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Middle Aged Dummies - Artist - Round 5 - #22's have been posted. Link in OP. (37 Viewers)

30's PLAYLIST

#30'S

[td]Belinda Carlise[/td][td]Zegras11[/td][td]Fool For Love
[/td]
[td]Michael Head[/td][td]Eephus[/td][td]Michael Head & The Red Elastic Band -- Wild Mountain Thyme
[/td]
[td]People Under the Stairs[/td][td]KarmaPolice[/td][td]Beer
[/td]
[td]John Waite[/td][td]Charlie Steiner[/td][td]If You've Got the Time
[/td]
[td]Golden Smog[/td][td]Dr. Octopus[/td][td]Backstreet Girl
[/td]
[td]The GAP Band/Charlie Wilson[/td][td]Don Quixote[/td][td]Charlie, Last Name Wilson - Charlie Wilson
[/td]
[td]The English Beat Family Tree[/td][td]Yo Mama[/td][td]Walking on the Wrong Side
[/td]
[td]Caroline Esmeralda van der Leeuw[/td][td]-OZ_[/td][td]I’m not sorry
[/td]
[td]Neil Diamond[/td][td]Mrs. Rannous[/td][td]Cherry Cherry
[/td]
 
#30'S

[td]Steve Marriott[/td][td]zamboni[/td][td]"You Need Loving" - Small Faces
[/td]
[td]Conor Oberst[/td][td]Tuffnutt[/td][td]Napalm
[/td]
[td]Smashing Pumpkins[/td][td]Yambag[/td][td]Doomsday Clock
[/td]
[td]Otis Redding[/td][td]John Maddens Lunchbox[/td][td]The Huckle-Buck
[/td]
[td]Meat Loaf[/td][td]snellman[/td][td]I'll Kill You if You Don't Come Back
[/td]
[td]Hugh Dillon[/td][td]Mister CIA[/td][td]For Your Consideration
[/td]
[td]Luna[/td][td]landrys hat[/td][td]This Time Around

[/td]
[td]Metallica[/td][td]Mt. Man[/td][td]Hero of the Day
[/td]
[td]The Doobie Brothers[/td][td]New Binky The Doormat[/td][td]Here To Love You
[/td]
 
#30's

[td]Billy Joel[/td][td]simey[/td][td]Last of the Big Time Spenders
[/td]
[td]Arthur Lee and Love[/td][td]Pip's Invitation[/td][td]Nothing
[/td]
[td]Beck[/td][td]KarmaPolice[/td][td]Orphans
[/td]
[td]John 5[/td][td]Chaos34[/td][td]Disposable Sunshine - Loser
[/td]
[td]City and Colour[/td][td]MrsKarmaPolice[/td][td]As Much As I Ever Could
[/td]
[td]The Waterboys[/td][td]Ilov80s[/td][td]Rags
[/td]
[td]Eric Clapton[/td][td]Tau837[/td][td]Let It Rain
[/td]
[td]Ferry Corsten[/td][td]titusbramble[/td][td]Gouryella - Anahera
[/td]
[td]Cornershop[/td][td]The Dreaded Marco[/td][td]Jason Donovan/Tessa Sanderson
[/td]
 
The English Beat Family Tree #30

Walking on the Wrong Side

Artist - The Beat featuring Ranking Roger
Album - Bounce (2016)

I’ll do my writeup tonight since I’ll be in the car half the day tomorrow and doing Mother’s Day things the other half.

This is the newish Ranking Roger iteration of The Beat that I mentioned in my #31 writeup. His Beat albums (there were two) were obviously heavier into the reggae. Roger was Top Ranking after all.

I liked this better than the newish Dave Wakeling Beat song, so it gets the higher ranking.

Next up on the countdown: yet another album that I had never listened to prior to this exercise (but it had a couple nice surprises on it). Then we’ll dive into the 80s goodness.
 
#30 - Cherry, Cherry - Neil Diamond

This song was released in 1966, but I'm using the version from the live album Hot August Night (1972). I didn't always choose the versions of songs from this concert, but it does happen a few more times. I don't normally enjoy concert recordings (Freebird!), but this one has good recording quality and great performances.
 
#30 - Cherry, Cherry - Neil Diamond

This song was released in 1966, but I'm using the version from the live album Hot August Night (1972). I didn't always choose the versions of songs from this concert, but it does happen a few more times. I don't normally enjoy concert recordings (Freebird!), but this one has good recording quality and great performances.

Top 5 Neil for me when he rocks it live. Love this line put to that music:

Y'ain't got no right, no, no you don't
Ah, to be so exciting
Won't need bright lights, no, no we won't
Gonna make our own lightning

Also I prefer a couple live Solitary Mans to the studio version. If I did Neil, I'd probably take everything off HAN, incredible show. My bro was there in the Greek when it was recorded. Claims he can hear himself whistle on a song to come.
 
