The Rolling Stones’ Rocking Return to Detroit

 

After a notoriously long delay of over a year and a half (and nearly two years since tickets went on sale), rock legends, The Rolling Stones, returned to Detroit’s Ford Field Monday night to perform for a huge and very enthusiastic crowd. Performing at Ford Field for the third time, including their 3-song set during the halftime of Super Bowl XL in 2006, and performing in Detroit for the 21^st time, overall, the band charged through a powerful set full of mainly hits from the 1970s and late ‘60s with enough fan favorites that no one left unsatisfied. Aside from the experienced crew’s fantastic and professional production, the Stones’ performance itself represented everything from a triumphant celebration of making it through the worst of the pandemic (or at least the worst of it, so far), a celebration of these elder statesmen on the eve of the 60^th anniversary of their impressively ongoing project, and a celebration and remembrance of the group’s late drummer, the irreplaceable Charlie Watts, who passed just weeks before the tour began. While substitute drummer, Steve Jordan, played well throughout the night, it was impossible to escape how noticeable it was to see and hear the band without Charlie.

The evening began with a spirited opening set from newcomer Seattle guitarist, Ayron Jones, and his versatile backing band who blended elements of classic rock, R&B, blues, funk, punk, and psychedelia into an up tempo set of originals and an original arrangement of Nirvana’s “Breed”. The set featured a few other nods to Seattle including a few licks of Hendrix’s take on “The Star-Spangled Banner” that accompanied the conclusion of the closing number, “Take Me Away”. The engagement among the crowd varied throughout, but it will be interesting to see what kind of impact Jones may have on the modern rock and blues worlds.

After a short set change, the lights came down again to the roar of the anticipatory crowd, and the sound of a thunderous kick drum filled the room, an unreleased recording of Charlie Watts which was then joined by a video montage that ran for about a minute before Mick Jagger, Keith Richards, Ron Wood, and their ace backing band took the stage to launch into the familiar chords of the classic, “Street Fighting Man”. It was clear Charlie was heavily on the band members’ minds (and everyone’s) as this was the band’s first Detroit show without him, and he was mentioned two additional times between songs later in the show garnering applause from the audience each time.

After a rousing, “You Got Me Rocking” and runs through classic live staples like “19^th Nervous Breakdown” and “Tumbling Dice,” Jagger spoke to the crowd about having fun around the city the previous day, mentioning coney dogs, local drinks, and jokes about how the Lions “are getting better” and praised them for having “tied the match!” last Sunday as laughter rolled through the crowd. Introduced both to celebrate that fact and to honor the legacy of Detroit’s rich contribution to rock history, the band launched into their 1974 arrangement of The Temptation’s, “Ain’t Too Proud to Beg,” which hadn’t been performed since 2007. While a few spots in the song were a tad rusty due to its rare inclusion in recent years, the Motown crowd sang and clapped along with love and appreciation. While she did not appear on stage with the band, photos of Martha Reeves visiting with them backstage before the show appeared online shortly after the concert ended.

“Wild Horses” was included as the van vote winner (a running bit the Stones have used since the early ‘90s), and an extended jam on “You Can’t Always Get What You Want” may have lost the attention of some by the time it concluded. “Living in a Ghost Town,” the band’s funky new reggae song from 2020, followed by the 1981 smash, “Start Me Up” stood out as being two of only three performed songs that were written after 1978. In spite of the current tour partly promoting the recent release of the new super deluxe edition of Tattoo You, “Start Me Up” was the only song featured from that era in Detroit, though a few other tracks have been included in other cities on the tour.

Keith Richards took over on vocals for his traditional two songs mid-way through the show, this time featuring “Connection” from Between the Buttons and “Before They Make Me Run” from Some Girls. While Richards got the second biggest individual applause from the audience (behind Charlie’s ovations), he was definitely in very sloppy form most of the night. While his style mostly allows for sloppiness within a performance anyway, it’s clear everyone has aged considerably over the band’s six decades together, and it leaves one wondering whether or not the group will attempt to continue live, as a studio act, or perhaps not at all, instead relying on releasing (and re-releasing) previously recorded music? In contrast, long time band members like guitarist, Ron Wood, and replacement players such as bassist, Darryl Jones, and keyboardist, Chuck Leavell were extra sharp and kept the songs focused and moving forward even when there were a few speed bumps here and there. Jam band veteran, Karl Denson, shined on saxophone, taking over for the late Bobby Keys in 2014, and Jones’ amazing bass solo during “Miss You” was one of the musical highlights of the night.

After a lengthy romp through the blues jam, "Midnight Rambler," which featured phenomenal harmonica work from Jagger and segued into a portion of Robert Johnson's, "Come on in My Kitchen" at one point, the band broke out the biggest hits and blasted through "Paint It Black," "Sympathy for the Devil" (which was missing a verse), and "Jumpin' Jack Flash" to close out the main set. A brief encore break gave way to two more '60s classics, "Gimme Shelter" and, of course, "Satisfaction," to end the night. As the Stones roll on to finish the last two shows of this tour, fans around the world are hopeful it won't be the band's last, but regardless of that concern, the fact that these living legends have produced so much amazing music and continued to perform for so long makes them the gold standard for rock and roll longevity.

Ayron Jones set list:

Boys from the Puget Sound

Emily

Supercharged

Breed (Nirvana)

Killing Season

Baptized in Muddy Water

Mercy

Take Me Away/The Star-Spangled Banner (Key)

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Rolling Stones set list:

Street Fighting Man

You Got Me Rocking

19^th Nervous Breakdown

Tumbling Dice

Ain’t Too Proud to Beg (The Temptations)

Wild Horses

You Can’t Always Get What You Want

Living in a Ghost Town

Start Me Up

Honky Tonk Women

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Connection

Before They Make Me Run

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Miss You

Midnight Rambler/Come on in My Kitchen (Robert Johnson)

Paint It Black

Sympathy for the Devil

Jumpin’ Jack Flash

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Gimme Shelter

Satisfaction

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Primus Sucks in Sterling Heights!

 

After delaying and rescheduling twice, the familiar audience chants of “Primus sucks!” were finally bellowed again as the Farewell to Kings tour finally graced the Michigan Lottery Amphitheater at Freedom Hill in Sterling Heights on an unseasonably cool and rainy early-autumn evening (and haven’t they all been so far?). Alternative rock fusion legends, Primus, along with prog-metal up and comers, The Sword, entertained a wet but enthusiastic crowd through a blend of their own hits and deep cuts and notable covers paying tribute to influential rock heroes recently passed, such as ZZ Top’s Dusty Hill and most notably, Rush’s Neil Peart, as The Sword closed their set with a faithful cover of “Cheap Sunglasses,” and Primus opened their second set with a cover of Rush’s entire fifth LP from 1977, which continues to be the centerpiece of each show on the tour. Unfortunately, someone in the band’s traveling camp recently tested positive for COVID, so their recent shows have again been postponed with hopes to reschedule at the end of the tour.

