With most of the U.S. experiencing a prolonged deep freeze this winter, I once again turn to music to keep me from suffering seasonal depression. For this mixtape, I decided to select songs that conjure up images of sun, surf, and simply riding around with the top down. What better place to capture this ideal than our very own West Coast?

I believe the tracks here offer a nice smattering of genres yet still retain something undeniably sunny and westward-looking. The originators of beach-flavored tunes, The Beach Boys and the oft-overlooked King of the Surf Guitar, Dick Dale, are represented along with the best present-day incarnations of “beach pop,” Best Coast, Tennis, and Beach House. To offset the softer pop tunes I also chose to include a couple of uptempo hip hop tracks from some of my personal favorites from the West Coast scene, such as People Under The Stairs and Ugly Duckling, and a real rocker from the experts of loud, jarring beats, Sleigh Bells.

And for good measure, I just had to have Ice Cube’s classic ode to a perfect day in L.A.

I am going to take solace in knowing that soon enough summer will be here in New York. Soon. Real soon. Any day now...

Give it a listen and enjoy.

Track List:
1) Wouldn’t It Be Nice (2:24) – The Beach Boys
2) West Coast (3:32) – Coconut Records
3) Summer Mood (2:26) – Best Coast
4) The L.A. Song (4:27) – People Under the Stairs
5) Beach Girls (3:23) – Sleigh Bells
6) Cape Dory (2:29) (live at Daytrotter) – Tennis
7) Everything’s Alright (3:44) – Ugly Duckling
8) It Was A Good Day (4:20) – Ice Cube
9) California (3:50) – Joni Micthell
10) Walk In The Park (5:26) – Beach House
11) Shake N’ Stomp (2:12) – Dick Dale & His Del-Tones
12) California Sun (3:04) – The Dictators

Well, maybe not bringing ska back to its Third Wave Revival prominence of the mid/late 1990s, but a nostalgic look nonetheless at a genre that was irreverent most of the time, fun all of the time, and even helped catapult bands like No Doubt and Sublime into the mainstream. While those giants of ska are included here, there is also a roster of great ska/punk bands that have their best days behind them in terms of popularity and cultural relevance. However, that’s precisely what Music Hound is here for – to dig up forgotten treasure troves of music that is hidden from everyday view.

Incorporating elements of two-tone British ska, traditional Jamaican reggae and dub rhythms, and even infusing flourishes of melodic punk/hardcore, Third Wave Ska is a genre that brims over with unbridled energy and danceable hooks. While some dismissed the often juvenile or “sophomoric” lyrical content (songs about beer abound) of ska music, the infectious nature of the genre allowed it to breakthrough to the mainstream, peaking around 1998.

Third Wave Revival ska was certainly not monolithic. Some may prefer the ska that feature more hardcore elements of pop-punk or hardcore showcased here by tracks from Sublime, Less Than Jake, Rancid, Operation Ivy, and The Impossibles. Others may opt for the more straightforward odes to Jamaican reggae such as “Bones” by Bim Skala Bim or traditionalist skinny-tie ska like Hepcat’s “Earthquake and Fire” and Allstonians’ “Homeward Bound.” Whether you like your 90s ska laden with lots of horns or sprinkled with punk chords and shout-along choruses, ska music was the product of a rich musical tradition that incorporated a variety of other approaches to make something new and that was at its core simply FUN. Although it didn’t quite have the staying power for the long haul, it’s great to skank your way down memory lane anyway…

Give it a listen and enjoy.

Track List:
1) Take Warning (2:44) – Operation Ivy
2) Earthquake and Fire (2:28) – Hepcat
3) Mass Appeal Madness (3:06) – Spring Heeled Jack U.S.A.
4) Girl Take It Easy (3:54) – The Pietasters
5) Homeward Bound (4:15) – Allstonians
6) Don’t Let The Bastards Grind You Down (2:49) – The Toasters
7) No Face (1:53) – Suicide Machines
8) 40 Oz. To Freedom (3:03) – Sublime
9) Widowmaker (2:07) – The Impossibles
10) Super Rad (3:03) – The Aquabats
11) Beer (3:41) – Mustard Plug
12) Trapped In A Box – No Doubt
13) Bones (3:41) – Bim Skala Bim
14) Stuff (3:09) – MU3330
15) Ruby Soho (4:49) – Rancid
16) Boomtown (2:45) – Less Than Jake
17) Thick Ass Stout (4:53) – Skankin’ Pickle

Here is the third installation of my Bittersweet Series. Hopefully without repeating myself, the songs featured on this mix are generally of an introspective, downtempo vibe. I did not set out to develop an overarching genre here, however looking back at it now I seemed to have been leaning towards a folk aesthetic on this one. Yet, there is music both old, such as The Beach Boys and Big Star, and new, with the likes of Sharon Van Etten, Beach House, and Midlake picking up where those pioneers left off.

Anyway, with the year (and decade) coming to a close, I thought that it was high time to have a mix that may help us to look inward and think about where we have been before focusing on where we are heading next. It’s simply a mix of some really pretty music that covers quite a bit of ground while still seeming to belong together.

Give it a listen and enjoy.

