"SAN QUENTIN" JOHNNY CASH (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

Most music artists tend to have a favorite venue or at least a favorite type of venue to perform in. Jerry Garcia once famously said that only two theaters mattered: The Fillmore and The Capitol. Each venue space carries its own history, aura, and stories. For Johnny Cash, prisons were places where his audiences experienced redemption during some of his most famous concerts – and I wonder if these state penitentiaries allowed Cash to experience an equal amount of redemption himself. At Folsom Prison was Cash’s most renowned album from his four-part prison series, making At San Quentin a bit of an underrated gem.

The title track isn’t one of the more well known songs on his set list by any stretch. But judging from the roars, whistles and applause from the crowd, it was right up there with “Folsom Prison Blues” and “I Walk the Line”. Cash was giving much more than just a great performance. He took a much more empathetic stance, making every syllable in the lyrics an acknowledgement of what these inmates were up against. He made “San Quentin” their song, not his own song. In writing it and going behind prison doors to perform it, Cash leveled the playing field – essentially declaring the inmates as his equals. The song resonated with them so much, he went ahead and played it twice.

“San Quentin, I hate every inch of you. You've cut me and you scarred me through and through. Mister. Congressman you can't understand. San Quentin, what good do you think you do?”

"CORCOVADO" GETZ/GILBERTO/GILBERTO/JOBIM

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 first introduced to Getz/Gilberto and the iconic “The Girl From Ipanema” from an old girlfriend. I was a recent college grad living in New York City. Life was moving so fast. But that Bossa Nova record helped slow things down a little for me. It helped me to see the old beauty of New York – to appreciate all the landmarks, personas and stories that helped shape it. During that time I was listening to a lot of Euro dance variations like the Daft Punk world of French house. It was the soundtrack of the clubs my crew frequented. So, listening to Getz/Gilberto in my old girlfriend’s upper westside prewar apartment was a welcome reprieve. Everyone knows “The Girl From Ipanema”, but the record has many other gems, including “Corcovado”.

“Corcovado” is a beautiful mesh of two worlds. Written by Antonio Carlos Jobim, it has been rearranged and recorded by several dozen artists from all kinds of genres. On this version, Stan Getz’s smooth sax adds a smoky jazz room feel to the Bossa Nova bed from Jobim’s piano and Joao Gilberto’s acoustic guitar. Gilberto’s wife Astrud joins him on vocals that are as majestic as the quiet nights and stars that are paid homage to in the lyrics. “Corcovado” is a beautiful love song that intermingles various cultures and genres to establish an unforgettable mood.

“Da janela vê-se o Corcovado. O Redentor que lindo.”

"PAINT IT BLACK" THE ROLLING STONES (1966)

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

There are music fans that swear by the Rolling Stones, calling them the greatest band of all time. For reasons I don’t fully understand, there was always something preventing me from fully exploring their music. One thing that has certainly brought on this indifference is the prevalence of too much straight-ahead rock on their biggest hits. The songs were catchy, but too expected, and I quickly became too bored of them with no interest in going deeper into the band’s catalog. But there’s one song that was always an anomaly for me: “Paint It Black”.

It didn’t sound like anything else that I’ve heard before. It almost didn’t sound like rock were it not for Jagger’s vocals in the chorus. “Paint It Black” is a song with various influences, including Indian, Middle Eastern and Eastern European dispositions. Jagger and Richards wrote the song, but Brian Jones has the most significant impact on the track with his sitar riff. The song pulled the curtain wide open to musical expressions that were new to me. It left an impression that has stayed with me since the very first day I heard it, which was likely as part of some movie soundtrack.

“I have to turn my head until my darkness goes.”

"VISIONS OF JOHANNA" BOB DYLAN (1966)

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

One of these days I need to sit down with a proper Dylan fan and ask them, “What makes him the legend you think he is?” I just think I don’t completely get Dylan. But that doesn’t stop me from liking a small crop of his songs. I think “All Along the Watchtower” and “Hurricane” are some of the greatest songs ever written. And “Mr. Tambourine Man” I’ll forever associate with the birth of my oldest child who I would try to rock to sleep with that song. Right behind these classics is the Blonde on Blonde track “Visions of Johanna”.

