My Top 20 Songs of 2008 (for what it's worth)

One thing that I will happily allow people to define me by is my love of music, plus my annoying habit of listing all of my music by year.

Today I begin a look back, in five year increments, into my musical past, listing when possible, my Top 20 songs from that year, starting by highlighting my Top 20 songs from the year 2008. I'm only giving little notes about each song. This is just a little blog, not Rolling Stone.

Remember, this is only my opinion based on what I was exposed to. If I didn't happen to list your favorite song, I'm not saying it wasn't worthy. I probably just didn't hear it. But any thoughts are welcome, for now.

2008 was not a particularly exciting year for music, as it falls into what I consider to be a musical dark period which has existed in my view since 2005. (more on that at a later date) And as such I wouldn't expect to sound very enthusiastic about the songs I have listed here. There were a few bright spots, and they shall be revealed as we work our way down (or up) the list beginning with...

#20. "Viva La Vida" - Coldplay

Let me start by saying I hate Coldplay. Specifically, I do not like Chris Martin. I don't really want to get into the specifics of that. Maybe some other time. This song was the first single released from the album of the same name, subtitled "or Death and All His Friends." This song got lots of promotional help from various media sources and was way overplayed in my opinion. It's still somewhat catchy and I didn't hate it as much as some of their other releases. The fact that it is the first entry on this list shows just how weak 2008 was musically.

#19. "Mercy" - Duffy

One of the many "Amy Winehouse" clones which was all the rage at the time, Duffy had this 60s vibe in this song which made it instantly likeable. Unfortunately, as with the previous song, it did suffer from overexposure. Unless she is still popular in Europe, she has fallen prey to the "one-hit wonder" syndrome.

#18. "Pocketful Of Sunshine" - Natasha Bedingfield

This song made my 2008 list if for no other reason that once it was in my head, I was singing it all day. Usually with my own made up lyrics. She is best known for the song "Unwritten" a few years earlier. Her follow-up album was popular, but again it's because the song is catchy, and not particularly noteworthy for any other reason.

#17. "Sleep When I'm Dead" - The Cure

At some point it will be revealed that The Cure is my all time favorite band. Actually, I guess I just revealed it. So in 2008, when they released four singles from their worst album, 4:13 Dream, it says a lot about this year that three of them made my Top 20. Supposedly this song was a demo that Robert Smith "unearthed" from the Head On The Door days (1985). In the 90s, when it started to be cool for older bands to release previously unreleased material, my father told me that there was a reason they didn't release it in the first place. Clearly this song does not reflect the quality of the band's 80s recordings. It is catchy enough, but if I had to list my 100 favorite Cure songs, this one would be hard pressed to make the cut.

#16. "The Shock Of The Lightning" - Oasis

I have to admit I've always had a thing for the Gallagher brothers. As much as they are pains in the ass, and though Noel had a tendency to rip off The Beatles fairly blatantly, they just kicked ass in the 90s. So it was nice to see them return with a strong effort as they did with what would turn out to be their final album Dig Out Your Soul. A very upbeat rocker, it has all those Oasis trademarks we all loved from the heyday of Britpop. One that I enjoy listening to even to this day.

#15. "Shadow Of The Day" - Linkin Park

I guess eventually they had to write a song that was something other than rapped verse/screamed chorus. Slower tempo, this song is almost a ballad. I do like this song, though upon further review it is rather unremarkable. I guess I just always tended to like these guys.

#14. "The Only One" - The Cure

Yeah, here they are again. This was the lead single from 4:13 Dream, and the song all of us Cure fans waited four years to hear. It had potential, and it is one of the better songs from what is otherwise a horrible album. But for a Cure pop song it is rather formulaic, especially if you know some of The Cure's better known pop songs.

#13. "The Time Of My Life" - David Cook

Okay, before I get any grief for this, I did watch American Idol, and I was a fan of this guy that season, seven or eight or whatever it was. This was the song he recorded and released after winning the season and maybe I was just swept up in it, but I really did like this song, and it left me very anxious to see what he could do given the opportunity to record his own album.

#12. "Sky Is Over" - Serj Tankian

I'm not really into music and politics mixing, but since the beginning it's been inevitable. Some of it more overtly than others. Serj Tankian, singer of the very socially conscious band System Of A Down released this ditty in 2008 which has some subtle environmental overtones. It's a decent song, but musically it is a watered down version of SOAD's 2005 hit "B.Y.O.B." even including a round of "la-la-la's" at one point.

#11. "Falling" - Paul Oakenfold featuring Cee-Lo

Okay, I'm not even sure if this song was commercially released, but it was played during a trailer for a "Jason Bourne" video game released that year. As I was a part of an industry that involves video games that year I heard this song quite a lot. Cee-Lo started to see his stock rise after landing a huge hit with Gnarls Barkley's "Crazy" and Paul Oakenfold used him to great effect. Very upbeat, very danceable.

