The Beatles – “Rain”

Why not talk about something universal, such as the rain? I certainly don’t mind. You know, I could have written about Bob Dylan’s “Jokerman,” and L. Ron Hubbard willing, who knows, perhaps I still will one of these mysterious and foggy mystical afternoons, oh my only little brothers and vampire undies. I will say that at this precise moment, I am greatly influenced by a very bouncy and happy Beatles number with a decidedly Psychedelic flavoring, a multi-flavorful musical crouton, if you will. The backing vocals Rock the bells, and I do believe that The Beatles were collectively quite underrated as singing talents, particularly when it comes to the all important vocal harmony chorus portions of the song.

The lyrics are simplistic, but can be read into from a decidedly metaphorical standpoint. I am sensing a strong transcendental meditation influence, if I am thinking about this correctly. The early use of ye old backwards audio technique, as it is safe to say that these chaps accomplished quite a lot just by smashing a couple of analog 4-tracks together. This is the song that actually got me to start drinking lemonade regularly, to the point where I no longer felt like a sissy about it (Tee-he!).

I know that Beatles maniacs can probably enlighten my cute little butt as to the cultural specifics of this cut, but I do fully realize as a man of normal intelligence that this lovely little Rocker is around the time period of “Revolver,” which is the best individual Beatles record and the early experimental period which still had a “Band” sound rather than just some bizarre collage. The bass work is groovy as fart, and the percussive element sounds astounding and Lennon per usual of this time period sounds rather similar to those eerie little Village of The Damned kids. There’s a good melody going on in the primary guitar bit as well, and there ain’t nothing wrong with that.

I’ll be seein’ you...


You might as well be dead, baby tears...

Flaming by Pink Floyd

When I think of Pink Floyd’s “Flaming,” I often remember butterflies from my childhood and the sweet smell of corn from my old age (Sorry, a bit of a Beefheart reference for all of my lesbos out there). This song is like the first computer. What does it belong to? What Syd era Floyd often did best was create a sort of music that was out of place, sure, various archival footage makes very clear that the Floyd belonged to a very specific time and place from a social perspective, and especially in a live setting, but the actual music is still even years ahead of the present.

There is something so undeniably potent about Syd Barrett’s imagination, and it is all reigning. This is a sort of music or just a sort of sound in general and including the lyrical content that is pure imagination. I am talking about the real Willy Wonka here, baby. You know? ...The one that sells ear candy exclusively. Just listen to this cut some time and pump it up on your bitchy little headphones, as I will be holy fucked if your brain doesn’t successfully transform into an atheistic cigar box directly from God’ private stash. Don’t fuck with this song, because it will thoroughly fuck with you forever. It is inviting and frightening, and what a lovely musical contrast that is. Syd era Floyd often conjured many feelings simultaneously, they were just that devilishly clever and undeniable. Always with the whimsy, and yet, there is always an element of tension and a possibility of danger even, perhaps.

The percussive element is such a light touch on the whole, as the track is mostly a soundscape for Syd’s little adventure and all of the folky acoustic work and keyboard noodling contained within. So, enjoy the future now (And yes, the video leaves a little to be desired but the song is a juicy steak all up in your cummy undies forever).



Oh, watch David Gilmour commit a crime against nature…

The Carpenters – “Rainy Days and Mondays”

This song is tastefully produced and the backing vocals are stellar. Looking at it from a technical standpoint, I do believe that the percussive element may actually be the most beautiful aspect of the song, because honestly, they just don’t produce gems like this any longer and how percussion is often recorded in Pop today leaves quite a lot to be desired, but I now digress like all get out, baby tears. The Carpenters were perfection in Pop, or if you will, AM Gold, or again, if you will, Soft Rock. If you have ever been to the dentist, you’ll understand exactly what I mean. This track is a smooth marshmallow given to a poodle queen upon her accession to the thrown, a regular mock-stillborn in ecstasy, but I once again digress like yesterday’s news, my curly little baby bird. Chocolate tampons abound in this town!

…More to the point, this song is quite probably better than the majority of Carpenters output, although this is very much an ongoing argument amongst the Carpenters faithful. I enjoy “Close To You” and various other favorites, but I find this particular cut to be most idyllic. It’s the Carpenters tune that I often play repeatedly. Such a great number to rock out with while working on serious math problems and just a delicious piece of ear candy in general; absolutely no question about it, honestly, what more can one say?

Here, just have a listen, sunshine, because your daddy loves you…



Perfect Pop structure, my friends, the bar has been set.

Suzanne Vega – “Left of Center”

This is a beautiful song by Ms. Suzanne Vega; we’re talking some real teen angst here and not that fake Kurt Cobain brand of nonsense. Suzanne Vega is entirely real and she’s got that suntan lotion appeal, we’re talking total yummy-town up in this motherfucker, tasty as shit! This tune receives some mysterious help from a chap by the name of Joe Jackson, and yes, this jam did appear in one of those goofy ‘80’s teen flicks, but the music outlives the Brat Pack, I can assure your cute little rump real horror show of that fact, mate.

A live version of this cut also appears on Ms. Vega’s epic “Luka” single as well. Mysterious and sexy much like “Tom’s Diner,” Suzanne knows how to toy with a gent’s heart, no question. This is an icy composition that bears repeated plays, so deal with it. Much of what Suzanne writes is always some vague puzzle, a sort of musical sketch that the listener is then left to finish, as the case might be. Her musical accompaniment is in large part no different, unless she is working in a specific conceptual framework the listener will often find her in a rather stark and sparse setting or with appropriate musical backing like on this cut that is oddly both laid back and edgy at the same time.

Enjoy!



Slightly unrelated, but Suzanne and Uncle Lou briefly discuss the environment via a bad VHS copy. Cheerio!