Track Listing
1) Watch The Sunrise (3:45) – Big Star
2) A Crime (3:14) – Sharon Van Etten
3) Curs of Weeds (3:31) – Horse Feathers
4) Postcards From Italy (4:18) – Beirut
5) The Distance (2:49) – Peasant
6) In The Ground (4:13) – Midlake
7) God Only Knows (2:52) – The Beach Boys
8) Haikuesque (When She Laughs) (3:33) – Bibio
9) Congratulations (3:57) – MGMT
10) Master of None (3:19) – Beach House
11) Far, Far Away (3:20) – Wilco
12) Fallin in Love With You Again (4:09) – Imelda May
13) With All My Heart (3:25) – Clem Snide
14) Carmelia (Live) (4:22) – Warren Zevon with Jackson Browne
15) At Least You Feel Something (5:56) – Small Sins
16) Walking On A Wire (5:28) – Richard & Linda Thompson

All too often Southern music is dismissed as country music written about rowdy out-of-the-way bars, moonshine made in the backwoods, and fast women. While these elements do work their way into almost all Southern music, it does not encapsulate the energy, swagger, musicianship and sheer fun of Southern Rock, which experienced its heyday in the 1970s. Incorporating influences taken from the blues, boogie rock, folk, rootsy rock n’ roll, country and funk, Southern Rock is an amalgam of music that has its traditions firmly rooted in the good ol’ USA.

Although titans like Lynyrd Skynyrd and The Allman Brothers Band are the most renowned examples of Southern Rock, there is a huge catalogue of unsung heroes of the genre who never managed to escape the large shadow cast by their big-name musical cousins.

Although ZZ Top may now be more associated with its more polished 1980s hits such as “Sharp Dressed Man” and “Legs,” they began as a trio in 1970 that played a riveting bloozy Texas-stomp. In fact, I have heard that Jimi Hendrix once commented that Billy Gibbons was the best guitarist he ever saw. Other bands such as Molly Hatchet and Blackfoot (both from Lynyrd Skynyrd’s hometown of Jacksonville, Florida), Black Oak Arkansas from (you guessed it) Arkansas, The Marshall Tucker Band from Spartanburg, South Carolina and Atlanta Rhythm Section from Doraville, Georgia all achieved considerable success, but nowhere near the level of Skynyrd or the Allman Brothers. Southern Rock being the unwieldy category it is allowed for each of these bands to drift along the musical spectrum from Atlanta Rhythm Section’s softer and more pop-oriented vibe to Blackfoot’s more hard rock sound to Dixie Dregs’ funky, jazz fusion heard on “Refried Funky Chicken.” Finally, I couldn’t leave off the legendary Willie Nelson, who straddles the increasingly blurry line between country and rock on “Shotgun Willie.” Nor could I overlook the present-day embodiment and torch bearer of all these artists’ legacies – The Black Crowes.

Finally, you don’t necessarily need to be born in the South to play Southern-styled music. While hailing from California, Little Feat’s sound was quintessential Southern boogie rock. Even The Doobie Brothers, who are from San Jose, California, were able to craft a masterful fusion of Southern bluegrass (the fiddle plays a crucial component of the song’s Southern aesthetic) and more traditional rock with its 1974 classic, “Black Water.” I guess, like anything, Southern Rock is more a state of mind than anything else.

Give it a listen and enjoy.

Track Listing
1) Time Loves a Hero (4:20) – Little Feat
2) Dimples (Live)(5:02) – The Allman Brothers Band
3) Swimmin’ In Quicksand (3:21) – Black Oak Arkansas
4) The Ballad of Curtis Loew (4:55) – Lynyrd Skynyrd
5) Champagne Jam (4:36) – Atlanta Rhythm Section
6) Waitin’ For The Bus (2:59) – ZZ Top
7) In My Own Way (7:25) – The Marshall Tucker Band
8) Shotgun Willie (2:37) – Willie Nelson
9) Black Water (4:20) – The Doobie Brothers
10) Country Girl (3:14) – Ozark Mountain Daredevils
11) Train, Train (2:58) – Blackfoot
12) Refried Funky Chicken (3:18) – Dixie Dregs
13) Sweet Dixie (3:57) – Molly Hatchet
14) Remedy (5:23) – Black Crowes

This day exactly one year ago Music Hound was born. It was (and remains) a labor of love. Although I have not been as prolific as I had hoped to be, I’m quite happy with the quality of the playlists I’ve crafted as well as the additional features such as The Cut of The Week. I hope I have introduced you to some new music/artists and perhaps reintroduce something that got lost along the way in the shuffle of life. Your positive feedback is what keeps me going, so PLEASE continue to check in often and offer your insights, questions, comments, and of course, requests. Thank you all for finding some sense of enjoyment here.

**Don’t forget to spread the word about this blog to friends and family and that all the podcasts are available for FREE on iTunes so you can take the mixes along with you.

