Songs to Obsess Over

Cover Case File #3: "Handle With Care"

2010-07-26T20:49:00.000-04:00

Jenny Lewis with The Watson Twins (f. Ben Gibbard, Conor Oberst and M. Ward)
"Handle With Care"
Rabbit Fur Coat
(2006)

The need to know: Rilo Kiley frontwoman Jenny Lewis can be a mixed bag, both solo or in her indie rock day job. But in 2006 she stirred up a whole bunch of fanfare with her collaboration with The Watson Twins, Rabbit Fur Coat. An album of blue-eyed soul with a tinge of countrified flair, it found lovers amongst Rilo Kiley fans and beyond, and jump started The Watson Twins as an act to keep on the radar.

Why it's worthy: "Handle With Care" is just a great song, for starters. Originally recorded by the Travelling Wilburys, themselves something of an odd superroup, covering it with a who's who of 2006 indie rock just made it all the more noteworthy. Lewis, of course, tackles most of the lead vocals on this version (the parts generally sung by George Harrison), with Death Cab for Cutie's Ben Gibbard taking over for Roy Orbison (naturally) and M. Ward and Conor Oberst going for the Tom Petty/Bob Dylan/Jeff Lynne bits. It's a little bit sweeter (especially when Lewis croons, "Baby, you're adorable"), and maybe a little less cynical, but, as cover songs go, this version ain't too shabby.

Quotable lyric: "Been stuck in airports, terrorized/ Sent to meetings, hypnotized/ Overexposed, commercialized/ Hand me with care"

Where you've heard it: This isn't the only time Lewis and Gibbard have collaborated: She also contributed backing vocals for The Postal Service's album Give Up.

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Case File #39: "Infinity Guitar"

2010-07-23T12:27:00.003-04:00

Sleigh Bells
"Infinity Guitars"
Treats
(2010)

The need to know: Sleigh Bells make dance music with a metal soul. The combined effort of ex-Poison the Well guitarist Derek Miller and one-time girl grouper Alexis Krauss is made to be played loud and often, mimicking blown-out speakers even within its noise-pop sound. Their debut, Treats, is one of the years best reviewed albums (Don't believe me? Believe Metacritic.) and posits Sleigh Bells as one of few bands going that can claim true uniqueness. In short, they own.

Why it's worthy: "Infinity Guitars" will punch you in the mouth, and, damnit, you'll love it. Strong from the get-go, like most of the album, it's a relentless throttling of guitars and awesomeness that still maintains a pop sensibility through all that noise. Fun and feisty, it only goes to show how much everybody else is slackin'.

Quotable lyric: "Deaf chords/ Dead ends"

Where you've heard it: The track "Meds and Feds" off of M.I.A.'s latest disc Maya features elements of Slegh Bells title track "Treats". "Meds and Feds" was co-written by M.I.A. with Derek Miller, and Sleigh Bells were the first band signed to her boutique label, N.E.E.T.

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Case File #38: "Trick For Treat"

2010-07-21T11:27:00.002-04:00

Neon Neon
"Trick For Treat"
Stainless Style
(2008)

The need to know: An album based on the life and times of John Delorean (you know, the guy behind that crazy lookin' car from Back to the Future) shouldn't work. It shouldn't really even come up for consideration. But this album's mixture of 80s worship wrapped up in modern day criticisms make it an album that's not just fun, but surprisingly relevant. And that can only be due to the fellows in charge: Super Furry Animals frontman Gruff Rhys and DJ/electronic artist Boom Bip. A one-off collaboration, it nevertheless earned the band a nomination for the 2008 Mercury Music Prize, an annual award honoring the best album from the UK.

Why it's worthy: On an album that meanders through retro dream pop, nostalgic new wave and hard hip hop, "Trick For Treat" is the track that pulls it all together. Not as biographical as "Luxury Pool", a loose take on Delorean's life story, "Trick For Treat" is nevertheless laden with white powdery references and lifestyle excesses courtesy of guest spots by singer Har Mar Superstar and rap group Spank Rock.

Quotable lyric: "Got me dreaming like a Michigan boy/ In Hollywood/ Got me doing all I can"

Where you've heard it: The video for Neon Neon's "I Told Her on Alderaan" ends with the chorus from "Trick for Treat", complete with a cameo from Har Mar Superstar.

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Case File #38: "Wasted Daylight"

2010-07-19T15:14:00.001-04:00

Stars
"Wasted Daylight"
The Five Ghosts
(2010)

The need to know: Relying on boy-girl vocals, courtesy of Torquil Campbell and Amy Milan, and an impeccable pop sensibility, Stars have made a name for themselves since their sophomore release, Set Yourself on Fire made waves back in 2004. Six years and two albums later, the band has added a danceable flourish to their delicious pop sound. Consider their Soft Revolution complete.

Why it's worthy: "Wasted Daylight" is an escapist's dream. Amy Milan's ode to spending the day in bed, the tune is equal parts dreamy pop and danceable energy. More likely to get you going than to lull you back to bed, it's a consolation prize for the days you can't afford to snuggle up, turn off your phone and ignore the world around you.

Quotable lyric: "Telephone rings/ But we'll just let it sing/ Hide out 'till tomorrow/ I crawl into your shadow"

Where you've [seen] it: In addition to his music career, Campbell has also tried his hand at acting, appearing in episodes of Sex And The City and Law & Order back in 2000, the same year that Stars was formed.

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Case File #37: "Coax Me"

2010-06-01T11:12:00.001-04:00

Sloan
"Coax Me"
A Sides Win: Singles 1992-2005
(2005)

The need to know: A Canadian institution that never quite found much success in the states, Sloan made some of the best power pop to come out of that country in the 90s. Although critically adored, their first attempt at United States domination found the band feuding with Geffen records and the label refusing to promote their second album, Twice Removed, in 1994. The band found much love and acclaim in their native Canada, however, releasing no less than five albums between 1996 and 2001. Still going strong, Sloan's most recent album, the again well-received Parallel Play, was released in 2008.

Why it's worthy: Orginally appearing on Twice Removed, "Coax Me" is largely thought to be based on the death of Kurt Cobain and his relationship with Courtney Love, as well as the band's struggles with Geffen at that time. A low-key, catchy tune, the Chris Murphy-penned song is largely dominated by the clever wordplay that made the group's earlier songs, like "Underwhelmed", so loveable. But it also comes across as an underhanded Fuck You. Murphy may be singing "Coax Me" but it sounds a lot like "Bring it."

Quotable lyric: "It's not the band I hate/ It's their fans"

Where you've heard it: Sloan contributed five songs to the soundtrack for Sophia Coppola's 1999 film, The Virgin Suicides.

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Case File #36: "California"

2010-05-31T15:55:00.000-04:00

Copeland
"California"
Beneath Medicine Tree
(2003)

The need to know: Formed in Lakeland, Florida in 2001, Copeland found some success as an indie rock band throughout the early aughts, touring frequently and releasing their first two full-length records via small time indie label The Militia Group. In 2006, as record labels scrambled to find the next Fall Out Boy, Copeland announced that they had been signed to the majors with a slot on Columbia's roster, but that relationship proved to be short lived. After losing bassist and founding member James Likeness in 2007, the band released a b-sides compilation and their final album, You Are My Sunshine, in 2008 via Tooth & Nail, before calling it quits in 2010.

