In 2001, during my only metal & hard rock phase, Atlanta’s Sevendust became one of my favorite bands after releasing their third major label album. “Animosity.” A few years earlier they had shown up on my radar, and while I enjoyed the likes of Korn, Deftones and so on, Sevendust always stood out to me.
One of the reasons for that is how great the band is at mixing the heavy with the heartfelt, walking the line between nu metal, hard rock, and some form of a power ballad. The point is on that third album the five members of the band, bassist Vince Hornsby, drummer Morgan Rose, guitarists John Connolly & Clint Lowery and of course, vocalist Lajon Witherspoon gifted us a powerhouse hour of hard rock. For years after, “Animosity” was one of my favorite rock records, for good reason. This brings us to the present, to a world where not only is the pandemic kinda seeming like it’s ending, but also to a world where things and events are happening again. One of those things is a tour featuring a full performance of this great album I’ve been talking about. The band initially planned this event for last year, as it’s billed as a 20th anniversary tour, but for the several hundred people at the Oriental Theater last week, it didn’t matter. As the band emerged onstage, with a banner of the “Animosity” album cover adorning the band wall, Sevendust exploded onto album opener “T.O.A.B.” with the same intensity that was present when the album first came out. I hadn’t seen the guys love since 2007, but you couldn’t tell any time had passed. Sure the band looked older, naturally, but the skill set among them is still extremely high and well refined. During the first three songs, the crowd was all energy, repeatedly with enough sound to drown out the vocals of Witherspoon as he and his counterparts busted out “Praise,” and “Trust,” before settling down for the heartbreaking “Xmas Day,” with Lowery leading the first verse as the crowd again sang back. That’s the fortunate part of this type of tour, the crowd engagement is always higher when people love and know the words to the songs. It was very apparent that the crowded club loved this record, and we have the love back ten fold to the Georgia heavyweights. During one of the song breaks, Lajon commented on how some of these songs hadn’t been played in nearly two decades. This led to the introduction of one of my favorite songs from the band, “Dead Set.” The song itself is an eye opening, made for an arena rock soaring chorus style anthem about the depths of drug addiction and how delicate life is. The song on record is amazing, but live it’s a different beast entirely. As the night went on, memories from other shows began coming back to me, one of which is the reminder of how much this band seems to love playing together. For the last 20 years, when I’ve seen them, it’s been refreshing to see rock stars smiling, laughing, and even more subtlety singing the verses and chorus with Witherspoon as they bribed through a memorable set. In the hard rock world the prevailing image is one of never backing down, showing weakness or vulnerability, and definitely never smiling. When you see how well Sevendust as a unit has done in their career, it’s hard not to smile along while listening to a classic album performed in its entirety. An absolute crushing show that made me realize how important certain albums at the right time can be. As the set wound down to its inevitable climax, the band belted out energetic versions of their classic “Angel’s Son,” followed by the cutting, charged “Crucified.” I’ve seen probably five to ten bands play full albums, and honestly, I can't think of a single one that I loved more than seeing “Animosity” in all its hard-boiled majesty. Truly a special night.
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It’s hard to imagine the Foo Fighters being one the biggest rock bands of a generation. Taylor Hawkins didn't join the band during the Colour and the Shape tour. During the early stages of the Foo’s, Hawkins was elsewhere drumming for Alamo’s Morrisette, but that was fated to end as soon as Taylor clicked with Dave Grohl. The rest is history.
When I listened to the drums on these songs, the first thing that comes to mind is the elasticity of his drumming skill. There are songs like “Low,” off of “One by One” that just blow your head up with the rapid intensity created by Hawkins’, while other songs like “February Stars” or even “Next Year” where the intensity is relegated to the back in favor of something more rhymes in tune with the vibe of the song. That type of skill Is hard to appreciate if you aren’t invested heavily in music technique and style. The point that I’m trying to mask is that while drummers are vitally Important to every band, Hawkins graduated to being the second rock star in the band, with an undeniable energy that even put his road warriors band mates to shame at times. To me, he was the consummate drummer, capable of making every bit of art he touched just a little better. In remembrance of Taylor Hawkins, and all the songs we love that he helped create, Rest In Peace, and drum the fuck out of the other worlds. Every now and then a book comes along that changes everything for you. Even more often, a film is made of that book that while good, doesn’t really knock it out of the park in the way it should. That’s where “The Virgin Suicides” comes in. The film, while able to capture the spirit and essence of the brilliant Jeffrey Eugenides novel, falls short in a few ways. The score of the film, though, is an area where French musicians Air and filmmaker Sofia Coppola are able to note the gravitas and knock the idea of marrying music and imagery out of the park in a wonderful, yet tragic way. While I’ve read the book more than ten times, the film score also stands as my favorite score or soundtrack of all time. Today we add another great album to the “Albums Of My Life” series, with Air’s spacey and passionate score to “The Virgin Suicides.”
