CMC 16: "The Shadows".

"The Shadows" Something occured to me, as I dragged out the completion of these comments: on a cold listen, this stuff really needs a context.

I put my initial mix together over several months. I figured, the easiest thing to do, since I've been absent for so long, was to put together a patchwork of songs that popped up over the course of my life, the past sixteen years. I decided this was CMC number 16, so I couldn't resist the desire to do this. A chronological mix. Not the songs by date of their recording, but songs by date of where they appeared as I moved along in life. That is the only way these songs make sense together. hence, "Shadows."

These aren't the only songs from these times, of course, and they aren't always the best. I give you full permission to hate them. Several, I can only love on occasion. But I've got back to them consistently, during these years. The following is the explanation why.

1: 1990. "Havalina", The Pixies, from Bossanova. Release date: 1990.

I bought a ticket to visit my dad in California in 1990. By then, I'd purchased a new type of Walkman that appeared sleeka nd was easy to conceal on my waist. I knew he'd hate it, the tape-playing Walkman, but I was going to visit him on my own for the first time. I was 18. I was going to need the company on the plane. Also, I figured he'd be fine with the idea that I'd footed the bill for the tickets, for once. A gesture of adulthood. I'd dubbed a mix for myself, and that mix included all of the Pixies' previous album, Doolittle. I'd listened to it a milion times, and it was not the best choice for the trip. I was already sick of it by the time I was over the Grand Canyon.

For about five minutes, the plan was this: I was going to move to San Diego after I graduated high school. Dad had given full support on this one, and was willing to pay tuition for San Diego State University. I didn't get out to see the campus until the official visit, in March 1990. By then, I'd started out at the University of Iowa. By then, I'd met a girl, perhaps the right girl. Did I really believe that? It was one of the big discussions. Turned out, I was determined to be right about the girl. California was persuasive, to a point. I could live out here, I suppose. But do I want to be guy I was, at that time, living out here? Ultimately, no.

"Havalina" is a dreamy song that fits the memory of that time perfectly. When I think of southern California at that time, I think of this song, particularly the flowing guitar notes and the breezy pace. The lyrics barely keep the song from being an instrumental:

Walking in the breeze On the plains of old Sedona Arizona Among the trees

Arizona is an appropriate reference. My grandmother lives there, and I went there soon after this visit, and then stayed in Iowa. Havalina is the Mexican name for a wild boar, and if it was a song about a pig, well, I did stay in the Midwest.

2. 1992. "I Don't Know", The Replacements, from Pleased to Meet Release date: 1987.

In the days before internet, it was hell to keep up on music.

I bought the Replacements' 1984 album, Let it Be, almost entirely note unheard, because of the insane word-of-mouth about how great they were, and the fact they had the balls to co-opt the title from The Beatles. By word-of-mouth, I mean Paul Westerburg was featured in every music magazine, and if I was lucky, a song or two would appear on KUNI. The Replacements were non-existant on MTV, as they protested videos.

As it turned out, I really liked Let it Be, but I didn't really find myself a fan of the Replacements until it was just about over. The group came to Carver-Hawkeye arena, and a friend of mine had two tickets to the show. His girlfriend bailed on him or something-- they were having trouble, I heard-- and he invited me without asking me to pay for the ticket. We both lived in the University's Foreign Language House, which was the only co-educational floor on campus. I recall his girlfriend lived on the same floor. Maybe he took me to spite her directly. I don't know. What I do know was, the show was fantastic. Of course, it's not as if I'd seen a lot of live shows. But this was great, and the Replacements were known for being horrible on stage. I remember this song distinctly, which was twice as sloppy then as it sounds here.

Should we top it off? (I don't know)It's startin' too slow. (I don't know)Who's behind the board? (I don't know)They tell me he's a dope. (I don't know)What the fuck you sayin'? (I don't know).

This song appealed to me because it fulfilled the idea of banging out a song in a kind of stupor. Perhaps it really was recorded that way. Perhaps the saxophone was put in later. It wasn't there on stage that night. It also matched my thoughts on life at the time. Halfway through school, and just what the hell did I know? Later, I'd pick up the Replacements' last album, All Shook Down, and listened to it on the plane to Arizona. It's a better album in many ways, but it was more "mature". "I Don't Know" was a match for the time.

3. 1990-1993. "Way Down Now". World Party, from Goodbye Jumbo, released in 1990.

I worked a number of jobs while completing my undergraduate studies. I didn't mind working the cafeteria food line. I sort of enjoyed the video tech job, where I was sent on various field gigs, videotaping conferences, setting up gear for presentations, and monitoring the fiber optic network gear for classrooms. I met some pretty interesting professors. The job I sort of loved the most, though, was the student janitor job I enlisted in shortly after starting school in 1989. I needed the extra cash, and the openings were always posted. Nobody wanted to push a cart around an old medical laboratory for six-fifty an hour. But, it was fairly autonomous. Working the late shift (7-11 p.m.) in a virtually empty laboratory, I heard this song playing from an office radio. I was buffing the floor, and the song rolled out the mono speaker with a little more energy, a little more Rolling Stone homage than I was used to hearing in those still poppy '80s, Kip Winger days.