After a tight set from The Sword and a short set break, the lights came down and the familiar sounds of Danny Elfman’s “Clown Dream” from his score for Pee Wee’s Big Adventure, came over the speakers and were followed by Primus guitarist, Larry LaLonde’s, familiar two-note siren call from “Those Damned Blue-Collar Tweekers,” and the crowd rose to their feet, ready to rock and shouting along as soon as bassist/vocalist, Les Claypool, and drummer, Tim “Herb” Alexander, the band’s classic line-up, took the stage and joined in the song. With over 30 years of professional, global touring experience, Primus long ago established their core fan base, which has fluctuated in size, especially since the late ‘90s, and with both the tribute theme and no new album to promote, this particular show and tour have been a bit different than those over the last 10-15 years. While the balance between recognizable hits and fan-pleasing deep cuts remained, Primus also introduced mash-ups into the show for the first time, where bits of 1999’s, “Laquerhead,” appeared near the end of the first song (only to return to “Tweekers” to conclude it after the short musical detour), and later, a similar blend of “Too Many Puppies” along with “Sgt. Baker,” and “My Name Is Mud” blended with “Jerry Was a Race Car Driver” allowed them the opportunity to fit in lesser known and lesser played songs without feeling beholden only to the hits and the planned Rush covers. The crowd included a nice blend of Rush and Primus fans, and the former were most notably impressed during faithful renditions of intricate tracks like “Xanadu” and “Cygnus X-1".

The band’s excellent delivery of both their own songs and their flawless reproductions of some particularly complex Rush tracks kept the show engaging throughout, and they wasted very little time between songs or sections of the show, no doubt in large part due to the gusting rain that blew through the entire mid-week concert. Unlike a standard Primus show, usually presented in the style of a Pink Floyd concert with two sets, split by an intermission and followed by an encore, the band simply jumped right past the intermission portion and began the second set only one minute after concluding the first. By time they made it to the encore, where they have been playing four to five additional original songs to close the show in most cities, Sterling Heights was treated to extended jams on only two Primus classics, “Frizzle Fry” and “Southbound Pachyderm,” both clocking in at well over ten minutes each and ending one minute prior to the top of the hour, professionally and punctually. Lengthy ovations were given after the conclusion of each section of the show, but most in the audience were ready to seek the protection of their dry vehicles once the house lights came up, and though the bands would continue down the road to bring their brand of wackiness and their meticulously-rehearsed Rush tribute to the next town on the list, the Michigan edition was unique even among the other shows on this leg, and the Primus-faithful were treated to a spectacular blend of songs that featured each players’ strengths and allowed long time fans a chance to flashback on some of their favorite old songs and concert memories.

 

The Sword set list:

Winter’s Wolves

How Heavy This Axe

Tres Brujas

Freya

Maiden, Mother & Crone

Cloak of Feathers

Cheap Sunglasses (ZZ Top)

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Primus set list:

Danny Elfman-“Clown Dream” (intro tape)

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Those Damned Blue-Collar Tweekers / Lacquer Head

Here Come the Bastards

Eclectic Electric

Too Many Puppies / Sgt. Baker

Jilly’s on Smack

Professor Nutbutter’s House of Treats

My Name Is Mud / Jerry Was a Race Car Driver

Over the Electric Grapevine

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A Farewell to Kings (Rush)

Xanadu (Rush)

Closer to the Heart (Rush)

Cinderella Man (Rush)

Madrigal (Rush)

Cygnus X-1 (Rush)

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Frizzle Fry

Southbound Pachyderm

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Gene Wilder-“Pure Imagination” (outro tape)

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Summer Music Movies

Whereas last summer seemed primarily packed with streaming concerts and special online events, this year has leaned much stronger toward music-based movies, mostly documentaries, and there have been a number of enjoyable releases in the last few months on various platforms and services. A quick run-down of some of the most notable follows.

*Respect (now in theaters)   8/10

This newly-released biopic gives the 21st century classic rock treatment of Bohemian Rhapsody and Rocket Man to the late, great queen of soul, Aretha Franklin, played here by Jennifer Hudson (who was chosen by Franklin to both act the part and sing the songs) who does a phenomenal job. Like the Freddy Mercury and Elton John films, Respect focuses tighter on a stretch of time rather than giving equal attention to all eras of the subjects' lives or each of their many album eras. In this case, the focus is 1952-1972, covering Franklin's life from the ages of 11-31, and includes milestones like being signed to Columbia Records in 1960 to working with Jerry Wexler (Marc Maron) and the Muscle Shoals Band at Fame Studios in Alabama and her breakthrough success with "I Never Loved a Man the Way I Loved You," her cover of Otis Redding's "Respect," and other '60s hits like "Think" and Carole King's, "A Natural Woman." Plenty of time is given to Franklin's complicated relationships with her family and with various partners during that 20-year span, but the selected focus on dark and dramatic moments is arguably historically kind to Franklin and does not necessarily portray the severity of some episodes. Overall, Respect is a very well-produced film that may lead to high honors for Hudson with kudos to co-stars, Marlon Wayans and Forest Whitaker.

*1971: The Year That Music Changed Everything  (Apple TV)    6/10

This 8-episode documentary series is a bit mistitled. While it does focus entirely on the year of 1971, and discusses many songs, artists, and important moments of musical activism and social engagement, beyond the first episode, music becomes only a supporting component in a series that focuses more on the various social movements of the era via the perspective of the 2020s. Close studies on minority-rights and social justice movements are at the core of most of the individual episodes of the series which doesn't focus enough on the music of 1971 by comparison. Interesting stories and some amazing historical footage is shared throughout, but this series is not the place to start if you're looking for a music documentary.

*Summer of Soul (...Or, When the Revolution Could Not Be Televised)  (Hulu)   7/10

Directed by Roots' drummer/Tonight Show bandleader, Questlove, this newly-edited compilation of footage and interviews surrounding the Harlem Cultural Festival concert series, held from June to August, 1969 is a beautiful historical document of an event that was largely forgotten or unknown by most who did not attend. Phrased at times as a black counterpart to Woodstock, held the same summer in a different part of the same state, the film shows this as an important social event for the Harlem community with whole families and multiple generations represented among the lively crowd shots. Performances from Sly and the Family Stone, Stevie Wonder, Nina Simone, B.B. King, The 5th Dimension, and others are the highlights, but reflections from concert-goers, performers, and others who worked the shows connects it to modern events and perspectives in a way that makes the film engaging to viewers regardless of their familiarity with or fandom of the music. A bit more focus on the live performances would have made the movie a bit stronger, but perhaps the DVD extras will include more of them.

*The Bee Gees: How Can You Mend a Broken Heart?  (HBO) 7/10

This newly-released HBO documentary is more like an expanded version of The Bee Gees' Vh1 Legends special, but it does a great job of adding-to the story with more depth and additional stories from the Gibb family's childhood and the early days of their work as a musical group as well as their massive success in the late '70s. The narration is primarily from the Gibb brothers themselves, with new interviews from surviving member, Barry Gibb, and archival interviews from Maurice, Robin, and younger brother Andy, all now deceased. Again, once the hits began to dry up, the story becomes less compelling, and the documentary doesn't waste much time discussing anything beyond the early '80s which does make the ending feel a bit rushed and incomplete, but whether you are discovering The Bee Gees and wish to learn more about them or are a long-time fan, there is plenty to learn and enjoy here.

