Jordyn Jones' Top Ten Music Videos

If you haven't heard of her, Jordyn Jones is a minor celebrity pop star/model/influencer. Born at the turn of the millennium in the vicinity of Kalamazoo, Michigan (yes, it's a real place, and I've been there :-p), she journeyed to Los Angeles as a preteen, already trained as a dancer and ready to pursue her dreams of pop stardom. I first became aware of this rising young starlet when she started releasing music videos on Youtube circa 2014, juxtaposing her pretty white girl looks with a confident hip hop swagger. Over the years, she transitioned to a more traditional pop star image, and with age and maturity, has steadily grown in popularity as an Instagram model.

After having the privilege of attending a local cheer competition two seasons ago, I started watching Dance Moms to steep myself in the subculture. When I started season 1 of the spin-off Abby's Ultimate Dance Competition, I recognized with excitement a young Jordyn Jones just at the start of her career, and it reignited my interest. I devoured her Youtube content, including an adorable series for Awesomeness TV, in which she tries out various summer and winter jobs. Meanwhile, I put together a playlist of songs she's recorded, so I can listen to it in the car.

I'm currently in the process of catching up on her podcast What They Don't Tell You, in which she interviews her peers in the social media sphere. Being in a different generation, with no experience of the LA lifestyle, it's mostly conversations with "influencers" I've never heard of; but Jordyn's bubbly, happy-go-lucky personality is positively infectious, and I enjoy putting it on and occasionally checking in while I work at my computer.

I know Jorydn's a pretty white girl with all the privilege in the world, but she's genuine, kind-hearted almost to a fault, and surprisingly grounded for somebody who came of age in LA (I give her mom a lot of credit for that). She's also a bit of a teetotaler - which I can relate to - despite basically living in the fast lane. She tragically lost her dad a few years ago in an alcohol-related accident, and maintains a warm and hilarious relationship with her mom. She can dance. She can sing. She's funny. She's pretty - and she's never been afraid to market herself on that point. I'm not ashamed to admit that I stan her.

And so I wanted to celebrate the sunshine her web presence brings into my life (also because it's only fair, given that I've honored two other young starlets I've stanned in the past, right here on this very blog) by sharing with you ten of my favorite music videos she's released on Youtube during the last decade. We'll go in chronological order, starting with the earliest one (because that makes the most sense to me, and I hate ranking things).



Banji (Sharaya J cover)

Not the earliest music video Jordyn appeared in (she was briefly part of a girl group called 5 Little Princesses, or 5LP - search for the song Sugar and Spice), but her debut as a solo performer, and likely the first I ever saw. Whether you think it's the bomb or cringey AF (personally, I'm in the former camp), it makes a strong impression. Admittedly, there's a discordance between Jordyn's ultra-cute aesthetic and the darker stylings of hip hop (albeit not quite to 5LP's level of tween girls rapping about staying up late while wearing pink tutus and glittering tiaras), but I think it's adorable and it gives me something to appreciate about a music genre that doesn't normally appeal to me.

"Where did this, where did this chick come from?"

If you like this video, Jordyn's cover of Fancy by Iggy Azalea provides more of the same, with a steady bass beat, and a video that manages to make laundry day look chic. And if you're digging that schoolyard nostalgia, Jordyn and friends layer on the Lip Gloss in an unforgettable cover of Lil Mama's song by that name, decked out in cheerleader uniforms and dancing in front of an ice cream truck. If I have a lot to say about this era of Jordyn's career, it's because this is how I was introduced to her and it brings back fond memories.

"Hot girl, hands off, don't touch that."



Lips Are Movin' (Meghan Trainor cover)

Without breaking continuity from her previous videos (all of which so far have been directed by Nayip Ramos, and feature the familiar faces of some recurring backup dancers), Jordyn gives us a taste of her pop star aspirations and gets a little playfully jaded with what is probably the most popular song she's covered yet. And if you prefer this style over Jordyn's hip hop phase, you won't want to miss her cover of Katy Perry's This Is How We Do, in a video that gives off major beachy/urban California vibes.

"I know you lie - your lips are movin'."



Fiyacracka

I'm already regretting limiting myself to 10 videos, because I would be remiss not to mention I'm Dappin'. Notable in that it's Jordyn's first original song, it displays a somewhat more mature style while giving her an opportunity to show off her rapping skills. Although still playful, it's a bit darker (literally - with lots of indoor and night time shots), with a steady rhythm and a catchy chorus.

"I'm dancing, I'm snapping; my swagger is splashing."

But I've chosen to highlight Fiyacracka from this stage of Jordyn's career instead, because I think it's an even stronger offering. Many of the same things can be said about it, but the glamor is dialed up to eleven, and you can really begin to see the mature pop star Jordyn was becoming, as distinguished from the cute child star she started out as. This is Jordyn, barely 16, literally manifesting her dreams.

"When that bass drops, I can bang ya like a fiyacracka."



BRUH!

This is one of Jordyn's most imaginative music videos (once again featuring director Nayip Ramos), in which she and a couple of her cohorts play inmates of a girl's correctional facility, exploiting some of the tropes from women's prison flicks. It's so much fun! And if you've ever stalked her Instagram (just between you and me, I may have gotten my account suspended for running a page-loading script just to get to the start of her timeline - what's the point of having those pictures posted if it's humanly impossible to pull them up?), then you'll know Jordyn's faux crime ("too many selfies") isn't stretching the truth. Obviously, the slang term "bruh" was in use long before Jordyn got a hold of it, but I can honestly credit her for getting me to start saying it... sarcastically.

"I'mma let you, I'mma let you finish, but... bruh!"



All I Need

In this sunny video, Jordyn sings a pop ballad to young love - deep, yet fleeting - perfectly encapsulated in the chorus (which I catch myself singing in my head from time to time). The lyrics are poignantly prescient, as time casts a wistful sheen over the proceedings, in light of the fact that the video co-stars Jordyn's then boyfriend who is now her long-time ex.

"We're gonna be together forever... for right now."

For another song that portrays romance with an underpinning of melancholy, take a beach vacay with Summer, and view an even more mature side of Jordyn. If, on the other hand, it's more upbeat pop covers you want to hear, I can recommend Starving and The Middle, as well as an angelic duet with Sam Bruno singing Ariana Grande's No Tears Left To Cry.



New (Daya cover)

For this video, we once again take a darker turn, with a glamorous-looking Jordyn in the back seat of a car riding through the city at night, agonizing over a messy breakup, and realizing only too late the value of what she's lost. Although it's a cover, the emotion is palpable, and I enjoy the play of the lyrics. In fact, I prefer it to Jordyn's cover of another, more popular Daya song - Sit Still, Look Pretty (although that one is also good, and I appreciate its message of empowerment).

"Messing with someone new, thinking I wanted to;
turns out I don't want new - I want you."



Ain't My Fault (Zara Larsson cover)

"It ain't my fault you came here lookin' like that."

I love the way this song sounds. I also love the video. I think it's really cute the way Jordyn repeats the word "nope" in the chorus. I love how it's shot in a single take, while Jordyn moves around the studio. I love how the backup dancers come in and out of frame at different points during the song. I love the way Jordyn whips her ponytail around. I don't even care that the lyrics sound rapey; fair or not, when it's a pretty girl singing them, I'll let it slide. If you like the sentiment, but want something a little less problematic, check out Can't Say No from Jordyn's 2019 self-titled EP.

"Can't say no when you're lookin' like that."



Think About U

"Every time I think about you, I just think of making love."

