Into The Great Wide Open: RIP Tom Petty

I was hoping there wouldn’t be such a delay in this post but it’s been a bit of a hectic October for me thus far (Again). The Chicago Cubs are playing deep into the postseason for the third straight year and I also became a father (More on that for another post) but I would be remiss if I did not share my thoughts on the passing of the one and only Tom Petty.

Tom Petty was a true pioneer and an American original who loved Elvis, The Beatles, The Byrds, and Bob Dylan among many others. He took those influences and distilled them into an art form and medium distinctly his own. A chiming Americana with a cinematic and cerebral essence laced with razor sharp wit. He could write timeless classic anthems (American Girl, I Need To Know, Listen To Her Heart, Refugee, Even The Losers, Here Comes My Girl, Don’t Do me Like That, The Waiting, Don’t Come Around Here No More, Free Fallin’, I Won’t Back Down, Runnin’ Down A Dream, Yer So Bad, Learning To Fly, Into The Great Wide Open, Mary Jane’s Last Dance, Crawling Back To You, Walls (Circus), Room At The Top, Swingin’, The Last DJ, Have Love Will Travel), pile-driving rockers (Anything That’s Rock ‘N’ Roll, Century City, What Are You Doin’ In My Life?, You Wreck Me, Honey Bee, Sweet William, Saving Grace, I Should’ve Known It, American Dream Plan B), and lilting numbers so delicate it feels like they could disintegrate or shatter at any moment (Insider, Southern Accents, Alright For Now, Wildflowers, Wake Up Time, Lonesome Sundown, Echo, Blue Sunday, Square One, Something Good Coming). I feel even to call him a legend is a bit of a disservice. He was an American institution that galvanized our collective conscience. Almost anyone anywhere has heard a Tom Petty song or has a Tom Petty story that means something deeply to them. He’s woven himself into our DNA.

I’d like to share my experiences with Tom Petty and what he means to me personally. It started in high school when I was still just a casual fan of his. I must confess I had his hits scattered across burnt CD’s and I thought that was probably good enough for me. But little did I know that was just the tip of the iceberg.

I came to be a die-hard Tom Petty fan in probably one of the more unexpected ways with the most unexpected album. It began on a day where I was skipping my college classes as a Freshman in the Fall of 2002. I was still living at home and going to a community college at the time. I had no real reason to skip classes other than maybe to recharge the batteries from one of hundreds of run-of-the-mill house parties I’d attend during those years with my usual suspects from the night before. I remember watching a brief promo spot with Tom Petty on his upcoming new album at the time, The Last DJ. If memory serves me this was on the TV Guide scrolling channel, yes stuff like that actually happened in the early 21st century kids. Now any of you who are big Tom Petty marks know this album was critically maligned and panned due to its scathing commentary of the music industry. I never really understood this backlash because 1.) He was right about everything he said and 2.) The songs are brilliant and The Last DJ as a whole was cohesively strung together with the intensive care of an expert auteur. To this day it’s still my favorite album of his since Wildflowers.

After The Last DJ kicked open the door to my mind for Tom Petty I became an omnivore of his work. Seeking and consuming anything and everything he had ever put a fingerprint to. My musical awakening (As it often does) really was kick-started into hyper-drive with my emancipation from home. With that independence though I still needed guidance. I needed a compass, a true north and I sought comfort and solace in the sage wisdom and divine transcendence of the catalogs of what would become my Mt. Rushmore of Rock & Roll. Those four individuals that became my forefathers are Bob Dylan, Bruce Springsteen, Neil Young, and of course Tom Petty.

The spiritual shakedown, the big bang of my musical universe specifically accelerated the Spring of 2004 and with it my record collection exploded, including my Petty collection. After this I knew there was no turning back. I listened tirelessly to masterpieces like Tom Petty & The Heartbreakers, Damn The Torpedoes, Hard Promises, Full Moon Fever, Wildflowers, Echo, and the aforementioned The Last DJ. Petty’s classic albums helped me through a particularly stagnant and depressing Winter of 2007/2008 both personally and professionally. I was getting nowhere but every time I heard those clarion calls from Petty I felt like I was soaring above all of mankind and architecture. Even in the darkest deepest doldrums of that Winter he would be able to make a smile crack across my face like lightning.

That particularly Petty-obsessed period spurred me on to get a ticket to see him live in Chicago in the Summer of 2008. I was fortunate to see him live three times with The Heartbreakers and it was like watching true masters of mythical proportion cranking out masterpieces like they had always been there on a biblical or classical scale.

At one point I spent 50 dollars ( ! ) on a Japanese import of Echo single “Room At The Top” just for the incendiary blues of the non-album rarity “Sweet William” that only true bleeding heart Tom Petty zealots will know about.

I became an acolyte and an advocate for Peter Bogdanovich’s film Runnin’ Down A Dream on Tom Petty & The Heartbreakers. It’s still my favorite music documentary by far.

New Tom Petty albums that came out after this became milestone events for me. Highway Companion arrived during a personal renaissance for me in the Summer of 2006. I went overboard with it and it became the soundtrack to a large portion of my Summer that year. Mojo came out in 2010, his first with The Heartbreakers since 2002 and I had another soundtrack lined up for June. I loved it’s Chicago style blues showing the dynamic versatility of Petty and co. His last studio album in 2014, also with The Heartbreakers, was Hypnotic Eye. Yet another Summer burner it was an excellent coda for a band and its leader at the zenith of their prowess and powers. The sound of 40 years of symbiosis powering an engine of angst-riddled riffs and Gainesville swamp, sculpted into a career-spanning exclamation point.