There’s about a 16 month window between John parting ways with Marilyn Manson in 04 and starting his first tour with Rob Zombie in 06. In that window he made a solo album, formed the indie/alt rock band Loser, and also contributed to well over a dozen tracks for 7 different artists, some of which made my list.

Saying yes to touring with Zombie conflicted with a scheduled tour for Loser, so John quit the band he’d just formed. He couldn’t be in two places at once, encouraged them to go forward without him, and put some effort into finding his replacement.

Loser was off to a pretty good start. Two solid singles were critically praised, drawing comparisons to the Foo Fighters and making national airwaves. A full LP titled “Just Like You” was complete and ready for distribution to be timed with the scheduled tour. Island Records was uncomfortable with John leaving, pulled the tour and never released the album.

I must have changed my mind a dozen times on which of the two singles to include here. They’re not remotely similar songs. They’re both good. Making room for both was an option I didn’t like. Probably for no better reason than it made the Fantastic Four soundtrack and a fun video linked below, I chose:

Disposable Sunshine - Loser

Loser's lead singer was Joe Grah of the Texas alt rock band Jibe. I dug into his stuff - excellent. Early pre-Loser Jibe, reformed post-Loser Jibe and his solo stuff. Excellent front man. Can’t help but wonder if John made a bad decision. Fwiw, the highly dissimilar other single was Nobody Knows. I’m certain some of you would prefer that to my choice and after hearing the first playlist, it fits in better.
 
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#30 - Otis Redding - The Huckle-Buck​


https://open.spotify.com/track/01mjm09Ju9UmPgxNgOjNnK?si=zN4fBt8RSyiiqGRL6ckPcw

Comments from Wikipedia

JML Rank
- #22
Krista4 Rank - Not Ranked
Uruk-Hai Rank - Not Ranked

Album - The Dock of the Bay

Recorded - September 1967

Is this a Cover? - Yes - Original was by Paul Williams and the Hucklebuckers from 1949

Songwriter - Roy Alfred, Andy Gibson

Notable Covers - It was successfully recorded by many other musicians including Lucky Millinder, Roy Milton, Tommy Dorsey, Frank Sinatra, Lionel Hampton, Louis Armstrong, Chubby Checker, Bo Diddley, Quincy Jones, Canned Heat, Coast to Coast, Brendan Bowyer and Crystal Swing.

Comments - For its original artist, the song became a crossover hit and a dance craze, in many ways foreshadowing the popular success of rock and roll a few years later. Williams renamed the song as "The Huckle-Buck", and his recording rapidly rose to the top of the R&B chart. It reached the #1 spot in March 1949, staying in that position for 14 weeks, and spending a total of 32 weeks on the chart. It reportedly sold half a million copies, and broke sales records. Williams' concerts became increasingly riotous;

Next Up - A track from The Great Otis Redding Sings Soul Ballads
 
I’m not sorry
Released on the 2023 album Nowhere near the Sky, Google gets the genre wrong as it’s listed as children’s music :shrug:

The album has been described as The Jordan’s extraordinary, game-changing debut album, a new chapter that comprehensively rewrites Caroline’s story as former singer of Dutch pop group Caro Emerald. Gone is the jazz, the swing, the Latin rhythms, the rockabilly, the heavily stylised wardrobe. In their place: total candour and unvarnished truth, vocals purer and more powerful than anything she has recorded before, trip-hop and folktronic textures that wrap her voice in magic and mystery, and songwriting that, after years of doubt and repressed feelings, finally pulls back the veil.

honesty, her music as Caro emerald is much more fun (and better) but I wanted to include a few of her songs as the Jordan to share her full range. She is not sorry, but she does seem angry here.

I’ll have my freedom
You’ll give it away
I’ll face my demons
You’ll have no shame
The space between us
Good comes to who waits
I’ll have my freedom
As of today
I’m not sorry for bruising your ego
I’m not sorry for breaking your will
I’m not sorry for not asking forgiveness
I’m not sorry
Cause you never were
I’m not sorry for exposing your weakness
I’m not sorry for crushing your pride
I’m not sorry for daring to leave you
I’m not sorry
Cause you never were
 
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#30 - Cherry, Cherry - Neil Diamond

This song was released in 1966, but I'm using the version from the live album Hot August Night (1972). I didn't always choose the versions of songs from this concert, but it does happen a few more times. I don't normally enjoy concert recordings (Freebird!), but this one has good recording quality and great performances.

