Sonic Youth's "Bad Moon Rising" - The Terrifying Truths of America

Sonic Youth's 1985 album, "Bad Moon Rising"

In keeping with the "spooky" theme, I had meant to get this post up before Halloween, but a wedding, among other important life things, took precedence. But! I think this album is still very relevant to talk about, as it is not just a spooky album for its Halloween themes, but for the darker, true history of America that its lyrics discuss. And after the presidential election just occurred, I think that makes it plenty relevant! 

Noise rock pioneers Sonic Youth released their second album, Bad Moon Rising, in March of 1985. It combines elements of noise rock, no wave, and experimental rock. For those unfamiliar with the term "no wave", it was essentially a short-lived avant-garde musical subgenre and scene in New York in the late 70's to early 80's, that was distinctly anti-mainstream pop and rock, and anti-new wave. The lyrical themes were usually brash, in your face, and anti-establishment like punk, but more nihilistic or misanthropic, and paired with atonal, non-standard guitar work. And Bad Moon Rising certainly follows these patterns. 

It is my favorite Sonic Youth album, and while I love the rest of their catalogue- there is nothing else like this one. It is a sweet, half-way point between their earlier, almost completely devoid of melody, screeching works, and before their more accessible, indie rock releases. I definitely do consider it a Fall / Halloween album, partially because of the flaming pumpkin head album cover, and the bonus track named after the holiday. But I also find it to be a "Halloween album", because of the overall sound, vibe, and dark, unsettling (and often true) stories in the lyrics. 

Sonic Youth, posing for a photo in 1985.

The album opens with a one minute "Intro", which is a melancholic arpeggio of multiple guitars, and no lyrics. It smoothly slides into the second track, "Brave Men Run (In My Family)", which is a reference to and a play on Edward Ruscha's painting of the same name. The lyrics are repetitive, and simple yet cryptic, with a multitude of possible meanings. For me, I consider it to be talking about early Europeans first arriving in America, as this is a theme that will come up later on the album, and the painting it references is of a sailing ship on the sea. It sets the tone for the remainder of the album, which continues to delve deeper into this country's dark past. Listen to it for yourself, below.

"Society is a Hole" talks about singer Thurston Moore's distain for the modern world, and how much of the country still lives in fear, despite how advanced the world has become. It is of course, still obscure, but "white powers sneakers on the beautiful beat of black feet", definitely has hints of racism in it for me, and it would make sense considering he is talking about what is wrong with society. It drones on in combination with a chanting of the title, sounding like a tired sort of protest- like wanting to fix the world, but not knowing where to start, other than complaining about it. 

Coming back to the discussion of early European settlers arrival in America, and the effects their arrival had on the land and its people, "Ghost Bitch" is a chilling take on Europeans interactions with Native Americans, from the perspective of an indigenous woman. The lyrics flow like abstract poetry, in fragments or run-on sentences, which gives it a stream of consciousness style, like these are exactly the thoughts going through this woman's mind. Singer Kim Gordon, via the concept of this Native American woman, refers to the Europeans as "savage", which is a twist on how the European settlers called the Natives savage, when it was really them who carried out genocide against the Native Americans. This is my interpretation, but it seems that towards the end of the song, the Native woman is raped by the "founding fathers", and impregnated; it being a metaphor for Europeans raping the land and its people, and how "manifesting" their destiny was more important than preserving and respecting the people and culture who originally resided there ("Our founding fathers laid right down, and Indian ghost from long ago, they gave birth to my bastard kin, America it is called..."). It is incredibly dark, and scary, but it is part of the true history that occurred in this country. If  you feel comfortable hearing it, I invite you to hear its haunting power, here (embedded link because it won't let me embed video).

Kim Gordon brandishing a gun, on the set of the "Death Valley '69" music video.

I'll skip ahead to the last track on the album (before the CD-only bonus tracks), "Death Valley '69". It is a collaboration with no wave musician and poet, Lydia Lunch, and a duet between her and Moore. The song is allegedly supposed to be about infamous cult leader and criminal, Charles Manson. It ties in well with the "dark side of America" theme Sonic Youth has been uncovering already on this album, and ends it on a wild, screeching note- literally. Lunch adds her signature voice, with an extra whiny, childlike flair to the track, making it somehow even more disturbing. Fans speculate that the lyrics are from the perspective of Manson and one of his followers ("Sadie", her part voiced by Lunch), and detail the insanity within the man's mind, and the pair actively murdering someone. To add yet another level of twisted to the concept, the music video shows the band members covered in blood and in various states of dismemberment. It won't let me embed it here (probably for the best), but if you can stomach it, I'd say it's certainly worth watching once (*TW: gore, violence*) by clicking here. The audio only, without the disturbing video, is below for your listening pleasure. 

Bad Moon Rising is truly a wild ride from start to finish. It is Sonic Youth at their most twisted and sinister, but at the same time, it is necessary historical and political commentary that we should be reminded of. I didn't even mention the bonus tracks here, as they're not officially part of the album, but you should also check out "Flower" for a short and sweet, feminist anthem, and "Satan is Boring" if you want to scare the shit out of yourself. And I already spoke about the last one, "Halloween" on my previous post about my Halloween playlist, if you want to read about it there. Bad Moon Rising is scary because it is true. It is our history, whether we like it or not, and Sonic Youth will make sure we remember it, by delivering it in an artistic, spooky, noise rock package. Give the record a listen for yourself, if that concept appeals to you, and if you like what you've heard about it so far. I hope you all had a spook-tacular Halloween and overall October, and thank you as always for reading! 

Tears For Fears "The Hurting" - The Best Emotional Synth-Pop Album

 

 

From reading this blog one or more times, I'm sure by now you've realized I have a few "favorite traits" when it comes to the music I enjoy- particularly when it comes to the lyrics. Sure, I can enjoy some "I like rock 'n' roll and beer" type music as much or more than the next person, but the bands and musicians that claw their way into the deepest part of my soul, and mean the most to me are the ones whose lyrics are much more thought-provoking, and emotional. 

If you're like me in that way, Tears For Fears' debut album, The Hurting, is definitely for you. Released on March 7th, 1983 (a Pisces album, through and through), The Hurting gave listeners a lot of different feelings, many of which they were probably unprepared to feel or deal with. Some critics completely missed the point, in my opinion, calling them "Joy Division copycats" and whiny, self-absorbed, depressed teenagers (though they were in their early twenties at the time). But if I had the chance I'd love to ask them- Why aren't we allowed to indulge, wallow, or revel in our own sadness and personal crises when we listen to or make music? (Clearly they weren't fans of goth music). Because for many of us, that's precisely what creativity and expression is for. 

Part of that negative critical reception is probably what made The Hurting fall by the wayside after the release of their biggest and most pop-oriented record, Songs From The Big Chair (1985). With chart-smashing songs like "Everybody Wants to Rule the World", The Big Chair helped Tears For Fears break out into the mainstream. So in today's world, The Hurting has become much more of a "cult classic". But I'm here to tell you why it's even more special than their most famous record, and why you should know it. 

