"FIREPLACE" R.E.M. (1987)

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

It seems appropriate to end this month’s look at my favorite deep cuts with a song from an unabashed album rock band. At least that’s the R.E.M. I knew and loved. The band that focused more on albums than singles, and made a living crafting some of the finest deep cuts any vinyl record or cassette has seen on either side of the pond. Document is one of my favorite R.E.M. records and its depth can’t be denied. The back half of the album, for the most part, exists in the band’s sweet spot: mid-tempo. That’s where we find the fan favorite, “Fireplace”.

Man, I love this song. There’s an intensity and urgency with its prodding pace and emotive minor chords. The lyrics and melodies are Stipe to the core. But the saxophone comes out of nowhere, doesn’t it? This isn’t a cheesy eighties’ sax solo though. It’s much more experimental. It wears its emotions on its sleeve. No apologies. Nothing contrived. “Fireplace” does what the best deep cuts do. It gives us something different, something a bit more daring.

“Crazy, crazy world. Crazy, crazy times.”

"WHITE, DISCUSSION" LIVE (1994)

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

There might not be a more important album from 1994 for me than Throwing Copper. It was a saving grace in many ways. The recognition that rock could survive – and even thrive – past this grunge era. Leave the plaid shirts and thrashing guitar feedback at home, but bring the bangers out in full force. It’s like Live took the Pixies blueprint of quiet-loud-quiet dynamics, skipped over the grunge sound, and landed somewhere different. I played the album to death from beginning to end. It’s deep, for sure. Just have a listen to this under-the-radar track, “White, Discussion”.

It seems ironic that a band that intentionally veered the grunge template has a song whose structure is reminiscent of Pearl Jam. But that’s the way Live goes. Those minor chords cascade down as Kowalczyk’s vocals evoke a Vedder-esque rant. The quiet parts erupt like molten lava into the loud parts. Or maybe more like an exorcism of the establishment. So many bands have tried to do that in an authentic way. Live actually pulled it off.

"POT KETTLE BLACK" WILCO (2001)

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

The paradox of Yankee Hotel Foxtrot’s timing is both chilling and redemptive. Released one week after September 11, 2001, this album flew under the radar for several months. While the world was turned upside down, Yankee Hotel Foxtrot seemed to turn things right side up, but in the experimental Wilco way. It’s regarded as one of the finest albums of the decade. And, like many music fans, it’s my favorite Wilco record hands down. The songwriting, introspective and immersive. The experimentation and the risks, uncompromised. And the melodies, they feel almost effortless. That’s the case with heralded tracks like “Jesus, Etc.”, “Heavy Metal Drummer” and “War On War” as well as with deep cuts like “Pot Kettle Black”.

There’s an immediately familiarity to it thanks to the borrowed riff from The Cure’s “In Between Days”. As a music fan, this never made me angry. Quite the opposite, actually. I’m always happy to hear it. It’s an unexpected surprise that gives the song an endearing quality. Was it intentional? Perhaps Tweedy’s lyrics are an admission: “Every song's a comeback. Every moment's a little bit later.” At the two-minute mark, “Pot Kettle Black” seems to transform into a two-bit video game, grounding the moment in deep nostalgia. Like “Heavy Metal Drummer”, it’s a song that brings you back in its own unique way.

“Every song's a comeback. Every moment's a little bit later.”

"TEA IN THE SAHARA" THE POLICE (1983)

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

Synchroncity is an anomaly in music history. It contains some of The Police’s biggest hits, including “Every Breath You Take” and “Wrapped Around Your Finger”. These songs were accessible for a wider audience. But this same album also birthed some of the band’s most experimental tracks, including “Mother” and “Miss Gradenko”. Synchronicity spanned several genres, from hard rock (“Synchronicity II”) to jazz (“Murder By Numbers”). But, more than anything, it was a study in space. The Police knew how to use space to their advantage as good as any other band out there. “Tea in the Sahara” is a solid case in point.

