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Middle Aged Dummies - Artist - Round 5 - #12's have been posted. Link in OP. (48 Viewers)

22's

Told myself not to do it, but here we are...way behind on listens. Anyway here are my standouts for 22s

New to me likes:

Shirls Ghost- Michael Head
Jane- Golden Smog
Infectious- Charlie Wilson/ Snoop
Astronaught- Headstones
IHOP- Luna-
Continuing to LOVE these guys
White Sun- Doobie Brothers
Always see your Face- Love
Mizzy C- City and Colour
- My favorite new to me song this round

Known Favs:

Sexx Laws- Beck
- would be in my top 10
I am One- Smashing Pumpkins- Good to see this one on the list
Red Red Wine- UB40
No Alibis- Eric Clapton
 
MA-D Round 5: Metallica
#14: Orion
Album: Master of Puppets (1986)


(Youtube version) Metallica - Orion (HD)
(Live Version) Metallica - Orion live 2006 (HD)

(lyrics n/a)


Before I was a Mt. Man, I was a Shepherd boy. Living in a small community of mostly farmers and folks working in the ‘big city’ (population around 20,000) nearby meant I was pretty isolated from the world. So it was my neighbor and classmate Matt who introduced me to Metallica, who’d probably heard it from his older brother or a “cool” kid in high school. This wasn’t until Master of Puppets, and probably the summer of 1986 at earliest. Even if I pretend it was spring, I don’t know that the music synced with me until later.

All this to say that, mostly thanks to circumstance, I wasn’t (able to be) a fan of Cliff Burton (or Metallica in general) until after his death. At a minimum I didn’t appreciate it as much as I did/do later. So a part of struggling as to how to cover this goes beyond this being an instrumental.

Not surprisingly, Burton wrote most of “Orion”. He’d initially planned to perform all the solos in this song, but (reluctantly) ended up handing off half of them to guitarist Kirk Hammett and one to Hetfield. Continuing from “To Live is To Die”, “Orion” is a song with barely any live performances, again for understandable reasons. I could see “Orion” being a bit underrated here to some, but I couldn’t resist the pairing, and we have some strong songs to come.



Next on the countdown, we leave the 80s for the last time, but hopefully you’ll enjoy the route no matter where we travel.
 
14. Sweet 17 (On the Edge, 1980)

The Baby's fifth album, On the Edge, was recorded while the band was touring with Journey and contained only one single, Turn and Walk Away, which reached #42 on the Hot 100.

Sweet 17 was written by Waite, Jonathan Cain and guitarist Wally Stocker (the same Wally Stocker who flirted with a high school girl in the prom scene from Just One of the Guys).
I thought that was the immortal Tony Brock. Could be Stocker though, as he’s not credited in the movie.

Guess I owe Wally an apology, though I didn't think that was Brock because he was The Babys' drummer. Maybe he switched to guitar for the movie since he was the first name in the movie band's name and he wanted a chance to act.
 
Michael Head #14 - Shack - "Hazy" (1995)

Heading back to Shack's lost and found second album Waterpistol for this one. It's a lovely tune with Mick's acoustic strumming propelled by some nice drumming by the band's longtime drummer Iain Templeton. Sometimes it's tough to decipher Head's lyrics without knowing the mostly absent backstory of the song's characters but I think this one's a failed attempt at courtship by the eponymous Hazy of Siobhan who's seen "seen a hundred cheeky smiles/doesn’t care, she sorts them every time". No trumpets again so we stay at five.

Except for his recent stint with The Red Elastic Band, Head has a tiny, almost non-existent Internet media footprint for a Pop singer that's been around for as long as he has. This is probably due to Mick's natural reticence as well as the lack of promotion from the tiny record labels who supported him. One interesting video that has partially survived is a documentary shot by a German film crew in 1991. It sadly cuts off abruptly after 9 1/2 minutes but not before showing Mick singing (including part of "Hazy") in his kitchen, spending time with his mum and visiting the seashore with his young daughter Alice (who now serves as his manager). It offers a rare glimpse of Head early in Shack's career and reveals a bit of his shy, funny personality.
 
Last edited:

#14 - Otis Redding - Hard to Handle​



Comments sometimes from Wikipedia

JML Rank - #16
Krista4 Rank - #15 to 21
Uruk-Hai Rank - #14
Album - Posthumous Album #2 - The Immortal Otis Redding
Recorded - November/December 1967
Is this a Cover? - No
Songwriter - Allen Jones, Al Bell, Otis Redding

Notable Covers - The Grateful Dead, The Black Crowes, Mae West, Snafu, Tom Jones, Bobby Douglas, Wayne Newton, Brenda Lee, Andrew Strong, Gary Barlow

Comments - One of the more successfully covered songs from Otis. The Black Crowes took it to #26 on the Billboard charts. Their highest chart place for any of their songs.

