"EVER FALLEN IN LOVE" BUZZCOCKS (1978)

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: 1978

The definitions of punk rock haven’t always done the genre much justice. These descriptions usually start with the simplistic structures. Three chords typically. Lots of repetition. Often you’re in and out within two minutes. Punk rock also gets pigeonholed when it comes to lyrical themes. It’s a genre that’s anti-establishment with a rebellion declared against anybody and anything – from the government to your parents. Well, the Buzzcocks are a part of the genre, but they don’t fit any of these descriptions. They took the veneer of punk rock – and made it their own with the classic anthem “Ever Fallen In Love (With Someone You Shouldn’t’ve)”.

Here’s the thing about punk rock. The assumption is that the message pushes some people away and, in doing so, the music draws others in. But that’s not the case with “Ever Fallen In Love”. The song is about as real and empathetic as it gets. Pete Shelley wrote something that struck a chord with almost anybody. An awful realization that most of us have encountered at some point in our lives - whether as teenagers or as full-fledged adults. The verses are as iconic as the chorus. The narrative is as simple as love. Which, turns out, is quite a complicated thing.

“AND IF I START A COMMOTION, I'LL ONLY END UP LOSING YOU AND THAT'S WORSE.”

"LOST IN THE SUPERMARKET" THE CLASH (1979)

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 22

Is that a disco rhythm we hear? This isn’t the anti-establishment, Brit punk outfit we know and love. On “Lost in the Supermarket”, The Clash went far beyond its comfort zone, stretching itself musically. My favorite track off London Calling, Track 8 is a wry commentary on suburban alienation. The lyrics and the way in which they are sung are unforgettable. It may not sound anything like a punk rock song, but therein lies its punk rock essence. The refusal to simply follow suit.

“I'm all lost in the supermarket. I can no longer shop happily. I came in here for that special offer. A guaranteed personality.”

"PET SEMATARY" RAMONES (1989)

After spending an entire month looking back at the 80’s, I realized one thing. I need more. Luckily, a couple of fellow music fans on Twitter came up with the brilliant idea to highlight #30DaysOf80sMovieSongs during the month of April. I couldn’t resist at the opportunity to keep going, to keep listening, and to keep celebrating the decade that has meant more to me than any other from a musical standpoint. Each day I’m playing a different soundtrack favorite on the Mental Jukebox.

Movie: Pet Sematary

Stephen King is a huge Ramones fan. So if King wants a Ramones song to be featured in his next film, then Kings gets a Ramones song. As the story goes, he handed the band a copy of the novel in his home in Maine. Bassist Dee Dee Ramone took it with him to the basement and returned with the lyrics for the song an hour later. I remember hearing it on Long Island’s WDRE. It had been a while since I last heard a new Ramones song. In fact, my knowledge of the band is so closely tied to the 70’s, that I’m not even sure I’m familiar with anything that the band produced in the 80’s with the exception of this single.

The thing about the Ramones is that I actually don’t like them that much. They make for fun party music. But I just get bored too fast with that two-minute, three-chord formula. The songs all sound too similar to me. At least the 5-6 well known ones. And they all seem to run at the same speed. But “Pet Sematary” was something else. It still sounded like a Ramones song, but it had a bit more dimension to it. The chorus had more legs. Not to mention the instrumentation. (I could’ve sworn I heard some synth in there). “Pet Sematary” ironically gave the band some new life as well as newfound relevance among modern rock fans like me.

“I don't want to be buried in a pet sematary. I don't want to live my life again.”

"LOST IN THE SUPERMARKET" THE CLASH (1979)

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

Many of the most legendary recordings in music got their legendary status from the strength of their cohesive sound. The ability to make the whole and the individual parts work equally well is no easy feat. Well, that isn’t London Calling. As legendary as it is, the album veers into various rabbit holes, exploring multiple sounds and genres. It’s a true mish-mosh. It’s exceptional, but it’s still a mish-mosh. Eight tracks in, we come up on a song that doesn’t even sound anything like The Clash. It’s the beautifully addictive “Lost in the Supermarket”.

What’s going on here? Is that a disco rhythm we hear? This isn’t the anti-establishment, Brit punk outfit we know and love. Instead, “Lost in the Supermarket” showcases a band that’s going beyond its comfort zone, stretching itself musically. My favorite track off London Calling, Track 8 is a wry commentary on suburban alienation. The lyrics and the way that they are sung are unforgettable. It may not sound anything like a punk rock song, but therein lies its punk rock essence. The refusal to simply follow suit.

