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coriwilbur-blog · 8 years ago

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20 Essential Albums to Take Your Record Collection From Novice to Noble

One thing I have learned from record collecting is that it is a lifelong commitment. One’s record collection is never complete – there is always a record you don’t own. Collecting and acquiring yet another vinyl can become addicting – I am a full-blown addict at this point. However, it can also be an overwhelming process – having to choose between which record to buy makes my head spin.

This is why I have created a list to help make this decision easier, especially if you are fairly novice at the art of vinyl collecting. I have been collecting since I was 16, having been blessed with a substantial starting point from my parents. Over the years, I have expanded their collections exponentially, having delved into further pockets of classic rock they never dared to explore before. In contrast to the direction the majority of other “albums everyone should own” type lists, I tried to avoid the trite, the most popular, the most obvious choices – going for more of a deeper-cut, heavy hitting and unique list of sorts. Here are the 20 albums I think everyone should own.

1. The Beatles - Revolver

As every music junkie knows, from the amateur record collector to classic rock expert, a record collection is not a record collection without The Beatles. No band has been able to surpass them in their music accomplishments and influence. And no one else has come up with an album nearly as good as Revolver – unless maybe the Beatles themselves. But what makes 1966’s Revolver so critical to a vinyl collection is that it marks the point in the Beatles’ work where they began to venture off, expanding their appeal past the hearts of teenage girls. This was where they showed how much more they could offer than just “yeah yeah yeah.” The themes are darker, deeper and wilder than anything they had ever done – including the George Harrison staple “Taxman,” one of Paul McCartney’s greatest achievements “Eleanor Rigby,” the most identifiable Ringo tune “Yellow Submarine” and of course, the show-stopping “Tomorrow Never Knows.”

2. The Beach Boys - Surf’s Up

Sure, sure Pet Sounds is technically the most significant Beach Boys’ work but take a listen to Surf’s Up and you will understand why it is on this list. Think Beach Blanket Babylon meets Kent State University – in fact, there is a song on here about student protests called “Student Demonstration Time.” Since Pet Sounds, the Beach Boys had been moving away from their “surfer” image, taking a similar path as the Beatles circa 1966. “Feel Flows,” a piece created almost entirely by Carl Wilson, paints a dreamy wonderland, ‘enveloping missiles of soul.’ Where all of their traditional Beach Boys sounding albums were light, meant to evoke nothing more than a feeling of endless summer, The track “Surf’s Up” hits you like a high-tide and shows that the water isn’t always surf able and eventually, summer turns into fall. The entire Surf’s Up album allows you to get to know the intellectuals behind the beach bums.

3. Pink Floyd - Wish You Were Here

Pink Floyd is my favorite band of all time and own all but one of their albums, so you can imagine how difficult it was for me to choose the one most critical for an awesome record collection. If you can get your hands on any Floyd album, you’re off to a great start. The obvious choice would definitely be Dark Side of the Moon so I’m going to recommend Wish You Were Here instead. Like, Dark Side – or any Floyd album, really – Wish You Were Here is a concept album, inspired by the mental demise of founding member Syd Barrett. Wish You Were Here is also a giant “fuck you” to record companies – I have a huge soft spot for anything with an anti-establishment message – with the tracks “Welcome to the Machine” and “Have a Cigar.” But the really shining moment is on the title track “Wish You Were Here,” where the band strips down to an uncharacteristically acoustic sound. “We’re just two lost souls swimming in a fishbowl, year after year” laments David Gilmour – so eerie, so dark, so Pink Floyd.

4. David Bowie - Lodger

The third album of Bowie’s “Berlin Trilogy” – who doesn’t love a collaboration with Brian Eno – is also his strongest. (Although, unless you are a devoted Bowie fan down to the core, you may or may not recognize any of the tracks right off the bat). Bowie albums are extremely hard to find for a reasonable price since his death a year ago and what not, so if you are going to splurge on one – pay over $20 for a record – make the purchase count and grab Lodger if you have the pleasure. Truly a “Fantastic Voyage,” 1979’s Lodger showcases Bowie’s musical abilities that no other one of his albums truly does – experimenting with African drum sounds on “African Night Flight” and paying homage to Lou Reed’s obsession with noise at the end of “Boys Keep Swinging.” Other highlights include “Move On,” “Red Sails,” “Look Back in Anger,” “Yassassin,” “DJ,” Repetition” and “Red Money.” Oh wait, oops, I just listed every track. Moral of the story: buy Lodger.

5. Talking Heads - Remain in Light

I am a firm believer that Brian Eno brings out the best in any already other-worldly gifted musician. The last of the three Heads-Eno collab albums, 1980’s Remain in Light was the Talking Head’s effort to prove that the other band members weren’t just back-up for frontman David Byrne. Listening to this album dispels any of such accusations. The commercially successful track is obviously “Once in a Lifetime,” but there’s so much more to this album than meets the eye. “The Great Curve” is the unsung hero here – the entire album a remarkable transition from the late 70s into the 80s. “You may say, this is not my beautiful house,” but why go for what you know, when you can have the Heads at their musical best.

6. Billy Joel - The Stranger

Out of all of the albums on this list, 1976’s The Stranger is one of the only one’s stylistically perfect in essence – seriously, it’s that good. From the get go you can tell this album is something special when you hear the beginning notes of “Movin Out.” And it’s just an upward slope from there, obviously hitting a climax with “Vienna” and “Just the Way You Are.” What’s so good about Billy Joel albums is that he sticks with a concept without being a “Dark Side of the Moon” level of obviousness or complexity – The Stranger is clearly about a young man emancipating himself, struggling to adopt an identity (“The Stranger”), finding masochistic love with a destructive woman (“She’s Always a Woman”) and seeing a dim light at the end of the dismal tunnel that is life (“Everybody Has a Dream”). Optimistically pessimistic is a good way to put it – take “Only the Good Die Young” for example; melding longing and belonging if you will. There is nothing cool about Billy Joel. Actually he’s downright hoaky and well, kind of lame. But there is something about his ability to sing about hopelessness and morbidity in such a hopeful and lively way that gets me going every time. I love him for all of his cheese and splendor; this album is a huge part of the reason why.

