Showing posts with label led zeppelin. Show all posts
Showing posts with label led zeppelin. Show all posts

Thursday, May 5, 2016

Bo Knows



Bo Knows
  1. Bo Diddley, "Bo Diddley"
  2. U2, "Desire"
  3. Buddy Holly, "Not Fade Away"
  4. Led Zeppelin, "Custard Pie"
  5. Dr. John, "Iko Iko"
  6. The Rolling Stones, "Please Go Home"
  7. George Michael, "Faith"
  8. Elvis Presley, "(Marie's the Name of) His Latest Flame"
  9. The Magnetic Fields, "I'm Sorry I Love You"
  10. Bruce Springsteen, "She's the One"
  11. Johnny Otis, "Willie and the Hand Jive"
  12. The Clash, "Rudie Can't Fail"
  13. Tom Petty and the Heartbreakers, "American Girl"
  14. The Who, "Magic Bus"
  15. The Supremes, "When the Lovelight Starts Shining Through His Eyes"
  16. Jefferson Airplane, "She Has Funny Cars"
  17. The Stooges, "1969"
  18. Guns N' Roses, "Mr. Brownstone"
  19. The Go-Go's, "How Much More"
  20. Them, "Mystic Eyes"
  21. Ace Frehley, "New York Groove"
  22. Primal Scream, "Movin' on Up"
Happy Mother's Day, 2016. Guess the theme.

Tuesday, April 21, 2015

Led Zeppelin, "Bring it on Home"

9 Days to Find a Home



Led Zeppelin II was famously trashed by critics when it arrived (check out the Rolling Stone review, which looks hilariously close to something one would read on Vice or Pitchfork in 2015) in 1969. Listening to "Bring it on Home" I can tell why. Led Zeppelin is so ingrained in the roots of American music that today one could argue that they're artistically closer to John Lee Hooker than Metallica. But in the '60s, it must've sounded like Blueshammer to purists.

It took major cajones, or lack of self-consciousness, for a group of white, hard-rockin' British 20somethings to adapt Sonny Boy Williamson song (and a phrase that had already been a hit in both Sam Cooke and Bo Diddley's repertoires) into their own headbanging original, without even crediting songwriter Willie Dixon. To be fair, the Page riff sonically overwhelms Dixon's, to the point where Zeppelin owns the song at least as much as the Beach Boys own "Surfin' U.S.A." And judging from the amount of bands that have covered "Bring it on Home" since Led Zeppelin, I'd argue, to paraphrase Bob Dylan on Dylan Thomas, that Zeppelin did more for Sonny Boy Williamson than Williamson did for Zeppelin.

Friday, November 21, 2014

Led Zeppelin, "Immigrant Song"



My fellow Americans, tonight, I'd like to talk with you about immigration.
 

For more than 200 years, our tradition of welcoming immigrants from around the world has given us a tremendous advantage over other nations. It's kept us youthful, dynamic, and entrepreneurial. It has shaped our character as a people with limitless possibilities -- people not trapped by our past, but able to remake ourselves as we choose.


But today, our immigration system is broken, and everybody knows it.


Families who enter our country the right way and play by the rules watch others flout the rules. Business owners who offer their workers good wages and benefits see the competition exploit undocumented immigrants by paying them far less. All of us take offense to anyone who reaps the rewards of living in America without taking on the responsibilities of living in America. And undocumented immigrants who desperately want to embrace those responsibilities see little option but to remain in the shadows, or risk their families being torn apart.


It's been this way for decades. And for decades, we haven't done much about it.


When I took office, I committed to fixing this broken immigration system. And I began by doing what I could to secure our borders. Today, we have more agents and technology deployed to secure our southern border than at any time in our history. And over the past six years, illegal border crossings have been cut by more than half. Although this summer, there was a brief spike in unaccompanied children being apprehended at our border, the number of such children is now actually lower than it's been in nearly two years. Overall, the number of people trying to cross our border illegally is at its lowest level since the 1970s. Those are the facts.


Meanwhile, I worked with Congress on a comprehensive fix, and last year, 68 Democrats, Republicans, and Independents came together to pass a bipartisan bill in the Senate. It wasn't perfect. It was a compromise, but it reflected common sense. It would have doubled the number of border patrol agents, while giving undocumented immigrants a pathway to citizenship if they paid a fine, started paying their taxes, and went to the back of the line. And independent experts said that it would help grow our economy and shrink our deficits.


Had the House of Representatives allowed that kind of a bill a simple yes-or-no vote, it would have passed with support from both parties, and today it would be the law. But for a year and a half now, Republican leaders in the House have refused to allow that simple vote.



Now, I continue to believe that the best way to solve this problem is by working together to pass that kind of common sense law. But until that happens, there are actions I have the legal authority to take as President -- the same kinds of actions taken by Democratic and Republican Presidents before me -- that will help make our immigration system more fair and more just.