#10. "Lost!" - Coldplay

I don't need to go into why I dislike this band again, but I will say that it's that whole music/politics thing. That's all I'll say for now. Anyway, a follow up single to "Viva La Vida" this song was fairly unremarkable for Coldplay, but catchy enough for it to land in my Top 10 for this year. A steady beat, lots of clapping sounds and a vibrant organ track make it a little different than what they usually offer. Not their best, but not their worst.

#9. "Freakshow" - The Cure

The third entry by The Cure shows how poor of a year overall 2008 was considering that all three songs hail from what is the band's worst album. This song, clocking in at 2:30 harks back to some of The Cure's bouncier and fun material. It is my favorite song from 4:13 Dream  and though I don't think this would have been a Cure single 10 years prior, clearly they had to do the best with what they had.

#8. "Long Road To Ruin" - Foo Fighters

I love this band. From 1995 to the present, there isn't a single band or artist who appears in my Annuals more that Foo Fighters. What can be said? Their music works on so many levels. It rocks! It's melodic and catchy. Dave Grohl is an amazing singer. Great song, and not the last time we hear from them in 2008.

#7. "The Day That Never Comes" - Metallica

Some people loved 2003's St. Anger and some hated it. The only issue I had with it was the awful snare sound Lars used. Well by the time this album came out, there was promise that it was a return to the glory days of Metallica. This was the lead single, and while the promise may have been somewhat of an exaggeration, I really enjoyed this song. It kinda has a late 90s Metallica vibe to it. Most importantly it had a different snare sound.

#6. "Discipline" - Nine Inch Nails

It's a good thing Trent Reznor decided to give this album away because I decided a long time ago that he wasn't getting anymore of my money. It's actually a decent song. Quick tempo and dark toned, it has elements of that NIN flair we all love. Nothing like his classic mid-90s period, but very good nonetheless. My favorite part of this song is the vocal false start. I'd love to know if that was intentional or not.

#5. "Chinese Democracy" - Guns N' Roses

I know, I just lost a bunch of you. So I was the one guy anxiously awaiting the release of this album. I was also the one guy who actually liked this album! I still remember collecting tracks as they'd leak. This was not one that leaked. It was released as the first single in October if I recall, then the album came in November. It has a rather spooky intro which gets punctuated by a Nine Inch Nails sounding guitar riff. When the vocals come in, it's Axl in his lower register. Not a lot of screaming, but it's a pretty intense track. I still like this song as much as I did back then. Maybe I was just happy to have some GNR back.

#4. "Light On" - David Cook

I mentioned earlier that I was anxious to see what Mr. Cook would do post-Idol. This song, partially penned by Chris Cornell of Soundgarden did not disappoint. A mid-tempo straight up rocker, it did a fantastic job of highlighting his talent. Hard for me to say that about someone involved in American Idol, but I really did like this guy. Sadly, his career has never really taken off, but we'll always have this song.

#3. "Chemtrails" - Beck

I've always been a Beck fan. I think he falls into that rare category of musical genius. Listen to his output during the 90s, and some of his stuff last decade. I love how this song seems to start and stop. The fast parts with its pounding drums and bassline. And of course those eerie lyrics about the trails that jets leave behind from time to time. I've liked a lot of Beck songs and this is one of my favorites.

#2. "Let It Die" - Foo Fighters

I love this band. This is my favorite song from Echoes, Silence, Patience & Grace, and it was nearly my favorite song of the year. Starts off with a little guitar lick and a soft vocal. It gently builds in intensity before it seems to level off, but then it just crashes through the speakers and you're inundated with loud drums, crunching guitars and screaming vocals. One of their best ever, in my humble opinion.

#1. "Better" - Guns N' Roses

This was one of the leaked tracks, so it sort of had a head start. Released as a single along with the album, it did differ slightly from the leaked version, but as I said earlier, it was just nice to have their music back, even if it is just Axl and some other guys. Typical GNR rocker with some electronic and even industrial elements to it, for my taste, it just works. Has a good melody to it, and that higher register Axl Rose vocal style that doesn't peak as well as it did 20 years ago, but it still sounds good to these ears.

And there's the look back on 2008 viewed through my eyes (or ears, if you will) Not the greatest year by any stretch, but it's interesting to look back with even five years of perspective. That's one thing I love about music. It serves as a time capsule of sorts. Always there when we need it. We can recall where we were and what we were doing and maybe even who we were doing it with. It's an old friend that never goes away or gives up on you. No matter how bad the music may have been in a particular year. For the record, 2007 is actually the worst musical year of the last decade. I'll be skipping that one.