Why it's worthy: "California" is the story of boy meets girl, boy falls for girl, girl moves as far away as one can possibly go and not leave the continental United States. Sure, the story is about as emo as you can get, but this song is hardly typcial of the genre. Far from being Fall Out Boy or Get Up Kids clones, Copeland's debut, which was primarily inspired by singer Aaron Marsh's girlfriend's battle with cancer, was filled to the brim with beautiful power pop that nudged sweetness about as far as it could go without turning saccharine. "California" is no exception. Perhaps the band's best and most loved song, what makes it truly obsess-worthy isn't the lyrical honesty, or Marsh's lithesome vocals: It's the guitar solo that closes out the song. For the final two minutes, the band explodes into a burst of incendiary guitar passion that failed to be matched on any of the group's subsequent albums (or songs).

Quotable lyric: "I miss the way you sing low/ So I can't hear your voice over the radio in my car"

Where you've heard it: Copeland found a bit of notoriety, albeit brief, when they hijacked Fall Out Boy's viral marketing scheme for their album Folie à Deux in 2008, leading to many angry FOB fans...and not much else.

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Case File #35: "Rootless Tree"

2010-04-22T14:13:00.000-04:00

Damien Rice
"Rootless Tree"
9
(2006)

The need to know: In the 90s, Damien Rice fronted the Irish rock band Juniper, but after becoming disillusioned with the music industry and disgruntled with the direction of the band, he quit and headed to Tuscany to farm, amongst other European travels. But eventually the music bug returned and Rice soon emerged as one of Ireland's premier singer/songwriters. His solo debut, O, beat out albums by Bright Eyes, Cat Power, Interpol, SIgur Ros and the Yeah Yeah Yeahs to take home the 2003 Shortlist Music Prize. The less-acclaimed 9 followed in 2006.

Why it's worthy: "Rootless Tree" may begin as a typical Damien Rice ballad, but by the time the chorus kicks in, it's anything but. The shock value of hearing the typically reserved Rice let loose into a chorus of angry Fuck Yous is only part of the appeal, however. One hell of a breakup song, "Rootless Tree" conveys the need to get the hell out of a trapping relationship while still asking for permission to leave. Because, sometimes, even when it's over, it's not really over.

Quotable lyric: "And if you hate me/ Then hate me so good that you can let me out"

Where you've heard it: Rice's songs have been used in numerous films and TV shows, most notably his song "The Blower's Daughter" was used in the 2004 film Closer.

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Case File #34: "Anthems for a Seventeen Year-Old Girl"

2010-04-21T14:06:00.001-04:00

Broken Social Scene
"Anthems for a Seventeen Year-Old Girl"
You Forgot It In People
(2002)

The need to know: For giving us Broken Social Scene, Canada gets a free pass for all other musical follies. Anchored by Kevin Drew and Brendan Canning, who both released albums under the "Broken Social Scene Presents..." banner, the BSS roster kinda reads like a who's who of Canadian indie rock, having included members of Stars, Metric, Feist, Do Make Say Think, k-os, The Weakerthans, Apostle of Hustle, and Jason Collett at one time or another. And, folks, those are just the ones I can remember off of the top of my head. A collective, rather than the dime-a-dozen "supergroup," the band pools its sound from the talents of its varied members, for a series of albums that don't quite sound like anything else out there these days. Their third official Broken Social Scene LP, Forgiveness Rock Record, is due out May 4th.

Why it's worthy: Perhaps I like this song so much because I've been a 17-year-old girl, and, although, far from the typical anthem stereotypes, "Anthems for a Seventeen Year-Old Girl" is still a kind of rallying cry...just more the kind that draws from building banjo/guitar lines and a snapshot of heartbroken teenage angst (or is that grown-up nostalgia?). A song that thrives on repetition, "Anthems" uses Emily Haines' distorted vocals (a grown-up voice manipulated to mimic that of a child) to perfection, repeating lines over-and-over until the building momentum crushes you with all the haunted beauty you could fit in a broken, teenage heart.

Quotable lyric: "Used to be one of the rotten ones/ And I liked you for that"

Where you've heard it: Broken Social Scene has lent songs and written scores for several films and television shows, and most recently their cover of Joy Division's "Love Will Tear Us Apart" appeared in the 2009 film The Time Traveler's Wife.

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Case File #33: "I'm Not Calling You A Liar"

2010-04-19T16:10:00.002-04:00

Florence + the Machine
"I'm Not Calling You A Liar"
Lungs
(2009)

The need to know: Florence is South London bred Florence Welch, and her machine is a rotating cast of characters who accompany her powerful, blues/rock pipes. Her debut album emerged in 2009, taking the British music scene by storm and scoring a nod for "Best British Album" at the 2010 Brit awards. The band is currently at work on a much-anticipated follow-up to be released next year.

Why it's worthy: Scaled down from the danceable flair of equally obsess-worthy tunes like "Howl" and "Dog Days Are Over", "I'm Not Calling You A Liar" builds from Welch's bluesy voice and spirals into a less-exuberant but equally epic crescendo. Here, Welch's vocals get the spotlight, gently smooth over and shaping every word until you can swear they're almost tangible. If you hear this song and don't feel something, you must be made of stone.

Quotable lyric: "I'm not calling you a liar/ Just don't lie to me"

Where you've heard it: Another Florence + the Machine tune, "Kiss With A Fist", was featured in the 2009 Megan Fox disaster Jennifer's Body.

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Case File #32: "Wake Up"

2010-04-15T20:24:00.003-04:00

Arcade Fire
"Wake Up"
Funeral
(2004)

The need to know: Arcade Fire are a big band, boasting seven core members and a live army that swells into double digits. The large outfit, however, is anchored by the husband/wife duo of Win Butler and Regine Chassagne and together they create baroque pop of epic proportions. Their debut, 2004's Funeral landed the band some of the highest critical acclaim of the last decade and left fans frothing at the mouth for more. The Bruce Springsteen-indebted Neon Bible followed in 2007, and their third album is rumored to be released later this year (eek!).

Why it's worthy: I'm not gonna lie. "Wake Up" is nearly my favorite song of all time and, quite frankly, I've surprised myself by making it 30+ entries in without tackling it. Pulsing guitar riffs anchor soaring orchestral moments and a punchy breakdown make this song over-the-top in the best way possible. A chorus of "ohs" and a swelling string section only emphasize Butler's cries of nostalgia. It's gorgeous. It's epic. It's a song no Holden Caulfield of the world can resist.

Quotable lyric: "With my lightning bolts a'glowin/ I can see where I am going"

Where you've heard it: Both the original and a specially recorded acoustic version of "Wake Up" were used in various trailers and TV spots for Spike Jonze's film adaptation of Where The Wild Things Are. Additionally, the band allowed the song to be used in bumpers for the NFL during this past Super Bowl, with all proceeds going to help earthquake-ravaged Haiti.

EDIT: The band also performed "Wake Up" with David freaking Bowie at the 2006 VH1 Fashion Rocks benefit. (Thanks Jeremy!)

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Case File #31: "The Mall and Misery"

2010-04-14T15:21:00.001-04:00

Broken Bells
"The Mall and Misery"
Broken Bells
(2010)

The need to know: Broken Bells combines the superpowers of The Shins' James "You gotta hear this song. It'll change your life." Mercer and multi-instrumentalist/producer Brian Burton, who you may know better as Danger Mouse--half of Gnarles Barkley, producer of Gorillaz's sophomore effort Demon Days and mastermind behind The Grey Album, his controversial mash-up of Jay-Z's Black Album and The Beatles' White Album. The duo met and discussed a collabo in 2004 at the Roskilde festival, but they wouldn't really put the gears in motion until four years later--AND it was miraculously largely kept secret until their debut single "The High Road" emerged in 2009. If you're thinking a match up between folks with that kind of musical background would have to be awesome, then you're definitely on the ball.