The song has this dual life as prose and poetry. Prose, because it’s an ongoing story that continues to unfold on the writer’s stroll through the city. Poetry, because it’s written like a poem that doesn’t need music to accompany it. Whether you hate Dylan, or don’t completely understand him (like me), “Visions of Johanna” is all the evidence you need to know that the man was indisputably a tremendously gifted songwriter. I don’t love his entire body of work – and sometimes I just can’t stand his nasal delivery. But I do respect his abilities, his contributions to music and well-crafted songs like “Visions of Johanna”.

“We sit here stranded, though we're all doing our best to deny it. And Louise holds a handful of rain, tempting you to defy it.”

"LITTLE WING" THE JIMI HENDRIX EXPERIENCE (1967)

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

While I was in high school, I had various introductions to classic rock. Friends introduced me to Zeppelin. A radio station introduced to bands like Cream, The Doors, among others. And my younger brother (I know, usually it’s the other way around). introduced me to an ultra-talented guitarist who was a mediocre singer, but had these amazing playing skills, lit his axe on fire and navigated his way around blues and rock nearly effortlessly. His more brash bangers were the songs I liked best initially, but it’s the quiet strength of “Little Wing” that has made it one of the most enduring Hendrix recordings for me personally.

There’s a recording of the song at the Monterey Pop Festival where Hendrix says: “I got the idea like, when we were in Monterey and I was just looking at everything around. So I figured that I take everything I see around and put it maybe in the form of a girl maybe, somethin' like that, you know, and call it 'Little Wing', and then it will just fly away.” This, to me, captures the creativity and essence of the psychedelic movement. The mood and atmosphere was so strong, they deserved to be personified through a gorgeous blues guitar riff, the unexpected glockenspiel and an incredible imagination.

“Take anything you want from me. Anything. Fly on little wing.”

"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.”

"CACTUS TREE" JONI MITCHELL (1968)

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

In music, there are lyricists. And then there are storytellers. Joni Mitchell always struck me as being one of the latter. Mitchell is heralded as one of the greatest songwriters of our time. But she’s more than that. Her songs are like stories put to melodies. They paint a picture for us, like all the great novels do. Blue is often considered her crowning achievement, and it’s listed on many “great albums of all time” lists. But the lesser known “Song to a Seagull” contains a few gems, including the understated and gorgeous “Cactus Tree”.

“Cactus Tree” is like a book with five chapters. It paints the portraits of four characters with exceptional musicality. The sailor. The climber. The writer. The woman who’s being pursued by all three men. And then there’s the fifth chapter that introduces many more men still – from the jester to the dreamer. What made Mitchell a great storyteller is that she did far more than just introduce a few characters and a plot. She made us empathize with her characters even with just a single verse dedicated to each. That’s some powerful songwriting.

“There's a lady in the city and she thinks she loves them all.”

"SPACE ODDITY" DAVID BOWIE (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

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.”

"MY CHERIE AMOUR" STEVIE WONDER (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

Every now and then, I think about the question: what makes great music great? There are probably a few different ways to answer that question, and they’re all equally valid responses. First and foremost, great music has to move you. Second, great music inspires us to do great things, everything from recording the next great soul album to being a great dad. Lastly, I think great music lasts for generations. The music of Stevie Wonder hits on all three of these descriptions across. several decades. My favorite Wonder albums are Innervisions and Songs in the Key of Life. But the 60’s title track from “My Cherie Amour” is absolutely irresistible.

On “My Cherie Amour”, it all comes together. We hear the best of Stevie Wonder’s abilities as a songwriter, arranger, performer and producer. The opening to the song is composed with orchestrated elements, but quickly slips into an easy listening vibe that uses string arrangements with soul and R&B tendencies. No one else was doing this at the time. As a song about an old lover, the ease in which “My Cherie Amour” melds various genres so naturally and smoothly is a marvel. I think it’s why it’s taken on a life of its own for so many decades. There’s something about “My Cherie Amour” that appeals to each of us.

“Maybe someday, you'll see my face among the crowd. Maybe someday, I'll share your little distant cloud.”

