A few weeks ago, I put up an SOS during an End of the Week update on the 6th, regarding a song. I had heard the song in an Albertson’s whilst grocery shopping, and I couldn’t make out the lyrics, but I really dug it. I had a few lyrics I remembered hearing, “been a long time…alone”. I searched google and yahoo but to no avail. I could not find the song. Thanks to those who attempted to aid me despite the lack of info.

Fast Forward to the 18th, at about 5 AM, when my wife and I were sitting in LAX waiting to fly to DE for my brother’s wedding. The song came on again. I scrambled for a note pad, and I wrote every possible word I could make out: “Not alone, no no”, “All alone”, “Give it back”, “Don’t you hate me” “Have to see you”. I also wrote down potential artists I thought it could be– Billy Joel, Double…I tried to make sure I had all the info I could to find the song later.

For the last two weeks, I’ve run searches with the info…I tried up and down without success. I got so desperate, I even began looking through “ITunes essentials” playlists in hopes of finding it (I think I sampled over 300 songs in the process and luckily found some other great tunes, so twas not a full waste).

Then, Tuesday, the final day of September, nearly a full month after hearing the song for the first time, I did another search using the search site, Lyrster, I tried again. “Don’t you hate me…not alone”. “Give it back…not alone”…and so on and so forth. No dice. So I tried something I had not yet attempted. I removed the one lyric I was certain was correct and part of the song: “Not alone”. Instead, I combined the other phrases “Give it back…Have to see you”.

Lyster’s top find was a group called OLIVE and the song, “I’m Not in Love”. I jumped on Itunes, and I ran the search…there song was an electronica/dance/eurotech-something or other, but the underlying melody hit me like a ton of bricks…THIS WAS THE SONG–not the version I had sought, but my song nonetheless. So, in iTunes, I ran the search, “I’m Not In Love”…and lo and behold…the top song was by a group called 10cc. I had never heard of this group, but I figured what the hey…

And then something happened that happens so rarely in our lives…complete total and utter success. I heard the song exactly…it was just what I had wanted. Sure, I was wrong on the “Not alone” lyrics, but I was correct in my earlier assertion that the song was reminiscient of Billy Joel’s “I love Just the Way You Are” and, to a point, ethereal like “Drive” by The Cars or “Two Rivers” by Jeff Beck… “I’m Not in Love” by 10cc, the newest song for which I will be mocked and told I suck (for whatever arbitrary reason people have for judging other people’s music tastes).

Because of my success, I have decided to not only share the song below (via a little vid on Youtube), but also list the lyrics in full. In a not-so-ironic-or-surprising twist, the lyrics “Not alone” are no where to be found…so had I not removed them, I may never have found this little gem.

FULL LYRICS: Thanks to www.lyrics007.com for having the lyrics available to double-check my work.

“I’m not in Love,
So don’t forget it.
It’s just a silly phase I’m going through.

“And just because
I call you up,
Don’t get me wrong, you’ll think you’ve got it made.
I’m not in love–No, No.

[CHORAL] “It’s Because

“I like to see you;
But then again
That doesn’t mean you mean that much to me.

“So if I call you,
Don’t make a fuss
Don’t tell your friends about the two of us.
I’m not in Love–No, No.

[CHORAL] “It’s Because…Ahhhhhhhhh

[SYNTH AND BASE BRIDGE.]

Female Voice (not in band) “Be Quiet, Big Boys don’t cry.
‘Big Boys Don’t Cry’ 6X and fades out…

“I keep your picture
Up on the wall.
It hides a nasty stain that’s lying there.

“So don’t you ask me
to give it back.
I know you know it doesn’t mean that much to me
I’m not in Love–No, No

[CHORAL] “It’s Because…

“Ooooooo, You’ll wait a long time for me.
“Ooooooo, You’ll wait a long time–

“Ooooooo, You’ll wait a long time for me.
“Ooooooo, You’ll wait a long time–

“I’m not in love,
So don’t forget it.
It’s just a silly phase I’m going through.

