"QUIET LIFE" JAPAN (1979)

As an eighties kid, synth pop has been pumping in my blood ever since that first day I turned on my MTV. There’s some debate as to who’s considered a synth pop band and who isn’t. For this September Music Twitter challenge – #SynthPopSeptember – I’m focusing more on what’s considered synth pop, not who. The songs I’m featuring on Mental Jukebox this month aren’t solely composed of synthesizers. There may be drums, bass, and dare I say, electric guitars. But each of these songs were picked because the synthesizer is core to its being.

Japan is one of those bands that I missed early on – mainly because I was just 6 years old when Quiet Life was released and the influential band wasn’t big in the U.S. Interestingly, it was one of the bands they helped shape – Duran Duran – that became huge in the States. Having discovered the genius of Japan much, much later in life I can’t help but feel like Duran Duran ripped them off in so many respects. To prove it, I’ll submit the title track “Quiet Life” as Exhibit A.

I hear Duran Duran all over this. Or perhaps I should say, I hear “Quiet Life” all over Duran Duran’s debut album. The funk-inspired bass lines. Shimmery synth lines. Sax interludes. Helicopter effects. Even the vocals sound like Simon Le Bon. “Quiet Life” is proof that commercial success isn’t indicative of the innovation behind the music. Just like The Chameleons who paved the way for Interpol, Japan – and Roxy Music to a lesser extent – made Duran Duran who they are.

“Beware, here comes the quiet life again.”

"SEASONS (WAITING ON YOU)" FUTURE ISLANDS (2014)

As an eighties kid, synth pop has been pumping in my blood ever since that first day I turned on my MTV. There’s some debate as to who’s considered a synth pop band and who isn’t. For this September Music Twitter challenge – #SynthPopSeptember – I’m focusing more on what’s considered synth pop, not who. The songs I’m featuring on Mental Jukebox this month aren’t solely composed of synthesizers. There may be drums, bass, and dare I say, electric guitars. But each of these songs were picked because the synthesizer is core to its being.

How many bands sing and play with all their soul? How many bands put everything they have into the music because it’s all they got and it’s all they live for? Probably not many. Future Islands is one of them. They’re proof that synthesizers still have soul. Proof that you don’t have to act like or look like a rock band to make some noise in this industry. And if you absolutely love what you do, you can make people love it, too. “Seasons” is strangely contagious and utterly ambitious. Hands down, one of the best songs from the last 10 years – and it all starts with the lyrics.

Future Islands’ performance of “Seasons” on the David Letterman show was probably one of the best musical performances on a late night talk show in history. You could feel the passion for the music. And if there’s no passion then really what’s the point? The synth notes glide in and out like they’re pressing buttons on our soul. Meanwhile, I can’t say enough about Samuel Herring’s vocals on this one. There’s just nothing else like it.

“Seasons change, and I tried hard just to soften you. The seasons change, but I've grown tired of tryin' to change for you.”

"WISHING (IF I HAD A PHOTOGRAPH OF YOU)" A FLOCK OF SEAGULLS (1983)

As an eighties kid, synth pop has been pumping in my blood ever since that first day I turned on my MTV. There’s some debate as to who’s considered a synth pop band and who isn’t. For this September Music Twitter challenge – #SynthPopSeptember – I’m focusing more on what’s considered synth pop, not who. The songs I’m featuring on Mental Jukebox this month aren’t solely composed of synthesizers. There may be drums, bass, and dare I say, electric guitars. But each of these songs were picked because the synthesizer is core to its being.

In the U.S., A Flock Of Seagulls were more or less relegated to one-hit wonder status. They were mainly talked about for the Jetson wavve-inspired haircut. But thankfully MTV and alt rock stations in the States let another track through the cracks for us music fans. The track “Wishing (If I Had A Photograph Of You)” has earned synth pop anthem status – more so than “I Ran”. Here’s why.

