"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.”

"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.”

"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.”

"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.”

"SPACE ODDITY" DAVID BOWIE (1969)

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

Songwriter. Performer. Artist. Cultural icon. Like his characters, David Bowie has taken on many different forms through his career. One of my deepest regrets is not seeing him live. I read somewhere that when his debut album bombed, he redid everything. Found a new manager and found new ways to create, promote and perform. One of the ways Bowie has distinguished himself from his rock & roll peers is by expanding beyond music and exploring different art forms, most notably fashion and film. A perfect example of this is “Space Oddity”, a song that I’m featuring for the second time on Mental Jukebox.

Bowie was always a master at creating characters – even embodying them at times – from Aladdin Sane to Ziggy Stardust. On “Space Oddity”, we met Major Tom, a fictional astronaut who launched into space with much promise, but ultimately faced his own demise by the end of the five minute song. “Space Oddity” was an imaginative story that pointed us to a universe where electric guitar rock can co-exist with a string symphony. It’s also a song that extended beyond sound wave through a promotional film, an unusual approach at the time. It was Bowie constantly innovating even as a relatively new artist.

“Ground Control to Major Tom. Take your protein pills and put your helmet on.”

"SKY PILOT" ERIC BURDON & THE ANIMALS (1968)

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

A friend from high school introduced me to The Animals with an enthusiasm that even exceeded his love for the biggest. classic rock icons like Zeppelin, Cream and the Stones. I think there were many reasons for this, but it was largely the power, swagger and testosterone-fueled vocals of Eric Burdon. Most casual listeners are familiar with their big hits: “House of the Rising Sun”, “Don’t Let Me Be Misunderstood” and “We Gotta Get Out of This Place”. But my friend encouraged me to go a little deeper. The song that I looked forward to playing most on my Animals mixtape was a minor hit toward the end of their years called “Sky Pilot”.

The track was an anti-war song written during the time of the Vietnam War. But it wasn’t about an Air Force pilot, it was an ode to a military chaplain. “How high can you fly. You never, never, never reach the sky”. The track carries intrigue from both an instrumental and production perspective. “Sky Pilot” soars on a bed of reverb and flanging complete with guitar solo, a string arrangement, bagpipe interlude and a host of war-themed audio samples. Then, of course, there’s the underrated, masterful lead vocals from Burdon. The song is a feast for the ears. I loved “Sky Pilot” from the very first listen and that love has never died.

“He mumbles a prayer and it ends with a smile. The order is given, they move down the line.”

"VITAL SIGNS" RUSH (1981)

For October, the Mental Jukebox is dialing it way back to the eighties and going deep. Deep cuts have always been an important element of music listening to me because they’re often the songs that resonate with me most. Deep cuts are usually the ones that the true fans appreciate most. I like my singles and hits, but I love my deep cuts.

The Moving Pictures album is widely recognized as one of Rush’s best albums – from beginning to end. It is a tale of two halves. Side A contains four of the band’s biggest anthems. While still rooted in Rush’s progressive agenda, the songs reveal signs of a band willing to reach across the aisle to music fans that prefer more straight ahead rock, most notably in “Limelight” and “Red Barchetta”. But Side B is unapologetically progressive and less palatable for the masses. That’s what makes songs like “Vital Signs” so good.

The song reflects Peart’s mind for things rock bands rarely articulate so eloquently. “Leave out the fiction. The fact is this friction will only be worn by persistence.” The electronic elements give the song its prog tilt, but it’s also a song heavily influenced by the reggae rock sound of The Police in both the drums and guitar playing. “Vital Signs” is clear evidence of a band that’s willing to evolve and welcome in new influences. A band that has never settled for the status quo.

“Leave out conditions. Courageous convictions Will drag the dream into existence.”

"WELCOME TO THE ROOM... SARA" FLEETWOOD MAC (1987)

For October, the Mental Jukebox is dialing it way back to the eighties and going deep. Deep cuts have always been an important element of music listening to me because they’re often the songs that resonate with me most. Deep cuts are usually the ones that the true fans appreciate most. I like my singles and hits, but I love my deep cuts.