It’s rare that a score truly hits on narrative points discussed in the inspired work, yet even from early on, the lyrics do exactly that, albeit in a loosely narrative way. One of the best things about the novel is how quickly you’re dropped into a world you perfectly understand. Young people are curious people,and that curiosity plays roles in nearly everything in their lives. The score opens up with the jazz, horn infused gentle rumblings of “Playground Love,” If you’ve ever seen the film, or read the book, I can’t imagine you saying this soundtrack doesn’t fit perfectly in the world in which five boys end up falling for the tragic yet wondrous Lisbon sisters. So much detail is known about these girls, but somehow the lovelorn boys miss the true essence of them, and in the end, it’s much too late. They were doomed, and as it is said in both the novel and film, the boys will forever be trying to save them. By track three, “Bathroom Girl,” the feeling of the time is prevalent, and the hazy quality of the film starts to show itself in audio form. One of the best things about the film is it’s ability to drift among the vibes of the world through snapshots of past and future experiences, but also makes you long for simpler times. You want for the summer where you’re so obsessed with the new girl that you throw yourself off of a roof while pining for her love, only to realize the girl who loved you may have in fact thrown herself onto a steel fence, exiting herself from Earth in a pivotal early scene. That girl, Cecilia Lisbon, the youngest, most carefree of the bunch, starts the onslaught her sisters later finish in dramatic fashion, under the guise of wanderlust. II mention this because the fifth number of the score,”Dark Messages,” ties in thematically to the inner workings of how not only these five souls, but also their parents must have felt doing the time that changed everything. The track is ominous, and appropriately so, because the next song, “The Word ‘Hurricane” winds and bashes and causes destruction. The word Hurricane, as it’s used in a book, is used brilliantly in a couple of obvious but also very subtle ways. The most prominent person in the film who isn’t a Lisbon daughter is Trip Fontaine, and by this time in the book, he’s fallen head over heels for Lux Lisbon, who is easily the most free and unhinged of the girls. But as you can imagine, it doesn’t end well. Back to the usage of hurricane in symbolic terms. and how it’s used to move the story along. Luz and Trip meet in the gym during a science video on hurricane’s, but what Trip doesn’t know, and very well may not understand for decades to come, is that while he was watching a video about hurricanes, he was meeting his own force of nature, in the form of the reckless Lisbon, the one and only Lux. The song plays well to this narrative element, and before we know it, the chaos has moved into an upbeat and dark passage titled “Dirty Trip.” It’s full of 70’s themed instrumentation, like something from a nightmare whose conclusion is uncertain. Finally though, we get to a little bit of softer feelings, as given to us in the musical theme to the whole score, “Highschool Lover.” Melodically it’s the same tone and instrumentation as the opening track “Playground Love,” but it’s more poignant, more open, and more importantly, it signals a turn of mood in the film that can’t be undone. The songs on the second half of the score, while sometimes moving in a slower pace, are able to be more enlightening and engrossing, most of all in the way it plays to what’s happening in the film. Things go worse and worse for this family, and I like to think this score is the useless struggle of the five boys trying to save this woman, while also not understanding that they have no desire to be saved. The twelfth song though, “Dead Bodies,” is an unusually upbeat song, and you can sense the dread coming from the speakers. Drums are flailing while bodies drop from existence, and still, you feel the times coursing through the music. This track not only symbolizes the death of the Lisbons as a whole, but it’s framed the death of innocence as well, as seen through the wanting eyes of five boys who wanted nothing more at the time than to save what was unsaveable. These girls, Cecilia, Lux, Bonnie, Mary, and Therese, were all flickering brief entities in the universe, and they knew it.They just neglected to inform anyone else of their status. The last song brilliantly lays out the events of the book, and transports us one last time to this world where little is understood about the main characters, but you don’t need to, because it speaks to parts of us all. Some of the last words on the score, which will be presented at the end of this piece, explain to us the feelings of the situation after the fact, and the music compliments it in a perfect, but overwhelmingly sad reminder of life, and how it can be misunderstood, pushed aside, and forgotten. "Everyone dated the demise of our neighborhood from the suicides of the Lisbon girls. People saw their clairvoyance in the wiped-out elms and harsh sunlight. Some thought the torture tearing the Lisbon girls pointed to a simple refusal to accept the world as it was handed down to them: So full of flaws. But the only thing we are certain of after all these years is the insufficiency of explanation.". “From five they had become four, and they were all living in the dead, becoming shadows.” If you love heavier, more direct music, and you happen to be from the Boston/ Salem Massachusetts area, there’s no reason you shouldn’t have heard of Salem’s own Converge. This band has been making noisy awe inspiring music for over twenty years now, and if you’ve heard their last few records, you know that they’re only getting better. Early on they were more brutal and quick natures, but with age had come a better understanding in the variety of heavy metal any band can use. With that, I give you the Top Ten songs by Converge, hardcore legends.
10 A SINGLE TEAR: A DUSK IN US One of the stark differences between Converge and other heavier bands is the willingness to not be a tough guy capable of destroying the world in every song. Maturity is a huge part of aging, and Converge has done it spectacularly. The track itself speaks to the aspect of a “single tear” as a way to endure and not let the floodgates open. Bannon, the vocalist, also throws in some poignant heartfelt sections about the type of love that comes with holding your child for the first time. 9 JANE DOE: JANE DOE Many consider “Jane Doe” to be the landmark metal record of the time, and it’s well within reason. The album as a whole is blistering and emotional, but it’s this song, which clocks in at over eleven minutes long that seals the deal in regards to the albums overall greatness. Jacob Bannon screams and tears through the track, but the real star here is the melody and scope the band manages to present. When Bannon belts “I Want Out,” you feel the intensity of the situation. Having said that, it’s not an easy thing to keep the in your face momentum, but Converge seems to do it without missing a beat. 8 AXE TO FALL: AXE TO FALL “Axe to Fall” is an unrelenting track in an unrelenting world. There's no other place to start really. The song is unbridled in it’s appetites for destruction, but that’s how it goes in the world of Converge. The song comes in at a quick and you’ll miss it two minutes, but it’s so insane for it’s duration that even that length leaves you needing a breather. The drums are completely rabid here, but that’s not to disregard the other important musical moments. Few bands are as furious as Converge, and it’s a song like this that makes you aware of just how good the band is. 7 YOU FAIL ME: YOU FAIL ME Number seven on our Top Ten Converge songs comes from what’s probably my second favorite album the band has ever done. This album was hailed upon its release, and it’s well deserved. The guitar parts here are brooding and dark, and the overall themes of the song pull you into a chaotic trance that follows you all day everyday. I love the way the background vocals simply poke out every so often, and how they move the song alone. Going back to the guitars though, the chord progression around the two minute mark is done superbly, and