Top 5 Neil for me when he rocks it live. Love this line put to that music:

Y'ain't got no right, no, no you don't
Ah, to be so exciting
Won't need bright lights, no, no we won't
Gonna make our own lightning

Also I prefer a couple live Solitary Mans to the studio version. If I did Neil, I'd probably take everything off HAN, incredible show. My bro was there in the Greek when it was recorded. Claims he can hear himself whistle on a song to come.
👍🍒
Agreed, another great by the great. Although it’s in my top 15, precise ordering would be challenging and depends on mood.
 
I've made 3 commitments to this.

1. I'm keeping up with playlists before the next one drops. 27 was surprisingly easier time-wise than 34.

2. I'm going to provide some kind of write-up for all my songs despite failing to do any in advance as planned.

3. I'm going to read everything Pip writes.
You lost me at 3. 🤣
 
#30: PEOPLE UNDER THE STAIRS - BEER

Huh, what is this one about? For Beer we skip ahead 7 years and 4 albums. This track is off their 7th album Carried Away. I liked the idea of having this after Intro to show the range of sounds we are going to get to on the playlist. I think this album is probably the peak of the dance/party/"fun" albums. It is hard to rank the albums, but if we do some simple math it is O.S.T. and Carried Away that each have 5 songs on the playlist. Most days I would probably say these are my two favorite albums start to finish.

Up to this point they were on a schedule of touring a bit, taking a little time between albums, and then recording again. They were gaining more popularity as they toured for the album right before this. They were at Coachella and Bonnaroo and a weird nugget I just read - they were one of the first independent groups to tour China. Inspired by all this, they immediately started recording Carried Away when they got back from the tour. They had used a different label for the 6th album, but because of production backlog they when back with Om records to get the album out right away. They were also able to get them some other bonuses like rights to use Colt .45 and Billy Dee Williams' image. :lol:. I'm guessing this album has a little more of the party lean because they were in that zone for the tour, and didn't have as much on tour for some of the self reflection and emotion that they lean into a little later.

Beer became one of 2 songs to feature a lot at their shows going forward (the other song we will get to later, and it was almost the one I used for my Shuke list). Again we have all the stuff I love about them in the song - the very specific nods to all the beers (Fat Tire, Arrogant *******, etc..) , game show samples, movie references (Snake Plissken). This #2 song was probably the hardest decision for me. I probably had 8 different songs at this slot at some point, so hopefully I chose one that grabbed some ears.

To my kidneys and liver, your time is near


NEXT: The biggest surprise of my adventure with PUTS was that a hip hop group could make me emotional. Their last couple albums touch on this more frequently, but for song 3 we get a track from the album after O.S.T. that hits on this as well.
 
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#30: BECK - ORPHANS

For song #2 we get to the album opener for Modern Guilt. Eephus' comments made me circle back to this album and make a couple changes to the playlist. After a few albums with Nigel, Beck teamed up with Danger Mouse as producer for this album. We will see where it lands at the end, but I think the album is a blur of Sea Change and some of his more dance heavy albums. Best of both worlds, but as I went through I think I was leaning to other albums for the fun tunes and albums like Sea Change for the more subdued tunes. What I was missing was how a tune like Orphans nicely operates in both of those sounds at the same time.

Now my journey takes me further south
I want to hear what the blind men sing
With the fossils and the gypsy bones
I stand beside myself so I'm not alone


ETA: grab your scissors - we have a track from Odelay
 
#30 Charlie, Last Name Wilson (Spotify) - Charlie Wilson

I posted a week or so ago in here that I think Charlie Wilson’s vocal skills seem to have gotten better with time. His pipes and smooth voice were always there, but maybe it just can sometimes feel hidden in the synth and bass of The GAP Band.

The GAP Band music was influential to a lot of New Jack Swing and modern R&B artists. When Charlie Wilson was trying to build up his solo career, a lot of those artists who were influenced by him wanted to work with him. This one was written and produced for him by one of those artists. *cough* R. Kelly *cough* I think the player style lyrics are a bit misplaced for him, but Charlie Wilson just sings the hell out of it, particularly the last half of the song. His solo songs often have a vocal intensity where he builds up his voice like a freight train rolling to the end.

I’ll get back to The GAP Band next.
 
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Looking forward to the Smashing Pumpkins list. They influenced a lot of 21st century Indie bands.

Listening to their albums can be a daunting task for me because there's so much music on them. Most of you know my schtick about long songs but I think Billy is one of those artists who would have benefited from having to work within the time constraints of the LP record format.
The real question is: how is Chamberlain's snare sound?