Tonight, I am announcing those actions.


First, we'll build on our progress at the border with additional resources for our law enforcement personnel so that they can stem the flow of illegal crossings, and speed the return of those who do cross over.


Second, I will make it easier and faster for high-skilled immigrants, graduates, and entrepreneurs to stay and contribute to our economy, as so many business leaders have proposed.


Third, we'll take steps to deal responsibly with the millions of undocumented immigrants who already live in our country.


I want to say more about this third issue, because it generates the most passion and controversy. Even as we are a nation of immigrants, we are also a nation of laws. Undocumented workers broke our immigration laws, and I believe that they must be held accountable -- especially those who may be dangerous. That's why, over the past six years, deportations of criminals are up 80 percent. And that's why we're going to keep focusing enforcement resources on actual threats to our security. Felons, not families. Criminals, not children. Gang members, not a mother who's working hard to provide for her kids. We'll prioritize, just like law enforcement does every day.


But even as we focus on deporting criminals, the fact is, millions of immigrants -- in every state, of every race and nationality -- will still live here illegally. And let's be honest -- tracking down, rounding up, and deporting millions of people isn't realistic. Anyone who suggests otherwise isn't being straight with you. It's also not who we are as Americans. After all, most of these immigrants have been here a long time. They work hard, often in tough, low-paying jobs. They support their families. They worship at our churches. Many of their kids are American-born or spent most of their lives here, and their hopes, dreams, and patriotism are just like ours.


As my predecessor, President Bush, once put it: "They are a part of American life."


Now here's the thing: we expect people who live in this country to play by the rules. We expect that those who cut the line will not be unfairly rewarded. So we're going to offer the following deal: If you've been in America for more than five years; if you have children who are American citizens or legal residents; if you register, pass a criminal background check, and you're willing to pay your fair share of taxes -- you'll be able to apply to stay in this country temporarily, without fear of deportation. You can come out of the shadows and get right with the law.


That's what this deal is. Now let's be clear about what it isn't. This deal does not apply to anyone who has come to this country recently. It does not apply to anyone who might come to America illegally in the future. It does not grant citizenship, or the right to stay here permanently, or offer the same benefits that citizens receive -- only Congress can do that. All we're saying is we're not going to deport you.


I know some of the critics of this action call it amnesty. Well, it's not. Amnesty is the immigration system we have today -- millions of people who live here without paying their taxes or playing by the rules, while politicians use the issue to scare people and whip up votes at election time.


That's the real amnesty -- leaving this broken system the way it is. Mass amnesty would be unfair. Mass deportation would be both impossible and contrary to our character. What I'm describing is accountability -- a commonsense, middle ground approach: If you meet the criteria, you can come out of the shadows and get right with the law. If you're a criminal, you'll be deported. If you plan to enter the U.S. illegally, your chances of getting caught and sent back just went up.


The actions I'm taking are not only lawful, they're the kinds of actions taken by every single Republican President and every single Democratic President for the past half century. And to those Members of Congress who question my authority to make our immigration system work better, or question the wisdom of me acting where Congress has failed, I have one answer: Pass a bill. I want to work with both parties to pass a more permanent legislative solution. And the day I sign that bill into law, the actions I take will no longer be necessary. Meanwhile, don't let a disagreement over a single issue be a dealbreaker on every issue. That's not how our democracy works, and Congress certainly shouldn't shut down our government again just because we disagree on this. Americans are tired of gridlock. What our country needs from us right now is a common purpose -- a higher purpose.


Most Americans support the types of reforms I've talked about tonight. But I understand the disagreements held by many of you at home. Millions of us, myself included, go back generations in this country, with ancestors who put in the painstaking work to become citizens. So we don't like the notion that anyone might get a free pass to American citizenship. I know that some worry immigration will change the very fabric of who we are, or take our jobs, or stick it to middle-class families at a time when they already feel like they've gotten the raw end of the deal for over a decade. I hear these concerns. But that's not what these steps would do. Our history and the facts show that immigrants are a net plus for our economy and our society. And I believe it's important that all of us have this debate without impugning each other's character.


Because for all the back-and-forth of Washington, we have to remember that this debate is about something bigger. It's about who we are as a country, and who we want to be for future generations.

Are we a nation that tolerates the hypocrisy of a system where workers who pick our fruit and make our beds never have a chance to get right with the law? Or are we a nation that gives them a chance to make amends, take responsibility, and give their kids a better future?

Are we a nation that accepts the cruelty of ripping children from their parents' arms? Or are we a nation that values families, and works to keep them together?


Are we a nation that educates the world's best and brightest in our universities, only to send them home to create businesses in countries that compete against us? Or are we a nation that encourages them to stay and create jobs, businesses, and industries right here in America?


