The Friday Five: May 25, 2012

The Friday Five

Friday Five : |ˈfrīdā – fīv| : On the sixth day of every week, I hit the shuffle button in iTunes and share the first five tracks and thought for each track. Sometimes there is a playlist involved, occasionally we’ll have a guest, but most of the time it’s just me. The rest is up to you, our friends and readers! Fire up the media player of your choice and share the first five random track of your shuffle in the comments.

The Five:

[untitled]” by Catherine Wheel (from Adam and Eve, 1997)

Adam and Eve contains one of my favorite tunes from the ’90s; this is not that track–that would be “Delicous.” I’ve always dug the narrative quality of this record. I’m going to have to go back and listen to it sometime this weekend.

A/B Machines” by Sleigh Bells (from Treats, 2010)

As much as I dig Sleigh Bells’ latest record, I find their debut downright irritating. Odd, right? I suppose I can attribute this to my love for the Boss Metal Zone™ pedal, which is used judiciously on the band’s new jam.

Cuts Marked in the March of Men” by Coheed and Cambria (from Neverender: Children of the Fence Edition, 2009)

Because what is more epic than creating a string of concept records–complete with an elaborate psudo-religous cum sci-fi story line–than performing said records in order, and recording it for posterity? Nothing. Not a damn thing is more epic. (Or, should it be “None. None more epic”?)

Witch Doctor” by Cartoons (from Top of the Pops 1999, 2008)


Green Grow the Lilacs” by Soupy Sales (from The Complete Motown Singles, Volume 9: 1969, 2007)

Yes, that Soupy Sales recorded for Motown. Believe it or not, this is not as awful as you’d imagine.

What an odd Friday Five.

What’s on your shuffle today?

  • Phil

    Sixpence None the Richer – “I’ve Been Waiting” (Divine Discontent, 2002)
    Known more for the hit “Kiss Me” and their cover of “There She Goes,” you’ll have to trust me when I say there’s much more to Sixpence than that. This song is—as is much of the album—soft, quiet, lush, introspective, and beautiful. While I miss the loud-indie-rock-guitar moments from This Beautiful Mess, I’m just fine with this version of Sixpence.

    Arcade Fire – “The Suburbs” (The Suburbs, 2010)
    I’ve already admitted in other Friday Fives to having missed the Suburbs train when it first rolled by, and this album opener might be one of the reasons why. It’s not that it’s a bad song, it’s just that it doesn’t go anywhere until Win Butler’s falsetto parts in the chorus. It’s odd that I don’t like this more as it reminds me quite a bit of The Hold Steady’s “A Slight Discomfort,” which I do like. Weird.

    Foo Fighters – “Let It Die” (Echoes, Silence, Patience & Grace, 2007)
    This one’s a slow builder from the arpeggiated acoustic intro and main theme to the bombastic end section with Grohl screaming “Why’d you have to go and let it die?”

    Cake – “Mahna Mahna” (For the Kids, 2002)
    Written by an Italian composer for an Italian film about sexual practices in Sweden, made popular by TV in the U.S. shows Sesame Street and The Muppet Show and British comedy The Benny Hill Show, and covered in true Cake style and fashion for a compilation of new renditions of “children’s songs.”

    Caedmon’s Call – “Prove Me Wrong” (Long Line of Leavers, 2000)
    One of a handful of songs written or co-written by former (and along with Derek Webb, primary) lyricist (though never full band member) Aaron Tate. This was the last Caedmon’s album to feature Tate’s songs, seeing them transition to collaborating with quite a few professional CCM songwriters before Andrew Osenga from The Normals joined the band as one of the primary songwriters. Long Line of Leavers sees Caedmon’s Call move further in a pop-oriented direction started with 40 Acres, and while the album as a whole is fairly strong, actually containing a couple of my all-time favorites from the group, this particular song has never really grabbed me.

  • Rock_dawg

    Since my iPod is already shuffling, here’s the five that came up since I finished reading. Kind of a light, adult contemporary string of tunes, but oh well.