it’s pulled straight from a dark, midnight suspense thriller. When I hear “You Fail Me,” I can’t help but imagine a dark, smoky cabin in the woods, and the people there who have no idea that not only has trouble found them, but that it’s already too late. 6 ALL THE LOVE YOU LEAVE BEHIND: ALL THE LOVE WE LEAVE BEHIND More or less, Converge seems to get better as they go. I’m not trying to say they might be the metal Radiohead, but how they build their craft, as well as the dynamic they seem to have with each other makes me think of the aforementioned British band. This song, off their most recent record, is a prime example of how far they’ve come. The gradual build of guitar, bass and drums is perfect, and quite simply, it’s a more mature and contemplative song than they may have been capable of years earlier. Ben Koller’s drums are as precise and rapid as drums can be in the genre, and the beat never leaves them. Bannon’s vocals also depict hopefulness in a world where it’s hard to find, but ultimately it’s too late. In this case, sadly the title of “All We Love We Leave Behind” is true. 5 HELL TO PAY: JANE DOE This steady song takes the band places that they hadn’t ventured to before, but it’s an awesome song nonetheless. The lyrics are the main attraction for me on this one. It’s a cool, calm type of delivery that you don’t get too much in the genre, but maybe more bands need to take a cue from this Salem boys, because clearly they’ve been doing the right thing for a long time now. “Hell to Pay” is no exception. The bass part is highly original and really fuses the unnerving aspects of the song into one nice, albeit dark bow. There’s a reason this record is held with such high regard. 4 FIRST LIGHT/ LAST LIGHT If “Jane Doe” is the band's masterpiece, then “You Fail Me” is the point in which it became clear that this band was going to keep evolving and challenging themselves and their listeners with brilliant music. The opening of “First Light” forebodes coming anger, but by the time “Last Light” echoes out in the world, it’s already too late to turn back. It’s a song full of positivity and light, and the lyrics drive that point home. Converge is able to go dark when it’s needed, but they’re also adept at giving light to hopeless situations and informing us that all is not lost, and that we need to “Keep breathing, Keep living, Keep searching, Keep pushing.” 3 DARK HORSE: AXE TO FALL One of the best opening songs on any album, this track starts the album off in a perfectly driven way. The chants during the chorus, adding intensity to the ever growing stubbornness of the guitars and drums to never give up, really make the song one of their best songs period. The whole album has a sort of immediate response to it, but in the end it’s the number three song on my list of the Top Ten Converge songs that sets it going in the right direction. I mean, c’mon, that guitar part is face melting at it’s best, and Converge deserve all the recognition they get for truly pushing the boundaries of what metal should be. 2 CONCUBINE: JANE DOE “Concubine,” which opens the seminal “Jane Doe” album not only delivers in its brutality, but it also brings us into the world of the unsuspecting “Jane Doe.” The song, at a brief one minute and nineteen seconds, explodes from the first seconds and doesn’t let up. Ballou’s guitars, Bannon’s vocals, and the overall anger of the song drive points home that sometimes get lost in modern metal, but like I said previously, Converge is one of the only bands doing things in the genre that are worthwhile. A Big part of that is the genius behind the severely revered record. It’s been probably ten years since this song was first introduced in my life, but as you can see, it’s still their best song to me without question, and “Concubine,” as well as the entirety of the “Jane Doe” record, really drives home the importance of the band. Thanks for reading. 1 THE DUSK IN US: THE DUSK IN US As the band's sound has progressed, fans will notice a gradual change on how Bannon’s vocals elevate from only throaty growls and screams to more purposefully calm, softer vocals. My number one converge song, “The Dusk In Us,” is hauntingly powerful, with the instrumentation from Kurt Ballou and the rest of the band ever so slightly turning up the heat as the nearly 8 minute song cascades into the heavier, down tune thickness during the songs crescendo. This song is a master track on how to do elevated, simmering heavy music in an expert manner. Long live Converge. “The Dusk in Us' ' stands as a flashlight to the life you’re walking into, an a warning to never let your guard down. So I've purposely not talked about nin too much because of my never ending love of this band. But today we’ll be adding another record to the “Albums of My Life” series with Nine Inch Nails massive breakthrough record, 1994’s “The Downward Spiral.” Enjoy!
The first thing you hear on this increasingly violent record is taken from the sci-fi cult movie “THX-1138” but from then on you're treated to aggressive industrial rock that didn’t really fit in with the current state of music at the time. The song is a perfect start for the story of a man meeting his end and falling out of control, and all the touches here only add to the already high level of tension that permeates all of “TDS.” This record tells the story of a man propelling to his demise, but it also propelled Reznor and company to the top of the pile during the early to mid 90’s, and even for a record that's now legally allowed to drink, you can still hear what made it such a promising, strong minded album. Many of these songs have since become staples, and again it’s not surprising. “Piggy,” follows up “Mr. Self Destruct,” but it changes course in terms of style and intensity. Musically it’s slower in tempo, but the lyrics are just as dark as anything Reznor faces on the rest of the album. Frankly, I’ve never been a huge fan of the studio version, but as a piece of a narrative it fits in exceedingly well. Songs three to five though are where you really start the see the desperation and darkness surrounding our main narrator. “Heresy” has some of the most anti religious lyrics Reznor has ever put to tape, and after you’re done belting out “Your God is Dead, and No One cares,” you’re treated to what’s likely the most high energy, quickly intense track presented here. “March of the Pigs,” to this day, remains a rabid favorite among fans and it’s inclusion during shows has become the standard by which you measure the intensity of the crowd, and the band overall. It’s short, but even if it's under three minute in time, it more than gets the job done. Track five though is easily among the band’s most well known songs, and when the desolate synth beat of “Closer,” honing in on the environment of the song, you know what’s about to happen. While I could easily go without listening to this song or hearing it live for a long time, the song itself was the major push the band needed to graduate to the grand arena rock band they became. It’s slimy, sleazy, masochistic, and boy did it piss off a ton of parents when it was spreading it’s vulgar lyrics all over our country. My Aunt absolutely hated the song, going so far as refusing to even have it playing in her car while my cousin and I were just loving it. The best part for me though is the heavy electronic breakdown that brings everything up in tempo but also signals the finale of the well orchestrated and mixed track. From here on the album gets only more experimental. “Ruiner” is still way ahead of the game in terms of pulling off ideas that both sell the music and genius of the band, but also push along the concept of the record. By this point the main character is slipping, falling further away from sanity, and images are starting to appear in his brain where they shouldn’t be. Musically the track has one of the best, most triumphant instrumental sections on the whole record. When Reznor mumbles “How’d you get so big, how’d you get so strong,” he’s backed by an impressive thrust of anthemic guitar parts and electronic sections that to this day stand tall up against some of the best instrumentals the band has ever constructed. From here though, things only get worse for the listener and the character