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Ranking every Beach Boys song/album: The Beach Boys Today! (by Songwriter Jim Fusco)

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By Jim Fusco:

THE BEACH BOYS TODAY!

Dance, Dance, Dance – 8
Kiss Me, Baby – 9.5
Please Let Me Wonder – 9 (I actually like the arrangement on the “Live at the Roxy” CD better- which really doesn’t fit with my stance on live versions…)
She Knows Me Too Well – 8 (What an ending! Probably one of the best endings ever)
When I Grow Up – 7 (This song is great, don’t get me wrong, but when I first learned it, I always found it to be a bit boring. But, the subject matter is amazing.)
Help Me, Ronda – 6 (I love this song, but sadly, not this version.)
Do You Wanna Dance? – 7 (Great Denny vocal here and I consider this the “standard” version of the song)
Good to My Baby – 7.5 (I love the style of this song, the great guitar riff, and the a capella vocals in the beginning)
*Dance, Dance, Dance (alternate) – 6 (Why do the unreleased alternate takes always sound so tinny?)
Don’t Hurt My Little Sister – 5 (Funny story about this song- my friends and I talk in the tune of this song! I know it sounds weird, and that’s because it is. We’ll say any line with seven syllables to the tune of this song, for instance, “Did you go buy the hot dogs?” Sing it- it fits!)
I’m So Young – 6 (This has some interesting sounds to it. Even though I like Dennis’ part at the end, it’s a bit out of his range)
*Graduation Day – 5 (Great harmonies, just not exactly “engaging”)
In the Back of My Mind – 6.5 (This is a great song with a personal message from Brian Wilson shroud in the vocals of Dennis Wilson. He really nails this and the tune is so unique that I have to give it a good rating)
*I’m So Young (alternate) – 5
Bull Session with the “Big Daddy” – 1

** This is clearly one of the Boys’ best albums of all-time. The production quality, although mixed in mono (which I’m not a fan of, growing up in the surround-sound age), is great. I do miss the Boys playing their own instruments, as they did on the Christmas album’s first side, but the song quality is so good here, that I can look far past it.

I think, without using composite song scores, but ranking albums as “albums”, that this would probably end up in the Top 5 for me. With it would be “Holland”, “Sunflower”, “Pet Sounds”, and the fifth spot is up for grabs. Of course, everyone knows by now my affinity for the ’85 album, but I do value my life, here! 🙂

As a bit of genealogy to my Beach Boys past, we actually started with Pet Sounds (after the Greatest Hits, of course), which we got in 1992. I was 8. Talk about starting with some heavy stuff! But, we hear it over and over and over and over again. My father couldn’t get enough. We listened to “God Only Knows” about three times a day for a year- I’m not exaggerating. It was like Brian Wilson listening to “Be My Baby”. We then moved on (because many of the Beach Boys albums weren’t so easy to find) to the Box Set that just came out in 1992. Now, you have an 8 year old kid listening to Smile!! But, I do think that listening to, and really getting into, such deep and complex music at the age of 8 helped me to grow into a musician and songwriter at an early age. And, thus, is the reason why Brian Wilson will always be my musical idol.

Well, enough about me- this album’s great, and it’s only gonna get better for me, as I’m such a fan of the other band members’ compositions that I can’t wait for the “Sunflower” days! **

The Top Five Rock Artists of the Decade (2000s): NUMBER FIVE is Green Day

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This is the first in a five part series dedicated to the top five rock artists of the decade, 2000-2009.  The criteria used to determine this list were: (1) Quality of Music, (2) Quantity of Released Material, (3) Diversity of Media, and (4) Roles of Artists/Band Members.  Look for new posts coming soon!

By Chris Moore:

The fifth entry on this list, Green Day is a strong candidate for top band of the decade, if only for their impressive return to the forefront of popular punk/rock music over the past ten years.  Even in their heyday, Green Day did not acheive the recognition that they have in the past six years. 

Who could have predicted that a trio of ostensible knuckleheads like Billie Joe Armstrong, Mike Dirnt, and Tre Cool would be headlining the concept album revival in the mid-2000’s, complete with a rock opera/musical adaptation set to the tunes of American Idiot?

[Is that the sound of crickets?]

PAST SUCCESS

Without argument, Green Day was one of the most successful bands of the nineties rock revival, carving out their reputation by way of the punk rock genre.  It was a bit of an exaggeration to have titled their best-of disc International Superhits!, but their music did appear on many different charts in many different nations over their first decade as a band. 

And, for better or for worse, if you turned on a radio in the nineties and listened long enough, you couldn’t avoid hearing songs like “When I Come Around” or especially “Good Riddance (Time of Your Life).”  The latter was the song that ER character Jeanie Boulet chose to sing at the funeral of a friend. 