    If Only – KT Tunstall, Drastic Fantastic
    I haven’t listened to this whole album in quite a while, but
    this is probably my favorite off of it.
    A wistful vocal, highlighted by a sparkling production.
    Older – Band of Horses, Infinite Arms
    One of my favourite albums of 2010, but not one of my favourite tracks.
    This Waiting Heart – Chris De Burg, Spark To A Flame
    I’ve never really been much of a Chris De Burg fan, so this
    Best Of CD is pretty much all I need since I’m only into about half of it!
    I’m A Man [New Edit] – Chicago, The Very Best of Chicago: Only
    The Beginning
    Pretty good cover, but nothing can top the Spencer Davis
    Group. Rhino did a great job with this disc
    and I was able to get rid of the other Chicago
    compilations that had been clogging up my CD rack…except the original Chicago IX.
    Despite it’s tinny sound, it’s still an awesome hits set.
    Tommy Can You Hear Me – The Who, Tommy
    Barely a song, but I love the acoustic rhythm and the

  • Michael Parr

    Infinite Arms was probably my favorite record of 2010. I think “Older” holds a special place as I heard it live before hearing it on the record.

  • Michael Parr

    I kid you not: the sixth song in this shuffle was Cake’s take on Willie Nelson’s “Sad Songs and Waltzes.” No joke!

  • Phil

    Weird. iTunes shuffle does things like that to me all the time.

    I just saw the new Muppets movie for the first time last Friday, and what song did they use for the end credits? “Mahna Mahna.” Strange when things like that happen.

  • Christian Foote

    OK mike here goes ……
    1. Planet Caravan- Black sabbath
    2. Under the milkway- The Church
    (what a weird cosmic coincidence)
    3. Ripple- The Grateful Dead
    4. Pizza Day – The Aquabats
    5. Levitate me – The pixies
    sorta all over the place today…

  • Rock_dawg

    To tie in to the weird coincidences in the other thread, another Infinite Arms track was playing when I read your response: “Factory”.

  • Jack Feerick

    “The Arrival and the Reunion,” Dead Can Dance – I’m on a major DCD kick this month, for unknown reasons, and I’ve got five complete albums loaded on my iPod. I’d have been surprised if no Dead Can dance had come up, frankly.
    “Reminiscing,” Little River Band – homework listening, for our ongoing AM Gold project, of course.
    “Sound and Vision (remix),” from the expanded version of Bowie’s Low. There’s always some Bowie in my playlist, but the Berlin trilogy is what I keep coming back to.
    “Right Around the Corner,” The “5” Royales – jump blues meets doo-wop in a flurry of frantic gibberish with killer saxophone. This is from the massive retrospective set Monkey Hips and Rice.
    “We Will Be Free,” Rotary Connection – I namechecked these guys and gals a while back, making them out to be a more artsy and psychedelic version of the Fifth Dimension. It’s a fair reference point, but it only scratches the surface of how awesome and weird they could be. This one starts off as pure tape cut-up musique concrète before settling into a Sly Stone-style soul/funk groover with a growly lead vocal with a gospel choir, all shot through with hair-raising Minnie Riperton shrieks. Bizarre and wonderful.

  • Michael Parr

    I’ve been downloading the Dead Can Dance Live Happenings series as they have been available, and if I weren’t the responsible parent of a two-week old, I’d be attending one of their upcoming shows.

  • Magpie

    My five for this wonderful sunny Friday evening

    The Sun’s Coming Over the Hill – Karine Polwart. Worthy winner of the best original song at the 2005 BBC Radio 2 Folk Awards

    Ever so Lonely / Eyes / Ocean – Sheila Chandra. The main part is a re-working of the 1982 single by Monsoon for whom Ms Chandra was lead singer. Despite her talent she is not the most prolific of artists but she did guest on the excellent Imagined Village album from a few years ago

    Out of Reach – Gabrielle. One put on there for my wife and taken from the Bridget Jones’ Diary soundtrack; not that I need an excuse really as it is a good song.

    Half the World Away – Oasis. Can’t say that I am the greatest fan of Oasis but they do frequently come up with the goods and this contemplative song is one of my favourites; not least because it is the theme music for the incredibly funny Royle Family. A sitcom that managed to be outrageously funny and poignant without ever leaving the sofa (except that Christmas dinner). Damn I miss them.

