[Kace Presents]The Alphanumerics Of Modern Music: The Kace Era

[Kace]

M is for Megadeth.

Ever been fired? It happened to Dave Mustaine once. In the early days of Metallica, Dave was there with the band to Hit The Lights. Eventually, Dave would be made to hit the road due to a number of issues, both with himself and the rest of Metallica. Undeterred, Dave would eventually form Megadeth. Since 1985, Megadeth has been one of the preeminent bands in Metal. They have released thirteen studio albums and only one, their first failed to crack the Billboard 200. Five of those albums would rank in the Top 10 of the 200. And while only "Symphony Of Destruction" would make the Billboard Hot 100, peaking at #71, Megadeth has managed to do just fine when it comes to the Mainstream Rock Tracks chart with 19 Top 40 songs there. They have also found International popularity.

Other highlights have included being part of one of the better multiple artist compilation non-Soundtrack albums, The Beavis And Butt-Head Experience as well as having one of the better songs on the Last Action Hero Soundtrack. While the film wasn't exactly spectacular, the Soundtrack at least rocked and "Angry Again" was a big part of that. And there was that time "Crush 'Em" was used temporarily as Bill Goldberg's theme in World Championship Wrestling.

"Sweating Bullets" is the music video featured. I suppose "Symphony Of Destruction" could have worked, but I've always liked this song and the music video with multiple Daves fighting themselves and one another inside of what appears to be some kind of prison. And it just rocks.

http://www.youtube.com/watch?v=DIiAr...eature=related
"Sweating Bullets" by Megadeth

[Kace]

M is for Melissa Etheridge.

I remember being told by a friend a while back about the Melissa Etheridge Theory. The theory equates the level of Melissa's creativity and musical awesomeness with the bitterness of her relationship. If there was a breakup leading into the writing and recording of her next album, chances were it was going to kick several shades of rear. Whether that's true, I'll leave to the experts to decide. On a related note, Rawwr.

Melissa's songs of relationship issues have become the stuff of legend among the fandom. Songs like "Bring Me Some Water," "Like The Way I Do," and "Your Little Secret," among others are favorites and for a few out there, themes. There was her Yes I Am album with some of her more memorable songs like "Come To My Window," "If I Wanted To" and "I'm The Only One." Speaking of albums, Melissa Etheridge has been a mainstay on the Billboard 200 since her debut in 1988. Heading into 2012, she's released 10 albums, 1 Christmas related album and 1 Greatest Hits compilation and all scored on that chart, only the Christmas related one failed to make the upper echelon of the list.

Not being afraid to pour out her soul and personal experiences into song lyrics, this also meant that her battle with breast cancer would become topical in her music, giving the world "I Run For Life." She's also touched on sociopolitical issues, either in song, speech or the occasional interview. And there's "Kiss Me," which is just sexy.

Getting back to the Theory though, maybe it's spot-on, maybe not. I don't know for sure. I do know one thing, though. When I listen to "Like The Way I Do," it registers. Either way, Melissa Etheridge is really good at what she does.

The music video is "Your Little Secret." Yes, "Come To My Window" tends to have a lot of personal meaning for a lot of people and it's arguably her signature song. Yes, "Bring Me Some Water" rocks. Yes, "Nowhere To Go" inspired some friends of mine to start up some super cool internet radio stations. "If I Wanted To" was a song I once considered to be quite possibly my own Melissa Etheridge theme, because most everybody has one. I get all that. But "Your Little Secret" is the first song I think of when it comes to her. It just flat out rocks, appears to pay off some of that theory mentioned earlier and the music video, which started getting a lot of MTV airplay during a great time, late 1995 is a bit in-your-face in terms of the content.

Sorry, Mr. Cathy, but she's just not that into you. Now make me a sandwich...unless it's Sunday.

http://www.youtube.com/watch?v=1_RV2oTT6IQ&ob=av2e
"Your Little Secret" by Melissa Etheridge

[Kace]

Men At Work. Australian for 1980s Band.

Regardless of AC/DC or INXS or Kylie Minogue or Midnight Oil or even the Easybeats or Ben Lee, if someone asks me to name an Australian music artist off the top of my head, chances are the answer is going to be Men At Work. Well, maybe Joe Dolce, because Aussies just love that dude.

Men At Work really wasn't around that long in terms of relevance. They were part of that wacky first half of the 1980s, where Pop Music had become something akin to the Wild West. Bands of desperadoes from all over converged onto radio and MTV to make their mark as the Poppest Gun in the West. For a brief time, it looked like Men At Work was going to be in the running. In the United States, they're remembered mainly for three songs, "Down Under," "Who Can It Be Now?" and "Overkill," the latter of which would be covered years later by Lazlo Bane, along with Men At Work's Colin Hay. And even though we tend to only remember those songs being hits due to some retcon effect worthy of Mephisto or Hal Jordan, they did have others, like "Be Good Johnny" and "It's A Mistake," among others. There was this fascination we Americans had with Men At Work, brief as it was. That fascination would lead to Crocodile Dundee...which would lead to Outback Jack and if you know me well enough, you know which Outback Jack I'm talking about. Men At Work became arguably the most fascinating form of Aussieness to the States since Rolf Harris.

And thanks to this instinctive need all humans have to appeal to stereotyping...Mate. There, I said it.

"Down Under" is the music video of choice and Men At Work's signature song. It was #1 here in the States on both the Billboard Hot 100 and the Hot Mainstream Rock Tracks charts. As one might have guessed, it's a song about Australia though it tends to lend more to sociopolitical commentary than perhaps initially realized. I guess Men At Work was just a little more subtle in the details than Midnight Oil.

http://www.youtube.com/watch?v=MeG-hNXXy6I
"Down Under" by Men At Work

[Kace]

M is for Metallica.

Not everyone can be Metallica. Not everyone can make the concept of Metallica work. The reality that is Metallica is a combination of effort and circumstance. Somewhere in an alternate universe, there is no Metallica, because Lars Ulrich decided this whole tennis thing was going to work out for him. Instead, we have this reality and we should be thankful for it as it involves Metallica existing.

It started with "Hit The Lights" and its inclusion on the compilation Metal Massacre Vol. 1. Lars Ulrich and James Hetfield would lead the band and make some changes along the way. Arguably the most celebrated lineup would take place not long after the departures of Dave Mustaine and Ron McGovney. Filling in those slots would be Kirk Hammett and the bassist's bassist, Cliff Burton.

In the 1980s, Metallica was the personification of Metal. With power, glory and story, their albums Kill 'Em All, Ride The Lightning and Master of Puppets are must-haves for any metalhead. Songs like "The Four Horsemen" and "Creeping Death" would serve as Sunday School lessons for kids not into church. The last album of the 1980s, ...And Justice For All would have a new bassist, Jason Newstead in the wake of Cliff's death in 1986. Cliff Burton's death was obviously sad. It led to a period of mourning and anger for the rest of Metallica and eventually, tryouts for a new bassist. Many attempted, including Les Claypool who would become better known as the guy from Primus, but Jason would get the gig. ...And Justice For All would feature "One," which would also introduce Metallica to the idea of music videos.