That's what this debate is all about. We need more than politics as usual when it comes to immigration; we need reasoned, thoughtful, compassionate debate that focuses on our hopes, not our fears.


I know the politics of this issue are tough. But let me tell you why I have come to feel so strongly about it. Over the past few years, I have seen the determination of immigrant fathers who worked two or three jobs, without taking a dime from the government, and at risk at any moment of losing it all, just to build a better life for their kids. I've seen the heartbreak and anxiety of children whose mothers might be taken away from them just because they didn't have the right papers. I've seen the courage of students who, except for the circumstances of their birth, are as American as Malia or Sasha; students who bravely come out as undocumented in hopes they could make a difference in a country they love. These people -- our neighbors, our classmates, our friends -- they did not come here in search of a free ride or an easy life. They came to work, and study, and serve in our military, and above all, contribute to America's success.


Tomorrow, I'll travel to Las Vegas and meet with some of these students, including a young woman named Astrid Silva. Astrid was brought to America when she was four years old. Her only possessions were a cross, her doll, and the frilly dress she had on. When she started school, she didn't speak any English. She caught up to the other kids by reading newspapers and watching PBS, and became a good student. Her father worked in landscaping. Her mother cleaned other people's homes. They wouldn't let Astrid apply to a technology magnet school for fear the paperwork would out her as an undocumented immigrant -- so she applied behind their back and got in. Still, she mostly lived in the shadows -- until her grandmother, who visited every year from Mexico, passed away, and she couldn't travel to the funeral without risk of being found out and deported. It was around that time she decided to begin advocating for herself and others like her, and today, Astrid Silva is a college student working on her third degree.


Are we a nation that kicks out a striving, hopeful immigrant like Astrid -- or are we a nation that finds a way to welcome her in?


Scripture tells us that we shall not oppress a stranger, for we know the heart of a stranger -- we were strangers once, too.


My fellow Americans, we are and always will be a nation of immigrants. We were strangers once, too. And whether our forebears were strangers who crossed the Atlantic, or the Pacific, or the Rio Grande, we are here only because this country welcomed them in, and taught them that to be an American is about something more than what we look like, or what our last names are, or how we worship. What makes us Americans is our shared commitment to an ideal -- that all of us are created equal, and all of us have the chance to make of our lives what we will.


That's the country our parents and grandparents and generations before them built for us. That's the tradition we must uphold. That's the legacy we must leave for those who are yet to come.


Thank you, God bless you, and God bless this country we love.

--BHO

Saturday, March 1, 2014

Müsic for Airpörts



Müsic for Airpörts
  1. Pearl Jam, "Given to Fly"
  2. Iron Maiden, "Aces High"
  3. Ozzy Osbourne, "Flying High Again"
  4. Blackalicious, "First in Flight"
  5. Liz Phair, "Stratford-On-Guy"
  6. Howlin' Wolf, "Mr. Airplane Man"
  7. Eels, "Blinking Lights (For Me)"
  8. Neutral Milk Hotel, "In the Aeroplane Over the Sea"
  9. Tom Petty & the Heartbreakers, "Learning to Fly"
  10. The Rolling Stones, "Connection"
  11. Motörhead, "Bomber"
  12. The Cramps, "Mystery Plane"
  13. Beastie Boys & Biz Markie, "Bennie and the Jets"
  14. Marvin Gaye, "Flying High (In the Friendly Sky)"
  15. Heatmiser, "Low-Flying Jets"
  16. Björk, "Aeroplane"
  17. Joni Mitchell, "This Flight Tonight"
  18. Neil Young, "Expecting to Fly"
  19. Led Zeppelin, "Night Flight"
  20. Queensrÿche, "Jet City Woman"
  21. Red Hot Chili Peppers, "Aeroplane"
  22. Hüsker Dü, "Private Plane"
For Olena, somewhere between New York and Iceland.

Tuesday, February 25, 2014

AC/DC, "Jailbreak"

I can't believe AC/DC is turning 40 this year. They still seem like the youngest classic rock band, eternal teenagers to grizzled old Led Zeppelin and Black Sabbath, every new hard rock band's cooler older brother. Never going to make an album with Allison Krauss, never going to be on reality TV, never even going to release a Greatest Hits album. If the past four decades are any indication, the upcoming studio album will sound much like the last 15, and the proposed 2014 tour will be as mind-blowing as anything you can experience in an arena.



It started back in1974, when a band called the Velvet Underground (Malcolm and Angus Young already knew there was another band called the Velvet Underground--they just didn't care) met professional miscreant Bon Scott and renamed themselves AC/DC. Their earliest recordings would take years to get released in America (probably because, like the first Motörhead albums, someone thought the music was too much for us to handle,) and by the time we got "Jailbreak" in 1984, AC/DC had already surpassed it with albums like Highway to Hell and Back in Black. But I still love hearing it today as one of the best ever rock bands on the long way to the top.

