"WONDERFUL TONIGHT" ERIC CLAPTON (1977)

Inspired by Albumism, I’m doing my own version of Flying Solo with individual tracks. Band breakups and hiatuses are never fun, but these solo jams were defining moments in my life’s soundtrack.

I’m more of a fan of Clapton’s work with Cream and Derek & The Dominos. But that doesn’t take anything away from “Wonderful Tonight”. It belongs in the upper echelon of rock classics. It’s revered. It’s adored. It’s so well-known that maybe we take for granted what makes it so great in the first place. Maybe we’ve forgotten.

At a high school talent show my senior year, I was getting ready to perform a rendition of Depeche Mode’s “Somebody”. My friend provided a female take on lead vocals, and I was on piano. Before we went on, I normally would’ve been absolutely nervous and sweating bullets. But a trio before us was performing “Wonderful Tonight” and I was immediately sucked into the performance and my mind was put at ease. It seems so simple, but this is the wonderful power of “Wonderful Tonight”. How many songs do you know can do that? Clapton wrote an exceptionally simple song that draws you in and creates a moment in time for you, every single time you listen to it.

“And then I tell her, as I turn out the light, I say, ‘My darling, you are wonderful tonight’.”

"THE SOUL SEARCHERS" PAUL WELLER (2018)

Inspired by Albumism, I’m doing my own version of Flying Solo with individual tracks. Band breakups and hiatuses are never fun, but these solo jams were defining moments in my life’s soundtrack.

I’ve been a fan of The Jam and the mod revival scene since high school. But, I’m a newbie and a late bloomer when it comes to Paul Weller’s solo work, only now starting to dive into his vast catalog. I’m impressed at how versatile and experimental he’s been over the years. Weller is a true musical chameleon and explorer, almost Bowie-esque. And “The Soul Searchers” is one of my new favorites.

I love the accessible, yet unique melody and Weller’s wry guitar riffs — both on acoustic and electric. But the one thing that “The Soul Searchers” does as well as any other song is weave its string arrangements so seamlessly in with the rest of the instrumentation. There are probably somewhere between 15 to 20 different instruments on the recording - and not a single part overpowers or gets lost.

“Sleep tight, let tomorrow bring you a new day.”

"BIG LOG" ROBERT PLANT (1983)

Inspired by Albumism, I’m doing my own version of Flying Solo with individual tracks. Band breakups and hiatuses are never fun, but these solo jams were defining moments in my life’s soundtrack.

“Big log” was a shock to the system. An entirely different side to Robert Plant’s continued musical odyssey. It brought out a fascinating side to the former Zeppelin frontman that simply wasn’t possible when Jimmy Page, Bonzo and Jonesy were in the same room as him.

Listening back to it, the thing that stands out most to me about the song are the bluesy, soulful vocals that aren’t reliant on crooning and belting to find their way and identity. “Big Log” came out about ten years after Houses of the Holy, showing that Plant can sound sacred whether he goes soft or sonic. And co-writer Robbie Blunt’s delicate guitar playing impressed without trying to emulate Jimmy Page.

“Red eyed and fevered with the hum of the miles. Distance and longing, my thoughts do collide.”

"SHAPE OF MY HEART" STING (1993)

Inspired by Albumism, I’m doing my own version of Flying Solo with individual tracks. Band breakups and hiatuses are never fun, but these solo jams were defining moments in my life’s soundtrack.

By the release of Ten Summoner’s Tales, Sting had veered from his rock roots with The Police and toward a softer, quieter musical expression. But if songs like “Shape of My Heart” prove anything, it’s that, no matter how slow or quiet the music gets, Sting keeps exploring other genres to inform his own approach.

While The Police found inspiration from reggae and punk, “Shape of My Heart” dabbled in flamenco. It’s a beautiful, classical guitar-driven track with some of the artist’s finest lyrics ever written. Sting used the metaphor of a card player to describe life and love, which gave Leon: The Professional more gravitas as the song unraveled over the end credits.

“I know that the spades are the swords of a soldier. I know that the clubs are weapons of war. I know that diamonds mean money for this art. But that's not the shape of my heart.”

"THE MESSENGER" JOHNNY MARR (2013)

Inspired by Albumism, I’m doing my own version of Flying Solo with individual tracks. Band breakups and hiatuses are never fun, but these solo jams were defining moments in my life’s soundtrack.

While Morrissey has carved out a prolific solo career and catalog, Marr initially went the route of guitarist for hire following The Smiths’ demise, augmenting bands like The The, Modest Mouse and The Pretenders. But in 2013, everything changed. And it started with his first solo venture, “The Messenger”. I wanted more of The Smiths, but I ended up hearing something far closer to Interpol.

