[twitter-follow username=”100favealbums” scheme=”dark”]
… And Out Come The Wolves. Rancid.
1995, Epitaph. Producer: Jerry Finn, Rancid.
Purchased, 1995.
IN A NUTSHELL: Nineteen powerful, hook-laden, short and fast songs come at you in rat-a-tat style that overwhelms – in a GOOD way. Bassist Matt Freeman is a master, and co-guitarists/vocalists Tim Armstrong and Lars Frederiksen put their limited vocal abilities to excellent use on melodies that will stick with you. Don’t hold it against them if they sound like some other bands that came before them: this is a record that stands on its own!
NOTE: The setup – below the line ↓ – might be the best part … Or skip right to the album discussion.
~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~
In fifth grade, at Ebenezer Elementary School (yes, that was the name), my terrific teacher was Mr. Keesey. This was in 1977, ten years after the big splash made by the Summer-of-Love, and the ripples of the Hippie culture were still being broadly felt, even in my little PA town. His thick, round glasses, close-cropped brown hair and penchant for pull-over sweaters made Mr. Keesey look far more “straight” than “hippie.” And while I’m sure there were hippies of all shapes and sizes, Mr. Keesey’s short stature[ref]As a fifth grader, I was taller than him.[/ref] only intensified his outward appearance as a square. But he brought the Hippie message of peace and love to my classroom.
Mr. Keesey was Ebenezer’s “celebrity teacher,” a prize 
for certain lucky kids in their last year in elementary school, supposedly a cool, fun guy, (a reputation my older sister confirmed when she had him three years before me) with a place-your-desks-anywhere policy and a wooden tower in his room that allowed for activities both six feet off the ground, or in the secluded Underneath. On the first day of class I knew he was different than anybody who’d ever stood in front of my classrooms when he delivered a monologue stating he didn’t think of himself as the leader who made rules and yelled at kids for breaking them, and forced everyone to do whatever he wanted them to do; but instead thought of the classroom as a shared space for all of us, in which we all make the rules together and help each other to stay within them. He said he’d play guitar for us some days, we’d have class outside some days, and we could call him “Jim.” 
He invited anyone to challenge him to a game of chess on the chessboard on top of the tower, and pointed out the big, round signs hanging in the room, each with a single word: “IALAC.”
This stood for “I Am Lovable And Capable,” and Jim wanted us to say that phrase to ourselves whenever we saw the signs.
To put it mildly, this was NOT a teaching style that I, or any of my classmates, 
had ever seen before!! It was as if an egg-headed, rod-fingered alien had come to Ebenezer to speak to us from a beautiful future we could not comprehend. Either that, or a hippie. The level of unease felt by my classmates and me at this (for our school) radical style of pedagogy was such that, while we loved the tower and the chess and the signs and the rule-making, no one ever took him up on the invitation to call him “Jim.” He was always “Mr. Keesey.” We all respected him so much that we felt we HAD to call him that.
He put us into groups for math and reading, and I got put into the “smart-kids” group, 
with my buddies, Greg and Bruce, and a girl, Juli, who would later go on to graduate high school a year early to attend M.I.T.[ref]Greg and Bruce and I didn’t really belong in the same group as Juli – sure, we were smart kids, but she was, well, more than that.[/ref] For Reading/Language Arts, our group used a cool workbook called The Dopple Gang, a hip, 70s, cartoony book that reminded me of a groovy paperback version of The Banana Splits TV show.
Mr. Keesey was big on reading. Together as a class we read The Adventures of Tom Sawyer; The Hobbit; The Phantom Tollbooth; and The Lion, The Witch and The Wardrobe. In our individual groups, we took part in a reading program called “SRA,” a color-coded system by Science Research Associates[ref]The program is still around in digital form, but the 70s version is described very well, and quite comprehensively at this site.[/ref] in which students read a group of ten or twelve individual non-fiction stories at their own pace, answered 20 questions after each story, and then, when a sufficient number of questions had been correctly answered, and all stories in a color were complete, moved to the next color. The readings and questions got progressively more advanced as you moved through the colors. If you made it through all the colors, you’d end up reading 100 to 150 stories. In our group, Juli flew through the colors. Greg, Bruce and I did not.
I’m sure there have been many times in my educational career when I bent the rules, sneaked a look at a classmate’s paper, or “borrowed” homework answers from a friend; but I generally didn’t cheat. School was one of the few things I felt really good at, so proving I could do well on my own was a point of pride. So to this day, as a 50 year old man, I remain ashamed of the enormity of the cheating scheme undertaken by my buddies and I on those damned SRA cards.
You see, kind and trusting cool-guy that he was, Mr. Keesey allowed us to sit anywhere to do our SRA reading, and – so we could grade our own work – gave us access to the SRA Teacher’s Box that 
contained individual answer-key cards for each story. So as Juli’s performance really started to outpace our own, and my two pals and I felt completely outclassed, we realized we could choose to read our SRA while sitting in corners, or underneath the tower, or even out in the hallway. And since the Answer Cards fit neatly against the pamphletized stories, it was not difficult to select a story, select an answer card and scuttle off to a dark place to cheat like hell. As Juli completed four or five stories in 30 minutes, we could complete three or four ourselves, instead of the one to three we could do on our own. (We never did the same number or more than Juli: we were smart enough to realize nobody would buy that.) We finished the entire SRA reading program in a few months, several days after Juli, while many kids never made it through one color on their own. We felt like stars, winners. I did for a brief time, anyway.
We’d answered Mr. Keesey’s love and kindness with – at least in this instance – cheating. It felt wrong to me then, and it feels wrong today. I’m sure many kids did the same; perhaps even Juli, that vaunted intellectual prodigy, was cheating as well. (After all: she was no dummy.) And maybe, ol’ Jim knew what was happening but figured the benefits of providing an opportunity for ten year olds to take on individualized reading projects with little oversight outweighed the risks of a few sulking, pride-wounded boys cheating. (After all, we weren’t graded on the SRA program.) Still, I wish I’d done the reading without cheating.
I don’t dwell on this episode much, but I was reminded of it while considering my #41 album … And Out Come The Wolves, by the band Rancid. This is because many people – whether they understand it this way or not – think of Rancid as cheaters. 