Why it's worthy: A standout track on an album with many standout tracks, "The Mall and Misery" closes out Broken Bells' eponymous debut with a danceable amalgamation of layered vocals, Shins-ian verses and a modern-life-is-rubbish ideology. In short, it's the best both halves can offer the whole and done to perfection.

Quotable lyric: "I know what I know/ Would not fill a thimble/ So let your mind go"

Where you've heard it: If you're my neighbors? Through the walls a lot last Friday night.

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Case file #30: "The Light & The Glass"

2010-04-13T14:52:00.003-04:00

Coheed and Cambria
"The Light & The Glass"
In Keeping Secrets of Silent
Earth: 3
(2003)

The need to know: Coheed and Cambria have often been slammed as being the RUSH of the emo generation, but they get even nerdier than that. Which is, of course, why they're great. Running on the premise that each of their albums, including the just-released Year of the Black Rainbow, tells a part of frontman Claudio Sanchez's sprawling sci-fi epic. Not into bizarre outer space-based explorations into the meanings of love and religion? Never fear, their catalog is filled with hooks aplenty and the lyrical oeuvres are enough to keep even fanboys guessing at the story's plot.

Why it's worthy: "The Light & The Glass" caps off Coheed's second (and might I argue best) album. Following the largely punk-based The Second Stage Turbine Blade, IKSSE:3 hints at their turn into proggy territory so prevalent in the band's later albums. Though certain tracks on both early releases have their moments of impact, this song marks the group's first foray into epicness. Sanchez's voice isn't exactly made for balladeering but the building nature of this near-ten minute onslaught--from gentle poeticness to balls-out guitar assault--only makes the denouement that much more spine-chilling. Pray for us all? Don't mind if I do, creepy children, don't mind if I do.

Quotable lyric: "Would It really matter/ If you were to count the days left with your hands?"

Where you've heard it: "The Light & The Glass" appears on Coheed's 2005 DVD Live at the Starland Ballroom as well as 2009's Neverender, a four-disc live DVD featuring the band playing each of their albums live in succession.

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Case File #29: "For Once In Your Life"

2010-04-12T13:37:00.001-04:00

The Jealous Sound
"For Once In Your Life"
Kill Them With Kindness
(2003)

The need to know: In 2003, The JEalous Sound released their debut LP, Kill Them With Kindness, a romp of indie rock with touches of emo mischief that landed on SPIN's top 40 albums of the year list. But, after signing to indie label The Militia Group in 2005, reports that the band was busy recording a follow up devolved into rumors that singer/guitarist Blair Shehan had left the band in ruins. A few years of silence and speculation followed, with an EP of the remnants of the band's studio sessions, entitled Got Friends, seemingly capping things off in 2008. In 2009, however, the band reemerged to open for emo legends Sunny Day Real Estate, and is currently back at work on a true follow up to their debut.

Why it's worthy: Being a night owl has its perks. "For Once In Your Life" celebrates (and questions) what goes on in those hours with anthemic choruses and painted-picture verses. The song plays out like a night spent picking apart the world and making revelations that never quite live long past sunrise.

Quotable lyric: "The sun's coming up/ As we're coming down"

Where you've heard it: This song was on every mix I made in 2003. If you knew me then, you've heard this song.

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Case File #28: "Half Asleep"

2010-04-09T14:47:00.000-04:00

School of Seven Bells
"Half Asleep"
Alpinisms
(2008)

The need to know: Formed by Ben Curtis (formerly of Secret Machines) and twin-sisters Claudia and Alejandra Deheza, School of Seven Bells create near-perfect electronic dream pop that waves from danceable, worldly explorations to hazy moments of ethereal beauty. Following their debut, 2007 UK single "My Cabal," and their 2008 full-length Alpinisms, the band shared stages with Blonde Redhead, Bat for Lashes, and fellow electronic shoegazers, M83.

Why it's worthy: Sonically a perfect song for a visual montage of the indie film version of youthful love and life, the dreamy beauty of "Half Asleep" is almost enough to make you abandon your computer and desk in favor of springtime sunshine and the swaying trees taunting you through the window. Lyrically, it's an admission of and struggle against complacency and falling victim to the mundanity of our everyday lives. Beautiful, hopeful and tragic, Alejandra Deheza's voice fills each word with longing but never over embellishes the sentiment, which allows the accompanying music to speak volumes.

Quotable lyric: "Sometimes I go whole days listening, bored, half sleep/ I won't say anything that's worth a thing to me"

Where you've heard it: "Half Asleep" was included on the downloadable Urban Outfitters mixtape LSTN#2 back in 2008. An alternate version also appeared on the 2009 Alpinisms re-release as one of nine bonus tracks.

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Case File #27: "White Wolf"

2010-04-07T16:59:00.000-04:00

Retribution Gospel Choir
"White Wolf"
2
(2010)

The need to know: Begun in 2005 as a collaboration between melowness pursuers Alan Sparhawk of Low and Mark Kozelek of Red House Painters fame, Retribution Gospel Choir allowed the "slowcore" icons to be as rampantly raucous in a live setting as they wanted to go, unleashing a beast that would've been unwelcome amongst the tunes typical of their more well-known affiliations. By the time RCG released their eponymous debut in 2008, however, Kozelek had receded to producer status, and disappeared entirely from the band before its acclaimed 2010 follow up, 2.

Why it's worthy: One of the most straightforward tunes offered up on 2, "White Wolf" retains some of the moodiness of Sparhawk's work with Low while letting loose crisp guitars and a satisfying chorus. Symbolism aside, it conjures a ferocious battle with a white wolf and, really, what's not to love about that?

Quotable lyric: "You think you can take that white wolf/ Then you're gonna need more blood"

Where you've heard it: While reading my interview with Sparhawk over at Stereo Subversion. (Yeah, yeah, shameless self-promotion. I know.)

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Case File #26: "Kill Me Carolyne"

2010-04-06T15:24:00.000-04:00

The Whigs
"Kill Me Carolyne"
In The Dark
(2010)

The need to know: Since 2002, The Whigs have been building a buzz, including a nod from Rolling Stone in 2006, which asked if the band could be the next great one to emerge from R.E.M.'s hometown. If you know anything about the Athens, Georgia music scene--and the number of bands in it--then you know that's a huge compliment, and no small task. But The Whigs are certainly up to the challenge, after accompanying Kings of Leon on several tours around the U.S. (including a sold-out Madison Square Garden gig) the trio just recently released their third record, In The Dark, a polished helping of garage rock ruckus.

Why it's worthy: "Kill Me Carolyne" is the quintessential rock single, and anthemic choruses ripe for sing-alongs and verses laden with ambiguous self-deprecation and accusatory relationship drama make this tune more than worthy of an obsession. It may not be the best tune on In The Dark, or within The Whigs' catalog, but it's pretty damn infectious without falling into the traps of drivel that fell most rock bands these days. If this song doesn't get you pumped up for a night out, or to get out of bed, there may not be much hope for you.

Quotable lyric: "I know you love me/ But you'd feel better/ If you just suck it up and/ Kill, kill me Carolyne"

Where you've heard it: The band recently performed "Kill Me Carolyne" on The Late Show with David Letterman.