This is my choice of videos from the aforementioned EP. The song is pop, but the video has a bit of a grungey aesthetic, and features Jordyn practically dripping with desire. Also of interest is the video for More, another track from Jordyn's EP, featuring Jordyn with cotton candy blue hair. Notable in that it co-stars Jordyn's more recent ex, I daresay the wound might still be too fresh to properly enjoy it.

"More of your touch, more of your eyes, more of your tongue..."

That said, it's not as raw as watching Jordyn and her ex play-act a fight in the video that portrays her ending up on the beach at sunset with duet partner Wesley in Intimate.

"I'm trying to keep it intimate, so let me know if you are into it."



Blind

"I fall deep, take the pain till I can't breathe."

Released in April of 2020, this is the epitome of "quarantine" music videos - featuring Jordyn rolling around alone in bed in a thin crop top and ripped jeans. You'll either love or hate the video's unwavering commitment to its retro VHS aesthetic - personally, I think it's spot on. I prefer this one precisely for its raw quality, but you might also like to check out Jordyn's somewhat more polished-looking video covering Hayley Kiyoko's Curious, in which she also appears in bed looking scrumptious. It doesn't have the heart-aching quality of Blind, but it's very flowery, white, and sweet-sounding.

"I'm just curious - is it serious?"



Love You Less

We finish this list with the last video Jordyn released before pivoting to podcast host, and probably the most imaginative one since BRUH! (once again featuring director Nayip). Jordyn embodies the role of a bad girl (somewhat ironically), dressed in scandalous outfits and (gasp!) smoking a cigarette. She's speeding down a desert highway, emotionally detached from the destruction she's leaving in her wake. With explosions, flashing cop cars, and even a flamethrower, the production mimics that of a Hollywood blockbuster. It's all a great deal of fun.

"I'm a train wreck for ya, I'm a mess;
God, you're such a heartbreak takin' off my dress."

And there you have it! I hope you've received a fraction of the enjoyment I get from viewing these videos. And Jordyn - thank you for sharing your talent, beauty, and positive energy with the world. I am in your corner, and I'll be looking forward to seeing what you do next. #teamjordyn #jjswag

ZML^2 - The Teenage Years

This theme came to me all of a sudden, while I was sitting in bed listening to Stevie Nicks sing Edge of Seventeen on my radio. The idea sparked my inspiration, and I spent a whole day looking up songs to represent the various years of being a teenager. I ended up expanding my usual musical horizons in order to find songs that fit the theme, so you might find something a little bit different on this list than you might expect. Still, I tried to keep it firmly rooted in my blues and rock experience. But it's nice to branch out every once in awhile. It's interesting to learn that certain teenage years appear to be more popular as a song topic than others. We'll start the fun with an amusing track I stumbled upon, which isn't part of the official lineup, but perfectly sets the stage for our journey through the teenage years - it's a chorus song called Hello Twelve, Hello Thirteen, Hello Love, from the TV show Glee, and the subject of the song is the onset of puberty!

Big Star - Thirteen [#1 Record, 1972]
Comments: I read that this song was written by band member Alex Chilton when he actually was thirteen. I hadn't known of the band Big Star before discovering this song, for this theme, but can you believe - they're an authentic band from the seventies! In fact, the album that features this song also includes a track called In The Street, which was used (famously covered by Cheap Trick) as the theme song to the hit television series That 70's Show! It turns out the song Thirteen has been covered quite a lot through the years - I'm fond of Garbage's version, myself. Having a female vocalist brings new meaning to the line, "come inside now, it's okay." :-o

The Vandals - Fourteen [Look What I Almost Stepped In..., 2000]
Comments: Can you believe this was the only song I could find with "fourteen" in the title (referring to the age)? Apparently The Vandals are something of a tongue-in-cheek music act. Which may make you feel more comfortable (or at least less outraged) when you realize this song is about a man lamenting the fact that he can't make love to his girlfriend because she's only fourteen. Regardless of the controversial subject matter, if you take the humorous lyrics at face value, they're actually quite sensible. -_^

Taylor Swift - Fifteen [Fearless, 2008]
Comments: Being that she's a country pop artist, Taylor Swift is not really the kind of music I listen to. But the fact is, she's so gorgeous, that I don't mind using one of her songs in this theme. You might notice that I linked to the video rather than just the song - this is entirely intentional. Anyway, the song fits the theme perfectly. I was originally going to use The Who's 5:15 which, despite the title not referring to an age, has the line "girls of fifteen, sexually knowing", and anyway, comes from the album Quadrophenia which is a rock opera about the "teenage wasteland". But I thought of a different theme to use that song for, so instead of rock n roll, you get a pretty girl. I think that's an acceptable trade-off. :-3

Iggy Pop - Sixteen [Lust For Life, 1977]
Comments: Sixteen is, not surprisingly, one of those ages that is really popular as a topic for songs. Whatever it is, "sweet" sixteen is an age that gets a lot of attention. There was no shortage of songs to choose from, but I forsook both B.B. King and Chuck Berry, and went instead for something a little different. Hence, Iggy Pop's not-so-sweet Sixteen. Listening to the album Lust For Life, I sense that it has a similar aesthetic to Iggy's earlier albums with The Stooges, but it's lacking that raw power that made those albums so damn good. :-/

Jethro Tull - 17 [Stand Up, 1969 (Bonus Track)]
Comments: What, you thought I was gonna pick Stevie Nicks' Edge of Seventeen? Sure, that's a great song, but you've heard it a billion times already, haven't you? So here's an ultra obscure track by Jethro Tull instead. I actually considered - believe it or not - Janis Ian's At Seventeen, only because I knew the unorthodox nature of some of the songs in this theme would let me get away with it. In fact, that song probably fits the theme better, but my reputation is safer with the Jethro Tull track. :-p

Alice Cooper - I'm Eighteen [Love It To Death, 1971]
Comments: This is the one track I had the least trouble deciding on, as it's not only a great song that I've known for a long time, but it fits the theme of adolescent uncertainty (despite the fact that 18 is the age of majority) to a T. Although, that having been said, I have to admit that I thought about a different song I've been hearing on the radio a lot lately - that is, Skid Row's 18 And Life. Though I think that might refer to a prison sentence rather than an age. I don't know, it could be a double entendre. o.O

Steely Dan - Hey Nineteen [Gaucho, 1980]
Comments: Nineteen is one of those ages that is apparently not very popular. There was one other good choice, but I already used it for the Young Lust theme. I guess, once you hit nineteen, you're practically in your twenties, you're an adult, and all the fun is behind you. Though, ironically, this song seems to emphasize the generation gap between the band member(s), and a girl (or girls) of "just" nineteen. Granted, the generation gap is real, but I think it's frequently over-exaggerated. We all - regardless of age - suffer from the human condition. And though those of wiser years have much to impart to the inexperienced, it is also true that the child is father to the man. :-D

Petty's Got Mojo in 2010

Tom Petty & The Heartbreakers' new album, Mojo, is a blast. I probably wouldn't have even bothered to buy it if it had been completely up to me. Not because I didn't think I'd like it, but because, though I like Tom Petty a lot, he's never been one of my personal top favorites, and as far as modern albums go, well, you're often not sure what you're gonna get. I bought The Last DJ back in 2002, though, and that one was fantastic. And this year's Mojo is, too. I think whoever's idea it was to give a digital download of the album to anyone who buys concert tickets to go see Petty on his tour this summer, it was a brilliant idea. My family has sort of got into the tradition of seeing Petty in concert every time he comes through town, and though there are other acts I might be more excited to see, I can't complain, because Petty is a classic rocker, and a class act - a real musician with integrity.