*Tina    (HBO)      8/10

This deep dive into the life and times of the legendary Tina Turner arrives just after the artist's official retirement and just prior to her long-overdue induction into the Rock and Roll Hall of Fame as a solo artist. New and archival interviews along with vintage performance clips and deeply personal stories are featured throughout. This documentary summarizes Turner's rise-fall-rise story and paints a strong and respectful picture of her most significant moments and triumphs, both professional and personal. Ike Turner takes his lumps, but even he is discussed with respect and historical significance as much or more than as the infamous abuser he also was. While some eras, albums, or songs are focused on more than others, the documentary does a great job of surveying the key moments that make up Tina Turner's inspiring life story.

*The Sparks Brothers (now in theaters / streaming soon!)    8/10

This epic documentary breaks down the life story of the Mael brothers and their 50 year career as the core of the arty, avant-garde rock band, Sparks. With a bit of information about each of their 26 studio LPs, touring, promotion, and personal stories throughout, the film is a perfect run through the history of the group for the uninitiated and a chance to learn more about the making of key tracks which is revealing even to hardcore fans. Testimonials from famous fans such as Beck, Flea, Steve Jones Thurston Moore, and Bjork, to name a few, bookend the story which is packed with vintage performance clips and modern interviews with Ron and Russel Mael. The Sparks Brothers is an excellent place to start for the curious and a celebration of a life's work in music for the band's many fans.

*Zappa    (now streaming on Hulu!)       9/10

After its theatrical and PPV runs last year, the latest and most-thorough documentary yet on the late, great Frank Zappa is now available to stream on Hulu. Director Alex Winter (aka "Bill" from Bill & Ted) labored for years to complete and release this film and it's clear his fandom is huge. While none of the many other Zappa documentaries completely captures and tells his whole story, Winter's film comes the closest so far. Overall, the movie is a chronological survey of Zappa's life from childhood, discovering music, early production work, and a breakdown of his work with the original Mothers of Invention and the early variations that resulted in the first 12 years or so of his humungous catalog. The bits that make that story so interesting along the way are the various interview clips and first-hand accounts of working in Zappa's band as shared by a selection of former band members including Ruth Underwood and Steve Vai among others. Zappa's family life is given some screen time as well, balancing professional information with personal details, and it's clear he was very close to his wife and four children. Without focusing too long on any one album or era, the movie does a great job of keeping even uninitiated audiences engaged and would serve well as an introduction to or overview of Zappa as both a composer and performing artist and as a person.

*McCartney 3,2,1 (Hulu series)         8/10

This six-episode docu-series, recently added to Hulu, focuses on conversations between rock legend, Paul McCartney, and production legend, Rick Rubin, primarily about key songs from McCartney's career (Beatles, Wings, and solo songs) and the process of writing, recording, and producing them. Archival footage is added visual to accompany the stories, all shot in an arty black and white. Without those cutaways, the show is essentially a video podcast and would probably work just as well in audio  form, though it is a delight to see Rubin and McCartney react to each other as they discuss the various topics related to their life's work and passion, music itself, much less the many huge hits for which either men have been responsible or helped to create. Most-engaging to Beatles fans, no doubt, this series is an insightful and engaging fly-on-the-wall-type that allows music fans of all kinds to observe such a meeting and exchange between celebrated music wizards.

*Beastie Boys Story  (Apple TV)    9/10

This one actually came out last year, but it's easy to forget to come back to things sometimes when there are so many releases in a short period. This insightful, moving, and hilarious documentary from Spike Jonze mainly focuses on moments from a series of spoken word shows by surviving Beastie Boys, Ad-Rock and Mike D., during the promotion for Beastie Boys Book (my review here) in the fall of 2018. With highlights of stories from the book, sometimes amended, edited, or added-to, the group discusses moments from throughout their lives and career over their many years together including heartfelt stories and memories of the late Adam Yauch (MCA). Generally engaging, even to non-fans (but especially to big fans!), Beastie Boys Story is a perfect companion to the book and is definitely worth a viewing if you haven't caught it already!

*Woodstock '99: Peace, Love, and Rage     (HBO)   7/10

The story of Woodstock '99 is a heavy one to tell no matter what, and while smaller productions have attempted to do so previously, HBO's newly-released documentary, the first in a new series called, Music Box, from sports curmudgeon, Bill Simmons, attempts to do so but certainly has an agenda to persuade rather than to simply document and inform. 

The documentary, overall, is engaging and well-produced, but the filmmakers definitely took a position and had an angle to portray the event as "bad" and to blame most of the badness on the promoters, partly focusing on their age (implying they were greedy boomers more focused on their own nostalgia and making money than producing a safe festival) but also filtering them, and the whole history of the time, through a modern social perspective. There's no doubt most of the things discussed in the movie did happen, but there were many factors that led to those incidents, not just the faults of the promoters. The film also did not include any perspectives from anyone who had a "good to decent" time attending, and with a crowd that size, there were definitely many people who had at least a middle-of-the-road (or better) experience, compared to those who did not. If it was really as bad as the documentary portrays, why did most of the people in attendance stay there into or through Sunday? Obviously, the fan who died in the Metallica pit (or after being pulled out of it) and the sexual assault stories are the strongest examples to focus on if your angle is to paint this whole festival as a doomed dumpster fire of thing, but it really wasn't like that all the way through. The Fyre Festival, this was not.

Even watching the event on PPV as it was happening (all those many years ago) my friends and I all found it questionable to line up Limp Bizkit (at their peak) into Rage Against The Machine into Metallica, so exploring that part of the story is nothing new. Limp Bizkit ended up getting most of the blame and bad press for the actions of the crowd, but the jerks in question had been at it as far back as Korn's set on Friday night, and their bullshit behavior continued through Rage and Metallica even though those bands don't generally get bad press as far as their role in being there. Aside from those four bands, much of the rest of the festival was mid-tempo to even laid back. Sure, Sevendust, Buckcherry, Godsmack, and Megadeth played on the second stage (to smaller crowds), but the meatheads who were there to start shit and cause problems were throwing things at Jamiroquai and The Offspring on Friday night and heckling Tragically Hip, Wyclef Jean, and Alanis Morissette on Saturday afternoon anyway. It's ridiculous to look at any video footage of any song being performed at almost any point during the festival (especially on the main stage) because people were crowd surfing during everything regardless of what it was, Willie Nelson, Elvis Costello (acoustic), and Jewel included. They were going to behave the way they behaved no matter what.

