"WAITING FOR THE WORMS" PINK FLOYD (1979)

I started Mental Jukebox nearly three years ago at the beginning of the pandemic. During this time, I’ve discovered new music, rediscovered old favorites and I’ve met passionate music fans around the world. And when things opened up, I kept on blogging. This month, the jukebox goes deeper. The term “deep cut” has multiple meanings. It can refer to lesser known album tracks from well-known artists. It can also refer to tracks from lesser known artists. This month, I’ll be featuring both types. #DeepCutsFeb

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

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

“Waiting to cut out the deadwood. Waiting to CLEAN up the city. Waiting to FOLLOW the worms. Waiting to put on a BLACK shirt. Waiting to weed out the weaklings. Waiting to SMASH in THEIR windows And kick iN THEIR doors.”

"HIDEOUS GLORIOUS" THE BARR BROTHERS (2017)

I started Mental Jukebox nearly three years ago at the beginning of the pandemic. During this time, I’ve discovered new music, rediscovered old favorites and I’ve met passionate music fans around the world. And when things opened up, I kept on blogging. This month, the jukebox goes deeper. The term “deep cut” has multiple meanings. It can refer to lesser known album tracks from well-known artists. It can also refer to tracks from lesser known artists. This month, I’ll be featuring both types. #DeepCutsFeb

Hailing from Montreal, The Barr Brothers are probably my favorite band from that region in Canada. I pick them ahead of Arcade Fire, Wolf Parade and anyone else primarily because I always felt that their music was more real. I felt this from the beginning. And I still felt it with their last studio output Queens of the Breakers which was released in 2017. It is an album that I love listening to from beginning to end, and I was able to hear the band perform many of the tracks at the Music Hall of Williamsburg, including the deep cut track “Hideous Glorious”.

It is glorious indeed, and far from hideous. The kind of song that simply comes alive when it’s played live. Many of the hallmarks of The Barr Brothers sound make their appearances on this track. Soaring harmonies. Atmospheric guitar lines. The occasional, understated guitar solo. And lyrics as human as human gets. Queens of the Breakers made a little noise in the indie rock scene with “Song That I Heard” and “You Would Have To Lose Your Mind”. But it’s the deep tracks like “Hideous Glorious” that I love best.

“Did you come here for the truth? Did you come here to tighten it down or turn it loose?”

"THE BABY SCREAMS" THE CURE (1985)

I started Mental Jukebox nearly three years ago at the beginning of the pandemic. During this time, I’ve discovered new music, rediscovered old favorites and I’ve met passionate music fans around the world. And when things opened up, I kept on blogging. This month, the jukebox goes deeper. The term “deep cut” has multiple meanings. It can refer to lesser known album tracks from well-known artists. It can also refer to tracks from lesser known artists. This month, I’ll be featuring both types. #DeepCutsFeb

The Head On The Door had an ease and accessibility about it. It’s common to deem this trait as a weakness. But nothing could be further from the truth. It isn’t so much a mainstream album, and it certainly isn’t The Cure selling out. The album explores a number of different genres and influences, conjures up a dozen different emotions. It just happens to be danceable with moments of pop. Just maybe you’re dancing in a cemetery, not at prom. The unheralded track “The Baby Screams” is one of my favorite deep cuts from the band.

Here’s proof that the quintet works. It thrives. Smith, Tolhurst, Thompson, Gallup and Williams sound like they’re having a ball playing this. To this day, I still don’t know what the song is about, although it’s definitely not about colicky babies. Like many Cure songs, it’s not about what the song is telling you, it’s about how it makes you feel. When I play “The Baby Screams”, I wanna play air bass to those chunky bass hooks from Gallup. I wanna play air keys with those ironic flourishes from Tolhurst. I wanna get behind Boris’ kit and wail on the drums all afternoon and skip work. I wanna crush those guitar riffs side by side Porl. And I want to scream like a hyena with Robert. But the headphones will do just fine for now.

“HEAVEN, GIVE ME A SIGN. WAITING FOR THE SUN TO SHINE. PLEASURE FILLS UP MY DREAMS AND I LOVE IT, LIKE A BABY SCREAMS.”

