"MIAMI 2017" BILLY JOEL (1976)

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

As a New Yorker, the music of Billy Joel has always resonated with me on a deeper level than with the average casual fan. My first show was a Billy Joel concert at Giants Stadium. An Innocent Man, The Bridge and Storm Front were the albums of my youth, but my favorite album from the Piano Man is Turnstiles. It is a quintessential New York album. A record that signals Joel’s return to New York after his time in Hollywood. Several songs reference New York, including the apocalyptic masterpiece “Miami 2017 (I’ve Seen The Lights Go Out On Broadway)”.

It might be my favorite Billy Joel song because even as it portrayed the downfall of New York City, it seemed to celebrate it with a sense of pride and nostalgia that can’t be fathomed with any other city. The song is narrated by a grandfather telling his grandchildren about the fictitious fall of NYC in the 70’s as he sits in his retirement home in Miami some forty years later. “Miami 2017” did something very few art forms are able to accomplish. It used a fictitious story to remind us of the things in reality that we really love and the things we might even die for.

“They sent a carrier out from Norfolk. And picked the Yankees up for free. They said that Queens could stay. They blew the Bronx away. And sank Manhattan out at sea.”

"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.”

"BRAIN DAMAGE" PINK FLOYD (1973)

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 not much left to be said about The Dark Side of the Moon that hasn’t already been said. Critics and fans adore it and consider it one of the most groundbreaking albums of all time. There’s also a minority that considers it an overrated album that doesn’t deserve the attention it has garnered. The Dark Side of the Moon hung in the balance between classic, straight-ahead rock and progressive rock. It was the bridge for many music listeners into prog rock forms. It was a stoner’s album. Its album cover was iconic – a perfect image for a t-shirt or bedroom poster. It was all of these things. But, for me, there was one more thing about it. When I first heard the album and the song “Brain Damage”, they were like markers in my music discovery. There was no turning back.

While “Money”, “Time” and “Us and Them” were easy for me to digest, there was something different about “Brain Damage”. It was slightly uncomfortable to listen to and utterly irresistible at the same time. Waters lamented “The lunatic is in my head”. When I heard those words for the first time as a teenager, I felt like I somehow understood what he was talking about. I felt like I knew the lunatic even if if I couldn’t name it. The instrumentation is characterized by a quiet-loud-quiet dynamic, a four-part backing vocal troupe and Gilmour’s languid, mindless guitar playing. But the most recognizable element is the sinister laugh track. Play it a couple of times and it becomes implanted in your head.

“And if the band you're in starts playing different tunes, I'll see you on the dark side of the moon.”

"FOR WHAT IT'S WORTH" BUFFALO SPRINGFIELD (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

On the last day of #31DaysOf60sSongs, I’m reminded of how many great genres, movements, bands, recordings and songs came to fruition during this decade. Arguably it was the single greatest decade of music ever in the modern era. There are songs that exemplify the era. Songs that paved the way to new expressions and genres. And then there are a small handful of songs that helped define the era itself. One of those songs is the iconic “For What It’s Worth”, as monumental as the band lineup itself.

“For What It’s Worth” is a protest song. A countercultural anthem. It is the quintessential 60’s tune. The melody and instrumentation are instantly recognizable from the opening guitar harmonics that quietly appear to the sing-songy chorus. That’s not all though. it has risen above its era to take on a life of its own. “For What It’s Worth” is now part of pop culture – from the Forrest Gump soundtrack to an episode of The Muppets to a sample on a Public Enemy song.

“Paranoia strikes deep. Into your life it will creep. It starts when you're always afraid. Step out of line, the man come and take you away.”

"LAISSE TOMBER LES FILLES" FRANCE GALL (1964)

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

It’s interesting which songs resonate with our kids, and which ones don’t. My own children have shown interest in songs from a variety of artists, including Rush, Duran Duran and Keane. But there are just as many songs that they detest. They seem to be drawn to great melodies and lyrics that are easy to understand. They’re turned off by more experimental instrumentation. And certain songs can outright annoy them, like “Laisse Tomber Les Filles”.

“Can you stop playing that annoying song? Let’s listen to something else,” said my 11-year old daughter when she first heard this France Gall classic. The song actually mirrors some of my daughter’s own spunk, but she had no idea as the entire song is sung in French. “Laisse Tomber Les Filles” is a flashback to a rebellious, carefree era. The ye-ye musicality feels like it has one foot in jazz and the other in pop. The brass flourishes flirt with our ears, while the playful percussion is stalwart in its goofiness.

“Laisse tomber les filles. Laisse tomber les filles. Un jour c'est toi qu'on laissera.”

"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.”

