Oh, my God, they didn't delete this thing after seven months of non-usage?
Well, hello friends. And happy holidays! The holiday season got me going on this blog again last year, and the "100 Favorite Songs of the Decade" countdown was both fun to do and well-received. I like countdowns and "best of" lists; it's how I think.
So I figure, let me bring it back for Christmas this year and see what happens. To kick off: a Christmas-themed list. I'll be publishing more lists as the days, weeks, months, etc. go by. For now, enjoy the...
Twenty-Five Christmas Songs I'd Listen To Any Day Of The Year
(yes. I think about this.)
25. Whitney Houston -- "Do You Hear What I Hear?" [1987]
A decade before "crack is whack," five years before The Bodyguard, and coming off two HUGE albums, from whence came a billion #1 singles. The Voice at the peak of her career.
24. Bing Crosby & David Bowie -- "Peace On Earth/Little Drummer Boy" [1977]
There is NO WAY this collaboration should have ever made any sense, let alone worked. Bing goes out with a bang; Ziggy at his least weird.
23. Jose Feliciano -- "Feliz Navidad" [1970]
Because it's easier to say than "Mele Kalikimaka." Plus, Google "Jose Feliciano" and "Star-Spangled Banner." A true trailblazer.
22. Eagles -- "Please Come Home For Christmas" [1978]
Frequently recorded, and the Eagles weren't the first. But the breezy So-Cal arrangement of this version has been adopted for most subsequent covers. Absolutely made for Don Henley's voice.
21. Johnny Mercer & Margaret Whiting -- "Baby, It's Cold Outside" [1949]
An endearing, enduring classic, and the playful innocence of this, one of many "original" versions (Dinah Shore participated in another), is priceless. AND...Frank Loesser wrote it!
20. Peggy Lee -- "Happy Holiday" [1965]
What makes this version so special? Is it Peggy Lee's vocal? Is it the swinging, Bacharach-esque arrangement? Is it the fact that there's no "The Holiday Season" tag, like the version by...
19. Andy Williams -- "It's The Most Wonderful Time Of The Year" [1963]
Despite his definitive interpolation of "Happy Holiday," "Wonderful Time" remains Williams' signature Christmas song. I used to know the kid in the Staples commercial, too.
18. John Lennon & the Plastic Ono Band -- "Happy Xmas (War Is Over)" [1971]
War is over, if you want it. Just as profound as "I am he as you are he as you are me..."
SPECIAL PLACEMENT: NON-CHRISTMAS SONG I'D LISTEN TO ANY DAY
Adam Sandler -- "The Chanukah Song"
Has had the unintended effect, at least in my life, of popping into my head whenever one of the celebrities mentioned comes up in conversation. That includes Hall of Famer Rod Carew.
17. The Waitresses -- "Christmas Wrapping" [1981]
It's one thing to be a one-hit wonder, quite another to be a two-hit wonder with one of the hits being a Christmas song. As far as I know, The Waitresses are the only band to which this applies.
16. Band Aid -- "Do They Know It's Christmas?" [1984]
If we're talking "single version," number 16. If we're talking "6-minute extended version with Phil Collins drum solo, Paul McCartney phone call, and eerie David Bowie speech," well...
15. Brenda Lee -- "Rockin' Around The Christmas Tree" [1958]
Cardboard cutout of Michael Jordan attached to a model train set. Need I say more?
14. Mariah Carey -- "All I Want For Christmas Is You" [1994]
An instant classic. As with Whitney (#25), this was Mariah at the height of her prowess. In fact, for somebody with EIGHTEEN #1 hits, this is probably her most recognizable song.
13. Paul McCartney -- "Wonderful Christmastime" [1979]
One of the most critically panned Christmas songs out there, if only because this is the same guy who wrote "Yesterday" and "Band On The Run." Lighten up, people.
12. Trans-Siberian Orchestra -- "Christmas Eve/Sarajevo 12/24" [1996]
Just about everybody's favorite TSO song. And yet, I'll recommend that you check out "Old City Bar" from the same album. Absolutely beautiful.
11. Nat King Cole -- "The Christmas Song" [1946]
[String section swells] Chestnuts roasting on an open fire... [descending piano figure] Jack Frost nipping at your nose... [Another swell] THIS is the very essence of Christmas music.
SPECIAL PLACEMENT: CHRISTMAS VIDEO I'D WATCH ANY DAY
"Turkey Lurkey Time" from Promises, Promises
With all apologies to the revival, and the version from "Camp"...respect. Respect.
10. The Beach Boys -- "Little Saint Nick" [1963]
From the weird, wonderful mind of Brian Wilson (people named Brian Wilson seem to be this way, don't they?), a holiday sequel to "Little Deuce Coupe." Santa's sleigh was never so stylish.
9. Wham! -- "Last Christmas" [1984]
Irresistible. George Michael's most heartfelt songs ("Careless Whisper," "One More Try," "Freedom '90") were always long-winded affairs. "Last Christmas" clocks in at 6:45.
8. Stevie Wonder -- "What Christmas Means To Me" [1967]
Recorded at age 17, with a better groove than most R&B artists can achieve at 27 (Stevie not included) or 37 (Stevie included). All these things and more.
7. Bruce Springsteen & the E Street Band -- "Santa Claus Is Coming To Town" [1975]
Taking a cue from the Phil Spector treatment (see #6, #4) given it by the Crystals in 1963, Bruce and the boys turn out a perennial classic. MUCH better than "Merry Christmas, Baby."
6. Darlene Love -- "Christmas (Baby Please Come Home)" [1963]
If scheduling goes as expected, 72-year-old Darlene will be back on the David Letterman show the week before Christmas to perform this for about the 30th year in a row. Great tradition.
5. Vince Guaraldi Trio -- "Linus And Lucy" [1965]
First gained fame in A Charlie Brown Christmas. The rare "Christmas" song that's permeated the rest-of-the-year conscience, it's augmented in the TV show by "Christmas Time Is Here."
4. The Ronettes -- "Sleigh Ride" [1963]
Crazy Phil Spector. Who cares if they cut a verse? The vocal arrangements are unbelievable, including the never-ending modulations. "Be My Baby" is Ronnie's only superior performance.
3. Kermit the Frog -- "One More Sleep 'Til Christmas" [1992]
I could listen to this song on, say, August 4th and it would still give me goosebumps. Without fail. Of course, this comes from my favorite holiday movie, The Muppet Christmas Carol.
2. Run-D.M.C. -- "Christmas In Hollis" [1987]
I was at the Jay-Z/Eminem concert at Yankee Stadium in September, and it's unacceptable that they didn't invite either Rev Run or Darryl McDaniels. Most creative Christmas song EVER.
