"ALL ALONG THE WATCHTOWER" JIMI HENDRIX (1968)

For the month of November, I’ll be selecting songs in conjunction with the music Twitter challenge: #WelcomeToTheOccupation.

As legendary as Bob Dylan is, I understand that he’s not for everyone. Some people just can’t listen past Dylan’s nasal-infused vocal delivery. Jimi Hendrix wasn’t exactly the most vocally gifted musician either. But whatever he lacked as a singer he more than made up for as a guitar player. The thing about his rendition of the Dylan classic “All Along the Watchtower” is he lit every strand of folk and Americana roots from the song on fire, burned those elements to the ground and then made the fire rise even higher with an electric reboot.

Throughout my middle and high school years, I lived next door to a Jimi Hendrix fanatic. My brother introduced me to Jimi’s impressive catalog, which was incredibly prolific given his short life span. The thing that immediately drew me in to his music was a guitar playing style that almost sounded otherworldly. It wasn’t rock. It wasn’t blues. But it was this crazy blend of the two that seemed to be so effortless to Jimi but impossible for others to emulate. You can’t simply play the same notes that Jimi played and expect it sound the same. It was the way in which he navigated back and forth between those two genres so easily that makes “All Along the Watchtower” one of the greatest cover songs of all time.

“Business men, they drink my wine. Plowmen dig my earth.”

"SPACE ODDITY" DAVID BOWIE (1969)

For the month of November, I’ll be selecting songs in conjunction with the music Twitter challenge: #WelcomeToTheOccupation.

Songwriter. Performer. Artist. Cultural icon. Like his characters, David Bowie has taken on many different forms through his career. One of my deepest regrets is not seeing him live. I read somewhere that when his debut album bombed, he redid everything. Found a new manager and found new ways to create, promote and perform. One of the ways Bowie has distinguished himself from his rock & roll peers is by expanding beyond music and exploring different art forms, most notably fashion and film. A perfect example of this is “Space Oddity”, a song that I’m featuring for the second time on Mental Jukebox.

Bowie was always a master at creating characters – even embodying them at times – from Aladdin Sane to Ziggy Stardust. On “Space Oddity”, we met Major Tom, a fictional astronaut who launched into space with much promise, but ultimately faced his own demise by the end of the five minute song. “Space Oddity” was an imaginative story that pointed us to a universe where electric guitar rock can co-exist with a string symphony. It’s also a song that extended beyond sound wave through a promotional film, an unusual approach at the time. It was Bowie constantly innovating even as a relatively new artist.

“Ground Control to Major Tom. Take your protein pills and put your helmet on.”

"SKY PILOT" ERIC BURDON & THE ANIMALS (1968)

For the month of November, I’ll be selecting songs in conjunction with the music Twitter challenge: #WelcomeToTheOccupation.

A friend from high school introduced me to The Animals with an enthusiasm that even exceeded his love for the biggest. classic rock icons like Zeppelin, Cream and the Stones. I think there were many reasons for this, but it was largely the power, swagger and testosterone-fueled vocals of Eric Burdon. Most casual listeners are familiar with their big hits: “House of the Rising Sun”, “Don’t Let Me Be Misunderstood” and “We Gotta Get Out of This Place”. But my friend encouraged me to go a little deeper. The song that I looked forward to playing most on my Animals mixtape was a minor hit toward the end of their years called “Sky Pilot”.

The track was an anti-war song written during the time of the Vietnam War. But it wasn’t about an Air Force pilot, it was an ode to a military chaplain. “How high can you fly. You never, never, never reach the sky”. The track carries intrigue from both an instrumental and production perspective. “Sky Pilot” soars on a bed of reverb and flanging complete with guitar solo, a string arrangement, bagpipe interlude and a host of war-themed audio samples. Then, of course, there’s the underrated, masterful lead vocals from Burdon. The song is a feast for the ears. I loved “Sky Pilot” from the very first listen and that love has never died.

“He mumbles a prayer and it ends with a smile. The order is given, they move down the line.”

"STRANGE DAYS" THE DOORS (1967)

A great title track is par for the course when it comes to great albums. If the title track doesn’t cut it, what does that say about the album itself? This month, the Mental Jukebox will be playing some of my favorite title tracks – inspired by @NicolaB_73’s music Twitter challenge, #TopTitleTracks.