“And just because
I call you up,
Don’t get me wrong, don’t think you’ve got it made.
Oooooooooooooooooooo.
I’m not in love.
I’m not in Love.

[CHORAL] “Ah-ahhh, Ah-ahhh….

EXTRA TRIVIA: Some great covers of this song exist, including an awesome one by Rick “Jessie’s Girl” Springfield, with vocal work that’s much more pathetic. Another highlight for those who enjoy the melody but not the execution by 10cc may be the acoustic piano and vocal mix from Orleya (which practically made me cry). Instrumental covers include (but are not limited to) the bass heavy version by Chris Standring, the instrumental piano mix by Richard Clayderman, and a smooth jazz version by musician Richard Elliot. The jazz version is kinda unnecessary since the original could work into any Smooth Jazz set. Check out all the info at the WIKI page, HERE.

Metallica is trying to get back into the good graces of the fans they sued and threatened to sue by returning to their roots of hard rock with their latest album, Death Magnetic. The album has been on sale the last week for about $10 at many major locations, and it features some of the most original packaging in recent memory. In fact, I would say it’s some the best packaging on an album I’ve seen to date. The line notes are found through the layers of the “3D” casket on the cover. It’s clever and interesting. So, I was ready to give it a chance. Today, I had the privilege of listening through the new album in its entirety thanks to a buddy at work.

I am not impressed. As a person whose appreciation of Metallica extends only to “Nothing Else Matters”, “Orion”, “Enter the Sandman”, and one to three other tunes to which I don’t know the name, my opinion probably does not matter. But I have a blog, so I am going to give it. I felt like the album sounded like more of the same I’ve heard from them, brining nothing new to the table or their catalog. I will say, however, that it sounded “very Metallica”. Like if I heard it playing randomly on a radio or in a gym, I’d say, “Who is this, Metallica?”, and it seems like that was the point, so for Lars and the fellas, Mission Accomplished. It’s just not my bag, which is fine since I’m not required to like everything from Metallica. Again, this is a quick, response from a non-fan; but hey that’s the way it is.

I’m not gonna pick up the album or any songs on it; but for those Metallica fans who love it, MORE POWER TO YOU, the album wasn’t made for lightweight softies like me, anyway; and I am glad that you got a new album to love.

I just discovered that Robin Thicke will be releasing a new album on 9/30/08, which is very exciting to me. Thicke’s last album, The Evolution of Robin Thicke was fantastic, despite the involvement of Lil Wayne on two tracks; and the first single from this next album, Somthing Else, is solid to boot. Below is a youtube embed of “Magic”, a harmonious neo-soul single that I am sure I will listen to a few dozen times this week.

TRIVIA: The video was directed by the same filmmaker who brought us Gnarls Barkley’s “Crazy”.

If you haven’t read my response to Disc 1 of the Who’s Ultimate Collection, please check it out, HERE