Next up will be a look back at 2003, which was a much, much better year than 2008.

I'm glad to have this one out of the way.

Top 30 Albums - An Introduction

The album. The long play record. It's a lost art. There was a time when a band was measured by how well it could put a collection of songs together. A golden age of music, if you will. Up until the early 60s, record companies would take whatever hit a band had, made them record nine other "filler" tracks, package it with a sticker that said "featuring the hit song..." and sell it. It wasn't until (arguably) The Beatles released Rubber Soul in 1965 that the album became something important. A statement. Something for every serious band going forward to strive to accomplish. No filler. All great material. As Brian Wilson of the Beach Boys said of Rubber Soul "the album blew my mind because it was a whole album with all good stuff." He then went on to compose some pretty great material for his band.

During its heyday even the packaging was important. Some were extravagant works of art while some were very minimalist. Either way, it was a part of the overall experience. The way an album looked was as important as the music contained within. You could have a physical experience with it, looking through the inserted lyrics or whatever, along with listening to the music. Something for your eyes as well as your ears. As they say, those were the days.

These days the album is back to its less than stellar beginnings. In this digital world where music lives and dies by the number of iTunes downloads, nobody really cares about the album. It's right back to a couple of hits and the rest, filler. But music goes in cycles and I have no doubt that the industry will work itself out and it'll be back strong as ever. It survived the one hit wonder early days of rock. It survived disco. It survived Top 40. It survived Fred Durst. It will survive American Idol, Katy Perry and Rhianna as well.

There's something about a great album. Being able to put it on, whether vinyl, cassette, compact disc or on your iPod, and spend an hour without having to skip any tracks, just soaking up the great sounds. Since I began collecting music in 1982 I have probably purchased (or acquired) more that 2000 albums. As someone who loves to meticulously categorize, organize and list my music, the Grand List of All would have to be the Top Albums list. I made my first such list in 1987 and updated it periodically. Starting with a Top 10, then 20,  then about 10 years ago I expanded it to a Top 30. I spent the last two weeks refining it once again, and am now prepared to present, one by one, starting with #30, my personal list of my favorite albums.

So now that I have this introduction out of the way I can actually start working on the list. Hopefully you will enjoy it. Maybe give feedback, good or bad. Share an experience. Maybe even work on a list of your own. Because that's the great thing about music. It's a window into your very being. A look into your past. Something that flows through your heart and soul. Something intangible that nobody can ever take away from you.

Music is life.

UPON FURTHER REVIEW #2

New Order - Power, Corruption & Lies
Originally released : May 1983
Originally purchased : Spring 1988 

 

 

I still owe thanks to classmate Andrew Simmons for recommending Substance to me one day in late 1987. It profoundly changed my life.

Fresh off of my "discovery" of Substance, I felt the need to jump into the entire New Order back catalog. Being 16 years old at the time meant limited funds, so I started off slow. I purchased the cassette of Power, Corruption & Lies due mostly to the inclusion of "Blue Monday" to the American released version.

At first I was struck by how similar in style the songs were to that of Substance. Mostly electronic, heavily synthesized with drum machines. I particularly enjoyed "We All Stand" and especially "586" as these fell into my newly acquired New Order comfort zone. I found something in this album that I would not find in follow-up releases Low Life and Brotherhood, which just didn't feel as polished to me. I always felt I made the right choice with this album as a guidepost to lead me on my Mancunian musical journey. However, with the release of Technique in January 1989 and emergence of Joy Division as the heavier influence on me, Power, Corruption & Lies became a footnote. A mere stepping stone that lead to a whole new world of music, alternative and otherwise, that would dominate my landscape for years to come.

Years went by, and though songs from this album would make token appearances on any New Order compilation I would make, whether it be cassette, cd or now iPod playlist, it was not until recently when a friend quoted a lyric from "Your Silent Face" that I decided to revisit the album as a whole. Something long overdue. I realize now that 22 years since first acquiring the album, I may have overlooked the shining jewel in the entire New Order catalogue, never giving it its proper due credit.

Understanding the significance of Power, Corruption & Lies depends largely on how well one understands the early history of New Order, specifically how it emerged from the ashes of Joy Division, which is an entirely different story, yet completely relevant. (If you don't know Joy Division, trust me. Go find out. It is a discovery worth making.) It is clear to me now that the first post-Joy Division album, Movement, as well as the singles "Everything's Gone Green" and "Procession" along with their various b-sides, gorgeous songs in their own right, are evidence of a band in transition. It is clear that the band were trying to find its own style, but clung to its roots, both musically and lyrically. Some of Bernard Sumners' early lyrics are clearly attempts to channel Ian Curtis.