Even if it’s not your cup of tea, The Doors demand your respect. Few bands carved out a more compelling crossroads of blues, rock and psychedelia. The music – at times – seemed almost possessed. The instrumentation was truly distinct – as they were one of the first bands to prominently feature keyboards and organs. And their frontman – Jim Morrison – is one of the greatest of all time, inspiring everyone from INXS’ Michael Hutchence to Echo & The Bunnymen’s Ian McCullough. My favorite Doors album is their second release Strange Days, which opens with the title track.

The famed key part on “Strange Days” actually isn’t Ray Manzarek. It’s Morrison himself, playing the moog synthesizer. “Strange Days” was one of the first recordings to feature this mainstay instrument, a case in point to the innovative side of The Doors. The moog synthesizer would become as integral to rock and pop as the electric guitar. Despite being overshadowed by the classic singles “People Are Strange” and “Love Me Two Times”, “Strange Days” is arguably more quintessential Doors in its ability to create a world for you to get lost in.

“Strange days have found us.”

"NOTHING CAN CHANGE THIS LOVE" SAM COOKE (1963)

The moment a song is born, the world is different. It’s now a part of our lives. We sing it in the shower. We dance to it at our wedding. We get pumped with it. We break up to it. We memorize it. We try to forget it. We rediscover it. This month, I’m joining Arron Wright’s Twitter music challenge: ##Popiversary2. Because why the hell not. Songs deserve their own anniversaries, too.

Year: 1963

It’s time to pay homage to a legend. The king of soul. The man whose voice and music influenced Aretha Franklin, Al Green, Curtis Mayfield, Stevie Wonder, Marvin Gaye, Otis Redding and so many others. Play a single note from any one of his songs and his voice is instantly recognizable. In 1963, he released two albums – Mr. Soul and Night Beat. The latter is considered to be the stronger of the two, but I love the track “Nothing Can Change This Love” from Mr. Soul.

This was the one song from Mr. Soul that Cooke wrote – and it’s one of the best from the bunch. I can listen to it a hundred times in a row – and never grow tired marveling at Cooke’s effortlessly sublime vocals. His voice is as smooth as molasses, but it’s also his delivery that is worth taking note of. It’s his timing that allows Cooke to create a sense of gravitas in every line. It’s why something so simple sounds so exceptional.

“If I go a million miles away I'd write a letter each and every day. 'Cause honey nothing, nothing Can ever change this love I have for you.”

"THE GIRL FROM IPANEMA" STAN GETZ & JOAO GILBERTO (1964)

The moment a song is born, the world is different. It’s now a part of our lives. We sing it in the shower. We dance to it at our wedding. We get pumped with it. We break up to it. We memorize it. We try to forget it. We rediscover it. This month, I’m joining Arron Wright’s Twitter music challenge: ##Popiversary2. Because why the hell not. Songs deserve their own anniversaries, too.

Year: 1964

Gilberto and Getz hail from two different worlds, but come together as one on this classic recording. In one instance, I can listen to “The Girl From Ipanema” and feel like I’m transported to a hot summer night in Rio. In another, I’m transported to a cold, wintry night in Manhattan. Either way, the song does carry with it that certain carefree mood – somehow that love is all that matters. And maybe everything will be alright.

This bossa nova staple reminds me of fond old memories – my first year in NYC. At the same time, it gets me to slow down a few RPMs and look to better days ahead.“The Girl From Ipanema” is a plea to not take things so seriously, including itself. Don’t over-analyze it. Don’t over-critique it. Just go with the flow. Enjoy it. Even if a part of you thinks it’s the cheesiest thing in the world. It is what it is, and often it’s just perfect for the moment.

“The girl from Ipanema goes walking And when she passes, Each one she passes goes, ‘Ah’.”

"SKY PILOT" ERIC BURDON & THE ANIMALS (1968)

The moment a song is born, the world is different. It’s now a part of our lives. We sing it in the shower. We dance to it at our wedding. We get pumped with it. We break up to it. We memorize it. We try to forget it. We rediscover it. This month, I’m joining Arron Wright’s Twitter music challenge: ##Popiversary2. Because why the hell not. Songs deserve their own anniversaries, too.

Year: 1968

A friend from high school introduced me to The Animals with an enthusiasm that even exceeded his love for the biggest. classic rock icons like Zeppelin, Cream and the Stones. I think there were many reasons for this, but it was largely the power, swagger and testosterone-fueled vocals of Eric Burdon. Most casual listeners are familiar with their big hits: “House of the Rising Sun”, “Don’t Let Me Be Misunderstood” and “We Gotta Get Out of This Place”. But my friend encouraged me to go a little deeper. The song that I looked forward to playing most on my Animals mixtape was a minor hit toward the end of their years called “Sky Pilot”.