7. Steely Dan - Countdown to Ecstasy

I was basically born mandated to love Steely Dan so it was very hard for me to choose which album is “the most important,” but since I am being forced to pick, my vote is for their sophomore work. Countdown to Ecstasy, the follow-up to a seemingly impossible to follow-up Can’t Buy a Thrill, is a remarkable home run. Steely Dan, a band that every parent seems to have had some weird obsession with in the 70s, is way more complex than any music writer’s ability to analyze. Yet, I still find myself able to relate to tracks like “Showbiz Kids” and “My Old School” – the latter more so than any other song in this world. The key is to not try to understand Steely Dan so much as treasure them, just like any other one of your parents’ odd quirks or idiosyncrasies.

8. The Clash - Sandinista!

“The only band that matters,” The Clash’s Sandinista! came out in 1980, a follow-up to London Calling – a seemingly impossible record to beat. But Sandinista! goes one step further – it is a triple album – creating a whole new level of punk triumph. Sure, the album could be about ten songs shorter but, hell, why should it be? The Clash, who took punk, contorted it into a pretzel and turned anarchy into poetry, proved with this three record masterpiece that they could not be stopped – or at least until Mick Jones’ departure left us with Cut the Crap. Starting off solid with “The Magnificent Seven,” Sandinista! takes you on a wild journey – is the album, punk or reggae? Most of the time the answer is both but honestly, who cares? The band adopted an obsession with ‘dub’ – a form of reggae remixing – and was able to implement some of their previous tracks – “Police & Thieves” – in a new and exciting way. The ultimate stars of the show are obviously “Police On My Back” and “Charlie Don’t Surf,” but there’s so much else in between (and after) that is worth it that you easily lose yourself fand before you know it, you’ve spent the last two plus hours listening to punk rock.

9. Neil Young - Decade

I know the idea of even one triple album seems overwhelming but hear me out. Decade is Neil Young’s Greatest Hits album, so it can be listened to in full, in parts, out of order, however the hell you want to enjoy your Neil. The main point I’m trying to get across is that you need at least one Neil Young album and if you didn’t get graced with a father who worshipped the guy – meaning I have every single one of his albums known to man – you might as well pick one where you can have a collection of most of his best tunes compiled together. “Cinnamon Girl,” “After the Gold Rush,” “Old Man,” “Like a Hurricane,” “Harvest” and of course, “Heart of Gold” are all included. For a dude with such an expansive career, it’s amazing he was able to narrow the album down to just three discs!

10. Prince - Purple Rain

What Beethoven’s 9th Symphony was to him, Purple Rain is to Prince. Single-handedly one of the, if not the, most important pop music achievements to come out of the 80s, Purple Rain is Prince’s magnum opus. Now more than ever, mostly due to the artist’s untimely death last year, people ransack record stores for this album, and nearly pounce on me when I say I uncovered a copy for less than $20. And I’m all for the enthusiasm...obviously. From “When Doves Cry,” “Let’s Go Crazy” and the eponymous “Purple Rain,” to lesser known (but equally great) tracks like “The Beautiful Ones” and “Darling Nikki,” this album is the epitome of Prince’s musical and sexual genius. Not to mention that it is also a soundtrack to the movie of the same name.

11. The Doors - L.A. Woman

Not having acquired the Doors’ self-titled debut, L.A. Woman was going to have to do. And let me tell you, L.A. Woman, ironically their last before Jim Morrison’s untimely death, is better. By the time this album was released, the Doors had been banned from much receiving much airplay due to Morrison’s obscene and erratic behavior. Despite all the scandal, L.A. Woman contains some of the band’s biggest hits – “Love Her Madly,” “L.A. Woman” and “Riders on the Storm.” A concept album of sorts about life and love in Los Angeles, L.A. Woman was a great note for the Morrison-led era to end on, if it had to end.

12. Bee Gees - Bee Gee’s 1st

Long ago, before the dawn of “Saturday Night Fever,” the Bee Gee’s were just another 60s pop band. In fact, they had an extensive career before Tony Manero. Chest hair and disco fever aside, this album is nothing but pure, clean, simple pop music without a doubt – and really good pop music at that. The most notable track is definitely “To Love Somebody,” the song that ultimately put them on the radar in the first place, but there are so many other tunes that are equally as delightful – “Craise Finton Kirk Royal Academy of Arts” and “Close Another Door.” Bee Gee’s 1st is evidence that the Brothers Gibb from down didn’t need to be clad in polyester pants to produce enjoyable music.

13. Funkadelic - Maggot Brain

Is it funk? Is it heavy metal? No, it’s Funkadelic! The god child of George Clinton and a band that refuses to be defined by traditional funk music rules – not that I could define them if I wanted to. Funkadelic’s piece de resistance, Maggot Brain is something from an entirely different universe – two minutes into the opening title track and you will be asking yourself “Who slipped acid into my coffee?” Next you will be saying, “Wait, I didn’t have any coffee! What the fuck is this?” But trust me, when the funk riff of “Can You Get to That” takes hold, you will be glad you joined the Soul Train from Mars.

14. The Rolling Stones - Get Yer Ya Ya’s Out

The only live album on this list, Get Yer Ya Ya’s Out makes you feel like you are actually at a Rolling Stones concert. And boy, is it a great experience. Riding off the wave of Beggar’s Banquet, the Stones released this live compilation before the release of Let it Bleed. Ya Ya’s is everything you could ask in a live album and more – “Jumpin Jack Flash,” “Honky Tonk Woman” and “Sympathy for the Devil” all make appearances. However, it is the nine minute rendition of “Midnight Rambler” with the extended harmonica solo that earned this record a spot on this list above other Stones’ works.