What I see just makes me cry
I'm way down now I'm way down now
The clocks will all run backwards
All the sheep will have two heads
And Thursday night and Friday
Will be on Tuesday night instead
And all lthe times will keep on changing
And the movement will increase
There's something about the living babe
That sends me off my feet
There's breeding in the sewers
And the rats are on their way
They're clouding up the images of perfect day
And I know I'm not alone

I knew of World Party; they had a minor hit in the late 1980s with "Ship of Fools" on the radio and "Private Revolution" on MTV, which featured Sinead O'Conner before she was known. I liked that folksy stuff okay, but I really like this Stones riff-off even better, if only becuase, well, it felt damn good to hear real instruments in a real pop song. And everybody else was addicted to Edie Brickell on campus, so I needed a respite from that, as well. And the lyrics stuck. Cleaning out one of the dirtiest buidlings on campus, perhaps I was just primed for the imagery. And the "whoo-whoo" Goats Head Soup stuff was fine by me. I was never one to dismiss the Stones, or the Beatles, for that matter. Many acquaintences at that time were against any pre-1990 "college rock". Well, this was allegedly post- 80s progressive, kind of, but it may have well been recorded in 1972. In your face, elitists! I listened to the whole album often, for several years, and at one point told my wife to make sure they play "Sweet Soul Dream" at my funeral. I'm not sure I'd say that now, especially since (as Cheri pointed out), I'm not Irish, and it would seem 'a little odd'.

4. 1994. "Futterman's Rule". The Beastie Boys, from Ill Communication, 1994.

"When Two Are Served, You May Begin To Eat."- Gene Futterman

Rap music is a funny thing. I've heard my whole adult life about the vitality of it, but very few artists ever maintain a catalog that people go back to over the years. Maybe I'm wrong. I have very few 'rap' records in my collection. Remember Run-DMC? Anyone play that lately? Even when I finally gave in and bought "Licensed to Ill" in the 1980s, it was with an understanding that I'd likely grow out of it shortly. I maintained an indirect loyalty to the Beastie Boys as a group, however, almost entirely becuase they manage to get a song or two out there every so often, which I wind up loving so much, I buy the album. I bought this album in Japan, used, at a store called the Book-Off, which was a block away from home.

Cheri and I flew to Japan in 1994, a year after we got married. We'd gone through the process of interviewing for english teaching jobs, got hired, and in August of that year, we were in our new place, a one-room the size of a dorm room, with few belongings. It was great. We also had the whole of August off, to get acclimated. We'd been informed of a gym and spa we could join that was nice. It was pretty much like any gym you could join in the States, although they still had spot-burn machines (that thing where you attach a piece of fabric around your waist and stand there while it shakes your fat). While in the U.S. you often here zippy electro-pop tunes over the speakers, this gym in Japan played show tunes. Non-stop. I think I heard the "South Pacific" sountrack fifty times. In the days before iPod, I could have just plugged in a Walkman, but we were enjoying living light. Then this song got played, totally random, out of knowhere. I wasn't aware it was the Beastie Boys, and nobody else did either; one of my first forays into japanese conversation inlcuded "What song is this?" It came in handy a lot during my stay there. Anyway, a student at one of my high schools enlightened me, as he was a Beastie Boys fan (big in Japan, they were.)

I'm sure there's an explanation out there about the origins of this song. I know the BB, after their first album, got the Dust Brothers to produce their second album. The funkiness of this song is the continuation of that separation from the snotty first record. the BB continued down a path social consiousness and spirituality ("Bodhisattva Vow" is one of the tracks). And, of course, this tune is lyric free. Perhaps it was the endorphins shooting around my system as I heard this song in the gym. Perhaps it was the smell of the Pacific ocean again, this time hitting me Eastward after the Western-blowing "Havalina". I do know I've always liked the opening sentiment: You all better get right for this time, cuz there might be no next time, y'all. I've just come to embrace that the Beasties are always going to be there.

5. 1996. "Pool", Spitz, from Namae-wo stukete yaru/I'll give you a name. 1992.