"CANTALOUPE ISLAND" HERBIE HANCOCK (1964)

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 have friends who are able to effortlessly articulate their love for jazz and the intricacies and perspectives that different artists bring to the genre and all its variations. I also have friends who haven’t been truly indoctrinated beyond the obvious Kind of Blue / Love Supreme brand of jazz. These casual fans know what they love, but may not necessarily know why. I’m one of the latter. I don’t always understand why I like certain recordings, let alone have the ability to put it into words. Nonetheless I can’t ignore the huge amount of jazz contributions that happened during this decade, including the work of four jazz legends from the Miles Davis Quintet on “Cantaloupe Island”.

This is a Herbie Hancock composition with his legendary piano hook front and center. You don’t need to be an aficionado to know it, appreciate it and be hooked by it. Hancock’s steady groove on piano is an instantly recognizable element. But it’s not even the main course. It’s the bed and Freddie Hubbard’s buoyant cornet solo is like an ecstatic child jumping up and down on it like it’s a trampoline. Thirty years later, apparently Us3 felt the same way, using Hancock’s masterpiece as the launchpad for a hip-hop rewrite in “Cantaloop (Flip Fantasia)”.

"WHITE RABBIT" JEFFERSON AIRPLANE (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

My experience with music from the 60’s is complicated. Born in the decade that followed, my exposure to 60’s music didn’t really happen until I reached high school. It started where most teenagers get their classic rock kicks: Beatles, Zeppelin, Hendrix. I still love all of those artists, but now that I’m in my 40’s I find myself appreciating bands and musicians that I just didn’t have an attraction to back in my high school years. This includes Leonard Cohen, Nico, Nick Drake and Jefferson Airplane. Of the latter, my favorite song by far is “White Rabbit”.

A reimagination of Lewis Carroll’s Alice’s Adventures in Wonderland, “White Rabbit” is a trip. It brings the classic story to life in a psychedelic twist probably created with the aid of mind-expanding substances. It goes down a rabbit hole of Spanish-influenced rhythms and guitar playing. Grace Slick once said that the song was heavily influenced by Miles Davis’ Sketches of Spain album, which you can hear most clearly in the instrumentation, but also in the melody as well. “White Rabbit” is a wild blend of cultures and mediums with an adult’s liberating interpretation of a childhood tale.

“And if you go chasing rabbits and you know you're going to fall. Tell 'em a hookah-smoking caterpillar has given you the call. Call Alice when she was just small.”

"A CHANGE IS GONNA COME" OTIS REDDING (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

Otis Blue is considered by many to be one of the greatest albums ever recorded. A deep exploration of Redding’s bluesy, soulful demeanor, he sang some of his originals (including “Respect” before Aretha Franklin made it a household tune) as well as iconic standards like “Satisfaction”, “Rock Me Baby”, “My Girl” and “Down in the Valley”. There are also a handful of songs from fellow blues legend Sam Cooke who died a few months before the album was released. One of those Cooke treasures is the beautiful blues ballad “A Change is Gonna Come”.

The recording itself is quite a monumental listen. Redding holds nothing back, singing with conviction driven likely by his ability to relate to Cooke’s story, which is the most powerful aspect of the song. “A Change Is Gonna Come” isn’t just a catchy song. It’s a statement and a rant on the sad state of where things were back then in terms of racial equality. What makes the song even more meaningful is that the change hasn’t fully arrived yet. The emotions are still raw and very real more than 50 years later.

“There been times that I thought I couldn't last for long. But now I think I'm able to carry on. It's been a long, a long time coming. But I know a change gonna come, oh yes it will.”

"MORNING DEW" THE GRATEFUL DEAD (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

Today the Mental Jukebox is playing a song from a band that simply can’t be given justice in this format. Listening to the Dead’s albums on Spotify I feel utterly gypped, knowing that I’m getting a tiny fraction of the experience, the magic that happens at a Dead concert where set list formations flow like water and improvisations come on like a flood. Spotify can’t capture the aura of a band so largely defined by its live shows, but it has given me the chance to get reacquainted with legendary albums like Workingman’s Dead, American Beauty and the self-titled debut album that spawned “Morning Dew”.

Music critics have often praised how the Dead is in a category all their own. Garcia, Weir, Pigpen, Lesh and Kreutzmann all brought different influences with them, the most obvious ones being blues, folk and country. They took those genres and layered on an electric guitar rock sound that’s highly experimental and improvisational. That’s the beauty of “Morning Dew”. It’s a pretty standard melody masterfully sung by Garcia and taken for several twists and turns with a dual guitar jam fest from Weir and Garcia, and a melodic, meandering bass line from Lesh that jumps into the upper octaves. Still, the individual members never sound like they’re competing with each other. They move and groove in one flow. It’s the beautiful magic of the Dead.

“I'll walk you out in the morning dew my honey. I guess it doesn't really matter anyway.”

