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Hey Babe. Juliana Hatfield.
1992, Mammoth Records. Producer: Gary Smith.
Purchased, 1992.
IN A NUTSHELL: Hey Babe, by Juliana Hatfield, is a straightforward 90s guitar-pop gem. Hatfield writes infectious melodies and the band behind her makes them sound alive and urgent. Her voice can strain at times, but it always suits the song, so I don’t mind. The lyrics are sharp, and offer a new perspective on relationships and culture. Get out your cardigan sweater and retro-Bobby Brady shirt, and re-live the early 90s with Juliana!
NOTE: The setup – below the line ↓ – might be the best part … Or skip right to the album discussion.
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As I begin to discuss album number 19 in my list of 100 favorite albums, and considering 
the pace with which I am completing each post, I’ve realized I should be at Number 1 sometime around 2022. Since this process is dragging out so long, I thought it might be a good time to review the process and discuss how I got here.
It has also dawned on me that as we reach the Top Twenty, there could be some rather upset readers who begin to notice that A) their favorite record won’t be on my list; and B) their second-favorite record is ranked far lower than some lousy record by some dumb artist they never even heard of.
This could cause the feeling among readers that “I just wasted 15 years reading this blog to find out this dude has shitty taste in music!!” (I will refund all the fees I’ve collected from any reader who makes this claim.)
Sometimes I reach an album and even I think to myself: “Really?? This record is this good???” But invariably, after I begin listening again, I realize: “Yes! This album IS THIS GOOD!!” Only once have I had a moment of doubt.
So once again, let’s review the process:
1) I listened to all* my CDs. This probably sounds more impressive than it really is. I know folks who have thousands, even tens-of-thousands, of all types of records. I only own a few hundred. I listened to them mainly in the car as I commuted to work. I only listened to CDs, so albums I have as computer files, or old cassettes, aren’t part of the pool. Sadly, I haven’t owned a turntable in a long time, in particular I don’t have one in my car, so all my vinyl records are ineligible, too.
* – I decided that Compilation Albums and Beatles Albums were ineligible. Compilation albums because these typically cherry-pick an artist’s best songs, which would be unfair; Beatles Albums because it’s me cherry-picking the 10 Best Albums in history ever, and so wouldn’t be fair.
2) I took notes and rated the albums 1 to 5 stars. This rating was based on my feelings after listening to the album. It wasn’t based on a considered, in-depth, song-by-song critique that analysed both the artist’s place in history and the importance of the release in the ever-expanding network of contemporary artistic expression; nor was it based on a
fixed list of characteristics that excellent records must possess. It was simply based on how much I felt the old “I-fucking-love-this-record!!!” feeling while I listened.
3) I sorted by number of stars. Five stars on top, one-to-less-than-one-stars on the bottom. This provided what one would think was an objective-as-possible list of records ranked by “I-fucking-love-this-record!!!“-ness. However …
4) I accounted for my own self-knowledge. You see, 
the point of this endeavor was NOT to have an objective list of “best” albums, but to have a subjective list of “favorite” albums. So I had to balance out the “I-fucking-love-this-record!!!“-ness with some “I-have-a-soft-spot-for-this-record”-ness and some “Yeah-it’s-great-but-it-doesn’t-really-speak-to-me”-ness. This meant that some truly amazing records that I’d rarely listened to, like Sticky Fingers, ranked lower than some, well, less-excellent records to which I had strong historical attachments. Like Yes’s 90125.
This is because I wanted to write about why I love the records I love. I couldn’t say much about Sticky Fingers beyond, “Wow, I should’ve listened to this record more often!” But I could discuss 90125 for hours. (Sadly). (There was one record, though, that I hadn’t listened to much that catapulted into the Top 20 because of just how amazing it is, and that record is XXXXXXXXXXXXXXXXX, by XXXXXXXXXXXXXXX[ref]This information has been retracted at the insistence of my 100 Fave Albums Overlords.[/ref].)
5) The list was set and could not change. 
This post explains why.
I don’t look at the list, except during a very specific time period: after I publish a post. When Number 20 went up a while back[ref]I’m sorry it can take so long between posts! I have a life, which interferes with this list, which is why I’ll be doing it until 2025, goddamn it.[/ref], I pulled out my list, crossed Ghost in the Machine off, and looked to see what was Number 19: Hey Babe, by Juliana Hatfield.
I can’t say I was shocked, as I’ve raved about this record ever since it came out, and I knew it was on my list. But when I considered some of the hugely popular records, important artists and highly critically-praised albums that I’ve already had on my list, I wasn’t sure this little indie release by this rather-unknown, 
never-hugely-popular singer/songwriter would really hold up as a Top Twenty Pick. But the thing is: I love all the records on this list so much that at any given moment in time, the 98th record might be number 4 and the 20th record might be too low to make the list. In my mind, there isn’t really a whole lot to separate any of the records on my list. Instead of calling them numbers 100 to 1, I should really count them down as numbers 1.099 to number 1. That would be a more accurate appraisal of my relative consideration for all these records. So if you’re truly aghast that, say, Axis: Bold as Love and OK Computer are ranked so much lower than Hey, Babe, think of them as record numbers 1.049, 1.057 and 1.018, respectively, instead of 50, 58 and 19[ref]I know, I know, statistically-speaking there is essentially no difference between the value sets {50, 58, 19} and {1.049, 1.057, 1.018}. But this isn’t a Mathematics Blog.[/ref].
But numbers-schmumbers … I am NOT aghast by the state of my list! Hey, Babe is an excellent record! 
I first heard about Juliana Hatfield when her band The Blake Babies had a song or two playing on the old MTV show 120 Minutes. I thought they were ‘eh.’ I was living alone in a little cabin in the woods when 120 Minutes played the first single from Hey Babe, and I was hooked immediately. Kurt Loder did a little MTV News segment on her, and I went out and got the record. I’ve loved it ever since. It was never a huge hit, but it’s gotten some critical love upon its recent re-release.
The single that got me hooked is the first song on the album, “Everybody Loves Me But You.”
I have a history of liking acts with unusual vocalists. The Hold Steady, Sleater-Kinney, Rush … all these bands have somewhat divisive singers. Juliana Hatfield has a girlish, soft voice that strains to hit some notes, but I appreciate the punk spirit of singing the songs regardless. Her voice doesn’t at all hinder the terrific melodies she writes. This song starts with a cool guitar riff, and a descending bass line at about 
5 seconds, then the main riff starts. She spits out the lyrics quickly. I’ve heard people criticize her lyrics as having too much “poor-little-girl-won’t-a-boy-save-me” emphasis. But I think this criticism unfair (and perhaps a bit sexist) – I’m a man, and I very-much relate to the first-person narrator that tells most of her stories. For me, most of the lyrics aren’t gendered. Anyone who’s ever felt the heartache of knowing one’s targeted “right person” never feels the same way for you can understand “Everybody Loves Me But You.” And her voice does some really cool things, like at 1:48 when she puts a flourish on the word “tired.” It’s a cool, catchy pop song with a cowbell breakdown at 2:30.
