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MAD's ROUND 2!! # 1's have been posted!! (2 Viewers)

@Charlie Steiner - the version in youtube wasn't on spotify that I saw, but i did add a live version for the #9s.
That's correct, it won't be on Spotify. You did use the youtube link I provided, though...RIGHT???
I did listen to that one as I loaded the playlist, because it's what you linked. The one I put on the playlist was from Live at the Cellar Door.
Fair enough, though the studio version already appears on the list. Will my original link appear as well? If not, that's no big deal, though I will be putting it in my write-up if not, as that particular version has extra significance to me.
 
#9's PLAYLIST
#9 -
PrinceRamsay Hunt ExperienceDirty Mind
Tanya DonellyplinkoAutomatic
Go-Gos cover, Tanya Donelly and the Parkington Sisters, 2020
Talking Headskupcho1Road to Nowhere
Sia FurlerScoresmanElastic Heart
Los LoboseephusOne Time One Night
The Seldom SceneCharlie SteinerRider (at the Grand Ole Opry)
Kid RocksnellmanRun Off to LA (NSFW)
Against Me!scorchyPints of Guinness Make You Strong (Live)
MastodonKarmaPolice Forged By Neron
Neko CaseMister CIACurse Of The I-5 Corridor
Faith No MoreJBBreakfastClubA Small Victory
black midiJuxtatarotJohn L
Nina SimoneDon QuixoteTo Be Young, Gifted and Black, from Black Gold
Beastie BoysYo MamaTriple Trouble
Drive-By TruckersDr. OctopusLet There Be Rock
Jimmy Buffet-OZ-Survive
The JamPip's InvitationIn the City
RöyksoppJMLs secret identity9 - Monument feat Robyn
Nick Cave and the Bad SeedssalterifficFrom Here to Eternity
CSNYjwbWasted on the Way
Roger ClyneMt. ManHello New Day
David BermanThe Dreaded MarcoSan Francisco B.C.
David BowieBinky the DoormatBe My Wife
Pointer SistersMrs. RannousChain of Fools

IncubusMAC_32Vitamin
John MellencamptuffnuttI Need a Lover

Sufjan Stevens Ilov80sFutile Devices (Doveman Remix)
Mike ShinodaJust Win BabyBurn It Down
Chris Cornell Raging Weasel Shadow On the Sun
Josh HommetitusbrambleKiss the Devil
Nathaniel Rateliff & The Night SweatsAAABatteriesYou Worry Me
Kim MitchellSullieI Got a Line on You
Thin LizzyzamboniSuicide
Collective SoulfalguyGoodnight, Good Guy
Tears for FearsJohn Maddens LunchboxTipping Point (Vocals by Roland and Curt)
Cheap TrickFairWarningClock Strikes Ten
John Prinelandrys hatIllegal Smile

Ben FoldsHov34Not the Same
Tom PettyZegras11A Woman In Love (It's Not Me)
Scott Hutchison snevenelevenDie Like A Rich Boy
The New PornographersNorthern VoiceMyriad Harbour
John Lee HookerDrIan MalcolmThelma

Rainbow Sam Quentin Gates of Babylon
Pyotr Ilyich TchaikovskyzazaleSwan Lake, Op. 20 - Mariinsky Version / Act 3: Scène finale (cont.) (Allegro agitato - Moderato e maestoso
 
Authority Song - John Mellencamp
I never knew the name of this song til now :bag:
I had a friend in college who insisted he always thought the lyric went "I fought Doherty and Doherty always wins." And I was like, "Dan, the song is called Authority Song."
Bill Laimbeer’s least favorite song
Beastie Boys have a Bill Lambeer tribute too.

 
9. Rider

This is not from any album but rather from their performance at The Grand Ole Opry, sometime in 1979.

Appearing at the Grand Ole Opry apparently only happens by invitation from a current member of the Opry. It seems to be a mystery regarding who invited them, but given their reputation behind the scenes, it could have been one of many, from Dolly Parton to Linda Ronstadt to Emmylou Harris, or maybe it was Bill Monroe himself. I wasn't a country music fan and didn't pay any attention to the Opry any other time, but for 13-year-old me, this appearance was a high-water mark, and one of the first times I felt validated that others valued the same thing I did. I can only describe how I felt when I watched this performance as it happened on TV (PBS I believe, with our VHS recording it at the same time) as giddy.

The video is grainy, but the sound is clear. Instead of giddy, I now get a little misty watching it.

