"DANCE AWAY" ROXY MUSIC (1979)

This month, I’m jumping into the #APlaceInTheSong challenge from @JukeboxJohnny2. Great songs have that special ability to describe places in a way that makes us feel like we’re right there. Each day, I’ll pick a track that I think accomplishes that feat.

Roxy Music’s evolution as a band wasn’t highly unusual, but it was significant. Going from a more progressive, original sound to a more “commercial” sound seemed a bit abrupt. Country Life and Siren certainly had accessible aspects to them, but Manifesto seemed to open the floodgates to the masses. To be honest, it’s this second era of Roxy Music that I enjoy most. The style and aesthetics are still there, but this is where the production and attention to detail reached a new level – and “Dance Away” was a perfect example of this.

I view “Dance Away” as a foreshadowing of Avalon. All the things that made that legendary album great are happening on this track. The delicate refinement of Bryan Ferry’s vocals and the instrumentation by Mackay, Manzanera and Thompson are not constraining, they’re liberating. The ethereal quality allows the song to soar. It’s easy to dismiss Manzanera’s guitar work because it’s so incredibly subtle, but its the atmospheric agenda of his playing that’s most impressive.

“Now I'm in the dark, off the wall. Let the strobe light up them all. I close my eyes and dance till dawn. Dance away.”

"PERFECT DAY" LOU REED (1972)

I generally gravitate to the music first before the lyrics. But as a writer, I still marvel at well-spun verses and choruses. This month, I’m joining the music Twitter community in #31DaySongLyricChallenge

Day 18

Is it about romance or addiction? It really doesn’t matter. No matter how you interpret it, “Perfect Day” is hauntingly, achingly beautiful, yet it possesses this unassuming nature. This is where Lou Reed has thrived in his songwriting the most – both in his solo work and with The Velvet Underground. He takes these seemingly everyday moments and gives them a weight that seems unbearable at times. While I love the orchestral instrumentation of the song, it’s the lyrics and Reed’s delivery that are the most powerful elements in “Perfect Day”.

“Just a perfect day. You made me forget myself. I thought I was someone else, someone good.”

"FOLLOW YOU FOLLOW ME" GENESIS (1978)

The decade in which I was born has given me a strange perspective on its music. I discovered pretty much all of the 70’s sounds – from prog rock to punk to disco – well after they came into the world. It wasn’t until the late 80’s that I discovered what I was missing. I would characterize the decade as one where budding genres leaped off their inspiration pads and came to fruition. For the month of February, Mental Jukebox will feature some of these gems with a different 70’s song each day. #28DaysOf70sSongs

The departure of Peter Gabriel from Genesis was a significant turning point in the band’s history. Both Gabriel and the continuing members have even wrote about the split in their music. “Solsbury Hill” is a reflection on Gabriel’s bittersweet departure the band, and the name of the Genesis album following his exit is …And Then There Were Three…. While the original Genesis lineup was a huge prog rock force to be reckoned with, I love Peter Gabriel’s solo work and the new era of Genesis much more. I understand the intent was to really push the progressive limits of the music, but, in my opinion, the original lineup took it too far. I can name at least 30 Peter Gabriel solo songs and at least 20 new-era Genesis tracks that I like much more than “Carpet Crawlers”. By narrowing down to three members, I think Genesis’ sound was simplified for the better, starting with the classic anthem and musical turning point “Follow You Follow Me”.

For me, the big change on the album was the flow of the music. It felt much more natural, less forced. An actual verse-chorus structure developed by Phil Collins, Mike Rutherford and Tony Banks. And get this, the song was based in reality. It was a song of romance, not of mythic creatures and fairy tales. The realness of “Follow You Follow Me” was refreshing and relatable. Prog rock purists may scoff at it. But, at the same time, it wasn’t like the song was void of all progressive tendencies. The instrumentation, in particular, still held on to a musicality that pushed boundaries especially with Tony Banks on keys.

“I will stay with you will you stay with me. Just one single tear in each passing year there will be.”

