"MY CHERIE AMOUR" STEVIE WONDER (1969)

For the month of January, I’m selecting some of the most memorable and influential songs of the 60’s. While they all hail from the same decade, these are some of my favorite songs of any era. They remind me that the 60’s were so much more than just Woodstock and psychedelic rock. It was a flourishing period for blues, folk, progressive and straight-ahead rock. #31DaysOf60sSongs

Every now and then, I think about the question: what makes great music great? There are probably a few different ways to answer that question, and they’re all equally valid responses. First and foremost, great music has to move you. Second, great music inspires us to do great things, everything from recording the next great soul album to being a great dad. Lastly, I think great music lasts for generations. The music of Stevie Wonder hits on all three of these descriptions across. several decades. My favorite Wonder albums are Innervisions and Songs in the Key of Life. But the 60’s title track from “My Cherie Amour” is absolutely irresistible.

On “My Cherie Amour”, it all comes together. We hear the best of Stevie Wonder’s abilities as a songwriter, arranger, performer and producer. The opening to the song is composed with orchestrated elements, but quickly slips into an easy listening vibe that uses string arrangements with soul and R&B tendencies. No one else was doing this at the time. As a song about an old lover, the ease in which “My Cherie Amour” melds various genres so naturally and smoothly is a marvel. I think it’s why it’s taken on a life of its own for so many decades. There’s something about “My Cherie Amour” that appeals to each of us.

“Maybe someday, you'll see my face among the crowd. Maybe someday, I'll share your little distant cloud.”

"TIME HAS TOLD ME" NICK DRAKE (1969)

For the month of January, I’m selecting some of the most memorable and influential songs of the 60’s. While they all hail from the same decade, these are some of my favorite songs of any era. They remind me that the 60’s were so much more than just Woodstock and psychedelic rock. It was a flourishing period for blues, folk, progressive and straight-ahead rock. #31DaysOf60sSongs

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

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

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

"MOONLIGHT DRIVE" THE DOORS (1967)

For the month of January, I’m selecting some of the most memorable and influential songs of the 60’s. While they all hail from the same decade, these are some of my favorite songs of any era. They remind me that the 60’s were so much more than just Woodstock and psychedelic rock. It was a flourishing period for blues, folk, progressive and straight-ahead rock. #31DaysOf60sSongs

Hearing The Doors on New York’s K-ROCK, I heard enough to warrant splurging for my first CD purchase from the band: Strange Days. Morrison sang with a bluesy swagger I hadn’t heard from many frontmen before — a presence that seemed equally at home in a basement bar as an arena. Krieger’s guitar riffs sounded outlandish at times, but the true distinctive element of their instrumentation was Manzarek’s keys that felt like a rollicking church hymn on some songs and a haunted house overture on others. Strange Days is, at times, strange. And “Moonlight Drive” is a prime example.

The lyrics to the song were written by Morrison on a rooftop in LA, which he uttered to a friend of his, Ray Manzarek. Manzarek was immediately awestruck, and the two decided to form a band called The Doors. That makes “Moonlight Drive” one of the most important songs from The Doors canon. It starts off sounding like some misplaced Broadway show tune. Then Krieger reflects back Morrison’s vision of the song with these guitar hooks that resemble celestial blips, burps and blasts, as if we were riding to the moon on those crazy riffs. “Moonlight Drive” is a bluesy, soulful ride.

“Let's swim to the moon, uh huh. Let's climb through the tide.”

"HANG ON TO YOUR EGO" BEACH BOYS (1966)

For the month of January, I’m selecting some of the most memorable and influential songs of the 60’s. While they all hail from the same decade, these are some of my favorite songs of any era. They remind me that the 60’s were so much more than just Woodstock and psychedelic rock. It was a flourishing period for blues, folk, progressive and straight-ahead rock. #31DaysOf60sSongs

Few albums have the stature of Pet Sounds. That’s a true statement not just for the 60’s, but throughout time. It has set a very high bar for bands looking to do things differently and unexpectedly. That said, Pet Sounds truthfully just isn’t a favorite album of mine. But the greatest compliment I can give it is that I love many of the albums that it inspired. Much of the experimentalism that continues to happen in music simply wouldn’t be possible without the exceptionally talented Brian Wilson. One song that proves my point is “Hang On To Your Ego”, probably my favorite track from Pet Sounds.