I needed to pick one song from my time in Japan. Living in the countryside, pre-peer-to-peer file sharing, it was an interesting time to pick up on local music. For one thing, most of the high-school students I spoke with loved music, but in particular, they loved Western music. I spent part of an afternooon working through the lyrics of Deep Purple's "Burn". When it came to Japanese music, the divides between "popular", "mainstream" , "alternative" and what-have-you existed as rigidly as they did Stateside in early '90s. Also, the kind of suggestions and comments I would get depended a great deal on which school I was at. Case in point: Spitz. Spitz was an established band playing incredibly hooky tunes in the '90s. Every all-girls school I visited had its fair share of fans. I was sitting in the teacher's office of one such school, eating a lunch of egg bread and rice balls (mmmm, rice balls) when this song flowed out the overhead speakers. It's common for students to produce an in-house radio program over lunch or early afternoon during cleaning. One student, whom I met for the first time later that week, lent me several of her CDs of this group. I had this experience many times, actually, and I was always appreciative of students' willingness to share music in this now outmoded way. Of course, I transposed a ton of lyrics for students in return, so it all came out even. I found myself struggling to explain Janet Jackson lyrics to one student one whole afternoon.

The members of Spitz went for a natural appearance in their music and their image, in contrast to the glam-look a lot of bands at that time seemed to be going for. And if their music was not challenging, it was certainly catchy, like this song. The airy, floating guitar sound near the end of the song conveys that misty feeling of being up in the mountains in some of the schools I worked at. I don't have the lyrics translated, but at the time I didn't understand any of the lyrics; other songs by Spitz often allude to taking flight, mysterious feelings and straightforward love.

6. 2000-2002. "On Earth." The Sundays. From Blind, released 1991.

I had decided while in Japan that I'd be heading to graduate school in the near future. In 1996 I started in earnest to study for the GRE in my small apartment, during the evening. This turned out to be a mistake because, quite frankly, I was throwing away valuable time experiencing life in Japan studying non-Japanese material. Looking back, I should have studied the language more, because I was already situated in the largest learning library for the Japanese language. The GRE was scrapped, the exam schedule in Tokyo cancelled, and I stopped thinking about school. This turned out to be wise, becuase I really didn't know what I wanted to study and it would take several years of re-acclimating to the United States before I'd know for sure.

When I finally decided what I was going to with my life, I promptly purchased a Compaq laptop and loaded it with the necessities. I also dug out a copy of The Sundays' Blind, which I'd purchased years before, when I was an undergraduate. It was an album I'd given just a few listens to before 1994. I'd bought it after being a fan of their debut CD, but perhaps life was speeding up in 1994, prior to departing the country. The disc got left behind (it's quaint, looking back, how I thought I could only take a dozen or so CDs with me.)

One of the benefits of graduate school was that I could play the part of the college student properly; at 29, I had at least a few things figured out, unlike when I was 18, and knew less than nothing. Of course, I didn't really get into a lot of was 'new' on the local college station; often I just got more into what I already had. In 2000, Blind got loaded into the laptop, and I began listening to it during marathon reading and writing sessions, particularly when I was crunching out research results. It was melodic and comforting, and filled the "college rock" void I'd missed being away.

Read between the lines
Give me something to savour
Can you do that?
cos Ill believe anything

I disclose that when it comes to The Sundays, I often cannot decipher the vocals. Harriet Wheeler has a beautiful voice, but it's all instrument to me. I'm not criticising, just saying. I only understand their version of "Wild Horses" because I'm familiar with the Stones' version. Anyway, it doesn't matter, because the atmosphere of spacy, jangly guitars here works for me. Of course, I can't althogether hear this song without thinking of being locked away in the city library quiet room, tapping out another term paper. Good times, but fortunately, well in the past.

7. 2003. "I See Monsters". Ryan Adams, from Love is Hell, Part 2, 2003.

I don't recall where I heard Ryan Adams for the first time, but I'm betting it was in a movie. It appears a lot of Adams' stuff shows up there (or on television) sooner or later, particularly from his album Gold. Adams came to Iowa City in 2001 to perform, and while I didn't go to the show, I did hear about it for a while afterwards. I picked up Gold and liked it okay, but I really got into the hyper-mellow Love is Hell E.Ps. I had just finished school the year before and was well into working at my new job. So, adult life, at 31, had officially commenced. Either I retreat for a Ph.D, which I'd agreed on vetoing prior to entering grad school, or I'd get with the program and start saving money, talking about having the children, moving into a house, the whole bit. Granted, acquaintences were already way ahead of me in many of those departments; we were still renting an apartment and living like college students. The thing was, we weren't really making the move to change any of it.

Baby, I know you cannot hear me now
'Cause you're fast asleep
But I love you now
Colors inside your head go spinning around
Like a ferris wheel Exploding and falling to the ground
Oh, people are screaming, people are screaming
My baby, she's dreaming
Oh, people are shouting, people are freaking
I'm just staring at the ceiling Waiting for the feeling
Oh, oh but when she calls, I know she's the one
Makes me want her harder Makes me want to be a little stronger
Still I see monsters

I'm always a little worried about things, but not knowing what move to make next was about as intimidating as anything I've encountered. Perhaps not what Adams was getting at, lyrically, but the mood matches.

