I have an iTunes playlist named Top 1000, and it is the 1000 songs with the highest playcounts. Last night, Colleen and I were hanging out and listening to some music, and I had a great idea. I am going to put this playlist on random and write about the first few songs that play. Might be my personal review of the song, or what influenced the song or who it influenced. Not only does this give me a chance to relisten to songs I probably have listened to in awhile, it will help me learn more about the incredible music I own. Let’s get to it.
This might be the easiest to unpack on this first set of five. This is a song off of Lonely Avenue, the joint album between Folds and Hornby. It’s written from the perspective of poor Levi Johnston, an Alaskan kid whose life would be completely different had he just worn a condom. When they were just 18 years old, he and Bristol Palin announced (via Sarah Palin’s campaign) that they were pregnant. And getting married. Poor kid. And that’s essentially the message of the song. He clearly had no idea what he got himself involved in and was in over his head. Obviously, this song paints an unpleasant picture of the entire gang involved. Johnston, the Palin women, and the moral value system their campaign was based upon is not looked on in a favorable light. But whatever your political view is, the song does get its message across in an effective way as most Ben Folds songs do. It takes the pretty awful protagonist and makes him relatable, so rather than judging the kid for being a douche bag (which he clearly is), you’re left shaking your head at how much of a kid he was when the whole thing happened. This doesn’t excuse their behavior, but it makes me feel bad for him and Bristol more than anything else. The song has a very pretty pre-chorus too.
Definitely my favorite of this set of five, and the most dense. I listened to this song during my break outside tonight. As the song gets into the penultimate chorus, my head bob got increasingly inaccurate. That’s where the groove lies. The interplay between ?uestlove’s drumming and Charlie Hunter’s bass guitar playing is so laid back. It sounds like they’re playing a game to see who can be behind the beat more often, and they each have their turn. It’s a crazy beat to follow. And the guitar is insane. I mentioned Charlie Hunter; he not only plays bass for this tune, but he is simultaneously laying down the guitar track. The guitar he used was an 8-string guitar/bass combo, so the three low strings are actually bass strings, and the top five are guitar. The way he marries the two sounds so good.
Now focus on D’Angelo. This is how good his whole album is; when I listen to it, I often find myself overlooking his vocals because of how good his instrumentation is. And his vocals are from another world. His voice is saturated with soul. His voice is so strong and stirring that he doesn’t need to stand on the shoulders of the giants of soul, he stands among them. And this song is a perfect example. He sings of the emotional remains of a love that has broken down. This woman has done worked a root on our man D. What I love is the drama he brings to this tune. He speaks about his failed love in terms of life and death and all things in between. “In the name of love and hope, she took my shield and sword, from the pit of the bottom, that knows no floor. Like the rain to the dirt, from the vine to the wine, from the alpha of creation, to the end of all time.” While this might seem a bit sensational, this is how it feels to have love mess you up. Clearly this poor guy is wrecked. But his emotional trauma makes for the funkiest,dirrtiest break-up song ever.
Not much to say about this one. This is off the album Can’t Buy a Thrill, which is a great album, and that’s the reason this song made it into the Top 1000. While not a terrible song, it is one of the more forgettable tracks from the album, with Stewart Mason of Allmusic.com* calling it “musically faceless.” A great description.
One of my lesser favorite tunes off of Mylo Xyloto. Musically I feel like this belongs way more with Prospekt’s March than this album. Or maybe this whole album is really just a continuation of that EP. I’d say due to a few key musical elements (specifically Jonny Buckland’s super fast guitar riffs), there is a big connection between that EP and this new album. And while this particular tune has some nice sounds (first half), the second half reminds me so much of Now My Feet Won’t Touch The Ground. Just kind of a bland way to end a pretty cool, large album.
This was the second song I ever heard by CBR. The acoustic version of Put Your Records On was offered as a free download of the week by iTunes and I remember thinking I had to hear more of this voice that just oozed British soul. Whenever I can hear a woman sing the word “can’t” and it sounds like “caaaan’t,” I very nearly fall in love. So once I heard this tune, I lost my mind. The way this song is set up is so perfect. The feeling of the song sounds like one acoustic guitar following this beautiful chord progression, but then when the drums and strings comes in just before the 1:00 mark, it brings it to this other level of sexiness that really draws the listener in and overwhelms them. I don’t know how CBR spans so many different music genres and blends them together so seamlessly. It’s R&B/soul with the genetic code of jazz. While I’m sure creating a song this fluid is not easy, it’s a credit to her talent that she is able to make it sound so effortless.