presented. “The Becoming” signals the hard left turn that his life has taken, where multiple personalities are prevalent in the person’s head, while “Big Man with a Gun” is furious and very tongue in cheek in terms of displaying just how hopeless this man’s life is becoming. The last five songs on the record though all deliver eye opening, yet very starly contrasting themes and arrangements. “A Warm Place,” remains beautiful in it’s presentation, but offers little reprieve in the grand scheme of things, while “Eraser” is a slow burn of evil and desperation that gradually pays off on it’s way to the huge musical bomb that’s set off at the song’s conclusion. It perfectly builds tension in the world of the album, and when the drums, guitars and screaming take full hold, there’s really no good that could come of it. As the record finishes though, “Reptile” stands up excellently when compared to it’s name. The track has a venomous, stalker-like vibe that resonates with the title, but the song works well simply because of the thought and precision used in managing it. It’s also the longest track of the record, which gives it ample time to worm and crawl it’s way to the conclusion you all see it coming, not only on the track itself but the album too. After making it through that though, the title track only adds fuel to the fire, and it’s epic slow build up purposely sets up the foregone conclusion everyone gets to when they think about the story of the record: The main character kills himself, or at the very least comes damn close. Probably the best known track off “TDS” also happens to be the track that concludes the record. To this day “Hurt” remains a poignantly tormented song, with Reznor singing more clearly and vulnerable than he has throughout the record. The chorus also happens to be infectious, and very easy to sing along to embrace the pain this man is feeling. It’s a cathartic song on the record, but it’s also cathartic to the listener who has been put through a myriad of personal torment on their journey through this very good, but very deeply troubled record. Thanks for reading. Doom, gloom, Australia. All of these things help to describe Nick Cave and the Bad seeds, but over nearly 49 years has taught the band to never get tired and routine. Below you’ll find what I feel is a pretty comprehensive list. The Bad Seeds have A LOT of material, so sadly not all could be represented, but regardless.
Follow us for more content at @thedeathofthemixtape on instagram, facebook and Spotify. Thanks for reading. I hope you enjoy 10 BRIGHT HORSES: GHOSTTEEN During this most recent period the band, Cave has been delving into even more introspective pain than before. The cause, or push of emotions all started with the death of Cave's son in a hiking accident. The somberness of this track, not to mention the other records made during this mournful period, bites at the listener, and fills said listener with a deep pain that only Cave's deep, sullen voice is capable of fixing. It’s a haunting sound you don’t quickly forget, yet it moves you to the core. 9 ABATTOIR BLUES: ABATTOIR BLUES/ THE LYRE OF ORPHEUS Most of the work of the bad seeds is steeped in a certain sadness which makes it easier to relate to. Songs like “Abattoir Blues,” off the 13th record from Cave and his Bad seeds, fit in with the future of Cave as well as his past. The musicianship in the band is at the height of their musical intelligence. And it shows. The drumming, along with the whispered manner of the lyrics and the feminine backing vocals all make the song a necessary inclusion on this list. 8 PUSH THE SKY AWAY: PUSH THE SKY AWAY Like a lifeline ending amid a sea of emotions, “Push the Sky Away” has an innate ability to make you feel all the weight of the world as Cave implores you to keep going. The track is rough and awakening at the same time, with the rare drum thump nesting in the background of an ominous keyboard section that makes me feel like I’m walking to the light at the end of the tunnel. It also features some of my favorite vocal deliveries in Cave's whole discography. The man truly is a master of adult contemporary, eye opening emotional music. 7 FROM HER TO ETERNITY: FROM HER TO ETERNITY From my initial hearing of this song, it always played to me like a piano puzzle, with Cave racing through a mysterious, thin walled maze as he looks to go “From Her to Eternity.” The intensity of the piano and the slow burning build of the accompanying instruments make the tension even more engaging and palpable. It’s an early sign of Cave and the Bad seeds brilliance, and it finds the countdown at number 7 6 HIGGS BOSON BLUES: PUSH THE SKY AWAY The rhythm on this slow but meaningful song stands in firm contrast to the lyrics that we’re created on the spot. At seven minutes, “Higgs Boson Blues,” is a slow winding late night dive bar kind of track. It’s easy to imagine the rusted out drunks in a dark bar after midnight with this song humming softly over the speakers. Cave often times is more deliberate and less loose lyrically than he is here, but it adds a new exciting side to the already great work of Cave and the Bad seeds. 5 I LET LOVE IN: LET LOVE IN The opening paints in the listeners head a serene country valley, with regret and beauty as the sun cascades across the peaks and plains of the valley. “I let Love In” has a quality that’s both heartwarming and bitterly cold, as the wind of the world comes for its battle as the song progresses. To me it fits in brilliantly with most classic western movies, which makes it stand out even more when you think of it’s place in contemporary music. 4 JESUS ALONE: SKELETON TREE Easily the most haunting song on this list, Cae and his bad seeds yet again manage to sound distinct not only among their contemporaries but also compared to the other records the band has produced in their long storied career. It’s a eerily slow song with minimal production backing it, but it’s in those moments that Cave shines. Perfect for a person lost in the wilderness surrounded by fog, “Jesus Alone” starts the record on a super somber note filled with death, and those feeling persist through the rest of the album. 3 DIG, LAZARUS, DIG!!!: DIG, LAZARUS DIG!!! You can try, but I Donny you find another song as upbeat as this one on this list. “Dig!” Has always spoke to me as a rambling, stream of consciousness illusion of what the after life might be. Caves vocals are sarcastic, more rushed than typical, but that makes a perfect pairing with the quick nature of the instrumentations. I still laugh at the song, the dirty language that’s well hidden during the track, and of course the imagery of “Larry” who never actually asks to be resurrected. 2 THERE IS A KINGDOM: THE BOATMAN'S CALL I’m gonna just throw myself under the bus and say that for years, for some reason I kept remembering this as a Leonard Cohen track. It definitely isn’t, but I’m hopeful you readers can understand why. Anyway, the song is monumental in its powerful Imagery, with a much more awakened idea of the afterlife and the powers that be than we typically hear from the Bad Seeds. The piano section at the song's onset is soft and elegant, and while the song never really explodes in its energy, it doesn’t have to because the message is just as strong on its own. 1 RED RIGHT HAND: LET LOVE IN This classic, likely the band's best known song, has appeared in the Scream films also the way, but the song speaks a much more sinister tone than its usage in the movies leads you to believe. It’s a rustic nightmare of a country western, with the man with the “Red Right Hand” coming across like a classic villain in a Stephen King novel. In fact, the term “Red Right Hand” was a nod to Milton’s “Paradise Lost,” which to some is scarier than a King Novel. A lot of the music of the Bad seeds has a forbidding counter western wine to it, and the inclusion of the Theremin during the songs second half add an even more mysterious, dark tinge to the track. For those reasons, “Red Right Hand” stands at the number one song from Nick Cave and the Bad Seeds When I was younger, I rarely if ever gave thought to what my favorite artists were like behind closed doors. In short, it was easier for me to separate and ultimately to not care. Those times are done.