1. The Pretenders -- "Have Yourself A Merry Little Christmas" [1987]
I know, I know, everyone does this song, and there's nothing really special about it. Until you put it in the hands of somebody like Chrissie Hynde. It'll make ya cry every time.
So there you have it. I could listen to any of these songs at any point during any given year, and I'd be a happy man. Hope your holidays are off to a great start! More to come...
-- pl
Monday, November 29, 2010
Saturday, April 10, 2010
"There's a lot of magic up in this bitch tonight..."
Friends,
If you ever have the chance to see Ben Folds in concert, please go. I've seen him twice now, on two completely different tours, and I guarantee you, you will always be entertained. Sometimes with his recurring "Ben Folds and a Piano" tour, of which I saw a show last night at the Wellmont Theater in Montclair, mistakes and goof-ups stick out a bit more. Of course they do. It's just Ben and his instrument. But if you want to get into the mind of a songwriter, these are the kinds of shows for you.
Folds played for nearly two hours after an excellent opening set by Australian singer Kate Miller-Heidke (accompanied by her husband/writing partner Keir Nuttall on guitar). The highlight of this sequence was an uproariously funny number called "Are You F---ing Kidding Me?", which revolves around...well, read the lyrics and see the video here. The pair rejoined Folds later for "You Don't Know Me," with Miller-Heidke in the Regina Spektor role.
Anyway, now to the start of the Folds set. "Free Coffee" would have been a poor choice to open a full-band show, but it was a great way to get the crowd settled in, and lyrically, it's a perfect representation of Folds' journey through stardom in the last two decades. "Annie Waits" kicked things into high gear -- momentarily. Ben attempted, several times, to start "Sentimental Guy" after telling the audience how much he enjoys the video for Insane Clown Posse's "Miracles" (weird tangent, I know). Unable to regain his composure and get the video out of his head, he went straight through "Effington" before a final, half-hearted try at "Sentimental Guy." He did, though, end up playing the song in its entirety toward the end of the set. The final stretch also included "The Secret Life Of Morgan Davis," a B-side to "Rockin' The Suburbs" which I think I've heard only once or twice. Apparently, this was part of Folds' infamous 4.6-song commitment to his publisher (a story which I thought was going to lead into "One Down"), and it was a total surprise to me.
Personal highlights included "All U Can Eat," which I first heard on the supersunnyspeedgraphic compilation in 2006; "Gone" and "Still Fighting It" from Rockin' the Suburbs; mindblowing versions of "Narcolepsy" and "Philosophy"; and the killer one-two punch of "Kate" and "Landed" which landed right in the middle of the set. But for me, the two best renditions of the night came from opposite ends of the spectrum: "Levi Johnston's Blues," about Sarah Palin's would-be-son-in-law, was the newest song to be played. With lyrics written by novelist Nick Hornby and containing references to moose hunting and recreational hockey, the song was extremely well-received. And later, thanks to some impromptu audience requests, Folds obliged with a tender reading of "Emaline," one of his oldest songs. As this has been my favorite BF5 tune for quite some time, I was thrilled to hear it live.
Following a lengthy ovation at the end of "Army," Folds returned to the stage for two encores: "One Angry Dwarf And 200 Solemn Faces" and "Not The Same" (which, like several other songs, garnered heartfelt audience participation). All in all, it was a stellar performance in a great venue, though I missed some of the elements present in a full-band show. The first time I saw Folds was last February, during the "Way To Normal" tour in which he played several cuts off the "fake" album -- and as for the old material, it doesn't get any better than "Alice Childress" with a French horn. But the themes for last night were constant entertainment, great stories, and an intimate atmosphere. Excellent show! The set list follows...
-- pl
Ben Folds Setlist, 4/9/10
Free Coffee
Annie Waits
Sentimental Guy (first attempt)
Effington
Sentimental Guy (second attempt)
Eddie Walker
All U Can Eat
Jesusland
Gone
Picture Window (not yet released)
Levi Johnston's Blues (not yet released)
You Don't Know Me (with Kate Miller-Heidke and Keir Nuttall)
Kate
Landed
Narcolepsy
Still Fighting It
Sentimental Guy (final attempt)
Dr. Yang
Emaline (request)
The Secret Life Of Morgan Davis
Philosophy
Army
One Angry Dwarf And 200 Solemn Faces (encore)
Not The Same (encore)
P.S. Parts 2 and 3 of the "three-parter," which started with the Lenny Kravitz review, are still forthcoming. Stay tuned.
If you ever have the chance to see Ben Folds in concert, please go. I've seen him twice now, on two completely different tours, and I guarantee you, you will always be entertained. Sometimes with his recurring "Ben Folds and a Piano" tour, of which I saw a show last night at the Wellmont Theater in Montclair, mistakes and goof-ups stick out a bit more. Of course they do. It's just Ben and his instrument. But if you want to get into the mind of a songwriter, these are the kinds of shows for you.
Folds played for nearly two hours after an excellent opening set by Australian singer Kate Miller-Heidke (accompanied by her husband/writing partner Keir Nuttall on guitar). The highlight of this sequence was an uproariously funny number called "Are You F---ing Kidding Me?", which revolves around...well, read the lyrics and see the video here. The pair rejoined Folds later for "You Don't Know Me," with Miller-Heidke in the Regina Spektor role.
Anyway, now to the start of the Folds set. "Free Coffee" would have been a poor choice to open a full-band show, but it was a great way to get the crowd settled in, and lyrically, it's a perfect representation of Folds' journey through stardom in the last two decades. "Annie Waits" kicked things into high gear -- momentarily. Ben attempted, several times, to start "Sentimental Guy" after telling the audience how much he enjoys the video for Insane Clown Posse's "Miracles" (weird tangent, I know). Unable to regain his composure and get the video out of his head, he went straight through "Effington" before a final, half-hearted try at "Sentimental Guy." He did, though, end up playing the song in its entirety toward the end of the set. The final stretch also included "The Secret Life Of Morgan Davis," a B-side to "Rockin' The Suburbs" which I think I've heard only once or twice. Apparently, this was part of Folds' infamous 4.6-song commitment to his publisher (a story which I thought was going to lead into "One Down"), and it was a total surprise to me.
Personal highlights included "All U Can Eat," which I first heard on the supersunnyspeedgraphic compilation in 2006; "Gone" and "Still Fighting It" from Rockin' the Suburbs; mindblowing versions of "Narcolepsy" and "Philosophy"; and the killer one-two punch of "Kate" and "Landed" which landed right in the middle of the set. But for me, the two best renditions of the night came from opposite ends of the spectrum: "Levi Johnston's Blues," about Sarah Palin's would-be-son-in-law, was the newest song to be played. With lyrics written by novelist Nick Hornby and containing references to moose hunting and recreational hockey, the song was extremely well-received. And later, thanks to some impromptu audience requests, Folds obliged with a tender reading of "Emaline," one of his oldest songs. As this has been my favorite BF5 tune for quite some time, I was thrilled to hear it live.