Disc: 2
1. “Behind Blue Eyes” - I was first introduced to this song when it was covered in the 90s, by Limp Bizkit, I think. I prefer this version, not because it “the original”, and I am supposed to like it more; but because the recording they have on this one sounds less crisp and clean. It actually has a very ethereal, almost ghostlike tone and feel, like a hitman is hearing the song in the back of his mind as he walks to a job he knows is a set-up and will bring about his end. And how bout the dynamic change at the second half of the song…like an explosion after the beginning. Yeah, this is stuff I like…
2. “Won’t Get Fooled Again” - Oh, the goodness continues! How epic is this one. Man, I just totally love the energy at the intro…for the first 20-30 seconds, it’s just that keyboard, but you know. YOU KNOW something is coming, and when it comes…oh how thankful for it you can be. This is some good…and it goes on for over 8 minutes. Nice.
3. “Let’s See Action” - a bit too honky-tonk for me, but not bad…it’s a good saloon song, I guess, just not necessarily my deal.
4. “Pure & Easy” - Another song I’m not really tracking with. I can’t really pinpoint why, though. I think it’s because I feel too much like I’m listening to the Byrds…not that that would be bad, but I guess after the the opening to this disc, this song isn’t connecting for me.
5. “Join Together” - Is that A dijeree-doo I heard at the beginning?This is pretty good…I feel like this would make a great opener for a show or album, and I totally dig the song’s constant fluctuations from the solo lead’s melody into the whole band’s harmony. That was righteous. I dig this song.
6. “Long Live Rock” - Interestingly, after calling “Join Together” a great opener, I feel like this is the perfect closer to an album and/or show. This is a good song…not perfect, but I like it, and it does make me want to cheer along. The moments wherein the guitar takes center stage are highlights, as are their drums at the end of the cheer. And in that last minute, things start to really pick up…particularly on the keys if you listen for them…unlike the previous honky-tonk song, this one gets me.
7. “The Real Me” - Adrenaline. That’s the first word that comes to mind. Love those drums in this one. I am unsure if this was pre or post Keith Moon, but it’s good drumming no less. Yeah, buddy, if for nothing else, this song has drums out the wazoo. The vocals are urgent too. This is another score for me.
8. “5:15″ - tick tick tick BOOM! That’s that’s 5′15 in a nutshell. This song starts so softly and just erupts like Vesuvius on Pompeii, and what’s crazy is that it doesn’t let up. the magma-flow of notes and keys just keeps coming…well, okay it does let it up, but in very short lulls where you know more magic’s coming!
9. “Love Reign O’er Me” - This is epic rock at its best. Daltrey’s prayer-like requests for Love are so strong, you can almost see him the rain, screaming at the sky for it. This is what “rock ballads” are all about, and it’s hard to imagine this same band doing some of their earlier work…not when they’re doing this, anyway. This is epic and powerful stuff.
10. “Squeeze Box” - Here we go again with the Honky-tonk. However, this one is catchy, and well, pretty funny. Not my favorite tune on the album, but a fine one.
11. “Who Are You” - I mean, c’mon. If a beat is a virus, you’re gonna catch this one. Carried as much by the vocal opening to the loud and rough versus and blended choruses, this recognizable piece of music is stellar. All the instruments–again with the drums–are hitting with exercised precision and power, and this a song that commands you to bob your head and tap your toes. And you do.
12. “Sister Disco” - Surprisingly engaging. I don’t know if it’s the synth and Violin (or more synth?) that got me, but something did; and I am thinking this is a pretty solid song.
13. “You Better You Bet” - The opening this song is fantastic…between the keys and the distant, “You better you better you bet”, it just works–and then jumps into a hopping first versus before slowing for a moment and ramping up the tempo again. It may be a wildly uneven song, but it’s not uneven in that off-putting way. No, it’s just fine. At least I bought into it. I guess it’s because I felt the overall tone of the song was consistent enough that the pacing issues are just part of the equation, and it’s an equation that balances.
14. “Eminence Front” - Were this song an instrumental which ended 1/3 of the way through, it would have been awesome, but it ventures between awesome into bizarrely fascinating. The strange vocal stylings enhance the tone and feeling created by the instruments to create a wholly new sound and experience for the listener (at least, this listener). What’s odd about the song and certainly part of its enjoyment, is that I was torn by what to listen to–just the music, just the vocals, or their cohesion. It was a complex listening experience, and I dig that. This was a fantastic track to end on…a great piece of music.

I paid about $16 for this album, and I am happy with the purchase. Again, toward the beginning I had some songs that I wasn’t all that into; but overall this was a good, if brief, musical journey to take.

Like The Who?? Hate The Who? Who are You? Give me a shout out in the comments!

For much of my life, I listened to what I felt would gain the approval of others–only to have someone else tell me it was bad…but I’ve gotten to the point that I couldn’t care less about others’ opinions of my taste, I dig what I dig; and right now I dig The Who.

For info on the group, Check out the Wikipedia Page.