For some of you, "Mad World" may be the only track you recognize upon a first glance. Even for my generation, it's become very well-known, and a "meme" in some cases... At this point I'd like to mention my distain for the Gary Jules cover, from the Donnie Darko film, as I believe it completely takes away the irony that lies in the song's new wave, dancable, happy beat, paired with the existential, depressing lyrics. Anyways... For other long-time TFF fans like myself, I'm sure The Hurting is so much more than just "Mad World", and holds a very special place in our hearts. I hope after reading and listening, many of you will be inclined to feel similarly about the whole record. 

The lyrical themes of the record cover many dark, painful, or taboo subjects of the human experience that many are afraid or too traumatized by to talk about. There is the loss of a friend or romantic breakup in "Memories Fade", which I personally still can't listen to without getting chills or choked up, even after hearing it so many times. "No don't pretend you can justify the end, memories fade but the scars still linger", ending the song, and leaving us with that feeling anyone who's ever loved and lost can understand. Or there's the talk of childhood trauma, in a very personal way, in "Suffer the Children", where you can tell this definitely comes from a very real place for lyricist Roland Orzabal. This one is also quite hard to listen to for some, and goes well-beyond the usual feelings of an absent parent or parents, and goes so far as to question why he should have even been born, if no one was going to take care of him ("And it's so unfair... when you gave him his life"). 

A personal favorite, and perhaps my favorite TFF song period, is the third track, "Pale Shelter". It is another song partially dealing with parental issues and a lack of love and care as a child, but can also be thought of in a romantic, more grownup way. I'm more inclined to view it in the latter way, but fully respect Orzabal's original thought as it relates to his dark upbringing. It is everything an 80's new wave song should be, in that it has a catchy and fully dancable synth beat, but it has the introspective, thoughtful lyrics that fully fit the description of "sophisticated pop". The music video, with its unique use of paper airplanes, is a favorite of mine to see projected on the wall at my local new wave music video night at the club. Check out the song and video for yourself, below. 

Overall, The Hurting is an incredibly revealing album, that makes us face a lot of dark or unpleasant feelings from childhood to adulthood, that without an excellent synth-pop beat, we probably wouldn't be comfortable dealing with. Orzabal's ability to make listeners connect with him and fellow bandmate, Curt Smith, on experiences seemingly specific to them, lies in his amazingly poetic, emotional songwriting skills. It is a skill that pairs well specifically with this type of music (new wave, synth-pop, goth, darkwave), and is a large part of the reason we love it. While many will remember Tears For Fears for Songs From The Big Chair and their still artfully crafted pop-hits, it is The Hurting than remains many fans' favorite, especially those with a bleeding heart, and a melancholic disposition. 

Thank you all for reading, as always, and please do check out The Hurting, start to finish, in all its heart-wrenching glory. Have a thoughtful and emotionally enlightening weekend! 

Roland Orzabal (left) and Curt Smith (right), of Tears For Fears photographed in 1983.

Nostalgia Alternative's Definitive Halloween Playlist

 

It's that spooky, scary time of year again! And if you're like me, then you're probably tired of hearing the usual, standard Halloween tracks at your neighbor's Halloween party. If you're looking for something fresh and new, featuring some more "obscure" Halloween inspired music, look no further than Nostalgia Alternative's own Halloween Playlist! Carefully curated, and updated year after year, my Halloween playlist is one that I'm very proud of. It has some classics to keep your more casual-listener friends entertained (see: "Thriller", or "Ghostbusters"), but is 90% that post-punk, goth, metal, and overall "alternative" music that we love. There's such a variety though, that there should be something for every spooky music fan on here. With bands such as the Ramones or Talking Heads, to Slayer and to Lady Gaga (yes, you read that right)- you're bound to find at least one track to be a new Halloween favorite. Whether you're wanting to hear an entirely new playlist, or just find one or two new songs to add to your own playlist, I hope you enjoy my take on music that feels right for this classic holiday! 

I'll leave the link to my Halloween Playlist up here, and you can also listen to it via the Spotify player in the sidebar, if you're viewing this from your desktop. But! Before you get too into it, this is a blog afterall, so I want to talk about my choices in songs for a bit first, and then I invite you to check out the entire thing to your heart's content. 

With the large amount of different genres I feature on this playlist, it may seem a little all over the place at a first glance, but you have to remember the unifying theme is not genre- but Halloween. These are all songs that give off scary, eerie, or unsettling vibes that feel just like Halloween should, and at the same time, most of them are great to play at a party! 

Funny enough, I feature four different songs on this playlist that are titled simply "Halloween". There's one from the Misfits, Sonic Youth, Siouxsie and the Banshees, and Helloween. And yes- all of them are necessary, and very different from one another. The Misfits "Halloween" is fast, brash, punk and clocks in at just under 2 minutes long. It serves as a great intro. track that sets the mood in a simple way to tell you just what this playlist is about ("I remember Halloween!"). Sonic Youth's is a much slower, creepy, actually genuinely scary if you're out alone at night, take on the word. It tells a cryptic, unnerving story that is left purposely open-ended, and to me, feels perfectly like that specific paranoia fear you get just before something terrifying is going to happen ("There's something shifting in the distance, don't know what it is..."). 

Then as for the Banshees, their "Halloween"  is rumored to be about something even scarier than slashers and ghosts- the loss of innocence that happens as we get older. It is like a short story on how much we get excited for things like Halloween when we're younger, versus how those things can become boring or a hassle when we're adults (unless you're a goth, of course). And there seems to be a sinister, darker meaning to loss of innocence- like someone or something scary or traumatic stopped your young love for Halloween. A very realistic type of fear is hidden in this song, underneath a thick layer of fun, spooky, and with a catchy chorus ("'Trick or treat', the bitter and the sweet"). Finally, Helloween's "Halloween" is an over 13 minute novel of a song, bridging the gap between the supernatural fear you feel on Halloween, and the fun, excitement that it also brings ("Magic in the air on Halloween, Black is the night full of fright..."). It might be one your party guests will want to skip, if they're not big metal fans especially, but if you still want to hear it on your own time, it's worth the length. With a Charlie Brown reference, and the talk of good, evil, and heaven and hell, it's like all the different things you were told about Halloween growing up, wound into one epic, power metal saga.

Normally I'd link one or more of these songs below, but I'll leave it for the whole playlist. Next up what I'd like to mention is one of the standout, oddballs on this mix (or at least maybe odd to you). While the uninitiated might find it strange, I happen to enjoy a fair amount of Lady Gaga's music- Particularly her Born This Way album, where she went for a deliberately eclectic, 70's & 80's pop-rock sound and aesthetic (and she nailed it). There's a song on there you might remember if you enjoyed pop music in the early 2010's, called "Judas". It's a heavily Madonna inspired track, but with a darker twist than she might have dared to do in her heyday. On the album it's a dancey, fun track about being "in love with Judas", despite wanting to be true to Jesus (pop-flavored blasphemy at its finest). But, the version I feature here on this playlist is not much like the original at all. It's the Goldfrapp remix of the track... which turns it borderline demonic. Gaga's voice is distorted, and deepened, making her sound possessed by evil, rather than just happily singing about it. It's as if "Judas" and the essence of betrayal has consumed her, taking her over. It honestly sounds truly terrifying, in an Exorcist sort of way, and genuinely scared me the first time I heard it. But! The thumping electronic beat, combined with this scary, demonic reimagining, make it a perfect Halloween party track. I'll let you hear it for yourself, if you're still skeptical over the name "Gaga". Trust me, it's anything but "pop". 