The album has a definite 90s, alternative sound, with distortion and furious strumming carrying the bulk of the guitar sounds. There is very little “soloing.” And the Pixies-ish loud-quiet-loud sound pervades. It’s all put to good use on “No Outlet.”
I like the guitar doodles behind the soft part, around 0:30, and how the song deftly transitions between loud and quiet. 
Around 1:40 there is a solo of sorts, just some long, held notes, until the song drags to a near stop at 2:40, then moves to a really nice bridge. It’s a really cool song with different parts and lyrics describing (I think) the frustration and regret (which men feel too) of physical connections made without the emotions that make them worthwhile. The riff heavy “Quit” is another dip into 90s motifs, including suicidal lyrics, that doesn’t work as well for me.
The acoustic song “Ugly” was ahead of its time, an introspective, woman-centered song a few years before Lilith Fair. It got a lot of publicity back in the day for its direct approach to the topic of women’s self-image. Then it got a little backlash for being too meek. To me, its just an expression by an artist of one thing she’s felt. And these expressions of self are part of what I love about the record.
For example, “Lost and Saved,” one of my favorite tracks for its music and for its lyrics that capture the craziness of falling for someone you shouldn’t.
It’s got cool dueling rhythm guitar coming from each speaker, and the drums, by Todd Phillips, really move the song ahead. Hatfield’s thin voice strains, but fits perfectly. What’s best about the song, though, 
is the chorus that swoops in (1:19), features great “ooo’s” and then falls into a creative guitar solo at 1:38 from guitarist Mike Leahy. It’s a catchy, 90s guitar pop song that I sing along with every time. In my mind the song is always paired with its follow-up on the record, “I See You.” It’s a song about obsession, and – like “Lost and Saved” – also features 90s folk-rocker John Wesley Harding on backing vocals.
It has another catchy melody that I find myself singing throughout the day when I hear it. I like the lyrics of this song: “I’m not a loser, I’m just lonely” is a phrase that many people knocked around by their heart’s status can relate to. Most of the 
songs on the record discuss non-existent, or really bad, relationships. The song “Forever Baby” tells the story of a woman who has settled for a way-less-than-ideal man. The lyrics are Elvis Costello-esque, with lines like “I hold him like a loaded gun/I know he might go off with anyone,” and “I see a long lost home in his eyes/He sees a nice hotel in mine.”
The relationship songs are good, but my favorites on the album are less direct, or, in the case of “Nirvana,” directly about a different kind of relationship.
https://www.youtube.com/watch?v=-X1n-9c0ol4
It’s about Hatfield’s love of the band Nirvana, and it brilliantly expresses the effect that music can have on a listener. The song begins, appropriately enough, with feedback, and continues with crunchy chords from guitarist Clay Tarver. It’s an aggressive song that has a sweetly melodic chorus (1:13) much
in the vein of many Nirvana songs. The harmonies are terrific, and I’ve always loved the lyrics “Here comes the song I love so much/makes me wanna go fuck shit up.” It’s the feeling I had when I heard Nirvana. And the bridge lyrics (2:20), about the effect of music, are also just right: “When the sound goes around/and goes in your ear/You can do anything/you have no fear!” It’s a favorite song of mine, and apparently Kurt Cobain liked it, too.
It’s a 90s album full of 90s sounds, 90s themes and 90s guest artists. Head Lemonhead, and fellow New Englander, Evan Dando appears on many songs, including The Lights, a slow meditation on lost love. But the best guest appearance is by Minutemen bassist, fIREHOSE leader, and all around terrific guy, Mike Watt on the song “Get Off Your Knees.”
Hatfield plays bass on all the songs except this one, 
which she turned over to Watt. And the bass really makes the song. It’s another of my favorites on the record, almost entirely because of the bass. It’s a fine, quick song, about something, obviously, but it’s all about the bass. Plus it serves as a nice introduction to the closing song on the album, the ambitious “No Answer.”
It starts off a bit searching, and unsure, but by 0:45 the sweet guitar by Mike Leahy brings it all back to a nice “doo-doo-doo” chorus.
There’s a lingering guitar interlude which is allowed to build slowly to the second verse. At 2:25 Hatfield again salutes the effect a good song can have, singing “I jump in the car/turn the music on/I’m gonna be gone/Don’t know how long.” It’s another lost-love song, that after another sweet chorus breaks into an extended outro that cries out for a long car ride. It’s a terrific album closer.
Hey Babe is a totally early-90s record. In the early 90s I was unsure, changing … a young adult figuring things out and never thinking I’d one day be consumed with counting down favorite records and sharing my connections to them. I didn’t know what I was doing back then, and I don’t really know much more nowadays. I do know I have a list of records I’m counting down, and this one’s on the list. And now that I’m done writing about it I wonder: Shouldn’t it really have been higher on my list??
Track Listing:
“Everybody Loves Me But You”
“Lost and Saved”
“I See You”
“The Lights”
“Nirvana”
“Forever Baby”
“Ugly”
“No Outlet”
“Quit”
“Get Off Your Knees”
“No Answer”
IN A NUTSHELL: Ghost in the Machine, by The Police, is a fun record full of infectious rhythms and catchy melodies played by three musicians who are among the best. Stewart Copeland’s drums shine, as always, Sting’s bass and vocals are top-notch, and Andy Summers’s guitar is subtle and joyful. The songs are repetitive but never tiresome, creating a bouncing, hypnotic feeling that makes them enjoyable again and again.
also had to be prepared for the dreaded “chatty mom[ref]Far less frequent were chatty dads, as my dad, and most of my friends’ dads, RARELY answered the phone.[/ref]” who would ask you questions about your day, your family, or your schoolwork, when you just wanted to find out if Johnny knew where the party was. And what girls were going.
likely for dorky teens like, well, some folks I know, calling people with whom you hoped to go on a date. Or, actually, most likely for – again – some people I know who, there’s no reason to name names, or to comment on hobbies they may have nowadays as 50+-year-olds, like writing blogs about records they like – but anyway … for some people, just thinking about the possibility of maybe calling somebody with whom they hoped to go on a date was an important reason to have a phone.
different relationship with phones than past generations. Teens of the past dreamed of having their own telephone line in their room. Teens in the 80s loved phone conversations so much that they’d call 
use as a bad thing, but let me tell you: teens aren’t missing out on anything by abandoning the telephone. Phone conversations as a teen were horrible, particularly conversations with someone you wished to date. Most people were not as cool as The Fonz on the phone. 