I love Jimmy's drumming. It's the best thing about the band for me. There's a jazzy delicacy beneath all the power--he swings a lot more than someone like Lars or Matt Sorum.
Same, I feel he is the heart of the band and you can hear the difference on the albums he is not on.
What later albums was he back in the band for again?
He was on from Gosh through Zeitgeist and has been back since Shiny and Oh So Bright. He was also on Billy's side project Zwan.
 
30.

Song:
Back Street Girl
Album: On Golden Smog (EP)
Songwriter: Mick Jagger/Keith Richards
Smog Lineup:

Kraig Johnson - guitar
Dan Murphy – vocals, guitar
Gary Louris – guitar, bass pedals
Marc Perlman – bass
Chris Mars – drums


As I stated in my original write up this “super group” started out playing shows mostly covering Eagles songs and their first EP was all cover songs including Bad Company’s “Shooting Star” with Dave Pirner (Soul Asylum) on vocals, Thin Lizzy’s “Cowboy Song” with a Soul Asylum roadie on vocals and this Rolling Stone’s classic featuring Soul Asylum’s Dan Murphy on vocals.

This EP was the only recordings that included The Replacements drummer Chris Mars as part of the group.
 
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#30 - Otis Redding - The Huckle-Buck​


https://open.spotify.com/track/01mjm09Ju9UmPgxNgOjNnK?si=zN4fBt8RSyiiqGRL6ckPcw

Comments from Wikipedia

JML Rank
- #22
Krista4 Rank - Not Ranked
Uruk-Hai Rank - Not Ranked

Album - The Dock of the Bay

Recorded - September 1967

Is this a Cover? - Yes - Original was by Paul Williams and the Hucklebuckers from 1949

Songwriter - Roy Alfred, Andy Gibson

Notable Covers - It was successfully recorded by many other musicians including Lucky Millinder, Roy Milton, Tommy Dorsey, Frank Sinatra, Lionel Hampton, Louis Armstrong, Chubby Checker, Bo Diddley, Quincy Jones, Canned Heat, Coast to Coast, Brendan Bowyer and Crystal Swing.

Comments - For its original artist, the song became a crossover hit and a dance craze, in many ways foreshadowing the popular success of rock and roll a few years later. Williams renamed the song as "The Huckle-Buck", and his recording rapidly rose to the top of the R&B chart. It reached the #1 spot in March 1949, staying in that position for 14 weeks, and spending a total of 32 weeks on the chart. It reportedly sold half a million copies, and broke sales records. Williams' concerts became increasingly riotous;

Next Up - A track from The Great Otis Redding Sings Soul Ballads
Otis could draw the sweat out of 3 billion people across the globe by singing these types of songs forever. This is Otis Redding The Entertainer.

I can't recall if this was so on the original album, but the youtube link's mix is out of whack. The horns are way too forward. Doesn't matter. Neither do the lyrics, as I think we'll notice again in future selections.

Another song I've heard a million bar bands cover. I think I'm starting to sense a pattern - about me :lol:
 
Last of the Big Time Spenders

Billy wrote this song for his 1974 album Streetlife Serenade. He said he used a "slip-note" style on this song, which was created and made popular by Floyd Cramer in the 50s and 60s. On the "slip-note" style, a passing note slides immediately into or away from a chordal note. Charlie Rich played with this style a lot, and Billy said he wrote this song with Charlie in mind. I do believe I 👂 a pedal steel solo in this song.

Well if money makes a rich man
Then I might never make the grade
I'll be a small time operator
If I just get the landlord paid

But if time is an indication
Of the wealth that I never knew
Then I'm the last of the big time spenders
'Cause I've been spending time on you woo woooo
 
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Smashing Pumpkins #30

Song
: Doomsday Clock
Album: Zeitgeist
Summary: NOT ON SPOTIFY PLAYLIST
This is the opening track from the Zeitgeist album which is not available on streaming (no clear answer as to why). After a 7 year hiatus (and 2 side projects), Billy and Jimmy got together and made this album (without D'arcy or James). Although not released as a single, the song Doomsday Clock charted on the Billboard Hot 100 and the Pop 100 due to digital sales and being featured in the Transformers movie. I wanted to include one Zeitgeist song on the countdown and kept flipping back and forth between this one and Bleeding The Orchid. Settled on this one as I feel it is a bit more straightforward and accessible in sound.

 
#30 - Cherry, Cherry - Neil Diamond

This song was released in 1966, but I'm using the version from the live album Hot August Night (1972). I didn't always choose the versions of songs from this concert, but it does happen a few more times. I don't normally enjoy concert recordings (Freebird!), but this one has good recording quality and great performances.
This was one of the highlights when I saw him in 1985 at MSG. Had an extended solo by his percussionist. I remember the guy’s name because Neil mentioned they had performed before the British royal family and he got to say “Prince Charles, this is Vince Charles.”
 