Finally, I'd like to mention one more intriguing highlight of this playlist for me, before I send you on your way to go listen to all of it. I feature 3 songs on here from goth favorites, The Cure. This of course includes the obvious yet timeless, "Lullaby", as well as their original song for spooky film classic, The Crow, "Burn". There's one more Cure song I find to be perfectly fitting of Halloween, and that's their slow, groovy-goth cover of Jimi Hendrix classic, "Purple Haze".  Their version takes it from a fast and furious rocker, to a spooky, mystical gothic perspective. I never would have thought of the original as a Halloween song at all, because it doesn't scare me or make me want to be scared at all. But the minute I heard the Cure's cover, it just felt right. For me, it's the slowed down beat, combined with Robert Smith's signature "spooky" voice, that makes this a modern Halloween classic. Give it a listen for yourself, below, and hopefully you'll feel it too. 

So that's all I'll say about my Halloween Alternative mix for now. I think hopefully it should speak for itself, and you'll understand a majority of the song choices without my explanation. But, if you are curious about any, feel free to reach out to me, and I'll give you as shallow or deep of an answer as you like. Also, this is a Spotify playlist, as that is my main method of streaming music, but if I know you in "real life", you can feel free to reach out and ask for a physical copy on CD, as that is a lost art / favorite hobby of mine (or I can create a YouTube playlist version, if anyone asks for it!). 

Halloween is creeping up around the corner... or if you're a goth, it's all year 'round! So whether you've got a party planned or just want something to enjoy with a glass of cider by yourself, I hope Nostalgia Alternative's Halloween Mix is what you've been looking for! Thanks for reading this brief overview of it (very brief, as the playlist is nearly 4 and a half hours in length!), and I hope you'll enjoy what you hear! Happy Halloween, Blessed Samhain, and happy spooky season to you all! 

"Boo Wave", goth & new wave artist Halloween art, by Matthew Lineham.

U2's "The Unforgettable Fire" - Their Most Ambitious & Artistic Work

 

When my family and I travelled to Ireland for our summer vacation in 2016, I knew the most important place we needed to visit was the castle U2 used for the cover of their album, The Unforgettable Fire, in 1984. Released on October 1st, 1984, the Unforgettable Fire is one of U2's strangest, most artistic albums- and it is also my favorite. It marked a change in sound from their earlier works, and the decision was completely deliberate by the band, along with ambient music legend, and the album's producer, Brian Eno. At the time, the band was worried about being pigeonholed as a "stadium rock" or more basic, mainstream rock band, as they were starting to establish a name for themselves after releasing War one year prior. The sound on the Unforgettable Fire is the most atmospheric and ambient of anything they've released to date, and the lyrics are the most obscure and poetic... you can probably start to understand why it's my favorite already, but let's take a closer look at the history and significance of the record, to give you the full story.

Moydrum Castle in Ireland, photographed by Alex Byrne, 2016.

The castle the band photographed to use for the cover of the Unforgettable Fire, was Moydrum Castle, which has been in a state of ruin, since it was set afire by the Irish Republican Army in 1921, during the Irish War of Independence. This was U2's first time working with photographer Anton Corbijn, who photographed the castle and placed a sepia tone over it, and later imposed the image of the band members. The photo was actually an exact copy of an already existing image (minus the added filter and band members), so the band had to pay an unknown sum for the rights to use it. 

I didn't know any of this when I begged my parents to drive us around Ireland in our rental car, until we could find this ruined castle, in the middle of nowhere. But they didn't mind so much- they have both been huge U2 fans since the early 80's. In fact, I wore my mom's original Unforgettable Fire tour shirt she got after seeing them play the Aragon Ballroom in '84, that day we went to find the castle. To add yet another level of nerdiness to it all, we were playing the album through the car speakers as we took our own pictures of the castle, one of mine you can see pictured above. It was a borderline spiritual experience, and definitely the highlight of the trip for me.

U2, photographed by Anton Corbijn in 1984, for the Unforgettable Fire album.

There is so much rich history and references enveloping the Unforgettable Fire album, that it would be impossible for me to talk about the record without mentioning it. But for now, let's talk about the music. The album itself is almost a concept album, in that it seems to follow a sort of story, and have an entirely cohesive sound and theme. "A Sort of Homecoming", as its opener, puts this story idea into place, as the song is partially a reference to the band changing, and reflects singer and lyricist, Bono's now more serious approach to songwriting. Followed by the song that became the most popular off the album, "Pride (In the Name of Love)", which is Bono's anthemic ode to Martin Luther King Jr., who would be referenced and memorialized on later tracks of the album as well. "Pride" is probably the most straightforward "rock" song on the album, and has fairly simplistic lyrics, but it still fits the mood of the record. It is more the powerful way in which Bono sings the lyrics that gives them meaning. That, combined with the Edge's iconic, standout guitar-playing, makes the song sound as strong as it does. Listen to its power for yourself, below.

Moving forward a bit, to get to the song I'm most excited to talk about- the title track. Here is what I deem the best thing to have come out of the U2 / Brain Eno collaboration. It is the most mysterious, atmospheric song, with the most poetic, fragmented lyrics. The title and lyrics are said to have been inspired by the band's viewing of an art exhibition by the victims of the atomic bombings of Hiroshima and Nagasaki. With this in mind, one could start to make sense of the lyrics, but there is still something left purposely obscure, which I think is just part of its charm. It doesn't sound like any other U2 song out there, before or after it. It sounds just as magical and mysterious as that ruined castle on the cover. Hear it for yourself, below.

Something that makes U2 fans past and present disenchanted with the Unforgettable Fire, is the amount of "filler" or short, interlude-like tracks on the album. But, for that reason it did exactly what the band wanted it to do. It weeded out those "fake fans" who couldn't handle the band stepping outside their simplistic rock format, and letting their creative spirits fly. I for one do not find those shorter, instrumental or limited-lyrics tracks to be "filler", but that in fact they add something to the album, that would make it feel less powerful, were they not there. 