"GIRL, YOU'LL BE A WOMAN SOON" NEIL DIAMOND (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

Neil Diamond might be most well known for his two big hits: “Sweet Caroline” and “America”, songs that flooded living rooms and neighborhood bars across the country. But some of his greatest songs were ones that were more popularized by their covers. The Monkees made “I’m a Believer” a classic. UB40 brought “Red Red Wine” to the masses. And, of course, Urge Overkill ushered “Girl, You’ll Be A Woman Soon” into the mainstream consciousness as part of the Pulp Fiction movie soundtrack. But, as far as the latter, I’ll take the original over the cover any day.

There’s more to “Girl, You’ll Be a Woman Soon” than the catchy chorus. Diamond skillfully navigates through several tempo changes and strumming styles, weaving in both string arrangements and flamenco romanticism. In the song, it feels like the girl rushes through the red muleta and emerges as a woman on the other side. Somehow this song was completely off my radar until Urge Overkill recorded it for Pulp Fiction, making it a perfect track for the heroin overdose scene. It’s one of Diamond’s most unique recordings from a long, storied career.

“Girl, you'll be a woman soon. Please, come take my hand. Girl, you'll be a woman soon. Soon, you'll need a man.”

"INCENSE AND PEPPERMINTS" STRAWBERRY ALARM CLOCK (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

The 60’s sounded like a concoction of different genres – soul, doo-wop, garage rock, folk, proto-punk, straight-ahead rock and, of course, psychedelic rock. The latter is probably the genre that comes to mind first for many of us. The style of music was almost secondary to the culture, which included mind-expanding drugs and movements like Woodstock. This was the playground and realm for many big acts, including Jefferson Airplane, Jimi Hendrix, the Yardbirds, the Dead and a lesser-known band by the catchy, peculiar name of Strawberry Alarm Clock. They had a few songs on the radio, none bigger and more popular than “Incense and Peppermints”.

The first time I heard the song was 30 years after it hit the radio waves. The movie Austin Powers: International Man of Mystery was a mocking celebration of the 60’s – its spirit, fashion, vernacular and music. “Incense and Peppermints” is one of the soundtrack highlights, maybe only trumped by Quincy Jones “Soul Bossa Nova”. There’s a YouTube video of Strawberry Alarm Clock performing the song where something off is noticeable right away. Mark Weitz’s organ riff might’ve been the musical highlight of the track, but the drummer stole the spotlight. The drum kit was situated at the front of the stage with the guitarists, bassist and organist in the background. A few bars into the song we hear drummer Randy Seol delivering the first verse. It’s not the only time we heard a drummer sing by any stretch – Phil Collins, Don Henley and Roger Taylor all shared this somewhat unusual claim. But Seol’s setup created an unforgettable inverted poise for the song and the era.

"THESE DAYS" NICO (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

Nico was a songwriter, singer, musician, actress, model, and – above all – a collaborator. Most commonly known for her work with The Velvet Underground throughout her career, The Velvet Underground & Nico album is a classic. Her lead vocals on “All Tomorrow’s Parties” are haunting and beautiful at the same time, but it’s her solo debut album Chelsea Girls where she truly shines. It’s a record which features The Velvet Underground quite prominently as well as songwriting and guitar-playing from Jackson Browne. “These Days” is one of those tracks, a song that Browne wrote when he was just 16 years old.

Jackson Browne’s recordings are underrated gems, but I still prefer Nico’s version. I certainly wouldn’t pick Nico to sing 10,000 Maniacs’ “These Are Days”, but she’s the perfect voice and persona for Browne’s songwriting masterpiece. A malaise hangs over the song like molasses, an emotional state in which Nico’s somber bent seems to feel perfectly at home. That feeling of not wanting to get out of bed is deeply entrenched in the vocals, Jackson Browne’s listless guitar arpeggios and a forlorn string arrangement.

“I'd stopped my dreaming. I won't do too much scheming these days.”

"TAKE CARE OF BUSINESS" NINA SIMONE (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

A romantic fling during the summer before freshman year of college was one of those coming-of-age seasons for me. If someone were to make a movie about my life, that summer would undoubtedly be a part of the script. The girl had incredible taste in music. She introduced me to a wide variety of music, including a new up-and-coming band called Dee-Lite, the early catalog of Siouxsie & the Banshees. and the incomparable Nina Simone. I didn’t think about it at the time, but all these artists were female-led. If she hadn’t played those treasured Nina Simone records, it’s quite possible it would’ve take me decades to discover gems like “Take Care of Business”.

That voice. There’s nothing else like it. Simone’s fiery and feisty persona thankfully translated to equally fiery and feisty vocals. She gives heralded performances throughout the I Put A Spell On You album, including the title track, “Feeling Good”, “Ne Me Quitte Pas” and my favorite track: “Take Care of Business”. On the latter, she sings with a soulful swagger, while the string and horn arrangements create a tango-like quality to the song. “Take Care of Business” showcases the simple genius of using word repetitions to create strong melodies.

