Tim’s Covers/Tributes

Top Cover Versions

1. Say You Don’t Mind (Colin Blunstone – orig. Denny Laine) – beautiful cover, very much in the style of Nick Drake, who may or may not have been influenced by Blunstone’s singing style in the first place.
2. Carry Me Home (Primal Scream – orig Dennis Wilson) – sometimes credited as a Beach Boys effort – this is one of Dennis’ darker songs, swung down to a new low on this Primal Scream B-Sider.
3. Sunshine Of Your Love (Ella Fitzgerald – orig, Cream) – she kicks its ass.
4. Hey Joe (Sparklehorse – orig, Daniel Johnston) – If Daniel doesn’t break your heart, Mark Linkous will.
5. Son of a Gun (Nirvana – orig. The Vaselines)  – this track was the affirmation that the punk world needed to let them know they were right to like Nirvana.
6. Life’s A Gas (Teenage Fanclub – orig. T-Rex) – I think Marc would’ve dug it.
7. Let’s Spend The Night Together (David Bowie – orig. The Rolling Stones) – just amazing.
8. Beginnings (Astrud Gilberto – orig. Chicago) – not a huge departure from the original, but very funky and weird for Astrud!
9. Journey To The Center Of The Mind (Ramones – orig. The Amboy Dukes) – the Acid Eaters album is all cover versions, and all of them are great. Never realised how much Joey is influenced by Jagger until I heard their cover of ‘Out Of Time‘. This one’s sung by latterday bassist C.J. Ramone.
10. Southern Man (Merry Clayton – orig. Neil Young) – I’ve ranted about her before – if you haven’t heard her – don’t miss this!

Tribute Songs 

I don’t really like tribute albums, but the occasional track is awesome:

1. Getting Better (The Wedding Present with Amelia Fletcher – orig. The Beatles) –  this proto-grunge version appeared on tribute album ‘Sgt. Pepper Knew My Father’ (1988). After hearing this, the original became among my most hated Beatles songs.
2. Follow Me (The Innocence Mission – orig. John Denver) – ‘Take Me Home: A Tribute to John Denver’ is a brilliant album, far better than the one that came out in 2013. This track is my favourite, but check out Will Oldham’s amazing cover of The Eagle and The Hawk,
3. Going Underground (Buffalo Tom – orig. The Jam) –  punk anthem into emotive masterpiece. From a fairly obscure Jam tribute album.
4. Velouria (Weezer – orig, Pixies) – Again, not a stretch for Weezer, but they do the seemingly impossible and give this amazing song even more emotion and power. From the ‘Where Is My Mind’ Pixies tribute album.

Tim’s Top 10 Guitar Solos

As Bob inferred in his list, this was much harder than I expected, and it made me really think about what ‘guitar solos’ mean to me. It seems that my criteria are: emotional impact, melodic innovation and service to the song – i.e. I like solos that get my heart pumping, are as memorable as the vocal melody and are essential to the song’s structure. The best solos are undoubtedly performed by Jimi Hendrix or Jimmy Page, but they rarely meet my criteria. Here goes…

