"PANIC" THE SMITHS (1986)

For the month of November, I’ll be selecting songs in conjunction with the music Twitter challenge: #WelcomeToTheOccupation.

The paradox of Marr’s upbeat guitar compositions and Morrissey’s lyrics is the magic of The Smiths. Nothings against Rourke & Joyce, those two certainly contributed greatly to The Smiths’ success. But it’s the Marr-Morrissey paradox that makes The Smiths unlike any other band on the planet. It’s the tension that you can’t put out of your mind. It occurs on nearly every Smiths track – and reaches boiling point on “Panic”.

Forget the social ills. Forget the social alienation. “Panic” is a revolt against bad music. Inspired by a moment when the band saw the news of Chernobyl followed by Wham!’s “I’m Your Man”, something about the music just didn’t sit right. “Panic” seems like an overstatement to the casual music fan. But to those who put more weight into what’s being played, “Panic” was fully justified and relevant. It is for me.

“Burn down the disco. Hang the blessed DJ
Because the music that they constantly play, It says nothing to me about my life.”

"MAYOR OF SIMPLETON" XTC (1989)

For the month of November, I’ll be selecting songs in conjunction with the music Twitter challenge: #WelcomeToTheOccupation.

During my high school years, my friend’s older sister introduced me to WDRE/WLIR. “They play cool music.” The introduction went something like that. That radio station literally changed the trajectory of my musical preferences. I was forever stuck in classic rock. And when I say forever, I’m referring to 8th-10th grades. WDRE was the city’s local alt / college rock station, which made it a treasure trove especially during the eighties. XTC is a band that I wouldn’t have discovered if it weren’t for that station. Songs like “Earn Enough For Us”, “Making Plans For Nigel”, “Dear God” and “Mayor of Simpleton” got regular airplay on it.

XTC was always big on clever lyrics and inventive, yet catchy melodies. The brainchild of Andy Partridge, “Mayor of Simpleton” has both. The song’s lyrics took an interesting approach, pairing shortcomings of being simple-minded with knowing perhaps the one thing that really matters. The rather abrupt guitar chord intro, Beatlesque chorus and soaring bridge deliver all the charm you can handle.

“And I can't unravel riddles, problems and puns. How the home computer has me on the run And I may be the Mayor of Simpleton. But I know one thing And that's I love you.”

"ALISON" SLOWDIVE (1993)

For the month of November, I’ll be selecting songs in conjunction with the music Twitter challenge: #WelcomeToTheOccupation.

I was a latecomer to the genius of Slowdive. It wasn’t until the pandemic that their music suddenly resonated with me. Like life at the time – with everyone in my family Zooming in our apartment – the music of Slowdive often feels like layers on top of each other, co-mingling and melding. The music suddenly made sense to me. I understand now why people often say Slowdive songs feel like an escape. I get that same reaction every time I hear their music, including “Alison” off the band’s second album, Souvlaki.

The soaring, swirling feedback-fueled guitar parts are what draws me in. But it’s Halstead’s lyrics that keep me there in that space of utter detachment from the rest of the world. The feeling mirrors Halstead’s own escape to Wales following his breakup with Goswell. Which reminds me of a quality I’ve long admired in music – where the songwriter’s emotions become our own. It’s what makes “Alison” autobiographical in its own unconventional way.

“And the sailors, they strike poses. TV covered walls, and so slowly With your talking and your pills, Your messed up life still thrills me.”

"ROCKET MAN" ELTON JOHN (1972)

For the month of November, I’ll be selecting songs in conjunction with the music Twitter challenge: #WelcomeToTheOccupation.

The power of one creative form inspiring another cannot be denied. And music is often a critical player in that exchange. It’s well known that Aimee Mann’s music inspired the P.T. Anderson classic, Magnolia, not the other way around. Often times though, soundtrack music is inspired by the movie. There are also instances of novels and other fiction forms inspiring lyricists. Two examples that come to mind are Rush’s “Red Barchetta” inspired by Richard Foster’s “A Nice Morning Drive” and Elton John’s “Rocket Man” inspired by Ray Bradbury’s short story with the same name.