Bob Dylan once said of Elvis Presley, "Hearing him for the first time was like busting out of jail." It's a sentiment that AC/DC cembodies on "Jailbreak," and one they still carry today.

Sunday, February 9, 2014

Mötley Crüe, "Kickstart My Heart"

Nobody really believes that this is Mötley Crüe's final tour, do they? Yadda yadda they've signed a contract saying they'll never tour again--these are not guys who are known for being law-abiders, or for their integrity, or for showing any concern for their legacy and reputation. Vince Neil's voice may be almost as dead as the guy from Hanoi Rocks that he killed with his car, but that's not going to stop them. Count on the "Fück the Cöntract" tour coming to your town before 2020.

Mötley Crüe is not a cool band, and it's easy to hear why Metallica and Slayer considered them the enemy. But they're much darker and heavier than the glam metal bands they were marketed with. More importantly, they're an excellent pop band. If you've ever thought that Michael Jackson would sound better with raging guitars and stadium-sized fills, Mötley Crüe is your band. I'll even give them credit for being more of a metal band than their VH1 contemporaries, like Bon Jovi, Aerosmith or Def Leppard.

You're going to try to not like this song, and it isn't going to work.



"Kickstart My Heart" is probably as close as Mötley Crüe will get to a signature song. Sex, drugs and cars led by two stolen riffs (Montrose's "Bad Motor Scooter" and Zeppelin's "Whole Lotta Love,") a blazing solo and a shoutalong chorus. The star-making sheen of new producer Bob Rock brought out an explosive, cinematic sound that nailed the perfect blend of Shout at the Devil's grime and the polish of Girls, Girls Girls. If you're wondering why Mötley Crüe is headlining arenas this summer and not Twisted Sister, here's a good place to remind yourself.

Sunday, February 2, 2014

Led Zeppelin, "Friends"





Excerpted from The Perks of Being a Campaigner, out now on Nightrain Books. 
 

Thank you for being a friend

October 5, 2012

Dear friends,

As the original T-Paine famously wrote, "These are the times that try men's souls."

Every week, I get to address all of you as "friends," because you do the single most important thing that friends do. You're there for someone when he needs you.

It's easy to be someone's friend when he's passing Health Care Reform, ending the War in Iraq, signing the Recovery Act, repealing Don't Ask, Don't Tell, overthrowing Moammar Gaddafi or getting rid of bin Laden. But when he looks shaky in front of 67 million viewers, gets overwhelmingly slammed by the media and struggles to refute a series of empty promises and lies, he learns who his real friends are.

Our President has been a friend to us when we've needed him, from passing Wall Street reform to saving America's auto industry. This week, Barack Obama needs us.

We still have space on our PA buses this weekend. Saturday, October 6 and Sunday, October 7.

President Kennedy once said "Victory has a thousand fathers, but defeat is an orphan." Let's not let this first debate be an orphan.

Let me know if you have any questions.

Take care,
Ben

Tuesday, January 14, 2014

Jane Eyre, "Miracle Mile/Eliminator"



"Miracle Mile" and "Eliminator" are the kind of songs that I secretly had been hoping Jane Eyre would write. Following up last year's alternative psychedelic dreamscape With Our Thoughts We Make the World, "Miracle Mile" is songwriter Jesse Rifkin's best character study to date, complete with a Cure-worthy melody and a solo that reminds me of Siamese Dream. "Eliminator" takes its name from the classic ZZ Top album, though the song itself bounces between Dischord-inspired hardcore fury and Zeppelinesque verses, kicking the band into their heaviest direction to date. The worst part is that it ends too soon, but you might have a new favorite Brooklyn band by the time you get there.

Both songs are available for free here, with a tip jar.

Monday, October 14, 2013

Wednesday, July 31, 2013

Led Zeppelin, "Hey Hey What Can I Do"

Last weekend, I saw Robert Plant perform in Prospect Park. He's adapted well to Zeppelin A.D., roping "What is and What Should Never Be" into his range and performing NPR-ready blues and folk songs that he's earned by being 65 years old. He even ventured into trip-hop, with members of Massive Attack and Portishead in his band, and brought in an emotional depth that was rarely showcased during his Golden God years. But those of us who've fallen under Zeppelin's widely-cast spell can tell you that it was always there.



"Hey Hey What Can I Do," the b-side to "Immigrant Song," is the only non-album Zeppelin song released during their career. I can't imagine it playing on any of their albums--the vulnerable, pragmatic lyrics distinguish it from anything else that they've recorded, as do the zither and backing vocals. "Going to California" hadn't been released yet, so we had no way of knowing what an ace Jimmy Page was on the mandolin. It's almost funny to hear the four men of Led Zeppelin asking "What can I do" here--in 1970, Led Zeppelin sounded like they could do anything. But they couldn't get that girl back.