Besides the music, I deeply admired the way he carried himself personally and professionally, it felt like a beacon of light to me.  He didn’t suffer fools gladly and he didn’t take shit from anyone. He was a 24-karat rocker through and through but he was earnest and it was welded into his bone marrow to do the right thing. He wouldn’t budge on his principles and he snarled and raged against the slightest whiff of injustice or corruption. He had a fierce loyalty to his friends and family and I’d like to think it’s one of my better virtues in part because of him. He literally never backed down from confrontation if it was a war fought in the name of being morally sound.

Upon hearing of his passing I sobbed. I sobbed like I had lost a family member, in part because I had. Tom Petty was like a father to me in many ways and he is my hero. Now the world feels more like a bird with clipped wings and it’s less vibrant without him. Somehow, someway we have to learn to fly again.

 

RIP Tom, you were a good man to ride the river with.

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R.I.P. Chuck Berry

Music has lost some true legends over the past year and a half. Yesterday Chuck Berry passed away and his loss is seemingly incalcuable. The tributes have already come pouring in from all over and his influence is impossible to comprehend I believe. There will always be a debate who started Rock & Roll but to me Chuck Berry was the truest pioneer. More than Elvis, Little Richard, and Jerry Lee Lewis no one played guitar like that before him and his songwriting was so precise, it encapsulated the very essence of Rock & Roll. All of the platitudes of the genre can be traced back to year zero and Chuck Berry songs.

I’ll leave an excerpt here of a quote from Bob Dylan from a RollingStone interview back in 2009 regarding Chuck Berry. He says it better than I ever could:

“Chuck said to me, ‘By God, I hope you live to be 100, and I hope I live forever,'” Dylan says with a laugh. “He said that to me a couple of years ago. In my universe, Chuck is irreplaceable. All that brilliance is still there, and he’s still a force of nature. As long as Chuck Berry’s around, everything’s as it should be. This is a man who has been through it all. The world treated him so nasty. But in the end, it was the world that got beat.”

 

R.I.P. Chuck Berry

 

TOP 50 RECORDS OF 2016

TOP 50 RECORDS OF 2016:

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50. Glenn Hughes- Resonate

Although it may serve as a placeholder for the impending return of Black Country Communion in 2017 Glenn Hughes’ solo effort Resonate is uncompromising in its cocksure classic rock approach.  It’s a collection of sturdy always reliable songs from Hughes and his continuously stunning vocals that belie his age.

 

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49. Pinegrove- Cardinal

Pinegrove’s Cardinal is one of the better debut albums of 2016. With warm rustic melodies and singer Evan Stephens Hall’s creaking tenor they recall elements of The Shins albeit with a more rural roots sound to them. Looking to the future perhaps the best part of Cardinal is the subtle restraint that shows bigger and better things could be coming from Pinegrove.

 

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48. Neil Young- Peace Trail

One thing you can’t accuse Neil Young of is resting on past accolades and glories. Peace Trail is his ninth (!) studio album of original material in the past 12 years and that doesn’t even include the myriad of live sets, covers albums, and archived releases. These albums have been wildly uneven in quality and while Peace Trail has its diamonds in the rough (The title track, “Indian Givers,” “Terrorist Suicide Hang Gliders”) perhaps Neil would be better served to take 2017 off (Maybe 2018 too) to recharge the batteries. That and getting back together with Crazy Horse.

 

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47. St. Paul & The Broken Bones- Sea Of Noise

St. Paul & The Broken Bones have grabbed the baton for the neo-soul scene with Sea Of Noise. It’s a passionately retro spiritual shakedown sounding like a heated southern tent revival with a democratic tilt. Sea Of Noise finds a way to be sultry and socially poignant at the same time.

 

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46. Jeff The Brotherhood- Zone

Jeff The Brotherhood achieved a significant breakthrough in 2015 with the superb Wasted On The Dream. An album palpable enough to enjoy even without using the enhanced assistance of herbal supplements (Although everyone probably still did). They retreat to their roots a bit with Zone, shrouded in narcotic clouds and dripping with murky bong water. While its admirable that they are more interested in identity than fame it may do them some good in finding a balance between fidelity and hazy experimentation.

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45. Angel Olsen- My Woman

Angel Olsen continues the linear career arc of bolstering her sound on My Woman. After the organic augmentation of 2014’s critically lauded Burn Your Fire For No Witness Olsen pushes the boundaries even further here with several arrangements consisting of electric guitar and a full band. Olsen still retains her razor-sharp songwriting wit while sounding perfectly at home in the realm of indie-pop.

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44. Pete Yorn- Arranging Time

After a six-year hiatus Pete Yorn returns with Arranging Time. While its ethos is bathed in the melancholia of Yorn’s lyrics it’s the opulent production that leaves the most resounding impression. Yorn seems like he’s coming out of the wilderness, rejuvenated to recapture some of his turn of the century stardust and making up for lost time.

 

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43. The Wild Feathers- Lonely Is A Lifetime

After The Wild Feathers 2013’s noteworthy self-titled debut it sounded like they were bound to be part in a southern rock revival. With Lonely Is A Lifetime however one look no further than the album cover itself as the template for their evolving sound. Although they still empower guitar-driven rock they trade in the grittiness for wide-eyed wonder aiming for the heavens.

 

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42. The Jayhawks- Paging Mr. Proust

The Jayhawks have been an institution on the alternative country scene in a career that has now spanned over three decades and founding member Gary Louris leads the band back to the promised land in Paging Mr. Proust, their best outing since 2003’s Rainy Day Music. Proust has all of the classic hallmarks of The Jayhawks: Jangling guitars, saccharin harmonies, and Louris’ unmistakable world-weary warble. Louris and company still sound energized 31 years and counting.