The song theme is inspired by a book that Sting read by Paul Bowles called “The Sheltering Sky”. There’s a story within the greater story about three sisters who wait to have tea in the Sahara with a prince. It’s a story of gratification and dreams pursued, achieved, and lost again. The story required an atmospheric approach to the instrumentation, which Andy Summers created through space and layers. His guitar thrives in open space with a series of feedback expressions and echoes that immediately transport us into the scorching desert. Copeland’s percussion approach is light and airy like the Sahara sand. “Tea in the Sahara” is a soundscape that appears like a mirage and then seems to vanish into thin air in an instant.

“WE HAVE THIS STRANGE OBSESSION. YOU HAVE THE MEANS IN YOUR POSSESSION.”

"FALLING ASHES" SLOWDIVE (2017)

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

The eponymously-titled album was the band’s first studio output in over 20 years. It’s highly unusual for a band to come back to record like that after such a lengthy hiatus. It’s even more unusual for a band to arrive in such spectactular form as Slowdive did in 2017, like not a single day passed since 1995’s Pygmalion. Their most recent studio album not only held up, it became my favorite Slowdive record. A big part of that is due to the strength of the final track, “Falling Ashes”.

What’s great about “Falling Ashes” is that it doesn’t depend on distortion and pedal effects to create the atmosphere. There’s an overwhelming expansiveness to the whole album where Slowdive uses some of their tried-and-true techniques, but “Falling Ashes” shows us a maturation to the band yet this is still undeniably Slowdive in every way. Impossibly beautiful. Unflinchingly contemplative. Utterly immersive.

“Love of my life, GRACE of my night.”

"MOTORWAY TO ROSWELL" PIXIES (1991)

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

By Trompe Le Monde, the Pixies were past their prime. But they were still true to their identity, refusing to cave in to the direction of the sounds that surrounded them. The Pixies are the influencers, not the influenced. The kings of quiet-loud-quiet, loud-quiet-loud, and all their variations. They were forerunners to the grunge movement. And yet their music is unusually resilient, holding up year after year, decade after decade. And there’s no better place to start than one of the deep cuts from Trompe Le Monde, “Motorway To Roswell”.

A bit more melodic and poppier than we were accustomed to hearing from The Pixies, “Motorway To Roswell” was as tame (song reference intended) as the band got. Black Francis gives the screaming and howling a rest, and sings in a way that gives the melody more power. But this is no softie. Santiago’s guitar still lights up like a three-alarm fire. While Trompe Le Monde may not be their piece de resistance, I find myself tipping my proverbial hat to originals like “Motorway To Roswell” more so than the covers.

"ROCKET'S TAIL" KATE BUSH (1989)

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

If there’s an artist whose worth and influence are truly measured by their deep cuts – not their hits – it’s Kate Bush. I have nothing against “Running Up That Hill”, “Wuthering Heights”, “Cloudbusting” or “This Woman’s Work”. I will always love those songs. And those songs are all high influential. But it’s deeper into her albums when Kate often becomes even more daring, experimental and, best of all, unexpected. “Rocket’s Tail” is a case in point.

Hearing it back today, I’m struck by how ahead of its time this track was. This track alone is a blueprint for Florence + The Machine’s fourth and fifth studio albums. “Rocket’s Tail” is part beauty, part beast. It starts off with those achingly beautiful music harmonies. And then, seemingly out of nowhere at the 1:29 mark, the electric guitar solo launches explosively into the ether like it’s some Pink Floyd affair.

“You said, "Hey, wish that was me up there. It's the biggest rocket I could find
And it's holding the night in its arms.”

"MAYONAISE" THE SMASHING PUMPKINS (1993)

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

Funny how music albums turn into time machines. You press “play” and then, just like that, you’re back in time. Somewhere great. Somewhere awful. I play The Smashing Pumpkin's’ Siamese Dream and I’m right back inside my dorm in my sophomore year of college. My roommate – who went on to become one of my groomsmen – and I lived and breathed music together. Going to shows. Picking up new CDs at Boston’s Newbury Comics. Writing record reviews for the school paper. And, best of all, blasting tunes like “Mayonaise” on our speakers.