Following a lengthy ovation at the end of "Army," Folds returned to the stage for two encores: "One Angry Dwarf And 200 Solemn Faces" and "Not The Same" (which, like several other songs, garnered heartfelt audience participation). All in all, it was a stellar performance in a great venue, though I missed some of the elements present in a full-band show. The first time I saw Folds was last February, during the "Way To Normal" tour in which he played several cuts off the "fake" album -- and as for the old material, it doesn't get any better than "Alice Childress" with a French horn. But the themes for last night were constant entertainment, great stories, and an intimate atmosphere. Excellent show! The set list follows...
-- pl
Ben Folds Setlist, 4/9/10
Free Coffee
Annie Waits
Sentimental Guy (first attempt)
Effington
Sentimental Guy (second attempt)
Eddie Walker
All U Can Eat
Jesusland
Gone
Picture Window (not yet released)
Levi Johnston's Blues (not yet released)
You Don't Know Me (with Kate Miller-Heidke and Keir Nuttall)
Kate
Landed
Narcolepsy
Still Fighting It
Sentimental Guy (final attempt)
Dr. Yang
Emaline (request)
The Secret Life Of Morgan Davis
Philosophy
Army
One Angry Dwarf And 200 Solemn Faces (encore)
Not The Same (encore)
P.S. Parts 2 and 3 of the "three-parter," which started with the Lenny Kravitz review, are still forthcoming. Stay tuned.
Monday, February 8, 2010
Whooooooo are you?
Hey kids,
Fabulous game last night -- close until the very end, when the only turnover of the entire contest wound up being a huge play. When all is said and done and people look back on the list of great all-time quarterbacks, you may need to cue up the Tracy Porter interception when talking about why John Elway and Tom Brady were better quarterbacks than Peyton Manning. And this Super Bowl won't be remembered as an all-time classic, like the last two years were, or the Montana-to-Taylor game, or the Rams-Titans nailbiter, or the Scott Norwood miss. But it was solid. (Exceptional job also by CBS. If you needed any further proof that Phil Simms is the best color analyst not named Cris Collinsworth, look no further than his breakdown of the Lance Moore 2-point conversion. Expertly handled.)
But that's neither here nor there. On to the Super Bowl music: I seem to be in the majority in thinking that The Who's halftime show was a whole lot of Roger and Pete in the sound mixing (rightfully so -- they're the only two original members left), and that the performance continued the NFL's post-Nipplegate tradition of safe, non-controversial acts and song choices.
Wait. The Who? Safe?
Yes, and yes. I was pleasantly surprised that neither of my worst fears were realized during the 12-minute spectacle: first, that they stayed away from "My Generation," which is an inappropriate choice for 60-somethings to sing, mostly because the band was only one-for-four (Keith Moon) on the infamous line, "I hope I die before I get old." Second, Mr. Daltrey exercised extremely good judgment during "Who Are You" by refusing to come close to the "aaaah, who the .... are you!" line heard on the original recording. Such an occurrence would have involved either a tacky let-me-move-the-microphone-away-while-I-curse-just-for-the-hell-of-it moment, or a lengthy bleep by CBS, which would have robbed the performance of some of its integrity. No, this was a very, very tasteful halftime show -- no drum kits exploded and no guitars were smashed in the making. It wasn't in the league of either Bruce Springsteen last year or Tom Petty the year before, but considering these guys' ages, pretty respectable. (The post-9/11 U2 show is still the best in my opinion, by a Grand Canyon of a margin. And to be fair, the second-to-last commercial before halftime last night featured "My Generation," so it was there, kinda.)
That being said, here was the setlist:
"Pinball Wizard"
"Baba O'Riley"
"Who Are You"
"See Me, Feel Me"
"Won't Get Fooled Again"
It was a given that the three non-Tommy songs would be included, as they are not only the band's three most arena-ready tunes but the three themes to CBS's highly-profitable CSI franchise. And unfortunately, Pete Townshend revealed the setlist about two weeks before the show, so there was absolutely no element of surprise. That being said, I would have loved to have seen them open with "Who Are You" and then launch into a straight Who's Next medley, "Behind Blue Eyes" into "Bargain" into "Baba O'Riley" and then closing, of course, with "Won't Get Fooled Again." But I saw the original Broadway production of Tommy as a kid and I've seen the movie, so I appreciated the band's dip into history there. Before I heard Townshend's announcement, I was holding out hope for either "The Real Me" or "Magic Bus," but that's just personal preference.
If I had to pick a perfect, five-song Who playlist, though, here's what I would choose:
"Who Are You"
"1921" (from Tommy)
"Eminence Front"
"Love, Reign o'er Me"
"Baba O'Riley"
Ah, well. Guess iTunes and my own screaming and clapping for crowd noise will have to do.
-- pl
P.S. Queen Latifah's "America the Beautiful" was American, and beautiful, and also felt very contrived. Carrie Underwood, of American Idol fame, would have gotten a "pitchy" comment from Randy Jackson on her last note, but was otherwise spot-on with the National Anthem. Also, nice to see the 2010 HoF class a mere day after election, and did anybody else feel sorry for Len Dawson during his trophy march?
Fabulous game last night -- close until the very end, when the only turnover of the entire contest wound up being a huge play. When all is said and done and people look back on the list of great all-time quarterbacks, you may need to cue up the Tracy Porter interception when talking about why John Elway and Tom Brady were better quarterbacks than Peyton Manning. And this Super Bowl won't be remembered as an all-time classic, like the last two years were, or the Montana-to-Taylor game, or the Rams-Titans nailbiter, or the Scott Norwood miss. But it was solid. (Exceptional job also by CBS. If you needed any further proof that Phil Simms is the best color analyst not named Cris Collinsworth, look no further than his breakdown of the Lance Moore 2-point conversion. Expertly handled.)
But that's neither here nor there. On to the Super Bowl music: I seem to be in the majority in thinking that The Who's halftime show was a whole lot of Roger and Pete in the sound mixing (rightfully so -- they're the only two original members left), and that the performance continued the NFL's post-Nipplegate tradition of safe, non-controversial acts and song choices.
Wait. The Who? Safe?
