The 500 - #132 - Saturday Night Fever Soundtrack - Various Artists

I was inspired by a podcast called The 500 hosted by New York-based comedian Josh Adam Meyers. His goal, and mine, is to explore Rolling Stone Magazine's 2012 edition of The 500 Greatest Albums of All Time.

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Album: #132
Album Title: Saturday Night Fever Soundtrack
Artist: Various (Several tracks by Bee Gees)
Genre: Disco
Recorded: Multiple Studios
Released: November, 1977
My age at release: 12
How familiar was I with it before this week: Very
Is it on the 2020 list? Yes, at #163, dropping 31 spots
Song I am putting on my Spotify Playlist: Disco Inferno

I didn’t exactly thrive in elementary school in the sleepy fishing and farming town of Kingsville, Ontario. Truth be told, I wasn’t a big fan of the experience. Still, I made the most of it and, looking back now, I realize there were some good moments tucked in there. Maybe I’m subconsciously ignoring the positive aspect of my four years attending Jack Miner Public School because I enjoyed my high school experience in London, Ontario, so much more.

Jack Miner Public School.

However, I had a few friends during those formative years -- ages 9-12. I also managed to land a spot on a few Grade 8 sports teams, and even played Chiz Upschlager in our school play, A Hillbilly Weddin’, the kind of script that would never get past today’s socially conscious administrators. However, in the 1970s, cultural stereotypes were fair game for pre-teen farce.

Script Jacket for A Hillbilly Weddin'.

In 1977, I was awkwardly navigating Grade 8 as the youngest kid in class, thanks to being bumped ahead after an educational stint in England earlier in the decade. Consequently, I didn’t really click with my classmates, some of whom were 18 months older than I. Indeed, most of my friends were in the Grade 7 class down the hall.

One day, our homeroom teacher, Mr. Desrocher, offered a handful of us the chance to care for the plants in the school greenhouse. I jumped at the opportunity. Any escape from the daily grind felt like a gift. On my first shift, I was paired with Lorelei, a striking brunette who was new to the school and, just like the hothouse flowers we nurtured, a crush began to bloom.

A small greenhouse, similar to the one at Jack Miner School.

Lorelei was easy to like. She was kind, friendly, relaxed, and genuinely passionate about the plants we tended. Me? Not so much. But the actor within that had secured the role of a dopey hillbilly faked the horticultural enthusiasm necessary to spend more time with her.

One afternoon, she asked if I’d be interested in volunteering with her at the John R. Park Homestead and Conservation Area in nearby Harrow. There, we’d learn about life in the 1800s at a restored Classical Revival house and its farm buildings, including one that housed a steam-powered sawmill. Once trained, we could lead weekend tours. Smitten by the idea, and Lorelei, who was now chatting with me nightly on the phone, I jumped at the chance. Much to the surprise of my neighbourhood chums, I traded my beloved street hockey games for history lessons and her company.

The John R, Park Homestead and Conservation Area still exists. See link to website above.

The other thing Lorelei adored was the soundtrack to the 1977 blockbuster hit film, Saturday Night Fever. This time, I didn't have to fake that fandom with her, I knew the tracks well. Even if my parents hadn't owned a copy of the double record, the songs were inescapable on radio in the autumn of 1977 and spring of 1978. Five songs from the disco record had hit the top 10 in Canada. In fact the third song, Night Fever, held the number one spot for five weeks.

I desperately wanted to see the movie, but there wasn’t a theatre in our small town, and persuading my parents to drive me to the nearest city, Windsor, to see an R-rated film loaded with profanity, nudity, and violence was a non-starter. So I improvised. I managed to track down a copy of the novelization, which I naïvely assumed was the original source material. It turned out to be far more salacious than I expected...a real eye-opener for my young, impressionable mind and a crash course in the complexities of adulthood.

The novelization of Saturday
Night Fever that I owned? or borrowed?