For example, between the title track, and the next song I want to talk about, "Bad", there are two short, nearly instrumental, or fully instrumental tracks- "Promenade" and "4th of July". Both of those tracks bridge the gap between my two favorite songs on the album, and set such a dramatic, yet meditative mood, before the anthemic, "clench your fist and cry" (as I like to call it) energy of "Bad" comes rolling in. One should enter that meditative state before "Bad" comes on, or they may not be ready for it. A powerful, emotional song that is loosely based on heroin addiction, but has become so much more as it has aged. Bono has stated that the song never got finished, and that its lyrics are "fragments"- again, leaving that air of obscurity and mystery, that allows us to put our own experiences and meaning into the words. As someone who has never had an experience with the drug it's supposed to be about, I relate to it in my own, different way, but one that is still deeply spiritual. It feels to me like the washing away of this great sin, or guilt, or sadness. It feels like emerging from this cave and seeing the light, and realizing that it feels good to be alive again, even though you may still feel pain. I know it's not just me who feels so strongly about it, as it has been a crowd favorite at their concerts since the album's release all those years ago. Maybe it doesn't make as many tears flow as one of their later songs like "With or Without You", but it's probably a close second. Hear its power, and get goosebumps for yourself, by listening below. 

I'd like to end by talking about the final song on the record, "MLK". It is like the follow-up to "Pride (In the Name of Love)", in that it revisits Bono's reverence for Martin Luther King Jr., with a more straightforward elegy, rather than a harder rock song. It has simple, but thoughtful lyrics, that are so emotional, it is a shame they couldn't have been read at MLK's actual funeral. But it was still greatly appreciated by King's wife's organization, the King Center, where Bono received the highest honor for writing it, as well as "Pride". Even on their more ambient, atmospheric album, U2 still managed to bring forth the social and political commentary that makes them stand out amongst other popular rock bands (to some people's delight, and to other's annoyance). I think it was done in a way that complements the rest of the album, and isn't overbearing. 

The Unforgettable Fire is an enigma of an album. It was U2 purposefully wanting to be different, and seen more as creative artists, and less as rock hit-makers. And it worked! The previous fans that liked it stuck around for more, and those that didn't, saw themselves out. For me, it is my favorite U2 album, and even their "magnum opus", the Joshua Tree, doesn't hold a candle to the lyrical and musical power it has. Seeing that castle in person, with the Unforgettable Fire playing in the background, was an experience I'm sure not many others have been able to have, and one I cherish. To me, it was like a monument to their work, and a physical embodiment of the magic the album possesses. If you appreciate the album as much as I do, I hope you get to make the same pilgrimage to Ireland to see it, that I did one day. And if this is your first time hearing about it, or listening to it, I hope you liked what you heard / read! Thank you as always for reading, and I hope I'll find you on the next post! 

The Unforgettable Fire tour shirt my mom got while seeing them live in Chicago, in 1984.

Hotel Las Vegas - That Time We Flew Across the Country to See the Eagles

 

 

On a dark desert highway, cool wind in my hair, warm smell of colitas rising up through the air. Up ahead in the distance, I saw a shimmering light... it was the Las Vegas strip. Except I wasn't on a highway, but on a plane, after flying in from Chicago. I was there to see one of the least likely of candidates to be a favorite band of mine- the Eagles. That was one year ago, on September 27th, 2019, when the Eagles played their classic 1976 album Hotel California front to back, live at their mini Las Vegas residency. I saw what would be the first of three shows, with my best friend Julia, and it was easily one of the best concerts of my life. Hell, this was one of the best days of my life. 

Since it's been a year, and I now have this blog, I want to take the time to talk about that Vegas trip, particularly the Eagles show, of course, and what this band means to me. You may not understand right away, and that's okay. I get that it seems weird for someone as "alternative" or "new wave" or "goth" as me to be so obsessed with one of the biggest, most famous, or "mainstream" of classic rock bands as the Eagles. So, you may be asking yourself- "Alex, why the hell did you fly all the way across the country to see the freaking Eagles? Why do you love them so much?" Well, I'll tell ya'! 

As much as I am a weird, left-of-center, obscure-music-loving-oddball... there will always be a part of me that loves "classic" rock. You may remember the Eagles for their MANY, many hits of the 1970's, including: "Take It Easy", "One of These Nights", "Take it to the Limit", "Hotel California"... et cetera. But have you really taken the time to dive deeper, into some of their lesser known gems? For example, the song that got me into the Eagles was "Those Shoes", off of their last album before the break-up and reunion, The Long Run, in 1979. It is a double talk box infused, dangerous yet sexy track, that stands out from most all of their other material. Listen to that one before you try and pigeonhole the Eagles as just some country rock / mainstream rock band. But beyond the stranger tracks, even the more popular, standard Eagles songs mean a lot to me.

I have been fascinated with the desert and with California for as long as I can remember. No matter what phase I was in musically, the West Coast has always called to me. And if anyone is the soundtrack to desert / Southwest living- it's the Eagles. "Peaceful Easy Feeling" was probably the second song that got me hooked on the Eagles. "I wanna' sleep with you in the desert tonight, with a billion stars all around", spoke to my wanderlust soul like nothing else could. It was actually (sadly) the same year that Glenn Frey passed away that I became a real Eagles fan. And it was a little over a year ago when I was at the height of my obsession with them... hence why I decided to drop a pretty hefty amount of money to fly across the country, get a hotel, and buy tickets to see them live. And it was worth every penny. 

The day of our departure for the trip, we had to get up at 5 AM, Chicago time, for our flight...the same day as the show. After I barely slept from the anticipation, I didn't sleep until after the show that night. Haggard as I was, you better believe I still had more than enough energy to sing every word to every song, and to cheer 'till my lungs gave out. As Julia and I walked through the MGM Grand Garden Arena, all decked out in 70's, desert-themed outfits (see pictures below), it became clear we were by far the youngest people there. And it became clear to the older fans too, as many of them began telling us so. But not in a bad or condescending way- they thought it was so cool that people our age were this into the Eagles (especially when I told them how far we'd traveled to see them too). 

 

 

Before we took our seats (in the "cheapest" nosebleed section, to the far upper-right of the stage), I bought myself an overpriced Budweiser, in honor of Glenn Frey (cue "fill the bathtubs up with Budweiser" line from the Eagles documentary), and because it was the cheapest thing on the menu, at $10 a cup. We were sat at the end of a row with an older couple from the Vegas area on my left. I fangirled with that woman for most of the show, which was a nice surprise. 

As the first notes of "Hotel California" began to play over the speakers, everyone went quiet. Then, as soon as Don Henley started singing, the crowd erupted in some of the loudest applause I've ever heard. I was immediately in awe- his voice sounded just as youthful, clear, and beautiful as it did 40+ years ago. Listen for yourself, via an unfortunately poor quality cellphone video I shot of it, below. Hopefully it can still do Don some justice!

I shot video of almost every song they played, but I won't share all of them because that would just be too much. I'll try and narrow down the "highlights" though. For "New Kid in Town", I was honestly pretty disappointed that it was Vince Gill on lead vocals, and not Glenn Frey's son, Deacon, who took his father's place on other tracks he originally sung. It was still a good performance though, and I got to hear my fill of Deacon later on. With "Life in the Fast Lane", I was blown away by how hard these old men could still rock. Joe Walsh's guitar solo was intense and electrifying. It had every person there out of their seat. I managed to capture it on video, and even if the picture quality isn't great, I think you'll still feel what I mean. 

