Tag: music (Page 2 of 89)

Friday Playlist

I feel like I’m settling into my new groove after the switch to Apple Music, finding a better balance between the old and new music. I think you’re going to like this week’s choices, which includes a couple special tracks.

“Black Confetti” – Bob Mould
Hey, I’m seeing Bob Mould tomorrow night! And my brother-in-music Dave V. is coming to town to join me! I’m very excited to see the legend in person…and Mr. Mould, too.

It is a slight downer that Mould seems to be playing pretty much the same 27 songs each night, and there isn’t a single Sugar song in the setlist. I’m sure he has a reason, but as much as I admire his Hüsker Dü work and enjoy his 30-some years of solo efforts, I think he hit his peak in his Sugar days. A minor complaint, though. And, who knows, maybe he’ll throw caution to the wind and mix things up for us good folk in Indy. I bet it’s still going to be freaking awesome and I won’t be able to hear for a week after.

“Tyrants” – Sam Fender
Another example of an artist releasing a pretty good song not too long after releasing a pretty good album. In this case, “Tyrants” goes back a few years and Fender has played it live many times, but this is its first studio recording, released for Record Store Day ’25.

“Running of the Bulls” – Le Pain
Funny how a name and a sound can fool you into thinking a band is from somewhere far from where they actually hail from. This sister act is from LA, but they sure seem French to me. Until the guitars explode at the end, then they seem very LA.

“Neverender” – Justice with Tame Impala
Well this group is French. Or at least Justice is. Kevin “Tame Impala” Parker is from Australia. Hey, you got your French electro pop in my Aussie psych rock!

“Real Good Dream” – Acid Dad
Good, spring-ish, synth pop.

“Your Little Hoodrat Friend” – The Hold Steady
We’ve reached the anniversary portion of this week’s playlist. THS’ legendary Separation Sunday just celebrated its 20th anniversary. This song blew me away the first time I heard it, and still does every time I play it to this day. Tom Breihan wrote a predictably great accounting of the album. She’s been callin’ me again…

“Listen Like Thieves” – INXS
And Listen Like Thieves just turned 40. “What You Need” was the bigger hit, but this is my favorite song not only off that album, but maybe from the band’s entire discography. This is a new remix from the 40th anniversary re-issue which is out today.

“May Ninth” – Khruangbin
And guess what today is?

“Brimful of Asha” – Cornershop
Remember when these guys had a tiny moment? Most of you probably just responded “No.” It was such a short moment it was easy to miss. A remixed version of this track went to #1 in the UK but was a minor blip here, making it to #16 on the Modern Rock chart. Great song, though. And cool video.

Friday Playlist

As I shared many words about earlier this week, my switch to Apple Music means I’m pulling more songs from the past up into my daily soundtrack. Which means these playlists are going to start including more classics. Which was my intention back when I started them however many years ago. There will still be plenty of new music if that’s why you come to these posts.

“Rock ’n’ Roll High School” – Ramones
We are a week and change from having just one high schooler left in the house.

“Somebody New” – Tunde Adebimpe
I said I was looking forward to his album, then didn’t get around to listening to it when it came out. And now this is the best of the singles released from it, each sounding a little different.

“Every” – Swanpalace
An interesting supergroup of sorts, built around two artists most of us have never heard of along with Jim Eno, a founding member and long-time drummer of Spoon. This has a terrific, late Seventies sound. To my ears it bumps right up next to Cheap Trick.

“There’s A Part I Can’t Get Back” – Sunflower Bean
A truly harrowing, yet beautiful, song about how grooming steals innocence from its victims.

“Outside” – Jawdropped
A hint of grunge in this jangle rock makes it stand out nicely.

“Cutting Room Floor” – Gordi
These last four songs all fit into some kind of musical Venn diagram I’m too lazy to clearly delineate. But Gordi sounds a lot like Christine McVie on this track, so it would pull in some Fleetwood Mac angle I guess.

“Month of May” – Arcade Fire
The most important month of the year in Indianapolis is here. Also, AF has new music out but I did not dig their lead single so I’ll stick with this more time-appropriate oldie.

“Dead Souls” – Joy Division
I know I just shared a JD song a couple weeks back, but I heard this one yesterday and had to slap it into the playlist.