"TIME HAS TOLD ME" NICK DRAKE (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

The story of Nick Drake is one of the most unusual narratives in music history. A man who went largely unnoticed while quietly putting together three exceptional folk albums before dying of a drug overdose at the age of 27. Later, his work garnered a growing acclaim among critics and listeners. That includes me. My introduction to the 60’s was The Beatles, Simon & Garfunkel, Zeppelin and the like. I never even heard of Nick Drake until the 2000’s. But better late than never. Five Leaves Left is a rich, beautiful album – and “Time Has Told Me” is one of my favorite tracks from this under-the-radar record.

While Drake’s primary instrument was his acoustic guitar, the dark subdued piano chords form the key instrumentation on this song. The lyrics are written from a perspective one would expect from a wise, aged man. But this was a 21 year old. Drake’s old soul was driven by a deep sense of self-awareness and emotional maturity, which were remarkably beyond his years. This made his songwriting a true, rare gift. His deep, full baritone assures us that the answers aren’t always right in front us. But they do reveal themselves if we just give it time.

“And time has told me not to ask for more. Someday our ocean will find its shore.”

"MOONLIGHT DRIVE" THE DOORS (1967)

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

Hearing The Doors on New York’s K-ROCK, I heard enough to warrant splurging for my first CD purchase from the band: Strange Days. Morrison sang with a bluesy swagger I hadn’t heard from many frontmen before — a presence that seemed equally at home in a basement bar as an arena. Krieger’s guitar riffs sounded outlandish at times, but the true distinctive element of their instrumentation was Manzarek’s keys that felt like a rollicking church hymn on some songs and a haunted house overture on others. Strange Days is, at times, strange. And “Moonlight Drive” is a prime example.

The lyrics to the song were written by Morrison on a rooftop in LA, which he uttered to a friend of his, Ray Manzarek. Manzarek was immediately awestruck, and the two decided to form a band called The Doors. That makes “Moonlight Drive” one of the most important songs from The Doors canon. It starts off sounding like some misplaced Broadway show tune. Then Krieger reflects back Morrison’s vision of the song with these guitar hooks that resemble celestial blips, burps and blasts, as if we were riding to the moon on those crazy riffs. “Moonlight Drive” is a bluesy, soulful ride.

“Let's swim to the moon, uh huh. Let's climb through the tide.”

"HANG ON TO YOUR EGO" BEACH BOYS (1966)

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

Few albums have the stature of Pet Sounds. That’s a true statement not just for the 60’s, but throughout time. It has set a very high bar for bands looking to do things differently and unexpectedly. That said, Pet Sounds truthfully just isn’t a favorite album of mine. But the greatest compliment I can give it is that I love many of the albums that it inspired. Much of the experimentalism that continues to happen in music simply wouldn’t be possible without the exceptionally talented Brian Wilson. One song that proves my point is “Hang On To Your Ego”, probably my favorite track from Pet Sounds.

The track sounds like it belongs under the big top. Timpanis, keyboards, banjos and even a bass harmonica give the song its circus-like feel. Throughout the track, I’m reminded of many great artists that came after The Beach Boys. The tempo change and interlude at the 1:40 mark reminds me of the instrumental cacophany of Wilco. The wide spectrum of instrumentation reminds me of Sufjan Stevens’ own versatility. And the unconventional song structure reminds me of Animal Collective and others. By pushing limits on “Hang On To Your Ego”, The Beach Boys have inspired so many other artists to do the same with their own songs.

“I know so many people who think they can do it alone. They isolate their heads and stay in their safety zones.”

"PUNKY'S DILEMMA" SIMON & GARFUNKEL (1967)

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

Simon & Garfunkel’s big breakthrough may be The Graduate soundtrack. But the album that will always have the greatest meaning to me is Bookends. Not only was it my first Simon & Garfunkel recording, it was also my first real exposure to folk rock, a genre that I would enjoy immensely over the years through a number of different acts, everyone from Indigo Girls to the Barr Brothers. Bookends contains several key anthems from the duo’s catalog, including “Mrs. Robinson”, “America” and under-the-radar tracks like “Hazy Shade of Winter” made popular by The Bangles. The album had weighty moments and light moments, and “Punky’s Dilemma” was a prime example of the latter.