1. Love Of My Life (Queen) [2:18-3:04] My only dinosaur of rock solo. Love him or loathe him, Brian May’s subtlety is matched only by his grandiosity! This solo has the whole spectrum. Perhaps Freddie’s most earnest (pre-AIDS) songwriting, a love song for his wife, to whom he was properly devoted (in every way except sexually!) May’s solo morphs like a specter out of Freddie’s vocal, incredibly expressive and throaty. Unique sound, makes me cry every single time. 😦
2. Freak Scene (Dinosaur Jr.) [0:31-1:02], [1:43-2:24] I love totally discordant solos too, and after a lot of shortlisting, this one was my favourite. Love J. Mascis for not being afraid to put massive solos in punk songs.
3. Paranoid Android (Radiohead) [2:59-3:33] This one definitely checks all three boxes for me  – by the time you get to 3 minutes you’re desperate for the tension to be released and Johnny Greenwood brings it with one of the weirdest melodic solos of all time. The solo is a little later in the Jools Holland video.
4. Run Overdrive (Civil Civic) [whole song/album] Civil Civic’s debut album is instrumental, and kinda has guitar solos all the time like a surf-band. Typically I wouldn’t consider this sort of thing a ‘solo’ but the guitar work is so amazing I couldn’t omit it. The album is superb but you gotta check out some live videos.
5. Förträngda Problem (Bob Hund) [1:33-2:00] Bob Hund always have brilliant and weird solos, often discordant, sometimes emotive but always innovative. This one’s just unexpected and brilliant. (solo is 1:50 in the youtube video)
6. Neat Neat Neat (The Damned) [0:05-0:15] Brian James searing solo on this song represents classic Rock ‘n’ Roll from Chuck Berry onwards. Its one of the fastest, nastiest and sexiest solos ever.
7. Susanne (Weezer) [1:51-2:14] Rivers Cumo’s solos on the first 2 Weezer albums are all insanely good, but this one is my favourite. Its such a melodic (and harmonic!) song, it seems impossible for a guitar solo to take the melody somewhere new – but Cuomo manages it.  ♥
8. I Am The Resurrection (The Stone Roses) [3:47-4:25] I’ve ranted about it before, but it had to be on my list. Horrible song – amazing jam at the end.
9. No One Like You (Scorpions) [2:52-3:26] This one represents the best classic metal solo, and again I had to do a lot of shortlisting. Metal solos don’t really do it for me emotionally, but I had to include one, and this is the best one. Its also my ringtone for when my wife calls me.
10. Love’s Sweet Exile (Manic Street Preachers) [1:42-2:22] I’m not a huge fan of the Manics, but I loved this early single from them. It represents cock rock solos on my list, definitely a guilty pleasure of mine. Its got all the cliches, and it’s twice as long as it should be! Love it!
11. Stockholm Syndrome (Muse) [3:17-3:56] I couldn’t do a top ten solo list without including something from Matt Bellamy. Though totally insane and rather repetitive, he consistently blows my mind with his guitar-work. One of the most innovative guitarists in rock. I love his ethic of keeping overdubs to a minimum – there’s typically only one guitar on a Muse song! 

I know what you’re thinking… but this one goes up to 11.

John’s Leapers

Albums:

1. Matthew Sweet – Girlfriend

No other album did more to get us out of the darkest period in music production, known as the 80’s, than this one.  Even Nirvana’s Nevermind which was released a month before this album, such a breath of fresh air as it was, still had some pretty 80’s sounding reverb on that drum kit.  The sound of Girlfriend was so refreshing in its new take on a retro sound.  Everyone seemed to have forgotten those great sounds of the late sixties and seventies (that we have devoted this blog to almost exclusively up to this point).  I remember being blown away by so many things when I first saw the video to the title track from this album, not the least of which was the drum sound.  Being born in 1978, 80’s radio production was all I knew.  This couldn’t have been further from it.  And I knew it was cool.  Perfect arrangements.  Raw guitar solos, featuring forgotten and unsung greats like  Richard Llyoyd (of Television), Llyoyd Cole, Ivan Julian, Robert Quinne and Greg Leisz (pedal steel).  Then there’s the songs.  15 compositions of amazing rock and pop (in a classic sense), with unforgettable melodies and harmonies.  No filler.  Plus Americana?!  Who was doing alt-country like this in 1991?!  Also worth noting is that the music industry had only just recently let go of the vinyl LP as their primary format in 1991.  As a nod to the times of vinyl album artists, which this record owes so much to, tracks 1 and 7 open with the sound of  a needle hitting the groove and tracks 6 and 12 end with the sound of a run-out groove.  A true A and B side.  And tracks 13-15 (which would extend past the allotted running time of a standard LP), are like digital-only bonus tracks, much as we are used to today on most CD reissues.  This album is a leap like no other.  A leap forward in vision.  A leap backwards in time.  A leap out of a deep, deep hole of emotionless recordings and ridiculous production.  A leap in songwriting.  To make this point even more clear, listen to a track from the artist himself off his previous 1989 release. Ouch. Now enjoy the following highlights: Divine Intervention, Girlfriend, You Don’t Love Me, Looking at the Sun

2. Marvin Gaye – What’s Going on

Marvin got his creative control. He blossomed as both a singer and writer. He sang about social concerns in a way that wouldn’t be revisited until similar ideas were explored in hip-hop a decade later. His musicians finally got credited. Soul music was never the same. Side A Medley