15. The Grateful Dead - The Grateful Dead

Nearly impossible to get used anymore for a remotely reasonable price, the 1967 debut, self-titled album from the Dead is worth the money, just ask any self-proclaimed Deadhead – I got lucky and acquired this album as a hand-me-down, unbeknownst of its value. Containing the influence of founding member Pigpen, who died in 1972 (RIP), the album comes at you strong from the first track “The Golden Road,” and continues to take you on a splendid, psychedelic journey, ending with a bang on the 10-minute long “Viola Lee Blues.” It’s a wonderful introduction into the “grate” career that was the Dead. Every collection needs at least one of their albums and if you strike gold with a copy of this one, grab it and guard it with your life.

16. Led Zeppelin - Led Zeppelin III

The third installment of the band’s self-titled album series, Led Zeppelin III marked a turning point for them. This was where they began to divert from their heavy metal-esque sound – the genre that happened because of them – and what they created instead was something from an even further away planet than both of the albums that precede it – a place I like to call “Fern Gully Rock” (i.e. “Gallows Pole”). Weirder, rougher and more Lord-of-the-Rings-ish than anything they had ever done up to this point – 1970 to be exact – Led Zeppelin III is the godliest of the holy trinity. What truly makes Led Zeppelin the metaliest of the metal bands is their ability to start an album with something like “Immigrant Song” and then say ‘fuck it’ and follow it with a beautiful work of poetry like “Tangerine.” And let’s not forget the last track on the first side “Since I’ve Been Loving You,” where Jimmy Page literally puts you into a state of hypnosis with his guitar solo. Definitely the most underrated of the four self-titled albums but by no means is it any less magical.

17. The Cars - The Cars

It’s so easy to dismiss The Cars as another “decent” band to come out of the 80s, you forget a couple of things: a) The Cars actually are a part of the late-70s New Wave movement (this debut album came out in 1978) and b) they are clean, tight and innovative musicians – just listen to that riff a la Benjamin Orr from “In Touch With Your World.” This album is almost like a “greatest hits” type compilation, consisting of hit after hit like “Good Times Roll,” “My Best Friend’s Girl” and “Just What I Needed;” the plot twist is that it’s not a “greatest hits” album, but in fact, it is their debut, which put The Cars on the map as punk-new wave pioneers. A part of a movement alongside acts like Blondie and the Talking Heads, it is easy for The Cars to fade into the background. But they shouldn’t and this album will instantly become one of your most played in your collection.

18. Bob Dylan - John Wesley Harding

With so many important works under his belt, from Highway 61 Revisited to Blood on the Tracks, Bob Dylan was obviously going to make an appearance here. John Wesley Harding is definitely way more underrated than it should be. Recorded after his miraculous recovery from that motorcyle accident, John Wesley Harding is more “down to earth” in its lyricism when compared to the wordy nature of his previous albums – “The Ballad of Frankie Lee and Judas Priest” is the only relatively lengthy, Dylan-esque ballad. Another remarkable characteristic of this album in particular, is the use of society’s “rejects” as a central figure in the subsequent tracks “Drifter’s Escape,” “Dear Landlord” and “I Am a Lonesome Hobo.” The album also includes his original version of “All Along the Watchtower” – the sole reason I bought this album in the first place. The reasons to purchase John Wesley Harding go way beyond that point, however. Constituted from a dark and simple place – this record is Bob Dylan sans his rambling riff raff, allowing you to truly hear why he is regarded so highly.

19. Supertramp - Breakfast in America

Supertramp, a band with one great albums and a few other, eh not so great ones. But when it was great, it was really really great – case in point, Breakfast in America. Both of my parents managed to contribute a copy of this 1979 record, which is exceptionally remarkable given that they followed two vastly different musical paths in their time. It’s easy to understand why they both loved this album, however, with tracks like “Goodbye Stranger,” “Take the Long Way Home” and obviously, “Breakfast in America.” Even if you have no idea who Supertramp is, I can guarantee you’ve at least heard “The Logical Song” once in your life. A seemingly random choice to be included on this list, give it a chance and you’ll understand why I have deemed it a necessity.

20. Simon and Garfunkel - Bridge Over Troubled Water

The last album of folk legends, Simon and Garfunkel, Bridge Over Troubled Water is flawless in every sense of the word. What sets Simon and Garfunkel apart from the other musicians of their time is that they don’t just make music, they create art – Bridge Over Troubled Water being their Mona Lisa. “The Boxer” is a triumph, not just for the duo, not just for folk, but for all rock. Other notable tracks are “The Only Living Boy in New York,” “Keep the Customer Satisfied” and obviously, “Bridge Over Troubled Water.” The last on the list but certainly not the least by any means, this album is guaranteed to make you feel some type of way.

Every list is going to be biased depending on what the author’s collection contains. I am going to be honest, my list is completely biased. However, I’m going to impart it on you anyways because I believe I am an expert on the matter.

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coriwilbur-blog · 8 years ago

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Starman: Remembering David Bowie

One year ago today, planet Earth turned blue and there was nothing we could do – David Bowie “passed away,” two days after his 69th birthday. I say “passed away” in quotes because we all know he didn’t actually die, he just left for Mars.

Bowie was truly one of a kind; no one had seen anything like him and no one will ever be half of the enigma he was. An artist, a sex symbol, a music icon, a gender-bender and an alien of sorts, all wrapped up into one intriguing package; David Bowie wasn’t just a rockstar, he was THE rockstar – whether he was in the form of Ziggy Stardust, the Thin White Duke, the Goblin King or just being himself (whoever the fuck that was), he always came out on top, bigger, brighter and louder than anyone else around. Up or down, slaying the stage or giving a coked out interview, he was unapologetically himself. Let’s take a look at some of the highlights of his 50 plus year long career.

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Magic Dance - Labyrinth (1986)

My David Bowie obsession all started the moment I first set eyes on him as Jareth the Goblin King in Labyrinth. No one could have been a better choice to play this character than Bowie himself. The film is filled with original songs by the artist, but “Magic Dance” is probably the most epic and recognizable.