Yes, and yes. I was pleasantly surprised that neither of my worst fears were realized during the 12-minute spectacle: first, that they stayed away from "My Generation," which is an inappropriate choice for 60-somethings to sing, mostly because the band was only one-for-four (Keith Moon) on the infamous line, "I hope I die before I get old." Second, Mr. Daltrey exercised extremely good judgment during "Who Are You" by refusing to come close to the "aaaah, who the .... are you!" line heard on the original recording. Such an occurrence would have involved either a tacky let-me-move-the-microphone-away-while-I-curse-just-for-the-hell-of-it moment, or a lengthy bleep by CBS, which would have robbed the performance of some of its integrity. No, this was a very, very tasteful halftime show -- no drum kits exploded and no guitars were smashed in the making. It wasn't in the league of either Bruce Springsteen last year or Tom Petty the year before, but considering these guys' ages, pretty respectable. (The post-9/11 U2 show is still the best in my opinion, by a Grand Canyon of a margin. And to be fair, the second-to-last commercial before halftime last night featured "My Generation," so it was there, kinda.)
That being said, here was the setlist:
"Pinball Wizard"
"Baba O'Riley"
"Who Are You"
"See Me, Feel Me"
"Won't Get Fooled Again"
It was a given that the three non-Tommy songs would be included, as they are not only the band's three most arena-ready tunes but the three themes to CBS's highly-profitable CSI franchise. And unfortunately, Pete Townshend revealed the setlist about two weeks before the show, so there was absolutely no element of surprise. That being said, I would have loved to have seen them open with "Who Are You" and then launch into a straight Who's Next medley, "Behind Blue Eyes" into "Bargain" into "Baba O'Riley" and then closing, of course, with "Won't Get Fooled Again." But I saw the original Broadway production of Tommy as a kid and I've seen the movie, so I appreciated the band's dip into history there. Before I heard Townshend's announcement, I was holding out hope for either "The Real Me" or "Magic Bus," but that's just personal preference.
If I had to pick a perfect, five-song Who playlist, though, here's what I would choose:
"Who Are You"
"1921" (from Tommy)
"Eminence Front"
"Love, Reign o'er Me"
"Baba O'Riley"
Ah, well. Guess iTunes and my own screaming and clapping for crowd noise will have to do.
-- pl
P.S. Queen Latifah's "America the Beautiful" was American, and beautiful, and also felt very contrived. Carrie Underwood, of American Idol fame, would have gotten a "pitchy" comment from Randy Jackson on her last note, but was otherwise spot-on with the National Anthem. Also, nice to see the 2010 HoF class a mere day after election, and did anybody else feel sorry for Len Dawson during his trophy march?
Saturday, January 2, 2010
Unfinished business...
Hi guys,
Happy New Year! It's been a few days...hopefully everybody's had a good holiday and is ready to start up again come Monday. I, however, will be in Florida for a week beginning Monday, so this may be the last blog post you get from me until probably the 12th. That being said, here is the long-promised Top 100 of the 2000's list in reverse ranking order.
100. Kaiser Chiefs, "Never Miss A Beat" [2008]
99. Minus the Bear, "Double Vision Quest" [2007]
98. The Hold Steady, "Sequestered In Memphis" [2008]
97. Spoon, "I Turn My Camera On" [2005]
96. John Legend, "Ordinary People" [2004]
95. Mika, "Stuck In The Middle" [2007]
94. Norah Jones, "Don't Know Why" [2002]
93. The Zutons, "Pressure Point" [2004]
92. Daft Punk, "Harder, Better, Faster, Stronger" [2001]
91. Lenny Kravitz, "Again" [2000]
99. Minus the Bear, "Double Vision Quest" [2007]
98. The Hold Steady, "Sequestered In Memphis" [2008]
97. Spoon, "I Turn My Camera On" [2005]
96. John Legend, "Ordinary People" [2004]
95. Mika, "Stuck In The Middle" [2007]
94. Norah Jones, "Don't Know Why" [2002]
93. The Zutons, "Pressure Point" [2004]
92. Daft Punk, "Harder, Better, Faster, Stronger" [2001]
91. Lenny Kravitz, "Again" [2000]
90. Amy Winehouse, "Tears Dry On Their Own" [2006]
89. The Dead Weather, "Treat Me Like Your Mother" [2009]
88. Snow Patrol, "Take Back The City" [2008]
87. Pinback, "Fortress" [2004]
86. Breaking Laces, "Shack Up SOS" [2005]
85. Dave Matthews Band, "Dreamgirl" [2005]
84. Beyonce feat. Jay-Z, "Crazy In Love" [2003]
83. Modern Skirts, "September Days" [2005]
82. Interpol, "Slow Hands" [2004]
81. Ted Leo + the Pharmacists, "Me And Mia" [2004]
89. The Dead Weather, "Treat Me Like Your Mother" [2009]
88. Snow Patrol, "Take Back The City" [2008]
87. Pinback, "Fortress" [2004]
86. Breaking Laces, "Shack Up SOS" [2005]
85. Dave Matthews Band, "Dreamgirl" [2005]
84. Beyonce feat. Jay-Z, "Crazy In Love" [2003]
83. Modern Skirts, "September Days" [2005]
82. Interpol, "Slow Hands" [2004]
81. Ted Leo + the Pharmacists, "Me And Mia" [2004]
80. The Goo Goo Dolls, "Let Love In" [2006]
79. Bruce Springsteen, "Working On A Dream" [2009]
78. The Kooks, "Sway" [2008]
77. matchbox twenty, "Disease" [2002]
76. U2, "Sometimes You Can't Make It On Your Own" [2004]
75. The Flaming Lips, "Do You Realize??" [2002]
74. Hard-Fi, "Suburban Knights" [2007]
73. Coldplay, "Clocks" [2002]
72. Test Your Reflex, "Pieces Of The Sun" [2007]
71. Idlewild, "Love Steals Us From Loneliness" [2005]
79. Bruce Springsteen, "Working On A Dream" [2009]
78. The Kooks, "Sway" [2008]
77. matchbox twenty, "Disease" [2002]
76. U2, "Sometimes You Can't Make It On Your Own" [2004]