While “I Ran”’s best moments are dominated by the electric guitar, there’s no arguing that “Wishing” is all about the synth notes. The guitar plays a complementary role, placing accents that supplement the synth barrage evident throughout the track. “Wishing” also has that iconic synth arpeggio riff, one of the most unforgettable keyboard hooks of the decade – along with that enthralling Joy Division-inspired percussion. It’s hard to think of a more clearer expression of 80’s synth pop.

“If I had a photograph of you, It's something to remind me I wouldn't spend my life just wishing.”

"THERE MUST BE AN ANGEL" EURYTHMICS (1985)

As an eighties kid, synth pop has been pumping in my blood ever since that first day I turned on my MTV. There’s some debate as to who’s considered a synth pop band and who isn’t. For this September Music Twitter challenge – #SynthPopSeptember – I’m focusing more on what’s considered synth pop, not who. The songs I’m featuring on Mental Jukebox this month aren’t solely composed of synthesizers. There may be drums, bass, and dare I say, electric guitars. But each of these songs were picked because the synthesizer is core to its being.

One of the most talented and versatile voices of our time is Annie Lennox. Throughout her time with the Eurythmics, her vocals spanned all kinds of genres, including rock, new wave, motown and soul. VH-1 once went so far as to name her "The Greatest White Soul Singer Alive”. A natural contralto, Lennox pushed up to the upper octaves with this falsetto that seemed to come down from heaven. She made good singers seem mediocre, most evident in vocal range-stretching tracks like “There Must Be An Angel”.

Be Yourself Tonight, as a full body of work, was quite different from the earlier Eurythmics synth-heavy aesthetic. It had much more rock, much more soul, even some Motown. I liked those songs, but “There Must Be An Angel” is still my favorite track off the album because of Dave Stewart’s production mastery and synth hooks. A second movement to the song begins about halfway through the track with this soul-infused approach that culminates in a mind blowing harmonica solo by Stevie Wonder.

“This must be a strange deception. By celestial intervention. Leaving me the recollection. Of your Heavenly connection.”

"YOU SURROUND ME" ERASURE (1989)

As an eighties kid, synth pop has been pumping in my blood ever since that first day I turned on my MTV. There’s some debate as to who’s considered a synth pop band and who isn’t. For this September Music Twitter challenge – #SynthPopSeptember – I’m focusing more on what’s considered synth pop, not who. The songs I’m featuring on Mental Jukebox this month aren’t solely composed of synthesizers. There may be drums, bass, and dare I say, electric guitars. But each of these songs were picked because the synthesizer is core to its being.

It would be sacrilegious to celebrate the genre of synth pop without uttering these two syllables: Vince Clarke. A pioneer. A journeyman. A musical genius who’s more than content to stay in the background. Any genre would be thrilled to have someone like this. He got Depeche Mode off the ground – and to this day “Just Can’t Get Enough” is a setlist staple more than 40 years after it was released. He went all in with a fast, dance-oriented brand of synth pop, pairing up with Alison Moyet. But my favorite era of Vince Clarke’s career is the first decade of Erasure with Andy Bell.

“You Surround Me” is a prime example of the duo’s ability to slow things down, while still illiciing a strong, unforgettable angular sound. The song is built around Clarke’s synth arrangements, an epic melody, and Bell’s baritone vocals. “You Surround Me” is enveloping. A refreshing departure on an album packed with faster tempo tracks like “Drama!” and “Star” and the mid-tempo anthem “Blue Savannah”. But thematically tied closely together with the shimmery synth sounds of Wild!

“If love wasn't here would we reinvent it?”

"GETTING AWAY WITH IT" ELECTRONIC (1991)

As an eighties kid, synth pop has been pumping in my blood ever since that first day I turned on my MTV. There’s some debate as to who’s considered a synth pop band and who isn’t. For this September Music Twitter challenge – #SynthPopSeptember – I’m focusing more on what’s considered synth pop, not who. The songs I’m featuring on Mental Jukebox this month aren’t solely composed of synthesizers. There may be drums, bass, and dare I say, electric guitars. But each of these songs were picked because the synthesizer is core to its being.