Rumours will always be Fleetwood Mac’s piece de resistance. The holy grail. It’s legendary and stands among rock’s greatest albums. I think it’s this stature that has caused other Fleetwood Mac albums to be unfairly diminished. Fans love Tango In The Night and it’s universally recognized as a great album. Yet somehow I think it’s vastly underrated and hasn’t been given the recognition it’s due. We know the hits, but the album tracks are superb, including Track 9: “Welcome To the Room… Sara”.

In the U.S., the big hits were “Little Lies” and “Big Love”. Both of them are great, but I do like the minor hits (“Seven Wonders” and “Everywhere”) and deep cuts the best. “Welcome To The Room… Sara” is one of my favorites because, let’s face it, Fleetwood Mac is Stevie Nicks. The group lives and dies with her. So any song that puts her alto vocals at the forefront is going to be great. Of course, the stellar harmonies and instrumentation didn’t hurt either.

“This is a dream, right? Déjà vu.”

"STRANGE DAYS" THE DOORS (1967)

A great title track is par for the course when it comes to great albums. If the title track doesn’t cut it, what does that say about the album itself? This month, the Mental Jukebox will be playing some of my favorite title tracks – inspired by @NicolaB_73’s music Twitter challenge, #TopTitleTracks.

Even if it’s not your cup of tea, The Doors demand your respect. Few bands carved out a more compelling crossroads of blues, rock and psychedelia. The music – at times – seemed almost possessed. The instrumentation was truly distinct – as they were one of the first bands to prominently feature keyboards and organs. And their frontman – Jim Morrison – is one of the greatest of all time, inspiring everyone from INXS’ Michael Hutchence to Echo & The Bunnymen’s Ian McCullough. My favorite Doors album is their second release Strange Days, which opens with the title track.

The famed key part on “Strange Days” actually isn’t Ray Manzarek. It’s Morrison himself, playing the moog synthesizer. “Strange Days” was one of the first recordings to feature this mainstay instrument, a case in point to the innovative side of The Doors. The moog synthesizer would become as integral to rock and pop as the electric guitar. Despite being overshadowed by the classic singles “People Are Strange” and “Love Me Two Times”, “Strange Days” is arguably more quintessential Doors in its ability to create a world for you to get lost in.

“Strange days have found us.”

"2112" RUSH (1976)

A great title track is par for the course when it comes to great albums. If the title track doesn’t cut it, what does that say about the album itself? This month, the Mental Jukebox will be playing some of my favorite title tracks – inspired by @NicolaB_73’s music Twitter challenge, #TopTitleTracks.

Borrowing Rush cassettes from the town library as a kid was a sort of rite of passage for me as a music fan. Friends from school who had older brothers would tell me how great the band was. At the library, I would flip through the album offerings and those album covers – 2112, Signals, Permanent Waves, A Farewell To Kings – caught my attention. Expressive album art with strange beige plastic backs, these albums stood out like sore thumbs. Then I would play the music in my basement and get lost in the music of Rush, including the epic title track “2112”, featuring seven movements.

“2112” takes up the entire Side A. A concept that was mind blowing to me as a kid who thought songs were supposed to max out at four minutes. The first two parts – “Overture” and “The Temples of Syrinx” have always been my favorite. This magnum opus kicks off with a celestial soundscape. Then Alex’s guitar asserts itself like Neil Armstrong planting the American flag on the moon – only here it’s the Canadian flag that gets flaunted. Then Neil’s thunderous drum rolls unleash and it’s on like Donkey Kong. There’s still a sense of wonder in me every time I hear it.

“All the gifts of life are held within our walls.”

"ZIGGY STARDUST" DAVID BOWIE (1972)

A great title track is par for the course when it comes to great albums. If the title track doesn’t cut it, what does that say about the album itself? This month, the Mental Jukebox will be playing some of my favorite title tracks – inspired by @NicolaB_73’s music Twitter challenge, #TopTitleTracks.

I don’t think I could ever summarize the impact that “Ziggy Stardust” has had on rock & roll in just a couple of paragraphs. But I’ll say this. When I was in high school, a half-decent set of musicians played it at Battle of the Bands and the thing was powerful. They weren’t exceptional. They weren’t in sync. But they unlocked Bowie’s emotion, ingenuity and attitude. That’s the power of Ziggy. In many ways, the song, like the main character, helped save rock & roll.