From Faroutmagazine.co.uk
The secret to Redding’s extreme work ethic was simple: he worked quickly. Rarely one to attempt second takes, Redding would whip his band into a fury, bark out any words that he could think of (regardless if they made any sense or not), and often created magic on the first try. This is how it went with classic tunes like ‘I’ve Been Loving You Too Long’ and ‘Respect‘, and it remains a testament to Redding’s unmatched talent. The only downside to working so quickly is that when things weren’t quite right, there wasn’t any time to fix them. A frequent feature of Redding’s songs is that they would fade out just as they reached their emotional climax. Apart from leaving the audience wanting more, the fade-outs were usually due to the fact that no ending had been prepared and takes usually broke down not long after Redding gave all he had.

When Redding recorded ‘Hard to Handle’ in 1967, he took his usual fast and funky approach. Utilising his classic backing group of the Stax house band, complete with Isaac Hayes and members of Booker T. and the MG’s, Redding and the musicians busted out a quick and loose version of the song. The soul singer seems almost caught off-guard upon entering with his vocal, and the horns alternate between playing the song’s riff either on the beat or on the offbeat. The result is supremely soulful if a bit slapdash. Unfortunately, Redding wouldn’t get the opportunity to refine the track.

Next Up - We will start to see songs regularly in peoples top 10s. This one is mine.
 

#14 - Otis Redding - Hard to Handle​



Comments sometimes from Wikipedia

JML Rank - #16
Krista4 Rank - #15 to 21
Uruk-Hai Rank - #14
Album - Posthumous Album #2 - The Immortal Otis Redding
Recorded - November/December 1967
Is this a Cover? - No
Songwriter - Allen Jones, Al Bell, Otis Redding

Notable Covers - The Grateful Dead, The Black Crowes, Mae West, Snafu, Tom Jones, Bobby Douglas, Wayne Newton, Brenda Lee, Andrew Strong, Gary Barlow

Comments - One of the more successfully covered songs from Otis. The Black Crowes took it to #26 on the Billboard charts. Their highest chart place for any of their songs.

From Faroutmagazine.co.uk
The secret to Redding’s extreme work ethic was simple: he worked quickly. Rarely one to attempt second takes, Redding would whip his band into a fury, bark out any words that he could think of (regardless if they made any sense or not), and often created magic on the first try. This is how it went with classic tunes like ‘I’ve Been Loving You Too Long’ and ‘Respect‘, and it remains a testament to Redding’s unmatched talent. The only downside to working so quickly is that when things weren’t quite right, there wasn’t any time to fix them. A frequent feature of Redding’s songs is that they would fade out just as they reached their emotional climax. Apart from leaving the audience wanting more, the fade-outs were usually due to the fact that no ending had been prepared and takes usually broke down not long after Redding gave all he had.

When Redding recorded ‘Hard to Handle’ in 1967, he took his usual fast and funky approach. Utilising his classic backing group of the Stax house band, complete with Isaac Hayes and members of Booker T. and the MG’s, Redding and the musicians busted out a quick and loose version of the song. The soul singer seems almost caught off-guard upon entering with his vocal, and the horns alternate between playing the song’s riff either on the beat or on the offbeat. The result is supremely soulful if a bit slapdash. Unfortunately, Redding wouldn’t get the opportunity to refine the track.

Next Up - We will start to see songs regularly in peoples top 10s. This one is mine.
I have to find Mae West's version of this :lol:

I am actually terrified to hear what Wayne Newton did to it. Is it like Pat Boone doing metal covers or William Shatner doing whatever it was Shatner was doing?

Anyway...... if you happened to be in bars that had rock bands in the 70s/80s/90s, this song was a staple - basically, another "In The Midnight Hour".

Otis' version remains definitive (even though the Crowes had a bigger hit with it). Turn Redding's version up too loud on your stereo and your house may not be in the same place it was before you dropped the needle.

Killer groove, killer performance.
 
I have to find Mae West's version of this :lol:

Here it is. It's from the soundtrack of the indescribable film Myra Breckenridge.

She follows the lyric sheet more closely than Otis does on his covers. If you squint your ears, Mae comes off sounding more than a little bit like Chrissie Hynde at the beginning but goes into Ethel Merman mode after she switches from talk-singing to actual singing in the last verse.
 