I don’t know much about The Who. In fact, the best factoid I know of them is that one of their members, drummer Keith Moon, perished prematurely; and that one of the band’s leads–either vocalist Roger Daultrey or guitarist Pete Townshend–wanted The Who to be the U.K.’s third largest musical sensation by bridging the music of Britain’s two already-legendary acts, the Rolling Stones (who I actually like MUCH less than the Who) and the Beatles (who I like as much if not more than The Who [but I haven’t decided] ). Knowing this little piece of info informs one’s engaging The Who in an interesting way, as the attempted fusion leads to an imbalance between soft pop and hard rock for the better part of the career-spanning album I picked up, The Who:The Ultimate Collection. It’s odd in a way, to pick up an album from the group best known for “My Generation”, then hear “The Kids Are Alright” and “Anyway, Anyhow, Anywhere”. It just goes to further confirm the above information about the band’s apparent early goals, and unfortunately, makes disc one feel almost like an miscalculated mix tape. The lite sounds of “I Can’t Explain” feel as though they don’t belong to the same group that offers “I Can See For Miles”; and yet it is.

This actually made me really love this album, because I do feel as though I am on a bit of a musical journey–as though early entries like “A Legal Matter” and “Substitute” are songs by a group attempting to be someone else while “The Seeker” showcases their evolved, owned sound. Anyway, I probably have no idea what I am talking about as I am sure someone will correct this outlook in the comments section–which i gladly invite, by the way, as I am trying to learn more–but below I offer my track-by-track reaction to this first disc…song to song, I am pretty hard on it; BUT overall, I do feel like the track order takes one on a musical journey, wherein you see a band attempting emulation and misplaced fusion, coming into their own and developing a great sound–which I think is realized by “I Can See for Miles”. Also, just a quick disclaimer: As always, my disliking something is not meant to disparage it or those who like it. Frankly, if a song hits you right, then it hits you right; and it’s not my place to tell you whether or not YOU should like it. I am only giving my reactions; and if you disagree, I’d love to know why and learn from you.