“I'm all lost in the supermarket. I can no longer shop happily. I came in here for that special offer. A guaranteed personality.”

"EVER FALLEN IN LOVE" BUZZCOCKS (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 definitions of punk rock haven’t always done the genre much justice. These descriptions usually start with the simplistic structures. Three chords typically. Lots of repetition. Often you’re in and out within two minutes. Punk rock also gets pigeonholed when it comes to lyrical themes. It’s a genre that’s anti-establishment with a rebellion declared against anybody and anything – from the government to your parents. Well, the Buzzcocks are a part of the genre, but they don’t fit any of these descriptions. They took the veneer of punk rock – and made it their own with the classic anthem “Ever Fallen In Love (With Someone You Shouldn’t’ve)”.

Here’s the thing about punk rock. The assumption is that the message pushes some people away and, in doing so, the music draws others in. But that’s not the case with “Ever Fallen In Love”. The song is about as real and empathetic as it gets. Pete Shelley wrote something that struck a chord with almost anybody. An awful realization that most of us have encountered at some point in our lives - whether as teenagers or as full-fledged adults. The verses are as iconic as the chorus. The narrative is as simple as love. Which, turns out, is quite a complicated thing.

“And if I start a commotion, I'll only end up losing you and that's worse.”

"WHATSERNAME" GREEN DAY (2004)

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

Before American Idiot, I had nearly written off Green Day. They had some solid songs over the years, but they all felt like these one-off expressions that were great for just a moment in time. American Idiot changed all that. It was the antithesis of everything that turned me away from the band. As a concept album, American Idiot presented the narrative of a disillusioned teenager following 9/11 and the Iraq War. These weren’t two-minute punk rock songs. It was a story. And the songs were often combined into longer pieces, taking on the form of an opera, not a traditional rock album, which closed with the oft-overlooked “Whatsername”.

American Idiot is full of great moments, like “Holiday”, “Boulevard of Broken Dreams”, “Wake Me Up When September Ends” and the title track. But “Whatsername” had this wit and charm to it that the other tracks didn’t. It’s a reminder that the simplest of chord progressions can still do powerful things in music when other dynamics within a song are shifting. It had this quiet-loud dynamic thing happening that launched the song out of its romantic daze into the bridge, almost out of nowhere. “Whatsername” is a modern-day punk rock song because it captured all these complicated states: anger, despondence, regret.

“The regrets are useless in my mind.”

"POLICE ON MY BACK" THE CLASH (1980)

Pick four songs from any band and you can tell a lot about their sound. This summer, I’m featuring #RockBlocks, four picks from bands across various genres. They might be wildly different from each other, but what binds them together is the fact that they’re all a part of my life soundtrack.

A year after recording the legendary double album London Calling, The Clash chose not to rest on their laurels. Instead they came back right away with the triple album Sandinista! It probably could’ve been tighter and a lot leaner, but you can’t fault The Clash for their ambition and creativity in pushing their brand of punk into even more genres. “The Magnificent Seven” was the indisputable banner track and it’s still one of my all-time favorite Clash songs, but “Police on My Back” isn’t far behind.

This cover classic showed The Clash could put serious social issues out there, but do it with a sense of humor. The opening guitar riff doubles as a police car siren and the rebellion-fueled chorus once again feels like it always belonged to The Clash, not to the original songwriters. “Police on My Back” proved that, more often than not, it was The Clash that influenced the rest of the music world, not the other way around.

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

"CLAMPDOWN" THE CLASH (1979)

Pick four songs from any band and you can tell a lot about their sound. This summer, I’m featuring #RockBlocks, four picks from bands across various genres. They might be wildly different from each other, but what binds them together is the fact that they’re all a part of my life soundtrack.

The fact that London Calling is universally hailed as one of the greatest rock albums of all time is a well-known fact. But what may not be as obvious is why. What the casual fan may miss is that this was not just a record by a punk rock band transitioning to new sounds. This was an album that helped build new genres from the ground up. Some say it was the first post-punk album, many describe it as a seminal new wave LP. And about halfway through it, “Clampdown” laid down the gauntlet.

In many ways, “Clampdown” sounds like the antithesis of punk rock. There’s still that Clash grit, but with it comes an unusual finesse and instrumental nuance. It’s not just an incredibly catchy song, it’s a foreshadowing of the new wave invasion. It’s an introduction to the early sounds and sensibilities of the genre with eerie resemblances to Talking Heads and Elvis Costello. What “Clampdown” made clear was that The Clash actually never lost their punk roots. Instead they brought their punk agenda to the masses.