"Line of force from heaven/Tear in a stranger's eye/Then it goes forever/Where all things never die" - "I.C.B." from Movement

Though some of those early songs are fantastic, ("Procession" is indeed my favorite New Order song) a lot of it feels contrived. A lot of it has the feel of a band trying to find its legs. It is with the release of "Temptation" in 1982 where the band begins to separate itself from its past. Here was a song that was original in style, with only hints from the past incarnation. The most significant departure was lyrically, as if Bernard Sumner stopped trying to write profoundly deep lyrics. As if he was writing what he felt like writing instead of what he thought he was supposed to write. March 1983 saw the release of "Blue Monday," an electronic dance masterpiece, which sent the band's stock soaring. Their second full album, Power, Corruption & Lies would be released two months later.

When the opening bass guitar notes of "Age Of Consent" first come out of the speakers, you immediately know you're not going to hear anything like you heard on Movement. The song is upbeat, borderline danceable, and vaguely happy sounding. A straightforward alternative rock song, it is the antithesis to "Blue Monday." And, as is consistent with most New Order songs, the title has little to no relevance to the lyrics, which are more free-flowing and carefree. The words rhyme, yet they are awkwardly charming.

"And I'm not the kind that likes to tell you just what you want me to/You're not the kind that needs to tell me about the birds and the bees"

"Age Of Consent" also continues the Bernard Sumner tradition of accentuating certain lines with his trademark yelp. A low synth line backs the track before we hear any significant keyboards which fade out with the song. This is a brilliant opening track. The only thing that disappoints about the song is that it is now being used in a Target ad campaign. Oh well. If New Order can pitch for Sunkist soda, why not Target?

Perhaps it was foreshadowing my soon to be discovered love of darker new wave music (Joy Division, The Cure) but the album's second track, "We All Stand," is one of my favorites from the album. Typically Joy Division-esque, the track begins with a looping Peter Hook bassline and a subdued, syncopated drum pattern from Stephen Morris. A synth line and guitar join later in the intro before Bernard's cryptic lyrics begin.

"Three miles to go... /At the end of the road/There's a soldier waiting for me"

I spent many listenings trying to understand, to no avail, what the hell that line meant.

Despite the guitar and keyboard's attempts to dominate the melody, for me it is the bassline that is the standout element of this track. It is a song that is difficult to move meaningfully along to, plodding along and almost demanding that you give it full attention as if it is going to say something profound. The best we get from Barney is something sounding vaguely dark.

"Life goes on in this true-to-life fantasy/Forever to be still/Breath held tight inside of me"

If there is any song on this album that harkens back to Joy Division, it would be this one. It is the darkest, gloomiest track on the album.

"The Village" gives you a taste of what would make New Order famous. That is, guitars being backed by a sequenced synth line and drum machine. This song is unlike "Blue Monday" in that it is has a more positive and upbeat feel to it, while not being particularly danceable. The drum track is not your typical four-on-the-floor pattern. Unlike the previous two album tracks, the guitars are layered almost as afterthoughts, providing accents to the synthesizers. Lyrically, it almost seems like it could be a love song.

"Oh our love is like the flowers/The rain, the sea and the hours"

You almost feel like you're hearing something uplifting and positive out of the lyrics, when Sumner closes with this puzzling line.

"Their love died three years ago/Spoken words I cannot show"

It is a fun, bouncy track that will please fans of the band's electronic sound. As the track draws to a close, the guitars drop off leaving only the drum track and sequencer playing when it abruptly ends...

...and leads into a short instrumental piece which is not titled nor defined as belonging to the song preceding it or "586" which follows it. The compact disc does attach the song to the latter, but who really knows? The only clue would be a rushing sound about midway through which appears at the intro to "586." This piece, lasting only 1:42, is dangerously catchy despite being musically sparse. The sequenced track is accented with a Peter Hook bassline during the second half, giving it enough melodic credibility to allow it to be that song that you find simmering in your brain while you should be doing something important. (like paying attention to your algebra assignments, as was likely my case in 1988)

This brings us to the aforementioned "586," which I feel is the album's centerpiece and standout track. The song begins as the previously mentioned instrumental piece fades out and the music slowly fades in quite dramatically. Fans of the danceable, synthpop more electronic New Order style will love this song. It is almost entirely built around the synthesizer and drum machine. There is an underlying Peter Hook bassline, but guitar is virtually non-existent. Unlike the Peel Sessions version, (which I'll get to later) the song doesn't waste any time jumping right out of the speakers and into your face as Sumner exclaims "I see danger!" with the last word repeated twice, in record-skipping fashion, as if to emphasize the urgency. The song moves along, with music starting and stopping as it goes. Sumner's lyrics are typically vague, but do convey a darker, angrier tone which really makes this song stand out, demanding to be noticed.