30. Nothing
Album: Four Sail (1969)

One of Arthur Lee's most mysterious songs, "Nothing" is also one of his most gorgeous. One of 10 songs from the 1968-69 warehouse sessions that Elektra chose for the Four Sail tracklist, "Nothing" has airy guitar parts and a lovely example of Arthur Lee's "acid Mathis" style of singing in his higher register that suggests what the Forever Changes songs might have sounded like without horns and strings.

The arrangement also owes a bit to The Who. The most prominent guitar riff, which first shows up after the first two lines and is repeated during parts of the instrumental breaks, could pass for a motif from Tommy, though the track was recorded around the same time as that album, and the bass and drums have a similar dynamic to John Entwhistle and Keith Moon during the instrumental breaks. The last 30 seconds have an almost countryish feel from the interplay of the guitars of Lee and Jay Donnellan.

"Nothing" appeared in some setlists between 1970 and 1975, and one of those performances is included as a bonus track on the deluxe edition of Black Beauty. There are no documented performances of it after that.

Live version from 1974 (bonus track on deluxe edition of Black Beauty): https://open.spotify.com/track/0P19f5mzTXGvqL1dm1xgro?si=88284380fbd747e0

Lee's original mix, included on the 2019 reissue of Four Sail: https://www.youtube.com/watch?v=1tvKbY2Qois

At #29, the last release of the original incarnation of Love.
 
Last of the Big Time Spenders

Billy wrote this song for his 1974 album Streetlife Serenade. He said he used a "slip-note" style on this song, which was created and made popular by Floyd Cramer in the 50s and 60s. On the "slip-note" style, a passing note slides immediately into or away from a chordal note. Charlie Rich played with this style a lot, and Billy said he wrote this song with Charlie in mind. I do believe I 👂 a pedal steel solo in this song.

Well if money makes a rich man
Then I might never make the grade
I'll be a small time operator
If I just get the landlord paid

But if time is an indication
Of the wealth that I never knew
Then I'm the last of the big time spenders
'Cause I've been spending time on you woo woooo
Artist Who Should Have Recorded This: The Muppets. This song is best done as a duet. Kermit & Piggy are the perfect combination for it. Animal on the drums is the icing on the cake.

7th grade poetry-kids would be ashamed of these lyrics.
 
Like Polythene Pam, For Your Consideration gives you everything it has and then it's gone - save for an exhausted strum of denouement at the end.


Just a little break in the moment
A little hole in time
A little breath to get me to the
Next imaginary deadline

I don't need to hold my head up
I just need you to walk away
I don't need to grasp the implications
Of every word you say

Well, I don't need to post an update
I don't need to post at all
I will cut and paste everybody's face
I will walk on down the hall
 
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Eric Clapton #30:

Eric Clapton - Let It Rain

This song is one of Clapton's early solo career highlights, blending blues, rock, and gospel influences into a powerful, emotionally rich track. It was on the album "Eric Clapton" released in 1970 but was not released as a single until 1972. It peaked at #48 on the US Billboard Hot 100 chart in 1972.

Clapton co-wrote the song with Bonnie Bramlett, part of the Delaney & Bonnie duo, who heavily influenced Clapton’s musical direction after his time with Cream and Blind Faith. The song shows that he was evolving as a songwriter and vocalist, not just a virtuoso guitarist.

While on the surface the lyrics seem to speak of romantic yearning, they also evoke a spiritual or redemptive quality, with “rain” acting as a metaphor for cleansing or renewal—common in blues and gospel traditions.

The song has a dynamic build-up, with increasing instrumental intensity toward the end. It features multiple guitar solos. The first is a short and subtle solo around the 1:33 mark. The main solo is an extended outro solo that lasts more than a minute and is another example of emotive, melodic storytelling. The ending solo has been compared to a gospel altar call, where the guitar becomes the preacher’s voice.

Clapton's catalog is so deep that I had this song in my first 10 out for most of the time I was building my playlist. But in the end, I just couldn't leave it out.
 
Eric Clapton #30:

Eric Clapton - Let It Rain

This song is one of Clapton's early solo career highlights, blending blues, rock, and gospel influences into a powerful, emotionally rich track. It was on the album "Eric Clapton" released in 1970 but was not released as a single until 1972. It peaked at #48 on the US Billboard Hot 100 chart in 1972.

Clapton co-wrote the song with Bonnie Bramlett, part of the Delaney & Bonnie duo, who heavily influenced Clapton’s musical direction after his time with Cream and Blind Faith. The song shows that he was evolving as a songwriter and vocalist, not just a virtuoso guitarist.

While on the surface the lyrics seem to speak of romantic yearning, they also evoke a spiritual or redemptive quality, with “rain” acting as a metaphor for cleansing or renewal—common in blues and gospel traditions.