As I grew older, I started caring about the perceptions and reality that sits outside of the entertainment industry. I feel like this is a natural response to maturity. Of course at a young age I marveled at the careless cool behavior of rock stars and their various outrageous antics, but at some point, even rock stars need to stop acting like gods and children. This brings me to today's topic, judging artists for their private lives and human shortcomings. For me, it all starts with one person, Michael Jackson. When I was young, I’m talking like age 3-10, I was obsessed with the “King of Pop.” The music was insanely catchy, mesmerizing in terms of production, and in a word, legendary. For fuck sakes there was nothing Jackson couldn’t do in the 80’s and 90’s, until at least shit started to fall apart. The news of Jackson’s possible, extremely bad interactions with children became a focal point of his past and a troublesome part of his still massive fame. For years I was sure it was untrue, and that he was simply weird and eccentric, but the more I thought, and the more I read, the more unsure I was of his private behaviors. Even up until 2014 or so, I was still listening to Jackson’s music, and loving it, in spite of what I had heard. These days, I can’t seem to split my feelings enough to still enjoy an artist that was once massively important to me as a person. For me, there’s certain things I can overlook. For instance, Metallica has more than a few times done their fan base incredibly dirty and they certainly take advantage of their massive fan base, but is that worth not engaging in any way with the band? In my case the answer is no, it’s still worth it, and even though some of their older songs and some recent (in the last several years) statements by James Hetfield leads me to wonder how far off the trail he’s gone in terms of politics, sedition and other warnings for democracy. But until something more concrete crosses my path, Metallica is still one of the best metal bands of all time. That point brings us back around to how you measure artists with sketchy backgrounds. Even though there are plenty of curious events surrounding the Jackson allegations (many articles have been written about the parents of the suspected abused and their history of blackmail and of course, lack of any real proof) but at what point do you draw a line in the sand and say, I can’t tolerate this? In the case of Jackson and the sordid allegations, there’s much to be proven or confirmed (we’ll likely never know for sure) while for other artists, there’s substantial proof of their wrong doings. Case in point, Kanye West and Marilyn Manson. Manson, aka Brian Warner, has since the 90’s dabbled in the kind of shock rock antics that made him a household name in the rock and metal world, all the while skirting the line between acceptable and off limits. At an early age (17-21) I was a die hard Manson fan. His albums during that time were blisteringly explosive, with more angst and venom hurled at the world than the likes of MTV could appropriately handle. When news broke last year of the horribly abusive lifestyle Manson maintained and doled out to his various alleged victims, suddenly everything that seemed off about the man named Warner made sense. Yes he had been skirting the line between controversial on stage antics in the name of rock n roll, but if the reports are to be believed ( nearly all of them seem likely and the amount of similar things in the multiple victims statements lead me to believe the allegations are true) Warner never gave up that rock n roll lifestyle when he wasn’t entertaining. Instead, he seemed to live in the world of Marilyn Manson, behaving as though lines and limits didn’t exist, and essentially torturing more than a few innocent women along the way. After I read those allegations and articles, I never listened to another Manson song, and I never plan to. On the other hand, you have a person who, though never accused of rape, kidnapping and other things associated with Manson and Jackson’s private life, but who nonetheless is a legitimately bad person. You know him as Kanye West, but for the last five years or so, West has consistently shown the public a few very important things. One, that you can be a brilliant artist while not being a good person. Two, he’s a person capable of making the ultra up their own ass, self -importance of Kim Kardashian seems somehow normal and in need of support, when in fact she’s neither. She’s still the same horrible human being we’ve always known, but it’s to be applauded at how “normal” she seems when compared to the behaviors of her ex-husband. West at this point is making the downfall of Sly Stone look tame, which is hilarious when you think about it. It’s also really sad. I don’t even consider myself a fan anymore. It’s just not worth the effort, and he hasn’t had a brilliant album in nearly a decade. To me that’s more important. As long as he was making good thought provoking music I could justify the darker sides. But with that essentially gone and this new, abusive husband Kanye seemingly staying out, who fucking cares. The guy is a joke, and mental illness or not, we deserve to not have Kanye around to deal with. And lastly, well, just look at the types of behaviors and things he’s said. He’s a known agitator and resistor of democracy, he’s racist to his own race, openly supports abusers, rapists, racists and even will go to bat for a guy we all watched stand there making jokes as attendees of his own festival are literally crushed to death. I’m referencing Travis Scott if you were unsure. The point is, making art doesn’t make you a good person, and being a bad person doesn’t instantly mean your art is unimportant. It does however mean that we can pick and choose our level of comfort when engaging with artists you don’t like as people. Be careful, but enjoy as best you can.
