Tuesday, 28 January 2020

The 500 - #448 - The Police - Synchronicity

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


My plan (amended). 

  • One record per week (ish) & at least two complete listens.
  • A blog post for each, highlighting the important details and, when possible, a background story that relates to the record.
  • No rating scale - just an effort to expand my appreciation of diverse forms of music.
  • Listen to Josh and his guest on The 500 podcast to gather additional information and insights.
It had to happen eventually: Writer's Block. Well, not so much writer's block as a sudden loss of motivation to write. 
Interestingly, I experienced a similar malaise at this time last year when, fortunately, I came across The 500 Podcast which got me back to the keyboard. 

Then, it struck me. I was still trying to process the passing of Rush drummer Neil Peart. I couldn't write about Synchronicity without writing about my favourite band of all time. Curiously, Rush didn't manage to get a record on the 500 list. So, I wrote about Neil, and now I'm ready to move on.

Album # 449
Album Title: Synchronicity
Artist: The Police
Released: June, 1983
My age at release: 17
How familiar was I with it before this week: Very familiar
Song I am putting on my Spotify Mix: Tea in the Sahara
Great Lyric: (So many to choose from)
"Another industrial ugly morning
The factory belches filth into the sky.
He walks unhindered through the picket lines today,
He doesn't think to wonder why.
The secretaries pout and preen like cheap tarts in a red light street,
But all he ever thinks to do is watch.
And every single meeting with his so-called superior
Is a humiliating kick in the crotch.
Many miles away something crawls to the surface

Of a dark Scottish loch" (Synchronicity II)

The Police were one of the first bands that excited my interest for music in the late 70s. The band has four records on The 500 list but, surprisingly, my favourite, Zenyatta Mondatta, is not one of them. The band only had five studio releases in total. So, four out of five making this list is awfully impressive and not surprising. They are exceptional talents. 
With the release of Synchronicity in 1983, The Police were heralded by critics as "The Biggest Band in the World" and rightly so. They were headlining stadiums across the world, performing in front of 70,000 people at a time in some venues.
My friends and I were actually a little disgruntled by their commercial success. This was high school for us and the power of the clique was strong. We had loved The Police when they were an eclectic trio, playing a fusion of punk, reggae and jazz. We had been fans for five years (a lifetime when you are a teenager). 

Now, seemingly suddenly, they were popular with everyone, even the nauseating Preppie Crowd who would have looked down their noses at us for wearing an Outlandos d'Amour T-shirt from a Police Picnic show at the CNE grounds in Toronto.
I have regretted missing that show for years. However, many of my friends were in attendance, some seeing the band for a second or third time. Consequently, we collectively bristled at their new-found celebrity among the great unwashed. Now, it is me who bristles when I reflect on the narrow-minded sensibilities of youth. What can I say? It was high school.

The most salient memory I have about this record involves a time when I angrily "stormed out of my home" over some small injustice involving my parents. I was in Grade 12, in the autumn of 1983, and I was determined ...NEVER TO RETURN.
My friend Stan convinced his mother that my situation was dire and she agreed to let me stay. She was a single mother who was putting herself through university and lived in a small apartment with her three children. I was given a spot on the floor in Stan's room (which he shared with his brother). In retrospect, I suspect she was too exhausted to argue with Stan about bringing home a stray. 

Stan lived humbly and didn't have much of a music collection. Mine, mainly vinyl, was still at home...right beside a comfortable bed in which I should have been sleeping. However, Stan did have Synchronicity on cassette and I had brought my Walkman. I played on my headphones when I was falling asleep on the floor for nearly a week. 
Eventually, I returned home to my comfortable middle-class life and my copy of the record on vinyl. However, the experience left its mark and, whenever I hear it, my back gets a little sore and I swear I can still feel rough, industrial strength carpet on my back. 