"TOLERANCE" 10,000 MANIACS (1992)

I started Mental Jukebox nearly three years ago at the beginning of the pandemic. During this time, I’ve discovered new music, rediscovered old favorites and I’ve met passionate music fans around the world. And when things opened up, I kept on blogging. This month, the jukebox goes deeper. The term “deep cut” has multiple meanings. It can refer to lesser known album tracks from well-known artists. It can also refer to tracks from lesser known artists. This month, I’ll be featuring both types. #DeepCutsFeb

A big part of what made the 10,000 Maniacs sound work so well was the subtle, often rhythmic approaches to the guitar playing. The formula worked well because it put Natalie Merchant’s vocals and the song melodies in the spotlight. This is evident throughout their catalog, particularly on In My Tribe and Our Time In Eden, the album that allowed the band to break into the mainstream. But there was an anomaly on the album – a deep cut track and favorite of mine called “Tolerance.”

Our Time In Eden stretched deep: 13 tracks long. Even so, it showed no signs of letting up. The richness of the songwriting is evident. Track 10, “Tolerance”, didn’t follow the band’s traditional formula. The mix gives equal emphasis to Merchant’s vocals as it does to Robert Buck’s scorching guitar riff. “Tolerance” comes out out of the gate on a mission and rocks a little harder than what the band is used to. A delightful, unexpected facet to the band that seemed to work well – even as the band stepped out of their comfort zone.

“Hear it grow, hear it fade. The sound you're hearing, the sound you're fearing is the hate that parades up and down our streets, coming within bounds and within reach.”

"NIGHT TIME" THE XX (2009)

I started Mental Jukebox nearly three years ago at the beginning of the pandemic. During this time, I’ve discovered new music, rediscovered old favorites and I’ve met passionate music fans around the world. And when things opened up, I kept on blogging. This month, the jukebox goes deeper. The term “deep cut” has multiple meanings. It can refer to lesser known album tracks from well-known artists. It can also refer to tracks from lesser known artists. This month, I’ll be featuring both types. #DeepCutsFeb

Well, I’m going from one music act with minimalist tendencies to another – this time playing The XX on Mental Jukebox. That debut album is always worth listening to from beginning to end in one sitting. It creates a mood that’s best if it sits with you for a while, and it has the depth to pull it off. Not to take away from “Crystalised” and “Intro”, as they are great tracks themselves, but these more well-known songs are not my favorites. The back half of the record holds up strong – and the mysterious “Night Time” is one of the highlights.

“Night Time” is as esoteric as it is atmospheric. The guitar chords are that much more powerful out in space on this track. The bareness in between notes is what makes the song. There is nowhere to hide. But then at the 2:20 mark, things pick up with Romy’s more urgent guitar playing and that irresistable sliding bass line from Oliver. That mid-tempo shift might just be my favorite part of the song. But that’s the thing with “Night Time”. Next time I play it, I’ll probably find another favorite part to obsess over.

“I walk out in stormy weather. Hope my words keep us together.”

"DRAG" LOW (1994)

I started Mental Jukebox nearly three years ago at the beginning of the pandemic. During this time, I’ve discovered new music, rediscovered old favorites and I’ve met passionate music fans around the world. And when things opened up, I kept on blogging. This month, the jukebox goes deeper. The term “deep cut” has multiple meanings. It can refer to lesser known album tracks from well-known artists. It can also refer to tracks from lesser known artists. This month, I’ll be featuring both types. #DeepCutsFeb

It is a bit ridiculous how many decades passed before I finally discovered this album. I love it now, but I can’t imagine the power it would’ve had on me had I listened to it during its era. It is the antithesis of two prevailing genres at the time: the loud, thrashing guitars of grunge rock and the feedback-soaked noise of shoegaze. Low’s debut record must’ve sounded strangely stark and naked in that era. It is how Low made a name for itself in the indie scene - that minimalist approach and, of course, those haunting harmonies from Alan and Mimi. God rest her soul. She’s still here when I play I Could Live In Hope once again in its entirety, which winds down with the treasured deep cut “Drag”.

“Drag” appropriately drags itself out in space with snare brushes dotting a haunting, finite landscape. Alan sounds young, hopeless and remorseful. The instrumentation is as minimal as it gets, starting with that bass line that reminds me of Joy Division. The lyrics are just as minimal. Alan wrote four lines in total, but somehow they speak volumes in their simplicity. Hearing “Drag” again, I want Mimi to be back. Alan’s artistry and musicianship are far better with her by his side.