I'm late this week with MADs adjacent new albums but there aren't that many.

Willie's boy

Staying in Texas with James McMurtry

Covers collection from The Feelies

UK Hip Hop from Loyle Carner

Single named lady of the week with some Techno

Live Pat Travers from 1983


Plus HAIM, Hotline TNT, U.S. Girls, Tropical #### Storm,
 
I was going to include parts of this in a future song, but it’s too good not to include in a separate post.
Otis Reddings idol was Little Richard.

Here is Little Richard inducting Otis Redding into the Hall of Fame in 1989​

Enjoy
 
Again more than my share of thing to love in the #14s.
.
Selected Favorites:
Heart Like a Drum - Beck
I Get Weak - Belinda Carlisle
Who Fingered Rock ‘N Roll - Cornershop
Andmoreagain - Love
We Will Not Be Lovers - The Waterboys
Time Forgot - Conor Oberst
Air - Ferry Corsten
Hazy - Shack (/Michael Head)
The Captain and Me - The Doobie Brothers

Small spotlight:

It’s not surprising that I know the Black Crowes’ version a lot better, but Otis Redding’s original version of “Hard to Handle” strikes me just as hard (ha?). Definitely soulful and of course energetic, as you'd expect from Otis.
 
13''s PLAYLIST

[td]Belinda Carlise[/td][td]Zegras11[/td][td]Vacation
[/td]
[td]Michael Head[/td][td]Eephus[/td][td]Shack -- Meant to Be
[/td]
[td]People Under the Stairs[/td][td]KarmaPolice[/td][td]Selfish Destruction
[/td]
[td]John Waite[/td][td]Charlie Steiner[/td][td]Darker Side of Town
[/td]
[td]Golden Smog[/td][td]Dr. Octopus[/td][td]Walk Where He Walked
[/td]
[td]The GAP Band/Charlie Wilson[/td][td]Don Quixote[/td][td]Smile for Me - Charlie Wilson (feat. Robin Thicke)
[/td]
[td]The English Beat Family Tree[/td][td]Yo Mama[/td][td]Hit It
[/td]
[td]Caroline Esmeralda van der Leeuw[/td][td]-OZ_[/td][td]Whatchugot
[/td]
[td]Neil Diamond[/td][td]Mrs. Rannous[/td][td]Play Me
[/td]
[td]Steve Marriott[/td][td]zamboni[/td][td]"Get Yourself Together" – Small Faces
[/td]
[td]Conor Oberst[/td][td]Tuffnutt[/td][td]At the Bottom of Everything
[/td]
[td]Smashing Pumpkins[/td][td]Yambag[/td][td]Muzzle
[/td]
[td]Otis Redding[/td][td]John Maddens Lunchbox[/td][td]My Lover’s Prayer
[/td]
[td]Meat Loaf[/td][td]snellman[/td][td]Heaven Can Wait
[/td]
 
13s

[td]Hugh Dillon[/td][td]Mister CIA[/td][td]changemyways
[/td]
[td]Luna[/td][td]landrys hat[/td][td]Still At Home

[/td]
[td]Metallica[/td][td]Mt. Man[/td][td]Wherever I May Roam
[/td]
[td]The Doobie Brothers[/td][td]New Binky The Doormat[/td][td]What A Fool Believes
[/td]
[td]Billy Joel[/td][td]simey[/td][td]Zanzibar
[/td]
[td]Arthur Lee and Love[/td][td]Pip's Invitation[/td][td]The Daily Planet
[/td]
[td]Beck[/td][td]KarmaPolice[/td][td]Lord Only Knows
[/td]
[td]John 5[/td][td]Chaos34[/td][td]The Nobodies - Marilyn Manson
[/td]
[td]City and Colour[/td][td]MrsKarmaPolice[/td][td]Body in a Box
[/td]
[td]The Waterboys[/td][td]Ilov80s[/td][td]Strange Boat
[/td]
[td]Eric Clapton[/td][td]Tau837[/td][td]Rambling On My Mind
[/td]
[td]Ferry Corsten[/td][td]titusbramble[/td][td]Art of Trance - Madagascar (Ferry Corsten Remix)
[/td]
[td]Cornershop[/td][td]The Dreaded Marco[/td][td]Chamchu
[/td]
 
Smashing Pumpkins #13

Song
: Muzzle
Album: Mellon Collie and the Infinite Sadness

Summary: From here on out are what I consider big guns. A favorite amongst fans, Muzzle was originally written on a piano. The song's lyrics refer to what Corgan thought the public's perception was of him at the time. It was rumored to be the Smashing Pumpkins’ fifth and final single from this album, as is evidenced by the fact that a promotional single for the song was issued to radio stations worldwide. However, the song "Thirty-Three" was released as the fifth and final single instead.