So what about the album? Mojo is a very bluesy album - for Tom Petty. And there are a lot of good rocking tracks on it, plenty that could stand for "hits". A lot of the song material is kind of melancholy, but with a certain energy - very bluesy in mood, you could say. And the closing track, Good Enough, on its own is...good enough...to move product. Since I've been listening to the album so much, I'll go through it track by track:

I read that Jefferson Jericho Blues is a song about a love affair involving Thomas Jefferson. It's a bit quirky, but it's an upbeat track to open a relatively heavy album (heavy mood, not heavy metal). You'll probably like it if you dig a good, swinging blues harp track.

First Flash of Freedom inevitably paled in comparison to Good Enough, the top standout track from this album, but in the context of the rest of the album, it proves itself to be one of the stronger tracks. The instrumentation is good, and the lyrics are pleasing in a rhythmic fashion. There is probably some kind of patriotic context to this song, but aside from being a song about America (assuming that much), I couldn't say what the deeper meaning is. "We felt so much more than our hearts could explain, on our first flash of freedom." There's a nice guitar lick in this song that makes me think of Joe Bonamassa every time I hear it, which is not something I'd have expected from a Tom Petty song, but I like it.

The next two songs on the album are both bluesy songs that, while I may not have much specifically to pick out about them, are ones that I like a lot, and make for a great atmosphere for listening to. The first one, Running Man's Bible ("I've been next in line, I've been next to nothing"), is a bit more of an upbeat rocking blues, while the second one, The Trip To Pirate's Cove, is slower and much more melancholic - and the guitar licks permeating it create a beautiful (if sad) mood. "She was a part of my heart; now she's just a line in my face."

Candy starts out with a fascinating premise which I can very much relate to, but ultimately it becomes far too repetitive for me to like listening to it terribly much. It's like, even by the end of the first listen, you've heard it enough and are good and ready for the next song. "I sure like that candy, I don't go for them turnip greens; so when you put it on the table, oh mama think about me."

No Reason To Cry doesn't really stand out, to me. I was wondering why, thinking that it must just be a generic song, but then I figured it must be the inclusion of that country slide (like the kind you'd hear on Harvest). Funny, that. It sounds pretty, sure, but for some reason, hearing it just makes my attention sort of turn away. I like my guitar with a more biting tone (and phrasing).

I heard the track I Should Have Known It on the radio, and I thought that was pretty cool. It's a great rocker, with a well-executed riff/chorus. There's not a whole lot to it, but it's a good one to listen to. "It's over now, you see; it's the last time you're gonna hurt me."

I have to laugh when I hear U.S. 41. Okay, not really, but the tune is totally a ripoff of Poor Tom (recorded by Led Zeppelin and released on Coda). Also known as Prodigal Son, when the Stones recorded it for Beggar's Banquet. Though the tune dates back (according to my research) to a Robert Wilkins song from 1929 titled That's No Way To Get Along. Not that I have any kind of moral objection to the recycling of musical themes. And the majority of Petty's track is probably original, from what I can tell. I'm just saying, the tune sounds quite similar. ;-)

Takin' My Time is another great blues, with an appropriately slow (considering the theme), stomping rhythm, and some great manipulated guitar (there's some noticeable wah) throughout. It has a bit of a dark, evil mood, on account of the mean rhythm and guitar tone.

Let Yourself Go is a solid song, if it doesn't completely stand out musically. But I like it in particular because of one line in the song - "cute little hippie girl lives in town." Yeah, I know, I'm vain. The harp returns in this one, and is a bit meaner than it was on Jefferson Jericho Blues.

Don't Pull Me Over is a Bob Marley-inspired reggae-flavored track that, despite being something of a cliche, is actually pretty good. The lyrics work as a nice plea to the authorities to overlook what have been called (though not in this song) "consensual crimes" - acts that involve only consenting participants yet are still against the law. The obvious example here (considering both Marley and Petty) is pot smoking, but the lyrics are vague enough that it could be applied to other such harmless acts of illegality. "What I've got to say won't hurt anyone; what I've got to do won't hurt anyone." The lyrics also allude to the concern over putting constructive citizens in jail over "moral infractions", and the effect that could have on the person's dependants (e.g., family). "Don't pull me over, I've got mouths to feed; don't pull me over, they depend on me." Is it worth destroying people's lives just to keep them from smoking pot (and doing other activities that don't hurt anyone, but for some reason we think are immoral)? The song also touches on the very relatable fear of being pulled over by a cop, regardless of whether or not you've got something to hide. "When the moonlight turns to blue light, makes me so afraid; let me go, leave me 'lone, til I'm home and safe."

Lover's Touch is a mellow track with a somber tone permeating through it. It speaks of desire, yet with a sense of melancholy, and depression. Like the feeling you get when you've already lost before you've had a chance to really get into the game. The best part, aside from Petty's effective vocal delivery (in that he really sells the emotion, not that he sings prettily), are the pauses that lead right into the title phrase, "she got the lover's touch". That's something that stood out for me from the first time I heard the song; it's executed perfectly.

High In The Morning is a song that combines a nice distorted riff with a watery piano part that could have come from a Doors song. I'd say it's a pretty strong middle-of-the-road rocker, with some interesting lyrics that seem to warn of the dangers of getting in over one's head - especially dealing with the token vices: alcohol, women, etc. "Boy, that power belongs to the devil, better leave that power alone, could be the devil gonna want it for his own."

Something Good Coming has a watery, reflective quality. Like something you'd sing when you're down at the river alone, watching the water drift on by. The vocal delivery is very reminiscent of past Petty tracks - the more laidback ones, that is. The theme is also classic Petty - the idea of pulling something positive out of a life that is not without its share of hardships. And the song has a nice, pulling riff to it that, like everything in the song, is present but not overpowering. "I'm an honest man, work's all I know; you take that away, don't know where to go."

Good Enough was the advance track from this album, and I liked it from the first time I heard it. Musically, it's rock solid. But what lifts it above just plain good is the concept of the song. As another reviewer put it, Petty sings that it's "good enough", but the song seems to suggest that, somehow, it isn't. It's that tragedy, of trying to content yourself with settling for less than you'd really like to have, that fuels the song's driving emotion. I want more, but this is all I've got, and it's gonna have to be good enough... "I can't trust love, it's far too risky; if she marries into money, she's still gonna miss me - and that's good enough."

Best song on the album? It's gonna have to be Good Enough. ;-)

Listed hierarchies are always difficult (and imprecise), but I've been listening to this album long enough that I felt up to putting the songs in general order (meaning, with a fair amount of leeway), from best to worst:

Good Enough
First Flash of Freedom
Don't Pull Me Over
Lover's Touch
Takin' My Time
The Trip To Pirate's Cove
I Should Have Known It
Running Man Blues
Let Yourself Go
High In The Morning
Something Good Coming
U.S. 41
Candy
Jefferson Jericho Blues
No Reason To Cry

Like, musically, Don't Pull Me Over isn't as good as some of the songs below it, but it means a lot to me (and I wrote so much about it), I feel like it deserves a high position. And I don't know if First Flash of Freedom is really the second best track, I just put it there because of the way I described it above. Anyway, as I said, leeway. The only real solid spots are the top and bottom. ;-p

ZML^2 - Bonamassa Does British Blues

This is a theme I'm very excited about, and one I've been wanting to do for a long time. In spite of the title, however, there aren't actually going to be any Joe Bonamassa songs. This theme is about the British blues songs that Joe has covered over the past decade. I've stated on many occasions how great a cover artist Joe is - both in his taste in selecting songs to cover, and in his ability to perform them well - and now you'll be able to discover first hand some of the original source material he has worked from. Joe has recorded a lot of truly great covers, so this isn't going to even necessarily be the songs that inspired his greatest covers, but a thematic selection focusing on one of my favorite sub-genres of blues rock - the British blues boom of the 1960s (with a tiny bit of leeway). Let's get started.