“I'm sorry but I can't hold on. It works much better if I let it drag me around.”

"AGENT ORANGE" DEPECHE MODE (1987)

I started Mental Jukebox nearly three years ago at the beginning of the pandemic. During this time, I’ve discovered new music, rediscovered old favorites and I’ve met passionate music fans around the world. And when things opened up, I kept on blogging. This month, the jukebox goes deeper. The term “deep cut” has multiple meanings. It can refer to lesser known album tracks from well-known artists. It can also refer to tracks from lesser known artists. This month, I’ll be featuring both types. #DeepCutsFeb

Music For The Masses isn’t just my favorite Depeche Mode album, it’s the record in which the band took a giant leap forward – not just commercially, but artistically. The dark, ominous electro pop of Black Celebration was followed up by an album brimming with exceptional cohesion and confidence. Alt hit singles aside, every song was perfectly sequenced within the track order to serve the greater purpose of the album. It’s why I consider every track so vital, including bonus tracks like “Agent Orange”.

Some of the greatest deep cuts in music history are instrumentals. “Agent Orange” lacks nothing, even with no vocals. It’s a mood piece that capitalizes on the dark soundscapes that the band is known for. Without uttering a single word, it tells a story and paints a picture. The musicality isn’t incredibly complex, but it’s perfectly orchestrated, an underrated gem from the Alan Wilder years that proves synthesizers are far from souless.

"SLIM SLOW SLIDER" VAN MORRISON (1968)

I started Mental Jukebox nearly three years ago at the beginning of the pandemic. During this time, I’ve discovered new music, rediscovered old favorites and I’ve met passionate music fans around the world. And when things opened up, I kept on blogging. This month, the jukebox goes deeper. The term “deep cut” has multiple meanings. It can refer to lesser known album tracks from well-known artists. It can also refer to tracks from lesser known artists. This month, I’ll be featuring both types. #DeepCutsFeb

Astral Weeks is a once-in-a-lifetime album praised by fans, critics and peers alike. Considered one of the most important records of any era, it has influenced everyone from Elvis Costello and Bruce Springsteen. It’s experimental. It’s daring. It’s, at times, outlandish. There are many moments when I asked myself, “Did I just hear that?” And maybe the best part of it is, it truly has earned the respect of the music community without the commercial success. There’s a crazy blend of rock, folk, jazz and blues running through veins of the album. By the final track “Slim Slow Slider”, it’s still pumping strong.

“Slim Slow Slider” is a serious song about a serious subject. So Van Morrison made every musical element – especially his vocals – a highly visceral affair. Every pluck of the double bass feels like it’s inside us. The dual musings of a flute and a soprano saxophone are the most signature aspects of the song. They are beautiful, but undeniably haunting. But the most arresting moment is in the last ten seconds of the song, when things sputter out of control like life slipping away.

“I know you're dying And I know you know it, too.”

"TELL" THE RADIO DEPT. (2006)

I started Mental Jukebox nearly three years ago at the beginning of the pandemic. During this time, I’ve discovered new music, rediscovered old favorites and I’ve met passionate music fans around the world. And when things opened up, I kept on blogging. This month, the jukebox goes deeper. The term “deep cut” has multiple meanings. It can refer to lesser known album tracks from well-known artists. It can also refer to tracks from lesser known artists. This month, I’ll be featuring both types. #DeepCutsFeb

Putting The Radio Dept.’s first two full-length albums side by side – Lesser Matters and Pet Grief – I have trouble saying which one I like better. They are quite different from each other. The band’s debut album has more guitars, more of that characteristics shoegaze distortion and fuzz, and more variations. But the remarkable consistency between the tracks on their sophomore release is Pet Grief’s biggest strength and it’s what makes it such a great listen from beginning to end in one sitting. Just as critical to the overall sound as the early tracks are the ones that bring up the rear of the record, including “Tell”.

That dream pop essence is captured so poignantly in those high synthesizer single notes that seem to soar wistfully and tragically at the same time. As with many of the other tracks on Pet Grief, the synthesizers are king here and the guitar plays a secondary role, complementing the atmosphere and textures defined on the keys. The “Tell” is perfect for slow, lazy afternoons. Perfect for rainy days. Just perfect, in general.