On the other hand, there's no doubt the documentary's points about white privilege and sexual assault instances are mostly on point. For example, if such rioting had occurred at a primarily hip hop festival, the police who were called to respond would have treated the rioters very differently. Festival producer, John Schur, is seen in the film blaming most of the sexual assaults on women being scantily clad, topless, or nude (in 100-degree heat), which comes across as particularly tone-deaf, especially two decades after-the-fact and in the modern social climate. As with any concert, however, the producers can only do so much to control the actions of the individuals in attendance, and the larger the crowd, the harder that task becomes. No producer or festival organizer made anyone make the choices to behave poorly, deplorably, or even criminally. These individuals should have been held accountable more than they were in the aftermath of the festival. It's clear things have come a longer way than one may have realized with regard to how seriously sexual misconduct is taken and responded to today compared to 22 years ago, so that, at least, is a good thing.

To sum up, there are a lot of things to be salty at the boomers for, but the bad behavior at Woodstock '99 should be blamed more so on the younger gen-X-ers in attendance who chose to act like idiots with nothing close to a good reason.

The (modified) RS 500

It's impossible to create a definitive list, especially a rank-based one, that will satisfy everyone. As soon as one begins to rattle off album titles, even those that seem like obvious inclusions, another will have an argument against including them over their own personal favorites or those they feel are most worthy. With this in mind, it wasn't really a bad idea for Rolling Stone magazine to attempt to create a comprehensive list by surveying a wide range of artists and notable people from within the industry. That was in 2003. If that list was a distillation of a stack of ballots or lists submitted by the experts who were invited to participate, it would stand to reason such a list may not need revision as soon as 9 years later (and most definitely not a second revision only 8 years after the first), yet in 2020, the magazine famously did just that. While there is an argument that the 18 years that have passed since the original list was published have certainly produced albums worthy of inclusion, or at least consideration, to be among the 500 best of all time, the most recent list feels, at times, like a pandering over-correction, especially from different generational perspectives. However, each version of the list is the result of the votes cast by the participants. If ballots are distributed primarily to Boomers, for example, the list of 500 will be entirely different than one that would be created primarily by Millennials. 

With this in mind, and because I was curious to compare the three versions of RS's 500 lists, I decided to undertake a personal project and experiment to see if it affected the emotional response elicited by comparing the rankings themselves (rather than the more appropriate discussion of which albums should be included among the best 500 regardless of ranking), and I found that looking at the list without numbers, re-arranged alphabetically and chronologically by artist and album, definitely made for a different experience. To continue to play with the idea, I decided to combine all three versions of the list into one (without rankings) and then narrow that list down to 500 albums based on my own opinions and arguments, which already makes my own list flawed and subjective to be sure, but I still used the published RS lists as a foundation and made changes from there. 

To get to the point, scroll down to view my own personal take on the Rolling Stone 500 list. As for the nerdy details about how I made it (for music junkies like myself who may be interested in my process), to narrow the "master list" down to 500, I first removed all compilation albums (not proper LPs), and then removed albums that I personally did not feel were worthy of inclusion, especially compared to other albums that were not present and were more than deserving. That last stage became the hardest because the 500 best albums from the combined Rolling Stone lists was already very strong, but there were still about 30 albums that I could not leave off the list, requiring I remove that many from the existing list to keep the number at an even 500. While most of those cuts were very difficult calls to make, and while there are many arguments for dropping something else in lieu of some that I chose to remove, I feel this is a much stronger, better, and well-rounded list that takes the focus away from which albums are "better" than the others among the 500 best and avoids overlooking some of the strongest rock albums of the last 30 years. While I did remove some of the 21st century pop-based albums that I don't feel have yet had enough time to make such a significant historical impact (or were arguably undeserving, at least by comparison), I decided to avoid fighting the idea of dropping a few of the '80s pop contributions and albums by the jazz greats among the list as most of them have been inducted into the Rock and Roll Hall of Fame, either as performers or as early influences, and that carries weight. However, I didn't realize until this late in the process that I hadn't considered the idea of a list of all-time great albums (period) or whether the list intends to focus on the 500 greatest Rock and Roll albums, specifically (though, in fairness, both of those lists would still be very, very similar). In either case, I feel the list I ended up with appropriately surveys at least the best LPs of the last 70 years if not 100 or more, rock or otherwise.

Having said all that, and without further ado, I present my personal variant of the RS 500 Greatest Albums of All Time.

The MODIFIED RS 500

2 Pac-All Eyez on Me

50 Cent-Get Rich or Die Tryin’

AC/DC-Highway to Hell

AC/DC-Back in Black

Aerosmith-Toys in the Attic

Aerosmith-Rocks

Alice in Chains-Facelift

Alice in Chains-Dirt

The Allman Brothers Band-At Fillmore East

Tori Amos-Little Earthquakes

Fiona Apple-When the Pawn…

Arcade Fire-Funeral

Arctic Monkeys-Whatever People Say I Am, That’s What I’m Not

Audioslave-Audioslave

Eric B. & Rakim-Paid in Full

The B-52’s-The B-52’s

Erykah Badu-Baduizm

The Band-The Band

The Band-Music from Big Pink

The Beach Boys-Pet Sounds

The Beach Boys-Smile

Beastie Boys-Licensed to Ill

Beastie Boys-Paul’s Boutique

Beastie Boys-Check Your Head

Beastie Boys-Ill Communication

The Beatles-Please Please Me

The Beatles-With the Beatles/Meet the Beatles

The Beatles-A Hard Day’s Night

The Beatles-Help!

The Beatles-Rubber Soul

The Beatles-Revolver

The Beatles-Sgt. Pepper’s Lonely Hearts Club Band

The Beatles-The Beatles (white album)

The Beatles-Let It Be

The Beatles-Abbey Road

Beck-Odelay

Beck-Sea Change

Big Brother and the Holding Company-Cheap Thrills

Big Star-#1 Record

Bjork-Post

Bjork-Homogenic

Black Flag-Damaged

Black Sabbath-Black Sabbath

Black Sabbath-Paranoid

Black Sabbath-Master of Reality

Bobby “Blue” Bland-Two Steps from the Blues

Blondie-Blondie

Blondie-Parallel Lines

Blur-Parklife

Bo Diddley-Bo Diddley

Bon Iver-For Emma, Forever Ago

Boogie Down Productions-Criminal Minded

Boston-Boston

David Bowie-Hunky Dory

David Bowie-The Rise and Fall of Ziggy Stardust and the Spiders from Mars

David Bowie-Station to Station

David Bowie-Scary Monsters

The Breeders-Last Splash

James Brown-Live at the Apollo

James Brown-Sex Machine

Jackson Browne-The Pretender

Jeff Buckley-Grace

Buffalo Springfield-Buffalo Springfield Again

The Paul Butterfield Blues Band-The Paul Butterfield Blues Band

The Byrds-Mr. Tambourine Man

The Byrds-Sweetheart of the Rodeo

Captain Beefheart and His Magic Band-Trout Mask Replica

The Cars-The Cars

Johnny Cash-At Folsom Prison

Johnny Cash-American Recordings

Ray Charles-The Genius of Ray Charles

Ray Charles-Modern Sounds in Country and Western Music

Tracy Chapman-Tracy Chapman

Cheap Trick-In Color

Cheap Trick-At Budokan

Chic-Risqué

Eric Clapton-461 Ocean Boulevard

Eric Clapton-Slowhand

The Clash-The Clash

The Clash-London Calling

Jimmy Cliff-The Harder They Come (sdtk)