Nobody really uses that term when discussing the band, but it’s what they think. The band “cheats” because they sound, unapologetically, like The Clash. Some people are very anti-Rancid over their sound. And I wonder – as someone who’s felt guilty about cheating – if maybe some folks’ dislike for the band is driven by the guilt they feel over their own past indiscretions[ref]That consideration is, perhaps, PERHAPS, merely projection from a neurotic navel-gazer who assumes everyone is as hung-up on (or even remembers) their 5th grade “scandals” as he is.[/ref]. “These guys are cheating, and they don’t even care!!!”
When I heard the band’s hit “Time Bomb” on the radio in late 1995, I was immediately taken with the band. Singer Tim Armstrong’s slurring singing on lyrics about their music scene, the punky/ska beat, the fun video … I liked it. I liked the organ, and the catchy chorus and I went out and bought … And Out Come The Wolves.
As a big Clash fan, I was excited that someone was trying to carry on in their tradition. As I’ve written before, I tend to seek out artists who sound like my favorite artists. All music is loaded with the musical inspirations of those who write it; there are very few truly “original” artists out there. And the ones that do sound like no one else, I guarantee you’d hate. And while it’s true that any punk or punk-ish band since 1977 
will bear some resemblance to The Clash (punk itself being a rather specific, sound-limited genre), Rancid’s double guitars, dueling singers and ska-influenced tracks made them particularly ripe for the comparison. Sure, the band’s mohawks and chains seemed a bit dated in 1995, but I didn’t care – the songs were great! But I found when I played the album for others my age who also loved The Clash, most were dismissive, at best; others were downright angry. “If I wanted to hear The Clash, I’d listen to The Clash!” “They’re totally ripping off another band!” “What’s this retro bullshit??” They thought the band was cheating.
But creativity is weird. It’s a personal experience that isn’t as simple as finding an answer key and secreting it away to a hidden spot. A band of young Clash fans in their basement writing songs inspired by their heroes haven’t cheated at all.
Actually, they’ve added their own twist to the sound they love. Consider the bass in “Maxwell Murder” (particularly beginning at 0:58) and compare it to any bass line by Paul Simonon on any Clash song. I think you will hear a difference.
It’s less than a minute and a half of 
energy and power, and Matt Freeman’s frenetic bass is the engine. His bass solo at about 0:59 is one of the coolest I’ve heard – and is unusual in a punk rock song, where the fast pace of songs relegates many bassists to simply bashing through the root notes of chords. As with most of the songs, the lyrics border on unintelligible, but in this case they seem to be about a hit-man.
Freeman’s bass is one of the defining features of the album (and the band) and powers such songs as their follow-up hit, “Ruby Soho,” and “Disorder and Disarray,” one of many songs about these punks’ discomfort with the big record labels who descended on them in the wake of the success of bands like Nirvana and Green Day.
But what really powers the album is – believe it or not – the sequencing of the songs and the very small space left between the songs. Nineteen short songs that 
are fun and catchy and powerful and that come at you in rat-a-tat fashion, each one a wave at the beach that smacks into you just as you groggily rise in the surf from the last one. It’s a relentless album, and it’s difficult to recreate that feeling in words, but if you have 50 minutes or so, try to listen all the way through.
After “Maxwell Murder” comes “11th Hour,” a D.I.Y. anthem calling fans to action. It features two other key aspects of the Rancid sound: squawking, somewhat-in-tune vocals and harmonies (that sound awesome, somehow) and guitars that play off each other, not unlike the two guitar sound of The Clash (it must be said.)
Guitarist/singers Tim Armstrong (the lefty) and Lars Frederiksen (the righty) also frequently trade off lead vocals, as in “Roots Radicals.”
It’s a hyper-catchy song, with a jumping 
bassline, and Armstrong and Frederiksen harmonize brilliantly, particularly given their limitations. The band wears their “if-we-can-do-it-you-can-do-it” ethos on their sleeves, and many of the lyrics (like those in this song) tell the band’s story. I think for many kids in the rock era, bands like Rancid[ref]Any bands, really. I liked prog rock as a teen, and as diametric as it is from punk, it helped me cope.[/ref] were a key to coping. Songs like the excellent “Listed M.I.A.” (Which may be the most upbeat song about suicide ever!) talk about the hard times; songs like “The Wars End” tell you things can get better.
A terrific triumvirate of totally torrid tunes (sorry about that) begins with the excellent “take me away from the big city” lament of “Olympia, WA.”
https://www.youtube.com/watch?v=PsTKUrcLR2I
The riff is killer from the beginning. Armstrong leads the snarling verse, 
then the excellent, singalong chorus begins at 0:45, with Freeman’s bass leading the charge. It’s one of the most-fun choruses to shout ever! It’s followed up by another shout-along classic, “Lock, Step & Gone.” It’s more of the same: awesome bass line (with another bass solo, about 1:22!), dueling guitars, sneering harmony vocals. But somehow it doesn’t sound the same.
https://www.youtube.com/watch?v=gs2-HhEtBAA
That one is followed closely with another favorite of mine, “Junkie Man,” featuring lyrical help from poet/Basketball Diarist/”People Who Died” guy Jim Carroll.
I think it may actually be about Carroll, a well-known junkie who definitely could 
tell you what the story is, as the song asks. It’s got a neat scratchy breakdown, with spoken words written by Carroll.
There are 19, YES NINETEEN, songs on this album. Some are better than others, most are great, a few are merely very good. “Daly City Train” is another autobiographical gem. It’s a ska song, and it’s fun and rocks and makes me want to shout and dance along – as almost all of the songs do. At 2:40 it features a kind of rap that may be the most unintelligible rap I’ve ever heard. And I love it!
So many great songs. “Journey To The End Of The East Bay.” “She’s Automatic.” The super-excellent “Old Friend,” which I can’t believe I didn’t write about more! “As Wicked.” “You Don’t Care Nothin.” “The Way I Feel.” Any of these songs would be part of a great mix-tape, and when they’re placed end-to-end with hardly a break, they’re a battering ram. Just as the band states on the song “Avenues and Alleyways.”
https://www.youtube.com/watch?v=ZMMA86g0y0Y
So, listen. I’ve forgiven myself about that fifth grade cheating incident. I swear. 
