Now That's What 411 Calls Music, Vol. 14: The One That Took A While
Posted by Mitch Michaels on 06.05.2006
This is who I am
It was January when the 411 Music staff first began throwing around the idea of an "Essentials"-type feature for individual songs instead of albums. I remember doing my "Essentials" column back in 2004 (which seems to now only exist on my hard drive and not in the 411 archives). I've got to admit, it wasn't too hard to compile a Top 10 list when it came to albums. After all, any music fan worth their salt has a constant rotation of Top 10 favorite bands and artists that they keep track of internally. I've known for ten years that my favorite album of all time is Tom Petty's Wildflowers, and it's unlikely that anyone will ever knock that one off. Same goes for records like the Misfits' American Psycho and Johnny Cash's American Recordings. They're easily my most loved.
But when it comes to songs, well, damn, how do I start there? Albums can run the emotional and sonic gamut: for every blistering "Texas Flood" there's an equally sweet "Lenny". But songs are one place, one time. They represent one idea. How can I say I can live with only one track by Creedence Clearwater Revival? Do you pick a late-70's classic rock number by the Eagles, or one of their time-tested country rock early recordings? And why the fuck can't I put two Everclear songs on this mix? It's my fucking CD. So many questions and only 16 answers.
It only took me a few short hours to put together the "Essentials", but this "Now" column has literally taken months. My mix has included probably 70 different songs at one point or another, and has existed on my iPod, work PC, home PC and in my brain in 15+ incarnations. This one was hard, kids.
In the end, it's all moot, because I *DON'T* have to live with only one song by the Foo Fighters, or choose between "Free Fallin'" and "You Don't Know How It Feels", or decide whose songs are more vital, Uncle Tupelo or Wilco. In the end, I get to keep my entire collection.
But it's you, reader, to whom I'm presenting this list. This mix. These essential tracks. Maybe you know some of the artists. Maybe you know some of the songs. But I can guarantee you don't know all of them. So check these tunes out because I love them all. I hope you find something cool here or at least remember a tune that rocked your socks off at one point or another.
I'm Mitch Michaels, and this is what I call fuckin' music.
Chris Knight "It Ain't Easy Being Me"
(written by Chris Knight & Craig Wiseman) Chris Knight vocals, acoustic guitar
with Richard Bennett bouzouki | Kenny Greenberg national guitar | David Grissom electric guitar | Glenn Worf bass | Chad Cromwell drums | Tony Harrell accordion | Eric Darken percussion | Thanks also to Buddy Miller
Produced by Frank Liddell & Greg Droman | Recorded in Nashville, TN at Javelina Studios & Treasure Isle Recorders
"There oughta be a town somewhere named for how I feel
Yeah, I could be the mayor down there and say, Welcome to Sorryville
It wouldn't be on a map nowhere, you might say that it don't exist
But if you make enough wrong turns, it'd be hard to miss"
And with those words, one of my favorite country songs of all time begins. Chris Knight is a hardcore country act from Slaughters, KY. He made his debut in 1998 on the short-lived Decca-Nashville label before settling at DualTone for a few years. When it comes to the story song, Chris is a master, at the same level of folks like Steve Earle and John Prine. His world-worn vocals and plain delivery make his songs sound deceptively simple. In truth, Knight weaves words and images with his lyrics so deftly, a master painter would be envious. In "It Ain't Easy Being Me", Chris takes on the character of a hopeless screw-up, wonderful only in his ability to do the wrong thing at all times. The art of self-sabotage; we've all been there.
"I shoot the lights and I curse the dark
I need your love but I break your heart."
By the end of the song, you're not sure if the narrator has developed some sort of clarity or if he's just plain accepted his fuck-upery. Either way, it just ain't easy being
Everclear "My Sexual Life"
(written by Art Alexakis, Scott Cuthbert & Craig Montoya) Craig Montoya: bass, vocals | Art Alexakis: vocals, guitars | Greg Eklund: drums, vocals
Produced by A.P. Alexakis | Recorded by Michael Douglass in Madison, WI at Smart Studios
"You always say you want a simple life
You and me both know that you are a liar
You always say you want a simple life
Hearing you talk just makes me tired."