I recently gained new perspective on the forming of supergroup Electronic from Peter Hook’s New Order memoir, Substance. It’s clear that New Order’s sound was becoming more and more synth-driven. What I didn’t realize was how significant the musical and personal tensions were between Barney and Hooky. Through this new lens, Electronic seems almost like a rebound fling. Barney escaping to pursue more of what he wants with the synths – and Johnny Marr fresh off the heels of The Smiths breakup. There is beauty in the chaos though, right? “Getting Away With It” is a perfect example.

Johnny Marr is playing guitars on this one, but the majority of the album’s focus is on the synthesizers. Electronic is the name of the band, after all. “Getting Away With It” was like a breath of fresh air on my beloved radio station WDRE. I listened to it incessantly, Barney’s vocals were as good as they’ve ever been. The melody fit his everyday tone perfectly. Neil Tenant’s distinct backing vocals were like the icing on the cake. And let’s not forget the synth riffs, one of Barney’s more underrated skills as a band member – whether he’s the frontman or co-leading.

“However I look, it's clear to see That I love you more than you love me.”

"EVERYTHING COUNTS" DEPECHE MODE (1983)

As an eighties kid, synth pop has been pumping in my blood ever since that first day I turned on my MTV. There’s some debate as to who’s considered a synth pop band and who isn’t. For this September Music Twitter challenge – #SynthPopSeptember – I’m focusing more on what’s considered synth pop, not who. The songs I’m featuring on Mental Jukebox this month aren’t solely composed of synthesizers. There may be drums, bass, and dare I say, electric guitars. But each of these songs were picked because the synthesizer is core to its being.

It wasn’t until 1986’s Black Celebration that Depeche Mode truly cemented their dark, ominous brand of synth pop. It’s the era that I gravitate toward the most – and it’s the start of the band’s imperial phase. The rest of the catalog preceding it was a little spotty in my opinion. But that doesn’t take away the fact that there were some real gems in the early days, including the standout single from Construction Time Again: “Everything Counts”. Aside from “Just Can’t Get Enough”, “Everything Counts” is really the only song that still remains on the band’s setlists. That’s a full 40 years after it was released as a single.

As one of the standouts on the album, “Everything Counts” showcased the iconic persona of Depeche Mode: hook-laden, danceable, infectious, and, often at times, dark. Written by Martin Gore, the song went on the offensive, calling out corporate greed with a somewhat satircal approach. The bass synth part is utterly sinister, lurking with precision from beginning to end. Wilder’s synth hook – sometimes played on a xylophone – sounds like a music toy possessed by an evil spirit, which is flanked by quirky instruments that go beyond DM’s typical keyboard decks, including a melodica. Then there’s Gahan. With his signature bass vocals, Gahan is the narrator and antithesis of Gordon Gekko.

“The grabbing hands, grab all they can.”

"THE GREAT COMMANDMENT" CAMOUFLAGE (1988)

As an eighties kid, synth pop has been pumping in my blood ever since that first day I turned on my MTV. There’s some debate as to who’s considered a synth pop band and who isn’t. For this September Music Twitter challenge – #SynthPopSeptember – I’m focusing more on what’s considered synth pop, not who. The songs I’m featuring on Mental Jukebox this month aren’t solely composed of synthesizers. There may be drums, bass, and dare I say, electric guitars. But each of these songs were picked because the synthesizer is core to its being.

Synth pop, if you’re just going by its name, sounds like a genre that lacks edge. On the surface, it might be easy to dismiss it as a genre not worth paying much attention to. But fans know why it’s not just a great genre, it can be mindblowing when done right. Well, Camouflage got it right with their late eighties alt rock station darling and dance floor anthem, “The Great Commandment”.

“The Great Commandment” has that infectious, driving hook that makes it dance floor-ready. But it also has that dark, edgy side to it. It starts with the intro synth hook before launching into the second synth hook – the song’s trademark riff. They don’t sound like Depeche Mode. But they do borrow from the formula that has worked so well for DM – with its ominous synth arrangements. And lead singer Marcus Meyn even sounds eerily similar to David Gahan.

