Anita Papsmear’s Best of 2024

By Anita Papsmear

This year was a pretty great one for music. On my list this year, I have included my favorite singles, a few perfect full albums, and some releases of note. In a singles-oriented musical landscape, it seems increasingly rare to hear an entire album with no “throw away” tracks, but I found a few. This year also seemed to bring a nice blend of new artists and old, releasing their art into the world. This makes for a tasty musical stew. Here’s wishing you all a fantastic 2025. Let’s hope we are all okay, despite the upcoming horrors we are about to endure via the incoming administration. I may be homeless by this time next year, but I will (hopefully) continue to bring you a year-end list worthy of your time and attention. Hope you all enjoy it and find something worthy to add to your playlists. Sending my best, Anita

All songs have received the coveted 5 out of 5 Smears rating according to Anita Papsmear’s Rating System (refer to past year-end lists for the Papsmear ratings system).

Perfect 2024 Albums:

The Cure, Songs from a Lost World.  

Absolutely one of their best albums to date—and that’s saying alot! It’s everything you want from this band, laid right on your soul. #chefskiss.

White Rose Motor Oil, Preowned Songs.  

This is an amazing collection of covers from this Denver band. It covers a wide range of styles, from Cheap Trick to Elastica to Maria McKee. This is a super fun CD to add to your collection. Also, their cover of “Hooray for Santa” is a favorite holiday nugget.

Wine Lips, Super Mega Ultra.  

Saw them live in Denver this year—so good. This album is solid!

Jack White, No Name. 

It’s nearly perfect, but then, what did ya expect? He’s a master.

Nick Cave and the Bad Seeds, Wild God.  

This album is a tribute to the human spirit and its capacity for love and forgiveness. It’s a beautiful collection of songs that feels like a rainbow after a storm.

The KVB, Tremors.  

Fantastic through and through. It is hard to describe their music—dark, synth wave with some swirling, mesmerizing guitars, cool melodies, and great songwriting. It all comes together in this subtle masterpiece.

The The, Ensoulment.  

Matt Johnson is a master lyricist and musician. So happy on a cellular level that he is making and publishing music again. Love the album, saw the tour, bought the t-shirt. #iwantsomemore.

Amyl and the Sniffers, Cartoon Darkness. 

Those who know, know. Amyl and the Sniffers are one of the greatest bands out there. Handcrafted punk rock with something for everyone—even your granny.

Best Singles 2024:

Luvcat, “He’s My Man.” 

A dark tale of woe…for her man, anyway. Hailing from Liverpool, Luvcat is going places. 

Loose Articles, “Mr. Manager.” 

Band from Manchester—so good and fun!

Griefcat, “Carbon Footprint.”  

This band went straight to the top of my favorite bands list as soon as I heard them. It’s refreshing, woman-centered punk rock, but their musical styling isn’t limited. Their 2024 album, Late Stage Capitalism, showcases their very capable talents in several different genres. At times, they channel The Andrew Sisters with a sprinkling of The Judds—they can do it all. Their songwriting however is current, tackling issues like the environment, crypto-currency, pooping at work, corporate takeovers—it’s anti-establishment at its best. #newheroes.

The Albinos, “Bet You Don’t.” 

Hard to pick just one song, as I have loved every song I have heard from this Houston band. Catchy, grainy psych rock. #yummy.

Sleaford Mods with Amy Taylor, “Nudge It.” 

It’s fucking catchy as hell. The Mods vocal styling is like no other and the addition of Amy Taylor’s vocals just adds that magic touch that only she can.

Haute & Freddy, “Scantily Clad.” 

Saw the video on TikTok—immediately catchy and fun.

John Grant “All That School for Nothing.” 

Funky and delicious.

The Howlers, “El Dorado.” 

Catchy as hell

Girl And Girl, “Oh Boy!” from Call a Doctor.  

Still my favorite band of 2023/2024. Missed seeing them live twice in the span of a couple days. Top of list to see! Great songwriting.

Trent Reznor/Atticus Ross, “Yeah x 10” and “Compress” from the Challengers Soundtrack.

The Mysterines, “Junkyard Angel.” 

Another band on my list hailing from Wirral/Liverpool. Lia Metcalfe’s voice is powerful. Lots of good tracks on their latest record, Afraid of Tomorrows.

Sofi Tukker, featuring Kah-Lo, “Woof.”  

Super cool world music feel, dancey and catchy. Play this at your next party.

Geneva Jaccuzi, “Dry.” 

Her new album, Triple Fire, is filled with atmospheric, dark, and dancey tunes.

Tori Amos, “Trouble’s Lament.” 

Another gem from the goddess

Ministry, “Cult of Suffering,” featuring Eugene Hütz of Gogol Bordello. 

So good.

The Courettes, “You Woo Me,” “Shake,” and “Here I Come.” 

This is the coolest band on the planet right now.  

Goat, “Zombie.”  

This song is a great example of Goat doing what they do best. #tribaljourneys.

Black Doldrums, “Hideaway.”  

Gothy goodness.

Warmduscher, “Pure at the Heart.”  

Catchy ditty from a great band. Check out their latest record, Too Cold to Hold.

Noga Erez, “Vandalist.”  

This is a fucking great song.

The Hives, “Bogus Operandi.”  

So catchy it hurts.

Frankie Rose, “Sixteen Ways.”  

Subtle and lovely melodies.

MC5, “Heavy Lifting.”  

It’s been 53 years since there’s been new MC5 material. Luckily, the band laid these tracks down before the passing of Wayne Kramer. “Heavy Lifting” with Tom Morello is a definite highlight.

Corlyx, “The Letdown.”  

Just a great, dark pop song that’s dancey and catchy.

2024 Of Note:

Sprints, Letter to Self. 

#rocks

A Place to Bury Strangers, Synthesizer.

Check out “Disgust,” “Plastic Future,” “Don’t Be Sorry,” and other delightfully dark tunes.

    

Barns Courtney, “Golden.”

Orville Peck and Alison Russell, “Chemical Sunset.”

Peter Garrett, “Paddo.” 

So cool to hear his voice. #midnightoilisgodhead.

Pokey LaFarge, “One You One Me.”

Beth Gibbons, Lives Outgrown.  

Beth’s haunting vocals are so refreshing to my ears. Great new material here.

Hot Garbage, Precious Dream.  

Awesome stuff. #rocks.

Drunk Mums, Beer Baby.  

Out of Australia. Some fun stuff here

Dwight Yoakam, Brighter Days.  

Spinning more country gems from that fabulous mouth.

Suki Waterhouse, Memoir of a Sparklemuffin.  

So, so, so good. Check out: “Model, Actress, Whatever,” “My Fun,” and “Supersad.”

Gossip, Real Power.  

Great to hear from Beth Ditto and crew. Decent album.

Yard Act, Where’s My Utopia.  

Great album. Excited to hear more.

Jesus & Mary Chain, Glasgow Eyes.  

There are some great tracks here. I think what I liked most about this album is that the Reid brothers journeyed out of their comfort zone and that brought a new dimension to their music. Good on them!

Dandy Warhols, Rockmaker. 

Check out “I’d Like to Help You with Your Problem,” “The Summer of Hate”, “Alcohol + cocainemarijuananicotine,” and more. #worthy.

TR/ST, Performance. 

Love this artist and all he has to offer. A very solid release

Wolfgang Press, A 2nd Shape. 

Just excited this band is back at it after a number of years. Some cool tunes here.

Houses of Heaven, “Strange Temptation,” “The Depths You Hold,” and “Deserve.” 

Synthy goodness.

2024 Under the Covers:

Sierra Ferrell “Funnel of Love”

Bad Monkey Soundtrack.  

Awesome covers of some Tom Petty tunes. The Weezer cover of “Here Comes My Girl” is my favorite.

The Bellrays, “Ball Of Confusion.” 

#lisakekaula #enoughsaid.

Sponge, 1994. 

Highlights include covers of Oasis’ “Supersonic,” Morrissey’s “The More You Ignore 

Me, The Closer I Get,” and Sonic Youth’s “Bull in the Heather.”

Nouvelle Vague, “Should I Stay or Should I Go.”  

One of their better covers compilations

Andrea & Mud, “Just Dropped In (To See What Condition My Condition Was In).” 

#lovethisduo.

Me First & The Gimmee Gimmee’s, Blow It! At Madison’s Quinceaňera. 

This band is so fun and they prove it while live from Madison’s party. Includes some great covers like Captain & Tenille’s “Love Will Keep Us Together” and Juice Newton’s “Queen of Hearts.”

T-Pain, “War Pigs.”  

This cover was released in 2023 but I just found it this year. Killer!

Scott’s Favorite Music in 2024

By Scott

My listening in 2024 was pretty much split between new ones by old favorites and old ones that were new to me.

Opeth, The Last Will and Testament (2024).

I’ve enjoyed Opeth’s prog rock era and it makes me feel old to realize 2011’s Heritage was thirteen years ago. I still think of this as a recent development in their sound. But Opeth has meant a lot to me for many years, and hearing the return of the death metal elements in The Last Will and Testament was extremely satisfying. This album strikes a good balance between their classic and more recent styles, and including Ian Anderson of Jethro Tull for some spoken word parts and a bit of flute is a nice touch. The songs don’t quite jump out at me individually yet, but this is a concept album and meant to be appreciated as a whole piece of work.

Ihsahn, Ihsahn (2024).

This dude is no stranger to combining orchestral elements with metal, and as much as I love this approach at times, and especially the classic Emperor albums, I still think that style can be a little corny. But not here. Ihsahn’s solo albums are inventive and interesting, and this one adds a layer of orchestral accompaniment that’s unobtrusive, scaled back, and even a little weird, so that it actually complements the frenetic intensity of the music instead of smothering it.

Darkthrone, It Beckons Us All... (2024).

This was the year I caught up with Darkthrone’s most recent handful of albums and I’ve been enjoying the hell out of them, capped off with this latest one. This band has gone through a few stylistic changes over the years, but they’ve settled into a wide-ranging, expansive sound that comes across like a tribute to the idea of “heavy metal” itself. I also like the idea of these two dudes simply getting together every year or so, writing and recording an album, putting it out there, and going on with their lives, purely according to what they want to achieve as a band. 

Devin Townsend, Powernerd (2024). 