Light, airy and almost breezy. That’s how “Punky’s Dilemma” feels. Lyrics like “I wish I was a Kellogg’s Cornflake”, the intermittent whistling and Simon’s upbeat acoustic guitar strum give the song a buoyancy. But upon closer inspection, the song’s lyrics are far from light. The dilemma was whether or not to go along with the military draft at the height of the Vietnam War. Punky was deciding if it was worth going through with it or dodging the draft. By giving the song a lighthearted feel, Simon & Garfunkel did an ingenious thing, making the song less about the issue and more about the character.

“If I become a first lieutenant would you put my photo on your piano?”

"RAMBLE ON" LED ZEPPELIN (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

By the time I reached the exciting, yet incredibly awkward ninth grade, I was knee deep into Zeppelin. Physical Graffiti, Led Zeppelin IV and Houses of the Holy were on heavy rotation on my Sony cassette player. In my mind, no other band had figured out such a natural and powerful way of bringing together hard rock and blues as well as Zeppelin. Killer vocals. Killer riffs. Killer lyrics. It wasn’t unusual to be a Zeppelin fan in my high school. In fact, “Ramble On” went on to become our graduation song.

John Paul Jones has always been the least talked about and the least celebrated member of the band. He was an exceptional bass player surrounded by rock giants: Plant, Page and Bonzo. But his bass line on “Ramble On” is truly iconic. Some call it the best bass line ever written. It’s both highly melodic and rhythmic — and in a rare moment Jonesy steals the spotlight from Jimmy Page. But the most irresistible thing about “Ramble On” is Plant’s soulful cry. It quite possibly doesn’t get any more rock ‘n roll than his monster vocals in the chorus.

“I ain't tellin' no lie. Mine's a tale that can't be told.”

"MISTAKEN FOR STRANGERS" THE NATIONAL (2007)

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

One of my all-time favorite bands is The National, a band that has seemed to always sync up mysteriously well with my own life. Boxer came out the year my wife and I got married – and High Violet was released weeks before our first child was born. The music always seemed to usher me into new seasons – with Matt Berninger’s gifted approach to lyrics that sound more like conversations with eccentric friends. I’ve seen the band perform live a few times. While “Mr. November” and “Abel” have been some of the more anticipated bangers on tour, for me it was always about the quiet stoic power of “Mistaken for Strangers”.

Berninger delivers the lyrics nearly in monotone, as if in a trance. “Showered and blue-blazered, fill yourself with quarters,” he announces in his trademark bass delivery. “Mistaken for Strangers” is the quintessential National song in many ways. Frenetic, yet calculated. Seemingly on the verge of losing control, but hanging on still. Bryan Devendorf’s drum rolls seem to be having seizures in between verses, while the Dessner brothers contribute these guitar parts that an industrial feel to them like fellow Boxer tracks “Brainy” and “Guest Room”. “Mistaken for Strangers” is a song that celebrates the everyday man poeticism of Matt Berninger.

“Make up something to believe in your heart of hearts. So you have something to wear on your sleeve of sleeves. So you swear, you just saw a feathery woman carry a blindfolded man through the trees.”

"SUNFLOWER" LOW (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

The holiday season is typically fast-paced and hectic for me. But, in many facets of life I’ve been taking deliberate steps to slow down, to reflect a little more and to savor the good things during these challenging times. Part of this personal journey has been reclaiming an appreciation for quieter, slower jams. This has included everything from folk to country to dream pop. While the band Low is one of those artists that I feel like I’ve barely scratched the surface with, the song “Sunflower” is among a few of their more well-known tracks that eggs me on to listen more.

Like many Low tracks, “Sunflower” is shockingly minimal and nearly naked before us. It’s a case of less is more. With such stark, simple instrumentation, all focus is on the melody and Alan Sparhawk and Mimi Parker’s hauntingly beautiful harmonies. The simple downward guitar strum patterns and isolated snare hits only enhance the mood. “Sunflower” is dark, melancholic and tremendously gorgeous in its quiet lament – a welcome track to get lost in as a difficult year comes to an end.

“With my half of the ransom I bought some sweet, sweet, sweet, sweet sunflowers and gave them to the night.”