My love for Lorelei went unrequited. I never mustered up the courage to ask her out. I am not sure what I would have done if she had said "yes"...take her to the local arcade and sub-shoppe with babysitting money, I suppose. The next year, she outgrew all of her interests...plants, the John Park Homestead, Saturday Night Fever and hanging out with me. In high school she started dating a guy with a car. How was this 13-year-old pimply faced kid supposed to compete with that? Still, she remained kind, and would say "hi" to me in the hallways. My first dalliance with infatuation was over.

Listening to the Saturday Night Fever Soundtrack this week, especially the deep cuts, was a delightful blast from my past and helped me remember that romantically tinged chapter in my life. I still love this record and, now that I think about it, my time at Jack Miner Public School wasn't all that bad. Thanks, Lorelei, wherever you are.

The 500 = #133 - The Wild, The Innocent & The E Street Shuffle

I was inspired by a podcast called The 500 hosted by New York-based comedian Josh Adam Meyers. His goal, and mine, is to explore Rolling Stone Magazine's 2012 edition of The 500 Greatest Albums of All Time.

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Album: #133
Album Title: The Wild, The Innocent & The E Street Shuffle
Artist: Bruce Springsteen
Genre: Rock
Recorded: 914 Sound Studios, Blauvett, New York.
Released: November, 1973
My age at release: 8
How familiar was I with it before this week: Fairly
Is it on the 2020 list? No
Song I am putting on my Spotify Playlist: Rosalita (Come Out Tonight)

The film Blade Runner, the television series The Wire, and the teen dramedy Freaks and Geeks rank among my all-time favorite works of media. Like this week’s featured record, The Wild, The Innocent & The E Street Shuffle, each was hailed by critics, yet initially struggled to find an audience and commercial success.

Thankfully, time changed the trio’s fortunes. Blade Runner became a science fiction classic through home video, and The Wire built a devoted following across five brilliant seasons. To their credit, the HBO network stuck with the gritty crime drama despite lacklustre numbers, and it is often listed as one of the greatest television shows of all time. Only Freaks and Geeks met an untimely end, cancelled after one perfect season. That single season, however, has since achieved cult status, and I’ve used it for years as a creative way to teach Ontario’s Health Curriculum to middle school students.

Recorded in the spring of 1973, the record marked an important shift in Bruce Springsteen's sound. His debut record, Greetings From Asbury Park, NJ, was heavily influenced by folk traditions. Specifically, Springsteen was inspired by the song-writing approach of Bob Dylan, leaning into dense wordy songs, vivid imagery and stream of consciousness storytelling. This is evident in tracks such as Angel and Mary Queen Of Arkansas, both of which were composed as acoustic pieces in the tradition of the singer/songwriter style.

The Wild, The Innocent & The E Street Shuffle saw Springsteen learn more into the style found in early rock and roll or the soulful rhythm and blues songs of his youth. I am currently reading his biography, Born To Run, in which he writes that his earliest musical influences came from the transformative impact of Elvis Presley, who represented rebellion and escape from the confines of his working-class upbringing, as well as The Beatles, who opened his eyes to the joy and camaraderie of rock and roll.

He also discusses the impact that soul musicians and Motown artists had on him as a youth. He loved their ability to combine emotional storytelling with irresistible grooves. These influences can be felt, particularly on the record's opening track, The E Street Shuffle, which echoes the rhythmic energy of James Brown and the layered texture found in many Motown hits.

Like his debut, The Wild, The Innocent & The E Street Shuffle earned glowing reviews but struggled commercially at first. Undeterred, Springsteen and his newly christened E Street Band hit the road, playing relentless, high-energy shows up and down the East Coast. These marathon concerts, equal parts sweat, soul and storytelling, built a fiercely loyal fan base and kept the band afloat despite lacklustre record sales.

Everything changed with Born to Run (#18 on The 500), the breakthrough Springsteen had dreamed of. It quickly went Gold and within a few years surpassed six million copies sold. That success sent fans back to his first two albums, both of which were eventually certified Platinum. For critics, and for Springsteen, the vindication must have been sweet.

The 500 - #134 - Ready To Die - The Notorious B.I.G.

