Sting - Brand New Day at 20

Twenty years ago today, Sting released Brand New Day and I was enamored with his sixth studio album. It was the first of a pair of new records by two of my favorite rock stars (come back next week for my take on David Bowie's ...hours). I was newly married, newly employed, and the end of the millennium was mere weeks away. It was a fabulous time, and this album landed right in the middle of everything.

And it hit me exactly at the right place musically and lyrically.

I've enjoyed Sting's music since Synchronicity, but if push comes to shove, I easily prefer his solo work over his Police music. I like his explorations of other styles of music and lyrics, and we got a microcosm on this one album of nine songs plus and intro to a tenth.

I fell hard for this album, but I hadn't spun it in a little while, so it was nice to get back to it. For me, it still holds up pretty well, with some all-time favorite songs from the entire Sting discography.

Tracklist

A Thousand Years - A downbeat opener (an odd choice to kick off the concert), nevertheless, this meditative song is one I ended up enjoying quite a bit over the years.

Desert Rose - On any given day, this is my favorite all-time Sting song. Loved it from the day I heard it twenty years ago. When Cheb Mami starts singing, with that distinctive Middle Eastern scale and chords playing in the background, I was hooked. The exotic lyrics mixed with the somewhat mysterious instruments bring to mind multitude of desert visions in my mind. The instrumental break, with the sitar high in the mix, is the musical equivalent of a camera mounted on a helicopter as it flies low over the desert sands. By the last chorus when Sting and Mami sing their lines, intertwined, is hypnotic. Fantastic song.

Big Lie Small World - From the Middle East to Brazil. It's one of the best things about Sting: his willingness to explore the world's music and incorporate it into his music. This bright bossa nova song is sung in Sting's trademarked English teacher way. Lots of word play, and the first instance of trumpeter Chris Botti, unknown to me at the time. Botti's trumpet almost gives this song a noir vibe. This song, like 1996's I Hung My Head and others, is a short story in four minutes.

After the Rain Has Fallen - An immediate style change. Instantly brighter than the dark of Big Lie Small World. Here Sting tells the story of a knight trying to save the princess, complete with hand claps. The chorus is one great gob of smiles, a joyous thrill. Sting's bass is wonderful buoyant here, jousting up and down the fret board. When he starts talking about "take me here and take me there," the song builds back up to another ebullient chorus. Love this song.

Perfect Love...Gone Wrong - A jazzy little number that seems like the direct descendant of Moon Over Bourbon Street. The second dog song in Sting's career, more intricate wordplay enlivens a song that might have been pedestrian. Perfect Love benefits from a wonderful rap in French for which there is no translation in the liner notes. Why? Because dogs can't really understand people and vice versa. Botti's trumpet flits in and out of the tune, like little musical gnats. Pianist Jason Rebello gets a short solo in a funky interlude.

Tomorrow You'll See - Brandford Marsalis, famous Sting collaborator from 1985 onward, shows up on clarinet here. The story of a prostitute is sung in Sting's intricate talk/sing way leading up to the more melodic chorus and more clarinet. The bass in this tune is somewhat different, more like from a bar rather than the traditional bass sound on every other tune. The Hammond organ brings a street-level vibe.

End of the Game - I've had the full version of this song for nearly twenty years now, so I've included it in my playlist as the full song. Not even sure why Sting didn't just include it in the regular album. But when I think of this album as a whole, this is the one song I always forget about. Perhaps Sting was on to something.

Fill Her Up - Talk about the oddball song on the album. Love the story of a gas station attendant just absconding with a few bucks to impress his girl. Definitely a full-throated gospel song, and it's not bad, but does it really fit on this record? Feels more like a Ten Sumner's Tales tune, or Nothing Like the Sun.

Ghost Story - Another meditative song, largely as a result of the plucked guitar that opens the song, this tune swells like an orchestra playing a symphony as the song progresses.

Brand New Day - The opening guitar strings hint at another Middle Eastern tune, but the major chord progression segues into the 3/4 time signature of the main song. Another tune chock full of joy, not the least of which being Stevie Wonder's harmonica playing. I've always loved how Sting delivered some of his sung lyrics in a rhythm counter to the main beat. And I really dig how he ends the song with his numerous metaphors. A fun way to end the album.