There are a few things I want to point out because they matter to me:

1. Pause it at 0:00 and take in how big the stage is, and how little of it they occupy.
2. Even though Duffey flubs his first attempt on his solo, he doesn't break and delivers an inspired performance.
3. During Mike Auldrich's solo toward the end, he shows the most emotion on stage I had ever seen from him.
 

Hits harder than expected when I first made the list.

Clouds lift and there're mountains below
Been awhile since i've seen any snow
It's chillin', so thrillin', so good to be back
Feels nice, to be home for awhile
Let's sip champagne till we break into smiles
We'll go dancin', romancin'
'Cause you're the reason i
Survived (survived), stayed alive
Through the thick and the thin
Survive, stay alive
Where will it all end


:crying:
 
Beastie Boys #9 - Triple Trouble
Album - To the 5 Boroughs (2004)

Peacockin'
Ad-Rock: 1, MCA: 0, Mike D: 0, Beastie Boys: 0, Greater NYC: 0

Name Rockin' (solid group here)
Mr. Belvedere, Helen of Troy, Jabba the Hutt, Wylie Coyote

Rhyme Squawkin'
See I like to party not drink Bacardi
'Cause I'm not looking to throw up on nobody


Yo Mama Talkin'
Super fun old school throwback that has it all - including really bad fake British accents, and a SASQUATCH VIDEO!!

 
#9 Hello New Day (off No More Beautiful World, 2007)

Hello raindrop, hello sea
Hello jungle, leaf on the tree
I thought I was a bigger man, now look at me!


(Live Version) Roger Clyne & the Peacemakers Hello New Day Sellersville Theater
(Acoustic Version) Roger Clyne - Hello New Day

Why I chose this:
This is another fairly straightforward song with some catchy hooks and an upbeat tone that makes it stick with me and generally leaves me in a better mood. Heck, if it were any bouncier, it might be bubblegum pop. It’s about the optimism of a new day with the mixed bag that it brings. Highs and lows, cradles and hearses. Just a gentle appreciation for life, which makes sense, given that “Here’s to life!” has been something of a motto for Clyne since the days of The Refreshments. It’s possible this falls into the guilty pleasure category, but hey, as long as it’s a pleasure, right?
 
Neko's Curse of the I-5 Corridor was a new discovery to me when reviewing her solo body of work. At first I ranked it somewhere in the 20s, but I kept moving it up every time I reevaluated my playlist.

The studio recording features the late, great Mark Lanegan on backing vocals, but honestly they are a distraction. The KEXP recording linked below is better.

As always, the lyrics sparkle.

In the current of your life
I was an eyelash in the shipping lanes

Also, I've learned that she ran away from home when she was 15 years-old, and she shares a very personal experience here.

 
9. Nina Simone, To Be Young, Gifted, and Black (from Black Gold, 1970)

"You are young, gifted and black"
We must begin to tell our young
There's a world waiting for you
Yours is the quest that's just begun


Many of my past few songs have been some songs more focused on the civil rights struggle: MLK’s assassination (“Why? (The King of Love is Dead)”), lynching (“Strange Fruit”), rape and the legacy of slavery (“Four Women”). Here’s one to break that trend a bit.

This is a song by Nina Simone with lyrics written by her bandleader at the time, “Master Wel,” Weldon Irvine (who would go on to write hundreds of more songs and be a mentor to many hip hop artists, including Mos Def and Q-Tip). Per Wiki:

Simone wrote the song with the poet Weldon Irvine and told him that she wanted lyrics that would "make black children all over the world feel good about themselves forever." When Irvine read the lyrics after it was finished, he thought, "I didn't write this. God wrote it through me."

The song was inspired by Nina Simone’s great friend, Lorraine Hansberry (who most famously wrote the play, “A Raisin in the Sun”). The title is taken from a quote from her, and play about her life. Her death from cancer at the age of 34 was among those mourned by Nina Simone in her monologue in the middle of “Why? (The King of Love is Dead).” Hansberry played a big part in encouraging Nina Simone to take a more political stance in her songs.

This has become one of the Civil Rights anthems with its message of empowerment. Its first performance was at the Harlem Cultural Festival that was the subject of the “Summer of Soul” documentary.

As we are now in the top ten, some more of her anthems will be coming up.
 