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Case File #25: "Oasis"

2010-04-02T17:37:00.000-04:00

Amanda Palmer
"Oasis"
Who Killed Amanda Palmer?
(2008)

The need to know: If you aren't following @amandapalmer on Twitter, you should be. The Dresden Doll-turned-solo artist (and, most recently, half of Evelyn Evelyn) has often reconciled the realities of what it takes to succeed in the music biz with maintaining artistic integrity by reaching out to her ever-expanding worldwide fan base. Often garnering attention for her atypical methods, her music is just as worthy of the attention as her flamboyant personality. An odd triumph, she sent the blogosphere abuzz when she admitted last year that she made more money via Twitter than she had from her 2008, Ben Folds co-produced solo album, Who Killed Amanda Palmer?

Why it's worthy: Quite possibly the happiest song ever written about rape and abortion, "Oasis" was inspired by a similar experience Palmer went through at age 17. But despite the backdrop, this song is really a love letter to music and its ability to make things seem a-ok, even when life's at its worst. Anyone who's ever had their day turned around by a song, or worshiped a band in their teens, can hear themselves reflected in this two-minute, piano driven sing-along.

Quotable lyric: "And so now were not talking/ Except we have tickets/ To see Blur in October/ And I think were still going"

Where you've heard it: The awesomely tongue-in-cheek video for "Oasis" was banned for its subject matter by every music video outlet in the UK, but you can still watch it on YouTube.

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Case File #24: "Leyendecker"

2010-04-01T11:47:00.001-04:00

Battles
"Leyendecker"
Mirrored
(2007)

The need to know: One of the more bizarre "It" bands of the last decade, Battles mix the elements of prog and math rock with electro-experimentalism for a uniquely compelling post-rock exercise. Sounds awful, right? There's no way a band can be described as both prog rock and math rock and not be the worst thing ever. Well, wrong. For all of their outside-the-box leanings, the band maintains one hell of a pop sensibility which earned the band praise from both Pitchfork and Time magazine. These may not be the kind of hooks most ears are used to, but, boy, are they in there.

Why it's worthy: A song this strange shouldn't get stuck in your head for days, but this one will. Distorted, Mickey Mouse-on-helium, lyric-less vocals swirl amongst thumping beats and downward scales, and somewhere in the chaos it can't help but trap you. Clocking in at a little over two and a half minutes, "Lyendecker" is everything great about short, catchy pop songs without being anything close to average.

Where you've heard it: Battles' single "Atlas" plays in the construction level of the Playstation 3 game Little Bit Planet.

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Case File #23: "Mostly Waving"

2010-03-31T11:56:00.003-04:00

Emily Haines & The Soft Skeleton
"Mostly Waving"
Knives Don't Have Your Back
(2006)

The need to know: One of the most fun parts about being a Broken Social Scene fan is following its members, and Emily Haines gives us much to track down. Though the bulk of her time is spent fronting synth-rockers Metric, in 2006 she released Knives Don't Have Your Back, under Emily Haines & The Soft Skeleton. A collection of songs penned while on duty with Metric and BSS, it's not all that surprising to find her trading in her synth for the good ole ivories, and toting songs with heavier emotional weight and less danceability.

Why it's worthy: An oddly ominous and sexy song, "Mostly Waving" shows us a different Emily Haines than the one we're used to seeing. But what makes this song so great is Haines' impeccable vocal delivery, which, lets face it, is nearly always on target anyway. With her other outlets she's never afraid to be sweet ("Swimmers") or shout when necessary ("Monster Hospital"), but here she's more sultry and vulnerable, and allows her voice an extra layer of mellifluousness that melts over every second of "Mostly Waving". You can't help but get stuck in it.

Quotable lyric: "Get the line down/ Don't elaborate like that/ You frighten off the frat boys/ Use your baby talk."

Where you've heard it: A remix of "Mostly Waving" appeared on the companion EP, What Is Free To A Good Home?, a collection of B-sides from the Knives sessions.

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Case File #22: "New Noise"

2010-03-30T11:42:00.029-04:00

Refused
"New Noise"
The Shape Of Punk To Come
(1998)

The need to know: Swedish hardcore punks Refused called it quits in 1998, but not before unleashing the career-defining The Shape Of Punk To Come. This swan song solidified Refused's place in the hardcore cannon, and showed those of us on the fringe of the genre that it can be more than just angry screams over angry guitars. Whispers of a Refused reunion surfaced in March of this year, but it was not to be. Le sigh.

Why it's worthy: In 1998, a friend of mine sent me this song and said only this: "It will rock your socks off." The boy wasn't lyin'. A concise capsule of Refused's views of the punk scene--a stand still relevant today--"New Noise" calls out punk noisemakers content to confine punk's dissentive nature to the same-old simplistic pop leanings. What makes "New Noise" (and, admittedly, the entire album) so great is the band's fearlessness to not just be furious, but also know when to step off the throttle and incorporate elements as wide ranging as jazz and ambient sounds without worrying about coloring within the lines. The fact that they can do all of that and STILL give us hooks is why we remember this song, and the band, over a decade after they disbanded.

Quotable lyric: "And how can we expect anyone to listen/ If we are using the same old voice?"

Where you've heard it: "New Noise" was featured in the soundtracks for the 2004 film Friday Night Lights and the 2006 ridiculousness-fest Crank.

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Case File #21: "Thieves"

2010-03-29T14:02:00.000-04:00

She & Him
"Thieves"
Volume Two
(2010)

The need to know: She is the doe-eyed, raven haired actress Zooey Deschanel. Him is countrified folkie M. Ward. Initially paired up for the 2007 flick The Go-Getter, where Him dominated the soundtrack and She starred, their one-off duet has evolved into a bona fide music group. Sure, Deschanel's an actress, and we know how it usually goes when actresses dabble in music, but She & Him defy that particular musical law. Their much-adored first album, Volume One, a collection of Deschanel-penned originals and choice nostalgia covers, emerged in 2008, and the just-released Volume Two continues to define the duos 60s-inspired pop sound.

Why it's worthy: Who doesn't want to hear Deschanel pine away about wayward loves? Much like the twee characters she most often portrays, she knows what role she's best at and plays it to an oh-so-sweet perfection. "Thieves," another lovelorn tale, sets the tone as the lead track for Volume Two. Here, Deschanel laments with a brave face over yet another romantic ending, but by the end her
assertion that she'll still be crying seems like a triumphant victory over the matters of the heart.

Quotable lyric: "It's not all that bad/ I'll see you sometime/ Sometimes lonely isn't sad"

Where you've heard it: Deschanel tends to mix singing and acting together pretty often. In addition to The Go-Getter, her vocals have graced the soundtracks to (500) Days of Summer, Yes Man, and Elf.

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Case File #20: "Hide and Seek"

2010-01-06T18:58:00.000-05:00

Imogen Heap
"Hide and Seek"
Speak For Yourself
(2005)

The need to know: When the trailer for Zach Braff's 2004 film Garden State hit theaters, audiences became almost more excited for the soundtrack than for the film itself. This was in part due to Frou Frou's grab-life-by-the-horns anthem "Let Go". Sure, in the film Natalie Portman told us that The Shins would change your life, but the reaction to "Let Go" was frenetic. By then, however, Frou Frou had parted ways (the song was lifted from their 2002 release Details) and singer/songwriter/producer Imogen Heap had resumed her solo career. But the exposure helped to boost anticipation for her 2005 album Speak For Yourself, a great little gem of a pop record, and the equally good Ellipse, which followed in 2009.