I love just about anything Devin Townsend releases, although I think he’s sometimes too prolific for his own good, and some of his more experimental/ambient stuff is fine but not for me. This album feels like a solid chunk of music, without excessive ornamentation or experimentation for its own sake: a straightforward, even simple bunch of songs that all have plenty of atmosphere but aren’t especially complicated. The bonus tracks, which sound like someone turning the dial through a series of radio stations, all featuring Devin in his more eclectic mode, are there if you need them. 

Pat Metheny, Dream Box (2023). 

I love the story behind this album. Metheny, like many musicians, makes little recordings for himself to capture ideas, try things out, and so on. He was on tour when one day he discovered a folder on his computer, full of recordings that he didn’t even really remember making. He listened to them and realized that there was an album in there, so he picked out the best tracks and voila: Dream Box. This is a very mellow, quiet collection of songs, all of them improvised and spontaneous, perfect late-night music. 

Neil Young, Archives, Volume III (2024). 

I splurged on this, in part because I already own the first two volumes in this archival series, and I suppose that one day they might be worth a lot of money...so, eventually, when our society collapses and we begin to experience the full onslaught of ecological destruction and dystopian terror that is sure to come, I will be able to barter my set of Neil Young archives for food and medicine. Also, the songs are pretty good! 

Alexander “Skip” Spence, Oar (1969).

The only album by a talented but troubled musician and former member of Moby Grape and Jefferson Airplane. Spence played all the instruments and recorded this at some point during a downward mental health spiral, and there are ways in which this album is not “good,” but it’s unique and memorable, and it draws you in unlike anything else I listened to this year. 

MC5, Back in the USA (1970). 

Many people disliked this album when it was released: the sound was too clean, too tight, and too carefully controlled, especially compared with MC5’s explosive debut, the raw live recording Kick Out the Jams. But in retrospect, this album sounds great—and like a forerunner of late 1970s punk to come—and I prefer it to the first one. 

Clutch live, performing all of Blast Tyrant. 

This band is always fun as hell to see live, and celebrating the 20th anniversary of this album, well, it was a lot of fuckin’ fun! Adding an encore of songs from their first album (and earlier!) was a nice bonus. 

 

Dave Marsh, Kick Out the Jams (2024). 

This is a long overdue, and necessary, follow up to Marsh’s 1985 collection Fortunate Son, and it contains samples of his writing from the early 1980s to the present. Even if you don’t always agree with Marsh, who can be feisty to the point of truculence, he’s very often insightful and funny, and he writes with a sense of political commitment that never devolves into mere rhetoric or one-dimensional thinking.

Five-Inch Taint’s Favorite Music in 2024

By Five-Inch Taint

End of Year Music List (In No Particular Order…Loosely by Genre):

John Moreland, Visitor

Lost Dog Street Band, Survived

Johnny Blue Skies, Passage du Desire

American Aquarium, Fear of Standing Still

Willi Carlisle, Critterland

Sierra Ferrell, Trail of Flowers

Agalisiga, It Started in the Woods

Blood Incantation, Absolute Elsewhere

Trauma Ray, Chameleon

Undeath, More Insane

Chat Pile, Cool World

Civerous, Maze Envy

Godspeed You! Black Emperor, No Title as of 13 February 2024 28,340 Dead

Castle Rat, Into the Realm

Horse Burner, Voice of Storms

Bedsore, Dreaming the Strife for Love

Slimelord, Chhytridiomycosis Relinquished

Alcest, Les Chants de l’Aurore

Pallbearer, Mind Burns Alive

Abrams, Blue City

Terminal Nation, Echoes of the Devil’s Den

Lowent, Do Not Go To War With the Demons of Mazandaran

Black Sabbath, Anno Domini, 1989-1995

The Cure, Songs of a Lost World

Midwife, No Depression in Heaven

High Vis, Guided Tour

Nails, Every Bridge Burning

Karate, Complete Studio Recordings

Universal of Armageddon, Complete Recordings

Planet on a Chain, Culture of Death

Hermanos Gutierrez, Sonido Cosmico

Mdou Moctar, Funeral for Justice

Causa Sui, From the Source

Glass Beams, Mahal

Shabaka, Perceive Its Beauty, Acknowledge Its Grace

Nathanael Larochette, Old Growth

 

Favorite Concerts:

This was a year in which I drastically reduced my concert attendance. There were so many shows that I would have liked to see but could not make the drive. I was able to make it to some, though. Here they are:

 

Willi Carlisle, Mute Duo, Messa, X, Pallbearer, Conflict, Violent Testimony, Amenra, June Star

 

Favorite Record Labels:

While I enjoyed music from a variety of record labels, I think two deserve special mention for their quality output: Numero Group and 20 Buck Spin. Numero Group are masters at putting out high-quality complete collections and compilations of obscure/semi-obscure music. The music from 20 Buck Spin consistently kicked ass this year. I’ve probably been overlooking them for many years. Or, I just have not noticed that much of the music I have enjoyed was released by 20 Buck Spin.

Special Shout Out:

I wanted to give a special shout out to June Star. SoDak and I saw them in Chapel Hill, North Carolina many years ago. I was excited to see them in my small town this year. Due to poor marketing by the concert producers, I was the only one to attend their show. Despite this obvious disappointment, they still put on an incredible full set and hung out afterwards to talk.

SoDak’s 2024 Music Obsessions

By SoDak

My list of favorite music and other obsessions in 2024 is in no particular order.

Records:

New Model Army, Unbroken (2024).

New Model Army is a band that I depend upon. They ground me. I still get chills whenever I listen to their records. While they have changed through the years, there is always the distinctive New Model Army sound. Check out “First Summer After.”

J Mascis, What Do We Do Now (2024).

I love settling into J Mascis and Dinosaur Jr records. His voice provides comfort after so many years of listening to him. His guitar and voice swirl in my head. J has everything dialed in at this point. 

Pallbearer, Mind Burns Alive (2024).

I continue to stand by Pallbearer. I like the mellow, dreamy, melodic elements that are increasingly present. At the same time, Pallbearer is still heavy—musically and emotionally. The thread that runs through their records makes sense to me. I love their development. 

Tomb Mold, The Enduring Spirit (2023).

I did not pick up this Tomb Mold record until this year. This is my favorite record by them so far. I welcome the melodic elements within the songs. Tomb Mold is an innovative death metal band with catchy riffs and odd time signatures. Exceptional record.  

John Moreland, Visitor (2024).

John Moreland returns with one of his strongest records to date. His voice is strong and sits in the perfect spot for this folk-rock, Americana music. Get a copy to play in the car. Turn up the volume, roll down the windows, and just drive. You need this record and the experience. 

Blood Incantation, Absolute Elsewhere (2024).

Most folks are losing their shit talking about this record. The praise is justified. It is a stunning combination of death metal and 1970s prog-space rock. I really want to see them on tour for this record. 

The Cure, Songs of a Lost World (2024).

We have been waiting for this record for so fucking long. Glad that it finally arrived and that it does not disappoint. Very consistent record, as far as the mood and sound. The Cure remain a top-notch band. The record is also a good soundtrack for a world that is passing away. 

40 Watt Sun, Little Weight (2024).

Pairing The Cure’s new record with 40 Watt Sun is appropriate. Listening to both is quite emotional, as they are beautiful and mournful at the same time. It is a powerful combination to experience. Whenever I listen to 40 Watt Sun, I want to lay in the grass, as I slowly sink into the earth. 

Paper Kites, Roses (2020).

This is an absolutely beautiful record by an Australian, low-fi, indie-rock band. The record consists of stunning, moody duets, pairing female and male vocals, in haunting Americana sounds. Top recommendations.    

Gillian Welch and David Rawlings, Woodland (2024).

Feels like it has been a long time since we were graced with a new record by this combo. There is a slightly different vibe, as each of them sing lead vocals at times. It adds a little more diversity as far as the progression. Check out the opening track: “Empty Trainload of Sky.”

Cock Sparrer, Hand on Heart (2024).

For me, this is the best Cock Sparrer record to date. The production is excellent, as the record sounds great. Classic anthemic punk rock songs. Listening to the record makes me happy. I also like the love song “I Belong to You.”

Curtis Mayfield, Curtis (1970).

I returned to this Curtis Mayfield record this year, as it had been a long time since I heard it. His first solo album is much heavier, funkier, and psychedelic than the music of the Impressions. Curtis is also quite politically frank through most of the record. 

Bruce Dickinson, The Mandrake Project (2024).

I can’t get enough of Bruce, whether it is in Iron Maiden or solo. Very strong vocal performance, as is to be expected. The record sounds great. With each listen, I get more excited about the record. Roy Z and Bruce do great things together. 

Judas Priest, Invincible Shield (2024).

My favorite Judas Priest records are the ones in the 1970s, but the band continues to impress me. Their most recent record is among their strongest. Rob Halford sounds fucking great. Richie Faulkner is excellent. “Panic Attack” is my favorite track. 

Louis Michot, Reve du Troubadour (2023).

Null bought this record by the lead singer of the Lost Bayou Ramblers for me. These Cajun songs are reinterpreted via a mix of electronic, rock, and traditional approaches. There is a nice variety of sounds and instrumentation across the songs, yet the record feels cohesive. Check out “Ti Coeur Blue.” 

Drug Church, Prude (2024).

Every Drug Church record makes me bounce around the living room, as the propulsive beat and drive takes control of me. One second, I am playing air guitar, then drumming, and singing along. The discordant guitars really hold my attention. Give “Mad Care” and “Myopic” a listen. 

Willie Nelson, The Border (2024).

Yes, Willie Nelson’s voice has changed a great deal. He sounds old because he is ninety-one years old. Nevertheless, he is still capable of putting out strong records. This record has a strong collection of songs, and the production is done in a way that lets Willie’s voice resonate. 

Opeth, The Last Will and Testament (2024).

I am among those who were fine when Mikael Akerfeldt stopped incorporating death growls in Opeth songs. I really like the more mellow, progressive rock records as of late. Nevertheless, the blending of prog elements and death growls on the new record is wonderful. Very strong release. I will also be happy with whatever direction Opeth pursues moving forward, given the high quality of the musicianship. 

Jon Anderson and the Band Geeks, True (2024).