of possibly getting an answering machine. How much information would you leave for random family members to hear? If you’d never spoken with the girl before (often times you didn’t have to ask girls for phone numbers, as their friends could be the conduit for phone numbers), how much information would be enough for them to know who you were? Answering machines had great potential for 
there was typically a lot of breathing, throat-clearing, “um”s, and repetition of meaningless, mild interjections uttered purely to break the silence: “Okay …” “So …” “Well, anyway …” It was a situation fraught with anxiety, and I can’t think of a reason why phones were any better than using text, Snap-Chat, Kik or InstaGram to blunder through adolescence. 
the 60s, from both 
much summed up my thoughts about possibly calling a girl: “I resolve to call her up/A thousand times a day/And ask her if she’ll marry me/In some old-fashioned way/But my silent fears have gripped me/Long before I reach the phone/Long before my tongue has tripped me/Must I always be alone.” The song seemed to play on MTV just about every hour in 1981-82, and I identified with it immediately. Stewart Copeland’s drums are always fantastic on any Police song, and this one is no different. The piano and synthesizer is used to great effect,
and Sting’s bass provides a bit of a reggae feel that makes the song bounce along.
the song that first caught my ear, but it’s not representative of the album as a whole. While “Every Little Thing…” is a typically constructed (i.e. verse, chorus, verse, chorus, bridge) rock song, with the vocals carrying the song and the instrumentation supporting it, most of the rest of the album’s songs are riff-heavy, grooving, meditative, pieces that, while they retain a strong melody, can be rather hypnotic. They’re repetitive without being monotonous, as with the second single on the album, “Spirits in the Material World.”
slinky and mechanical and that never seems to fit the 
by synthesizer for the final mix of the song, which may be why he 
Copeland’s drums are fantastic as always, and Sting sings 
has one of my favorite openings on the record. I like that opening riff, and I really like Sting’s vocals on this song, sung from the point of view of
including harmonies, are great. Summers has some cool riffs and solos, which is always a treat. As good as the individual players are, Police songs rarely sound extravagant or self-indulgent (except for, at times, Copeland’s drumming, which I don’t mind!) For example “
The bass is fun, and all the weird sax sounds are cool, too. But I love listening to Summers’s odd chords played throughout the verses. Another fun one is the 
because the lyrics
But the “filthiness” of the lyrics was overblown – just like the concern people have about telephone communication dying. The decline of telephone calls between teens is nothing to lament. The calls were stressful, often unproductive. Sting understood that. A better use of time than calling each other on the phone is to take some time and listen to Ghost in the Machine. Be entranced by the rhythms of Stewart Copeland, get caught up in Sting’s bass and vocals, listen closely for the strange chords and subtle phrasing of Andy Summers. Then text that girl or boy you’re thinking of – it’s so much easier than the phone.
IN A NUTSHELL: War, by U2, is when the band put it all together, melding their signature sound with terrific songs up to the task of delivering their message. The guitar work by The Edge is like no other – furious, dive-bombing, alarming sounds; and the rhythm section of Adam Clayton and Larry Mullen, Jr., give it support with enough space for it to shine. Bono sings distinctive melodies and leads the charge on an album that keeps me coming back again and again.
that I like, I have no problem reading/watching/listening again. And again. And again.
but there were also no DVDs or VHS tapes. Actually, by the late 70s some schools and some very wealthy people had VCRs to play videotapes, and by the early 80s some households had them, but they weren’t common. If you wanted to reread a book, it was easy. If you wanted to re-hear a record, you’d play it again. But if you wanted to see a TV show or movie, you were at the mercy of the TV schedulers and movie distributors.
The idea of a TV schedule is as antiquated as a butter churn. But in the 70s, dammit, there was a TV schedule, see, and what was scheduled was what you could watch, and you couldn’t watch anything that wasn’t scheduled, see, so there was a weekly magazine called TV Guide, and schedules were published by newspapers each week, and these told you when you could watch a show and dammit, that’s the way we liked it[ref]Not really. It sucked.[/ref]!
and 
Summer reruns were a different sort of rerun. These were all the shows you loved to watch at night from September to May, but repeated during the summer months, while new episode production took a break. Did you miss that Mork & Mindy episode back in November, where 
Friday night in the auditorium for students as an alternative to a dance.) Those UHF stations that showed old TV shows during the day often showed old movies at night. This is how I saw 
and when cable blossomed and suddenly 70 channels required “content,” and when VCRs came down in price and 
in three years (6th through 8th grade) for book reports for four different English teachers, then I read it several more times for fun.
than 
as a junior in high school, and I distinctly remember my friend Rick (who helped spark 
at least twice, sometimes more. I was obsessed by its sounds and words, the guitar the melodies. It rocked, but it was unusual, it sounded like helicopters landing in my ears – but in a good way. At this time, U2 was not well-known, just an MTV band from overseas, like 
simple yet contagious. And by 40 seconds, he’s just scraping his strings along with the drums as Bono carries the melody. Like Edge, bassist Adam Clayton is very adept at playing a simple line and making it sound great – I particularly like his descending run during the “how long must we sing this song” line. Throughout the song, Irish violinist Steve Wickham offers counter-melody and aural highlights that give the song a poignant, haunting feel. The Edge offers great background harmony vocals and plays a solo at 2:42 that is, again, simple but effective. What really gives the song its power 
They’re timeless lyrics, and the line “When fact is fiction/And TV reality” is particularly resonant in 2018 America. The drum beat, the insistent guitars, the violin, the vocals … it’s a terrific song, and I knew immediately why Rick had insisted I hear it, and why 
in many ways this is “Sunday Bloody Sunday, Junior.” Mullen’s drums are particularly cool-sounding from about 1:05 to 1:15, as he pounds that high-hat. The moaning background vocals always sounded a bit spooky to me, and when I heard Bono and Edge sing “Say goodbye,” at about 2:00, and the TV snippet that sounded like kids training to be soldiers (actually it was women soldiers from the documentary 
just wringing unusual sounds out of his guitar. After this album, Edge’s sound would sometimes feel redundant, less revolutionary than it did on “New Year’s Day.” He crashes into the song at 1:10, then his guitar continues a conversation with the rest of the instruments throughout. The section from 2:40 until the end of the song contains some of my favorite guitar-work ever. At the time I was hearing this, it sounded so different to me – and that guitar, together with the song’s pounding urgency and Bono’s powerful vocals (and Edge’s backing vocals), made the song particularly inspiring. The 
forget bassist Clayton, who once again plays a minimalist bass line that propels everything else.
when American administrations welcomed refugees, a time that will return.