Then came 1991 and Metallica wanted to change with the times. It was a new decade and change was all around them, especially in Rock. Flamboyant attire was being replaced with flannel and the bombast was giving way to something more guttural and frighteningly real. With Bob Rock at production, Metallica would show the world their ability to adapt to a newer sound that could still be their own. Their self-titled album of 1991, also known as, "the Black album," would be their first of five consecutive studio albums to hit #1 on the Billboard 200. Songs like "Enter Sandman," "Sad But True" and the ballad, "Nothing Else Matters" would become iconic for their time.

With that, it was on to take over the world as Metallica went everywhere. Only two things could slow the band down at this point and both occurred at once. One was teaming up with Guns N' Roses which Jason Newstead would refer to in an interview as, "We learned what not to do as a rock band," and the infamous Montreal incident of the Guns N' Roses/Metallica Tour. James Hetfield was in the midst of playing the early guitar portion of "Fade To Black" and as it turned out, he was standing a little too close to where pyrotechnics would be shooting out. James would be injured and the Metallica portion of the show would abruptly end. To make matters worse, Axl Rose had his own issues that night, mainly with his voice so Guns N' Roses would also have a very brief show. Fans were angry with all the money they spent and promptly rioted. I'm guessing Lars and Axl don't talk to each other much now.

Eventually, James would recover, Metallica's worldwide tour would come to an end and the band would take some time off to recover. Somewhere along the way, they got haircuts and decided that while James and Lars still got to dictate much of the artistic direction, Kirk and Jason would get to have a little more say as well, leading to Load and ReLoad. It would be another instance of Metallica reinventing themselves just because they could. After that...honestly things got blurry for me when it comes to remembering them.

They had some great EP's. There was Garage Inc., their live releases, their Strings & Metallica performance and "I Disappear" which would be on the Soundtrack of one of the Tom Cruise Mission Impossible films. And then the 2000s came. For some reason during that decade I just didn't care for the stuff being released. It was during this time that Jason would leave and be replaced by Robert Trujillo. There was St. Anger and Death Magnetic. There was that Guitar Hero: Metallica stuff. And something about Lou Reed. But while I, for whatever reason ignored Metallica for most of the previous decade, there's no ignoring their efforts in the 1980s and 1990s.

While I may catch flack for not going with "One" or "Enter Sandman," the music video of choice is "Until It Sleeps." I remember I was staying in Bakersfield at the time and the local rock station (the mainstream one) debuted the song on the air by playing it twice in a row. I remember that day almost in exact detail, including going to the local comic book store that was located next to Mr. Tibbs' Ribs.

Those ribs were excellent, by the way. Nice comic book store, too.

Then I got to watch the music video and even though Metallica has made some great videos with Matt Mahurin, like "The Unforgiven," "King Nothing" and "The Unforgiven II," "Until It Sleeps" would be directed by Samuel Bayer, who's pretty darn good himself. There's Biblical stuff involved, which given Metallica's musical past shouldn't be that surprising. There are elements of the story of Adam & Eve as well as Jesus' crucifixion. What really makes the video though is the shoutout to Heironymous Bosch's epic triptych, The Garden Of Earthly Delights. From an artistic standpoint, that's a serious thumbs up and that triptych is still discussed to this day when it comes to properly interpreting every inch of it. Kinda like Metallica and their artistic mood swings.

http://www.youtube.com/watch?v=MHVv7Mz2_Bo&ob=av2n
"Until It Sleeps" by Metallica

[Kace]

M is for Michael Bolton.

In hindsight, Michael Bolton probably wasn't supposed to become a big deal in the Adult Contemporary realm. Between 1975 and 1985, he was more interested in Hard Rock. He would reach something of an apex in 1983 with "Fool's Game" and two years later with "Everybody's Crazy." The problem with Michael was that he had too much appreciation of classic Rhythm & Blues. He was aiming towards KISS while digging on Percy Sledge. The image was Ratt, but the love was for Otis Redding. Two years after "Everybody's Crazy," Michael, either through his own prerogative or perhaps with some nudging from his label decided it was time to go into that other direction. It turned out to be a very smart move.

Since 1987, Michael Bolton has become a name synonymous with Adult Contemporary and Hot AC. He had big hits of his own and he had big hits that were covers. It's rather bold attempting to cover "(Sittin' On The) Dock Of The Bay" and "When A Man Loves A Woman," but Michael not only did that, but both became big hits. He was able to cross over into Carolina Beach Music territory with "Love Is A Wonderful Thing," and with songs like "How Can We Be Lovers?" and "Steel Bars," showed that even without the sudden veering off into the Contemporary, this is what he would have eventually sounded like when it came to Rock.

Michael also became a go-to guy for love songs, especially with "Said I Loved You...But I Lied." With all of this success came the fame. He became a darling for the Oprah Generation and didn't have to worry about empty arenas for his concerts. On the flipside, he became the butt of jokes, most prominently from Mike Judge, who had at least two examples of his anti-Bolton kick. One example was Beavis and Butt-Head freaking out at seeing Michael's "Everybody's Crazy" music video, which is still one of my favorite moments from that show. And if you're a fan of the film, Office Space then you already know the other example.

Still, it's hard to deny his success. His Time, Love And Tenderness album reeled off 4 consecutive #1's on the Hot AC chart. Michael has carried his success into the 21st Century and if that's not enough, he was also one of the writers for the song, "Forever" by KISS. So even the KISS Army has to show some love for Mr. Bolton.

"Steel Bars" is the music video of choice and oddly, his least successful single from Time, Love And Tenderness, only making it to #7 on the Hot AC chart. Still, that ain't bad. I've always loved the song and that's one of the frustrating things about Michael Bolton. There were songs that I just loved to listen to automatically and there were others that just made me cringe for the longest time when I heard them. Michael kinda had the Dale Earnhardt Complex in that he or his songs were either loved or hated. There didn't appear to be much for middle ground, especially since whatever room was left over would be occupied by thousands of screaming ladies in the audience. And isn't that supposed to be one of the perks of being a rock star? Clever, Michael. Very clever.

http://www.youtube.com/watch?v=1xd0X...feature=relmfu
"Steel Bars" by Michael Bolton

[Kace]

M is for Michael Jackson.

Of all the entries on this 365 artist, year long list, this is one I admit to dreading for whatever unknown reason. Not because I don't like Michael Jackson or his music as it's just the opposite as far as that goes. He's one of those artists I grew up on, along with other kids of not just my generation, but others. From his childhood as part of the Jackson 5, all the way to his death where his life up to that day was something of a weird sideshow for tabloid junkies, many a child was raised in some fashion on Michael Jackson. So it's not that.

I think what happened was that while anticipating getting to this entry, I realized that no presentation was going to be just right. It's as if I became overcome with the challenge of being a perfectionist. Normally I would just go, "Okay, I'll mention some Billboard success, some impact on the music industry, some of that biographical stuff, maybe a personal tidbit and call it a day." But this is Michael Jackson and I'm not sure that would be good enough for this entry. The closest I've had to this feeling in terms of other entries were Def Leppard and Nirvana, but again...this is Michael Jackson.

