Oh the hits keep rolling for Hall and Oates.  “I Can’t Go For That (No Can Do),” was a #1 for Daryl and John in 1981, and another track that set the tone for 80s pop.  Their embarrassing cover art for the single also help set trends of decadent ugliness for the 80s as well.  Pop music from the 1980s had many uniting broad themes from futurism, celebration, dark sexuality, and paranoia.  “I Can’t Go For That” has those trademarks in spades.  It also holds the distinction for being the first song by a non-African American group to top the R&B charts.  Daryl Hall, the songs primary writer, was most pleased with this achievement, stating, “I’m the head soul brother in the U.S.  Where to now?”  Good question.  One direction led to an even bigger hit, Michael Jackson’s “Billie Jean.”  Michael admitted to Daryl that he copped the bass line from “I Can’t Go For That” for his own ultra-smash hit, to which Daryl replied, ‘I took that bass line from someone else to begin with, and that it’s “something we all do.”‘  That reminds me of another theme in 80s pop, superstar collaboration.  It’s as if their was one continuous party of mega rich famous rock stars, who all inflated each others egos, and played on each others records.  Heady times, heady coke fueled times indeed…

I never thought I’d be adding a “Hall and Oates” section to my website, but on December 17th, 2011, it apparently has happened.  Actually, I’ve been slowly enjoying Hall and Oates a bit over the last few years, getting hooked on the single “I Can’t Go For That,” and hearing a fantastic sounding Daryl Hall on the Howard Stern show a few weeks ago.  The song in the cross-hairs today is “You Make My Dreams Come True,” a top ten hit from 1980.  It has popped up irrepressibly in a bunch of modern Hollywood movies and TV shows including “500 Days of Summer,” “Step Brothers,” and “King of the Hill.”  The song just makes people happy and want to dance, and I’m tired of denying its power.  I’ve come to have embrace its gorgeous keyboard/electric guitar attack rhythm section and blue eyed soul vocal delivery.  That addictive and high pitched guitar stutter reminds me of the Beatles’ “Getting Better,” possibly the happiest song of all time, and its doo-wop heavily processed backing vocals make it a total 80s classic, paving the way for the general sound of 80s pop.  So, in conclusion, my advice is this; turn this song up to 11, pour some lemonade, and play this song 4 times in a row.  Hall and Oates, FTW.

If you’ve read this site enough, you know that I like making declarations, so here is a strong one.  “All Those Years Ago,” is required listening for Beatles fans and one of the best George Harrison songs ever.  It was written by George Harrison as a song for Ringo Starr to sing, but Ringo thought the vocal melody was too high for him.  So, it went to the scrap heap.  Then John Lennon was murdered on the streets of New York City, stunning the world.  I’m sure right away, Beatles fans the world over expected a musical tribute of some sort from Paul, George, and Ringo.  Rumors of a reunion must have been strong, despite the concept being horribly illogical with John’s passing.  On a certain level, the pressure must have been high on these guys to do something, which was of course, cruelly unfair.  If your best friend died, would anyone expect you to make a commercial pop song?  A song that would be judged by music critics?  Well, the guys did respond, they are artists after all.  Paul made “Here, Today,” a touching ballad.  George took his stalled Ringo project, changed the lyrics, and made it a John Lennon tribute.  In many ways, it would be the closet thing people got to a Beatles reunion until the “Anthology” in the mid 9os.  Ringo was on drums, George was singing lead, Paul was on bass and sang backup with his wife Linda.  Famed Beatle producer George Martin contributed to the track’s production along with Geoff Emerick, the famous Beatle studio engineer.  The song is a nostalgic wonder, mixing elements of Chuck Berry guitar riffage, Bob Dylan lyricism, and sweet Beatle vocal backing magic, all classic marks of George’s songwriting.  The lyrics tell the story of George’s love for John, and his agreement with John’s life philosophies.  It also includes attacks on John’s critics, my personal favorite part.  It accomplishes a lot of ideas both musically and lyrically, but leaves you wanting more.  That’s probably the point because the biggest crime in John’s death, outside the destruction of his family, was how this was a man taken too soon.  John was nowhere near finished as an artist and as a leader of peace loving people around the world.  George knew that more then anyone, and created a song that I, and many others, can’t help but replay over and over.  Enjoy.