“Will you keep this up, As long as you can if I don't make it stop?”

"DOUBTS EVEN HERE" NEW ORDER (1981)

I started Mental Jukebox nearly three years ago at the beginning of the pandemic. During this time, I’ve discovered new music, rediscovered old favorites and I’ve met passionate music fans around the world. And when things opened up, I kept on blogging. This month, the jukebox goes deeper. The term “deep cut” has multiple meanings. It can refer to lesser known album tracks from well-known artists. It can also refer to tracks from lesser known artists. This month, I’ll be featuring both types. #DeepCutsFeb

It is sobering, yet also somewhat disorienting to think that Movement came out just a year and a half after Ian Curtis’ suicide. In some ways, it seemed much too soon to be getting back to writing, playing and recording. But this was how Sumner, Hooky and Morris moved forward. Movement, in many ways, was a way to keep Ian Curtis’ legacy alive. Many of the songs unequivocally feel more like Joy Division than New Order, including “The Him” and the lesser heralded “Doubts Even Here”.

While Movement isn’t my favorite New Order album by any stretch, ”Doubts Even Here” has been captivating and, at times, it has possessed this magnetic quality. There’s something in the song that continually pulls me back into it. Before the changeover to a brighter, synth-driven sound, here New Order saluted the post-punk agenda of Joy Division. “Doubts Even Here” conjured up a complex melee of emotions, from sadness to despair, to fury. And they pulled it off magnificently here before the mold was set – with Stephen Morris writing all the lyrics and Hooky on lead vocals.

“Too much of heaven's eyes I saw through.”

"THE LIGHTHOUSE" INTERPOL (2007)

I started Mental Jukebox nearly three years ago at the beginning of the pandemic. During this time, I’ve discovered new music, rediscovered old favorites and I’ve met passionate music fans around the world. And when things opened up, I kept on blogging. This month, the jukebox goes deeper. The term “deep cut” has multiple meanings. It can refer to lesser known album tracks from well-known artists. It can also refer to tracks from lesser known artists. This month, I’ll be featuring both types. #DeepCutsFeb

Our Love To Admire is an album that was a bit of an acquired taste for me. Lacking the instant likability of Turn On The Bright Lights and Antics, OLTA has gotten better over time for one reason. This is Interpol stretching and exploring, creating some of their most epic musical arrangements ever. “Rest My Chemistry” is the big one. “Pioneer To The Falls” is a killer opener. But the track that I only turned onto recently is the deep cut “The Lighthouse”.

I used to think that Interpol was at its best when it thrusted the rhythm section to the foreground, and paired Kessler’s angular guitar tirades with Banks singing with a catatonic gusto. But there’s another side to the band that’s under appreciated and exceptionally unique: the dark, expansive side. “The Lighthouse” might be the best example of this. Cinematic. Enveloping. Haunting. I could listen to it a hundred times in a row and still be caught off guard with the instrumental transition at the 4:25 mark. In some ways, it is the quintessential deep cut. Interpol giving the fans something more, something different, something truly ambitious.

“Here I've been loosened, unliving within. Inwardly urgent, I'm sinking again.”

"PAPER TIGERS" THE CHAMELEONS (1983)

I started Mental Jukebox nearly three years ago at the beginning of the pandemic. During this time, I’ve discovered new music, rediscovered old favorites and I’ve met passionate music fans around the world. And when things opened up, I kept on blogging. This month, the jukebox goes deeper. The term “deep cut” has multiple meanings. It can refer to lesser known album tracks from well-known artists. It can also refer to tracks from lesser known artists. This month, I’ll be featuring both types. #DeepCutsFeb

The Chameleons enjoyed a bit of a cult status back in the eighties. It wasn’t until several decades later, in the early 2000’s, that the band’s undeniable influence became fully apparent. Now, it’s hard to imagine that some of the post-punk revival acts from that era could exist without The Chameleons. Of course, the two bands that stand out the most are the Editors and Interpol. The angular guitar playing, driving bass lines, atmospheric soundscapes and ominous vocals became a blueprint from which a new generation could build off. Script of the Bridge is required listening for any post punk music fan. And the listener must push past “Don’t Fall”, “Second Skin”, and “Up the Down Escalator” and hear the album in its entirety. The deep cuts, like “Paper Tigers” are just as good as the more well-known tracks.

