"THE ROVER" LED ZEPPELIN (1975)

Pick four songs from any band and you can tell a lot about their sound. This summer, I’m featuring #RockBlocks, four picks from bands across various genres. They might be wildly different from each other, but what binds them together is the fact that they’re all a part of my life soundtrack.

There are so many things to respect about Led Zeppelin’s artistry and musicianship. But the one thing that was always the most appealing aspect to me is Jimmy Page’s seemingly infinite well of guitar lines. This is the strength of the album Physical Graffiti which, in my opinion, contains the greatest collection of guitar riffs in one album, including quite a few on “The Rover” alone.

“The Rover” is one of Zeppelin’s most underrated songs. It’s never mentioned in the same breath as “Kashmir”, “Immigrant Song” or “Black Dog”, but it’s not far behind that upper echelon of the Zeppelin catalog. There are four memorable riffs that define “The Rover”: the intro, the chorus, the bridge and the epilogue, making it one of Page’s single greatest masterpieces. Bonzo’s percussion attack was nothing to sneeze at either, not to mention a sound that seemed to inform and inspire the hard rock Aussie outfit AC/DC.

“And our time is flying, see the candle burning low. Is the new world rising, from the shambles of the old.”

"DANCING DAYS" LED ZEPPELIN (1973)

Pick four songs from any band and you can tell a lot about their sound. This summer, I’m featuring #RockBlocks, four picks from bands across various genres. They might be wildly different from each other, but what binds them together is the fact that they’re all a part of my life soundtrack.

Back in high school, a friend of mine and fellow track runner introduced me to Houses of the Holy. He told me it was better than all the other Zeppelin albums. Better than II, IV and Physical Graffiti. I approached the album with some trepidation. The album cover made me feel like if I gave in to it, I would perhaps be swayed into some kind of evil cult. But there’s nothing evil about Houses of the Holy. It really is one of the band’s strongest albums, and “Dancing Days” created a bright, euphoric middle for the album.

Houses of the Holy was bookended by two tour de forces: “The Song Remains the Same” and “The Ocean”. But right smack in the middle, “Dancing Days” — together with “D’yer Mak’er” — formed a bit of an odd anomaly. As the lesser known song of the duo, “Dancing Days” is that underappreciated, feel-good rocker where Zeppelin entered a rare moment of nostalgia, both thematically and musically. It proved that no matter what genre the band explored, Page’s muscular riffs would always find a way to drive the song forward.

“Crazy ways are evident by the way you wearin' your clothes. Sippin' booze is precedent as the evening starts to glow.”

"WHEN THE LEVEE BREAKS" LED ZEPPELIN (1971)

Pick four songs from any band and you can tell a lot about their sound. This summer, I’m featuring #RockBlocks, four picks from bands across various genres. They might be wildly different from each other, but what binds them together is the fact that they’re all a part of my life soundtrack.

The blues can bring you down. Rock can bring you up. That’s the wild dynamic at play throughout a good portion of Led Zeppelin’s storied catalog. Their songs take your soul in both directions. It can feel like your innards are being torn apart. But it can feel so good. Zeppelin is far more than hard, headbangin’ rock. It’s why they’re still one of my all-time favorite bands. Led Zeppelin IV was an epic recording with an epic ending: “When the Levee Breaks”.

Not as celebrated as the monster tracks on Side 1, “When the Levee Breaks” is largely remembered because it came out in an era of album oriented rock. Back in 1971, the majority of people listened to albums from beginning to end. In this format, “When the Levee Breaks” was a powerful, mind-numbing finale. It was one of the most bluesy songs ever recorded by the band, but it also brought immense power thanks to Bonzo’s thunderous beats and Page’s electric interpretation of the blues.

“When the levee breaks, I'll have no place to stay.”

"RAMBLE ON" LED ZEPPELIN (1969)

Pick four songs from any band and you can tell a lot about their sound. This summer, I’m featuring #RockBlocks, four picks from bands across various genres. They might be wildly different from each other, but what binds them together is the fact that they’re all a part of my life soundtrack.