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Space Oddity (1969)

See here the original music video for the song that made Bowie a household name. Resembling a clip from a 60s second-rate, sci-fi flick, this video offers a slightly spunkier rendition of the space ballad. The very young Bowie here looks timid, insecure and full of potential as he takes on his first of many alternate personas, Major Tom. You can see his self-realization one-minute in as he gazes up to the sky with the awe of a small child, about to take off on one hell of an epic adventure.

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Ashes to Ashes - Scary Monsters (and Super Creeps) (1980)

I will admit that this is more of a montage of my lucid dreams and acid-inspired thoughts than an actual music video, but “Ashes to Ashes” marked a very critical transition in Bowie’s career, from the critically acclaimed “Berlin Trilogy” into the 80s – one he took with the bravery of Thelma and Louise.

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Dancing in the Street (1985)

Albeit one of the strangest music video moments, this duo with Mick Jagger is what the 80s were all about. The 80s belonged to David Bowie, regardless of whether he thrived or failed. Here he proved he gave no fucks how bizarre he came across, taking Mick Jagger by the face and running with it – in the meantime stealing our hearts and keeping us entertained.

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‘Heroes’ - Heroes (1977)

Considered the best song of his broad career by many critics alike, ‘Heroes’ showcased the true talent behind all the make-ups and costumes. No blue eyeshadow, no glittery unitard, just Bowie singing from the heart. Raw and honest sans Ziggy Stardust glitz and glam, Bowie still shines like the Starman he is.

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coriwilbur-blog · 8 years ago

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So Long 2016

Good news everybody, 2016 is almost over! What a year. What a God damn awful year. If you’re a music lover even to half the level of me, 2016 was the year of loss. One by one, like dominoes, another legend – dead! One week into the new year and Bowie died two days after his 69th birthday – there was really no hope for a good year. I believe the conspiracy theory one hundred percent.

Well, with the new year upon us and the plethora of celebrity deaths and all, I have comprised a collection of the best of those no longer with us. Here’s to 2017 and stardom that transcends life itself. Bowie, Prince, George, Glenn, Leonard, Maurice and everybody else we will never forget – this one’s for you.

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Glenn Frey

The true heart of the Eagles, Glenn Frey provided the vocals for many of the band’s most popular hits, one of them being “Take it Easy” – the song that put them on the map as the epitome of cruising-in-your-car-driving-along-the-highway-in-New-Mexico 70s rock. A truly sad blow to classic rock fans everywhere.

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Leonard Cohen

Such a prominent figure in songwriting, Leonard Cohen was the one who blessed us with one of the most covered songs to date. Nothing beats his original version though – so cool, so gritty, so classic. He said he was ready to die but we weren’t ready to let him go – RIP Leonard Cohen.

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Maurice White

Earth, Wind, and Fire without Maurice White is just Earth and wind – the heat is gone. The masters of 70s boogie and soul, the group was famous for their elaborate stage productions. However, it was Maurice White who brought the real zeal to their performances – he is what brought them to life.

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George Michael

As trite as I’m about to be, it’s true – George Michael proved that there was more than one way to assert manliness. Openly and proudly gay, he was the essence of open-mindedness and sexual freedom. Getting his start as one-half of the pop duo Wham, he broke onto the scene as your typical 80s heartthrob. Gone way too soon – and on Christmas of all days – George Michael and his iconic ass will never be forgotten.

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Prince

The closest me (or anyone else) will ever get to seeing Prince live at this point, you can feel the sexual electricity that made Prince who he was. An impeccable musician, and at just 5’2”, he had a charisma that couldn’t (and still can’t) be replicated.

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David Bowie

Bowie music videos are infamously tame in contrast to what one might expect from Ziggy Stardust. “Life on Mars?” is particularly subdued, leaving it up to his larger than life personality and avant garde wardrobe to really shine through. This video really sums up everything that made Bowie truly one of a kind. And yes, now there is life on Mars – someday I will join you my leader.

Although they are no longer physically living, these artists are anything but dead – their legacies carried on through our record players, on our t-shirts and in our hearts. Here here, let’s party like it’s 1999!

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coriwilbur-blog · 8 years ago

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Home for the holidays: 5 tolerable Christmas songs

Ah, Christmas music. For some, it is a transportation into a winter wonderland, a place where everything’s merry and bright and fruit cake is yummy (ew.) For me, and all the other cynics out there, Christmas music is just another annoying capitalist ploy.

It seems as though, for every well-established artist at least, popping out a Christmas album is some sort of right of passage into eminence. This is my only logical explanation as to why Bob Dylan came out with one. Christmas music truly gets a bad rap – and with good reason, the stuff is (for the most part) mind-numbingly terrible. However, it isn’t ALL one-hundred percent bad. Here is my list of the five Christmas songs that don’t totally suck.

1) The Man With All the Toys - The Beach Boys

A crowning achievement in Christmas music, “The Beach Boys’ Christmas Album” is easily the best of this “genre.” No, it doesn’t break as many grounds as “Pet Sounds” but the “surfers do yuletide” vibe really works here. “The Man With All the Toys” manages to talk about our favorite chimney crawler without losing any of the traits we know and love about the Beach Boys.

2) Santa Claus is Comin’ to Town - Bruce Springsteen

I know the opening dialogue is very hard to take seriously. But it isn’t meant to be – you can hear Bruce Springsteen slowly getting consumed by his own laughter. This song shows that when he commits to holiday cheese – he commits full-assedly. It’s very hard to hate this rendition of “Santa Claus is Comin’ to Town” – a prime example of how damn lovable The Boss is.

3) Wonderful Christmastime - Paul McCartney

The synthesizer, the “ding dong ding dong” – it’s understandable as to why this song gets so much shit. But come on, it’s Paul McCartney – he can do whatever the fuck he wants. This tune is so bad, it’s “wonderful.”