Bonus Tracks:

Windmills of Your Mind - Sting the Jazz Man shines in this bonus track available in 1999 on the Japanese version of the album. One of the aspects of Sting's voice I find interesting is his lack of vibrato. It's just pure, clean notes. Here that kind of "Broadway-type" singing comes across wonderfully. It almost makes you wish he'd do an entire album of jazz standards.

Other Mixes:

There were a ton of various mixes of many of the tunes on this album in 1999, into 2000, and all the way into 2001. Some are fun and good. Others a shrug. You've got the Desert Rose (Chillout Mix). After The Rain Has Fallen (Extended House Mix). Perfect Love Gone Wrong (Dub Remix).

One highlight was the Bill Laswell remix of "A Thousand Years." The original six-minute meditative song was extended to twelve. Additional orchestration and Middle Eastern drums were mixed in, but one thing really stands out on this song: Botti's trumpet. Playing with a somberness Miles Davis might actually admire, Botti's horn swirls in and out of the first half of the song, reminiscent of the live version on the Brand New Day tour. The latter half of the song is the basic beat with Botti basically playing a solo.

The Brand New Day Era

The tour to support the 1999 album lasted nearly two years. My wife and I saw him here in Houston in August 2000 and we very much enjoyed seeing this band live. First time to see Botti live, and I started listening to his music. Even saw Botti live with his own band. As Sting toured, he would show up on the late night talk shows. I watched and recorded every one of them. As much as I enjoyed the full band version of Brand New Day (on Letterman), I really dig the acoustic version he did on the Conan O'Brien show. Here he is singing "After the Rain Has Fallen" on the Tonight Show.

All This Time...

The entire Brand New Day era ended on the evening of 11 September 2001, when Sting and his band were set to perform the second of two shows at his Italian villa. We know what happened that day. Tempted though he was to cancel that evening's performance, his band convinced him to use music as a way to start the healing. You can see it happen, in real time, if you watch the DVD of All This Time, which came out in November 2001.

The Verdict

Brand New Day is one of two Sting albums to which I constantly return. The other is Mercury Falling. Of the nine tracks on this record, five would rank high in an all-time list. I thoroughly enjoyed the entire Brand New Day era. It was a great time to be a Sting fan.

Has it really been twenty years?

What are your memories of this album and era?

First Pop Cultural Loves: Are They Still Your Favorites?

No matter what type of pop culture thing we enjoy, there was always that first time.

The first time you heard a song from your favorite band.
The first time you saw your favorite movie.
The first time you read a book by your favorite author.

But do those particular firsts remain high on your Favorites Lists or do they fall in the rankings?

Let me give you some personal examples.

Star Wars

I am part of the Star Wars Generation. The first Star Wars movie I saw was the first one, in a theater, in 1977. It has remained my favorite on an emotional level primarily because if I sit and watch it just so, the movie is a time machine and I'm back to being a nine-year-old kid again with nary a care in the world. The Empire Strikes Back is also a bit of a time machine because it arrived just as I graduated from elementary school. The movie's ending showed me the heroes don't always win. What the heck was that? Return of the Jedi, at the time, was an awesome film, but over time, as I've become an adult and a writer, I can see its faults. So, too, the other films in the franchise. Some are better than others (Rogue One), some deserve a re-watch and re-evaluation (The Phantom Menace), while others deserve respect for trying to do something different (The Last Jedi).

My brain puts Empire as my favorite of the franchise, but my heart will always remain with Star Wars.

Music

KISS was my first favorite band. I discovered them in 1978 with Double Platinum (a hits collection) and then made my way to the studio and live albums. I was limited to the number of albums I could buy, but Destroyer ranked high in my list as a kid. Over time, however, Alive! (1975) is now my favorite KISS album.

When David Bowie landed on my radar in 1983, Let's Dance was everywhere. In the 80s, I loved his 80s material. The 1987 Glass Spider Tour was the first of three times I saw Bowie live. But over time, I've changed. Now, if push came to shove and I was asked my favorite album, I'd probably pick 2000's Live at the Beeb.

Chicago 17 was out when I finally discovered Chicago in 1985. A year later, Chicago 18 was my first purchased album. Now, it's not even my favorite Chicago album of the 80s. I rarely listen to it, instead focusing on the early material with their first record, CTA, my now favorite. Chicago 18 doesn't even crack my top 10.

Invisible Touch was my first Genesis album, but Duke and Foxtrot are the ones I like the best (I get two choices, a Peter Gabriel and a Phil Collins). Speaking of those two, it was So and No Jacket Required that were my first true introductions to them (although, for Collins, it was really "Take a Look at Me Now.") and those records remain my favorites. Synchronicity was my first and favorite Police record, yet Sting's 1999 solo record, Brand New Day, that tops my list now.