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Known-to-me favorites from #9:

Dirty Mind
Road to Nowhere -- One of the few post-Speaking in Tongues TH songs that I really like
Wasted on the Way -- Their first hit in 5 years was about themselves
Be My Wife
I Need a Lover -- The guitar intro is totally epic, dude
Shadow on the Sun
Illegal Smile
A Woman in Love (It's Not Me) -- Mike Campbell's screaming guitar lines are the highlight here
Gates of Babylon
 
9. In the City
Album: In the City (1977)
Released as a single? Yes (UK #40 in 1977; UK #36 when reissued in 2002)

If The Jam's debut album is a punk-infused interpretation of the pre-Tommy Who, then its title track, their first single, is their My Generation. The guitar, bass and drums are all supercharged and slashing, and the sustain Paul Weller gets on his guitar about halfway through provides a glimpse of how the band would become much more than hard/fast/loud punkers. The lyrics are the first taste of the youth anthems Weller would churn out for the first couple of years his band was in the spotlight. The first half of the song finds him exhorting "the young ideas," but the second half addresses the police brutality that lots of punk and Mod kids experienced:

In the city there's a thousand men in uniforms
And I've heard they now have the right to kill a man
We wanna say, we gonna tell ya
About the young idea
And if it don't work, at least we said we've tried


This is often the favorite track of those who prefer the punk/Mod side of The Jam. Writing in TeamRock, the Undertones' Michael Bradley named it one of the 10 best punk rock singles, while Pitchfork called it "one of the great debut singles."

Released a month in advance of the debut album, the debut single hit #40 in the UK. Every subsequent release during the band's lifetime exceeded its chart position, meaning that every single released during the band's lifetime hit the UK top 40. Polydor released it again in a limited pressing in 2002 to commemorate the band's 25th anniversary, and it sold out, enough to return the song to the UK charts at #36.

Top of the Pops appearance: https://www.youtube.com/watch?v=fXz7iOmNJ8E
Dig the New Breed version; the same performance appears on the 1977 disc of Fire and Skill: https://www.youtube.com/watch?v=UDZHzXKvUaA
Live version from 1977 that appears on the 1977 compilation: https://www.youtube.com/watch?v=Nf56OZtKce8
John Peel Session from 1977 that appears on the 1977 compilation: https://www.youtube.com/watch?v=uhnYNIsKFu8

Cover #9: Back in My Arms Again
B-Side of The Modern World (1977)
Writers: Brian Holland, Lamont Dozier and Eddie Holland
Original or best known version: The Supremes

The Jam covered this in 1977 and a recording from a gig at The 100 Club in London was used as the B-side of The Modern World (#16 on this countdown). Said gig also comprises the 1977 disc of Fire and Skill. The Jam completely reinvents it as a sweaty shouter, with Bruce Foxton's insistent bass being the only connection to the song's R&B roots. You can feel the energy coming through your speakers.

At #8, my highest-ranking B-side. Probably should have been an A-side.
 
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9.

  • Song: Let There Be Rock
  • Album: Southern Rock Opera
  • Released: 2001
  • Lead Vocals: Patterson Hood


The second disc/album of Southern Rock Opera starts off with Hoods autobiographical “Let There Be Rock,” where he tells the story of a kid —“Patterson” — who did a whole bunch of stupid crazy **** as a hard-rock loving teenager.

Most of us probably did the same and like the guy in the song, I’m sure we are all glad we survived all of it to have a bunch of stories to tell.

Dropped acid, Blue Oyster Cult concert, fourteen years old,
And I thought them lasers were a spider chasing me.
On my way home, got pulled over in Rogersville Alabama,
With a half-ounce of weed and a case of Sterling Big Mouth.
My buddy Gene was driving, he just barely turned sixteen.
And I'd like to say, "I'm sorry", but we lived to tell about it
And we lived to do a whole lot more crazy, stupid, ****.

And I never saw Lynyrd Skynyrd but I sure saw Molly Hatchet
With 38 Special and the Johnny Van Zant Band.

One night when I was seventeen, I drank a fifth of vodka,
On an empty stomach, then drove over to a friend's house.
And I backed my car between his parent's Cadillac's without a scratch.
Then crawled to the back door and slithered threw the key hole,
And sneaked up the stares
And puked in the toilet.
I passed out and nearly drowned but his sister, DD, pulled me out.

And I never saw Lynyrd Skynyrd but I sure saw Molly Hatchet
And the band that I was in played "The Boy's are Back in Town".

Skynyrd was set to play Huntsville,
Alabama, in the spring of 77, I had a ticket but it got canceled.
So, the show, it was rescheduled for the "Street Survivors Tour".
And the rest, as they say, is history.

So I never saw Lynyrd Skynyrd
But I sure saw Ozzy Osbourne with Randy Rhoads in 82
Right before that plane crash.
And I never saw Lynyrd Skynyrd but I sure saw AC/DC
With Bon Scott singing, "Let There Be Rock Tour".