“The great commandment shows the contempt Between the world and their embarrassing pavement.”

"VIDEO KILLED THE RADIO STAR" THE BUGGLES (1980)

As an eighties kid, synth pop has been pumping in my blood ever since that first day I turned on my MTV. There’s some debate as to who’s considered a synth pop band and who isn’t. For this September Music Twitter challenge – #SynthPopSeptember – I’m focusing more on what’s considered synth pop, not who. The songs I’m featuring on Mental Jukebox this month aren’t solely composed of synthesizers. There may be drums, bass, and dare I say, electric guitars. But each of these songs were picked because the synthesizer is core to its being.

Occasionally, songs have the power to become more than just songs. They have the ability to become cultural icons, representing a moment or even an era in time. This is no easy feat. But it’s what I love most about music. That it can transcend the music notes. If you were to think of the one song that captured the dual advent of MTV and new wave, you would be hard pressed to find a better example than this Buggles anthem.

Thematically, “Video Killed The Radio Star” was the perfect poster child for the invasion of MTV on cable television. The song represented a seismic shift in music listening – from radio to television. The Buggles were prophets, predicting this video thing becoming more than just a thing. Of course, it helped that the song itself was incredibly catchy. Aside from that unforgettable melody, it’s the synthesizer that really stands out - the instrument behind not just one or two iconic riffs in the song, but several.

“Video killed the radio star. Pictures came and broke your heart.”

"LIVING IN OBLIVION" ANYTHING BOX (1990)

As an eighties kid, synth pop has been pumping in my blood ever since that first day I turned on my MTV. There’s some debate as to who’s considered a synth pop band and who isn’t. For this September Music Twitter challenge – #SynthPopSeptember – I’m focusing more on what’s considered synth pop, not who. The songs I’m featuring on Mental Jukebox this month aren’t solely composed of synthesizers. There may be drums, bass, and dare I say, electric guitars. But each of these songs were picked because the synthesizer is core to its being.

By the late 80’s and even early 90’s, a late resurgence of synth pop made its way onto the radio waves – led by a handful of bands, including Information Society, When In Rome, Kon Kan and Anything Box. This “newer” wave felt like it was fashionably late, and didn’t feel over-ripe by any means. The resurgence stubbornly and unapologetically clashed with the guitar-driven grunge era. And one of the era’s best outputs was “Living In Oblivion” by Anything Box.

Anything Box sounded like a bright, upbeat strand of Brith synth pop, but the band got their start in New Jersey – a region that benefited from several college and alt rock radio stations that made synth pop an everyday staple. The best part of the dance-oriented “Living In Oblivion” is the melody, but the synthesizers and drum machine (love that iconic drum fill and cowbell) do their part to drive the song forward on the dance floor.

“You can’t hide the pain, I can see it scrawled on your empty face.”

"MY GIRLS" ANIMAL COLLECTIVE (2009)

As an eighties kid, synth pop has been pumping in my blood ever since that first day I turned on my MTV. There’s some debate as to who’s considered a synth pop band and who isn’t. For this September Music Twitter challenge – #SynthPopSeptember – I’m focusing more on what’s considered synth pop, not who. The songs I’m featuring on Mental Jukebox this month aren’t solely composed of synthesizers. There may be drums, bass, and dare I say, electric guitars. But each of these songs were picked because the synthesizer is core to its being.

For several decades, various bands have often been compared to the creme de la creme. Are you progressive enough like early Floyd? Can you combine various genres like Hendrix? Can you write melodies and experiment instrumentally like The Beach Boys? The latter comparison seems to be one of the most common ones. Seems like the minute Pet Sounds was released, critics wanted to see who could match it or even exceed it. Merriweather Post Pavilion certainly has earned a right to be in those discussions. It’s like a modern-day Pet Sounds and “My Girls” is Animal Collective’s own “That’s Not Me”.

