Category Archives: Music

Daily Album on CD: ‘Born on a Pirate Ship,’ Barenaked Ladies

This CD is the first of many things in my music collection. It’s the first one I ever (as an adult) that on its release date I raced to the music shop to purchase it and immediately listen to it the moment I got home. It’s also the first one I have had signed by the members of the band. In addition, it’s the first one I ever had to replace due to it getting excessively scratched after years of rough handing.

This is the album that BNL was supporting during the New Year’s Eve 1996 show where I first encountered Paula Cole, and it really was the soundtrack to my first several months of living in NYC after moving up there in July 1996. I can still easily recall listening to this album on my Panasonic Shockman player when walking along the east side of Central Park in the evening while walking back to my apartment on Yorkville section of Manhattan from my job just off of Times Square. While “The Old Apartment” became the band’s first US hit, it wasn’t one of my favorite tracks at the time. Those were “Shoe Box,” “If I Should Fall,” “Break Your Heart,” and “Same Thing.” However, in the years since, my favorite track off the album, and one of my all-time favorite deep cuts by anyone, has become “Just a Toy” — a dark anthropomorphic dive into the mind the marionette Gepetto made just before Pinnochio and the jealousy he harbors against his younger brother.

The other interesting thing about this album is that was released as an Enhanced CD, meaning that it was encoded with Mac & PC software that allowed you to interact with additional bonus material when you put it in your computer. Unfortunately, the experience of using the Enhanced CD features is long gone as neither operating system allows you to play that software anymore. In fact, the Mac OS doesn’t even recognize the file system used on the CD, so it’s impossible to even check out the assorted sound and video files that the software used (this was something I was still able to do roughly 10-15 years ago.)

Daily Album on CD: ‘This Fire,’ by Paula Cole

Opening acts are the crapshoot of going to concerts. Frequently, you’ve never previously heard of the opener, but the fact they are opening for the headlining act typically means that the headliners like them enough to believe that more people should know about them. I’ve gone to enough concerts over the years to absolutely forget a significant percentage of the ones I’ve seen. Others I remember because they were either awful (to my ears) or in the case of one particular band, they were so aggressively boring that I actually feel asleep in my seat during their set. There were a couple who were the reason I actually went to the concert — 4 Non Blondes and Echobelly — and then there was Paula Cole, who utterly blew me away and inspired me to get their most recent album at the next opportunity.

She was actually one of two opening acts on the evening that Barenaked Ladies performed a show at the former Roseland Ballroom in NYC on New Year’s Eve, 1996. Cannot tell you who the other one was, but Cole left a lasting impression. I don’t recall anything about the success of This Fire or any of its singles at that moment in time, but the energy and raw emotion she displayed that evening made you pay attention. Over thirty years later, I don’t recall any of the rest of her setlist, but there’s no way that “Throwing Stones” — my personal favorite of the This Fire album — Cole didn’t play it that night. The memory of her absolutely pounding the final chords of the song out of the piano combined with the way she almost screamed the final lyrics is just too firmly planted in my memory for it not to have happened. That song alone would’ve made me want to get ahold of it for my music library, but the rest of her performance left no doubt that buying the album was the prudent choice.

Oh, BNL was also spectacular that night. It was my second time seeing them live, and thanks to the concert, it was the closest I have ever been to Times Square when the ball dropped (the Roseland was approximately 10 blocks away.)

Today’s Album on CD: ‘Sports,’ by Huey Lewis and The News

(This is a series I originally started on Facebook several weeks ago. This is a revised cross-post. Starting tomorrow I will be posting these here.)

I recently had a random recollection that this was the first album I ever owned (on cassette.) It really is mind-boggling how many hits Huey Lewis and The News had in the ’80s. Before listening to it, my recollection was that they made exceptionally crafted middle-of-the-road pop/rock that was absolutely recognizable as a product of its era, but was otherwise not particularly special. It’s nice background music, but without this little project I’ve embarked upon, I don’t know if I otherwise would’ve listened to this album in any format. However, after listening to Sports in full, I decided I might have been a little harsh with this assessment. A couple of the songs actually held up rather nicely: “If This Is It” and the lesser hit, “Walking on a Thin Line.”