"SOLSBURY HILL" PETER GABRIEL (1977)

The decade in which I was born has given me a strange perspective on its music. I discovered pretty much all of the 70’s sounds – from prog rock to punk to disco – well after they came into the world. It wasn’t until the late 80’s that I discovered what I was missing. I would characterize the decade as one where budding genres leaped off their inspiration pads and came to fruition. For the month of February, Mental Jukebox will feature some of these gems with a different 70’s song each day. #28DaysOf70sSongs

My exposure to the music of Peter Gabriel started with MTV. Great, artistic videos. Songs like “Shock the Monkey” and “Sledgehammer” were these infectious, mid-tempo bangers. The videos looked great and the music sounded great. But it wasn’t until I was later introduced to Gabriel’s wider palette in his solo work that I truly became a fan. “Biko”, “Games Without Frontiers” and “Solsbury Hill” were the bridge to this proggy world of rock. The latter is playing non-stop today on my Mental Jukebox.

“Solsbury Hill” is a song about letting go from the past and looking ahead to the future. It’s a sentiment captured in the amazing lyrics and reflected in the timing. It was Gabriel’s solo debut, written and performed on the heels of his departure from Genesis. And it’s a sentiment revealed in the music. Each note bearing an apparent sense of optimism. Without being corny or insincere. Which, when you think long and hard about it, puts “Solsbury Hill” in a very small group of distinguished rock songs.

“Standing, stretching every nerve. Had to listen. Had no choice.”

"BOTH ENDS BURNING" ROXY MUSIC (1975)

The decade in which I was born has given me a strange perspective on its music. I discovered pretty much all of the 70’s sounds – from prog rock to punk to disco – well after they came into the world. It wasn’t until the late 80’s that I discovered what I was missing. I would characterize the decade as one where budding genres leaped off their inspiration pads and came to fruition. For the month of February, Mental Jukebox will feature some of these gems with a different 70’s song each day. #28DaysOf70sSongs

There’s a scene in the music documentary Depeche Mode 101 where frontman David Gahan is singing gleefully to Roxy Music’s “Love is the Drug” while playing pinball. It would be easy to gloss over that scene because, on the surface, it seems meaningless. An extra shot thrown in to show the band unwinding behind stage. But it’s actually much more than that. It’s a poignant reminder that Roxy Music is an important band that went beyond glam rock and impeccable style. They are inspiration to many new wave bands and the genre’s various iterations. The influences can be heard throughout the Siren album, including the track “Both Ends Burning”.

While David Gahan’s vocals sound eerily similar to Bryan Ferry’s approach in “Love is the Drug”, you can make the argument that Duran Duran’s Simon Le Bon sings like Ferry does in “Both Ends Burning”. In fact, the song sounds like a foreshadowing of early Duran Duran. The rhythm section, in particular, sounds like an early glimpse of John Taylor’s bass hooks and Roger Taylor’s drumbeats. The shimmery synth interludes have Nick Rhodes written all over them and the guitar riff finds the right moments to shine just like Andy Taylor did in the 80’s. Hearing back “Both Ends Burning” today, it’s a marvel to know Roxy Music created this a good 7 years before Duran Duran made their big entry into new wave. “Both Ends Burning” and the entire Siren album were a launch pad for many great bands to follow.

“Both ends burning and I can't control the fires raging in my soul tonight.”

"PULLED UP" TALKING HEADS (1977)

The decade in which I was born has given me a strange perspective on its music. I discovered pretty much all of the 70’s sounds – from prog rock to punk to disco – well after they came into the world. It wasn’t until the late 80’s that I discovered what I was missing. I would characterize the decade as one where budding genres leaped off their inspiration pads and came to fruition. For the month of February, Mental Jukebox will feature some of these gems with a different 70’s song each day. #28DaysOf70sSongs

I recently saw David Byrne’s American Utopia, a brilliant show that combined a series of essays that allowed Byrne to truly connect with us in an honest, simple way. In between these treatises on the human condition was essentially a mini Talking Heads concert. I was in heaven. The show was a testament of two things: the resiliency of the band’s music after more than 30 years and the unique, yet highly relatable perspective of David Byrne. One of the longstanding testaments of this is their debut album’s closing track, “Pulled Up”.

Most of the songs on that record were overshadowed by the Talking Heads menacing anthem “Psycho Killer”. But to overlook “Pulled Up” would be a bad mistake. The song is one of the early blueprints of new wave. The instrumentation and demeanor was unlike anything else out there. Like on several other Talking Heads songs, Byrne’s paradoxical tendencies are on full display, most notably in the chorus. He seems simultaneously out of control and in control. He’s not just singing lyrics, those are emotions and expressions coming out of his mouth. Musically, we get a taste of the unique, boisterous bass playing of Tina Weymouth in lock step with boyfriend Chris Frantz’s ready-steady drum style and Harrison’s guitar riffs that cascade like little electric currents inside our brains.