Since bursting into the music scene via MTV during the late 1990’s , Eminem, aka Marshall Mathers has had no shortage of hit songs, while confidently using his lyrical style to fit into every facet of both hip hop and pop culture. His tracks are often biting, critical indictments on the importance of celebrity self worship, mixed with tongue in cheek lyrical content. Doing this has cost him no shortage of publicity and drama, yet after over twenty years in the game, there are still more than enough people getting owned by betting against the Michigan innovator. With that, here are the top ten songs by Eminem.
10 RAP GOD: MARSHALL MATHERS LP 2 Over the course of this scorching, six minute track, Mathers intersects blink and you’ll miss it lyrical jabs, while accompanying those lines with his trademark style of hard to squeeze in words and content that both elevates the rap world while giving props to the MC’s who came before. The beat is simple enough to catch the listeners attention in service to the song, which is as controversial in moments as anything in his discography, but if you’re still tuning in at this point you shouldn’t be surprised by anything being presented during an Eminem record. 9 WITHOUT ME: THE EMINEM SHOW By this point in his career, Mathers had become the biggest name in music, a few times over. On this, his third record, all bets were off, but still the record and this list wouldn’t be complete without this satirical fuck you, pointed at everyone not named Eminem. During the roughly four minute track, shade is appropriately thrown at Dick Cheney, the mother of Eminem, and plenty more celebrities prominent during that time. The lyrics are intense and ready for aggression, but the jolly feeling of the instrumentation make it almost too easy to sing alone to all incendiary lyrics being tossed at exceptional pacing. 8 LIKE TOY SOLDIERS: ENCORE Written as a sort of call to action to squash the rampant violence of rap feuds far and wide, “Like Toy Soldiers” also offers an insight into Marshall the man, not Eminem the star. Lyrically it’s heartfelt and strong, but the rarely shown vulnerability surrounding the song is an eye opener. The usage of samples is just as expertly executed as the lyrics, and the song is infinitely better because of that flawless execution. For instance, Mathers rarely mentioned personal events and family members (other than his mom) in tracks, which makes this one all the more important and musically relevant. It’s totally underrated in his discography, and we'll say that's just not cool, especially when you see how far Mathers went lyrically on this track. 7 CLEANIN OUT MY CLOSET: THE EMINEM SHOW Another one that’s emotionally poignant, “Cleanin out my Closet” speaks to me like a teenager's irrational fantasy about leaving a turbulent past while also opening up about why he’s leaving. The narrative is filled with terrible moments for any child to go through, but it paints a clear picture of the abuse Mathers suffered at the hands of his parentage. The strength to bring these things to the forefront is a strength few people have when it comes to parental abuse. Beyond that, the track was a huge hit and a real moment of reflection to many in the music world who just assumed ‘Em had only a dark macabre sense of rumor, with very little emotional weight behind him. 6 KILL YOU: MARSHALL MATHERS LP At what point does a listener of music start to brush off violent images and undertones in music? If you want to be an Eminem fan, it should happen as early as possible. Much like the lyrical content in a Gwar song, none of these lines during the first verse of “Kill You,” are serious, but again, that didn’t stop the media from pouncing. For good measure, Mathers never backed away from the sensational lyrics, even going out of his way to make sure everyone knew no danger would come to anyone referenced in the track. Still, it’s a hilariously dark song. 5 WHITE AMERICA: THE EMINEM SHOW America! Maybe not the best ‘Em song ever, but honestly, when I first heard it I was captivated by the bravado of the opening musical moments. Those moments are only elevated once Em’s vocals come bouncing into the mix. “White America” at its center speaks to me as a sign of acknowledgment of Mathers’ success, and how relatable as a human he is to his millions of fans. You have to remember, during his blossoming dominance during the late 90’s -early aughts, it wasn’t common for white rappers but it was very common for white fans. Because of that, millions of white mothers and fathers were suddenly aware that rap could be just as dangerous for oppression whether it came from one shade of skin or the other. In fact, being a success just made white kids that much more in love with Hip Hop culture than they were before. 4 LOVE THE WAY YOU LIE: RECOVERY This might not be a great inside look at a successful relationship, but it’s down to earth in a way that makes it even more plausible and honest. With the backing from Rihanna’s powerful vocals, Mathers uses his too close for comfort past as a springboard for a chaotic portrait of a relationship on fire. For the listener it’s likely easy to put yourself in the musicians' shows, which naturally makes it easier to love as a piece of art. The unsureness permeating through the vocals are a reality for myself and many who deeply love a person while still not being sure how to make a peaceful happy life with another broken person. The best songs come from real life moments and emotions, and with “Love the Way You Lie,” Mathers created an honest look, full of difficulties, and that’s what the major takeaway should be, that even mega stars have difficult private and romantic lives. 3 THE WAY I AM: MARSHALL MATHERS LP When I was making this list I found myself casually rewatching some of these videos, and while it’s not nearly as cool as I remember, the visual of ‘Em falling speaks particularly well to the song itself, as it seems at times like Mathers had nowhere else to go to escape the bullshit controversy that seemed to follow his early years. In truth this song is one of most relatable for me in terms of subject matter. I, like Mathers, struggle with the similarities between myself and my parents, along with having a quick mouth capable of making an entire room pretend they didn’t hear what I just said. “The Way I Am,” in short, is an unapologetic anthem for the loose cannons of the world, who despite their best intentions and efforts, still end up saying scandalous shit from time to time. 2 STAN: MARSHALL MATHERS LP We all have our ideals, but the rampage of this particular fan stands out as a cautionary tale of disillusionment that stands as one of Eminem’s most powerful songs. It’s two decades old, but the lyrical content still haunts the listener with various what ifs. Also, it works two fold. It’s a powerful song for the listener, but for the musicians who consistently deal with obsessed fans it’s entirely different. You feel for the main character, sure, but I find myself relating more to Mathers here. You can’t please everyone who will ever enjoy your art, but where do you draw the line? How do you deal with unstable people who feel oddly, delusionally connected to you? For the vast majority, you don’t. It's a sad reminder of the dangers of fame, and of a person's inability to separate real life from entertainment. 