John Mayall & The Bluesbreakers - Steppin' Out [Bluesbreakers With Eric Clapton, 1966] + Jeff Beck - Rice Pudding [Beck-Ola, 1969]
Comments: Unique to the live version of the A New Day Yesterday album (Joe Bonamassa's first live album, and the first album of his that I heard) is a guitar instrumental mash-up consisting of two great tracks by two of the greatest rock guitarists of all time. The first is Steppin' Out, recorded by Eric Clapton with John Mayall's Bluesbreakers for the album many consider to be the quintessential representative of the 1960s British blues scene (informally referred to as the Beano album, thanks to the comic Eric is holding in the photo on the cover); and the second is a quirky meandering piece titled Rice Pudding (as far as I know, the abrupt ending is intentional), from Jeff Beck's second solo album, Beck-Ola. In Joe's composite jam, he manages to flawlessly weld the two central riffs from these songs together.

Jethro Tull - A New Day Yesterday [Stand Up, 1969]
Comments: This Jethro Tull track from 1969 (granted, they may not have been a straight blues rock band, but they were bluesy to start) lent the title to Joe Bonamassa's solo debut album, which is the first of a few of his albums named for a prominent cover song. With all due respect to Jethro Tull, Joe's version of this song is incendiary, and the version from the live album was the track that single-handedly introduced me to and got me hooked on Joe Bonamassa, for good reason. Honorable mention goes to Irish blues rocker Rory Gallagher's Cradle Rock, which also appears on Joe's debut album (as well as the live version of the album).

Jeff Beck - Blues Deluxe [Truth, 1968]
Comments: Jeff Beck returns, with the track that titled Joe Bonamassa's third studio album, a riveting blues penned by Beck and bandmate Rod Stewart, appearing on Jeff's own solo debut album, Truth. Bonamassa again shows his ability to smooth out the original Jeff Beck Group's rough-edged recordings, creating a very compelling track that, in addition to showcasing his celebrated guitar talent, features an impressive vocal performance which demonstrates his continuing improvement as a singer in addition to guitar god. Joe's eighth studio album, Black Rock, features another winning Jeff Beck cover in the form of Spanish Boots (found on Beck's second album from 1969, Beck-Ola).

Blind Faith - Had To Cry Today [Blind Faith, 1969]
Comments: Eric Clapton returns this time, and with the song that titled Joe's fourth studio album. This track is from the self-titled (and only) album released by the short-lived supergroup Blind Faith, which was Clapton's first diversion after the breakup of Cream. Even with all the hype, and having become familiar with half of the album before ever hearing it in full (thanks to the popularity of those songs), when I recently picked it up, I was pleasantly surprised by the overall quality of the album. For this song, which has a nice rock edge, and a good jam format, Joe scores another faithful and successful cover, a highlight of his earlier live shows.

John Mayall & The Bluesbreakers - So Many Roads [Looking Back, 1969]
Comments: Joe's fifth studio album, You And Me, marks a turning point of sorts in his career. It marks the beginning of his partnership with producer Kevin Shirley, and thus a crystallization of his "studio sound". One of my favorite tracks on the album is the blues So Many Roads, which was recorded by John Mayall's Bluesbreakers in the 1960s - but this time with Peter Green as the guitarist instead of Eric Clapton. It's a powerful song, and even with Peter Green being one of my top favorite musical artists of all time (granted, even as lead guitarist, he was still mostly backing for John Mayall in that band, and hadn't yet hit his stride), Joe's version of the song rises above this previous version. But don't stop there, legendary bluesman Otis Rush does a pretty mean version himself. Two other tracks worth mentioning that were recorded by the Peter Green-era Bluesbreakers, and were covered by Bonamassa, are Your Funeral And My Trial, and Another Kind Of Love.

Led Zeppelin - Tea For One [Presence, 1976]
Comments: Also appearing on the album You And Me was Joe's much-anticipated Led Zeppelin cover, Tea For One, a slow, melancholy blues featured on Zep's oft-overlooked 1976 album, Presence. Being pioneers of hard rock, Led Zeppelin weren't strictly a British blues band, but they were a British band, and their roots were steeped in the blues. For Bonamassa's competent cover of this song, he utilized a rare guest singer (Doug Henthorn). Whether it was to allow him to concentrate on pulling off his interpretation of divine rock god Jimmy Page's licks, or to mimic the guitar + singer dynamic featured in the original band (Henthorn does sound similar to Robert Plant), regardless, the result sounds good. I can't say that Joe one-ups Led Zeppelin here (that would be a feat), but his effort is impressive, and there's really nothing lacking from this cover. Not many could pull that off. (Zep fans: don't miss Joe Bonamassa's cover of ZZ Top's Just Got Paid on Live From Nowehere in Particular, or the Royal Albert Hall DVD - it's got a long jam that includes the instrumental portion from Dazed and Confused!)

Ten Years After - One Of These Days [A Space In Time, 1971]
Comments: I had been waiting for Joe Bonamassa to do a Ten Years After cover, ever since catching a mention of them in the liner notes to one of his albums, and on his sixth studio album, Sloe Gin, he pulled through. Like Led Zeppelin, Ten Years After were a hard rock band (with a variety of accompanying flavors), and not strictly British blues, but, also like Zep, they were British, and they had a concentration in the blues. Joe's cover of the opening song to TYA's most popular album is adequate, but I regret to say that this is one of the times when the original is clearly superior. Sorry Joe - it's just that Alvin Lee has this totally unmatchable rock charisma, and this song benefits more from the rough edges than the smoother melodies which Bonamassa likes to emphasize. You can't win them all. I'm still very excited that Joe covered this song and I would be happy to hear him try his hand at another, as Ten Years After is one of my favorite blues rock bands, and they deserve the attention and recognition.

Bonus Track: Although it's probably even less British blues than anything else on this list (although still not completely off topic), I just have to mention Tim Curry (yes, that Tim Curry)'s Sloe Gin [Read My Lips, 1978], which titled Joe's sixth studio album. It's a powerfully depressing song, delivered passionately by Tim Curry, and covered impressively by Joe Bonamassa. Joe stays true to the soul of the song, while giving flesh to the bones of its structure, building up a truly captivating piece that stands out even in his impressive catalogue of great music.

Honestly, I could still go on and list even more great covers performed by Joe Bonamassa, but we've reached our limit (and plus some) for this edition of Zharth's Music Log^2. If you're already a Bonamassa fan, then I hope this was an enlightening experience, and if not, then you just may be curious about these covers I keep mentioning. In that case, give Joe a listen, you won't regret it. ^_-

Black Rock

Joe Bonamassa's latest album, Black Rock (released about a month ago), continuing Joe's partnership with producer Kevin Shirley, has a bit of a world flavor, while not straying too far from Joe's blues rock foundation. It was recorded in Greece, which inspired the mood of the album. From the liner notes:

"Our mandate was clear - first instruction: play loud. Second: play reckless. Third: channel the music that inspired you to pick the damn thing up in the first place. Fourth: have fun with it. The result is an album that is the product of good times, reckless abandonment and the environment in which it was recorded."