Friday, July 19, 2013

Life on the Mississippi

    Margaret is writing a book that has taken her on a few research visits to the South. We've talked a few times about the best songs about life below the Dixon, and she's directed me to some noteworthy songs about Mississippi, from an old blues anthology to Afroman. You can probably tell where this is headed.



    Life on the Mississippi
    1. Mississippi Fred McDowell, "Baby Please Don't Go"
    2. Bob Dylan, "Mississippi"
    3. Lynyrd Skynyrd, "Mississippi Kid"
    4. King's X, "Mississippi Moon"
    5. The Grateful Dead, "Mississippi Half-Step Uptown Toodleoo"
    6. Charley Patton, "Mississippi Boweavil Blues"
    7. Kid Rock, "Jackson, Mississippi"
    8. Robert Johnson, "Travelling Riverside Blues"
    9. Mountain, "Mississippi Queen"
    10. Nina Simone, "Mississippi Goddam"
    11. Jerry Lee Lewis, "Miss the Mississippi and You"
    12. Johnny Cash & June Carter, "Jackson"
    13. R. L. Burnside, "Goin' Down South"
    14. ZZ Top, "My Head's in Mississippi"
    Mississippi is rooted so deeply in the blues that it can't help but come out in rock n' roll. "Baby Please Don't Go" has been covered by everyone, and I'll admit that I thought Led Zeppelin wrote "Travelling Riverside Blues" until high school. But Mississippi's influence crosses over to all sorts of genres and sentiments--the Cashes' charmingly bitter "Jackson," Nina Simone's heated "Mississippi Goddam" and Mountain's lascivious cowbell classic should all be a part of everyone's songbook. Though in an ideal world, that book would also include R. L. Burnside's haunting early recordings and King's X's lonesome "Mississippi Moon."

    Other than Bob Dylan and ZZ Top, not many American rockers have been able to translate the blues into their music in a way that's both respectful and distinct. I couldn't bring myself to include "Black Water" or North Mississippi Allstars, which felt like the equivalent of picking the Black Crowes' "Hard to Handle" over Otis Redding's. But hey, some people might say that about choosing Mississippi Fred McDowell over Big Joe Williams.

    Wednesday, June 19, 2013

    Metal and Moby Dick

    Of the Great American Novels, Moby Dick is by far the most metal. Blood Meridian comes in second, and plenty of metal bands owe more to Naked Lunch, For Whom the Bell Tolls or The Stand. But as far as transcendent, irrefutably classic required reading goes, nothing comes close to matching metal's brutality, integrity, ambition and scope as Herman Melville's masterpiece. When trying to describe Moby Dick, I find myself using much of the same language that I use to describe Master of Puppets. The book certainly shares more adjectives with Metallica's creative output than F. Scott Fitzgerald's.

    1. Led Zeppelin, "Moby Dick"

    The best-known metal tribute to Moby Dick is the first one, the penultimate track on Led Zeppelin's second album (their most metal record, with "Whole Lotta Love," "Heartbreaker" and their best songs about The Lord of the Rings.) It's generally remembered as John Bonham's signature, and some less discerning Zeppelin fans would direct you to a live version first, where Bonham's drum solos could go on for up to 30 minutes. In person, it must have been mind-blowing, but on record you're still best off with the original, a hard-charging instrumetal (sic) that speaks to Jimmy Page and John Paul Jones' talents just as well as Bonzo's. Had they never met Robert Plant, Zeppelin would've been a mighty power trio.



    2. Mastodon, Leviathan

    Following up the most promising metal debut of the 21st century with a concept album about Moby Dick sounded like the kind of audacious career-killer that bands aren't supposed to make until at least album number five or six. But with Leviathan, Mastodon rewrote the novel as their own magnum opus, sharing a place claimed by Herman Melville for over 150 years. Succeeding where film and TV adaptations failed, Mastodon honored Melville's prose in songs like "Seabeast," "I am Ahab" and "Iron Tusk," while putting their own original stamp on the story with pulverizing riffage and a game-changing drummer. There has never been a more laudable book-to-album adaptation in modern music, metal or otherwise.



    3. Demons and Wizards, "Beneath These Waves"

    Wearing their Zeppelin influence on their gauntlets, Demons and Wizards covered "Immigrant Song," cited Lord of the Rings and sang of Moby Dick on their 2005 album, Touched by the Crimson King. If Hansi Kürsch (Blind Guardian) and Jon Schaffer (Iced Earth) didn't quite match Ahab's insanity in this first-person narrative, they definitely conveyed the doggedness and conviction, quoting the captain himself as "madness maddened."



    4. Ahab, The Call of the Wretched Sea

    German doom metal band Ahab took not just their name but their entire first album from Moby Dick, adapting nearly all of their lyrics from Melville's book. Of course the band rendered said lyrics irrelevant by burying them in death growls and a muddy mix, but that may have been their most Melville-inspired move at all--keeping its mythical beast lurking below.