The track sounds like it belongs under the big top. Timpanis, keyboards, banjos and even a bass harmonica give the song its circus-like feel. Throughout the track, I’m reminded of many great artists that came after The Beach Boys. The tempo change and interlude at the 1:40 mark reminds me of the instrumental cacophany of Wilco. The wide spectrum of instrumentation reminds me of Sufjan Stevens’ own versatility. And the unconventional song structure reminds me of Animal Collective and others. By pushing limits on “Hang On To Your Ego”, The Beach Boys have inspired so many other artists to do the same with their own songs.

“I know so many people who think they can do it alone. They isolate their heads and stay in their safety zones.”

"PUNKY'S DILEMMA" SIMON & GARFUNKEL (1967)

For the month of January, I’m selecting some of the most memorable and influential songs of the 60’s. While they all hail from the same decade, these are some of my favorite songs of any era. They remind me that the 60’s were so much more than just Woodstock and psychedelic rock. It was a flourishing period for blues, folk, progressive and straight-ahead rock. #31DaysOf60sSongs

Simon & Garfunkel’s big breakthrough may be The Graduate soundtrack. But the album that will always have the greatest meaning to me is Bookends. Not only was it my first Simon & Garfunkel recording, it was also my first real exposure to folk rock, a genre that I would enjoy immensely over the years through a number of different acts, everyone from Indigo Girls to the Barr Brothers. Bookends contains several key anthems from the duo’s catalog, including “Mrs. Robinson”, “America” and under-the-radar tracks like “Hazy Shade of Winter” made popular by The Bangles. The album had weighty moments and light moments, and “Punky’s Dilemma” was a prime example of the latter.

Light, airy and almost breezy. That’s how “Punky’s Dilemma” feels. Lyrics like “I wish I was a Kellogg’s Cornflake”, the intermittent whistling and Simon’s upbeat acoustic guitar strum give the song a buoyancy. But upon closer inspection, the song’s lyrics are far from light. The dilemma was whether or not to go along with the military draft at the height of the Vietnam War. Punky was deciding if it was worth going through with it or dodging the draft. By giving the song a lighthearted feel, Simon & Garfunkel did an ingenious thing, making the song less about the issue and more about the character.

“If I become a first lieutenant would you put my photo on your piano?”

"RAMBLE ON" LED ZEPPELIN (1969)

For the month of January, I’m selecting some of the most memorable and influential songs of the 60’s. While they all hail from the same decade, these are some of my favorite songs of any era. They remind me that the 60’s were so much more than just Woodstock and psychedelic rock. It was a flourishing period for blues, folk, progressive and straight-ahead rock. #31DaysOf60sSongs

By the time I reached the exciting, yet incredibly awkward ninth grade, I was knee deep into Zeppelin. Physical Graffiti, Led Zeppelin IV and Houses of the Holy were on heavy rotation on my Sony cassette player. In my mind, no other band had figured out such a natural and powerful way of bringing together hard rock and blues as well as Zeppelin. 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. He was an exceptional bass player surrounded by rock giants: Plant, Page and Bonzo. But his bass line on “Ramble On” is truly iconic. Some call it the best bass line ever written. It’s both highly melodic and rhythmic — and in a rare moment Jonesy steals the spotlight from Jimmy Page. But the most irresistible thing about “Ramble On” is Plant’s soulful cry. It quite possibly doesn’t get any more rock ‘n roll than his monster vocals in the chorus.

“I ain't tellin' no lie. Mine's a tale that can't be told.”