While I’m not big fan of Elton John’s music in particular, I love the melody and lyrics of “Rocket Man”. Elton John and co-writer Bernie Taupin brought the astronaut character back down to earth. Just a normal guy whose wife packs his lunch and who realizes his job takes him away from his family too much – months even. Elton and Bernie stepped into the astronaut’s shoes and told a story that’s relatable to anybody. That’s the magic of the song.

“And I think it's gonna be a long, long time
'Til touchdown brings me 'round again to find I'm not the man they think I am at home. Oh, no, no, no, I'm a rocket man.”

"SUBURBIA" PET SHOP BOYS (1986)

For the month of November, I’ll be selecting songs in conjunction with the music Twitter challenge: #WelcomeToTheOccupation.

Like many stateside, “West End Girls” was my introduction to the edgy synthscapes and witty verse of Pet Shop Boys. Please is one of the genre’s greatest debut albums. And though I think PSB’s singles are much better than the original album versions, it is a treasure trove. In addition to “West End Girls”, it’s packed with other big tracks like “Opportunities”, “Love Comes Quickly”, “Two Divided By Zero” and one of my favorites: “Suburbia”.

While another 80’s anthem – Rush’s “Subdivisions” – painted a bleak picture of suburban life, this track seemed to go even darker – moving beyond high school cliques and into a world of violence and squalor. In stark contrast, the music created a utopian vibe with the soaring synth notes. “Suburbia”’s defining element is probably the dog barks – deliberately electronic and fake in their sound – and all the more powerful for it.

“Where's a policeman when you need one
To blame the colour TV?”

"CASIMIR PULASKI DAY" SUFJAN STEVENS (2005)

For the month of November, I’ll be selecting songs in conjunction with the music Twitter challenge: #WelcomeToTheOccupation.

Sufjan Stevens’ state project is like Gaudi’s Sagrada Familia. It’s an unfinished masterpiece where we can only look to the individual elements of the greater vision in Sufjan's head for our own inspiration. We found that most prominently on the Illinois album, a collection of songs and clever musical interludes — with “Casimir Pulaski Day” right smack in the middle.

Sufjan has never been shy to explore Christian spirituality in his songs, which added a depth to Illinois. He made it far more than just an album about a state. On “Casimir Pulaski Day”, we hear references to bible study group prayers paired with Sufjan’s signature instrumentation. Evoking a Wes Anderson vibe, he made the banjo and the trumpet the stars — sucking out percussion entirely. Like many Sufjan Stevens’ acoustic recordings, it sounds like it’s being played in your living room.

“Tuesday night at the Bible study, we lift our hands and pray over your body. But nothing ever happens.”

"THE SPIRIT OF RADIO" RUSH (1980)

For the month of November, I’ll be selecting songs in conjunction with the music Twitter challenge: #WelcomeToTheOccupation.

There never was and never will be another rocker as talented as Neil Peart. Behind the quiet, stoic veneer was a man who was an absolute beast on drums and a master of the lyric. I always loved his drumming – the sheer speed, technique, versatility and originality. He has no peers. But lyrically, I didn’t always get it. The fantasy worlds that Neil created often soared over my head. But he is a brilliant lyricist – and occasionally his lyrics leave me speechless, like the words on “The Spirit Of Radio”.

It’s one of Rush’s big anthems – and part of the band’s coming out party. “The Spirit Of Radio” literally put them on the radio for good. Many think this is Alex’s song – as his opening guitar riff is one of Rush’s best openings – if not one of rock & roll’s best openings period. And with a song that became as mainstream as Rush gets, it’s easy to overlook the brilliance of Neil’s lyrics. It’s part poem, part essay, and at the end of the day, it’s just a song about the power of music – written in a way that only Neil can capture.