With that said, what better place to commemorate where we’re going than to take a look back to see from where we have come. Since hip hop was the feature of the very first podcast, I thought it was appropriate to revisit that genre to mark Music Hound’s one year anniversary. Here is a mixtape that I made in 2003 that was in heavy rotation for quite some time and made its rounds to a good number of co-workers and friends. This music is commonly called “underground” hip hop, however I prefer to use the term independent given that it has a much more positive connotation and, since it has done wonders for rock n’ roll (“indie rock” has experienced an unprecedented explosion in popularity and sheer size the last 10 years) perhaps it can serve the hip hop community well, too.

Some of these artists continue to put out consistently solid material and remain favorites of mine to this day. Aesop Rock, Atmosphere, Brother Ali and MF Doom (AKA King Geedroah) have become stalwarts in the independent hip hop scene. In fact, Brother Ali is by far my favorite MC and you MUST see him live – he is flawless. J-Live, an NYC school teacher and Sage Francis, a former slam poet champion, are also perennial favorites wordsmiths of mine, although Sage’s recent foray into indie rock/hip hop fusion left me very disappointed. West Coasters Ugly Duckling have always been an extremely fun listen with incredible beats ever since I first heard them on the 1999 Funky Precedent compilation which had a huge impact on my musical wanderings. Portland natives Life Savas’ sampling of dancehall legend Tenor Saw’s “Fever” is so funky, it’s too bad they haven’t produced much since their 2003 debut. Gift of Gab from Blackalicious is probably one of the most talented rappers in the game and continues to release quality material as a solo artist, however nothing as special as his early work as Blackalicious with producer/DJ Chief Xcel.

Not a fan of hip hop? Give this a listen and then decide.

Track listing:
1) Daylight (4:25) – Aesop Rock
2) Blamegame (4:48) – Atmosphere
3) Shallow Days (4:21) – Blackalicious
4) Forest Whitaker (3:00) – Brother Ali
5) On This I Stand (4:59) – Eyedea & Abilities
6) Unlimited (3:27) – Soul Position
7) Don’t Get It Twisted (4:19) – Jigmastas feat Sadat X
8) Like This Anna (4:22) – J-Live
9) Anti-Matter (3:27) – King Geedorah feat Mr. Fantastic
10) Fever (5:24) – Life Savas
11) Dynomite (4:10) – Lone Catalysts feat J-Live
12) 360 Degrees (3:38) - Push Button Objects feat Del
13) Favorite Things (4:01) – Illogic feat Blueprint
14) La Revolucion (5:17) – Ugly Duckling
15) Runaways (6:08) – Sage Francis

I know what you’re thinking – best of 2010 at the end of August?!? Why not choose at least a more logical midway point in June and call it the best of the first half of 2010? Well, these are good questions to ask. However, I feel that September a very logical point to stop and reflect on the year so far, especially when considering music.

September marks the regrettable conclusion of summertime, which is a very busy season for new releases. Furthermore, summer vacations and barbecues provide us with more downtime than usual and thus enable us to enjoy and appreciate more music.

With that said, here is a selection of some of my favorite tracks released this year (so far). There are some obvious choices from eagerly anticipated and critically acclaimed albums from Arcade Fire, The National, LCD Soundsystem and Broken Social Scene. Despite all the hype, these albums delivered in a big way and certainly did not disappoint (Sorry, I can’t say the same for M.I.A.’s third release, MAYA). Janelle Monae’s concept album, ArchAndroid, was also met with universal praises and “Tightrope” is definitely the most infectious track on that record.

The tracks from Sharon Jones & The Dap-Kings, Hot Chip and The Black Keys came off of albums that I would characterize as “breakout” records. I’ve been a fan of all these artists for some time and yet I feel that these 2010 albums, coupled with successful tour dates, really catapulted them to the next level of musical stardom.

Finally, I included some lesser known artists such as husband-and-wife duo Tennis who have perfected the seemingly ubiquitous lo-fi beach-pop sound that is all the rage these days. Also included is “The Gaudy Side of Town” from Gayngs, a huge collective that features over 25 artists ranging from Bon Iver’s Justin Vernon to Rhymesayers’ P.O.S., who succeed wildly in creating a haunting, downtempo aesthetic. Next, Caribou, AKA Dan Snaith and formerly known as Manitoba, crafts beautifully funky dance-pop on “Odessa,” somewhat reminiscent of LCD Soundsystem. And finally, not-so-newcomer, Ariel Pink’s “Round and Round” is a fun, slinky, 70s-infused psychedelic pop off a fantastic album, Before Today. You can hear Brian Eno and David Bowie’s fingerprints all over it, which is always a good thing.

Give it a listen and I hope you enjoy.

Track listing:
1) Rome (3:50) – Yeasayer
2) I Learned The Hard Way (3:47) – Sharon Jones & The Dap-Kings
3) I Can Change (5:54) – LCD Soundsystem
4) I Feel Better (4:42) – Hot Chip
5) The Suburbs (5:15) – Arcade Fire
6) The Gaudy Side of Town (7:07) – Gayngs
7) Shutterbug (3:35) – Big Boi feat Cutty
8) Bloodbuzz Ohio (4:36) – The National
9) Round and Round (5:09) – Ariel Pink’s Haunted Graffiti
10) Cape Dory (2:12) – Tennis
11) Radio Daze (4:16) – The Roots feat Blu, P.O.R.N., Dice Raw
12) Everlasting Light (3:24) – The Black Keys
13) Tightrope (4:23) – Janelle Monae
14) Odessa (5:16) – Caribou
15) World Sick (6:48) – Broken Social Scene
16) The Wild Hunt (3:22) – The Tallest Man on Earth

This episode is dedicated to all things that fall under the giant umbrella of downtempo electronic music, or what I like to simply call “lounge” music. However, as we all know, things are never that cut and dried, especially in the realm of music. This genre, frequently referred to as trip hop, is often used as a catch-all that covers micro-genres from ambient breakbeat to acid jazz. I prefer to use the term “lounge” to refer to this large (and admittedly) ambiguous swath of music that evokes a particular ambiance or mood.