Marr’s jangle pop obsession hits a more rhythmic stride on “The Messenger” and other songs on the album. There’s an interesting evolution of guitar styling here, with a sound that feels like a rebirth of early Interpol and Daniel Kessler’s grating, hypnotic guitar playing. While the lyrics are far from Morrissey-level, the unexpectedness of Marr’s guitar sound is what made this track more delightful.

“My time's for taking if you want.”

"HARVEST MOON" NEIL YOUNG (1992)

Inspired by Albumism, I’m doing my own version of Flying Solo with individual tracks. Band breakups and hiatuses are never fun, but these solo jams were defining moments in my life’s soundtrack.

Twenty years after he released Harvest, Neil Young was back at it again with a similar motif. “Harvest Moon” is my favorite Neil Young track of all time. It’s that rare musical gem that does what it says and says what it does.

Every element of the song captures the ethereal mood so well—from Linda Ronstadt’s beautiful background vocals to the quiet steel guitar to the soft brush strokes on drums. Every element pulls you in and puts into that idyllic moonlit moment on that unspoiled night.

“We could dream this night away.”

"IT'S OH SO QUIET" BJORK (1995)

Inspired by Albumism, I’m doing my own version of Flying Solo with individual tracks. Band breakups and hiatuses are never fun, but these solo jams were defining moments in my life’s soundtrack.

By the time, “It’s Oh So Quiet” was released, Bjork had been blasting through the music world with her playful brand of electro-pop for quite some time. We got a taste of it on Debut, and it continued on with Post. But on “It’s Oh So Quiet”, Bjork abandons this musical direction and jumps into the world of big band era brass.

While it may not be my favorite track from the artist, I picked “It’s Oh So Quiet” today because it’s the epitome of Bjork from a vocal standpoint. Every sung syllable carries an emotion—from whimsy to delight to ecstasy. The range of emotions jump up and down without warning, making for an unpredictable ride and an unexpected cover of the 50’s classic.

“You fall in love. Zing boom. The sky up above. Zing boom is caving in.”

"DIRTY BLVD" LOU REED (1989)

Inspired by Albumism, I’m doing my own version of Flying Solo with individual tracks. Band breakups and hiatuses are never fun, but these solo jams were defining moments in my life’s soundtrack.

An interesting historical factoid: When “Dirty Blvd” was released as a single, Billboard started its Modern Rock chart and the song soared to #1. The song’s popularity on this particular chart is very telling of Lou Reed’s influence on the music world. Here we had a classic rocker, who not only was invited to the modern rock revolution, he helped lead it.

“Dirty Blvd” is alternative to the core. Like many songs from the Lou Reed and Velvet Underground canons, it’s a three-chord rock song. But the structural simplicity is countered by those unexpected Lou Reed moments, like the chorus outbursts and tempo pauses going into the verses.

“And back at the Wilshire, Pedro sits there dreaming. He's found a book on magic in a garbage can. He looks at the pictures and stares at the cracked ceiling. "At the count of 3" he says, ‘I hope I can disappear’.”

"TRAIN IN VAIN" ANNIE LENNOX (1995)

Inspired by Albumism, I’m doing my own version of Flying Solo with individual tracks. Band breakups and hiatuses are never fun, but these solo jams were defining moments in my life’s soundtrack.

Medusa was quite a departure for Annie Lennox on two levels. First, it was her first full length recording dedicated only to cover songs. Second, her sound had significantly shifted at this point to a softer side devoid of any Eurythmics-era strands. The highlight for me was her cover of The Clash’s “Train in Vain”.

What makes this cover especially unique is that it’s a completely different interpretation of The Clash London Calling classic. Had she done it with the Eurythmics, I think the results would’ve been far less impressive. We would’ve had a remake that might not be too far off from the original. But by the time Medusa reared its head on the music world, Lennox had expanded her genre explorations, turning in a soulful, gospel-fueled “Train in Vain”.

“I see all my dreams come tumbling down.”

"LUST FOR LIFE" IGGY POP (1977)

Inspired by Albumism, I’m doing my own version of Flying Solo with individual tracks. Band breakups and hiatuses are never fun, but these solo jams were defining moments in my life’s soundtrack.

Listening to “Lust for Life” several decades after it was initially released is quite a trip. It’s like getting sucked into a five minute microcosm of music where production and performance are vying for the spotlight. More noteworthy, the song seems like the single torch bearer of musical influence for The Strokes.

What made “Lust for Life” so exceptional was that it leaned just as hard into its unique garage sound distortions as it did into its composition and performance. “Lust for Life” simply sounded like no other song out there. But there’s no mistaking that The Strokes borrowed several cues from it to create their own brand of post-punk that later became part of the rich soundscape of the early 2000’s.

“Climb up the H of the Hollywood sign, yeah. In these stolen moments the world is mine.”