Sounds like a raucous good time, right? As one could expect from any Joe Bonamassa album. Even so, the album didn't hit me the first time I listened to it, unlike when I first listened to The Ballad of John Henry. This is likely due to my ambivalence towards "world" music. Still, as could be expected, a few more listens has warmed me up considerably to the material on this album, and it fits snugly into Joe's constantly growing catalog of good music.

The album opens with an upbeat track, Steal Your Heart Away, penned by Bobby Parker, who played the riff that Led Zeppelin surreptitiously "borrowed" for the guitar part to their song Moby Dick, once upon a time. After a couple more steady rockers, including one with a title - When The Fire Hits The Sea - that definitely makes me think of Greece (Greek fire, anyone?), we get Quarryman's Lament, which recalls the previous album's Story of a Quarryman, except with a heavy coating of that world flavor.

Following that is Joe's third cover of a Jeff Beck Group song (the first two being Rice Pudding and the magnificent Blues Deluxe) - Spanish Boots. Joe's version sounds great, a heavy rocker, and I'm inclined to say that I like it better than Jeff Beck's! Granted, Joe Bonamassa is one of the better cover artists I've heard (though not to downplay his equally impressive writing ability), but with cover songs, it's always going to be a case of hit and miss. Joe just happens to be a star hitter, and this one counts toward his total.

The album then rests with a Leonard Cohen song, Bird on a Wire, the first truly laid-back song on the album. It's a slow acoustic piece, with a heavy dose of world-style accompaniment. If you like those kind of songs, you'll probably like it. I, however, live for the higher-energy songs. Speaking of which, the next song is an Otis Rush number titled Three Times A Fool - a standard blues. Following that is the track that guest stars Joe's inspirational mentor and friend (and blues legend) B.B. King, a song called Night Life. Joe and B.B. trade off licks and vocals through the song, and it's a very B.B.-flavored track, and a nice addition to Joe's recorded legacy. You knew it was just a matter of time before they got together in the studio.

The next song, Wandering Earth, is a slow paced bluesy rocker with a melancholy theme - just my style. Look Over Yonders Wall picks up the pace a bit, then it drops back down a notch for the worldly (and acoustic) Athens to Athens. Then we get hit with what is probably my favorite track on the album - Blue and Evil, which is just like it sounds. It's got a mean, heavy riff, and a persistent recurring chorus of the song's title. The song opens and closes with an acoustic line that gives it texture, when placed in stark contrast to the electric energy of the bulk of the song. If you can't tell, I like it a lot. The album then finishes with an acoustic Blind Boy Fuller song, Baby You Gotta Change Your Mind. It's a good blues, and while the almost quirky acoustic mood is not my style, it's a nice way to close out the album on a bit of a mellow note.

To reiterate, as a piece, Black Rock isn't my favorite Bonamassa album (and honestly, they can't all be), but it's a solid effort with a lot of substance, and though the world flavor isn't my bag (others may respond significantly better to it than I), I think it's good for Joe to continue to experiment, to keep his material from sounding all the same. Although, there is a striking character to Joe's music that manages to keep it all internally consistent - even his covers take on a "Joe Bonamassa" feel. Considering the importance for a guitarist and a musician to create a unique style, I'd say this is a good thing. In any case, I like Joe Bonamassa's style, and as long as he continues to make music, I'll be listening.

For clarification: everywhere that I've used the word "world" above, you can probably interpret that to mean the addition of instrument(s) not commonly found in a rock band. :p

Jailbait Rock

I tried to write up a cohesive post about The Runaways after seeing the movie (the first time ;p), but it didn't quite come together. But since The Runaways is definitely my current obsession (or at least one of them), I just have to spend some time talking about them.


The Runaways was an all-girl rock band (officially the first) that formed in Los Angeles and existed during the latter half of the 1970s, and included Joan Jett, who would go on to a successful solo career. I, personally, didn't know about The Runaways until I heard that a film about the band was being shot, starring Hollywood hotties Kristen Stewart and Dakota Fanning (former Hollywood cutie). I'm not ashamed to admit this was my introduction to the band - and anyway, I love the music, and I've become a genuine fan, so it's win-win, right?


So what's the appeal of The Runaways? It should be obvious. The band (and the movie) combines two of my favorite things in the world - rock music...and jailbait! And on that note, I recommend this refreshingly honest review of the movie. (Go ahead, read it now. I'll wait.)


Isn't the poster hot? "It works on so many levels - and most of them will get you arrested." If you're feeling uncomfortable right about now, then you're probably not a rocker. Rock is raw and rebellious; it is violent and sexual. For all the verbal abuse producer/manager Kim Fowley spewed, he was right about the music. Although I think women's lib was an important part of what The Runaways did (i.e., prove that girls can rock just as hard as men - and boy, can they ever!), women's libido was an equally important component. Which is why I was disappointed by the scene where the band gets upset over Cherie's risqué photoshoot. It's not a distraction, it's an integral part of the formula!


The movie, I am told, is based on the real Cherie Currie's memoir, Neon Angel. As such, it focuses on her and Joan Jett's part of the story, emphasizing the chemistry between the two. The end product is a wildly entertaining rock biopic with lesbian overtones (which gives it a decided advantage over other rock biopics), complete with the requisite kickass soundtrack (I was particularly delighted to hear The Stooges during an especially memorable scene). I saw the movie twice in its limited run (don't be fooled, there was no true "wide" release) and enjoyed it just as much both times. I bumped into a fan after the second showing who [enthusiastically] confessed that it was her ninth viewing! This is a movie that I really recommend.

Compare
After my first viewing of the new movie, I tracked down the other Runaways movie that's been made - Edgeplay. Rather than a fictional dramatization, it's a documentary featuring interviews with the band members (minus Joan Jett, unfortunately) and those who were close to the band. So you get a nice picture of the "true" story (at least how it's remembered by those who were there) of the band, and get to know the real members (instead of actresses playing those members - although Kristen and Dakota did a fantastic job). If you're interested in the gritty details of the band, I definitely recommend it, though for sheer entertainment, the new movie is where it's at.


Now let's talk about the actual band. The Runaways had punk and glam influences, but they were a solid rock band through and through. The drummer (Sandy West) and lead guitarist (Lita Ford) were known to have jammed on Deep Purple songs; Cherie Currie (lead singer) was fond of David Bowie; and Joan Jett (guitar, vocals, songwriting) was largely inspired by Suzi Quatro. The band released their self-titled debut in 1976, followed by Queens of Noise in 1977, and a live album recorded during their tour of Japan in that year (they were an instant hit in Japan). Their first two albums are really good, with a lot of great tracks, and the live album is even better. The lead guitar has more room to breathe in concert (compared to the studio), and the live sound on the album is just great.


What are my favorite tracks? Cherry Bomb, which kicks off the first album, is an infectious hit (in a good way). It was written by Joan Jett and Kim Fowley for Cherie Currie when she was added to the band as the lead singer/frontgirl. The song itself is good, but the symbolism behind it - how it represents Cherie, and the raw sexuality of it - adds to its appeal for me. The closing track of the first album, Dead End Justice, is captivating, with the traded off vocals between Joan and Cherie telling a whole story. I was excited to hear part of that song performed in the movie. I can't possibly name all the songs I like, because then I'd just end up listing their whole discography, but from the second album I like Johnny Guitar, which is a bit different from the rest of the band's songs, and has more guitar noodling than average (hence my interest). Really though, the more I listen to these songs, the more I like them, and the more of them I like.