If anything, Ryan Adams filled the spot left behind by Paul Westerburg after The Replacements broke up and Westerburg stopped putting out music as much. The Love is Hell E.Ps (which were eventually combined into a full album in 2004) is like the follow up to The Replacements All Shook Down. The mood is appropriately stark and honest, and I like the image of Adams singing to a sleeping partner.

8. 2004. "Automatic Stop", The Strokes, from Room on Fire, 2003.

The Strokes were as popular around the University of Iowa campus as anywhere else in 2001, though the initial popularity waned later. A friend gave me a mix of the Strokes shortly before graduation in 2002. Another friend gave me Room on Fire, the second album, a couple of years later. At this rate, The Strokes will be one of those groups I'll be able to collect without having to put down a dime of my own money.

Simply enough, I love this song because of the guitar part and rhythm during the chorus. For a song with such despair in the lyrics, I find it strangely affirming.

So many fish there in the sea
I wanted you, you wanted me
That's just a phase, it's got to pass
I was a train moving too fast
Didn't understand what to see
Yeah, then I got a different view
It's you...no.Wait,
I'm gonna give it a break.
I'm not you friend,I never was.I said wait, I'm gonna give it a break.
I'm not your friend,I never was.

9. 2005. "The Shadows". Yo La Tengo, from I Can Feel the Heart Beating as One, 1997.

Yo La Tengo, on the one hand, represents a traditionally "alternative"/college radio name brand that liking them is almost tantamount to poseurism. The Onion makes as much clear. So, when I started finding my way around the web to find music files (all legal, of course), it was with some reluctance that I sampled (and wound up buying) their album Summer Sun. Itunes had their other recent stuff, and before long, the last few albums were in my iPod as well. I discovered at a local vinyl store that YLT is one of the few groups that puts out all their new stuff on the old 33 1/3 format, and as I have a turntable, it was tempting to go totally elitist and buy I Can Feel the Heart... on an actual record, the first time I would do that since 1989. (I talked myself out of it, though, since I remember all too well how hard it was to keep records clean. I have no nostalgia for scratches and pops. MP3s may have limited range compared to CDs, but CDs, when mastered well, sound great, thanks.)

Scold me, that's all you've got to say
Coldly hurt me and turn away
You say I'm not sorry that
I'm resolved to what is next
I head for the shadows
Hold me, taking it back in tears
You've told me, slowly confessed your fears
But I've got myself to protect
It's too soon for me to forget
I wait in the shadows

The sheer sensitivity and preciousness of the lyrics here make it almost too easy to dismiss YLT. But the last few records really grew on me, and the lyrics here match the atmosphere of the song. So, I gave in and became a fan. And, I wound up buying a new Tom Waits album on vinyl, just do see what it was like. Predictably, the experience was as I expected, and I wound up downloading the album for security purposes.

10. 2006. "Cleaning Windows", Van Morrison, The Best of Van Morrison, 1991 (originally Beautiful Vision, 1982).

In a bit of a cheat, I've pulled the song I'm most familiar with, an album I bought in 1989, Van Morrison's Greatest Hits. It was a simple matter at the time-- I realized I liked a few Morrsion songs, most of them on the compilation record, and then twenty CDs later, I have a little more background on the guy. I haven't picked up the last few CDs; Van Morrison continues to be prolific, putting out about an album a year, but I've been going back to the old stuff.

I heard leadbelly and blind lemon
On the street where I was born
Sonny terry, brownie mcghee,
Muddy waters singin Im a rolling stone
I went home and read my christmas humphreys book on zen
Curiosity killed the cat
Kerouacs dharma bums and on the road
Whats my line? Im happy cleaning windows
Take my time Ill see you when my love grows
Baby dont let it slide
Im a working man in my prime
Cleaning windows...

This song was playing at the moment I was taking this photo in the pharmacy down the street. I was putting the final bits of this mix together, and I got a little worried that I'd be ending it on an "old Fart" note, I kind of rebuke of modern stuff in favor of something rather middle-of-the-road. But I got over that. I want to be the window cleaner in this song. In a way, I am, sort of, although I haven't read any Zen books. Simply, it gets at a simple peace of mind about life. And it a way, working a eight-to-five job and having most of my weekends to myself, I think I'm already there. And in seeking more peacefulness this year, it seemed like a good place to strive to be.

I Hear Your Shadow, thus Spring is Here!

Havalena: What a great and fun song. I really enjoy the high pitched havalina fallsetos(?) throughout the song. It is a magical song that is attempting to hypnotize me. I think of New Mexico and Arizona when I hear this song. I lived in New Mexico for three summers from 1991-1993. Wonderful environments and culture. I have never been to southern California, but I would like to one day. My favorite lines in the song are....Walking in the breeze on the plains of old Segona...Arizona...Among the trees...Havalina.