“Paper Tigers” is a rollicky ride, a banger of a track where every instrument becomes a rhythmic element. I hear a little Interpol here with the foreshadowing of Daniel Kessler’s chiming guitar explorations. I sense a little Editors going on as well a la Tom Smith. The Chameleons were around creating these superb sonic landscapes twenty years before these great post-punk revival bands made their appearance. “Paper Tigers” is proof of the sheer depth of this pioneer’s catalog. When it came to the impact on future acts, the deep cuts from The Chameleons often cut the deepest.

“Too much and it makes me crazy. Not enough and it makes me lazy.”

"TERRITORIES" RUSH (1985)

I started Mental Jukebox nearly three years ago at the beginning of the pandemic. During this time, I’ve discovered new music, rediscovered old favorites and I’ve met passionate music fans around the world. And when things opened up, I kept on blogging. This month, the jukebox goes deeper. The term “deep cut” has multiple meanings. It can refer to lesser known album tracks from well-known artists. It can also refer to tracks from lesser known artists. This month, I’ll be featuring both types. #DeepCutsFeb

Power Windows was the first CD I ever purchased. Funny thing is, I continued to buy cassettes afterwards. In retrospect, I’m confused as to why I went backwards with my album format before returning later to CDs. It seemed Power Windows was simply deserving of a higher quality sound. The decision to buy a CD ultimately paid off, allowing the exceptional production quality of the album to shine through. Typically, a deep cut appears as one of the last couple of tracks on the album. But “Mystic Rhythms”, a single, can hardly be considered one. “Territories”, on the other hand, is – even as the fifth of eight tracks.

It’s the Alex Lifeson show here. One of the few tracks from Power Windows where the synthesizers take a hiatus and the monster riffs come out to play. I have no problem when Rush mashes on the keys, but I always felt the band felt more complete when Lifeson was wielding the axe early and often. “Territories” marks out clear boundaries all the over place – the verses, the chorus, and the instrumental refrains – with one guitar riff after another trekking, traversing, globetrotting and taking us along for the ride.

“Better people... better food... and better beer... Why move around the world when Eden was so near?”

"SUNDAY SUN" BECK (2002)

I started Mental Jukebox nearly three years ago at the beginning of the pandemic. During this time, I’ve discovered new music, rediscovered old favorites and I’ve met passionate music fans around the world. And when things opened up, I kept on blogging. This month, the jukebox goes deeper. The term “deep cut” has multiple meanings. It can refer to lesser known album tracks from well-known artists. It can also refer to tracks from lesser known artists. This month, I’ll be featuring both types. #DeepCutsFeb

Look, some days you just don’t want to be cheered up. On those days, you still need your music. And maybe Beck’s Sea Change is part of your go-to rotation on those days. Few albums are equally self-loathing and melodic as this one. It’s still my favorite Beck record because there’s no place for the lyrics and melodies to hide. Beck bares his soul and uses minimal production (well, for him at least) here. The album is a perfect listen from beginning to end. However, as it’s 12 tracks long, “Sunday Sun” in the #10 spot qualifies as a deep cut, and a very good one at that.

Despite the title, this is not a song with a sunny disposition. It is a continuation of the themes of depression and sadness explored on Sea Change. This track’s defining characteristics are two elements mired in the miserable malaise of life: the piano and Beck’s somber vocals. “Sunday Sun” ends with a cacophony of feedback and distortion a la Wilco. Even in its minimalism and even at his lowest, Beck is still Beck. And no breakup can take that away from him.

“There’s no other ending. Sunday sun. Yesterdays are mending. Sunday sun.”