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41. Rival Sons- Hollow Bones

Rival Sons are unapologetic classic rock throwbacks hearkening back to a time when bands like Led Zeppelin, Deep Purple, and Black Sabbath roamed the earth in their heyday. Great Western Valkyrie saw them achieve a Valhalla apex and they build off of that momentum with Hollow Bones. The slow-burning intensity of cuts like “Fade Out” display Scott Holiday and Jay Buchanan’s Page/Plant –like alchemy that sounds most importantly authentic and not like imitation.

 

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40. The Lumineers- Cleopatra

While it’s not a sophomore slump by any means The Lumineers’ Cleopatra feels like a bit of a missed opportunity. Their excellent 2012 self-titled debut seemed like America’s answer to Mumford & Sons. While the irresistible indie-pop/folk-rock hooks are here for the first half of Cleopatra (“Sleep On The Floor,” “Ophelia,” “Cleopatra,” “Gun Song,” “Angela”) they seem to let their foot off the gas for the back half. This more than anything is a learning curve for a band that shows they possess the songwriting chops to create something great again.

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39. The Felice Brothers- Life In The Dark

After their rather pedestrian effort of Favorite Waitress The Felice Brothers return to form with Life In The Dark. The band’s organic sound recalls ‘70s-era Bob Dylan; not only because of Ian Felice’s uncanny nasally croon that mimics Dylan but the band itself has a ramshackle quality to it. The spaghetti western murder ballad “Diamond Bell” sounds like something that could’ve easily been on Dylan’s Pat Garrett & Billy the Kid soundtrack or even his masterpiece Desire.

 

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38. Pixies- Head Carrier

After the uneven Indie Cindy legendary indie-rock group Pixies restore the faith with Head Carrier. Although it’s not as lofty as their late ’80s career peak it does have the vibe of a band dusting off the cobwebs and sharpening their focus. “Classic Masher,” “Talent,” “Bel Esprit,” and “All I Think About Now” show that Black Francis’ crew still have the prowess to create memorable hooks.

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37. Jake Bugg- On My One

Jake Bugg had praise heaped on him after his first two albums, anointed as “The chosen one” and rock’s next great lyricist/poet. Then some of the air was let out of his balloon when it was discovered he used co-writers on most of his songs. A determined Bugg shows he doesn’t want any crutches on the aptly titled On My One where he takes the songwriting and producing (Mostly) reigns by himself. Results however vary as Bugg shows glimpses of solo promise in “Put Out The Fire” and “Bitter Salt” while there are moments where he could’ve used guidance in restraint. We did not need to hear the clunker “rap” song “Ain’t No Rhyme.”

 

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36. The Head And The Heart- Signs Of Light

The Head And The Heart have continually grown and shifted their sounds gradually in their early career. With Signs Of Light they aim big and trade in their more acoustic Americana moments for a sun-kissed radio-friendly sound. Their strength has always been in their harmonies and with Signs Of Light they go all in for the sing-a-longs.

 

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35. Andrew Leahey & The Homestead- Skyline In Central Time

After a brain tumor nearly derailed his entire career (And life) Andrew Leahey may be the best comeback story of 2016. The health scare seems to have sharpened and invigorated Leahey’s music as he pulls from the best sentimentality of Jackson Browne and dusty songwriting akin to that of Tom Petty’s rural side. Skyline In Central Time is the sound of life-affirmation, after conquering a hurdle like a brain tumor the sky(line) is the limit for Leahey.

 

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34. Public Access TV- Never Enough

After a lengthy build-up of hype Public Access TV’s official debut Never Enough does not disappoint. Their sharp guitars and spiraling hints of danger recall their New York City brethren The Strokes, albeit on a more jovial level. It’s hard telling what the agenda is for The Strokes, but Public Access TV sound like they’re more than ready to pick up the torch for NYC guitar rock.

 

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33. The Bones Of J.R. Jones- Spirit’s Furnace

Johnathon Linaberry (aka The Bones Of J.R. Jones) has become a force to be reckoned with on Spirit’s Furnace. The bluesy soul of the multi-instrumentalist is brisk just barely eclipsing the 30-minute mark but that stoutness is actually a strength for Linaberry as he whittles things down to the essentials like a fine craftsman. One moment he’s sounding like The Black Keys caught in a chain gang (“The Heat,” “Hammers and Nails”) the next he’s creating beautiful lilting tearjerkers in the vein of Iron & Wine (“Wedding Song,” “I’m Your Broken Dog”).

 

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32. Wolfmother- Victorious

While Wolfmother seems to have continuous roster changing two things remain the same: 1.) Chairman of the Wolfmother board Andrew Stockdale remains its most paramount member 2.) They will always churn out a riff-fueled unadulterated slab of primal rock. With Victorious it feels like Stockdale has earned tenure in Valhalla.

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31. Okkervil River- Away

Okkervil River’s mastermind Will Sheff continues with his elaborate narratives on Away. Sheff takes us to the deep end with a somber yet ardent collection of mostly ballads. Six of the nine songs wind and weave for over six minutes to give the listener proper digestion time, even occasionally unfolding to reveal layers as serene as the album cover.

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30. Local Natives- Sunlit Youth

After stumbling a bit on their sophomore effort Hummingbird Local Natives return with their third album Sunlit Youth and also re-calibrate their vision closer to their outstanding debut of Gorilla Manor. Disarming harmonies and delectable shifting dance floor rhythms and melodies populate Sunlit Youth and remind us all why we fell in love with Local Natives in the first place.

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29. Ryley Walker- Golden Sings That Have Been Sung

Ryley Walker is a pub poet that can find enlightenment in some of the most mundane situations and occurrences. On Golden Sings That Have Been Sung Walker’s precision finger-picking bathe his meditations on blurred nights and hazy mornings. Its centerpiece is “The Roundabout,” a hymn for all of our favorite rundown watering holes on the outskirts of downtown. A place where the older, grayer, balder crowd can share a cigarette, self-diagnose health issues, and reminisce about the golden years while ripping on the youth.