I Don't Know: Flippin love the laughing at the beginning. This was not my favorite song on the albumn. Sounds a little too much like a dirty garage band playing for the first time at Cattle Congress. Some interesting horns in the song made it alright for me. I also liked the I don't knows after the lead singer's questions.

Way Down Now: I like this song a lot. The parts that I like the most are the lyrics and the flow of the song. The whoo whoo's are a nice touch as well. From your comments I learned that you use to work of the technology resource department. At ISU, I did the same thing. I cleaned equipment, checked equipment out, video taped conferences, lectures, guest speakers on campus, and reviewed tapes for damage. I never had anything to do with fiber optic cables thank goodness. I didn't like that job becasue I had to be there early in the morning. To avoid a gruff comment from Dan, I will say that it was not as early as when he had to get up to operate the chyron machine at WHO-TV.

Futterman's Rule: Flavor FLAVVVVVVVVVVVVVV!!!! I never got into rap and I usually despise it. It makes my skin crawl. I like a lot of different types of music, but rap is one avenue I stay away from. I guess, to me, it is not music but just a bunch of words set to a rediculous beat. With that said, the Beastie boys are not your typical rap group. I am not a hatter, but I am not a fan either. This song has a very urban sound which fits the Beastie Boys to tee. The funky guitar works for me. The heavy instrumental is another factor that works for me. Of all the Beastie Boy songs that I ahve heard in my life, which is not much, this is the best one. I am glad that you put this on your album. I appreciate being exposed to this song and group again. This is one of those moments that stand out because it is what the CMC was designed to do. I ahve been exposed to something good and new. Thanks Steve!

Pool: Really enjoy this song. I am glad to hear someone else adding a non-English song to their album. It is peaceful and relaxing. The title of the song makes me think of the Monkee's album titled "Pool It".

On Earth: Another wonderful pick Steve. Love the Sarah lines. Probably because my wife's name is Sarah. The singer has a wonderful voice that carries you to the edge of your bed so that you can enjoy her voice as you fall into a transentental state of mind. The background singers are also an aspect that helps give this song it's power of suduction. One of my favorites on this album.

I See Monsters: Probably my favorite song on the album. The lyrics and the melody is fantastic. This is just an all arounf good song. Ferris Wheel exploding paints a violent and exciting picture in my head. Good Lord, how does a Ferris Wheel explode? The kicker that gets too me is But oh, oh but when she calls I know she's the one. Also love the acoustic guitar in this song. Great one Steve. I too see monsters, but they are mostly not in my dreams.

Automatic Stop: The guitar section does indeed rock brother. Some very good instrument playing. The vocal track is distorted a bit. I don't understand their reasoning for making the vocal track sound like bad tape. What ever trips your trigger Stokes. This song is enjoyable and one that I look forward to when I listen to this album.

Shadows: A descent song to listen to while working on other things. It didn't grab me, but it was not bad at all. It fits nicely into the mix of this album. Sometimes songs just feel nice without being ground breaking moments in time. I have enjoyed this album as a whole and I will continue to enjoy it.

Cleaning Windows: This song has a blues feel. I am enjoying blues more and more these days. I am not listening to any one musician, but I am becoming more interested in that form of music. The part about when he mentions Muddy Waters. Fun and enjoyable song. You started off on the right note Steve. A fine album from someone who resides in Iowa City. :)

Final Comments: I am trying a quick and easy format to responding to a member's album. We are all feeling the burn to respond and to make comments. Even if there are those out there who might not agree that they are stressed to produce comments of gold, the stress is there. I am going to make the effort to respond before I get the next album each time. My comments will propably not be platinum or gold, as is the standard, but they will at least be bronzed. I feel that it is important to give some type of feedback to the creator of the album. Quick and easy equals little to zero stress for me. Even if the album sucks, it deserves comments in a reasonable time. I just want to be respectfull to the one who puts in so much time creating these albums. Peace Out!

(what else?) Pac-DAN's response to Pac-Man's I-Pod.

The 80's: nuclear war, girls, science fiction, high school, and MTV. Certainly not in that order. Girls, certainly. Nuclear war not for a second. Science fiction? Not really so much, either. High school and MTV? Perhaps, but only to the extent girls were viewable in either medium. Yup, it was pretty much girls that consumed my every thought - and what a remarkable little I had to show for it at the end of my four years! But on to the music.

