Three for the Ride: Klaatu, Audioslave, Beach Boys

Some days, I take the train to work. Other days, I drive. Either way, I listen to music on the way. I put the iPhone music player on shuffle, and off I go. Calling my collection eclectic would be an understatement. It's often an interesting mix. There are songs though, that I really wish the world could appreciate as much as I do. Songs that make me say, "Ooh, listen to THIS! Isn't it great?!"

Here's what I heard this morning:

Klaatu: "Calling Occupants of Interplanetary Craft"
This Canadian pop-prog-rock band, Klaatu, was formed in the early 70's and had several "hits" including this one that was released on 1976's 3:47 EST. It would eventually be covered by several other artists, including The Carpenters. In the mid seventies, there were many rumors that this band was the Beatles recording under a pseudonym. You can hear some of the similarities. That rumor helped fuel some of the band's success. That said, they are certainly worthy of recognition in their own right.



Audioslave: "Cochise"
What happens when Rage Against the Machine gets a new lead singer? Audioslave. Rick Rubin suggested former Rage' members, Tom Morello, Tim Commerford, and Brad Wilk, pursue Chris Cornell from Soundgarden as a new singer and Audioslave was born. Their debut album Audioslave was released in 2002 and this track was one of the singles. This album is a great hard rock record with all the energy rage delivered with the more-musical sensibilities Chris Cornell brings.



Beach Boys: "Good Vibrations"
Brian Wilson is the guy you see in the encyclopedia next to the entry for "tortured artist." His genius shows through on this song. I don't even know where to begin. When I first heard it, as a kid, it was a goofy AM radio hit that went in one ear and out the other. Now, I consider it a masterpiece. The songwriting, the arrangement, the production - they all come together perfectly. The audio dynamics- the swells, the under-stated vamps, the huge harmonies. I suggest, if you can, that you listen to this song in a good pair of headphones and listen to each track in the song. It's one of those great, magical songs where the sum is greater than the parts. Released as a single in 1966, "Good Vibrations" was recorded during the Pet Sounds sessions but wouldn't find its way onto an album until a year later on Smiley Smile



Until next time...

Three for the Ride: Sia, Soundgarden, Jane's Addiction

Some days, I take the train to work. Other days, I drive. Either way, I listen to music on the way. I put the iPhone music player on shuffle, and off I go. Calling my collection eclectic would be an understatement. It's often an interesting mix. There are songs though, that I really wish the world could appreciate as much as I do. Songs that make me say, "Ooh, listen to THIS! Isn't it great?!"

Here's what I heard this morning:

Sia: "Breathe Me"
Colour the Small One (2004) is Australian singer-songwriter Sia's third album. Apparently this song was featured on HBO's Six Feet Under television series and has appeared on numerous other shows and movies. Well, that's great. That's not how I heard it, though. I just thought her voice was unique and it was a powerful song. Perhaps that's why it was chosen for all those uses. Hmmm.



Soundgarden: "Black Hole Sun"
The third single from Superunknown (1994) is hands down my favorite Soundgarden song. It's a real departure from their normal fare, being very accessible. It had more radio play than any other Soundgarden song and is probably how I came to hear it to begin with. I love Chris Cornell's voice and Kim Thayil's guitar through the Leslie speaker on this tune. I couldn't begin to tell you what it's about, but the chord progression and melody are great. I also love the super-heavy bridge and ending. The video is super creepy, too.



Jane's Addiction: "Up the Beach"
"Up the Beach is a powerful opening track on Jane's Addiction's 1988 studio debut, Nothing's Shocking. There are no meaningful lyrics, making the song more of a mood piece - a sonic painting. It opens with Eric Avery's bass line and then Dave Navarro layers on huge guitar parts that are the meat of the song. Perry Farrell adds a layer of ooh's and aah's that complete the picture. I like this album, but to me, the opening track is the strongest part.



Until next time...