“
I love the opening harmonics from The Edge. It’s a very simple track with a terrific vocal melody and great Edge-work throughout. It’s a rather ethereal track, with odd guitar noises swooping in throughout, including a recurring bass guitar “boing,” as at 1:52. After 2:40, Edge plays a very creative guitar solo, definitely indicating that his future was going to include more pedals, more effects, more computers. Bono’s lyrics are about 
It opens with a cool distorted tape sound and Bono counting off the opening. The cool bass line is actually played by The Edge, as Adam Clayton had left the studio for the day. (It’s a bass line that 
IN A NUTSHELL: Tim, by The Replacements, is raucous, funny, sad, and sloppy. But most of all, it’s full of amazing songs. Songwriter/singer Paul Westerberg’s lyrics are some of the best around, and his gruff delivery lends weight to them. Guitarist Bob Stinson plays a million riffs and terrifically odd solos, and his bassist brother Tommy plays bouncy lines with drummer Chris Mars. It’s a collection of songs that are both fun and heartfelt, rock music done right.
extras I did in the middle
talked about TV and school and sports. Any other topics were “serious,” and so had very limited space available to them in the common scope of interpersonal discourse. You could discuss health at the doctor’s office and religion at church, you could tackle sex and money and drugs and other emotional topics in oblique, humorous ways, but other than that, “important” topics were taboo. Thank goodness for 
at times, on TV shows, like 
and touched too many too-sensitive nerves, to bother the grown-ups around me for confirmation.
taboo topics, including child abuse, appears to have lifted over time. In my life, TV in the 70s and 80s was a big change agent for this openness. Shows like 
and all threatened children still need to be protected. But the fact is that efforts to improve the lives of American children 
But I’m glad they turned their pain into such amazing music! Their story is 
Tommy’s brother Bob handles the guitar, which is somewhat buried in the mix. But as with most all Bob Stinson guitar, it’s always doing something interesting – little runs (like about 0:40), or hitting great chords (like behind the “Razzle-Dazzle” chorus), or playing vaguely Eastern-sounding solo (about 2:35). What carries most of the songs, however, are singer/songwriter Paul Westerberg’s lyrics and delivery. He’s an 
revolution, and one reason they never reached the mass popularity of some of their peers, like R.E.M., was their reluctance to embrace the MTV era. The video’s realization of the band’s “F-you” ideals is great, but what makes it even better is that it allows the listener to really hear the words. It’s an anthem about 
which got the band “
a love interest by 
and the descending three chords that come in right at 17 seconds are the sort of musical touch that draws me into a song. Mars’s drums drive it forward, and Tommy’s bass behind the chorus is great. The way the band builds to “Kiss me on the bus,” with a little guitar run (1:27), can give me chills. Bob plays a nice little Country-Western solo (1:47) then throws in cool chords as sleigh bells chime along. The song is a quick burst of pop perfection. (The band also 
they enhance that punkiness with a piano (by Westerberg) and slide guitar. On “
stations who played all those punk songs; and all the DIY’ers; and all the weird and cool stuff that big-time radio wouldn’t touch: College Radio. The college radio stations were typically found way down in the FM stations around 88, 89, 90 MHz, where the big time stations never were. These numbers were found on the far left side of any radio dial, whether a car, boom box or clock-radio. So if you wanted to hear cool music, you knew to look way over to that side: “Left of the Dial.”
The 
It’s a story of a woman 
the attachments with others one makes there, and the knowledge that – like you – those other folks are really attached to the bar, not the other regulars. Phrases like “I used to live at home / now I stay in the house,” and “Am I the only one that feels ashamed?” are terrific. But Westerberg pulls a neat trick by adding a sing-along chorus that gives the song a feeling of connection and warmth and keeps it from being purely heavy and dark. He’s a songwriter who seems to naturally understand the complexity of humans, and incorporates it into almost every song. I think that’s why he’s one of my favorites.
IN A NUTSHELL: We Love the City, by relatively unknown British band Hefner, is a record of brilliant melodies that provide enough cover for leader Darren Hayman’s soul-baring lyrics that the listener doesn’t feel uncomfortable. Whether singing about sadness and loss or giddiness and love, or even politics or sex, the band will have you singing along with gusto, so you won’t be able to cry. And that’s what keeps me listening again and again.
When I was young, elementary school through high school, and even into college, I was a big fan of 
of happiness, such as “Happiness is having something to look forward to,” and “Happiness is waking up, looking at the clock and finding you have two hours left to sleep,” accompanied by drawings of the classic Peanuts crew: Charlie Brown, Lucy, Linus, Snoopy, etc. Most of the statements described happiness very well to me, and made sense. But a Sad Song? It says right there, it’s “sad,” not “happy!” How can a sad song be happy? It was one of those weird, grown-up, inexplicable things that made no sense to young me, like my grandma’s claim that Coke was “too sweet.”
many other people
pop/rock, and sad pop/rock songs are typically – but not always – about lost love. The Adele mega-hit “
was a top-15 hit between 1971 and 1976. Their brand of mopey, depressive Loser-abilia landed in the sad-song sweet-spot – the early 70s, an era which must be the apex (or nadir, depending on your perspective) of sad pop songs. The charts were filled with maudlin odes to all kinds of woe. In addition to break-up songs, like “
and “
can be sad because of the time and place you experience them. For example, the Wings song “
to a Little League baseball game that was supposed to be the first game in which I’d play – and a sudden rainstorm washed out the game. I still have a tinge of sadness whenever I hear it. Also, songwriters’ lyrics aren’t always what gets you: one of my favorite sad songs, “
and “
time I heard a Hefner song. In 2000, I was a 
It sounded like something from the late 70s, and the obviously British singer, despite a definite warble to his voice, had a confidence and earnestness that stood out. I thought it must be some established rock act that I’d always heard about yet never listened to, the type of artist that sells few records but has all the critics’ ears – like Nick Cave or The Soft Boys. By the time the singer was screaming at the end of the song, I had to know who it was! The band was Hefner. I fell hard for the band – as hard as bandleader Darren Hayman seems to fall for every woman in every song. I fell so hard that I eventually spent more on a single Hefner record than I’ve ever spend before or since, $40 for an import-only live album called 
The sadness is revealed slowly, with singer/songwriter Darren Hayman first 
and it gets to its hooky verse quickly. Hayman has the look and sound of an unlucky-in-love schlub, careless with his heart, too eager to fall in love, and never embarrassed by his declarations. He imbues all these songs with such emotion, and when he sings “you should stick around/ to hear me hit the ground,” it’s clear that he’s not actually considering jumping off a building, but that his heart has been pushed off the ledge. I really connect with this song, maybe because I’ve felt this way in my life but always kept it to myself, so it’s good to hear somebody singing it and making it real.