By the time I reached the exciting, yet incredibly awkward ninth grade, I was knee deep into Led Zeppelin. Physical Graffiti, Led Zeppelin IV and Houses of the Holy were on heavy rotation on my Sony cassette player. No other band had figured out such a natural and powerful way of bringing together hard rock and blues as well as Zeppelin. I didn’t fully appreciate it at the time, I just really liked the music. Killer vocals. Killer riffs. Killer lyrics. It wasn’t unusual to be a Zeppelin fan in my high school. In fact, “Ramble On” went on to become our graduation song.

John Paul Jones has always been the least talked about and the least celebrated member of the band. But his bass line on “Ramble On” is truly iconic. Some even call it the best bass line ever written. It’s both melodic and rhythmic — and in a rare moment Jonesy steals the spotlight from Jimmy Page. The other irresistible thing about “Ramble On” is Robert Plant’s soulful cry. It just doesn’t get any more rock ‘n roll than those monster vocals in the chorus.

“Got no time for spreadin' roots. The time has come to be gone.”

"HUNGRY LIKE THE WOLF" MUSE (2019)

Pick four songs from any band and you can tell a lot about their sound. This summer, I’m featuring #RockBlocks, four picks from bands across various genres. They might be wildly different from each other, but what binds them together is the fact that they’re all a part of my life soundtrack.

In the past 20 years, the 80’s have made quite the comeback. The decade’s sound was prominent in bands like The Killers, The Bravery and Franz Ferdinand. Then later, 80’s covers started going from nostalgic filler to new musical dimensions from some of most established artists around. Weezer’s “Africa” and Johnny Cash’s “Personal Jesus” come to mind. But Muse’s lesser-known rendition of Duran Duran’s “Hungry Like the Wolf” also caught my attention recently on Spotify.

The original was utterly infectious and highly emblematic of the decade. It was all about those juicy instrumental elements. Nick Rhodes’ celestial syynthesizer swirls. Andy Taylor’s laser-sharp guitar riffs. John Taylor’s octave leaping bass lines. Rather than turn the song upside down, Muse took all the likable elements and simply turned them up a notch, giving each instrument a little more sonic edge. It’s predictable in the sense that this is Muse in its comfort zone, but the most unpredictable aspect of the track is the song selection itself.

“Darken the city, night is a wire. Steam in the subway, earth is afire.”

"THE 2ND LAW: ISOLATED SYSTEM" MUSE (2012)

Pick four songs from any band and you can tell a lot about their sound. This summer, I’m featuring #RockBlocks, four picks from bands across various genres. They might be wildly different from each other, but what binds them together is the fact that they’re all a part of my life soundtrack.

The natural pacing of a band’s music tells you a lot about their approach. It’s a lot like basketball where some teams prefer to push the ball up the court and play fast while other teams are better at slowing things down and playing in half-court sets. Muse is almost all run-and-gun. Their natural inclination is to go hard and fast, which makes a track like “The 2nd Law: Isolated System” a real test of their capabilities. This is where they downshifted without stepping on the brakes.

Together with its companion track, “The 2nd Law: Unsustainable”, this track helped wind down the album to a contemplative, other-worldly state. It’s more science, less fiction. It’s cinematic. And it’s the kind of track that can double as a film score because its vast, orchestral soundscape works in layers. Each of the layers are worth unpacking and enjoying on their own. Muse has always amazed me at the sheer amount of sonic bliss that they’re able to create from just three musicians — and “The 2nd Law: Isolated System” is no exception.

"UPRISING" MUSE (2009)

Pick four songs from any band and you can tell a lot about their sound. This summer, I’m featuring #RockBlocks, four picks from bands across various genres. They might be wildly different from each other, but what binds them together is the fact that they’re all a part of my life soundtrack.

The thing about Muse is that just about every song is instantly recognizable as a Muse track. The instrumentation is always ambitious, even on the poppier Black Holes and Revelations. The sounds are drenched in full distortion to the point where Bellamy’s guitar often sounds nothing like a guitar. And there’s something otherworldly about the music. In one track you feel like you’re being abducted by aliens. On another you feel like you’re leading a revolution against evil. Which is exactly what I feel every time I hear “Uprising”.