I fear that I'm ordinary
Just like everyone
To lie here and die among the sorrows
Adrift among the days
 

#13 - Otis Redding - My Lover’s Prayer​



Comments sometimes from Wikipedia

JML Rank - #9
Krista4 Rank - #15 to 21
Uruk-Hai Rank - #18
Album - Complete & Unbelievable: The Otis Redding Dictionary of Soul
Recorded - 1966
Is this a Cover? - No
Songwriter - Otis Redding
Notable Covers - Not Many. Patti Drew, Beverley Simmons, Humble Pie, Don Rich

Comments - From genius.com

My Lover’s Prayer” was released as a single in 1966 by Memphis Soul legend Otis Redding leading up to his studio album Complete & Unbelievable: The Otis Redding Dictionary of Soul. Upon its release, the song was deemed by many critics to be worthy of an Academy Award. It would regain popularity in 2000 after being featured at the beginning and end of season two episode nine of the HBO hit television show The Sopranos.

Ok. Point 1 - AI seems broken if critics deemed it worthy of an academy award. Researching further it seems that its based on an allmusic review which said “While Redding's experiments with covers on this set were successful and satisfying, it was on his own material that he sounded most at home, and "My Lover's Prayer" and "Fa-Fa-Fa-Fa-Fa (Sad Song)" are deep Southern soul at its finest, with Redding's forceful but lovelorn voice delivering an Academy Award-worthy performance.”

Point 2 - 2000 seemed to have an unsolved mystery as to who sung this song.

From ew.com
A song from last week's ''Sopranos'' creates a musical mystery
Everybody's talking about it, and we know what it is
By Craig Seymour Published on March 16, 2000 05:00AM EST

The unidentified R&B tune that opened Sunday’s episode of ”The Sopranos” has set off a flurry of online speculation about the singer and title of the song. ”Does anyone know,” read a message board post on the show’s official website, ”PLEASE HELP.” Various online guesses about the artist have included soul legends Percy Sledge and Ray Charles.

But the gravelly crooner-in-question is actually the late Otis Redding with ”My Lover’s Prayer,” a 1966 ballad currently available on his ”Love Songs” collection. ”Prayer” recurs throughout the episode (which re-airs Saturday at 12:25 a.m.) as hospitalized gunshot victim Christopher Moltisanti (Michael Imperioli) teeters between life and death. EW’s TV critic Ken Tucker thinks the song strikes a chord with viewers because of the way it accents the highly emotional hospital scenes: ”Redding’s raw, ravaged voice serves as a metaphor for Christopher’s agony.”

Next Up - A song we all know, but not like this
 
13. The Daily Planet
Album: Forever Changes (1967)

"The Daily Planet" is not the most famous song on Love's Forever Changes, nor the best, but it is the grooviest. Most of Forever Changes seems sui generis, not resembling the contemporary music scene in any way, but "The Daily Planet" -- its music, anyway -- could conceivably have been recorded by many bands of the '60s, including the version of Love that made their first two albums.

The song begins with an insistent acoustic guitar riff, punctuated by chords from an electric guitar, not unlike what many folk-rock bands were doing at the time. It takes a turn after the first two verses, with Arthur Lee adopting a more whimsical tone. Pink Floyd's Syd Barrett was a big fan of Love, and this passage resembles some of his work, including the absurdity of someone uttering "face!" when Lee sings "hands" and "heart". The last 30 seconds return to the groovy folk-rock riffing before the song fades out.

"The Daily Planet" is another example of hiding some dark stuff under happy-go-lucky sounds. The first verse is about the blah of the everyday.

In the morning we arise and
Start the day the same old way
As yesterday the day before and
All in all it's just a day like
All the rest so do your best with
Chewing gum and it is oh so
Repetitious
Waiting on the sun


Things start to turn in the second verse, where Lee throws some volleys at the rich and powerful.

Down on Go-stop Boulevard it
Never fails to bring me down
The sirens and the accidents and
For a laugh there's Plastic Nancy
She's real fancy with her children
They'll go far, she
Buys them toys to
Keep in practice
Waiting on the war


The rest of the lyrics seem off the rails, but they make a little sense when you know that Lee thought he was dying when he wrote them. Why is his spine shivering? Who is the iceman? What's with the body horror?

