P is for Proper Puffing

P-The Pot. I was fortunate enough to see Tool perform live while I was living in San Antonio. They put on a hell of a show. Each member of the band is so talented that I could probably sit here all day praising them. Instead, I’ll simply let you listen. “The Pot” is one of my favorite songs because of the melody, the shifting time signatures, and the syncopation. The lyrics take a poetic look at hypocrisy. The bass line seems almost disconnected from the rest of the piece. And I love how the melody is introduced a cappella.

Soapbox house of cards and glass so don’t go tossing your stones around…

Tool, “The Pot,” 10,000 Days, 2006

O is for Obvious Overtones

O-One. This has stood the test of time as my favorite U2 song. The lyrics are what I find most compelling: seemingly simple sentiments are conveyed in rather clever fashion. Some of my favorite quips include “Did I disappoint you, or leave a bad taste in your mouth?” and “It’s too late, tonight, to drag the past out into the light.” It is interesting that though the lyrics are often acrimonious, “One” has quite the mellow quality to it melodically. And, as with many U2 songs, it is also easy to sing along to…

Have you come here to play Jesus to the lepers in your head?

U2, “One,” Achtung Baby, 1991

N is for Gnarly but Nice

N-No Time Soon. Some people were destined to sing. I certainly can’t see Cee-Lo Green doing anything but crooning his heart out. I enjoy all Gnarls Barkley pieces, but this one in particular struck me because I desperately needed an “n” song. At the beginning of the piece, the acoustic guitar is particularly effective. The song then cascades into a marvelous dissonance between Green and the back-up singers. No space in the song is wasted, and every note and sound effect has a particular piece to contribute to the entire aural experience. Listening to this song, I can’t help but reflect on my husband’s upcoming training and deployment. I must continually reassure myself that though he will be far away, my greatest fears for him will happen no time soon.

And I carry this, it’s heavy. And I miss you already…

Gnarls Barkley, “No Time Soon,” The Odd Couple, 2008

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