75. The Flaming Lips, "Do You Realize??" [2002]
74. Hard-Fi, "Suburban Knights" [2007]
73. Coldplay, "Clocks" [2002]
72. Test Your Reflex, "Pieces Of The Sun" [2007]
71. Idlewild, "Love Steals Us From Loneliness" [2005]
70. Beyonce, "Single Ladies (Put A Ring On It)" [2008]
69. Fountains of Wayne, "Stacy's Mom" [2003]
68. Paul McCartney, "Dance Tonight" [2007]
67. Coldplay, "Viva La Vida" [2008]
66. Blue Scholars, "Ordinary Guys" [2007]
65. Maroon 5, "Won't Go Home Without You" [2007]
64. Red Hot Chili Peppers, "The Zephyr Song" [2002]
69. Fountains of Wayne, "Stacy's Mom" [2003]
68. Paul McCartney, "Dance Tonight" [2007]
67. Coldplay, "Viva La Vida" [2008]
66. Blue Scholars, "Ordinary Guys" [2007]
65. Maroon 5, "Won't Go Home Without You" [2007]
64. Red Hot Chili Peppers, "The Zephyr Song" [2002]
63. Franz Ferdinand, "Take Me Out" [2004]
62. The Feeling, "Fill My Little World" [2006]
61. John Mayer, "Bigger Than My Body" [2003]
62. The Feeling, "Fill My Little World" [2006]
61. John Mayer, "Bigger Than My Body" [2003]
60. James Morrison, "Nothing Ever Hurt Like You" [2008]
59. Butch Walker, "The Weight Of Her" [2008]
58. Death Cab for Cutie, "I Will Possess Your Heart" [2008]
57. Audioslave, "Like A Stone" [2002]
56. Red Hot Chili Peppers, "Dani California" [2006]
55. The Decemberists, "Here I Dreamt I Was An Architect" [2002]
59. Butch Walker, "The Weight Of Her" [2008]
58. Death Cab for Cutie, "I Will Possess Your Heart" [2008]
57. Audioslave, "Like A Stone" [2002]
56. Red Hot Chili Peppers, "Dani California" [2006]
55. The Decemberists, "Here I Dreamt I Was An Architect" [2002]
54. Mae, "On Top" [2007]
53. Steely Dan, "Cousin Dupree" [2000]
52. Weezer, "Pork And Beans" [2008]
51. Kate Nash, "Mouthwash" [2008]
53. Steely Dan, "Cousin Dupree" [2000]
52. Weezer, "Pork And Beans" [2008]
51. Kate Nash, "Mouthwash" [2008]
50. Ben Folds, "Landed" [2005]
49. Bruce Springsteen, "Waitin' On A Sunny Day" [2002]
48. Radiohead, "Optimistic" [2000]
47. Art Brut, "Pump Up The Volume" [2007]
46. Barenaked Ladies, "Pinch Me" [2000]
45. 1990's, "See You At The Lights" [2007]
49. Bruce Springsteen, "Waitin' On A Sunny Day" [2002]
48. Radiohead, "Optimistic" [2000]
47. Art Brut, "Pump Up The Volume" [2007]
46. Barenaked Ladies, "Pinch Me" [2000]
45. 1990's, "See You At The Lights" [2007]
44. Lifehouse, "Hanging By A Moment" [2000]
43. Paul Westerberg, "Love You In The Fall" [2006]
42. Ryan Adams, "Two" [2007]
41. Maritime, "Tearing Up The Oxygen" [2006]
43. Paul Westerberg, "Love You In The Fall" [2006]
42. Ryan Adams, "Two" [2007]
41. Maritime, "Tearing Up The Oxygen" [2006]
40. Train, "Cab" [2006]
39. The Darkness, "I Believe In A Thing Called Love" [2003]
39. The Darkness, "I Believe In A Thing Called Love" [2003]
38. Bruce Springsteen, "My City Of Ruins" [acoustic version, 2001]
37. Coldplay, "The Scientist" [2002]
36. matchbox twenty, "Bent" [2000]
35. Maroon 5, "This Love" [2002]
34. John Mayer, "Vultures" [2006]
33. Fountains of Wayne, "Yolanda Hayes" [2007]
32. Death Cab for Cutie, "Crooked Teeth" [2005]
31. Elton John, "I Want Love" [2001]
37. Coldplay, "The Scientist" [2002]
36. matchbox twenty, "Bent" [2000]
35. Maroon 5, "This Love" [2002]
34. John Mayer, "Vultures" [2006]
33. Fountains of Wayne, "Yolanda Hayes" [2007]
32. Death Cab for Cutie, "Crooked Teeth" [2005]
31. Elton John, "I Want Love" [2001]
30. Dave Matthews Band, "Grey Street" [single version, 2002]
29. Incubus, "Dig" [2006]
28. Jimmy Eat World, "The Authority Song" [2001]
27. Keane, "Is It Any Wonder?" [2006]
26. Howie Day, "She Says" [acoustic version, 2002]
25. The Goo Goo Dolls, "Here Is Gone" [2002]
24. Dave Matthews Band, "The Space Between" [2001]
23. The Swell Season, "When Your Mind's Made Up" [2006]
22. Keane, "Somewhere Only We Know" [2004]
21. Ben Lee, "Catch My Disease" [2005]
29. Incubus, "Dig" [2006]
28. Jimmy Eat World, "The Authority Song" [2001]
27. Keane, "Is It Any Wonder?" [2006]
26. Howie Day, "She Says" [acoustic version, 2002]
25. The Goo Goo Dolls, "Here Is Gone" [2002]
24. Dave Matthews Band, "The Space Between" [2001]
23. The Swell Season, "When Your Mind's Made Up" [2006]
22. Keane, "Somewhere Only We Know" [2004]
21. Ben Lee, "Catch My Disease" [2005]
20. Rufus Wainwright, "Hallelujah" [2001]
19. Jason Mraz, "The Remedy (I Won't Worry)" [2002]
18. Jimmy Eat World, "The Middle" [2001]
17. Sara Bareilles, "Love Song" [2007]
16. Muse, "Starlight" [2006]
19. Jason Mraz, "The Remedy (I Won't Worry)" [2002]
18. Jimmy Eat World, "The Middle" [2001]
17. Sara Bareilles, "Love Song" [2007]
16. Muse, "Starlight" [2006]
15. Gnarls Barkley, "Crazy" [2006]
14. Nada Surf, "Do It Again" [2005]
13. Kings of Leon, "Sex On Fire" [2008]
12. OutKast, "Hey Ya!" [2003]
11. The Killers, "Jenny Was A Friend Of Mine" [2004]
14. Nada Surf, "Do It Again" [2005]
13. Kings of Leon, "Sex On Fire" [2008]
12. OutKast, "Hey Ya!" [2003]
11. The Killers, "Jenny Was A Friend Of Mine" [2004]
10. matt pond PA, "Halloween" [2005]
9. U2, "Beautiful Day" [2000]
8. Spymob, "2040" [2004]
7. Maroon 5, "Makes Me Wonder" [2007]
6. John Mayer, "No Such Thing" [single version, 2001]
9. U2, "Beautiful Day" [2000]
8. Spymob, "2040" [2004]
7. Maroon 5, "Makes Me Wonder" [2007]
6. John Mayer, "No Such Thing" [single version, 2001]
5. Aerosmith, "Jaded" [2001]
4. The Bens, "Bruised" [2004]
3. OutKast, "Ms. Jackson" [2000]
2. Barenaked Ladies, "Falling For The First Time" [2000]
1. Coldplay, "Yellow" [2000]
Tuesday, December 22, 2009
Top 100 Favorite Songs of the 2000's (...the final part.)
