Listen Up! Another Very Cultured Playlist

Get your headphones ready

Salutations. It’s the day of Thor once again and I bring you tidings of musical cheer. We open with another top-tier symphonic work and then we’ll jump around the genres to explore some ubiquitous favorites, forgotten gems, and some stuff that we normally keep hidden from nice company. Enjoy!

La liste:

And my notes to ponder as you listen along:

1. “Symphony No. 1 in B-Flat major, Op. 38 ‘Spring’” - Robert Schumann (Cleveland Orchestra under George Szell): When I first heard this symphony I confess I didn’t “get it”. At the time I was completely and exclusively enamored with Romantic era music. I know what you might be thinking if you’re a concert music buff: “Isn’t this Romantic era?”. And yes, it is. But for me, then, it wasn’t Romantic enough. It hearkens back a bit to that transitional period between the broader stylistic shifts, perhaps more Beethoven than Tchaikovsky. But at the urging of an accomplished conductor friend of mine, who loved the piece dearly, I went ahead and forced myself to listen to it many times over. One day it finally clicked and fell in love like my conductor friend had. Probably I could credit it with helping me to transition backwards in time vis-a-vis my tastes, giving access to the Classical Greats and eventually landing me where I am today, which is Baroque obsessed. The piece itself is fairly standard in form but not at all in content and it’s subtitle was appended eventually in accordance with the composer’s performance notes and I will quote them here, for this is what you should expect to hear: “...breathe a little of the longing for spring into your orchestra as they play… That was what was most in my mind when I wrote [the symphony] in January 1841. I should like the very first trumpet entrance to sound as if it came from on high, like a summons to awakening. Further on in the introduction, I would like the music to suggest the world’s turning green, perhaps with a butterfly hovering in the air, and then, in the Allegro, to show how everything to do with spring is coming alive…”

2. “Toxic” - Britney Spears: Yeah. I’m gonna go there. This song is genius. Full stop. Many don’t realize that the Swedish electronic music scene was 2000s American pop music. Max Martin and Shellback are probably the ones whose tunes you’ve heard the most (perhaps you even know their names), but this song was written and produced by some other Swedes who are less of household names. All this is to say, the production and the electronic elements are brilliant. Maybe you’ve only heard this on the radio but I encourage a deep listen, actively looking for all the melodic and atmospheric bits that are happening. There are loads of them and they are delightful. Plus the song is just plain well written. And that twangy Western movie guitar, jeez. I’ll stop going on…

3. “Yesterday” - Some Band, idk, Maybe You’ve Heard of Them: After being deliberately polemic in praising the boys from California over these iconic Liverpudlians, I figured I’d give them some love. They are easy to call overrated, and I did that, but this song is one that makes them deserving of their reputation. The story is that Paul heard the melody in a dream and was so taken by it that he went around asking everyone if he had stolen it unconsciously. It seems he did not, but one understands why he thought it was possible. If somehow you’ve lived your life under a rock and never heard this, the melody will instantly stick with you forever. It is the apotheosis of catchy, in the most positive sense. The touching lyrics are nothing to sneeze at either. 

4. “Abysswalker” - The Devils of Loudun: A newer band that came across my radar last year playing absolutely top tier melodic death metal. This is soundly in the Swedish tradition (a theme for today?) of Dark Tranquility, In Flames, etc. but with extra technicality thrown in, stellar vocals, and even some of what we might call neoclassical elements, meaning basically crazy fast arpeggios through familiar harmonic structures. Mozart on speed or something. At any rate, better than listening to Yngwie (mostly I joke, I like that old dope).

5. “Sure Thing” - Miguel: Miguel really blew up with the hit “Adorn” in 2012, but by that point he’d already swung way too poppy for me. This 2010 moderate commercial success is a more restrained neo-soul thing, with a bit of hipster melancholy in it. Basically the type of thing the Weeknd did before he became a total hack (sorry haha), what I like to call PBR&B. The production is on point and the lyrics are decent, but what really shines here is the melody and the vocal performance. Miguel is even better live than on records but in any format the dude can sing his ass off.

6. “Blood and Thunder” - Mastodon: We have some mixed opinions here at P3 about Moby Dick. I think it is a staggering work of genius, while some others who shall remain nameless are hopefully in the process of revising their very wrong opposing opinion. Regardless of how our judgments end up on the book, it led to this incredible song (and album) and so Melville is justified. Jokes aside, this song is amazing. Mastodon peaked with Leviathan and this is the crown jewel of the record for me. The guitar riff is ultra-syncopated and off-kilter but still bangs, the lyrics give you all the drama of Ahab being willing to destroy everything to get his quarry, and the entire song is basically a drum solo. Seriously, pay extra attention to the drums. Utter virtuosity. They barely ever repeat a pattern, yet are somehow cohesive and fulfill the rhythm section function. Mastery here.