1. Cheers: In case anyone didn't read my comments to a later post - I think, mathematically, I could only be tied in the amount of Cheers (or Cosby Show, or Family Ties, or Night Court...or Challenge of the Superfriends, for that matter) I watched (in those years at least), not surpassed. And count me among the legions that bought into the Woody Harrelson myth. Who knows, perhaps I started it. Perhaps it was started by my prolifically lying brother. In any event, I feel cleaner now, knowing the truth. The song, itself, was always well-regarded as a solid work of music, relative to other theme songs. The poignant concept of "...where everyone knows your name," indeed, became the unofficial motto for the show. And it's OK as a song, I guess. I find it really hard to separate the song from the show and judge it as purely on its own merits. And perhaps it's not intended that I should. I liike the "aahs" quite a bit. They're used to good effect.

2. You Make Loving Fun: Not one of my favorites of their collection - but definitely one of the coolest. It just kind of slides and funks along with bass/synthesizer action. The searing guitar - the little flourishes you speak of around 1:25 - not bad. My favorite part of this song is and has always been the fast little "chicka"-guitar right after "you - you make loving fun" at 2:40. Awesome. Doesn't sound pissed off to me - none of it - as it does to Meth Mix.

3. Bette Davis Eyes: I echo Gibbs in saying "Only Cory. Wow." She's pre-CO-cious! She's fe-RO-cious! I'd love to hear this song sung by Nico. Many, many years after the fact, I can realize that, purely on its musical & lyrical merits - not a bad song. I did hate it at the time. And MAN - but it SOOO screams "80!" The synths. The crazy "clap" effect. The starkness. The bizarreness. I can't separate it from the times and I could never. And Kim Carnes.: You're no Bonnie Tyler.

4. 99 Luft Balloons: Wow. Did I just say that the last song screamed "80s?" Did I just suggest that the last song used synths, crazy "clap" effects, and starkness? The only song that could top this neon, 200 foot, flashing sign of the times is, perhaps, Electric Avenue. Interesting musical occurrence here: I can recognize the catchiness of the song, and yet I hate it. Is it 'cause of the unwarranted pot-shot at Captain Kirk? Is it my aesthetic distaste for the German accent? Is it the stirring up of memories from my least-favorite decade of my life? Probably a bit of all. It just doesn't give me a good feeling when I hear it.

5. Walk of Life: Allow me to be the third to mention Mixdorf's fascination with "Brothers in Arms." I remember him mentioning that, if he put the cassette into his Walkman (which my mom pronounced "Walk Man") for a run, he felt like he could run forever. But I digress. My own memories & understanding of Brothers in Arms, at the time, was limited to (like most folks) this song & "Money for Nothing." How many grits, after buying BiA because of the Money for Nothing guitar solo and/or the fact he says "That little faggot, he's a millionare" were disappointed to no end upon hearing the rest of the album? Plenty. What do you think about this: "Walk of Life" is to Dire Straits what "Centerfield" is to John Fogerty? To Cory, anyway. I never loved the song, particularly. I remember being struck by the somewhat underwhelming nature of the"woo-hoo"s that kick off the vocals. Listening now - I can see how the structure & arrangement are there, but they don't do a whole lot for me. I really don't like the keyboards much at all. They remind me of some sort of "4th Street Cruise"-oriented music; intended for and appreciated by guys who roll their t-shirt sleeves up a couple of inches and have calendars with ladies wearing hot pants leaning over classic hot-rods. The whole thing kind of exudes a "50s rockabilly" sort of vibe - the echo, the timbre(?) of the guitars, the keyboards. I love what Gibbs says about "the boy can play." Knofler making a plea? Is it possible he is yet another troll? Too successful as a result of this album, perhaps...Perhaps half-troll.

6. Magic: Wow - now this is one song where it is almost impossible for me to separate myself from my history with the song - an intimate familiarity with it stemming from the fact that Cars: Greatest Hits was the 2nd album in my CD collection. I love Mixx's "one of those bands almost everyone had the greatest hits of and no actual albums, no matter how popular they were" (a possible wonderful topic for a freelance music magazine essay!), as well as Gibbs' "fangless vampire." Who needs fangs with an Adam's Apple that pointy? Anyway, asked before the arrival of PacMan's i-Pod, I would have said that it was one of my least favorite Cars songs, and one of which I don't have particularly endearing memories. Listening now, however, I have to say that (once one gets past the very 80s "drumming in an all metal room" sound, as well as the 80s keyboards for which I - like Mixdorf - have no particular love) it's a pretty solid song. Words not paving any new ground, though I get a kick out of hearing Ric say "all shackles and balls." T-Clog - so glad to hear that you are a "newbee fan of the guitar." I think there's some interesting little flourishes throughout in this song, and I look forward to your further discoveries in this world.