When one of the most popular dramas of the decade chooses your song at the peak of their own popularity, that’s saying something…

WARNING AND A LOW POINT

Which brings us to THIS decade.  I would be hard-pressed to find another group from the nineties in their genre that have had such staying power as Green Day.  Bad Religion?  Not so much.  Chumbawamba?  A one hit wonder.  The Offspring and Rancid?  Well, they’re still around, but they certainly haven’t acheived the mainstream success that Green Day has. 

That is, if you discount Warning, their first studio album of the decade.

Any way you look at it, Warning is a low point in their career, failing to ascend the charts, make sales, and receive positive reviews in the characteristic manner that their previous albums had.  Two years after Warning, things weren’t looking any better with them supposedly “co-headlining” a concert tour with Blink 182, but actually opening each night. 

This all amounted to a great deal of evidence that Green Day had peaked and this was their descent into obscurity.

A SETBACK BECOMES A COMEBACK

As they returned to the studio to work on their next album, Cigarettes & Valentines, things weren’t looking any brighter.  Near the end of their sessions (according to Armstrong), the master tapes were stolen.  There weren’t even rough mixes remaining.

So, what does this band decide to do in a moment of crisis?

Start from scratch.

That’s right: Green Day decided to start from scratch.  Although a song or two from the aforementioned doomed album would make its way into live sets, the band started over, taking this as an opportunity to approach their new album from a different angle.  So, they broke out their guitars and began writing, working together in new and better ways than they had before. 

The result?  Only their most critically acclaimed, highest-selling album to date, American Idiot.

AMERICAN IDIOT & 21ST CENTURY BREAKDOWN: A CONCEPT ALBUM REVIVAL

Green Day’s mentality following the loss of their master tapes brings to mind Conan O’Brien’s final lines from his closing statement last month on The Tonight Show: “Nobody in life gets exactly what they thought they were going to get. But if you work really hard and you’re kind, amazing things will happen.”

You think?

I’ll just come out and say it: I’ve never been a big fan of American Idiot.  I think I’ve missed something in the translation of the lyrics, and I’ve been told that the at-times-boneheaded lyrics that I am turned off by are, in fact, purposefully constructed in order to make a statement about the average American.  Perhaps.  What makes me believe this is true, and what makes me nod my head in American Idiot‘s direction even if it won’t appear on my iPod any time soon, is that the album is so carefully constructed.  One flip through the CD booklet will reveal an overarching concept, artwork, and other notes that were cleverly compiled and arranged to create a whole that is stronger than the parts.  I won’t go comparing it to the first seven records of the Moody Blues — the industry standard for excellent concept albums — but I will say I have great respect for the band’s intentions.

Their follow-up album?  21st Century Breakdown is an even more expansive concept album that tackles the question: What will we do when our national slogan can no longer be “Change We Can Believe In,” and must instead be (hopefully) “Change That Has Already Taken Place and A Society That We Are Happy With”?  This is an interesting question indeed, particularly for those of my generation who defined their coming of age by being in opposition to all that George W. Bush’s presidency represented.  As we “graduate” into a different, potentially better society in 2012, what will we do to avoid the pitfalls of the previous presidency and its perspectives? 

A mere year into Barack Obama’s term in office, we have already begun tackling the question: How long is too long to wait for that change we believed in?  Some are patient, some are less so, but 21st Century Breakdown makes an interesting statement on these essential questions, particularly on an emotional/intuitive level.

SIDE PROJECTS AND ADAPTATIONS

Amidst all this standard studio album work, Green Day has also been able to thrive in a number of different ventures outside of traditional band output.  They have released a Billboard Top Ten live album, a platinum-status greatest hits compilation, a B-sides/rarities collection that broke the Billboard Top Thirty, and worked their way into the retro market by preparing a Green Day vinyl box set.

Outside of the band, Armstrong, Dirnt, and Cool have formed such side projects as The Network and the Foxboro Hot Tubs, both successful to different degrees and certainly indicative of a band hungry to record, produce, and play new music in a prolific manner. 

Then there is the rock opera/musical based on the story told through American Idiot, certainly a unique addition to any band’s list of tributes.

And so, at decade’s end, Green Day has reasserted themselves in what can only be described as an impressive manner.  It took me until 21st Century Breakdown to really appreciate their work, and I can only hope that the coming decade will be every bit as successful in terms of not only popularity but also quality!

Music Review: John Mayer’s “Battle Studies” (2009)

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RATING:  3 / 5 stars

By Chris Moore:

As John Mayer explained in a recent interview, his new studio album is an exploration of the more violent side of a romantic relationship – thus the “battle” – but within the parameters of an intelligent, reasonable analysis – thus the “studies.”

If this sounds deep and insightful, well, it is.

Kind of.