Jon Anderson’s new solo record was a complete surprise. Most of the record sounds like classic Yes. Jon’s voice is very strong. The only song that I would remove is the ridiculous closing track “Thank God.”

More Than a Whisper: Celebrating the Music of Nanci Griffith (2023).

This is a beautiful collection of cover songs in memory of Nanci Griffith. Very enjoyable. Great to hear new interpretations of Nanci’s music.  

Bent Blue, So Much Seething (2024).

More great hardcore punk from Bent Blue. They finally put out a full length. Check out “Born on Third.”

High Vis, Guided Tour (2024).

High Vis delivers another stellar record, mixing post-punk with punk elements here and there. The voice is captivating. I love the guitar work. 

Death Ridge Boys, Too Much Bullshit (2023).

From Portland, Death Ridge Boys deliver straight ahead hardcore songs, with touches of oi! Listen to “Oh Fashy” as you punch a fascist in the face.  

Hellripper, Warlocks Grim and Withered Hags (2023).

Awesome, face-melting, speed metal. This is my favorite Hellripper record, as it actually sounds great. 

Nils Lofgren, Mountains (2023).

World-renowned Niles Lofgren has been playing with both Bruce Springsteen and Crazy Horse for decades. This is his first record of all new songs in over a decade. The guitar playing is great. I really like Nils aged, heartfelt voice. The vibe of the record is pretty mellow, somewhere between Springsteen and Neil Young, when the latter manages to put out good records. 

Trauma Ray, Chameleon (2024).

Five-Inch Taint recommended that I get this record. I generally do not care for many shoegaze bands, but Trauma Ray maintains my interest, from the dreamy to the driving songs. The record sounds great. Excellent songs. 

Cemetery Skyline, Nordic Gothic (2024).

Seems that there are quite a few gothic metal bands as of late. I like the mix of gothic, new wave, and metal. Cemetery Skyline have an interesting Sisters of Mercy sound. 

Planet on a Chain, Boxed In (2023) and Deprogram (2022).

Argh. Planet on a Chain play old school hardcore. Most of the songs are under two minutes. Tight and powerful songs. 

Shane Smith and the Saints, Norther (2024).

This red dirt country band really hits me in the heart. I fell in love with their earlier records, especially the song “All I See Is You.” Their most recent record is very strong, filled with finely crafted songs. The record always sounds good driving down the highway. 

Ghost Work, Light a Candle for the Lonely (2024).

This is the second record by Ghost Work, which includes folks from Seaweed, Snapcase, and Minus the Bear. Excellent melodic punk rock, in the vein of Samiam, Solea, and Ways Away. 

White Willow, Ex Tenebris (1998).

White Willow is a Norwegian progressive rock band with an expansive sound and both male and female vocals. The male vocals remind me of Craig Wedren from Shudder to Think, singing in a very different genre. 

Lost Dog Street Band, Survived (2024).

Lost Dog Street Band are an engaging Americana band, with lyrics that involve exploring uncomfortable truths and revelations. It is well worth spending time with their records. 

Hot Water Music, Vows (2024).

Hot Water Music still fills me with excitement, generating a huge emotional release as I sing along with their heartfelt, post-hardcore songs. I hope they keep moving forward putting out more releases, as we age together trying to foster love in this tragic world. 

Agusa, Tva (2015).

This record consists of two long wonderful progressive rock songs by the legendary Swedish band. 

Kim Richey, Every New Beginning (2024).

Kim Richey has been putting about solid Americana, singer-songwriter records for almost three decades. She has a gentle voice that accompanies shimmering chord progressions. 

Airbag, The Century of the Self (2024).

This Norwegian progressive rock band continues to capture my attention. They move between very lush, dreamy songs to more intense rocking songs on this release. The Pink Floyd comparisons, as far as the guitar tone, are still evident, but they are doing their own thing here. Wonderful record.  

Merging Cluster, Peak of Ephemeral Light (2024).

This is the first full length from this Italian progressive rock band. The singer reminds me, at times, of Geoff Tate, but the music sounds nothing like Queensryche. Not sure how to describe the music. Explore something new. 

Freak Accident, Octopus Head (2021).

Freak Accident includes Ralph Spight from the legendary jazzy-punk band Victims Family. This four-song release combines surf and psychedelic elements with punk rock. My favorite song on this release is “Oxygen Tent.”

Maxïmo Park, Stream of Life (2024).

I was first drawn to Maxïmo Park due to their post-punk, angular songs. I have enjoyed seeing how they continue to change, mostly within the indie rock realm. This is their eighth full length. I really like Paul Smith’s voice, as he has great control over how he uses it. 

Beverly Glenn-Copeland, Keyboard Fantasies (1986).

This record is a strange mix between early electronics and new age music. The voice is very ethereal, complementing the soundscape that is being created. Unique record. 

J Robbins, Basilik (2024).

Strong solo album by J Robbins of Jawbox fame.

Beardfish, Songs for Beating Hearts (2024).

Swedish prog rock, moving from contemplative pastoral songs to intense, sprawling organ-oriented numbers. 

Spectres, Nostalgia (2020) and Presence (2024).

These are two of my favorite records by this Canadian post-punk band. The influences of Joy Division, New Order, Modern English, and other 1980s new wave bands are delightfully evident. Catchy, melodic songs. 

Steve Hackett, The Circus and the Nightwhale (2024).

Steve Hackett of early Genesis fame has put out a masterful record. His exceptional guitar work runs through all the songs, adding intoxicating textures. 

Viima, Ajatuksia Maailman Laidalta (2006).

This Finnish band combines folk and progressive rock, with enchanting female vocals. This is my favorite record by them.  

Mass Arrest, Power (2019).

Hardcore punk, with oi! elements. The vocals are gruff, yet understandable. Short, punchy songs. 

Chronicles of Father Robin, The Songs and Tales of Airoea, Book 1-3 (2023-2024).

Members of Wobbler, Tusmørke, and Jordsjø are in Chronicles of Father Robin. They have released a series of three interrelated concept records focused on Father Robin. Stunning mix of 1970s influenced progressive rock. Brilliant.  

Johnny Blue Skies, Passage du Desire (2024).

Johnny Blue Skies is Sturgill Simpson’s new moniker. This new record still contains all the beauty and magic of his early records. 

Cloud Nothings, Final Summer (2024).

Cloud Nothings consistently put out catchy, hypnotic indie-rock records. Good music to get lost in. 

Black Tusk, The Way Forward (2024).

It has been a long six years since the last Black Tusk record. I needed this injection from them. Their sludgy, hardcore, metal gives me goosebumps. The dual vocals add power and punch to the songs. “Out of Grasp” kicks off the record in perfect order. 

Coffins, Sinister Oath (2024).

Why the fuck did I not know about Coffins earlier? They have been a band since 1996. Their style of grinding death-doom is right up my alley. Guess, I will start working backwards to learn more about their catalog. 

American Aquarium, Fear of Standing Still (2024).

American Aquarium consistently puts out great records. Some of the rough edges have disappeared over the years, but this Americana band kicks ass. Check out “Crier.”

Caligula’s Horse, Charcoal Grace (2024).

This progressive metal band from Australia released their sixth record. On it, they explore the loss, sorrow, and isolation associated with the global pandemic, hoping for a better tomorrow. 

Undeath, More Insane (2024).

I am finally on board with Undeath, as I love their new record. This death metal band is ambitious and experimental. Their new record melts my fucking brain with the expansive and experimental sound, as well as the constant changes. The songs are very distinct and memorable. 

Yang, Rejoice! (2024).

Yang plays some crazy progressive rock that is reminiscent of King Crimson and aspects of Gentle Giant. Carla Kihlstedt’s vocals are a unique addition, alongside the hypnotic guitars. 

Magnum, Here Comes the Rain (2024). 

This year I became fascinated with the hard rock band Magnum. I bought almost all their records. They formed in 1972. This year, their guitar player and creative force, Tony Clarkin died, around the time that their twenty-third record, Here Comes the Rain, was released. Bob Catley has a unique voice. While his voice seems limited, in some ways, he is an excellent singer. He evokes a lot of emotion. The pairing of his voice and the guitar tone is a wonderful match. Given their longevity, the band changed quite a bit through the years, following some trends. Nevertheless, there is plenty in their catalog to explore. 

Subsignal, A Poetry of Rain (2023).

Subsignal is German progressive rock band. Their emotional vocals and hooks are catchy. The patterns within songs are fascinating. They use plenty of ghost notes that hold my attention. At times, I hear the influence of Rush, new wave, and other classic rock elements. There is even a slight twang thrown in the mix on a song here and there.  

Chuck Ragan, Love and Lore (2024).

Chuck Ragan’s solo records get better and better. He has found the sweet spot for his voice within the instrumentation and songs he plays. One of my favorites is “All In.”

Anekdoten, A Time of Day (2007) and Nucleus (1995).

The Swedish progressive rock band Anekdoten has a wide-ranging sound, especially from album to album. This year I kept going back and forth between these two records. Check out “The Great Unknown” and “A Sky About to Rain.”

Jeremy Pinnell, Ties of Blood and Affection (2020) and OH/KY (2014), 

Jeremy Pinnel’s music is a mix of honky-tonk and folk-country. On songs such as “Ballad 1892,” his voice and groove are very reminiscent of Waylon Jennings. I really like his ballads, such as “Different Kind of Love,” “Rodeo,” “Sleep Song,” and “Them Days and Nights.” He does overuse the word “baby” in his songs. 

The Light Wires, The Light Wires (2021).

Jeremy Pinnell is also in the band The Light Wires. This is my favorite record by him. While the record still fits in the Americana genre, there are mellow indie-rock influences. The songs are very consistent, filled with yearning and heartbreak. It is a beautifully somber record. My favorite songs are “Never Heard the Pin Drop” and “Belly of the Beast.”

Concerts:

I missed quite a few shows that I wanted to attend, especially with multiple concerts on the same night. Nevertheless, I was able to see many great artists, while sharing time with friends. My wife and I attended three music festivals, including Kilby Block Party (horrible sound), Punk Rock Bowling, and No Values (very poorly organized). 