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28. Sturgill Simpson- A Sailor’s Guide To Earth

There’s a new group of Highwaymen on the country scene. Outcasts making outlaw country that goes against the grain of the plop/bro country sewage that’s being churned out. Names like Jason Isbell, Justin Townes Earle, Ryan Bingham, Robert Ellis, and perhaps their champion in Sturgill Simpson. With A Sailor’s Guide To Earth Simpson eclipses new peaks adding his rich timbre to scenic storytelling and swells of Motown brass provide a swagger to make Nashville undulate. To say this is strictly a country album may be a disservice considering its inclusion of so many genres.

 

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27. The Shelters- The Shelters

The Shelters no doubt got a great jump-start to their careers thanks to a famous fan you may know by the name of Tom Petty. But hype and connections only get you so far. With their self-titled debut (Also produced by Petty) The Shelters sound like seasoned veterans effortlessly creating ‘60s pop and garage rock nuggets with a modern sheen.

 

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26. Dinosaur Jr.- Give A Glimpse Of What Yer Not

Dinosaur Jr. continue their distinguished latter-day run with Give A Glimpse Of What Yer Not. The grunge rock pioneers play to their strengths of tunes that veer between driving grit and sludgy distortion without ever feeling too calculated. J Mascis leads the charge with unorthodox vocals and his tasteful yet blistering solos.

 

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25. Frightened Rabbit- Painting Of A Panic Attack

Frightened Rabbit are probably not the band you turn to for a Friday or Saturday out. Painting Of A Panic Attack continues their holding pattern of bleak despondency contrasted by elegant production. There is beauty to be found in the darkness here, none better than album closer “Die Like A Rich Boy.”

 

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24. Shovels & Rope- Little Seeds

Shovels & Rope married couple Michael Trent and Cary Ann Hearst have found a way to continue their winning streak with Little Seeds. Their ability to integrate forms of Americana, folk, and rock into single songs and the natural chemistry found in their infectious harmonies place them in a territory with few peers. Whether it’s taking a song called “Botched Execution” and making it sound like a Top 40 pop gem or tackling the racial uneasiness in America with “BWYR” nothing is off limits for this dynamic duo.

 

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23. Conor Oberst- Ruminations

Conor Oberst’s Ruminations is the sound of isolation and introspection synthesized down to the basics with just acoustic guitar, piano, and harmonica. It’s no surprise that this was recorded while he was holed up during an Omaha winter as most of the subject matter is sparse and bleak but Oberst’s nearly peerless songwriting is triumphantly pushed to the forefront.

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22. Cheap Trick- Bang, Zoom, Crazy… Hello

Let’s get the one negative thing out of the way right now about Cheap Trick’s latest album: Yes, the name is terrible. But you would be wrong to dismiss it simply on the title because Bang, Zoom, Crazy… Hello is Cheap Trick’s best album in a decade. The godfathers of power pop pull off songs as only they can with heavy riffs, delicious guitar solos, and catchy sweeping hooks that sound like a match made in heaven (tonight).

 

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21. Wilco- Schmilco

Wilco’s 10th studio album, the tongue-in-cheek nod to Harry Nilsson’s Nilsson Schmilsson finds Wilco at their most comfortable. Like, slippers by a fireplace dad-rock comfortable, at least musically. Although it’s their least engaging and boldly adventurous album since their debut AM, Schmilco is less concerned with preconceived expectations than just creating an enjoyable thoroughfare.

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20. Nick Cave & The Bad Seeds- Skeleton Tree

Only Nick Cave can take the darkness of the worst situations, like tragically losing a child and turning it into something enduring and a testament to the human condition. Out of that despair with The Bad Seeds he concocts Skeleton Tree, a frosted landscape of icy synths and Cave’s rueful baritone blanketing the horizons like a billowing cumulonimbus. Though some losses are irreplaceable Cave is able to escape into his art and is gracious enough to at least let us peer into the window of his complex mind.

 

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19. Dawes- We’re All Gonna Die

Dawes have built a career of honest and earnest music and their “Good guy” reputations. So they naturally decide to throw a bit of a curveball with an album titled We’re All Gonna Die with an ominous tornado in the distance. The curveball however is not in theme as this may be their most vibrant album yet but rather expanding their palates beyond some of their Americana banalities. They incorporate drum machines, orchestral flourishes, fuzzed-out guitars, and back-up female singers cordially into their blueprint suggesting to never underestimate what they are capable of.

 

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18. Parker Millsap- The Very Last Day

Parker Millsap is a fresh-faced singer/songwriter from Oklahoma with songwriting chops and wit that defy his youth. His latest album The Very Last Day finds Millsap operating on a new level hitting on all forms of early American music whether it be blues, rockabilly, folk, or gospel. Visions of the apocalypse never sounded so sublime.

 

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17. Drive-By Truckers- American Band

In terms of civil unrest and social divides no one had their finger on the pulse of America more firmly or astutely than the Drive-By Truckers.  American Band is one of their best albums yet but personal achievements take a backseat to the ultimate message the band is trying to convey. Specifically poignant topical and political songs find a balance between their standard rowdy southern rockers and the meditative slow-burners contemplating the darker labyrinths of American culture and conscience.

 

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16. Mudcrutch- 2

With his main act with The Heartbreakers on hiatus from recording Tom Petty choose to revive his side project and original band he broke into the business with Mudcrutch. It’s no surprise that on the aptly titled 2 that most of the strongest songs are Petty’s (“Trailer,” “Dreams Of Flying,” “Beautiful Blue,” “Save You Water,” “Hungry No More”) but there are also surprisingly vibrant contributions from the unassuming duo of guitarist Tom Leadon (“The Other Side Of The Mountain”) and drummer Randall Marsh (“Beautiful World”) that suggest Petty is more than willing to share the load creatively with Mudcrutch while maintaining his ringleader status with The Heartbreakers.