“Rock the Bells” – LL Cool J
Talk about mission statements! Back in the days of vinyl/cassettes, sometimes the first track on side two was as important as the first on side one. This was Side Two, Track One on not only LL’s first album, but the first full length album ever released by Def Jam. Dropping Bruce Springsteen, Madonna, Michael Jackson, and Prince’s names seemed outrageously ambitious at the time. But James Todd Smith knew where he and the label were headed.

Not sure why a new video was released for this two months ago but I like it.

A New (Old) Musical Home

As I wait out some morning storms before I head over the gym, it seems like the ideal moment to share (or at least start the post that shares) my latest music project.

For months I’ve been thinking about writing a lengthy post about how I don’t upend my digital life as often as I used to. People close to me experienced this when I changed my email address, moved where I published our family pictures, or even adjusted where this site was located far too often. A pain in the ass to you, I knew. But, dammit, I needed to try all the cool digital toys that were available!

This nomadic quality was more apparent if you were to look over my shoulder and see how I interacted with my Macs on a daily basis. I’d switch text editing apps each time a new one dropped. Digital junkdrawer apps came and went even more frequently. A new browser drops? Of course I’m going to import all my bookmarks and give it a shot. And so on. If there was a buzzy new app, I was going to give it a shot, no matter the headaches it caused through moving files around and changing workflows.

I’m not sure exactly when, but at some point I stopped doing this. Or at least slowed it way down. This site has looked the same for, what, 5–6–7 years now? I did switch hosts at one point because of access issues with a previous provider, but I don’t think any of you noticed that unless you tried to check in right when I was moving things around. And I’ve been parked at this URL since right around when we moved into this house, I believe.

Same for the apps I use on a daily basis. I’ll occasionally try something new that I read a review of. But, more often than not, I go back to the ones I’ve been using for years.

Is this all because I’m getting old and don’t like change? Or don’t have the patience to deal with all the extra baggage that comes with switching around constantly? Or have apps largely coalesced around a common set of design language and functions so one really is like the other, compared to back when I ran multiple different podcatching apps that did very different things?

I think we can blame the rise of the iPhone/iOS for some of this as well. I want to be able to accomplish the same tasks the same ways on different devices. It’s harder to switch around when testing something on the Mac breaks how I do things on my phone.

There’s your standard, long-ass introduction to my actual point: for the past two weeks I’ve been testing Apple Music with the goal of switching to it from Spotify.

Big news!

I’m not sure when I first started using Spotify. Somewhere in the range of 10–11 years ago, I guess. Rdio was the first streaming service I used, and to this day nothing has matched its community discovery aspect. When it started to circle the drain, I tried Apple Music. I was deep in the Apple world already and all my old iTunes files would seamlessly blend in.

The only real problem with Apple Music at the time was that it totally sucked. I would listen to a playlist on my iPhone then the next time I used my Mac, there would be two versions of that playlist. Then go back to the iPhone and a third would pop up. I was never really sure why this happened, but it was infuriating.

After a few months of this I bailed for Spotify and never looked back. Spotify, to use an Apple phrase, just worked. And for several years they seemed to have a better selection of music than Apple.

I’ve had no qualms with how Spotify worked since then, although I do have issues with some of their business practices. There were things I wish it did better, but for the most part it did its job.

Every so often I get an offer for a free month of Apple Music. Several times I’ve spent about 10 minutes dicking around on AM before deciding it was too much work to jump. Plus our girls all love Spotify and I couldn’t convince them that their playlists could be copied over to AM easily.

So what changed? Last month I got a new iPhone. With it came the normal offers for free Apple services. The one that grabbed my attention was the Apple One service. I already paid for a higher iCloud storage tier. What attracted me was the access to Apple News+, which would get me behind the paywall of several good magazines and newspapers. I pay for Apple Arcade a few times a year for the girls, and that would roll into it, as well. We would have constant access to Apple TV+ instead of buying it only when shows we like are new. Plus my iCloud storage would take another jump up. Apple Music would be an easy swap for Spotify as part of this process.

I crunched the numbers and once the free trial was over, while I would be paying Apple quite a bit more, the value proposition aspect worked.

Thus I signed up for the free trial and spent an entire weekend getting all my Spotify songs and playlists into Apple Music.[1]

The first thing that struck me was how much AM is still built on the old iTunes architecture. Most notably you can rate songs and make smart playlists based off of all kinds of user selected options. That’s how I interacted with my library the first 12–13 years of the digital music era. It felt like being home again.