One of the key aspects that detracts from Mayer’s music is his intermittently pedestrian lyricism.  I qualify this as “intermittently” because he certainly has moments, here as on his previous albums, of witty, striking, or just simply strong, well-worded lyrics.  And yet, there are also those head-shaking, “isn’t this your fourth album” moments when he sings lines like “I love you more than songs can say,” “then you come crashing in like the realest thing,” and the general “half and half,” mathematical confusion of “Half of My Heart.”

The line between innocent yet intelligent sincerity and downright derivative drivel has always been the debate about John Mayer’s music – recall, for instance, the title of his second album, Heavier Things.  And I would have screamed if I had to hear one more person referencing Continuum by saying, “His blues work is so strong, I can finally take him seriously.”

Regardless of your opinion of Mayer’s intellectual and lyrical prowess, Battle Studies is a well put-together record that consistently demonstrates his awareness of the big picture.  The album opens with a fade in to “Heartbreak Warfare,” which clearly establishes the battle imagery and the war metaphor for a romantic relationship in distress.  The song provides just the right blend of symbolic description and more literal framing for the album to follow.

“All We Ever Do Is Say Goodbye” is a perfect representation of that moment before a breakup when the fighting has ceased and the inevitability of it all can be depressing, crushing.  It is, of course, soon followed by a rationalization of the situation – Mayer interestingly brought in country music star Taylor Swift to simplify things and play a catchy, if straightforward tune.

Then comes the breaking point.

“Who Says” set off some controversy when it was first released due to the repeated question, “Who says I can’t get stoned?”  This is yet another example of the general public being incapable of taking a line metaphorically.  This is hardly a “tokin’ song,” as one YouTube viewer suggested in his poor review of the single.  Mayer is clearly – and has said as much himself – using the marijuana reference to represent actions that you wouldn’t normally be able to take due to the expectations of others.  This is quite in line with other queries in the song such as, “Who says I can’t be free from all of the things that I used to be?”

Even the line “I don’t remember you looking any better, but then again, I don’t remember you” is questionable.  Some have written it off as glorifying a reunion after a drugged or drunken one night stand.  I hope that I do not offer too much credit to Mayer when I read this as an extension of the experimentation and freedom of this song – in other words, he doesn’t remember this person because he has never met them before.  Now that he is single again, he is free to “meet all the girls in the county line.”

This declaration of rebellion and/or independence is followed by “Perfectly Lonely,” a catchy ode to bachelorhood that highlights some of Mayer’s best guitar work.  Then comes “Assassin,” an even deeper dive into the territory of the “player/heartbreaker.”

John Mayer's "Battle Studies" (2009)

John Mayer's "Battle Studies" (2009)

The most difficult track for me to process has been his cover of “Crossroads.”  Yes, this is an old Robert Johnson song, but Mayer is really channeling Eric Clapton here.  That being said, Mayer’s “Crossroads” is hardly a faithful cover of the Cream track.  Instead, there are remnants of the guitar riff included in a song just begging to be DJ’ed into a dance mix.

I’m not sure how I feel about that.

Well, I actually am sure how I feel about that.  But what I do like about this track is its thematic relevance to the album.  The idea of being at a crossroads comes at the perfect time, halfway through the album.  The previous three tracks have celebrated “loneliness” of a sort, but this track reminds us that if we are all alone, we may go unrecognized when we try to “flag a ride.”

“War of My Life” is a perfect choice to follow this cover, as Mayer reverts to that classic sound he has come to be known for – and I should emphasize that “Assassin” and “Crossroads” really do have a sound that is all their own on this record.  As per usual, Mayer returns to his standby pensive lyrics and pouty crooning.

The final section of the album is where something is lost, some energy and presence that was stronger in the opening half.  This is precisely where my opinion of the album wavers.

That being said, these final three tracks complete the cycle of this album concept, providing narration from a man on the “Edge of Desire” ready to go back on what he believes in order to restore his relationship.  Then comes the re-assessment, pulling himself out of that moment of weakness with “Do You Know Me.”  Finally, Mayer closes up shop on this album with the anthemic “Friends, Lovers, or Nothing,” putting forth a learned truth of sorts.

All in all, Battle Studies accomplishes what it set out to – namely, to study a relationship at the end of its lifespan from the perspective of an individual maintaining his dignity, going back on what he has said, and ultimately enjoying and – more interestingly – appreciating his individuality and independence.

Mayer has called this album a sidestep, and Battle Studies sounds like it picks up from where Heavier Things left off.

And that is more than all right with me.