7. Small Town: I echo what the Pat's have both said in terms of my growing admiration & respect for the man & his work and will go so far as to say I recall the three of us (Dan, Pat, Pat) having a particular conversation - perhaps on a February Freeze Off - about this mutual newfound apprecations. Gibbs-yes! D, A, E! This song is no exception. Having not read anything about Bob Seger at this point of my comments, and purely out of gut feeling; I would put Mellencamp's "singing for the little guy" credibility over Bob Seger's any day of the week. Perhaps it has something to do with my hatred of B.S. (funny, huh, his initials - especially in light of what I'm about to say), but when I hear John Mellencamp sing any one of a number of songs about youth, struggles, small towns, "the establishment" etc.etc. I just hear sincerity (akin to John Denver singing about Rocky Mountains), whereas when I hear (usually only very briefly) Seger sing about similar topics, I hear a guy who's creating an image and targeting it to a very specific audience (more like Color Me Bad singing about "the street"). Icon vs. image, here, in my mind. Mellencamp would never shop at a WalMart. Seger NEEDS WalMart to in order to sell his shitty albums. Mellencamp, as I understand, is very concerned about migration of rural youth into major metros; though, as far as I can see, he's been unable to do very damned much about it. Oh, the song? Very straightforward, but in a good way. I agree with Gibbs in that there is more than meets the eye with his lyrics. Using simple words to convey meaningful sentiments (as opposed to another way of writing great lyrics: Sting's approach) is actually a challenging endeavor and one in which I think JM succeeds like few do. Early solo Paul Simon also great at this. I think the "power acoustic" chords and hard-hitting drums (his drums are always hard-hitting) are a nice, visceral underscoring of the sentiment, which is impossible to miss and very effectively conveyed.

8. Every Breath You Take: Can't add a ton more to the likeable elements of the song than did the Pats & can't add much more to the backdrop that is the career of The Police than has been covered so far on "Undercover." I, too, like it - but it is yet another song for which I have a very difficult time separating my ears & psyche from how many times I've heard it and how sick of it I may be. Gibbsy Cottontail, I did know that The Police are getting back together for a tour, and I also know that Best Buy drove six dump trucks loaded with money right up Sting's ass and that both entities have since taken a great deal about huge blocks of front-of-stadium tickets that were only available to 10,000+ point "achievers" in Best Buy's "Reward Zone" frequent buyer program. Mixdorf likes to say the concept of "selling out" does not truly exist, but perhaps we can all agree that some artists seem to like money a lot more than others. I personally think Sting ranks somewhere between 50 Cent and R-Kelly. You can't take anything away from this particular single, however, with its already-discussed relentless, guitar-driven rhythm section, and singular vocals (which Sting could, perhaps, be "persuaded" to rename Cingular vocals). Gibbs - on your favorite line, is it possible he sometimes says, "How my fool heart aches?" I almost like that better. OK, everyone - here's a 80s flashback for you: Who's bigger, Sting or me?????

9. Against the Wind: Well, after my comments in song #7, you're probably holding your breath. But rest assured, I fall a lot closer to the Mixdorf camp of "Overcoming extreme distaste for 'Like a Rock,' listening with fresh ears, and finding something quite pleasant" than I do Gibbs' "sorry, dude" opinion. I will take Mixdorf's thoughts regarding the romantic notion of the cowboy" another step and suggest that there is a large segment of society out there - we'll call them "the good ol' boys"- that are living under some sort of constant illusion that their neverending rage against some faceless, uppity, college-types from New England is allowing them to somehow live life on their own terms. Their rage is completely misdirected, however, and only effectual in that it wins elections for who should truly be the target of their ire: the billionares who sell them trucks and Miller High Life and pull all the strings that keep them downtrodden. I offer up this brief rant as background as to why I find the "against the wind" sentiment in the song quite frustrating. In the same way I find, "Take This Job and Shove It" frustrating. Songs that become rallying cries for some sort of hopeless, false movement that really only serves to diffuse the focus of the rage. In spite of the emotions that brought forth this rant, I will say that the emotions stem purely from an intellectual evaluation of the song. In my heart, I appreciate and enjoy the playfully wistful words and piano that work together nicely. This song also falls into a crazy sort of subgenre of music from my own personal memories collection (along with the Beatles' "Something" and, of all things, "Rhinestone Cowboy," that were songs I heard over, and over, and over during multiple car trips per year across this great nation of ours (to destinations as far as Oregon, New Mexico, and Florida), nestled in the back of a giant Chevy Station wagon, amidst the luggage. Pleasant, safe memories.

10. I Won't Back Down: Huge MTV-era memories of this one, which I didn't care for all that much at the time; but to which I have come around in the past few years. Love it now - for the simple, fist in the face of authority message others have pointed out. Love it, in fact, to the point that I performed it in my DanSolo acoustic guitar show last May. Very Petty-ish guitar, and OK harmonies, but nothing extraordinary. Other instrumentation is surprisingly straightforward, when I listen to it closely. Definite case, for me, of a "whole is greater than the sum of its parts," I guess. Which, in my estimation, makes it a complete opposite of Peter Gabriel's "Steam."