“For the words of the profits Were written on the studio wall. Concert hall Echoes with the sounds of salesmen.”

"PIONEER TO THE FALLS" INTERPOL (2007)

For the month of November, I’ll be selecting songs in conjunction with the music Twitter challenge: #WelcomeToTheOccupation.

Following up with a noteworthy album after Turn On The Bright Lights and Antics seemed like an impossible task. As a hardcore Interpol fan at that stage, I was prepared to be let down by my own impossible expectations. Our Love To Admire just didn’t have the same grit and edge. And that’s true, it’s just a different album. Several years later, I’ve come to embrace its uniqueness and like it just as much as the first two heralded albums. “Pioneer To The Falls” is a perfect opener to a different exploration of sound for the band.

When I think of the band’s more haunting tracks, “Pioneer To The Falls” is up there with the best of them. Daniel’s guitar starts out slow, languid and hypnotic, cleverly leading us into Paul’s opening verse. But then the guitar returns before launching into the second verse with that familiar soaring and grating motif that Daniel is known for. But the element that delivers the most haunting effect is the keyboard line from Carlos D. It crawls under your skin and stays there – and a reminder of how exceptionally talented he was as a musician and composer, not just a bassist. The song is nothing without that riff.

“You vanish with no guile and I will not pay, but the soul can wait.”

"TALK SHOW HOST" RADIOHEAD (1996)

For the month of November, I’ll be selecting songs in conjunction with the music Twitter challenge: #WelcomeToTheOccupation.

The story of Romeo + Juliet is a complex one, filled with every human emotion — from pure ecstasy to torment. The soundtrack, as good as it was, was filled with tracks that erred on the happier spectrum, and gave us some great ones from Des’ree, Garbage and, of course, The Cardigans. But “Talk Show Host” steered the backend of human emotion, and did it the Radiohead way. It also has the distinction of being the b-side to the Radiohead anthem, “Street Spirit”.

For casual fans, “Talk Show Host” is a bit of a forgotten track. But for Radiohead fans, it’s considered one of the more memorable songs in their catalog. Playing second fiddle to “Street Spirit”, “Talk Show Host” demonstrated Radiohead’s ability to create more than music. They created a mood. Everything is unexpected here: the vocal delivery, the drumming, the bass line, the arresting sparseness of Jonny’s guitar. “Talk Show Host” felt more like a film score than a single, which made it a perfect addition for the Romeo + Juliet soundtrack, bringing out emotions no other song on the album cared to explore.

“I want to be someone else or I'll explode.”

"THE DOWNEASTER 'ALEXA'" BILLY JOEL (1989)

For the month of November, I’ll be selecting songs in conjunction with the music Twitter challenge: #WelcomeToTheOccupation.

This song will always be a fond memory for me as a music fan. The Storm Front tour show at Giants Stadium, NJ was my first rock concert. Being outside in the spring air with my high school buddies to see the Piano Man play classic after classic was an unforgettable experience. I still remember our seats. I remember the air. I remember the songs that made our bodies move. And then there were songs that we preferred to enjoy in our seats. “The Downeaster Alexa” was one of them.

As a master storyteller, many of Billy Joel’s songs are gripping, novel-like narratives. “The Downeaster ‘Alexa” is one of his finest songs, recounting the plight of a fisherman—with local references like Block Island Sound, Nantucket, Montauk and Gardiner’s Bay. The song is named after Joel’s own boat. But more strikingly, the story sounds like his own as well. Seeing Billy perform it live, I felt like my very hands were on the wheel of the Alexa. A visual song is a powerful one.

“But I've got people back on land who count on me. So if you see my Downeaster Alexa and if you work with the rod and the reel, tell my wife I am trolling Atlantis.”

"ANOTHER BRICK IN THE WALL, PT. 2" PINK FLOYD (1979)

For the month of November, I’ll be selecting songs in conjunction with the music Twitter challenge: #WelcomeToTheOccupation.