After the Japan tour/album, Cherie unfortunately quit the band. The next album, Waitin' For The Night, features a stronger (and heavier) Joan presence, as she steps up to fill the gap left by Cherie's departure. Don't get me wrong, I love Joan, and I think the songs on this album are strong - they would sound fantastic played out of context - but together they get a little repetitive, as it sounds like the same basic formula repeated song after song (Fantasies is a standout track, though). The band's fourth and final studio album before disbanding, And Now... The Runaways, took the band in a new direction (thanks to new management). The end result is kinda light and poppy, and mostly not as interesting as the band's earlier material.

But there is plenty to love about this band, that much is certain. And instead of writing a conclusion, I'm gonna take the band's example and just run away. :p If you like what you've read/seen/heard here, be sure to pick up one of their albums, or keep your eye open for the movie.

ZML^2 - Rainbow Vibrations

For a brief explanation of Zharth's Music Log (and a link to the archives), see the first paragraph of the last installment of Zharth's Music Log Revisited. Since I like the idea of the music log so much, but didn't have the resources (whether internal or external) to keep it going past a year (and really, a whole year of posting a different song each day is pretty impressive if you ask me, what with the themes and everything), and since I still have some themes leftover that I like enough not to completely forget, I figured I could pull one out every so often when the timing is ripe, and we could all have fun basking in the faded glow of a great idea whose time has come and gone.


And speaking of glowing, what with it now being April, with spring in tow, ready to shower the earth in preparation for the colorful floral bloom that is impending, the theme I bring to you today is one of colors - the vibrant colors of the rainbow. We'll take them in order, following the old standard - ROYGBIV.


Jimi Hendrix - Electric Church Red House [Blues]
Comments: An old standard itself, Red House is a tune that belies its simple blues construction. It's one of my favorite songs in Jimi's repertoire, and among the various recorded versions of it that I've heard, I have yet to hear a bad one. This one is one of my favorites, and stands distinct from both the original studio version, and the more fleshed out live versions scattered around. It starts with some pseudo-inspirational ramblings, and then takes off, wandering far off the path and getting lost in the woods during the solo in the middle, never even finding its way back for the last verse, before it ultimately fizzles out. Wild and unrestrained - that's what it's all about.


The Amboy Dukes - Why Is A Carrot More Orange Than A Orange? [Journey To The Center Of The Mind, 1968]
Comments: Knowing Ted Nugent, you might be surprised to learn that he was a prominent member of a psychedelic band during the later part of the swingin' sixties, but it's true. And The Amboy Dukes, while not as popular as, say, Jefferson Airplane, had a few good acid trips (I'm referring to songs, here) of their own. In this song, the band asks the strikingly poignant question, why is a carrot more orange than an orange? It beats me.


Donovan - Mellow Yellow [Mellow Yellow, 1967 (released as a single in 1966)]
Comments: Popularly hailed as Britain's "answer" to Bob Dylan, Donovan's one song of particular note - to me, personally, that is - is a song done even better by other musicians. That song is Season of the Witch, and those musicians are the ones who stuck around for the Super Session (including Al Kooper and Stephen Stills) after Michael Bloomfield bailed. But Donovan comes back to my attention by way of this song, Mellow Yellow, played - once again - even better by a local musician of no small talent, whom I know personally. ;)


Pink Floyd - Green Is The Colour [More, 1969]
Comments: Here is a track from one of Pink Floyd's oft-overlooked albums, which was actually recorded as the soundtrack to a film of the same name, an arty look at drug addiction and sun worship on the Spanish isle of Ibiza. Despite technically being a soundtrack album, More stands pretty strong on its own, in my opinion, more so if you don't mind atmospheric tracks (something Pink Floyd is known for anyway). But there are also a number of good straight tunes on this album, such as this one presented here.


Cream - Blue Condition [Disraeli Gears, 1967]
Comments: Some colors are better represented in song titles than others. For example, I could only find a single orange song in my catalog. Blue, as it turns out, is a very popular color - and that's true even if you ignore the many songs with the word "blues" in the title. I chose this one, from the album that brought us such classic tracks as Strange Brew and Sunshine of Your Love, because I think it fits well with the other mellow tracks chosen for this theme (excepting, of course, the red song).


Led Zeppelin - White Summer/Black Mountain Side [Coda (bonus track), recorded in 1969]
Comments: Since indigo is an illusory color that doesn't really exist, I figured I'd do a "black and white" sort of a thing instead. And how convenient that we have Led Zeppelin's White Summer and Black Mountain Side (really only variations or parts of the same song to begin with, at least how Page played them) together in one track! You can check out the roots of Led Zeppelin for more info, but White Summer was first recorded by Jimmy Page back in the Yardbirds, and Black Mountain Side appeared on Led Zeppelin's debut album. During the band's later tours (1977 on), the piece worked as a counterpoint and unsuspecting intro to the much heavier and hypnotic Kashmir.


The Blues Project - Violets of Dawn [released as a single, 1966]
Comments: Violet is another color that's hard to find, although a little bit easier if you allow purple. But I didn't want to do two Jimi Hendrix tracks for this theme (and I've already used that song for another theme, incidentally), and I don't own any Prince, I'll tell you that. Anyhow, it's fitting that I was able to find an actual violet song, as opposed to simply purple, even though I think the song may be referring to the flower. But that's okay, because isn't the flower named for its color anyway (or maybe it's the other way around)? Well, in any case, this is a nice light track to close the theme, from a great little known band that I will tell you is not adequately represented by this track alone. Check out their performance at the Monterey International Pop Festival in 1967 (the Summer of Love), if I've got your curiosity piqued (or, try this on for size).

And with those thoughts of flowers and summer I leave you. Until next time.

Confessions of an MTV Generation Traitor

Those who haven't heard the story before, and know what a big part of my life music is these days, might be surprised to learn that I didn't even start listening to music until at least halfway through high school, when I finally turned on to the music my parents had subconsciously planted an appreciation for in my head, by playing it throughout my formative years. That, of course, would be the music of their generation, focused on the late 60's and early 70's. Guitar-based rock n roll, with a heavy blues flavor (which is a refinement I later picked up on).

As for the music of my generation, it never really hit me. And I also, to an extent, consciously distanced myself from it because I've always associated it with my peers, and I never felt particularly like I could relate to my peers. But that doesn't mean that a song or two wasn't able to break through my defenses now and then. I have, in fact, (a while ago now) collected a disc's worth of those songs together in a compilation that I'm not especially vocal about having - because, although I might "like" these songs (albeit not on the same level as the songs I'm more vocal about liking), I don't want to give people the impression that I like this kind of music, because I don't especially, and I'm not exactly eager to get a bunch of like-minded recommendations. After all, these are mostly songs I noticed before I realized what it was I liked about music (which also implies that these songs don't have it, at least not nearly to the same extent (and if I had to take a guess as to what "it" is, I would say compelling electric guitar leads)).

But in the spirit of Satanic Thoreau's recent foray into pop music, I thought maybe I'd dust these songs off and pull them out of hiding, once and for all. Though instead of pop, most of these are probably what would be called "alternative".

Ironically, this collection is titled "Modern" even though, by now, all of these songs are at least a decade old. I guess nothing stays modern for very long. I'll take suggestions for a new title if you've got any.


No Doubt - Don't Speak [1995]
To me, this was a powerfully emotional song. Just in the way it sounded and the melancholy lyrics and all. "Don't tell me cause it hurts." Unfortunately, whatever respect I may have once had for Gwen Stefani was tossed out the window with Hollaback Girl. I don't know what a "hollaback girl" is, all I know is that I want her dead.

Garbage - Push It [1998]
And this is what I thought of as an "intense" song back in the day. I always liked the line (and the way it was presented in the song), that goes, "this is the noise that keeps me awake; my head explodes and my body aches", and then bam! "Push it, make the beat go harder."