The song has a dynamic build-up, with increasing instrumental intensity toward the end. It features multiple guitar solos. The first is a short and subtle solo around the 1:33 mark. The main solo is an extended outro solo that lasts more than a minute and is another example of emotive, melodic storytelling. The ending solo has been compared to a gospel altar call, where the guitar becomes the preacher’s voice.

Clapton's catalog is so deep that I had this song in my first 10 out for most of the time I was building my playlist. But in the end, I just couldn't leave it out.
Minus the drum solo, I am a fan of the extra-long version on the Derek and the Dominoes live album: https://m.youtube.com/watch?v=incXFBbJkD8&pp=ygUQTGV0IGl0IHJhaW4gbGl2ZQ==

I presume Eephus is not.
 
Last of the Big Time Spenders

Billy wrote this song for his 1974 album Streetlife Serenade. He said he used a "slip-note" style on this song, which was created and made popular by Floyd Cramer in the 50s and 60s. On the "slip-note" style, a passing note slides immediately into or away from a chordal note. Charlie Rich played with this style a lot, and Billy said he wrote this song with Charlie in mind. I do believe I 👂 a pedal steel solo in this song.

Well if money makes a rich man
Then I might never make the grade
I'll be a small time operator
If I just get the landlord paid

But if time is an indication
Of the wealth that I never knew
Then I'm the last of the big time spenders
'Cause I've been spending time on you woo woooo
Artist Who Should Have Recorded This: The Muppets. This song is best done as a duet. Kermit & Piggy are the perfect combination for it. Animal on the drums is the icing on the cake.

7th grade poetry-kids would be ashamed of these lyrics.
I can't see it any other way now.
 
30.

Napalm-Conor Oberst
From Salutations (2017)


Dylan influence is all over this one, “Napalm” sounds like it could be a track from Highway 61 Revisited. I love the organ on this track.

Salutations takes 10
Songs off the 2016 all acoustic Ruminations album and adds the full band sound. I prefer the full band version of Napalm to Tha acoustic… however there are some songs coming up on the countdown where I like the Rumination’s version better. Anyway, if you like the sound of this track I would point you to another tune called Roosevelt Room that didn’t make my list.
 
Eric Clapton #30:

Eric Clapton - Let It Rain

This song is one of Clapton's early solo career highlights, blending blues, rock, and gospel influences into a powerful, emotionally rich track. It was on the album "Eric Clapton" released in 1970 but was not released as a single until 1972. It peaked at #48 on the US Billboard Hot 100 chart in 1972.

Clapton co-wrote the song with Bonnie Bramlett, part of the Delaney & Bonnie duo, who heavily influenced Clapton’s musical direction after his time with Cream and Blind Faith. The song shows that he was evolving as a songwriter and vocalist, not just a virtuoso guitarist.

While on the surface the lyrics seem to speak of romantic yearning, they also evoke a spiritual or redemptive quality, with “rain” acting as a metaphor for cleansing or renewal—common in blues and gospel traditions.

The song has a dynamic build-up, with increasing instrumental intensity toward the end. It features multiple guitar solos. The first is a short and subtle solo around the 1:33 mark. The main solo is an extended outro solo that lasts more than a minute and is another example of emotive, melodic storytelling. The ending solo has been compared to a gospel altar call, where the guitar becomes the preacher’s voice.

Clapton's catalog is so deep that I had this song in my first 10 out for most of the time I was building my playlist. But in the end, I just couldn't leave it out.
I dog on Eric Clapton, mostly because I don't like EC the person, but I'd be remiss if I did not proclaim my love for the 18-minute live version of this song. Probably my favorite Clapton.

 
Eric Clapton #30:

Eric Clapton - Let It Rain

This song is one of Clapton's early solo career highlights, blending blues, rock, and gospel influences into a powerful, emotionally rich track. It was on the album "Eric Clapton" released in 1970 but was not released as a single until 1972. It peaked at #48 on the US Billboard Hot 100 chart in 1972.

Clapton co-wrote the song with Bonnie Bramlett, part of the Delaney & Bonnie duo, who heavily influenced Clapton’s musical direction after his time with Cream and Blind Faith. The song shows that he was evolving as a songwriter and vocalist, not just a virtuoso guitarist.

While on the surface the lyrics seem to speak of romantic yearning, they also evoke a spiritual or redemptive quality, with “rain” acting as a metaphor for cleansing or renewal—common in blues and gospel traditions.

The song has a dynamic build-up, with increasing instrumental intensity toward the end. It features multiple guitar solos. The first is a short and subtle solo around the 1:33 mark. The main solo is an extended outro solo that lasts more than a minute and is another example of emotive, melodic storytelling. The ending solo has been compared to a gospel altar call, where the guitar becomes the preacher’s voice.