"When it happens/You will be no friend of mine/Take the first chance/When I am no longer free"

"In the future/when you want me in your heart/I won't be there/If you call out in the dark"

The lyrics conclude on an almost pleading note.

"Can you hear me deep inside/From these feelings I can't hide/Can you hear me calling you?"

The last line repeats several times and then the song concludes with a wordless coda that seems to take longer than it actually does. That may sound like a bad thing, but with the energy behind this song, you really don't notice. Then, as dramatically as the song begins, the instrumentation begins to drop off until only the drums and synth bass remain, tempo slowing to a crawl until it ends with a final thud.

"586" and the enormously popular single, "Blue Monday" share many traits. It wouldn't be fair to say they are musical cousins. They appear more like brothers. Their respective releases in 1983 are so close together, it is not known to me which one came first. Both songs were recorded in 1982, but only "586" was recorded during the Peel Sessions that same year.

Speaking of the Peel Sessions, the version of "586" presented there is musically different and has slight variations in the lyrics. Peter Hook's bassline is much more prominent and the synth lines seem more aggressive to me. Same song, completely different feel. This version is worth checking out as well.

So with all of these upbeat dance songs and guitar driven alternative pop songs dominating the lineup so far, who would have figured that a ballad would serve as the album's turning point? "Your Silent Face" throws any thoughts about New Order's convention right out the window. Another song dominated by drum machine and sequencers, but this one drops the tempo and the feel of the previous four tracks. After the intro, a tsunami of synth pad rolls in (sounding awesome at higher volumes) washing a warm wave over you. It rolls back and then Bernard breaks out the melodica for the part of the song you will be whistling for the rest of the day. It is over a minute before any lyrics appear, and though closer examination will show they are typically vague, the song's title and moody melody makes it seem like they have a deep, hidden meaning.

"A thought that never changes remains a stupid lie/It's never been quite the same"

"Rise and fall of shame/A search that shall remain/We asked you what you'd seen/You said you didn't care"

At this point we are introduced to a subdued, but powerful bass guitar and an underlying guitar line. The synth pad rolls in again and falls away as Bernard prepares for the second and final verse. More of the same here, except for the last line of the song. As if sensing the dramatic feel to the song was becoming a little too heavy, he concludes the spoken section with what is arguably the single greatest lyric in New Order's catalogue.

"You've caught me at a bad time/So why don't you piss off"

A short break followed by a repeat of the melodica line, then the synth, bass and guitar all join up to play out the remainder of the song. Straightforward New Order running on all cylinders. Brilliantly played.

"Ultraviolence" is a track that I think would have worked well as a Joy Division track. Again, standard New Order fare here. Synth bass, bass guitar, guitar all in moderation. A simple drum machine backing track with Stephen Morris providing supplemental Joy Division-esque drum fills. A decent track in its own right, but definitely not one of the album's stronger moments. It works well as a period piece in the sense that it bridges a gap between what was (Joy Division) what could have been (had Ian Curtis not committed suicide) and what would come (New Order's club popularity), but not much more. Here, New Order seems to be throwing off the last of the long shadow cast by their former incarnation.

Usually relegated to the realm of b-sides, "Ecstasy" is a rare album appearance for an instrumental. Even though it is more musically interesting that its predecessor, "Ecstasy" sounds like a studio jam thrown together, then added to the album because they felt it was worthy. The song has a feel like the band was just turning some knobs to see what interesting things they could do and came up with an electronic voice repeating the song's title. Probably the closest thing on the album to being filler.

Bringing the album to its conclusion is a proper bookend, "Leave Me Alone." Instrumentally and structurally similar to "Age Of Consent," this track is just your standard alternative rock affair. Starting immediately with bass and drums (no drum machine here) soon after joined by guitar and an underlying synth line. Bouncy and enjoyable, it's a progression that is constant throughout the entire song. Again, not as strong as the first part of the album, but interesting enough not to skip. Lyrically ambiguous once again, Bernard keeps it interesting. He gives somewhat of an anatomy lesson...

"From my head to my toes/To my teeth, through my nose"

...as well as a more civil way of saying "piss off."

"For these last few days leave me alone"

The final note is played and the album has reached its conclusion.

So upon further review, Power, Corruption & Lies can be described as an album that is never boring. It definitely has its proper place among the other releases in New Order's catalog. It is the album that stands in the road where looking back one can see the fading lights of the monstrous Joy Division legacy, and looking forward, the bright lights of the mid to late 1980s mainstream success. Even though it starts out stronger than it finishes, it is safely secure as an album that should remain forever influential. Many bands record material that are constant in content and style throughout. Power, Corruption & Lies relies on the band's musical diversity to make it stand out, while maintaining the band's integrity. Power, Corruption & Lies is definitely an album that I'm glad I decided to give another listen. Part milestone, part stepping stone, part signpost, and enjoyable to the very last note.