Authors

Pet Sematary was my first Stephen King novel, but it's nowhere near my favorite. Mystic River by Dennis Lehane, on the other hand, remains my favorite by him. Right as Rain was my first George Pelecanos but Hard Revolution stands as my favorite. I first read one of Erle Stanley Gardner's Perry Mason novels, but now I prefer the Cool and Lam books.

Television

The same applies to TV shows. I discovered The X-Files in 1996 or so, but quickly grew to appreciate the early-to-mid 1990s seasons vs. the latter ones. I loved Castle from day one, but the midway part of the series was just spectacular. I didn't jump on the Friends bandwagon until a season or two in, but I actually enjoyed most of the later seasons. Star Trek: The Next Generation's first couple of seasons were good, but they hit their stride in season three. It must have had something to do with Riker's beard.

It's Bruce Springsteen's Fault

What prompted this was when I bought and listened to a 30-song 1992 concert by Bruce Springsteen (from nugs.net). For me, I discovered Springsteen in 1989 or so. Tunnel of Love was his most recent record. By 1992, when Human Touch and Lucky Town were released, they were my first new Springsteen records.

And I realized something: those two are my favorites of his. Yes, Born to Run is an excellent album. Yes, The Rising is amazing. Yes, Born in the USA is almost the perfect 80s album. But if I had to take one album from Springsteen's catalog, it would be Human Touch and Lucky Town. [I've always considered them basically a double album.]


I could think of others, but I think you get the idea.

So, has the first introduction to your favorite pop culture things remained your favorite?

Favorite Songs by Year - 2019 Edition

I saw a tweet by writer/podcaster Marc Benardin last week in which the exercise was to choose a favorite song for each year you've been alive. Easy. The only caveat: you can only choose one song per artist. Not easy.

You see, I am a hard-core fan of my Four Pillars of Rock. They are, in chronological order of how I discovered them: KISS, David Bowie, Chicago, and Bruce Springsteen. For each one of these bands I could pick a favorite song per year. Mostly. But with this exercise, that was off that table. Then comes the real question: what song do you pick for your favorite bands? Throw in Genesis and Sting into this conundrum as well. I went ahead and applied this rule to composer John Williams because, let's be honest: I could easily select fifty great pieces of music by the composer of Star Wars and Raiders of the Lost Ark.

There were some years in which the favorite song leaped into my head (1969, 1999, 2015, 2016). Other years in which I had to select a song that I liked but don’t love (2011). Then there were years (like 1975, 1977, 1984, 1989, 2004, 2016) in which there were so many good songs I ended up having to cast aside songs I truly love and listen to constantly.

But what ended up happening was by restricting the number of songs I could select, it actually ended up becoming a more freeing exercise. For example, if I could not choose Chicago's "25 or 6 to 4" fin 1970, then I was now able to choose a Beatles song.

So, here's my list, broken out by decade, with notes on a few.

1968 - All Along the Watchtower - Jimi Hendrix
1969 - Introduction - Chicago

1970 - Let It Be - The Beatles
1971 - One Fine Morning - Lighthouse*
1972 - Supper's Ready - Genesis
1973 - Band on the Run - Wings
1974 - Miles Out to Sea - Slade
1975 - 100,000 Years (live) - KISS**
1976 - Hotel California - Eagles
1977 - Star Wars, Extended Version - Meco (aka Disco!)***
1978 - Summer Nights - Grease soundtrack
1979 - Rainbow Connection - Muppet Movie

*Another favorite horn rock band out of Canada. I take a daily walk around my office building and this song is one of the ones I choose often.

**Not my favorite KISS song, but if I have to choose only one tune, here, I get an 11-minute tune with Paul's singing, Gene's bass solo, Ace's guitar solo, and a Peter drum solo. Plus, Paul's stage rant.

***I love the disco version of Star Wars, and this 15-minute song gets every major theme from the movie. Plus disco!


1980 - Back in Black - AC/DC
1981 - Under Pressure - Queen and David Bowie
1982 - Hooked on Classics
1983 - Separate Ways - Journey
1984 - Heaven - Bryan Adams
1985 - The Power of Love - Huey Lewis
1986 - Livin' on a Prayer - Bon Jovi
1987 - I Still Haven't Found What I'm Looking For - U2*
1988 - Lead Me On - Amy Grant
1989 - The End of the Innocence - Don Henley

*Brilliant Disguise was the song that turned me onto Springsteen, but it doesn't make this list.