Money, fame, power, and prestige; Pink Floyd had it all, but by their bloated 1977 stadium romp known as the “Flesh Tour,” Roger Waters and company became disgusted with what they had become.  Boorish fans in large intoxicated and stoned numbers were ruining the concerts, and Roger loathed them so much that he literally spit on them, then imagined what it would be like to place a wall between the stage and the audience.  This growing apathy for churning out area rock combined with bad business deals draining the band’s fortunes, Pink Floyd got to work on a new double album and film.  The product was The Wall, and ambitious rock opera about a character named “Pink,” based on a combination of Roger and Syd Barrett.  I think its kind of amazing that for how marginalized and separated Syd became from the actual band, the remaining guys still couldn’t stop thinking about him, and openly used his persona for inspiration.  The album, one of Pink Floyd’s best selling, touched on themes of class oppression, nihilism, fascism, and most dominantly isolation, symbolized by the wall itself.  One thing you can say about Pink Floyd was that they certainly knew how to keep upping the bleakness levels to 11.  I have two clips from the film.  The first is a gorgeous animated presentation of “Goodbye Blue Sky,” one of the briefest, but best songs on the record.  It’s a mix of dirge like militarism and beautiful Beatle-esque harmonies, and the video itself is an incredible anti-war/violence statement if there ever was one.  The next video is for “Another Brick in the Wall,” the album’s anthem that melds Pink Floyd’s dark psychedelia with a funky disco beat.  If you’ve never seen the clip, its slightly disturbing with the children wearing those ghoulish melted masks of oppressive conformity.  The Wall appropriately brings Pink Floyd week to its conclusion, but that won’t be the end of the band on this site.  There are many hidden gems and massive hits I’ve left out obviously, and expect this particular psychedelic bunch to roll up again.  Cheers.

Brothers in Arms was one of my favorite albums growing up.  I remember when my dad bought a CD Stereo system in 1989 (a huge awesome piece of audio tech in those days), he bought a boatload of CDs, and this Dire Straits classic was one of them.  It was also right around the time we got cable TV, and of course I was obsessed with the song and video of “Money For Nothing.”  Co-written with Police legend Sting, Mark Knopfler crafted one of the 80s greatest anthems, and delivered Dire Straits first #1 hit in the US.  It features the decade’s sleekest guitar riffs, a heavily processed digital blues line that still blows my mind.  The song is a clever commentary on the excessive 80s consumer culture, vapid 80s pop music, and MTV, the Mount Olympus of cool in that era.  As a bonus, I found an awesome video of present day Knopfler explaining the origins of the song, both the riff, and the lyrics, and how he created the sounds.  It’s completely rad, so enjoy both the original ground breaking video and Knopfler’s precious behind the scenes story on the songs creation.

“Every need got an ego to feed.”  If that’s not the lyric of a master, than nothing is.  “Pimper’s Paradise,” from 1980’s Uprising LP, is one of Bob’s best songs.  Anyone else obsessed with the way he sings “Well-ell aelll..?”  How about the line, “Now she is blusing when there ain’t no blues…?”  I’m not really sure what he means by that line, but it makes my spine shiver every time…in the good way.  “She loves to smoke, sometimes shifting coke, now she is laughing when their ain’t no joke, a pimper’s paradise.”  My God, this song is genius.  Not that anyone’s comparing or asking, but Bob was every bit the brilliant songwriter that John Lennon or Bob Dylan were.  I’d go even further to say that he was more natural and fiercely unique than those two guys, as it never seemed that Bob, who struggled greatly in his life, never struggled with being himself like Johnny or Zim.  Please vote!

I only know two songs by They Might Be Giants (not counting the Daily Show theme).  I posted the “Istanbul” song yesterday, so today I’m posting “Particle Man.”  This song was also famously featured on Tiny Tunes, but due to the dreadfully horrible and arbitrary copywrite laws enforced by youtube, I can’t post that original video.  (Well, I could, but the audio would be removed, thus taking away all the fun.)  Luckily, I can post something just as good.  The two Johns were on techtv at some point playing their classic, and showing off the amazing stylophone.  What is a stylophone?  Well, its some kind of futuristic computerized music instrument played with a stylus pen.  It’s best seen and heard to fully understand. The looks on John Linnell’s face are priceless, and the song is an amazing piece of catchy insano-rock.  I hope you enjoy it as much as I have.