It sucks knowing that no matter what I type here or what music video I spotlight, I'm going to second guess myself. I just know it. Look, he's the, "King of Pop," for a reason. Quite frankly, I'm not sure he had a choice. He was young and had to grow up in a hurry and his best friend at one point was a rodent. He was one of the most famous children in the world and his only option was to succeed.

Michael would be with the Jacksons (formerly the Jackson 5) for a time, but would spend more time striking out on his own. It became a very important thing in music history when he did. In 1979, "Don't Stop 'Til You Get Enough" was unleashed and Michael's career was heading into the stratosphere. From 1979 to his death, Michael amassed 11 Billboard Hot 100 #1's. He defined and redefined Pop Music for a generation. He showed what could be done when it came to endorsement deals, something another Michael (Jordan) would also show the world. He became a bit of an isolationist and built himself a huge playground in his backyard, just because he could and he didn't feel like playing adult for too long, even while actually being one by then. And then his hair caught on fire.

From that moment until the end, Michael found himself in Tabloid Hell. Rumors, accusations and something akin to insanity followed him. He continued recording when he could and became an enigma for his time. He visited the White House. He performed a Super Bowl Halftime show. He had movies and even a video game. He had legions of fans, young and old and was an American Idol in music long before such a concept was molded into a TV contest.

Yet despite all that, I still feel this uneasiness. I still feel as if there's something not quite right. Maybe it was the accusations of one thing or another. Maybe it was the awkwardness of being asked some seriously personal questions about his love life. Maybe it was the lunatic fringe of his fandom. But at some point, somewhere, Michael's very existence became something close to pariah-like. There was always this doubt about something. His character, his surgeries, whether he got along with family members, God knows what else. Maybe it's the fact that to this day, the mere mention of his name can still draw scorn from people and way too exuberant adulation from others.

I do know a couple of things. Michael Jackson made Early MTV mainstream once they decided to start playing his music videos. And when he died in 2009, I was pretty bummed about it for a while. Speaking of his death, maybe that's what it is. Michael had an uncanny ability to steal the spotlight. It was like that from the beginning. From his Jackson 5 years to Michael Jackson's Thriller on MTV to his debuting of music videos on Network TV (and the occasional controversy) to the scandals and the marriages and fathering of children and his reclusive nature clashing with his longing to always perform in front of the same crowd he felt shy around...all the way to his death, he stole the spotlight.

I can still remember this macabre sense of humor moment where I picture people have gathered outside in Los Angeles. They're mourning the death of Farrah Fawcett. They've set up the vigil and they have their candles. Everything is solemn. Then word gets out that Michael Jackson may have just died and suddenly that vigil turns into a mad scramble. Why? Because even when it comes to dying, nobody could steal the spotlight like Michael Jackson.

By the way, did I mention that Michael once teamed up with his sister, Janet Jackson to record "Scream?" The music video for that became the most expensive ever made in 1995...only a month after Madonna had set the mark with "Bedtime Story." That thing about stealing the spotlight? Yeah, that.

I don't know what his legacy is though I imagine it's questions that'll never be answered and constant melodrama involving family members. I'd like to think it's his impact on Pop Music itself and how different and probably not as good it would be without him. I'd like to think that.

I'd like to.

"Billie Jean" is the music video of choice. For what it's worth, "Stranger In Moscow" is my favorite song by him. "Leave Me Alone," my favorite music video. Michael Jackson's Thriller, based on the song "Thriller" is fun to watch though I consider that more of a short film than a music video. Yeah, I'm a bit anal retentive like that.

"Billie Jean" was a big deal. August 1st, 1981 at Midnight ET, MTV launched. It was great and it was different. But mainly it was Rock and New Wave. Rhythm & Blues Pop didn't really have much of a place and seeing a black lead singer on MTV was just one of those things that didn't really happen, or if it did it was rare. That changed with "Billie Jean" becoming a regular video on there. It helped Michael, but it also helped bring MTV to prominence as they were more than just a niche concept. They were mainstream now and for a while, it was the channel to watch on cable (well, except for WTBS on Saturdays at 6:05 PM ET). MTV became a goal for artists, not just in Rock and New Wave, but also in all shades of Pop Music. Christopher Cross and Melissa Manchester faded into the background without the cool music videos to check out while Murray Head and Billy Ocean are still remembered, because they were able to understand the whole music video thing. "Billie Jean" opened things up and music videos finally became the cool thing to do. It's fine to credit the Buggles or maybe even Queen or Bob Dylan for helping make the idea of music video become a thing, but Michael Jackson made it a cool thing.

http://www.youtube.com/watch?v=Zi_XLOBDo_Y&ob=av2n
"Billie Jean" by Michael Jackson

[Kace]

M is for Michael McDonald.

Whether it was during his time with the Doobie Brothers or his years since as a solo act, Michael McDonald has brought his own brand of Blue Eyed Soul to music. While with the Doobies, Michael was able to help them achieve success with songs like "Takin' It To The Streets" and "What A Fool Believes." In 1982, Michael would venture on his own, having big hits like "I Keep Forgettin' (Every Time You're Near)" and "Sweet Freedom." There were also his collaborative efforts like "Yah Mo Be There" with James Ingram and his biggest hit, "On My Own" with Patti LaBelle which not only scored #1 on the Billboard Hot 100, but also #1 on what is currently known as the Hot R&B/Hip Hop Songs chart. That's right, Michael knew how to keep it real. He had soul!

In the 2000s, Michael would show his appreciation for classic Rhythm & Blues, recording the albums Motown and Motown 2. I like his cover of the Four Tops' "Reach Out, I'll Be There."

"I Keep Forgettin' (Every Time You're Near)" is the music video of choice. It was his first solo hit and the first sign that he would be just fine without his former brothers Doobie.

http://www.youtube.com/watch?v=c2iFqcFcdBU
"I Keep Forgettin' (Every Time You're Near)" by Michael McDonald

[Kace]

M is for Mike + The Mechanics.

The idea of all-star groups isn't new. Collaborative efforts in modern music have been around since practically the beginning. The mid-1980s to mid-1990s had a fair share of them. Damn Yankees, Temple Of The Dog and the reunited version of New Edition are just some examples. Then there's Mike + The Mechanics, which by the way also serves as Mike Rutherford's second entry on this list.

Mike's main band, Genesis was such and on-and-off thing in the 1980s that the other guys needed something to do. Peter Gabriel was already long gone from the group as a solo artist. Phil Collins would take turns between solo work and Genesis work. Tony Banks also had is own side project work. Mike Rutherford decided to team up with Paul Carrack.

Paul Carrack had been part of some other bands including Ace, Roxy Music and Squeeze. He would also record a big solo hit, "Don't Shed A Tear." Mike and Paul would gather the rest of the group, forming Mike + The Mechanics and in case you're wondering, the plus-sign is pronounced, "and."

