was far more going on musically on "Somebody To Shove" than on almost any other recording of the time.  Furthermore, in terms of both the musical arrangement, as well as the mood conveyed, a catch-all term like "alternative rock" is almost selling the song short of the magnificent power and energy that can be found within "Somebody To Shove."

However, though the song is unquestionably one of the bands' finest musical moments, there is no question that the key to the mood is the voice and lyrics of Dave Pirner.  Across the entire recorded catalog of Soul Asylum, it is the powerful, yet somehow gentle voice of Pirner that defined the bands' sound, and "Somebody To Shove" is unquestionably one of his finest performances.  There is a nervous, almost frustrated tone in his vocals on the song, and it is this element that helps to highlight the same feeling coming forth from the music.  Pirner is able to keep this mood perfectly balanced throughout the song, while he works the entire vocal scale, and adds the ideal amount of attitude and growl and various turns on the song.  It is due to the way range of vocal inflection found on "Somebody To Shove" that gives the song a certain sense of excitement, and it is also this performance that proves just how unique Pirner was in comparison to his peers.  Yet it is the absolutely perfect lyrics on "Somebody To Shove" that push the song far beyond the rest of the bands' catalog, as few lyrics in history have mirrored the mood achieved by the vocals and music as superbly as one finds here.  The nervous tension is pushed to an almost chaotic point, and though somewhat simple, the way in which Pirner delivers lines like, "...hello, speak up, is there somebody there? These hang-ups are getting me down..." frame the nervous mood of the song and make "Somebody To Shove" a truly unforgettable work of musical art.  Furthermore, it is the way in which Pirner is able to make these sentiments feel so universal that makes the song so appealing, and make have taken "Somebody To Shove" as their own anthem of the decade.

There is no question that "Somebody To Shove" would be quickly eclipsed by the bands' second single from Grave Dancer's Union, and yet before the release of the latter, "Somebody To Shove" cracked the top ten on the "Mainstream Rock" charts, as well as topping the "Modern Rock" singles chart.  Though the song does an exceptional job of reflecting the mood and tone of the album that followed, it is also a bit sonically unique for the band, and easily sets itself atop their entire recorded catalog.  If one takes a step back and looks a "Somebody To Shove" alongside the other music being released at the time, it is easy to make the case that the song belongs in a category all its own, as the way in which the band blends together everything from punk to hard rock to folk is completely unlike any other group recording at the time.  However, largely due to the image that the band presented, they were lumped in with the grunge movement, and such a classification sells the band massively short of the exceptional musicianship and performance that can be found across this album.  Furthermore, no other song on Grave Dancer's Union holds up over the years as well as "Somebody To Shove" does, and nearly two decades after its first release, the power and attitude behind the song still come off as fresh and captivating.  It is this mood, and the uniquely aggressive, angst-filled sound put forth by the entire band that makes Soul Asylum's 1992 song, "Somebody To Shove" such a uniquely magnificent moment in music history.