Why it's worthy: Imogen Heap's voice is unmistakable and unconventional, and nowhere does she use it better than on "Hide and Seek". A modern exercise in a cappella, layered digital harmonies create a haunting, beautiful soundscape that is inescapable. Every time I hear this song, it gives me chills. Every. Time.

Quotable lyric: "Spin me around again and rub my eyes/ This can't be happening"

Where you've heard it: Besides being featured on one of the soundtracks to The OC, the climax to "Hide and Seek" was prominently sampled in Jason DeRulo's No. 1 smash "Whatcha Say". Trust me. Imogen's original is way better.

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Case File #19: "Game of Pricks"

2010-01-05T11:45:00.029-05:00

Guided By Voices
"Game of Pricks"
The Best of Guided By Voices: Human Amusements at Hourly Rates
(2003)

The need to know: One of indie rocks longest standing holdouts, Guided By Voices are practically an institution. No, they are one. Led by Robert Pollard, the band released over 17 albums, not counting live releases, EPs and compilations (which at least double that number), during a 20 year career that earned the band a sold fan base without ever requiring them to sign a major label contract. Known for Pollard's quirky, stream-of-consciousness lyrics and often lo-fi recordings, especially in their early days, GBV walked the line of accessibility without ever crossing over it. And oh how we love them for it.

Why it's worthy: A short, punchy pop song in a catalog of short, punchy pop songs, "Game of Pricks" still somehow feels like something special. Originally recorded for 1995's Alien Lanes, this version is clearly crisper (the original exemplifies lo-fi) but the slick production fits the song like a glove. It's a testament to the song, and Pollard's songcraft, that it works so well both ways.

Quotable lyric: "I'll never ask for the truth, but you owe that to me"

Where you've heard it: An extreme Guided By Voices fan, Jim Adkins and his band, Jimmy Eat World, covered "Game of Pricks" for the BBC while promoting 2001's Bleed American. The recording ended up on the Japanese-only Good To Go EP.

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Case File #18: "Where the Lines Overlap"

2010-01-04T11:08:00.005-05:00

Paramore
"Where the Lines Overlap"
Brand New Eyes
(2009)

The need to know: Mainstream emo rock heroes Paramore made a splash in 2007 for their super catchy tunes and Hayley Williams' fiery voice. But added focus on the red headed dynamo spawned rumors of band tension and the possibility of a breakup which never materialized. In 2009, the band reemerged with Brand New Eyes their third and most mature album yet.

Why it's worthy: File this one under semi-guilty pleasure. Seriously, though, it's hard to not perk up after a listen to this song. "Where the Lines Overlap" (like much of Brand New Eyes) is Hayley Williams' love letter to her life. Yeah. Gag me. But can you blame her? If I was fronting an uber successful rock band just shy of my 21st birthday I'd be singing "No one is as lucky as us" too.

Quotable lyric: "I'm not used to it but I can learn/ Nothing to it/ I've never been happier"

Where you've heard it: Hayley Williams is an unlockable character in Guitar Hero World Tour, which is just cool.

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Case File #17: "Wall Poster Star"

2009-12-22T11:35:00.000-05:00

The Brunettes
"Wall Poster Star"
Structure & Cosmetics
(2007)

The need to know: New Zealand indie pop duo The Brunettes use quirk as its lyrical stock and trade, with handfuls of twee sweetness and the heart of 60s girl groups hung proudly on its sleeve. Although Jonathan Bree and Heather Mansfield joined forces in 1998, it's only been in the latter aughts that they've made their way to the U.S. of A, opening for The Shins, Rilo Kiley, The Postal Service and Broken Social Scene. Their first album to have a domestic release in the U.S, and via seminal indie Sub Pop, was 2007's Structure & Cosmetics, followed by 2009's Paper Dolls, which was self-released by the group's own Lil' Chief Records.

Why it's worthy: Reconsiling teenage idealism with the realities of relationships and love, "Wall Poster Star" encompasses everything that The Brunettes do well. Mansfield and Bree's girl/boy vocals play off one another to perfection, with Bree juxtaposing the likeable asshole with Mansfield's disillusioned, adorable pout. Sweeping Wall of Sound-inspired melodies only make the song's inevitable climax that more vivid: when Mansfield croons "Down, Down They Come/ Wall Poster Star" you're right there, tearing down those magazine cut-outs with her.

Quotable lyric: "Stop acting like some modern Don Juan/ Drawing lines out of rock and roll songs"

Where you've heard it: Coming from your computer speakers right now. (You know you want to!)

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Case File #16: "Sleepwalk Capsules"

2009-12-21T13:17:00.000-05:00

At the Drive-In
"Sleepwalk Capsules"
Relationship of Command
(2000)

The need to know: Once upon a time there was this great band called At the Drive-In. But, as is the story of many great bands, the group called it quits just before making it big. In the aftermath the band divided into two camps (deep rooted creative differences caused the break), with Jim Ward going on to found the considerably more radio-friendly Sparta and Cedrix Bixler-Zavala and Omar Rodriguez-Lopez forming the much more experimental The Mars Volta. Their final album as At the Drive-In, 2000's Relationship of Command has nevertheless found its place as not just one of the best albums of the decade, but one of the most influential post-hardcore (and some would say rock) albums ever recorded.

Why it's worthy: One of the great things about ATDI, a characteristic that many of their followers ignored, was that even at their most ferocious, Bixler-Zavala's vocals never devolve into completely incomprehensible, though serrated, madness. Which is good considering ominous political overtones subtly coat the bulk of the band's material. "Sleepwalk Capsules" alone is rife with references to religion and politics, Julius Caesar and The Emperor's New Clothes. And while screams and shouts perfectly compliment the band's onslaught of guitar cacophony, especially when Bixler-Zavala and Ward play at call-and-response, his words don't get lost in the well-orchestrated mess.

Quotable lyric: "All utensils are fixed on you/ Atop this podium split in confession/ Dripping with drool from the nerves of this sentence"

Where you've heard it: At the Drive-In's "One Armed Scissor" is a playable song on Guitar Hero World Tour.

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Case File #15: "Rag & Bone"

2009-12-18T18:12:00.000-05:00

The White Stripes
"Rag & Bone"
Icky Thump
(2007)

The need to know: You know Jack White, the guy from both The Dead Weather and The Raconteurs? Well, he's also in this other little band called The White Stripes. With that band, comprised of Meg White and himself, he temporarily fooled a lot of people into thinking his ex-wife was really his sister and runs around in a lot of interesting red, white and black outfits. Oh, yeah, he also makes some of the best rock 'n' roll to hit radio this decade. The dude is near unstoppable.

Why it's worthy: I have to admit that this song appeals to my love of yard sales, thrift stores and those great "antique" shops that you only come across along rural southern roads. A great bit of Jack and Meg role playing (Meg might have the cutest speaking voice I've ever heard, and Jack his hilarious), the song is a silly tale of some junk collectors out on the prowl. Accompanied by a bluesy rock guitar riff, "Rag & Bone" feels like a cross between the bad-assery of "Seven Nation Army" and cute goofiness of "Hotel Yorba" or "We're Going to be Friends," which only proves that Jack White doesn't take himself nearly as seriously as some critics do.

Quotable lyric: "It's just things you don't want/ I can use 'em, Meg can use 'em/ We can do something with 'em/ We'll make something out of them/ Make some money out of them at least"

Where you've heard it: My boyfriend and I quote this song to one another constantly. Does that count?