To really understand Ziggy’s power, you just have to look at two elements: the guitar and the vocals. The opening line in the first verse sets the tone: “As Ziggy played guitar…”. The song is a force to be reckoned with because of the riffs. Mick Ronson shreds his way through one of the most guitar-driven songs from the Bowie canon – and it is an ode to the electric guitar in many ways. Then there’s Bowie himself who croons and cries his way through the verses and chorus, a lyrical masterpiece that reminds us why we got into rock ‘n roll in the first place.

“Making love with his ego, Ziggy sucked up into his mind.”

"SKY PILOT" ERIC BURDON & THE ANIMALS (1968)

The moment a song is born, the world is different. It’s now a part of our lives. We sing it in the shower. We dance to it at our wedding. We get pumped with it. We break up to it. We memorize it. We try to forget it. We rediscover it. This month, I’m joining Arron Wright’s Twitter music challenge: ##Popiversary2. Because why the hell not. Songs deserve their own anniversaries, too.

Year: 1968

A friend from high school introduced me to The Animals with an enthusiasm that even exceeded his love for the biggest. classic rock icons like Zeppelin, Cream and the Stones. I think there were many reasons for this, but it was largely the power, swagger and testosterone-fueled vocals of Eric Burdon. Most casual listeners are familiar with their big hits: “House of the Rising Sun”, “Don’t Let Me Be Misunderstood” and “We Gotta Get Out of This Place”. But my friend encouraged me to go a little deeper. The song that I looked forward to playing most on my Animals mixtape was a minor hit toward the end of their years called “Sky Pilot”.

The track was an anti-war song written during the time of the Vietnam War. But it wasn’t about an Air Force pilot, it was an ode to a military chaplain. “How high can you fly. You never, never, never reach the sky”. The track carries intrigue from both an instrumental and production perspective. “Sky Pilot” soars on a bed of reverb and flanging complete with guitar solo, a string arrangement, bagpipe interlude and a host of war-themed audio samples. Then, of course, there’s the underrated, masterful lead vocals from Burdon. The song is a feast for the ears. I loved “Sky Pilot” from the very first listen and that love has never died.

“HE MUMBLES A PRAYER AND IT ENDS WITH A SMILE.”

"THE OCEAN" LED ZEPPELIN (1973)

The moment a song is born, the world is different. It’s now a part of our lives. We sing it in the shower. We dance to it at our wedding. We get pumped with it. We break up to it. We memorize it. We try to forget it. We rediscover it. This month, I’m joining Arron Wright’s Twitter music challenge: ##Popiversary2. Because why the hell not. Songs deserve their own anniversaries, too.

Year: 1973

Start strong. End strong. This simple concept worked wonders for Houses Of The Holy – an album that kicked off with one banger, “The Song Remains The Same”, and then closed out with another in “The Ocean”. A bit of nostalgia, this is one of the Zeppelin anthems that made me a fan for life. It was like a loaded shot of testosterone for me as a teen. I remember hearing it for the first time in my friend Scott’s pickup truck. And, boy, was it a pick-me-up. I’ll go as far as to say I think it’s a bit underrated and underappreciated among the band’s heavy hitters.

“The Ocean” takes the rulebook on time signatures and throws it out the window with its iconic two-bar guitar riff from the riffmaster Jimmy Page. It’s also a track of excess – a strength in this case. The lack of restraint serves the song well with a key turning point in the song: a baptism by doo-wop at the 3:17 mark where everything – the drums, guitar and bass – suddenly goes rollicky and the wheels come off. A powerful statement of a closer if I ever heard one.

“SINGING ABOUT GOOD THINGS AND THE SUN THAT LIGHTS THE DAY. I USED TO SING ON THE MOUNTAINS, HAS THE OCEAN LOST ITS WAY?”

"ALABAMA SONG (WHISKY BAR)" THE DOORS (1967)

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.