The track was an anti-war song written during the time of the Vietnam War. But it wasn’t about an Air Force pilot, it was an ode to a military chaplain. “How high can you fly. You never, never, never reach the sky”. The track carries intrigue from both an instrumental and production perspective. “Sky Pilot” soars on a bed of reverb and flanging complete with guitar solo, a string arrangement, bagpipe interlude and a host of war-themed audio samples. Then, of course, there’s the underrated, masterful lead vocals from Burdon. The song is a feast for the ears. I loved “Sky Pilot” from the very first listen and that love has never died.

“HE MUMBLES A PRAYER AND IT ENDS WITH A SMILE.”

"ALABAMA SONG (WHISKY BAR)" THE DOORS (1967)

This month, I’m jumping into the #APlaceInTheSong challenge from @JukeboxJohnny2. Great songs have that special ability to describe places in a way that makes us feel like we’re right there. Each day, I’ll pick a track that I think accomplishes that feat.

I’m running into the whiskey bar and stumbling out w/Jim, Ray, Robby and John. What a trip. What a mindblowing debut album. Such a powerful clash of rock, blues and psychedelia. “Twentieth Century Fox”, “Back Door Man”, “Soul Kitchen”, “Break On Through”, “Back Door Man”, “Crystal Ship”, “The End”, “Light My Fire”, every track is a classic. For obvious reasons, I’m going with their cover of “Alabama Song” today.

Listening to the song, we enter the whiskey bar. But this bar feels different. Spearheaded by Morrison’s vocals and Ray’s spritely keyboard flourishes, it feels like we stepped into a freak circus, lost in a drunken haze with these blues rock legends. “Alabama Song” is a perfect cover selection that seems to fit perfectly in the #5 slot on the record and is resolutely 100% Doors in its stylings. My only complaint of the song is that it ends at around three minutes. It seemed ripe for an epic “In-A-Gadda-Da-Vida”-length rendition.

“Well, show me the way To the next whiskey bar. Oh don't ask why. Oh don't ask why.”

"SAN QUENTIN" JOHNNY CASH (1969)

This month, I’m jumping into the #APlaceInTheSong challenge from @JukeboxJohnny2. Great songs have that special ability to describe places in a way that makes us feel like we’re right there. Each day, I’ll pick a track that I think accomplishes that feat.

Most music artists tend to have a favorite venue or at least a favorite type of venue to perform in. Jerry Garcia once famously said that only two theaters mattered: The Fillmore and The Capitol. Each venue space carries its own history, aura, and stories. For Johnny Cash, prisons were places where his audiences experienced redemption during some of his most famous concerts – and I wonder if these state penitentiaries allowed Cash to experience an equal amount of redemption himself. At Folsom Prison was Cash’s most renowned album from his four-part prison series, making At San Quentin a bit of an underrated gem.

The title track isn’t one of the more well known songs on his set list by any stretch. But judging from the roars, whistles and applause from the crowd, it was right up there with “Folsom Prison Blues” and “I Walk the Line”. Cash was giving much more than just a great performance. He took a much more empathetic stance, making every syllable in the lyrics an acknowledgement of what these inmates were up against. He made “San Quentin” their song, not his own song. In writing it and going behind prison doors to perform it, Cash leveled the playing field – essentially declaring the inmates as his equals. The song resonated with them so much, he went ahead and played it twice.

“San Quentin, you've been A livin' hell to me. You've blistered me since 1963. I've seen 'em come and go and I've seen them die. And long ago I stopped askin' why.”

"JACKSON" JOHNNY CASH (1968)

For the next 30 days, I’ll be taking the #AprilAcrossAmerica challenge, picking one song a day as I make my way across the country and across genres at the same time.

Day 17: Jackson, MS

Johnny Cash had a way of taking other people’s songs and elevating them to the point where his version was stronger and more profound. He’s done this over and over again. In the 21st century, you don’t have to look any further than his cover of Depeche Mode’s “Personal Jesus” and Nine Inch Nails’ “Hurt”. But Cash was creating unforgettable covers since the 60’s from the At Folsom Prison album and others. “Jackson” is probably one of his more well known examples. But Cash was just half the equation.

All due respect to the man in black, but June Carter pretty much stole the show on this one with her raspy, fiery vocal parts. Together, Johnny and June were a force to be reckoned with. They were in and out of Jackson like a freight train coming in full steam. It was enough to instill a sense of hope and joy to the jailbirds on the song’s live recording at Folsom Prison. The rousing applause and cheering heard on the recording is all the proof you need.