1990 - Silent Lucidity - Queensryche
1991 - Enter Sandman - Metallica
1992 - Pull Me Under - Dream Theater
1993 - Rock and Roll Dreams Come true - Meat Loaf
1994 - Singin’ with the Big Bands - Barry Manilow*
1995 - Peace Prayer - Clarence Clemons
1996 - Christmas Eve (Sarajevo) - Trans-Siberian Orchestra
1997 - Follow Me - Pat Metheny Group
1998 - Basic Instructions - Burlap to Cashmere
1999 - Desert Rose - Sting

*I could have easily selected The Brian Setzer Orchestra's "Lady Luck" but the historian in me is drawn to Manilow's recitation of famous big bands in this tune.

2000 - Absolute Beginners (live from Bowie at the Beeb) - David Bowie*
2001 - The Middle - Jimmy Eat World
2002 - The Rising - Bruce Springsteen
2003 - It's a Groove, This Life - Robert Lamm
2004 - Black Crow - Diana Krall
2005 - Mother India - Caedmon's Call
2006 - Crazy - Gnarls Barkley
2007 - One More Night With You - Brian Setzer Orchestra
2008 - Sister Lost Soul - Alejandro Escovedo
2009 - Haven't Met You Yet - Michael Buble

*Absolute Beginners (1986) is probably my favorite Bowie song, and this live show is my favorite concert he's released. Only bad thing: Had to jettison The Howland-Imboden Project's "Inching Towards..." (2000), but I got the Bon Jovi song on 1986.

2010 - City Noir - John Adams (as performed by Gustavo Dudamel and the Los Angeles Philharmonic)*
2011 - I Am Made of You - Alice Cooper**
2012 - Cinnamon Tree - Esperanza Spalding
2013 - Give Life Back to Music - Daft Punk***
2014 - Gimme a Feelin' - Ace Frehley
2015 - Uptown Funk - Bruno Mars, Mark Ronson
2016 - Put Your Money on Me - The Struts****
2017 - Cumberland Gap - Jason Isbell
2018 - On the Soul Side of Town - Tower of Power
2019 - In and Out of Love - Perfect Plan*****

*Saw a performance of this classical piece on PBS and was hooked. Even got a chance to see Adams conduct the Houston Symphony Orchestra doing this work. Turned me on to modern classical music.

**Here's ironic timing: as of 4 January 2019, I had never heard this song or album. But I love it. This song, with its dramatic entry of electric guitar, is everything you'd want to hear in an Alice Cooper song.

***Had never heard of Daft Punk, but I bought this album because of this song. The entire album is one of the best of this decade.

****This was THE song that turned me onto The Struts. In fact, it was purely the opening chord. This will likely be my favorite song of the decade, edging out Uptown Funk by a hair. And, in a week, I finally get to see the band live!

*****As of 26 April 2019, with the debut of the new Bruce Springsteen song, "Hello Sunshine," the category of Favorite Song of 2019 is now over. One word review: Gorgeous.

It's been three years since I had an emotional reaction to a song on first listen. That one, The Struts' "Put Your Money on Me," was joy. This one was simultaneously happy, melancholy, and nostalgic. It was like a song from my childhood I hadn't heard in decades, yet it's a tune my fifty-year-old self experienced for the first time. I didn't roll a tear, but they were in there. And, as I listened to this song about fourteen times on Friday, the emotions came over me more than once. Still don't understand it, but I'm good with it. Beautiful song. Instant classic Springsteen song for me.

If this is any indication of how the rest of the new album is, then the contest for Favorite Album of 2019 is done.

Yet as much as I love that song, I'm still going to keep "The Rising" on this list.


I hope you enjoyed this list. Turns out, I did something similar back in 2017. I'd love to see your list. Post the link in the comments.

Tune in Tomorrow...