UPON FURTHER REVIEW #1

The Cure - Bloodflowers
Originally released : February 15, 2000
Originally purchased : February 15, 2000

Let me start out by saying that even though the above line states I originally purchased Bloodflowers in February of 2000, the key word is purchased. Thanks to a co-worker of mine who was infinitely more computer literate than myself, I actually acquired a copy of Bloodflowers more than a month prior to the actual release. Ah, life in the Napster days. But do not despair, Lars Ulrich. On top of my "illegal" copy, I purchased not one, but two copies of the album on the day of release. One cd copy and one cassette copy. (my car did not have cd capability at that time) But this was evidence of just how amazing the internet was. First, in December 1999 a Cure fan website I frequented (and still do to this day) posted audio from a French radio show that debuted two songs from the upcoming Cure album. "Out Of This World" and "Maybe Someday" and they were fantastic. I wanted to know how I could get copies of them. I spoke to my co-worker about it, and he supplied me with the entire album a month early! And considering what a disappointment the Cure's previous effort was (1996's Wild Mood Swings)  hearing those first two tracks on that website filled me with hope that the new album would be a return to form.

Anyone familiar with how the Cure operates knows that the band will do a "dark" album followed by a few poppier albums. Despite most of their catalogue consisting mainly of more pop oriented material, the Cure would always be pigeonholed as a gothic band. This is thanks to their early albums Seventeen Seconds (1980) and Faith (1981), followed up by Pornography (1982) which would eventually be considered the first album in Robert Smith's "dark trilogy" also consisting of Disintegration (1989) and finally in 2000, Bloodflowers. Now since this darker material tends to be my preference as far as the Cure goes, I was really, really excited about this album releasing. Having this bootlegged copy a month early was so very thrilling for me. I found the album to be very heavy, very dark and ultimately very satisfying. It had several stand out tracks, and through attending two Cure concerts that year I saw the songs worked live as well. And although I enjoyed the album thoroughly, at the time I just didn't feel that it stood up as well as the older "dark" albums. But when you're being held up to such classic albums as Faith, Pornography and Disintegration, that sort of disappointment was to be expected.

So it was sort of an epiphany when recently I decided to return to my Cure roots and listen exclusively to their music album by album. Eventually I got to Bloodflowers. My goal was to listen to all nine songs without any temptation to skip tracks. I wanted to really hear the album not as a collection of individual songs, but as a whole. I wanted to see if it had echoes of that dark energy of those other "trilogy" albums. What I found was an album that not only has stood the test of time, but is indeed worth of being placed next to those albums on that dark pedestal. It was an especially comforting rediscovery considering the disaster that was 2008's 4:13 Dream. It was nice to hear a recent Cure album that actually sounded like the Cure. Listening to it ten years later took me right back to that first night in January 2000 when I placed that burned cd-r copy in my cd player. In the dark...

An eerie sound builds from the depths. Keyboards? Percussion? It has your attention and then the first guitar chord comes crashing through. You've just heard the first note from "Out Of This World." As would be expected from any Cure album opener, the intro is quite long. It is more than two minutes in before we are graced with any words. No problem, as the song is quite a soothing mix of soft drums, acoustic guitar, sparse keyboards, and Robert Smith's signature picked electric guitar phrasings. When the words do come, they are full of imagery and soft with despair. It's difficult to tell if he his referencing a former romantic partner or maybe a hint of infidelity. (I always opted for the latter, personally, but that's not worth discussing.)

"I know we have to go, I realize/We only get to stay so long/Always have to go back to real lives/Where we belong"

And later,

"But real lives are the reason why/We want to live another life"

Maybe I'm wrong, but that was always the impression I got from the words.

Keyboardist Roger O'Donnell then makes his impression felt as the song heads into a long instrumental passage in the middle with a slightly out of place ascending part that leaves you surprised that it ended on the proper note. After a few listenings it fits, but at first it feels like it doesn't belong. His piano mixes with Robert's guitar during this break and it is simply beautiful. The nice thing about "Out Of This World" is that it never builds too much and never sinks too low. His voice never climbs much higher than a low whisper. It is consistent throughout, and ends with a nice musical variation in the verse. The song's ending, more abrupt than the beginning, definitely sets a mood. One of the Cure's finest album openers.

"Watching Me Fall" is over eleven minutes long. To say you'd have to be a die hard Cure fan to endure it all would be an understatement. Having said that, it is a standout track, in my opinion. Slow paced, yet aggressive, again we are faced with an extended intro. The guitars have a little more punch, and it builds and finally plateaus as it heads into the first verse. Each line is sung very slow and deliberate, and the content, while extremely vivid, can probably be interpreted many different ways. He has no problem painting the setting.

