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Last Active 10-23-20 2:50 pm
Joined 06-09-09
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| Earworms Vol. 1
Earworms is a series that highlights songs that I love: what I love about them, the memories they may unlock, the feelings I associate with them, etc. To put it simply, it’s drawing attention to great songs I want to talk about. | | 1 |  | Mark Lanegan
Whiskey For the Holy Ghost
"Borracho"
Love, love, love the coarseness in Lanegan’s voice on this song, particularly in his annunciation of the word “done” when he laments “And I’m sorry for what I’ve done” in the second and fourth verses. “Borracho” is laced with internal strife, regret and a sense of desperation in the face of fighting one’s personal demons. It’s fitting that this song is featured on an album titled Whiskey For the Holy Ghost because it sounds like all Lanegan did during these sessions was smoke a pack of cigarettes each day and down heavy spirits in order to achieve the rasp in his vocals. “Borracho” does a great job of alternating its intensity with each verse, exemplified by both the instrumentation and Lanegan’s performance. The song starts off with this sort of despondent reflection, slow in its pace and softer in terms of the gruffness behind the guitars before dialing up the fervor with Mark’s voice becoming more grating and the guitars and drums matching his energy. | | 2 |  | John Lee Hooker
The Real Folk Blues
"Let's Go Out Tonight"
This is such a barnburner of a blues song that you can’t help but tap your foot to. I love the swing nestled inside the groove. That sizzling guitar. The sway in the percussion. The lively piano. Then you have the gruffness in Hooker’s vocals and the bullishness in his lyrics, which exude such a confidence that adds so much swagger to an already raucous song. I can imagine everyone enjoyed themselves during the production of this one. How could you not? Everything about “Let’s Go Out Tonight” makes me want to strut into a dancehall and cut a rug out on the dance floor. Just let loose and have a good time. | | 3 |  | Tony Rice
Church Street Blues
"Church Street Blues"
Artists like The Tallest Man on Earth and Nick Drake have always dazzled me with their prowess on the acoustic guitar, but Tony Rice deserves his flowers as well. Right from the opening of “Church Street Blues,” it’s hard not to feel overwhelmed by how smoothly Rice picks his six-string, especially at the rapidity he’s changing notes. Songs like this always make me marvel at how artists are able to come up with melodies as seemingly complex (at least from a technical standpoint) as this while also managing to sing at the same time, but Rice manages to pull this off so effortlessly to the point that it’s almost irritating (in an envious way). What I also love about “Church Street Blues” is Tony Rice’s vocals, which possess this purity and earnestness that beautifully compliments his pace of play on the guitar. The combination provides a wonderfully soothing listen. | | 4 |  | Justin Townes Earle
Kids In The Street
"Maybe a Moment"
When we’re finally out of the frigid weeds that are the Winter months, “Maybe a Moment” has typically been one of the first songs I’ve put on to signify that Spring has arrived. This isn’t the type of sound you’d usually hear from Justin Townes Earle, who viewed himself as an old soul who focused on preserving the spirit of old-fashioned country and blues music. In contrast, “Maybe a Moment” has more of a radio-friendly feel with a much more vibrant sound, but it works extremely well and is a nice stylistic change for Earle. The bright guitars, golden mandolin and radiant organ work mesh nicely with Earle’s laidback Southern drawl to create a breezy effect that feels like drinking a glass of sunshine. | | 5 |  | Prince
Controversy
I still need to do a deeper dive into Prince’s classic period, but “Private Joy” is amongst my favorite songs of his, maybe even within my Top 3. As soon as those synths burst through and the “oooooh’s” come in, I’m ready to get up and start dancing. There’s such a vibrant buoyancy to this song that I simply adore and Prince emanates this effortless charisma and charm that is impossible not to gravitate towards. The line “You belong to Prince” in the last verse feels prescient given how much he captured everyone’s attention for the remainder of his career. Controversy might get lost in the mix when it comes to discussing Prince only because albums like 1999 and Purple Rain immediately followed it, but with songs like “Private Joy,” it’s not hard to see that a master was in our midst on the precipice of greatness. | |
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