    5. Sodom, "Tribute to Moby Dick"

    10 years after Waldo's sonar cries in the "Hot for Teacher" video and 10 years before Gojira pleaded for the whales on "Ocean Planet," Germany's Sodom based an entire song on whale echolocation sounds. Someone probably should have reminded them that sperm whales don't squeak like that (humpbacks do,) but maybe that fact was lost in the German translation. It's still a good song.


    Monday, June 3, 2013

    Blame it on the Rain

    Named for a song which doesn't appear anywhere near this mix.



    1. Grateful Dead, "Box of Rain"
    2. Fleetwood Mac, "Dreams"
    3. Nick Cave & the Bad Seeds, "Tupelo"
    4. Willie Nelson, "Blue Eyes Crying in the Rain"
    5. Creedence Clearwater Revival, "Have You Ever Seen the Rain?"
    6.  The Beatles, "Rain"
    7. The Temptations, "I Wish it Would Rain"
    8. Tom Waits, "Rains on Me"
    9. Guns N' Roses, "November Rain"
    10. Morphine, "You Look Like Rain"
    11. Neil Young, "See the Sky About to Rain"
    12. Sonic Youth, "Rain on Tin"
    13. Queensrÿche, "Another Rainy Night (Without You)"
    14. Slayer, "Raining Blood"
    15. The Pogues, "Rainy Night in Soho"
    16. Prince & The Revolution, "Purple Rain"
    AG told me that her sister made a rain-themed mix, starting with Bob Dylan's "Buckets of Rain." This led to a talk about Dylan's rain songs, whether they're Gonna Fall, Day Women #12 & 35 or Storms to take Shelter From, which inevitably led to this CD. One doesn't need to comb through their iTunes library to find out how many rain songs there are--"Purple Rain," "November Rain" and "Have You Ever Seen the Rain?" should be a part of even the most casual fan's music education. The Grateful Dead are at their best on "Box of Rain," and The Beatles turn in their best b-side with "Rain." Elsewhere, Nick Cave's "Tupelo" and Sonic Youth's "Rain on Tin" have actually changed the way I hear precipitation, and made me like it more.

    I spent an embarrassing amount of time trying to pick between Led Zeppelin's "The Rain Song," "When the Levee Breaks" and "Fool in the Rain," and ended up ditching all of them when I realized I already had three other eight-minute songs. Maybe they'll get on the next one, but with the recipient in mind I gave priority to Neil Young, The Temptations and Fleetwood Mac. Still, I couldn't resist up filling the metal quota with prime Slayer and Queensrÿche. There's really no use in putting anything next to "Raining Blood," to the point where I'm worried that even the awesome "Another Rainy Night" and the tender "Rainy Night in Soho" have been reduced to palate-cleansers.

    Finally, Tom Waits has apparently written a song about everything, having now appeared on my theme mixes for rain, cars, New York, L.A., moving, trains, phones, cats, dogs and clothes. "Rains on Me" is from the original Free the West Memphis 3 album.

    Saturday, March 16, 2013

    Metal Injection's Top 10 Influential Heavy Metal Albums



    "Most influential album" lists are always futile, seeing how there's generally only a few supremely influential artists that would fill up the most accurate lists. All "influential albums" lists aim for diversity, but if we're being realistic, the ten most influential metal albums of all time are the first five Black Sabbath releases and the first five Metallica albums.

    Even with that in mind, Metal Injection's list of the most influential metal albums is bewildering. Venom's fun but dated Black Metal over Slayer's nonpareil Reign in Blood? Dream Theater in the top ten metal anything? Nothing from Motörhead, Judas Priest or Megadeth? Scream Bloody Gore may have been Death's debut, but did it really grab more ears and shape the direction of metal more than Human or Individual Thought Patterns?

    All that being said, I love this list. For the past two weeks, I've been checking the latest updates at 5pm and rushing home from work to see what the Metal Injection and Metal Sucks staff (and other headbanging experts) have to say about albums by At the Gates, Iron Maiden and Pantera. This is metal in the strictest sense, which means no Led Zeppelin, AC/DC or Van Halen, but also metal in that the MI list sticks it to conventions. This isn't your average Rolling Stone list with Paranoid and Master of Puppets, neither of which appear here, but a fresh look at classic metal records from some fans with the kind of Wayne and Garth enthusiasm that your average Pitchforkers are missing. After this, maybe even Slaughter of the Soul will turn up in Rolling Stone someday.

    Enjoy the full list here.