The Wall was my introduction to Pink Floyd. While I never gravitated toward the band’s earlier prog-driven catalog – save Dark Side Of The Moon and a handful of anthems, of course – The Wall played a pivotal role for me as a music fan. It’s when I truly recognized the power and breadth of albums, not one-off singles and tracks. As a concept album, The Wall is one of the most complete efforts of its era and seems to live under the shadow of Dark Side. It’s a shame because even a mainstream hit like “Another Brick In The Wall, Pt. 2” is a fantastic song in spite of its accessible sound.

The second track in the “Another Brick” series, this is the one that rails against abuse in the school system. It’s yet another brick in Pink’s wall. And musically, it pulls out all the stops to place the brick just right – Gilmour’s guitar solo, just the right bit of disco, the samples (“If you don’t eat your meat, how can you have any pudding”) and the kicker: the epic children’s chorus. “Another Brick In The Wall, Pt. 2” is that rare combination of chart topper, social commentary platform and music melting pot.

“We don't need no education. We don't need no thought control. No dark sarcasm in the classroom. Teacher, leave them kids alone.”

"STATE TROOPER" BRUCE SPRINGSTEEN (1982)

For the month of November, I’ll be selecting songs in conjunction with the music Twitter challenge: #WelcomeToTheOccupation.

In today’s cess pool of slick, over-produced albums, Nebraska stands as a beacon of all that’s good. The purity of the songwriting. The rawness of the performance. That’s it. I can appreciate a good synth flourish or extra guitar part like the next guy. But sometimes I just want to hear a great song, unencumbered and untangled. That’s the entire Nebraska album, including the brooding “State Trooper”.

Recorded in his house on a 4-track, “State Trooper” has the sound of genius emanating on the fly. Springsteen’s gift of songwriting lies in his ability to step inside someone else’s shoes and tell their story. Tell their story is what he does on “State Trooper”. It feels authentic and just the right amount of tension and anxiety to make you believe every word. It’s just his words and two chords on his guitar.

“Hey, somebody out there, listen to my last prayer. Hi ho silver-o, deliver me from nowhere.”

"NEW YORK CITY COPS" THE STROKES (2001)

For the month of November, I’ll be selecting songs in conjunction with the music Twitter challenge: #WelcomeToTheOccupation.

Timing is everything, isn’t it? When 9/11 happened, everyone remembers everything changing. But if you’re a New Yorker, you can amplify that sense ten-fold. For months on end, New Yorkers were different. Kinder. More human. We were in it together. Anyone who lived in NYC at the time can attest to this. It’s why an up-and-coming band scouring Lower Eastside bars and venues decided to remove “New York City Cops” from their groundbreaking debut album U.S. release. It was just the right thing to do.

“New York City Cops” doesn’t put officers in the best light to say the least. In the chorus, Casablancas espouses, “New York City cops, but they ain’t too smart”. It’s a great song, but it was just bad timing because the cops, firefighters and first-responders were mega heroes in our eyes at the time. The song has taken on a life of its own as part of the double a-side single “Hard To Explain / New York City Cops”. Decades later, it’s hands down one of the great, early Strokes anthems that seems almost better for not being on the debut album.

“I got to come clean but the authorities they've seen Darling, I'm somewhere in between.”

"DON'T YOU WANT ME" THE HUMAN LEAGUE (1981)

For the month of November, I’ll be selecting songs in conjunction with the music Twitter challenge: #WelcomeToTheOccupation.

The casual music fan in the U.S. knows The Human League by one song: “Don’t You Want Me”. Sure, there were other singles during their pop phase that were better – “(Keep Feeling) Fascination”, “The Lebanon”, “Love Action”, among others. More serious fans realize that the early years were the best. Darker and more experimental – “Being Boiled” and “Empire State Human” were some of the standouts. When you look at what the band accomplished early on, it’s easy to make fun of “Don’t You Want Me”. But I like to think of it as my guilty pleasure.