On the surface, you may just think I like songs about losers, but in truth I love songs that generate real emotions. In "My Sexual Life", Art Alexakis brings the story of "the friend zone" to life, as he sings about that fucked up girl that you just can't seem to back off from, even though she's got some problems with another guy. Everclear was always good about putting great fun and "overdriven" backdrops to Art's hazy and sometimes depressing lyrics, but they keep things at mid-tempo on this song and it benefits tenfold. The result is a slow number that may have sounded abstract if delivered in another way.
"Swimming in the heavy water, buried in sand
Happy hearts fall from my stupid hand
A great song from a great album, and when that "no, no, no " tag at the end kicks in, you're feeling it.
Seven Mary Three "Water's Edge"
(written by Jason Ross & Jason Pollock) Jason Ross: lead vocals, guitars | Giti Khalba: drums | Casey Daniel: bass | Jason Pollock: lead guitars, vocals
Produced by Jason Ross, Jason Pollock & Tom Morris | Recorded in Tampa, FL at Morrisound Recording
"Don't go there, I heard her say
You can't stomach what you're gonna see"
A song about murder? Yep, and this one absolutely works. First off, there's that riff. That undeniable riff. I'm pretty sure this was voted as one of the top riffs of 1995. Then there's the song, a story about a murder witness who's too afraid to go to the police. The guilt is palpable on this one. Seven Mary Three had some great vocals when both Jasons were around, and though some people accuse them of being Pearl Jam rip-offs, at least they sound good doing it.
"I can't say a single word
About what I saw of her
Cause her killers, they've got their friends
In familiar places, I tell you man "
"I didn't do anything"
AC/DC "Rock & Roll Ain't Noise Pollution"
(written by Angus Young, Malcolm Young & Brian Johnson) Angus Young: lead guitar | Cliff Williams: bass, backing vocals | Brian Johnson: vocals | Phil Rudd: drums | Malcolm Young: rhythm guitar, backing vocals
Produced by Robert John "Mutt" Lange | Recorded in Nassau, The Bahamas at Compass Point Studios
"To me, it makes good, good sense"
In a way, this song was my first taste of the blues. I mean, sure, blues rock riffing is everywhere, but this song, from AC/DC's insanely successful Back In Black just drips and defines that blues swagger that influences this band and so many others. A daring (if a bit simplistic) anthem to rock and roll itself, I'm not fooling myself into thinking this is even the best song on this album (and how could it be with classics like "Back In Black", "You Shook Me All Night Long" and "Hells Bells"), but there's something to be said about the way this song wraps up the greatest hard rock album of all time. I mean, sitting on this LP, AC/DC and Mutt Lange just had to know they were about to unleash a classic, an album of blistering guitar solos, thunderous riffs and an underlying mourning for the late Bon Scott while simultaneously introducing AC/DC to the mainstream world. How should you end an album like that? They could have took the easy route, with a "For Those About To Rock" anthem, or another churning fast tempo fade out, but instead the band goes balls out, hailing a genre of music that many have called dead, even then. The result is pure AC/DC, great guitar riffs, sexy lyrics and an anthemic chorus that will echo long after you bring Back In Black around for another spin. This song goes past the mourning of Bon Scott into a pseudo-celebration of his hard living existence: it's never gonna die. Never gonna die.
