20. "The Unforgettable Fire"- U2

I cannot remember exactly when I started listening to this album. Sure, I had heard of U2. In fact, the purchase of “U218 Singles” in 10^th grade was a big moment musically in high school. I listened to that album constantly, enjoying the pop sensibility exercised by the band throughout their career. I heard each track as a testament to the band’s ability to make great music no matter the decade.

I imagine that I first “ripped” this album from a copy belonging to a library. I think it occurred around 2010. I can remember listening to it during the summer of 2011, but I do not know if it started then. I guess along the way I  had absorbed the history of the album and the album's place in the discography of the band and became curious. I pieced together that the album followed three loud albums and that it came right before the big, breakout of “Joshua Tree.” I am sure I liked the idea that possibly it could have been a forgotten album, or at the very least, an overlooked one. For that quality is what I love about a lot of the music from the 80’s that I enjoy i.e. The Smiths and The Replacements.

At some point, it must have clicked, and I found myself drawn in by the opening drums and shimmering guitar of “A Sort of Homecoming.” A track full in instrumentation and Bono vocal range, it runs into the better known “Pride (In The Name ofLove)", which I first enjoyed as a part of the compilation and now hear in the context of the other U.S. themed tracks on the album. Throughout the album are numerous references to recent (at the time) American history and staples of the “American Dream.” Coming from the perspective of an Irish Band in the 80’s, I just find it fascinating that they found it so fascinating.

“Wire” is just fun. There are loud, almost industrial sounds on it. The song seems to pick up pace and slow down at moments. I love the opening lyric “Innocent, and in a sense I am.” I do not use that nearly enough but it shows that Bono can sing and wink at the same time. This playfulness would fully come out during the “Achtung Baby” era. Also, some of the grunts toward the end of the song foreshadow “Bullet The Blue Sky” on the album to come.

The song that is my absolute favorite is the title track. I have taken many a walk at night, during twilight to it, and gotten lost in the sky. I just think the playing on it is so beautiful. It is the kind of performance where I do not feel like I have the musical knowledge to talk about it properly. I won’t pretend to. I can only say that it remains one of my favorite things ever. I will listen to it independent of the album. Each time, the listening experience brings me peace. I feel a swelling of joy. It is something very special to me. I always try to put it on a mix CD or tell a friend about it.

From there on out and the second half of the album especially, the band shows off their ability to be artistically ambient. In many ways, the mood of the title track contains. It is a talent that I feel often is not highlighted enough when it comes to the band. Sure, folks marvel at their beginning, watch as they rise as a band in the late 80’s, only having to then reinvent themselves in the 90’s, redefine touring forever, and then permanently take their place in the hierarchy of modern music. 

For me, this is the period of U2 I feel I would have enjoyed the most if I were alive at the time. I find myself today drawn to a lot of music that sounds very similar. I think a lot of today’s alternative and college rock draws from this album, both consciously and unconsciously.

Ultimately, a lot this album remains a mystery for me. Despite my best attempts, I can never know what it was like to be a fan at the time. I have the knowledge of all that would come next, the full story, not just what happened up until this moment. Also, like I said, I find a lot of the sounds a mystery. I am simply left to allow them to have an affect on me. Much of Bono's singing is also hard to figure out.  And what is up with that album cover? Where does that place exist on Earth? 

All of this is why I come back each time. I am able to engage with the mystery once more, maybe solve some of it, but at the very least, have an enjoyable listening experience.

                                                                                        

21. "Dancethink LP"- My Dear Disco

It is always special when you get to experience a band for the first time by seeing them live. That was the case with My Dear Disco. It was at the first ever Jamnesty festival held in the spring of my freshmen year at Stonehill. The band closed down the first night with an incredible performance. As with many of the moments that year, it just seemed to come out of nowhere and I was afforded the ability to be fully present. I am happy to say I have a lot of snapshot memories from the night. I can think back and put myself in the scene.

That night, after they were done playing, I bought a CD from them and got two bumper stickers. Needless to say that sticker went right on almost immediately and the CD joined the others in the car. It became part of the rotation for the summer and still stays with me to this day. In fact, when I took my “final lap” around St Andrews, in the midst of a rainy, raw night, I put this album on. I was connecting a special memory from my freshmen year with an important moment from my senior one. I like to think as almost bookends.

My reasoning for putting the album on that night is the same one every time I chose to give a listen: it is an album I am able to get engulfed in. I am drawn in by the opening “WhiteLies” a bold opener of over seven minutes, it serves to introduce all the parts of the band. Together they build toward the second track “For Your Love”, more of a blend of the different sounds, instruments and voices, and a little more catchy and pop. From there the album spills out to a collection of songs that do exactly what the title claims: dance and think.

I have always been impressed by the choice to cover Stevie Wonder. They do a wonderful rendition of “All I Do” and showoff an appreciation for what had come before them, thus earning a lot respect in my book. It also helps that they own it and make it sound like their own. Maybe one day, some band will be doing the same with one of their songs.

After that, the songs grow in length and a story is even told in two parts with “Madam Eon.” The true gem of the album, the song that really crystalizes their style and their mantra is "M.Y.F. (Move Your Feet)". It is an epic indie-electronic, dance smash, lasting six and a half minutes. I have passed it along on countless mix CDs and played it on a number of my radio shows in college. I hear it as the honest confession of a young woman who is looking for a good time on her terms. I always took it that I could have the same in my time in college, that I could dance and think and that fortune would allow for both in the same moment. In many ways, this album came at the perfect time.

Now the story of My Dear Disco would not be complete without acknowledging the fact that they are no more. After this release, they would change their name to Ella Riot and release one more cd. Not much more was heard from/about them until 2013 when the lead singer Michelle Chamuel competed on The Voice and began her solo career.

For me, this album is more than enough. It fills me with so much joy to hear it every time. I am reminded of a night where I heard great music played live at a place I love, a standard I hold for every concert going forward. I am reminded of the possibility I felt at the close of my freshmen year and how happy it made me. Once again, “dance and think”. Not a bad binary/expectation for a life going forward.

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.