I feel shivers in my spine
When the iceman, yes his ice is melting
Won't be there on time
Hope he finds a rhyme
For his little mind

I can see you
With no (hands)
(Face)
Eyes I need you
You're my (heart)
(Face)

And then back to the everyday.

Look we're going round and round

"The Daily Planet" was one of the first two Forever Changes songs recorded and like the previous entry "Andmoreagain" features The Wrecking Crew backing Arthur Lee instead of the rest of Love. Producer Bruce Botnick brought Neil Young, whom he had worked with when engineering some tracks for Buffalo Springfield's second album, to those sessions in hopes that he would collaborate on production and arrangement. Neil is credited as arranging "The Daily Planet" but told biographer Jimmy McDonough that he has no memory of doing that. In any case, "Neil really had the burning desire to go solo and realize his dream without being involved in another band," Botnick said. He did not return when work on the album's other tracks began.

There were no documented live performances of "The Daily Planet" until 1992, but it has been played pretty regularly since 2002 -- including at my NYC show that year -- and as recently as 2024 by The Love Band.

Alternate mix: https://open.spotify.com/track/5L1b0KTqiOIKoOc2UYXSX4?si=c9a6380d9bb84c75

Live version from Paris in 1992 with Michael Head's Shack: https://www.youtube.com/watch?v=138rlrWn4-8

Live version from London in 2003 (appears on The Forever Changes Concert): https://www.youtube.com/watch?v=3wu4H7B6izY

Live version from the Glastonbury Festival in 2003 (appears on Coming Through to You: The Live Recordings (1970-2004)): https://www.youtube.com/watch?v=BLGOzleJLjc

The Love Band with John Echols live in Costa Mesa, CA in 2023: https://www.youtube.com/watch?v=HcfU1xOpnj0

At #12, a unique song in the Love catalog, both for its music and its title.
 
Smashing Pumpkins #13

Song
: Muzzle
Album: Mellon Collie and the Infinite Sadness

Summary: From here on out are what I consider big guns. A favorite amongst fans, Muzzle was originally written on a piano. The song's lyrics refer to what Corgan thought the public's perception was of him at the time. It was rumored to be the Smashing Pumpkins’ fifth and final single from this album, as is evidenced by the fact that a promotional single for the song was issued to radio stations worldwide. However, the song "Thirty-Three" was released as the fifth and final single instead.

I fear that I'm ordinary
Just like everyone
To lie here and die among the sorrows
Adrift among the days
♥️ One of my favorites from the Pumpkins.
 

#13 - Otis Redding - My Lover’s Prayer​



Comments sometimes from Wikipedia

JML Rank - #9
Krista4 Rank - #15 to 21
Uruk-Hai Rank - #18
Album - Complete & Unbelievable: The Otis Redding Dictionary of Soul
Recorded - 1966
Is this a Cover? - No
Songwriter - Otis Redding
Notable Covers - Not Many. Patti Drew, Beverley Simmons, Humble Pie, Don Rich

Comments - From genius.com

My Lover’s Prayer” was released as a single in 1966 by Memphis Soul legend Otis Redding leading up to his studio album Complete & Unbelievable: The Otis Redding Dictionary of Soul. Upon its release, the song was deemed by many critics to be worthy of an Academy Award. It would regain popularity in 2000 after being featured at the beginning and end of season two episode nine of the HBO hit television show The Sopranos.

Ok. Point 1 - AI seems broken if critics deemed it worthy of an academy award. Researching further it seems that its based on an allmusic review which said “While Redding's experiments with covers on this set were successful and satisfying, it was on his own material that he sounded most at home, and "My Lover's Prayer" and "Fa-Fa-Fa-Fa-Fa (Sad Song)" are deep Southern soul at its finest, with Redding's forceful but lovelorn voice delivering an Academy Award-worthy performance.”

Point 2 - 2000 seemed to have an unsolved mystery as to who sung this song.

From ew.com
A song from last week's ''Sopranos'' creates a musical mystery
Everybody's talking about it, and we know what it is
By Craig Seymour Published on March 16, 2000 05:00AM EST

The unidentified R&B tune that opened Sunday’s episode of ”The Sopranos” has set off a flurry of online speculation about the singer and title of the song. ”Does anyone know,” read a message board post on the show’s official website, ”PLEASE HELP.” Various online guesses about the artist have included soul legends Percy Sledge and Ray Charles.