For the latter half of the 1980s, Mike Rutherford would split time between hanging out with his Mechanics and being with Genesis. As far as this group goes, it all started with "Silent Running (On Dangerous Ground)." They garnered attention and popularity on both sides of the Atlantic, reaching their peak in 1989 when "The Living Years" would reach #1 on the Billboard Hot 100. "The Living Years" would turn out to be a double edged sword for the group as people would still be stuck on it in the States, ignoring subsequent singles released after it. They would continue to be popular in the United Kingdom and to a lesser extent, Canada and Germany, but without the American support it just wasn't the same, a lesson that would be repeated for Mike years later during the Ray Wilson Era of Genesis.

"The Living Years" is the music video of choice and while the song itself was impressive, chartwise as it was #1 in the United States, Canada, Ireland and Australia, as well as #2 in the UK, the song has endured over the years in the personal sense for so many. I guess there's something generational about it and given the lyrical content, something that is indeed deeply personal for so many who have heard it. As for me, I just remember hearing it a lot when I was in 6th Grade at a middle school in Indiana where the high school's team nickname was Hot Dogs. Seriously. Hot Dogs.

http://www.youtube.com/watch?v=uGDA0...eature=related
"The Living Years" by Mike + The Mechanics

[Kace]

M is for Motley Crue.

It's almost easy to forget that for all the talk of there being tumoil and revolution in music, especially in Rock in the early 1990s, there was just as impressive a revolution early in the previous decade. The 1980s had started off as refuse from the 1970s. Most of Pop was readjusting itself and Dance was looking for a new identity with Disco dying out. Rap was still becoming an identifiable thing, but then there was Rock music. Things were a little crazy there.

Enter Motley Crue. When their album, Too Fast For Love released in 1981, the concepts of rock and metal were in flux. While the British were supplying Def Leppard to the world, the United States had a more direct dilemma. Artists like Aldo Nova, Loverboy and Journey were more acceptable for the mainstream audience, but underground there was a war brewing and eventually there would be two sides. On one side, there was Metallica and their disdain for Los Angeles. On the other was Motley Crue, the Saints of Los Angeles. From that conflict of metal philosophy spawned Rock as we would remember it in the 1980s. Motley Crue would give themselves an inherent advantage in the debate, embracing the concept of music videos and MTV.

It started with "Live Wire" and then their album, Shout At The Devil. Theatre Of Pain then became big. Then Girls, Girls, Girls and after that, Dr. Feelgood. It truly was a Decade of Decadence for the Cruesome Foursome from Southern California. As the 1980s progressed, Motley Crue would become bigger and so would subsequent bands of the sound and style. Hanoi Rocks, Poison, Ratt and a host of others would join in. There were bands like KISS and Heart that would, in part experience a makeover to keep with the times. And what crazy times they were.

From my own perspective, this was all occurring as I was growing up, experiencing childhood and at age 10, being able to enjoy Motley Crue's Girls, Girls, Girls album (on cassette...for those of you who remember those things). Once I got into high school, it appeared those times were going to become a thing of the past. Motley Crue experienced a split from Vince Neil and just how that came about depends on who you ask.

Apart, it just didn't work as well. Vince recorded some stuff as a solo artist, though I'd be hard pressed to remember anything good from that. As for the Non-Vince version of Motley Crue, that didn't last long either. John Corabi served as lead vocalist and they had, to my recollection one really good song, "Hooligan's Holiday." A few years later, John would disappear, Vince would rejoin and then Tommy Lee would make some noise with his Methods Of Mayhem project. Nikki Sixx (who died once...true story) would have his own project, Sixx:A.M. Motley Crue would lay claim to being the "Saints Of Los Angeles" and become new all over again to a new generation of rock fans.

"Live Wire" is the featured video. It's primitive and to the point in terms of Motley Crue's sound and bombast. They would go on to have more notable songs and videos like "Looks That Kill," "Home Sweet Home," the deeply disturbing "You're All I Need," "Kickstart My Heart" and others. "Live Wire" is what got the party started and few, if any did it better when it came to so-called Devil Music.

http://www.youtube.com/watch?v=tb95jqsYTm0
"Live Wire" by Motley Crue

[Kace]

M is for Motorhead.

Long before they became known as, "that band Triple H likes," Motorhead served as an inspiration to metalheads everywhere. From 1977 onward, Lemmy would lead Motorhead into the Headbangers Ball with their own brand of heavy metal and punk influence. Between the Sex Pistols and Def Leppard, Motorhead was part of the complimentary of efforts of the United Kingdom's different styles of Rock. While I have little doubt that there are younger folks who are mainly able to recall them from their World Wrestling Entertainment related endeavors, those of us who remember further back than that know much better.

The music video featured is "Ace Of Spades" which was Motorhead's first crack at the music video concept. It's also one of the reasons for MTV's Headbangers Ball coming into existence and an entire generation of Heavy Metal fans are thankful. Especially the ones who had cable back then.

http://www.youtube.com/watch?v=vqtNGkSzh1o
"Ace Of Spades" by Motorhead

[Kace]

M is for the Murmurs.

Wrapping up the letter M are the Murmurs. I know what you're thinking. "Well of course the Murmurs are on this list, Kace. You're the big L Word fan who got to interview (and quite possibly aggrevate) Ilene Chaiken, Elizabeth Ziff and Rachel Shelley. Well, okay, I don't think I aggrevated Rachel, she was pure class. But anyway...

...Yes. That's part of it, I admit. The thing is, as a result of the show and Leisha Hailey's involvement in it, I had been reminded primarily of two things. One was that I still wasn't a big fan of yogurt despite her best efforts in those commercials and two, that band from the 1990s with the two girls I liked. No, not Veruca Salt, the other ones.

The Murmurs? Yeah, them!!!

Leisha Hailey and Heather Grody were the duo that made the band and in the 1990s managed to stay under the radar of mainstream while attracting an indie audience. They had several official singles and released four albums. They had a great cover of Jefferson Airplane's "White Rabbit." They also had their own rendition of the H.R. Pufnstuf theme for the Saturday Morning Cartoon compilation album. They had great songs like "Big Talker," "La Di Da" and "Genius." They were power pop with lollipops and attitude. Then they broke up, reformed briefly as a rock band called Gush and then split again.

Heather would go on to form a band called Redcar and found her own record label, Phyllis Records. Leisha is now part of a group called Uh Huh Her (or U-H-H). Oh...and she was Alice Pieszecki. And Alice Pieszecki was awesome. And regardless of what was implied in the last episode, she did not kill Jenny. That's right, I said it. I have my own theory behind the series finale that could qualify as insane (the viewers killed her), but maybe that's a topic better suited for a conversation with other L-fans.

"You Suck" is the music video of choice and yes, it's censors out the notable bad word. Not only is it a fun video with an equally fun song that I'd love to sing in front of a crowd someday if I could ever get around to learning the guitar, but it also provided for a funny moment of sophomoric humor on MTV's Beavis And Butt-Head. Sorry, Beavis. Leisha just isn't that into you.

http://www.youtube.com/watch?v=I82AfD7QJ3U&ob=av2e
"You Suck" by the Murmurs

[wx or not]

I always thought that "I'm a Mess" was autobiographical enough to keep her a hermit for life.