1 LOSE YOURSELF: 8 MILE Oh Marshall, here we go. Eminem has skirted controversy gleefully since breaking out in the late 90’s, and plenty of his songs have been called offensive, insensitive and downright filthy. However, he’s at his best when he uses his personal history to build a song that is as thoughtful as it is meaningful. Probably the best part of the film 8 Mile is the ending “Battle” section, where Em obliterates his music adversaries. This song stands as the pinnacle of what he’s able to do lyrically. There’s no clever lyrics dissing celebrities. Instead, it serves as not only the cornerstone for the film itself, but as the best song in his vast, sometimes hit or miss repertoire. This proves his versatility in lyricism, and it’s still an anthem all these years after it’s release. You really can’t not get into the chorus- it's strong, in your face, and a testament to the power of this particular lyricist. As an young man, I gravitated more to heavier music, in the vein of Slayer, Pantera, Cannibal Corpse, and the like. As I got older though, I discover all different types of sounds, and unless you want to remain stagnant and stuck in one spot, you have to give everything a chance. One of those early albums was the Flaming Lips’ “Yoshimi Battles the Pink Robots.” Before this record they had been known more for “ She don’t use Jelly,” but by this point they had changed their sound in favor of a more experimental, dreamy, lush landscape. Before Pink Robots, they had proven themselves to be a band unique to themselves with albums like “ Clouds Taste Metallic,” “Zaireeka,” and the “ the Soft Bulletin,” among others. This is a band that is constantly producing results. Check out “ Race for the Prize” off of Bulletin, it’s one of the best alternative songs of the last thirty years.
The album opens with a type of reverb, almost like giant robots being called into action. I imagine a giant factory of Pink Robots being assembled, and finally, the day for war has come. Some of the lyrics suggest my theory, but when you’re dealing with this band, I find it better just to enjoy the overall chemistry of the song and just let it flow. Much in the same way Muse did back in the day, the band, composed of just three dudes from Oklahoma manage to craft a sound that sounds like it’s at least 2 more members. Wayne Coyne, the leader and head weirdo in this outfit, brilliantly weaves in and out of this first song. The overall album, while not a concept album, has the general feel of a proper concept album. The whole album has this otherworldly feel to it. Especially on the second track “ One More Robot, Sympathy 3000 – 21.” I picture this happening on some very clean space ship floating through the galaxies, most likely after the destruction of our precious planet, either by Pink Robots or politicians ( Seriously, can’t you imagine the government sending out Pink Robots to control the masses?) Anyway, the first song that’s pure sing along comes when the third song “ Yoshimi Battles the Pink Robots Part I” arrives, but it quickly enters part two amid explosions in the musical sense. It’s very upbeat, immediate, and quite terrifying. This album is fucking visual from start to finish, at least for me. The album is one of the best and most beautiful albums I’ve ever heard, and it’s genius still continues to build. This just isn’t the type of album you come across very often, and that should be celebrated. It’s even more of a feat that while this was going on, band member Steven Drozd was apparently in the slums of a matter Heroin addiction. This of course no one outside of the band's inner circle was even aware of. One of the best songs of the entire album is without a doubt “ Are you a Hypnotist??” The drum beat, the texture of the background, and the amount of vocals all roll into one to create another mind blowing song. It’s not often that the second half of the album is better than the first, but this is an exception to that rule. If you listen to the track, it’s downtrodden sure, but the struggling vocals by Coyne and the epicness of the last minute of the song really drive the emotion home. As a rule, you should always play the song “ It’s Summertime” during, you guessed it, the summer. It’s amazing to lay down in a field, and close your eyes. For a moment, all can be right. It’s a wonderful thing to be able to forget your problems and to think of all the beautiful wonders this world offers, even if it’s for a short time. This plays into the next song also. That song is “ Do You Realize?” Now, this song is equal parts hopeful and melancholy. It’s one of the most beautiful songs I’ve ever heard in my life. I found myself playing this song a lot around the time my Grandmother left this world. It’s important to replace those sad,lonely feelings with one more joy filled. I highly doubt people who have died would want their loved ones to only think about how they were in the end. They’d rather you think about them how they were in their prime, not how everyone is near the end. The album continues in this way of thought with “All We Have is Now.” It’s true. For a fruitful life you have to take everything in stride. Closing out the album is more of a free jam type song, and honestly it works wonders. This can be a heavy album to take in, topic wise, but if you open up your mind and are willing to go for the ride, it has bountiful rewards. It's sorta weird to think about Tool, featuring Keenan, Jones, Carey and Chancellor as the ring bearers for modern progressive rock, but after three near decades, it's also sorta impossible not to think of them as being at the top of the heap. Rush no longer exists in a present way, KingCrimson is three decades past their prime, and well that’s where we are right now. Let me know if I missed anyone.