At the same time it pissed me off my music geek brain that I had spent so long on Spotify. That was over a decade of play counts, ratings, and other data that was just lost since Spotify didn’t track any of. At least publicly. Suddenly the nearly 4000 songs in my library were all brand new.[2] It’s going to take a few weeks/months to get each track played a few times so the smart playlists can start doing their magic.

For all the annoyance that comes with that process, that is exactly why I think I’m going to stick with Apple Music. Because Spotify lacks those two key features, I find older music gets lost in the shuffle. Literally. Unless I’m listening to an album, I almost always listen in shuffle mode. Because I can’t tease out songs that are old and haven’t been played for a while via smart playlists, or force it to select songs I like the most, it seems to focus on the newer tracks I’m listening to more often. Which makes sense, but also takes away some of the magic that iTunes had by always inserting cool old songs in the midst of new ones.

There have been growing pains. In Spotify adding a song to a playlist does not automatically put it into your library. For example, I kept all my Christmas music in distinct playlists that are hidden away 11 months of the year without adding them to my Liked Songs. So I never get random holiday tunes included when I am shuffling. In Apple Music, tracks are either in your library or not. On the Mac I can uncheck all those holiday songs and they get skipped over. But to the cloud they are still in my library. So listening on my phone, iPad, or in the car can bring those unwelcome surprises of songs meant for December.

It was also enraging that I had to download a separate app to control Apple Music across devices. If I am playing Spotify on my Mac, I can open their app on my phone, see what is playing, control the song, volume, and which speaker the audio is going to natively. I had to do a ton of research, download a separate app, then jump through a bunch of hoops with my Apple account before I could mimic that in Apple Music.

I also had to dive deep into some settings in all that mucking about to get play counts to track across devices. That probably seems dumb to 99.9% of you. My Smart Playlists rely heavily on play count information, so not being able to track those across different devices hampers their effectiveness.

You really would expect that Apple Music would be the service that worked seamlessly across devices and Spotify be the one that took the extra work to build this system.

The Tesla AM app is also a little wonky. Certainly less reliable than Spotify. Both have their quirks in connecting to the network, but Apple Music is more likely to get stuck in a loop where it only loads a few songs and loops back to the first rather than continuing to work through the playlist/library.[3]

The past two weeks I’ve been trying to remember how I organized my music all those years ago in the iTunes era. What were my favorite smart playlists? How did I rate songs? And so on. The goal is to create a Daily playlist that splits the difference between the newest music in my library and older tracks. I think I have the rules adjusted close to how I had them 15 years ago, but, again, I’m going to need to work through my library a few times to make sure they are where I want them to be. Songs I haven’t heard in ages that are indeed popping up, which is good. Hopefully the benefits like that outweigh the annoyances where Apple Music does not match Spotify.

How will this affect you, my loyal readers/listeners? Hopefully not at all. Other than reading this blog post. The girls have talked me into letting them stay on Spotify. Which means I am paying for two music streaming services. The benefit to you is that I can continue to share my Friday Playlists from Spotify, something that is not possible in Apple Music. I’ll build them in AM over the course of the week. Then on Friday mornings I’ll launch Spotify, quickly pull those songs together and insert that playlist into WordPress as I’ve been doing for years.


  1. I used Playlisty for Apple Music. It takes some manual effort, but pulls all your Spotify songs and playlists across to AM. There were a few times it picked the wrong version of a song, but otherwise a great utility.  ↩

  2. I was also able to trim a lot of duplicates that were hiding in Spotify, plus some songs I’m not into anymore. All told, I’m about 400 lighter than I was two weeks ago.  ↩

  3. Coincidentally, Tesla just dropped their big, spring software update. Included in it was an update to the Apple Music app that allows it to shuffle through playlists that have more than 100 songs in them. I’m not sure why that was still a limitation in 2025.  ↩

Friday Playlist

A slight change-of-pace this week. I’ve been working on a new music project this week that has slowed down my processing of the new songs considerably. (I’ll share more about that project next week.) Plus a couple of these songs/bands are tough to Google, so I wasn’t able to find out much about them. As a result, a slightly more lean playlist than we’ve had recently. We should get back in the regular flow for the first playlist of May.

“Full of the Joys of Spring” – The Sundries
What a joyous week this was, at least in terms of the weather and feeling like spring, etc. Bright, warm, sunny days. The grass is thick as hell after all our recent rains. All the trees, plants, and flowers are budded and bloomed and otherwise looking healthy after the retreat of winter. I’m regretting not opening the pool sooner. Next weekend the lows are going to be in the 30’s°, a good reminder that I did NOT open the pool yet because I didn’t want to pay like we were heating the house in January to get the pool to a reasonable temperature.