“PLING” JUNIP (2011)

I started Mental Jukebox nearly three years ago at the beginning of the pandemic. During this time, I’ve discovered new music, rediscovered old favorites and I’ve met passionate music fans around the world. And when things opened up, I kept on blogging. This month, the jukebox goes deeper. The term “deep cut” has multiple meanings. It can refer to lesser known album tracks from well-known artists. It can also refer to tracks from lesser known artists. This month, I’ll be featuring both types. #DeepCutsFeb

I’ve loved the acoustic-driven, underrated guitar prowess of Jose Gonzalez for many years. But only recently have I delved into the catalog of Junip, his collab with keyboardist Tobias Winterkorn. I’ve found some hidden gems on their albums and EPs. While some songs sound very similar to his solo stuff, there are more experimental, instrumental layerings to be heard. On the EP In Every Direction, the track “Pling” has lived in relative obscurity, just waiting to be devoured by music fans.

“Pling” is far more than an instrumental. It’s audio candy. A visceral experience where every single instrumental element – even the most delicate ones – exercise enormous power. The tactile noises of this track include what sounds like a xylophone, a pulsating bass line and a steady tapping of snare rim shots. It is a hidden gem from an instrumental and production perspective. Listening to it now, it feels like Christmas has arrived exceedingly early this year.

“FOLLOW YOUR BLISS” THE B-52’S (1989)

I started Mental Jukebox nearly three years ago at the beginning of the pandemic. During this time, I’ve discovered new music, rediscovered old favorites and I’ve met passionate music fans around the world. And when things opened up, I kept on blogging. This month, the jukebox goes deeper. The term “deep cut” has multiple meanings. It can refer to lesser known album tracks from well-known artists. It can also refer to tracks from lesser known artists. This month, I’ll be featuring both types. #DeepCutsFeb

I’m not a particularly huge fan of The B-52’s in general. The band’s bigger hits (“Rock Lobster”, “Planet Claire”, “Love Shack”) are my least favorite tracks of theirs. When they come down-to-earth a bit and leave the party at home is where I think there’s interesting music to be discovered. On Cosmic Thing, this side to the band came to fruition with songs like “Roam”, “Topaz” and my deep cut pick, “Follow Your Bliss”.

I can see why many fans would almost consider this track to be a throwaway. But it was instantly one of my favorites. The musical equivalent of a change-up pitch, it gave the album a different tempo, timbre and demeanor to close out with. “Follow Your Bliss” is a slow, lazy, feel-good musical statement. Nothing more. It’s not trying to hype you up, but instead it lifts you up slowly but surely. It’s a track that’s easily forgotten, but I’ll take it over “Love Shack” any day of the week. It’s the essence of deep cut.

“TRANSCONTINENTAL, 1:30 A.M.” VIENNA TENG (2006)

I started Mental Jukebox nearly three years ago at the beginning of the pandemic. During this time, I’ve discovered new music, rediscovered old favorites and I’ve met passionate music fans around the world. And when things opened up, I kept on blogging. This month, the jukebox goes deeper. The term “deep cut” has multiple meanings. It can refer to lesser known album tracks from well-known artists. It can also refer to tracks from lesser known artists. This month, I’ll be featuring both types. #DeepCutsFeb

A friend introduced me to the music of Vienna Teng several years ago by way of the album Waking Hour and the piano-heavy song “Gravity” in particular. I didn’t need any convincing that there was talent here in her understated presence. With Vienna, it felt very much felt like a friend was writing and performing these songs. There was nothing hyped about her music, which points to the strength and pure talent embodied in her songwriting. My stance remained unchanged when Dreaming Through The Noise was released, which contains my deep cut pick for today, “Transcontinental, 1:30 a.m.”.

The best songs are the ones that invite us to be a part of their story. The great ones make us feel like we’ve transported to another place. “Transcontinental, 1:30 a.m.” accomplishes this. Vienna may have written it to be about trying to make a long-distance relationship work. But every single time I play it, without fail, I’m brought to a quiet and empty airport terminal that turns into a dark, smokey jazz club in the dead of night. And I don’t want to leave.

“I know we're transcontinental, 1:30 a.m. and there's not even a wire. Just a whispering in air. I know we're transcontinental, 1:30 a.m. but I'm here.”