Side note: Hootie and The Blowfish are absolutely the ’90s version of Huey Lewis and The News, only with significantly fewer hits. How well would we remember them if not for the one Friends episode with the five steaks and an eggplant?

My Year in Music (Frak Spotify Wrapped)

To repeat what I said last year in My Year in Music (My Version of Spotify Wrapped), though I have a Spotify account, the way I use the service – which, not coincidentally, I have just canceled our premium family subscription plan to because of the variety of ways it is an absolutely shitsome company – simply doesn’t reflect or capture the overwhelming amount of music listening I do. Because of this, the 2023 Spotify Wrapper inspired me to begin exporting on December 1 of each year the usage/meta data from my actively curated Apple Music library, which contains over 23,000 songs that we actually own. Thanks to some above-average Excel skills, this is now the second year in a row I’ve been able to assemble a report to Spotify’s while denying them the ability to gather the user data needed to both create it and, more importantly, monetize and use it for their own nefarious needs.

So, without further preamble, my 2025 year in music…

Listened for 54,871 minutes (highly enabled by working from home and having music on most of the time while doing so,) or 38.1 days of music. I would like to note that my recent transition into playing whole albums on CD rather than through my music library is not captured in this data.

Played 4,501 different songs (I often simply shuffle the whole library.)

Streamed my top song, “Say Goodbye to Mum and Dad” by Tears for Fears, 41 times.

The top song leaderboard:

  1. “Say Goodbye to Mum and Dad,” Tears for Fears
  2. “Astronaut,” Tears for Fears
  3. “Uptown Funk,” Mark Ronson feat. Bruno Mars
  4. “The Girl That I Call Home,” Tears for Fears
  5. “Dear God,” Black Landlord
  6. “Emily Said,” Tears for Fears
  7. “Landlocked,” Tears for Fears
  8. “Close to Me,” The Cure
  9. “Change,” Tears for Fears
  10. “Wrong Bitch” (extended mix,) Todrick Hall feat. Bob the Drag Queen

The first five Tears for Fears songs were an EP (of sorts) of new material embedded at the start of their 2-disc Songs for a Nervous Planet album, which was otherwise a really good live best-of compilation. I listened to that EP independently of the rest of the album frequently, which caused those songs to dominate the list. Just to see what the Top 10 have looked like without those songs, here are the next five in the list:

  1. “And Love Goes On,” Earth, Wind & Fire
  2. “Turns the Love to Anger,” Erasure
  3. “Self Control,” Laura Branigan
  4. “Sweet Dreams Are Made of This,” Eurythmics
  5. “Echo Beach,” Martha and the Muffins

Moving on…

Listened to 1,161 artists.

Top artist was Tears for Fears. Played their songs 650 times for a total of 2,881 minutes. (This was the second year in a row that they top my list, and it wasn’t even close.

My top artists, based on song plays:

  1. Tears for Fears
  2. Erasure
  3. Pet Shop Boys
  4. Depeche Mode
  5. Barenaked Ladies
  6. Duran Duran
  7. Eurythmics
  8. New Order
  9. Suzanne Vega
  10. Ghost

It’s worth noting that if this was based on minutes played instead, Suzanne Vega would fall out of the Top 10, and The Alan Parsons Project would move into the 10th spot.

Finally, attempting to determine which album I listened to the most is exceedingly problematic, though I feel I have a very good guess as to how Spotify calculated it. So, without attempting to come up with parameters for filtering and sorting the data in an effort to determine it, I’ll just note that there were two albums released in 2025 that I listened to each over a dozen times: Flying With Angels by Suzanne Vega and Skeletá by Ghost.

My Year in Music (My Version of Spotify Wrapped)

As I stated on Bluesky and Facebook yesterday, I only use Spotify to try out new-to-me music before deciding whether I like it enough to purchase it (preferably on CD in order to rip my own high quality digital tracks) and add it to my Apple Music library. Thus, Spotify Wrapped doesn’t properly present my listening this year.