“Loline” – The Bats
The Bats have been together, without changing their lineup, for 43 years. Which is amazing. They sound like a band that came up a long time ago, and I mean that in the best way. Here they sing about a popular bike from their homeland of New Zealand.

“Come Down” – Reb Fountain
Where The Bats 100% sound like a band from New Zealand, this singer sounds more like she’s from the UK and influenced by the trip-hop acts of the Nineties. She is, though, a Kiwi, too. And that’s about all I can find about her.

“It’s Your Funeral” – Ultra Lights
Another band that is hard to Google. I would have guessed they were the next, snotty, kind of arty, New York garage band, in the line of The Strokes and Parquet Courts. But they are from Atlanta. Which is wild.

“At Zero” – Dream, Ivory
I’ve been kicking this song around for a few weeks, never sure whether I should include it or not. Luckily for this brother act, I kept it around long enough to run into a week light on music so I had to finally use it.

“In This Mess” – Say Sue Me
I just included a SSM track last week. But when they drop a song this good immediately after, there is no waiting period before I share it. Holy shit, the guitars!

“Give It Up” – 8mm
Long-time music followers will remember this from the early days of my podcast. I’m not sure if I first played this in 2005 or 2006. I do remember it came on the advice of a brother-in-music I’ve lost touch with, and our shared joke was this song was so sultry that we felt like we needed to confess something to our wives after listening to it.

8mm actually has some new music out. Their new song is ok, but doesn’t stand up to this classic.

“Take A Walk” – Neil Finn & Friends
I missed honoring the greatest concert series ever earlier this month while we were on break. With two other New Zealand acts in this week’s PL, seems like the perfect moment to rectify that oversight.

Friday Playlist

I have an absolutely loaded Friday as we prepare for weekend guests and our extra-large family gathering for Easter on Sunday. Because of that I’m starting this Thursday evening, and I’m not really sure where it’s going to take me after this odd week. Let’s find out together!

“April Skies” – The Jesus and Mary Chain
They’re going to be dark and stormy for the next couple days, at least here in Indy.

“The Feeling Is Gone” – The Horrors
Man, this could be straight off of Depeche Mode’s 1990 classic Violator. And I do not hate that at all.

“Vacation” – Say Sue Me featuring Kim Hanjoo
First the Koreans took over the pop world. Now they’re aiming for indie rock? I give them credit: ain’t nothing wrong with this jam.

“Lean Into The Wind” – Doves
I don’t pretend to understand how the music industry works these days. For example, Doves just released a new album about six weeks ago. Now they’ve released a new song that wasn’t on that LP. Officially, it was a Record Store Day release. Although it landed on Spotify, etc at the same time. Which is fine. Often these leftover tracks didn’t make the album for a reason. In this case, though, I do not understand why this wasn’t on Constellations For The Lonely. It is very good, as good as any track on the full album. Thank goodness we get to hear it!

“Every Time I Hear” – Sharp Pins
Gorgeous jangle pop from Chicago.

“God Knows” – Tunde Adebimpe
The former TV On The Radio frontman’s solo debut is shaping up to be a real dandy.

“Good Friday” – Cowboy Junkies
“Easter” – Strand of Oaks
May the Easter Bunny be good to you all.

“Transmission” – Joy Division
This week, or maybe next, marks the 20th anniversary of my old music podcast. This was the first song played on the first show, which I referred to as transmissions. Good times. Ian Curtis was something else.

Friday Playlist

Yowza! Take a week off and not only does the music pile up, but there are also a couple large events to recognize. So this week’s list is EXTRA large for your listening pleasure. And that’s even with me probably cutting a song or two from my working list as I finalize what I share.

“catch these fists” – Wet Leg
LOOK WHO’S BACK!!! WATCH OUT, FOOLS!!!

“NW1” – Mên An Tol
Whoo, this song cooks! I assumed based on the band name they were somehow Scandinavian, or maybe Icelandic. Turns out they are just some British lads, and took their name from a small stone formation in Cornwall. Call it a JV Stonehenge.

“Rodeo” – Momma
I’ve already shared a couple songs from Momma’s latest album, which officially came out while we were breaking. The album got terrific reviews so I gave it a spin this week and this was the other song that really stuck out to me.