I was inspired by a podcast called The 500 hosted by New York-based comedian Josh Adam Meyers. His goal, and mine, is to explore Rolling Stone Magazine's 2012 edition of The 500 Greatest Albums of All Time.

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Album: #134
Album Title: Ready To Die
Artist: The Notorious B.I.G.
Genre: East Coast Hip Hop
Recorded: The Hit Factory and D&D Studios, New York, New York.
Released: September, 1994
My age at release: 29
How familiar was I with it before this week: One song
Is it on the 2020 list? Yes, at position #22, rising 112 spots
Song I am putting on my Spotify Playlist: Big Poppa
Few things in hip hop engage me more than razor-sharp wordplay, intricate multi-syllabic rhymes, and storytelling that feels cinematic. Add in lyrics that carry political or social weight, and you’ve got my full attention.

If you’ve been following this series, you know I celebrated Eric B. & Rakim’s ability to rhyme across the bar line in my January, 2024, post on Paid in Full (#228 on The 500) and Eminem’s linguistic acrobatics in October, 2023, when I explored The Marshall Mathers LP (#244). I’ve also unpacked the groundbreaking social commentary in Public Enemy’s Fear of a Black Planet (#302); Illmatic (#402) from Nas or the raw bullhorn of protest found in N.W.A.’s Straight Outta Compton (#144). Meanwhile, I've also become a fan of clever sampling, especially the work of Erick Sermon and Parrish Smith on their first release, Strictly Business (#453).

Album covers for records mentioned above.

When it comes to pure smoothness, few can rival the late Christopher George Latore Wallace, better known as Biggie Smalls, The Notorious B.I.G., or simply Biggie. He delivers all of that and more. His verses aren’t just lyrics; they’re vivid narratives woven into rhythm, making Ready to Die a masterclass in clever, seemingly effortless rap. Biggie’s command of internal rhyme and multi-syllabic wordplay is matched by his breath control and rich vocal tone, allowing him to glide through complex lines with ease. Layer in his knack for striking imagery and streetwise slang, and the result is music that flows with smooth confidence.

Biggie’s work has only grown in stature over time. As noted earlier, Ready to Die jumped more than 100 spots in Rolling Stone Magazine's 2020 update of 2012’s The 500 Greatest Albums of All Time, landing in the Top 25. That said, not every track has aged gracefully. Some songs reveal the raw edges of Biggie’s youth...he was just 21 when he wrote them. The 14th track, Friend of Mine, leans heavily on crude humor and explicit sexual detail, tarnishing his lyrical brilliance. Respect, the album’s 13th cut, brims with sexual bravado, ego-driven bluster, and violent imagery, relying more on shock value than the sophistication Biggie displays elsewhere. And then there’s the awkwardly titled Me and My Bitch, intended as a love song but now jarring and undeniably misogynistic by today’s standards.

Biggie with his wife Faith Evans. It is unconfirmed if she
was the inspiration for his love song Me And My Bitch, but 
the timelines match-up. They married in August, 1994.

The Notorious B.I.G. released only two studio albums before his life was tragically cut short in a drive-by shooting in Los Angeles on March 8, 1997. Both records earned spots on Rolling Stone’s 2012 and 2020 editions of The 500 Greatest Albums of All Time. I’ll keep revisiting Biggie’s catalog, but I suspect my go-to will be the 2007 Greatest Hits compilation, released on the tenth anniversary of his death. It pulls together standout tracks from both studio albums, along with select posthumous material, that offer a powerful snapshot of his legacy in one collection while side-stepping some of his less mature tracks.

The 500 - #135 - Slanted and Enchanted - Pavement

I was inspired by a podcast called The 500 hosted by New York-based comedian Josh Adam Meyers. His goal, and mine, is to explore Rolling Stone Magazine's 2012 edition of The 500 Greatest Albums of All Time.