DISC 1

1. “I Can’t Explain” - I don’t know, I found this to be a disposable 60s rock tune–but again, that’s just my opinion; and if this song touches you the right way…in your pants…that’s excellent. More power to you. To me, it’s just kind of a been there-done-that type of jam.
2. “Anyway, Anyhow, Anywhere” - I didn’t know that The Who and the Beach Boys came from the same School of Rock. That’s really all I could think when I heard this…It sounds like very, very subdued–like “it could have been good but it was completely and totally castrated to banality by record-label execs” (if that makes sense). There are some interesting bits, like the bridge/solo, but then it just goes weak again. It picks up again toward the end, but that “I can go anywhere [falsetto response: “want to”] kinda grates my skin.
3. “My Generation” - Yeah, what can I say about this one. It’s a strong, classic jam. Now, I’m probably just saying that because I know I am supposed to, but honestly, it is a solid, catchy song that I dig.
4. “The Kids Are Alright” - I feel like I’m getting a Beatles B-side (you know, like one of those songs George wrote) or a toned-down, flat Beach Boys Jam. Meh.
5. “A Legal Matter” - We start off as well as we have thus far, but those vocals by Wesley Willis or his ancestor are just not working for me. The tune and tempo are fine, though–it’s only those vocals that induce a cringe…or seven.
6. “Substitute” - Here we go again with the B-Side Beach Boys stuff. Of course, the song is not a terrible song in and of itself; and had it heard it independently, on its own, I would have thought, “This is alright, who is this?” But it still just comes across as a by-the-numbers pop-rock jam; and by the end, I was really ready for it to be done.
7. “I’m A Boy” - What is up with this one? I don’t really know where to begin, The “I’m a boy, I’m a boy” chorus is pretty much not working for me, but those measures leading up to it is working well–so do I like it, hate it, I don’t know. In fact, the guitar alone, and the later harmonizing are outstanding, but that danged chorus just hurts me. So I guess I kinda don’t like it.
8. “Boris The Spider” - Don’t know if I can defend this at all, but I do enjoy this song. It sounds like one of those unappreciated Beatles songs, and it just works to the nines for me. It really hints at the same musical tone and feel of ” My Generation”, and the death metal voice announcing the song’s namesake is pretty much one of the most terrifying things I’ve heard in old school rock–”Boris the Spider” is not just a Spider, he is a spider that is crawling down your throat while you sleep, laying eggs in your belly, and birthing a thousand babies inside of you. He is a deadly spiderrapist (pronounced, Spi-dera-pist); and the “creepy crawly” repeats are fantastic. This is a winner.
9. “Happy Jack” - Yes, we’re starting pretty well again…but then we hit a weak chorus. Maybe I just do not dig the early vocal stylings of Roger Daltrey, but this song is not doing it for me. While I dig the music for the most part, those vocals just kill it.
10. “Pictures Of Lily” - Then, after my dissent above, Daltrey brings me back. How this song isn’t a classic is beyond me? It’s a killer tune, and the vocals come together so well that it’s shocking to think that this is the same band that made my eyes bleed bile (in a bad way) during “Legal Matters”. Here we have another very solid entry from the band, and I dig it. And oddly again, this is the type of song I haven’t loved so far on this disc, and here it is working for me–that should serve as a testament of its power.
11. “I Can See For Miles” - oh, hells yes. This is the type of song that makes me long for the Dwarves of Rock to come back and destroy Knickleback (Nickelback?) with an Uru hammer (though, I’ll admit, that doesn’t take much). This is great classic rock to me. The repetitious “I can see for miles and miles and miles” chorus is the definition of infectious, toe-tapping composition, and the stuff in between is attention-holding and well put together. Oh, and did I mention that the bridge will destroy worlds with its power. Good stuff here.
12. “Call Me Lightning” - Now, I feel like I’m taking a step backward…What is this and why? Sure, I got some good guitar work, but The infectiousness of “Miles” is traded up for “dial, dial, dial direct” or something like it. Huh.
13. “Magic Bus” - This is solid, and I hope it’s about drugs, cause it feels like flying through the clouds on a magical bus, while being served cheese and crackers by a gaggle of leprechauns. This is one mess of a song that some comes together into a good listen, one that is probably half on purpose and half on accident–or perhaps it’s all intentional and therein lies the songs genius. Either way, it works.
14. “Pinball Wizard” - Yeah, this starts out fantastically…and guess what? it runs with a working formula. Here we have a good, if not silly and needless, song about a man who is an epic magician of the game of Pinball…it is being literal, right? (that’s not me being sarcastic. It’s an honest question.) [and I am sensing a hint of Steely Dan or the Doobie Brothers in there?]
15. “I’m Free” - It took 45 seconds to even realize I wasn’t listening to the backend of “Pinball Wizard”. I’m being harsh. This actually got better as I listened, and it closed really well. A fine additional entry.
16. “See Me, Feel Me” - This is the type of odd and bizarre song that makes you stop in the middle of an album and go, “Oh wait, I’m listening to a person’s work, here–this is their heart.” The opening is an important piece of the song in that way, and frankly, the listener is rewarded with the song’s latter 2/3, which are pretty solid. This is actually a fairly dynamic piece from this first half of the collection, and I dig it alot as a result.
17. “The Seeker” - If I was doing a “best of” mix tape from Guitar Hero III for Wii, this would be on it; and hearing it here on album form, away from the game, it maintain its power. I think I hear a horn in there somewhere, and it is an interesting bit in the song. This is some good stuff.
18. “Summertime Blues (Live)” - Yes, we start off very strong here, and the momentum continues. Once again, we have another solid entry that I dig.
19. “My Wife” - I don’t why, but this song just didn’t work for me. I hear those horns again, and I like them, but this just isn’t clicking with me for some reason. I don’t know. Maybe I am as ignorant and tasteless as everyone says. I’m just kinda, bleh on this one.
20. “Baba O’Riley” - So, yeah. Yep. Yes. That’s all that needs be said here. If you don’t know this song, please go treat yourself to it on iTunes. You will not regret it. I love the vocals, that infectious keyboard, the tempo, and the synergy of all these elements over a righteous 5 minutes. Like I said, check it out, son; and if nothing else, you will love the last 15 seconds.
21. “Bargain” - We continue to go strong here, particularly with chorus closer, “I call that a Bargain, THE BEST I EVER HAD! THE BEST I EVER HAD!” This song is a bargain, not the best I ever had, but at least a solid deal, like getting a season of The Simpsons for $15. $20 is fair, $12 is a steal…$15 is still a bargain… but like I said, not the best I ever had.