My favorite performances this year included: Neko Case, Bruce Cockburn, Dead Bob (three times), Lung, Devo (twice), X, Poison Ruin, Dinosaur Jr., Subhumans, Fiddlehead, Gaslight Anthem, Reckless Kelly, Journey, Spaced, Jeremy Pinnell, Sepultura, Obituary, Descendents (twice), Buzzcocks, Soul Asylum, Iron Maiden, Destiny Bond, Kruelty, Lydia Loveless, Thursday, Rival Schools, Twin Tribes, Urban Heat, Nadezhda, Militarie Gun, Toto, Peter Frampton, Jesse Daniel, Jesus Piece, English Beat (twice), Sam Bush, Messa, Show Me the Body, Iron Roses, Chats, Destroy Boys, Niis, Madness, Quicksand, Scowl, Stiff Little Fingers, Shattered Faith, Adolescents, Adicts, Selecter, Jesus Lizard, Bad Religion, Turnstile, Social Distortion, Chameleons, Missing, Pure Prairie League, Ryan Bingham, Drayton Farley, James McMurtry, BettySoo, Patterson Hood, Unwound, Girlschool, Del McCoury Band, Full of Hell, Spy, and Cloakroom.

Films:

I enjoyed quite a few music documentaries this year. My favorites included: Without Getting Killed or Caught: Guy Clark (2020), White Riot (2020), Punk the Capital: Building a Sound Movement (2019), Immediate Family (2022), Carmine Street Guitar (2018), It’s Only Life After All: Indigo Girls (2023), Joan Baez: I Am a Noise (2023), Herb Alpert Is… (2020), Duran Duran: There’s Something You Should Know (2018), Everything for All Reasons: Terry Allen (2019), Stevie Van Zandt: Discipline (2024), Yacht Rock (2024), What the Hell Happened to Blood, Sweat & Tears (2023), The Mojo Manifesto: The Life and Times of Mojo Nixon (2020), and Clean Cut American Kids: The Story of Ill Repute.

Books:

Jason Lamb, Nomeansno: From Obscurity to Oblivion (2024). 

I love Nomeansno—it seems that this feeling only grows. I usually do not care to read books that tell the history of the band by assembling quotes from interviews, but this approach works well in this case. The narrative provided a nice glimpse into the day-to-day lives of the band members and those who were close to them. 

Jim Ruland, Corporate Rock Sucks: The Rise and Fall of SST Records (2022).

Jimmy “Explosive Diarrhea” B sent me a copy of this book, knowing that I grew up listening to a lot of the bands that were on SST. Glad that he did, as this is a fascinating story, exploring the lives, connections, struggles, and music tied to this independent record label. 

SoDak’s Festivus Musical Grievances in 2024

By SoDak

Turnstile.

I finally saw Turnstile perform at the No Values festival in California. For the most part, they were incredible, minus the three electronic interludes. The grievance is that they played a very short set. They were higher up on the billing, so the time allotted to them was more than the bands earlier in the day. Most of the bands preceding them apologized for the short sets, wishing they were able to play longer. Turnstile finished playing with approximately 13 to 15 minutes more available to them. According to setlists online, they played fewer songs than they were playing the week before at other shows. This left a big gap until the next band played. Given that they did not give a shit, I wish the other bands before that actually wanted to play more songs would have been allowed to do so. 

Wilson Neate’s Wire’s Pink Flag (2009). 

The 33 1/3 book series can be hit or miss, but I generally enjoy reading the books. Wilson Neate’s book on Wire is a big disappointment. It is filled with exaggerated claims about what other punk rock bands did or did not do. This mischaracterization is simply a ploy to try to elevate Wire as a band. I wish the discussion would have just focused on what Wire did, as this interesting enough to distinguish them. This book is a very uninteresting exploration of this great band. 

Nick Cave and the Bad Seeds, Wild God (2024). 

While this record is being praised by many, it does not resonate with me. The music is not captivating or engaging. Each time I listen to it, I am eager to hear something else. The problem is likely with me. Oh well. 

Adam Ant.

I do not consider myself an Adam Ant fan, but I grew up at time when he was quite popular. I figured I might as well see him perform this year, mostly out of curiosity. I was hoping to see a good show. The percussive elements were wonderful. But all the songs were arranged differently. The guitar tones were very modern and created a wall of sound, drowning out the overall dynamics within the songs. Most folks in the theater seemed dissatisfied, as few stayed to experience the entire performance. 

Nouveau Riche People at Shows in Park City.

In Park City, Utah, there is a great music venue—the Egyptian Theater. It is a small theater with a capacity around 260 people. The shows often feature older acts. For the most part, I really like seeing shows there. However, from time to time, it can be a miserable experience, as the nouveau riche show up in numbers. They sit at the tables in front of the stage or in the first few rows of seats. When this happens, they generally talk throughout almost the whole performance, loud enough that it makes it hard to hear the music. Once the performer starts to play a “hit” song, these rich fucks get up, dance, and sing along, pretending that they are fans. When the song ends, they return to their seats proceeding to be disruptive pieces of shit. 

So Brick, Eh?’s Festivus Musical Grievances in 2024

 By So Brick, Eh?:

 

What the fuck NOFX? Are you retiring or something? Is this your last tour? You should probably let us know. But in all seriousness, my relationship with NOFX has warbled this year. My first attempt to see them got rained out, which isn’t their fault, but a bummer, nonetheless. But by their good nature they welcomed the rained-out crowd back to day two of the last Punk in Drublic showing in Denver, Colorado. And, to make up for it, they’d be playing TWO sets. A matinee and an end show. What luck! Timing made it difficult for me to see matinee, so I only caught the end show, and, to my dismay, they had spent the time between the matinee and end show drinking quite heavily. Suffice to say, not their best performance, but, hey, that’s punk rock baby! Because I think they’re retiring? I can’t remember if I heard that or not.

What the fuck is Midwest emo? There are some emo songs that are clearly about the Midwest. “Lansing, MI” by Public Transit and “Ohio Is for Lovers” by Hawthorne Heights come to mind. But there is not a distinctive or unifying sound that is genre defining and I am tired of people insisting that Midwest emo is somehow different from emo more generally. Perhaps it’s like the “British Invasion” and it’s about where the music originates. But then there’s my buddy’s band Collinsworth from goddamn West Virginia, which is decidedly not the Midwest, yet they self-label themselves as such. Is this a marketing move? Is this yet another authenticity digression? Jesus Save Me from The Glamorization of The Midwest. Who would willingly be proud of the same place JD Vance calls home?

What the fuck is going on in country music? Look, I get it. I really do. Music has long been a process of sampling, remixing, homa,ge and allusion. But some of these new country songs are just out of pocket. See Cole Swindell’s “She Had Me at Heads Carolina,” Jake Owen’s “I Was Jack (You Were Diane),” or, the most egregious, Dustin Lynch (ft. Jelly Roll)’s “Chevrolet,” if you aren’t aware of the light-to-moderate plagiarism that’s going on. Are they using Chat-GPT for lyrics?

And, what in the fuck kind of stage name is Jelly Roll?

Hinckleyhadavision’s Favorite Music in 2024

By Hinckleyhadavision

It seems like my year has allowed little time or access to new music. The music apps are the only way I listen to music, and they have commercials that I absolutely can’t stand, so I didn’t listen much—even during my long commute. Mostly, I drove in silence—stumbling through the cycles of my own thoughts.  

Then, I remembered coming across Justin Townes Earl’s “Harlem River Blues” this spring. I found it glorious in its darkness—the profound hope in the end of suffering. Justin, found it, sadly—for us all.

Gory Zaver’s Favorite Music in 2024

By Gory Zaver

Shredable stuff I listened to a lot in 2024 (not in any particular order):

1) Ghoul, Noxious Concoctions.

2) Negative Prayer, Self//Wound.

3) Morbid Stench, The Rotting Ways of Doom.

4) Necrot, Lifeless Birth.

5) Gatecreeper, Dark Superstition.

6) Coffins, Sinister Oath.

7) Thou, Umbilical.

8) Warcollapse, Deliberate Indoctrination.

9) Poison Ruin, Confrere.

10) Gel, Persona.

11) Habak, Insania (2024 reissue).

12) Generation Decline, Stygian.

13) Speed Plans, DUI (ep).

14) Nightfeeder, Cut All of Your Face Off.

15) Nightfeeder, Nightfeeder (ep).

16) Nightfeeder, Disgustor (ep).

17) Poison Idea, We Must Burn (2024 reissue).

18) Goetia, Tomb Essence.

Enforcer, Nostalgia (2023)

 

By SoDak

Null calls me up telling me he is obsessed with a band called Enforcer. He really liked the cover, so he bought their record Nostalgia. He remarks that they have a traditional heavy metal sound, with flourishes of Iron Maiden and others. All weekend, he is listening to it, subjecting his partner to the record. Two days later, a package arrives at my house, containing the Enforcer CD. Dutifully, I listen to the record several times and write to Null. 

Dear Null, 

I received the Enforcer CD. Thank you for sending it to me. It is a nice surprise. I remember the cover, perhaps from a review on Banger TV. I think it was the suggested pallet cleanser for one of the monthly recommendations. As you noted, the songs rock. The band is quite fascinating as they blend so many aspects of 1980s metal. The traditional aspects are present, especially given the guitar work. Enforcer also has a lot of hard rock and hair metal aspects, but from the more energetic and edgy aspects of these genres. To me, this is most apparent in the high pitch of the singer’s voice on certain songs, such as “Heartbreaker.” To me this is not a negative, as there are plenty of bands in this camp that I liked, especially those that are not forced into commercial, mainstream production. On the ballad “Nostalgia,” there is an interesting mix of metal from the 1980s, but there are moments within the song when the singer’s voice has a Freddie Mercury waver. It is subtle and takes place for just a few seconds, which is very interesting. I like the sweeping, epic singing on many songs. This record reminds me of all the cassettes that I had as a kid, especially those by bands that never got popular but were more interesting as a result. The Enforcer songs are raw, rocking, and quite fun, as there is an edge to them. I have listened to the record three times today, and I keep finding gems within the songs. The guitar leads are excellent, especially on “No Tomorrow.” The chorus on “At the End of Rainbow” is very catchy. This may sound odd—I hear a lot of early to mid-period Scorpions on some of these songs, but Enforcer is not as polished. Plus, there are so many other influences that are mixed into their songs. This record takes me back to being a geeky elementary and junior high kid, who was obsessed with hard rock and metal. I did not have too many friends at the time who also liked this type of music. I would go to the record store to flip through the import bin, hoping to find something intriguing or something that I saw in the back pages of Hit Parader. I would have definitely bought this record based on its cover. Thank you for sharing this music with me. It is great fun. 