I’ve yet to see Muse live, and it’s songs like “Uprising” that make me rightfully feel like I’ve missed out completely. This song was meant to be played hard, loud and live. It rips your guts out and rebuilds your innards even stronger. It blows your mind and then reprograms you to be ready for the revolution - at least in your head. It’s not just a hard rock song with a sci-fi edge. It’s a transporter for your soul. And you can’t ask for more from music.

“They will not force us. They will stop degrading us. They will not control us. We will be victorious.”

"STOCKHOLM SYNDROME" MUSE (2004)

Pick four songs from any band and you can tell a lot about their sound. This summer, I’m featuring #RockBlocks, four picks from bands across various genres. They might be wildly different from each other, but what binds them together is the fact that they’re all a part of my life soundtrack.

I first discovered Muse on a car ride. My in-laws asked me if I heard the band Muse and then proceeded to play what I think might’ve been Black Holes and Revelations. I wasn’t hooked immediately, but I was intrigued enough because I had heard nothing like them before. Muse is a genre masher. They’re not metal, but they use heavy distortion and emphatic beats as well as anyone out there. They’re not classical, but classical structures and styles from Chopin to Rachmaninov are imprinted all over their music. And they’re definitely not punk, but many of their songs are anti-establishment at their core. “Stockholm Syndrome” is one of them.

“Stockholm Syndrome” lifts you up and then shoves you down. Every single note and word seemingly unleashes a fit. You might just be casually listening to the music when you feel the slightest bit of insanity taking over. Interestingly, the song personifies the abuser in a Stockholm Syndrome scenario, not the victim. Like the abuser, the music feels like it’s trying to sway you. Convince you. “Stockholm Syndrome” wants you to keep on listening and never leave its side.

“And we'll love, and we'll hate and we'll die. All to no avail.”

"A RUSH AND A PUSH AND THE LAND IS OURS" THE SMITHS (1987)

Pick four songs from any band and you can tell a lot about their sound. This summer, I’m featuring #RockBlocks, four picks from bands across various genres. They might be wildly different from each other, but what binds them together is the fact that they’re all a part of my life soundtrack.

Strangeways, Here We Come is an album that has grown on me over time. It has gotten better with time. Strangeways didn’t feature the vintage Smiths sound, but instead it expanded and explored more than the other three albums combined. Interestingly, it also gave us a glimpse into some of the sounds that Morrissey would later lean on in his solo career. It all started with their unusual opening track from the band.

The Smiths were often either morose or mopey, but “A Rush and a Push and the Land is Ours” was almost menacing. And it was a sign of a band that was doing a little pushing of its own into new musical territories. For a band that was driven largely by Marr’s jangle-pop infused guitar riffs, this song stuck out like a sore thumb. There wasn’t a guitar to be found on the entire track, instead Marr went with a keyboard sound that created a circus-like environment. Then there was Morrissey, singing, humming and even growling his way through the song, demonstrating incredible versatility on lead vocals.

“A rush and a push and the land. That we stand on is ours. It has been before so it shall be again.”

"THE BOY WITH THE THORN IN HIS SIDE" THE SMITHS (1986)

Pick four songs from any band and you can tell a lot about their sound. This summer, I’m featuring #RockBlocks, four picks from bands across various genres. They might be wildly different from each other, but what binds them together is the fact that they’re all a part of my life soundtrack.

I still remember the day I picked up The Queen is Dead from Tower Records in Manhattan's Upper Westside. My family had a day trip in the city and I wisely convinced my parents to stop off at the then mecca of recorded music before heading back. I remember pressing play and knowing right away that the album deserved all the hype and acclaim that it got. It’s rightfully considered one of the greatest albums of all time, and it’s certainly the greatest Smiths record in my mind. I also believe that Side B was the greatest Side B of the 80’s — and “The Boy With the Thorn in His Side” is a big part of it.

Morrissey has stated that it’s his favorite Smiths song. It’s probably one of my favorites too because it was personal. I think Morrissey’s greatest lyrics are either about him or about The Smiths. In this case, the thorn is the music industry. And the boy is representative of Morrissey and the band. This was a song about an industry that wouldn’t and couldn’t accept The Smiths and just believe in them. The irony is that the song and the entire The Queen is Dead album went on to achieve critical acclaim. “The Boy With the Thorn in His Side” proved the naysayers wrong.