Clapton's catalog is so deep that I had this song in my first 10 out for most of the time I was building my playlist. But in the end, I just couldn't leave it out.
Minus the drum solo, I am a fan of the extra-long version on the Derek and the Dominoes live album: https://m.youtube.com/watch?v=incXFBbJkD8&pp=ygUQTGV0IGl0IHJhaW4gbGl2ZQ==

I presume Eephus is not.

Eric Clapton #30:

Eric Clapton - Let It Rain

This song is one of Clapton's early solo career highlights, blending blues, rock, and gospel influences into a powerful, emotionally rich track. It was on the album "Eric Clapton" released in 1970 but was not released as a single until 1972. It peaked at #48 on the US Billboard Hot 100 chart in 1972.

Clapton co-wrote the song with Bonnie Bramlett, part of the Delaney & Bonnie duo, who heavily influenced Clapton’s musical direction after his time with Cream and Blind Faith. The song shows that he was evolving as a songwriter and vocalist, not just a virtuoso guitarist.

While on the surface the lyrics seem to speak of romantic yearning, they also evoke a spiritual or redemptive quality, with “rain” acting as a metaphor for cleansing or renewal—common in blues and gospel traditions.

The song has a dynamic build-up, with increasing instrumental intensity toward the end. It features multiple guitar solos. The first is a short and subtle solo around the 1:33 mark. The main solo is an extended outro solo that lasts more than a minute and is another example of emotive, melodic storytelling. The ending solo has been compared to a gospel altar call, where the guitar becomes the preacher’s voice.

Clapton's catalog is so deep that I had this song in my first 10 out for most of the time I was building my playlist. But in the end, I just couldn't leave it out.
I dog on Eric Clapton, mostly because I don't like EC the person, but I'd be remiss if I did not proclaim my love for the 18-minute live version of this song. Probably my favorite Clapton.

:hifive:
 
Charlie Wilson’s vocal skills seem to have gotten better with time.

I've noticed similar with several singers, especially with their live shows. My favorite Jimmy Buffett's are on two early albums, 3/4 time and A1A. He sounds pretty good on the studio recordings, but trust me, his live vocals could be cringy in the 70s and 80s. Move forward a couple decades and those same early songs sound as good or better live than the original recordings. He addressed it in typical Jimmy fashion in an interview, "30 years and Ten Vocal Coaches sounds like an idea for a new song."
 
I had scribbled notes from the 31s playlist, and subsequently left them behind for a Mother's Day road trip. So those are lost, but I do wish to point out that Charlie Wilson stuck out as something outside my wheelhouse that I like quite a bit.

My only memories of the Gap Band (and thus Charlie Wilson) are (1) working in a record store circa 1982 and Gap Band IV was flying out of the bins; along with Tom Tom Club, J Geils, and Human League, and (2)... no spoilers, but y'all know what it is.

Will listen to the 30s on road trip home tomorrow.
 
Corsten 31/30: Ferry Corsten - Radio Crash, Gouryella - Anahera

Write ups for this list may be fairly sporadic, but will do these two here. The list will be more or less 50/50 between those tracks that Ferry made himself, and those made by others that he has remixed and added his own spin and ideas to. These two are both from the former category, and basically add ons to the main list after a couple of tracks I would have preferred to have included weren't showing on Spotify.

Both of these featured fairly highly up if you just search on Spotify for Corsten by most popular. Radio Crash is off the third album (Twice in a Blue Moon) that Corsten released under his own name in 2008, we will revisit that album at least once later in the countdown. Gouryella is a side project which dates back to the late 90's, originally being a joint venture with the arguably more well known Tiesto, but it has been a solo effort of Corsten's since 2001. Anahera is a much more recent track, released in 2015, this was popular enough to be named Tune of the Year on Armin van Buuren's well regarded radio show A State of Trance. Both tracks were simply a case of "do I have this included already, if no, do I like the track, if yes, it's in"
 
Cornershop 30 - Jason Donovan / Tessa Sanderson

This is the first track from their first proper album, Hold On It Hurts from 1994. I'd never heard of either of those people but, in researching, I discovered they were both somewhat famous Brits---a pop star and Olympic athlete, respectively. This song is about the libel suits they brought for different reasons. But I picked it because of how it rocked way more than any Cornershop song I'd heard before. Their early EPs and first album were all post-punk/rock-oriented which was different than the stuff I was familiar with.
 