Foo Fighters’ “The Colour and the Shape” (1997) – The Weekend Review

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By Chris Moore:

RATING: 5 / 5 stars

Once in a band’s career — if they are that lucky — songwriting and performance coalesce on an album in such a way as to inspire both thought and emotion. When that bolt of metaphorical lightning strikes, the result is a collection of songs that breathe like living entities, some tracks crying, some tracks screaming, some tracks shining beautifully. Somehow, through a mixture of careful, intentional strategy and fortunate, indescribable chance, those songs come across as sincere, relatable, and entertaining. Sometimes, they even connect in such a way as to create an interesting statement as a whole.

In the Foo Fighters catalog, The Colour and the Shape is that album.

In the interests of full disclosure, I should make it very clear that I am not a big Foo Fighters fan. Aside from a brief phase of hurriedly listening to all their other albums, I have neither before nor since found their work extraordinary. I do have a great respect for Dave Grohl’s concepts, such as his half-electric, half-acoustic In Your Honor. Until 2007’s Echoes, Silence, Patience, and Grace, however, I was unable to find an album that came close to the heights achieved on their 1997 sophomore effort.

Perhaps the greatest strength of The Colour and the Shape is the balance between pure electric energy and calmer, more soothing tones. This is no middle-of-the-road album; in fact, it has some of the loudest screaming — as well as some of the lightest tones and harmonies — of any album I have ever heard. To be sure, it is one of the very few albums that I have found such extremes on and still found it enjoyable. Too much on the soft side can be boring, and too much on the hard side can be, well, too much.

That is certainly one of Dave Grohl’s fortes — he is shredding his vocal chords in one breath and crooning at the next. Because I tend toward liking the latter more than the former, I always find it a sweet relief to hear some simple double tracking or harmonies following an all-out electric track.

Foo Fighters'

Foo Fighters'

The first time I heard the album, the opening track made me shake my head and double check that I had put the correct CD in the drive. “Doll” is a light, bittersweet song with slightly muted vocals that set the tone for the album. This is a collection of songs about a relationship that is falling apart for a number of reasons — the narrator is willing to admit his own shortcomings (“Doll me up in my bad luck…”), but he isn’t shy about calling the other person on hers.

“Monkey Wrench” and “Hey, Johnny Park!” add up to one of the best one-two punches in rock album history. Each song introduces one killer guitar riff layered upon another, stacked with energetic vocals, and boneheaded metaphors not withstanding, the lyrics are fun. Even though it felt a bit out of my range, I ran my vocal chords ragged back in June 2008 to commit a cover song version of “Hey, Johnny Park!” to video for the Laptop Sessions (CLICK HERE to have a listen!).

These are followed by two more songs that vacillate between power chord-fueled electric rage and Grohl’s calmer, clearer tones. It doesn’t get any more blunt than these lyrics (“This is a blackout; don’t let it go to waste. This is a blackout; I wanna detonate…”), but they work on these tracks.

“Up in Arms” borders on tender (and sad), but certainly isn’t lacking in the backbone department. Then, “My Hero” unfolds a tribute to the “ordinary” hero — fans have speculated that it’s an ode to Grohl’s former Nirvana bandmate Kurt Cobain, but Grohl himself says it’s directed at the average workingman.

I suppose it’s up to you to decide what you believe…

Then comes one of my favorites on the album, a song so unlike the others and yet so wonderfully intertwined thematically. “See You” lends more straightforward acoustic rock sensibilities than you’ll find anywhere else on the album, although they are hinted at in several other tracks.

The rest passes in a blur, starting with the anger and brevity of “Enough Space.” I found this track tough to swallow at first, but my tastes in music have progressed over the years, and I like this song very much now, if for no other reason than it is not what the album as a whole sounds like — Grohl and company seemed to take care to balance such elements.

Although the final four songs are each over four minutes, they pass quickly. “February Stars” boasts a Goo Goo Dolls sound on the outro, and frankly, Grohl does a better job making that sound interesting than John Rzeznik himself. “Everlong” is, of course, a classic. If you listen carefully to the lyrics, it is an emotional, brutal song, and you can almost hear it in the performance — Grohl, Nate Mendel, and Pat Smear must realize what a gem they are recording.

The final two songs work well as a pair, “Walking After You” representing the phase in a breakup where one party clings desperately to the remnants of the relationship even as the other is walking away and “New Way Home” embodying that deep breath and next step for the lonely one left behind. If you’ve been in this situation before and been heartbroken by someone who has lost interest in you, then you’ll appreciate the closing tracks on this album.

In closing, The Colour and the Shape is a standout effort from the Foo Fighters. It is not only the first (and only) album I would recommend to others — with the possible exception of Echoes, Silence, Patience, and Grace — but it is also one of the great rock albums of all time, in my opinion, an effort that is stronger as a whole than the individual tracks could ever be.

On a more emotional level, it is an album I continually find myself returning to when I’m contemplating relationship problems, and I would highly recommend it as one of the Weekend Review’s picks for albums to keep on hand for those aforementioned sad and/or angry moments!