The song opens with an audio sample from the Cassini-Hyugens spacecraft which explored Saturn, its rings and its moons. From there, the iconic and mesmerizing synth hook trickles in like a waterfall. The percussion elements are sparse, but powerful with every hit. The primary strength of “My Girls” is undoubtedly the vocals. The verses are sung in rounds. The buildup into the chorus features these background falsetto blips. And the chorus is anchored by Panda Bear and Avey Tare’s harmonies. A song about family and settling down, “My Girls” is experimental to the bone, as evident in its instrumentation, vocals and song structure. It is truly deserving of the lofty Pet Sounds comparisons it drew.

“I JUST WANT FOUR WALLS AND ADOBE SLABS FOR MY GIRLS.”

"THE SUN ALWAYS SHINES ON T.V." A-HA (1985)

As an eighties kid, synth pop has been pumping in my blood ever since that first day I turned on my MTV. There’s some debate as to who’s considered a synth pop band and who isn’t. For this September Music Twitter challenge – #SynthPopSeptember – I’m focusing more on what’s considered synth pop, not who. The songs I’m featuring on Mental Jukebox this month aren’t solely composed of synthesizers. There may be drums, bass, and dare I say, electric guitars. But each of these songs were picked because the synthesizer is core to its being.

A-ha enjoyed considerable success in Europe, but in the States they were considered a one-hit wonder. “Take On Me” became one of the most well-known synth pop songs of its generation, thanks to that iconic keyboard part and a music video that blended animated characters with real-life people. Thankfully, it was the exposure on MTV of “Take On Me” that led me to discover an A-ha single that I loved so much more: “The Sun Always Shines On T.V.”.

Purists will say this isn’t really a synth pop song because the guitar plays a prominent role. But I’d argue that this is a synth pop song to the core because the synthesizer is the heart and soul of this song. It’s responsible for nearly every major moment on the track. It creates the dreamy interlude in the beginning. It ushers the song into overdrive at the :50 mark. And it’s the star of the instrumental chorus portion toward the end, not the guitar.

“I Reached inside myself And found nothing there To ease the pressure off My ever worried mind.”

"DISINTEGRATION" THE CURE (1989)

A great title track is par for the course when it comes to great albums. If the title track doesn’t cut it, what does that say about the album itself? This month, the Mental Jukebox will be playing some of my favorite title tracks – inspired by @NicolaB_73’s music Twitter challenge, #TopTitleTracks.

Disintegration might be my favorite album of all time. There’s not a single second of filler on it. While my order of favorite tracks may have shifted over the years, one song has always stayed #1: the title track. It’s not only the magnum opus of the album and my favorite song from the band, it’s the quintessential Cure track – both as a produced piece and as a frequent inclusion on Cure concert set lists.

The song opens with the sound of glass shattering, and then immediately hands the duties of keeping the mood alive over to Gallup, who delivers one of his more memorable bass lines. Guitars and keys are given their time to marinate. On “Disintegration”, they’re cascading along a never-ending downward spiral, becoming a microcosm of the entire album that keeps descending further and further into the abyss. Robert’s vocals finally enter the picture at the 1:34 mark. But in the live setting, it’s the critical piece. It’s the element that makes “Disintegration” feel truly immersive. On Disintegration’s title track, we are not passive participants. We are part of the story.

“Songs about happiness murmured in dreams
And we both of us knew how the end always is.”

"HEAVEN OR LAS VEGAS" COCTEAU TWINS (1990)

A great title track is par for the course when it comes to great albums. If the title track doesn’t cut it, what does that say about the album itself? This month, the Mental Jukebox will be playing some of my favorite title tracks – inspired by @NicolaB_73’s music Twitter challenge, #TopTitleTracks.

It’s a shame more people don’t know the remarkable beauty and ingenuity of Cocteau Twins. The Heaven or Las Vegas album may have been their most well-known effort, but it still soars blissfully under the radar after all these years. The band helped create the soundscaped genre of dream pop much like how My Bloody Valentine helped shape the shoegaze equivalent. The title track, in particular, is one of my favorite Cocteau tracks to get lost in.