“And if they don't believe us now, will they ever believe us?”

"BARBARISM BEGINS AT HOME" THE SMITHS (1985)

Pick four songs from any band and you can tell a lot about their sound. This summer, I’m featuring #RockBlocks, four picks from bands across various genres. They might be wildly different from each other, but what binds them together is the fact that they’re all a part of my life soundtrack.

There are more natural choices when it comes to choosing a song off of The Smiths second studio release Meat is Murder. On the U.S. version, “How Soon is Now?” forever remains a monumental achievement in alt rock history. The melodramatic “That Joke Isn’t Funny Anymore” is, in many ways, the quintessential Smiths anthem. And “The Headmaster Ritual” is is one of Morrissey’s biggest and most beautiful poetic statements. But I deliberately picked “Barbarism Begins at Home” because it seems like the antithesis of The Smiths’ aesthetic.

When I play it, the first band I think of is Duran Duran, a band that could not be more different from The Smiths. “Barbarism Begins at Home” showed us that these boys were willing to step far beyond their comfort zone and, dare we say, have a little fun in the process. Play it along with Duran Duran’s “Girls on Film” and the similarities are noticeable and downright eerie. Andy Rourke’s bass line sounds just like John Taylor. Joyce is in lock step with Roger Taylor. Marr mirrors Andy Taylor. And while Morrissey may not sound like Simon Le Bon, the melody that he totes around certainly feels like something Le Bon would’ve sung in all his new wave splendor.

“A crack on the head is what you get for asking.”

"REEL AROUND THE FOUNTAIN" THE SMITHS (1984)

Pick four songs from any band and you can tell a lot about their sound. This summer, I’m featuring #RockBlocks, four picks from bands across various genres. They might be wildly different from each other, but what binds them together is the fact that they’re all a part of my life soundtrack.

The juxtaposition of Morrissey and Johnny Marr made for one of the most unique unions in music. On paper, it didn’t make sense. Mopey vocals and lyrics. Jangly guitar riffs. But upon hearing it, there’s no denying that together they’re far greater than the sum of their parts. Sadly I never got to see The Smiths live, given the fact that they disbanded two years before I first heard “This Charming Man”. From the same debut album, “Reel Around the Fountain” was often overshadowed by the aforementioned classic as well as other Smiths staples over the years. But I’ve come to enjoy it with a newfound sense of appreciation.

“Reel Around the Fountain” isn’t Morrissey’s best work. Nor is it Marr’s best. But the two came together almost in lock step here. In many Smiths songs, Morrissey and Marr often seem at odds with each other, which creates that beautiful tension that is so irresistible. But on this opening track, they seemed more in sync than on any other track on their debut album - or on any of their remaining albums, for that matter. It seemed that, for one brief moment in time, these two extremely talented music artists were on the same wavelength.

“I dreamt about you last night and I fell out of bed twice.”

"OVERJOYED" STEVIE WONDER (1985)

Pick four songs from any band and you can tell a lot about their sound. This summer, I’m featuring #RockBlocks, four picks from bands across various genres. They might be wildly different from each other, but what binds them together is the fact that they’re all a part of my life soundtrack.

Ballads, in general, often get a bad rep for a few reasons. They frequently possess really corny lyrics, are driven by contrived melodies and leave much to be desired instrumentally. Which is why “Overjoyed”, in contrast, is a treasure. For decades, this song has flown a bit under the radar. It’s not the first, second, third or fourth song you think of when you’re asked to name one of the best 80’s ballads. But maybe it should be.

It doesn’t take a musical genius to see that Stevie wrote an ambitious melody. But what’s less obvious for the casual fan is how unusual it was to use the chords that he did. “Overjoyed” is written mostly in E flat, moves up a step, then another half step and then back down to E flat. And in true Stevie Wonder fashion, it feels effortless. His ambition keeps up on the instrumental side as well. Just beyond the synthesizer and stringed arrangement sits what are collectively referred to as environmental percussion elements in the liner notes, including crickets, birds, ocean waves and crushing leaves.

“I've gone much too far for you now to say that I've got to throw my castle away.”