Yours,

SoDak

So Brick, Eh?’s Favorite Music in 2024

By So Brick, Eh?

 

I suppose my first comment on my musical interests in 2024 is more a confession than anything else. I did indeed have a “brat summer.” Charli XCX’s Brat album is popular for good reason. Her previous work was too hyper and unlistenable, but songs like “360” are just damn catchy and much smoother on the eardrums. The early Euro-rave influence is still there, but the sound has matured. Whatever work is happening in production for Charli is clearly paying off. While snowboarders routinely rip 1440s and other dizzying spins, far surpassing Tony Hawk’s now tired 900, I’m quite content with one revolution at a time.

Like many bands of the 1990s and 2000s, both The Postal Service and Death Cab for Cutie (aka the Ben Gibbard show) had a joint anniversary tour this year. I caught them while back in Pittsburgh for a stint and even though I haven’t listened to much Postal Service in the intervening years, I was pleasantly surprised to remember so many of their tunes. Seeing Ben Gibbard perform was also a highlight, as he’s damn good—dances like a weirdo though.

Spotify informed me that I was among the top two percent of Misfits listeners globally this year, so there’s that.

I forced some of today’s youth to listen to Minor Threat. The ensuing discussion had us wondering, can one be straightedge without the edge? Can a Mormon be straightedge? Are they just straight without the edge? What’s more important, the not drinking or the “look?” Must both be present? And in what quantities? I’m a bit of a purist so, to quote Chuck Palahniuk, “sticking feathers up your butt does not make you a chicken” is my final verdict on the matter.

As a self-professed fan of the “you call that music?” genre, the tunes I dare you to listen to are: “The Genre Police” by AronChupa and Little Sis Nora, “Hentai” by S3RL, and “Miku” by Anamanaguchi and Hatsune Miku.

Ian’s Favorite Music in 2024

By Ian

1. Mefitis, The Skorian//The Greyleer (2024).

I think this is incredible as far as progressive black/death metal goes. There’s shades of real musical ability interspersed with the usual headbanging sorts of riffs. Plus, I dig it when an album or band really leans into the whole “concept album” bit. I imagine they probably wrote about their dungeons-and-dragons campaign or something, which to me is incredibly, awesomely self-indulgent, and I crave more. 

2. Duster, In Dreams (2024).

Duster returns to form with less scuzz and feedback, with slower, more thoughtful, songs making up the bulk of this record. Though it came out near the end of the year, it fits perfectly with the usual grey and brown that accompanies November and December. Those who know me know I love music that hits speeds around or above 200bpm, but Duster and other slowcore bands all have a special place in my heart. 

3. Hologram, No Longer Human (2021).

I have no fucking clue how I missed this band. Signed to Iron Lung records, this band is everything I crave from punk music. None of that self-indulgent “down with the system” stuff is here. Taking their title from the Osamu Dazai book of the same name, this album is pure “meanness” distilled into uncompromising, battering riffs that reek of inner turmoil, thrashing introspection, and a rage against society at large. It’s an album that, upon repeated listens, might give the listener a permanent stank face. It’s that good. 

4. Pyrrhon, Exhaust (2024).

Great dissonant death metal from Pyrrhon once again. I felt like it was a little more calculated and less spazzy than their previous output, but I love it all the same. The vocalist’s angsty, cough like yowls truly fit with the angular, jagged guitar work and breakneck drumming; it tells of a world headed for ruination with no looking back. 

5. Torture, 4: Enduring Freedom (2023).

The bassist from my band Chasmlurk turned me onto these guys while we were driving down to Vegas to play a show there. This is, by far, the most ignorant, caveman-esque shit I’ve ever heard. I hate breakdowns in metal or punk songs with a truly uncompromising fervor, but somehow Torture manages to sound like a brutal death metal breakdown for an entire song that stretches up to five minutes, and then they did that for 13 songs and called it an album. It is so blissfully, beautifully stupid. Slam riffs, pig squeals, zero guitar solos and the like. And it’s unabashedly Iraq War themed, with a fitting ignorant sound that reflects the sheer stupidity of our politicians who got our country into that mess. It’s brilliant. 

6. Adversarial, Solitude with the Eternal (2024).

Another dissonant blackened death metal record. I really like these guys in that they take dissonance to such an extreme that it somehow becomes melody again. And it’s fucking fast. 

7. Mamaleek, Vida Blue (2024).

Mamaleek is a strange band. They started off as “black metal,” but as their music has changed with each release it now resembles a weird amalgam of jazz, chamber music, rock, and a sprinkling of metal that I’ve not heard anywhere else. Apparently, this record is about a famous baseball player—in what way this is significant, I have no idea. This is one of those records where I didn’t do much digging about its themes or lyrics and just kinda let the album take me wherever. It’s a journey, for sure, and I recommend any fan of experimental music to give this a try.

Cinderella and Juice WRLD

By Kloghole

I have been asked to write a review about one of my favorite thrash metal bands. Back in the day, I began gravitating toward the Bay Area and East Coast thrash scene without really knowing that it had a label. For me, there tended to be a political edge to the lyrics and themes of darkness and despair to fuel my blind drunk depression at the time. One band stood out. The lead singer’s raspy voice and the band’s hook laden chops really sunk in. At one point, I told SoDak that if a certain song came on, it would make me want to fuck anything that moves. “Shake Me” was infectious, and if you fuck anything that moves, you may just get infected.

Yes, I am yanking your chain. For those of you going “what the fuck? Cinderella, a thrash metal band?,” you are right. I am fucking with you.

Back in the day, I drew hard lines around the music I liked and “posers” who listened to certain music because it was the cool thing to do (see my Metallica review). The interesting thing about my boundaries at the time is that they were only sensical to me. I was into Overkill and Testament, but hated Metallica. The bluesy nature of Great White and Cinderella were fucking awesome, but Poison and Warrant were absolute shit. I may have seen Great White and Tesla more times than I have seen Iron Maiden.

My apologies to Gary Holt and Paul Baloff (RIP) for the blasphemy, but I feel it makes a point. While there are some boundaries that we can draw between underground and “pop” music, ultimately, the value of an artist is in the ear of the beholder. There are some really shitty bands/songs that still elicit emotion for me, but they are tied to something I was going through at the time. Some people like cotton-candy music. To see anything redeeming in contemporary pop music, I feel like your life has got to be so fucking free of trauma or you are escaping trauma. Either way, if you like pop music, you are fucked in the head. But, most of us are. If it is popular, by definition, it is worth three constipated turd nuggets. It is very rare for “good” music to be popular.

A few years ago, I reviewed Swift and Perry. Since then, many folks have communicated to me how deep Swift’s lyrics are. I really do not fucking hear it, and they do not speak to me. Over the past few years, I dug deeply into the lyrics for 1989, and I came up empty (I staunchly refused to listen to that fucking album again despite my morbid curiosity - was it really as bad as the pant-load of diarrhea I remember it to be?). Honestly, I am at a real fucking loss to figure out what the fuck people are talking about. So much so, it really kinda pisses me off, if you can’t tell. To try to argue this vapid “white people problems” whiny bullshit is somehow deep makes me question humanity. I do not mind if you like Swift’s music. Just do not fucking insult me by telling me how fucking profound it is. Be proud of the fact that you love its vacuous, cheerful, superficial self-reflection. I love Weird Al and Huey Lewis, but I do not try to justify it by saying how deep they are.

Here’s a taste:

Taylor Swift “Blank Space”

So it’s gonna be forever

Or it’s gonna go down in flames

You can tell me when it’s over, mm

If the high was worth the pain

Got a long list of ex-lovers

They’ll tell you I’m insane

Cause you know I love the players

And you love the game

‘Cause we’re young, and we’re reckless

We’ll take this way too far

It’ll leave you breathless, mm

Or with a nasty scar

Got a long list of ex-lovers

They’ll tell you I’m insane

But I’ve got a blank space, baby

And I’ll write your name

Now compare this really deep shit to the hair metal, cock rockers, Great White.

Great White “Sail Away”

As you come you come alone

All you are is what you know

Dependent on your memory

Remember who you used to be

Reason is a raging wind

Beating on your weathered skin

Confusion in the tidal flow

Pulls you like an undertow

Adrift out on a sea of tears

Navigating by your fears

Searching in the stars above

A way to find your isles of love

How about the hair spray encrusted Cinderella?

Cinderella “Somebody Save Me”

Somebody get the doctor

I’m feelin’ pretty poor

Somebody get the stretcher

Before I hit the floor

Somebody save me

I lost my job, they kicked me out of my tree ( I thought it was “kicked me out on my cheeks”)

Somebody save me

Save me

Well, everybody’s got opinions

But nobody’s got the answers

And that shit you ate for breakfast

Well, it’ll only give you cancer

In Taylor Swift’s song, the lyrics are way too fucking literal. There is little left to the imagination, and bragging about failure is not endearing, “Got a long list of ex-lovers.” Sounds like the old adage, at some point perhaps you should think “maybe it’s you.” Great White, in contrast, germinates poignant mental imagery while giving the listener the ability to see their specific circumstance in the generality of the lyrics, “Remember who you used to be.” Now, if I chose Great White’s “Down on Your Knees,” Swift would certainly have the lyrical upper hand. Cinderella is a bit literal, but ever so slightly glances the political by dragging in economic despair and the reality of cancer among the working classes. 

Is it profound or a trenchant critique of the horrors of the capitalist system? No, but at least it does not rely on a misogynistic view of sexuality that churns its way through sexual partners the way rednecks tear through a Chinese Buffet.

I have already pondered Swift’s popularity, but the point here is to make clear that music is relative. I think we can still shit talk some music, and dogging Swift is still punching up, so she is fair game. However, listen to what you like. Find resonance where you can. I may still shit all over you for doing it, but just tell me to fuck off. People certainly did it to me for liking Cinderella and other “butt rock.” Still have no idea what the fuck that means.