Leonard Cohen-Songs of Leonard Cohen

Coldplay-A Rush of Blood to the Head

John Coltrane-A Love Supreme

Sam Cooke-Live at the Harlem Square Club, 1963

Alice Cooper-Love It to Death

Elvis Costello-My Aim Is True

Elvis Costello-This Year’s Model

Creedence Clearwater Revival-Green River

Creedence Clearwater Revival-Willy and the Poor Boys

Creedence Clearwater Revival-Cosmo’s Factory

Cream-Disraeli Gears

Cream-Wheels of Fire

The Crickets-The Chirping Crickets

Crosby, Stills & Nash-Crosby, Stills & Nash

Crosby, Stills, Nash, and Young-Déjà vu

Sheryl Crow-Sheryl Crow

The Cure-Boys Don’t Cry

The Cure-Disintegration

Daft Punk-Discovery

Daft Punk-Random Access Memories

Miles Davis-Kind of Blue

Miles Davis-Bitches Brew

De La Soul-Three Feet High and Rising

Dead Kennedys-Fresh Fruit for Rotting Vegetables

The Dead Weather-Sea of Cowards

Def Leppard-Pyromania

Def Leppard-Hysteria

Deftones-White Pony

Depeche Mode-Violator

Derek and the Dominos-Layla and Other Assorted Love Songs

Devo-Q: Are We Not Men? A: We Are Devo

Devo-Freedom of Choice

Dire Straits-Brothers in Arms

DJ Shadow-Entroducing…..

The Doors-The Doors

The Doors-Strange Days

The Doors-L.A. Woman

Nick Drake-Pink Moon

Dr. Dre-The Chronic

Dr. John-Gris-Gris

Bob Dylan-The Freewheelin’ Bob Dylan

Bob Dylan-Bringing It All Back Home

Bob Dylan-Highway 61 Revisited

Bob Dylan-Blonde on Blonde

Bob Dylan-Desire

Bob Dylan-Blood on the Tracks

Bob Dylan-Time Out of Mind

Earth, Wind & Fire-That’s the Way of the World

Eagles-Hotel California

Echo and the Bunnymen-Heaven Up Here

Eminem-The Slim Shady LP

Eminem-The Marshall Mathers LP

Brian Eno-Here Come the Warm Jets

EPMD-Strictly Business

Eurythmics-Touch

Faith No More-Angel Dust

The Flaming Lips-The Soft Bulletin

Fleetwood Mac-Fleetwood Mac

Fleetwood Mac-Rumors

Folkways Anthology of American Folk Music

Foo Fighters-The Colour and the Shape

The Four Tops-Reach Out

Aretha Franklin-I Never Loved a Man the Way I Love You

Aretha Franklin-Lady Soul

Fugees-The Score

Funkadelic-Maggot Brain

Funkadelic-One Nation Under a Groove

Peter Gabriel-So

Gang of Four-Entertainment!

Marvin Gaye-What’s Going On

Marvin Gaye-Let’s Get It On

Ghostface KIllah-Supreme Clientele

Gnarls Barkley-St. Elsewhere

The Go Go’s-Beauty and the Beat

Gorillaz-Plastic Beach

Grateful Dead-Anthem of the Sun

Grateful Dead-Live Dead

Grateful Dead-Workingman’s Dead

Grateful Dead-American Beauty

Al Green-I’m Still in Love with You

Al Green-Call Me

Green Day-Dookie

Green Day-American Idiot

Guns N’ Roses-Appetite for Destruction

Guns N’ Roses-Use Your Illusion (I & II)

GZA-Liquid Swords

Merle Haggard-Branded Man

Herbie Hancock-Head Hunters

George Harrison-All Things Must Pass

PJ Harvey-Rid of Me

PJ Harvey-To Bring You My Love

Isaac Hayes-Hot Buttered Soul

The Jimi Hendrix Experience-Are You Experienced?

The Jimi Hendrix Experience-Axis: Bold as Love

The Jimi Hendrix Experience-Electric Ladyland

Don Henley-The End of the Innocence

Lauryn Hill-The Miseducation of Lauryn Hill

Hole-Live Through This

Billie Holiday-Lady in Satin

Whitney Houston-Whitney Houston

Howlin’ Wolf-Moanin’ in the Moonlight

Howlin’ Wolf-Howlin’ Wolf

Husker Du-New Day Rising

Ice Cube-Amerikkka’s Most Wanted

The Isley Brothers-3+3

J Dilla-Donuts

Janet Jackson-Control

Janet Jackson-Rhythm Nation 1814

Michael Jackson-Thriller

Michael Jackson-Bad

Etta James-At Last!

Jane’s Addiction-Nothing’s Shocking

Jane’s Addiction-Ritual de lo Habitual

Jay-Z-The Blueprint

Jay-Z-The Black Album

Jefferson Airplane-Surrealistic Pillow

Jefferson Airplane-Volunteers

The Jesus and Mary Chain-Psychocandy

Jethro Tull-Aqualung

Billy Joel-The Stranger

Billy Joel-52^nd Street

Elton John-Honky Chateau

Elton John-Goodbye Yellow Brick Road

Elton John-Captain Fantastic and the Brown Dirt Cowboy

Janis Joplin-Pearl

Joy Division-Unknown Pleasures

Kid Cudi-Man on the Moon: The End of the Day

Albert King-Born Under a Bad Sign

B.B. King-Live at the Regal

Carole King-Tapestry

King Crimson-In the Court of the Crimson King

The Kinks-Something Else

The Kinks-The Village Green Preservation Society

Kiss-Destroyer

Kiss-Alive!

Korn-Korn

Kraftwerk-Trans-Europe Express

Fela Kuti-Expensive Shit

Labelle-Nightbirds

Kendrick Lamar-To Pimp a Butterfly

Cyndi Lauper-She’s So Unusual

LCD Soundsystem-Sound of Silver

Led Zeppelin-I

Led Zeppelin-II

Led Zeppelin-IV

Led Zeppelin-Houses of the Holy

Led Zeppelin-Physical Graffiti

John Lennon-Plastic Ono Band

John Lennon-Imagine

Little Richard-Here’s Little Richard

LL Cool J-Radio

Los Lobos-How Will the Wolf Survive?