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Album: #135
Album Title: Slanted and Enchanted
Artist: Pavement
Genre: Indie Rock, Noise Pop, LoFi
Recorded: Louder Than You Think Studio (Stockton, California); South Makepeace Studio (Brooklyn, New York)
Released: April, 1992
My age at release: 26
How familiar was I with it before this week: Not at all
Is it on the 2020 list? Yes, at position #199, dropping 74 spots
Song I am putting on my Spotify Playlist: Conduit For Sale

In recent years, I’ve reshaped how I approach writing fluency in my Grades 6 and 7 classroom. Instead of assigning a major graded task every few weeks, I now focus on enhancing learning and confidence through regular entries in our Writer’s Notebooks. At the heart of the shift is the “Quick Write” strategy -- posted prominently in our class room (see below) -- which encourages students to get their ideas down without overthinking grammar or spelling. The approach is simple. I want them to write freely and often using topics that are generated from our class discussions or novel readings. I read each entry and offer one piece of targeted advice, helping them grow without overwhelming them with a page full of red ink editing suggestions. The goal is progress, not perfection. Later, they can choose their favourite piece and edit it thoroughly for grading.

This approach to writing came to mind as I researched the recording of Slanted and Enchanted, the debut record from California rockers Pavement. Created in a makeshift home studio on a shoestring budget, the band embraced a lo-fi aesthetic that favored raw energy over polish. The sessions were described as relaxed and spontaneous. Drummer Gary Young reportedly hit record on the tape machine and ran to his kit, capturing “takes” that were imperfect but authentic. The result was a landmark indie rock album, celebrated for its disheveled charm, jagged guitar riffs, and off-kilter melodies. Like a Quick Write, Slanted and Enchanted wasn’t about perfection, it was about capturing something real, unfiltered, and emotionally resonant. That spirit of creative freedom is exactly what I hope to foster in my students’ writing.

Pavement (circa 1992).

Until last year, Pavement had slipped under my radar. It wasn’t until May, 2024, when guest blogger T.J. Gillespie wrote about their fourth album Crooked Rain, Crooked Rain (#212 on The 500) that I gave a proper listen. The record’s offbeat charm and melodic grit pulled me in. So when I noticed their debut, Slanted And Enchanted, ranked higher than Crooked Rain on The 500 list, I was eager to learn more. 

I'll admit, Slanted And Enchanted was a tough listen at first. The album’s lo-fi production and a raw, unpolished sound, felt chaotic and the vocals seemed a little pitchy. Yet, as I sat with it, I began to appreciate its scrappy brilliance. It wasn’t trying to be perfect, it was trying to be honest. That same spirit is what I aim to cultivate in my classroom – a space where students can create freely, without fear of flaws, knowing that the real magic often lives in the rough edges.

A stack of Writer's Notebooks from my current class, 
ready to be picked up for their next Quick Write opportunity.

I’m thrilled with the growth I’m seeing in my young writers. This week, we’re diving into seven strategies for crafting irresistible introductions, a skill that will elevate their writing instantly. I can’t wait to read their next Quick Write and see how they experiment with these techniques before applying them to a reworked polished piece. Just as writing this weekly blog has sharpened my own skills, their progress shines through every opportunity I give them...even when the work is raw, unpolished, and a little chaotic. As we've learned from Pavement, that’s where the magic begins.

The 500 - #136 - Greatest Hits - Elton John

I was inspired by a podcast called The 500 hosted by New York-based comedian Josh Adam Meyers. His goal, and mine, is to explore Rolling Stone Magazine's 2012 edition of The 500 Greatest Albums of All Time.

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Album: #136
Album Title: Greatest Hits
Artist: Elton John
Genre: Rock, Pop
Recorded: Several Studios
Released: November, 1974
My age at release: 9
How familiar was I with it before this week: Very
Is it on the 2020 list? No
Song I am putting on my Spotify Playlist: Don't Let The Son Go Down On Me

Last spring, I had the incredible opportunity to direct The Lion King Jr. with the talented students at Sir Arthur Currie Public School in London, Ontario. It was a true team effort, and I was fortunate to collaborate with a dedicated group of colleagues who brought the production to life. We had a musical director who led the choir and prepared the songs, two teachers who choreographed the dancers, and a tech lead who managed everything from headset microphones to stage lighting. Several staff members designed costumes and built set pieces, while others handled marketing and ticket sales.