"MISTAKEN FOR STRANGERS" THE NATIONAL (2007)

Each day in December, I’ll be reflecting back on a song from the 2000’s. The decade saw the return of post-punk and the popularization of folk music, all while some of music’s biggest acts gained their indie footing. Thankfully, it’s a period that I can look back at fondly without cringing. #31DaysOf2000sSongs

One of my all-time favorite bands is The National, a band that has seemed to always sync up mysteriously well with my own life. Boxer came out the year my wife and I got married – and High Violet was released weeks before our first child was born. The music always seemed to usher me into new seasons – with Matt Berninger’s gifted approach to lyrics that sound more like conversations with eccentric friends. I’ve seen the band perform live a few times. While “Mr. November” and “Abel” have been some of the more anticipated bangers on tour, for me it was always about the quiet stoic power of “Mistaken for Strangers”.

Berninger delivers the lyrics nearly in monotone, as if in a trance. “Showered and blue-blazered, fill yourself with quarters,” he announces in his trademark bass delivery. “Mistaken for Strangers” is the quintessential National song in many ways. Frenetic, yet calculated. Seemingly on the verge of losing control, but hanging on still. Bryan Devendorf’s drum rolls seem to be having seizures in between verses, while the Dessner brothers contribute these guitar parts that an industrial feel to them like fellow Boxer tracks “Brainy” and “Guest Room”. “Mistaken for Strangers” is a song that celebrates the everyday man poeticism of Matt Berninger.

“Make up something to believe in your heart of hearts. So you have something to wear on your sleeve of sleeves. So you swear, you just saw a feathery woman carry a blindfolded man through the trees.”

"SUNFLOWER" LOW (2001)

Each day in December, I’ll be reflecting back on a song from the 2000’s. The decade saw the return of post-punk and the popularization of folk music, all while some of music’s biggest acts gained their indie footing. Thankfully, it’s a period that I can look back at fondly without cringing. #31DaysOf2000sSongs

The holiday season is typically fast-paced and hectic for me. But, in many facets of life I’ve been taking deliberate steps to slow down, to reflect a little more and to savor the good things during these challenging times. Part of this personal journey has been reclaiming an appreciation for quieter, slower jams. This has included everything from folk to country to dream pop. While the band Low is one of those artists that I feel like I’ve barely scratched the surface with, the song “Sunflower” is among a few of their more well-known tracks that eggs me on to listen more.

Like many Low tracks, “Sunflower” is shockingly minimal and nearly naked before us. It’s a case of less is more. With such stark, simple instrumentation, all focus is on the melody and Alan Sparhawk and Mimi Parker’s hauntingly beautiful harmonies. The simple downward guitar strum patterns and isolated snare hits only enhance the mood. “Sunflower” is dark, melancholic and tremendously gorgeous in its quiet lament – a welcome track to get lost in as a difficult year comes to an end.

“With my half of the ransom I bought some sweet, sweet, sweet, sweet sunflowers and gave them to the night.”

"MAHGEETAH" MY MORNING JACKET (2003)

Each day in December, I’ll be reflecting back on a song from the 2000’s. The decade saw the return of post-punk and the popularization of folk music, all while some of music’s biggest acts gained their indie footing. Thankfully, it’s a period that I can look back at fondly without cringing. #31DaysOf2000sSongs

The band name unfortunately kept me from exploring the exceptional My Morning Jacket catalog for quite a few years. But once I explored it, it was like opening up a treasure trove of great music. Jim James is more of a musical mastermind than a showy frontman, which I always appreciated. A gifted songwriter, his penning of the entire It Still Moves is a remarkable highlight from the 2000’s. There isn’t a weak track on the album, but the opener “Mahgeetah” stands out for several reasons.

The term “alt country” is often used to describe My Morning Jacket’s music, and it’s a befitting description of “Mahgeetah”. The guitar layers and tempo transitions give it that alt feel, while the harmonies and lyrics are reflective of the band’s southern roots. The big guitar solo happens at the 5 minute mark of the studio recording, but it’s the shimmering guitar hook that gives the song its festive, nighttime feel. My favorite aspect of the track, however, isn’t any of the guitar parts, but the song’s theme itself. James not only personifies his “geetah”, he refers to it as his lady.