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Case File #14: "I'm Good, I'm Gone"

2009-12-18T00:07:00.002-05:00

Lykke Li
"I'm Good, I'm Gone"
Youth Novels
(2008)

The need to know: One of the most promising debuts of 2008, Lykke Li's Youth Novels is a varied tapestry of straightforward pop, spoken-word dreamscapes, and danceable quirkiness. The Stockholm native has also nabbed ear time for her cover of the Kings of Leon tune "Knocked Up" and she also penned the stark, haunting "Possibility" specifically for the New Moon soundtrack. And the perplexing continues...

Why it's worthy: "I'm Good, I'm Gone" is a peppy electro-pop romp about working for the man. But rather than a labor-inspired dirge, it's a celebration of knowing she'll one day leave those losers in the dust. Mix in a serious piano beat and Lykke Li's sharp-like-a-whip voice and it's a song fit for "working hard" 80s film montages (in a good way!)...or at the very least it's the perfect antidote for your own long day at the office. A girl can dream.

Quotable lyric: "If you say there ain't no way that I could know/ If you say I aim too high from down below/ Well, say you're not 'cause when I'm gone/ You'll be callin' but I won't be at the phone"

Where you've heard it: "I'm Good, I'm Gone" was used in the 2009 slasher film remake, Sorrority Row.

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Case File #13: "Cavalier Eternal"

2009-12-16T11:44:00.000-05:00

Against Me!
"Cavalier Eternal"
As the Eternal Cowboy
(2003)

The need to know: One of the most exciting currently performing live bands on the planet, Against Me! won over an underground following for their furious modern punk tunes and Tom Gable's introspective and often politically charged lyrics. Of course they caught ample flack (and praise) for their major label debut, 2007's New Wave, but what came before still stands as some of the decades best of the genre. These anarcho-punks may not be as mysterious as they used to be, but their current status isn't all bad.

Why it's worthy: Break up songs aren't hard to come by in rock music, but ones as frank, clever and truthful as this aren't often among them. Part anatomy of a fucked up relationship, part realism on why relationships end, Against Me!'s acoustic leanings dress "Cavalier Eternal" up as a rogue's confessional, which, I suppose, it is. Appearing in its relatively raw form (Fat Mike famously convinced the band to use the demo version of "Cavalier Eternal" rather than the rerecorded version), the acoustic off-the-cuff jangle is ultimately what makes the song is so compelling. Who said punk music always has to be fast and furious?

Quotable lyric: "This just isn't love/ It's just the remorse of a loss of a feeling/ Even if I stayed/ It just wouldn't be the same"

Where you've heard it: Fat Wreck released The Original Cowboy in 2009, a collection of the demos for As the Eternal Cowboy which includes this version of "Cavalier Eternal." The song was also released as a single in 2004, featuring the rerecording originally intended for the album.

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Case File #12: "Chillout Tent"

2009-12-15T13:20:00.000-05:00

The Hold Steady
"Chillout Tent"
Boys and Girls in America
(2006)

The need to know: The Hold Steady have undoubtedly won the title of indie rock's favorite bar band, and, unlike the majority of the indie scene's pouty, dapper heroes, Craig Finn and co. are rockers to the core. Armed with an arsenal of songs full of good ol' sex, drugs and rock 'n' roll tales, Finn's lyrical dexterity, and, yeah, a touch of southern rock gee-tars, are what give them the win. Loud rock and drunken poetry are always worth cracking open a case of beer, and The Hold Steady excel at both.

Why it's worthy: Music festivals are always an interesting experience. Thousands upon thousands of people crowd together in the name of music only to sweat it out in the sun, and there's never enough toilet paper and always too many drugs. And that is exactly where we get the story of "Chillout Tent". Featuring guest vocals by Elizabeth Elmore and David Pirner (Soul Asylum) as our concert going heroes, Finn narrates a story of two kids who got messed up on more than just the music and end up spending some time together in, naturally, the Chillout Tent. With one of the catchiest choruses in The Hold Steady's repertoire, it's a tune much less heavy than the subject matter would otherwise dictate (drugs! overdosing! sex!) and, of course, that's why it's so awesome. An idyllic party song on the surface--both kids O.D. yet end up having a great time regardless, which makes the song take place in, seemingly, a world without consequences--"Chillout Tent" is, like much of Boys And Girls In America, both a celebration of and commentary on escapist youth culture. "Chillout Tent" may not be one of The Hold Steady's best songs (its Boys and Girls In America follower "Southtown Girls" is definitely superior) but it's certainly one of their most fun.

Quotable lyric: "She looked just like a baby bird/ All new and wet and trying to light a Parliament/ He quoted her some poetry/ He's Tennyson in denim and sheepskin"

Where you've heard it: If you haven't been people like this, you've definitely seen people like this.

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Case File #11: The Trapeze Swinger

2009-12-14T12:59:00.000-05:00

Iron & Wine
"The Trapeze Swinger"
Around the Well
(2009)

The need to know: A former film professor, Sam Beam stumbled into the music business when his friends began doling out his home-made demos. Of course, one of those eventually ended up at Sub Pop, and three full-lengths, a handful of EPs, some collabs with Calexico, and a very notable cover of The Postal Service's "Such Great Heights" later, it's safe to say Beam's friends were on to something. Not untouchable by the pop culture plague, though, the super-bearded folkie's "Flightless Bird, American Mouth" was used to make tween hearts everywhere swoon at the end of the film Twilight, only adding to my confusion of why the vampire romance films get such kick ass soundtracks.

Why it's worthy: Simple, melodic repetition and lyrics fitting of a self-penned eulogy place "The Trapeze Swinger" among the most beautiful of Iron & Wine's songs, and you can't go two feet without tripping over a gorgeous song in Beam's catalog. A plea for remembrance of times both good and bad, Beam's hushed vocals and a slowly building chorus of "oos" captures some sadness, but it's softly enveloped in a blanket of wistful hope. A prime example of Beam's ability to craft songs that are no less powerful for their subtlety, "The Trapeze Swinger" excels, and captivates, because of it.

Quotable lyric: "And then they went on to say/ That the pearly gates/ Had some eloquent graffiti/ Like 'We'll meet again' and 'Fuck the man'/ And 'Tell my mother not to worry'"

Where you've heard it: "The Trapeze Swinger" originally, and fittingly, appeared on the soundtrack to 2004's awkward Dennis Quaid/Topher Grace dramedy In Good Company.

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Cover Case File #2: "He Hit Me (It Felt Like A Kiss)"

2009-12-11T17:08:00.000-05:00

Grizzly Bear
"He Hit Me (It Felt Like A Kiss)"
Friend
(2007)

The need to know: No band was name-dropped more in 2009 than Grizzly Bear. Building on praise from 2006's Yellow House, the release of Vecatimest cemented Grizzly Bear as one of the most watchable up-and-comers. Add in a duet with Michael McDonald (really!) and the title of buzz band doesn't quite capture the ruckus that tracked these experimental poppers throughout '09.

Why it's worthy: "He Hit Me" is a song with a story. When Little Eva, head of early 60s girl group The Crystals, told Gerry Goffin and Carole King that the beatings she received from her boyfriend only proved his love for her, the songwriters penned "He Hit Me" specifically for, and about, her. The Phil Spector-produced original is sometimes seen as satire, with only a plodding bassline left to hint at any uneasiness, despite the content of the lyrics. The Grizzly Bear version, however, is much more ominous and introspective. Where the original sounds like a typical era love song, Ed Drost's buttery smooth vocals drench the song with inner turmoil and the blanketing sadness that Spector all but vanquished from The Crystals' version. A perfect cover choice for the indie darlings, Grizzly Bear performed their version while on tour behind 2006's Yellow House before recording it for their 2007 B-sides EP, Friend.