Cheesy Casiotone-like synth riffs. Cheesy lyrics. Cheesy vocal baton pass. And I love every second of it. “Don’t You Want Me” is a time capsule of “such good times”. It dominated on MTV, turning eighties kids like me on to The Human League. These days, it’s a song that carries so much nostalgia with it because it has not stood the test of time at all. We crank it up in the car & queue it up on the karaoke list because it brings us back.

“I was working as a waitress in a cocktail bar, that much is true.”

"EVERYTHING COUNTS" DEPECHE MODE (1983)

For the month of November, I’ll be selecting songs in conjunction with the music Twitter challenge: #WelcomeToTheOccupation.

It wasn’t until 1986’s Black Celebration that Depeche Mode truly cemented their dark, ominous brand of synth pop. It’s the era that I gravitate toward the most – and it’s the start of the band’s imperial phase. The rest of the catalog preceding it was a little spotty in my opinion. But that doesn’t take away the fact that there were some real gems in the early days, including the standout single from Construction Time Again: “Everything Counts”. Aside from “Just Can’t Get Enough”, “Everything Counts” is really the only song that still remains on the band’s setlists. That’s a full 40 years after it was released as a single.

As one of the standouts on the album, “Everything Counts” showcased the iconic persona of Depeche Mode: hook-laden, danceable, infectious, and, often at times, dark. Written by Martin Gore, the song went on the offensive, calling out corporate greed with a somewhat satircal approach. The bass synth part is utterly sinister, lurking with precision from beginning to end. Wilder’s synth hook – sometimes played on a xylophone – sounds like a music toy possessed by an evil spirit, which is flanked by quirky instruments that go beyond DM’s typical keyboard decks, including a melodica. Then there’s Gahan. With his signature bass vocals, Gahan is the narrator and antithesis of Gordon Gekko.

“The handshake seals the contract. From the contract, there’s no turning back.”

"POLICE ON MY BACK" THE CLASH (1980)

For the month of November, I’ll be selecting songs in conjunction with the music Twitter challenge: #WelcomeToTheOccupation.

From the late seventies into the early eighties, three bands made some noise as disruptors. They achieved this distinction by experimenting with various genres, never content to stay within a single genre. They are Talking Heads, The Police and The Clash. With the latter, we heard a cross-section of different sounds and styles on the band’s previous release, London Calling. Sandinista ended up being a far greater melting pot, using a triple LP format to experiment with funk, reggae, disco, rockabilly, folk, rhythm & blues, among others. This experimental rigor on songs like “Police On My Back” is what makes The Clash a fun band to listen to.

The song was written by Eddy Grant, who showed us how it take it higher with “Electric Avenue”. While The Clash often dabbles in bigger socio-political commentary, these lyrics felt more deeply personal – and still seem like quintessential Clash. The song smacks of rebellion, recklessness and abandon. The chorus is iconic, but my favorite part is still the guitar riff that mimics a police car siren.

“I been running Monday, Tuesday, Wednesday, Thursday, Friday, Saturday, Sunday.”

"THE MESSENGER" JOHNNY MARR (2013)

For the month of November, I’ll be selecting songs in conjunction with the music Twitter challenge: #WelcomeToTheOccupation.

While Morrissey has carved out a prolific solo career and catalog, Marr initially went the route of guitarist for hire following The Smiths’ demise, augmenting bands like The The, Modest Mouse and The Pretenders. But in 2013, everything changed. And it started with his first solo venture, “The Messenger”. I wanted more of The Smiths, but I ended up hearing something far closer to Interpol. And I’m not complaining.

Marr’s jangle pop obsession hits a more angular stride on “The Messenger” and other songs on the album. There’s an interesting evolution of guitar styling here, with a sound that feels like a rebirth of early Interpol and Daniel Kessler’s grating, hypnotic guitar playing. While the lyrics are far from Morrissey-level, the unexpectedness of Marr’s guitar sound is what made this track all the more delightful.