Hello folks,
I want to sincerely thank you if you've read this far and followed me for any or all of the past 18 days. At some point over the Christmas weekend I will publish the list, in full, without descriptions, so that you can read on down from the bottom to the top. (I know -- sounds like bad grammar. It'll all become clear in a few days.) But now, to the business at hand.
As I was putting together this list about three weeks ago, I went through A LOT of music. Like I've mentioned before, about 400 songs were initially under consideration for placement on my countdown, and I had a real tough time cutting down the last 150. But as the top of the list began to come together, there was only one clear choice for the number-one spot. If you know my musical tastes, you know I'm a huge fan of this song, and that it's one of my favorite songs of any decade, not just this one. And so, it had to be.
And so, finally, I announce that my #1 favorite song of the last ten years is:
1. Coldplay, "Yellow" [2000]
I came along, I wrote a song for you/And all the things you do/And it was called "Yellow"
Like so many other classic, iconic songs on this list, it would be absolutely pointless for me to get into a long-winded discussion about the lyrical and sonic merits of "Yellow," a song everyone knows by heart even if they can't publicly cop to liking it. I can cop to it, however, and I must tell you that it belongs in at least my top 20 favorite songs of all time. As such, no other track on this countdown was even really close to the #1 ranking.
I talked about nuances yesterday. Well, this song has plenty of them, and if you've heard it enough times you can predict all the little distinctions that make "Yellow" what it is. But it's the first listen that really gets you. I don't remember where I was or what I was doing the first time I heard it on the radio -- strictly from the release date, I can tell you I was in eighth grade, but that's about it. I do, however, remember being charmingly intrigued by this little-band-that-could from Britain, with the falsetto-dominant lead singer and electric guitars that sounded too big for a band making their first major splash, and an out-of-nowhere chord on the last line of the song that totally made sense. I don't believe in a lot of theories, but music theory is definitely one of them. (Haha. Nerdy musician's joke.)
Also yesterday, I talked about the song's impact on my life. I'm not going to lie -- it helps to dig a song that every woman in the world likes, and so "Yellow" has been a major part of the last ten years for me for that reason. My buddy Greg used to say there was a certain quality about Sting's music that did something to the female sex...I won't repeat it here, but let's just say that that same quality runs through much of Coldplay's music and "Yellow" is no exception.
I think the final thing I want to emphasize about this song is its placement in the ever-expanding Coldplay canon. When you listen to Keane's "Somewhere Only We Know," you can hear "Yellow." Listen to "Chasing Cars" by Snow Patrol -- same thing. Listen to anything recent by Coldplay's major contemporaries, Oasis and Travis. "Yellow" is in there, too. To me, there even seems to be a spiritual give-and-take between Chris Martin and Bono; lots of the stuff on U2's How to Dismantle... album takes the "Yellow" blueprint.
Martin and the band are quick to dismiss the music from Parachutes, but it's still my favorite Coldplay record. I don't know what it is, I mean, maybe I'm not musically sophisticated enough for Viva la Vida. But I do know that some songs kill momentum when placed on an album. "Yellow," in spite of itself, is not one of them. Most of the standout tracks on Parachutes come in the first half, and "Yellow" arrives right in the middle of the proceedings. Not only does it automatically enhance the quality of the rest of the album, it also makes you realize just how good the previous four songs were as well, and that this is a band to be reckoned with. That's a unique effect.
And so, we come to the end of my list. Share your thoughts on this or any of the previous postings, and I'd like to know some of your favorites. Have a great Christmas and I'll catch you all again sometime this weekend. Thanks!
-- pl
I want to sincerely thank you if you've read this far and followed me for any or all of the past 18 days. At some point over the Christmas weekend I will publish the list, in full, without descriptions, so that you can read on down from the bottom to the top. (I know -- sounds like bad grammar. It'll all become clear in a few days.) But now, to the business at hand.
As I was putting together this list about three weeks ago, I went through A LOT of music. Like I've mentioned before, about 400 songs were initially under consideration for placement on my countdown, and I had a real tough time cutting down the last 150. But as the top of the list began to come together, there was only one clear choice for the number-one spot. If you know my musical tastes, you know I'm a huge fan of this song, and that it's one of my favorite songs of any decade, not just this one. And so, it had to be.
And so, finally, I announce that my #1 favorite song of the last ten years is:
1. Coldplay, "Yellow" [2000]
I came along, I wrote a song for you/And all the things you do/And it was called "Yellow"
Like so many other classic, iconic songs on this list, it would be absolutely pointless for me to get into a long-winded discussion about the lyrical and sonic merits of "Yellow," a song everyone knows by heart even if they can't publicly cop to liking it. I can cop to it, however, and I must tell you that it belongs in at least my top 20 favorite songs of all time. As such, no other track on this countdown was even really close to the #1 ranking.
I talked about nuances yesterday. Well, this song has plenty of them, and if you've heard it enough times you can predict all the little distinctions that make "Yellow" what it is. But it's the first listen that really gets you. I don't remember where I was or what I was doing the first time I heard it on the radio -- strictly from the release date, I can tell you I was in eighth grade, but that's about it. I do, however, remember being charmingly intrigued by this little-band-that-could from Britain, with the falsetto-dominant lead singer and electric guitars that sounded too big for a band making their first major splash, and an out-of-nowhere chord on the last line of the song that totally made sense. I don't believe in a lot of theories, but music theory is definitely one of them. (Haha. Nerdy musician's joke.)
Also yesterday, I talked about the song's impact on my life. I'm not going to lie -- it helps to dig a song that every woman in the world likes, and so "Yellow" has been a major part of the last ten years for me for that reason. My buddy Greg used to say there was a certain quality about Sting's music that did something to the female sex...I won't repeat it here, but let's just say that that same quality runs through much of Coldplay's music and "Yellow" is no exception.
I think the final thing I want to emphasize about this song is its placement in the ever-expanding Coldplay canon. When you listen to Keane's "Somewhere Only We Know," you can hear "Yellow." Listen to "Chasing Cars" by Snow Patrol -- same thing. Listen to anything recent by Coldplay's major contemporaries, Oasis and Travis. "Yellow" is in there, too. To me, there even seems to be a spiritual give-and-take between Chris Martin and Bono; lots of the stuff on U2's How to Dismantle... album takes the "Yellow" blueprint.