“Holly” – Jolie Laide
It’s been driving me crazy for a couple weeks what other band these folks sound like. There was a song a few years back that had a very similar vibe to this, including a man and woman responding to each other’s lines, the film noir-ish music, etc. It also had a lot of whistling where this does not. Anyone else remember that song?

“The Wolf” – Witch Post
Is it wrong to put two man-woman songs back-to-back?

“Backseat Banton” – Bartees Strange
Not sure how I missed including this over the past two months. It was just about to drop out of my current music playlist, so I’m glad I caught the error in time.

“Stay” – Sea Lemon
Exactly the kind of dream pop I love the most.

“Lowdown (part 1)” – Michael Kiwanuka
If this hasn’t already been used to soundtrack moments in TV shows and movies, it surely will be soon.

“A Man Needs A Vocation” – Craig Finn
Finn’s album Always Been also came out while we were away. I’ve been listening to it all week. The addition of members of The War on Drugs as his backing band refresh his sound wonderfully. Several of the songs sound 100% like TWOD songs everywhere but in his vocals. This is one of the best examples. The opening keyboards. The drums. The chiming acoustic guitars that carry the song, and the little electric guitar flourishes throughout. This easily could have been on the last Drugs album.

“Rain In The River” – Bruce Springsteen
Well now! Like Prince, Springsteen has a large vault of unreleased music. Unlike Prince, he periodically taps into it, brushing up songs that have lain fallow for decades and letting the public hear them. The biggest new music news of the past week was the announcement of The Boss’ Tracks II, a package that will include 83 songs spanning seven full length albums, containing first recorded between 193 and 2018. Most of it comes from the 1990s, a decade when he stepped back from the public eye but was still apparently working quite hard. Also included is his legendary 1983 Garage Sessions work, during which he worked alone on many of the songs that became the hits of Born in the USA after he took them to the E. Street Band.

This song comes a compilation of E. Street Band-styled songs recorded at various points during the quarter century scope of the entire boxed set.

“Dreaming” – Blondie
Ugh. Blondie drummer Clem Burke died this week. He had been sick for some time but hid his cancer diagnosis, so his passing came as a shock even to many close to him.

Blondie was always mostly about Debbie Harry. Burke’s driving beats held the whole operation together, though.

Blondie’s peak was less than four years long. Despite that they had a huge impact on music and culture, one that still influences bands trying to figure out what direction they want to go. You can argue about which Blondie single is the best. They had four number ones, which are good places to start. I’ve long leaned towards “Dreaming” though. I think some of that is because while those chart topping hits went different directions – disco, Euro-disco, Dancehall, and rap – “Dreaming” was a perfect New Wave song, the genre the band helped bring to the mainstream. Harry softened her New York hardness a bit, making it feel more like an updated, Sixties girl band tune.[1] And then there were Burke’s drums, an absolutely jaw-dropping performance. I did not know until this week that the drums you hear were his first take at the track, and he wasn’t taking it all that seriously, thus played busier and with more abandon than he normally would. Harry and Chris Stein loved how they sounded and kept them for the final mix of the song. Amazing. And RIP.

This track is, obviously, a live performance played over the recorded track. But watch Burke just beat the shit out of his kit.


  1. Also, like this week’s RFTS post, it has an AMAZING set of opening lines.  ↩

Reaching For The Stars, Vol. 111

Chart Week: April 4, 1981
Song: “Take It On The Run” – REO Speedwagon
Chart Position: #27, third week on the chart. Peaked at #5 for two weeks in May/June.

What makes a song great? There are like a million different things we could talk about when breaking that question down. I respect you and don’t want to type up a post that long. So let’s focus on one specific attribute: a powerful set of opening lyrics. Like these, for example:

Heard it from a friend who,
Heard it from a friend who,
Heard it from another you’d been messin’ around

What a fantastic opening stanza! You’ve grabbed the listener’s attention and given them an idea of what’s to come by addressing a universal topic: being cheated on.

I begin with that not to dive into an exploration of songs about stepping out, or to answer the broader societal question of “Why Do People Cheat?” Rather, I start there because “Take It On The Run” is as much about miscommunication, rumors, and the tendency for humans to gossip as the actual (and alleged) cheating Kevin Cronin was singing about.