With Bon Scott singing, let there be rock!
 
9.
I Need a Lover- John Mellencamp
from John Cougar Album


The one that started it all. Mellencamp's first top-40 single in the United States (No. 28 on the Hot 100) was actually released off his A Biography album (then known as Johnny Cougar), which was not released in America. The song gained its U.S. popularity one year later, when his John Cougar record was put out. As has been pointed out upthread it was also covered by Pat Benatar, who also has a hit with it. Here is an interview I found about it:

"I went to New York in 1976. It was my first time in an airplane. I would have signed anything – I would have signed the bottom of a shoe. I ended up signing with Tony DeFries [who famously managed David Bowie]. He gave me a choice: "Record under the name Johnny Cougar or move back to Indiana." He also paid off my college loans. I was like, "Are you ****ting me?" I didn't realize he was going to charge me back.

I knew that if I wanted to continue in the music business, I had to get on the radio. It wasn't like I had the support of critics – my first Rolling Stone review said something like, "This guy is a phony, picked out of central casting." But I knew if I delivered a song that could get on the radio, I had a shot.

By the time of "I Need a Lover," I had three albums out. They sold nothing. We were recording in Miami at the same time that the Eagles were finishing up Hotel California. I would walk by and hear "Life in the Fast Lane," go back into my session and hear, "I need a lover that won't . . ." I'd be like, "Oh, ****. I don't know what I'm doing here."

I was washed up and over by my midtwenties. Then two record producers named Chinn and Chapman heard "I Need a Lover," and they had Pat Benatar sing it. It was her first big hit, and then mine went to Number One in Australia. It became a semihit in America, and it let me make another album.

Anyway the intro to this one is 2:30 minutes of pure bliss. one of the best ever imo. If you dont like this song... "Hey hit the highway!"
 
9.
I Need a Lover- John Mellencamp
from John Cougar Album


The one that started it all. Mellencamp's first top-40 single in the United States (No. 28 on the Hot 100) was actually released off his A Biography album (then known as Johnny Cougar), which was not released in America. The song gained its U.S. popularity one year later, when his John Cougar record was put out. As has been pointed out upthread it was also covered by Pat Benatar, who also has a hit with it. Here is an interview I found about it:

"I went to New York in 1976. It was my first time in an airplane. I would have signed anything – I would have signed the bottom of a shoe. I ended up signing with Tony DeFries [who famously managed David Bowie]. He gave me a choice: "Record under the name Johnny Cougar or move back to Indiana." He also paid off my college loans. I was like, "Are you ****ting me?" I didn't realize he was going to charge me back.

I knew that if I wanted to continue in the music business, I had to get on the radio. It wasn't like I had the support of critics – my first Rolling Stone review said something like, "This guy is a phony, picked out of central casting." But I knew if I delivered a song that could get on the radio, I had a shot.

By the time of "I Need a Lover," I had three albums out. They sold nothing. We were recording in Miami at the same time that the Eagles were finishing up Hotel California. I would walk by and hear "Life in the Fast Lane," go back into my session and hear, "I need a lover that won't . . ." I'd be like, "Oh, ****. I don't know what I'm doing here."

I was washed up and over by my midtwenties. Then two record producers named Chinn and Chapman heard "I Need a Lover," and they had Pat Benatar sing it. It was her first big hit, and then mine went to Number One in Australia. It became a semihit in America, and it let me make another album.

Anyway the intro to this one is 2:30 minutes of pure bliss. one of the best ever imo. If you dont like this song... "Hey hit the highway!"
Love this song. My wife wasn’t so thrilled when I turned it loud and started singing along during our last trip. 🤷‍♂️
 
Sia Chronological 9 - Elastic Heart

Scoresman rank - 19


Probably the second most iconic song from Sia's most successful album, this is a sad, emotional ballad with an even more emotional video. This is her song that famously featured Shia LeBeouf in the music video. I like how the song builds slowly to the last chorus with all of the backing vocals. Very powerful song.
 
Talking Heads
#9 Road to Nowhere


Well that's a wrap on Little Creatures (4 songs total). From the fork (yet again :rolleyes:):
In 1985, Little Creatures sounded like nothing Talking Heads had ever done before, and its staggering closer, “Road to Nowhere,” could be called their first proper anthem. It is simply enormous, with a gospel choir lead-in, Frantz’s one-man marching band, and an accordion slinking all over the place. It’s a vast, victorious ballad that builds and builds. Its titular road feels particularly significant: It is a device Byrne had once derided as just another way rock music made banality sound melodramatic. “Every trip down the highway was a huge experience,” he quipped in 1979, explaining his desire to treat such stimuli with realistic proportions. Just a few years later, he took his own trip, a metaphor for our journey through the great unknown.