“Heaven or Las Vegas” emanates and enlightens. It could’ve made the darkest recesses of the earth sound euphoric. Elizabeth Fraser, once again, sounded more angelic than human. The swirling synths are practically hypnotizing, while the guitar holds you in a steady trance with these gorgeous cascading arpeggios and soaring riffs. Clocking in at nearly five minutes, “Heaven or Las Vegas” has become a shining example, not just of dream pop, but of any soundscape genre.

“I want to love. I've all the wrong glory.”

"LET'S STAY TOGETHER" AL GREEN (1972)

A great title track is par for the course when it comes to great albums. If the title track doesn’t cut it, what does that say about the album itself? This month, the Mental Jukebox will be playing some of my favorite title tracks – inspired by @NicolaB_73’s music Twitter challenge, #TopTitleTracks.

Many of the greatest movies of all time often have great music attached to them. But great music from the opening credits to the end credits, well, that’s a rare commodity. Pulp Fiction carries the noteworthy distinction of being one of the great films as well as one of the great soundtracks of all time. You can’t pick just one song, every single one of them is exceptional. “Let’s Stay Together” is probably one of four marquee tracks on the album, along with “Jungle Boogie”, “Son of a Preacher Man” and “Bustin Surfboards”.

What makes the Al Green song so special? I think it’s this. There are few songs in the history of music that capture the essence of their era so well while also demonstrating a timeless staying power. “Let’s Stay Together” is one of them. It is unapologetically 70’s to the bone. Like a time capsule of the era. But this classic has also aged beautifully. Pulp Fiction proved it. The horn section beckons us in the intro, but from there it’s all Al. It’s a gift to the world. Without exaggeration, one of music’s greatest vocal performances with Green’s natural vocal range and falsetto maneuvers so naturally entwined.

“WHATEVER YOU WANT TO DO IS ALRIGHT WITH ME.”

"PULASKI AT NIGHT" ANDREW BIRD (2013)

A great title track is par for the course when it comes to great albums. If the title track doesn’t cut it, what does that say about the album itself? This month, the Mental Jukebox will be playing some of my favorite title tracks – inspired by @NicolaB_73’s music Twitter challenge, #TopTitleTracks.

Some of the most powerful songs we have are the ones written about the songwriter’s hometown. The majority of songs take on an authenticity and a personal meaning that go far beyond the stereotypes and expectedness. It’s those elements or raw and real that seap into a song’s bones, like John Mellencamp’s “Small Town”, Red Hot Chili Peppers’ “Californication”, Billy Joel’s “New York State of Mind”, and the list goes on. This takes me to Andrew Bird’s title track off I Want To See Pulaski At Night.

I’ve seen Bird perform this a handful of times at various venues—from Terminal 5 to Brooklyn Steel. What strikes me most about the song is its versatility. It was the beautiful violin arrangements that won me over at first. While I’ve seen both full string performances and stripped-down versions, later I came to realize it’s Bird’s love letter lyrics to his hometown of Chicago and the melody that it dances along to that I love most about “Pulaski At Night”.

“I PAINT YOU A PICTURE OF PULASKI AT NIGHT. COME BACK TO CHICAGO. CITY OF, CITY OF LIGHT.”

"PINK MOON" NICK DRAKE (1972)

A great title track is par for the course when it comes to great albums. If the title track doesn’t cut it, what does that say about the album itself? This month, the Mental Jukebox will be playing some of my favorite title tracks – inspired by @NicolaB_73’s music Twitter challenge, #TopTitleTracks.

Word has been out for several decades now, but for a time Nick Drake was one of music’s best kept secrets. Artists like Robert Smith drew upon Drake’s inspiration early on, but many fans didn’t even know who Nick Drake was or heard anything from his relatively short, but profound catalog until years after his death. With a return to cleaner acoustic-driven, folk-inspired, singer-songwriter records after the grunge era, Nick’s music resonated with fans, including the title track to the last album before his death: “Pink Moon”.