3. Michael Penn – Resigned

“What if I was Romeo in black jeans? What if I was Heathcliff? It’s No Myth.” A delightful pop song from the 80’s, no doubt. But Michael Penn, like Matthew Sweet, released two albums hampered by 80’s production and college rock mannerisms. Resigned was Michael’s artistic breakthrough. (Co-)produced by Brendan O’Brien (who I find more often than not ruins bands, while making them a lot of money), this album shed the drum machines and 80’s production while delivering Michael’s best set of songs ever. For those who haven’t heard this record, it’s a diamond in the rough and deserves a few listens if it doesn’t grab you the first time around. And moving forward you will hopefully define Sean Penn as Michael’s brother, and not the other way around. Notables: Try (Awesome video by Paul Thomas Anderson!!), Out of My Hands (Dig that drum sound!), Figment

4. Shelby Lynne – I am Shelby Lynne

I first heard Shelby Lynne in the early 90’s singing duets with Willie Nelson on CMT. I ran out and bought her 1993 debut and couldn’t have been more disappointed. Weak songs with lame modern country production. Totally forgot about her after that. Fast forward half a decade and out comes this. Produced and co-written by Bill Bottrell (producer of Sheryl Crow’s debut) who also plays most of the instruments. An artist leap for both Bill and Shelby; neither sounded this good before nor has since. I love the songs, production and performances equally. Americana, with pop, rock, soul and country elements. Loose and wonderful. Enjoy: Your Lies, Black Light Blue, Why Can’t You Be

5. Beck – Sea Change

Beck is an artist, like Bowie or Elvis Costello, who is kind of known for making some sort of leap with each new release. But no leap was more surprising than that of 2002’s Sea Change. Gone were the lo-fi beat sound collages of Mellow Gold & Odelay, the indie folk of Mutations, and the bizarre post-funk/r&b of Midnight Vultures. Instead came an exquisitely produced batch of heartbreaking beautiful songs of melancholia. Americana with infusions of Nick Drake, Serge Gainsbourg and 70’s Am radio, no set of songs by Beck has ever been so immediate or sincere. Still waiting for a worthy follow-up. Highlights: Guess I’m Doing Fine, Paper Tiger (fantastic guitar work by pop great Jason Falkner, and a stellar string arrangement by Beck’s father), The Golden Age, Sunday Sun

6. Weezer – Pinkerton

No more quirky nerd pop/alternative rock of the debut (Buddy Holly, Undone (The Sweater Song)). Much more raw. The songwriting is elevated, too. Super emotional. Super rockin’. Their radio fan base wasn’t ready for this leap. Or maybe it was the radio stations. Their loss. Time has caught up with this record. Unfortunately it seems the band never will. I listened to this album daily for months back in ’96. It’s just as good today. Across the Sea, Pink Triangle/Falling For You, El Scorcho

7. Wilco – Yankee Hotel Foxtrot

I was driving Leroy Bach down to Champaign from Chicago for a show we were both playing around Christmas of 2001. His band Wilco came up in conversation, and for some reason he asked what I thought of them. I hesitated before replying, “I’m not really a fan.” I think Leroy appreciated my candor, as he laughed and gave me a pat me on the back. I think we talked about my complaints with the production on their last album (Summerteeth), and if I remember correctly, he agreed. He asked me if I’d heard their new (still unreleased) album. He pulled out a CD-R and we spent the rest of the ride listening to tracks off YHF. Well… I’m now a pretty big fan. Wilco is another band who made stylistic leaps on each of their first 4 albums, before making the leap to boring after A Ghost is Born. For me, this is the high point, where it all came together. Performance, songwriting and production. From what I can tell, it’s really the only album of true song writing collaboration between Jay Bennett (RIP) and Jeff Tweedy, and though anyone who follows the band knows that relationship was filled with tension, it resulted the best work of either artist’s career. Ashes of American Flags, Poor Places

8. Red Hot Chili Peppers – Blood Sugar Sex Magik

I didn’t want to include this, but it’s just too good. I know that’s not nostalgia talking because modern-day Chili Peppers have destroyed any nostalgia I may have once had. I think it’s Rick Rubin’s best production and Brendan O’Brien’s best engineering. Another seminal record from 1991 as things really began to change. John Frusciante never sounded like this again. Really cool sounds. Great playing. It’s light years beyond the funk/metal/party rap they had been doing up to this point. Even Chad’s boring playing and Anthony’s barely adequate vocals don’t bother me. That’s saying something. If You Have to Ask, Mellowship Slinky in B-Minor, Recording Breaking the Girl (Check this out!!!)