But I understand if you were in that class with me and worked your ass off to get through the Blue cards, only to find out the “smart kids” were cheating their way all the way through Brown!!! It’s just not right. And it might trigger your senses of justice and vengeance. And that’s fine, take it out on a cheater like me. But don’t hold it against a band like Rancid. They didn’t cheat! They just wear their influences on their sleeve. And if you get past your resentment, you’ll find there’s an excellent record waiting for you to hear!
Track Listing:
“Maxwell Murder”
“The Eleventh Hour”
“Roots Radicals”
“Time Bomb”
“Olympia WA”
“Lock, Step & Gone”
“Junkie Man”
“Listed M.1.A.”
“Ruby Soho”
“Daly City Train”
“Journey To The End Of The East Bay”
“She’s Automatic”
“Old Friend”
“Disorder And Disarray”
“The Wars End”
“You Don’t Care Nothin”
“As Wicked”
“Avenues & Alleyways”
“The Way I Feel”
IN A NUTSHELL: Nobody plays the guitar like Mark Knopfler – perhaps the most distinctive guitarist in the rock era. He writes grand, moving epics – six-minute movies in song. And though he’s not exactly a singer, he knows how to use his voice to imbue the songs with emotion. The band, particularly drummer Pick Withers, is excellent, and Bruce Springsteen’s keyboardist, Roy Bittan, helps to give the songs a certain majesty.
increasingly technologically sophisticated products to all types of marketplaces. Marketing folks scoured and devoured the research, finding applications for it among consumer products from 
a few computers, and 
music genre (
from 20-plus years to 10, and 5, and etc., I’ll be lucky enough to catch the second wave of interest in baseball and electric guitar – ironic though it may be – like a 
today’s society, guitar- and baseball players share other qualities that make them ripe for comparison. For one, both pursuits are singular actions: guitar playing and batting a ball[ref]Or pitching a ball, but let’s focus on batting.[/ref] And in both actions, there can be a wide difference between how you are 
mystique as their actual performance on the stage or ball field.
my 6th grade soundtrack, along with “
1987, and the previous evening the Grammy Awards were broadcast. As we ran our 5:30 am laps, I mentioned to Dave that Paul Simon’s Graceland had won Album of the Year. I remember Dave saying, in his distinctly Dave way, “Fuck the Grammys! Dire Straits lost to fucking Phil Collins last year. That award means shit![ref]This quote is not verbatim. It’s as best as I can recall it, knowing a) Dr. Dave for 32 years and b) it was 5:30 am.[/ref]” He was speaking of the band’s smash 1985 album, 
One of the key features of Knopfler’s guitar style is that he exclusively plays using his fingers on his strumming hand instead of a pick[ref]I’m sure he is able to use a pick, and has done so, but I’ve never seen him with a pick.[/ref]. Not only is this song’s introduction finger-picked, but he uses fingers on everything else, as well. Knopfler’s voice doesn’t nearly match the giftedness of his guitar playing but it’s certainly distinctive, and his stylized singing conveys great emotion. In this case it’s the pain and anger (and even unfounded hopefulness) of heartbreak, telling 
The drumming, by Pick Withers, is excellent, using rolls and accents in the choruses (i.e. 2:25 – 2:45) that make the song more than just a simple rock lament. It’s a beautiful song, and Knopfler’s mournful guitar does come to the forefront in the subtle guitar outro, beginning at 4:50. (By the way, listen for the little finger snaps from Knopfler, after the lyrics “hey, la, my boyfriend’s back” (0:57) and “band accompanies me” (3:31). I love little things like that.)
in this case 
does one of those cool things where the drum beat sounds like the “1” is on a certain beat, but then when the organ enters you find the “1” is somewhere else. I love that. Knopfler’s squawky guitar enters, setting a mysterious mood, which is probably correct for me because 35 years on and I still don’t know what the lyrics mean – unless it is what it is: just 
while singing 
I’ve wondered what “expresso love” is[ref]Perhaps love that is 
nearly shouting his lyrics. (He never really sings). It’s all chugging piano and guitars, and he throws in cool little guitar stuff – like the first time he sings “Long will live/Solid Rock” in each chorus, he does a little “blip” sound (first heard about 0:43), which I just love. Although its shouted title sounds like a fist-pumping salute to the longevity of rock and roll[ref]Which, 
I love Mark Knopfler’s distinctive guitar playing. When I’m thinking about guitar players I love, his name doesn’t immediately pop into my head, but when I listen to Making Movies, I remember just how much I love his style. (And when I think about him doing it all without using a pick, I’m astonished!) It’s the same way with baseball Hall of Famer Robin Yount – except for the part about using a pick. I love that different people can be so good at doing the the same thing, yet do that thing in a style they share with no one else. It speaks to both the individual and the communal nature of human beings. And it brings lots of joy to fans like me.
IN A NUTSHELL: Songwriters/maestros Walter Becker and Donald Fagen once again create jazz-influenced rock (or rock-influenced jazz?) and make it great by hiring the best studio musicians around. On this album, the pair turns loose several excellent guitarists who make the album a joy for a guitar fan like me. It’s sometimes funky, sometimes mellow, but always full of amazing drums, bass and guitar. And Fagen’s distinctive voice carries each song, making it a terrific listen time and time again.
I love to be impressed. When I see some 
Bo Jackson. Holy moley. He was an all star in two professional sports. And while he did strike out too much in his baseball career, that just means 
The Monty Python Long Name Sketch. Since I first saw Monty Python’s Flying Circus on 
Cryptonomicon, by Neal Stephenson. 
Julia (my wife). (Self-portrait, age 8.) I’ve known her for 24 years, and I’m still impressed almost every day. She can do anything – from planning, cooking food for and hosting a party for 100 people to winning every game we play. Mother, potter, gardener, environmental expert … there’s nothing she can’t do. She’s about the best athlete I’ve ever known, too. Played lacrosse with the men in college; and at her brother’s pre-wedding golf outing hit a straight drive down the fairway on the first golf swing she ever took, then beat half the guys there despite never playing the game before. (I did beat her by a couple strokes.)