For thoughts on Avengers: Endgame

Albums of My Early Years

I've enjoyed seeing everyone's list of formative albums, so here's mine. For those who only want to know the list, they're at the top. The reasons are below.
KISS - Double Platinum

Star Wars Soundtrack

James Bond - Cassette of title songs (through "All Time High")

Amadeus - Official soundtrack

Queen - Greatest Hits

Chicago IX

Sting - The Dream of the Blue Turtles

Genesis - Invisible Touch

"We Are the World" - single

Paul Simon - Graceland

KISS - Double Platinum

I can't exactly recall how KISS landed on my radar. Perhaps it was because they were everywhere in 1977. Another possibility was the 1977 Marvel comic book (printed in real KISS blood!) Nevertheless, sometime after April 1978 when this two-LP, 20-song package of KISS Klassics was released, I bought it. That was all she wrote. I was enthralled, and, except for a few years in the 80s, have never looked back. KISS is my first, favorite rock band.

Star Wars - Official soundtrack

I'm an only child and much of the music I learned I discovered on my own. The music of Star Wars was a natural thing for me to get because it was Star Wars! I'd try and get anything related to the movie. Little did I know that the music of John Williams would lay the groundwork for much of the music that came after it. With this soundtrack, I was introduced to long-form instrumental music. I could "see" the movie in my head. I learned about themes and motifs (although I didn't know the terms yet). The Cantina Band song was arguably my introduction to jazz and the primary reason I selected the alto sax as my instrument in 6th grade band. Over the years, Williams has scored some of my favorite films and added numerous themes, but this original soundtrack with its original track listing remains foundational for my love of music.

James Bond - Cassette of title songs (through "All Time High")

Whenever I drove in a car with my dad, he'd almost always have the car radio tuned to KPRC-AM, talk radio. My mom's musical tastes while driving was KODA, i.e., elevator music. Most of the albums I had were actual albums and I had no means of transferring them to a cassette. Somewhere along the line, we got a compilation of James Bond theme songs from Dr. No's instrumental opener to "All Time High" from 1983's Octopussy. This was common ground for all three of us. My parents loved the movies--they also had the novels--and this was my introduction to singers beyond KISS. It was here my love of Tom Jones began. It was with these songs I heard how the same titular character could be conveyed in various musical styles. You had it all with these songs: 60s pop (Jones), early 70s rock (McCartney), mid-70s proto-disco (LuLu), and early 80s pop (Sheena Easton), all as filtered through the Bond sound. 

Amadeus - Official soundtrack

If Star Wars was my introduction to instrumental music, then this soundtrack full of Mozart's music was my bridge into the world of classical music. This 2-LP soundtrack was a greatest hits collection of Mozart's music, starting off with the thrilling opening movement of the 25th Symphony. Moreover, Mozart himself, as played by Tom Hulce, educated me in how to listen to classical music. In the film, he describes the third movement of the Serenade for Winds in B flat major, K. 361. That scene in the film was eye opening.

Queen - Greatest Hits

Most folks my age can remember taping a penny to the card of a Columbia Music service postcard and getting 13 cassettes in the mail. This album was one of them. I had known who Queen was since 1978 and even had the Flash Gordon soundtrack, but this collection of songs did two things for me. One, it gave me a taste of a band competant enough to change style on almost every song. From rockabilly to theater to disco, this band could do anything. Secondly, and most importantly for me, was the inclusion of "Under Pressure" with this other guy named David Bowie. I liked Bowie's voice and sought out his records. Let's Dance was first, then two compilations--ChangesTwoBowie and Golden Years. After that, a radio broadcast on 101 KLOL-FM in Houston (which I taped) was enough to send me on a Bowie trajectory that I never left. And it all started with Queen.

Chicago IX

The summer of 1985 was THE summer for me. First car, first girlfriend, and glorious music on the radio. A fellow friend of mine in band loaned me a cassette of this band called Chicago. He said I'd probably know a few songs, but love them all. Chicago IX was the band's first hits collection. Not knowing a thing, I slipped the cassette into my Walkman, got the leash on the the dog, and starting walking. I pushed play. Track 1 was "25 or 6 to 4." In my headphones came the sound of Terry Kath's opening guitar riff, then the in-your-face horns, then Peter Cetera's clear vocals, then the incredible guitar solo, and finally the ending. To say I was blown away would be an understatement. Track 2 was "Does Anybody Really Know What Time It Is" and it delivered a completely different sound and voice in Robert Lamm. But those horns were still there! Third came "Colour My World," followed by "Just You n' Me" with its soprano sax solo. I literally ran home and called my friend. As low-key as every teenager is, I declared this music the best ever. Quickly, I started collecting all the other albums, never realizing I already owned--but never played--Chicago 17. I can't even remember how I got 17 but I was hooked. Still am.