Pearl Jam - Do The Evolution [1998]
Despite my stance against admitting Pearl Jam into the pantheon of Classic Rock this is one song by them that I've always liked. It's a pretty good rocker, and I like the vocals, and I remember it having a pretty neat amazing animated music video that caught my attention once upon a time. "It's evolution, baby!"

Rammstein - Engel [1997]
German band with a kind of "industrial" flavor. It's a pretty good song, and I like the dynamic that exists between the male and female vocals. (I won't mention the topically relevant Eva AMV).

Radiohead - Paranoid Android [1997]
Radiohead - Karma Police [1997]
These Radiohead tracks were added later on, as I have no recollection of being aware of any Radiohead songs specifically when Radiohead was fresh (although I do recognize the video for Karma Police (the video for Paranoid Android just confuses me - and not in a good way - but the song is good)). My only connection to them really is through a guitarist/friend of mine I knew in college. I didn't quite agree with him that Radiohead was the logical progression in bands to listen to after the likes of Led Zeppelin and Pink Floyd (generation gap, anyone?), but I certainly don't hate these songs. (Fake Plastic Trees came a little bit later still).

Natalie Imbruglia - Torn [1997]
It's funny, because this song also turned up on Satanic Thoreau's Immaculate Pop collection (linked above). The one thing about this song that really stands out is the lyric "lying naked on the floor". That was all it took for me. Also, though I don't usually go for the short hair look, I have to admit Natalie is pretty cute in the video. Interestingly, I remember when she first came on the scene, and in an MTV news break, Kurt Loder (I presume) came on to inform us all that the 'g' in "Imbruglia" was indeed silent.

Madonna - Frozen [1998]
I was too young for Madonna's first wave, but I remember her "comeback". Although I've never invested much time or attention into Madonna's music, I always quite liked this particular song. I remember at one time thinking that it could be enhanced with some passionate guitar licks over top (or even in place) of the humming. I still think so. Beautiful video, by the way. "You only see what your eyes want to see; how can life be what you want it to be? You're frozen, when your heart's not open."

Soundgarden - Black Hole Sun [1994]
In truth, this is a good song, but even if it wasn't, I'd still like the title, because it's a fascinating concept. I recall the music video being pretty surreal, which adds to the appeal. But the idea of the sun, giver of all light, changing into a black hole, to suck everything away, is deliciously fatalistic. "Hang my head, drown my fear, till you all just disappear."

Orgy - Blue Monday [1998]
I would say that this is merely an okay song, but the driving beat and repeated line "how does it feel" is pretty infectious. Also, I like the distortion. Very fuzzy.

Fiona Apple - Criminal [1996]
This was, hands-down, without a doubt, the sexiest music video I had (and still have) ever seen. For a long time it was a guilty pleasure not because I didn't want to admit to liking the song, but because I was afraid to admit to watching such a sexy video. But damn. Ok, so it's kind of sleazy, but wow is it hot. And the truth is, the real point of this entire post was to give me an excuse to admit that. Yep, I just had to come clean. "What I need is a good defense, 'cause I'm feelin' like a criminal." And I'm not even kidding.

Fastball - The Way [1998]
I don't even remember the first time I heard this song, but during the Summer of [Shattered] Dreams, it was played in my presence, and to my surprise, I recognized it, though I knew not from where. Regardless, it's not a bad song. If it has a kind of dull, plodding atmosphere, the lyrics make up for it. Nothing like the dream of picking up your bags and heading off into the sunset in search of "eternal summer slacking".

Metallica - Nothing Else Matters [1992]
Being in the "metal" vein, which I've always eschewed for rock (even before I got into rock) Metallica is a band I've never really gotten into, although I have come across some songs of theirs that I like. This is one of them, and like the Radiohead songs, it came in a bit later than the rest. I also like Fade To Black, which I heard two guitarists perform at an Open Mic at college, but it's this song's lyrics that spoke to my sensitive heart during my "unrequited love" period.

Bush - Comedown [1994]
I recall hearing this song on the radio in a half-sleep daze, and getting stuck on the chorus - "I don't wanna come back down from this cloud; it's taken me all this time to find out what I need". For some reason, I was caught on it, so I hunted down the song. It's not a bad song. Strong bass line.

Godsmack - Voodoo [1998]
Ok, this is a pretty repetitive song, but like the snake's venom, it sinks into your veins and you just can't get it out. The repeated lyric ("I'm not the one who's so far away...") is like a chant that refuses to cease. I had it stuck in my head a long time ago, then I forgot it, then I heard the song again in yet another half-sleep daze, and it got stuck in my head again, so I had to seek out its source. It's kind of hypnotizing.


If I were to add another song, I might consider Nine Inch Nails' Closer, just for being so damn ballsy (it's better with the equally ballsy video). Going back and watching all these videos, I should make this a DVD compilation of video clips rather than a CD comp. I'm actually impressed with how much the dates for these songs matched up. They're all from the 90's, with the majority from around 97/98. Which makes sense, as that was about the time - plus a year or two for the songs to get airplay - that I discovered classic rock and switched over, never to look back. Maybe at that time, even before I switched on, my body was craving music. And these were the best I was stuck with until I found what I was truly looking for. Interesting.

I'll also mention here, since it's relevant, that I'm a fan of Alanis Morissette's album Jagged Little Pill from 1995. Although I like a good female vocalist (see Janis Joplin), this isn't really the type of music I listen to, but the conviction shines through on this album and it really makes a difference. Ironic is probably the popular pick from the album, but my personal choice would be You Oughta Know.

Also, there was a time when I enjoyed listening to Mariah Carey, believe it or not. I've heard her get a lot of flack from people who like the kind of music I listen to, but I liked the way she sang. And I thought she was pretty attractive too. It's strange, because that whole aesthetic isn't really my scene, but for some reason she was an exception. I recall a particularly interesting video involving a jet ski chase.

More than anything, MTV teased me with a glorified view of having a social life - with shows like Real World and Road Rules, even if I don't like to admit I ever watched them, and the idealistic dream world of Spring Break, where it's warm, you're on the beach, watching a live outdoor concert, and you're surrounded by bikini-clad beach babes, and people are doing crazy things that often involve getting naked, and Girls Gone Wild is probably somewhere nearby, too. I simultaneously despised that world - the social world - and I desired it. I blame biological programming, but I've never been satisfied with the loner life I've lead out of necessity. For the little bit of time that I let it, MTV gave me a chance to be a tiny bit closer to that world that I was missing out on.

But there are better worlds, after all, to discover. Worlds I am more suited to.


[Postscript: Reading the comments on these videos is enlightening. Hearing people wax nostalgic about the 90's and how today's music ain't got the same soul really puts my own 60's/70's elitism into perspective. There's no question that the music from those decades had something that's lacking in most music today, but that's not to say that today's music isn't as good (except, of course, on a subjective level), it's just different.

And of course, growing up with music really helps to imprint it on your mind. I wonder how I would feel about the music I love if I hadn't listened to it as an impressionable infant. And yet, I'm mad about bluesmen like the three kings, and I'm pretty sure my parents weren't blasting records by them, so there's some element to my taste in music that isn't purely nurture.

Perhaps I was just lucky to be exposed so early to music that complemented my tastes so well. I suppose it's just a shame it took me so long to realize that. If I had gotten into music earlier, it might have changed the whole course of my life, potentially. I might have had a band in high school! :o

They flutter behind me, my possible pasts...]