 For "Wasted Time", the entire orchestra behind Don Henley's drum kit (oh yeah, did I mention they had a friggen' ORCHESTRA?) joined in, keeping the track completely true to the album original, as were the rest of the songs played. It was beyond impressive, and like nothing else I'd ever seen at any "rock" concert before. I can't say much else besides you should see a bit of it for yourself, by checking out my recording below (try and ignore the ignorant, rich dude behind us talking through half of it).

Moving a bit ahead to my favorite song off of the Hotel California record, "Try And Love Again" was as tear-jerking as it always is for me. At this point in my life, it is probably also my favorite Eagles song overall, and I connect with Randy Meisner more than any other Eagle, past or present (we are both Pisces, after all). In fact, I'm still sad that he's no longer in the band...and it's been like 40 years! And sadder still was that it wasn't even his successor in the Eagles, Timothy B. Schmit, who replaced him on vocals for this performance. Again, it was Vince Gill, who I'm sure by now you can sense my slight distain for. It's nothing personal against him- I just wanted more Eagles, less him at the show. Nonetheless, he still did a good job on conveying the beauty and vulnerability of this song, almost as well as Randy. 

As side two of Hotel California drew to a close, the band called for a short intermission before they'd come back and perform a second set of songs, from the rest of their discography (as well as some Don Henley and Joe Walsh solo material). So I grabbed myself another Budweiser (or two) and got back to my seat with plenty of time before they came back with their most mind-blowingly beautiful harmony song, "Seven Bridges Road". God their voices sound beautiful together, and this time was just the same (with a few different voices added, of course). I'm not exaggerating when I say I got chills. If you can picture yourself there, I think you'll get them too, when you listen to my clip below.

They played extensively, for another hour or more, with fan-favorites like "In The City", "One of these Nights", "Life's Been Good", and "The Boys of Summer", to name a few. But I'm only going to share about one more, because as much as I'd like you to, it's impossible to fully relive this experience through text and cellphone footage. But I haven't given Deacon Frey his time yet, and to forget about him would be a grave mistake. Before his debut of the night with "Take it Easy", he took a moment to remember his dad, and talk about what it meant to take his place in the Eagles. I was definitely tearing up by the time he was done, but I was brought back to a happier place as he started to sing. With a noticeably deeper vocal range than his dad, Deacon brought his own, unique feeling to the song, while still doing absolute justice by his dad's famed, original version. 

After some of those other Eagles favorites, he came back with my longtime favorite Glenn track, "Peaceful Easy Feeling". Not only did I find him just as cute and charming as his dad, but now after hearing him sing, I was smitten. And if any of the older folks there had any doubt about his place in the Eagles- he certainly changed all of their minds. It was like I was transported back to the early seventies, to that peaceful desert place I'd always dreamed about... it was that powerful. To close out this brief summary of the show, I'd like to leave you with a clip of it. Hopefully it will affect you in a similarly positive way that it did me. 

Even after a year, it's hard to fully put into words how special this show and trip were for me. Despite what my more "alternative" readers might think, the Eagles are a really special band. Their lyrics are poetic and deeper than you probably give them credit for. And their musicianship and vocal abilities speak for themselves. If you're still having a hard time believing me, I invite you to check out their 2013 documentary film, The History of the Eagles, to see an in-depth, raw view of the band at their highest and lowest points. Regardless, they mean a lot to me, and if anything solidified that, it was this show. I got to see a band I love, in a climate I love, in a wild and sleepless city like Vegas. 

And you know what, the Eagles were right- it really does feel like there are billions of stars in those clear, desert skies. And when you see them, it will change your entire perspective on life. 

Thanks as always for reading, and I hope you appreciated this very personal tale of seeing the Eagles (and all of my own original photography and videography this time! Yay!). Have a peaceful, easy rest of your weekend, and take it easy! 

Me, inside the MGM Grand, the day after seeing the Eagles, September 28th, 2019.

*All images and videos used belong to me, Alex Byrne, and were taken by myself or by friends. Please ask for permission before using for any reason.

A Year Without Ric Ocasek - Heartbeat City Still Weeps

On September 15th last year, I, along with other fans around the world, heard the heartbreaking news of Ric Ocasek's passing. I was at one of the heights of my Cars obsession, and simultaneously at a pretty dark place in my life, so to hear one of my favorite musicians was gone absolutely crushed me. 

I have to say "one of" the heights of my obsession with his and the Cars' music, because it started years ago, when I first began my "new wave" phase in high school, and my love for them has only grown with time. I grew up hearing much of their music on the radio (namely 93.1 XRT, as you might expect), and as a kid "You're All I've Got Tonight" was a favorite (of course I didn't understand the meaning at the time... just loved the way it sounded). My parents, surprisingly, didn't play them much, saying that they'd heard too much of them back in the late 70's and 80's, and that they'd sort of burned out on them. Kind of like classic rock, in that you heard it too much back then, and it's still popular on those radio stations now, so you never go out of your way to listen to it. I understand where they're coming from, but I think they missed out on a lot of the deeper tracks that made the Cars truly special. 

Going back to my innocent love for "You're All I've Got Tonight" as a kid- That is precisely what made Ric Ocasek's songwriting and musicianship so genius. He had such an ability to create top-10 pop-rock hits, but with a darker underbelly to them, that only a deeper appreciation for the music would unlock. He curated a sound and image for himself and the Cars that was the perfect marriage of popular, mainstream rock music, and artistic, innovative new wave.

With his 6'4" stature, skeletal-thin build, and hollow face- he was hardly the average person's vision of "dreamy rock 'n' roller". Draping himself in long, dark hair and sunglasses, along with oversized suit jackets, he transformed himself into an intimidating presence. But that didn't stop him and his band from climbing the charts and becoming one of the most successful bands of the era. And hey, I see it- I think there's something quite charming about his lanky, goblin-like appearance (I say this affectionately), although you already know Benjamin Orr is my dreamboat of the band. 

And apparently I wasn't the only one. Ocasek's wife of 30 years, model Paulina Porizkova, fell for his strangely beautiful looks when they met during the filming of the music video for the Cars' hit "Drive", in 1984. She was just 18 then, and he 40, but it was clearly meant to be. I don't judge them, and I think it's sweet that their marriage lasted so long. And even though they had technically separated before his passing, she was there to take care of him in his final days. 

Ric Ocasek and Paulina Porizkova, photographed in New York in 1990, by Catherine McGann.

For me, my fascination with Ric Ocasek and the Cars really began with their debut, self-titled album. Jokingly referred to by the band and fans as "the Cars greatest hits", the album doesn't have a bad song on it. It propelled them to fairly instant stardom, and kick-started their career. As popular as it was though, there are still some fine examples of stranger, "ahead of their time" tracks, that helped give them their edge. One of these tracks for me is "Moving in Stereo". The synthesizer is incredibly prominent, and gives the song a sexy, slick sound, while still being quite experimental. This is what makes the Cars so amazing to me; Ocasek's innate ability to create pop hits that make me want to dance, but also question why I'm dancing. It's dark, it's weird, it makes me think. But it also gets me singing, knowing every word, and moving to the beat. Though it's Benjamin Orr on lead vocals and not Ocasek, his creativity and musicianship shine through on both the studio version, as well as this live version from 1984. I invite you to check it out below.