11. Take On Me: What 12 year old kid - hormones just emerging (our own Mighty Tom excepting), yet confused, didn't imagine himself AS the sweaty, T-Shirt-wearing Austrian being chased by pencil-drawn SS officers, and flung back and forth down a hallway in a trial of devotion, pursuing that feathered-hair 80s beauty in the diner? Count me, certainly, as among those who did. Perhaps coming to terms with this, 20-some odd years after the fact, I recently re-enacted the scene - adorning myself in a plain white t (tucked into tight-fitting jeans), dousing myself with water, and flinging myself back and forth between a set of doorjams while Sharon looked on, mouth agape (with wonder and desire, I imagine), all the while the synth-accompanied crooning of "Take On Me" blasted from the kitchen boom-box. Hard for me not to like this song. I love Mixdorf saying comprehension of the (ESL-challenged, perhaps) lyrics "always seem to be one or two syllables away." Certainly, a serious student of composition (or a Poet Laureate) might label a song like this a pop throwaway - but if it is, it is the best kind, in my opinion. Much in the way of "500 Miles" by the Proclaimers. Not paving any new ground, but irresistable. Perhaps a bit too much synth, however. This becomes particularly evident during the "synth solo."

12. Cheers Theme (full version): I sort of agree with everything Mixdorf says on this; the song going psychologically where the TV theme didn't, and in that I'm not sure I needed to hear that version. I join Gibbons in asking, "what the heck is that sound after two seconds? There's something prose-y about the words and how they are presented, relative to the backing music in this version, that seem awkward - or stark & slightly embarassing (for the singer/songwriter). Reminds me of Joe Jackson.

Executive Summary: No one in this group resists a little trip down memory lane! Thanks!

B.S.: Every Breath You Take; however, probably not the one I enjoy hearing the most at this point.
S.I.W.H.I.: Girls Just Wanna Have Fun

Spring Break - Internet Break

I will be away from the internet starting this Friday at 3:45 until Monday the 19th. The reason I am posting is because I am hoping that Meth or Dan could snail mail me Steve's album comments if they are posted early next week. If they are not up early next week, I will just wait until I get back to school. Thanks!

Comments to Meth's Comments

There is a part of me that wishes that I knew you guys more while I was in high school, but I would think that we would not be friends today if I did. I was, and at times still am, difficult to deal with when my emotions run crazy.

I remember the song Luka very clearly. I had it on 45. I really liked that song, and I will try to get it with my i-tunes card. You might see it again on the CMC circuit.

Cheers
It would be interesting to know which of us watched more Cheers. Was it Dan or was it T-clog? The next time I come out to see Meth, I would like to go to the bar. I know it doesn't look the same, but it is just something that I need to see and experience.

You Make Lovin' Fun
I am sad that it was not amongst your favorites. I am also sad that this song gets you to think of breakups and heartache. It is odd how this song gets you to think of why it was written, while EBYT gets you think of more of the music and not why it was written. Just a curious observation.

Bette Davis Eyes
Not sure if you liked this song or not. It was not clear. I am assuming that you thought that it was ok. Funny how you thought that it said proplush. I thought that it was crow blush. Speak clearly Kim!

99 Balloons
Interesting info in finding a build your own bomb shelter. I guess I have no idea where you lived while in high school. Can you tell me your address and I could drive by it sometime? Sorry that the keyboard reeks of the 80's. It is an 80's album after all you goofball. :)

Walk of Life
Tough man to please. You have the album, but it is not a favorite of yours on that album. What is your favorite song? Brothers in Arms? I am interested in getting that album at sometime in the near future. You make it sound great. I would be a fool not to add it to my collection.

Magic
Strike out! Meth is a hard man to walk the right cord with. You are not very clear, but I am thinking that you really didn't care much for the song. I get the vibe you are sending out, but sometimes it is easier to just read that it really was not your cup of tea. Straight to the chase and then to your reasons would make my brain hurt less.

Small Town
Didn't know about the cougar thing. Good info there guy. Glad you came around to this song. I was thinking, "Great another artist he is not into.", but at the end of your comments you said, "Good choice Clog." Thanks.

Against the Wind
Wow, Meth likes it. Good news for me to hear. What is EP?

I Won't Back Down
I agree with you about the stars aligning themselves for Full Moon Fever. I do get jazzed and that makes everyone happy.

Take On Me
Undersdtan where you are coming from. However, I love it and will probably always will.

Cheers 2
Are you devistated by hearing this extended version? I will be very sad if I ruined something that was originally good for you.

In regaurds to the SIWHI: Good God I hate that song. Thanks for the good comments.