Gotta agree; enormous suitably sums up this anthem. From Songfacts:
"I wanted to write a song that presented a resigned, even joyful look at doom," Talking Heads singer David Byrne recalled in the liner notes of Once in a Lifetime: The Best of Talking Heads. "At our deaths and at the apocalypse… (always looming, folks). I think it succeeded. The front bit, the white gospel choir, is kind of tacked on, 'cause I didn't think the rest of the song was enough… I mean, it was only two chords. So, out of embarrassment, or shame, I wrote an intro section that had a couple more in it."
Always something interesting as I research these songs years (decades really) after the fact. Tacked on the gospel opening out of embarassment? Cool insight.

They can tell you what to do
But they'll make a fool of you
And it's all right, baby, it's all right
 
the new Spinal Tap movie
Say what now?
From Wikipedia:

A sequel, The Return of Spinal Tap, was broadcast and released on video in 1992 to promote Break Like the Wind. It consisted mostly of footage from an actual Spinal Tap concert at the Royal Albert Hall. In it the "Stonehenge" joke from the original movie is referenced, as the new, large prop is instead too big to get into the venue.

In May 2022, director Rob Reiner announced that he is working on a sequel to the film, which will include him returning to play DiBergi, and McKean, Shearer, and Guest as the members of Spinal Tap. The film will be Castle Rock Entertainment's first film following its revival in 2021. Filming is scheduled to start in February 2024.
 
Mike ShinodaJust Win BabyBurn It Down

This is the first song in my top 31 from the Linkin Park album Living Things. This song peaked at #1 on the Billboard US Alternative Songs, US Rock Songs, and US Mainstream Rock Songs charts.

In 2021, Kerrang ranked the top 20 Linkin Park songs of all time and ranked Burn It Down at #18. Here is their writeup on the song from that ranking:

By 2012’s Living Things, it felt like Linkin Park had entered something of a holding pattern, having seen the outright experimentalism of 2010’s A Thousand Suns win over critics but leave fans cold. The subsequent attempt to recapture the slick bombast of their trademark sound without altogether jettisoning electronic experimentation produced only a few truly memorable tracks, but Burn It Down still stands out. With Chester’s arms-aloft vocals and Mike’s strident rhymes anchoring the breezy synth sound, this might just be the most convincingly straightforward ‘pop’ cut of their careers.

In 2020, Metal Hammer ranked the top 25 Linkin Park songs of all time and ranked Burn It Down at #15. Here is an excerpt from their writeup on the song from that ranking:

The song was included in Rolling Stone’s list of the 12 Essential Linkin Park Songs, saying that it recalls “a gauze-swaddled inversion of the riff powering 2000’s In The End.”

“The subtler textures and Bennington’s passionate, yet minutely calibrated vocal on Burn It Down were a signal of how much the band had grown as musicians since they crash-landed into rock’s mainstream nearly 12 years earlier,” it continues.

Lyrically the song deals with the idea of celebrity and pop culture, and how fleeting the public’s affinity to those in the spotlight can be.

In 2023, Loudwire ranked all of the Linkin Park singles to that point and ranked Burn It Down at #12. Here is their writeup on the song from that ranking:

After the more experimental A Thousand Suns effort, the Living Things album kicked off with “Burn It Down,” a song that felt more in line with their earlier work. Electro beats and synthy heaviness provide the musical backing as Chester Bennington sings from experience about one of the pitfalls of fame, when the public accolades turn to a critical tear down and coming through the other side of that experience.

Mike said this about the song:

"You know, to be honest, we get the songs to a certain point, and once we put out our record, it's up to the fans to decide how the song gets finished. In other words, we lead you to a certain point in the road and we say, "Okay, the rest of it is your call. You bring your own interpretation to the song." In the case of most of these songs, I think Chester (Bennington) is coming from a certain place, I'm coming from my own experience, and on top of that, there are oftentimes metaphor and maybe a third read. In the case of "Burn it Down," we're talking about my personal story and his personal story, and there's also a layer of pop culture that plays a role in the lyrics of the song. For example, people build up a certain celebrity or musician or actor or whatever and they're popular one minute and the next thing, you know either they've done something wrong or they've done nothing wrong and there's just a bad rumor that goes around about them and then everybody's attacking that person. That's just the way things are. We've actually lived through that as a band. All that stuff plays a role."

Enjoy!
 

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