22. "Kiss Each Other Clean"- Iron & Wine

Like a lot of great music in my life, this album started out as a CD in the playlist for WSHL. Every semester there would be two racks of them that we, as DJs, we required to play from. I always thought of it as returning the favor to the labels for sending them to us. Plus, it would lead us to sometimes align with what was being played on other radio stations at the time, while also being able to sound original or different. (I think that description can also be applied to this album.)

The first song I played on air from the CD was “Glad Man Singing.” It was leading into Spring Weekend my Sophomore year and I attempted to connect it with the artists for the concert on Friday night. I can remember saying something to the effect of “and K’naan will be a glad man singing up there on the stage.” In all actuality, I liked the groove of the song. It starts out slow with some strumming and grows to incorporate other instrumentation. Plus Sam Beam sings in this really relaxed style. It sounds like he is having a good time, so the listener might as well also.

I found myself playing that song in random moments when I wanted to hear something to pump me, most frequently for a walk across campus. I was usually leaving a place, such as my room or the dining commons, for either going to work or going to do work. I would end up strolling in with a smile, ready for what awaited me.

As the summer between sophomore and junior year unfolded, so did the rest of the album for me. Similar to “A Rush of Blood to the Head”, I too discovered this album track by track. I would say in six months time, I would start at the beginning and let it play from there. What is great is the over seven minutes long closer “Your Fake Name is Good Enough for Me” that allows the album to not end so quickly. There is a wide array of sounds and tempos. You get your money’s worth as the curtain falls.

What is significant about this album is that it led me to more Iron & Wine. I did not have the benefit of being “of age” when Sam Beam started his career. I did not have my ear to the ground so to speak to music like his. With my interest peaked because of this album, I would in turn check out his earlier release “Our Endless Numbered Days”. Drastically different in style, I still heard thoughtfully made music characterized by accessible sounds and stories. With both releases in mind, I was able to further appreciate Sam Beam as an artist. I also the fact that they both end with a track that has the line from which the album got its title.

Overall, this album occupies a space between the beginning and the latter stages of Iron & Wine music. There is plenty of acoustic strumming, while there is a mix of studio prowess. The album is not a grand statement nor is it a quiet whisper. It simply a great way to get into a great artist.

23. "The Airborne Toxic Event"- The Airborne Toxic Event

I first encountered this album via the means of hearing the hit single “Sometime Around Midnight” on the radio in the spring of 2009. I am happy to say that the album basically carried me through that summer before college. I can remember in that initial listening, the balance of angst and art intrigued me. I could sense intent to balance both in an attempt of creating a defined listening experience. At that time, it was one I could very much so identify with. Today, I listen to it to identify with myself at the time.

The Airborne Toxic Event are in a select group of artists who on the opening track of their debut album, drop a F-bomb. I think it is wonderful. They do it in a song, “Wishing Well” that has all the pop-alternative sensibilities to garner some radio play while requiring a bleep. The album as a whole quite masterfully occupies the space between simple and complicated. The same can be said for between quiet and loud. You can sing along to the songs and feel like it is a mix of The Beatles and the Ramones. This contrast coming together in harmony is what Cobain strove for. The spring of 2009, a turning point for modern alternative, this album came along at the right time.

Another binary I associate with this album is innocence and experience. A song like “Gasoline” captures this quite well. “We were only 17, we were holding in our screams.” At the time, I was 17 turning 18. I enjoyed hearing the perspective of a 17-year told trading some innocence for experience. It inspired me that I could and should do the same. The sing makes it sound like so much fun. At the very least, it was fun to sing along to.  The line “Oh my dear, I fear I can’t understand how” ranks right up there with “baby better come back later next week, cause you see I’m on a losing streak.” I loved the playfulness of the line “Your father would find my hand inside your blouse.”

“Sometime Around Midnight” is the grand, sweeping emotional tour de force on the album that is as much a ballad we can stand this side of Springsteen. Very similar to the second half tracks on “A Rush of Blood to the Head”, I only hoped that I could one day have a love to lose like the one the singer had lost and that I would feel things so strong to create a chorus that epic and accessible. At the very least, I could align the song and its sentiment with any crush I had ever carried. I also found it to be very similar to Keane’s “You Don’t See Me” which was also released around that time.

“Missy” is just fun. It makes no apologies for a simple rhyme scheme and incorporating a passed down prayer. I always enjoy the easily identifiable piano throughout it. It is a song that I sometimes just play on its own. A quick burst of fun during a drive on a familiar road or walk around a high school track. Very much so a track for a mix cd.