Those themes can apply to any relationship, not just romantic ones. Friendships. Business partnerships. How you get along with your neighbors. Hell, it can explain why a band that has been making music for nearly 60 years suddenly falls apart. More specifically to our discussion, it is why REO Speedwagon was in the music news last week.

When you think of REO Speedwagon, you probably think of lead singer Kevin Cronin’s voice and Gary Richrath’s guitar first. Richrath, who wrote “Take It On The Run,” left the band in 1989 and died in 2015. His soaring solos were a staple of the REO sound.

Cronin first joined the band in 1972, five years after REO formed, and was fired a year later. He rejoined in 1976 and was the lead singer through their glory days, a stretch that included nine top 20 hits, two of which topped the Billboard pop chart. I wouldn’t call his voice legendary, but it was a great fit for the words he and his bandmates wrote, always conveying the proper emotional timbre.

He remained the face of the band until last year, when he was fired for a second time, in this case because of the dreaded “irreconcilable differences” with bass player Bruce Hall. It seems that they argued about touring; Cronin wanted to keep the band on the road while Hall was done with that part of the business. I’m not sure how Cronin was the one to get fired over that conflict. Seems like you kick out the guy who does not want to continue doing what rock bands are supposed to do. And Cronin, who was in the band longer than Hall, should have had ultimate veto power, right? However, Hall was able to rally the other members of the band to vote out their front man after 48 years.

This conflict resurfaced last week when Cronin posted an angry statement saying he was “deeply disturbed” that he had not been invited to an event this June where most of the other surviving members of REO’s various eras will come together for a show in their hometown of Champaign, IL. Further, he claims that the organizers of the event not only failed to include him, but also specifically picked a date when his new outfit, The Kevin Cronin Band,[1] is scheduled to play a show with Styx in Bend, OR. Jeez.

These squabbles within bands that decide to fall apart in their Medicare years always make me laugh. What else are these jokers going to do at this point other than play music together? I doubt they’re living the high life like in their primes, but it must pay the bills. I know 40, 50, 60 years of baggage can be a lot. You’ve put up with it for this long, though. Get over it, play your tunes for 90 minutes four nights a week, and keep cashing those checks.

Like those broken relationships the band was singing about in 1981, most of this strife is likely based on an inability to communicate directly and relying on the telephone game of words being passed from person to person to person and losing their true meaning along the way. Even guys in their 70s can still act like dumb teenagers sometimes.

I LOVE “Keep On Loving You,” REO Speedwagon’s monster hit that topped American Top 40 two weeks before this show. I’ve written about it many times on this site.[2] You know what? “Take It On The Run” might be a better song. It’s just a little punchier, the guitar work a little more muscular, and a little more traditional in its structure which spools out its drama a little longer. That opening (and closing) sequence is wonderful. Richrath’s guitar work is epic. And even if the protagonist’s anger and accusations are based on misperceptions and half-truths, you can’t deny the bitterness in Cronin’s delivery.

In these two songs, REO, arguably, perfected the massive, power ballad and created a structure pretty much every rock band would follow for the next, what, decade? Two decades? Forever?

REO Speedwagon was one of the biggest bands of their era. Like many acts that fell into their sphere – Journey, Styx, Boston, Kansas, etc. – they often took grief from critics for being too commercial, overly produced, and writing what were basically 20 versions of the same song. That may all be true. When they got everything right, though, they wrote some classics. 8/10


Some of my younger readers might say, “Wow, a band had two big hits in a matter of months with two songs about being unfaithful? That’s kind of wild!” Well, my friends, wait until you hear the name of the album those songs were from: Hi Infidelity. Honest to God. People loved to sing about and listen to songs related to cheating in 1981.


While listening to this countdown, I thought about how I would have reacted if you told me back in 1981 that REO Speedwagon would still be playing music in 2025.[3] Cronin was 30 when “Take It On The Run” was released, which seemed ancient to nine-year-old me. To still be rocking when they were older than my grandparents? Crazy talk!

The Rolling Stones were four months away from releasing their Tattoo You album. That LP and the associated massive tour combined to turn them into rock’s first eternal act. The Stones certainly took a different path from the State Fair/casino circuit so many Seventies and Eighties acts, including REO, eventually landed on. However, until the Stones had that second explosively successful stage in their career while in their 40s, I don’t think anyone, even the artists themselves, viewed playing and recording rock music as something you could do your entire life.


Also, while I was walking to the locker room at the gym Monday, I heard “Take It On The Run” blasting out of the spin studio. I’m not the only one that still likes it!