Penn and Teller. Back in college in the late 80s I probably annoyed more people, and turned off more potential fans, over this duo than anyone else on this list. I know that because I was once told by a college roommate, “Shut the fuck up about Penn & Teller already, okay?!” They were funny, they were different, they were smart, they were amazing … I saw them 
Brittany Howard. It was 
Star Wars. I was 10 years old and in fifth grade when it was released, so I was even more easily impressed then than I am today. And even though I wasn’t really a 
Steely Dan. The first time I heard Steely Dan, I thought they were scary. Actually, let me rephrase that: the first time I heard a song written by Steely Dan, I thought they were scary[ref]The first time I SAW THEM, I 
Some of these albums had catchy names, like 
The band seemed adult and mysterious and they played catchy tunes. I eventually listened more closely to the musicians and was blown away by their virtuosity. Songwriters/bandleaders Donald Fagen and Walter Becker 
they have many truly funky songs, and hiring 
Larry Carlton’s guitar enters the fray, at about 2:00. His solo that follows, beginning about 2:18, is angular and brilliant, sounding like it’s done only on the “black notes” of a keyboard (and given my lack of musical knowledge, maybe it is!). When the third verse begins, Carlton continues soloing behind the rest of the song, finishing with a fury beginning about 3:50. The funky drums and bass and the scorching guitar – if you’ve read 
He and Purdie again work together perfectly. Where “Kid Charlemagne” had a sort of gritty feel, “Green Earrings” has more of a mellow groove, but the guitar work by Denny Dias and Elliott Randall is just as wonderful as Carlton’s. The song is more or less a jazz piece written to showcase the soloing of the pair. While many Steely Dan songs’ lyrics are 
The guitar touches throughout the song, such as the barely arpeggiated chords following the words “Greek” and “medallions,” at around 1:10, make me very happy.
in Oregon. The melody, rather perversely, is very much a catchy sing-along, inviting the listener to belt out about his “case of dynamite.” Carlton adds nice guitar touches throughout, and his snaky little solo at about 3 minutes signals a breakdown, the type Dan throws into many songs, and that always sound useful, not lazy[ref]Often times breakdowns in songs sound like somebody couldn’t figure out a good bridge, so they just decided to stop playing for a while.[/ref]. Carlton subtly solos along to a satisfying end.
and Randall work together throughout the piece is amazing: conjuring a yo-yo; answering a reference to Turkish union dues – despite the fact that nobody knows what that means. It’s evident on “Sign In Stranger” why Fagen and Becker hired the best musicians.
love burned hot, but faded quickly – sending Babs to the island where, well, let’s just say seeds are sewn. The feature solo this time is by Dean Parks, playing a squonky guitar that sounds terrific (even though 
I don’t require that albums feature either 
IN A NUTSHELL: A record with driving, punk-spirited songs with strangely grown-up lyrics about aging, parenthood and loss. But Chrissie Hynde’s terrific voice and songwriting, and cool guitar from Robbie McIntosh and Billy Bremner, keep the record from being a downer. It’s a rarity – an album I still love, but now for different reasons.
Big sisters get a bad rap in modern media. They’re generally portrayed as mean, conniving, dissatisfied, misunderstood, dangerous, violent … Well, I’m here today to say that in real life, big sisters are pretty frickin’ awesome. I have two terrific ones, and none of the words above describe them (typically). They’ve been important in many ways, including how they’ve helped inform my 100 Favorite Albums! They’ve both 
depthless pool of parental love; forced to not only share that ocean of affection with others but also to pretend that half an ocean – then a third, and a fourth, etc, depending on how many more damn smelly babies that formerly fawning, duplicitous duo called parents decides to keep bringing home – is just as good as a whole ocean, as if she can’t do simple arithmetic.
who clearly had never accepted the division of his ocean. Their parents both worked, which 
In my family the eldest child didn’t view us new ocean dwellers as combatants to be dominated and subdued, but as vulnerable neighbors in need of guidance and instruction. If this sounds like a euphemistic description for “
packaging designs and advertising campaigns and jingles.
joined the 
During her time in California (and before that, while she was away at college), in my teenaged brain, she seemed like an unknowable Goddess – a figure I’d worshiped since childhood and who sent me gifts and spoke to me sometimes, but who I figured I would never – could never – really know. Her gifts and communications were like blessings. For example, when the 
then a few months later, Farndon himself died of a heroin overdose. Band leader Hynde and drummer Martin Chambers were forced to start over amid all that emotional trauma, and Learning to Crawl was the introduction of the new band.
Beginning at 0:58 he plays a simple ascending chromatic scale that amps up the energy and builds the tension until the band re-enters. At about 1:46 he tears off a sort of rockabilly solo that carries the song to its riff-coda ending. Throughout the whole song, Chambers plays a beat that sounds very washing machine-esque. It’s a punk-y song, for sure, aggressive and intense, but it’s about … watching laundry? But maybe there’s a reason for that …
from this album was the classic “Back On The Chain Gang.” The video was played constantly in the fall of 1982. (The song was released as a single before the entire album was finished recording.) It’s a touching song 
work the way the song “
Chambers’s excellent, driving drums really command the song, which builds to a creative solo by McIntosh, at 1:42. The band sounds like they’re having fun, as Hynde counts them back into the final verse, through her harmonica-solo closing, which starts with a grunt and a sort of meow. It’s a terrific song, even though she sings “I ain’t the cat I used to be/ I got a kid, I’m thirty-three!” which doesn’t sound too punk. But hold on, I’m starting to recognize a pattern … So these lyrics on these songs … why … I believe they’re all about getting OLD!!! No wonder I’ve liked this record more and more as I’ve gotten older!
I love the guitar harmony as the second verse starts, and I love the chorus, how Chambers deftly moves the band through the syncopation (at 1:48) of the “Time, time, hear the bells chime” vocals. And the guitar behind the chorus vocals is really cool, particularly the harmonics at about 2:13. Former Pretenders guitarist Honeyman-Scott had a style all his own, using chords, 
the bass line is really cool and Chambers’s distinctive drum fills are notable throughout. McIntosh’s guitar has a shimmery delay, and he plays with a very 
the wisdom of lyrics like “What’s important in this life?/ Ask the man who’s lost his wife” were lost on me. I didn’t care about the song meanings, I just liked the rock. And now, as a 50 year old, I can especially appreciate these reports from adulthood – even when they turn a bit curmudgeonly. Such as on the excellent groove, and growth-at-all-cost shaming, of “My City Was Gone.”
Bremner uses harmonics beautifully and his solo at about 2:38 is classic.
the song a challenge for 
IN A NUTSHELL: A rocking, energetic record that rates so highly because of Craig Finn’s lyrics and delivery. Keyboardist Franz Nicolay and guitarist Tad Kubler shine on songs that are Springsteen-y and Ramones-y, but it’s Finn’s oblique stories of small town sadness, love gone wrong, and reflections on how we treat one another that make it tick.