“CROWING” TOAD THE WET SPROCKET (1994)

I started Mental Jukebox nearly three years ago at the beginning of the pandemic. During this time, I’ve discovered new music, rediscovered old favorites and I’ve met passionate music fans around the world. And when things opened up, I kept on blogging. This month, the jukebox goes deeper. The term “deep cut” has multiple meanings. It can refer to lesser known album tracks from well-known artists. It can also refer to tracks from lesser known artists. This month, I’ll be featuring both types. #DeepCutsFeb

Toad the Wet Sprocket started to build momentum with the release of Pale. Then when Fear was released, the band practically became a household name overnight. The follow-up, Dulcinea, went platinum, but somehow seemed to be a lesser celebrated album. But it’s my favorite of theirs. Listening back to it nearly 30 years later (!), I’m impressed by Toad’s resolve to do their own thing and stay the course when many other acts at the time were being influenced by grunge. Dulcinea builds off the musicality and songwriting of Fear, never veering, and in doing so, they establish a more mature, reflective output. My deep cut pick from the album is “Crowing”.

“Crowing” drew me in immediately when I first heard it. It is a prime example of the band’s strength: the perfect marriage of Glen Phillips’ lyrics and the melody. They are inseparable and made for each other. “Fly From Heaven”, “Something’s Always Wrong” and “Fall Down” all contain great moments on the guitar. But “Crowing” relies solely on the earnestness of the sung words, which has given it a sort of timeless quality untainted by chart positions and streaming stats.  

“You’d give yourself to anybody who would cross that line.”

"SINKING" THE CURE (1985)

You can get off to a fast start. You can sustain your opener with the main course, not filler. But can you end on a high note? Sometimes I wonder if recording a strong closer is the most difficult thing to pull off when it comes to album rock. When it comes to the cream of the crop in music, I can think of more strong openers than strong closers. Nonetheless, I still have my favorites which I’ll be featuring on Mental Jukebox all month.

I count The Head On The Door among my top five favorite Cure albums. This was the record that brought me into the fold. True, it is known for being one of the more accessible recordings from their catalog. It’s poppier for sure. And often times, fans will recommend that new enthusiasts start with this album first, then branch out to the less accessible stuff. But the thing is, The Head On The Door tends to get written off as a one-dimensional pop fest. The final proof that this is preposterous is the last track, “Sinking”. It might be my favorite closer of all time, from any band.

That sinking feeling is captured so perfectly and profoundly on the track. In true Cure fashion, the instruments take on a life of their own, personifying human emotions so beautifully. The guitar harmonics and tragic synth interludes seem to drag each other down into the mire. Smith doesn’t sling a ton of lyrics around on this one. But every word counts. Every word has a nearly unbearable weight attached to it. Gallup’s bass line mopes around, pacing back and forth in its misery. “Sinking” might seem more at home on a record like Disintegration, but as the final track on The Head On The Door, it’s a reminder that The Cure, as always, is in touch with every emotion.

“I CROUCH IN FEAR AND WAIT. I'LL NEVER FEEL AGAIN... IF ONLY I COULD REMEMBER ANYTHING AT ALL.”

"THE END" THE DOORS (1967)

You can get off to a fast start. You can sustain your opener with the main course, not filler. But can you end on a high note? Sometimes I wonder if recording a strong closer is the most difficult thing to pull off when it comes to album rock. When it comes to the cream of the crop in music, I can think of more strong openers than strong closers. Nonetheless, I still have my favorites which I’ll be featuring on Mental Jukebox all month.

The amalgamation of sound from The Doors was unique, irreplaceable and captivating for many music fans, including me. The compositions often felt truly epic. And, of course, the sound felt truly their own largely because of Manzarek’s keyboard contributions and Morrison’s presence, one of the greatest frontman to ever take the stage. The debut album is exceptional, packed with several classics and ending on a high with “The End”.

“The End” keeps going, and stretches for nearly 12 minutes. It’s a breakup song that has become far more than a breakup song. It’s pure poetry. Riding on a wave of rock, psychedelia, blues and even Middle Eastern and Native American musical explorations, the song doesn’t fit neatly into one category. This is probably the one characteristic that has made it such a celebrated and highly recognized song. If you’re going to make a powerful statement to end your album, you’d be hard pressed to make something as truly epic as “The End”.

“THIS IS THE END, BEAUTIFUL FRIEND. THIS IS THE END, MY ONLY FRIEND, THE END. OF OUR ELABORATE PLANS, THE END. OF EVERYTHING THAT STANDS, THE END. NO SAFETY OR SURPRISE, THE END. I'LL NEVER LOOK INTO YOUR EYES, AGAIN.”