  1. Imaginative name, Kev!  ↩
  2. Feel free to search the site archives to track those posts down.  ↩
  3. Or 2024 I guess.  ↩

Friday Playlist

Nothing special about this playlist in advance of our spring break. Although it is chock full of great tunes. No playlist next week, as that is our fly home day. Hope everyone has a great week.

“Bonnet Of Pins” – Matt Berninger
Oh my! Often when lead singers of bands release solo projects, they use them as opportunities to explore new ground different than where their band normally treads. Not so here. This sounds almost exactly like The National. It isn’t just his voice or lyrics, either. The music is right in the pocket of a great National song.

“Something In The Air” – Lauren Mayberry
Along those same lines, this isn’t too far removed from CHVRCHES music.

“Chrome Dipped” – CIVIC
A slight tweak to their sound, but no less enjoyably heavy than their earlier, 70’s Aussie punk influenced songs.

“What Do I Know” – Deep Sea Diver
This was the first song that band leader Jessica Dobson engineered on her own. Rather than go back and fix what didn’t work, she kept many of the first takes of the various instruments. I dig the raw, live feel that gives this track.

“LA Runaway” – The Horrors
How many songs have been written about runaways in (or to) LA? Most by bands who wore spandex and had super teased hair, I bet. The concept works just fine with modern post-punk, too.

“Richardson” – Shura featuring Cassandra Jenkins
A gorgeous song with some lazy, summer day vibes.

“Relationships” – HAIM
Speaking of summer…the Haim sisters have a knack for making tunes that are perfect for the warmest days of the year, which are right around the corner, you know.

“A Few More Years” – Wings of Desire
I’ve been trying to figure out who this band reminds me of for a couple weeks. I keep drifting towards saying it is Ballboy, a Scottish band with a very particular sound. And there are definitely similarities between them, but it feels like some other band I can’t recall is a better match. Let me know if you figure it out.

“Drive That Fast” – Kitchens of Distinction
It’s been nearly four years since I last shared this 1991 classic, which is far too long.

Reaching For The Stars, Vol. 110

Chart Week: March 24, 1984
Song: “Eat It” – ‘Weird Al’ Yankovic
Chart Position: #18, 3rd week on the chart. Peaked at #11 the week of April 14.

It’s been a while, and for that I offer my endless apologies. I still listen to at least part of an AT40 show every weekend. Over the past couple months I’ve started several drafts for new RFTS entries. However, each time I’ve lost enthusiasm while doing research and have let them die on the digital vine.[1] To be honest, today’s selection isn’t one I would have normally been interested in. But I was getting antsy about not updating the series, plus spring break is next week and the site will be on hiatus. It worked out that there is an interesting aspect of this song that relates to the greatest musical rivalry of the Eighties and made it worth writing about.

I never really got ‘Weird Al’. I admired his cleverness and ability to make such coherent parodies of other great songs. There is true craft to that. I also respected his total commitment to the bit that included mimicking the visuals – including clothing, dancing, and videos – of the original artists. His songs were always a little too goofy for me, though. Maybe it was because I never listened to Dr. Demento to develop the part of my musical brain that would connect with them.

Yankovic began making parodies in the late 1970s without any chart success. I remember hearing his 1983 singles “Ricky,” (Toni Basil’s “Mickey”) and “I Love Rocky Road” (Joan Jett’s “I Love Rock ’n’ Roll”), but neither cracked the Top 40.

His break came when he took on Michael Jackson’s mega-smash “Beat It.” I’ve written several times about the power of Jackson’s name in 1983–84. “Eat It” might be the biggest and best example of MJ’s influence. In only its third week in the Hot 100, the record was already at #18, and was the biggest climber in this countdown. Michael’s help could only take this song so far, as it stalled out at #11 a month later.

Although parody is protected under American copyright law, Yankovic always asked artists for their permission before recording his versions of their originals. For the most part he received clearance. That was true in this case; “Eat It” only existed because of Michael’s blessing.

“Michael Jackson wasn’t just cool about my parody of ‘Beat It,’” Yankovic told Billboard magazine, “but he also loved my version of ‘Bad,’ which was ‘Fat.’ He even let me use the actual ‘Bad’ subway set for the ‘Fat’ video. He was very supportive, which was huge with opening the doors with other artists. Because if Michael Jackson signed on, you couldn’t really say no.”

Well, one person said no.