Quotable lyric: "If he didn't care for me/ I could have never made him mad/ But he hit me/ And I was glad"

Where you've heard it: Courtney Love and her band Hole performed their own cover of "He Hit Me" for MTV Unplugged in 1994.

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Case File #10: "Virtute the Cat Explains Her Departure"

2009-12-10T12:52:00.001-05:00

The Weakerthans
"Virtute the Cat Explains Her Departure"
Reunion Tour
(2007)

The need to know: With a special lyrical knack for poignant cleverness and a blend of folk and punk rock, Winnipeg, Manitoba's The Weakerthans have earned a dedicated following of anecdote and sonnet lovers since forming in 1997. Spearheaded by former Propagandhi bassist John K. Samson, and featuring Broken Social Scener Jasion Tait on drums, as well as stephen Carroll and Greg Smith on guitar and bass, respectively, The Weakerthans paint scenes featuring lonely canvassers, love notes to construction equipment and endearing old hockey goalies all with a hint of Samson's own introspection and the occasional bleeding heart. They also hate Winnipeg. Just FYI.

Why it's worthy: A song sequel to Reconstruction Site's "Plea From A Cat Named Virtute", here we find the run away puddy tat out on the prowl, and, like most of us would be, sick for the comforts of home. Despite the song's subject matter, Sampson never degrades into cutsey territory. Sure, we're hearing the thoughts of a lost cat, but it never seems laughable or cartoony, which isn't too easy a task. Add in an explosion of soaring guitars and the feline's final admission ("I can't remember the sound that you found for me") and you'll be hard pressed not to take in the next stray you come across.

Quotable lyric: "I remember the way I would wait for you/ To arrive with kibble and a box full of beer/ How I'd scratch the empties desperate to hear/ You make the sound that you found for me"

Where you've heard it: In the mews of every lost cat.

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Case File #9: "Graveyard Girl"

2009-12-09T16:30:00.000-05:00

M83
"Graveyard Girl"
Saturdays = Youth
(2008)

The need to know:If you've ever wanted your life to sound like the soundtrack to a John Hughes movie, then you should probably get your hands on some M83. Since 2001, M83, the moniker for French electropop mastermind Anthony Gonzales, has released five albums ranging from the ambient to the shoegazey and is responsible for notable remixes for artists including Bloc Party, Depeche Mode, Placebo and Goldfrapp. But his 2008 album, the aptly titled Saturdays=Youth, captured the 80s teen spirit in all of us, even placing an obvious Molly Ringwald look-alike on its cover.

Why it's worthy: A theme song for fledgling goth girls everywhere, "Graveyard Girl" plays out like an emo melodrama in miniature. A love song to a girl who maybe spends a little too much time hanging out at the cemetery (like there is such a thing!) plays out over M83s well-adapted, 80s-inspired sonics. One of the bands more grounded "rock" songs, soaring synths and an obvious 80s drum beat play obvious homage to the group's influences, but it's more an interpretation of that decade's sounds than a straight rip off.

Quotable lyric: "I'm fifteen years old/ And I feel it's already too late to live/ Don't you?"

Where you've heard it: "Graveyard Girl" was used to promote British teen drama Skins.

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Case File #8: "Prison Girls"

2009-12-08T13:17:00.001-05:00

Neko Case
"Prison Girls"
Middle Cyclone
(2009)

The need to know: On the cover of 2009's Middle Cyclone, that's Neko perched atop a muscle car, bearing a sword. And, yes, she really is that much of a bad ass. As both a part-time front woman for The New Pornographers and solo tour de force, it's Neko's powerful vocals that make her recordings so unforgettable. More than just a serious set of pipes, though, she's also one hell of a songwriter. Often crafting dark portraits of believable characters in her distinct country noir flavor, her albums have consistently provided some of the best alt country this side of Wilco.

Why it's worthy: An ominous, dreamlike trance, "Prison Girls" threads hopelessly dark imagery with swoon-worthy "Ohs" for a tapestry as rich and inescapable as its narrator's predicament. Vivid, haunting tableaus juxtapose the song's stunning, poetic cry of "I love your long shadows and gunpowder eyes"--a phrase I could hear Neko sing for hours on end (and I sometimes do).

Quotable lyric: "I love your long shadows and your gunpowder eyes"

Where you've heard it: Neko gets to play guest programmer tonight on TCM, where she'll be playing four of her favorite classic flicks. Unrelated, but still good to know. (Thanks A.V. Club!)

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Case File #7: "Admit It!"

2009-12-07T12:53:00.004-05:00

Say Anything
"Admit it!"
...Is a Real Boy
(2004)

The need to know: A bi-polar, socially anxious frontman and one of the best young guitarists in the scene are, oddly, just two reasons why Say Anything have emerged as pop-punk's most promising band of rogues. Frank lyricism matched with furious guitars is just too good a combination to pass up, even though mental illness and rumored drug addiction, which singer Max Bemis often divulges in song, nearly sidelined the band as their true 2004 debut ...Is a Real Boy got a second lease on life, and a bonus disc, in rerelease by J. Records two years later. A manic, epic double album, In Defense of the Genre, found the band back on its feet (and Bemis once again exorcising his demons) and their eponymous third album appeared in 2009.

Why it's worthy: Part spoken-word diatribe, part loud, fast guitars, "Admit it!" finds Bemis at his vicious and honest best. But it's not so much a song decrying the bullies of his youth or the plague of hipster elitism as it is a victorious fist pound of underdog triumph. Far from the whine typical of the emo scene, "Admit it!" is a loser anthem without the loser and sticks to humorous and harsh criticism rather than devolve into a complacent whimper. Ever insecure, Bemis aims his snarky crosshairs at himself as much as at his enemies and at many points it's hard to tell which is which. Either way, Bemis never apologies for his scathing mockery because, well, it's kind of the truth.

Quotable lyric: "Prototypical non-conformist/ You are a vacuous soldier of the thrift store Gestapo"

Where you've heard it: Blasting from my car windows circa 2005.

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Case File #6: "Things the Grandchildren Should Know"

2009-12-04T12:14:00.005-05:00

Eels
"Things the Grandchildren
Should Know"
Blinking Lights and Other Revelations
(2005)

The need to know: After finding modest mainstream success with 1996's Beautiful Freak, Eels receded to the underground ranks, crafting unabashedly honest, explorative albums that have only gotten better with time. One of those bands most people have no doubt heard without actually having heard of, Eels have always hovered just under the proverbial radar, lending tunes to soundtracks as varied as Scream2, Shrek, Knocked Up and over 25 more. The band's penchant for tongue-in-cheek sarcasm even drew the misplaced ire of the Bush administration with 2000's Daisies of the Galaxy album for its innocuous storybook-style cover and the politician's misunderstanding of the albums lyrics. One of indie rock--and, indeed, all of music's--most intriguing personalities, Mark Everett (aka E) penned a tome of memoirs telling his strange, unrockstar life in 2008, also titled Things the Grandchildren Should Know.