Ric Ocasek and his music were a gift to this world. From his generation to my own, and beyond- There are so many fans who appreciate his art. Whether you're a casual listener, or a die-hard fan, you know and love the Cars. He was strange, enigmatic, and misunderstood. But at the same time he was one of the main figures of popular rock and new wave music for well over a decade. To me, he is one of my heroes, and someone who inspires me to be my weirdest, most stylish self, every day. I treasure his music, and am grateful for it. My only wish is that I could have seen him perform live with the Cars (I was born about a decade late for that one). If you were one of the lucky ones who got to see them, let me know in the comments what an experience it was, so I can be jealous of you. 

Thank you as always for reading, and maybe put on one of your favorite Cars LPs today, in remembrance of Ric Ocasek. Hope you're resting in peace, Ric. The world is a lot less magical without you in it. 

(The Cars' music video for "Magic")

Peter Gabriel Self-Titled Album 3 - The Soundtrack to Your Mental Breakdown

Few artists have been as enigmatic in their musical style and songwriting as Peter Gabriel. From his beginnings as the frontman for progressive rock band, Genesis, to a continuing, successful solo career, his genre and the meaning behind what he does have both been hard to pin down. The best way listeners have been able to describe it is usually as "art rock", which is a fine title- but there's so much more to it than that. 

His solo career began with a series of self-titled albums... yes, that's right- he named FOUR albums in a row as just his name. So there have been fan-made titles that have come up to help differentiate, usually based on the album cover art. His third self-titled album is usually referred to as Peter Gabriel III, or Melt. It is Peter Gabriel at his most experimental, and, in my opinion, his most twisted. It contains elements of many different genres, including art rock, post-punk, new wave, and post-progressive, to name a few. The music and lyrical themes of Peter Gabriel III range from direct political commentary, to anxiety-inducing nightmare fuel. It is praised for being such a perfect melding of experimental and abstract, while also being able to be played on commercial rock radio stations. It is a fascinating record, which to me has always felt like a mental breakdown set to music. Let's take a closer look at why that is. 

To start off on a completely unnerving note, let's begin with the first track- "Intruder". Utilizing the newly founded "gated drum" (or isolated drum) technique, Gabriel's former Genesis band-mate, Phil Collins, pounds away with a steady, cymbal-less pace. This sets the background for Gabriel to tell us the story of a break-in, or "intrusion", from the point of view of the intruder. Now, this isn't some simple burglary just to make some money and get out unseen- this intruder does it entirely for the thrill. It is not directly stated why he's broken in...but by the end of the song, it is hinted at...and it is far more disturbing than simple theft. "I like the touch and the smell, of all the pretty dresses you wear", being the line that lets you know where this is going... yikes. It is actually, probably the most terrifying song I have ever heard (right up there with Suicide's "Frankie Teardrop"), which is why it always finds itself on my yearly Halloween Playlist (I should probably give this playlist its own post at some point soon). It is the start to an album of pure twisted insanity, that only continues to get more messed up. Listen to "Intruder" for yourself below, if you dare.

Next we have the compulsive, "No Self Control". Here Gabriel describes what it feels like to have a complete loss of ability to control oneself. Eating too much, or sleeping too much being some of the simpler compulsive examples. There is also the concept of isolation potentially being introduced, with picking up the phone, and calling anyone, just to hear a voice besides the ones in your own head. It seems pretty relevant, with our own quarantines and self-isolations currently reaching over six months... hearing it now might hit a little too close to home for some. "You know I hate to hurt you, I hate to see your pain, but I don't know how to stop, no I don't know how to stop", shows when our own compulsions go from hurting ourselves, to hurting other people in our lives as well. Whether it be self-harming, an eating disorder, substance abuse, etc.- "no self control" is a shared human experience. It is a dark one, that many don't want to talk (or sing) about. Clearly, there is not much Peter Gabriel will shy away from. You can watch a purposefully scary, lip-synced Top of the Pops performance of him and his band from 1980, performing the song below. With Gabriel staring down the camera with a menacing look, and his erratic movements, he was definitely channeling his old Genesis "performing artist", or theatrical roots. 

Track three is a less than a minute and a half long saxophone solo titled "Start". It serves as the perfect, yet strange, interlude between "No Self Control", and its follow-up, "I Don't Remember". Now in this one, I'm not sure exactly what type of mental deterioration Gabriel was trying to convey. But it just seems like a non-specific loss of memory, of self, and of meaning. It has a fairly simple, repetitive chorus, which made it slightly more popular than the previous tracks on the album. It is not any less disturbing, however, and musically it has quite a creepy, unnerving sound to it (while also being a jam). The music video is even more horrifying still, with weird human-like creatures painted fully white torturing and tormenting Gabriel throughout. It could be considered a 5 minute long horror movie in itself. The version of the song used for the music video is actually the one off of Gabriel's live album, Plays Live, but with audience noise cut out. It still fits the visuals perfectly, and somehow makes the whole thing feel even more eerie. The only video I can find of it on YouTube is of an 80's Japanese TV broadcast, which has an announcer at the beginning and end, but direct your attention to the video itself, in between the talking. Brace yourself though, it's a wild ride.

With "Family Snapshot", Gabriel once again lets us see through the eyes / narrative of "the bad guy", who in this case is modeled after Arthur Bremer, and his attempted assassination of racist politician, George Wallace. By the way Gabriel has this would-be assassin describe himself, you can tell what he wants most out of this act is fame. The first half of the song is self-aggrandizing, acting as though he thinks he is the star of some action movie. But by the second half, after he takes his shot, he has a flashback to his childhood. He sees his parents ignoring him and fighting with each other, and then he and the listener realize that he was nothing more than a little boy looking for attention his whole life, taking it to the extremes to get someone to notice him. It is quite saddening, when you think about it (and Gabriel definitely wants us to think about it). Maybe not that we should entirely excuse attempted murder because of this, but just to take that into account when considering what makes a human decide to take a life.

Skipping ahead a bit to what is probably the most well-known track off the album- "Games Without Frontiers" is a catchy, yet strange, art rock / new wave jam that compares world leaders waging wars, with children playing games. It is a brilliant concept, and I honestly think it should be played in all world history classes. You have a cameo from equally talented art rock artist, Kate Bush, singing "Jeux sans frontieres" (the French TV game show the title is taken from) in the background, throughout, which just adds another layer of intrigue to the song, for those who don't know what it means. And while the upbeat whistling sounds make the whole thing sound charming and fun, it is actually still a pretty dark song. It makes us question who we have in positions of power (which we always should), and has us asking what their intentions truly are for waging wars that end in the loss of countless lives...with little to no good ever coming from it. Maybe they're all just a bunch of children bickering, but with the power to wipe out nations backing them. Gabriel got a lot of flack for the music video, for some reason, so there were two versions created. The original ("uncensored") one has scenes of children seated around a fancy dinner table talking and laughing, while black-and-white footage of the Olympics plays in the center... Not really sure what the BBC had a problem with, but I guess anything with children in it has the potential to concern people. Either way, check out the song and original music video below.