“Mayonaise” is essential Pumpkins. Not an obscure track by any stretch. In fact, it’s considered one of the band’s best songs by some of their biggest fans. But it wasn’t one of Siamese Dream’s singles – and it is Track 9 on the album. A revered deep cut from the mid 90’s, it is languid and sleepy one moment, then the pressure valve releases and musical catharsis happens. “Mayonaise” – a playful spelling of the song’s theme “my own eys” was co-written by Billy Corgan and James Iha, which endears the song to me even more. It cannot be traced back to just the frontman, it’s the band’s song. And in 1993, it was our song.

“Pick your pockets full of sorrow. Run away with me tomorrow.”

"GUEST ROOM" THE NATIONAL (2007)

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

Music is pretty much everything to me. All the best moments in my life have involved music in some way. It would be hard to imagine life without it. It would be hard to imagine life without The National. And it would be equally difficult to imagine The National without their breakthrough album, Boxer. The band had started to come into their own on the preceding LP, Alligator. But Boxer swayed with an incredible confidence. The back half of the album is no stranger to the spotlight. “Apartment Story” was one of the album’s singles, and “Start A War” appeared on the band’s setlists for a few years – even as the opener. But there’s a lesser heralded track that deserves mention here on Mental Jukebox: “Guest Room”.

Interesting thing about the “Guest Room”. It has all the elements that make The National a great band. The song kicks off with Bryan Devendorf’s trademark stuttering drum lines. Meanwhile, Aaron and Bryce do their thing on guitar creating atmospheric sounds with an intricate series of harmonics, chords and arpeggios. And Berninger is, well, Berninger. Waxing everyday poetic and singing so cool and so low on the outer edges of a bass range. My, how much I love this song and this band.

“They’re gonna send us to prison for jerks. for having vague ideas of the way to turn each other on again.”

"FLOOD" MOGLI (2017)

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

My discovery of Wanderer came by way of the movie “Expedition Happiness”. Before then, I had never heard of Mogli. It’s a reminder, for me, that a lot of the music we love is discovered by happenstance. Music discovery at its best is rarely a thing you can engineer. It just happens. The thing with Wanderer is the songs all feel like deep cuts in a sense since the movie was more well-known than the music. But I love this album. And I love “Flood”.

Looking for a song to transport you somewhere undefined and magical? That’s “Flood”. It takes the simplest instrumentation and chord progressions – often just content with repeating the same note over and over again – to create an atmosphere. “Flood” is a paradox. It’s a soft landing for your soul one listen. And a hot air balloon ride for your mind the next. It seems to possess a permanent frost over it, yet it exudes an undeniable warmth.

“I'm holding on to the same sad song. But grace was gone all along.”

"WAITING FOR THE WORMS" PINK FLOYD (1979)

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

Few rock & roll moments can rival the experience of hearing The Wall for the first time as a teenager. I was obsessed with this album for quite a while – and the movie, too. The Wall is an extraordinary soundtrack because, first of all, it’s a true soundtrack filled with songs intimately woven into the scenes of the movie. These tracks aren’t just background noise. Beyond simple ear candy, this was music that indulged the head and the heart fully. There was no filler on here. “Waiting For The Worms”, as a deep cut, is all the proof you need.

“Waiting For The Worms” is a perfect example of the ingenuity and ambition of Pink Floyd. They gave their minds and hearts fully to the music. This track won me over from the first listen. It flaunts like Queen one moment, and trudges like Sabbath another. To call it a rock song is to overlook its complexity – this is more like a composition with four interconnected movements. The megaphone alone crawls under your skin and stays buried there for days.

“Waiting to cut out the deadwood. Waiting to CLEAN up the city. Waiting to FOLLOW the worms. Waiting to put on a BLACK shirt. Waiting to weed out the weaklings. Waiting to SMASH in THEIR windows And kick iN THEIR doors.”

"HIDEOUS GLORIOUS" THE BARR BROTHERS (2017)

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

Hailing from Montreal, The Barr Brothers are probably my favorite band from that region in Canada. I pick them ahead of Arcade Fire, Wolf Parade and anyone else primarily because I always felt that their music was more real. I felt this from the beginning. And I still felt it with their last studio output Queens of the Breakers which was released in 2017. It is an album that I love listening to from beginning to end, and I was able to hear the band perform many of the tracks at the Music Hall of Williamsburg, including the deep cut track “Hideous Glorious”.