7. “Woodstock” - Good Harvest: Okay, it’s Swedes day I guess. Was not on purpose. At least not consciously. Swedish bffs Hanna Enlöf and Ylva Eriksson comprise this duo, each playing guitar and singing with crazy amounts of skill. If you dig this, go watch them play it live on YouTube. Playing this intricate of guitar work and singing like they do (the harmonies!) is mind blowing. Literally two of the best musicians I’ve ever heard. They’re that good. (and yeah the lyrics to this Joni Mitchell song are pretty lame but we’ll forgive it for the melody and probably all the drugs they were taking when it was written).

8. “Brothers Unite” - Brothers of Metal: More Swedes! This one is intentional though. I include this song not only because it is simply awesome, but because the aforementioned Ylva Eriksson provides the clean female vocals. Yeah, she does that folksy Americana stuff with mastery level technicality and then she also sings in a Viking metal band. She kills it here as well. And the lyrics make a great drinking song. Swing your flagons high and belt along: “If we all die, we will feast on a high/ For the mead is flowing in Valhalla!”

9. “In Da Club” - 50 Cent: So, umm, content warning? We’re all adults here and I don’t believe in censorship but yeah, this song is questionable for lyrics haha. We do not condone described behavior, yadda yadda etc. But look, this thing is a classic for a reason. And it’s just plain fun. You don’t need any motivational tapes or self help books when you use this as your alarm clock. And it’s got the only mindset lesson you’ll ever need: “I got a mil out the deal and I'm still on the grind.” Pulp Ethos right there.

10. “The Boys of Summer” - Don Henley: The best song written in the 1980s. Easy. Jon Bon Jovi said of every song he ever heard, this one was the one he wished he’d written. It is longing and loss made audible. Everything about this song is stunning. Tones, performances, lyrics. It’s perfect. And as the elusive and enigmatic Thomas J Bevan recently pointed out to me, which I had completely missed, the opening of the guitar solo sounds like seagulls. Obviously this was on purpose, but it’s just one more tally mark in the artistry column for this all time classic.

11. “I’m On Fire” - Bruce Springsteen: His best song. Not even close. Yes, I like to make extreme statements like that. No, I don’t really like “The Boss” all that much, to be upfront. But when he’s not writing thinly veiled political tirades for his lyrics and focuses as here on something intensely personal, you can’t deny how good it is. This song captures the seemingly futile attempt to hold back the lust he feels for a taken woman and it is excruciating to listen to. And probably more relatable than a lot of us would care to admit openly. I mean, imagine a pop song now with lyrics this intense and real: “Sometimes it's like someone took a knife, baby/ Edgy and dull/ and cut a six inch valley through the middle of my skull.” Nobody’s doing this to my knowledge. Fire indeed.

12. “Livin’ La Vida Loca” - Ricky Martin: 350+ Million plays on Spotify. Mind boggling. But obviously, in my opinion, for good reason, or it wouldn’t make the list. There is nothing particularly special about this one (except more twangy Western movie/surf rock guitars!), but it is a textbook example of doing a formula really really well. Sometimes you just want scrambled eggs or a turkey sandwich. It’s not gourmet, but nothing wrong with getting the very best version that’s on offer of a basic thing. 

13. “Running with the Wolves” - AURORA: Look, these lyrics are not good. And for the love of everything artistic, please do not read her talking about writing them. Pretentious and ridiculous. But… But. That chorus tho. Incredible. The bass synths are amazing and on the strength of them alone this song deserves a listen or six. It just sounds fantastic.

14. “Beer in the Fridge” - Walker Hayes: This is lyrically the best song that’s been on the radio in the last decade at least. (There I go again). But honestly, the dice roll is solid on me writing a full length essay on this song. The lyrics for me are perfect, in the sense that I wouldn’t change a word. It’s utterly heartbreaking and apparently autobiographical, which makes it all the more impactful. I for one hope Walker is still on the straight and narrow. And another little bit of insider baseball, you can hear that he recorded every part of the song uniquely, evidenced by the subtle variations in delivery. There is an industry practice in pop and country to “fly” choruses, meaning the vocal track is literally copied and pasted into the next time it occurs (the engineers call it flying because of the drag and drop in the audio software). After spending a lot of time in Nashville seeing how the sausage is made (it’s gross), I respect this a lot.

15. “I Want You Back” - Jackson 5: Time for more polemics. Michael never again reached the heights attained with his family band. Don’t come at me with “Thriller” or “Beat It” or something. They’re fine. But this is another level altogether. Grooves like nobody’s business, great lyrics, great singing and instrumental performances. Just a stone cold classic.