4) Happy X-Mas (War is Over) - John Lennon

Backed by the Plastic Ono Band, Lennon beautifully pushes his political agenda like he always does – think of it as “Give Peace a Chance: the Holiday Edition.” Another example of a Beatle doing Christmas, but in contrast to his former bandmate’s, this one is the antithesis of corny.

5) Here Comes Santa Claus - Bob Dylan

I know it seemed like I was giving Bob Dylan shit for his attempt to express holiday cheer but on the contrary, I think “Christmas in the Heart” is a beautiful piece of art. He basically went “fuck it, I’ll make a Christmas album” and did covers of all your favorite holiday numbers, starting off with “Here Comes Santa Claus” – possibly his most badass career move yet. Christmas with a side of 50 years of chain-smoking – you really can’t go wrong.

There you have it, folks, the five least annoying Christmas songs I could think of. Now, go drink some eggnog and pretend that your family isn’t dysfunctional. Happy Holidays!

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coriwilbur-blog · 8 years ago

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7 albums that prove 1984 was a great year for music

1984 seems to be a special year. Most often associated with the paradigmatic sci-fi novel of the same name by George Orwell, the year seems to be a focal point for many. In 1974, David Bowie sang about it on his quintessential album “Diamond Dogs.” For whatever reason – the answer still remains a question – the year is held at a higher level of significance.

Regardless of Orwell or Bowie’s attachment to the year, 1984 seemed to bring us some of the best music of the 80s. Here are my musical answers as to why 1984 was a particularly important year. Sorry, Bowie’s “Tonight” did not make the cut.

1) 1984 - Van Halen

An obvious choice, the aptly titled album from the hair metal connoisseurs is the epitome of 1984 greatness. This was the album through which our lives were graced with Van Halen staples “Jump,” “Hot for Teacher” and “Panama.” Without this album, it is debatable as to whether or not Van Halen would have as great of a mark on our lives as they do.

2) Learning to Crawl - Pretenders

Following the death of not one but two members, Chrissie Hynde proved to be unflappable. Instead of disbanding – shake my head, Led Zeppelin – the two surviving members found replacements for James Honeyman-Scott and Pete Farndon (RIP) and produced “Learning to Crawl,” easily their greatest work to date, which gives us Pretenders classics “Middle of the Road” and “Back on a Chain Gang.” I don’t care what they say, the Pretenders kick ass.

3) Go Insane - Lindsey Buckingham

Wait, Lindsey Buckingham had a solo album? In fact, this is actually his second, the follow up to 1981′s “Law and Order” – another album I bet you didn’t know existed. Despite lacking as much commercial success with his solo career as he did with Fleetwood Mac – to be fair, it has been pretty hard for anyone to top the sales of “Rumours” – I highly recommend giving Buckingham’s “Go Insane” a listen. Songs like “Go Insane” and “Slow Dancing” are so stereotypically 80s it hurts – but very great 80s at that.

4) The Smiths - The Smiths

Once upon a time, a little band called The Smiths busted onto the scene and flipped the 80s new wave on its head. Equal parts cock-eyed optimist and bordering-on-suicidal pessimist, The Smiths’ reign as post-punk monarchs began in 1984 with their self-titled debut. “What Difference Does it Make?” permanently carved the band’s name in the stone that is indie rock.

5) Ghostbusters Soundtrack - Varius Artists

There’s no denying that this is one of the greatest soundtracks of all time for one of the funniest films of all time. It is hard to imagine a world – or an all 80s power hour – without Ray Parker, Jr.’s “Ghostbusters.” A movie is only as good as its soundtrack and this one is tops.

6) Born in the USA - Bruce Springsteen

Already established as “The Boss” by this point, Bruce Springsteen showed that the 80s would not take away his title with “Born in the USA.” Beginning with the title track, ending with “My Hometown” and including “I’m on Fire,” “Glory Days” and “Dancing in the Dark” in between, this album is a prime example of Springsteen musician-meets-politico superiority start to finish.

7) Purple Rain - Prince

Did you really think I would create a list of 1984 musical greatness without including Prince? "Purple Rain” is Prince’s magnum opus and indisputably one of the greatest albums of all time. It seemed almost impossible for him to follow up “1999,” but he did – all 5′2 of him. The even better part? There is a film to go along with the album and you can witness Prince acting – or, uh, attempting to act. It doesn’t matter how conventionally unremarkable the film is, this musical masterpiece that is the soundtrack is more than sufficient to make the movie an enjoyable experience and uplift it to cult classic status.

There you have it folks, my list of albums that display beyond doubt why 1984 was one of the best – if not THE best – years for music. I doubt that this was the reason behind George Orwell’s fascination with the year but hey, this is my blog and my reason is the only one that matters here.

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coriwilbur-blog · 8 years ago

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Rock and Roll hall of shame 2k17

Every year, members of an elite squad cast their votes. It’s that time of year again – the Rock and Roll Hall of Fame inductees have been announced.

The problem with this year’s inductees is not necessarily who is on the list, but who isn’t on it. Well, maybe it’s a little bit of who is on the list too – that’s right, Pearl Jam, I’m talking about you.

For a year that has left an extremely bad taste in most people’s mouths, it comes as no surprise that the list of this years’ decided inductees falls a little, um, flat. The faults of the American political system seem to have spilled over into music.

One of the main requirements to be considered for induction into the hall of fame is that at least 25 years must have passed since the release of their first album. Pearl Jam’s “Ten” came out in 1991, that means that it has been exactly 25 years since they broke out onto the music scene; on the other hand, fellow inductees Electric Light Orchestra (the only inductee I actually would have cast a vote for had I been allowed to) have had a much more expansive career – “The Electric Light Orchestra” was released in 1971. Several of the acts wrongfully overlooked this year – cough, The Smiths, cough – were fairly new in comparison to say, Led Zeppelin or Pink Floyd, yet still considerably more accomplished than knock-off Nirvana. I’m convinced the Rust Belt is to blame for this victory as well.