"LIVING FOR THE CITY" STEVIE WONDER (1973)

Pick four songs from any band and you can tell a lot about their sound. This summer, I’m featuring #RockBlocks, four picks from bands across various genres. They might be wildly different from each other, but what binds them together is the fact that they’re all a part of my life soundtrack.

I can’t think of another music artist in all of history that intermingled different genres better than Stevie Wonder. The thing that often occurs when artists attempt to fuse disparate styles is a sense of disjointedness. But that’s never been the case with Stevie’s music. All of his multi-genre compositions are highlighted by a sense of cohesion and unity. I love the Innervisions album because this was the recording where Stevie’s crossover tendencies were at their height. And “Living For the City” is my favorite example.

It starts with funk. Then it slides into R&B with a side of soul and a sprinkle of rock. As if that wasn’t ambitious enough, “Living For the City” then slips into a momentary jazz exploration before getting back into its funk grooves. Just before the song ends, Stevie crosses over one more time with a gospel choir-inspired harmony. While “Living For the City” chronicled the story of a Mississippi boy’s journey to New York City, the musical styles cleverly reflect back the city’s rich and diverse soundscape.

“This place is cruel, nowhere could be much colder. If we don't change, the world will soon be over. Living just enough, stop giving just enough for the city.”

"WE CAN WORK IT OUT" STEVIE WONDER (1970)

Pick four songs from any band and you can tell a lot about their sound. This summer, I’m featuring #RockBlocks, four picks from bands across various genres. They might be wildly different from each other, but what binds them together is the fact that they’re all a part of my life soundtrack.

By 1970, Wonder was already ten studio albums in. Signed, Sealed and Delivered had a mix of originals and covers, demonstrating Stevie Wonder’s versatility as a co-writer and an arranger. Few artists have demonstrated the level of craft in arranging other people’s songs that he has achieved for more than half of a century. In his cover of The Beatles’ “We Can Work it Out” I’m reminded that aside from the melody and the lyrics, Stevie always saw everything else as fair game.

Deconstructing this cover, it’s easy to understand why this is considered a masterpiece in its own right. It’s not just another version. Stevie reimagined the song from the get go, inserting a soulful, driving guitar riff for the first 8 seconds. It’s a far better intro than the original. But the best thing about the recording is the complexity of the arrangement, using horns, backing vocals and more three part harmonies to add vigor and life to this Beatles classic.

“Try to see things my way. Do I have to keep on talking till I can't go on while you see it your way. Run the risk of knowing that our love may soon be gone.”

"FOR ONCE IN MY LIFE" STEVIE WONDER (1968)

Pick four songs from any band and you can tell a lot about their sound. This summer, I’m featuring #RockBlocks, four picks from bands across various genres. They might be wildly different from each other, but what binds them together is the fact that they’re all a part of my life soundtrack.

Songwriting virtuoso. Crossover pioneer. One of the most talented musical arrangers of all time. It’s impossible to overhype the wonder of Stevie Wonder because few have made greatness look so easy. The genius of “For Once in My Life” may not be immediately noticeable, but there are several qualities that have made it a timeless and epic musical arrangement.

The fact that it has become a staple at wedding receptions for more than 50 years is first and foremost attributed to Stevie’s uptempo reimagination of a ballad. He transformed the song from a sleepy, romantic ode to a song that you can cut loose to on the dance floor — whether you’re an 8 year old or 80 years old. It effortlessly blends orchestral elements on a bed of R&B. And then there’s the bass playing. James Jamerson is considered by many to be the most influential bassist of all time. Hearing his approach to “For Once in My Life”, it’s not hard to see why. The entire line is improvised while complementing the melody from beginning to end like a true musical soul mate.

“For once I can say, "This is mine, you can't take it".
As long as I know I have love, I can make it.”

"FEEL YOU" MY MORNING JACKET (2020)

Pick four songs from any band and you can tell a lot about their sound. This summer, I’m featuring #RockBlocks, four picks from bands across various genres. They might be wildly different from each other, but what binds them together is the fact that they’re all a part of my life soundtrack.