16. “Can You Feel My Heart?” - Bring Me the Horizon: This album is front to back excellence, but it was also the beginning of the end for BMtH. If you’re aware of them, you know they are now an atrocious pop-electronic band. But they began as a halfway decent metalcore act before becoming something truly special here (and since declining heavily). This record, and this song especially, was the point where their electronic-pop leanings hadn’t yet overtaken any semblance of edge or heaviness and the result will remain a classic in my opinion. This was a joy to see live and confetti poured from the ceiling on the drop. Good memories. Great song.

17. “Kiss from a Rose” - Seal: These lyrics are nonsense. Have to be. I certainly don’t understand them. And I’m not going to pretend to know a lot about Seal or this song. I grew up watching Batman Forever on repeat (which I'm told does not hold up haha, haven’t seen it in probably 20 years) and this song features prominently in it. Setting aside lyrics, the rest of the composition is incredibly good. Very progressive for pop music and Seal kills it on the vocals. That’s about my review for this one: Sound Gud.

18. “When Glory Beckons” - Bolt Thrower: British death metal icons Bolt Thrower write songs about war. That’s it. And they are incredibly good. This song is about the paradoxical glory of giving your life in battle and it has a moving emotional core under all the harshness. I just love this band. That is all.

19. “River” - Herbie Hancock feat. Corinne Bailey Rae: More Swedes! No, I’m kidding, but it is more Joni Mitchell. This time though the lyrics are out of this world good. I suppose technically it’s a Christmas song, but it’s definitely not happy so we’ll leave it off the inevitable yuletide list and listen to it now. Herbie’s arrangement brings all the extended and suspended harmonies for which he’s known into play. Wayne Shorter provides the sax (so good), and Ms Rae gives a vocal performance better than anything on her solo material. Herbie’s whole album-length tribute to Joni is a treat, but his cut is a standout. 

20. “Pain Remains I: Dancing Like Flames” - Lorna Shore: I’ve been following Lorna since near the beginning and have always liked them. But the addition of new vocalist Will Ramos and the resultant album is a total masterpiece. They’re divisive in metal right now because they have achieved stadium tour status and everyone wants to be a dumb hipster. And they get flak for being too “accessible” now (which will be incomprehensible criticism to you when you hear it haha, especially if not a metalhead generally). Anyhow, that’s all nonsense and these guys are at the top of their game here. This is something like a death metal ballad, dealing with the loss of a loved one and the disorientation and grief that comes of it. Expertly executed and profoundly moving. I’ll quote some lyrics from the end, which Ramos belts out with the very heart wrenching pain the title indicates: “Where do you go when I close my eyes?/ What do you see looking back at me? /Am I just a ghost just like you, caught between the/ Seams of two intertwining melodies?”

21. “Stay (I Missed You)” - Lisa Loeb: Lisa was a relative nobody until her neighbor Ethan Hawke sent this tune to Ben Stiller who put it in Reality Bites and catapulted Loeb to superstardom. It’s a really excellent song that is especially noteworthy for the fact that it doesn’t really follow any pop songwriting conventions. There is no discernible chorus except for a single repeating line that happens at irregular intervals and the melodies sort of just charges forward without a lot of reference to what’s come before. It’s what classical folks might call “through-composed”. And it freaking works. Don't ask me how, but it manages to be memorable and catchy and carry a big emotional payoff without relying on repetition. Chalk it up to the authentic passion on display. A classic pop track, to be sure.

22. “Ashes in Bloom” - Départe: I’ve saved this for last because it’s rough listening. I understand if you want to skip it but I implore you not to. The music really sticks to the text in the beginning and is full of sorrow and discord and despair and dissonance and aggression. It is truly tough to hear, even for avowed metalheads like myself. But it’s all for a purpose. Not only to pair perfectly with the utterly stunning lyrics, but to set the stage for the beautiful resolution that comes past the halfway mark. Again the music, especially the singing vocal performance, suit the subject matter perfectly and shine a brilliant ray of hope into the dark world reflected in the earlier parts of the piece. And if there are any scripture aficionados in the house, there will be some real IYKYK moments for you. Heck, I’ll quote the song in full, it deserves it:

    Sing, O children of loss

    Your cracked hands grasping for wonder in emptiness

    Stretching to the heavens from the depths of woe

    Like diamonds buried in ash

    Embers, smothered by the whispering ache of death

    Staring blind into the unsound light

    Still your breath slowly withers
    

    Awake, awake, O sleeper

    Shroud yourself in the radiance of the unfailing

    Darkness is naught but a canvas

    A void awaiting the stroke of dawn

    Let not these bones remain as shadows, suspended on dust

    Breathe in life and outshine this soundless ruin

    This failure built on the vanity of man

    Awake, O sleeper, shroud yourself in light

    Awake, awake, O sleeper, shroud yourself in light