Emotional Listening #24

Summer Days (And Summer Nights!!) - The Beach Boys (Capitol, 1965)
It's crazy to think that Summer Days (And Summer Nights!!), released in 1965, was The Beach Boys' ninth studio album. Home to such hits as "Help Me, Rhonda" and "California Girls," it is certainly a crucial entry in their output. Despite these classic singles, believe it or not, there are eight songs that are even better. "The Girl From New York City" and "Amusement Parks U.S.A." are an awesome opening one-two punch. "Summer Means New Love" is an excellent instrumental. However, the high points are "Girl Don't Tell Me," an excellent pop song with great hooks and chord changes, and "Let Him Run Wild," which hints at the more somber, psychedelic, orchestral sound of Pet Sounds. "I'm Bugged at My Ol' Man" is a blatant misstep; one of the worst, most obnoxious songs I've ever heard in my entire life. For reals. Otherwise, Summer Days (And Summer Nights!!) isn't that far off from being perfect.
Top jams: "The Girl From New York City," "Amusement Parks U.S.A.," "Then I Kissed Her," "Salt Lake City," "Girl Don't Tell Me," "Let Him Run Wild," "You're So Good to Me," "Summer Means New Love"


Duty Now for the Future - Devo (Warner Bros., 1979)
While Devo's sophomore LP, Duty Now for the Future, is a continuation of their nearly flawless debut, Q: Are We Not Men? A: We Are Devo!, there are subtle differences and advancements that come out after repeated listens. The overall sound can still be considered post-punk, but the slightly louder new wave elements of the band are a bit more present. It's poppier, and the songs aren't quite as jittery. The guitars are quieter and the synths are up in the mix. Also, there aren't any standouts that reach the same level of awesomeness as "Space Junk," "Gut Feeling/(Slap Your Mammy)" or "Come Back Jonee." "Blockhead" and especially closer, "Red Eye," come close. I look forward to eventually continuing along Devo's discography.
Top jams: "Clockout," "Timing X," "Wiggly World," "Blockhead," "Strange Pursuit," "The Day My Baby Gave Me a Surprize," "Pink Pussycat," "Red Eye"


The View From This Tower - Faraquet (Dischord, 2000)
Faraquet was a melodic, math-y indie rock band from predominantly the late 90s on Dischord Records. I first came across their lone full-length, The View From This Tower, late in 2003 thanks to my long lost pal Andy. Both being drummers into complex music at the time, he knew I would find immense appreciation in this. However, I didn't give the album my full attention until now. These days, I'm not so stuck on ridiculous guitar patterns and math-y time signatures, but of course the dudes in this band still floor me with their outright talent. Devin Ocampo and Chad Molter are, like, Washington D.C.'s two greatest hidden secrets in music: multi-instrumentalists who are masters at everything they do. The math rock on The View From This Tower is not to the Don Caballero level of wankery. These are still pop songs, generally, just with shifting time signatures and intricate guitars riffs. What most surprises me this time around is the quality of Ocampo's vocal melodies and how bright and gorgeous the music here can be.
Top jams: "Cut Self Not," "Carefully Planned," "Conceptual Separation of Self," "Study in Complacency," "Sea Song," "The Missing Piece"


Graceland - Paul Simon (Warner Bros., 1986)
Through the first seven songs, Paul Simon's seminal Graceland is perfect. I start losing interest after that (in spite of how much I like "Crazy Love, Vol. II"). But, man! Those first seven tracks KILL IT. I won't argue with you if you think "You Can Call Me Al" is corny and obnoxious. It totally is. But, not only was it one of my absolute favorite songs as a kid, it is simply a fantastic 80s pop tune, in spite of its ridiculousness. The title track and "The Boy in the Bubble" are probably the two best tracks here, but lately, "Gumboots," with its bouncy rhythms and gorgeous horn sections, and the general beauty of "Under African Skies," have been the most impressive. Graceland's back story, its expansive instrumentation, and African rhythms certainly make it a fascinating record. But, really, I just love it for what it is: a unique pop album of the highest quality. If only the end of the record lived up to the perfection of those first seven jams.
Top jams: "The Boy in the Bubble," "Graceland," "I Know What I Know," "Gumboots," "Diamonds on the Soles of Her Shoes," "You Can Call Me Al," "Under African Skies," "Crazy Love, Vol. II"


They Spent Their Wild Youthful Days in the Glittering World of the Salons - Swirlies (Taang!, 1996)
I came across this, Swirlies' second LP, thanks to my friend and bandmate Eric putting a song of theirs on a Spotify mix for me back in late autumn. On They Spent Their Wild Youthful Days in the Glittering World of the Salons, shoegaze is the word, but not the slow, vague style of My Bloody Valentine. Underneath all the layers and noise, these are pop songs, albeit complex ones. Sure, there are softer, more ambient tracks like "Pony" and "The Vehicle is Invisible." And those songs are great. But what Swirlies excel at the most are the louder, more upbeat jams. "In Her Many New Found Freedom" and "San Cristobal de las Casas" are awesome rockers with more intricate song structures. "Sounds of Sebring" takes the cake, though. Everything about the song is perfect from the melodies to the way the song moves from part to part to the way the guitars and drums sound. I am very much pumped about this record.
Top jams: "In Her Many New Found Freedom," "Sounds of Sebring," "San Cristobal de las Casas," "You Can't be Told It, You Must Behold It," "Pony," "Two Girls Kissing," "Sterling Moss," "Sunn," "The Vehicle is Invisible"