But the gravelly crooner-in-question is actually the late Otis Redding with ”My Lover’s Prayer,” a 1966 ballad currently available on his ”Love Songs” collection. ”Prayer” recurs throughout the episode (which re-airs Saturday at 12:25 a.m.) as hospitalized gunshot victim Christopher Moltisanti (Michael Imperioli) teeters between life and death. EW’s TV critic Ken Tucker thinks the song strikes a chord with viewers because of the way it accents the highly emotional hospital scenes: ”Redding’s raw, ravaged voice serves as a metaphor for Christopher’s agony.”

Next Up - A song we all know, but not like this
We're getting to the point where I'm gonna be saying "I ranked this too low" on almost every song :lol:

Redding wrote this one solo and, by this point in his career, was also de facto producer/arranger of his sessions. He knew what he wanted his records to sound like and who the hell was going to tell him "no"? His talent was starting to bleed out into the wider pop-conscience and would only grow from here.

I'm not 100% sure what the next record is, but I have a good idea based on JML's comment.
 
#13 Smile for Me (Spotify) - Charlie Wilson (feat. Robin Thicke)

You can count me among those surprised that a song featuring Robin Thicke not only wound up on my list, but this high. I enjoyed the groove of it, but I also moved it up a lot toward the end after I read Charlie Wilson’s memoir. Theme of the song matches his life story with the hardships, picking things back up and looking on the bright side, and the sincerity comes through. I can’t say that I know too much about Robin Thicke’s music besides Blurred Lines, but I’ll give him that his R&B style meshes well here.

In searching for their connections, I came across a clip of Charlie Wilson on Masked Singer last year, on which Robin Thicke is one of the panelists. Robin did guess Charlie Wilson correctly. I feel like things would have been screwy if he got somebody that he has sung on songs with wrong.

(If you click on that Masked Singer link, you will feel dumber for having watched the clip (some of the panelists confusing his voice for that of Smokey Robinson and Al Green - what?), but Charlie does sing a Commodores song at one point, and we almost had them this countdown too, so there is that — even if his singing is not the best, since he sounds muffled by the oversized costume that he’s wearing).

This is the only song that I included off Charlie Wilson’s “In It to Win It” album, but there were a couple of others that I considered. I’m Blessed (featuring the rapper T.I.) is one of more popular solo songs. Made for Love was nominated for a Grammy and features Lalah Hathaway, the daughter of Donny who has had a pretty good career in her own right as the “First Daughter of Soul.”

After this, I only have two more solo songs from Charlie Wilson left, and mostly The GAP Band from here on out.
 
13. Darker Side of Town (Over the Edge, 1980)

Darker Side of Town was written by John Waite and Jonathan Cain and serves as the last Babys song on the list.

Truth be told, I don't recall listening to this one until I began compiling this list, so it's almost as new to me as it is to you. The earnestness of the music and lyrics caught me off guard, and to me it opens a window into his mood at the time as just two months after the album came out, he had the injury on stage in Cincinatti that resulted in him leaving their current tour and leading to the band's ultimate demise.
 
MA-D Round 5: Metallica
#13: Wherever I May Roam
Album: Metallica (1991)


(Youtube version) Metallica - Wherever I May Roam (Official Music Video)
(S&M version) Metallica - Wherever I May Roam(S&M)
(Live Version) Metallica - Wherever I May Roam - [Live San Diego 1992] [HD]

And my ties are severed clean
Less I have, the more I gain
Off the beaten path I reign
Roamer, wanderer, nomad, vagabond
Call me what you will


As I said in the teaser, “Wherever I May Roam” is the song I ranked outside the first 4 albums that I ranked the highest. At its heart, this song is another in the long line of songs about constantly being on tour, though with that there’s a sense of freedom, individuality and adventure. About being comfortable with who you are no matter where you are.

But I’m probably trying to delve a little too philosophically deep there. This song shifts from slower speeds to faster, but retains the feel of a fast-paced, upbeat anthem throughout. Needless to say that I find this catchy, a song that gets stuck in my brain, but in that good way, right from that opening chord.

Also, hopefully you’ve been noting the alternate links, but I have to shout out the S&M version of this too. It hits differently, but then again it’s supposed to do so. Metallica’s performance is still center stage (so to speak), yet there’s sort of a… more complete feeling to it? What I’m saying is that I like both versions, duh.



Next on the countdown, we move onto a cracking song with a breakneck pace.
 
Round 13 - Play Me - Neil Diamond

From Hot August Night (1972), it appeared on Moods from the same year.