[Kace]

N is for N.W.A.

Kicking off the letter N is N.W.A. No, not the National Wrestling Alliance or Northwest Airlines or National Weather Association (or whatever they're called). This particular N.W.A. was a rap group and their initials stood for N***** Wit Attitude.

Spelling Errors aside, N.W.A. played an instrumental role in the evolution of Hip-Hop. They were rage and aggression in a manner possibly not seen since the days of 1970s Punk. They were the antithesis to the status quo, the antagonists to the emerging pop friendlier sounds of DJ Jazzy Jeff & The Fresh Prince, MC Hammer and others. They told a narrative of their surroundings in the Los Angeles area, specifically Compton. Their lyrics were primal and their attitude was justifiable by their namesake. And the group would go on to grow life and destructive branches from its tree.

The lineup was, in retrospect top notch. Eazy-E got the ball rolling, co-founding Ruthless Records and bringing in Dr. Dre and DJ Yella from the World Class Wreckin' Cru. Ice Cube, MC Ren and Arabian Prince would also join the fold. It was a relatively brief ride in the grander scheme of things, but in that short time, N.W.A. made their presence felt and gave an identity to West Coast Hip-Hop. Eventually, the members would leave and N.W.A. would disband. Eazy-E would continue with the Ruthless label until his death. Dr. Dre would help bring about Death Row Records. Ice Cube would split time between acting and rapping and has now become an entrepreneur in Hollywood. The N.W.A. legacy is all around in Hip-Hop to the point where discussing it all here would take from other entries on this list.

"Straight Outta Compton" is the featured music video and yes, it's chock full of bad words and mature topics. And all that stuff. The kids just ate it up. I remember being in California during part of my middle school years (7th and 8th grade). N.W.A. was really popular with the middle school crowd, but not in the same way that MC Hammer or Vanilla Ice was. N.W.A. was for Rap fans in Generation X, a way of being the rebellious punk fan or metalhead. Loud, aggressive, not family friendly and quite rebellious.

http://www.youtube.com/watch?v=-MrQtOoQRpc
"Straight Outta Compton" by N.W.A.
WARNING: Bad Words And Stuff

[Kace]

N is for Naughty By Nature.

I've probably said this already, but it's worth repeating. The early 1990s was a fun time for Rap. For me, it was just a great time for seemingly every part of popular music. That could just be part of the normal growing up process where everything sounds edgier and more mature once those high school years arrive as opposed to the stuff enjoyed prior. All that considered, I still think it's a fair statement on my part.

Rap had so much going for itself, even to the point of varying genres of and ideals of it. Whatever the song, there was a good chance it was accompanied by a great beat, some good sampling and lyrics that were either in your face or still highly entertaining as they had been in the previous decade in which Rap had rose to prominence. That brings us to Naughty By Nature.

Naughty By Nature was one of the authorities of the first half of the 1990s when it came to Hip-Hop. They were from New Jersey, but in that, "Hey, I can see NYC from here!" section and were part of the New York City rap scene. Initially, they were the New Style, but that was only by name and it's uncertain how many cared. But they would become part of the new style in Rap after ditching the name itself and becoming Naughty By Nature. They would spend the 1990s providing anthems for the masses, quite literally with "Uptown Anthem." There was their signature song, "O.P.P" and there was "Hip Hop Hooray." They were part of Rap's maturation and did a splendid job in the process.

The featured video is "O.P.P." and yes the initials are explained in the narrative and let's just say it involves a lot of melodrama brought on by raging hormones (or something like that). I did mention that the song was their signature tune. It was their breakout hit and the single has gone Double Platinum which means it's a really popular song. The song could also serve as the theme for so many in my little part of the world. Maybe it's all the weather and occasional hurricanes and tropical storms that cause people to lose their minds. Or it could be boredom. I don't know. I tend to keep rather aloof about these things.

http://www.youtube.com/watch?v=qdeH7...eature=related
"O.P.P." by Naughty By Nature

[Kace]

N is for Neil Young.

‎"F*** you."

It's a strong statement to make. It's a strong statement to just think. It's a dismissal. It's a challenge. It's verbal warfare. They are the words when put together in that sequence can be both inspired by and further inspire chaos. Over the course of History, the idea behind the ugliness of that statement has provided for turning points and for alternate history buffs, points of divergence. Sometimes, those words are literal and aloud. Other times, it's in the form of action. In music, the concept is as old as rhythm itself, from Mozart slipping in shout-outs to Freemasonry in secret defiance of the Catholic church in which he belonged, all the way to the various rivalries that crop up today.

At this point, there's a chance you're asking yourself what any of this has to do with Neil Young. Quite a bit, actually. For whatever reason, either Neil didn't take a liking to David Geffen or it was vice versa, or perhaps mutual. Either way, the, "Young," in Crosby, Stills, Nash & Young and someone who had already become known for his solo work had signed with Geffen Records. David liked the idea of having Neil since he figured he would just be the same Neil that recorded "Ohio" and "Southern Man," in the hopes of some of that rubbing off on his label. Neil, not looking to be pigeon-holed into being one kind of sound all the time had other ideas.

Five albums were recorded by Neil under the Geffen label and while the last two were mostly filler to fulfill the contract, the first three managed to royally irk Geffen to no end. Not only was the defiant F-You being directed from talent to employer, but it was done in trifecta form.

The first was Trans, which partially featured Neil experimenting with electronic sound. The second occurred on the suggestion that he go back to Rock & Roll, which Neil did...just not in the way Geffen was expecting. It was old school Rockabilly/Doo-Wop, Everybody's Rockin'. Then came the third, in the form of Old Ways which was Neil Young going for a classic Country sound. Feeling triple-insulted, Geffen brought about the lawsuit. The problem was that Neil Young wasn't sounding enough like Neil Young, which was countered with the fact that Neil Young was always Neil Young, regardless of what he recorded. Things would be settled, Neil would finish up with Geffen and go back to Reprise Records where Neil would give the world "Keep On Rocking In The Free World" and "This Note's For You."

There were his Neil Young & Crazy Horse works and at one point, his Mirrorball album which had Pearl Jam (unofficially) helping out. No matter what Neil's done over the years, whenever there's a thought of trying to fit him in somewhere without his liking, that strong, ugly statement will be unearthed and interesting things will happen. Just ask David Geffen.

"Wonderin'" is the music video of choice and fits with the mood of this entry. I could have gone with "This Note's For You" or "Downtown," but "Wonderin'" has always been a funny moment in music video history to me. The entire time, Neil just has that look on his face that screams the two words that start off this entry. And apparently for good reason. It's also worth noting that Neil had a backing band for just this album, Everybody's Rockin' called the Shocking Pinks (Ha ha! Euhpemism!) just to add to the insanity. The song itself wasn't new as Neil had performed it here and there since about 1970, but by 1983 it was given a nice Rockabilly touch and became part of Music Infamy.

http://www.youtube.com/watch?v=6a6A6oTFdcw
"Wonderin'" by Neil Young

[wx or not]

Neil and Lynyrd Skynyrd were very close, and any animosity believed between "Southern Man" and "Sweet Home Alabama" were manufactured.