"MAHGEETAH" MY MORNING JACKET (2003)

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

The band name unfortunately kept me from exploring the exceptional My Morning Jacket catalog for quite a few years. But once I explored it, it was like opening up a treasure trove of great music. Jim James is more of a musical mastermind than a showy frontman, which I always appreciated. A gifted songwriter, his penning of the entire It Still Moves is a remarkable highlight from the 2000’s. There isn’t a weak track on the album, but the opener “Mahgeetah” stands out for several reasons.

The term “alt country” is often used to describe My Morning Jacket’s music, and it’s a befitting description of “Mahgeetah”. The guitar layers and tempo transitions give it that alt feel, while the harmonies and lyrics are reflective of the band’s southern roots. The big guitar solo happens at the 5 minute mark of the studio recording, but it’s the shimmering guitar hook that gives the song its festive, nighttime feel. My favorite aspect of the track, however, isn’t any of the guitar parts, but the song’s theme itself. James not only personifies his “geetah”, he refers to it as his lady.

“Don't rock bottom, just listen, just slow down. So, now are you ready to go, my lady? I been waitin on the boat here, I been waitin so long.”

"HEARTBEATS" JOSE GONZALEZ (2003)

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

So many things constantly compete for our attention. Truthfully, this even occurs at concerts. There’s what’s happening on stage, in the crowd, in the lights, in the back. But I’ve found every time my wife and I attend a Jose Gonzalez show, our full attention is fixated on the performance of his wonderfully magnetic vocals paired with exceptional guitar playing. It seems too obvious to go with “Heartbeats”. It is, after all, the song that put Jose on the map. But the song is just that good.

“Heartbeats” was originally penned by electronic group and fellow Swedes The Knife. However, Jose Gonzalez practically reinvented the song with his reflective, classical guitar approach. “Heartbeats” is life in slow motion, slow enough for us to pause and reflect on every single word and note. It’s a reminder that music can be a catalyst for so many things. The guitar part is much more complex than it sounds as Jose is playing a rhythm guitar line and bass line at the same time. The lyrics, at times cryptic, contain references to God and the devil. It’s a complex, yet beautiful song full of nuances and reflection that will likely remain timeless.

“One night to be confused. One night to speed up truth.”

"FLOAT ON" MODEST MOUSE (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

By the time Good News for People Who Love Bad News was released, Modest Mouse was one of several dozen successful indie rock bands out there. While they weren’t my favorite band, I liked the unique sound they carved out. No one could ever say Modest Mouse was a knock-off. They do things their own way, most notably through their raw approach and the genius frequent mic’ing up of every band member as they sing vocals together. “Float On” is a song I cherish on many levels.

Within the first 20 seconds, the two iconic guitar parts converged like Dr. Jekyl and Mr. Hyde – and modern musical history was made. One riff soars on high with a bright treble layer while the other skittishly dots the landscape. Isaac Brock is at the helm on vocals, but Eric Judy and Dann Gallucci join in like some kind of group therapy session, spewing positivity in unison. I love all of these core instrumental facets, but what makes “Float On” one of the greatest songs from a decade characterized by war, recession and natural disasters is the message. Somehow, some way, we’ll all get past this. We’ll all float on.

“Bad news comes, don't you worry even when it lands. Good news will work its way to all them plans.”

"THE SUN SMELLS TOO LOUD" MOGWAI (2008)

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

One of the more intriguing artists of our time is Mogwai, a band that is completely in its element concocting atmospheric instrumental tracks where the guitars, keyboard, drums and bass seem to be delivering unspoken lyrics to the listener. Without vocals on the majority of its catalog, Mogwai is a prime example of addition by subtraction. While I’m not the biggest fan, few can disagree that the band has found an interesting niche and expanded the possibilities of indie rock. “The Sun Smells Too Loud”, in particular, is probably one of my favorite tracks of theirs.

Some Mogwai song titles seem to fit the instrumentation of the music so well. However, I can’t really make any sense of this one. That said, “The Sun Smells Too Loud” is like a celebration of the senses. The shoegazy veneer exudes through that signature distorted guitar hook, while the post-rock soul of the song cuts through with the complimentary timbres of the synthesizer. The rolling tom hits are the distinguishing percussion persona of the song. All this to say, “The Sun Smells Too Loud” feels like a mind-expanding exploration of the self every time I hear it.