(Kind of surprised it isn't the playlist title. It would be appropriate.)
This song reminds me of seeing him in '98. It is one of my favorite slows songs by him. I had to use the bathroom, so I went during a song I didn't mind missing. As I was in the middle of peeing, I heard the notes to this song start, and I was like ****! I peed as fast as possible, and then the toilet roll that was in one of those plastic covers wouldn't roll for me. After trying to put my hand in the plastic cover and clawing at it for several seconds, I was able to rip off a small amount, quickly put my hands under the water facet, and I sped to my seat. I made it back for about half of the song. I now associate it with that peeing session. This was the same night that earlier in a restaurant when I used the bathroom on our way out, I put my coat back on after peeing, and the tickets fell out of the pocket and into the toilet bowl (fresh toilet water). I grabbed those out as fast as possible, dried them off, and they were OK. This concludes the toilet talk. 🚽

You are sun, I am moon
You are the words, I am the tune
Play me
 
13.

Song:
Walk Where He Walked
Album: Down By The Old Mainstream
Songwriter: Jeff Tweedy
Smog Lineup:

Kraig Johnson – guitar
Jeff Tweedy – lead vocals, guitar
Gary Louris – slide guitar
Dan Murphy – background vocals, guitar
Marc Perlman – bass
Noah Levy – drums

Amping up the band’s mysterious and comical mythologizing, Rykodisc sent out advances of the Down By The Old Mainstream album in a complete-with-slip-case, booklet (the slightly oversized A History in Smog) and two make-believe CDs (Swingin’ Smog People and America’s Newest ****makers, boasting great song titles but, alas, no music) in a box set called 35 Years of Golden Smog.
 
Zanzibar

Billy wrote this song for his 1978 album 52nd Street. It's a jazzy number that has a special guest appearance by the late great Freddie Hubbard on flugelhorn and trumpet.
I am having eye surgery on Tuesday, and will miss a little time during the countdown. I'm sending some short write-ups for some upcoming songs to Uruk, aka Billy Hai, and he is going to post them for me. More than likely he will think he died and went to hell, but I think it will be a good opportunity for him to grow closer to BJ and his music. 😉 I'll be back soon ✌️
 
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Zanzibar

Billy wrote this song for his 1978 album 52nd Street. It's a jazzy number that has a special guest appearance by the late great Freddie Hubbard on flugelhorn and trumpet.
I am having eye surgery on Tuesday, and will miss a little time during the countdown. I'm sending some short write-ups for some upcoming songs to Uruk, aka Billy Hai, and he is going to post them for me. More than likely he will think he died and went to hell, but I think it will be a good opportunity for him to grow closer to BJ and his music. 😉 I'll be back soon ✌️
:lol:

I do not have simey's list yet, but I do have one or two "artist who should have recorded this" rounds left in the chamber should those records show up.
 
Eric Clapton #13

Eric Clapton - Rambling on my Mind

"Ramblin' on My Mind" is a blues song first recorded in 1936 by Delta blues musician Robert Johnson. Clapton first recorded it in 1966 for the album "Blues Breakers with Eric Clapton."
It was Clapton's first solo vocal recording and in his autobiography he explained:

John [Mayall] insisted that I do vocals. This was much against my better judgment, since most of the guys I longed to emulate were older and had deep voices, and I felt extremely uncomfortable singing in my high-pitched whine.

Clapton has released versions of the song on several albums. I chose the version from "Just One Night," which is an amazing recording IMO. It is a powerful performance that showcases his ability to breathe new life into traditional blues.

Clapton’s slide technique here is expressive and emotive, with slow, deliberate bends and the signature vibrato that gives the performance a haunting, soulful quality. He leans into his solos, letting the guitar sing with a more raw, powerful delivery. The guitar solos build as the song progresses, with Clapton’s playing gradually becoming more intense and elaborate.

The expanded, bluesy solo sections make the live version more about emotional expression than technical precision. It feels more impromptu, adding to the sense that Clapton is truly living the song in the moment. He wasn’t just playing notes — he was channeling grief, loneliness, and blues tradition into a modern electric performance.

Clapton’s vocals here are gravelly and intense. The live setting gives him the freedom to stretch his phrasing, bringing even more emotion to the performance. He sings with a sense of rawness, delivering the lyrics with a bluesy weariness, perfectly suited for the reflective nature of the song.

Clapton’s live rendition combines the traditional Delta blues spirit with a more rock-infused arrangement, reflecting his growth as a musician who could seamlessly blend his blues roots with modern rock. It’s one of the best examples of Clapton using slide not for effect, but for emotional storytelling... a masterclass in electric slide blues.

In hindsight, I should have had this a bit higher. It deserves top 10 status.
 