Love-Forever Changes

Loretta Lynn-Coal Miner’s Daughter

Lynyrd Skynyrd-Pronounced ‘Leh-‘nerd ‘Skin-‘nerd

Madonna-Like a Prayer

Madvillain-Madvillainy

The Mamas and the Papas-If You Can Believe Your Eyes and Ears

(Bob Marley and) The Wailers-Burnin’

Bob Marley and The Wailers-Natty Dread

Bob Marley and The Wailers-Exodus

The Mars Volta-Frances the Mute

Massive Attack-Blue Lines

John Mayall-Blues Breakers

Curtis Mayfield-Curtis

Curtis Mayfield-Superfly

The MC5-Kick Out the Jams

The MC5-Back in the USA

Paul & Linda McCartney-Ram

Meat Loaf-Bat Out of Hell

Metallica-Master of Puppets

Metallica-Metallica (the black album)

The Meters-Look-Ka Py-Py

MGMT-Oracular Spectacular

MGMT-Congratulations

M.I.A.-Arular

Steve Miller Band-Fly Like an Eagle

Charles Mingus-Mingus Ah Um

The Minutemen-Double Nickels on the Dime

The Miracles-Going to a Go-Go

Joni Mitchell-Blue

Joni Mitchell-Court and Spark

Moby-Play

The Modern Lovers-The Modern Lovers

Alanis Morissette-Jagged Little Pill

Van Morrison-Astral Weeks

Van Morrison-Moondance

The Mothers of Invention-Freak Out!

The Mothers of Invention-We’re Only in It for the Money

Motorhead-Ace of Spades

Mott the Hoople-All the Young Dudes

Mr. Bungle-California

My Bloody Valentine-Loveless

My Morning Jacket-Z

Nas-Illmatic

Willie Nelson-Red Headed Stranger

Willie Nelson-Stardust

New Order-Power, Corruption & Lies

New York Dolls-New York Dolls

Randy Newman-Good Old Boys

Harry Nilsson-Nilsson Schmilson

Nine Inch Nails-Pretty Hate Machine

Nine Inch Nails-The Downward Spiral

Nirvana-Nevermind

Nirvana-In Utero

Nirvana-Unplugged in New York

No Doubt-Tragic Kingdom

The Notorious B.I.G.-Ready to Die

Nuggets (v/a)

N.W.A.-Straight Outta Compton

Laura Nyro-Eli and the 13^th Confession

Sinead O’Connor-I Do Not Want What I Haven’t Got

The O’Jays-Back Stabbers

Oasis-Definitely Maybe

Oasis-Morning Glory

The Offspring-Smash

Outkast-Aquemini

Outkast-Stankonia

Outkast-Speakerboxxx/The Love Below

Pantera-Vulgar Display of Power

Parliament-The Mothership Connection

Gram Parsons-Grievous Angel

Pavement-Crooked Rain, Crooked Rain

Pearl Jam-Ten

Pearl Jam-Vs.

Pearl Jam-Vitalogy

A Perfect Circle-Mer de Noms

Pet Shop Boys-Actually

Phil Spector-A Christmas Gift for You

Tom Petty and the Heartbreakers-Damn the Torpedoes

Tom Petty-Full Moon Fever

Tom Petty-Wildflowers

Liz Phair-Exile in Guyville

The Pharcyde-Bizarre Ride II the Pharcyde

Pink Floyd-Piper at the Gates of Dawn

Pink Floyd-Meddle

Pink Floyd-The Dark Side of the Moon

Pink Floyd-Wish You Were Here

Pink Floyd-The Wall

Pink Floyd-The Division Bell

Pixies-Surfer Rosa

Pixies-Doolittle

The Pogues-Rum Sodomy and The Lash

The Police-Outlandos D’Amour

The Police-Ghost in the Machine

The Police-Synchronicity

Portishead-Dummy

Elvis Presley-Elvis Presley

Elvis Presley-From Elvis in Memphis

The Pretenders-Pretenders

Primus-Sailing the Seas of Cheese

Prince-1999

Prince & The Revolution-Purple Rain

Prince-Sign O’ the Times

John Prine-John Prine

Public Enemy-It Takes a Nation of Millions to Hold Us Back

Public Enemy-Fear of a Black Planet

Public Image Ltd.-Metal Box

Queen-A Night at the Opera

Queens of the Stone Age-Rated R

Queens of the Stone Age-Songs for the Deaf

Quicksilver Messenger Service-Happy Trails

Radiohead-The Bends

Radiohead-OK Computer

Radiohead-Kid A

Radiohead-Amnesiac

Radiohead-In Rainbows

Raekwon-Only Built 4 Cuban Linx

Rage Against the Machine-Rage Against the Machine

Rage Against the Machine-The Battle of Los Angeles

Bonnie Raitt-Nick of Time

Ramones-Ramones

Ramones-Rocket to Russia

Red Hot Chili Peppers-Blood Sugar Sex Magik

Red Hot Chili Peppers-Californication

Red Hot Chili Peppers-Stadium Arcadium

Otis Redding-Dictionary of Soul

Otis Redding-Otis Blue

Lou Reed-Transformer

Lou Reed-Berlin

R.E.M.-Murmur

R.E.M.-Document

R.E.M.-Automatic for the People

R.E.M.-Monster

The Replacements-Tim

The Replacements-Let It Be

The Rolling Stones-Out of Our Heads

The Rolling Stones-Aftermath

The Rolling Stones-Beggars Banquet

The Rolling Stones-Let It Bleed

The Rolling Stones-Sticky Fingers

The Rolling Stones-Exile on Main Street

The Rolling Stones-Some Girls

The Rolling Stones-Tattoo You

The Ronettes-Presenting the Fabulous Ronettes

Linda Ronstadt-Heart Like a Wheel

The Roots-Things Fall Apart

Diana Ross-Diana

Roxy Music-Avalon

Rufus-Ask Rufus

Run-DMC-Run-DMC

Run-DMC-Raising Hell

Todd Rundgren-Something/Anything?

Rush-Moving Pictures

Sade-Diamond Life

Santana-Santana

Santana-Abraxas

Saturday Night Fever-sdtk/VA

The Sex Pistols-Never Mind the Bollocks, Here’s the Sex Pistols

Simon & Garfunkel-Parsley, Sage, Rosemary and Thyme

Simon & Garfunkel-Bookends

Simon & Garfunkel-Bridge over Troubled Water

Paul Simon-Paul Simon

Paul Simon-Graceland

Nina Simone-Wild Is the Wind

Frank Sinatra-Songs for Swingin’ Lovers!

Frank Sinatra-In the Wee Small Hours

Sleater-Kinney-Dig Me Out

The Slits-Cut

Sly & The Family Stone-Stand!

Sly & The Family Stone-There’s a Riot Goin’ On

Smashing Pumpkins-Siamese Dream

Smashing Pumpkins-Mellon Collie and the Infinite Sadness

Elliot Smith-Either/Or

Patti Smith-Horses

The Smiths-The Queen Is Dead

Snoop Doggy Dogg-Doggystyle

Sonic Youth-Daydream Nation

Sonic Youth-Goo

Soundgarden-Badmotorfinger

Soundgarden-Superunkown

Sparks-Kimono My House

Dusty Springfield-Dusty in Memphis

Bruce Springsteen-Born to Run

Bruce Springsteen-Nebraska

Bruce Springsteen-Born in the U.S.A.

Bruce Springsteen-Tunnel of Love

Steely Dan-Can’t Buy a Thrill

Steely Dan-Aja

Cat Stevens-Tea for the Tillerman

Rod Stewart-Every Picture Tells a Story

The Stone Roses-The Stone Roses

Stone Temple Pilots-Core

Stone Temple Pilots-Purple

The Stooges-The Stooges

The Stooges-Fun House

The Stooges-Raw Power

The Strokes-Is This It?