Lounges, as they have grown in popularity in the last 20 years or so, seek to obtain that illusive yet oh-so-desirable “chill” vibe. Hence, the extremely dim lighting and music that, while it won’t necessary drive you to the non-existent dance floor, does in fact keep your head nodding.

While this list does not boast all the latest examples of what could be categorized as lounge music, I sought to capture minor variations in downtempo electronic or lounge music of some of my favorite artists. Some artists here, like Mr. Scruff, and the unfortunately lesser-known Joe Beats, Jel and Reanimator, employ more straight-ahead elements of hip hop while adding layers that feature psychedelic elements such as strings, pianos/organs, or vocal samples with reverb effects. Federico Aubele clearly comes from the Thievery Corporation school of things (he’s on their ESL Label) with breathy Spanish lyrics sung over a heavy bass line complemented by guitars and accordions sprinkled throughout. Blockhead and skateboarding legend Tommy Guerrero utilize a good dose of horns and guitar, respectively, to give their sound a little something different that makes you sit up and take notice.

And of course, I couldn’t leave out the Godfather of trip hop, DJ Shadow. His “Building Steam With a Grain Of Sand” exemplifies why this sound is so infectious. He paints a complex aural picture with piano loops, eerie vocal samples, drum machines and record scratches backed back a driving hip hop beat. It’s a haunting and dark atmospheric music, but gripping nonetheless. Not far from Shadow in style and musical leanings is RJD2. Before his recent shift to a more indie rock style where he now sings and plays guitar, his classic soul and funk samples were always on point and his 2002 Deadringer album still stands up as one of my favorites of all time.

Anyway, give it a listen and I hope you enjoy.

Track listing:
1) She’s My Lover (4:38) – Kid Loco
2) Tricky Turtle (4:42) – Blockhead
3) Building Steam With a Grain Of Sand (6:41) – DJ Shadow
4) La Esquina (3:08) – Federico Aubele
5) Bonce (5:00) – Mr. Scruff
6) Everything You Know Is Wrong (3:09) – Reanimator
7) Andy Kaufman (1:59) – The Joe Beats Conspiracy
8) The Good, The Bad and The Chutney (4:07) – Kalyanji & Anandji
9) Incorporate Anthem (4:02) – RJD2
10) Soul Miner (3:05) – Tommy Guerrero
11) John Brown’s Birthday Suite (3:30) – Jel
12) Rebirth (4:14) – A Forest Mighty Black
13) Sound of Everything (4:02) – Quantic
14) 24 Carat Blag (4:09) – Herbaliser

Inspired by a recent “Cut Of The Week” selection from Bobby Womack, I thought it would prove a worthwhile exercise to delve deeper into the sounds of 1970s soul. This era was marked by many artists who got their start in the Motown tradition in the mid to late 1960s. However, in the 1970s, soul music began to morph: the tone of the music is at times much darker (i.e. Curtis Mayfield’s “(Don’t Worry) If There’s A Hell Below, We’re All Going To Go”) and more concerned with cool stylistic posturing that paralleled the explosion in blaxploitation films. Given that these films explored the underworld of pimps, prostitutes, and drug dealers, soul music (used for the countless soundtracks) also shifted its focus and texture. Some arrangements incorporated the heavy use of strings and the music now was dripping with exaggerated braggadocio and a sense of impending danger lurking just around the corner.

Nevertheless, not all 70s soul music dealt with the underbelly of ghetto life. That’s why I chose to include a track from Betty Lavette who is a great counterbalance to the swagger of the solo male singer and has experienced a remarkable resurgence of interest in her music in the last five years. Also, the inclusion of Al Green’s “Strong As Death,” Lamont Dozier’s “Peddlin’ Music On The Side,” Bobby Womack’s “You’re Welcome, Stop On By” and Freddie Scott’s “You Got What I Need” illustrate that the softer, more introspective side of soul was certainly not absent during the 1970s.

Finally, check out Labi Saffre’s “I Got The Blues” and see if you can spot the source of the sample for Eminem’s first smash single, “My Name Is.”

The 1970s was a time when soul experimented with different genres, often using harder funk rhythms, wah-wah guitar effects, and even flirting with disco elements. Regardless, this was a great period for soul music and its slinky coolness provides a perfect vibe for relaxing and letting loose in the summer heat.

Give it a listen and I hope you enjoy.