However, last year I planned ahead and at the time Spotify started providing last year’s Wrapped reports to its listeners, I performed an export of the listening stats and associated song data from my Apple Music library. Then when this year’s Wrapped reports went out, I did another such export. Thanks to some decent Excel skills, I was able to create a similar report without having my data mined.

Here are the expanded stats:

Listened for 57,404 minutes (highly enabled by working from home and having music on most of the time while doing so.)

Played 4,922 songs (I frequently shuffle the whole library.)

Streamed my top song, Florence + The Machine’s “Dog Days Are Over,” 40 times.

The top song leaderboard:

1.  “Dog Days Are Over,” Florence + The Machine
2.  “Uptown Funk,” Mark Ronson
3.  “Dear God,” Black Landlord
4.  “Wrong Bitch” (extended mix,) Todrick Hall feat. Bob the Drag Queen
5.  “Gronlandic Edit,” of Montreal
6.  “I Was Made for Lovin’ You,” KISS
7.  “Off the Wall,” Michael Jackson
8.  “Rapture,” Blondie
9.  “My Demons,” Tears for Fears
10.  “West End Girls,” Pet Shop Boys

Listened to 1,183 artists.

Top artist was Tears for Fears. Played their songs 715 times for a total of 3,179 minutes. (This was the year I deep-dived into their catalog, listening for the first time to four different albums, which included this year’s new album of concert tracks plus five new songs.)

My top artists, based on song plays:

1.  Tears for Fears
2.  Erasure
3.  Barenaked Ladies
4.  Pet Shop Boys
5.  Duran Duran
6.  Weezer
7.  They Might Be Giants
8.  The Decemberists
9.  Eurythmics
10.  The Alan Parsons Project

It’s worth noting that if this was based on minutes played instead, They Might Be Giants would fall out of the Top 10 all the way to 14th, and Depeche Mode would move into the 10th spot. TMBG really do write songs that are much shorter on average than those released by nearly all other bands.

A Magical Moment from the Birthday Celebration

I certainly haven’t achieved a rhythm when it comes to taking the time to write or post regularly on the blog, but it’s a good sign that I have a few different blog posts in various stages of completion. In fact, I started this particular entry several days ago and have been meaning to post about it for a couple weeks. It happened during my birthday celebration, which had been postponed nearly two whole months thanks to the extremely untimely death of our hot water heater.

The notable event was made possible by the fact that the wonderful manager at Mac’s Tavern, Erica, essentially allowed Sally and I to control the music for nearly the entire time we were there, and she set it up in a way that ensured that we didn’t have to throw lots of money into the jukebox. Instead, we created a four-hour playlist on my iPod, plugged it into the sound system, and just let it play in its entirety. (Note: that still wasn’t long enough to cover the entire time we were there, but that’s really my fault for not gauging better how long we might be there.)

One of the songs in the playlist – saved for future use – is The Decemberists’ “Ben Franklin’s Song.” Though I absolutely adore it, the song is one that only truly hardcore Decemberists fans or Lin-Manual Miranda fans know. (You can read the story behind the song by clicking here.) Unsurprisingly, very few of Sally’s or my friends would know about this song unless we play it for them. Since the birthday celebration was in Philly, the city that has elevated Franklin to god-like status, playing it felt absolutely essential.

The playlist was put on shuffle, so we truly had no idea when the song was going to play. More than a couple hours into the festivities, we jointly realized it hadn’t played yet. So, we started paying a little closer attention to the music than we had previously. Both of us were simply ready to enjoy that particular song.

When “Ben Franklin’s Song” finally started, we immediately got up, started singing along, and just got into the music. As the first verse completed, we were both surprised to see a woman join us from another part of the room, while demonstratively singing along with the same energy we were. For the remainder of the song, we had an absolute blast together. Frankly, it felt magical. It was the first time either of us met someone else who knew the song, let alone loved it as much as we do.

Before she went back to rejoin the people she came with, the woman (alas, I don’t remember her name) let us know that just as with us, she hadn’t met anyone else who knew and loved the song as much as she did. The moment was just as special for her.

So, thanks to “Ben Franklin’s Song,” I ended up having one of my most memorable moments ever when hanging out with friends at a pub. Given the reason we were there in Mac’s, it just seemed like that the Flying Spaghetti Monster decided to provide something a little something special for the day.