Weird Al asked Prince at least four times for permission to cover one of his songs. Each time the Purple One declined. Al had an idea for “Let’s Go Crazy” based on The Beverly Hillbillies. For “1999,” he wanted to sing about dialing a 1–800 number that ended with the digits 1999. None of his pitches swayed Prince. Or, more likely, Prince just didn’t have a sense of humor about his own music. Maybe Al should have asked to do a straight cover rather than parody, as Prince loved for other people to sing the words he wrote. Or maybe if Al had been an attractive, ethnically ambiguous woman Prince would have signed off.

I’m not sure it sways their battle in any way, but score one for Michael over Prince here.

“Eat It” went to #1 in Australia, which is amazing. It has sold over 500,000 copies in the US. It was Yankovic’s biggest American hit until “White & Nerdy” hit #9 in 2006.

As I said, “Eat It” never did much for me, and still doesn’t. The video is funny, but I’m never going to seek the song out. I know a lot of other people like it a lot more than I do. So I’m genuinely sorry if this grade disappoints you. 5/10

Speaking of Michael Jackson, also on this week’s chart, “Thriller” checked in at #11 on its way down after peaking at #4. And Rockwell’s “Somebody’s Watching Me,” which featured Jackson on background vocals, began its three-week stay at #2.

 


  1. Real talk? I’m also verrrrrry satisfied with my most recent entry back in January. That was some good music writing. I’m still waiting for someone from Rolling Stone to give me a call.  ↩

Friday Playlist

“Bang Bang Bang” – Sports Team
UK funsters making fun of Americans for our fascination with guns.

“Afraid of Guns” – Motorbike
Cincinnati funsters making fun of Americans for our fascination with guns.

“Death of a Giant” – Murder Capital
Irish funsters making fun of…oh, wait. Actually this song is about the band members being in Dublin on the day of Pogues leader Shane MacGowan’s funeral.

“777” – illuminati hotties
Sarah Tudzin takes her normal fuzzy, power pop sound in a slightly more shoegazey direction here. She never misses.

“Salome” – The Ophelias
Hey, another Cincinnati band! Something is going on down there. Not sure M is into indie rock but perhaps I should tell her to start checking out the music clubs.

“Debonair” – The Afghan Whigs
Might as well sidetrack for a moment to touch base with the kings of the Cincy indie scene, and one of the truly great songs of the 1990s alternative revolution. This ain’t about regret.

“Narc” – Cutouts
If Depeche Mode had made the theme song for The Sopranos, it might have sounded like this.

“Charm” – The Men
Oh hell yes, jangly, scuzzy, punk rock!

“Into Your Arms” – The Lemonheads.
This week’s The Alternative Number Ones entry, a true classic. It’s a 10 to me, just an 8 to Tom. But he’s younger than me and it hit him differently at the time.

I know few of you are Stereogum subscribers, so I pulled a few lines from his write up, which is one of his better ones.

When writing about The Lemonheads, you can’t avoid Evan Dando’s looks and personality. Breihan first describes Dando as “…a foxy airhead.” Which is about perfect.

This anecdote about Dando missing a show is amazing: “In 1995, Dando missed the Lemonheads’ scheduled set at Glastonbury because he was having a heroin-fueled threesome, and you almost can’t begrudge him that.”

A lifetime of drug use apparently has not marred Dando’s face: “At some point, he developed a bad Oxycontin habit and lost all his teeth. He still looks implausibly great, though.”

I guess he did finally kick the drugs. Or at least most of them: “He says he’s clean from all drugs except LSD. That’s a new one on me, but hey, whatever works.”

Finally, Breihan describes this song in this way: “It’s like a relentlessly affectionate golden-retriever puppy — still cute even when it’s chewing up your stuff and shitting on your floor.”

“Steppin’ To The A.M./The Gas Face” – 3rd Bass
These hip hop legends recently reunited on stage. Naturally there is (decent) video. The sound isn’t great but you get the point. Funny how the OGs don’t really change up their stage personas. The “throw your hands in the air and say ‘Ho!'” stuff. Prime Minister Pete Nice still rocking the cane was a nice touch, too. You can not imagine how excited 18-year-old, college freshman D was when The Cactus Album came out. Along with Paul’s Boutique, it was the golden age of legit, white boy rap. Then Vanilla Ice came and fucked that all up a year later…

Might as well share the original “Gas Face” video, too. PW Botha still gets the gas face, even in death.

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