Track listing:
1) Slick (3:36) – Willie Hutch
2) Strong As Death (4:23) – Al Green
3) I Got The (Blues) – Labi Siffre
4) You’re Welcome, Stop On By (3:44) – Bobby Womack
5) Who Is He (And What Is He To You) (3:13) – Bill Withers
6) (Don’t Worry) If There’s A Hell Below, We’re All Going To Go (7:44) – Curtis Mayfield
7) Tomorrow I May Not Feel The Same 2:14) – Gene Chandler
8) Walk On By (4:34) – Isaac Hayes
9) Let Me Down Easy (3:09) – Bettty Lavette
10) Easin’ In (3:13) – Edwin Starr
11) Why Can’t People Be Colors Too (4:12) – The Whatnauts
12) We Live In Brooklyn, Baby (3:46) – Roy Ayers
13) You Got What I Need (3:00) – Freddie Scott
14) Peddlin’ Music On The Side (4:45) – Lamont Dozier

Before Brooklyn became overrun with affluent ex-pats from Manhattan and before the heart of the indie rock scene was firmed located here, Brooklyn was a place that conjured up an image of a rough-and-tumble landscape that was only for the hardest of the hardcore. The toughness of everyday life served simultaneously as a reminder of a shared struggle and a source of local pride for those who could survive the mean streets. To be sure, Brooklyn certainly still has it hardscrabble neighborhoods that are often overlooked and frequently avoided. However, in many people’s minds the most daunting thing associated with Brooklyn today is how “long” it takes to get there from Manhattan.

I put together a short playlist of some obscure hip hop tracks that illustrates how Brooklyn retains a certain mystique and street credibility that musicians are not soon to relinquish. Whether it’s simply representing where you are from or using the idea of Brooklyn to invoke a certain vibe (i.e. The Black Keys’ Brooklyn Bound), Brooklyn will be a sort of cultural touchstone for musicians for some time to come.

I’m proud to call it home.

Give it a listen and I hope you enjoy.

Track listing:
1) Brooklyn (5:10) – Mos Def
2) That Brooklyn Shit (3:35) – Danger Mouse & Jemini
3) Return of the Crooklyn Dodgers (5:03) – Crooklyn Dodgers
4) Brooklyn Zoo (3:38) – Ol’ Dirty Bastard
5) Brooklyn Bound (3:11) – The Black Keys
6) Brooklyn-Queens (3:39) – 3rd Bass
7) Super Brooklyn (3:38) – Cocoa Brovaz
8) Brooklyn Took It (3:23) – Jeru Da Damaja
9) Brooklyn’s Finest (4:37) – Jay-Z feat Notorious B.I.G.
10) No Sleep Till Brooklyn (4:07) – Beastie Boys

April 22, better known as Earth Day, has been a day dedicated to the celebration and preservation of our environment since its inception in 1970. It embodies a movement that has made tremendous strides in the last few years as evidenced by terms such as “green,” “organic,” “climate change,” and “carbon footprint” having become commonplace. I think the volcanic ash cloud hovering over Northern Europe was rather timely (at least for someone not traveling) in Mother Earth demonstrating, once again, its superiority over man. Given our dependence on the Earth and the fragile balance of our ecosystem that allows for life to exist, we need to continue to make efforts to curb our destructive habits to our one and only planet.

On a lighter note, here is a mix that is an ode to our beautiful home. I chose selections that may be a little less known (minus the last track – I couldn’t leave it off) yet still speak to the singular and unifying nature of Earth. Some tracks may not have been written explicitly with the Earth in mind, but I feel that they connote the message I was trying to get across: Earth - love it and treat it well, or else...

Give it a listen and I hope you enjoy.

Track listing:
1) I’m So Green (3:06) – Can
2) New World Water (3:12) – Mos Def
3) O Green World (4:32) – Gorillaz
4) Waterworld (5:22) – Handsome Boy Modeling School feat Encore
5) Chant To Mother Earth (6:08) – Blo
6) World Without End (2:32) – A.A. Bondy
7) Mother Earth (5:42) – Kool & The Gang
8) Green, Green Grass Of Home (2:30) – Johnny Cash
9) 3rd Planet (3:59) – Modest Mouse
10) Beautiful World (4:04) – Colin Hay
11) Apocalipse (6:22) – Césaria Évora
12) Waiting For The End Of The World (3:27) – Elvis Costello
13) This Perfect World (4:35) – Freedy Johnston
14) What A Wonderful World (2:19) – Louis Armstrong

With summer just around the corner, I’m sure everyone is starting to feel wedding fever. Whether you are planning your very own wedding or you’ll be attending one (or several) this season, I thought it was an opportune time to put together a go-to mix of songs that I feel are (or should be) wedding reception standards. Given such a small space to work in, I decided to focus primarily on “crowd movers” if you will. These are songs, despite how many times you may have heard them, that nearly always get things going. I tried to provide a balanced sampling by incorporating Motown, disco, hip hop, and some assorted 80s hits. And of course, Black Eyed Peas and Lady Gaga, despite their relative newcomer status on this list, cannot be ignored as consummate party favorites. Whether you like them or not, they’re here to stay.

Give it a listen and I hope you enjoy.