More Bullet-Pointed Goodness

As the title of this post states…

  • Elon Musk’s purchase of Twitter yesterday brought a drastic, tire-squealing reversal to my fleeing Facebook (at least temporarily.) Facebook suddenly became the lesser of two otherwise extreme evils. I’m going to need to rethink my approach to maintaining an online presence. Using this site far more often remains the core to whatever I decide moving forward, but the fact its that while I have more control over how I post here, posting 2-3 sentence (or smaller) entries on this site doesn’t feel right. Furthermore, I’m not aware at this time of a WordPress feature that allows me to quickly and easily share photos, and tag the location and people I’m with the way Facebook does. Admittedly, Twitter doesn’t have a nice easy way to simultaneously share, manage, and curate photos either, but the smaller posts were right at home there. In regards to the Twitter-sized posts, I certainly should simply get over myself and start putting them on this site.
  • Last year I watched 50 episodes of MST3K and thought that it would be difficult of top it. Last night, I watched my 24th so far this year. At this rate, this 2022’s total will be over 70 movies riffed by MST3K or one its alumni riff groups. The frightening thing is 120 films isn’t even half of what I own. Yes, I own a significant collection of crappy movies containing mocking commentary.
  • As much as I’ve fallen in love with Tears for Fears’s new album, The Tipping Point, I couldn’t bring myself to buy tickets for their show at The Merriweather Post Pavilion this summer. By the time I looked at ticket prices, lawn seats were the only realistic option, and frankly, if I’m going to sit for hours at a concert, I’m going to need a proper chair. I’ll try to catch them the next time a tour brings them through the area.
  • Text from a post I made on Twitter yesterday: “I’m on day #17 of a planned dry month. I don’t think I’ve ever come close to being this dissatisfied with a healthy lifestyle choice.” Seriously, I need to come up with some other coping mechanisms for experiencing this country’s descent into true dystopian authoritarianism. Given that my two favorite means of coping — the other being stress earring — are currently off the table, I need to figure out another means to deal with maintaining awareness of what is happening in the world around me.
  • Rather than simply imply it, I’m going to state it outright: living in America right now must be an amazing analog for what it felt like to live in Germany in 1932. Either that, or we are in fact in The Bad Place.
  • As was true yesterday, more in another post later today, or tomorrow.

Mini Movie Review: ‘Blinded by the Light’

One of many reasons I’ve always felt like an alien living amongst human beings: my love for Bruce Springsteen’s music. Yes, he is one of the most popular rock stars on the planet today, but it always seemed to me that most of my generation didn’t care much for him after the Born in the USA period ended. Because of this, it was awesome watching a movie about a teenager in the late ’80s embracing Springsteen’s music even though it marked him as incredibly uncool — a sentiment I understood intimately. It needs to be noted though that, Javed, the lead character in Blinded by the Light, loved Springsteen even more than I ever did — I didn’t pay close attention to Springsteen’s lyrics the way he did until I was in my mid 20s. Nonetheless, identifying with the son of Pakistani immigrants to the UK in the same way he identified with a Baby Boomer rock and roller from New Jersey certainly felt like movie magic.

The Increasingly Inaccurately Named “Song a Week,” #4

“Just take those old records off the shelf
I’ll sit and listen to ’em by myself
Today’s music ain’t got the same soul
I like that old time rock ‘n’ roll”

— Bob Seger & The Silver Bullet Band, “Old Time Rock & Roll”

“Don’t leave me this way, no
I can’t survive, I can’t stay alive without your love
Baby, don’t leave me this way”

— Harold Melvin and the Blue Notes, “Don’t Leave Me This Way”

There’s an old hoary chestnut about how you become more conservative as you age. The kernel of truth behind that adage doesn’t necessarily apply to political views; in fact, one can become more liberal with age even if they started out solidly liberal. The truly proper way to interpret the belief is to acknowledge that our preferences, tastes, and inclinations calcify with age — our desire to try new things withers and we become more risk adverse. However, that doesn’t necessarily mean we don’t find new ways to enjoy the things that have always given us pleasure.