“Don't rock bottom, just listen, just slow down. So, now are you ready to go, my lady? I been waitin on the boat here, I been waitin so long.”

"HEARTBEATS" JOSE GONZALEZ (2003)

Each day in December, I’ll be reflecting back on a song from the 2000’s. The decade saw the return of post-punk and the popularization of folk music, all while some of music’s biggest acts gained their indie footing. Thankfully, it’s a period that I can look back at fondly without cringing. #31DaysOf2000sSongs

So many things constantly compete for our attention. Truthfully, this even occurs at concerts. There’s what’s happening on stage, in the crowd, in the lights, in the back. But I’ve found every time my wife and I attend a Jose Gonzalez show, our full attention is fixated on the performance of his wonderfully magnetic vocals paired with exceptional guitar playing. It seems too obvious to go with “Heartbeats”. It is, after all, the song that put Jose on the map. But the song is just that good.

“Heartbeats” was originally penned by electronic group and fellow Swedes The Knife. However, Jose Gonzalez practically reinvented the song with his reflective, classical guitar approach. “Heartbeats” is life in slow motion, slow enough for us to pause and reflect on every single word and note. It’s a reminder that music can be a catalyst for so many things. The guitar part is much more complex than it sounds as Jose is playing a rhythm guitar line and bass line at the same time. The lyrics, at times cryptic, contain references to God and the devil. It’s a complex, yet beautiful song full of nuances and reflection that will likely remain timeless.

“One night to be confused. One night to speed up truth.”

"FLOAT ON" MODEST MOUSE (2004)

Each day in December, I’ll be reflecting back on a song from the 2000’s. The decade saw the return of post-punk and the popularization of folk music, all while some of music’s biggest acts gained their indie footing. Thankfully, it’s a period that I can look back at fondly without cringing. #31DaysOf2000sSongs

By the time Good News for People Who Love Bad News was released, Modest Mouse was one of several dozen successful indie rock bands out there. While they weren’t my favorite band, I liked the unique sound they carved out. No one could ever say Modest Mouse was a knock-off. They do things their own way, most notably through their raw approach and the genius frequent mic’ing up of every band member as they sing vocals together. “Float On” is a song I cherish on many levels.

Within the first 20 seconds, the two iconic guitar parts converged like Dr. Jekyl and Mr. Hyde – and modern musical history was made. One riff soars on high with a bright treble layer while the other skittishly dots the landscape. Isaac Brock is at the helm on vocals, but Eric Judy and Dann Gallucci join in like some kind of group therapy session, spewing positivity in unison. I love all of these core instrumental facets, but what makes “Float On” one of the greatest songs from a decade characterized by war, recession and natural disasters is the message. Somehow, some way, we’ll all get past this. We’ll all float on.

“Bad news comes, don't you worry even when it lands. Good news will work its way to all them plans.”

"THE SUN SMELLS TOO LOUD" MOGWAI (2008)

Each day in December, I’ll be reflecting back on a song from the 2000’s. The decade saw the return of post-punk and the popularization of folk music, all while some of music’s biggest acts gained their indie footing. Thankfully, it’s a period that I can look back at fondly without cringing. #31DaysOf2000sSongs

One of the more intriguing artists of our time is Mogwai, a band that is completely in its element concocting atmospheric instrumental tracks where the guitars, keyboard, drums and bass seem to be delivering unspoken lyrics to the listener. Without vocals on the majority of its catalog, Mogwai is a prime example of addition by subtraction. While I’m not the biggest fan, few can disagree that the band has found an interesting niche and expanded the possibilities of indie rock. “The Sun Smells Too Loud”, in particular, is probably one of my favorite tracks of theirs.