Bonus Content

Stan also worked at a nearby Singles Bar called "Sweetwaters" as a busser. While the thirty-something crowd were romancing each other on the dance floor (or in their cars in the parking lot), Stan would "clean-up" packs of cigarettes and lighters from the temporarily abandoned cocktail tables. He didn't smoke, but I did and was elated. Eventually, we were so well stocked that we began selling half-packs on the smoking patios of our respective high schools for a discount price. Unfortunately, our get-rich-quick enterprise went up in smoke. Stan was caught (liberating a pack) by an eagle-eyed customer, who complained. The jig was up. Still, it was good while it lasted and certainly revealed Stan's entrepreneurial spirit that he would eventually leverage into his own successful business in his 20s. 



Sunday, 26 January 2020

On the passing of Neil Peart

On Friday, January 10, I learned of the passing of Rush drummer and lyricist Neil Peart. To say that I was obsessed with the music of Rush and the writing of Peart during my teen years would be an understatement. Long before taking on the challenge of writing about The 500 Greatest Albums of All Time I wrote a post about the impact the band had on my formative years.
One of my favourite posters - this was on my bedroom wall from 1980-1985
Now, years later, I want to write a tribute to Neil and his significant impact on my life. However, this is a difficult task given:
  • How can I write about teenage emotions when I am no longer close to those feelings? 
  • How did that fiery cocktail of earnest passion, precocious intellect and quixotic romanticism that once raged within me become this dull and flickering, nostalgic reminiscence?
It is difficult to explain how important the music of Rush and the lyrics of Neil Peart were without providing some background. In the early 80s, I was a Canadian teenager living in a city subdivision. At the risk of sounding very "kids these days have it easy...." let me share the following:
  • There were no digital downloads or streaming services for music (iTunes, Spotify). I built my Rush record collection one album at a time, even taking two buses to track down a copy of Farewell to Kings in a shopping mall on the other side of the city.
  • I didn't own a record player until I was 17. I took my albums to the public library and borrowed headphones to use in the music listening booths.
  • Visiting the library was additionally important because I needed to research the complex references buried within Neil's lyrics. It was more than 15 years before the launch of Google.
I look back on this time fondly. The challenge of building my Rush collection brought me immense joy. With each purchase, I felt like I revealed another piece in an elaborate puzzle that had been constructed specifically for me. No other music I had listened to reflected so perfectly my emotional state and experiences.

The earliest works by Rush tapped into my love of literature, including mythology, fantasy and science fiction, as well as my growing interest in science and philosophy.
  • Fly By Night featured songs such as... 
    • Anthem which was inspired by the writings of Ayn Rand on the philosophical tenets of objectivisim
    • Rivendell, a song about retiring to the fictional world of the elves featured in JRR Tolkien's fantasy series The Lord of the Rings 
    • Bytor and the Snowdog an eight-minute, multi-part epic about a battle between good and evil on the edge of the mythical underworld of Hades.
  • Caress of Steel featured...
    • Two epic fantasy tracks: The Necromancer and The Fountains of Lamneth. The latter took up the entire side of the record.
    • The song Lakeside Park, which was about a small recreation area on the shores of Lake Ontario in Port Dalhousie. Growing up in nearby St. Catharines, I visited this place regularly. It was one of the many times when I felt as if Neil's words were penned for me.
"Midway hawkers calling 'Try your luck with me!' 
 Merry-go-round wheezing the same old melody.
A thousand ten-cent wonders, who could ask for more
A pocket full of silver - the key to heaven's door.
Lakeside Park, willows in the breeze
Lakeside Park, so many memories
Laughing rides, Midway lights
Shining stars on summer nights."

The next album, 2112, tells the story of the fictional city of Megadon in the year 2112. Individualism and creativity have been outlawed by a cabal of priests who rule from the Temples of Syrinx. A nameless protagonist discovers a guitar hidden in a cave behind a waterfall and excitedly brings it to the priests who ultimately destoy it after telling him:

"Oh yes we know, it's nothing new
It's just a waste of time.
We have no need for ancient ways
Our world is doing fine.
Another toy, that helped destroy
The elder race of man.
Forget about your silly whim
It doesn't fit the plan."