A response to disc 2 is coming…

Okay, before we start this game, let’s get a few things straight:

First, I have been told repeatedly that I have bad taste in music; and therefore, I have an invalid opinion about so-called “important” genres like Classic Rock, Punk, and Hip-hop.
Second, I have also been instructed time and time again that music written and performed by the same individual(s), dubbed “singer/songwriter(s)” or so forth, is the essence of musical purity, and those that perform or play another’s music are either (a) untalented, (b) record-company tools, (c) uncreative and therefore, ineffectual.
Third, it has been brought to my attention repeatedly that those who “know music” hold to the above opinion about music, and that people like me (those who don’t “know music”) and disagree have a less-valuable or reasoned opinion of music because we are ignorant of what is “good”.

Now, given that information, one would surmise that my outlook on tunes would be one of self-loathing frustration and angst. That summation is correct, and said self-loathing and insecurity has plagued me for some time–I would say the better part of the last 10 years. However, such an attitude has led me to a new stance, which I think is valid. For my purposes on this blog, I will refrain from using obscenity, but needless to say, I feel that ALL 3 of the above ideas are blatant and complete [Insert your favorite obscenity here].

First, EVERYONE’s opinion on music is valid and worth as much as anyone else’s, so long as their honest about it– because you know what, The used-record-store owner who is condescending to his young customers and refuses to listen to My Chemical Romance because it’s “corporate” and “stupid” is as ignorant as the 15 year-old who can’t name any members of Led Zepellin but has every album by My Chemical Romance. The very idea of music and its various interpretations/ implementations over the course of human history is far too big for any single person, or institution, or people group for-that-matter to have the corner on the market when it comes to knowledge of what is “best” or “better than” or even “Objectively good”. We all react to tunes differently, and everyone’s reaction is a valid one. That’s my opinion, and I could give a [insert any expletive you choose] of the condescending nonsense of anyone claiming “taste” in a field wherein they could not possibly be more learned than ignorant. Now, this does not mean I am opposed to declining music because you have no interest based on previous exposure, but rather it has to due with the arrogance of thinking some music is “below” them and their “taste”. Just because I can’t stand Blink 182 does not mean that I think those who do have a problem. Maybe I have the problem. I just can’t get into them, but you know what, that’s okay. Frankly, I don’t think it Says anything positive or negative about either of us based on our respective stances.

Second, “that the ‘best’ or only ‘pure’ music is written and performed by the same person/band” is a fine “opinion”, but I cannot grasp that as a “fact of objective musical criticism”. Frankly, it seems to me far too narrow a criteria to view music. Does this belief mean that composers are not “true musicians” because they do not play every instrument? Is Elvis not the “King of Rock” because he wrote little of his material? Does this belief suggest that because producers sample a tune rather than write it themselves, that they are less creative than acoustic guitarists? Is the only pure music Live music, because 9/10 albums go through heavy mixing before being released? This idea that a song’s objective merit is based on its being written and performed by the same individual is so narrow that one who firmly adheres to it is pretty much left with listening bootlegs of live performances. That’s what really happens if you are keeping in line with the stance. Again, this is a totally and completely valid “opinion”, and if you feel bootlegs are the only pure recordings, well then more power to you; but frankly, I can not see this as a way of objectively criticizing or weighing value in regards to songs. Would Aerosmith’s epic “Dream On” be less amazing were the song written by Robert Plant and Jimmy Page instead of Steven Tyler? I don’t think so…But again…that’s my opinion.