But Hayman and the band aren’t depressive and mopey. They’re actually rather funny, as that video above shows, and as 
There’s an organ break between verses, and as he builds intensity with each verse, he throws in terrific phrases that present a clear image of him and the relationship. “After a week or two … she was my girlfriend/but I couldn’t call her my girlfriend.” “The first time she came to my house/she brought Chardonnay/ Now I buy Chardonnay.” All the while the exasperation in his voice increases, until “On March the 23rd” she dumps him. At 3:45 the song stops for Hayman to plead for her return, and then those damn two chords continue, mimicking the rut one’s emotions can fall into. It’s a simple, terrific song, and for anyone who’s ever been on the wrong side of an unbalanced love equation (i.e., the person who cares too much) the song is right on target.
the story of a woman who 
But if Hefner’s songs were simply needy, emotional exsanguinations, We Love the City would be horrible. What makes it work are the terrific melodies behind the words. Words are always secondary for me[ref]You can’t be 
draws the listener in, too: “I’m not a greedy, ugly person,” the listener says. “I know just what you mean!” A simple scratchy guitar opens the song. The verses and the chorus have a great melody, then a counter melody enters “Love don’t stop no wars …” which also sounds great. I also like guitar, and most of the songs have something interesting happening on guitar – like the little bit behind the vocals here, about one minute.
organs create a symphony behind the vocals. It may be my favorite song on the album. Or perhaps my favorite song is the multi-part, Broadway-esque (and I can be a sucker for show tune-type songs) “The Cure For Evil.”
I love them all. But this song seems a step beyond the others. It eventually becomes a duet between Hayman and Fletcher, and this time it’s not just Hayman’s anxieties set to music, but also their impact on someone else. It starts with a simple piano phrase, and – as is typical – builds with each verse. He tries to 
were an “Emo Band?” They don’t scream much, or wear makeup and black trench coats, but Hayman puts his feelings right out there, and I can empathize with all of them. Since they’re wrapped up in interesting sounds and great melodies, I can listen time after time. Linus was right: Happiness is a Sad Song. Or a Love Song. Or an Angry Song. As long as the melody’s catchy and the words are sincere.
IN A NUTSHELL: Houses of the Holy, the fifth album by the mighty Led Zeppelin, is eight different songs, eight different genres, and all kinds of cool. Robert Plant, Jimmy Page, John Paul Jones and John Bonham are in fine form whether playing famous riffs, supporting lush orchestral works, or taking on funk and reggae. It doesn’t sound like other Zep records – and that might be why I love it!
by this grand pronouncement: Every artist abhors plagiarism.
However, creativity is a weird thing. The raw materials of creativity are pulled from the surrounding world, and most people experience that world – at least in part – via the art around them. Books, movies, songs, visual art … it all becomes – along with everything else in the artist’s life – another input to creation.
of pop music[ref]A brief list I put together indludes A$AP Ferg, Chuck D, Freddie Mercury, John Lennon, Talking Heads, Radiohead, Pete Townshend, Keith Richards, Michael Stipe, Kanye West, Florence Welch, Mick Jones (The Clash), Tupac Shakur, Eric Clapton, Jimmy Page, Lady Gaga, Joni Mitchell and Ronnie Wood. And that’s just one quick search![/ref], from Pete Townshend and Keith Richards through A$AP Ferg. Musician/novelists include country-rocker Steve Earle and John Darnielle, of 
Chuck Berry song “
modern pop music. 
and 
good enough writer to disguise it – I would completely steal four pages from Chuck Klosterman’s 2005 book Killing Yourself to Live right here. On pages 197 to 201 of that book, he explains the popularity of Led Zeppelin with men, and posits that “every straight man born after the year 1958 has at least one transitory period in his life when he believes Led Zeppelin is the only good band that ever existed.” In a resonant few hundred words he concludes “Led Zeppelin sounds like a certain kind of cool guy; they sound like the kind of cool guy every man vaguely thinks he has the potential to be, if just a few things about the world were somehow different … For whatever the reason, there is a point in the male maturation process when the music of Led Zeppelin sounds like the perfect actualization of the perfectly cool you.”
My freshman year roommate 
“the best” 
both had been around the music business for years before Led Zeppelin began, so they knew their way around contracts and rights. They either thought no one would know, or they thought they’d changed it enough to disguise it.
Led Zeppelin is a collection of four talents unsurpassed by any other rock band, and bassist John Paul Jones (who is my favorite member, although I play bass and so have a special fondness for bassists) starts showing his skills immediately, bouncing behind Page’s guitar. Page has a nifty solo, and then the song slows to allow the mighty Robert Plant to start singing. My only complaint about this song is Plant’s voice, which is slightly speeded up, giving his already high-tenor sound a kind of mosquito-esque timbre. His lyrics are about 
From Page’s solo at 3:47 until Plant enters again at about 4:50 is one of my favorite 60-seconds-worth of rock music. It’s a fantastic opening track.
each verse Page beautifully calls to mind rainfall on a series of descending runs (1:08). The band has never been shy about putting orchestral arrangements in their songs, and they revel in the lushness on this song, taking time to let the music swell and ebb, nearly 3 full minutes without vocals. So much happens in those three minutes – Jones plays lovely piano, Page deftly supports it all, and John Bonham finally enters, with some soft triplets. It’s a lovely piece, and Plant has barely sung at all, but the last half is his. His melody lags behind the music, helping give the entire piece a hypnotic, drowsy feeling. Behind the second verse, the Bonham’s drums are gradually building the song’s momentum until, just about 4:55, Page’s acoustic sets up the crash of drums to transition the song into Full Power Mode. It pulls back for the final verse, and resolves with a last acoustic coda. This song is wonderful and should not be blamed for any 
most Led Zeppelin song Led Zeppelin ever played. The first minute and a half is country-folk, almost CSN&Y-sounding, but Bonham crashes in at 1:26, and Plant uses his signature wail on a 
ever played in a 9/8 time signature, “
but instead is a phonetic spelling of the country Jamaica, the birthplace of reggae. It’s another song some Zep fans hate, but I love the big drums, the clear Jones bass, and the sound of Page’s guitar, especially the picking behind the vocals. Plant avoids the temptation to affect an island patois in standard “
it while inebriated
dissonant chord 5 seconds in! The wailing guitar by Page sounds cool, and Jones plays a strange synthesizer that isn’t noticeable at first, but by the second verse is peeking through. Plant 
then powers ahead with a 4/4 beat, with 3/4 thrown in every fourth measure. I imagine Page coming up with this riff, and whereas most drummers would ask him to hold the last note an extra beat to keep the entire thing 4/4, Bonham instead rose to the challenge and just incorporated it. Plant is at his upper register, wailing in his best blues style 
Later, at 3:17 they transition into a sort of 50s rock-and-roll style coda to bring the song and album to a close. It’s a great ending, in the show-biz tradition of big bands or stage extravaganzas, and I have to agree with Plant when he exclaims, “Oh, it’s so good!”