Great summers only happen once in your life. If you are like me, after a great summer, an even better one can sometimes follow. That is what happened with the summer after my first year at Stonehill. I had traded some innocence for an experience and picked up some new albums to listen to. But I will always feel a strong connection with Summer 2009 and this album that inspired me to embrace it all. I knew that I could later recount my stories in the form of art that isn’t more complicated than it needs to be while still containing some knowledge. Not a bad mantra for the years to follow.

24. "A Rush of Blood To The Head"- Coldplay

I think it is fitting to begin with the first CD I ever I bought for myself. Having first heard of it from a 7^th grade classmate, who I always assumed in turn heard of it from his older brother, I was intrigued by what I perceived to be an “instant classic” quality to the album. I am happy to say that what I love most about this album are the characteristics that have only presented themselves because of the passing of time.

Sure at first was I was struck by its ability to be sweeping in sonic nature. To have grand expanses of instrumentation in “In My Place” and have a guitar and piano co-lead in “The Scientist.” But now, it is the full album that I return to with joy. I see it as a listening experience characterized by an uplifting, triumphant first half and a second half that it is at times is sad and slightly defeated. Also, as much as Chris Martin is discovering his full range of emotion, his band mates are finding theirs in terms of playing ability. As the tour that would follow proved, they were able to combine both together for a truly original music experience. (Something I only got to experience with the live album released from the tour, “Coldplay Live 2003”)

Of all the songs in this countdown, these are the ones I have been listening to the longest. Like I just said, it is the first half singles that first drew me to it. I can remember clearly, slowly discovering the songs that follow, one by one, as I allowed myself to listen little more. I was being given glimpses into emotional moments I only hoped to experience. Also, with each song, I was discovering more and more why I loved Coldplay. They were able to create music that I could wrap myself in. It was all encompassing. For me, it always felt like a soft blanket. Now, some folks would argue, that makes it weak or wimpy. I just think of it as complete. It is so thorough; it has a texture to it. And as someone with heightened sensory awareness and as a result, at times, I become overwhelmed and tired from life, it is nice to have some comfort music. My junior year of high school, after a period of four days that included a license test, a Model Senate conference, State Science Fair, the SATs, and Junior Prom, I found myself wrapped up in a blanket with both the ceiling fan and this album on for the afternoon.

This album has always been one I listened to. Still, in the CD boombox in the bathroom of my Dad’s house, there is a burnt copy that serves as a go-to for the soundtrack to getting ready. It has filled the air on plenty of summer afternoons. It is this long history that truly endears me to these eleven songs. Together, they have been a touchstone throughout my life. I can listen to them and connect back to different parts of myself. Most importantly, a specific part of myself that I today take a lot of pride in: the desire to have music in my life. Something in me moved me to buy that first CD and I am glad I still have it today.

FourFive Collaborations

Given his recent activity, collaborating with first Kanye and then Kanye and Rihanna, I would like to suggest 5 more collaborations Sir Paul could explore to further his reach in culture:

1. Bon Iver: Kanye could actually introduce Paul, for he collaborated with Justin Vernon back in 2010 and again in 2013. Bon Iver as always worked well with Vernon as the band leader and I think it could also exist with two musicians leading the way. I picture Paul and Justin writing together and then turning to the rest of the outfit to bring some indie-synth ambient folk to life, spiced with just the right amount of some Paul punch. He would deliver a key verse, coming to the forefront of the sound making it know that for this project, he's in charge.

2. The Roots: Once again, there is a friend with a connection. Elvis Costello, a past collaborater with Paul, cut an album with Quest Love and crew last year. As much as he can function as a solo artist, Paul does well with a band. One as talented and able to transform as The Roots would allow Paul to explore a full scope of genres. I see an album with both original work and covers from his early years.

3. Morrissey: Deep within the lore of The Smiths is the story that the late Linda McCartney almost came into the studio to play piano on a track for Meat is Murder. Unfortunately, it never worked out. Today, Paul and Morrissey could connect on their thoughts about eating animals. Together they could make a track protesting the act. There would undoubtedly be tension between pop accessibility and musical uniqueness but I feel that it could be worked out for at least four minutes, with shared vocals on a chorus while taking turns with the verses.

4. Ringo: As long as these two are alive, they should collaborate. I envision something grander than a cameo on a track on the latest release. Never once was a Beatles track credited as "McCartney-Starkey". To invoke a recent Starr album, "Y Not Now?" They could call back to the music they first heard in Liverpool, while possibly covering some of their band mates' better known solo songs. Just for the novelty, it would be noteworthy. It wouldn't be called "Beatles" but it would be close.

5. Brian Wilson: In many ways, his American counterpart, these two songwriting bass players have developed an immense amount of respect for and friendship with each other over the years. So the story goes, Paul was inspired by Pet Sounds to make Sgt. Pepper's. Today, in the Beach Boys museum you can find an autographed copy of each album signed by the other person. Both masters of their craft, also known for not always being in full agreement with their former band mates yet able to reunite when the time calls for it, they could make an album that would stand alone in music history and only serve to add to their legend. Another chapter written together in a big book of being original and innovative. There is enough talent between them to make something worth listening to.