I was working at a good-paying but soul-crushing job at a 
felt pride in 
putting to use the 
standing near big 
and the laboratory experiment runners, and it essentially boiled down to this: neither group really understood what the other was doing, nor could either group appreciate the day-to-day challenges the other faced. The company endeavored to 
The ribbing remained all-in-good-fun ball-busting, of the type most men have to learn to either join in or crumple beneath[ref]And I did dish out as well, although my roasts mainly centered around the sports teams they liked. But in my defense, even though I’m a pretty big guy, these two were both big and strong AND gave the impression they’d previously used their size and strength in acts of violence, which clearly I had not.[/ref]. However there was now a tinge of true ridicule for my failed band, an I-told-you-so air that mocked not only its demise, but also whatever personal beliefs and interests I’d held that had ever led me to think that playing in a rock band was a worthwhile endeavor. “I guess you won’t go on tour with Poison after all!” My impending move to California was belittled as an attempt to be a movie star, or to “[have sex with] those hot California chicks.” As faux-nasty as they got, however, the burns usually included a put-down of themselves, as well, along the lines of “You’ll be back here with the rest of us losers in no time!”
he said. “Good for you for getting out of this shit hole.”
is portable or broadly useful; if you don’t have the means to coast for a while on a little bit of savings; if all you’ve ever known outside a bus trip or two to the nearest Big City is the little place you’ve woken up in for as long as you can remember, among folks who’ve always been there … well, no matter how urgent that feeling is to “get out of this shit hole,” you probably can’t even conjure an idea of a life somewhere else that isn’t built on a foundation of fantasies including 
but in a small, rural town your head has a lot more evidence on its side of the argument. Look around and you just don’t find many examples of folks who’ve actually chased dreams and caught them. You’ll have very few neighbors with kids writing for magazines in Manhattan; few relatives starting biotech companies in strip malls; few friends traveling to Italy to get an MFA in painting.
at the other’s dreams (“You’ll be back …”) and at your own perceived failure (“… with us losers”). If someone does set off on a chase, you might graciously wish them luck[ref]Then again, you might not. When I left the aspirin factory someone (an experiment-runner) signed my ‘Good Luck’ card with the words, “Don’t forget WHERE YOU CAME FROM!!” just like that, with giant capital letters. It made me sure I’d never forget, just as I suppose I’d never forget my kidnapers.[/ref]; but a part of you hopes they come back defeated, as most of them do, to help validate your decision to leave the dreams behind and just adapt to the shit-hole. After all, the shit-hole has bars and 
The band The Hold Steady captures this conundrum of small town life in their songs and lyrics better than any rock band[ref]I don’t listen to country music except for 
the sound and I like it behind Craig Finn’s voice. Of course, it’s Finn’s voice and lyrics that carry the song, right off the bat beautifully comparing his posse to a song: “Me and my friends are like/ The 
but is actually quite sad. The listener knows right away that these guys ain’t building ANYTHING this summer, that it’s just another dream to squash before it disappoints you. The music behind the lyrics kicks ass, too, driving and fast, with really cool, squealing guitar harmonics throughout from Tad Kubler, for example at 0:26.
albums 
and more cool organ from Nicolay just as Finn’s voice starts. It’s a story of … well, something happened, the authorities got involved, and 
but there are some nice harmonies throughout.
Finn nearly sings on this song, with lyrics, again, that are indirect, inviting multiple listenings. I’m not well-versed in Catholic spiritual practices and terminology, but it 
It’s lyrically straightforward this time, about 
Nicolay’s harpsichord is the dominant instrument in this waltz behind Finn’s tale of 
is a witty reference to 
There are Steely Dan lyrics. (Who’s 
IN A NUTSHELL: A record all the critics love – but don’t let that stop you from listening! It’s the first appearance by The Attractions, a wonderfully talented rhythm section, and they do not disappoint. Elvis spits out his cleverly crafted lyrics (mainly about his troubles of the heart) with disdain – and a bit of self-conscious humor – and never stops the party. I won’t tell you it’s awesome – I’m no authority, after all – I’ll just tell you I love it!
She was approaching retirement when I had her, which means she had been teaching second graders since before World War II. She was chubby and severe-looking, with gray hair pulled into a bun and little granny glasses perched on her nose, looking not unlike Calvin’s nemesis, 
It’s nothing that’s very radical. I’m not 
But I still don’t buy into all that “Authority” bullshit.
I waited twenty minutes to finally get to the front of the line. Then, the short, chubby building-permit guy, who wore a gaudy pinky ring and a 
I’ll be satisfied and accept the person’s role. However, there have been times I’ve had issues with those who’ve been given legitimate authority. For example, I was summoned for jury duty in San Francisco many years ago, and during the process of jury selection a question that was asked of every candidate was this: “Is there any reason you’d be unable to follow 
That being said, in most cases I’ll initially extend extra benefit of the doubt to someone who’s been duly granted authority in some official way. However, I tend not to extend it to those who have “authority” for no other reason than they clicked on an 
off on talking shit about each other. In its most serious and legitimate[ref]Of course I recognize that I don’t have the “authority” to state what is and what isn’t legitimate. Except for the fact that I control the website…[/ref] form, arts criticism can be an 
For example, a review of a recent 
They can be like 
funny film 
After all, the reason there’s all kinds of music is because there’s all kinds of taste. My issue is that he didn’t state “I think” before the words. Instead, he stated it as if it’s a fact, as if liking The Beatles more than Half Japanese would be akin to believing that the 
they get it wrong sometimes
into the critical hype of an artist? Has my judgement been clouded by my own desire to appear sophisticated to friends and family?
with The Attractions backing him[ref]Weirdly enough, on Costello’s first album, My Aim Is True, he was backed by none other than “The News,” as in “
reason why I – who grew up on 
The 
Elvis and his band brought to MTV fans of the early 80s. Ill-fitting suits, crooked teeth, herky-jerky movements … they didn’t look, or sound, like 
(who never played in a rock band, and didn’t listen to rock music, until he joined The Attractions at age 19) is the master of the little background fills that help drive a song. I like how the last verse modulates up a step, and “Jock Jam”-y as it may be, I still find it satisfying the way the song builds, then hangs on a note, before the tension is released with Costello’s shouted “Hey!”[ref]In his book 
Costello has a number of different styles on the record, but they all have that New Wave influence. “
cool riff, but the band is basically Elvis singing to a rhythm section. Again, B. and P. shine (Bruce’s slide at the beginning of each chorus a particular favorite of mine!), but Elvis’s mush-mouthed, frantic delivery is what steals the show. 