When votes were still being cast, the possible choices for inductees seemed extremely promising. Besides your favorite band to contemplate suicide to, viable acts included The Cure, Joy Division, The Cars, Steppenwolf, The Zombies, Kraftwerk and MC5. Take note: this was also during a moment when the potential for Hillary Clinton as president also seemed feasible. Unfortunately, just like a female president, a Rock and Roll Hall of Fame that includes The Smiths is far too much to ask for.

The other lucky acts to join rock and roll greats such as Bob Dylan and The Beatles are Tupac Shakur, Joan Baez, Journey and Yes. One word for this ensemble: no. This is literally the election all over again. A Trump-led presidency and a Rock and Roll Hall of Fame that includes Pearl Jam – I weep for the future.

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coriwilbur-blog · 8 years ago

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5 Best Johnny Cash Songs to Help You During a Break-Up

One of the hardest things to endure during our lives, break-ups fucking suck. It has been almost a week since experiencing one myself and it has yet to get any less shitty. But, I have found some sort of solace...in Johnny Cash.

Johnny Cash knew heartbreak alright. He lost his brother, Jack, in a freak accident when he was merely 12. He lost the love of his life, June Carter Cash, just months before his own death at 71 in 2003. One of my favorite artists of all time, I have found that “The Man in Black” has a contingency of songs that render my downtrodden mood. I have comprised a short list of the most heavy-hearted to help anyone who has just been dropped like it’s hot by the person they were in love with.

https://www.youtube.com/watch?v=ox1BpncAcGU

1. Port of Lonely Hearts

Ah, the feeling of waiting for the person who broke your heart to return to you. This phase is totally normal – obviously since Johnny Cash wrote a song about it. “I’ll be waiting in the port of lonely hearts” he croons. This is the initial post break-up phase, the phase I am currently in. It’s okay to be here, and until you’re over that motherfucker, just remember Johnny Cash is here for you.

https://www.youtube.com/watch?v=bDfPUu6pGZE

2. So Doggone Lonesome

"I try my best to hide this lowdown feelin’” – ugh, nothing is worse than having to pretend your heart is not smashed into a million pieces when all you want to do is mope and cry and feel sorry about how “doggone lonesome” you are. Cash continues on about having to tell people the painful truth that you’re now single – another excruciatingly difficult fact you have to face when you and your boo are no more. Once again, the man has you covered.

https://www.youtube.com/watch?v=tFdyjFQrTB4

3. I Still Miss Someone

The title pretty much says it all. Getting over someone isn’t an easy feat by any means – it takes lots and lots of time, especially when you were actually in love with the person. “I wonder if she’s sorry, for leaving what we had begun” – the question of how sorry the person who dumped you is for dumping you constantly runs through your head after the fact. Seriously, I hope that asshole is sorry for giving up before even trying. Thank you, Johnny Cash, for justifying my pain.

https://www.youtube.com/watch?v=r0PI6M5eeIU

4. Life Goes On

This represents the moment when you are on the mend. You aren’t quite over the person but you’re starting to realize that things will be okay...eventually. Just remember: “Life goes on, and so will I.”

https://www.youtube.com/watch?v=0ARhcWdA-AE

5. That’s All Over

Much time has passed and now you have completely moved on. This is the point when the person who broke your heart realizes that they made a grave error and they come crawling back. But, after months of pining for their return, you’ve come to terms with the fact that your life was much better without them. “Someday we may meet again, but I won’t fall for you” – that’s right, fucker, “I found somebody new.”

Feelings don’t disappear as quickly as relationships often end, that’s a fact. And that’s okay. You cared about the person and you will for a while. But until you realize that anyone who would let you go doesn’t deserve you or your energy, just blast some Johnny Cash and you will feel a little better.

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coriwilbur-blog · 8 years ago

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Bowie and Cohen: a cross-comparison of two vastly different musical pioneers

2016 was the year for the death of many a-musical legends, two of the most prominent being the loss of David Bowie back at the beginning of the year and one of the most recent to be added to the “in loving memory” list, Leonard Cohen. These two artists, who’s musical paths could not have been more divergent, were in actuality way more similar than you would think.

The most blatant parallel would be that both died this year immediately following the release of stellar, swan song albums. “Blackstar,” which came out literally two days before Bowie’s surrender to cancer on January 10, was his message to the world that the man was leaving earth. Bowie’s disease was not publicized until the end and his death shocked, literally, everyone. However, in hindsight, “Lazarus” was essentially Bowie’s goodbye. Cohen’s death was a little less sudden, the man had openly admitted that he was “ready to die,” but the blow of the loss still hurt just the same. A death that came in the middle of a random night, amidst all the election hubbub, it did not reel in nearly as much of the popularity as Bowie or even Prince due to being overshadowed by political protests.

The craziest part of this comparison was that both artists came full circle in the exact amount of time. 1967 saw the release of albums, “David Bowie” and “Songs of Leonard Cohen,” two debuts that showed musical greenness mixed with groundbreaking potential. We often forget that before Major Tom and Ziggy Stardust, David Bowie was singing about gnomes and that Leonard Cohen did so much more for music than just giving Jeff Buckley his claim to fame. Both works, extraordinarily different in songwriting structure, sound and content, were actually extremely similar in the fact that they symbolized a specific voice of the 1960s – an era of political strife and identity crises and a time when music spoke for those who could not get their messages across.

But what I think we can all agree on as the biggest likeness between Bowie and Cohen is that we were heartbroken to see them go. I am more than one hundred percent certain that the reason 2016 was so god damn shitty was the fact that Bowie died a week into the new year. Cohen was also a sad blow, especially since he rescinded his previous statements and proved, with the release of “You Want it Darker,” that he was alive and kicking. The passing of these two legends hurt just as much as the loss of a parent or childhood pet. Both were indisputable geniuses, irreplaceable and never to be forgotten.