The Case for "Last Night"

One of my favorite things about the phenomenon known as Rock 'n' Roll is that it has spawned a handful of songs over the years that will last throughout the ages. Now that list is for another music review outlet (Rolling Stone), I only wish to reflect on a turn of the 21st century tune that I feel should be heard and learned for years to come.

If look through Dylan's discography you will find the musical credit "Trad. arr. Dylan" meaning that the song goes so far back that not one person is recognized as the author. In other words, people have been playing that song so long, no one remembers who the was the first. I really like that. For me, these are the hymns of humanity. Shared by all to be interpreted for the times they find themselves in. Dylan certainly did all he could for his time.

Along these lines, I believe that some songs from recent history will reach that same status. I am not saying that their authors will be forgotten (thank you internet) but that they will be passed down, learned by new artists, and serve as opening tracks to careers. "Last Night" by The Strokes is one of those. 

I can almost see it, four or five guys, roughly 16 or 17 in bad jeans and sneakers, starting off the set at a coffee house. If they have any rock n roll in them, they are doing it to wake everyone up. They are probably doing it because it is the only song they know. Still there is something there.

From the opening lick, soon joined by the drums, then joined by another guitar, and at last the singer, it allows the whole band to introduce themselves as they come together to play in a style that would make The Ramones proud. Although I cation against calling it punk in statement, I see it more in style.

The real bite of the song comes two and minutes in with an honest confession and vocal explosion. Julian Casablancas proclaims "Me, I'm never gonna understand.... LAST NIGHT!!!" It causes you to go back and listen to whole song over again ( All three minutes and eighteen seconds). You enjoy again the lead up, complete with lyrics telling a story of confusion and leaving, no big love lost but still something is gone,  while name checking a laundry list of people who are also in the dark.  There is enough word play that it doesn't become stale and becomes a fun challenge to sing along and get the nouns right, in the style "It's The End of the World As We Know It (And I Feel Fine)". There are also instrumentation breaks that, to return to that image of the coffee house, are probably just as much fun to play as they are to listen to. There is a handful of chord changes to give it some rhythm and beat. It gets your foot tapping in a familiar way while still sounding new.

And that is what made all those traditional songs so appealing to Dylan. They were familiar, but he knew, he could make them new. I feel the same for "Last Night." So Julian, my grandsons might actually understand.

Some Shoveling Music

The film Juno goes down as one my generation's landmarks, creating a presentation style only later to copied and warped by MTV's "16 and Pregnant" and "Teen Mom." Still, the film had great music and I had a solid album for some shoveling.

Celebration Rock- Japandroids:

This 2012 release that I first took a pass on because by the time I read about it in Rolling Stone I was too steeped in a set summer mix and then later bought the next but to quote George Constanza, it didn't take, it now exists as go to when I am looking for some indie rock. I feel it would be unfair and off target to characterize the group as Canadian Black Keys but I was first drawn to it because it came out of a duo. I enjoy hearing how two, and just two, musicians can relate to and work together.

The album both opens and closes with fireworks, major points for that one. Truly they do invite you for a celebration. For me on Tuesday, it worked nicely as I seized the day and tackled the task shoveling. Out of season in a sense, still I enjoyed all the elements that led to the attention Rolling Stone gave it.

Two particular elements came across: musical craftsmanship and poignant lyrics. In fact, the later almost gets lost in the former but nonetheless this listening experience is created where you are moving (in my case shoveling) along to the music and try to catch all that is sung.

The album details a young man discovering his sexuality. It is both playful and serious, in all the best ways. Some of the highlights include "She'll kiss away your gypsy fears / And turn some restless nights to restless years" from "Fire's Highway" , "So come and find me in this moment /  and expose a passionate man for what he is" coupled with "I'll run to find you in this moment / and expose a passionate woman for she she is" from "Evil's Sway" ,"With her blitzkrieg love / roman candle kiss" from "Adrenaline Nightshift".

"Younger Us" is as much an anthem about being young and having friends as anything I have ever heard. It ends up on about 70% of the mix CDs I make and it is honestly one of my all time favorite tracks. It both speaks to me about my own youth and inspires me to further explore it. In the case of this snowstorm, it pumped me, had me moving across the driveway a little faster

Arguably the album's strongest tracks, these four songs also possess a musical landscape to match these lyrics. The playing is as much about exploration and pride as the lyrics. Sure, we have all heard fast, loud guitar playing before, but it comes with a purpose. It is not loud simply to be loud. It is auditory excitement. I have never seen Japandroids live but I imagine they jump when they play. I like to think the notes also jump, leaving the instruments ready to meet the world and bring some meaning. It borders on racing but I like to think of it as running.

