Shuffled No.3

It’s that time again. The following is a completely random selection of 13 tracks from my iPod (which currently holds 14,358 songs), followed by my comments. Given the fact that I have so many tracks to choose from, there are bound to be surprises, even for me.

Phish, “Shafty”

This song is from Story of the Ghost, which is pretty much all I know about it. Except for a few songs and the entirety of Billy Breathes, I don’t really know titles to any Phish song. Not that they all sound alike, but I just don’t listen to this band enough for anything to stand out. This is one of those short little interlude things that never really goes anywhere, but is still enjoyable for a moment. Phish-haters might say the same thing about the band in general.

Brett Dennen, “When You Feel It”

If Tracy Chapman were a red-headed white dude who looks twelve, her name would be Brett Dennen. I’ve got a few tracks from So Much More, which includes this song, and they’re all pretty good. If you’re into the whole Starbucks/AAA vibe and you don’t know Brett, pick up this album immediately on your next coffee stop.

Devendra Banhart, “Insect Eyes”

From Rejoicing in the Hands comes this little bit of strange from one of the most peculiar and compelling artists to come out of the recent freak-folk movement. Devendra writes some of the prettiest songs I’ve heard in recent years, and then he writes little oddities like this that are more ambient and moody.

Norah Jones, “The Long Day Is Over”

Norah’s the classic case of meteoric rise turned backlash followed by indifference. Her first album, from which this comes was mammoth, for no real good reason. It’s great, sure, but it didn’t change the world and wasn’t as original as the public was led to believe. By the release of her third album last year, she’s become an afterthought. Which is alright with me, cause now she’ll settle in and make a solid career. She’s got a great voice and, if you like downtempo, jazzy, countrified pop like me, she’s got a great sound too. That said, this song’s easily forgotten.

Modest Mouse, “Interlude (Milo)”

A minute of organ and baby chatter shouldn’t be interesting and appealing, but this is.

The Flaming Lips, “Yoshimi Battles the Pink Robots Pt.1”

One of the most original bands in music today. In addition to a great live show (no matter how many times I see their same schtick, I always enjoy myself), the Lips have been making some great albums in this decade, Yoshimi being my favorite of the bunch. I love the fact that a major-label band can have the freedom to be so weird and forward-thinking.

The Traveling Wilburys, “Cool Dry Place”

I finally got both Wilburys records on rerelease this past year, after having to rely on some old copies a friend gave me. I love this band because of their disparate elements: you wouldn’t think of putting together Orbison, Petty, Harrison and Dylan, but somehow it works. Even better is the fact that each guy brings his own fans to the mix, introducing people to the other 3/4 of the group. Me, I’m a Petty guy, which makes it easy for me to like this song.

Dave Matthews Band, “When the World Ends (Live at Central Park)”

Man, this song just sounds flat. Not that I ever really liked it to begin with, but everything in this recording just sounds so dull and disinterested. In my own mind, I’ve often compared DMB to Star Wars. Defenders of both are blind to their flaws, while detractors are blind to their strengths. I’m a fan of both DMB and Star Wars, but I’m no apologist. In the DMB = Star Wars algebra, Everyday, from which this song originally comes, is like _Episode I_—almost universally despised by fans and haters alike.

Phish, “Taste”

More Phish! Amazing. And I already heard this song once today, which is weird because prior to that I probably hadn’t listened to it in nearly a year. As one might surmise from my mention before, Billy Breathes is my favorite Phish album. It is simultaneously their most song-oriented record and their most cohesive. The first half of the album, from which this comes, has some really strong tracks, and the last half, which I might like even better, is one long suite. I’m not sure what true Phishheads think of this album, but I love it start to finish.

The Long Winters, “Honest”

I swear John Roderick cannot write a bad song. Lyrically, melodically, almost everything he does is just about perfect to my ears. I kind of miss the harmonies with Sean Nelson, who left the band prior to this record ( Putting the Days to Bed ) to return to Harvey Danger, but sophisticated indie pop like this track helps me forget that he’s gone.

Nick Cave, “There Is a Light”

This is some gothic grunge from, of all things, the Batman Forever soundtrack. I bought it when I was in high school, as I’m sure most people did, for the U2 track. Years later, it’s still a good record, and I’m amazed looking back on it now how truly alternative it was. Nick Cave, PJ Harvey and The Flaming Lips on a blockbuster movie soundtrack? That’s pretty cool. Now these superhero movie soundtracks feature, as one might expect, the most dumbed-down rock music supervisors can find. Makes me nostalgic for the halcyon days of the alternative nation ’90s.

Semisonic, “If I Run”

Speaking of the ’90s! I love this song. I saw the video on 120 Minutes ages ago, but being the days before the MP3 revolution, it stayed a song in my head. Then the band’s second album, which featured “Closing Time,” blew up and I bought that and their debut together. Even though I love the music of the ’90s and all that it stood for, I don’t think I miss not being able to hear whatever I want whenever I want. Now if I hear a song I like, I go and download it, simple as that. No more waiting to hear more of the band before I decide to buy their CD.

The Actual Tigers, “Testimony”

First there was Willis. Then there were the Actual Tigers. Now all that’s left is Tim Seely. He’s remarkably unprolific, having produced only three albums in the last 11 years, which kind of sucks, cause they’re all amazing. This is a great song from a great album that got some minor buzz to go along with major label frustration. It’s an age-old story, but I often wonder how things might have been different had this album gotten a fair shake back in its day.