"COME ON! FEEL THE ILLINOISE!" SUFJAN STEVENS (2005)

Inspired by Jeep’s “Reunited States of America” Super Bowl ad, this is my peek into America through a handful of songs. Each track is dedicated to one of the states. Here’s Part 3.

I can’t have a state theme on Mental Jukebox without Sufjan Stevens. And his unfinished state project is best represented by his Illinois album. What Illinois did more so than any other Sufjan Stevens record was showcase his ability to create both stripped down moments of solitude as well as orchestrated Broadway-like anthems. What I love about “Come On! Feel the Illinoise” the most is how it displays the instrumentation, storytelling and scale of a Broadway musical and delivers it in Sufjan’s unmistakeable style.

“Typically terrific, busy and prolific. Classical devotion, architect promotion, lacking in emotion. Think about it now.”

"GOING TO CALIFORNIA" LED ZEPPELIN (1971)

Inspired by Jeep’s “Reunited States of America” Super Bowl ad, this is my peek into America through a handful of songs. Each track is dedicated to one of the states. Here’s Part 2.

When I got my copy of Led Zeppelin IV back in ninth grade, it felt like I had discovered the full span of rock & roll in one cassette. The hard and heavy stuff with “When the Levee Breaks” and “Black Dog”. The accessible power of “Misty Mountain Hop” and “Rock and Roll”. The epic statements of “Stairway to Heaven” and “The Battle of Evermore”. And then there was “Going to California”, which showcased a beautiful acoustic side to Jimmy Page and gave way to one of Robert Plant’s most impressive and versatile vocal deliveries.

“Made up my mind, make a new start. Goin' to California with an achin' in my heart.”

"TENNESSEE" ARRESTED DEVELOPMENT (1992)

Inspired by Jeep’s “Reunited States of America” Super Bowl ad, this is my peek into America through a handful of songs. Each track is dedicated to one of the states. Here’s Part 1.

This week, I’m celebrating the United States on Mental Jukebox. First up, the highly influential 90’s southern hip hop classic “Tennessee”. It gave us an early example of a half-sung, half-rapped delivery. It stood in stark contrast to gangsta rap with a more positive message - exploring themes like family and spirituality. And it just had an infectious, unforgettable beat. This track helped Arrested Development win far more than just awards. It won them a ton of respect, even outside hip hop circles.

“Take me to another place, take me to another land. Make me forget all that hurts me, let me understand your plan.”

"ARMANDO'S RHUMBA" CHICK COREA (1976)

My friend, jazz aficionado and the immensely talented artist Jonathan Glass is contributing today’s Mental Jukebox pick from Chick Corea—in honor of a true legend’s passing last week. Not only is Jonathan intimately familiar with Chick Corea’s catalog and live performances, he also gifted one of his signature ink sketches to the legendary jazz pianist.

As pianist Renee Rosnes put it best, "It's hardest to think of Chick Corea in the past because no other musician was as ‘present’ as he". It’s hard to overlook Corea’s vast stylings, especially with the electronic fusion band, Return to Forever. But I choose a song that I first heard pianist virtuoso Helen Sung play at Smalls, "Armando's Rhumba", a song dedicated to Chick Corea's dad, Armando, (it should also be noted that Chick's full name is ARmando Anthony "Chick" Corea).

This song has elements of flamenco mixed with jazz as many of his "Spanish" albums do. Hearing Helen's version felt definitive, but I later heard Chick Corea play this song at Jazz At Lincoln Center with another pianist virtuoso, Chucho Valdes, as a duo concert. While Helen Sung's version felt like a tightly woven composition, Chick offered some gorgeous soloing. "Armando's Rhumba" is decidedly a jazz standard while proving once again that Chick's writing and playing had an openness to all styles of music.

"QUEEN OF PEACE" FLORENCE + THE MACHINE (2015)

Ferocity. Emotion. Grandeur. These are some of the qualities that I love about Florence. And they all come together on “Queen of Peace”, one of my favorite tracks from How Big, How Blue, How Beautiful. It’s a song that switches gears two times—once from the string arrangement prelude to the fierceness of the opening verse. Then up another notch to the emotional rampage of the chorus. It’s one of the most powerful songs from one of the most powerful artists of the last decade.