Rounding out the end of this unhinged mental trip of a record, is "Lead A Normal Life". This song to me is like the coming down from the mania, and once calm, realizing you've been committed to a mental institution. This time, the point of view seems not to be of the unstable person, but of someone visiting them at their institution. There aren't many words to the song, it is mostly instrumental, but with what few words there are, the person is acting caring, yet not quite understanding. "We want to see you lead a normal life" they say at the end, which sounds like a concerned parent, who wants to see their child "get better", mentally, but has absolutely no idea how to help. So they sent them here... which will probably make things worse. 

The last song on the album doesn't entirely fit the "mental breakdown" narrative, but it is important, and relevant, to mention still. "Biko" is a nearly eight-minute-long eulogy and protest song, about the murder of South African anti-apartheid activist, Steve Biko, in police custody in 1977. While being interrogated, Biko was beaten to death by police, which caused international outrage and protest. Gabriel himself was angry and saddened by Biko's murder, and wrote this song in tribute. It incorporates lyrics written in the Xhosa language (one of the official languages of South Africa and Zimbabwe), as well as in English. Gabriel denounces apartheid governments, racism, and the violence perpetuated against people of color by white police officers, in the song. He also commemorates Biko's life, in a way that feels uplifting, and befitting of a funeral. It sparked Gabriel's involvement in human rights activism, which he still takes part in today. 

Whew... well, I don't know about you, but that was a doozy. I will admit, writing extensively about songs that describe mental decline in various fashions is a strain on the brain (and sometimes hit a little too close to home). But, of course, it is totally worth it, to try and help convey the absolute genius that is Peter Gabriel's music. And these dark, twisted lyrics are paired with amazing, innovative instrumentation, which turns them into jammin' rock songs, and makes them much easier to stomach. Overall, Peter Gabriel III is a scary trip of an album, but while also conveniently being a post-punk / art rock / new wave JAM. If you enjoy a little critical thinking, and overall "intelligent" music, but also something that rocks- I highly reccomend Peter Gabriel's third self-titled album to you. 

Thank you as always for reading, and for hanging in there with me, through this tumultuous record! I hope it didn't drive any of you "crazy" yourselves. Have an insightful, but rockin' week! 

Peter Gabriel, photographed during the "Games Without Frontiers" music video, in 1980.

Looking Back at Cocteau Twins Haunting Debut - Garlands

September is such a strange time of year. It is a midway point between the end of Summer, and the start of Fall. The sun may still be shining strong, but you can feel that ominous presence of All Hallow's Eve looming in the distance. It should be no wonder then, that Cocteau Twins decided to release their haunting, yet beautiful debut, Garlands, on the first of this month, 38 years ago. 

Originally overlooked by many music critics of the time, as another "Siouxsie and the Banshees copycat", Garlands did not garner the praise it deserved back in 1982. Today, it is revered as a post-punk classic, and a pioneering effort of the goth rock genre- as it should be. Sure, the Siouxsie influence was there, and vocalist Liz Fraser was apparently a fan at the time, but Cocteau Twins established a sound so much their own, that they would influence their own slew of artists, for years to come. 

It is my favorite Cocteau Twins album, personally, (though Heaven Or Las Vegas is a close second), because I find it to be the most chilling and powerful of their work. Although nearly all of what they do is atmospheric beyond belief, Garlands creates a feeling and atmosphere that is the most compelling to me. If I put this record on while driving alone down a dark, foggy road at night (which I have), I'm bound to hallucinate something terrifying jumping out at me. But at the same time, there is an oddly peaceful feeling to it, especially on certain tracks, that makes me want to lay down in a grassy field at night and watch the stars (see "Shallow Then Halo"). Musically, it consists of bare-bones drum machine ticks, pulsing bass, and plenty of echoing and feedback. That paired with Liz Fraser's unintelligible vocals, and beyond obscure lyrics, makes for one mesmerizing album. So let's take a closer look at the pure poetry that is Garlands.

*Before I get into it, I will say right off the bat that I don't think there is any "properly" interpreting Cocteau Twins lyrics- I don't even think they knew what they were talking about most of the time. So these are just personally what the songs evoke for me, but I believe they can, and should, differ from person to person. Feel free to let me know your own interpretations in the comments!*

Starting the record off with the stark, cryptic (as usual), "Blood Bitch", lets listeners know what Cocteau Twins are all about, and scares off anyone who needs simple lyrics and a pop format in their music. This song has some of the most terrifying imagery on the whole album for me. It evokes a sort of ritualistic scene, with the "blood bitch" seeming like a cult member, taking part in a sacrifice. There is an "altar", there is a cold corpse, and there seems to be the message of revenge towards the end, with "I'll paint the blood bitch, the blood bitch black". Its meaning, if it has one, is certainly dark and spooky, and for that reason, it has found itself a permanent spot on my yearly Halloween playlist. I'd embed the video link below, but for some reason Blogger's YouTube app doesn't seem to have it... so I'll just link it here for your listening pleasure. 

Moving towards side two, with my absolute favorite song on the album (and probably favorite Cocteau Twins song, period), "Shallow Then Halo" is absolutely entrancing. I genuinely feel like I enter a trance-like state when this song comes on. The music makes it feel like it is slowly marching forward through the darkness, with stars clouding my vision, but yet being my only light. It scares but fascinates me, like casting a spell or a summoning, of which you have no idea the outcome. It feels like a power I cannot control. Maybe that sounds really obscure... but that is what this song does to me. It is probably Liz Fraser's chanting of her poetic words that make it sound like a spell to me. Always in a fragment of a sentence, it is up to the listener to put all the pieces together, and for me, it is a spellbinding one. Please listen for "Shallow Then Halo" for yourself below, and I'm sure you'll get what I mean.

Then there is the religion-imbued title track, "Garlands". "Chaplets see me drugged, I could die in a rosary", she chants repeatedly in the chorus, which seems almost like an involuntary rejection of faith, to me. Like, as if she were praying the rosary, and her hands burned on the beads, feeling her sin or faithlessness. It seems like she, or whomever is the subject, is internally consumed by sin, and constantly wanting to give into it, eventually doing so by the end of the song. It is obscure, of course, and maybe Liz Fraser had an entirely different concept in mind (or none at all), but for me as a former Catholic, the religious imagery is palpable, and compelling. Check out the mysterious title track for yourself, below~

These are just a small selection of the tracks from Garlands, but I strongly reccomend listening to the entire album, start to finish, in order to get the "full experience", if you will. It is truly a trip, in many different senses. It is dizzying, and mesmerizing, but still has plenty of poetic lyrics to keep you thinking and wondering the entire time. It feels spiritual, yet blasphemous at the same time. It is truly an enigma, and that is what I think makes Cocteau Twins so damn great. They are haunting, but philosophical and beautiful, making the listener dance while questioning their own meaning for existence. If you're into that sort of thing, please check out all of Garlands, available on Spotify, or other streaming services (or dust off your own copy, if you already own it!). Thank you as always for reading, and have a mystical rest of your weekend! 