Sting - The Dream of the Blue Turtles

I owned Synchronicity (who didn't?) but few of the other Police records. So when Sting left the band to make a record with jazz musicians, I was intrigued. Frankly, I expected Police-like songs with...I didn't know what. The first single was "If You Love Somebody, Set Them Free," a great tune of which I've never grown weary. But it was the rest of the album that helped introduce me to the then-contemporary world of jazz. Branford Marsalis's sax, Kenny Kirkland's piano were wonderful. All of that, filtered through Sting's songs really paved the way for my love of jazz.

Genesis - Invisible Touch

If you were a kid in the 80s, Phil Collins was EVERYwhere. If it wasn't a solo tune, it was a Genesis song or a one-off soundtrack song. Being a sheltered person, all of Genesis's music sailed under my radar until 1986 and this album. Here was Phil with this other band (?). What the heck? But this led me to learn more about this band that played, in "Domino," long songs. Little did I know at the time that this other guy (Peter Gabriel) who had a hit song called "Sledgehammer" used to be in Genesis. I can still remember my astonishment. I like the older material better now--"Supper's Ready," the 24-minute song, is my favorite--but it all started here with the bright sheen of 80s Genesis. 

"We Are the World" - single

Not a record--although there was one--but a phenomenon, a cultural milestone. The song is a near-perfect snapshot of 1985 in music. All those artists singing together in a song that, for me, has held up. I distinctly remember that song playing on multiple radio stations at the same time, including KLEF, Houston's defunct classical station. It showed me that celebrities can do things besides sell records and tickets. As an interesting experiment, listen to the original then the 2010 version recorded for relief in Haiti. Note how in 1985, you had multiple voices that sounded different, then note in 2010 there was a homogeneaty to the sound.

Paul Simon - Graceland

I'm not alone in confessing that this 1986 album opened my ears and mind to the wonders of world music. Before this, I knew little if any world music. Afterwards, I fell in love with it and sought it out. The beats of the world still pulse in my ears.

Favorite Songs of 2016

 

The year 2016 produced some fantastic albums and songs. Here are my Top 10 favorite songs of the year, presented in random order…except the first one. That is my favorite song of 2016.

“Put Your Money On Me” by The Struts

 

The Struts put out my favorite album of 2016. They are my favorite new discovery of the year. I listened to this album far and away more than any other album released this year. I first discovered the band via an article in Rolling Stone. The article name dropped “glam rock” and that’s pretty much all I need. I then went to Spotify to give the record a virtual spin. The first three cuts (can’t remember them because I have the free version of Spotify and it shuffled the songs) were great, but “Put Your Money on Me” sold me this album with the first chord. Not kidding. It is the sound of summer, a Mountain Dew commercial, unabashedly fun music, with an infectious chorus. The words, as sung by Freddie Mercury’s musical descendant, Luke Spiller, is all about winning over his girl. That this song includes brass is icing on the cake. The MVP of this song—other than the person playing the tambourine—is guitarist Adam Slack. His ferocious solo grounds this song in the rock world so it’s not always just a shiny pop song. And the song ends with a final chord, not a fadeout. By far my favorite song of 2016. “Uptown Funk” was already my favorite song of the decade. We now have another contender. Video.

“Going All the Way is Just the Start (A song in 6 movements)” by Meat Loaf

 

This song comes from Meat Loaf’s new album, Braver Than We Are, a collection of songs all written by Jim Steinman, the man behind the songs from Meat Loaf’s Bat Out of Hell. To be perfectly honest, this album is a mishmash of styles and influences. Meat’s singing voice is all but shot, but there’s still an earnestness behind it. Much like other long-time singers, Meat singing less powerfully than he used to gives the songs here a unique quality. This song is special as it features both female co-singers from his Bat Out of Hell Days, Ellen Foley and Karla DeVito (vocalists from the studio and live versions "Paradise by the Dashboard Light", respectively). I’m a sucker for Broadway-like rock songs and Meat Loaf is perhaps the best example. This song clocks in at nearly eleven minutes, and it is excellent. The two ladies certainly carry the song, but when they both sing together, it’s magic. To give you an idea of the type of song this is, were this song part of a Broadway play, it closes the show. It builds and builds to a magnificent ending, especially when the counter melody kicks. When I first listened to this album at work, this song captivated me. It made me want to hurry up and finish the record so I could come back to this song. Video.