"SKY PILOT" ERIC BURDON & THE ANIMALS (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

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. But he's still behind and he'll meditate. But it won't stop the bleeding or ease the hate.”

"EVIL WAYS" SANTANA (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 strengths of jam bands are never fully realized in a recording studio. They only really happen in concert – from the Dead to Phish to Santana. However, while producer Bill Graham tried to lead the band to record in a more conventional way, the spirit of improvisation is still very much apparent on this self-titled debut album. To prove this point, there are a few instrumental tracks on the album, and there’s also the iconic cover “Evil Ways”, the most familiar track of the bunch.

It’s unmistakably a latin rock song with an infectious rhythm driven by congas and timbales instead of a traditional drum kit. It may be the flavor of the song. But the most distinct aspect of “Evil Ways” is the juxtaposition of two monster instrumental solos: Greg Rolle’s Hammond organ solo and Carlos Santana’s guitar solo. The two epic moments have a call-and-response feel to them, like a jazz arrangement. Santana may be the one musician most associated with the recording, but Rolie was the man in my opinion. After all, he was the one singing lead vocals on the track – and if I had to put my money on it, the Hammond organ beat the electric guitar by a landslide.

“You've got to change your evil ways, baby, before I stop loving you.”

"HELPLESSLY HOPING" CROSBY, STILLS & NASH (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

Today I’m going with a song from another brilliant debut album. The self-titled record from Crosby, Stills & Nash is a thing of beauty. A case of the whole being greater than the sum of its parts. Each member of the band brought different skills and sounds to the table, which led to an album that fused country, folk and even jazz into traditional rock. And then, of course, there are the harmonies. Gorgeous, sharp harmonies – perhaps epitomized in the classic song “Helplessly Hoping”.

The fact this track was a b-side to the first single is proof of the sheer depth and excellence on the album as a whole. “Helplessly Hoping” is timeless. The kind of song you want to pass down to your children – and hopefully they’ll want to do the same with their children. The song is a reminder that there’s light and beauty even in our darkest hour. Instrumentally it’s as minimalist as it gets, featuring a single acoustic guitar. This gives the harmonies their due time in the spotlight. David Crosby, Stephen Stills and Graham Nash are not only in unison, they’re in unity.

“They are one person. They are two alone. They are three together. They are for each other.”

"MASTER SONG" LEONARD COHEN (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

Songs of Leonard Cohen is one of the most mature, most impressive debut albums ever recorded. His storytelling and haunting vocals are beautiful, delightful gifts to discerning music fans. His melodies and instrumentation aren’t immediately accessible. They carry a bit of nuance and require a closer listen. These great qualities were all there from the very beginning. “Suzanne”, “So Long, Marianne” and “Sisters of Mercy” were probably the more well-known tracks from the album, but my favorite is the quiet, understated “Master Song”.

The song’s lyrics are an old mysterious story. Cohen himself was always vague about who the song was about, although there’s a thought out there that the song was about Cohen’s girlfriend Marianne, himself and the master - a spiritual guru that Marianne befriended. The lack of clarity is the strength of the song, as it eggs on the listener to keep listening for clues. Are these people real? Are they just fictitious characters? Why is the main character called a master? The mystery is shuffled about in Cohen’s classical guitar riff and a series of strings and Middle Eastern instruments. The quiet strength of “Master Song” is that each verse reads like a chapter in a book that you simply can’t put down.

“He was starving in some deep mystery like a man who is sure what is true.”

"WHERE DID OUR LOVE GO" THE SUPREMES (1964)

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 the more interesting and controversial dynamics in music history is the pre-determination of which songs will make it and which ones won’t. Throughout history, artists have reluctantly released certain songs, the thinking being that they simply didn’t measure up. In fact, several classics almost didn’t get recorded. Springsteen’s “Born to Run”, Marvin Gaye’s “What’s Going On”, the Stones’. “(I Can’t Get No) Satisfaction”, and Wilco’s entire Yankee Hotel Foxtrot album all fit that bill. So does a monster pop-soul hit called “Where Did Our Love Go” by The Supremes.

As the story goes, when songwriter Brian Holland shared it at first, the girl group was disappointed. They wanted something more upbeat and catchier. They didn’t believe it could be a hit. But they also felt they didn’t have a choice. So, reluctantly they recorded the song with Diana Ross on lead vocals. But once they got the song down pat in the studio they knew they had something special. We know how the story ends. “Where Did Our Love Go” climbed to #1 on the Billboard charts – and the song and its unforgettable lyrics are universally known and loved. I still remember seeing commercials on TV for 60’s soul pop CD. compilations – my first glimpse into this wonderful classic. Ross sings like an angel and the baritone sax solo roars like a lion.

“I've got this burning, burning yearning feelin' inside me.”

"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.”