Sublime-40 oz. to Freedom

System of a Down-Toxicity

Donna Summer-Bad Girls

T. Rex-Electric Warrior

Talking Heads-‘77

Talking Heads-More Songs About Buildings and Food

Talking Heads-Remain in Light

Talking Heads-Stop Making Sense

James Taylor-Sweet Baby James

Television-Marquee Moon

Temple of the Dog-Temple of the Dog

Them Crooked Vultures-Them Crooked Vultures

They Might Be Giants-Flood

Tool-Aemima

Tool-10,000 Days

Toots and the Maytals-Funky Kingston

A Tribe Called Quest-The Low-End Theory

A Tribe Called Quest-Midnight Marauders

U2-War

U2-The Joshua Tree

U2-Achtung Baby

Vampire Weekend-Vampire Weekend

Van Halen-Van Halen

Van Halen-1984

The Velvet Underground-The Velvet Underground and Nico

The Velvet Underground-White Light/White Heat

The Velvet Underground-Loaded

Tom Waits-Rain Dogs

Tom Waits-Mule Variations

War-The World Is a Ghetto

Muddy Waters-At Newport 1960

Muddy Waters-Folk Singer

Ween-Chocolate and Cheese

Weezer-Weezer (blue album)

Weezer-Pinkerton

Kanye West-The College Dropout

Kanye West-Late Registration

Kanye West-My Beautiful Dark Twisted Fantasy

Kanye West-Yeezus

Barry White-Can’t Get Enough

The White Stripes-White Blood Cells

The White Stripes-Elephant

The Who-Tommy

The Who-Live at Leeds

The Who-Who’s Next

The Who-Quadrophenia

Wilco-Yankee Hotel Foxtrot

Lucinda Williams-Car Wheels on a Gravel Road

Brian Wilson-Smile

Amy Winehouse-Back to Black

Wings-Band on the Run

Wire-Pink Flag

Bill Withers-Just as I Am

Bill Withers-Still Bill

Stevie Wonder-Innervisions

Stevie Wonder-Songs in the Key of Life

Stevie Wonder-Talking Book

Wu-Tang Clan-Enter the Wu-Tang

X-Los Angeles

Weird Al Yankovic-Dare to Be Stupid

The Yardbirds-Having a Rave Up with the Yardbirds

The Yardbirds-Roger the Engineer

Yeah Yeah Yeahs-Fever to Tell

Yes-Close to the Edge

Neil Young-Everybody Knows This Is Nowhere

Neil Young-After the Gold Rush

Neil Young-Harvest

Neil Young-Rust Never Sleeps

The Zombies-Odyssey and Oracle

ZZ Top-Tres Hombres

ZZ Top-Eliminator

A Final Rant about the 2021 Grammy Awards

 

A week out from the most recent forgettable TV spectacle known as the 2021 Grammy Awards, the supposed controversies have already fizzled away, and even those who watched would be challenged to remember perhaps more than one award winner. Moving beyond the larger discussion of whether such an annual awards event is relevant or even necessary at this stage, it’s truly clear that some sort of cultural torch has been passed and that if a viewer is on one side of that line vs. the other, they may find they are not only bored by the modern Grammys but that they may have never even heard of any of the nominees or performers. Like, at all. 

The show itself was nothing like traditional Grammy Awards of years past. In the span of just one year, seemingly, the show has suddenly morphed into what is now essentially a next-gen version of the MTV Video Music Awards (and I’m not talking about the better ones from the ‘90s, when the Grammys themselves were a downright stuffy affair by comparison). For those who didn’t see the Grammy broadcast last Sunday, it would be like turning on The Academy Awards and finding they’ve decided to make the show look and feel more like The Kids’ Choice Awards on Nickelodeon or something. Nothing about the 2021 Grammys spoke to the average viewer over the age of 30 (if even that old). The few awards that were presented were an afterthought and nearly every on-air award winner accepted awkwardly and was both difficult and uninteresting to watch in most cases.

Also like the VMAs, while many categories still exist, fewer and fewer awards are given out on air, to the point where this year’s TV show may have featured only 9 or 10, in total. Aside from H.E.R.’s Song of the Year win for the anthemic, “I Can’t Breathe,” most of the televised awards went to pop and pop-leaning artists in the R&B, hip hop, and country realms. Not only were no rock categories mentioned on TV, it was notable there were also no rock artists included in the running for the Best New Artist award either. Within the rock-based categories, and many others, it felt like the Academy attempted to over-correct for lack of diversity in recent years by seemingly recognizing women and people of color to such a degree it almost comes across as patronizing more than honest (much like the revised Rolling Stone 500 Greatest Albums of All Time list from last year). For the handful of rock fans, or even just music listeners who take the experience somewhat seriously, here is a quick run-down of the more significant award winners from this year (not that they were mentioned on TV):

Traditional pop vocal album-James Taylor American Standard

Rock performance-Fiona Apple-“Shameika”

*(all nominees were women or women-fronted)

Metal performance-Body Count-“Bum-Rush”

(Body Count put out a record last year??)

Rock song-Brittany Howard “Stay High”

(all nominees but Tame Impala were women)

Rock album-The Strokes-The New Abnormal

(Strugil Simpson was also nominated, but he’s a country artist)

Alternative album-Fiona Apple-Fetch the Bolt Cutters

(Beck and Tame Impala also nominated)

Progressive R&B album-Thundercat-It Is What It Is

R&B album-John Legend-Bigger Love

Rap album-Nas-King’s Disease

(Detroit’s own Royce da 5’9’’ was also nominated)

New age album-Jim “Kimo” West-More Guitar Stories

(Weird Al Yankovic’s long time guitarist is finally recognized for his instrumental solo work!)

*The late Chick Corea won Best improvised Jazz Solo and Best Jazz Instrumental Album

Contemporary Christian Music Album-Kanye West-Jesus Is King

(If ever the winner of a specific award was ever more surprising…)

American Roots performance AND American roots song-John Prine-I Remember Everything

Reggae album-Toots & The Maytals-Got to Be Tough

Musical Theater Album-Jagged Little Pill (original Broadway cast)

Best song written for visual media-Billie Eilish-“No Time to Die”

(the movie this is from is still not out yet…)

Best recording package-Desert Sessions vol. 11 & 12

Best boxed or special limited-edition package-Wilco-Ode to Joy

Best Album notes-The Replacements-Dead Man’s Pop

Best Engineered album. Non-classical-Beck-Hyperspace

Best music film-Linda Ronstadt: The Sound of My Voice

As has been the case for many years now, the performances get all the attention, and since the awards hardly seem to matter anyway, perhaps the Academy should just post a list of the awards online (like they already do the day after the broadcast) and have a show of only live performances. Maybe the list can be posted a day or a week before the show so the acts who are performing can be introduced with info about what they won? Another idea could be to have two separate shows, one on Saturday of awards and one on Sunday of performances which could divide the audience in some cases but might also lead to an overall increase in viewership between the two programs.