In the spirit of music that is not my cup of tea, I decided to give another artist a listen. Recently, a student asked me to rate the song “Feeling” by Juice WRLD. One of my classes is a bit of a circus. One student puts his head down on the desk almost immediately. There were a few students who did not turn around to face the film we were watching in class. It is a bit weird, but what are you going to do, and they seem to have an okay time? The class also gets into odd debates when they finish working on their group exercises. One involved how many holes a straw has and descended into whether a hot dog was a sandwich. We came to an abrupt end when they painted themselves into a logical corner by basically implying that a Philly cheesesteak is a hot dog.

Students had introduced me to Juice WRLD’s story in a previous class. Just before I left my previous department, the racist, homophobic, autistiphobes I worked with yanked me from the graduate theory seminar I taught because I was becoming too popular with the students. As a big fuck you to the bigoted assholes, I taught a class on “Rock ‘n’ Roll” before I left for a new program.

The one thing I learned from the students was that “selling out” is not really a thing anymore. In the battle between heavy metal and hair rock, selling out was a big deal. Commercialism and pandering were viewed with derision (unless you are Metallica, then it is totally fucking okay to be a sellout fuck and bitch about people getting access to your music for free). Now, students do not really even understand the concept because music is not communicated in album form. Artists are simply assumed to seek wealth and fame. There were a few examples where students felt artists had drifted too far away from their base, but it was not really viewed as selling out. This is simply something I did not predict before teaching the class. Some of their favorite genres of music were artificial constructions of the music industry like K-pop. The stark divide between “posers” and “real” artists is virtually absent in this new era of streaming and basement engineering. I am not sure I have fully comprehended how students see music now.

One of the student presentations covered the life of Juice WRLD and a couple of his songs. One of the songs the student presented was “Wishing Well.” The prophetic lyrics highlight the contradictions of using drugs to cope with life’s realities.

It’s stress on my shoulders like a anvil

Perky got me itching like a anthill

Drugs killing me softly, Lauryn Hill

Sometimes I don’t know how to feel

Sometimes I don’t know how to feel

Let’s be for real

If it wasn’t for the pills, I wouldn’t be here

But if I keep taking these pills, I won’t be here, yeah

To be honest, I can say the same thing about whiskey. I am not certain how I would have coped with my first few years of college without being blind drunk most days. However, it set up a pattern that was hard to shake. Because I had a lot of folks depending on me, I had to pull my shit together. I really did not have the option, after a while, to cash in my chips.

The lyrics in “Wishing Well” point out the deadly gamble of using drugs as a crutch while risking worsening the problem. While you can put off the pain of some current agony, you are just as likely to do something stupid while high that makes you even more depressed. It is a pretty vicious cycle that some do not seem lucky enough to escape. I had a few close calls during those dark days. Some just don’t come out on the other side.

I hear the bravado masking the pain in “Feeling.” On the surface, it glamorizes drug use and being out of it, chasing the capitalist’s dream. If you listen a little more deeply, Juice WRLD is using drugs to “conceal” his feelings, but they are never quite silenced, “I still feel them.”

Although I am drawn to the lyrics in “Wishing Well,” both “Feeling” and “Wishing Well” are too heavily steeped in autotune for my taste. The beats are those reminiscent of the tracks constantly piped out of the speakers at the bar where my brother bounced. There are certain hip hop and R&B tunes that do move me (Lupe Fiasco), but the ones that tend toward the dance moves and overly orchestrated choreography are just not for me. I feel the same way for the horseshit line-dancing tripe that passes for “country” music.

I feel the backlash against Beyonce was not so much about her music as it was about revealing the sham that is called country music. It is just fucking pop music for white folk who fancy themselves cowpies. Compare Beyonce’s “Texas Hold ‘em” to Trace Adkins’s “Honky Tonk Badonkadonk.” If Adkins is country, so is Beyonce, but her shit is at least more listenable.

I will stick with Cinderella. There is a hook there that is not what I hear in most dance music. There is a different purpose to bluesy glam rock than there is to dance music. I look for the melody to mirror my anger, rage, depression, and hostility. 

If I was a happy fucking dude, I would listen to Michael Franti, dance like a goddamn hippy, and fart fucking rainbows out of my ass. 

I am not, so I listen to death metal, depressing political outlaw country, and frivolous rock music that still sounds a bit angry even if it is not.

Because I get the depth of pain Juice WRLD elicits in his lyrics, I am creating a new rating to sit right in the middle of the sweet sticky balls and the constipated turd nuggets. For Juice WRLD’s “Wishing Well,” I give it a department store gumball - the ones in the vending machine that last about 23 seconds before they lose their flavor. I do not get too much joy out of listening to it, but it is not the sonic torture that is Taylor Swift or Katy Perry. For those who do enjoy the beats of Juice WRLD, there is lyrical content here in these two songs that speaks to the complexity and contradictions of the human experience. I could see how folks may get the same resonance as I did with Ozzy’s “Suicide Solution.”

Getting back to the original subject of this review, Cinderella is still one of my favorites. “Shake Me,” “Bad Seamstress Blues,” and “Dead Man’s Road” are all solid songs I dig to this day. Cinderella gets at least one sweet sticky ball. Perhaps two if I am not feeling so goddamn cantankerous.

Sweet Dreams Motherfuckers

Maine Soundtrack

By Jack Stephen

In the middle of a beautiful forest in Maine, my father-in-law passed away on August 3, 2024.

My wife and I headed to Maine. What did we listen to?

One thing is for sure, Maine is very difficult to get to from Colorado. There are no direct flights, and we must always get on a bus or train, and/or rent a car, especially given that my in-laws were in a camper, set up on their friend’s land, in the middle of a forest. We got into Boston about 2 in the morning; the bus would leave for Portland, Maine, about 6 AM, so we had 4 hours to wait. This was the only math I could do at this point. We pushed a couple of faux leather sofas together to make a crash pad. As I was tossing and turning, I heard some faint music on the speaker.

What were they playing? No idea. In the cacophony of this hour and setting, I couldn’t hear much. It was just a collection of noise, sort of mashed together.  

What they should have been playing? “Zionsville” by Khruangbin. This Houston band has put together something awesome. They have a real smooth crisp guitar player. They have some great albums including the collaboration Texas Sun with Leon Bridges. Hearing this track would have made things okay, or at least for a little bit.

Waking up in the Boston Airport, at the ungodly hour of 4:30 or 5:00 AM, is not amazing. As I peered up from our nook, I noticed some other travelers were sprawled about, possibly jealous of our set up. I smelled the coffee from the shop, where there was already a massive line. We hoped in line. Then we headed to the exit to catch the bus to Portland.  

What were they playing: “More Than a Feeling” by Boston. It’s only fitting right? I would say this is a pretty good band with some fucking excellent songs. Tom Scholz started this band and allegedly worked tirelessly in his basement studio, mixing, re-mixing, and tweaking these songs to the point of obsession. I guess there was some CBS lawsuit that kind of derailed the band’s production for a period, I think mostly because Scholz took so long to finish a record. A better way of putting it is “…its been such a long time…” since we’ve seen a record. But whatever, this is how it goes with artistic expression, books, art, movies, and especially music; eventually you must abandon the project knowing that you (the artist) will never be satisfied with the final product. I also really enjoy the tracks “Foreplay/Longtime” and “Peace of Mind,” but I didn’t hear them in the Boston Airport that morning.

We finally made it to the in-law’s RV camper on the Maine Coast. We were close to the town of Boothbay Harbor. This was where my wife and I got married. It was a beautiful day in September, with a slight fog dusting the morning water. I was wearing a cape and a western tie. I watched my wife stride down the deck of her parents’ house escorted by her father also wearing a cape, as well as black-and-white checkered Vans made famous from the movie. They were both smiling and glowing. She looked so beautiful; I thought I was going to cry. How did I end up here? I guess I was lucky and patient because today everything seems perfect.  

What was our wedding song? “Hallelujah” by Jeff Buckley (originally written by Leonard Cohen). Jeff Buckley was one of those session guys, who after many years cutting licks in Los Angeles, finally decided to make the album Grace. Incredible album. His unique singing and fantastic guitar are timeless. He sort of slows the song down on his version; he lets it flow. It’s almost a rendition better than the original, but with this song written so well who’s really to say. For my wonderful wife, Hallelujah! Love you.   

We went into town, such a wonderful scene, New England coast in the summer—the line out the door of the ice cream store where my wife had her first job; the smell of seafood; and the feeling of ease. Pure summer bliss, not a care in the world, and I am enjoying this place and time.  Everyone young seems to be staring at their phones; all the old people look like they’re thinking. If we could slow down time a bit, it would be nice to have these types of days go on forever.

What song was in my head? “Summertime” by Miles Davis. What to say? This fucking guy took out a trumpet and turned the music world upside down. His ability to produce, innovate, and reinvent himself were unparalleled, which is pretty incredible considering his massive heroin, cocaine, and alcohol addictions at various times. He had so many style iterations. His album Kind of Blue is widely considered to be the best jazz album ever. (By 2019 it was certified at 5 times platinum.) While the track “So What” is probably the most well-known track on that album, I was always a bit more partial to the track “All Blues.” The harmony gets going with John Coltrane on tenor sax, then almost out of nowhere, here comes Miles with the melody. The wheels just come off this track, in good way. The musicians take their cues and deliver some bad ass improv riffs. Then there’s the track, “Summertime,” from the Porgy and Bess album. It’s got an easy vibe with a splash of melancholy. It’s great, it’s relaxing, but summer’s not going to go on forever.  

Driving around Maine, it was easy to notice what a wonderful place it is. There was a pair of bald eagles swooping above the woods. 

What was on the radio? “Cult of Personality” by Living Color. I’m gonna say it, this is the greatest rock song ever. Prove me wrong. The hook, the intensity, those lyrics—add it up—it’s a crusher.  This song feels like it could almost fit with any generation, but maybe it is even more poignant in this era of the internet with its fast news and spin that skews and blurs. This world seems like it’s all just the status quo, the rich people calling all the shots while the rest of us poor schlubs try to sort it all out. Do you think a fucking rich person gives a fuck about the price of bacon? I guess we get what we pay for, at the grocery store and in the government. Then there’s this song, it really needs to have more airplay—especially right now. “They tell you one and one makes three!” and we believe it whatever it is. Fuck it all, but at least this song is greatness.   