Some Mogwai song titles seem to fit the instrumentation of the music so well. However, I can’t really make any sense of this one. That said, “The Sun Smells Too Loud” is like a celebration of the senses. The shoegazy veneer exudes through that signature distorted guitar hook, while the post-rock soul of the song cuts through with the complimentary timbres of the synthesizer. The rolling tom hits are the distinguishing percussion persona of the song. All this to say, “The Sun Smells Too Loud” feels like a mind-expanding exploration of the self every time I hear it.

"WHITE WINTER HYMNAL" FLEET FOXES

Each day in December, I’ll be reflecting back on a song from the 2000’s. The decade saw the return of post-punk and the popularization of folk music, all while some of music’s biggest acts gained their indie footing. Thankfully, it’s a period that I can look back at fondly without cringing. #31DaysOf2000sSongs

By no means is Fleet Foxes on the same level as CSN&Y. CSN&Y are music legends, the kind that maybe come around once every 20 years or so if we’re lucky. But Fleet Foxes isn’t that far behind. What Fleet Foxes have done in today’s musical climate is impressive. They put power harmonies center stage once again. And they did it with a folk-inspired sound that’s earthy and natural, a far cry from post-punk, dream pop or any of the key genres of their contemporaries. And, in the spirit of Christmas, I have to go with “White Winter Hymnal” as my go-to Fleet Foxes track.

Like many Fleet Foxes songs, “White Winter Hymnal” feels like a cascade of echoing melodies from the mountains. The song is sung in rounds, a traditional form of singing that seemed to be given a new lease on life through the ban'd’s trademark harmonies where each vocal part comes in round after round. This approach has a way of sweeping me up and away, regardless of circumstance. And the words overdelivered. They felt more like classic literature than song lyrics, leading me to believe the character Michael was an allegory for something far greater.

“I was following the pack. All swallowed in their coats with scarves of red tied 'round their throats.”

"THIS FIRE" FRANZ FERDINAND (2004)

Each day in December, I’ll be reflecting back on a song from the 2000’s. The decade saw the return of post-punk and the popularization of folk music, all while some of music’s biggest acts gained their indie footing. Thankfully, it’s a period that I can look back at fondly without cringing. #31DaysOf2000sSongs

When Franz Ferdinand’s debut album came out, it seemed like the full force of post-punk revival was coming down hard. 2004, in particular, was a year of influential albums from that genre, including Interpol’s Antics, The Killers’ Hot Fuss, The Strokes’ Reptilia and, of course, the self-titled debut album from Franz Ferdinand. That’s some pretty impressive company, yet Franz Ferdinand not only stayed on par, some would say they were the ones with the post-punk revival album of the year. The album was stacked with plenty of strong tracks, including “This Fire”.

I think “Take Me Out” will forever be the magnum opus for the band. That song is hard to surpass in every way. But right there behind it is “This Fire”, a song that was overlooked on the charts, but revered by indie rock fans. The heart of the song is Nick McCarthy’s guitar chords frenetically creeping upward. The soul is the chorus rant where the entire band joins in. While their Glasgow counterparts Belle & Sebastian wrote songs that were perfect for lounging in bed, Franz Ferdinand shoved us out of bed and never failed to get a party started.

“Eyes burning the way through me. Overwhelm, destroying so sweetly. Now there is a fire within me.”

"ALWAYS A RELIEF" THE RADIO DEPT. (2006)

Each day in December, I’ll be reflecting back on a song from the 2000’s. The decade saw the return of post-punk and the popularization of folk music, all while some of music’s biggest acts gained their indie footing. Thankfully, it’s a period that I can look back at fondly without cringing. #31DaysOf2000sSongs

When I was first introduced to The Radio Dept., I realized that all the other music that I was listening to at the time was characterized by bold, brash guitar riffs and hard edges. Most of it probably had some association with post-punk revival. So when I first heard the Lesser Matters and Pet Grief albums, it felt like a soft landing into a new world. Less mind-numbing than the shoegaze pioneers, The Radio Dept.’s brand of dream pop seemed perfect for lazy music discovery days or the kind of thing you’d put on in the background for ordinary days. I could’ve picked any song off of Pet Grief to highlight, but I’ll go with the exceptional closing track “Always a Relief”.