“I'm goin' to Jackson. You turn-a loosen my coat 'Cause I'm goin' to Jackson. Goodbye, that's all she wrote.”

"ALABAMA SONG (WHISKY BAR)" THE DOORS (1967)

For the next 30 days, I’ll be taking the #AprilAcrossAmerica challenge, picking one song a day as I make my way across the country and across genres at the same time.

Day 16: A rompin’ whiskey bar somewhere in Alabama

I’m running into the whiskey bar and stumbling out w/Jim, Ray, Robby and John. What a trip. What a mindblowing debut album. Such a powerful clash of rock, blues and psychedelia. “Twentieth Century Fox”, “Back Door Man”, “Soul Kitchen”, “Break On Through”, “Back Door Man”, “Crystal Ship”, “The End”, “Light My Fire”, every track is a classic. For obvious reasons, I’m going with their cover of “Alabama Song” today.

Listening to the song, we enter the whiskey bar. But this bar feels different. Spearheaded by Morrison’s vocals and Ray’s spritely keyboard flourishes, it feels like we stepped into a freak circus, lost in a drunken haze with these blues rock legends. “Alabama Song” is a perfect cover selection that seems to fit perfectly in the #5 slot on the record and is resolutely 100% Doors in its stylings. My only complaint of the song is that it ends at around three minutes. It seemed ripe for an epic “In-A-Gadda-Da-Vida”-length rendition.

"SOUL FINGER" THE BAR-KAYS (1967)

This month, I’m looking back at movies and tv shows to rediscover songs that graced the screen. The scenes and the music are inseparable. They’re engrained in our heads and our hearts. And they’re proof that the best music we have doesn’t exist in isolation. It attaches itself to a moment or an experience. #SceneSongs

Movie: Spies Like Us

If you’re an 80’s child, chances are you can’t think of Soviet missile control personnel parties without remembering this song. Spies Like Us’ unforgettable scene went back a couple of decades to uncover this instrumental soul fest from the late 60s. The movie itself featured some of the decade’s best comedians on the silver screen: Chevy Chase and Dan Aykroyd. “Doctor, doctor, doctor, doctor.” The campiness of the acting, the film sets and the movie at large certainly extended its way into the soundtrack, which is most known for “Soul Finger”.

Overly simple and repetitious, “Soul Finger” checks two boxes for likability. First, it’s infectious. The kind of song you can’t get out of your head even if you tried. Second, it’s nostalgic, whether you grew up in the 60’s or in the 80’s. The electric guitar has its moment, but the soul of the song is the trumpet and saxophone. The two instruments are thoroughly irritating and whiny throughout the song, yet strangely irresistible. The band doubles down on the brass in later renditions, adding a trombone. The song is about as ludicrous as having a dance party at a missile control site, which makes it a perfect accompaniment for the iconic Spies Like Us scene.

"INCENSE AND PEPPERMINTS" STRAWBERRY ALARM CLOCK (1967)

This month, I’m looking back at movies and tv shows to rediscover songs that graced the screen. The scenes and the music are inseparable. They’re engrained in our heads and our hearts. And they’re proof that the best music we have doesn’t exist in isolation. It attaches itself to a moment or an experience. #SceneSongs

Movie: Austin Powers: International Man of Mystery

The 60’s sounded like a concoction of different genres – soul, doo-wop, garage rock, folk, proto-punk, straight-ahead rock and, of course, psychedelic rock. The latter is probably the genre that comes to mind first for many of us – and most likely involves images of Woodstock in our heads. This was the playground and realm for many big acts, including Jefferson Airplane, Jimi Hendrix, the Yardbirds, the Dead and a lesser-known band by the catchy, peculiar name of Strawberry Alarm Clock. They had a few songs on the radio, none bigger and more popular than “Incense and Peppermints”, which plays at the Electric Psychedelic Pussycat Swinger's Club as Austin and Mrs. Kensington arrive and dance inside.

The first time I heard the song was 30 years after it hit the radio waves. The movie Austin Powers: International Man of Mystery was a mocking celebration of the 60’s – its spirit, fashion, vernacular and music. “Incense and Peppermints” is one of the soundtrack highlights, maybe only trumped by Quincy Jones “Soul Bossa Nova”. There’s a YouTube video of Strawberry Alarm Clock performing the song where something off is noticeable right away. Mark Weitz’s organ riff might’ve been the musical highlight of the track, but the drummer stole the spotlight. The drum kit was situated at the front of the stage with the guitarists, bassist and organist in the background. A few bars into the song we hear drummer Randy Seol delivering the first verse. It’s not the only time we heard a drummer sing by any stretch – Phil Collins, Don Henley and Roger Taylor all shared this somewhat unusual claim. But Seol’s setup created an unforgettable inverted poise for the song and the era.