I had no idea that They Might Be Giants didn’t write this song!  It turns out that the Four Lads, in 1953, came up with this incredibly catchy and insane song.  It was a top ten hit and a certified gold record.  Imagine that!  I learned all this from hearing a tape of Bob Dylan’s satellite radio show “Theme Time Radio Hour,” where he spun the original record.  Thanks for the heads up Bob because like most kids who grew up in the 90s, I first learned about the song from Tiny Tunes.  I remember being absolutely mesmerized by the song, and relished every time a repeat of that episode would come on.  The song, “Istanbul (Not Constantinople),” speaks for itself.  It’s one of those rare tunes where the lyrics communicate 100% of the songs idea without a trace of ambiguity.  I love songs like that.  The more modern incarnation comes from They Might Be Giants’ 1990 record Flood which I thoroughly recommend picking up.  As a bonus I’m also including a live performance of the song TMBG did in 1990 for MTV Europe. It’s equally spellbinding and hilarious, especially when the host asks them if the Four Lads had any other good songs, and John Linnell replies in a complete deadpan that “No, that was their only good song.” Too funny.

John Lennon was really offended by Bob Dylan’s latest single, “Gotta Serve Somebody.” Dylan recorded the song for his 1979 album Slow Train Coming.  The album and the song was part of Bob’s short lived conversion to Christianity.  In his diary, John wrote, “The backing was mediocre by Jerry Wexler, the singing was really pathetic, and the words were just embarrassing.”  The Grammy people didn’t think so, they gave Dylan a huge spotlight at the 1980 awards, and let him take home the trophy for “Best Rock Vocal Performance by a Male.”  In a snide retort, John wrote/improvised a funny little rant called “Serve Yourself,” a track which never got an official release.  Well, the Grammys are a joke, and always have been, and I fully understand John’s sense of embarrassment and betrayal by Dylan, but I kinda love “Gotta Serve Somebody.”  I think the message is clever enough that it extends beyond the religious into the philosophical, and it sets up an interesting battle of ideas between the two rock gods.  I always suspected that “Gotta Serve Somebody” was Dylan’s response to Lennon’s line from ten years earlier when John proclaimed, “I don’t believe in Zimmerman [Dylan’s real name for the uninitiated],…I just believe in me” from “God” (Plastic Ono Band.)  It’s Dylan rejecting Lennon’s idea of discarding all figures of worship and idolatry and claiming that in the end, whether you like it or not, you are serving something, whether it be a God, a devil, or just a concept.  Lennon disagrees, and he makes no bones about making it known, or he would have had he lived.  Anyway, here are both tracks, in all their glory.  Who do you think wins?  Dylan, Lennon, God, or the devil?  Let me know.

TLC ripped it off.  No doubt about it.  This song, “Waterfalls,” was a hit in England, but it was the first song of Paul’s unable to reach the top Billboard 100 despite the previous single, “Coming Up” reaching #1 in the US.  Hmm…”Coming Up” is one of my favorite songs ever, but I can’t embed it on my website!! Click that link above and watch it too, it’s the song that made John Lennon jealous and motivated his return to pop music, unbelievable.  Anyway, “Waterfalls,” from the same album, McCartney II, was released in the magical year 1980, and was Paul’s first post-Wings record.  It’s a slow thoughtful ballad recorded only with a Fender Rhodes electric piano and a synthesizer.  The lyrics are pretty good too, and so is the music video, but it all pales in comparison to Sloan’s driving and insanely catchy version of the tune, which I’ve thoughtfully included.  Sloan really brings out the genius of the song’s melody and lyrics.  They do it so much justice, that’s its clearly superior to Paul’s original.  Amazing.  So check out both versions of the song, and “Coming Up,” and seep in the elegant misty glory of “Waterfalls.”