We were sitting in a restaurant on the water, getting ready to enjoy some fresh Maine Lobster, as it was our farewell dinner to Maine. Not sure when we’re coming back. My wife asked me, “Do you recognize the waitress?” I looked over at the portly looking waitress who was kind of showing us a wry grin. “She’s the bartender who banged the caterer after our wedding.” I guess she looked vaguely familiar, difficult to say, as this would have been about 16 years ago. I was glad she did, who cares about rain on your wedding day, did the bartender bang the caterer?  

What was on the radio? “Escape” by Rupert Holmes. This is a timeless song—always easy and always familiar, known to most folks of my generation. Who doesn’t like pina coladas anyway? This is one of the great things about music and art—it is the timelessness of the whole thing because greatness is forever.  

An important aspect of my appreciation of music is my acquisition experience. Allow me to illustrate. I remember listening to Casey Kasem on Sunday nights breaking down the top 40 songs in America. I would hear something that would catch my ear, maybe a song called “Escape.” I would remember the song and maybe the artist and would then pop into the Sam Goody record store in Twin Peaks mall in Longmont and start digging. I love digging through piles of music. Often, I would not find “Escape” on a 45, but I might find something else, maybe something that I was sort of familiar with or that had a cool cover. The record store experience was not complete until I had been through it all, including the cassettes. Or maybe I would pop into Twist and Shout records in Denver and slide into the back room and see what “used” records, CDs, or cassettes were available. Or maybe I would slide into Good Records in Dallas and pick up some old country album. Or maybe I would wander into one of my favorite record stores that no-one knew about “Harry’s Head Shop” on Ferguson Road in East Dallas, right by my house. I would dig and dig and eventually decide to purchase “The Point” by Harry Nilsson. Throw in some rolling papers and I could get out of there for around $6. I don’t think this album ever made it to the top 40, but it didn’t matter, this was something I discovered after all the time I spent in record stores. This album appeared and captured my interest for some reason. I went home, put it on the turntable and just listened. By the time I was on side 2, I felt tears rolling down my cheek. The track was “Life Line.” Such a fucking beautiful song. You can still find me digging through crates in a record store somewhere, it’s makes music mean something a little bit more because it’s not just the listening. A big part of the experience is to get out and discover the music as well, because you never know what you might find. 

“Unless this dream which seems so real, is just a fantasy.”

A vignette: It’s a musty morning. I’m in the middle of a thick forest that is difficult to navigate on foot without a trail, especially after last night’s downpour. A pair of bald eagles glide and swoop as they hunt over the estuary, in hopes of catching a fish out of balance in the brackish water. Two seals poke their heads out. My best friend stops by, and we share a beer on the wood deck we built last year. “Finest Kind,” he says on his way out. My wife mills about in our RV, and I put my head down and go to sleep. I dream about my boat, as I sail away. 

What song is in my head? “Shiver Me Timbers” by Tom Waits. 

For Kris Kristofferson

 

By Jack Rafferty

“I’ll only live ‘til I die.”

Kris Kristofferson recently passed away. To me, his voice and lyrics conveyed a level-headedness, self-assured demeanor, that was full of compassion, and always with the wink of mischief. I didn’t know him, so I don’t know if any of these qualities reflect who he was as a person, but I will always remember seeing when Sinead O’Connor was booed at Madison Square Garden in 1992, Kristofferson came on stage and embraced her and whispered, “Don’t let the bastards get you down.” That seemed to tell me a lot about him.

This has only been expanded on over the years as I learned of his vocal support for Palestine and his staunch antimilitarism. I’ll always love the clip of him with Willie Nelson, Waylon Jennings, and Johnny Cash, where on the topic of American chauvinism he states, “it reminds me a lot of the flag-waving and the choreographed patriotism that we had in Nazi Germany.... We got a one-party system…lapdog media that’s crankin’ out propaganda for the administration that’d make a Nazi blush.”

I resonated a lot with Kristofferson’s tongue in cheek sense of humor in his writing, and his brazenness. The lines below from “Good for Nothing Blues,” illustrate one of my favorite things about his worldview, which is how he expressed not wanting pity from others, 

I prefer your condemnation to your suckin’ sympathy

Baby good for nothing’s good enough for me.

“Sunday Mornin’ Comin’ Down” is in my top five country songs of all time, which is not a statement I make lightly. Kris was nearly unmatched when it came to his songwriting. 

He had a master’s degree in English, and he could quote William Blake from memory, which checks out, as I have often felt his lyrics were both gruff yet literary. They were conversational, yet full of simplicity and truth.

Duvalier was a bitter man who cursed the morning sun

That brought a new betrayal every day

He shunned the world of mortals and the sound of human tongues

And blessed the night that chased their sight away

A disillusioned dreamer who would never love again

Who’d tried of it and found that it was rotten

Preferring perfect strangers to the company of friends

Because strangers are so easily forgotten.

—“Duvalier’s Dream”

I could go on all day about the songs and lines I love, but another standout to me is “Best of All Possible Worlds.” It is a type of comedic anti-cop/prison song that reminds me a bit of the tone of Cool Hand Luke, in which each line is more irreverent and cleverer than the last. 

Well I woke up next morning

Feelin’ like my head was gone

And like my thick old tongue

Was lickin’ somethin’ sick and wrong

And I told that man I’d sell my soul

For somethin’ wet and cold as that old cell

That kindly jailer grinned at me

All eaten up with sympathy

Then poured himself another beer

And came and whispered in my ear

‘If booze was just a dime a bottle

Boy, you couldn’t even buy the smell’

I said I knew there was somethin’ I liked about this town.

Much like John Prine, who Kristofferson helped put on the map, Kris explores themes of darkness, alienation, abandonment, and seeking freedom in a world where that seems like an impossibility, and he often did so with a certain humor, kindness, and lightheartedness. Kris could also be more serious with a lot of his writing. One of my favorite examples of this is in “Casey’s Last Ride,” in his descriptions of the desolation of a person’s alienation and despair in an industrial capitalist world.

Casey joins the hollow sound of silent people walking down

The stairway to the subway in the shadows down below;

Following their footsteps through the neon-darkened corridors

Of silent desperation, never speakin’ to a soul.

The poison air he’s breathin’ has the dirty smell of dying

’cause it’s never seen the sunshine and it’s never felt the rain.

But Casey minds the arrows and ignores the fatal echoes

Of the clickin’ of the turnstiles and the rattle of his chains.

Overall, Kris seemed like a beautiful person full of contradictions, like us all. There have been few that equaled his songwriting capability in his lifetime, and I’ll always be glad to have his songs to listen to. Leonard Cohen wrote that Kristofferson told him he wanted the lines from Cohen’s “Bird on a Wire” on his tombstone, so it only feels fitting to include it here, 

Like a bird on a wire

Like a drunk in a midnight choir

I have tried, in my way, to be free.

Hunger Artist, Who Changed? (1988) and Samsara (Rabbit Rabbit Records 2023)

By SoDak

The best place to find good records in Rapid City, South Dakota, in the late 1980s was the Dissent house. Todd Smith, the drummer of Dissent, had boxes of seven-, ten-, and twelve-inch records, from the various bands he met while on tour, as well as from the network of punk rockers who started labels, published zines, and booked shows. It was a joy to flip through records at his house and to get his recommendations, as this provided a way to discover music by small bands from across the country. One of the countless gems that I picked up was Who Changed? (1988), a seven-inch record by Hunger Artist, from Rochester, New York, released by Hippycore Records.

Hunger Artist caught my attention, as they had a unique hardcore sound. The recording on Who Changed? is a little bright and raw, yet the mix is great, as all the instruments are clearly heard. On the song “3 to 4,” the bass jumps to the front, with notes that pop here and there, adding a nice texture to the song. Throughout the record, the two guitars have a slight buzz and brightness to them. On several songs, clean chords ring out, adding an emotional touch that grabs my attention. The drums propel the songs forward, generating excitement. The vocals are fascinating, as the singer’s voice is slightly strained, yet retains a melodic touch. The songs include interesting changes, rather than consisting of simply two parts. 

The lyrics on this seven-inch record, written by several band members, address isolation, frustration, personal struggles, doubts, and anger—all of which is captured well in the vocals and music. The chorus of each song always grabs me, as I like to sing along. On “Who Changed?,” there is a strong rhymical aspect: “I am/What I think/You think/That I am/I damn myself/To the/Hell I plan.” I picture a crowd filled with friends singing along right before the breakdown. On “Samsara,” the words and instruments create a swirling feeling: “The fight still continues/Without an end or a beginning/Everyone plays the soldier/But no one knows who’s winning.” My favorite song on this record is “Empty Feeling.” The drums are hypnotic, relentless driving the song with a wonderful beat. The guitars and bass kick into high gear, and the vocals add to the propulsion with the opening lines: “Why do we hurt the ones we truly love/Why an iron fist in a velvet glove/Why kick and whine for the things we don’t need/Why push and shove when we could gently lead.” The bridge and breakdown, which has a slight ska-element to it, allows me to catch my breath. I have danced around the room many times while listening to this song. 

In 1989, Hunger Artist recorded a full-length album that was never released—that is until now. These recordings were rescued from being lost forever and then buried in a closet for decades. Fortunately, the band ended up with the tapes, as it is a real treat to finally listen to their record Samsara (2023). The sound is rich and dynamic, adding a nice depth to each of the songs. The band’s growth is evident. They retain their unique sound, while the songs are more refined. There is a late 1980s D.C. influence, along the lines of Ignition, in the music. This is especially true in the opening track, “Inside Down,” which I think is especially captivating. Each of the eight songs has driving, catchy guitar lines, great punchy bass runs, and powerful drums. I love the melodic, emotional, strain in the vocals. The song “Samsara” is on both the seven-inch and the full-length. Both versions are great—the former is raw, whereas the latter is more controlled. I love having both versions in my life, as I do not prefer one over the other. I get chills each time I hear the guitar parts on “Just Listen” and “I’m Off.” They are magical in how they create a feeling of being propelled forward, similar to how Verbal Assault accomplished this feat. Samsara is a gem.

Thanks to Hunger Artist and Rabbit Rabbit Records for making this release materialize. 

Order the record at: https://rabbitrabbitrecordspress.bigcartel.com/.