It is glorious indeed, and far from hideous. The kind of song that simply comes alive when it’s played live. Many of the hallmarks of The Barr Brothers sound make their appearances on this track. Soaring harmonies. Atmospheric guitar lines. The occasional, understated guitar solo. And lyrics as human as human gets. Queens of the Breakers made a little noise in the indie rock scene with “Song That I Heard” and “You Would Have To Lose Your Mind”. But it’s the deep tracks like “Hideous Glorious” that I love best.

“Did you come here for the truth? Did you come here to tighten it down or turn it loose?”

"THE BABY SCREAMS" THE CURE (1985)

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

The Head On The Door had an ease and accessibility about it. It’s common to deem this trait as a weakness. But nothing could be further from the truth. It isn’t so much a mainstream album, and it certainly isn’t The Cure selling out. The album explores a number of different genres and influences, conjures up a dozen different emotions. It just happens to be danceable with moments of pop. Just maybe you’re dancing in a cemetery, not at prom. The unheralded track “The Baby Screams” is one of my favorite deep cuts from the band.

Here’s proof that the quintet works. It thrives. Smith, Tolhurst, Thompson, Gallup and Williams sound like they’re having a ball playing this. To this day, I still don’t know what the song is about, although it’s definitely not about colicky babies. Like many Cure songs, it’s not about what the song is telling you, it’s about how it makes you feel. When I play “The Baby Screams”, I wanna play air bass to those chunky bass hooks from Gallup. I wanna play air keys with those ironic flourishes from Tolhurst. I wanna get behind Boris’ kit and wail on the drums all afternoon and skip work. I wanna crush those guitar riffs side by side Porl. And I want to scream like a hyena with Robert. But the headphones will do just fine for now.

“HEAVEN, GIVE ME A SIGN. WAITING FOR THE SUN TO SHINE. PLEASURE FILLS UP MY DREAMS AND I LOVE IT, LIKE A BABY SCREAMS.”

"TOLERANCE" 10,000 MANIACS (1992)

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

A big part of what made the 10,000 Maniacs sound work so well was the subtle, often rhythmic approaches to the guitar playing. The formula worked well because it put Natalie Merchant’s vocals and the song melodies in the spotlight. This is evident throughout their catalog, particularly on In My Tribe and Our Time In Eden, the album that allowed the band to break into the mainstream. But there was an anomaly on the album – a deep cut track and favorite of mine called “Tolerance.”

Our Time In Eden stretched deep: 13 tracks long. Even so, it showed no signs of letting up. The richness of the songwriting is evident. Track 10, “Tolerance”, didn’t follow the band’s traditional formula. The mix gives equal emphasis to Merchant’s vocals as it does to Robert Buck’s scorching guitar riff. “Tolerance” comes out out of the gate on a mission and rocks a little harder than what the band is used to. A delightful, unexpected facet to the band that seemed to work well – even as the band stepped out of their comfort zone.

“Hear it grow, hear it fade. The sound you're hearing, the sound you're fearing is the hate that parades up and down our streets, coming within bounds and within reach.”

"NIGHT TIME" THE XX (2009)

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

Well, I’m going from one music act with minimalist tendencies to another – this time playing The XX on Mental Jukebox. That debut album is always worth listening to from beginning to end in one sitting. It creates a mood that’s best if it sits with you for a while, and it has the depth to pull it off. Not to take away from “Crystalised” and “Intro”, as they are great tracks themselves, but these more well-known songs are not my favorites. The back half of the record holds up strong – and the mysterious “Night Time” is one of the highlights.

“Night Time” is as esoteric as it is atmospheric. The guitar chords are that much more powerful out in space on this track. The bareness in between notes is what makes the song. There is nowhere to hide. But then at the 2:20 mark, things pick up with Romy’s more urgent guitar playing and that irresistable sliding bass line from Oliver. That mid-tempo shift might just be my favorite part of the song. But that’s the thing with “Night Time”. Next time I play it, I’ll probably find another favorite part to obsess over.

“I walk out in stormy weather. Hope my words keep us together.”