Third, I don’t know much about “people in the know” as a people group, but I do know this, all too often, these so-called “authorities” conflict not only with the taste of a great deal of people but with each other. So who “in the know” is the ultimate source of knowledge on “taste”? Rolling Stone? Spin? The New Yorker? Who knows…If 100 people are in the know and 90% of them say it’s good, but the other 10% say it isn’t…and both sides can defend their position…aren’t they both right…And let’s not forget that if we’re going to REALLY talk about music, that no band or musician should receive a “free pass”. If you loathe Clapton’s collaboration with Babyface on “Change the World”, don’t say, “but cause it’s Clapton, it’s alright.” Speak your peace if it ain’t alright. Let your voice be heard. But please, do not for a second think that your opinion of that song is “more valid” because you have Fresh Cream on vinyl, and the person who loves “Change your World” and disagrees with you has no idea who Cream is.

I know this post has been more akin to my ranting than a musing…and that’s why I included both the pictures; but something totally struck me the other day; and I have just gotten that “burr in my saddle” or “fire under my butt” or whatever phrase I’m supposed to use is.

What happened was this. I was at a party, and I mentioned that I loved “Black Magic Woman” by Santana, as heard on Guitar Hero III. A person next to me, who is notoriously opinionated, then put forth that he didn’t get it. He expressed that he does not know why Santana is so beloved; and I completely folded into, “Yeah, I suppose” thinking (a) because of what I like, I cannot have a serious opinion, (b) the person who disagrees me is a musician himself, and (c) he is “in the know” and I am not, so I had better not disagree, otherwise my proverbial ass will be handed to me. But, I paused and said, “No, something about the way he plays strikes me. It works.” I then explained that I fall more into the Santana camp that adores songs like the hauntingly beautiful “Bella” than the hits like “Smooth” or “Oye Como Va”, and the reason I like the songs I do is because his method of playing–whether or not it is as complex as say, Mark Knopfler–still creates a certain a tone and texture that I dig.

And then the oddest thing happened. This person, who is notorious for being opinionated, said, “Oh, I can see that; and if that’s what you dig then that’s cool. I -as a listener- just never got it.” And I couldn’t believe what I was hearing…a person who vehemently disagreed with me still reasonably discussing music. It was something I rarely experience, but coming from this person of all people (known for his opinion) really struck me. (SHOUT OUT here to reader David Weigel whose knowledge of music is expansive in many particular genres yet willingly listens to a great deal based on the recommendations of others and discusses music in a very open and nonjudgmental manor). I then went on to say I appreciated the person’s feedback, and I explained to him that most discussions around music revolve around, “Ugh, how can you like that crap…you need to listen to real musicians like such-and-such, who I just happen to listen to.” or “yeah, this coming from the person who doesn’t like AC/DC” or “Of course you like [insert “crappy” band], you like [insert other crappy band].” He said that he understood the phenom as well and didn’t get it, why people who like, Metallica, think they are better than those who like Journey, who think they are better than those who like Bon Jovi–when he didn’t like any of them. We both just agreed that it made no sense to think your “taste” is better than anyone else’s, if music affects us all so differently.

I don’t know why discussions of bands and songs get the way they do–and film can get this way too, but it seems to be the S.O.P when discussing music–but this elitist attitude is so tired. So, that being said, Welcome to “MUSICOLOGY” here on the stage, yet another feature/category that will yield 1-2 posts then never be touched on again. What I’ll be doing during musicology is essentially the same thing I do during the meviews, giving my opinion, NOT objective criticism, but just my thought about what I hear. I may say that I “don’t get” a song that if your all-time favorite; and if that’s the case, more power to YOU for liking what you like, and I invite you to come into the comments section and teach me. Tell me why you love the song, and let’s leave it at that.

I’ve already begun Musicology posts for the next two weeks, The first two will be the two-part look at The Who: Ultimate Collection, a two-disc greatest hit collection. Check back to catch some good.