Why it's worthy: Nobody mixes heartbreak with optimism like E. And nowhere does he do it better than here. The closing track to his semi-autobiographical two-disc epic Blinking Lights and Other Revelations, "Things the Grandchildren Should Know" is both E's love letter to life and his legacy. No stranger to writing about his life ("Elizabeth on the Bathroom Floor" from Electro-Shock Blues is notoriously about his sister's failed suicide attempt), this song is more a confession than a retelling. He lays bare his coming to terms with who he is, his final understanding of and love for his detached father, and his struggles to connect with the world outside his own head. For a songwriter never afraid to be unflinchingly honest, "Things the Grandchildren Should Know" puts E out on a wire with no safety net, which makes this album's final revelation feel like finally meeting the man we only thought we knew.

Quotable lyric: "I knew true love and I knew passion/ And the difference between the two/ I have some regrets but if I had to do it all again/ Well, it's something I'd like to do"

Where you've heard it: Although this particular song wasn't included, the bulk of Blinking Lights was commandeered for the score to 2008's Jim Carrey/Zooey Deshanel comedy Yes Man.

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Case File #5: "Paparazzi"

2009-12-03T09:52:00.007-05:00

Lady Gaga
"Paparazzi"
The Fame
(2009)

The need to know: If you're a pop culture conscious individual, you've no doubt seen Lady Gaga...probably before you've heard her. Gaga excels at out-wierding the competition and even though her songs aren't exactly anything new or edgy, she has still made the mainstream pop scene a bit more interesting. Not just anybody can dress up like a planet, guys, and still walk away with five of the years biggest hits.

Why it's worthy: When not using stupid euphemisms like "disco stick," Gaga can actually be downright clever--a distinct reason why "Paparazzi" is the only one of her singles to get an obsession-worthy thumbs up. A slave to its title, the tune turns the tabloidal groan on its head, spinning a stalkerish love tale from behind the camera lens. And the chorus? Catchy enough to keep you up at night. True story.

Quotable lyric: "We're plastic but we still have fun!"

Where you've heard it: All over the usual suspects.

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Cover Case File #1: "Don't Stop Believin'"

2009-12-02T11:44:00.004-05:00

Glee Cast
"Don't Stop Believin'"
Glee: The Music, Volume 1
(2009)

The need to know: A musical dramedy with as much cheese as sincerity, Glee walks the line as a high school sitcom stereotype, but mocks itself with every step. Decidedly more Mickey Mouse Club than Gossip Girl, its combination of reality and ridiculousness help to serve up one of 09's best new shows. Music-wise, the show strives to make showtunes seem kinda cool but usually ends up making popular hits--like Kanye West's "Gold Digger"--safe for old, stuffy, white people. And I'm not sure how, but so far it's working.

Why it's worthy: As the flagship tune of the series, "Don't Stop Believin''" might be the happiest cover song ever recorded (except for maybe The Polyphonic Spree's take on "Lithium"). Journey's original version is hardly lactose free, but the Glee cast embraces the cheddary side full force. And that's not a bad thing, here. It's a fun, refreshing and unbelievably catchy take on a song we've all heard way too many times to count.

Quotable lyric: "Some will win, some will lose/ Some were born to sing the blues/ Oh the movie never ends/ It goes on and on and on and on"

Where you've heard it: The centerpiece to the pilot episode of Glee, it became the group's theme song for making it to sectionals.

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Case File #4: "Snake Drive"

2009-12-01T11:43:00.006-05:00

R.L. Burnside
"Snake Drive"
Mr. Wizard
(1997)

The need to know: With an intermittent recording career dating back to the late 1960s, it wasn't until he signed to Fat Possum Records (the current home of The Black Lips, Andrew Bird and Wavves) several decades later that R.L. Burnside would get his due. The Mississippi native caught the attention of the indie rock set in the late 90s through collaborations with Jon Spencer (of the Jon Spencer Blues Explosion, amongst other projects) and proceeded to release compilations of his early recordings as well as new, studio records into the 2000s. He passed away in 2005.

Why it's worthy: Burnside's electric charged country and Delta blues are nothin' to sneeze at, and "Snake Drive" is the pennacle to 1997's Mr. Wizard. Slurred lyrics and searing guitar squeals meander along this near 7-minute jam, while a rhythmic riff keeps the tune from devolving into a messy ramble. I first heard this song as a teenager (my dad caught one of Burnside's shows. NOT fair.), and the repetition hooked me. I still can't stay away for long.

Where you've heard it: The original, and much shorter, version of "Snake Drive" appears on the 1996 Jon Spencer appearing A Ass Pocket Of Whiskey.

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Case File #3: "Company Calls Epilogue"

2009-11-30T10:18:00.006-05:00

Death Cab For Cutie
"Company Calls Epilogue"
We Have The Facts And We're Voting Yes
(2000)

The need to know: The poster boys of modern-day indie rock, Ben Gibbard and co. have gone from underground darlings to near household names in just a smidge over a decade. Their melodic, lovelorn tunes have found traction all across the board due to Gibbard's wit soaked honesty and guitarist/producer Chris Walla's trademark axemanship.

Why it's worthy: It's a song. About a dude. Who busts up a WEDDING. If that isn't worth some obsession, I'm not sure what is. I'm hereby declaring this song the anthem of anyone who's ever let the right one get away--and realized it all too late. As humorous as it is poignant and, I'll admit it, disturbing, this is Gibbard at his lyrical best--and his band ain't slackin' neither. Oh, and a happy ending: Gibbard married it girl actress (and bona fide chanteuse from She & Him) Zooey Deschanel in 2009.

Quotable lyric: "I'm dressed up for free drinks and family greetings/ On your wedding, your wedding, your wedding date/ The figures in plastic on the wedding cake/ That I took were so real"

Where you've heard it: An alternate version appeared on DCFC's Forbidden Love EP, which also appeared in 2000.

Case File #2: "Hearing Damage"

2009-11-28T23:48:00.009-05:00

Thom Yorke
"Hearing Damage"
The Twilight Saga: New Moon
(2009)

The need to know: How the hell did New Moon end up with such a fantastic and, might I add hip, soundtrack? I would never peg most Twi-hards as the devout Radiohead faithful but I am certainly not complaining. Extra Thom Yorke? Yes, please, and I don't care where it comes from.

Why it's worthy: So everything Thom Yorke touches turns to gold. We know this. But "Hearing Damage" finds the enigmatic Brit in the midst of an impeccable electro freakout, again ditching the guitars for atmospheric beats that perfectly compliment his trademark wail. Nobobdy wails like Thom. Nobody.

Quotable lyric: "You speakers are blowing/ Your ears are wrecking/ You're hearing damage"

Where you've heard it: The song plays in what is arguably the best scene in New Moon. Wonder why that is...hmmm....

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Case File #1: "Sing Me Spanish Techno"

2009-11-28T10:33:00.011-05:00

The New Pornographers
"Sing Me Spanish Techno"
Twin Cinema
(2005)

The need to know: If you haven't yet discovered the delights of The New Pornographers, boy are you missing out. Formed in 1997, the group--which has an all-star lineup including Neko Case, Dan Bejar (of Destroyer), Kurt Dahle (formerly of Limblifter) and ringmaster A.C. Newman, among other talented individuals--creates dynamic, high-spirited power pop, and, well, that genre doesn't get much better than this.

Why it's worthy: "Sing Me Spanish Techno" is a quirky pop tune as only A.C. Newman can craft them. Why does he want us to sing Spanish techno? I honestly have no idea, but "Listening too long/ to one song" is certainly a mantra we can adopt. And, with a chorus like that, consider this tune the unofficial theme song of Songs to Obsess Over.

Quotable lyric: "The hourglass spills its sand/ If only to punish you/ For listening too long to one song"

Where you've heard it: When my phone rings. It's my ringtone. Because I'm cool.

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