Anyway, When you first heard “Stinkfist,” or at least for me when I did, it felt fresh, and even though I had heard the band before, my fragile teenage mind couldn’t quite make it make sense. Still, I couldn’t turn away from its thumping beats, the whispered, worried vocals, and of course, the weird, coldness of the music video. For many, this album and lead track was the big break that got them into the band. This track, the one that begins the record, is as drudge filled and intense as anything else you hear on the remainder of “Ænima,” but it’s also just a phenomenal way to begin this landmark album. The lyrics are dark but also have this welcoming quality to them, like a witch luring you into darkness.And while I imagine horrible things happening in the shadows, I can’t turn away to shield myself from the ugliness of the track. It’s quite simply an intense ride that sets us on an off road, difficult course. “Ænima” as a whole has many up-tempo, epic moments, which range from immediate rocking openers, to more gradual builds, especially like the opening of “Eulogy,” Where the strange, almost alien sounds at the beginning, murmured out by Keenan, but soon those same murmurings are replaced by Carey’s drums, and of course, Keenan’s famous howl. At about seven and half minutes, the band was veering more into the longer songs they're mostly known for these days. Just like now, you can rarely tell the length when enraptured by the music. “Eulogy,” like “Hooker with a Penis” and “Ænima” later on go heavy on the frustration, and later the resentment. Those prevalent reactions and emotions are important here when considering where the band was. Which is to say, on the verge of a huge breakout, in the face of those who don’t want you to become some big thing. When this record came out in 1996, heavier music was just becoming larger than the late night hours of MTV or metal bars that I as a then 14 year old couldn’t possibly get into, even in Louisiana. Getting back to the record, “Eulogy” ends and you’re like “holy crap what did I just listen to?” And then, before you can answer- boom, “H” hits and the album just somehow got more mind boggling and mystical, especially when considering the tones created by Adam Jones on guitar. To me, he’s the glue of the band, and with his imaginative film work and video work, it's clear to see how integral he is in the band's image. Keenan’s vocals are powerful throughout the track, but to me, it's Jones' guitar parts that hypnotize you here more than anything. From there, another delight, in the shape of longtime fan favorite, “Forty-six and Two.” There are plenty of songs throughout this record that have the capacity to pull in the listener. When you listen to it, especially with headphones, it takes you on a ride so heavy and thought provoking that it's hard to resist. The drums, much like the early guitar part, start slow and build as Keenan’s voice provides his signature meandering vocal patterns, going full tilt only to draw himself back with restraint. It’s that kind of restraint that makes Keenan, and Tool as a unit, so interesting to watch or listen to. They know exactly when to add tension, and when to ease back. They’ve performed this virtually every time I've seen them live, and even if you aren’t a fan of the album version, seeing it live makes it that much more enjoyable and cathartic. During the 77 minute runtime of this particular Tool record, the band incorporates many interludes between songs. Some of these, like “Message to Harry Manback,” are downright weird, while others, like “Useful Idiot,” “Intermission” and “(-) ions” perfectly accompany the songs they precede. One such interlude, “Die Eier Von Satan,” neither fits in narratively or thematically, but once you know what it actually details and explains, is worth it, and very much a type of joke that the members of the band would think is funny. Google the lyrics, I promise you it’s deliciously fun. Now, while the first half of the record is an absolute powerhouse, one could argue it’s still not as strong and cathartic as what comes after the explosive finale of “Hooker.” “Jimmy” is an often overlooked track, but good good are the guitar chords full of sludges thickness, while MJK’s voice is clear but foreboding, moving in and out of the mix brilliantly, while the drums ease, and deflate, before rising patiently in the track. From there, the record is all full blown prof rock, with the last three songs making the record the full masterpiece it was always intended to be. On “Pushit,” a huge fan favorite that has become a lucky sight to see, with it rarely being played these days, is a true triumph of a track. This was one of those first tracks that properly made me comprehend the journey of long songs. While Tool doesn’t even have the longest songs in general ( Sunn O))), Godspeed You Black Emperor, Motion Sickness of Time Travel come to mind), their songs truly are journeys of interstellar proportions. The band has said many times how they meticulously go about searching every rabbit hole, and exploring the boundaries before they decide that’s where this road is taking them. Many bands rush to record, and you can tell because the end product suffers. Tool simply refuse to do this. As one of the lengthier, but equally stand out songs of their entire career, “Pushitt” serves as not only an excellent leap forward into more trippy landscapes, but also as a clear indicator as to where the band was heading next. In my opinion, the journey of this song is the tipping point for brilliance. From where I’m standing you can clearly see that not only were they pleased with the road this took them on, but that they could dive even deeper with subsequent releases. Again, after the risers and falls that occur thematically, you’d maybe expect the following track to be as a ravine as the one before. That doesn’t happen here, and quite honestly, the next track, the kinda sorta title track, except spelled with an I not an E, is way more of a fuck you than any song on the record. Instead, on “Ænema,” you get the aggressive vocals, in all their glorious fuck you attitude, as the pour out over the equally abrasive instrumental sections. It’s one of the band's biggest hits, and while it indeed does have brutal sentiments for the coming end, it’s so primal in its frustrations and anger that your typical Tool fan eats it up like pigs to shit. And now, we get the finale, that is more than worth the wait. “Think for yourself, question authority,” might as well be the motto of the band. While this song hasn’t been played a lot at the shows I’ve attended, I’ve heard that phrase quite a few times. The opening of the “Salival” version, provided by Tim Leary, basically sets the stage for the most epic, mind melting pieces in their catalog. This song has more loops and turns than an episode of “LOST.” It also happens to have a persistence that doesn’t quit for the entire 14:05 minutes of the song. Seeing this song live, and especially as the show opener is just insane. Most bands don’t have the nerve to open a two hour show with the longest song they plan to play that night, but Tool do it without missing a beat. Speaking on the topic of mixing, and making sure that every part is integral is something no one except maybe Radiohead does better than Tool. They understand the lyrics are not the overwhelming plot point of the song. Everything you hear is meant to induce emotions. Sure the lyrics help, but all parts are equally valuable. With more than five minutes left, the song takes yet another turn. It goes from ominous foreshadowing to the welcoming of a love thought lost perhaps. Then another turn down a spiraling rabbit hole. Imploring us to open our eyes may or may not have something to do with the opening dialogue on the track. Humans aren’t meant to be conditioned by rules. We are too great of a people. Life without boundaries is the most ultimate gift anyone can achieve, yet at times it’s those very rules of society that help us to stay safe. Then another, even uglier turn, this time with the intense drums of Carey while Keenan proclaims “ Prying open my third eye,” as the song comes to a final, full circle resting place. Thanks for reading. |
AuthorLandon Murray is a music connooisseur who craves sounds of all shapes and textures. He's seen over 2000 bands and looks forward to welcoming you into his world of sound, Categories
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