"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.”

"GLORIA" THEM (1965)

For the month of January, I’m selecting some of the most memorable and influential songs of the 60’s. While they all hail from the same decade, these are some of my favorite songs of any era. They remind me that the 60’s were so much more than just Woodstock and psychedelic rock. It was a flourishing period for blues, folk, progressive and straight-ahead rock. #31DaysOf60sSongs

I was never part of a real band, but there were a few afternoons in high school when a few friends of mine and I had a small taste of it. We huddled into our friend’s basement where we had a couple of amps, guitars, a drum set, keyboard and a mic set up. It was our playground. “Gloria” gave us the satisfaction of knowing we could play a song from beginning to end. Only one of us was musically trained. Our drummer could barely keep a beat. But all of us were crazy about music. We had a lot of fun together. We felt like rock stars for a couple of hours. And we played “Gloria”.

Three chords. One hard rocking number from the annals of rock & roll. With Van Morrison on lead vocals and songwriting duties, Them put together a garage rock classic that had that rhythm and blues groove, that distorted, raw edge, and Van Morrison soul. Like many of the great songs from the 60’s, “Gloria” was a b-side. The single “Baby, Please Don’t Go” wasn’t too shabby either. But it wasn’t a Them original. This made “Gloria” more important in many ways. While The Velvet Underground may get credit for getting countless listeners to start their own band, “Gloria” made it possible for many of them to actually play. E - D - A - E - D - A, etc.

“G-L-O-R-I-A, Gloria. I'm gonna shout it all night.”

"NO FUN" THE STOOGES (1969)

For the month of January, I’m selecting some of the most memorable and influential songs of the 60’s. While they all hail from the same decade, these are some of my favorite songs of any era. They remind me that the 60’s were so much more than just Woodstock and psychedelic rock. It was a flourishing period for blues, folk, progressive and straight-ahead rock. #31DaysOf60sSongs

Of the band, music critic Mark Deming of AllMusic once brilliantly stated this, "Part of the fun of The Stooges is, then as now, the band managed the difficult feat of sounding ahead of their time and entirely out of their time, all at once.” What an accurate statement. These guys were total outsiders during their time. They sounded strange, almost childish at times. But, who knew, they would help shape the sound of punk rock. Songs like “I Wanna Be Your Dog” and “1969” are proto-punk anthems, and “No Fun”, in my mind, should be given the same stature.

At times throughout the song, Iggy Pop’s vocals sound more like whining and screaming than actual singing. Ron Asheton’s distortion-soaked guitar riffs seemingly reflect back this same juvenile approach. The hooks sound like moans and groans. It’s raw, lo-fi music fun that chooses an unlikely source as its key rhythm base: Scott Asheton’s handclaps. The clapping is more pronounced than his drum kit. With “No Fun”, it seems like there isn’t much to dissect. It’s just a fun, don’t-give-a-S#it song that just so happens to sound eerily similar to a whole rock movement that would arrive on the scene about five years later.

“Well maybe go out, maybe stay home. Maybe call Mom on the telephone.”

"I'M WAITING FOR THE MAN" THE VELVET UNDERGROUND & NICO

For the month of January, I’m selecting some of the most memorable and influential songs of the 60’s. While they all hail from the same decade, these are some of my favorite songs of any era. They remind me that the 60’s were so much more than just Woodstock and psychedelic rock. It was a flourishing period for blues, folk, progressive and straight-ahead rock. #31DaysOf60sSongs

I can’t pay homage to the 60’s without paying homage to one of the most influential and daring bands to come out of that period. Hearing albums like The Velvet Underground & Nico collaboration and White Light/White Heat, I’m struck by what these guys were doing and when they did it. They were about ten years ahead of everyone else. There are entire genres that may not have come to fruition had The Velvet Underground not laid the groundwork, including garage rock, punk rock and new wave. I can hear elements of these styles in their anthem “I’m Waiting For the Man”.

“I’m Waiting For the Man” is a raw, gutsy rock song with that characteristic Lou Reed approach of half-singing, half-intoning. The song is like a foreshadowing of what was to come. In those five minutes, we hear the raw distortion that would typify garage rock, the simple chord structures of punk rock and the infectious hooks of new wave. It’s a way early glimpse of the sounds we would later hear from bands like The Stooges, The Sex Pistols, The Cars among others. It’s not often that we look back at a song that helps us to look forward.

“Until tomorrow, but that's just some other time. I'm waiting for my man.”

"TRYING YOUR LUCK" THE STROKES (2001)

Each day in December, I’ll be reflecting back on a song from the 2000’s. The decade saw the return of post-punk and the popularization of folk music, all while some of music’s biggest acts gained their indie footing. Thankfully, it’s a period that I can look back at fondly without cringing. #31DaysOf2000sSongs

I discovered Is This It and the garage rock-drenched world of The Strokes on I-80 East, the freeway that connects S.F. to Lake Tahoe. I was in my high school buddy’s beat-up car with our ski gear on top and the tunes blasting from all sides of the rickety car. We talked about life, listened to old favorite bands of ours, and also relished some of favorite new ones, including The Strokes. Is This It was a tight, consistent album with many renowned post-punk revival anthems vying for our attention, including the title track, “Someday”, “Hard to Explain” and, of course, “Last Nite”. But one of the more underrated tracks on the album is the second to last song: “Trying Your Luck”.

I’ll take “Trying Your Luck” over any of the aforementioned classics any day. It was perfect mid-tempo malaise, perhaps the saddest, slowest song on the album. But it was genius in that The Strokes didn’t compromise their trademark sound in recording a song that some would say is extremely counterintuitive for the band. It still peaked and rocked. Casablancas’s distortion-soaked vocals go from somber to tortured as he launches headlong into the chorus, which is a perfect handoff for the song’s signature rhythm guitar riff and the iconic bass line. After all these years, “Trying Your Luck” is the one Is This It track that I look back at most fondly.

“I know this is surreal, but I'll try my luck with you. This life is on my side.”

"1969" THE STOOGES (1969)

“1969” starts out in a familiar, predictable space. There’s almost a bluesy, Doors-esque sound to the first minute and a half. Then music history forever changes after that. The experimental guitar effects carry the rest of the song through, defining the essence of garage rock, containing the early strands of punk, and displaying an eerie premonition of distorted vocals popularized by The Strokes.

“Another year with nothing to do.”