"Rock & roll ain't noise pollution
Rock & rollin' will survive"
Drive-By Truckers "G*ddamn Lonely Love"
(written by Jason Isbell) Patterson Hood: piano | Jason Isbell: B3, vocals | Shonna Tucker: bass | Brad Morgan: drums | Mike Cooley: guitar
Produced by Rev. Davide Barbe | Recorded in Athens, GA at Chase Park Transduction and at the studio in Muscle Shoals, AL
"Well, I ain't really fallin' asleep, I'm fadin' to black"
This song, man, this song is the saddest, most beautiful song "alternative country" has ever produced. With Jason Isbell's heartbreaking lyrics and vocal delivery, "Lonely Love" is enough to leave you with chills and tears. When you lose somebody, when you really lose somebody and there's no chance of ever having them back, if it's because of death or a drifting apart, that's the most hollow, empty feeling of pain you can ever feel, and this song completely conveys that. This song moves way beyond being your typical "depressed guy at a bar" tune early, by even using the instrumentation and guitar effects to achieve the emotional background. By the time Patterson Hood comes in with the sparse harmonies during the final chorus tag, the song will have you weeping if it finds you in the right frame of mind, and maybe even if it doesn't. Thankfully, there's some hope thrown in at the end, as the narrator decides, since things will never "be the same", that he's "not dreaming anymore" he's "waking up". A beautiful, poignant song from a hell of a band and a hell of a songwriter.
"So I'll take two of what you're havin' and I'll take all of what you've got
To kill this g*ddamn lonely, g*ddamn lonely love"
Dwight Yoakam "Understand Your Man"
(written by John R. Cash) Dwight Yoakam: lead vocals, acoustic guitar
with Marty Stuart: electric guitar, background vocals | Brad Davis: acoustic guitar, background vocals | Reese Wynans: B3 | Steve Arnold: bass | Gregg Stock: drums | Michael Haynes: trumpet | George Tidewell: trumpet | Chris McDonald: trombone
Produced by Marty Stuart | Recorded by Chad Hailey in Nashville, TN at Masterlink Studios
"Don't call your name out your window as I'm leaving
Cause I won't even turn my head"
Being a big Johnny Cash, I just had to include a Cash tune on this list. But when I was trying to pare it down to 16 songs, I just couldn't find a better representation of the Johnny Cash attitude that I love so much than this Dwight Yoakam cover version of "Understand Your Man". This song showed up on the Kindred Spirits tribute CD, which itself was released only a few months before Cash's death. The CD is hit or miss, but there's nothing miss at all about this opening cut. Dwight just completely understands the toughness of this song, a tune about a guy who, to put it bluntly, isn't gonna be taking shit from his woman anymore. This song is just mean, and I love it, because there's not a shred of proof that this bitch doesn't deserve it. Few men could pull off a song like this without sounding abusive, but Cash could, and Dwight Yoakam does him proud on this one. Plus, there's just something about when Dwight hollers out a Cash-style "Suey!" and those mariachi horns kick in. It's pure magic.
"You'd say the same old thing that you've been saying all along
So just lay there in your bed and keep your mouth shut til I'm gone
No, don't give me that ol' familiar cryin', cussin' moan
Understand your man"
Foo Fighters "Best Of You"
(written by Foo Fighters) Dave Grohl: guitar, vocals | Taylor Hawkins: drums | Nate Mendel: bass | Craig Shiflett: guitar
Produced by Nick Raskulinecz & Foo Fighters | Recorded in Los Angeles, CA at Studio 606 West
"Were you born to resist
Or be abused?
Is someone getting the best, the best, the best
The best of you?"