“Like the stars chase the sun, over the glowing hill, I will conquer. Blood is running deep. Some things never sleep.”

"ONLY SHALLOW" MY BLOODY VALENTINE (1991)

On Mental Jukebox, I try to include some of the influential acts in music history. Not necessarily the most prolific or most successful bands. But ones that redefined music and inspired future artists and genres. It was just a matter of time that I would feature a My Bloody Valentine song. “Only Shallow” was a perfect expression of shimmering, textural soundscapes. You don’t so much listen to it as you let it wash over you.

“Where she won't dare. Anyway (where). Look in the mirror. She's not there. Where she won't care. Somewhere.”

"LITTLE WING" JIMI HENDRIX (1967)

It’s easy to appreciate the more sonic expressions of Jimi Hendrix’s guitar playing—from “All Along the Watchtower” to “Voodoo Child”. But in some ways, “Little Wing” was more impressive in its understated way. On it Hendrix demonstrated an amazing rhythm & blues-infused guitar style. It was an intricate and delicate display of the Stratocaster. But it was also an exercise in restraint. Proof that the guitar can have a prominent place in even a ballad.

“Butterflies and zebras. And Moonbeams and fairy tales. That's all she ever thinks about.”

"SOUL MEETS BODY" DEATH CAB FOR CUTIE (2005)

The songs of Death Cab for Cutie resemble timepieces. They have a methodical, percussive heartbeat that feel more like handmade Swiss watches than drum kits. This rare quality can be hugely addictive. “Soul Meets Body” is one of my favorites. While the beat has that steady, ticking personality associated with DCC, the song itself also channels the passing of time in its mood and lyrics. And it brings me back to a time when Death Cab reinvented the way we thought about music.

“I do believe it's true that there are roads left in both of our shoes.”

"THE DOWNEASTER 'ALEXA'" BILLY JOEL (1989)

Billy Joel is not only the piano man, he’s a master storyteller—with countless songs that tell gripping, novel-like narratives. And “The Downeaster ‘Alexa’” was one of his finest, recounting the plight of a fisherman—with local references like Block Island Sound, Nantucket, Montauk and Gardiner’s Bay. Seeing Billy perform it live on the Storm Front tour at Giants Stadium, I felt like my very hands were on the wheel of the Alexa. That’s a powerful song.

“But I've got people back on land who count on me. So if you see my Downeaster Alexa and if you work with the rod and the reel, tell my wife I am trolling Atlantis.”

"MARQUEE MOON" TELEVISION (1977)

Alternative rock wasn’t a defined genre in the 70s, but “Marquee Moon” was foundational and highly influential in paving the way for alt rock bands that began forming in the 80’s. In it I hear so many musical characteristics that veer away from the obvious and toward alternative expressions—from the eccentric time signature to the inventive guitar playing. We can thank Television for taking these brave creative steps forward.

“I remember how the darkness doubled. I recall, lightning struck itself.”

"CANNONBALL" THE BREEDERS (1993)

Kim Deal was an instrumental member of the Pixies. But The Breeders was her thing. It was and is the project that truly celebrates her natural musical inclinations. And “Cannonball” is their anthem. It was coy. It was playful. It made distortion a wistful technique. It made tempo shifts and pregnant pauses as important as the slithering guitar licks. And it had that killer bass line starting at the :20 mark that introduced us to one of the defining alt rock moments of the early 90’s.

“Spitting in a wishing well. Blown to hell crash. I'm the last splash.”

"DEAR LIFE" BECK (2017)

My “Dear…” series ends this week with Beck. The song is a letter to life itself. The melody is Beck through and through. The music continues to scratch Beck’s experimental itch and show off his musical versatility. It shows no signs of Beck slowing down. No signs of the talented artist losing inspiration. “Dear Life” is an electro-charged step back into ragtime tendencies. The opening and closing piano chords bookend his miserable, self-loathing letter.

“Dear life, I'm holding on. How long must I wait before the thrill is gone?”

