BEN: The term Paisley Underground carries little weight these days, but for a time in the mid-80’s, it was one of the biggest movements coming out of the Los Angeles music scene. The sound was sort of a combination of jangly psychedelic folk a’la The Byrds, mixed with a bit of dirty garage rock like Crazy Horse. Many bands would emerge from this scene, to varying degrees of success. The Bangles were unquestionably the biggest band of the scene, even though their sound eventually skewed towards pop (“Walk Like An Egyptian”) and sappy overproduced love songs (“Eternal Flame”). Other bands that had some success include The Dream Syndicate, The Three O’Clock and Opal. Opal’s guitarist and main songwriter, David Roback went on to start a folk rock duo with singer-songwriter Hope Sandoval called Mazzy Star. Eventually becoming a full-fledged band, Mazzy Star were one of the best examples of the psychedelic folk sounds that paid an homage to the 60’s, but contained a droning, darker side, owing a debt more to The Doors and Velvet Underground, rather than the Grateful Dead. Their major label debut So Tonight That I Might See is chocked full of dreamy soundscapes, droning guitars, and Hope Sandoval’s sexy yet sleepy vocals and her cryptic poetry. Listening to the band’s only hit (which really didn’t gain traction until a year after it’s release), it’s hard not to be put into a trance. “Fade Into You” is a perfect encapsulation of their sound. It’s the sound of walking down Sunset Blvd at 5am after a long night of hard partying, and dreaming of what adventures lie ahead the next night in the City of Angels.
Key lyric- “I want to hold the hand inside you. I want to take a breath that’s true.”
I’ve never heard this song. Within 20 seconds I knew I already loved it. It is a mix between a lot of things I really like. #1. I love her voice, it’s very dreamy and clear. #2. I love the production, the reverb on the guitar and drums that all seems to bleed out one side of the speakers. #3. Songs with the same chords throughout have a certain feel to them… simple and droning. I love the repeated chords until the end of the phrase where they throw in the 4 chord and bring a touch of hope into such a dreary song.
311. Weezer - “Say It Ain’t So” (1994) BEN: By 1994, the grunge sound was getting a bit tired and played out. Even though it had successfully demolished the stranglehold that 80’s glam rock had over the airwaves for about a decade, the grunge movement was ultimately a passing phase. The one thing it did do was saturate the entire decade of the 90’s with sense of aloof detachment amongst the kids. A “Hullabalooza” concert-goer from a classic episode of The Simpsons put it distinctly. When he feigned excitement over Homer’s freak show act, his friend asked him “Are you being sarcastic, dude?” His response - “I don’t even know anymore”. Yes, the 90’s were the age of irony, when insincerity meant cool. Around the time the Seattle scene was waning, and more generic knockoff bands like Bush and Seven Mary Three were making millions moping all over MTV, a new band from Southern California burst onto the scene like a breath of fresh, nerdy air. Weezer were like no other band in their time. Sure they had the sarcastic ironic thing happening, but they also did it with a knowing wink and tounge planted firmly in cheek. Weezer frontman Rivers Cuomo was an unabashed fan of classic pop music, especially the sounds of The Beach Boys, The Cars and Cheap Trick. To be unabashed fans of anything in 1994 meant you were severely uncool, and the band had an outsider, nerd-like vibe right from the start, which made their brand of silly/sincere love songs completely charming. Their debut album, produced by Cars frontman Ric Ocasek was chocked full of sunny, hilarious fuzz guitar classics. There was also a darker side to Cuomo’s writing, as evidenced in “Say It Ain’t So”, a nod to growing up with alcoholism in his family. Weezer would go on to devolve into a pathetic frat house party anthem band in recent years, but in the mid 90’s their sound was fresh and exciting, and a sure-fire antidote for mid-90’s mope-rock.
Key lyric- “Somebody’s cold one is giving me chills. Guess I’ll just close my eyes”
I don’t have too many ‘childhood’ albums, but this is one of them. It was the first ‘album’ I ever loved. I was always more of a song person, but I loved every single song from front to back. This is one of the first songs that ever made me want to play the guitar. I loved the sound of the lick at the beginning. One of my favorite parts is the octave higher harmony in the verses. You gotta listen carefully for it. It is a great story song. It’s a bit sad if you really listen to what it’s about. That was the great thing about them, they could write serious songs, but still seem quirky and cool. The big choruses like this are the defining sound that inspired a lot of future pop rock/pop punk bands. I really think this is a great song.
From Lennon’s landmark album Imagine comes this sweet tale of humility and grace in the face of regret. It’s unclear exactly what John did to make Yoko cry(we can assume it’s autobiographical, given the stories of bad husbandly behavior regarding John at the time), but it’s obvious that he’s sincerely sorry. Simple and direct, the lyrics to “Jealous Guy” put John in an atypical position. Normally the tough guy with an attitude, this song reduces him to a child, begging on his knees for forgiveness. It’s a striking image. Musically, “Jealous Guy” is also simple and to the point. John plays a pretty piano lick, and the backup band that includes The Beatles’ longtime friend Klaus Voormann on bass hangs back and does their understated best. The tasteful production by the legendary Phil Spector adds just the right touches to accentuate this tender moment from the notorious firebrand who occasionally shows his soft side. A classic.
I like this song’s simplicity. A lot of the later John Lennon songs were very simple like this. They had great lyrics and very simple music usually with one ‘weird’ chord that would stick out (in a good way). The best thing about the production is that everything seems to stand on it’s own. You can clearly hear everything that is playing (unlike other Spector songs). The lyrics alone make this a good song, he can really write poignant lyrics that don’t seem to cheesy… I don’t know how he does it.