[Kace]

Yeah, but I once read Bob Dylan once got mad at Neil Young after hearing "Heart Of Gold." Something about how the song sounded too much like him so it should be him.

As for Lynyrd Skynyrd, I like the Leningrad Cowboys version of "Sweet Home Alabama."

[Kace]

N is for New Edition.

Kids who grew up in the early 1980s may recall reruns of the Jackson 5 cartoon airing on Saturdays. While that was happening, the music industry had the next big thing on its hands when it came to the Adolescent Males Singing Pop Songs ide
al, New Edition.

Forming in 1978 while they were still quite young, New Edition was named as such to be the, "new edition," of the Jackson 5. They wanted to be the kids who would lead that ideal into the 1980s. In 1983, their presence was officially felt by the audience as "Candy Girl" became a hit. Their popularity would grow and would eventually lead to other groups forming, with those groups being labeled, "Boy Bands." From New Kids On The Block to the various Backstreet Boys knockoffs, it all stemmed from New Edition wanting to become the next Jackson 5.

New Edition would have what would retroactively be an all-star lineup. Bobby Brown would become a huge pop star with numerous hit songs, one of which would be "On Our Own" from Ghostbusters II, which as a Ghostbusters films fan, I have to point out. Ralph Tresvant would go on to have a successful solo career and even Johnny Gill, who would join the group later on would go on to some success. Ricky Bell, Michael Bivins and Ronnie DeVoe would form Bell Biv DeVoe and help champion the New Jack Swing. And that's just the surface of it. New Edition had so much talent and popularity that they were able to split off into several other acts and still carry that popularity to greater heights.

In 1996, they would reform with all six members in tow for their Home Again album. They would also record, with just four of the members one more album in 2004. But while they're not exactly the first R&B group to be thought of when it comes to the 2000s, what they were able to accomplish and kickstart is something to behold. Unless of course you're not really into the Boy Band thing, in which case you may not be too thrilled with them.

"Cool It Now" is the music video of choice, though I was tempted to go with "Candy Girl" on account of it being their first hit and also because it reminds me of Salma Hayek in Dogma. "Cool It Now" had to be the one and yes, the is Pre-Johnny for anybody wondering why he isn't in the video. It's pure 1980s cheese to the max with a sound reminiscent of breakdancing in loud shirts while girls walked by in Jordache jeans. I also remember having the single on 45 and liking the song a lot. I was really young, 7 years old. I guess Ralph's voice was something I could relate to. It would also serve as the first chipping away at my innocence as I would find myself at one point asking, "Wait...why do I like this?"

To this day, I can never fully answer that question. But I do like that song and maybe there's no need for an explanation.

http://www.youtube.com/watch?v=RZUq6N7Gx1c&ob=av2e
"Cool It Now" by New Edition

[Kace]

N is for New Kids On The Block.

His name is Maurice Starr and he's one of the reasons you either love or hate what Pop Music has become. The problem, initially was Michael Jackson and the rest of the Jackson 5. Maurice envisioned a world where young men could band together, taking the Pop World by storm. He was there for the initial push of New Edition, who themselves wanted to be the new standard bearers. As New Edition continued to grow in popularity and also apart from Maurice, it would be up to Maurice to come up with his own creation.

That creation was New Kids On The Block. Industry creations are nothing new. It's as old as Rock & Roll itself, but in the 1980s Maurice set out to raise the bar for creating a Pop product for the purposes of profit. The city of Boston, which had given the world New Edition would now be the proving ground for what would become New Kids On The Block. The result would be the personification and truest example for the term, "Boy Band." Their success would lead to Color Me Badd which would lead to All-4-One which would ultimately lead to the Backstreet Boys and their various ripoffs. All thanks to Maurice Starr and his bloodlust for Pop Domination.

The apex would be the New Kids' album, Hangin' Tough. I can still remember being in 6th Grade and how girls appeared crazy about those guys. The music...it was there. But it was also just an excuse for excitable screaming. They were all over the magazines and all up in the fantasies of young girls everywhere. They were a headache for confused parents and the product for scorn for the rest of humanity. That was the price of mass, sudden popularity, that just as sudden becoming an easy target. New Kids On The Block were a product of the times and even as music was changing all around them in the early 1990s, they managed to hang in there.

New Kids On The Block have come to represent all that was loved and hated when it came to late 1980s and early 1990s Pop. Endearing to some, pariah-like to others. On the other hand, there's that other part of the legacy of NKOTB. Yes, I mentioned the whole Boy Band thing, but there was also Donnie Walhberg who was part of the group. He had a younger brother, Mark who would have a little success himself in music as the leader of Marky Mark & The Funky Bunch. Those Good Vibrations would eventually lead to Mark becoming an actor and heading into 2012, Mark's still doing that.

"You Got It (The Right Stuff)" is the music video of choice and really, the one song I like a lot by these guys. I didn't really share the usual resentment that existed back then, I was just more preferential to Def Leppard. Still, they had to be on this list. I can still remember that craziness and I can still remember that strong dislike from fellow middle schoolers. New Kids On The Block will always be a fascinating study in how polarizing Pop Music could be, well this side of Niki Miwhatshername anyway.

http://www.youtube.com/watch?v=tbIEwIwYz-c&ob=av2e
"You Got It (The Right Stuff)" by New Kids On The Block

[Kace]

N is for Nickelback.

The 2000s, that first decade of the 21st Century to me will always be one I remember as the Decade of Polarization. In so many instances, there was no room for simply liking or shrugging something off. There was no such thing as, "okay." In the 2000s, everything came down to the extremes of love and hatred. It's the decade where you either loved President George W. Bush or you hated him and ditto for President Obama. It's the decade where you either loved or hated the direction of whatever sports organization like the NBA, NFL or NASCAR. Especially NASCAR. You either grew to love or hate John Cena. And in music, perhaps no band became more polarizing than Nickelback.

Perhaps it's no surprise, considering the Cena mention that World Wrestling Entertainment would at one point use a Nickelback song as its theme for Monday Night Raw, WWE's flagship program. The theme was used during a time in which the main character in the company was John Cena, who himself became a polarizing figure for Sports Entertainment. Heading into 2012, the polarization effect still exists. From Danica Patrick to LeBron James to Tom Cr...er...wait, was that a lawyer? Well, anyway you get the idea. Nickelback has become Rock music's version of that polarizing effect. I don't know if that's what they meant to do, but however formulaic, they've made it work for them. Honestly, I can relate to the formulaic issues myself which may be why I'm not so swift to come down on them.

I still remember in 2001 hearing "How You Remind Me" and thinking how great that song was. It would eventually reach #1 on the Billboard Hot 100 and is the music video of choice here.

http://www.youtube.com/watch?v=1cQh1ccqu8M&ob=av2n
"How You Remind Me" by Nickelback

[Kace]

N is for Nine Inch Nails.