“Still That Boy From Texas” by Reagan Browne

 

The discovery of this album, Rhapsodic Roar, is proof that words can still sell albums. I was sitting at a convention in Austin, Texas, and I read a Waterloo Records ad that mentioned Browne’s new album was a great example of melodic rock. I got to the store and listened to a few cuts…and bought the album. He’s new to me, but this is his fourth album. The songs range in heaviness from the opener, “Accelerate to the Straightaways,” to terrific cuts like “The Universe Gives Me What I Want” (my other favorite song) and “Gypsy Woman’s Got the Groove,” featuring Texas guitar wizard, Eric Johnson. “Still That Boy From Texas” is the song I kept returning to. Browne’s powerful, deep baritone voice soars over this song about a guy who longs to be back in Texas even though he’s plying his trade in California. Browne was born and raised in the Texas Hill Country so the song comes from the heart. It’s evident on the song. Here’s a link to his website’s video page where you can listen to the song and hear some other cuts.

“Victorious” by Wolfmother

 

Sometimes, albums can be sold merely by the cover. Wolfmother’s new album, Victorious, got my attention with a cover that evoked those great painted rock covers from the 1970s. Heck, all their covers have that in common. Well, that’s not all that the band, formed in Australia in 2000, draws from. This entire record is chock full of influences from 70s rock, prog rock, and even metal. It’s a fun listen, especially when  you try and guess the song Wolfmother was listening to when they wrote their songs. When I got/persuaded/trapped her in a car and played the record, she said it was good, but that she liked it better the first time. No matter. The entire record is good, but “Victorious” is my favorite cut. A fast, adrenaline-fueled driving rocker that is best listened to when driving, windows down, and singing along at the top of your lungs. Here is the tripp video.

“Can’t Stop the Feeling” by Justin Timberlake

 

I can’t say exactly how/when I first heard this delightful pop song, but my son—who discovered music this year—had it on his iPod. He played it more than once and I latched onto it. I don’t have any of Timberlake’s albums, but then again, everything I heard from him I like. He’s immensely talented, and this song is an effervescent slice of pop goodness. The bass line during the break is funky and dirty. This is the aural equivalent of a smile on a summer’s day. And the video is charming as just about anything I saw this year. Video

“Go Big or Go Home” by American Authors

 

Speaking of my son finding music I like, this is another one. This band takes a slice out of the Mumford and Sons jangling pseudo folk playbook with mandolins spicing up this song. Its all-ensemble sung verses lead into a fist-pumping-in-the-air chorus. This song played a lot in the car in our various commutes so much that I started really to like it. Video

“You Bring the Summer” by The Monkees

 

Imagine a radar, the old-school kind with the rotating green line that would blip whenever something was within range. Got that? Well, The Monkees was beyond my radar. Frankly, I basically knew who they were…and that was it. Then their new LP, Good Times, dropped this year and this song was the lead single. Talk about starting off the summer of 2016 with a slice of pop goodness. I ended up buying this album and loving it. This cut wraps up what I know of the Monkees and produces a song that at once could have been a hit in 1967 but sounds fresh and modern. The video is out-of-this-world great, made to look like an animated segment from their TV show. I was ThisClose to picking “Me and Magdalena” (an achingly beautiful song) as my favorite song from this album, but “You Bring the Summer” was the tune I listened to most. Video

“Today is Yesterday’s Tomorrow” by Michael Buble

 

Michael Buble is a modern anachronism. He’s got a voice that could have been heard in the 1940s or 1950s but he can write wonderful modern pop songs. Buble’s song “I Still Haven’t Found What I’m Looking For” is one of my favorite songs of this decade. He can write a pop song that earworms itself into your brain that you’ll be humming it all day long. To be honest, some of the cuts off this new album, Nobody But Me, tries to replicate the vibe of that song. The title track is the obvious contender. He gives you two versions, one with a rap interlude (yeah, it really works) and the other with a trumpet solo in the same spot. “Someday” is a beautifully infectious duet with Meghan Trainor that is reminiscent of  “Lucky” by Jason Mraz and Colbie Caillat as mixed by Train. Their harmonies on the chorus nearly got in this list. But it is “Today is Yesterday’s Tomorrow” gets the nod. It is the most obvious kin to “I Still Haven’t Found What I’m Looking For” in musicality and style. The verbal wordplay, with its rapidly spoken verses, are rap-like, but still musical. The chorus is another aural smile (see a theme of these songs?) that’ll make you tap  your foot, even if you’re at your desk. Video