"There's a thin white cold new moon/And the snow is coming down/And the neon bright Tokyo lights/Flicker through the crowd"

You get a shiver just listening to the imagery. Then there's stuff about a bedroom, a woman, sucking, swallowing, etc. Mostly we get an idea of what the room looks like.

"The room is small/The room is bright/Her hair is black/The bed is white"

Quite vivid, yet vague in a Robert Smith way. The length of the song doesn't help. The verses build in intensity and explode during the choruses before settling back down. Though each listener should develop their own interpretation, I would say the passion expressed in the words leaves you exhausted.

This indeed is one of my favorite tracks on the album. There is a lot to examine both musically and lyrically, only if you can get past the fact that it is over eleven minutes long.

"Where The Birds Always Sing" is the first song that feels like a "classic" Cure song. If the track had a faster tempo, it could have fit onto Wish. It begins with percussion before the guitars come crashing through, joined by drums, settling into the main refrain. Here, drummer Jason Cooper is doing his best Boris Williams (previous Cure drummer) impersonation in what I think is some of his best drumming. Again with the minute-plus intro before we hear any words. The lyrics always sounded to me like Robert Smith's take on how humanity views its own mortality, and how people are always looking for meaning in life's traverses. The first verse lays it out pretty straightforward, in my view.

"The world is neither fair nor unfair/The idea is just a way for us to understand/But the world is neither fair nor unfair/So one survives/The others die/And you always want a reason why"

Musically, the song sticks to the same template. Pretty much repeating the verses, revealing no discernable chorus. There is a standout guitar solo, typical Robert Smith fare, short, but very pleasing to the ears. It fits the song perfectly. Once we move past the solo, the theme of mortality seems to sustain, culminating in this amazing verse which reflects how we all want that perfect world.

"You want everything/Another world/Where the birds always sing/Another world/Where the sun always shines/Another world/Where nothing ever dies"

The last line is sung accompanied only by a piano refrain, and the song ends. Overall, I feel it's a pretty heavy piece of music, and as much as I enjoy the first two songs, "Where The Birds Always Sing" is the first time on this record I find myself really feeling it. One thing is certain: The man does like his death imagery.

Next up is what I feel is the standout track on the album, "Maybe Someday." Granted, as pop songs go, it's not "Just Like Heaven" or "Friday I'm In Love," but I've always believed that if it had been given more airplay or promotion, it could have been a successful single, even considering the awful musical climate circa 2000. (I'm looking at you, Fred Durst) A strong guitar riff and piano make up the intro followed by drums before bassist Simon Gallup enters the fray, giving one of his finest performances on the album. (this of course, coming from a bass player, myself) Lyrically, and I love this song, it just sounds like Robert is once again whining about how he wants to end the band. Long time Cure fans have heard this numerous times over the years, but he almost sounds convincing here.

"No I won't do it again/I don't want to pretend/If it can't be like before/I've got to let it end"

and...

"I've got to let it go/And leave it gone/Just walk away/Stop it going on/I get too scared to jump/If I wait too long/But maybe someday"

Blah blah blah... we've heard this all before. It almost sounds like he's looking for someone to say, "Robert, please don't stop the Cure! Please!" like he's hoping to find the affirmation to continue.

As we reach the instrumental break, keyboardist Roger O'Donnell gets a little wild with the organ solo. Again, sort of out of place, but after a few listens it works.

The song's final verse is also the musical climax. Simon's awesome bass playing and Robert's repeated variations of "maybe someday is the end" make you stand up and take notice, and bring this song to a grinding halt. (ha!) And though it seems like I'm really down on this song, I assure you it is worth one's attention. It belongs among the Cure's best individual efforts.

"The Last Day Of Summer" is a bit more mellow and acoustic in feel. When I first heard this song nearly 11 years ago, it felt like filler. Now, as I've said of the other songs, it has a warmth and a charm that makes it stand with the band's finer material. We have the standard long intro (two minutes plus, here) highlighted by a strong guitar solo. All instruments are working well together, and along with the words there is a very introspective vibe. Again, Robert seems to be lamenting being past his prime, but when we hear these words, it makes us want to reflect on our own past.

"It used to be so easy/I never even tried/Yeah it used to be so easy/But the last day of summer/Never felt so cold"

A very beautiful song, and a perfect ending to side one of the album. (applicable only if listening on vinyl or cassette)

Okay, being totally honest, "There Is No If..." repeatedly helped me learn to find the skip button without looking. I thought the song was silly, both lyrically and musically. At just over three minutes, it is by far the shortest offering on the album. Very mellow, acoustic guitar with a spattering of piano, electric guitar and bass with some mild percussion underneath. A pleasant enough piece, but just by hearing the opening lyrics, the impression was made.