To be fair, this year’s broadcast did feature a respectful and well-toned In Memoriam segment with tributes from Brittany Howard, Brandi Carlile, Lionel Richie, and Bruno Mars, among others. That portion, however, was the only thing that felt even half-classy about the show. For all the fuss that was made about a few particularly over-the-top performances, most notably from Megan Thee Stallion & Cardi B., the show itself, as a whole, was simply more boring and forgettable than it was provocative or significant in any way.

Foo Fighters-Medicine at Midnight Album Review

The Foo Fighters' 10^th LP, Medicine at Midnight, has been out for about a month now, and dedicated and casual fans alike have had time to take in both the creative, experimental tracks as well as the traditional songs alike and have generally agreed it’s a solid record. Though I don’t always get to write about them as quickly as I’d like, as a big fan of the band for their entire 26-year existence, I really wanted to take a few minutes to write a bit about each song. However, since these articles often begin with grander ideas that end up taking me far longer than planned to execute, I am experimenting a bit myself in this review. Aside from this paragraph and the last, I will limit myself to only the length of each song to write a bit about it. If this method goes well, I may try it again, and if not, oh well. 😊

“Making a Fire”

The groovy intro leads into a surprising round of female backing vocals which is already completely new and different for the Foos (though they have collaborated here and there with plenty of other singers in the past). Producer, Greg Kurstin, who also produced the band’s previous LP, continues to add modern pop production techniques and gloss, not always to full tracks, but often to bits and pieces of songs, certain vocal or guitar parts, and other accents that repeat only periodically, leaving them less front-and-center and more a supporting addition to the traditional rock structures and changes in the verses and choruses. The bridge breaks down to a stomp and clap that feels almost like a brief gospel interlude before quickly returning to the safety of the chorus and the intro vocals one last time on the way out. Solid tune.   (Check out a cool live performance of it here)

“Shame Shame”

The album’s first single premiered on SNL in November and was the introduction to this new album era (after the band’s scrapped 25^th anniversary celebration in 2020 re-focused them on moving forward with new material rather than sitting on it until whenever the hell the pandemic may end). This one is a bold choice for a lead single because it is non-traditional compared to most Foo albums with choppy dynamics and heavy, moody tones and changes throughout the song, highlighted by cello overdubs during the pre-choruses. More guest backing vocals here, but they blend better with Dave Grohl’s lead vocals compared to the first track. Within the context of the album, this song is good enough to keep things moving and offer both a break between two upper-tempo numbers and serves well as a lead-in to the rest of the record, not because the other songs sound the same but because it doesn’t hide the fact that the band are trying some different things this time around.  (watch a recent TV performance of the song here)

“Cloudspotter”

Another groovy mid-tempo song that picks up in the pre-chorus and finally all the way up to “full rock level” in the chorus. Great guitar work from Grohl, Chris Shiflett, and Pat Smear on this track, also aided by the solid mix, especially in the verses. As on “Making a Fire,” the band wisely balances out the less-traditional verses with a relatively familiar chorus and a heavy bridge/outro riff, dancing near the edge of metal as the band has done on occasion since it began. It might not quite work as a single, but this one is the most interesting song of the first three.  (watch a recent live performance here)

“Waiting on a War”

Immediately, this song stands out as the safest and all-around most traditional and predictable track on the album. That’s not to say it’s a bad song, and in fact the strings and production here are beautiful, and the sentiment of the song seems to be clear and accessible, but it feels too much like the obligatory ballad for radio to really fit in with the rest of the songs by comparison. We’ve heard a track like this from the Foos more than once in the past (songs like “Best of You,” “Times Like These,” and even their timeless-classic, “Everlong”), and if each of their albums needs one of those songs, I guess this one serves that purpose, but in spite of it being the second single, it isn’t all that representative of the album and it’s probably the least-memorable and least-interesting track on it. Having said that, the much heavier coda at the end of the track is both unexpected and very welcome.  (watch a recent TV performance here)

“Medicine at Midnight”

Yet another groovy intro and verse, this time with a bit of funk and some slinky, dark production on the guitar and keyboard flourishes. By time even the first chorus kicks in, the song feels only a step or two away from something more in the style of Leonard Cohen than most things Foo Fighters have recorded over the years, especially with the addition of the backing vocals. The vibe on this song carries a sorrowful reflection that evokes isolation or rumination on regret, adding weight and emotional depth to the album as it continues.

“No Son of Mine”

Probably the album’s most predictable and straight forward hard rock song (and arguably its best track), this one rocks right from the top and is full of a variety of plodding beats from drummer Taylor Hawkins and a bit of vocal distortion for Grohl recalling the bands harder-rocking tracks from the ‘90s. The guitars are layered deep and are often all playing the same riff, but that just adds to its power! It’s great to hear new songs that rock this hard when so little of this kind of rock seems to be part of the modern radio/cultural landscape.  (watch the official live music video here)

“Holding Poison”

Following the album’s hardest rocking moment, the band doesn’t let up too much here, but a fantastic harmony vocal on the chorus and in the second verse along with a spotlight on Shifflett and a new wave  keyboard turbo boost from Rami Jaffi, the newest full-time member of the band, bring elements of The Cars and maybe even a sprinkle of Weezer into this track, at least on the chorus. The bridge becomes a haunting choir moment with a rocking guitar solo over top, but the tempo remains consistent throughout the song, which itself also connects to the subjects in the lyrics. Excellent track!!

“Chasing Birds”

Recalling “Dirty Water” from Concrete and Gold, this much softer track is a far more enjoyable and creative quasi-ballad than “Waiting on a War” with a very dry drum production and a vocal and guitar mix that sounds like ‘70s AM gold a lot more than anything from the grunge or post-grunge eras. This very mellow and easy track may get a bit repetitious after several listens but does a good job of transitioning out of the two heaviest songs on the album and into the record’s conclusion.

“Love Dies Young”

The last track on the record blends traditional album-closers in theme and tone, somewhat recalling “Long Way Home” and “Walk,” with a disco-punk beat that might almost be more at home on a late ‘90s nu-metal song. Changes throughout the track keep it balanced and mixed with guitars that blend bits of The Cure and New Order one moment and U2 at others amid its punk overtones. This is another of the more experimental of the album’s songs, making them stand out a bit more as both an opener and a closer (while many in between are generally more traditional), which also leaves the listener with an impression that the record was maybe a bit varied than it actually is compared to the rest of the band’s catalog.

***********************

Overall, it’s more than fair to say Medicine at Midnight is a very solid rock album that will probably stand out even more in 2021 since there is so little new rock of this kind being released on such a high level. This record is not the band’s best by any means, buy it may be their most interesting new music in about a decade, and it is a nice blend of both new and old sounds that offers enough variety to keep it engaging through its 9 songs in 36 minutes. These tracks should all fit in nicely along side the Foo Fighters’ greatest hits whenever they can be performed on stage again.

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