    Saturday, February 9, 2013

    Ozzy Osbourne, Blizzard of Ozz

    Who would've thought that Ozzy would be the most successful member of Black Sabbath? Ozzy, with the biggest drug problem and the fewest songwriting contributions? Bat-chomping, ant-snorting Ozzy and not riff architect Tony Iommi? It'd be like having Art Garfunkel sell more records and write better music than Paul Simon. But on Blizzard of Ozz, backed up by a prodigious American guitarist and a patient but hard-headed manager whom we know today as Sharon, Ozzy recorded one of the all-time great metal debuts, a gateway metal album for generations.



    For starters it's got "Crazy Train," Ozzy's signature song and a piece that seems to end up in more movies and football games every year. But it's also got the lawsuit-inspiring "Suicide Solution," the Socratic "I Don't Know" and the environmentalist "Revelation (Mother Earth)," which beat "Blackened" by nearly ten years. "Mr. Crowley" bashed all the subtlety out of Led Zeppelin's occultist leanings. There's even a classical guitar instrumental that hinted at the promise of Randy Rhoads. Ozzy rushed out two albums in the first two years of his career, perhaps because his handlers didn't think he'd live much longer, but Rhoads' neo-classical stylings never run dry on Blizzard.

    Contrarians have argued that Ozzy is only as good as his guitarists, and he's certainly worked with some of the best. But like Elvis, Ozzy's mannerisms are so ingrained in popular culture that it's easy to forget what a visionary musician he was. Listen to those wacky harmonies on "Steal Away (The Night)" or the way he shifts the lunatic intro of "Crazy Train" into a cheerful singalong. Without Rhoads, he may not have had the melody, but without Ozzy, Rhoads would have been another Steve Vai, a guitartist's guitarist whose influence would never transcend music theory students. Outside of Eddie Van Halen and David Lee Roth, there has never been a better musician/rock star team-up in metal history.

    Tuesday, January 15, 2013

    Led Zeppelin, "Bron-Y-Aur Stomp"



    One of my favorite teachers once told me that he had Dog Envy. He was recalling a time when he had found a student seated outside of his classroom, crying. Doing his best to comfort her, he pulled out all of his most reassuring words, struggling to find the right tone and phrases to put away her tears. When it was apparent that he'd consoled her as much as he possibly could, he walked her to the door.

    At that moment, someone's dog leapt up and started licking her face. Almost immediately, the girl started laughing. "Here I was, trying to give her this long-winded speech and getting nowhere," my teacher remembered. "I wish I could have been that dog!"

    For ACV.

    Friday, January 4, 2013

    ZZ Top, "Just Got Paid"

    More than any other rock band, ZZ Top has the world figured out. The same three guys for over forty years, setting standards for the perfect amount of chords, styles, dances, cars, girls, fashions, guest appearances and hand motions for a rock band to have. They had the prescience to hop into synth-rock in the '80s, and the sense to stay away from the '90s alternative. There's never too much or too little with Billy Gibbons, Dusty Hill and Frank Beard. Drama, conflict, excess--the themes that most rock bands count on are nowhere to be found on ZZ Top records.



    "Just Got Paid," an album track from 1972's Rio Grande Mud, predated both Aerosmith and AC/DC in inserting the blues into hard rock, and unlike either of those bands' songs (or nearly all Zeppelin, for that matter), "Just Got Paid" could have been released on Chess Records. It's Top'd up with a slide guitar solo and a breakdown, and it rocks hard enough for Mastodon, Steve Albini and Ministry to have all covered it. Each version, even in Ministry's melodramatic hands and Albini's abrasiveness, brings out the tres hombres in its performer, proof that ZZ Top's composure isn't just in the stars, it's in the songs.

    Friday, December 14, 2012

    Three Ways to Improve Your Album


    Five minutes from Sylosis' Monolith. 67 more to go.

    Every year, my admiration for artists who pour themselves into creating and sequencing a full-length work of art swells. In the face of YouTube, iTunes, American attention spans and singles acts, a select few still care about making a great album. Imagine if most popular books only had two good chapters, or if most movies had a couple of good scenes. That's the state of albums today. Dependably creative artists like Converge are both rare and crucial to modern music, just as someone like Jonathan Franzen is to literature.

    However, if we are going to keep putting great artists on a pedestal, we still need to hold them to high standards. There are many reasons why music isn't selling as well as it did in decades past. I'll argue that one reason is that in general, most new albums and artists, metal included, aren't as great as their predecessors. With music sales bringing in less revenue than ever for record labels, artists have enough creative control to indulge their best impulses more than ever, but also their worst. Bands as varied as Rush, Gojira and Baroness released good, even great albums this year, but with minimal effort they could have been much better. Here's how.

    1. Keep it short.

    This seems like the biggest problem for many of today's metal bands. A CD can contain up to 80 minutes of music, but that's no reason for your band to use all 80. If you're lucky enough to find an audience, you should leave them wanting more, not less. To paraphrase Lou Reed, 30 minutes is fine, 40 is pushing it, 50 and you're into jazz.