IN A NUTSHELL: The Fine Art of Surfacing, the third album by Ireland’s The Boomtown Rats, is at times cool, skinny-tie new wave and at times theatrical, Broadway bombast. It’s all tied together by terrific guitar and organ work. Bob Geldolf’s warbling voice on clever, insightful lyrics is the constant throughout all the songs. He pulls no punches, whether his topic is violence, suicide or humans’ indifference to suffering, but it never feels heavy, and it always makes you want to dance.
I’ve 
in tiny clubs with a handful of other folks. He speaks of those days – of seeing Monk drive off to get ice cream with friends just before a brilliant set 
I know folks who got into The Grateful Dead in the early 70s, have seen dozens of their concerts and traveled along with them. I know a guy who was bored by rock music until he heard The Ramones in ’76; I know people from New York City who experienced the Hip Hop and Rap revolution in the early 80s right in their own neighborhoods. Music fans often have a time in their life, be it one night or an era, that sets the stage for everything else. For me, it was MTV in the early 80s.
My 
you had to go by 
coolest part of MTV (for me) was all the music by artists that I’d never heard of before, particularly UK artists.
And it’s true, the acts did usually have an image. But I was already a fan of image, even before MTV. I loved 
playing catchy ska songs with horns. 
To me, as catchy and fun as the British Invasion songs could be, the bands didn’t seem foundationally sound enough to support an entire album’s worth of music. My sister, Liz, however, did have some cassettes by some of these bands. One of her best friends, a cool, funny girl named Leeanne, 
part of the Second British Invasion, solely from one song that played on MTV, and sometimes on 
it’s not something I’d want an album’s worth of. As much as I liked the song on MTV, I never thought about buying The Fine Art of Surfacing. But Leeanne told me the band was good, and then I saw the cassette in my sister’s collection. I listened to her copy a lot, then finally bought my own. The energetic songs and interesting arrangements had me hooked. The band seemed to be more than a marketing exercise, and there was more to The Fine Art of Surfacing than a sad, epic piano song.
the stage, and the way this introduction builds through the addition of voices, organ, drums, until it kicks in at 0:30 with electric guitar and singer Bob Geldof’s warbling voice stating “On a night like this/ I deserve to get kissed/ at least once or twice.” There’s cool electric guitar cutting through the verses, and a desperation to the group vocals beginning at 1:15. The vocals’ urgency increases through the second verse, on lyrics 
was fond of including sounds and noises in the background of their songs, and “Sleep” features this, with moaning groans at 1:00 behind “sick and tired” lyrics, and a rhythmic “shushing” in the background at 1:20 while Geldolf’s voice spirals into dejection. It’s a very theatrical song that keeps enough of a foot in the rock door to keep me satisfied.
There’s much theatricality in the Boomtown Rats and Bob Geldolf. Geldolf did some acting, famously playing the lead character “Pink” in Alan Parker’s film adaptation 
Harry Hooper buying a toupee. The song has some cool timbale drums and some (frankly, dated sounding) hooting synth sounds. But there’s nifty guitar guitar riffs in the background. It’s a short, peppy song – which is another type of song the band favors. “
backs off for another round of verses. This builds to the chorus: “They said she did it with grace/They said she did it with style,” and Diamond eventually goes out “kicking at the perfumed air.” The lyrics say so much about a type of person, a type of social stratum, in such a clever, acerbic way. The song next goes into a long “la la” fade out. The song is singalong catchy and fun, yet dark and pointed.
the acoustic guitar mixed with electric, even the swooping organ, and I love the spirit of the song, and Geldolf’s vocal performance. It’s bouncy, fun to sing, and I could listen to it every day. There’s an acoustic guitar solo at about 0:17 that sets the stage, then the bass takes over to support Geldolf’s barrage of words. They’re all about 
that builds to a dual electric/acoustic guitar solo at 3:00, which slows at 3:28, then builds again, and it all just sounds like the ecstatic feelings you get when the one you asked on a date says yes! Of course, they wouldn’t be Geldolf lyrics if he didn’t remind you at the end of the song that you’re still chained to your desk …
“
IN A NUTSHELL: The Dark Side of the Moon, Pink Floyd’s wildly successful album, is another record from Floyd that demands to be heard in its entirety, first song to last. Roger Waters may have written most of the songs, but this is a David Gilmour tour de force, both for guitar and vocals. It’s a timeless record deserving of its many accolades and commercial success. The themes of being human in a modern world still resonate today, nearly 50 years after its release.
The attitudes were, by today’s standards, a little crazy. For example, seeing kids 10 or younger walking down the street smoking cigarettes would elicit a “tsk, tsk” sort of reaction from most grownups, equivalent to the reaction you’d get if a kid drank coffee. People just didn’t worry much about tobacco use. 
Most adults were less blasé about alcohol, but even so by high school there was a small but significant percentage of parents who didn’t give a shit if their kids got drunk. Many of them bought the beer for “partying.” Their attitude was “it’s just beer, what’s the big deal?” Most of them had been drinking beer since their own pre-teen years.
“Drugs” were less well-understood by the adults around me. Most of them were either too old or too square to have been truly a part of 
out with only one’s closest friends while drinking. These are the people you like, the people who are fun, the people most likely to be forgiving if you do something stupid, the most likely to help you out if you do something stupid and dangerous. I only had two friends who I knew used alcohol – most of my close friends were 
required careful consideration of impinging factors, each influencing the others producing a variety of, at times, seemingly irreconcilable possibilities. I wouldn’t be surprised to learn expert teen drinkers from 1980s rural Pennsylvania went on to careers planning and executing 
although it was customary to give the thief a few bucks for the effort. It was also gross to drink, generally didn’t last long, and induced vomiting at a rate higher than other comparators. As for wine, well, come on, nobody was bringing wine anywhere. (SIDE NOTE: This was the beginning of the wine cooler era, which did show up at some drinking events. Wine coolers were an example of goods in which the 
or b) go to a Beer Distributor to buy cases and kegs. This would initially seem like a barrier for teen drinkers – having to go into a store for beer as a (generally) obviously not-yet-21 customer. However, there were countless middlemen (older siblings/ cousins/ random weirdos/ parents) willing to make the purchase for you for a fee. Also, plenty of bars and beer distributors were more concerned with making a buck than with laws and safety and were happy to pretend that some dude, barely able to grow a few whiskers and wearing a “Class of ’85” t-shirt in 1985, who arrived in a station wagon with a “Proud Parent of an Honor Student” bumper-sticker, was likely older than 21. You didn’t even 
Although parents in the mid-80s were less likely to get their collective panties in a bunch over alcohol use than today’s grown-ups, the consequences of being caught drinking or drunk as a teen were clear (possible arrest, parents being informed, etc.), and the extreme consequences (your angry parent has heart-attack at news of arrest, etc.) were always in the back of my nervous, rule-following mind. So one had to be careful about where to go. Of course there were 
fire-watching tower called “
You’d park somewhere (somebody always seemed to know where) and you’d walk through the dark woods (somebody always seemed to bring a flashlight) and you’d stumble over roots and stumps (somebody always seemed to fall and get mildly injured) and try not to drop the cases of beer (somebody always brought bottles instead of cans) and eventually emerge in a clearing with one big tower in the middle and a million empty beer cans around it. Then up the tower, lugging that beer, where drinking commenced.