 

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15. Joe Bonamassa- Blues Of Desperation

Joe Bonamassa is a blues purist at heart and it’s a genre he’s willing to fight for and maintain at all costs. Blues Of Desperation is an expansive piece of work the best electrified blues album to come around in years with top-shelf production, cranked up amplifiers, and the symbiosis between Bonamassa and his guitar at times achieves levels of blistering transcendence. The deluxe monster “No Good Place For The Lonely” with its nearly three-minute scalding outro solo channels the ghosts of some of his fore-bearers from his mentor B.B. King to Stevie Ray Vaughan.

 

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14. Band Of Horses- Why Are You OK

Band Of Horses have been carving out an alcove of music for themselves that’s so celestial and sparkling it may as well be called champagne rock. Their latest output Why Are You OK continues along that seraphic trajectory with big sky ballads and chiming dreamscapes all swathed in front-man Ben Bridwell’s tender creaking croon. As long as Band Of Horses continue to release albums so elemental and astral they can do no wrong.

 

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13. Butch Walker- Stay Gold

Butch Walker had the surprise hit of the summer with Stay Gold in 2016 as it plays like a lost southern-fried Bruce Springsteen album from the Bible Belt. “Irish Exit” is like a distant cousin to Springsteen’s “Glory Days” while other standouts like “East Coast Girl,” “Wilder In The Heart,” “Ludlow Expectations,” and “Record Store” intersect with The Boss and the grungy yet well-intentioned heart-on-sleeve of The Gaslight Anthem. Though its creator hails from Georgia Stay Gold with its blue-collared narratives is a heartland rock knockout.

 

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12. Brian Fallon- Painkillers

While The Gaslight Anthem lay low for a while front-man Brian Fallon decided to occupy the time with his debut solo album Painkillers. While there are still the undeniable piston-firing Gaslight Anthem archetypes (“A Wonderful Life,” “Rosemary”) it’s his forays into alt-country and cinematic storytelling that shine brightest. If the curtain ever does close on The Gaslight Anthem for good Fallon shows that he’ll always have a 2nd act life in a solo career.

 

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11. Kyle Craft- Dolls Of Highland

Kyle Craft’s Dolls Of Highland is the best proper debut album of 2016. Craft finds a singing style somewhere near the compartmentalization of feelings from Ryan Adams with some of the wild thin mercury imagery of Bob Dylan. Seemingly conjured from the bayous of his native Louisiana it’s like a glam rock version of Blonde On Blonde drunk on bourbon and full of gumbo Dolls Of Highland sounds like it’s out of step with other contemporary albums and that’s part of what makes it so alluring.

 

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10. Iggy Pop- Post Pop Depression

Iggy Pop and David Bowie have been linked together since the early ‘70s both as creative pioneers and friends. And in an incredibly cosmic way both of their recording careers seemingly came to a close in 2016. Bowie tragically passed away and Pop stated, “I feel like I’m closing up after this. That’s what I feel.  It’s my gut instinct.” While Bowie opts to go to back into the nebulas of outer space for his final journey Pop instead decides on a sabbatical into the desert with fellow waste-lander and Queens Of The Stone Age front-man Josh Homme to find his spirit animal. Post Pop Depression is as dilapidated as it is sensual and provocative. Iggy’s disheveled baritone snarls while Homme’s backing vocals add a ghostly augmentation over guitars sharp and biting. The centerpieces are “Sunday” with its vamping strut before giving way unexpectedly to sweeping strings and the finale of “Paraguay” with a rant/meltdown from Pop for the ages (“You take your motherfucking laptop/ And just shove it into your goddamn foul mouth/ And down your shit heel gizzard/ You fucking phony two faced three timing piece of turd”). There have been a lot of great albums made out at the famous Rancho De La Luna studio and now Post Pop Depression is added to that list. If this is Pop bowing out then bravo but it still sounds like he has plenty left in the tank.

 

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9. Green Day- Revolution Radio

When Green Day dropped their landmark album American Idiot in 2004 they afforded themselves a career renaissance that few bands get to enjoy. The band enjoyed a popular resurgence until they crumbled under their own bombast and ambition in 2012 when they literally and figuratively exhausted themselves. Not only did they release three (!) albums that year (¡Uno!, ¡Dos!, and ¡Tré!) but front-man Billie Joe Armstrong had a very public onstage meltdown at a music festival and later checked into rehab for abuse of prescription drugs and alcohol. Four years later they return with Revolution Radio and their attempt at regaining their prominent relevancy. Though it’s not really a comeback album it is a return to form pulling from all of the strongest points of their career. Combinations of the politically-charged tension from American Idiot and 21st Century Breakdown with the youthful rough ‘n’ tumble angst of Dookie and Insomniac. They tackle America’s problematic infatuation with guns and sensationalizing mass shootings with the relentless thrasher “Bang Bang” while the militant timpani-style romp of “Say Goodbye” is a kiss-off for an increasingly violent society. They balance out the harsher moments with songs like “Youngblood” a snotty but affectionate ode to Armstrong’s wife and the sparse acoustic closer “Ordinary World” is as close as Green Day has ever come to a lullaby. Green Day prove they can still be a galvanizing force and like American Idiot with the Bush administration we will definitely need more albums like Revolution Radio for the Trump administration.