The tones on the opening drum sequence are a warm welcome, feeling reminiscent of the opening drumbeat in Joy Division’s “Disorder”. “Always a Relief” then slips into its gorgeous minor guitar chords, with. progressions that are almost as resistant to movement as one might be lying in bed on a rainy day. Like many Radio Dept. songs, the lyrics aren’t extensive, and the instrumentation isn’t exactly the most versatile display of the band’s abilities. “Always a Relief” is like a mood piece. A perfect ending to an album full of similarly dreamy moments.

“It feels like our time has gone to waste.”

"TRYING YOUR LUCK" THE STROKES (2001)

Each day in December, I’ll be reflecting back on a song from the 2000’s. The decade saw the return of post-punk and the popularization of folk music, all while some of music’s biggest acts gained their indie footing. Thankfully, it’s a period that I can look back at fondly without cringing. #31DaysOf2000sSongs

I discovered Is This It and the garage rock-drenched world of The Strokes on I-80 East, the freeway that connects S.F. to Lake Tahoe. I was in my high school buddy’s beat-up car with our ski gear on top and the tunes blasting from all sides of the rickety car. We talked about life, listened to old favorite bands of ours, and also relished some of favorite new ones, including The Strokes. Is This It was a tight, consistent album with many renowned post-punk revival anthems vying for our attention, including the title track, “Someday”, “Hard to Explain” and, of course, “Last Nite”. But one of the more underrated tracks on the album is the second to last song: “Trying Your Luck”.

I’ll take “Trying Your Luck” over any of the aforementioned classics any day. It was perfect mid-tempo malaise, perhaps the saddest, slowest song on the album. But it was genius in that The Strokes didn’t compromise their trademark sound in recording a song that some would say is extremely counterintuitive for the band. It still peaked and rocked. Casablancas’s distortion-soaked vocals go from somber to tortured as he launches headlong into the chorus, which is a perfect handoff for the song’s signature rhythm guitar riff and the iconic bass line. After all these years, “Trying Your Luck” is the one Is This It track that I look back at most fondly.

“I know this is surreal, but I'll try my luck with you. This life is on my side.”

"NANTES" BEIRUT (2007)

Each day in December, I’ll be reflecting back on a song from the 2000’s. The decade saw the return of post-punk and the popularization of folk music, all while some of music’s biggest acts gained their indie footing. Thankfully, it’s a period that I can look back at fondly without cringing. #31DaysOf2000sSongs

One of my deep regrets as a music fan is not having discovered the unique world of Beirut sooner. Many artists have made a name for themselves crossing genres, but Beirut has surpassed that claim by crossing generations. The music of Zach Condon seems to live in two different worlds: old world influences with new world interpretations. The Flying Club Cup album is said to have been inspired by a photograph of a hot air balloon festival in Paris during the early 1900’s. It’s these types of references that make each Beirut song feel like a postcard from an earlier era — a greeting from another time and place. Each song on the album represents a different French city, and “Nantes” is one of my favorites.

An accordion. French horns. Euphoniums. And a string arrangement by Arcade Fire’s Owen Pallett. These are the instruments that paint the picture of the coastal city of Nantes. It’s Beirut’s magnum opus from The Flying Club Cup album. The song brings us back more than a century. The accordion lures me through the streets of Nantes, while the horns beckon me to the port. “Nantes” is a reminder that music can transport us to another era. It can introduce us to new places. And, on occasion, it can be unexpectedly romantic.

“I'll gamble away my fright. And I'll gamble away my time.”