Martin and the band are quick to dismiss the music from Parachutes, but it's still my favorite Coldplay record. I don't know what it is, I mean, maybe I'm not musically sophisticated enough for Viva la Vida. But I do know that some songs kill momentum when placed on an album. "Yellow," in spite of itself, is not one of them. Most of the standout tracks on Parachutes come in the first half, and "Yellow" arrives right in the middle of the proceedings. Not only does it automatically enhance the quality of the rest of the album, it also makes you realize just how good the previous four songs were as well, and that this is a band to be reckoned with. That's a unique effect.
And so, we come to the end of my list. Share your thoughts on this or any of the previous postings, and I'd like to know some of your favorites. Have a great Christmas and I'll catch you all again sometime this weekend. Thanks!
-- pl
Monday, December 21, 2009
Top 100 Favorite Songs of the 2000's (Part XVII)
Hey all,
Two more to go in the countdown, and #2 is about a 180-degree turn from #3. Such is the nature of this list, which (if I've done everything right) has brought back some of this decade's best musical memories for you. On we go to the penultimate track...
2. Barenaked Ladies, "Falling For The First Time" [2000]
I'm so cool, too bad I'm a loser/I'm so smart, too bad I can't get anything figured out
What's intriguing about music is how you can find nuances and details where you least expect them. It's the major-seventh chord right after this opening line that's the most musically intriguing element of "Falling For The First Time," off BNL's 2000 album Maroon. It's not a detail that had to be there, but it enhances the song's charm every so slightly. "Falling" was the third and last single released from Maroon (the first was "Pinch Me," found elsewhere on this list), and commercially it was the least successful. But as you might have figured out by now, my countdown isn't necessarily a popularity contest.
The lead singer on this number is Ed Robertson, he of the gentle voice and acoustic guitar strumming (as opposed to the more rough-around-the-edges Stephen Page, who left the group earlier this year). Someday, in some other blog post, I'll probably do an entire breakdown of the similarities between Barenaked Ladies and one of my all-time guilty pleasure bands, Fleetwood Mac, but just suffice it to say Robertson is the Christine McVie of the Ladies. (And you say, "Who?" Exactly.) In any case, Ed lends just the right touch and inflection to these lyrics -- most of BNL's most famous songs deal with self-contradicting, self-deprecating wannabes, but none more endearingly than this song. Not to mention, it was their most blatant exploration of this particular theme since at least 1996's "Shoe Box."
And when I say self-contradicting, that's precisely what the lyrics do, as you can see from the sample I gave. Those are the first two lines of the song, and things only get wackier and wittier from there. But the real treat is the bridge, which features a rotating series of associative phrases, most of which build off the end of the previous one. This section comes around twice, with the first leading to another seventh chord and quick stop in the momentum, before drummer Tyler Stewart (just one of many underrated rock drummers to come around in the last 20 years) picks up the pace again for a final verse/chorus/middle-eight progression. From there, the song finally comes to a halt amidst a wall of feedback, a typically quirky BNL ending.
Now that I've covered the technical aspects of the song, let me explain to you exactly why "Falling For The First Time" is ranked so high.
Let me say, unapologetically, that I'm a romantic through and through. And so tomorrow's entry, my #1 favorite song of the decade and unquestionably one of the greatest breakthrough singles of all time (hint hint), was a song I listened to a lot at various points in various friendships, courtships, relationships, etc. over the years. But at many of the same times I listened to song #1, it was song #2 that served as my unofficial theme song. It's fun to pretend you're cool, you're smooth, you've got it all together, but the truth is all out there when you're a little white boy from New Jersey. (BNL's from Canada, so in keeping with that logic, you can easily understand the genesis of the song.) Anyway, most of the top songs on this countdown meant a lot to me on a lot of levels, and "Falling For The First Time" is no exception.
See you tomorrow, everybody!
-- pl
Two more to go in the countdown, and #2 is about a 180-degree turn from #3. Such is the nature of this list, which (if I've done everything right) has brought back some of this decade's best musical memories for you. On we go to the penultimate track...
2. Barenaked Ladies, "Falling For The First Time" [2000]
I'm so cool, too bad I'm a loser/I'm so smart, too bad I can't get anything figured out
What's intriguing about music is how you can find nuances and details where you least expect them. It's the major-seventh chord right after this opening line that's the most musically intriguing element of "Falling For The First Time," off BNL's 2000 album Maroon. It's not a detail that had to be there, but it enhances the song's charm every so slightly. "Falling" was the third and last single released from Maroon (the first was "Pinch Me," found elsewhere on this list), and commercially it was the least successful. But as you might have figured out by now, my countdown isn't necessarily a popularity contest.
The lead singer on this number is Ed Robertson, he of the gentle voice and acoustic guitar strumming (as opposed to the more rough-around-the-edges Stephen Page, who left the group earlier this year). Someday, in some other blog post, I'll probably do an entire breakdown of the similarities between Barenaked Ladies and one of my all-time guilty pleasure bands, Fleetwood Mac, but just suffice it to say Robertson is the Christine McVie of the Ladies. (And you say, "Who?" Exactly.) In any case, Ed lends just the right touch and inflection to these lyrics -- most of BNL's most famous songs deal with self-contradicting, self-deprecating wannabes, but none more endearingly than this song. Not to mention, it was their most blatant exploration of this particular theme since at least 1996's "Shoe Box."
And when I say self-contradicting, that's precisely what the lyrics do, as you can see from the sample I gave. Those are the first two lines of the song, and things only get wackier and wittier from there. But the real treat is the bridge, which features a rotating series of associative phrases, most of which build off the end of the previous one. This section comes around twice, with the first leading to another seventh chord and quick stop in the momentum, before drummer Tyler Stewart (just one of many underrated rock drummers to come around in the last 20 years) picks up the pace again for a final verse/chorus/middle-eight progression. From there, the song finally comes to a halt amidst a wall of feedback, a typically quirky BNL ending.
Now that I've covered the technical aspects of the song, let me explain to you exactly why "Falling For The First Time" is ranked so high.
Let me say, unapologetically, that I'm a romantic through and through. And so tomorrow's entry, my #1 favorite song of the decade and unquestionably one of the greatest breakthrough singles of all time (hint hint), was a song I listened to a lot at various points in various friendships, courtships, relationships, etc. over the years. But at many of the same times I listened to song #1, it was song #2 that served as my unofficial theme song. It's fun to pretend you're cool, you're smooth, you've got it all together, but the truth is all out there when you're a little white boy from New Jersey. (BNL's from Canada, so in keeping with that logic, you can easily understand the genesis of the song.) Anyway, most of the top songs on this countdown meant a lot to me on a lot of levels, and "Falling For The First Time" is no exception.
See you tomorrow, everybody!