 

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8. David Bowie- ★

Davie Bowie’s ★ may not top this list but it may end up having the longest lasting prestige due to the circumstances surrounding it. Bowie had been concealing his battle with liver cancer for 18 months from the public and two days after his 69th birthday and the release of ★ Bowie tragically passed away. As if an exercise in spectral macabre theater ★ seems to serve as an epitaph of sorts by Bowie to himself. It stands as an astounding achievement for Bowie and one of his best albums in decades, brooding with intergalactic noir and frigid alien soundscapes. Bowie experiments with off-kilter forms of jazz, electronica, and avant-garde rock. The title track itself is a monumental testament, a nearly 10-minute monolithic spiritual obelisk. It’s almost an album within itself rife with tempo changes, fluctuating vocal stylings, and shifting timbre. “Lazarus” is easily the most haunting song sounding as if Bowie wrote it like a shaman forecasting his demise would intersect with the album’s release (“Look up here, I’m in heaven/ I’ve got scars that can’t be seen/ I’ve got drama, can’t be stolen/ Everybody knows me now.”). There is a euphonious comfort in the velvet orbit melancholy of “Dollar Days” and “I Can’t Give Everything Away” that suggest Bowie is finally at peace in the ether. Released deep in the doldrums of winter pontificating on mortality ★ is a morbidly perfect match with Bowie’s untimely death.

 

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7. Radiohead- A Moon Shaped Pool

It is not hyperbole to say that A Moon Shaped Pool is Radiohead’s best album since Kid A. Although they’ve had some great releases since 2000 this still beats them, it was definitely easy to surpass its immediate predecessor 2011’s The King Of Limbs which was abysmally bad. Luckily A Moon Shaped Pool is in a completely different stratosphere and Radiohead get back to what they do best. While there are still electronic pulses and android hisses percolating throughout the album this is perhaps the most organic and instantly accessible the band has sounded since OK Computer. The real experimentation comes in the form of orchestral arrangements informed by guitarist Jonny Greenwood and his exceptional and jarring scores of multiple Paul Thomas Anderson films. The impact is immediate with opener “Burn The Witch” and its agitated, frantic strings in a col legno battuto style set the backdrop sounding like a paranoid air raid befitting of its lyrics which are a scathing indictment of religious sects and condemnation of authoritarian figures and parties. “Daydreaming” has a sterile metallic drone that pluviophiles could warm up to as “Decks Dark” huddles in the closet from an extraterrestrial invasion. There are divergent paths to placidity (“Desert Island Disk,” “Glass Eyes”) to turbulent palpitations (“Ful Stop,” “Identikit”) and the sweeping “The Numbers” tackling a topic as weighty as global warming. “True Love Waits” is a gorgeously portentous closer more than 20 years in the making. Though it has been performed and arranged differently in live incarnations throughout the years it finally gets studio treatment as a sparse piano ballad accompanied by Thom Yorke’s lonesome and longing lament attempting to salvage a disintegrating relationship. Radiohead continue pushing boundaries while being lauded critically for over two decades now, something that is nearly impossible to do.

 

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6. Kings Of Leon- WALLS

Kings Of Leon have had a lot heaped on their plate in their nearly 15-year career. They will perhaps always have a fan base divided that will choose to create a fault line between Because Of The Times and Only By The Night. Some of the older stalwarts siding with Because Of The Times and everything that came before while newer fans may side with their commercial breakout Only By The Night and everything that proceeded it. There’s even a third contingent that recognizes them for what they really are: A consistently great band that has given the middle finger to expectations and pretensions. With their seventh album WALLS (An acronym for We Are Like Love Songs) the attack is still set to maximum impact for the biggest stages but it has less bloat then some of their previous efforts. There’s a lean yet muscular sound, cut to kill. Some of the credit goes to new producer Markus Dravs (Coldplay, Arcade Fire, Mumford & Sons) for taking core elements from Kings Of Leon’s previous six albums and incorporating them into the double helix of WALLS. Look no further than opener and first single “Waste A Moment” complete with meteor shower guitars, Caleb Followill’s longing howl (Only his drawl could sound as good on a line like, “All the way from Waco to WE-HO with a rabbit on her chain”), and cavernous WHOA-OH’s. “Reverend,” “Find Me,” “Over,” and “Eyes On You” all have high drama aura as guitars glide, collide, and jangle about with cinematic expanse. More than anything there is room to breathe sonically you can hear all of the distinct parts from all four members of the Followill clan working in familial synergy. The nocturnal dulcet ballads (“Muchacho,” “Conversation Piece,” and the title track) showcase a growing plaintive maturity that they may not have even dared in their early 20’s. At one point they were christened as the “Southern Strokes” but Kings Of Leon were never content with solely being scruffy swashbuckling rockers. The hard-charging snarling angst will always be there in some form but they’ve allowed the vulnerability that naturally comes with aging to alloy with that testosterone. They’re not interested in burning out or fading away.

 

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5. Leonard Cohen- You Want It Darker

The year 2016 began with the devastating death of David Bowie and ended with the catastrophic loss of Leonard Cohen. Like Bowie, Cohen seemed to have an empyrean sense of his mortality and where its finite conclusion would be drawn. Cohen doesn’t pull any punches here and there’s no easing into it, You Want It Darker delivers on all of its intentions. Due to his ailments Cohen was confined to recording the album in his home with the assistance of his son Adam. Although Cohen’s antiquated baritone has corroded over the years it still carries a distinguished resonance that few others can match. There are orchestral accents but the overall sound is sparse in comparison to some of Cohen’s other work. The title track itself is an arraignment of the unbecoming conduct in humanity’s bleakest moments (“They’re lining up the prisoners/ The guards are taking aim/ I struggled with some demons/ They were middle-class and tame/ I didn’t know I had permission/ To murder and to maim/ You want it darker.”) that sets the tone for the rest of the journey. Pain and regret pour out in palpable poetry as Cohen carries himself like a regal Prospero with his past, present, and future suddenly tangible in his immediate periphery. There are moments in this austere affair of sincere beauty and delicacy that seem defiant, much like the man crafting it. “Traveling Light” and “Steer You Way” navigate through the mire with a perseverance and resilience that is extremely admirable for a man so restricted physically but was undeterred and completely impassioned mentally. While You Want It Darker is a stark eulogy for Cohen’s career and life it will be remembered most as a stunning landmark in his already legendary oeuvre.