My Morning Jacket is, by far, one of the most prolific bands of the 2000s. Other bands have come and gone. Some have fizzled out quickly. Some are barely hanging on a thread. But My Morning Jacket keeps going year after year. The Waterfall II were outtakes from the original Waterfall sessions. But these songs were so good, they resurfaced and were an equally strong collection of songs. Released during the pandemic, The Waterfall II came at a time when music played an even more important role in my life. It was during Covid that I first started Mental Jukebox — which was inspired by great songs like “Feel You”.

I don’t know what else to say about the amazing guitar riff on “Feel You”, except that it feels like a natural extension of Jim James’ vocals. The two parts blend effortlessly. Like my last entry, “Only Memories Remain”, there’s something transcendental about this song. Musically it sits somewhere softly in between the isolating vulnerability of Jeff Buckley and the accessible, but masterful songwriting of Elton John.

“Are we undercover? What's left to see?”

"ONLY MEMORIES REMAIN" MY MORNING JACKET (2015)

Pick four songs from any band and you can tell a lot about their sound. This summer, I’m featuring #RockBlocks, four picks from bands across various genres. They might be wildly different from each other, but what binds them together is the fact that they’re all a part of my life soundtrack.

The best music we have is often characterized by the ability to do one of these two things: help us live in the moment or transport us somewhere unforgettable. I think My Morning Jacket’s catalog is not only versatile in genre, they’re versatile in helping us to achieve both of these experiences. “Only Memories Remain” always brings me to another place without fail.

Atmospheric. Spellbinding. Immersive. These are the typical words that we use to describe a lot of good music these days. But “Only Memories Remain” is so much more. There’s something incarnational about it. Jim James’ lyrics are so down to earth that they can easily become our own words and thoughts. We’re not in his head. He’s not in ours. Because strangely they feel one and the same.

“Sometimes life has other ideas. And though we both know how much it meant, now only memories remain.”

"TOUCH ME I'M GOING TO SCREAM, PT. 2" MY MORNING JACKET (2008)

Pick four songs from any band and you can tell a lot about their sound. This summer, I’m featuring #RockBlocks, four picks from bands across various genres. They might be wildly different from each other, but what binds them together is the fact that they’re all a part of my life soundtrack.

Today I was thinking about the purpose of a morning jacket. Its name implies two characteristics: 1) something that keeps you warm, and 2) something that’s worn only during the early part of the day. It’s essentially an article of clothing that gives you the comfort and warmth you need to get you going for the rest of your day. In many ways, My Morning Jacket’s music has played that role for me, including this unique song from one of my favorite MMJ albums.

The aspects in “Touch Me I’m Going to Scream, Part 2” that get me going are both foundational and ornamental. At the foundation is a peculiar melody and song structure. It grooves early and then strangely fizzles out as if there’s a power shortage in the recording studio. On the peripheral is Jim James’s voice dancing seamlessly between high tenor and falsetto and a alien-like synth riff that sounds like it’s trying to communicate with us.

“It's been so long, since someone challenged me. And made me think, about the way things are. Made me think, about the way they could be.”

"OFF THE RECORD" MY MORNING JACKET (2005)

Pick four songs from any band and you can tell a lot about their sound. This summer, I’m featuring #RockBlocks, four picks from bands across various genres. They might be wildly different from each other, but what binds them together is the fact that they’re all a part of my life soundtrack.

Over the last twenty years, My Morning Jacket created a world of sounds that I intentionally avoided at first. This was a band that came highly recommended to me in the early 2000s. But the band name didn’t sound like a band name — and it even sounded a little corny. For me, it’s a lesson learned. Never, ever judge a book by its cover. My Morning Jacket is one of the steadiest, most prolific rock bands of the 2000s — and “Off the Record” is a fun, memorable chapter in their existence.

The album Z was a bit of a turning point for the band. New things were happening here, like more synth experiments and genre explorations. “Off the Record” sounds like My Morning Jacket on a holiday to Jamaica. The first three minutes is one part reggae, one part rock and in the spirit of other upbeat rock outfits like Spoon and Modest Mouse. Then the last two and a half minutes go into space rock mode with quiet and quirky synth jams — like the antithesis to Wilco’s cacophony interludes. Brilliant, but far from serious.

“Sorry bout the things that I had to say. And I'll make it up to you right now at the penny arcade.”