"DEAR LANDLORD" BOB DYLAN (1967)

If I weren’t writing my “Dear…” series this week on Mental Jukebox, I would’ve picked “All Along the Watchtower” over “Dear Landlord” without hesitation. Full disclosure: this isn’t my favorite Dylan song. But it’s intense and ambitious. Dylan’s John Wesley Harding album is full of religious themes—and “Dear Landlord” is no exception. You can’t help but notice that Dylan has some serious hang-ups about the man upstairs. We read it in his lyrics. We hear it in his voice.

“Dear landlord, please don't put a price on my soul. My burden is heavy. My dreams are beyond control.”

"DEAR GOD" XTC (1986)

Funny how this song created such religious controversy when it first came out. While this letter to God was written from the perspective of an agnostic, I think there’s something to be learned here in terms of what it means to pray with an honesty and an earnestness that’s often missing in the modern religious discourse. It’s masterfully penned by Andy Partridge—and the string arrangements and haunting guitar strums make it one of my all-time favorite new wave classics.

“Dear God, hope you get the letter and I pray you can make it better down here.”

"DEAR CATASTROPHE WAITRESS" BELLE & SEBASTIAN (2003)

Leave it to Belle & Sebastian to write an eccentric letter to an eccentric character. The album of the same name had more well-known B&S staples like “Piazza, New York Catcher” and “If She Wants Me”. But “Dear Catastrophe Waitress” rises above them because it just did its own thing. Unusual time signature. Unusual melody. And unusual musical embellishments that weren’t standard fare for the band.

“You'll soon be leaving this town to the clowns who worship no one but themselves.”

"DEAR OLD STOCKHOLM" MILES DAVIS (1957)

In celebration of my son Miles’ birthday today, I’m continuing my “Dear…” series with a Miles Davis recording. This jazz rendition of a centuries old folk song is a remarkable exercise in restraint. It’s strikingly minimalist despite featuring absolute legends in Davis, Coltrane, Red Garland, among others. Every instrument has its own delicate moment on this recording—from Philly Joe Jones’ steady snare brushes to Garland’s chord splashes to the masterful improv meanderings of Coltrane and Davis.

"DEAR PRUDENCE" THE BEATLES (1968)

This is perhaps one of the most underrated Beatles songs ever recorded. The 80’s cover by Siouxsie & the Banshees was my introduction to this bizarre, yet beautiful song. But The Beatles’ original was much more unexpected and experimental in sound. “Dear Prudence” was written to the environment and mood. Both figurative and literal, it was the band’s plea to Mia Farrow’s sister Prudence to come and play while they were traveling in India.

“Dear Prudence, won't you come out to play. Dear Prudence, greet the brand new day.”

"WHAT I'D SAY, PT. 1 & 2" RAY CHARLES (1959)

This was a song born out of a late night improv jam session. Ray Charles and his band finished their set and just kept on playing. And when they kept playing, “What' I’d Say” is what came out, right there out on the stage. Over the course of eight minutes, “What I’d Say” defined soul music, won the adoration of music fans and managed to piss off quite a few as well. It combined electric piano with real piano and it turned the high hat into a central percussion element.

“When you see me in misery, come on baby, see about me.”

"FENCES" PHOENIX (2009)

Back in 2009, a second wave of synth pop bands was rising. The bands that were leading the charge were Phoenix and MGMT. Their songs made you dance. They made you feel young again. You don’t over explain songs like “Fences”. You just have fun with them. But I will say this. Phoenix, with these delicious pop songs, found their own brand of rhythmic hooks, lifting spirits with their pregnant pauses and tempo shifts.

“Once remembered now forgotten.”

"RIDICULOUS THOUGHTS" THE CRANBERRIES (1994)

It’s been over 25 years since this band descended on the music world with a voice and sound unlike anything else out there. The one Cranberries song that has stayed with me this whole time is “Ridiculous Thoughts”. Not “Dreams”, “Zombie”, “Linger” or “Salvation”. It’s “Ridiculous Thoughts” because it’s a rock song structured like a classical music piece. Four minutes long with four movements: the opening yodel, the verse-by-verse strut, the spiraling chorus and the howling refrain.

“I feel alright and I cried so hard. The ridiculous thoughts, oh, I feel alright.”