Track listing:
1) You’re The First, The Last, My Everything (4:35) – Barry White
2) Get Up (Like a Sex Machine) (3:50) – James Brown
3) Don’t Stop Till You Get Enough (6:06) – Michael Jackson
4) Dancing In The Moonlight (3:52) – Toploader
5) Kiss (3:46) – Prince
6) Got To Give It Up (4:05) – Marvin Gaye
7) Push It (3:29) – Salt N Pepa
8) Need You Tonight (3:02) – INXS
9) All Night Long (6:20) – Lionel Richie
10) Freedom (6:31) – George Michael
11) Rosa Parks (5:24) – Outkast
12) I Want You Back (3:00) – Jackson 5
13) Paparazzi (3:30) – Lady Gaga
14) Boom Boom Pow (4:12) – Black Eyed Peas
15) Into The Groove (4:10) - Madonna

Here is the second installation of the Bittersweet Series, an exercise in reflective, introspective music. Again, it’s not all feel-bad-for-yourself numbers, especially the first track by Edward Sharpe & The Magentic Zeros, which simmers with the simple joy of coming home and the people (or person) that become synonymous with that very place. Also, Sister Rosetta Tharpe’s “Up Above My Head I Hear Music in the Air” pretty much captures the pure ecstasy of music.

Bruce Springsteen’s classic, “Atlantic City” from his stripped down, bare-bones Nebraska album and “Heaven” performed live by David Byrne and Tina Weymouth (of Talking Heads) both show what happens when big name artists tone it down and make quietly powerful songs. I also chose to include some lesser-known bands such as Lightning Dust and The Dry Spells to round out the set and give some balance to the heavier hitters. Finally, Elliott Smith’s breathy and hushed delivery and Bill Callahan’s gorgeous baritone provide their straightforward, literal lyrics with even more emotional punch.

Perhaps Eels (AKA Mark Everett AKA “E”) sums up the vibe I was going for best in “Ordinary Man”:

I’d rather be alone
Than try to be someone that I'm not
And you seem like someone
Who could appreciate the fact
That I'm no ordinary man

Give it a listen and I hope you enjoy.

Track listing:
1) Home (5:03) - Edward Sharpe & The Magentic Zeros
2) Stillness (4:36) – David Berkeley
3) Simple X (3:37) – Andrew Bird
4) Black Is The Color (5:51) – The Dry Spells
5) New York I Love You But You’re Bringing Me Down (5:36) – LCD Soundsystem
6) The Hazards Of Love 4 (5:57) – The Decemberists
7) Atlantic City (4:01) – Bruce Springsteen
8) Take It Home (6:04) – Lightning Dust
9) Heaven (3:41) – Talking Heads
10) 2:45 AM (3:19) – Elliott Smith
11) Up Above My Head I Hear Music In The Air (2:33) – Sister Rosetta Tharpe
12) Sweet Darlin’ (2:41) – She & Him
13) Ordinary Man (3:15) – Eels
14) Jim Cain (4:39) – Bill Callahan

Whether it’s an ice cold beer on a steamy July afternoon or a healthy glass of Syrah in the depths of winter, alcohol is the great equalizer. As there is virtually an endless variety of alcoholic beverages there is an almost equally limitless array of motives for imbibing: from alcohol’s uncanny ability to work as a social lubricant to helping soothe a torrid heart, alcohol has an ability to serve a function for almost any occasion or mood. In moderation, of course.

As a tribute to St. Patrick’s Day, I wanted to make a mix that dealt with the various outlooks on drinking. While Sublime touts the liberating power of a 40, Mobb Deep explores an extended metaphor about seeking solace in a bottle. Johnny Cash laments the dreaded hangover while Jim Morrison and company just need to find that next whiskey bar. ZZ Top and Beck both exhibit a kick-your-feet-up celebratory vibe and The Pietasters can’t help but repeatedly call the waitress over again for yet another round for boys’ night out.

Despite its potential for destruction, drinking has an irresistible, even romantic quality, especially when put into song format. Whether drowning your sorrows in it or celebrating a Friday afternoon, drink is an important part of the human condition. Enjoy these perhaps lesser-known songs about alcohol in preparation for the onslaught of St. Patrick’s Day-themed parties, bar nights, etc. where you will be inundated with tired standards such as “Come On Eileen,” “Tubthumping,” and perhaps even “Margaritaville.”

Give it a listen and enjoy…

Track listing:
1) 40 Oz. To Freedom (3:03) – Sublime
2) Crazy Mary (5:40) – Pearl Jam
3) Beer Drinkers & Hell Raisers (3:24) – ZZ Top
4) Maggie Mae (3:02) – The Pietasters
5) Beercan (4:00) – Beck
6) Moonshine Whiskey (6:47) – Van Morrison
7) Alcohol (2:12) – Saturday Looks Good To Me
8) Alabama Song (Whiskey Bar) (3:20) – The Doors
9) Sunday Morning Coming Down (4:08) – Johnny Cash
10) Drunk On The Moon (5:07) – Tom Waits
11) Drink Away The Pain (4:46) – Mobb Deep
12) Drunken Hearted Boy (7:34) – The Allman Brothers Band
13) Moonshiner (4:51) – Cat Power

This mix was certainly a labor of love. As a self-professed Latin American enthusiast, I couldn’t believe I’ve come this far without a tribute to a region I’ve traveled extensively and think about so often. So, when my sister-in-law (a proud Peruvian) suggested using the Pan-American Highway as a device to travel through the musical landscape of most of Latin America I could not resist. Here it is.