didn’t follow the trail of beer cans (somebody always had to drink on the walk to the tower) and come visit the tower every 90 minutes; and b) nobody ever fell off – including the kids who always drunkenly dangled over the edge. (Somebody always drunkenly dangled over the edge – in those days there was only a waist-high railing encircling the top of the tower.)
The great thing about cassettes was that you could stash a few in your pockets, or girls could put some in their purses, and you’d have a lot of music handy. Sure, it wasn’t as easy as 
These were great drink-along, background music songs, for getting loud (Zep), getting weird (Peppers) and singing along (Eagles). But at the end of the night, when the drinking had slowed and most of the crew had begun hiking back through the deep, dark woods; when any craziness and danger had ceased; when the alcohol had massaged our emotions, and the folks who smoked weed had finished smoking their weed, one of the three or four of us who remained would pull out The Dark Side of the Moon, (somebody always pulled out The Dark Side of the Moon) and we’d just sit there and listen.
to be listened to in one sitting, beginning to end. I don’t think I’m being very controversial in saying that Pink Floyd albums, particularly ones from the 70s, have far more impact as a singular artistic statement than as a collection of songs – even though many of the songs are brilliant in their own right. Founder and sometime bandleader, bassist Roger Waters, was fond of grand themes and he has stated that Dark Side of the Moon was “an expression of political, philosophical humanitarian empathy that was desperate to get out[ref]He said this in the great BBC program “
cool bass octaves and drummer Nick Mason plays some Ringo-esque drums behind nice keyboard work from Rick Wright and mournful pedal steel guitar by Gilmour. The band plays a nice long intro before Gilmour’s voice enters on lyrics from Waters that give 
masterpiece[ref]Either headphones, or totally wasted on top of a 50 foot tower in the middle of some woods.[/ref]. Gilmour’s subtle harmonies and guitar voicing, Wright’s organ flourishes, the “surround sound” production … it all is tailor-made for headphones.
if I ever happen to forget, that David Gilmour is one of the most remarkable guitarists in rock music. After the clocks chime (a rather obvious sound-effect for the song, but so what? It sounds great…) there is a long, ominous build-up of metallic-sounding, echoing low notes coupled with Mason’s toms and Wright’s subtle organ, and this compelling introduction really sets up the entry of Gilmour’s voice, at 2:30, to sound all the more powerful. Gilmour also plays so many cool, bluesy riffs that it makes one’s head spin. Background oohs and aahs give way to Gilmour’s first solo at 3:30. He’s got such great tone and control, and I love at 4:28, when he eases back into the chorus chords, with the background vocals. It’s a solo that does so much in a minute and a half, 
and when it’s done he continues to throw in cool stuff like the little descending figure at 5:00, behind the vocals. The lyrics are another sort of warning to youth about 
like 
His playing is once again Ringo-ish throughout Gilmour’s terrific soloing, which has a cool breakdown part at about 3:48 then blasts into overdrive again at 4:30. By the way – let’s not forget the amazing saxophone solo by Dick Parry. “Money” continues the album’s prodding of young adult minds grappling with the question of “what it all means,” and fades out to more snatches of conversation, blending quietly into another Big Question song, the lovely “Us and Them.”
Dick Parry’s sax provides a gentle entry into Gilmour’s vocals. I was typically half-asleep by this point up on that tower, but concentrating on 
These two songs together may be my favorites on the album, although “Time” and “Money” are near the top as well. These are the only songs on which Floyd mastermind Roger Waters sings lead, and he does a great job on lyrics about the feeling of 
I left the booziness behind, but not the album. When “Eclipse” starts, at about 3:50, with Wright’s organ cadenza, I’m transported on the sound-waves to my youthful self. I still feel moved by Waters’s list of the contents of one’s life. I understood that list differently as a 19-year old than I do as a 50-year old. Back then I thought, “Is that all there is?” Now I think, “Boy, I packed a lot into life so far.” But the feeling is the same – the feeling of being human. The Dark Side of the Moon is an album that stays with you for life.
IN A NUTSHELL: Van Halen, the debut album by the band, is exceptional for many reasons: Eddie Van Halen’s guitar, of course, but also Michael Anthony’s harmony vocals, Alex Van Halen’s drumming, the sound of the record, and – perhaps most of all – its musicality. Van Halen is different from other hard rock/metal bands of the era because it adds interesting touches to everything it does. Even front man David Lee Roth’s shenanigans take a backseat to the record’s many charms.
while considering not just Van Halen’s debut album, but 
little regard for said chicks’ opinions on the matter.
at a friend’s house, and it suddenly clicked: this band sounds tremendous! By the time their 
All kinds of 
I love Eddie’s simple strumming on the upbeat through the verses, which he nicely embellishes with all his harmonic tricks. Roth’s “singing” through the chorus is hilarious. The only way you’re going to appreciate Van Halen is if you make peace with these two facts: he’s a vocalist, not a singer; and he’s sort of a buffoon. Roth isn’t going to write 
although his solos are terrific.
the band again shows off their musicality with a fantastic ending instead of a simple fade-out. During that earlier breakdown, Roth asks us to feel sorry for the fact that he’s lost a lot of friends – apparently for having 
“I know” sort of undercuts the flattery a tad …); he makes plans (having gotten into work 10 minutes early, he proposes hitting the town after midnight); he warns of vague consequences (“use it before it gets old,” which seems rather alarmist for someone described as a girl); he disparages (“you’ve let your life grow cold,” which may actually touch a nerve, as her trips up and down his road indicate she may have some compulsive tendencies, and she could be the type to stew over her life circumstances …); and finally he begs (on bended knee, no less, which must seem a little bit creepy to her, right?) Anyway, clearly DLR didn’t spend much time on lyrics, and so defaulted to “let’s get laid” themes. But this nonsense aside, the song sounds terrific, with Anthony’s bass pulsing below Eddie’s riffs and Alex’s thumping swing moving it right along. It’s another song in which Eddie’s playing – even on chords in the verses – sounds distinct. The vocal harmonies are once again terrific, and of course, 
This is a song that demonstrates why Van Halen is different from all the other fast-fingered guitar bands from the 70s and 80s. That introduction, the descending, syncopated pre-chorus (first heard at 0:50), and even the goofy, yet well-done, “Shooby-doo-waa” doo-wop section (2:50) are musical touches that set the band apart. And Alex’s drumming is both bombastic and subtle (if that’s possible): the triplets heading into the second verse (1:45) are cool, and the way he controls the tempo, pulling back slightly through that pre-chorus. The harmonies are great, as usual, and, also as usual, Eddie’s guitar playing is off the wall.
