M is for Monotone Melodrama

M-Mr. Brightside. I don’t know why I like this song so much, but I suspect the dirty drums have something to do with it. The Killers are here to tell a story, and they are very successful at achieving that end. The mostly mono-dynamic melody maps out a narrative regarding the trials of unrequited love. In contrast to ample action by the instrumentation, the melody is comprised of surprisingly few notes. Though the subject matter might be viewed as depressing, the manner in which it’s delivered creates quite the snappy song. My only complaint is that the monotone melody makes it difficult to sing along with...

I just can't look, it's killing me...and taking control.

The Killers, “Mr. Brightside,” Hot Fuss, 2004

L is for Laden Lullabye

L-Like a Stone. This song is one of the very good things to come out of the too-brief union known as the supergroup Audioslave. When first hearing the song, I didn’t pay much attention to the lyrics, and I assumed it was some kind of love song (along the lines of “Solid as a Rock” for lack of a better example). But when one really listens to this tune, it becomes clear that it’s a pretty little ditty ‘bout a thing called death. The beauty of the song is enhanced by Chris Cornell’s unique voice. But it is the expertly executed guitar solo by the extraordinary Tom Morello that truly throws the whole piece over the top. The day this song lost the Grammy to Evanescence was the day I stopped watching the Grammys.

The sky was bruised, the wine was bled, and there you led me on.

Audioslave, “Like a Stone,” Audioslave, 2002

K is for Knives on Knuckles

K-King of Pain. It seems I have a thing for Sting. It follows that I also enjoy his work with The Police. “King of Pain” is one of my favorite songs. The lyrics offer stark imagery throughout, with all verses depicting tragedy: take, for example, the “black-winged gull with a broken back.” The poetry is gorgeous. The instrumentation is sparse in the beginning: later, the instruments echo the melody of the voice. There is also a lovely crescendo leading up to the last chorus, and you know how I love crescendos. Despite the negative connotations implied by the lyrics, the song becomes surprisingly upbeat. I enjoy exercising (and even dancing) to it.

There’s a little black spot on the sun today. It’s the same old thing as yesterday…

The Police. “King of Pain,” Synchronicity, 1983

J is for Jazzy Journey

J-Jump. The album Rock Swings is based on the concept that rock songs translate into the swing style very well. I highly recommend the album to fans of either genre. Though I miss the inspired guitar solo by Eddie Van Halen, Paul Anka’s cover of “Jump” is brilliant. The lyrics of this song are not particularly profound, but Anka’s smooth voice exudes the impression that everything is just groovy. His laid-back interpretation could even be seen as an improvement on the original song. So relax, and enjoy…

You’ve got to roll with the punches to get to what’s real.

Paul Anka, “Jump,” Rock Swings, 2005

I is for Infinite Interim

I-In the Waiting Line. I have seen this song used effectively in the film Garden State and an episode of “House, M.D.” It has a certain atmospheric quality, and a melody that mellows me out. The lyrics describe the senselessness of life spent in the waiting line, as all of us are at the mercy of our finite existences. As a military spouse, I have become an expert on waiting. And, quite frankly, I’m tired of it. So I will spend my time in the waiting line writing paragraphs about songs while desperately trying to ignore the insurmountable issues present in my life. Sound like a plan?

Do you believe what you see? Motionless wheel, nothing is real. Wasting my time in the waiting line…

Zero 7, “In the Waiting Line,” Simple Things, 2001

H is for Habitually Haunted

H- Hurt. I would not have known of this song’s existence were it not for Johnny Cash. He took Trent Reznor’s reflective ballad and refined it into something utterly unforgettable. The synthesizer is replaced by acoustic guitar in Cash’s version and there is also a subtle change in lyrics (the “crown of shit” is artfully changed to “crown of thorns”). Dynamic contrast between the verses and chorus is driven by the instruments and enhances the intensity of the piece. Cash’s gruff voice lends an eerie quality that perfectly captures the measure of a man’s life. If you are not moved by this song, I suspect that you are made of stone.

You can have it all, my empire of dirt. I will let you down, I will make you hurt.

Johnny Cash, “Hurt,” American IV: The Man Comes Around, 2002

G is for Grasping the Gavel

G-Ghost Story. I was never really a fan of Sting until I saw him perform live at the Gorge in George, Washington, on the Mercury Falling tour. The man’s passion for his music was obvious, and his sheer talent was overwhelming. He jumped from instrument to instrument, and he even invited a fan on stage to help him sing the country song “I’m So Happy that I Can’t Stop Crying.” I walked into the concert a skeptic and came out as a believer. “Ghost Story” is just one of the brilliant songs on the album Brand New Day. The melody is a simple stepwise motion: the phrases in the lyrics aren’t necessarily unique, but the way that they’re strung together is. Only someone as versatile as Sting would explore the theme of love as a courtroom metaphor. The result is a song that has a wistful, lulling quality, with poetry that keeps the audience engaged.

Another night in court, the same old trial. The same old questions asked, the same denial...

Sting, "Ghost Story," Brand New Day, 1999