City and Colour - As Much as I Ever Could

From Still Records:
In the spring of 2017, Dallas Green embarked on an extensive Canadian tour with 28 sold-out shows in 25 cities billed as “An Evening with City and Colour.” In contrast with the preceding full-band runs supporting specific studio albums, this one featured only Green accompanied multi-instrumentalist Matt Kelly performing serene, stripped-down iterations of songs spanning the entire City and Colour catalogue. The tour in 2017 became Green's love letter to Canada, its places, and its people and subsequently Guide Me Back Home, became his love letter to fans worldwide.

This was the first release from Dallas's record label Still Records. It's an imprint of Dine Alone Records which released his first album Sometimes.

I wasn't sure I would include any live recordings but this is such a beautiful version.
He also does a cover of Elliot Smith's Twilight that I love.


Lost at sea
My heartbeat was growing weak
Hoping you'd hear my plea
And come save my life
As the storm grew fierce
And danger was certainly near
I knew there was nothing to fear
Bring me your love tonight

No I am not where I belong
So shine a light and guide me back home
 
Artist Who Should Have Recorded This: The Muppets. This song is best done as a duet. Kermit & Piggy are the perfect combination for it. Animal on the drums is the icing on the cake.

7th grade poetry-kids would be ashamed of these lyrics.
Billy may agree with you on some of this, and I only say that because he said Streetlife Serenade is his least favorite album, because he was rushed to do it, so he felt like he didn't have time to develop some of the songs like he wanted. I like the album, and this song is one of my favorites or it wouldn't be on my list. I don't see anything wrong with the lyrics. As far as the duet with Kermit and Piggy is concerned, it wouldn't work for me because there is just something puppety about their voices. I like Billy's voice.

You can call me the great pretender
And in a way it might be true
But I'm the last of the big time spenders
And I've been spendin' time on you
 
Clapton's catalog is so deep that I had this song in my first 10 out for most of the time I was building my playlist. But in the end, I just couldn't leave it out.
I'm glad you put it back in. "Let It Rain" is one of my favorites by him, and it reminds me so much of when I was in college, and especially going to see him in Chapel Hill, and it happened to be on his birthday. I had my VW Bus loaded up with friends, and we had so much fun.
 
MA-D Round 5: Metallica
#30: Hero of the Day
Album: Load (1996) [but see also below]


(Officiamusic video) Metallica - Hero Of The Day (Official Music Video)
(S&M version) Metallica - Hero of the Day (live S&M 1999) (UHD)
(live verson2) Metallica-Hero Of The Day [Cunning Stunts.DVD.1997.Fort Worth Texas]

But now the dreams and waking screams
That Ever Last the Night
So Build The Wall, Behind it Crawl
And Hide Until it’s light



I mentioned that I’m sticking to the studio versions for the playlists, mostly because of having too many live versions to comb through. So then these rankings should be based predominantly on that (first) studio version. Where this “rule” bends is that, if I’m being honest with myself, “Hero of the Day” made the cut at least equally because of the version from S&M. All I can say is please check that one out (perhaps even if you’re already familiar with it). It’s worth the time.

Anyway, this song had a demo version called “Mouldy”, as it had the style of something that Bod Mould (primarily of Husker Du and Sugar fame) might do. Hetfield has commented that “Hero of the Day” is about children that look for heroes outside of their parents and family. Mostly with the idea of not looking to media or entertainment for your idols. Personally I’m not sure how much of that is clear in the lyrics (let along the official video), but I definitely can see the sentiment.

Next on the countdown, it was understandable leaving two connected songs off, but would omitting this be inexcusable?
 
#30 Charlie, Last Name Wilson (Spotify) - Charlie Wilson

I posted a week or so ago in here that I think Charlie Wilson’s vocal skills seem to have gotten better with time. His pipes and smooth voice were always there, but maybe it just can sometimes feel hidden in the synth and bass of The GAP Band.

The GAP Band music was influential to a lot of New Jack Swing and modern R&B artists. When Charlie Wilson was trying to build up his solo career, a lot of those artists who were influenced by him wanted to work with him. This one was written and produced for him by one of those artists. *cough* R. Kelly *cough* I think the player style lyrics are a bit misplaced for him, but Charlie Wilson just sings the hell out of it, particularly the last half of the song. His solo songs often have a vocal intensity where he builds up his voice like a freight train rolling to the end.

I’ll get back to The GAP Band next.
It was nice of Charlie to give out his mom's phone number on Mother's Day.
 
#30 - Cherry, Cherry - Neil Diamond

This song was released in 1966, but I'm using the version from the live album Hot August Night (1972). I didn't always choose the versions of songs from this concert, but it does happen a few more times. I don't normally enjoy concert recordings (Freebird!), but this one has good recording quality and great performances.
I never have figured out what Neil was doing on the album cover.
Playing a squeezebox?
 

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