    This isn't a recent phenomenon. Some of the world's finest metal bands have run out of steam over hour-plus long players. Guns N' Roses were the best band in the world when they recorded Use Your Illusion I and II, and even they couldn't get through two-and-a-half hours without "So Fine." But let's look at the good. Slayer's Reign in Blood, one of metal's only indisputable classics, doesn't make it to the half-hour mark. At the Gates reshaped death metal in 34 minutes on Slaughter of the Soul. Led Zeppelin, Black Sabbath and Iron Maiden, all legendary for their epic compositions, found ways to end their best albums in under 45 minutes. Don't point out that you love all 65 minutes of Metallica's ...And Justice for All until you remind yourself that your band isn't Metallica.

    2. Cut the interludes.

    Hip-hop is the worst at this. Intro skits, outro skits, intermission skits, phone call skits--these are among the reasons why anyone with a considerable hip-hop collection dreads the shuffle option on their preferred listening device. Metal is also culpable, but instead of skits, they use musical interludes. This year, Veil of Maya, Between the Buried and Me and the Tony Danza Tap Dance Extravaganza littered their records with tossed-off, minute-long pieces that went from being entertaining to skipable over a few listens. Elmore Leonard once said of writing, "I try to leave out the parts that people skip." The best musicians record albums the same way.

    3. Save some of the best for last.

    Nearly every metal album I've heard in the past several years, even the great ones, are unarguably front-loaded. You don't play all your best songs in the first half of the show, and you also shouldn't play all your best songs in the first half of your album. Slayer ended records with "Raining Blood" and "Seasons in the Abyss." The Number of the Beast closes out with "Hallowed Be Thy Name." How many people who buy Lamb of God records can name a song on the second half of Sacrament or Ashes of the Wake? Those are both great records, but will anyone ever put either of them on a countdown near Rust in Peace? "Tornado of Souls" and "Lucretia" are on side two.

    With most listeners sequencing their own playlists these days, some will contend that these gripes don't matter. But maybe listeners would be less inclined mess around with bands' intended tracklists if more artists proved that they knew how to make an album.

    Sunday, December 9, 2012

    Album of the Day: Pantera, Cowboys from Hell

    A friend stated yesterday (coincidentally or not, on the 8th anniversary of Dimebag Darrell's murder) that glam-era Pantera was better than the Cowboys in Hell (sic) years. With the band's '80s embarrassments still safely out of print, I'm sure that it's hip to say that they're Pantera's best records. But it's also completely wrong.



    The "Cowboys from Hell" title is almost ubiquitous with Pantera now, for good reason. How many modern musicians get honorific nicknames? There isn't anything quite up to the Killer, the Boss or the Hardest Working Man in Show Business. The Cowboys from Hell might be as close as we've gotten. A lesser band wouldn't be able to make that title stick, or even sound cool, but Pantera were experts at the implausible.

    22 years on, Cowboys from Hell still gives a charge. It's not nearly Pantera's best record, and it's distractingly frontloaded when it plays out. But in some ways Cowboys captures them at their peak. Phil Anselmo delivers some of the most versatile metal vocals in recorded history here, hitting the high notes like the scion of Rob Halford. He's worlds away for the self-consciously macho growler he'd become. Hearing Vinnie Paul's drumming in 1990 must have been like hearing Eddie Van Halen in 1978--his musicianship would reshape metal, if enough folks could figure out what he was doing, learn it and put their own variation on it. Groove metal has been run into the ground in 2012, with Paul's current band at fault in part, but still no one employs a bass drum and a crash cymbal quite like him. That's why some folks can still sit through 30 seconds of a Hellyeah song.

    Every metalhead knows at least two songs from Cowboys from Hell--the title track and "Cemetery Gates." The latter gets played at Dimebag tributes every year, especially on December 8, but even without the boneyard-inspired lyrics it serves as arguably Dime's best memorial. If anyone has an isolated guitar track, please post it in the comments section.



    I was surprised to find out today that it's Pantera's longest song, at a short seven minutes (how many Led Zeppelin and Metallica songs are longer than seven minutes? I can't keep track.) If another band has stumbled upon that chorus riff, they probably would have drawn it out for the entire song.

    Still, my favorite song from Cowboys from Hell is "Primal Concrete Sledge." Outside of a sole Poison Idea cover, Pantera's punk influences are nearly inaudible. More likely, they raised themselves to the Skynyrd and KISS records that hardcore kids turned up their noses at. Yet some of those faster and shorter concepts seeped through to Pantera, or at least enough for them to unleash blistering songs like this one. Phil Anselmo even calls it "a song of unity" in the video here, thousands of miles away (both musically and graphically) from Operation Ivy. Here's Pantera in 1991 at Monsters of Rock in Moscow, possibly hastening the crumble of the Soviet Union.