This post is part of a series counting down my favorite songs of all time. Follow the links at the bottom of this post to read related posts.
When it comes to punk rock, I’ve always preferred bands like Wire because they seem to exist outside of the context the stereotypes of that era. Moreover, at the time they seem absolutely unconcerned with the demands of authenticity that go hand in hand with that subculture. In the beginning, the band adopted a sound that was as aggressive and nihilistic as any of their British punk contemporaries. Yet album after album, the band reinvented itself. That’s a risk very few punk rock groups were willing to take due to limitations in talent, skill or creativity.
As I sorted through my Bob Dylan albums, I was having a hard time choosing a song I really loved. Lyrically, many songs came to mind. A Dylan phrase can sauté in the brain for years before some glimmer of personal meaning is expressed. That’s the power of many of his tunes, really. But as a whole, very few of his songs resonate with me. Many feel emotionally distant, too cool, a little sterile, even if they are impressive exercises in energy and profundity. But then there’s “Blood on the Tracks,” an album that feels like a very tangible release of emotion. Many have speculated about the inspiration for these songs; most assume that the content stemmed from Dylan’s separation from his wife. Dylan himself has said the short stories of Anton Chekov helped spark the album. This song – a rambling first-person narrative filled with descriptions of bitterness, death and destiny – may be strong evidence of both claims.
43. Orchestral Manoeuvres in the Dark – Enola Gay
I’m generally not a fan of synthpop, but I think very highly of this band. Many synthesizer-based bands of the 80s were artless exercises in kitsch. And while I will concede that fun and kitsch is definitely a key part of the formula, too much kitsch is always grating to me. As their name suggests, Orchestral Manoeuvres in the Dark approached the genre with a healthy dose of pretension, which created an interesting equilibrium for at least a couple albums. So as contemporaries generally swung too far in one direction either creating morose tunes for people dressed in black or super-fabulous neon dance tunes, OMD presented a nice medium of accessibility. “Enola Gay” is bouncy and ready for the dance floor, but it’s also pretty much about the bombing of Hiroshima. So there’s that.
42. Tindersticks – Buried Bones
I would argue that Stuart Staples has one of the great voices of this generation, and this is just one instance of his delightful marble-mouthed delivery. Like many Tindersticks songs, this tune reeks of a drunken elegance that only Staples could pull off. Ann Magnuson accompanies Staples on this track, and the two perform like actors using each verse to build the romantic tension. Then there’s the swooning arrangement replete with soaring strings that give this duet an air of oblivion. In many ways, this song is an excellent example of a modern take on the classic Saccharine Underground sound, a style of pop that relied heavily on ornate arrangements a sticky sweet melodies.
41. Brian Eno – Burning Airlines Give You So Much More
Brian Eno’s early albums are pop masterpieces in my mind. His unique vision encompasses an eccentric approach to lyricism, experimentation with technology and an ability to maximize the talents of his collaborators. More than a musician, he is a facilitator and conceptualist. A Svengali to some, perhaps. I could gush and gush about the guy, but I think his music speaks for itself. This song comes from his sophomore solo release, Taking Tiger Mountain (By Strategy), an album that was initially inspired by postcards celebrating a Maoist Chinese opera of the same name. It’s a fairly bucolic ditty about espionage, airports and escape with some awesome backup harmonies sung by Robert Wyatt.
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