chord change in the pre-chorus (“Everybody is going through the motions”) and the riff the bass and guitar play in the chorus. Once again, Elvis is 
IN A NUTSHELL: A record by a band that I describe in one word: “fun!” Eddie Van Halen’s guitar heroics are all over the place on this album, and he always plays with a sense of enjoyment and laughter. David Lee Roth is the clown prince of cock rock, and the band’s rhythm section is second to none. This album has all the hallmarks of a VH classic. It might not be for everyone, but if it’s you get it, you’ll want to get it!
sure there are a few people you can think of who seem 
from the 
The 80s were a heyday for fun-themed music, from 
Fun mostly took a backseat in 90s pop music. Sure you had some 
The fact is, nobody experiences fun the same way, and what’s Fun for one person probably isn’t for another. For example, 
were the first in rock and roll 
Chuck Berry spirit that I love the band Van Halen. They can be as goofy as that duck-walk, and as dumb as a song about playing guitar, but they have a signature sound and performance style I love, and guitarist Eddie Van Halen is an innovator and sound-generator who stands apart even in a crowded field of rock guitar virtuosos. They are my Chuck Berry[ref]I understand they don’t represent the same type of cultural impact that an African American musical innovator in the American 1950s. In that way, Van Halen doesn’t compare. But in terms of playing kick-ass music … they do! (To me.)[/ref]
seem all that silly to me. Go figure.) As I moved through high school, Van Halen videos would turn up on MTV, and I sort of shrugged. They weren’t really my thing. But that changed when they released their 
b) some of the stuff they do is going to miss the mark; and c) you’ll meet as many people who hate the act, and judge you for your love, as you will those who understand. But fuck them. An interesting thing about being human is that you can’t really control what it is that’ll make you laugh or tickle your music-receptors. Both tastes, all tastes, evolve, for sure, but I find that certain stimuli abide, and never lose their power to excite. And the opening of the Fair Warning album, the song “Mean Street,” excites me every time.
bassist Michael Anthony’s harmony vocals. They are perhaps the “
the focus should be squarely on Eddie and what he says with his guitar, instead of what any lyrics might say. (And I’ll get into lyrics soon … I swear.) This song opens with a nice, gentle swing beat courtesy of the terrific Alex Van Halen, and cool bass harmonics by Anthony. Eddie’s guitar squawks give way to a fluid solo, about 0:40, and the entire thing builds to a very strong intro riff about 0:49. The band often throws interesting little song-structure things into songs, like, for instance, at 1:18, when they end the verse with a little syncopated run, or the syncopation behind the pre-chorus, heard about 1:29. It’s things like this that elevate them above other “flashy guitar” bands of the 80s. Anthony’s bass line is particularly nice in the chorus, where – once again – his strong harmonies help lift the song. 
We Van Halen fans awaiting a scorching solo actually have to look elsewhere, as Eddie confines his histrionics to background wails and runs.
good so sexy and so frail/Something’s got the bite on me I’m going straight to hell” crack me up. And Roth can perform the lyrics well, too; I won’t use the term “sing,” as his delivery varies between singing, speaking, barking and laughing. He doesn’t try to be earnest about thrown-together lyrics such as “No one is above suspicion, no one’s got it wired/I’ll eat it with my fingers want my iron in that fire,” but unleashes them with an implied wink, as if to say, “come on, we’re just having fun!” Alex again shows he’s one of the more inventive drummers in rock, even in the first few seconds as he doubles the main guitar riff on drums. It’s one of my favorite songs on the album, even though – once again – Eddie’s role is mostly left to background runs, although at 1:40 he unleashes a seemingly 
(I do believe Roth when he says he doesn’t spend much time refining the lyrics) are also terrific.
But that’s not a knock – it’s a fantastic bit of playing, and it makes the song interesting, especially when he leaves the solo and the band enters the bridge again. Also, for all I’ve said about Roth and singing and lyrics, he really does have a knack for writing catchy melodies. The song’s got a really great ending, with Eddie playing quintuplets as it draws to a close. Look, it’s not 
– about 0:40 to the descending syncopation around 0:53 – once again show there’s more to the songs than just “4/4, play chords.” At 1:49, Eddie unleashes a weird, noisy solo. Lyrics such as “blue-eyed murder in a satisfied dress” are classics. Plus – as with the entire album – there’s a depth of sound on this (and every DLR-era) Van Halen album. My high school chorus director[ref]Who was about 55 in 1984, and a fan of Heavy Metal, and who I think later had inappropriate relations with a student. Yikes!![/ref] loved the sound of Van Halen albums, and credited their richness to producer Ted Templeman, who gets a vocal credit on this song during the breakdown section, beginning about 2:15. Whatever the case, the entire production 
is perfectly suited to hold and feature Eddie’s guitar heroics.
Your life could use a little more fun, so why not get some from the music you’re listening to? I find it fun being impressed by Eddie’s guitar and Alex’s drums, and enjoying Michael’s harmony vocals and “Diamond” Dave’s ridiculousness … Maybe you’ll find fun somewhere else. But try to make a place for it in your music listening: life’s really too short not to!! In the immortal words of Diamond Dave: “Don’t waste time/g-g-g-g-g get out and push!”
IN A NUTSHELL: A concept album that takes the listener on quite a journey through society, this record has so much incredible David Gilmour guitar that I almost lose my mind!! Roger Waters’s voice is as effective as ever, and the whole band sounds great – even through the druggy interludes. I could do with fewer of these slow spots, but the songs and the playing more than make up for it. It’s an album designed for a listen in one sitting.
I’ve seen fewer than one episode of that 
the Sears “
I was never part of a big, close-knit group of friends, so I think the premise never resonated with me[ref]Then again, I’ve never been to outer space, but I sure loved Star Trek: The Next Generation.[/ref]. I’ve always been more inclined to have one or two close friends, who may or may not know one another. Maybe this is part of the reason that I was more drawn to The X-Files during the Friends era. (And why I was one of the fans who DID NOT want Scully and Mulder to get romantic.)