I’m running into the whiskey bar and stumbling out w/Jim, Ray, Robby and John. What a trip. What a mindblowing debut album. Such a powerful clash of rock, blues and psychedelia. “Twentieth Century Fox”, “Back Door Man”, “Soul Kitchen”, “Break On Through”, “Back Door Man”, “Crystal Ship”, “The End”, “Light My Fire”, every track is a classic. For obvious reasons, I’m going with their cover of “Alabama Song” today.

Listening to the song, we enter the whiskey bar. But this bar feels different. Spearheaded by Morrison’s vocals and Ray’s spritely keyboard flourishes, it feels like we stepped into a freak circus, lost in a drunken haze with these blues rock legends. “Alabama Song” is a perfect cover selection that seems to fit perfectly in the #5 slot on the record and is resolutely 100% Doors in its stylings. My only complaint of the song is that it ends at around three minutes. It seemed ripe for an epic “In-A-Gadda-Da-Vida”-length rendition.

“Well, show me the way To the next whiskey bar. Oh don't ask why. Oh don't ask why.”

"WAITING FOR THE WORMS" PINK FLOYD (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.

Few rock & roll moments can rival the experience of hearing The Wall for the first time as a teenager. I was obsessed with this album for quite a while – and the movie, too. The Wall is an extraordinary soundtrack because, first of all, it’s a true soundtrack filled with songs intimately woven into the scenes of the movie. These tracks aren’t just background noise. Beyond simple ear candy, this was music that indulged the head and the heart fully. There was no filler on here. “Waiting For The Worms”, as a deep cut, is all the proof you need.

“Waiting For The Worms” is a perfect example of the ingenuity and ambition of Pink Floyd. They gave their minds and hearts fully to the music. This track won me over from the first listen. It flaunts like Queen one moment, and trudges like Sabbath another. To call it a rock song is to overlook its complexity – this is more like a composition with four interconnected movements. The megaphone alone crawls under your skin and stays buried there for days.

“The Worms will reconvene outside Brixton bus station.”

"KODACHROME" PAUL SIMON (1972)

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.

Thanks to countless yearbook write-ups, one of the most quoted songs of all time belongs to Paul Simon. “Kodachrome” took a friendly, lighthearted approach to rebellion. And musically, Simon was also his same rebellious self on this track. Daring to cross genres. Daring to even defy them. With every percussive beat. With every uplifting note. Sounds a lot like the Simon & Garfunkel canon – like a continuation of those musical and lyrical themes, standing in stark contrast to his world music-influenced solo work that would manifest in the eighties with Graceland.

“When I think back on all the crap I learned in high school, It's a wonder I can think at all. And though my lack of education hasn't hurt me none, I can read the writing on the wall.”

"THUNDER ROAD" BRUCE SPRINGSTEEN (1975)

This month on Twitter, @sotachetan hosts #BrandedInSongs – which is a head-on collision of my personal world of music and my professional world of branding and advertising. The challenge is to simply pick a song with a brand name in its lyrics or title. I added one more criteria to my picks, which is this: the songs themselves must be as iconic as the brands they mention. No filler here.

Songs that are covered by several legendary acts are few in and far between. “Thunder Road” is one of those rarities, a song that was also recorded by Tori Amos, Cowboy Junkies, Phish and Melissa Etheridge. It’s also spotlighted in Nick Hornby’s book, “31 Songs”. All this to say, it’s as clear as day that the opening track to Born To Run is absolutely revered by both musicians and fans alike.

I heard that “Thunder Road” started as a bit of an unwieldy affair, like its hinges are a bit loose. This prompted the producer to ask Springsteen and the band to streamline the sound a bit. Thankfully, this didn’t seem to diminish the song at all. “Thunder Road” is a full song, a rocker with unforgettable lyrics that was born out of combining sketches of multiple songs into one seamless track. Bruce’s vocals, as the often are, feel like he’s pushing himself to the max, and so do all the instrumental elements, including the piano, harmonica and sax. “Thunder Road” hits like thunder.

“They haunt this dusty beach road
On the skeleton frames of burned out Chevrolets.”

"KODACHROME" PAUL SIMON (1972)

This month on Twitter, @sotachetan hosts #BrandedInSongs – which is a head-on collision of my personal world of music and my professional world of branding and advertising. The challenge is to simply pick a song with a brand name in its lyrics or title. I added one more criteria to my picks, which is this: the songs themselves must be as iconic as the brands they mention. No filler here.