The Pan-American Highway is a system of interconnected highways that stretches from Alaska to Argentina. No comprehensive route is officially defined in Canada and the United States, though several highways there are called "Pan-American". Given this definition, this musical journey will focus solely on the 12 Latin American countries in the order which the Carretera Panamericana passes through them. I strove to include either artists and/or musical styles that are representative or synonymous with each country’s musical heritage, and in a way, their national identity. For the most part, I also leaned towards older selections (mostly folk and/or indigenous) in an effort to steer away from including contemporary "rock en español."

To kick things off, Los Lobos' incredibly upbeat take on son jarocho, a traditional musical style of Veracruz, a Mexican state along the Gulf of Mexico, showcases their remarkable fretwork and flailing rhythm. While Maná is one of Mexico’s (and Latin America’s) most popular contemporary acts, I chose to include “Te Solté La Rienda,” a cover song of mariachi godfather, José Alfredo Jiménez, in order to illustrate the importance of one of Mexico’s richest musical traditions that is too often, in most people’s minds, relegated to tacky Mexican restaurants.

Moving on through Guatemala I had to include a song (“Mentirosa”) which incorporates the use of marimbas (a xylophone-type instrument) given that they basically serve as the national instrument. Jursino Cayetano’s (Guatemala) “Balandria” along with Aurelio Martínez’s (Honduras) “Santo Negro,” are two great examples of the Paranda tradition of Garífuna music. Garífuna refers to the ethnic group of African descendants that populate the Caribbean coasts of Guatemala, Nicaragua, Honduras and Belize. Garífuna music is characterized by drumming styles that reflect its West African roots while incorporating acoustic guitar and a touch of Latin and Spanish rhythms. Paranda reached its prominence in the early part of the 20th century and has changed little since.

Brothers Carlos y Luis Mejía Godoy are probably the most prominent and influential singer-songwriters in Nicaragua. Their anthem “Nicaragua, Nicaraguita” is part of the Nueva Canción (New Song) neo-folk protest movement and is a song of simple yet fervent national pride.

Next, Costa Rica’s Walter “Gavitt” Ferguson is one of the most important and ingenious popular songwriters in Costa Rica. His preservation of the calypso tradition, inherited from Trinidad and Tobago, Barbados, the Providence Islands and Ciudad Colón, Panamá, beautifully illustrates the significant Caribbean influence on Costa Rica’s eastern coast.

Selections from El Salvador’s Fiebre Amarilla, Panamá’s Papa Brandao Y Su Conjunto Aires Tablenos and Colombia’s Fruko showcase more of the soulful blend of Latin American, Caribbean, European and indigenous forms tropical music created in Central America during the fertile decades of the 1960s and 1970s, often referred to the Golden Era.

Rómulo Caicedo, with his sweet, romantic vocals set to the melodic interplay of accordion, clarinet and brass section and to the rhythms of maracas, bongos, clave, tumba, and cymbals, helped to introduce the Caribbean-influenced Colombian cumbia to the international stage.

In Ecuador, one of the most popular styles is pasillo, a genre of indigenous Latin music that originated along the Ecuadorian coast. Pasillo is a derivation of the European waltz, yet it alters the classically European dance form to accompany guitar, mandolin, and other string instruments. Furthermore, its lyrics speak to specific national concerns such as suffering, desperation, lost love and nostalgia. Without a doubt, the most popular artist of this genre is Julio Jaramillo. He is a major cultural icon and his most famous song, 1956’s “Nuestro Juramento” (Our Oath), is a standard in the music collection of any self-respecting Ecuadorian household.

On the other hand, “Recuerdos de Nuestra Tierra” is a product of the Afro-Ecuadorian music from the Chota Valley, referred to as bomba music. This music tends to have a more prominent Spanish, mestizo and indigenous influence compared to the marimba-dominated Afro-Ecuadorian music from Esmeraldas. Bomba music can range from a mid tempo to a very fast rhythm and is usually played with guitars along with the main local percussion instrument called the bomba and accompanied by a guiro and sometimes bombos and bongos.

In Perú, there is also a strong cultural presence of African descendants and one of the most enduring gifts they have provided is Afro-Peruvian music. Featuring elements of Spanish, African and European instrumentation and rhythm, Afro-Peruvian, or criollo, music has only relatively recently garnered international recognition. One reason for Afro-Peruvian music’s increased international attention is the unparalleled music and powerful voice of Chabuca Granda. She is of legendary stature in criollo music and simply put has become the voice of Perú. Present-day artists that follow in her footsteps include Susana Baca and Eva Ayllón.