A dystopian tale about corrupt malevolant leaders quashing creativity fit perfectly in my angsty wheelhouse as an early teen. The lyrics are certainly a bit dated - but, I still listen to the album at least once a year.
That, perhaps, is the most remarkable thing about Rush and the lyrics Neil wrote. He grew as a writer in nearly perfect step with my growing maturity and changing tastes. 
By the time Moving Pictures and Signals were released, Neil was nearing his 30s and his writing reflected reality rather than fantasy. Once again, his lyrics in the song Subdivision seemed to have been written for me, the suburban, Canadian teenager. The song captured the entire time, but I will share one lyric that perfectly reflects it: 

"Any escape might help to smooth
The unattractive truth 
That the suburbs have no charms to soothe
The restless dreams of youth."

Since Neil's death, I have been taking a journey through my "Rush-centric" memories. Such as:



  • Eagerly anticipating the release of every record since Moving Pictures in February of 1981.
  • Taking a two-hour train trip to Toronto to purchase Rush records, patches, posters & pins that could not be found in my hometown and finding the building featured on the Moving Pictures album cover. (It's the Ontario Legistlative Building in Queen's Park). 
  • Seeing them perform live seven times, including their final performance in Toronto in 2015. 
  • Spending hours reading album liner notes and lyrics as well as newsletters from the Rush Backstage Fan Club. I still have the certificate.


  • However, the memory that always lingers is a drive with my girlfriend, now wife, to Algonquin Park in August, 1987. We were heading to Pog Lake for a week-long camping adventure with friends. While on Hwy. 11, just past Orillia, the song Time Stand Still played on the car stereo. I distinctly remember reflecting deeply about the lyrics. It has become my favourite Rush song and hearing it or even thinking about the words always fills me with a wistful melancholy that I simultaneously embrace and eschew. (If that makes sense)


    Thank you, Neil. 
    Rest in Peace.













    Thursday, 2 January 2020

    #OneWord 2020 - Part Two

    In my last post,  I reflected on my success with the 2019 goals I set with my #OneWord: Persist.
    This is my fifth year participating in the #OneWord social media challenge and I've had varying degrees of success using a single word to narrow my focus. The experience has been positive and beneficial but, this year, I am taking things in a different direction.
    My wife and I recently watched a Ted Talk by Susan David in which she discussed the power of emotional courage.

    The following quote resonated:

    "Only dead people never get stressed, never get broken hearts, never experience the disappointment that comes with failure. Tough emotions are part of our contract with life. You don't get to have a meaningful career or raise a family or leave the world a better place without stress and discomfort. Discomfort is the price of admission to a meaningful life."
    I'll admit, I have learned to diminish my emotional response to situations. There was a time when I was aggressively outspoken regarding my feelings about...well...pretty much everything.  At times I was a bit pushy and, regretably, did not take the feelings of others into consideration when ranting and railing over the many injustices of the world (big and small, real or imagined)Some of this I couched in comedy. I felt, incorrectly, that I could say anything I wanted as long as it was "meant to be funny".

    I eventually made the conscious decision to censor myself. It was challenging. I still struggle to "read" people and situations. However, with time and practice, I got a lot better. My life improved noticeably. Friendships, career, physical well-being and most importantly, my relationship with my girlfriend (now wife) flourished.

    However, am I just internalizing, or bottling, these emotions?
    Do I need to start paying the price of admission to a more meaningful life? 
    Do I need to embrace discomfort?
    I think so. DISCOMFORT is my #OneWord2020
    It is important to add the following caveats.
    • I will continue to work on my ability to acknowledge the feelings of others and take them into account when acting on my discomfort.
    • I will seek guidance from others - especially my wife.
    • This will be a slow process and I am not setting goals for myself yet. I have set an alarm for April to update this post. 
    I suspect my first challenge with discomfort will be modifying the dependence I have with my smartphone. It brings me great comfort and allows me to disengage with human connections. That has to change if I intend to live a more purposeful and meaningful life.