I saw friend of MAD band, the Smithereens (with Marshall Crenshaw on vocals) at the Wonder Bar. Saw them two years ago there as well. So much fun great sound and I was standing next to Governor Murphy for most of the night.
America's Band Since 1980.
To see a "professional" band like them (including Crenshaw) that have played Arenas and Stadiums perform in a room that holds 350 people is a pretty cool experience.
 
I saw friend of MAD band, the Smithereens (with Marshall Crenshaw on vocals) at the Wonder Bar. Saw them two years ago there as well. So much fun great sound and I was standing next to Governor Murphy for most of the night.
America's Band Since 1980.
To see a "professional" band like them (including Crenshaw) that have played Arenas and Stadiums perform in a room that holds 350 people is a pretty cool experience.
There was also Pat's "Living Room Tour". Wiki describes it best:

The same year (2000, when he unsuccessfully ran for the US Senate), he launched the "Living Room Tour", a five-month jaunt where he performed solo, by request only, in the homes of fans. The tour was a success, and he later occasionally performed similar concerts for a nominal fee. He considered fans to be friends and hosted Memorial Day picnics for them in his own backyard. In his own words, "This 'involving the audience' philosophy of mine is about breaking down the walls and barriers that traditionally have separated artists and audience."
 
I saw friend of MAD band, the Smithereens (with Marshall Crenshaw on vocals) at the Wonder Bar. Saw them two years ago there as well. So much fun great sound and I was standing next to Governor Murphy for most of the night.
America's Band Since 1980.
To see a "professional" band like them (including Crenshaw) that have played Arenas and Stadiums perform in a room that holds 350 people is a pretty cool experience.
There was also Pat's "Living Room Tour". Wiki describes it best:

The same year (2000, when he unsuccessfully ran for the US Senate), he launched the "Living Room Tour", a five-month jaunt where he performed solo, by request only, in the homes of fans. The tour was a success, and he later occasionally performed similar concerts for a nominal fee. He considered fans to be friends and hosted Memorial Day picnics for them in his own backyard. In his own words, "This 'involving the audience' philosophy of mine is about breaking down the walls and barriers that traditionally have separated artists and audience."
I love the Smithereens.

I am so grateful that I got to see them once. It was Super Bowl Sunday, 1990, and I had a med school final the next morning.

Needless to say, I didn’t study much on that day but still passed. And it was totally worth it. The Smithereens’ show was fantastic. The Super Bowl, not so much. 😆
 
The English Beat family Tree #13

Hit It


Artist - The English Beat
Album - Wha’ppen? (1981) - sort of

This is another song released as a single (1981) that wasn’t originally included in one of their studio albums. It was later added as a bonus track to a reissue of this album.

This didn’t get as much airplay as some of their bigger hits in my neck of the woods, but this was always one of my favorites from these guys.
 
A few behind on posting as I’m trying to listen 2 or 3 times each.

But the moment that I first laid eyes on him All alone on the edge of seventeen
Just like the white-winged dove sings a song
It sounds like she's singin'
Ooh, baby, ooh, said, ooh
Just like the white-winged dove sings a song
It sounds like she's singin'
Said, ooh, baby, ooh, said, ooh


Solid, a bit of a down from 18 but enjoyable.

New to me, added to likes
Montego slay
Can’t even tie your own shoes
Words without wrinkles
Wogs will walk

Favorite - contenders 0️⃣, Soolaimon, get up and go but the winner, She drives me crazy - can’t help myself, I love that song.
 
#13: PEOPLE UNDER THE STAIRS - SELFISH DESTRUCTION


The intro is a bit long, but it fits with them and it is the intro to the Highlighter album, and the opening tracks tend to have a longer intro like this. One thing that I noticed myself doing is obsessing about 30sec blocks of their songs like I would a Dino or Journey solo, a wicked Mastodon drum fill, or an Opeth transition. Here I love the build up from the intro that goes into Double's first lyrics, then drops down a bit with some extra filters. I also like that lyrically it's a good example of how they view the state of hip hop:

Rappers rocking skateboards that don't even skate
Mad youtube views like don't even hate
Well I could give a **** if a blog says you're the one
Stick a pitchfork and your whole styles done
I'm 100% dope beats and dope raps
I don't need a promo team or snap back hats


NEXT: A song that reminds me of my favorite Ice-T track.
 
#13: BECK - LORD ONLY KNOWS


Great opening scream, great grooves, great tune.

Invite me to the seven seas like some seasick man
You will do whatever you please and I'll do whatever I can
Titanic, fare thee well, my eyes are turning pink
Don't call us when the new age gets old enough to drink



NEXT: pretty sure this is the song I put on the Prince channel for GP4.
 

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