"NOVEMBER SPAWNED A MONSTER" MORRISSEY (1990)

Inspired by Albumism, I’m doing my own version of Flying Solo with individual tracks. Band breakups and hiatuses are never fun, but these solo jams were defining moments in my life’s soundtrack.

“November Spawned a Monster” will never be viewed as the quintessential Morrissey track, but it’s one of the artist’s personal favorites and it’s definitely one of mine. When I first heard it air on WDRE, it struck me as potentially the closest thing we’ll hear to The Smiths ever again.

In an uncharacteristic move, Morrissey invited former bandmate Andy Rourke to play bass on “November”. But the most striking resemblance to The Smiths sound wasn’t the rhythm, but the heavy use of not one, not two, but multiple power guitar riffs. And while the style wasn’t emblematic of Johnny Marr’s guitar playing, it wasn’t totally unlike it either. “November” gave us a glimpse of what could’ve been if only one of rock’s most influential acts had stayed together.

“But Jesus made me, so Jesus save me from pity, sympathy and people discussing me.”

"MERCY STREET" PETER GABRIEL (1986)

Inspired by Albumism, I’m doing my own version of Flying Solo with individual tracks. Band breakups and hiatuses are never fun, but these solo jams were defining moments in my life’s soundtrack.

So was a true landmark album in many ways. While commercially successful, Peter Gabriel didn’t give in to the pop sounds surrounding him. Instead, he rose above them, elevating pop with songs like “In Your Eyes”, “Sledgehammer”, “Big Time”, “Red Rain” and “Don’t Give Up”, one of a few collaborations he’s had with Kate Bush. But to this day, my favorite track on the album is still the understated and underrated “Mercy Street”.

Surrounded by mega hits “In Your Eyes” and “Big Time” on Side B, “Mercy Street” was complicated. It was haunting, yet inviting. It wasn’t merely sung. It painted a picture like all the best songs do. When you turn it on, you can see the empty streets and the fog-covered sea. This artistic depth proved Peter Gabriel never lost the progressive itch that made him so unique.

“Looking down on empty streets, all she can see are the dreams all made solid, are the dreams made real.”

"LOST ONES" LAURYN HILL (1998)

Inspired by Albumism, I’m doing my own version of Flying Solo with individual tracks. Band breakups and hiatuses are never fun, but these solo jams were defining moments in my life’s soundtrack.

The Fugees were two studio albums and done. And to this day, Lauryn Hill as a solo artist only has one. But it was an absolute legendary one. The Miseducation of Lauryn Hill was so exceptional it may have been impossible to follow up with another effort. Instead, Hill has recorded the occasional single and has toured sporadically.

Without that prolific catalog that other artists have in their name, a bigger exclamation point is put on songs like “Lost Ones”. It’s a hip-hop song loaded with attitude, rhythm and hooks. And then comes the kicker: the realization that “Lost Ones” seems to nod to the demise of the Fugees and call out her former bandmate Wyclef Jean. Which makes the song an even more powerful statement than what it exudes on the surface.

“It's funny how money change a situation. Miscommunication leads to complication. My emancipation don't fit your equation.”

"REBEL YELL" BILLY IDOL (1983)

Inspired by Albumism, I’m doing my own version of Flying Solo with individual tracks. Band breakups and hiatuses are never fun, but these solo jams were defining moments in my life’s soundtrack.

Before and after Billy Idol, there was nothing else like him. With Rebel Yell, he fused together two genres that almost had no business being on the same track together: hard rock and new wave. On their own, these genres stood in opposition to one another. But on Idol’s second solo album — and with his title track , in particular — they came together like long lost souls.

“Rebel Yell” laid the groundwork for other bands that also brought elements of these two divergent music styles together, most notably The Cult and INXS. Two likable genres often enjoyed on their own — but not often together. That’s the simple genius of Billy Idol. Every bit a rebel in both his persona and in his music, but equally relatable and likable with the masses.

“He lives in his own heaven.”

"SLAVE TO LOVE" BRYAN FERRY (1985)

Inspired by Albumism, I’m doing my own version of Flying Solo with individual tracks. Band breakups and hiatuses are never fun, but these solo jams were defining moments in my life’s soundtrack.

Bryan Ferry and the tail end of Roxy Music’s catalog is a guilty pleasure of mine. They were certainly far more progressive and experimental early on. But then the band ventured into a more atmospheric space that flirted dangerously with soft rock.

“Slave to Love” is a continuation of the Roxy Music era that brought us “More Than This”, “Avalon”, “Dance Away”, among others. Rather than fall into the predictable trap of standard “Lite FM” fare, Ferry turned to soundscapes and a soaring guitar solo at the 2:30 mark reminiscent of late Pink Floyd recordings.

“Tell her I'll be waiting in the usual place with the tired and weary. And there's no escape.”