So, if you've ever read any of my columns, you probably know how I feel about this song. Dave Grohl is a powerful songwriter, and I can only wonder what would have been if he and Kurt Cobain had become a songwriting team in the vein of Lennon and McCartney. But what DID become was the Foo Fighters, a modern rock band who are making the music that will define this era 20 to 30 years from now. "Best Of You" is the best example of this. The lyrics are so personal, yet so universal, that it's all things to all people. Sad yet hopeful, urgent yet coaxing, soft and loud, it's all here and it's all on this song and it's exactly why I love the Foo Fighters and, hell, music in general. There are so many great lines on this song ("I needed somewhere to hang my head/Without your noose/You gave me something that I didn't have/But had no use", "My head is giving me life or death/But I can't choose"), it's impossible not to quote it at some point. And I'd be doing a great injustice not to mention the playing in this song. The short guitar solo is awesome, while Taylor Hawkins hang-on-by-the-seat-of-your-pants drum work is out of this world. Great song structure, too, as it starts out with the very sparse "vocals and guitar", and then just builds and builds, even in its chord progression. And it all leads to that one slow break, only to thrust you back into its stellar chorus. And, if you love music, that's where the tears start.
"Has someone taken your faith? It's real
The pain you feel
The life, the love you died to heal
The hope that starts the broken hearts
Your trust, you must confess
Is someone getting the best, the best, the best
The best of you"
Garth Brooks "Much Too Young (To Feel This Damn Old)"
(written by Randy Taylor & Garth Brooks) Garth Brooks: vocals
with Milton Sledge: drums | Mike Chapman: bass | Chris Leuzinger: electric guitars | Mark Casstevens: acoustic guitars | Bobby Wood: keyboards | Bruce Bouton: steel guitar | Rob Hajacos: fiddle | The Nashville String Machine: strings
Produced by Allen Reynolds | Recorded in Nashville, TN at Jack's Tracks Recording Studio (Note: This launches a separate instance of Windows Media Player. Click "Launch Application")
"I called the house but no one answered
For the last two weeks no one's been home
I guess she's through with me
To tell the truth I just can't see what kept the woman holdin' on this long"
If you're listening to these tracks in order, you may get whiplash when you hit this one, as we go from the fervent rock of "Best Of You" to this slow fiddle-filled country number. This is from Garth Brooks' debut album and was, in fact, his very first single. There are a lot of great things about this song, but I like the story best. It's the tale of a rodeo rider who's nearing the end of his days on the circuit, recounting all the things he's lost or given up for the life he's chosen. The song doesn't infer regrets, more or less a shrug of the shoulders and a "Shit, there wasn't anything I could've done about it". The fiddle on this song is awesome, and the vocals are Garth at his country best. I'm not one of the people who begrudge GB for trying his hand at different vocal genres, hell, I love the Chris Gaines CD, but when Garth sang hardcore country, there weren't a whole lot better in his generation. Also notable is the name-checking of rodeo/country legend Chris LeDoux, who thankfully found a national audience after this song hit the airwaves. Classic country.
"The competition's gettin' younger
Tougher broncs, you know I can't recall
A worn out tape of Chris LeDoux, lonely women and bad booze
Seem to be the only friends I've left at all"
Nirvana "You Know You're Right"
(written by Kurt Cobain) Kurt Cobain: vocals, guitar | Dave Grohl: drums, vocals | Krist Novoselic: bass
Recorded by Adam Kasper in North Seattle, WA at Robert Lang Studio
"Things have never been so swell
I have never failed to fail"
Posthumous releases, especially ones that came so long after a band's demise, generally suck (Hello "Free As A Bird"), so when it was announced that the self-titled Nirvana hits compilation would contain an all new song, completed from some old masters, forgive me if I didn't get too excited. Then I heard "You Know You're Right". Not only is this one of Nirvana's best songs period, it's a heartbreaking glimpse of what could not be. With In Utero never being accused of being as accessible as the mega-hit Nevermind, people just assumed that, if Nirvana had continued, they would have moved further and further down that path of "acquired taste". "You Know You're Right" proves that Cobain and the band still had every intention of writing catchy and awesome music. From those first notes (picked at the top of the guitar headstock), you just knew you were in for something special. The lyrics on this song are dark and compelling, a morbid look into the mind of a man who would take his own life only a couple months later. The song structure is pure Nirvana, with its slow verses and driving chorus. Cobain's vocals are also at their ragged best, conveying a pain that isn't easy to understand, but remains completely relatable. An excellent exclamation point to the career of one of the greatest bands of all time.