When I think of “friends,” I don’t think of Friends: it’s not a large group, it’s a small group – maybe one other person. On TV and movies, they’re commonly called “buddies,” and there are examples galore out there. 
Some fictional friendships are based on shared childhoods – people who connected in school and remained close. 
for better (as is the case with 
Whatever the source of the friendship, these one-to-one (or at times three-person) relationships have been more typical in my life than the large-group Friends model. This has changed somewhat as I’ve gotten older and my wife[ref]My best friend![/ref] and I have made friends with our kids’ friends’ parents, and we’ve developed friendships with groups of couples. But despite these changes, the single “buddy” remains my Platonic Ideal[ref]I think I’m using this correctly. I know very little about philosophy, and I’m hoping many of my readers will know even less than me.[/ref] of the term “friend.” And the buddy I’ve remained closest to the longest is 
in Toxicology when we got to college – not as stressful as Shawshank Prison, but probably weirder. More than anything, we just sort of connected over The Beatles, music, Mel Brooks movies, Bugs Bunny, the Phillies, Columbo, and so many other little things.
(Which today sounds a bit depressing, in and of itself[ref]Although (spoiler alert) I do still love me some 
Like most (all?) 
In the past, I’ve gone 
I love listening to the song, a slight difference from merely loving the song, to hear where Gilmour takes me – his solos seem to carry the listener along. They’re filled with great sounds and subtle intricacies, movement and emotion. Often times on this album I think of the band as merely platform onto which the lyrics and Gilmour’s guitar have been placed for careful consideration. The next solo is truly epic: beginning at 3:40, the song takes a turn to a commanding, pomp-filled tone, and Gilmour plays a double-tracked solo, with added touches layered underneath (listen closely from 4:30 to 4:45), that swirls into the type of section heard in many Pink Floyd songs, and of which, frankly, I could do with less.
oftentimes containing non musical, natural sounds (in this case dogs barking), with stoned teenagers exploring their minds while keyboardist Rick Wright holds a note for several minutes, and Gilmour gently strums the same two chords repeatedly. Of course, as boring as they can be, these long interludes do provide the framework for such wonderful beauties as Gilmour’s next solo, at about 5:32. I love this entire solo, especially the sort of “laughing” notes, around 6:20. Roger Waters’s bass during this solo is actually pretty cool (Gilmour himself has 
just after the really cool chicken-scratch guitar Gilmour plays during the vocals at 7:30, but this being Floyd, there are about 9 minutes left. And they’re a terrific nine minutes. And of course, this being Floyd, before we get to the terrific part, bongs gurgle everywhere as we sit through three-and-a-half minutes of Gilmour’s voice echoing while Wright holds a few notes, drummer Nick Mason taps a cymbal and those damned dogs bark some more[ref]I should point out, however, that this interlude, during Wright’s swirly synth noodling, is the point at which, when he was in third grade, my son exclaimed “I love this song!!” when I played it for him as background music while he did a bit of homework. So there’s that.[/ref]. At 11:40, Waters takes over the vocals, and the song becomes his – sort of a jaunty melody. Although Gilmour is probably the better pure singer, I sort of like Waters’s voice better. It has more of an edge, a sneer.
over and steal back the glory!! The solo beginning at about 13:27 is his fourth of the song, and each one has been different and spectacular. This one is a trip up and down the neck, until it falls into a sort of 
to it, another reason Animals reminds me of friendship is that it’s so much a Gilmour/Waters-sounding record (despite the fact that only “Dogs” is credited to both of them, and the rest are Waters songs). I like to imagine the two friends playing and laughing together, like Dr. Dave and I would if we were Gilmour and Waters. However, this is 
those at the top of the Social Ladder, according to Mr. Waters. This song is carried by Waters’s vocal performance; sneering, growling, falsetto, talking … Waters uses several techniques effectively throughout. The fretless bass on this song is tremendous, starting right at about 0:10, and I thought I’d be complimenting Waters for it; however, it was Mr. Gilmour who took over bass duties for this song, and he nailed it. This is a good song for paying attention to the stuff going on in the background. For example, the guitar is really cool-sounding and echo-y during the verses, and Nick Mason breaks out the cowbell just before 2:00. There’s nice piano work (actual piano, not synthesizer) around there, as well, and nifty little guitar doodles, too.
The 
a “
it has a driving urgency and a satisfying guitar ending that sounds like release. 
And he does stuff like that throughout the whole song (3:30 – 3:50, for example)!
original point: it’s good to have someone else to help you avoid the pigs’ shit (and the dogs’ teeth, for that matter). That’s the point of friends in a nutshell right there, isn’t it?
IN A NUTSHELL: Hans Rotenberry has a gift for catchy melodies, terrific harmonies and all the things I love about guitar pop songs. I hear influences such as The Who, Cheap Trick, Big Star, The Raspberries, but most of all I hear his fantastic songs. The band can rock, it can mellow out, it can get weird and silly, but they always hit their mark. This record is definitely a success – even if it’s only you and I who know about it!
or a princess’s forgotten wedding gown, waiting for the perfect moment to be revealed, to spring forth and burst into full display on humanity’s front lawn where it could be properly celebrated. Whether it would be revealed in my first novel, or my first acting job, or my first standup TV special, or my first music album, or my blog about my favorite records … well, these were mere details. The point, to my mind, was that it would, of course, be revealed.
The inevitability of my deep consequentiality, and its approaching impact on society at large, is so apparent that I’ve never felt compelled to work particularly hard to ensure that it would be, in fact, uncovered. It’s seemed like a waste of time and energy to, say, attend college for creative arts; unnecessary to deprive myself by working low-paying, menial jobs so I could focus on my creative endeavors. Attending Writers’ Camps, relocating to LA or New York, practicing my bass guitar … none of these things have been part of my path to success. I’ve simply relied on my gift: no, not that coiled genius, for that type of gift is unremarkable, common. My gift is Destiny. I can just sit back, relax, and let the glory make its way to me.
Would my life have then been a failure?
the question until I’ve obliterated the idea through sheer reasoning, re-contextualization and self-delusional flim-flammery. And let me start by saying that if my life were to surprisingly end with little or no established “consequentiality” from my artistic endeavors, the failure will not have been mine but will instead have been that of Destiny. For it was Destiny that wrote the ending, not me. Destiny labeled me as “Consequential;” I’ve simply enjoyed my creative pursuits. My only culpability was in trusting in Destiny.