"HEART OF GOLD" NEIL YOUNG (1972)

Inspired by Albumism, I’m doing my own version of Flying Solo with individual tracks. Band breakups and hiatuses are never fun, but these solo jams were defining moments in my life’s soundtrack.

I think of Neil Young primarily as a solo artist who just happened to insert himself into a couple of band lineups from time to time, most notably with Buffalo Springfield and CSN&Y. But really, Young has flown solo for most of his career—and he’s done it on his own terms.

His harmonica, tenor voice and guitar work are all signature elements of the rock & roll landscape. And they all came together so naturally and so simply on “Heart of Gold”. It was a bad back that forced Young to put down his electric axe, pick up his acoustic guitar and create some of the most well-known work of his career. Any song that’s envied by Bob Dylan has to be considered a great one.

“I want to live. I want to give. I've been a miner. For a heart of gold.”

"COMPULSION" MARTIN GORE (1989)

Inspired by Albumism, I’m doing my own version of Flying Solo with individual tracks. Band breakups and hiatuses are never fun, but these solo jams were defining moments in my life’s soundtrack.

The counterfeit E.P. was fresh off the heels of Depeche Mode’s Music for the Masses and the ensuing tour that transformed the band into stadium rockers. They had been recording, performing and traveling at a million miles a minute. Instead of pausing, Martin Gore kept going, deconstructing other people’s songs with his own unique sensibilities.

My favorite track on the E.P. is still the opening number, “Compulsion”. It got extensive airplay on my local alt rock radio station WDRE, and it gave me enough to tie me over until the anthemic Violator album descended on the music world. On “Compulsion”, Gore was in lock-step with his experimental synth sounds, subdued tenor vocals and a drum machine reboot that served as a foreshadowing of Depeche Mode’s next era.

“Charm’s in limited supply under threat of extinction. That indefinable nothing somehow motivates you.”

"LITTLE BIRD" ANNIE LENNOX (1992)

Inspired by Albumism, I’m doing my own version of Flying Solo with individual tracks. Band breakups and hiatuses are never fun, but these solo jams were defining moments in my life’s soundtrack.

Annie Lennox is one of the most underrated singers of our lifetime. Razor-sharp fundamentals and technique. Astounding range. And incredible versatility. On “Little Bird”, we get it all. She hogged most of the spotlight with the Eurythmics, but now she took it all.

On Diva, Annie moved closer to pop, but she did it in her own brilliant way. “Little Bird” soared on a blend of soul and electro-pop. It struts. It swaggers. It’s a vocal feast. While “Walking on Broken Glass” was a bit more predictable, “Little Bird” had just enough to catch me off guard.

“Mamma, where do I go? Mamma, what do I know? Mamma, we reap what we sow. They always said that you knew best. But this little bird's fallen out of that nest now.”

"IN THE AIR TONIGHT" PHIL COLLINS (1981)

Inspired by Albumism, I’m doing my own version of Flying Solo with individual tracks. Band breakups and hiatuses are never fun, but these solo jams were defining moments in my life’s soundtrack.

Before the mainstream pop tendencies of No Jacket Required came this Phil Collins anthem that became larger than life without crushing the charts. It was a dark period in his personal life, and the musical explorations in the song definitely reflected Peter Gabriel and early Genesis.

The power of the song can be boiled down to two moments, both revolving around the percussion. First, the creepy, ominous drum machine in the opening, a peculiar instrument of choice for a drummer. And second, the explosive drum barrage at the 3:40 mark, which is arguably the most famous drum break in music history. One showed Collins’ reclusive, detached persona, the other revealing an outburst of emotion. Just absolutely brilliant.

“I can feel it coming in the air tonight, oh Lord. Well I've been waiting for this moment for all my life, oh Lord, oh Lord.”

"HUMAN BEHAVIOUR" BJORK (1993)

Inspired by Albumism, I’m doing my own version of Flying Solo with individual tracks. Band breakups and hiatuses are never fun, but these solo jams were defining moments in my life’s soundtrack.

I’ll admit, while I liked a small handful of Sugarcubes tracks, the band as a whole were just a little too cooky for me. But the minute Bjork went solo, I thought her music got instantly stronger, smarter and more poignant. It all started with a track called “Human Behaviour”.

Like her vocals with the Sugarcubes, the song still had her signature vocal gymnastics. It’s like she’s warming up in front of us and blowing our minds from the get go. But where things diverge are in the instrumentation. “Human Behavior” was still experimental and imaginative, but it wasn’t fraught with a dual personality dynamic. The song, in its entirety, was going in a single direction that was exciting and cool.

“If you ever get close to a human and human behavior, be ready, be ready to get confused and me and my here after. There's definitely, definitely, definitely no logic to human behavior.”