    #OneWord 2020 - Part One

    It is said that "one cannot catch up on sleep". According to Matt Walker, a scientist who specializes in brain activity, "sleep is a non-negotiable, biological necessity" for humans who "are the only species that deliberately deprive themselves of sleep for no apparent reason". If that is the case, then I am not sure what I have been doing for the past week. It sure feels as if I am "catching up on sleep" when I'm getting ten or more hours a night. 
    Should I disturb him, or just go back to sleep?
    I'm a little concerned about next Monday morning, when the alarm goes off at 7:00. 
    How difficult will it be to get back into a regular routine?
    This is compounded further by the dubious choices I've made with my diet. It's time to put the chocolate, candy, chips, cheese, beer and bourbon well out of reach.

    For me, January 1 has, for the past four years, been a day of reflection and a chance to lay down plans for determining my #OneWord. The #OneWord Challenge is a social media movement that encourages individuals to choose a single word as their focus for the year. Some, like me, connect that word to S.M.A.R.T. goals.
    Last year, my #OneWord was PERSIST and I set goals in this blog post.


    Reflecting on that post and my #OneWord I think I've been reasonably successful:
    • My fitness goals were somewhat derailed by three injuries and a bout of shingles - but, I'm persisting. 
    • I have persisted with Duolingo Spanish and my study streak is at 565 days.
    • I played guitar a little less but, I've been taking piano lessons for three months and I practise regularly.
    • I persisted with my writing, averaging a blog post every six days.
    In Part Two of this post, I will choose my #OneWord for 2020 and try to establish a few S.M.A.R.T. goals. I also hope to share how I incorporate #OneWord and Goal Setting Lessons with my students.

    Sunday, 29 December 2019

    The 500 - #449 - Big Star -Third / Sister Lovers

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

    My plan (amended). 

    • One record per week (ish) & at least two complete listens.
    • A blog post for each, highlighting the important details and, when possible, a background story that relates to the record.
    • No rating scale - just an effort to expand my appreciation of diverse forms of music.
    • Listen to Josh and his guest on The 500 podcast to gather additional information and insights.

    Album # 449

    Album Title: Third / Sister Lovers
    Artist: Big Star
    Released: March, 1978
    My age at release: 12
    How familiar was I with it before this week: Not at all
    Song I am putting on my Spotify Mix: Kizza Me
    Great Lyric:
    "That I am
    Flustered and erratic
    'Cept when I lie with you
    Naked on a southern love
    Give down
    Rub downs
    Lie downs
    Any downs at all." (Downs)


    I've been a big fan of comedy for most of my life. I like it all, sketch, improv, situational, absurd. However, I love the art of stand-up comedy the most. A stand-up comedian, particularly at the club level, has to enter a room of strangers and for five to 90 minutes and generate joy. It is one of the few professions where the product of earnest labour is laughter. A club comic has to entertain everyone from a group of seniors who got free passes through the casino to the table of nine drunks who decided that Yuk Yuk's was the best place for Chris to celebrate turning 25.
    In the world of stand-up, there are performers who garner respect from their peers at a level that far surpasses their commercial success. These are the "Comedian's Comedians". When they perform, the other comics stay at the back of the room or listen from the side of the stage. Artists such as Doug Stanhope and Colin Quinn, Patrice O'Neal and Greg Giraldo are among the best examples. 
    Doug Stanhope
    Big Star falls into a similar category. They are often called "the band that your favourite band is listening to". Many of the artists I have written about in this blog cite Big Star as a major influence, including R.E.M., Kiss and Wilco.


    I really like Big Star, so I was excited to see a record from them coming up on The 500 list. However, I had never heard this record and, when I first played it, I unimpressed. It didn't seem like a Big Star record at all. As I listened, I just kept thinking "why can't this be more like the first album? Shouldn't that record be on the list?" 