"No thought was put into this
I always knew it would come to this"
Tom Petty "Crawling Back To You"
(words & music by Tom Petty) Tom Petty electric guitar, organ, vocals
with Mike Campbell bass, electric guitar | Steve Ferrone drums | Benmont Tench piano, organ, mellotron | Lenny Castro percussion | Howie Epstein harmony vocals
Produced by Rick Rubin with Tom Petty & Mike Campbell | Recorded in Los Angeles, CA at Sound City & Ocean Way Recording
"I'm so tired of being tired
Sure as night will follow day
Most things I worry bout
Never happen anyway"
If you read my original "Essentials" column (or our upcoming "411 Top 100 Albums" feature), you know that Wildflowers is, without a doubt, my favorite album of all time. Rick Rubin just prompted something so pure and awesome out of Tom Petty, this album doesn't have one bad moment. It spawned a bunch of hit singles ("You Don't Know How It Feels", "You Wreck Me", "It's Good To Be King"), but this song near the album's end is my favorite because, damn, it's just so serene. Despite its inclusion on a solo Tom Petty album, this track features almost all of the Heartbreakers of the time, and Benmont Tench's gorgeous piano playing just drives this one. The flute solo at the beginning really sets the mood of "this is going to be something different", and TP and Mike Campbell's guitar playing is so understated it almost goes unnoticed. The effects on the guitars are worth a mention too, the perfect amount of overdrive to keep things "rock" oriented. The song is pretty abstract, the lyrics are about some guy who's always away on some unknown escapades, but always winds up "crawling back" to his true love. Of all the songs on this list, this one may be the hardest to explain my love for it. Just go listen to it and you'll like it, too.
"Hey, baby, there's something in your eyes
Tryin' to say to me that I'm gonna be alright
If I believe in you
It's all I wanna do"
The Black Crowes "Bad Luck Blue Eyes Goodbye"
(written by Chris Robinson) Chris Robinson vocals | Rich Robinson guitars | Steve Gorman drums | Eddie Harsch keyboards | Johnny Colt bass | Marc Ford guitars
Produced by The Black Crowes & George Drakoulias
"I know no luxury of knowing what your eyes read
I know one million ways to always pick the wrong thing to say"
Like a southern rain, the Black Crowes storm through your stereo speakers and drench you with the blues. The Crowes aren't one of my big, favorite bands, but some of their songs pierce your heart, and when the Robinson brothers set their sites on slow blues, you're in for, at least, an emotional experience. "Bad Luck Blue Eyes" is almost a stream of conscious, lyrically, with bits of heartache and wisdom, moaned in a way that only Chris Robinson can manage on his greatest studio moments. The words break every so often to allow a guitar fill to pour out, overdriven and bleeding. This song is pure stripped down, raw blues-rock, and when the female vocalists kick in on later choruses, with Robinson scatting and wailing the blues, it's the soulful glue that holds this together and up as one hell of a song.