Then perhaps a better question than “Am I a failure?” for me (or any artist) to answer is this: “Why do artists create?” There are probably 
the 
and those of less luminous stars, such as Black Sabbath’s 
So, then – if you are just doing what it is you do, creating art like other people maintain fingernails, is there any way you possibly can FAIL at it[ref]The grimy, gnarly, untrimmed fingernails of any creeps you know notwithstanding.[/ref]? I suppose you could create a piece that you yourself don’t like; or you could have the feeling that you never properly put down on paper, or in notes, or in marble or clay, what it was you truly wanted to create. These situations might make you feel like a failure, but I believe if you earnestly continue to work to improve and move your art closer to whatever vision is in your head, then it’s difficult for anyone else to make the case that you, as an artist, failed. Even if nobody buys your albums. (Or reads your blog.) This isn’t to say that any creative effort is good; it just means it wasn’t a FAILURE.
This means it’s not just the ACT of creating that’s driving them, but also the satisfaction of sharing the fruits of their labors. Keith Richards’ band continues to 
The point is this: you may not have heard of The Shazam, and 
I first heard The Shazam back in the early 00’s, in the days of 
I could’ve used more of the outro guitar solo, from 2:33 on, but there’s plenty of guitar left on the record.
with a style that gives many of the songs a “Who” feel. And the harmonies on the chorus “This is it!” (about 1:20) sound great. Rotenberry has a 
Such is the limited renown of this band that 
Others include “
This used to be one of my favorites on the record, and now I don’t know why that was. They also dabble in riff-rock on “
even if it’s only unknown-though-Destiny-bound-49-year-old-guys-with-album-countdown-blogs who realize what a gem it is. In the song “Some Other Time,” probably my favorite on the album, the singer tells an ex that the timing just wasn’t right for them. But if you imagine Hans Rotenberry talking to his bandmates, instead of an old lover, the lyrics describe a resignation that reflective artists everywhere understand. Even those of us with Destiny on our side.
IN A NUTSHELL: Jimi Hendrix, Mitch Mitchell and Noel Redding are in fine form on songs both heavy and light, each song bursting with the unmistakeable virtuosity of Hendrix’s guitar – sometimes subtle, sometimes bombastic. He plays a few pop songs, too, and always makes them sound like Jimi. He also displays an under-appreciated, soulful singing voice that particularly stands out on the lighter, slower songs.
All over the internet, folks are using the allure of VIP status to entice you to buy 
a little help
These essays and stories and blog posts all tend to focus on longtime relationships that are obviously important. The singular fact that your mother carried you inside her for nine-plus months immediately renders her important, whether or not 
friends, grandparents … these are all obvious types of important people. People in your life who fall into these categories have earned a claim to the title of Most Important Person, I am sure. “For fifty years, 
It’s a type of Important Person who perhaps hasn’t had such a broad or philosophical influence on your life, but who had a direct, specific, turning-point-facilitating impact. When you ask yourself “
your memory to step back through the stages of your life and consider how each link between stages was made. For example: I’ve had a 25-plus year career in the biotech/pharma industry. How did I get there? Well, I can easily walk back through the various jobs I’ve had at different companies in New England and California … and before arriving in California, I can go back in my mind to Pennsyltucky… where I can remember getting my very first pharma job at a 
the Department Chair (a terribly Important Person, no doubt), who, having reviewed the paper copy of my college transcripts would, by signature, assert that indeed I had fulfilled the requirements to receive a Bachelor’s degree.
chair’s office for his signature, and voila!! I had a Chemistry Minor! If I hadn’t gotten that Chemistry minor, I probably wouldn’t have gotten my first pharmaceutical job. And since I wasn’t looking for a career in pharmaceuticals, but only took the job (which was supposed to be temporary) so that I’d have some flexibility to 
Other FPIPs in my life include this wacky, effervescent, middle-aged dancer/actress/singer I met in 
and who I knew pretty well at the time, but whose name I can’t recall – was the guy who said “Axis: Bold as Love was a life-changing album for me.” He was an improv teacher at Sue Walden & Co., (now 
album 
overshadowed the fact that he’s actually a terrific singer! On this song he’s expressive and controlled as he takes the voice of the alien in “EXP” to 
at how Jimi can sing and play guitar so well at the same time[ref]Yes, yes, I know this is kind of in the job description for rock guitarist/singer, but most guitarist/singers aren’t as special as Hendrix is at both tasks![/ref]. In this and many songs, the melody he sings is a different rhythm than what his hands are playing – and sometimes his hands are doing additionally crazy things. I recognize that in a studio overdubs are used to make this task easier, but Jimi 
sound 
and it makes me wonder if I have 
but it is useful to remember that the band WAS a POP BAND, writing songs contemporaneously to artists like 
much Jimi vocal style and overdriven guitar, wild Mitch Mitchell drumming and a Noel Redding bass solo to ever be mistaken for Neil Diamond. “
sort of sounds like a 60s pop song. Mitch and Jimi do what they can on it, including Jimi’s soloing (about 1:30 and 2:12), in which he seems to be saying, “Fuck that shit, Noel, let me take over.”
and is one in a long line of songs (“Hey Joe,” “Machine Gun”) Hendrix played that featured gun violence, and they each approached the topic differently. “
the bass that whirl and expand, and provide a kind of tether for Jimi’s guitar atmospherics. Jimi gives a little chuckle at about 2:52 that – coupled with all the guitar on this record – always makes me think he knows a lot more about everything than I’ll ever know … That’s the best I can explain it. Even Mitchell’s drum solo afterwards can’t beat that feeling out of me. At 3:56 Hendrix begins to bring it all home, creating flutes, industrial sounds, outer space chirps … it’s the kind of song I’d have HATED as a Middle Schooler, because it would’ve scared the shit out of me. But I love it now.
a coda begins that takes the song to a new level. It’s one of the most perfect album-ending tracks I know. Satisfying, it somehow says “goodbye,” not so much in words, but just as plainly as the alien in “EXP” said “hello.” As the track fades, I’m always left feeling like The Jimi Hendrix Experience may have actually been from outer space, and may have arrived here for the sole purpose of guiding us listeners to a very, very happy place.