The Cure's "The Head on the Door" - 35 Years of a Happy Goth Masterpiece

The Cure's The Head on the Door album cover, released August 26th, 1985.

When you think about The Cure, one of two impressions come to mind. You either think of an incredibly dismal, depressing, but quintessential goth band, or an upbeat, happy, dancable, new wave band. Guess what- they're both! And that is what is so miraculous about the Cure. They are some of the founders of the goth rock genre, but also were played in non-goth, or more mainstream dance clubs back in the day. They can go from the "it doesn't matter if we all die" narrative of songs like "One Hundred Years", to the "let's get happy!" one of "Doing the Unstuck" so fast it'll make your head spin. 

Though their most revered record by fans ("goth" or not) throughout the years has certainly remained Disintegration (1989), my personal favorite since age 16 has always been The Head on the Door. While Disintegration is one of the greatest goth records of all-time for sure, the Head on the Door for me, is one of the greatest combination goth / new wave records of all-time. It is like a happy medium, or half-way point, between some of their most depressing albums (i.e. Pornography) and some of their most uplifting (i.e. Wish). It is incredibly inventive, and strange, but also at times dancable, and at others tear-jerking. It is everything music should be, to me. And I'm going to let you know exactly why.

Out the gate, the album bursts open with one of the Cure's 80's hits, "In Between Days". It is a soaring, uplifting, limitless pop-rock song that can make me happy no matter how awful a day I've had. And sincerely, it never gets old, no matter how many times I've heard it. It sets the tone so that listeners know, this is going to be a "happier" Cure album (though later tracks will stifle this message). Despite its popularity, it is still one of the highlights of the album, and I'm sure many of you will agree with me. Give yourself a refresher (or a first-time listen) and check it out the trippy, wonderful music video below~ (Alternate link to the audio, in case the video "isn't available in your country": https://www.youtube.com/watch?v=EDMDb8unsIA)

Then it fades into the strange, stream-of-consciousness "Kyoto Song", which tells of the parallels between a nightmare and reality (or I at least I think it does). It is confusing, but that just adds to the relatable feeling of what it's like trying to dissect your own dreams, and draw meaning from them. The lyrics are more dark, but the sound is still on the happier end, so it is like a "best of both worlds" for goth and new wave lovers like myself. Following that is the acoustic guitar and castanets, pseudo-Spanish-style track "the Blood" which seems to be a continuation of this dream / hallucination state. There are references to walking barefoot in a desert, and to "the blood of Christ", but it definitely does not seem Christian in nature. It seems to be more along the lines of walking alone in the desert, and hallucinating the you see a savior, but it really isn't there at all. It is an interesting track musically too, for its oddly Spanish style mixed in with new wave. It somehow works, however! And makes for one really unique Cure track. 

Moving into "Six Different Ways", which seems sort of like an interlude or "filler" track to me, but that doesn't mean it isn't good. The lyrics are overly simplistic, and so is the melody, but it is still catchy. And it paves the way for what I think is the best song on the album, and overall one of the best Cure songs, period. "Push" is the ultimate "crank the stereo full-blast, roll your windows down, and drive alone through the night" song... although there are many I cite as those, I know. It makes me feel alive, in a different way than "In Between Days" does. It isn't the lyrics really, it's the sound. It swells and rises for over 2 minutes before Robert Smith begins singing, hyping the listener up, and getting them excited. Personally, it gives me goosebumps every time. I can't put into words properly how magical it feels when this song comes on, so you'll have to listen to it for yourself to really understand what I mean. Please do so, below, and I have a feeling you'll begin to know what I mean. 

Side two begins with "The Baby Screams", which is strange and eyebrow-raising, but toe-tapping. It seems to be a simile comparing enjoying sensations of bliss or pleasure, as naturally as it is for a baby to scream ("and I love it, like a baby screams"). Or, you could take it sarcastically- the baby screaming being a bad thing, and thinking similarly to "I'm enjoying this like a baby screams", or "I want this like I want a hole in my head". Surely I can't figure it out, and Robert Smith stumps me once again! Up next we have a song that was another pretty big hit (bigger than "In Between Days", even) for the Cure off this album, "Close to Me". The best song for exemplifying claustrophobia in an artistic way, with Robert's heavy, anxious breathing in the background of the entire song. Also featuring an album title name drop, "Close to Me" is a simplistic yet dancable song that can make the listener feel claustrophobic, without even having that fear. That is what makes it so compelling, and so fun. Listen, watch, and feel closed in on for yourself, below.  (Alternate link to the audio, in case the video "isn't available in your country": https://www.youtube.com/watch?v=t7U1k147Qk4)

Rounding out the end of the Head on the Door, is "A Night Like This". Which probably would have been a bigger hit for the band, had it not been overshadowed by "In Between Days" or "Close to Me". It is another favorite for me from the album, as it has that magical quality, in the same way that "Push" does. There are feelings of longing and of recovering a lost love, in the lyrics. It is hopeful though,  and the upbeat sound of the music makes me think Robert will get his wish. It is also one of the few Cure songs to feature a saxophone solo, which while some might find cheesy- I absolutely love. I don't think it would have the same power and energy without it. I know I've added a lot of videos / songs to this post, but I also implore you to listen to "A Night Like This", when you have the time (and of course the whole album) so I'll still add it below for you.

Then we have the short, but sweet "Screw" which is grindingly bass-driven and dancey, and transitions abruptly into the last song, "Sinking". Another bass-led track, but more like "Screw"'s more depressed cousin. It is slowed down, with an accompanying piano, bringing the listener down from the high they have likely been on, while experiencing this album. Not quite as dismal as the ending of Pornography (the title track), but echoing a similar sentiment with, "I'll never feel again. If only I could remember anything at all". While Pornography seems more apathetic towards the inevitability of time and death, "Sinking" is more passionately sad about it. And after all of this more upbeat-yet-strange Cure, this is what Robert decides to leave us with, reminding us they are still a goth band, after all. 

So there you have the Head on the Door! It is a strange, magical Cure album that bridges the gap between some of their most gothic works, and some of their most new wave. It is a perfect marriage to me, of the elements that make the Cure unique, and unlike any other band out there to date. It's been 35 years since the Head on the Door was released, and it still has the same awe-inspiring effect that it had on me and many others, when they first heard it. 

What do you think of my depiction of the Head on the Door? Do you agree? And what is your favorite Cure record? Feel free to let me know in the comments! I am curious about your favorite Cure moments. Thank you as always for reading, and have a magical weekend! 

The Cure in 1985, photographed by Ebet Roberts.