“I Can’t Stop Thinking About You” by Sting

 

Sting is back with a rock record! That was the headline this year. Yeah, kinda. Sting is a pop star who dabbles in rock (and just about everything else). But this is his first album of new pop/rock music since 2003’s Sacred Love. If there is a theme of this list, it’s that light, poppy music seems to be where my head was this year. By that standard, “One Fine Day” off this new LP would fit on this list. It is right in that poppy groove. Heck, Michael Buble could cover it and you’d never know Sting wrote it. But the lead single, “I Can’t Stop Thinking About You” gets the nod. This is Sting at his pop/rock best. A tight band, a song that will get your head nodding up and down, and Sting singing about the often melancholy aspects of love. Is he the best one ever for that aspect of love? Video

“I Can’t Give Everything Away” by David Bowie

 

The elephant in this year’s list is David Bowie. He was one of my four pillars of rock for me. Here is my essay from January about his death. But we’re here to talk about my favorite Bowie song from Backstar, his last album. In the days leading up to the release on 8 January (his birthday), I was so excited. Bowie had recruited saxophonist Danny McCaslin’s jazz ensemble. He was going to make a jazz record! And it is so good. Repeated listenings reveal added layers of emotion and musicality. And then Bowie died two days after the record was released, and Backstair took on a different shade. To be honest, after a certain point, I stopped listening to the album. The emotions were too great. Heck, I even bought the Lazarus soundtrack, with three new Bowie songs, but I haven’t listened to them yet. I’m waiting for 8 January 2017, his 70th birthday, to play them.

Any of the songs from the record could be on this list, but I’m going with the last song. I wrote a review of Blackstar back in March, so I’ll just quote the paragraph about this song. “‘I Can’t Give Everything Away’ starts before “Dollar Days” is even over. Bowie’s voice is very “close” in the mix, especially in headphones. It gives the listener the distinct impression that he’s singing directly to each one of us. Which, of course, he is. The harmonica flourishes harken back to 1987’s “Never Let Me Down” while McCaslin’s sax does its own thing, almost as if the song belongs to it and Bowie is merely the guest singer. Death lances through the last words Bowie sang. They sting, but there’s joyous defiance in his voice and delivery. Yes, death will take me, Bowie seems to say, but I still possess the gifts God gave me and I’m going out on the top of my game. Fittingly, “I Can’t Give Everything Away” ends with a guitar flourish that at once would gracefully end a concert but also directly echo the guitar work on “Look Back in Anger” and “Heroes.” Guitar and strings and drums end triumphantly what is effectively David Bowie’s last will and testament.” Video

Honorable Mentions

“Since You Been Gone” by The Heavy. Dirty rock, soulful singing, and in-your-face brass. Right up my alley. Video

“Parasite” by Ace Frehley. The original writer of this KISS classic put his own, modern spin on this song. Heavier than the original and still pile-driving into your head. The solo is a clinic of Ace-isms. Video

“Love Makes the World Go Round” by Santana, featuring Ronald Isley. Santana has always had that great latin/rock vibe. It’s the aural equivalent of smoking a joint, especially in the song “Fillmore East.” This new record reunited the original band, and Ronald Isley sings on a couple of tunes. Having his soulful voice mixed with Santana’s vibe is eclectic, but ultimately rewarding. Video

“Stranger Things” by S U R V I V E. Even though I came of age in the 80s, I don’t always revisit that time in my music, especially the very 80s synths. So imagine my surprise when the TV show “Stranger Things” tapped into that perfect vein of 80s nostalgia not only with the visuals and the story but with the John Carpenter-esque soundtrack. Survive is another new-to-me Texas band (ironically, they were in the same ad that featured Reagan Browne; Thanks Waterloo Music!) that makes synth soundscapes music using old technology. It really shows, and I’ve already bought the soundtrack and Survive’s new LP. Video

Rogue One soundtrack by Michael Giacchino. I’m still processing the new Rogue One soundtrack so I cannot give definitive song yet. Giacchino is an excellent composer, a true heir to John Williams. His music for TV’s Lost, a number of Pixar films, and the new Star Trek movies show his range and ability to create a soundtrack that can be heard on its own as well as in the movie. If the movie Rogue One contained a lot of visual Easter eggs, Giacchino’s score does the same for the music. He interweaves old Williams melodies and instrumentations that hearkens back to the other seven movies. For longtime listeners of the Star Wars soundtracks, Rogue One is great listening experience.