“Occasions, persuasions clutter your mind. Incense and peppermints, the color of time.”

"SLIM SLOW SLIDER" VAN MORRISON (1968)

I started Mental Jukebox nearly three years ago at the beginning of the pandemic. During this time, I’ve discovered new music, rediscovered old favorites and I’ve met passionate music fans around the world. And when things opened up, I kept on blogging. This month, the jukebox goes deeper. The term “deep cut” has multiple meanings. It can refer to lesser known album tracks from well-known artists. It can also refer to tracks from lesser known artists. This month, I’ll be featuring both types. #DeepCutsFeb

Astral Weeks is a once-in-a-lifetime album praised by fans, critics and peers alike. Considered one of the most important records of any era, it has influenced everyone from Elvis Costello and Bruce Springsteen. It’s experimental. It’s daring. It’s, at times, outlandish. There are many moments when I asked myself, “Did I just hear that?” And maybe the best part of it is, it truly has earned the respect of the music community without the commercial success. There’s a crazy blend of rock, folk, jazz and blues running through veins of the album. By the final track “Slim Slow Slider”, it’s still pumping strong.

“Slim Slow Slider” is a serious song about a serious subject. So Van Morrison made every musical element – especially his vocals – a highly visceral affair. Every pluck of the double bass feels like it’s inside us. The dual musings of a flute and a soprano saxophone are the most signature aspects of the song. They are beautiful, but undeniably haunting. But the most arresting moment is in the last ten seconds of the song, when things sputter out of control like life slipping away.

“I know you're dying And I know you know it, too.”

"THE END" THE DOORS (1967)

You can get off to a fast start. You can sustain your opener with the main course, not filler. But can you end on a high note? Sometimes I wonder if recording a strong closer is the most difficult thing to pull off when it comes to album rock. When it comes to the cream of the crop in music, I can think of more strong openers than strong closers. Nonetheless, I still have my favorites which I’ll be featuring on Mental Jukebox all month.

The amalgamation of sound from The Doors was unique, irreplaceable and captivating for many music fans, including me. The compositions often felt truly epic. And, of course, the sound felt truly their own largely because of Manzarek’s keyboard contributions and Morrison’s presence, one of the greatest frontman to ever take the stage. The debut album is exceptional, packed with several classics and ending on a high with “The End”.

“The End” keeps going, and stretches for nearly 12 minutes. It’s a breakup song that has become far more than a breakup song. It’s pure poetry. Riding on a wave of rock, psychedelia, blues and even Middle Eastern and Native American musical explorations, the song doesn’t fit neatly into one category. This is probably the one characteristic that has made it such a celebrated and highly recognized song. If you’re going to make a powerful statement to end your album, you’d be hard pressed to make something as truly epic as “The End”.

“THIS IS THE END, BEAUTIFUL FRIEND. THIS IS THE END, MY ONLY FRIEND, THE END. OF OUR ELABORATE PLANS, THE END. OF EVERYTHING THAT STANDS, THE END. NO SAFETY OR SURPRISE, THE END. I'LL NEVER LOOK INTO YOUR EYES, AGAIN.”

"SLEIGH RIDE" ELLA FITZGERALD (1960)

So much of the Christmas season, for me, is all about the music. I have no problems with you if you want to start your Christmas celebrations a little early. After Halloween seems excessive. After Thanksgiving is fair game. Then let’s bring on the real Christmas songs and the fake ones, too. I don’t discriminate. From Dec 16-31, it’s all Christmas music playing on Mental Jukebox.

After all these years, the best version of “Sleigh Ride” still belongs to Ella. That warm, inviting, rich voice is paired with a band that’s crushing it with class on the upright bass, horns and piano. Ella’s rendition is one of the most iconic Christmas songs ever recorded. Who hasn’t heard it? It’s at home pretty much everywhere – perfume-filled department stores, ridiculously crowded Starbucks stores, and another dazzling company holiday party. And a Christmas song that makes you feel right at home is my kind of Christmas song.

“Giddy up, giddy up, giddy up, let's go. Let's look at the snow. We're riding in a wonderland of snow.”