"Such a simple suicide
A second chance never tried
And you don't understand
I need a helping hand"
Tom Petty & The Heartbreakers "Mary Jane's Last Dance"
(written by Tom Petty) Tom Petty vocals, guitars, keyboards | Mike Campbell lead guitars, keyboards, bass | Benmont Tench keyboards, backing vocals | Stan Lynch drums, backing vocals | Howie Epstein bass, backing vocals
Produced by Rick Rubin with Tom Petty & Mike Campbell
"Oh my my, Oh hell yes
Honey, put on that party dress"
Classic. That's all I can really say about this song. From those opening chords, the backwoods atmosphere, the inspired lyrics, the HARMONICA, it's all classic. My love for Tom Petty & The Heartbreakers didn't start with this song, but it sure as hell solidified it. And this track didn't have to be great. Petty was busy working on his second solo album for a brand new label, thinking he'd just hand over some one-off vault material to pad out the Heartbreakers' first Greatest Hits package for MCA. A mere contractual obligation. But producer Rick Rubin insisted that Petty sit down and write a new song specific for the band. And the result was this magic number, and it became a huge hit. The weird ass video starring Kim Basinger helped, no doubt, but it was the song that you could just keep coming back to over and over. Perfect for the dreariest of fall evenings or the most sweltering summer night, with a laid back intensity (and a kick ass guitar solo) that had been missing on rock radio during the alt-rock early 90's. In a way, "Mary Jane's Last Dance" is truly the end of the original sound of the Heartbreakers. Drummer Stan Lynch left not long after this was recorded, and the band has since moved on to less hard rocking material that, while great in its own right, is a far cry from the fast driving tunes that were the hallmark of late-70's/80's Tom Petty & The Heartbreakers albums. Heck, the band wasn't even sure about their future at the time the song was recorded. Tom was working on another solo project, The Traveling Wilburys were fresh off their second album, and the Heartbreakers themselves, normally a high output unit, had only recorded one album together in the past six years. Thankfully, the band found a second wind, but if this HAD been the end, it would have been a hell of a way to go out.
"Well, I don't know, but I've been told
You never slow down, you never grow old
Tired of screwin' up, tired of goin' down
Tired of myself, tired of this town"
Kid Rock "You Never Met A Motherfucker Quite Like Me"
(written by Robert J. Ritchie, Allen Collins & Ronnie Van Zant) Kid Rock vocals, rhythm guitar, lead guitar, bass
with Misty Love background vocals | Shirley Hayden background vocals | Stefanie Eulinberg drums | Jimmie Bones keys, harp | Kenny Olson rhythm guitar | Jeff Grand "Freebird" guitar solo | Andy Sutton smart ass
Produced by Kid Rock | Recorded in Detroit, MI at the Clarkston Chophouse
"I used to smoke pinners while my moms made dinner
Now I smoke bombs and rock with Lynyrd Skynyrd"
The title says it all, I believe. Love him or hate him, you can't deny Kid Rock brings something unique to the table. While there are so many posturing rap songs, I think this one's great because it's actually true. I never HAVE met a motherfucker like Kid Rock. He blends these redneck styles of music (southern rock, metal, classic arena rock) with a trailer park rap sensibility that no one will ever match, and it speaks to my own inner redneck. The fact that Kid incorporates the "Freebird" intro into the song, while namechecking people like Skynyrd, ZZ Top and Willie Nelson, only makes it that much more perfect. Cocky was a terribly underrated album, way better than the breakthrough Devil Without A Cause, and "Motherfucker Quite Like Me" is the best song of the bunch.
"That's why they call me the pimp of the nation
Hey bitch"
Danzig "Going Down To Die"
(written by Glenn Danzig) Glenn Danzig: vocals, guitars, piano | Eerie Von: bass | John Christ: guitars | Chuck Biscuits: drums
Produced by Glenn Danzig & Rick Rubin | Recorded in Hollywood, CA at Ocean Way Recording and in Van Nuys, CA at Sound City Recording
"In my heart there's a wind
And it swirls up a din
It's so loud it drowns my mind"
For a while there, Danzig really got it. He just knew how to make those bluesy metal anthems. "Going Down To Die" is one of them. The lyrics paint this hazy picture of the end of something, but there's still this great, creepy imagery that doesn't seem hokey. Glenn Danzig really is one of the best vocalists in metal of all-time, and has his great moments in songwriting, too. The guitar work of John Christ was stellar during his time with Danzig, but he knows just when to rein it in on this track. This song will get you pumped up for your journey. And sometimes can help you accept your own fate.