-- pl
Sunday, December 20, 2009
Top 100 Favorite Songs of the 2000's (Part XVI)
Hi everybody,
Well, it's about that time again. Time for me to take up some space on the interwebs and bring you my favorite songs of this past decade. Ninety-seven have gone down so far; three to go, with each getting its own entry. Hope you've enjoyed the list -- not to say everyone will agree with everything, but I think it's an interesting project nonetheless.
And here we go with today's post:
3. OutKast, "Ms. Jackson" [2000]
Me and your daughter/Got a special thing goin' on/You say it's puppy love/We say it's full grown
In 1997, singer Erykah Badu gave birth to Seven Sirius Benjamin, her son with OutKast's Andre 3000. The couple's subsequent breakup, which resulted in a somewhat fractured upbringing for the toddler, provided the inspiration for "Ms. Jackson," which first appeared on OutKast's now-legendary 2000 album Stankonia. A few points that should be made clear right off the bat: number one, "Ms. Jackson" is rivaled by few rap songs in terms of its crossover appeal through the years. And number two, without any further qualification to this statement, it is truly one of the most creative and distinctive singles in the entire history of recorded popular music. Period.
On OutKast's previous album, 1998's Aquemini, the song "Rosa Parks" had garnered national attention for its reference to factual events (as in, "ah ha, hush that fuss, everybody move to the back of the bus") and its obvious name-dropping, which led to a lawsuit against the group's record company by Parks herself. For "Ms. Jackson," Andre and Big Boi decided to keep their allusions a bit more veiled -- though anyone who followed celebrity gossip back in 2000 knew exactly what the song was about. I'll admit that I didn't know the subject matter until about three years later; I thought it had something to do with Janet Jackson, who in an early single once asked men to refer to her as "Ms. Jackson, if you're nasty." Indeed, how naive and silly I was.
Built both rhythmically and melodically around a modification of Wagner's "Bridal Chorus," the chorus of "Ms. Jackson" is directed at Badu's mother, apologizing for the transgressions of the breakup and its consequences on Seven's childhood. This hook contains a Michael Jackson-like "Hooo!" and the line "I am for real" in falsetto, surrounded by two conventionally-sung phrases. All three lines of the chorus are instantly memorable, and together they might be the most well-constructed hook of the decade.
The verses feature some fantastic rapping, with of course the wonderful one-liners that Andre and Big Boi have become famous for as songwriters. These include: "Let her know her grandchild is a baby, and not a paycheck," "Yes, I will be present on the first day of school and graduation," and the priceless "Cheating, beating, in the end to the G they be the same thing." Of course (and forgive me if I go all James Lipton on you here for a minute, folks), the most oft-repeated line outside of the chorus has become an irreplaceable American colloquialism, a la The Sandlot: "Forever? Forever ever? Forever ever?"
There is really not that much more to say about "Ms. Jackson." It is without question the most entertaining rap song of the 2000's, and even though OutKast hasn't majorly impacted the music world for nearly six years now, their legacy is secure because of songs like this. Proving that in many cases, true stories make the best songs, Andre 3000's baby mama's mama makes "Ms. Jackson" a once-in-a-lifetime track.
Tomorrow -- and I promise I'll get to it earlier on in the day -- song #2. (Not to be confused with the hockey-arena staple, "Song 2" by Blur, which came out in 1997.) It's from the same year as this one, and the album from which the song comes has already produced another entry on this list. Any thoughts?
-- pl
Well, it's about that time again. Time for me to take up some space on the interwebs and bring you my favorite songs of this past decade. Ninety-seven have gone down so far; three to go, with each getting its own entry. Hope you've enjoyed the list -- not to say everyone will agree with everything, but I think it's an interesting project nonetheless.
And here we go with today's post:
3. OutKast, "Ms. Jackson" [2000]
Me and your daughter/Got a special thing goin' on/You say it's puppy love/We say it's full grown
In 1997, singer Erykah Badu gave birth to Seven Sirius Benjamin, her son with OutKast's Andre 3000. The couple's subsequent breakup, which resulted in a somewhat fractured upbringing for the toddler, provided the inspiration for "Ms. Jackson," which first appeared on OutKast's now-legendary 2000 album Stankonia. A few points that should be made clear right off the bat: number one, "Ms. Jackson" is rivaled by few rap songs in terms of its crossover appeal through the years. And number two, without any further qualification to this statement, it is truly one of the most creative and distinctive singles in the entire history of recorded popular music. Period.
On OutKast's previous album, 1998's Aquemini, the song "Rosa Parks" had garnered national attention for its reference to factual events (as in, "ah ha, hush that fuss, everybody move to the back of the bus") and its obvious name-dropping, which led to a lawsuit against the group's record company by Parks herself. For "Ms. Jackson," Andre and Big Boi decided to keep their allusions a bit more veiled -- though anyone who followed celebrity gossip back in 2000 knew exactly what the song was about. I'll admit that I didn't know the subject matter until about three years later; I thought it had something to do with Janet Jackson, who in an early single once asked men to refer to her as "Ms. Jackson, if you're nasty." Indeed, how naive and silly I was.
Built both rhythmically and melodically around a modification of Wagner's "Bridal Chorus," the chorus of "Ms. Jackson" is directed at Badu's mother, apologizing for the transgressions of the breakup and its consequences on Seven's childhood. This hook contains a Michael Jackson-like "Hooo!" and the line "I am for real" in falsetto, surrounded by two conventionally-sung phrases. All three lines of the chorus are instantly memorable, and together they might be the most well-constructed hook of the decade.
The verses feature some fantastic rapping, with of course the wonderful one-liners that Andre and Big Boi have become famous for as songwriters. These include: "Let her know her grandchild is a baby, and not a paycheck," "Yes, I will be present on the first day of school and graduation," and the priceless "Cheating, beating, in the end to the G they be the same thing." Of course (and forgive me if I go all James Lipton on you here for a minute, folks), the most oft-repeated line outside of the chorus has become an irreplaceable American colloquialism, a la The Sandlot: "Forever? Forever ever? Forever ever?"
There is really not that much more to say about "Ms. Jackson." It is without question the most entertaining rap song of the 2000's, and even though OutKast hasn't majorly impacted the music world for nearly six years now, their legacy is secure because of songs like this. Proving that in many cases, true stories make the best songs, Andre 3000's baby mama's mama makes "Ms. Jackson" a once-in-a-lifetime track.
Tomorrow -- and I promise I'll get to it earlier on in the day -- song #2. (Not to be confused with the hockey-arena staple, "Song 2" by Blur, which came out in 1997.) It's from the same year as this one, and the album from which the song comes has already produced another entry on this list. Any thoughts?
-- pl
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