    It is, and so is the second record. I'll encounter Number One Record at #438 (probably this March) and Radio City at #403 (in late autumn of 2020). I will have many flattering things to say about those records but, for now, I am listening to their final record Third, (also called Sister Lovers) which featured two members who were dating sisters at the time this recorded. 
    Alternate Cover
    The story behind the release of the record is far more interesting than the tracks that are on it:
    • It was recorded in the Fall of 1974 but would not be released for another four years.
    • Although critically acclaimed, the first two records were commercial failures. Consequently, Third was recorded by only two remaining band members accompanied by what biographer Bruce Eaton described as "a large and revolving cast of Memphis musicians".
    • The album documents the band's disintegration and deteriorating mental health of singer/guitarist Alex Chilton. It has even been suggested that this is an Alex Chilton solo record more than a Big Star album.
    • Third was finally released in March, 1978, and numerous reissues followed. Consequently, there is no definitive version and Chilton distanced himself from the record. It was not a commercial success but has enjoyed cult status and is well regarded by music critics and die-hard fans. 


    I listened to it at least six times and I really tried to connect with the material. It just didn't land for me. Perhaps my musical knowledge is insufficient to appreciate it. However, I am looking forward to hearing the other Big Star albums that I will feature in the coming weeks. 

    Tuesday, 24 December 2019

    The 500 - #450 - Jackson Browne - For Everyman

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

    My plan (amended). 

    • One record per week (ish) and at least two complete listens.
    • A blog post for each, highlighting the important details and, when possible, a background story that relates to the record.
    • No rating scale - just an effort to expand my appreciation of diverse forms of music.
    • Listen to Josh and his guest on The 500 podcast, which drops weekly, to gather additional information and insights.

    Album # 450

    Album Title: For Everyman
    Artist: Jackson Browne
    Released: October, 1973
    My age at release: 8
    How familiar was I with it before this week: One song
    Song I am putting on my Spotify Mix: I Thought I Was A Child
    Great Lyric:
    "These days I sit on corner stones
    And count the time in quarter tones to ten, my friend Don't confront me with my failures I had not forgotten them." (These Days)

    In January, 2011, my brother and sister, who are twins, were turning 40. I wasn't sure what to get them for their birthday until it was announced that Rock and Roll Hall of Fame musician Jackson Browne had included London's John Labatt Centre (JLC) on his solo acoustic tour. I purchased three tickets and gave them the news on their birthday.
    On April 18, 2011 we met for dinner and went to the show. We had great seats for an intimate performance. The JLC had curtained off half the arena with a heavy, floor-to-ceiling drape so it felt like a small theatre. The stage was simple. A rack with a dozen guitars and a small, electric piano. 
    The tour was promoted as one without a prescribed set-list. Instead, Browne opted to take requests from audiences. At our event, rather than requests being raucously shouted, they were politely called out. There are not many things more mellow than a middle-aged, Canadian audience at a Jackson Browne acoustic gig. The soulful, soft rock of the 1970s has been dubbed yacht rock, dad rock and chillwave because of its very smooth, introspective and marijuana-friendly spirit.

    At one point, a request for the song Our Lady of the Well was made and, after picking up a guitar, Browne paused and said, "I think I'll play that on the piano tonight." 

    This is the musicianship of which I am most envious. I play saxophone and guitar at an intermediate level and have been taking piano lessons for three months. I can learn a song on each instrument and, if I practice enough, I can perform it reasonably well. However, nothing can change. 
    • I can't change the key or the instrument. 
    • If I learned it on guitar, I have no idea how to play it on the saxophone.
    • I'm not able to participate in any kind of improvised jam - even if it is built around the melody. 
    • Without sheet music, I am lost.
    I'd love to be able to seamlessly embrace a piece of music in a way that resonates with me in the moment. That being said, I realize that Browne is a professional musician with 40+ years of playing experience behind him. He has certainly eclipsed Malcom Gladwell's 10,000-hour rule for expertise. Still, that casual, personal comfort with music is something to which I dreamily aspire. 
    For Everyman is a wonderful record. It was my Christmas week soundtrack as I heard it at least a dozen times over five days. I also listened to Josh's podcast interview with Judd Apatow about this record twice

    I am a huge fan of Judd's work and use his coming-of-age series Freaks and Geeks as part of my Grade 7 & 8 Health curriculum. During the interview, Judd ruminates on the influence Jackson Browne has had on his writing. Apatow acknowledges that many of his stories are built around the challenges associated with growing-up, an unmistakable theme on Browne's For Everyman

    Apatow cites I Thought I Was A Child as direct inspiration for his 2007 comedy, Knocked Up


     As he puts it...
    "Sometimes, when I make a movie, I'll work on it for years. So a movie will take 2 to 5 years to make. And then I'll hear a song and go...'everything I was going for in that movie, this person expressed in 3 and a half minutes'."
    Apatow freely admits his fascination with the tribulations associated with aging. "I do have two movies with the number 40 in them" he jokes. 
    I, too, have an odd, sometimes maudlin fascination with time, aging and maturity. 