“On Fire” features an 
has always loved playing cover songs (besides “You Really Got Me,” the band would also cover The Kinks’ “
The syncopated bars just before the chorus again show a musicality many lesser hard rock bands lack. After the second verse, the song picks up a dance beat for a few measures, giving it something else a bit different. Eddie generates a number of sounds in the song, and all fit perfectly. The lyrics are 
IN A NUTSHELL: Star, Belly’s debut record, sounds different enough to be interesting yet retains enough jangle and melody to stay hooked into mainstream rock. It’s truly a showcase for leader Tanya Donelly’s voice, with songs that allow her to vary between sweet purrs and powerful belts while harmonizing beautifully. Guitarist Thomas Gorman’s charming riffs stay in the background so the vocals can shine.
I’ve heard stories, both 
Foods, shows, writers … in almost any area of human endeavor I can at times find myself pursuing the same ancient, midbrain impulse that compelled my ancestors toward water and shelter instead directed solely on one more 
apart from inducing a series of unpleasant visits to the bathroom and a tongue that feels as though it’s been repeatedly scraped against a cheese grater. (In the case of the Pringles, not the Vonnegut.) The effects aren’t long-lasting and often the obsession isn’t, either. A few days after binging, I’ll usually find myself disinterested in what I once desperately craved, and the balloon of desire that once swelled to inhabit nearly every cranny within my consciousness will have burst and withered to a flaccid swath of plastic among all the disregarded and obscure ephemera of my past. Tangy Buffalo Wing Pringles? Did I really ever find these edible?
disgusting foods and time-wasting TV shows fall into these categories. Some leave me feeling wistful yet confused, as I’ll never again understand what I found so compelling about, for example, word-search puzzles. Others make me happy to recall, as I retain a bit of love for them, even if I no longer feel the magnetic pull they once imparted.
I’ve been a music fan since I was really young, and I’ve gotten obsessed with many, many songs over the years. The earliest were cuts off my 
The drums were somehow spooky, too, particularly throughout the choruses: mesmerizing and tribal. When they combined with the swooping orchestra it created a sound I’d never heard before. I listened as much as I could, which was easier to do – given my proximity to my sister’s 8-Track – than listening to some of the other songs I was obsessed with around that time. I didn’t have the records for Stevie Wonder’s “
To hear these, I had to listen constantly to the radio, hoping some DJ would find the psychic wavelengths I was sending and answer by spinning the disc. At some point, my other sister recorded “Mr. Blue Sky” from the radio, so at least then I could sometimes sneak a listen. I still enjoy all of these songs, although I wouldn’t say I’m still obsessed.
and 
glued to the screen for hours at a time to catch “Save It For Later,” the ska-tinged English Beat number, with its happy, bouncy beat offset against minor chords from the strings and Dave Wakeling’s distinctive vocal style. Most of the bands with songs I obsessed over were British. When you watched MTV, you had to watch at the top of the hour, as that’s when the VJs would announce, “Coming up this hour videos by Talk Talk and Roxy Music,” bands whose names 
were never mentioned on the radio stations that reached my antennae. I’d hope for “
College was when I really 
“
but my fascination with it is akin to that of the Tangy Buffalo Wing Pringles: did I really need to hear it every day? Just after college, it was the Concrete Blonde song “
I’d regularly dive into a song and wallow there through five or ten plays, and dive in again the next day for weeks at a time. There were two on the Singles movie soundtrack, the first and longest-lasting (I’d say I’m still somewhat obsessed, although I don’t play it five times in a row anymore) is Chris Cornell’s solo piece “Seasons.”
I’ve said
favorite songs is from the ubiquitous 90s soundtrack to Pulp Fiction, Maria McKee’s beautiful “
or Carly Rae Jepsen’s “
I can’t really hear them without my mind flipping through an imaginary photo album of my two kids being goofy, funny, wonderful children.
and singing alongside her stepsister, Kristin Hersh. Back in the early 90s I’d heard the band’s name many times. The morning DJs on my 
In this song, she transitions from gentle, through spirited to full-on belting while providing harmony vocals all throughout. The first two verses are rather quietly, but as she enters the second chorus (1:23) she sings more fully. I also like how she glides up and over the “me and feed” lyrics (1:41), adding an extra note. By the final chorus, at 2:37, she lets loose with a healthy belting voice. Thomas Gorman’s guitar in the song is also really cool, particularly the dripping riff during the first verse (0:26) and elsewhere, and the solo at 1:46 – recorded in an era when guitar solos were 
that they tell stories using imagery and indirect phrases (“This little squirrel I used to be/Slammed her bike down the stairs/They put silver where her teeth had been/Baby silver tooth she grins and grins”) but yet still get across a story with feeling – even if you’re never sure what the story is.
and his brother Chris’s drumbeat gives the song an urgency, then turns into a fast shuffle for the choruses. Donelly’s harmonies are really cool over the little guitar figures. It’s a driving song – meaning it’s always driving forward AND I like to listen while I drive. It’s a shout-along melody, with the fun “ah – ah” sections in the chorus. It’s another song that I could see myself being obsessed with, and one of my favorites on the record.
and a minor key that gives the song a bit of an eerie sound. I like the guitar line throughout the song and also the harmony vocals. The lyrics are about as 
above a buzzing guitar. Donelly’s voice is the star, once again, although Tom Gorman does play a nice little solo. The lyrics could be about drug use? Date rape? Simply a bad date? Regardless, if you wish to 
with the line “That kid from the bad home came over my house again/Decapitated all my dolls” taking me back to the bullies I knew as a kid. The song has a great beat, and fun “sha-la-la” backing vocals. Belly and Donelly have a penchant for bouncy, fun songs, but they do throw in an aggressive tune once in a while. The ferocious “
once again, I’ll compare them to Donald Fagan’s 
I don’t 