 

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4. Black Pistol Fire- Don’t Wake The Riot

Rock & Roll can become quite a complex and contrarian beast in 2016, so much so that if can be difficult to define. What is considered rock music these days? The lines are blurred more than ever and show no signs of an oncoming clarity in the future. Then a band like Black Pistol Fire comes along and releases and album like Don’t Wake The Riot. It reminds us of the raw visceral power of Rock & Roll; the gristle, the sultry heat, voracity, volume, and uncompromising fortitude. Fans of The Black Keys need to absolutely get into this band and get this album immediately. As The Black Keys have moved away (Slightly) from their blues-based rock Black Pistol Fire are doing early bluesy Black Keys better than themselves. The Canadian duo by way of Austin, Texas of Kevin McKeown and Eric Owen are the engine powering this high-octane machine and they fit all of the muscle and might possible into this stout 37-minute haymaker. There are no standouts because every track is a can’t-miss fist-pumper, 11 stone-cold killers, leanly cut and ready to rumble. McKeown’s whiskey-soaked midnight-howl, savage riffs, and deep-fried licks are fueled and surge on the roadhouse back-beat of Owen’s while his cymbal and snare assault crash and batter like a torrential downpour. Only in the final moments do listeners get a bit of respite to catch their breath with closer “Blue Blazes.” A blue flame slow-burner that incites a tender comedown from the sweaty catharsis that came before as McKeown softly croons “Stumble through dark with these old heavy hearts/ Lights are fading but we’re still making sparks/ Burning tears of rage they slowly wash away with/ The rising tide if we don’t rock the boat.” A little bit of a personal editorial here and fourth-wall breaking but I was significantly disappointed in the lack of coverage by really any music publication or year-end best-of lists for Don’t Wake The Riot. It’s a back-pocket masterpiece, compact and concise but undeniably potent and it received pretty much zero fanfare. I’ve started adding a “Dark Horse” album winner to my year-end lists and this is the very definition of a dark horse, deservedly so. Black Pistol Fire is such a talented, gifted act and I wish these guys nothing but success and a lengthy career. We’d all be better off with more of their music in the future.

 

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3. Red Hot Chili Peppers- The Getaway

Over their 30+ year career the Red Hot Chili Peppers have become one of the biggest and most popular bands in the world. They’ve endured through the classic Rock & Roll pitfalls over the decades: Band member deaths, band members departing (Multiple times), addiction, and the inevitable pressure of father time. That last one may be the most pressing for the Chili Peppers who’ve built their brand off of a decidedly youthful distillation of rock, punk, hip-hop, and funk to make something uniquely authentic. They’ve certainly slowed their output in the 21st century, just four albums in 16 years and 2006’s bombastic and fully-loaded double album Stadium Arcadium felt like the culmination of something. It was to be the last with guitarist and creative enigma John Frusciante and it took five years for a follow-up, 2011’s I’m With You. Although another solid entry for their back catalog it felt slightly under-baked and uninspired. While 2016’s The Getaway isn’t quite considered a comeback it’s a reintroduction to how great RHCP can be when they’re truly reinvigorated. While all of their hallmarks are still here they’re given some modern ornamentation with producing wiz Danger Mouse at the helm. Indeed The Getaway provides some of the strongest melodies and choruses since their peak of Californication and By The Way. Songs like “Dark Necessities,” “We Turn Red,” “Feasting On The Flowers,” and “This Ticonderoga” display their ability to shift expertly and seamlessly from crunching heaviness to floating-feather nimbleness with all of the soaring sing-a-longs included. They get gritty in the garage rock tribute to the motor city in “Detroit” and sound irresistibly catchy and primed to dry-hump an android on the dancefloor in “Go Robot.” They still make love geographically to their golden state home, “The Longest Wave” sounds like it was written on the cresting swell of the Pacific Ocean and “Encore” rivals “Scar Tissue” as their best California road trip jam. Closer “Dreams Of A Samurai” lumbers along like a colossus, Flea’s bass rumbling along like massive footsteps while Anthony Kiedis spits surrealistic images in vintage RHCP form (“A peaceful storm is never hectic,” “Paint your face cause I’m a black foot,” “Taking acid in the graveyard,” “Slowly turning into driftwood”). The Chili Peppers may always be young at heart no matter their age, The Getaway is the sound of that and now the quartet may have also finally found stable footing in this incarnation.

 

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2. Car Seat Headrest- Teens Of Denial