"THE WAY WE GET BY" SPOON (2002)

Each day in December, I’ll be reflecting back on a song from the 2000’s. The decade saw the return of post-punk and the popularization of folk music, all while some of music’s biggest acts gained their indie footing. Thankfully, it’s a period that I can look back at fondly without cringing. #31DaysOf2000sSongs

Growing up, I was fortunate to have the opportunity to take piano lessons. Looking back, I realize it was one of the inroads that led to my deep passion for music. The way those keys could be played together to make beautiful sounding things, it was therapeutic. I played celebrated composers like Bach and Brahms and did piano renditions of movie soundtracks like Rocky and E.T. But I think I would’ve stuck with piano longer and enjoyed it more had I been given the opportunity to play it like Spoon does on “The Way We Get By”.

The unusual sound of Spoon is characterized by an inversion of the standard rock formula of guitar as lead and piano or keys as secondary. Spoon has carved out a prolific and incredibly consistent catalog over the years with the piano at the forefront, sometimes with guitar as a rhythm instrument or, in some cases, no guitar at all. With “The Way We Get By”, they string together these piano chords and hand claps to create something that feels like it could’ve been written in the 1950’s. I have a handful of favorite Spoon tracks, and this one’s near the top of my list.

“We found a new kind of dance in a magazine. Tried it out, it's like nothing you ever seen.”

"NO ONE'S GONNA LOVE YOU" BAND OF HORSES (2007)

Each day in December, I’ll be reflecting back on a song from the 2000’s. The decade saw the return of post-punk and the popularization of folk music, all while some of music’s biggest acts gained their indie footing. Thankfully, it’s a period that I can look back at fondly without cringing. #31DaysOf2000sSongs

In my senior year of high school, there was a place that I ran off to a handful of times with classmates of mine. It was called Rockwood Park, a scenic state park that was always closed well before the hour we sneaked in. We’d park off to the side of the road, late at night and scurry through a trail with beer and whisky in backpacks. Our destination was a clearing, a big meadow that overlooked the Hudson River. The reflection of the moon on the water was magical. It was like a sepia-tone photograph for us to remember these years before we all went our separate ways to college. The Cease to Begin album cover — and the aura of Band of Horses — remind me of those nights, particularly the song “No One’s Gonna Love You”.

The instrumentation, pacing and melody force a reflective mood on me every time I hear this track. It doesn’t matter how distracted or busy I may be, “No One’s Gonna Love You” slows me down and commands my attention. Ben Bridwell’s tenor vocals have this way of soaring through the air, creating room for the guitars to establish the mood underneath. One guitar riff runs steadily and insistently, while the other delicately trickles upwards and downwards. Like much of the Band of Horses catalog, the strength of “No One’s Gonna Love You” is the atmosphere it creates for the listener.

“We're reeling through an endless fall. We are the ever-living ghost of what once was.”

"OVER MY HEAD (CABLE CAR)" THE FRAY (2005)

Each day in December, I’ll be reflecting back on a song from the 2000’s. The decade saw the return of post-punk and the popularization of folk music, all while some of music’s biggest acts gained their indie footing. Thankfully, it’s a period that I can look back at fondly without cringing. #31DaysOf2000sSongs

As long as I can remember, pop charts in the U.K. and U.S. have told very different stories. The U.K. is the poster child for openness to alternative and experimental approaches in popular culture, while the U.S. is more of a story of vanilla musical expressions. Sure, there are exceptions, but overall there’s a very wide gap in terms of what makes the pop charts in the U.K. compared to the U.S. One of the rare exceptions has been the popular embrace of The Fray, who became universally embraced on both sides of the pond for “How to Save a Life” and the subject of this post, “Over My Head (Cable Car)”.

You might like the song for different reasons than me. But what the track did for me was provide this rare balance of highly accessible and somewhat unpredictable. It starts off easy and catchy, relying on that simple, great melody and lyrics that are equally simple, making it a song you want to sing along to. The unpredictability happens in tempo slowdowns and upticks and gorgeous instrumental interludes, including the breakdown at the 2:45 mark, where the rhythm guitar dances as the bass line nosedives.

“With eight seconds left in overtime, she's on your mind.”