9. Jill Sobule – Happy Town

The original “I Kissed a Girl” girl. From quirky radio-friendly alternative rock/pop, to one of the more interestingly produced and well written albums of the mid 90’s. Produced by the great Brad Jones. Bitter, Half a Heart (Sorry, no link, but worth tracking down for the bass clarinet solo alone), Sold My Soul

10. John Coltrane – Ballads

Sometimes a leap can be to a softer, gentler, more familiar place. Props to Coltrane for not even taking a solo on the opening track.

Songs:

1. Radiohead – Paranoid Android

Raidohead’s most important leap came with the release of their sophomore album, The Bends, where they went from “that one band with that one song” to… Well… Radiohead. OK Computer followed in a similar style to The Bends in many ways. However, a few songs pushed things bit further than expected. This song is the one that pushed things the most, in terms of arrangement, composition and performance.

2. Brian Wilson/Beach Boys – Surf’s Up

Brian had written some good music before, with some clever arrangements and chord changes… But nothing like this. I don’t think anyone had ever written anything like this before in pop music. The stacked chords. The chromaticism. The form. The melodies. Brilliant. A nod to Van Dyke Parks on lyrics.

3. Talib Kweli – Get By

Talib Kweli. You know, the guy from Black Star that isn’t Mos Def. I truly thought that would be Kweli’s legacy, especially considering his first album post Black Star, Reflection Eternal, was a bit of a let down for me. Meanwhile, as Mos Def was losing his edge with lazy rhymes and misguided side projects (Black Jack Johnson), Kweli came back with this single off his first true solo album, appropriately named Quality. Kweli’s flow is truly top-notch. And I would further add that this is the best track ever produced for another artist by a not-yet-famous (but still bad rapper) Kanye West.  The use of the Nina Simone samples is phenomenal.

4. The Cardigans – Losing a Friend

The first US Cardigan’s album, Life, is a brilliantly produced collection of sunny 60’s-inspired pop gems. Then came the mega-hit Lovefool. Then an electronic album. Then a break, followed by an album of acoustic snoozers. And then this, from the album Super Extra Gravity. I love the entire record, but it’s this track that really blows me away. Such a cool arrangement, with great lyrics and interesting performances. Understated… Until it isn’t.

5. The Flaming Lips – The Spark That Bled

Not much to say about this one. She Don’t Use Jelly. Zaireeka. Then this. The best thing they ever did.

6. Spoon – Everything Hits at Once

From their major label debut, with its noisy post-Pixies, post-Nevermind alternative rock, to this… Deliberate. Polished. Mature. But with an edge. And there’s keyboards. It took me longer to come around to this than it should have. But I’m all there now.

7. Andrew Bird’s Bowl of Fire – 11:11

-Hey! Remember when Andrew Bird was really great?
In that swing band, The Squirrel Nut Zippers?
-Gross. No, later. When he was solo.
Like on his first couple solo records, doing sort of a retro jazz vocal thing?
-No, later.
Oh, like his recent loop-based indie rock stuff?
-No, earlier. Back when the songs were better.
No. I don’t remember that.

I am hoping this track off his fourth and final album with the Bowl of Fire will introduce those not yet initiated to Andrew Bird’s charismatic post-jazz/pre-indie pop-based genius. Andrew would probably argue this was a transitional period. I think it was the high point.

8. The Autumn Defense – Silence

The first Autumn Defense album was little more than a solo side project for Jon Stirratt of Wilco fame. But on the second album they let Pat Sansone sing a few numbers. And this was the opening track. It’s everything I love about music.

9. Steve Earle – Transcendental Blues

I don’t know why people love Steve Earle’s “Guitar Town.” Lame production. Lame songs. Then he collaborated with some bluegrass outfits with mixed results. Then this. Holy analogue balls.

10. Phantom Planet – First Things First

These guys have two claims to fame. They wrote the song “California” that was used as the theme song to the Fox teen drama The O.C., and Jason Schwartzman (actor from the film Rushmore) was their drummer. Mitchel Froom produced their first two albums and augmented them with a bunch of keyboards and a slick sheen. But this band doesn’t have a keyboard player. And despite some decent songs, those recordings were pretty lifeless. Then came their 3rd album (Self Titled), produced by Dave Fridmann (of Flaming Lips fame). New drummer. No more keyboards. Some people say they copied the garage rock sound of the moment, made famous by bands like the Hives and the Strokes. Maybe. But Phantom Planet did it with better production and better songs (like this one here, though the entire A side of the album is relentlessly awesome).