Music is a wonderful example. Every generation thinks the music their children enjoy is awful. In the ‘50s, parents hated the emerging rock & roll their teens listened to. Then, when their kids were teenagers, they didn’t care for rap and the other forms of music emerging during the ‘80s. Now those former teenagers, such as myself, are themselves three decades years older and find it difficult to appreciate the artistic merit in the autotuned, overly-produced sounds of what passes for most current pop music. Yet, each generation of parents who still loves listening to music continues to seeks out new material to enjoy.

For this particular dad, the search predominantly takes two forms. Outside of the new (to me) artists I’ve encountered on various NPR programs, it’s easiest to simply follow already beloved artists and listen to their output, no matter how entrenched they may be with their sound and style. Unfortunately, no matter how hard musicians try, the overwhelming majority of them have well-delineated range they simply work best within. They all typically mine this zone for everything it’s worth. The ones that don’t simply stay within their comfort zone then typically work out from the margins while simultaneously reworking/reinterpreting old themes and even rearranging old favorites. Springsteen fans, for example, can tell you all about the many songs he has reimagined using new arrangements. Those artists that attempt anything radically different, more often than not, frequently encounter indifference from the long-time fans that can become, in worst case scenarios like Metallica, utterly hostility. A few truly good artists successfully manage to expand their repertoire, but they are rare

The other option: explore the back catalog. Admittedly, this wasn’t easy before today’s era of streaming music. Because the current rock/pop paradigm literally began in the ‘50s, a teenager from that time already knew a good amount of what already existed when faced with changes in the direction of pop/rock of their children. However, for this ‘80s teenager, and those that came later, there was three decades or more of music that hadn’t appeared on the current cultural radar for some time — at least not on the radio stations that predominantly focused on new music, regardless of musical genre. Yes, the cultural stepping stones, such as The Beatles and songs such as “Hotel California” become timeless standards. However, there remains plenty of good, older music that younger listeners need to actively seek out. 

Personal case in point: Harold Melvin & The Blue Notes. Despite spending a significant portion of my childhood and early adult years living in the greater Philadelphia area, their hometown, until recently this band was a great unknown. Knowing that Teddy Pendergrass was a R&B singer of note did not equate to awareness that he was the lead singer of The Blue Notes during the early ‘70s, the period in which they had many of their greatest hits. Even worse: the Blue Notes song I knew best was a cover version of their original.

Nothing against Thelma Houston’s disco cover “Don’t Leave Me This Way.” It’s a solid dance version of the song. However, the full impact of the lyrics get lost in the translation: in comparison, Houston barely implies the emotional urgency and anguish Pendergrass evokes. Hell, it feels like Houston will stay alive without her lover by dancing night away. Pendergrass, on the other hand, sounds he absolutely won’t survive being left that way; he sounds distraught — especially during his various exclamations and pleads during the fade out.

It seems odd that Houston’s cover, and not the original, is the one enshrined in the cultural metaconsciousnes. Yes, it was a bigger hit, but once you’ve heard Harold Melvin and the Blue Notes’ original recording, it feels somewhat milquetoast — though nowhere near as much as 52EACCAA-FE75-42CC-81FA-10EDCC3DD5F9the original recording of “Try a Little Tenderness” sounds when compared to Otis Redding’s definitive reinterpretation. Though I’ll happily listen to her Houston’s dance version in the right circumstances, I’ll be thinking about Pendergrass’s whenever I do so.

Harold Melvin and The Blue Notes
”Don’t Leave Me This Way”
Wake Up Everybody
1975

Hall of Songs: 2019 Inductee

Song a Week, #3

“While Mr. Kim, by virtue of his youth and naiveté, has fallen prey to the inexplicable need for human contact, let me step in and assure you that my research will go on uninterrupted, and that social relationships will continue to baffle and repulse me.”

— Dr. Sheldon Cooper, “The Jerusalem Duality,” The Big Bang Theory

“If I had a mind to,
I wouldn’t want to be like you.
And, if I had time to,
I wouldn’t want to talk to you.”