In between verses, Nick sings “Pink, pink, pink, pink”, going lower with each repetition, demonstrating the deep richness of his oak-barreled baritone voice. It’s a marvel to behold that a voice so deep can be so delicate and even serene – a stark contrast to the raw edge found in singers like Johnny Cash, Ian Curtis and Tom Waits. Nick’s voice – not just his vocals, but his message – has no peers. Even still today.

“I SAW IT WRITTEN AND I SAW IT SAY, A PINK MOON IS ON ITS WAY.”

"HELPLESSNESS BLUES" FLEET FOXES (2011)

A great title track is par for the course when it comes to great albums. If the title track doesn’t cut it, what does that say about the album itself? This month, the Mental Jukebox will be playing some of my favorite title tracks – inspired by @NicolaB_73’s music Twitter challenge, #TopTitleTracks.

Some bands have that ability to transport us back to another era. With the Fleet Foxes, I feel like I’m in Woodstock, laying on the lawn and getting lost in the fantastic harmonies of CSNY. This is not a slight to the band that they make me think of another band. The songwriting, melodies and vocals are all still entirely Fleet Foxes. Just listen to “Helplessness Blues” to hear all the proof you need.

The album, as a whole, is considered to be one of the finest folk records of the 21st century. It has appeared on many “best of 2011” lists and has even earned a Grammy nomination. While I don’t pay much attention to these types of accolades, I think it’s relevant here because of the type of music we’re talking about. Helplessness Blues helped bring this brand of folk music back to the forefront.

“I don't need to be kind to the armies of night that would do such injustice to you.”

"CANDLELAND" IAN MCCULLOCH (1989)

A great title track is par for the course when it comes to great albums. If the title track doesn’t cut it, what does that say about the album itself? This month, the Mental Jukebox will be playing some of my favorite title tracks – inspired by @NicolaB_73’s music Twitter challenge, #TopTitleTracks.

From 1989 to 1990 I had Candleland on heavy rotation on my boombox. My radio station WDRE introduced me to the singles (“Proud To Fall”, “Faith and Healing”), and the rest is history. I like Echo & the Bunnymen, but they’re a band whose albums I rarely listen to from beginning to end. But that was never the case with McCulloch’s debut solo album. I listened to it in its entirety over and over again – and the title track was one of my favorite songs of the bunch.

“Candleland” has that dreamlike dimension to it with McCulloch’s gentle cascading guitar riffs. It’s been decades since I last heard this song, but McCulloch’s guitar brings me right back to the summer of 1990. I didn’t know it at the time, but that’s Liz Fraser (Cocteau Twins) on backing vocals. If you wanted to give your song an angelic quality, you can’t find a better accompanying vocalist than Fraser. “Candeland” is a euphoric three-minute escape from all that weighs us down.

“Wear your guilt like skin And keep your sins disguised.”

"BROTHERS IN ARMS" DIRE STRAITS (1985)

A great title track is par for the course when it comes to great albums. If the title track doesn’t cut it, what does that say about the album itself? This month, the Mental Jukebox will be playing some of my favorite title tracks – inspired by @NicolaB_73’s music Twitter challenge, #TopTitleTracks.

Dire Straits has to be one of the more underrated rock bands out there. Their sound may not be up everyone’s alley – including mine – but the musicianship and originality are admirable. Knopfler is a masterful guitarist that rarely seems to get mentioned among rock’s greats. But he should. You could point to many different songs for proof: “Once Upon A Time In The West”, “Romeo & Juliet”, “Sultans of Swing” and the title track from their 1985 album.

“Brothers In Arms” is my favorite track off the album. A phenomenal, slow winding epic, which is a rare find these days. The sparseness, bluesy guitar work and vocal delivery have a distinct Pink Floyd-esque vibe. Knopfler is no Gilmour, but he’s a genius in his own right. I have to tip my hat to Knopfler for his guitar solo on this track. It’s a thing of beauty that melts me every time. “Brothers In Arms” has become a popular song played at memorial services for military servicemen. I can only imagine what that solo does for the loved ones of fallen soldiers.

“In the fear and alarm You did not desert me. My brothers in arms.”