Great Soundtracks/Compilations Vol. 2: Songs from Under the Floorboards, Vol. 1: A Compilation Benefitting Planned Parenthood (Accident Prone Records, 2018)

 

By Null 

Imagine it is 1990. You will be graduating from high school in a few days. It is late at night, and you find yourself at some party in a house in the woods. Some person hands you a mixed cassette tape. You head out to the car, light a cigarette, and slap the tape in your car’s cassette player. As you slowly roll down blackened country roads, the music begins to ooze from the speakers. You hear the influence of The Cure and Joy Division in great bass lines and some sprinklings of early Siouxsie and the Banshees minimalism. You smile. Some songs evoke motifs from 1980s goth bands, but it all sounds fresh. Nothing is overproduced. It all sounds very DIY, but all the tracks are recorded well. Occasionally, you hear male and female voices dueting on songs, which you’ve always had a soft spot for. Most of the lyrics seems solid. There is a continuity in the sound of the mixed tape, which is sort of shocking because the tape is full of 10 different bands you’ve never heard of. 

Above, I have described exactly what it felt like the first time I ever heard Songs from Under the Floorboards Vol. 1. The story above actually happened to me, except the cassette tape was a demo by the band Naming Mary, as opposed to a compilation by Accident Prone Records. Nevertheless, it felt the same.

All the bands on this record are contemporary, but I’ve never heard a compilation that sounded so late 1980s underground in my life. It is derivative, but it sounds authentic. How did Green Noise find so many good underground “goth” bands to fill this compilation? It’s fucking crazy. I loved this record instantly, and I am not a push-over for the myriad of “goth” bands that bore me to death. Did I mention that Mike Watt even shows up on this record? This compilation also feels a little punk rock. I love it.

Only 500 physical copies (vinyl) were made; however, it is also available as a digital download. Pick up a copy at the label’s bandcamp site: https://accidentpronerecords.bandcamp.com/album/songs-from-under-the-floorboard-vol-1.

Also, the proceeds go to Planned Parenthood, which is reason enough to buy it in whatever form.

Give it as a gift. Whatever. This compilation is unusually great.

Nice job, Accident Prone Records. 

Nice job.

Track list:

Shadow Age, “Youth.”

Annex, “Modern Age.”

Perralobo, “Suelo de Cristal.”

Otzi, “Zebra Cruiser.”

Vice Device, “Litanies & Lies.”

Golden Apes, “Voykova (The Healing).”

Ghost Noise, “We Are Not Lovers.”

Sculpture Club, “Not Impressed.”

Bernays Propaganda (featuring Mike Watt), Nisto Nema de ne Razdeli.”

Forever Grey, “Trespasser.”

Maui Soundtrack

By Jack Stephen

We headed to Maui for a nice summer vacation break. What would we be listening to? Kani ka pila! (Hawaiian for play music).

Monday: The music of George Helm—Hawaiian music fueled by slack key guitar, ukulele, and mellow moods. Listening to his compilation on Spotify sounds almost religious in a sense. George Helm, who I didn’t know much about, had quite the scene working. He has one of the most unbelievable falsetto voices I have ever heard. Some cursory research revealed that he was an activist. In the 1970s, he and some buddies were incensed by the U.S military bombing practice on the smallest of the Hawaiian Islands, Kahoʻolawe. They protested the destruction of what was a beautiful island. At one point, he was concerned about a couple of his activist friends who were hiding from the U.S. military on the island for over 35 days. He set off from Maui on a surfboard to try and help find them. He was injured and disappeared into the ocean, never to be seen again. But this music lives on, slack key guitar supporting his amazing singing, recorded in some local bar. Pretty incredible and a great way to set up this vacation week. From the lanai of this condo, I can see the island of Kahoʻolawe, undeveloped and uninhabited today, ravaged by the U.S. military and littered with unexploded munitions everywhere. Mahalo George Helm, thanks for the efforts.

It’s Friday now, and I haven’t written anything about this trip all week. There’s something about this place called Maui, not sure what it is, but there’s a tendency to just sort of check out and not really want to do anything. Its freaking beautiful. Go to the beach, go to the pool, take a walk, sleep in, take a nap, or even just sit somewhere outside and stare at the greatness of the ocean. When I was here with my father right before he died, that’s what we often did. He was pretty sick with brain tumors. But, he was still happy, and why wouldn’t he be, here he was at the end of it all—he had arrived. We just sat and talked. I remember he remarked how Maui was “such a gentle place.” Yes indeed, you can feel it. You can hear it especially. Maybe this is the soundtrack of this trip after all, the crash of the waves, the birds chirping, the doves cooing, and the wind rustling the palms. Easy sounds—sounds of comfort and memories. Is that what music is about? I don’t know. But I do know this, this island “music” are the sounds that remind me of my dad and the time we had. I can see his smile. As I look over Napili Bay, a soft rain falls, bringing a new sound in the air. Mahalo. 

What would he be listening to? “Superstition” by Stevie Wonder. My dad always liked Stevie Wonder, who was big when he was in college. Plus, my dad’s name was Stephen, so “Stevie” seem to be an appropriate nickname—at least as far as the Delta Tau Delta’s at Texas Tech were concerned. This song was a collaboration between Stevie and the great guitarist (albeit maligned) Jeff Beck. What a song it is. It reached number one on the Billboard 100 in 1973. It is goddamn funky, a quality Stevie was accused of for most of his career.  

What I would have played next? “Visions” by Stevie Wonder from the Innervisions album.  Lyrically, the irony of both these tracks is palpable. Think about it, he was freaking blind! His whole world might have seemed like a superstitious vision for god’s sake. But somehow in all his talent, he was able to cut through and communicate his experience in a great soulful way. This was a great album, he really started to hit his stride and experiment with what he could do as a musician.  

“…today’s not yesterday, and all things have an ending…”

It feels pretty eerie being this close to Lahaina (we were staying just north) as the community is still reeling from the fires that burned the town to the ground last August. You drive around and see memorials everywhere. You still cannot enter the town almost a year later, as military-style checkpoints line the entry points, pedestrians and cars are banned. What you can see is horrifying, foundations are the only thing standing in neighborhoods. There are random stoplights outside the city limits so truck after truck can continue to move out the debris. This was a horrible tragedy. We heard on the news they had just identified another body in the rubble. The total lives lost are over one hundred. You can feel the heartbreak in the air. This disaster will reverberate for years to come.  

Friday afternoon, grabbing a few groceries at the Napili Market for our final weekend here, what’s on the speaker?  

“Rocky Mountain Way” by Joe Walsh. (Speaking of 1973) I’d say this was a pretty good choice, especially seeing how I was visiting from Colorado. This is a pretty great “Colorado” song. Walsh is one of those super talented session guys whose successes in a few different band iterations were not surprising to anyone. Initially blowing up with the James Gang (check out tracks such as “Funk #49” and “Walk Away”), he was one of those guys who, once he got going, never really stopped. Well, at least until he finally dried out, probably saving his life. He sure had an epic career though. This is the guy who played the guitar solo on one of the most played rock songs ever, “Hotel California,” along with Don Felder. I did a bit of digging and discovered Walsh lived in Boulder for a little while. He was one of the first musicians to record at Caribou Studios up near Nederland. Caribou was a renowned studio where several artists went to the mountains to record albums, including the lesser-known Elton John album Caribou. Walsh had a young child who died in an accident, and I guess that was about it for his Boulder career stop. Caribou Studios later burned to the ground in 1985. I got to give it to Walsh though, enjoyable catalog and some great guitar licks.

“Working My Way Back to You” by the Spinners. This version was a cover of the original hit by the Four Seasons back in the 1960s. It was pretty popular and might have charted higher than the original. I can tell you one thing about this song: This guy has really fucked up this relationship. I mean, when you have to “work your way back,” you are deep in the shit for sure. I guess this song would be a fun way to get back in the mix with this lady, but the tone is just a little too jovial. Maybe it would help if he sounded a bit remorseful or sad? But he just seems like whatever he did is not really a big deal. It’s a strong choice to have that bass vocal line come in on the line “been paying everyday.” I’m still not giving this guy much of a chance. The Spinners are pretty cool, I guess. Check out the songs: “I’ll Be Around,” “Could It Be I’m Falling in Love,” and “One of a Kind Time (Love Affair).” I’m glad they had this comeback hit. Not really my top in the R&B game however, as they are a bit too “poppy” and lacking in funk. The real question I have: Was Frankie Valli able to “work his way back?” This song makes me think he was probably a pretty good philanderer. His solo track “My Eyes Adore You” is pretty solid.

“Infatuation” by Rod Stewart. Here’s some classic 1980s Rod Stewart, tailor made for chart topping even though it seems such tracks of this era don’t have much of a heart. “Da Ya Think I’m Sexy” would be another example. It just feels like he’s checking off the boxes as he’s writing these songs. I probably wouldn’t be so dour if I wasn’t such a fan of his earlier stuff.  Songs from his earlier albums (The Rod Stewart Album, Never a Dull Moment, and An Old Raincoat won’t ever let you down) are deep with the passion (listen to “Lost Paraguayos” and “Handbags and Gladrags”). On these albums, he sounds enmeshed in being authentic and really letting in all out in the studio. The mid-career albums are fun and probably made a pile of cash, but at what point of “just because you can do it, doesn’t mean you should do it” thinking creep in. What I’m trying to say is, I’m glad he made that money and probably had a great time with the cocaine, but I wish he would have done an album with Joe Walsh instead.  

Back home in Colorado, on Wednesday, I sit and reflect on our trip. It’s pretty exhausting getting back but whatever. In my fatigue, I feel grateful for the chance to experience Hawaii once again. Don’t have much to say about this trip; Hawaii sort of consumes you. You just try to be present with the magic of this island paradise. Waking up in the morning, plunging in Napili Bay, floating as the sun rises—this is what it’s about. A chill rolls up my spine as I write this; everything seems alright in the world.  

What song is in my head?

“Cheap Silver” by Silverada. These guys used to be Mike and the Moonpies, but they recently changed their name. Bold move, let’s see how it plays out. I loved this song when it came out a couple of years ago on their album Cheap Silver and Solid Country Gold. This is just a country song done right; everything is working for these guys on this one. The string section is a great production choice, as it makes everything smooth and nice. This is a song that really nails what it’s like getting old, for me anyway. 

I hear the lyrics. I feel the music. In the silence of this morning, I think of my dad, the spirit of Aloha in my heart.