Trent Reznor marches to the madness of his own synthetic beat. His project, Nine Inch Nails has been part of the scene since 1989 and have been forerunners in Industrial Rock. There's been commercial appeal though I've wondered at times if that Trent's way of being sarcastic or ironic. I'll never know since the answer would probably be, "Cheese."

The sometimes bizarre music videos, the Year Zero viral campaign, the Halos in the library, the tearful surrendering of his song "Hurt" to Johnny Cash, the recording of the albums Broken and The Downward Spiral in a rather infamous locale...yeah, there's a darkside there and Trent has taken turns either fighting it or embracing it. Trent and his madness continues to be the one most intriguing love/hate relationships in existence and it's all in one mind.

"Head Like A Hole" is the music video of choice and while "Down In It" was the single, "Head Like A Hole" was the first to receive notable attention, especially with the MTV 120 Minutes crowd. I had initially chosen "Closer" and yes, it was the uncensored version, but like Fem2fem's "Obsession," that's one of those videos you'll just have to look up on your own.

http://www.youtube.com/watch?v=ao-Sahfy7Hg
"Head Like A Hole" by Nine Inch Nails

[Kace]

N is for Nirvana.

There are so many directions I can go with this. There are directions that have already been referred to or at least hinted in other entries on this list. There's the Music Revolution. There's the whole band name thing and the fact that the
re was a band in the United Kingdom called Nirvana in the 1960s that made its own impact in terms of showing how awesome a Concept Story album could be. There's the short ride aspect of Nirvana's time in the spotlight. There's the legacy of Kurt's wife, Courtney and her band, Hole. There's the legacy of Nirvana in the form of Dave Grohl's Foo Fighters. There are the songs and the tributes. The overreactions and the angst. There are so many angles to which to go with this. On top of all that is my own recollection, because of when Nevermind was released and how I was introduced to "Smells Like Teen Spirit."

More on that last part later on, I guess.

Seattle in the late 1980s was doing its own thing. Hair Metal was still the order of the day with Guns N' Roses providing the swift kick in the rear for the time. On the Alternative side, there were artists like R.E.M., Depeche Mode and a young Sarah McLachlan to choose from, along with a serious need for its own rear-end kicking. Jani Lane was one of the first to notice the signs of change in the form of a huge Alice In Chains poster for a Warrant press conference. Soundgarden had rocked "Sup Pop Rock City" and were also starting to gain attention. Sonic Youth, the Melvins and Meat Puppets were sowing the seeds of a movement. In the midst of all that was Nirvana. In September 1991, they were tagged and they were it. "Load up on guns, bring your friends." The Revolution was officially on.

As you may notice in other entries on this list, my take on the early 1990s, or the Music Revolution has been a mixture of positive and negative. Almost overnight, bands like Winger, Warrant, Slaughter, Trixter and at the risk of being yelled at, Cold Sweat either looked or sounded outdated. Firehouse looked poised to the be the band of the 1990s, but that too got snuffed out. It wasn't fair to those bands. It certainly wasn't fair to anyone who still liked Poison. Those days, just like that were gone. Twenty years later, there are still those who question whether it's okay to still embrace liking any of those acts. So yes, there was mourning over the loss of songs like "Can't Get Enuff" and "Let's Make Love Tonight" disappearing. And it wasn't just in the Hair realm. The Revolution spread and also just as suddenly, pop acts like Jude Cole were forgotten. Again, it wasn't fair and the fact that someone reading this is stopping to look up who Jude Cole was as a result of never hearing of him or forgetting he existed kinda sucks. The Rebel Pebbles were here and gone almost instantly and in their place, L7 and eventually, Hole. That was just part of the side effects, the collateral damage of a Revolution, pushed in part by fans and also by record companies and their wanting to meet the bottom line.

On the plus side, bands like Alice In Chains, Soundgarden, Pearl Jam, Soul Asylum, Stone Temple Pilots and more grew to prominence. There was the Singles Soundtrack which featured bands like the Screaming Trees. Some great music came out of that era, not just in Rock, but seemingly all over the place. It was a fun time for me, at least when it came to music.

April 8th, 1994. 4 PM Eastern. I can still remember it a bit vividly. I had just gotten home from school and turned on the TV. The TV is on Headline News and it's Chuck Roberts, beginning the newscast for that half hour with, "breaking news." Kurt Cobain's body found dead, possible suicide. I remember being frozen there for a minute as I let the news sink in. By then, I was a pretty big fan of Nirvana. The news sinks in, I turn to my Mom and simply say, "Figures." The next school day, there I am in home room, dealing with classmates asking sincerely insincere as possible if I was, "okay." For some reason, I became this spokesperson for Nirvana fandom. Much like Kurt shunning the notion of being a Generational spokesperson, I didn't care for the attention. I was more interested in anything that would take my mind off things. Maybe Keith telling one of his crazy stories or that Laralyn girl dancing the Charleston (I don't know why I remember that so well) in US History class. Anything, but having to deal with, "Well, KC it looks like you lost your band." Channel One was all over it, of course and for some reason, they felt the need to go on about the controversy over the song "Rape Me." Cue the eye rolling of the, "Garth Brooks is Teh Awsome YAYAYAY," crowd in school and it's no wonder why I didn't get along too well with others. In order to garner some sort of positive attention back then, it usually involved taking to the stage for a school play with some screwball character my drama teacher cooked up.

Fast forward a year later and I can still remember kids and their sudden Kurt Worship. I remember one girl in general, she was a middle schooler. I recall her being a big fan of being at least somewhat in love with Kurt post-mordem. There were talks of one day getting a group together and taking a trip to Seattle so everyone could worship and pay respects at the First Church Of Kurt Cobain, or any church for that matter and using it instead. Looking back, it was a bit discomforting being around that kind of mindset and it wasn't just one particular kid, it was some kind of legion of them. And then the media kicked in and suddenly, Kurt's being placed on pedestals that would probably just irritate him to no end.

Fast forward to the 2000s and the inevitable backlash against this attitude. Now in order to be cool, kids have to make it clear that, "Nirvana was sooo overrated." Being a huge fan of Nirvana, I'd like to disagree with them, but I'm too busy not blaming for them for feeling that way. So here I am with quite a collection of their music. The standard albums, singles and boxsets as well as the Outcesticide stuff that appears to mostly be outtakes and bad concert audio footage. I don't think I have everything by them, but I certainly have everything that counts and a good chunk of the rest. By the way, Nirvana had some really great songs, but that's almost beside the point somehow. I do know that Nirvana was the main portion of my high school soundtrack and no amount of overpraising or urinary dismissal by others is going to change that. It really was a Revolution.

[Kace]

"Smells Like Teen Spirit" is the music video of choice. I could talk about the significance of the song and how it got that Music Revolution going, but instead I'm going to share a bit of my soul and it starts with a flashback.

1991, 9th Grade at ol' BHS. Fist Period was a math class, the same math class and teacher who would be the first to notice that I was need of glasses after spending my entire life up to that point without them and not being able to see anything on the board. The last several minutes of class would be interrupted each day with this thing called Channel One. Channel One was this news thing that was meant to make current events interesting for kids. For us, it was just an excuse to enjoy the teacher not teaching for a few minutes.