"Better leave while my song still calls
It's the truth that I'm going down to die"
Lucero "The War"
(written by Ben Nichols) Ben Nichols: guitar, vocals
Produced by Jim Dickinson | Recorded in Memphis, TN in a barn
"And the preacher said, Boys, he who is killed tonight
Will dine with the Lord in Paradise
Then one boy spoke up and said, Preacher, come on
And eat your supper with us"
I'd like to have included a song that featured the entire band because I love Brian Venable's guitar work, but I just can't deny "The War" as one of my favorites. In the Dreaming In America documentary, Ben Nichols says something about having 60 songs about girls and 2 about his grandfather. This is one of the latter 2. "The War" tells the story of a young guy who gets drafted and sent to fight in World War II. The song captures a lot of feelings in just a few lyrics. Hopelessness and hope, loss, fear, monotony, and even some joy. The decision to back the song only by an acoustic guitar was a great one, as Nichols' strained and alcohol soaked vocals are perfect for the "solo acoustic" treatment. The live versions with just an electric guitar are nice, too. It's nice to hear a song about war in this day and age that has no political agenda. This one just talks about a blue collar soldier and his continuing struggle to cope and understand the events that happened during his time overseas. It really is a poignant song.
"I'd be no guest at the table of the Lord
His food was not to be mine
Cause I cursed His name every chance that I could
And I reckon that's why I'm still alive"
Uncle Tupelo "Effigy"
(written by John Fogerty) Jay Farrar: vocals, guitar | Jeff Tweedy: vocals, bass | Ken Coomer: drums
Produced by Brian Paulson | Recorded in Austin, TX at Cedar Creek Recording
"Last night, I saw the fire spreadin' to
The palace door
The silent majority weren't keeping quiet
Anymore"
This is a Creedence Clearwater Revival cover, but I just like the way Uncle Tupelo does it a little better. They give the song a backwoods vibe, almost akin to "Mary Jane's Last Dance". The vocal work with Jay Farrar and Jeff Tweedy sounds really great, with Tweedys reed thin high harmonies on each verse. And the guitar work, damn, this song flares up like a fire and it just eventually engulfs this smoky track with a burning intensity like the blaze the band is singing about. The words themselves are cryptic, telling the story of an uprising that sees the people of some nation set fire to the ruler's palace, but the fire couldn't be controlled, and it spreads across the whole land. Maybe some other philosophizer can appreciate the imagery, but I just think this is an awesome song.
"Who we burnin'?
Who we burnin'?
Effigy"
Third Day "King Of Glory"
(words by Mac Powell, music by Third Day) Mac Powell: vocals, acoustic guitar | David Carr: drums, percussion | Mark Lee: guitar | Tai Anderson: bass | Brad Avery: guitar
with Cobb Mass Choir directed by Oral Moses: background vocals | Monroe Jones: keyboards
Produced by Monroe Jones | Recorded by Jim Dineen, Ryan Williams & Karl Egsieker in Atlanta, GA at Southern Tracks Recording
"Who is this King of Glory
That pursues me with His love
And haunts me with each hearing
Of His softly spoken words"
OK, I'll admit it. The first time I heard this song, I pulled off the road and cried. Yeah, I'm a big pussy, so what? I've said before, people just want to hear a little truth in this world, and hearing it is so rare these days. When you DO hear something true and beautiful, you're really taken aback. This song did that for me. The lyrics are inspired, but not much out of the ordinary from your standard gospel song. It's simplicity and the arrangement that make this song so powerful. Mac Powell's southern vocals, the way the song builds from an acoustic to an all-out orchestral number. And that male choir. Wow. I think any good country artists knows to end his album with a gospel song, and, at heart, this is a very country set of songs, even if I did include folks like Danzig and Nirvana. I couldn't think of a greater, more powerful gospel song to end on than "King Of Glory".
"His name is Jesus
Precious Jesus
The Lord Almighty, the King of my heart
The King of Glory"
And there you have it. I hope you check out these songs. I hope they help you find some truth somehow. I hope you fall in love, get angry, laugh, cry, whatever. Let music affect you. It affects me.