Another possible slight against the style might be that all the songs sound the same. I like to think that they are fabric cut from the same cloth coming together to form a quilt with different scenes from the same experience. I think that some lyrics from "Younger Us" capture it best "Waiting for a generation's bonfire to begin / when the plunder of a poets / thunder of a punk's guitar."

That pairing at the end, a poet and punk, it also does well to caption the album, which did well to provide some music for a snowstorm.

Top Ten Tracks of 2014

In a year saturated with songs, these ten stuck out as ones that we will be listening to for years and slipping onto mixes for friends and loves alike:

10) "Just One Of The Guys"- Jenny Lewis: A song, thanks to a video filled with all-star female cameos, is nearly as much fun to watch as it is to sing. Miss Lewis delivers chorus and verse perfect for a circle at a girl scout campfire or a coed college dorm room. Either way, it delivers words that are both fun and philosophical, filling the four minutes perfectly and going well with simple strumming led instrumentation.

9) "Rainbow"- Robert Plant: The old lion roars once more, this time accompanied by a relaxed, full band led by a calm bongo beat. Tender and sweet are two words not newly attributed to a song by Plant but it is both reassuring and entertaining to hear him do it once more in 2014. If only the same could be said for leading Led Zeppelin.

8) "Heavenly Father"- Bon Iver: You have got to be a mover and shaker to inspire Justin Vernon to get the boys of Bon Iver back together and record a song. And that is exactly what Zach Braff is. Coincidentally, that is exactly what this song makes you do: move and shake, in a familiar way, just as "Wish I Was Here" undoubtedly felt familiar to "Garden State." In just over four minutes, and through a loop, the moniker meaning "Happy Winter" makes you smile, wonder, ponder, and feel a little happy. Now go make another album!

7) "Scarecrow"- Counting Crows: No Mr. Jones this time for Adam and the gang, but instead an all American rocker in every sense of that cliche phrase. In all seriousness, it is beyond nice to hear a band from a decade now sometimes classified as classic rock still able fire on all cylinders and provide the perfect backdrop for lyrics as mystically pop as one of their first hits (Mr. Jones). A native species ear worm that slows down, speeds up, and equals a lot fun.

6) "A Sky Full of Stars"- Coldplay: With an assist from Avicii, Chris and the crew add another single to their solar system of hits. More catchy than contemplative, it works nicely as a bookend to "Yellow" when Martin first invoked the Heavens. Say what you will about the album, this one belongs right up there with Coldplay's best and definitely goes on any serious Coldplay mix.

5) "Rather Be"- Clean Bandit ft. Jess Glynne: A perfectly smooth around the edges piece of synth pop that is a pleasure no one needs to feel guilty for turning it up loud when it comes on the radio or downloading it onto your computer to enjoy in quiet moments. I deem there to be enough integrity, both musically and lyrically, for it to serve as part of the soundtrack to any romance.

4) "Zigzagging Toward The Light"- Conor Oberst: No longer needing to be known by a moniker referring to his optical light, Oberst brings it all back home in some sorts in this opening to track to his Americana meets today's alternative album released back in May. Fun to both tap and sing along to, it showcases craftsmanship defined by full band involvement and earnest, reflective lyrics. A great introduction to new fans and a reward to those who have been along for the full journey, it is nice to know Orberst has an idea of where he is going.

3) "Lost In The Dream"- The War On Drugs: The lush title-track from album filled with ambient anthems, this one offers a sentiment on an experience we all strive for while moving at a medium pace and bringing in all the instruments that serve as the ingredients for the album's effort. Together they all play, taking turns, and working together to, along with some contemplative lines, provide four minutes of contentment. In effect, the listener gets a little lost.

2) "Gotta Get Away"- The Black Keys: A catchy throwback tune that serves to close out to the album, it also works nicely as a piece of radio gold. It doesn't have the bite of "Tighten Up", but instead captures the release of a man letting go. Dan Auerbach, having shared it all on the preceding tracks, has some fun with his drummer/best friend Pat. As accessible as "Tighten Up" it draws the listener in for less shifts in tempo, but just as much fun. Plus any chorus that can name drop Kalamazoo is just a good time.

1) "Happy Idiot"- TV On The Radio: If you choose to carry on after the death of a band member, it should be with a dance beat and lyrics about love lost. Blending them together, TV On The Radio deliver a song that encapsulates the struggle between joy and knowledge, mirroring the tension between indie and pop found in this song. I hear purposeful instrumentation paired with lyrics written from dipping into the well of pop's cannon. Similar to #4, this very well can serve as the introduction to an act that has for years made critically acclaimed music. With this track, they just happened to make the year's best song.