    Perhaps that is why I like Browne and Apatow so much? 

    Perhaps that is why I took my brother and sister to see Browne on their 40th birthday? 

    Okay, the second question is a stretch but...it does give me a tidy book-end to this blog.
    Ticket Stub from that show.


    Next up: #449 - Big Star - Third


    Monday, 23 December 2019

    The 500 - Checkpoint #1 - 50 Blog Posts Completed

    On January 28, 2019, while puttering about the apartment, I tuned into the latest edition of Bill Burr's Monday Morning Podcast. Bill was joined by his friend and fellow comedian Josh Adam Meyers, who was promoting his new podcast The 500.  
    Each weekly episode of Josh's show focuses on one record from Rolling Stone's 500 Greatest Albums of All Time, beginning with Album 500 and counting down to number one. Josh does not review each album. Instead, he and his guests (actors, comedians, musicians) use "facts from the albums and song meanings as a road map" for their interview.
    Inspiration struck. I'd owned that 2012 edition of Rolling Stone magazine and wanted to give each record its due and now, with a subscription to Spotify, I had easy access.
    . My initial goal was...
    • Two records per week and at least two complete listens.
    • A quick blog post for each, highlighting the important details and a background story.
    • No rating scale - just an effort to expand my appreciation.
    • I also subscribed to Josh's podcast to provide me with additional insight and information.
    As it turns out, this pace was untenable and my approach changed. The slower progress is more enjoyable as it provides me with more time to appreciate both the album and Josh's podcast.



    The Amy Winehouse post on December 16 marked my 50th record. To celebrate, I'll share a few statistics and thoughts on how things have gone. 

    • I average a post every 6.5 days.
    • I am 1/10th of the way through the list, on pace to finish in 2026.
    • My most popular post was for Kiss Destroyer, with 115 clicks.
    • I receive more readers when I write about education - but my audience for both topics seems to be growing. 
    • The majority of my readership (70%) is evenly split between the United States and Canada.
    • Russia and Ukraine rank 3rd and 4th (hmmm? bots?).
    • In the last few months, I've had readers from Thailand, France, Germany, the Czech Republic, Poland and Argentina.
    • Three of the 50 albums I've written about were released in the 1960s.
    • 15 were released the 1970s.
    • 14 were released in the 1980s with three from 1987.
    • Nine were from the 1990s and nine more from the 2000s.
    • 11 of the 50 records were familiar to me and 12 were new. 
    • My favourite discoveries were Proxima Estacion: Esperanza by Manu Chao and 69 Love Songs by The Magnetic Fields. 
    • I was most surprised by how much I liked Life after Death by Notorious B.I.G.
    • I got a chance to meet Josh when he was in Toronto for the Just For Laugh's Comedy Festival.
    • Rapper LLCool J "liked" my post about his record.
    • Actor, Author and Comedian Jay Mohr (SNL, Jerry Maguire) also called one of my posts "brilliant"  - so that was a feather in my cap. 

    A page with hyperlinks to all of my blog posts can be found here and I am continuing to build a playlist on Spotify featuring one song from each of the 500 albums.

    Don't hesitate to give me feedback, and I invite you to join me on the rest of this journey, beginning tomorrow with a look at album #450, Jackson Browne's For Everyman. 

    I'll hope to have more guest bloggers...perhaps even a few of my students. 

    If all goes well, I'll check in again after album #401 Californication by Red Hot Chili Peppers, sometime next November.

    Thanks for reading.