“I drift away to another land. Sleeping dreaming such a simple thing. I think of things that I might be. I see my name go down in history.”

"WUTHERING HEIGHTS" KATE BUSH (1978)

For Women’s History Month, I’m selecting some of my favorite songs from some of the most talented and influential women in music. From frontwomen to singer-songwriters to iconic performers, I’m picking one song a day on Mental Jukebox until the end of March.

It’s not a pop song. Or a rock song. It’s just a brilliant work of art. The songwriting and instrumentation for “Wuthering Heights” are more akin to the storytelling approach and epic scale of a Broadway musical than anything else. It’s what was playing in Kate Bush’s head after reading the novel and film adaptation of the same name. At the age of 18, “Wuthering Heights” showed us Kate’s innate ability to surprise us and introduce us to different worlds.

“I'm coming back to his side to put it right. I'm coming home to wuthering, wuthering, Wuthering Heights.”

"SWEET JANE" THE VELVET UNDERGROUND (1970)

In a lot of ways, The Velvet Underground was the protypical rock & roll band. They seemed to represent everything core to rock & roll. But on the other hand, they also rewrote the rules. They didn’t play it straight. And they gave way to bands like Sonic Youth, Wilco and others to do the same—to be melodic and experimental at the same time. “Sweet Jane” is maybe one of the best examples of this, turning a three-chord rock song on its head with the opening 15-second cacophony.

“Anyone who's ever had a heart wouldn't turn around and break it. And anyone who's ever played a part wouldn't turn around and hate it.”

"FEEL GOOD INC." GORILLAZ (2005)

Concept albums are a rare thing. Concept bands are even rarer. One of the most impressive musical evolutions in the last 25 years belongs to Blur frontman and Gorillaz co-founder Damon Albarn. When “Feel Good Inc.” came out, it went beyond the music and found a way to us through animated personas and a fictional universe. The images of four characters grabbed us. But none of this could’ve been pulled off without really good music.

“City's breaking down on a camel's back.”

"GOD ONLY KNOWS" THE BEACH BOYS (1966)

In rock music history, you might say there are two eras: before Pet Sounds and after Pet Sounds. “God Only Knows” was one of the best tracks on one of the most experimental albums ever recorded. That melody is unlike anything else. Unpredictable in its course, even after a hundred listens. And the musical interludes were written to cross barriers, not to make money. So much songwriting these days just feels lazy after hearing “God Only Knows”.

“If you should ever leave me though life would still go on, believe me. The world could show nothing to me. So what good would living do me. God only knows what I'd be without you.”

"SOLSBURY HILL" PETER GABRIEL (1977)

This is a song about letting go from the past and looking ahead to the future. It’s a sentiment captured in the amazing lyrics and reflected in the timing. It was Gabriel’s solo debut, written and performed on the heels of his departure from Genesis. And it’s a sentiment revealed in the music. Each note bearing an apparent sense of optimism. Without being corny or insincere. Which, when you think long and hard about it, puts “Solsbury Hill” in a very small group of distinguished rock songs.

“When illusion spin her net, I'm never where I want to be. And liberty she pirouette when I think that I am free. Watched by empty silhouettes, who close their eyes but still can see. No one taught them etiquette. I will show another me.”

"THIS MUST BE THE PLACE" TALKING HEADS (1983)

This is one of my all-time favorite Talking Heads songs. And it’s a very unusual approach for the band. First off, “This Must Be the Place” is a love song. And Talking Heads doesn’t write love songs. They write about burning houses, psycho killers and insomnia. Second, it’s sort of musically unadventurous to put it mildly. It’s the same beat and hook over and over again. No progression at all. But it’s so addicting and almost hypnotic in its understated approach.

“Home, is where I want to be. But I guess I'm already there. I come home, she lifted up her wings. I guess that this must be the place.”

"ROCK & ROLL" VELVET UNDERGROUND (1970)

“Rock & roll” is one of my all-time favorite Velvet Underground songs. It’s about Lou Reed’s rabid love for music. Something I’ve always identified with. That borderline ridiculous attraction to music—more than film, books or any other creative expression. This was the b-side to “Sweet Jane”, which is a spectacular song in itself. But I think those two songs could’ve easily swapped sides with each other without anyone blinking an eye.

“There was nothin' goin' down at all, not at all. Then one fine morning, she puts on a New York station. You know, she don't believe what she heard at all. She started shaking to that fine, fine music. You know, her life was saved by rock and roll.”