"HARK, THE HERALD ANGELS SING" VINCE GUARALDI TRIO (1965)

So much of the Christmas season, for me, is all about the music. I have no problems with you if you want to start your Christmas celebrations a little early. After Halloween seems excessive. After Thanksgiving is fair game. Then let’s bring on the real Christmas songs and the fake ones, too. I don’t discriminate. From Dec 16-31, it’s all Christmas music playing on Mental Jukebox.

This is the opposite of Mariah Carey’s “All I Want For Christmas Is You”. And that’s exactly why I like it so much. It’s stripped down, not overproduced. It’s plain-and-simple, not over-the-top. The entire Vince Guaraldi’s A Charlie Brown Christmas album is a must-listen for the holidays. And “Hark, The Herald Angels Sing” is my favorite track because of the children’s chorus and church organ. This sounds like a choir practice happening inside a small neighborhood church, not a glitzy studio. It's as real as real gets. Some of the kids are out of tune. Some of them aren’t even singing in unison. It’s messy. It’s quaint. It’s beautiful. And it reminds me so much of the original Christmas story.

“JOYFUL, ALL YE NATIONS, RISE. JOIN THE TRIUMPH OF THE SKIES. WITH TH’ANGELIC HOST PROCLAIM CHRIST IS BORN IN BETHLEHEM!”

"TIME HAS TOLD ME" NICK DRAKE (1969)

Great album openers get the listeners to keep on listening. They can do this in any number of ways. Some openers set the tone by easing us in. Others jump right in and blow our minds from the very beginning. A great album opener isn’t an easy thing to create. More than a great song, it’s all about the sequence. Track 1 has to be the perfect starter. This month, I’m highlighting my favorites. #AlbumOpeningSongs

The story of Nick Drake is one of the most unusual narratives in music history. A man who went largely unnoticed while quietly putting together three exceptional folk albums before dying of a drug overdose at the age of 27. Later, his work garnered a growing acclaim among critics and listeners. That includes me. My introduction to the 60’s was The Beatles, Simon & Garfunkel, Zeppelin and the like. I never even heard of Nick Drake until the 2000’s. But better late than never. Five Leaves Left is a rich, beautiful album – and the album opener “Time Has Told Me” is one of my favorite tracks from this under-the-radar record.

While Drake’s primary instrument was his acoustic guitar, the dark subdued piano chords form the key instrumentation on this song. The lyrics are written from a perspective one would expect from a wise, aged man. But this was a 21 year old. Drake’s old soul was driven by a deep sense of self-awareness and emotional maturity, which were remarkably beyond his years. This made his songwriting a true, rare gift. His deep, full baritone assures us that the answers aren’t always right in front us. But they do reveal themselves if we just give it time.

“And time has told me not to ask for more. Someday our ocean will find its shore.”

"WHILE MY GUITAR GENTLY WEEPS" THE BEATLES (1968)

I generally gravitate to the music first before the lyrics. But as a writer, I still marvel at well-spun verses and choruses. This month, I’m joining the music Twitter community in #SeptSongLyricChallenge

Day 16

Penned by George Harrison, “While My Guitar Gently Weeps” is one of my favorite Beatles songs. Melodic, but strewn with unexpected chord progressions and a descending bass line. Harrison is on the Hammond organ and Lennon is joined by Eric Clapton on guitar, which adds a muscular sound to the original studio track. But the greatest thing about the song are the words. A song of universal love, “While My Guitar Gently Weeps” is ridden with words that seem to exude misery and hope simultaneously. Lyrically, it is one of The Beatles’ finest. It’s a shame Harrison didn’t contribute more to their catalog.

“I don't know how you were diverted. You were perverted too. I don't know how you were inverted. No one alerted you.”

"CACTUS TREE" JONI MITCHELL (1968)

I generally gravitate to the music first before the lyrics. But as a writer, I still marvel at well-spun verses and choruses. This month, I’m joining the music Twitter community in #SeptSongLyricChallenge

Day 9

“Cactus Tree” is like a book with five chapters. It paints the portraits of four characters with exceptional musicality. The sailor. The climber. The writer. The woman who’s being pursued by all three men. And then there’s the fifth chapter that introduces many more men still – from the jester to the dreamer. What made Mitchell a great storyteller is that she did far more than just introduce a few characters and a plot. She made us empathize with her characters even with just a single verse dedicated to each. That’s some powerful songwriting.

“She has brought them to her senses. They have laughed inside her laughter. Now she rallies her defenses. For she fears that one will ask her for eternity.”