Poster for Sir Arthur Currie’s production of The Lion King Jr.

Nearly 150 students auditioned for just 15 speaking roles (13 of which included singing), and the talent on display was nothing short of extraordinary. Faced with such an abundance of gifted performers, we made the bold decision to double-cast the show, allowing more students to shine on stage. It was a bit of a gamble -- splitting our rehearsal time between two casts made my directorial debut far more challenging than I had anticipated. But in the end, it was worth every moment. I walked away with a deep appreciation for the art of directing and the magic that happens when a school community comes together to create something memorable.

Sir Arthur Currie students performing The Circle Of Life at the conclusion of  The Lion King Jr.

For many of our students, The Lion King Jr. was their first real introduction to the music of Sir Elton John, who composed most of the songs for Disney’s 1994 animated classic, along with lyricist Tim Rice. During our spring rehearsals, John's melodies were absolutely everywhere. They echoed from the stage, floated through the hallways, and popped up in the most unexpected places -- hummed at desktops during work periods, whistled between classes, or softly sung in the yard at recess. E.J. knows how to write a tune that sticks with you, and our school was happily buzzing with his unforgettable music for weeks.

I was about the same age as some of our youngest cast members when I first heard the music of John. I can’t say for sure which song I heard first, but chances are it was the irresistibly catchy Crocodile Rock that pulled me in. That’s the magic of his music – he knows how to craft a hook that sticks. His 1974 Greatest Hits album was an early testament to his talent that expanded exponentially throughout his career.  He followed up with Greatest Hits Volume II  three years later, and his third volume a decade after that. John and his longtime lyricist, Bernie Taupin, were a hit-making machine. In fact, John has landed 29 songs in the Billboard Top 10 -- ranking him fourth among pre-streaming artists, behind only Michael Jackson, The Beatles and Madonna.

Bernie Taupin (left) and Elton John in 2019.

However, he topped those talented performers, by being elevated to the highly exclusive EGOT Club -- reserved for artists who have managed to snag an Emmy, a Grammy, an Oscar and a Tony award with their work. Only 21 individuals have achieved this honour. Of them, a mere three entertainers have been pop music performers  –  Elton John, John Legend and Jennifer Hudson.

The memory of The Lion King Jr. at Sir Arthur Currie will fade with each graduating class; however, I feel that Elton John’s legacy will persist. His 1983 hit, I’m Still Standing, a defiant anthem of resilience, made its way onto our classroom playlist this year, a mix of old and new music curated by both students and me. One student in particular, Saqeef, who played Older Simba in The Lion King Jr. (see below), has already set his sights on performing the song at the Spring, 2026, edition of Currie’s Got Talent,  accompanying himself on piano. It’s a fitting choice, and a testament to how John’s music continues to inspire new generations -- after seven decades and 50 years since I first started humming his tunes.

Saqeef (right) as Older Simba in a scene from Sir Arthur Currie's
production of The Lion King Jr.

The 500 - #137 - Tim - The Replacements

I was inspired by a podcast called The 500 hosted by New York-based comedian Josh Adam Meyers. His goal, and mine, is to explore Rolling Stone Magazine's 2012 edition of The 500 Greatest Albums of All Time.

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Album: #137
Album Title: Tim
Artist: The Replacements
Genre: Alternative Rock, Punk Rock, Power Pop
Recorded: Nicolette Studios, Minneapolis, Minnesota
Released: September, 1985
My age at release: 20
How familiar was I with it before this week: Not at all
Is it on the 2020 list? No
Song I am putting on my Spotify Playlist: Bastards of Young (Ed Stasium Mix)

Long before I dropped the needle...or rather, queued up the stream... for my first listen to Tim, the fourth studio album by The Replacements, I recalled some advice that had been given to me a few years previously. This cautionary guidance had come during a discussion about a previous post concerning the debut record from The Replacements, Let It Be. Those sage words? Skip the original mix for Tim and dive straight into the 2023 remix by producer Ed Stasium. Reissued by Rhino records, the Stasium Remixes were part of a four CD package dubbed Tim: Let It Bleed Edition, containing alternate takes, demos and a 1986 live performance recorded at the Cabaret Metro Concert Hall in Chicago.