    Cool Water – Joni Mitchell. My favourite track on Chalk Mark in a Rainstorm. It may owe this status to the fact that my father had a 78 rpm record by Frankie Laine which would have been played when I was in the crib. Actually come to think of it I might actually prefer Frankie’s version; Amazon here I come.

  • jhallCORE

    1) Indigo Girls – “Chickenman” (1200 Curfews, 1995).
    2) Black Keys – “Sinister Kid” (Brothers, 2010).
    3) Dave Matthews – “So Damn Lucky” (Some Devil, 2003).
    4) Ben Harper – “Both Sides Of The Gun” (Both Sides Of The Gun, 2006).
    5) Prince – “Rockhard In A Funky Place (The Black Album, 1987).

    Enjoy the weekend.

  • EightE1

    Mysto & Pizzi, “Somebody’s Watching Me.” From the Geico commercial a few years back. My kid put this here. I must have my fatherly vengeance.

    Amy Winehouse, “Will You Still Love me Tomorrow.” Fuck. She should have had a 30-year career, and it’s stuff like this that makes me think that. So sad.

    The Cars, “Since You’re Gone.” My second fave Cars track (“Bye Bye Love” is Number One). Love the guitar solo, with the e-bow. Elliot Easton is so cool.

    Crowded House, “World Where You Live.” Tell me — I don’t know where you go. Do you climb into space, to the world where you live? I’ve wanted to ask so many people that over the years, yet I chicken out every time.

    Robbie Williams, “Angels.” I did a piece on this for Popdose a couple years ago. I choke up whenever I hear it. I can’t help it.

  • Dennis Corrigan

    I love Memorial Day weekend – a federally sanctioned three day festival of grilling, drinking and soaking up some sun and tunes. So let’s get on with the Five:

    1. “Summertime Blues” by the Who from The Monterery International Pop Festival. I swear, this is what came up first.

    2. “I Ain’t Particular” by Johnny Taylor from the Complete Stax/Volt Singles: 1959-1968, Vol. 9. You could put this box set on your iPod and have as good a soundtrack to a summer weekend as you could want.

    3. “Almost Persuaded” by Etta James from the Essential Etta James. I did not know that this was originally a #1 country/#24 pop hit in ’64 until I just looked it up. Etta also took it to #24 on the pop charts in ’66

    4. “The Boy With The Perpetual Nervousness” by the Feelies from Crazy Rhythms. OK, you know I love the Feelies. I’ll have more to say about this record later this week over at (hint: I like it. I like it a lot).

    5. “You Don’t Love Me” by The Allman Brothers Band from At Fillmore East. I’m going to let this jam go and wrap it up.

    Hope you hear something great this weekend!

  • Michael Parr

    Holy crap, that’s Easton with an e-bow? How did I not know that?

  • Eric S.

    Assuming this is the real Elliot Easton,this is how he did it:

    Elliot Easton

    Les Paul Forum Member

    Join Date: Mar 2003Location: Los Angeles Posts: 2,714 Thanks to all of you for your words of welcome as well as your kind words of praise regarding my playing. Nice site you’ve got here-beautifully laid out! Someone asked if I used an E Bow on “Since You’re Gone”. I did not, as I didn’t have one and they weren’t making them at that point. What I did for the solo was, I taped off all the strings on a Les Paul so they couldn’t vibrate, except for the G string. I was using the 2 pickup position with the tone rolled off the neck pickup. I set a Marshall to the “stun” setting, and I had the big Urei monitors in the control room really cranked. I then stood on a chair, with one foot on the mixing board and aimed the guitar at the right monitor. The G string fed back continuously, so all I had to do was to slide my index finger up and down the fingerboard to play the solo, except for the very end, which I flatpicked. Necessity is the mother of invention-and sometimes truth is stranger than fiction! Pretty weird huh?

  • DwDunphy

    Catherine Wheel — so underappreciated in their time. I picked up on them through Happy Days. Adam & Eve and Wishville perpetually duke it out for my favor though.