— Alan Parsons Project, “I Wouldn’t Want to Be Like You”

I spent a significant portion of my teens and early twenties devouring copious amounts of Isaac Asimov’s fiction. Thankfully, his decades of prolific output meant it was an enjoyable Herculean task. However, the short stories and novels that focused on his Three Laws of Robotics, and the way those laws interacted and clashed with each another, proved to be more than a source of great entertainment. In addition to being logic puzzles, they provided great insight into humanity and how we as species interact with each other.

In particular, stories structured upon The Three Laws can be seen as an analogous examination of American rights and liberties. Much like those rules governing robotic interaction, various individual rights come into conflict with those of other individuals and with society as a whole. That’s one of the primary drivers for our laws and legal system: peacefully resolving and codifying the solutions to conflicts that inevitably result from differing sets of rights and liberties. Unfortunately, people often vehemently assert their personal rights, staking an absolutist stance for them and implying that everyone else’s rights, as well as society’s as a whole, are irrelevant.

Near religious fervor for certain rights demonstrates how easily such rigidity tramples upon the rights of others. First Amendment absolutists turn a blind eye to the fact that proponents of extreme hate speech take advantage of that freedom in ways that purposefully and deliberately undermine civil public discourse. Second Amendment absolutists refuse to acknowledge that obnoxiously embracing open carry laws creates fear amongst law-abiding citizens who understandably view anyone openly carrying a gun as a lethal threat. Fourth Amendment absolutists think that police brutally take liberties with the leeway our court system has provided them in regards to warrantless searches, thus trampling over legal protections supposedly guaranteed to Americans in other parts of the Constitution.

Actually, they have a point. We need more Fourth Amendment absolutists.

The refusal to acknowledge or even care that mindlessly asserting one’s own rights delegitimizes the rights of others is a symptom of the fact that our species is selfish, shortsighted, tribal, and disconcerting adept at dehumanizing others. Yes, we are capable of creating breathtaking beauty and overcoming our worst base instincts. However, it’s far too easy to wax rhapsodically about the long arc of history bending towards justice. Despite 6,000 years of work on improving civilization, far too many of those negative traits continue to plague us, as shown by the inauguration of Trump and the subsequent behavior of both his administration and supporters. Emboldened religious rights extremists currently claim the right to legally treat others, specifically the LGBTQ community, as subhuman. Similarly, events in Charlottesville in 2017 made it blindingly obvious that racism never really went away. It simply changed its clothes, devised new dog whistles, created new secret handshakes, and hid in the dark alleys until it felt safe to come out again.

This kind of thinking and behavior bewilders me. All those hours spent reading stories about The Three Laws, as well as countless works by other authors, greatly shaped an empathetic, humanist worldview. It instilled an innate sense of understanding that there needs to balance — nothing is absolute. As Asimov showed in many of those stories, erroneous interpretation of and emphasis in regards to the interpretation of those laws can cause great harm. In fact, over three decades after he formulated them, Asimov realized the need for a Zeroeth Law, one that stated that all the other laws relied first and foremost upon what was best for humanity. In other words, the needs of the many outweigh the needs of the one.

As much those stories helped to nurture a sense of empathy, the odd thing is that it also helped me realize how much I feel like an outsider amongst my own kind. One of my favorite self-descriptors is “misanthropic secular humanist.” I acknowledge the long arc of history and am awed by what humanity is like when at its best. However, the tribalism, selfish, short-sightedness continues to appall and repulse. It almost seems like those who embrace those traits are robotically eschewing empathy and care for the common good.

I don’t want to be anything like them. 

Yet, Asimov wrote plenty about making robots more human. Not surprising given that pop culture is filled with the robots who yearn to be human — Data from Star Trek: The Next Generation being a notable example. But, does this necessarily follow? The Alan Parsons Project’s second album, I Robot, loosely based on Asimov’s first collection of robot stories, I, Robot, suggests otherwise. “I Wouldn’t Want to Be Like You,” the album’s second track, displays the disdain I Robotthat one robot feels towards human beings. Any rational being wouldn’t want to be around those who are antagonist and/or hurtfully indifferent towards others, much less become them. I don’t blame it one bit.

The Alan Parsons Project
“I Wouldn’t Want to Be Like You”
I Robot
1977

Hall of Songs: under consideration for 2019 inclusion