Tim: Let It Bleed Edition album cover (2023).

It was sound advice. Stasium isn’t just any studio hand, he’s a former punk guitarist turned sonic architect with an impressive résumé. From shaping the raw energy of the Ramones and the artful edge of Talking Heads to powering Living Colour’s Grammy-winning 1988 debut Vivid, Stasium has spent decades honing studio chaos into high fidelity clarity.

However, I had to wonder: What was wrong with the original record? And, if "I didn't listen to it first, how would I know the latter was better?" So, on Monday of last week, I intentionally arrived an hour early at my school classroom to give the 1985 version of Tim an uninterrupted listen while puttering about preparing for the week. I did the same on Tuesday, and by Wednesday the record was starting to grow on me. Sure, it was rough and unpolished, but that seemed to accentuate the themes on the record -- restlessness, youthful defiance, loneliness and fleeting love. Paul Westerberg, the band's guitarist, vocalist and songwriter, penned lyrics that are raw, plainspoken, self-deprecating and funny, capturing 20-something, working class disillusionment.

Westerberg's handwritten lyrics for
Here Comes A Regular, from Tim.

On Wednesday, I made the switch (from the 1985 original mix of Tim to Ed Stasium’s 2023 Let It Bleed Edition) and the difference hit like a jolt. Suddenly, the fog lifted. The original, produced by Tommy Erdelyi (aka Tommy Ramone of the Ramones), had long been criticized for its murky sound. The vocals felt buried under digital reverb, guitars smeared together, drums seemed to be pushed so far back they barely registered. Stasium’s remix flipped that script. Westerberg’s voice steps into the spotlight, guitars snarl with definition and the drums finally punch through with authority. For me, it wasn’t just an upgrade, it was a full-on sonic revelation.

Ed Stasium surrounded by some of the tools of his trade.

The change in sound immediately reminded me of another remix from my favourite band, Rush. In 2002, the Canadian trio released their 17th studio record, Vapour Trails. It was the first record released after a six-year hiatus for the band -- drummer Neil Peart suffered the loss of his daughter in an automobile accident and his wife to cancer ten months apart. For a time, it seemed the band might be done altogether. News of their return to a Toronto studio in 2001 brought eager anticipation from their loyal fan base, myself included.

When Vapor Trails dropped, it was hailed as Rush’s triumphant return to a guitar-driven, hard rock sound after two decades of synth-heavy experimentation. But sonically? It was a mess. The album fell victim to the so-called “loudness war,” a mastering trend of the 90's and early 00's that cranked everything to peak volume at the expense of clarity. The result was a dense, distorted wall of sound where instruments bled into each other and dynamics were crushed flat. Fans adored the songs, but many admitted the listening experience was exhausting, even unbearable in long doses.

In 2013, Canadian producer David Bottrill gave Vapor Trails the overhaul it desperately needed, and the result was transformative. Gone was the suffocating compression and in its place, space and clarity. Instruments finally had room to breathe. The guitars and bass regained their warmth and Peart’s drums sounded organic and thunderous instead of crushed into the background. The remix didn’t just fix technical flaws, it unlocked the emotional core of the record, turning what was once a sonic headache into a powerful, cathartic experience that matched the intensity of Rush’s songwriting. It added the emotional depth needed to the track Ghost Rider which was inspired by Peart's 14-month motorcycle journey across North America during his healing process after losing the two most important people in his world -- his wife and only child.

Ghost Rider: Travels On The Healing Road.
the 2002 memoir from Neil Peart.

I am glad I spent a couple days with the original recording of Tim. It gave me context for the vastly superior 2023 remix. However, much like the original recording of Vapour Trails, I won't be playing it again. Instead, I will always opt for their vastly improved remixed counterparts.