Chile is home to the Nueva Canción movement that began in the Southern Cone in the late 1960s and 1970s. In response to the prevailing right-wing military dictatorships of the time, this movement was characterized by lyrics of social protest and folk stylings paired with popular rock elements along with indigenous instrumentation. Victor Jara was one of the most revered artists to emerge from this scene. His stripped down folk songs coupled with politically charged lyrics, make him a pivotal part of the history and development of Chilean music. In fact, he was killed by the Pinochet regime in 1973 after the overthrow of Salvador Allende and has since become a global symbol of music’s transformative power. Like-minded fellow Chileans Inti-Illimani and Mercedes Sosa of Argentina (affectionately known as “La Negra”) were also essential artists of the Nueva Canción movement yet employed more indigenous components to their music in an effort to advance ideas of social equality for minority populations, peace, human rights and other progressive ideals.

Finally, Gustavo Santaolalla is a present-day composer and musician from Argentina who is responsible for composing scores and producing soundtracks for films such as Motorcycle Diaries, Amores Perros, Babel and Brokeback Mountain. On his classic 1998 album, Ronroco, he creates a cycle of original songs in the vein of traditional Argentine music, utilizing folk instruments such as the charango (a 5-stringed small guitar) and the ronroco (a ukulele-like 4-stringed instrument made from an armadillo shell) to create an atmospheric feel and what Tom Moon aptly describes as “what sounds like folk songs from some long vanished culture.”

Sorry this is so long, but I believe the trip is worth it. Give it a listen and enjoy.

Track listing:
1) Flor de Huevo (1:55) – Los Lobos (México)
2) Te Solté La Rienda (4:06) – Maná (México)
3) Mentirosa (3:17) - Lalo y Su Marimba Orquestra Ecos Manzaneros de Guatemala (Guatemala)
4) Balandria (3:58) – Jursino Cayetano (Guatemala)
5) Yo Soy Guanaco (2:54) – Fiebre Amarilla (El Salvador)
6) Santo Negro (4:31) – Aurelio Martinez (Honduras)
7) Nicaragua, Nicaraguita (4:14) - Carlos y Luis Mejía Godoy (Nicaragua)
8) Babylon (5:01) – Walter “Gavitt” Ferguson (Costa Rica)
9) La Murga de Panamá (3:08) - Papa Brandao Y Su Conjunto Aires Tablenos (Panamá)
10) La Luna y El Pescador (3:07) – Romulo Caicedo (Colombia)
11) El Patillero (3:26) – Fruko (Colombia)
12) Recuerdos de Nuestra Tierra (2:54) - Grupo Juventud del Valle del Chota (Ecuador)
13) Nuestro Juramento (3:22) – Julio Jaramillo (Ecuador)
14) Enciendete Candela (2:34) – Roberto Rivas & El Conjunto Gente Morena (Perú)
15) Herida Obscura (1:39) – Chabuca Granda y Óscar Avilés (Perú)
16) Montilla (3:37) – Inti-Illimani (Chile)
17) Deja La Vida Volar (3:26) – Victor Jara (Chile)
18) Chacarera de Las Piedras (2:06) – Mercedes Sosa (Argentina)
19) Way Up (4:06) – Gustavo Santaolalla (Argentina)

Given the long and snow-filled winter most of us are experiencing, I thought some more roots reggae and early dancehall might have a warming effect. As with Volume 1, I tried to cover a bit of ground with respect to the topics of the chosen songs. While a good majority of the music here touches upon some political message, such as Peter Tosh’s classic “You Can’t Blame The Youth” and Hugh Mundell’s “Africa Must Be Free By 1983,” there are some lighter, feel-good tracks. Eek-A-Mouse’s dancehall smash “Wa-Do-Dem” is more concerned with his trademark non-sensical verbal acrobatics while Delroy Wilson’s “Feel Good All Over” and The Silvertones’ “Smile” rejoice in the joy of music and how it can uplift spirits and make you want to move.

Regardless of each song’s particular message, the music and intense emotion of the vocals alone make them timeless classics. Roots reggae and early dancehall tunes are always badass and always oozing with cool confidence. Furthermore, their call to overcome the everyday struggle serves as a celebration and reaffirmation of life.

Give it a listen and enjoy.

Track listing:
1) Wa-Do-Dem (3:55) – Eek-A-Mouse
2) You Can’t Blame The Youth (4:22) – Peter Tosh & The Wailers
3) Fight Fight (3:29) – Don Carlos & Gold
4) World-A-Music (3:46) – Ini Kamoze
5) Set Me Free (3:25) – L. Crosdale with Drummond Bago & The Rebel Group
6) Smile (Alternative Mix) (3:00) – The Silvertones
7) Africa Must Be Free By 1983 (2:32) – Hugh Mundell
8) Sun Is Shining (2:11) – Winston Matthews
9) Run Too Tuff (2:41) – Dennis Brown
10) MPLA (3:08) – Tapper Zukie
11) Freedom Street (2:48) – Ken Boothe
12) Ghetto Living (3:25) – Sugar Minott
13) Zion’s Blood (3:57) – Lee “Scratch” Perry
14) Feel Good All Over (2:40) – Delroy Wilson
15) Diseases (3:33) – Michigan & Smiley
16) Keep That Light (3:46) – The Tamline
17) Forward Ever (3:12) – Jacob Miller
18) Mad Mad (4:07) – Alton Ellis
19) Deliver Me From My Enemies (2:53) – Yabby You & The Prophets