“The men at the factory are old and cunning. You don't owe nothing, so boy, get running. It's the best years of your life they want to steal.”

"I FOUGHT THE LAW" THE CLASH (1979)

Pick four songs from any band and you can tell a lot about their sound. This summer, I’m featuring #RockBlocks, four picks from bands across various genres. They might be wildly different from each other, but what binds them together is the fact that they’re all a part of my life soundtrack.

“The only band that matters”, The Clash were musical pioneers in every sense of the expression. They inspired. They led. They explored existing genres like ska and reggae, and paved the way for new ones like post-punk and new wave. They were fiercely political. And they simply rocked — whether they were penning originals or reinventing other people’s songs like “I Fought the Law”.

One of the marks of a great cover song is a band’s ability to reset a song as if it was their very own. That’s the one similarity among all the great ones, from Hendrix’s “All Along the Watchtower” to Cash’s “Hurt”. “I Fought the Law” is the same. You think of it as a Clash song first and foremost, and it’s how most music fans will always remember the song. On it, they proved punk didn’t have to be basic, merging riffs from Strummer and Mick Jones to create something far more than just noise and rebellion.

“I fought the law and the law won.”

"BRASS IN POCKET" THE PRETENDERS (1979)

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.

When I think of all the frontwomen in rock & roll, Chrissie Hynde is the quintessential example. Unlike many of her contemporaries, Hynde played a lead role without stealing the spotlight. You can hear it in the classic, “Brass in Pocket”. Hynde’s edge is exactly on par with the attitude of the guitar riff and the punk posture of the bass. No one member is overpowering the other. And rather than blending all the sounds together, the production emphasized the clarity of each individual track. It’s a beautiful thing.

“Got motion, restrained emotion. Been driving, Detroit leaning.”

"BECAUSE THE NIGHT" PATTI SMITH (1978)

If one mark of a great song is its ability to live on through cover versions, then technically “Because the Night” is a great song. But honestly, I never really loved it growing up. For decades, it never impressed me. It never stayed with me. But now that I’m older, I think I finally get and finally appreciate what Bruce Springsteen and Patti Smith did here when they co-wrote this song together. “Because the Night” is a song about love, but it’s not a love song. Not many artists have ever pulled off something like that.

“With love we sleep. With doubt the vicious circle turn and burns. Without you I cannot live.”

"I WANNA BE SEDATED" RAMONES (1978)

The inventors of the two-minute, three-chord punk song. What the Ramones did for rock & roll seems so simple, but their impact was huge. There was nothing else like it before them. And for me, “I Wanna Be Sedated” is the ultimate Ramones anthem. It follows you around throughout life. In car rides. At parties. In karaoke bars. The second I hear it, all the memories come back. And then just like that, the blast from the past is gone.

“20, 20, 20, 4, hours to go, I wanna be sedated. Nothing to do, nowhere to go, oh I wanna be sedated.”

"EVER FALLEN IN LOVE" BUZZCOCKS (1978)

The first time I heard this punk anthem was when I came across the Fine Young Cannibals cover. After hearing it, I went back and listened to the original. I’m not well versed or particularly wedded to the punk scene, but I’ve asked myself many times since: how the hell did I miss this band? In “Ever Fallen in Love”, they took a human experience that many can identify with, and translated it with such simplicity and conviction. Two traits of a well-crafted punk song made to withstand the test of time.

“Ever fallen in love, in love with someone, you shouldn't have fallen in love with? I can't see much of a future, unless we find out what's to blame, what a shame. And we won't be together much longer, unless we realize that we are the same.”

"LOST IN THE SUPERMARKET" THE CLASH (1979)

About halfway through London Calling, we come up on a song that doesn’t sound anything like The Clash. What’s going on here? Is that a disco rhythm I hear? This isn’t the anti-establishment, Brit punk outfit we know and love. Instead, “Lost in the Supermarket” showcases a band that’s going beyond its comfort zone, stretching itself musically. It’s a wry commentary on suburban alienation. The lyrics and the way that they are sung are unforgettable.

“I'm all lost in the supermarket. I can no longer shop happily. I came in here for that special offer. A guaranteed personality.”

"START!" THE JAM (1980)

For five short years, The Jam went on a tear, writing and recording seven albums in the studio. Toward the end of that journey, they ironically released “Start!”. It’s one of my favorite tracks from the band because it’s quintessential Jam. Attitude. Swagger. Rebellion. “Start!” flips musical convention on its head, making the guitar the accent to that irreplaceable bass line.

“For knowing that someone in this life loves with a passion called hate. And what you give is what you get.”