Still, Waters Runs Deep

I was browsing photos of pretty girls on flickr, and I came across one that was titled Empty Spaces, which, incidentally, gave me a craving to listen to the song of the same name (I haven't really listened to Pink Floyd a whole lot in a long time). Anyway, because the live version of Empty Spaces is more complete, and I love the What Shall We Do Now? part that doesn't show up on the studio version, I loaded in the live version of The Wall to listen to. And at the end of The Thin Ice, I thought of two things. The first is that, in perfect counterpoint to Gilmour's fluid leads, Roger Waters has a great talent at writing lyrics (and singing them in such a way) that makes them very singalongable. The other thing I thought, while listening to the final lines in the song:

Don't be surprised when a crack in the ice appears under your feet. You slip out of your depth and out of your mind, with your fear flowing out behind you as you claw the thin ice.

was that Roger Waters has an uncanny ability to describe quite horrific experiences in not only a poetic language, but he sings them in a way that almost belies their terror. Not to say that Waters' voice isn't capable of matching the horror of his lyrics (it certainly is, and frequently does), but then there are cases like this one, and when he sings about nuclear holocaust in Two Suns in the Sunset (the meaning of which would have completely escaped me, by the way, if it weren't for my brother's more lyric-oriented approach to listening to music) -

Like the moment when the brakes lock, and you slide towards the big truck (oh, no). You stretch the frozen moments with your fear. And you'll never hear their voices (daddy! daddy!), and you'll never see their faces. You have no recourse to the law anymore. And as the windshield melts, my tears evaporate, leaving only charcoal to defend.

which is sung in an astonishingly calm voice (once you realize what's really going on). And that's just part of Roger Waters' charm, itself only part of what makes Pink Floyd such a great band. And with that thought on my mind, I can't help thinking that I really need to learn a good David Gilmour solo once and for all.

A couple Neil Young lyrics

Yesterday I heard a cover of Motion Pictures by an unfamiliar band on the blues radio stream I like to listen to. It was a pretty faithful cover, I'd say. It's not really my style of song - kind of "country mellow" - but hearing it on this station, surrounded by blues songs, and covered by a blues band, reinforced my feeling that it's a good song. Of course, having heard my brother perform the song in the past has helped to polish my appreciation for it, as well. Although it still doesn't hold a candle to the other songs from On The Beach that I like more (especially the title track). :p

Switching gears, let's talk about a lyric from Cowgirl in the Sand, a song I've been playing regularly for years, before which I spent some time listening to it obsessively. While playing the song recently, I got to the second verse, where the line about "rust" comes into play. But it's the part just after that that I want to talk about:

After all the sin we've had,
I was hoping that we'd turn bad

Sometimes I'll sing or listen to a lyric for a long time and not really think about it - whether I understand what it means or not - and then suddenly the line will hit me. Well, I've always been slightly confused about this particular line (and it's not the only line in this song that's confused me). It's just - I'd think to myself - if we've had all this sin, then are we not bad already? Isn't the reason we've partaken of all this sin because we turned bad in the first place?

Or perhaps it goes something like this. We tried out all this sin, just for the fun of it. And then we were expecting it to turn us bad. But it didn't. We remained good. So maybe we turned out not to really like the sin all that much in the end? Maybe we ultimately found out, to our disappointment, that we weren't cut out for the sinful life after all?

Well, the "revelation" that hit me the other day, was to take the phrase "turn bad" as having the connotation of spoiling, like with food. We tried out all this sin, hoping that it would turn us bad, in order to reinforce our beliefs - handed down to us through religion - that sin destroys man. Sort of a proof that sin is bad. But after trying all this sin, we didn't turn bad. We were perfectly fine. Which actually disproves the religious angle, and instead suggests that sin isn't all that bad, isn't a big deal after all. It's not something we have to avoid, because it's not going to turn us bad...

The other lyric I wanted to mention is from the song The Last Trip To Tulsa. I've had this thought more than once while listening to the song. It has to do with this part:

I was driving down the freeway,
when my car ran out of gas.
Pulled over to the station,
but I was afraid to ask.

The service men were yellow,
and the gasoline was green.
Although I knew I could not,
thought that I was gonna scream.

When I hear this part, I can't help thinking that it's a perfect description of social anxiety. You've gotta get gas but you're too afraid to talk to the men at the station. Anxiety creeps in, and you start noticing the little details - like the color of the gas. The stress overwhelms you and you feel like you wanna scream, but you know you could never actually draw attention to yourself like that.

I know the feeling. And it's the fear of it that keeps me from taking trips to Tulsa more often.

Alvin Lee

There's this really good video of Ten Years After doing their unique version of the classic song Good Morning Little Schoolgirl on YouTube (just watch it, it's great). I've been learning [this version of] this song, and I was hoping to get some hints on how to do the solo, which I'm pretty helpless about. I'm not good at picking things up strictly by ear (one of the primary reasons I've never considered myself a real musician), and I have a hard time working things out just by watching someone play, unless I can get a good look at what they're doing (and they're not going too fast). Unfortunately, live videos, as great as they are, aren't real good for musicians trying to pick out their individual parts. It would be boring if the camera just focused on the guitarist's fretboard, but if you want to figure out what he's playing, it doesn't help looking at his face, or at the drummer, or what the bass guitarist is playing.

Anyway, the performance of the song I linked above is nice and tasty. It's crisp, and concise. Alvin Lee is often criticized for "noodling", although noodling has always been a good thing in my book. There's a difference between noodling and meandering, by the way. The Grateful Dead meanders. Alvin Lee noodles. Granted, if you're not a big fan of the electric guitar (gasp!) I can imagine it getting kind of boring. Like those dragging drum solos (although I think I at least enjoy them more than the average listener, maybe because I'm a musician, even if not a drummer). But to me, a huge fan of electric guitar, I think noodling is exciting.

Still, it's hard to copy. It's a hell of a lot to tab out, and as much [deserved] respect Alvin Lee gets as a guitarist and among guitarists (and enlightened rock fans), he and the great band Ten Years After are not super popular, and tabs are sparse. Of course, you could take an Alvin Lee solo from the perspective (as "real" musicians undoubtedly do) of an improvisation in a certain key (or scale or whatever), in the Alvin Lee "style". Every [good] guitarist has their unique style, which, in the context of guitar solos, generally indicates certain types of licks that come up often. The more guitar solos I'm learning, the more I'm coming to understand this, and it's quite fascinating. Alvin definitely has his style, and I've learned some of those licks off of the tab of the intro to I'm Going Home that I scrounged up a while back.

But still, I'm not real keen on improvising a bunch of semi-accurate licks. If I was a much better player, and could pull it off impressively, I'd do it, but I'm not. At this point, it's akin to the ever-popular "hand-waving" technique in physics lectures. That's where you sort-of-explain a concept in vague terms because you don't really understand it yourself, but it's just enough to fool the people you're explaining it to. That's what it would be like to fake my way through a solo well enough to trick people into thinking it was effective. But it still wouldn't be on the level of an Alvin Lee solo. And I'm not interested in tricking people, I'm interested in getting better and learning how to play as well as the players I admire.

Coming back, yet again, to the video I linked above, what's nice about it is that - although I'm not bothered with noodling to start with - it is, as I said, concise. It's robust, and it's got everything it needs, including a nice 2:30 long solo, but it doesn't really have anything extraneous tossed in. And the solo just sounds great. It doesn't drag at all, it's just one melodic lick after another. And those are the licks I really want to learn. That's the kind of solo I'd love to be able to play on that song. Just like Alvin himself.

I don't know if there's even any chance of me figuring out what he's playing there. But I really want to.