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coriwilbur-blog · 8 years ago

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Punk and Romance

From now until February 28 at the Grammy Museum in Downtown Los Angeles, there is a special exhibit dedicated to all things Ramones. “Hey! Ho! Let’s Go: Ramones and the Birth of Punk” it is so fittingly called, pays tribute to four of the founding fathers of punk music. Memorabilia galore, it is a look into the history of one of the most influential bands of all time.

When you think of punk as a genre, normally you associate it with anarchy, anti-establishment messages and a lot of screaming. When you think of punk, romance is the last thing that comes to mind. However, punk as an art form is actually deeply rooted in love and raw emotion. Punk artists are actually the biggest romantics.

Take the Ramones for instance. Some of the band’s greatest work — in my humble opinion — are their slower hits and bee-bop covers. Among these songs are tunes such as “Questioningly,” “Baby, I Love You,” “Needles and Pins,” “Don’t Come Close” and “I Wanna Be Your Boyfriend.”

Take the latter for example. The song oozes with sappy romance and a strong sense of longing. “What do you say? Do you love me babe?” pleads Joey Ramone on the fourth track off of their self-titled album. Although overshadowed by hits such as “Blitzkrieg Bop,” songs like “I Wanna Be Your Boyfriend” showcase the real bubblegum pop meat and potatoes agenda that made the Ramones who they were

It’s the love song covers however that really highlight how truly romantic the Ramones were. One of the most underrated Ramones albums “End of the Century” holds the key to the heart and soul of the band. A cover of one of the Ronettes’ claim to fame, “Baby, I Love You” — my absolute favorite Ramones song and one of my favorite covers period — really hits the nail on the head. No high energy guitar riffs a la Johnny Ramone, no dispatching of hatred toward American government, just pure senses of adoration being relayed.

I am by no means discounting the importance of “I Wanna Be Sedated” and “Rock and Roll High School” — the Ramones would not have the established clout they do without such tracks — but it is critical to understand the sensitive side of punk if you want to consider yourself a true fan of their work. The Ramones have the ability to make you feel emotions just as powerful as Pink Floyd, it’s just not as overt.

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coriwilbur-blog · 8 years ago

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Roger Waters vs. Trump’s America

Roger Waters has not held back regarding his feelings toward Donald Trump. Back in October, I had the pleasure of seeing Waters perform at Desert Trip, during which he openly expressed his disdain for the Republican candidate.

[Throwback: Desert Trip 10/9/16]

The difference between then and now is that the nightmare of having a Trump presidency is that it has become a reality. Almost unfathomable to me back in October, nothing made me happier than to experience Waters’ pseudo anti-Trump rally. Seeing “Trump is a Pig” flash across the screen gave me a sense of comfort that most others would not tolerate a Trump-run America either. I was dead wrong.

About the candidate, Waters has been noted in saying that he is “the epitome of anything that might be considered bad.”

Waters has also gone into detail about how broken the American political system is; the election results only reaffirm that the musician is spot on. “I watch the workings of politics in the US, and in particular the Republican Party,” Waters once said in an interview. “They work with the axiom that you can tell as many lies as you want - and often the bigger the better - and eventually they will be believed.”

Waters saw Donald Trump and the demise of the American political system long ago. In 1979, Pink Floyd came out with one of its quintessential albums “The Wall.” This album was an omen, a warning, an ultimatum.

“The Wall” tells the story of Pink, a man who endures the death of his father to war, the burden of an overprotective mother and an abusive teacher. Once Pink becomes a rock star, he is tormented by drug abuse and a crumbling marriage. Each instance leads to “another brick” in this metaphorical wall that he builds between himself and the rest of the world. Once the wall is completed, he becomes depressed and is given more drugs; these drugs cause him to hallucinate that he is a fascist dictator. He eventually becomes ridden with guilt and remorse, and a judge orders that he “tear down the wall.”

The parallel between this album and Donald Trump is uncanny. A "yuge” characteristic of Trump’s campaign was that he intended to build a wall along the southern border of the United States in order to temper the immigration problem. No surprise that Roger Waters sued Donald Trump for his use of the word “wall.”

Hopefully “The Wall” is accurate and Donald Trump realizes that he has gone way in over his head. Hopefully Roger Waters continues to prove to be completely right. Hopefully Trump supporters will realize that their hero is one big “charade” and that he is a “pig” - all three types of one. Hopefully Pink Floyd will be able to alleviate this sense of impending doom that I feel.

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coriwilbur-blog · 8 years ago

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Bob Dylan: Rock God, Folk Legend, and Nobel Prize Winner

By now you have most likely heard the news: Bob Dylan became this year’s recipient of the Nobel Literary Price for his ability to create poetry through his music.

Bob Dylan is the first musician to accomplish this literary-musical crossover. Needless to say, I am more than thrilled about this decision. Bob Dylan for all intensive purposes is not a very good singer. Vocally the dude is awful. Yet, there is something compelling about his nasal crooning that makes people listen. In fact, he is regarded as one of, if not the greatest songwriters and most popular folk singers of all time. However, if you were to see him live today, you could tell that the decades were not kind to his vocal cords, and he sounds even worse than he did in 1965. It would be about half way through “Like a Rolling Stone” that you would be able to tell he was performing the greatest song of all time.

Dylan’s career has spanned over fifty years, starting in the 1960s, and his accomplishments can be attributed to his ability to redefine himself, and ultimately folk music. Before Dylan, generations associated folk with Woody Guthrie; since Dylan, no other artist has managed to replace him as the epitome of the genre. And that is not just because the genre seemed to not bring any new artists in since Woodstock. Dylan creates music for himself, and in doing so, he creates music for America. Dylan gains energy from altering the sounds of his poetry and respects those who take his idea as a starting point for their own sound. It is surprising to some that “All Along the Watchtower,” the song that automatically comes to mind when people think of Jimi Hendrix, was originally written and recorded by Bob Dylan; the folk version is remarkably different. Dylan’s impact is both direct and indirect, having been noted as one of The Beatles’ inspirations at the beginning of their career.