Thanks to countless yearbook write-ups, one of the most quoted songs of all time belongs to Paul Simon. “Kodachrome” took a friendly, lighthearted approach to rebellion. And musically, Simon was also his same rebellious self on this track. Daring to cross genres. Daring to even defy them. With every percussive beat. With every uplifting note. Sounds a lot like the Simon & Garfunkel canon – like a continuation of those musical and lyrical themes, standing in stark contrast to his world music-influenced solo work that would manifest in the eighties with Graceland.

“When I think back on all the crap I learned in high school, It's a wonder I can think at all. And though my lack of education hasn't hurt me none, I can read the writing on the wall.”

“MONEY" PINK FLOYD (1973)

This month on Twitter, @sotachetan hosts #BrandedInSongs – which is a head-on collision of my personal world of music and my professional world of branding and advertising. The challenge is to simply pick a song with a brand name in its lyrics or title. I added one more criteria to my picks, which is this: the songs themselves must be as iconic as the brands they mention. No filler here.

Dark Side of The Moon has triggered very polarizing reactions to it. On one end of the spectrum, fans consider it to be the holy grail of prog rock converging with jazz. On the other end, a sizable population of music fans think it’s grossly overrated. I lean toward the first end simply because I don’t think there’s anything else like it. What’s great about it? Plenty. There’s the creative ingenuity first and foremost, which is prominent in the unconventional song structures, the improvisational nature of the instrumental solos, and the new dimension of sound design and effects.To the naysayers, I say this.You might not like the sound of it, but you have to recognize the magntiude of creativity of Dark Side. Like a Pet Sounds, Aja, Psychocandy or OK Computer, it sounds like nothing that came before it. Just take a listen to “Money” if you don’t believe me.

While “Money” belongs in the annals of classic rock history, the song seems to be more at home inside a tiny jazz club than a stadium. The track begins with the iconic sound of the cash register. This is genius, not gimmick. There was no established template telling rock bands this was the way to kick off a song. This is the ingenuity of Pink Floyd from the very first second of the track. Next, the bass line kicks in, one of the most memorable ones ever crafted. You don’t have to be a rock fan to instantly recognize it. But I think what brings “Money” over the edge is the combination of sax and guitar work. Trippy psychedelic guitar licks during the verses surround the sax solo that improvises in the gaps. Like I said, rock seamlessly blended with jazz. And like any good jazz outfit, one solo leads to another. The song’s climax is Gilmour’s guitar solo exploding greedily for nearly half the song.

“I'm in the high-fidelity first-class traveling set, And I think I need a Lear jet.”

"RED BARCHETTA" RUSH (1981)

This month on Twitter, @sotachetan hosts #BrandedInSongs – which is a head-on collision of my personal world of music and my professional world of branding and advertising. The challenge is to simply pick a song with a brand name in its lyrics or title. I added one more criteria to my picks, which is this: the songs themselves must be as iconic as the brands they mention. No filler here.

Growing up, every Rush album cover I gazed at was epic and teased the promise of something equally epic happening inside. One of the albums that I’ve played from beginning to end incessantly was Moving Pictures. In the streaming age, this ritual has lost its luster a bit, as I’ve ended up playing its individual tracks probably more often than the entire LP. But in recent years, this has only helped reinforce how much each of these songs mean to me — and none more so than “Red Barchetta”. A song that both the cool and uncool kids in my elementary school could all agree on.

“Tom Sawyer” had swagger. “YYZ” had prowess. “Limelight” had melody. But “Red Barchetta” had heart. About a joy ride turned car chase, it had all the musical trappings to further the narrative — from Peart’s cymbal crashes to Lee’s adrenaline-fueled vocals. One of my favorite Alex Lifeson guitar solos happens at the 3:20 mark. Often overshadowed by Lee’s bass playing skills and Peart’s prowess on drums, Lifeson more than held his own on “Red Barchetta”, a song that carries with it so much nostalgia.

“I strip away the old debris That hides a shining car. A brilliant red Barchetta From a better vanished time.”