"Remember the first time I told you I love you/It was raining hard and you never heard/You sneezed and I had to say it over"

Nice work, Hemingway. Also, the brief moment separating the verses with the feedback sounds awkward. This just sounded like it was put together at the last moment. Nothing here noteworthy at all about this track.

Well, years pass and with a decade of perspective, the song sounds a bit different to my older ears. The lyrics almost sound desperate and sad. Maybe ten years makes a verse like this seem recognizable, as if at some point we've felt this way.

"'If you die' you said/'So do I' you said/But it ends the day you see how it is/There is no always forever/Just this"

If "There Is No If..." is about a feeling that someone you care about is slipping away, it is a perfect introduction to the next track, which is musically sparse, yet sharp. "The Loudest Sound" is full of mournfully performed guitar solos throughout. Very sad sounding throughout.  If you've ever been involved with someone that you just couldn't imagine living without, this song will strike a chord deep down inside of you. It is a chilling vision that makes you feel so cold and old beyond your years.

"Side by side in silence/They pass away the day/So comfortable, so habitual/And so nothing left to say"

We have a window into how two people once so happy have grown apart.

"He looks up at the sky/She looks down at the ground"

It ends with an account of what it feels like when the end of the relationship is at hand. That fear that many of us have when things become habit, yet there is an underlying uncomfortable feeling. Literally, nothing left to say.

"Side by side in silence/Without a single word/It's the loudest sound I ever heard"

Maybe it's because I have had more than my fair share of these experiences, but there is something that really makes this song hit home for me. When this song ends, I have to have hope that I will never feel this way. This is one of those songs that will really make an impact. Whether that was Robert's intention or not, it is quite effective.

Next up is "39" which was written by Robert Smith as he approached his 39th birthday. This song has a programmed keyboard track intro which is strongly enhanced by a classic Simon Gallup bassline. I'm serious. I'm talking Pornography era. The first time I heard this song, I had to start it over and turn the volume way up just to feel that bassline. For an album that was supposed to hark back to those "dark" albums, it was about damn time that I got something that made me feel that way. Drums come storming in and away we go.  This song is very dark, somewhat angry sounding. Then Robert starts singing, and it's more "pity me I'm getting old and should quit singing" sounding.

"So the fire is almost out and there's nothing left to burn"

Each verse begins with a variation on this lyric. He mentions fire and flames so much, it would embarrass Beavis. It's really unfortunate, because you come away wishing that the song had just been seven minutes of Simon's looping bassline. Once the lyrics begin the song just kind of seems to go nowhere, really. And I say again, as much as I do like this song, it is as a whole one of the weaker selections on the album. Unfortunate, because it begins with such promise.

The album closes with the title track, and press releases around the time the album came out revealed that it was Robert's favorite on the album. It is a good track, but, as the listener, I would disagree with his assessment. The song begins with pounding drums, synth chords and a looping Simon Gallup bassline. Lyrics begin within the first minute, oddly enough, and if you're looking for darkness, you've found it. This has trademark elements of Cure songs. Lots of chorus in the guitar and first person lyrics. The first two verses contradict, with "you" sounding more optimistic in the first, while "I" responds with the pessimistic opposite in the second.

"'This dream never ends' you said/'This feel never goes'/'The time will never come to slip away'"..."'This night never falls again/These flowers will never die'"

"'This dream always ends' I said/'This feeling always goes'/'The time always comes to slip away'"..."'This night always falls again/And these flowers will always die'"

There is quite a dramatic musical build up as we head toward the song's end. The lyrics are contradictory right to the end. If you're familiar with the song "Pornography" then you know that it ends very abruptly. Perhaps a conscious attempt to channel that feeling and sentiment, "Bloodflowers" ends in a similar fashion.

"Never fade/Never die/You give me flowers of love/Always fade/Always die/I let fall flowers of blood"

A screech of guitar feedback, and the song and album have concluded.

So upon further review, Bloodflowers does have a lot of elements that allow it to stand up with those classic dark Cure records of the past. After all, that is the band's intent in claiming to conclude a musical trilogy. Musically, this album is superb. Very moody like those other albums, but a certain maturity there as well. Lyrically, maybe not so much. A lot of the words are beautiful, but there are some repeated themes, such as growing older and burning out, that just don't resonate very well considering that it is more than ten years later and the band has released two further records. In hindsight, this album has more meaning to me now than it did then. And though perhaps it is because I myself was in a dark place in 2000, I find these songs to have gained strength, enough to take me back to that dark place. But then again, isn't that what a good album should do?

*FOOTNOTE* The Japanese release of this album also contains a track called "Coming Up" which was originally slated to be on the North American and European releases, but Robert stated, and I wholeheartedly agree, this song just does not fit with the album. Since I am reviewing the "official" release here, I did not include this song.