"DRAG" LOW (1994)

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

It is a bit ridiculous how many decades passed before I finally discovered this album. I love it now, but I can’t imagine the power it would’ve had on me had I listened to it during its era. It is the antithesis of two prevailing genres at the time: the loud, thrashing guitars of grunge rock and the feedback-soaked noise of shoegaze. Low’s debut record must’ve sounded strangely stark and naked in that era. It is how Low made a name for itself in the indie scene - that minimalist approach and, of course, those haunting harmonies from Alan and Mimi. God rest her soul. She’s still here when I play I Could Live In Hope once again in its entirety, which winds down with the treasured deep cut “Drag”.

“Drag” appropriately drags itself out in space with snare brushes dotting a haunting, finite landscape. Alan sounds young, hopeless and remorseful. The instrumentation is as minimal as it gets, starting with that bass line that reminds me of Joy Division. The lyrics are just as minimal. Alan wrote four lines in total, but somehow they speak volumes in their simplicity. Hearing “Drag” again, I want Mimi to be back. Alan’s artistry and musicianship are far better with her by his side.

“I'm sorry but I can't hold on. It works much better if I let it drag me around.”

"AGENT ORANGE" DEPECHE MODE (1987)

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

Music For The Masses isn’t just my favorite Depeche Mode album, it’s the record in which the band took a giant leap forward – not just commercially, but artistically. The dark, ominous electro pop of Black Celebration was followed up by an album brimming with exceptional cohesion and confidence. Alt hit singles aside, every song was perfectly sequenced within the track order to serve the greater purpose of the album. It’s why I consider every track so vital, including bonus tracks like “Agent Orange”.

Some of the greatest deep cuts in music history are instrumentals. “Agent Orange” lacks nothing, even with no vocals. It’s a mood piece that capitalizes on the dark soundscapes that the band is known for. Without uttering a single word, it tells a story and paints a picture. The musicality isn’t incredibly complex, but it’s perfectly orchestrated, an underrated gem from the Alan Wilder years that proves synthesizers are far from souless.

"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.”

"TELL" THE RADIO DEPT. (2006)

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

Putting The Radio Dept.’s first two full-length albums side by side – Lesser Matters and Pet Grief – I have trouble saying which one I like better. They are quite different from each other. The band’s debut album has more guitars, more of that characteristics shoegaze distortion and fuzz, and more variations. But the remarkable consistency between the tracks on their sophomore release is Pet Grief’s biggest strength and it’s what makes it such a great listen from beginning to end in one sitting. Just as critical to the overall sound as the early tracks are the ones that bring up the rear of the record, including “Tell”.

That dream pop essence is captured so poignantly in those high synthesizer single notes that seem to soar wistfully and tragically at the same time. As with many of the other tracks on Pet Grief, the synthesizers are king here and the guitar plays a secondary role, complementing the atmosphere and textures defined on the keys. The “Tell” is perfect for slow, lazy afternoons. Perfect for rainy days. Just perfect, in general.

“Will you keep this up, As long as you can if I don't make it stop?”

"DOUBTS EVEN HERE" NEW ORDER (1981)

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

It is sobering, yet also somewhat disorienting to think that Movement came out just a year and a half after Ian Curtis’ suicide. In some ways, it seemed much too soon to be getting back to writing, playing and recording. But this was how Sumner, Hooky and Morris moved forward. Movement, in many ways, was a way to keep Ian Curtis’ legacy alive. Many of the songs unequivocally feel more like Joy Division than New Order, including “The Him” and the lesser heralded “Doubts Even Here”.

While Movement isn’t my favorite New Order album by any stretch, ”Doubts Even Here” has been captivating and, at times, it has possessed this magnetic quality. There’s something in the song that continually pulls me back into it. Before the changeover to a brighter, synth-driven sound, here New Order saluted the post-punk agenda of Joy Division. “Doubts Even Here” conjured up a complex melee of emotions, from sadness to despair, to fury. And they pulled it off magnificently here before the mold was set – with Stephen Morris writing all the lyrics and Hooky on lead vocals.

“Too much of heaven's eyes I saw through.”