Several artists who were around during the beginning of Dylan’s career eventually self-destructed and their legacies have eroded with time. Not Bob Dylan. He stays alive and keeps himself relevant. Instead of writing about hopes and ideals, he expresses how it is. Even though “how it is” pertains mostly to the 60s, a lot of the sentiment is still the same. “Masters of War” is easily as relevant to the War in Iraq as it was to the Vietnam War. The majority of millennials guilty of repping Ramones t shirts without having a damn clue about their significance, or even a single song for that matter, do actually know who Bob Dylan is. That’s saying something.

At 75 years old, he has managed to outlive many of his musical successors, all the while creating a trove of musical artifacts along the way. He set up his life in order to set a legacy so people can learn from him. The archives of his music are kept right next to the Declaration of Independence, proving his songwriting process is equally as sacred as the document that created America.

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coriwilbur-blog · 8 years ago

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Desert trip 10/9/16

After seeing Roger Waters perform “The Wall” three years ago, I knew I was in for something special when I was going to be seeing him on Sunday of Desert Trip. “Something special” does not even begin to explain the experience I had last night. After his set, I needed to have my brain delivered back to my mother in a cardboard box. My mind was completely blown. Roger Waters, the songwriting mastermind and true creative genius behind Pink Floyd, exceeded my expectations.

The night began with a fun set performed by The Who, who also proved to still have the endurance they always had. They sang all of their greatest hits and I spent the two hours jumping up and down. Then came Roger Waters. My friend and I got lucky enough to have these chivalrous stoners allow us to be up front with them. Well, as up front as you could get in general admission. Waters set list essentially consisted of him going through every Pink Floyd album beginning to end. Once he started to play the beginning notes of “Speak to Me,” I knew I was never going to be the same by the end of the night. I cried a total of five times. I never cry at this kind of shit. Ever.

What makes a Roger Waters concert different than any other show you could ever watch is the fact that it is not just about a musician playing the songs we all know and love. It’s not even about the trippy imagery that goes along with it. It’s about the fact that he can make you feel sad, mad, happy, depressed, vexed, energized, morose, irate, and delighted in waves. Sometimes all of these emotions hit you all at once; at the end of the show, however, the only emotion you feel is the feeling of being at total peace with yourself. In the week leading up to this moment, I had been battling depression; that is now completely gone. He sang about all of the suppression and ostracization that constantly eats away at my self-esteem. He portrayed the sensation of feeling trapped and made me realized that I was not alone in the pain. It became clear that the self blame that I constantly beat myself up with was actually a manifestation of society and its standards. I was suddenly stripped of my self hatred and it was replaced by excitement to make a change.

Waters, a notoriously political figure, was far from subtle in expressing his views toward Donald Trump. During “Pigs (Three Different Ones),” Waters did not just “go there” he went there, stayed there, and bought real estate. An extremely ballsy move, considering this was at “old chella” and I’m sure there had to be a few wing nuts out there. Waters did not give a flying fuck, he was going to speak his mind. All the more reason to love this guy. The screen was laced with clownish images of Trump’s face as Waters belted out “ha ha charade you are.” Next came a sequence of the presidential candidates “best” quotes, flashing across the screen, faster and faster until it simply read “Trump is a Pig.” The audience roared with laughter and cheered with appraisal. Later, Waters would ask “Mother should I run for president?” to which everyone cheered. He flashed the cutest of smiles; fuck yes, Roger Waters 2k16.

What happened after was one of the most beautiful things I have ever witnessed. As Waters sang “Another Brick in the Wall” and it got to the “hey teacher leave those kids alone part, everyone in the row I was in belted out along side him, pointing to the front like we were yelling at a bigoted cop. Speaking from my own soul, I had been washed over by the incessant rage, compelling me to yell at the top of my lungs with every ounce of voice I had left. I have never felt something of such intensity before in my entire life. Damn that felt good.

The first album to be cycled through was “Dark Side of the Moon,” but he did not play “Brain Damage/Eclipse.” Of course the motherfucker was going to wait until the end to play it I thought to myself. He did. But that was not the end. In the encore, Waters started off with a poem he wrote himself about war and injustice and rebellion, recurring themes in the majority of his music. The tears started again and they did not stop. Next came “Vera/Bring the Boys Back Home,” which surprised me but very pleasantly. The whole show culminated in “Comfortably Numb.” Not a muted voice or dry eye in the stadium.

I did not have the slightest of urges to take a picture or record a certain song. In all honesty, no blog post or picture or description can do this performance justice. This is truly a case where you had to be there. No one can possibly understand the emotional rollercoaster I went through without having actually gone through it themselves. No one can comprehend the pain and joy I felt simultaneously while hearing my favorite song of all time “Wish You Were Here” performed before my very eyes. The whole setlist, so smartly laid out and intricately planned, proved that he is in a league of his own. No other musician can do what this man does. Seeing him was a religious experience, a musical catharsis. When the show was finally over for real, the guy who I had watched the whole thing with, turned to me and said “I need a hug, can I have a hug?” When I hugged him, I realized that hug was exactly what I needed as well. An athiest through and through, I can openly admit that I just saw God for the first time and his name is Roger Waters.

Pink Floyd was a band ahead of its time; in the 60s and 70s, people did not completely relate to the rebellious sentiment of their music. Whenever I talk to the majority kids my age, regardless of their view of classic rock as a whole, tend to say they dig Pink Floyd. The crowd around me was, in fact, mostly comprised of a younger contingent. I believe this is because Pink Floyd has never been more relevant than now. Pink Floyd is the glue that is still tying the generations together; as long as an interest in Pink Floyd stays alive, classic rock thrives. With Donald Trump running for president, racial tensions on the fritz, and the United States unravelling, Pink Floyd speaks to the disenchanted. My mom, who never got into Pink Floyd and who came to the festival clad in a Who t-shirt, left this show with a change of heart. I asked her post-show if Pink Floyd was her new favorite band to which she replied “definitely.”

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