7. Guster - Keep It Together (2003)

I discovered this record thanks to a friend who asked for it for his birthday and then was kind enough to play it for me. Every year I have at least one album and artist that was nowhere on my radar but landed in my path even so. I love that.

If you take a quick look at my top 20 favorite artists list (go ahead, I’ll wait), it is probably pretty easy to figure out what kind of music I like best. I’m a sucker for songs with hooks galore, harmonies abounding, la la, ooh, bah bah background vocals everywhere, and ringing guitars dominating. The Beach Boys, XTC, The Beatles, and The Monkees are all staunch purveyors of this sound. So are Guster.

As someone who loves words and writing I hate to say it, with pop music lyrics don’t matter. They’re really just there to rhyme and sing along with and not be distracting. When pop music really excels, it’s when the lyrics are deep and interesting and clever without taking attention away from the song itself. Guster is a band that knows how to do that.

The best songs on the album are so musically sound that you feel like you can sing along on the first listen. As for the lyrics, they are mostly about moving on, getting over heartache and the past but not necessarily wanting to. The first single, Amsterdam, is textbook power pop, a kiss-off song that makes the line “I’m gonna write you a book” sound like an insult. Come Downstairs And Say Hello comes on languid but blossoms with conviction: “tomorrow I start in a new direction.” Careful addresses a self-destructive friend (or lover) who needs a wake up call. I Hope Tomorrow Is Like Today has the most optimistic title you could ever ask for, yet we find that the narrator doesn’t want tomorrow to be like today because today was so great, but because he’s scared to lose what he has.

In conclusion, if you’ve always been looking for that album that begins with an ode to making out and ends with a children’s choir singing about Noah’s Ark, then look no further!

Rating: A
Fave Song: Careful

REO Speedwagon: R.E.O. Speedwagon (1971)

REO Speedwagon got its start in the late 1960s on the campus of the University of Illinois in Champaign/Urbana. The band grew out of a friendship between a students Neal Doughty (piano/keyboard) and Alan Gratzer (drums). Joining up with a couple of other musicians, they took the name R.E.O. Speedwagon. It wasn't long before they started getting gigs at parties and bars, doing covers of the hits of the day. The band cycled through several players in its first three years, with Gratzer and Doughty as the only constants. One-by-one they added the members that would form the first "official" lineup: singer Terry Luttrell in early 1968, bassist Gregg Philbin later that summer, and guitarist Gary Richrath at the end of 1970. Richrath was a native of Peoria, 90 miles northwest of Champaign, and had essentially stalked the band until they let him join. It was a good move, as he not only an accomplished guitarist, but also a songwriter. With Richrath the band ascended to the n...

Stuck, or Obsession Cessastion

You may have noticed that things have slowed down around here. I had the summer off from teaching, and I spent it with my 7 month-old son. I gave myself permission to make this blog less of a priority. Well, "less of a priority" is putting it lightly. Initially, I considered an abrupt retirement. But then I reconsidered. Maybe the proximity to Brett Favre is causing this. If you're a long time reader, this is probably not all that surprising to you. Since 2007, it has become an annual ritual for me to soul-search about my waning interest in music. First I blamed an inability to express myself and a lack of quality music . Then in 2008 I cited new technology and the death of the album . Last year I wrote about how my changing life priorities hindered my ability to seek out new music. I've done a lot of thinking about it this summer and in truth I believe this was all just dancing around the issue, a slow realization of something I didn't want to admit to myse...

Billy Joel: Greatest Hits, Volumes I and II (1985)

As you may know, I'm something of a connoisseur of compilations. I have three guidelines that I like my greatest hits to follow, though I am open to these rules being disregarded in certain cases. It's not an exact science. Billy Joel's 1985 Greatest Hits Volumes I and II (an odd title for a set that was never sold separately) is proof of that. It mostly follows the rules. The songs are in chronological order. There are no remixes, just a couple of single edits; there are two live songs, but those were actually were the versions that charted. And there are two new songs - we'll get to them eventually - but both ended up in the Top 40, so in retrospect that was a good decision. My mom bought the double LP when it came out and then dubbed it to a tape that lived in her car for at least three years. It and An Innocent Man were part of the soundtrack of the second half of my first decade of life. So I have a hard time criticizing something so ingrained in my consciousne...

3 Minutes, 49 Seconds

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