As a result of having Channel One in the school, this also meant that the classroom had a TV. And that TV had cable. On this particular fateful morning, our teacher was out of the room for whatever reason. Maybe it was to talk to the Principal about, "that Evers boy can't see a damn thing," or to smoke in the teacher's lounge. I had a middle school teacher that would do that. Anyway...

The teacher's out of the room. One of the classmates turns the TV on and flips it over to MTV while another assumes the role of lookout at the door. We are, as a group breaking the rules and that's when she got my attention. As the TV made it to MTV, "Smells Like Teen Spirit" started to play. It was my first time hearing it and also seeing the music video. I remember her almost screaming with delight. It was her favorite new song. Most of the other classmates didn't get it, but she did and now, so did I. She was a rebellious spirit in those days.

I remember becoming an instant fan. The band name was familiar and I coulda swore I had heard of a Nirvana while in California the year before, but if I didn't know them before, I definitely knew them now. There was a radio station called Mix 96 that I would listen to. Their night DJ was a guy named Slammin' Sammy Simpson. I was one of the regular callers and he would let me entertain him with bad jokes and requests. One night, I was able to win Nirvana's Nevermind on cassette (hey, remember those?) by rapping the lyrics of a rock song. About a week later, I come home from school and my Mom's not happy with me. The cassette arrived and I got to keep it, but the album cover with the naked baby boy was ripped to shreds by Mom and she wasn't too big on Nirvana as a result. Like I said, got to keep the cassette though and as for Slammin' Sammy, he became one of the big inspirations for me wanting to eventually try the whole Radio thing.

Years later, I'm still working on that thing and I'm thankful for it. A lot has changed in the last twenty years. Twenty years ago, I was a suicidal high school freshman. Nowadays, I'm a mostly indifferent adult. It's progress, I guess. On the other hand, I have managed to fight off a complete maturation process as much as possible, at great personal expense. I saw what happened to people I went to school with. Some got lucky and others, they just got angry. Melodrama, self-righteousness and somewhere in there, me being an occasional ditwad.

And I look back on that day in class. The girl with a rebellious streak. We became friends for a while. Eventually I'd let her down along the way, because that's just how I roll sometimes. Tact was never one of my strong suits and lacking it has bitten me a time or two. Most likely, it always will. But I'd like to think that somewhere, out in this crazy wilderness we call Society, she's finally getting back to enjoying at least a little bit of that rebellious fervor she sacrificed years ago. And if part of that enjoyment means forgetting I ever existed, I can live with that.

I should stop typing now.

http://www.youtube.com/watch?v=hTWKbfoikeg&ob=av2e
"Smells Like Teen Spirit" by Nirvana

[Kace]

N is for No Doubt.

In the 1980s, Madness became a band of inspiration. In the 1990s, that inspiration was coming to fruition and with Ska briefly being the rage in the latter portion of the decade, along for the ride and setting out their own course was No Doubt. A good way to determine the relevance of the Ska scene is to take a gander at what No Doubt did, music wise. Early on, it was "Trapped In A Box" and in their breakout year of 1996, songs like "Just A Girl" and "Spiderwebs." By the time the 21st Century rolled around, it was less Ska influence and more "Hella Good" and their Talk Talk cover, "It's My Life." Gwen Stefani, No Doubt's lead singer would shock the World and by, "World," I mean, "no one," by going solo for a while. Heading into 2012 though, there was no doubt that No Doubt would still be a thing.

The featured video is "Don't Speak." I'm not a relationships expert, as I'm sure any of my exes would gladly point out. And despite the relationships eventually ending in the inevitable breakup, I don't consider myself much of an expert on breakups. I couldn't tell you the first thing about how to make one work or how to break up proper. It's out of my realm of understanding and I'm in no rush to figure it out.

So why would I care about a breakup song? Breakup songs are part of music. Always have been, always will be. I still remember Patty Smyth and Don Henley singing a great breakup duet, "Sometimes Love Just Ain't Enough." That's just one example and there's no need to go on about it, but it does bring us back to "Don't Speak." This song is personal and I don't mean for me. Aside from the fact that it was produced by Matthew Wilder, also known as that guy who sang "Break My Stride," it was also a breakup song based on an actual breakup within the band, Gwen Stefani and Tony Kanal, the bassist. Obviously, they still managed to get along after the fact, but if the song were any more personal, it would have to be performed by Fleetwood Mac. Then there's the music video which served at least partially as No Doubt's way of commenting on the media push to single out Gwen from the rest of the group. As a result, it also becomes a bit of foreshadowing as Gwen would go on to have a solo career, singing about a "Hollaback Girl" and so on. Pat Smear of the Germs, Nirvana and the Foo Fighters also makes a cameo and Pat being in videos not involving him musically isn't anything new. Next chance you get to watch Prince & The Revolution's "Raspberry Beret," look for Mr. Smear. He's there. Seriously.

http://www.youtube.com/watch?v=TR3Vdo5etCQ&ob=av2e
"Don't Speak" by No Doubt

[Kace]

N is for Norah Jones.

I realize that the 2000s can and most likely will be viewed in retrospect as a decade of overinflated Pop and a lack of rhythm (and in some cases, maybe even talent). A decade where polarization was the order of the day, be it in Rock or Pop or Hip-Hop, it was all there. It's only fitting that during this time there would be a calming reprieve from the Jazz-Pop realm in the form of Norah Jones.

The year was 2002. It's a year that I can barely recall as I spent much of it in the dark. Working overnight hours five or six nights a week with daytime hours reserved for either staying home, either in the living room or bedroom. I don't recall too many big highlights from that year aside from meeting Def Leppard and hoping not to burst into flames from suddenly being out in sunlight. Otherwise, it seemed like everything was done at night. I was either at work or just staying up late on my off nights to keep consistent. It was also during this time I was introduced to the music of Norah Jones.

Norah's a throwback. Her sound is true old school in the contemporary sense. I know I can listen to Norah while enjoying classic stuff by Etta James or Ella Fitzgerald. It's nice and relaxing thought I admit, I almost feel as if I'm supposed to be discussing how awesome some novel is in a coffee shop somewhere if I listen to her too much. And I detest coffee.

Norah's been very successful with 3 #1's on the Billboard 200, but aside from that all that, Norah recorded "Not Too Late." I love that song.

"Don't Know Why" is the music video featured and was the song that launched her into the national consciousness. It was her first single and while her most successful, it only topped out at #30 on the Billboard Hot 100. On the other hand, hearing that song on the radio and seeing her music video either online or on VH1 prompted people to say, "Single? Forget that, I want the whole album!" and Come Away With Me would wind up #1 in the States as well as in Canada, the United Kingdom, France, the Netherlands and Australia. Not a bad start. Since then, she's continued to crank out popular album after popular album, continuing to be a true alternative from the usual Pop madness in current music.

http://www.youtube.com/watch?v=tO4dxvguQDk
"Don't Know Why" by Norah Jones