“My time's for taking if you want.”

"HEAVY METAL DRUMMER" WILCO (2002)

For the month of November, I’ll be selecting songs in conjunction with the music Twitter challenge: #WelcomeToTheOccupation.

One of Wilco’s hallmark sounds as a band is the intermittent cacophony that comes in the middle of several of their songs. It’s a technique that I’ve heard a lot in jazz as well as with experimental bands like Velvet Underground. The intro to “Sweet Jane” transcends the accessible to the experimental. In the early 21st century, Wilco created an identity doing this their own way – often involving guitars and pedals. On “Heavy Metal Drummer”, the cacophony is handled mainly by the drums and synthesizers.

In the cacophony, we catch an audio glimpse of the heavy metal drummer themselves. An innocent, nostalgic and irresistible look back at a summer. Love. Music. And KISS covers. Lots and lots of KISS covers. What’s not to like? “Heavy Metal Drummer” is one of the more accessible tracks off the legendary Yankee Hotel Foxtrot, but that’s not to diminish any of its merits. The lyrics, in particular, are superb. A story that puts you there on the boardwalk under the hot, scorching sun. I can picture it and I feel like I vicariously experienced it.

“SHINY, SHINY PANTS AND BLEACH-BLOND HAIR. A DOUBLE KICK DRUM BY THE RIVER IN THE SUMMER.”

"ALL ALONG THE WATCHTOWER" JIMI HENDRIX (1968)

For the month of November, I’ll be selecting songs in conjunction with the music Twitter challenge: #WelcomeToTheOccupation.

As legendary as Bob Dylan is, I understand that he’s not for everyone. Some people just can’t listen past Dylan’s nasal-infused vocal delivery. Jimi Hendrix wasn’t exactly the most vocally gifted musician either. But whatever he lacked as a singer he more than made up for as a guitar player. The thing about his rendition of the Dylan classic “All Along the Watchtower” is he lit every strand of folk and Americana roots from the song on fire, burned those elements to the ground and then made the fire rise even higher with an electric reboot.

Throughout my middle and high school years, I lived next door to a Jimi Hendrix fanatic. My brother introduced me to Jimi’s impressive catalog, which was incredibly prolific given his short life span. The thing that immediately drew me in to his music was a guitar playing style that almost sounded otherworldly. It wasn’t rock. It wasn’t blues. But it was this crazy blend of the two that seemed to be so effortless to Jimi but impossible for others to emulate. You can’t simply play the same notes that Jimi played and expect it sound the same. It was the way in which he navigated back and forth between those two genres so easily that makes “All Along the Watchtower” one of the greatest cover songs of all time.

“Business men, they drink my wine. Plowmen dig my earth.”

"THE SCIENTIST" COLDPLAY (2002)

For the month of November, I’ll be selecting songs in conjunction with the music Twitter challenge: #WelcomeToTheOccupation.

The first two Coldplay albums are easy to forget. They seem like so long ago. Remnants of a band that made unique and fantastic rock music. We all know what happened after that. The songwriting and production became contrived. The band drifted further and further away from originality. And, at times, their songs began sounding like corporate conference hype music. It was a sad turn. But Parachutes and A Rush Of Blood To The Head were phenomenal records, led by the slow tempo track, “The Scientist”.

It all starts and ends with those iconic minor chords on piano. Notes that cut to the heart. “The Scientist” made piano relevant again and did it as well as any song in the 21st century. Soon after, bands like Spoon, Keane and The Fray started experiencing their own success by putting the black and white keys in the foreground of their songs. Lyrically, “The Scientist” is brilliant with its metaphorical approach, complementing Chris Martin’s falsetto vocals perfectly.

“Nobody said it was easy. No one ever said it would be so hard. I'm going back to the start.”