Although he released several albums via Bandcamp in true DIY fashion before this, Will Toledo’s (aka Car Seat Headrest) Teens Of Denial is the equivalent to becoming an instant Phenom after leap-frogging from rookie ball all the way to the major leagues. There hasn’t been a coming-of-age album this bold in scope in years it’s the most self-aware, self-deprecating, sardonic project since Father John Misty’s I Love You, Honeybear. The immediacy of Teens Of Denial is intrinsic the sinewy electric guitar onslaught shows Toledo unrelenting and steadfast at his affection for ‘90s alt-rock bands. The breadth of Toledo’s genius is evident he makes something as daunting as a 70-minute debut opus feel intuitive. In some ways it is absolutely perverse that Toledo makes this feel like a greatest album and he’s just getting started. Great songs, the kind that withstand the test of time are able to engage its audience on a visceral level both musically and lyrically. Toledo’s hyper-literate 21st century millennial lamentations are on full display with satirical modernity, even name-dropping Wikipedia on “Vincent” (“They got a portrait by Van Gogh/ On the Wikipedia page/ For clinical depression/ Well, it helps to describe it”). The thundering “Destroyed By Hippie Powers” sounds like Pixies by way of Crazy Horse at their heaviest while “(Joe Gets Kicked Out Of School For Using) Drugs With Friends (But Says This Isn’t A Problem)” is as witty and articulate as it is hilarious (“Last Friday I took acid and mushrooms/ I did not transcend/ I felt like a walking piece of shit/ In stupid looking jacket”).  “Drunk Drivers/Killer Whales” is a tale of despair and debauchery and seems to be careening for the cliff until the life-affirming cloud-kissing chorus comes barreling in as Toledo yelps, “It doesn’t have to be like this/ Killer whales.” Bob Dylan drew from extremely specific contemporary events for some of his earliest subject matter and like Dylan Toledo chooses a cruise liner wreck from 2012 in “The Ballad Of The Costa Concordia” as a metaphor for life on the rocks. In a way this is his “Desolation Row” as it eclipses the 11-minute mark while it morphs from a dreary dirge to a caffeinated buzz saw and a crystalized manifesto forms in the middle section as Toledo attempts to shrug off the numerous platitudes and responsibilities of life (“How was I supposed to know how to use a tube amp?” “How was I supposed to know how to hold a job?” “How was I supposed to know how to not get drunk every Thursday, Friday, Saturday, and- why not Sunday?” “How the hell was I supposed to steer this ship?”). This is an album for anyone pining and searching for something, but if you’re young enough it’s best to listen to it in the decade of your roaring ‘20s. It’s a fever dream for a decade that encapsulates both exhilarating emancipation and terrifying uncertainty of your future. The excessive alcohol-aided (And drug? Not judging) highs and self-conscious, maybe even self-imposed crushing lows. Toledo’s Teens Of Denial is a shoulder to lean on for anyone trying to bridge the gap from youth to adulthood. Life can be a drag but even in its darkest corners there are small victories that can feel divine.

 

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1. Metallica- Hardwired… To Self-Destruct

The early years of the 21st century were not kind to Metallica. The once-thought invincible metal legends were dealt a series of ruthless concussive blows that usually spell certain doom for most groups. The first major issue being their unceremonious torch-bearing war against Napster and illegal file sharing (A war that they were and still are right about) which caused a contingent of fans to ostracize their once favorite band and vilifying them for wanting money for their music (How ludicrous!). What followed was a departure from long-time bassist Jason Newsted in 2001 after clashing with James Hetfield and never quite being able to handle all of the baggage saddled on him by having to replace original bassist Cliff Burton. There was then the public and very messy near-dissolution of the remaining members documented in the film Some Kind Of Monster. This was all supposed to culminate in Metallica’s redemption and return to glory with the release of St. Anger… which landed with a resounding thud. By far Metallica’s worst album, it was horribly produced; Lars Ulrich sounded like his drums were recorded inside of a water-tower with a tinny echo and there were no guitar solos to be found anywhere as Lars and producer Bob Rock felt they were “Dated.” Oh yeah, and Bob Rock played bass on it… rotten. Though their popularity never really waned critically and personally they were at a nadir. Five years later they finally reclaimed the throne as greatest metal band ever with the modern thrash masterpiece Death Magnetic. But could they keep their momentum and creative rebirth rolling after that? Well, sort of. They had several side projects sandwiched in between but a full eight years after Death Magnetic Metallica finally return with a proper studio album and worthy successor Hardwired… To Self-Destruct.

Naturally the title could be much better (If it were simply called Hardwired it would’ve been so much less cringe-worthy) but the album’s name is where anything bad about it ends. At its core Hardwired… is a loose concept album revolving around a future fueled by the paranoia of man vs. machine. The impending inferiority of humankind against the rapidly advancing precision of technology nipping at our heels is a prevailing theme throughout. Metallica are better than anyone at crafting albums that deal with dystopian ruin both personally and worldly; the decaying blood of the land with the force of a Tsar Bomba. There is no reprieve here, Hardwired… is relentless and is at your jugular for nearly 80 minutes. There are no ballads. No “Nothing Else Matters,” no “Unforgiven,” no “Hero Of The Day” (Although all of those songs had their heavy moments too) to allow you to catch your breath. It’s a relentlessly pummeling behemoth. Opener “Hardwired” is pure thrash at just over three-minutes long with no frills snarling and snorting attitude, recalling the brash seek and destroy basics of Kill ‘Em All. “Atlas, Rise!” is an exercise in prog-metal muscle flexing that could stand with anything on …And Justice For All. Hetfield’s rasp has never sounded better as he howls lines, “How does it feel on your own?/ Bound by the world all alone/ Crushed under heavy skies/ Atlas, Rise!” Kirk Hammett’s spontaneous (Literally, he lost all of his ideas for this album when he lost an iPhone he had) and impassioned volcanic guitar bursts and lightning quick iron-melting solos prove that Lars and Bob Rock were gravelly wrong about them being dated. “Now That We’re Dead” has a stadium-size swagger reminiscent of Metallica/“The Black Album” that relies less on tempo and more on seismic brute force rumbling free tectonic plates. “Moth Into Flame” attacks with a frenzied bludgeoning riff as the subject matter tackles the more malevolent side of social media and celebrity as Hetfield pontificates, “Guarantee your name, you go and kill yourself/ The vultures feast around you still/ Overdose on shame and insecurity/ If one won’t do that fistful will” before giving way to a spiraling torrent of Hammett’s wah-wah wizardry. “Dream No More” is a hypnotic nightmare paying homage to H.P. Lovecraft’s monster Cthulhu (Again) that falls somewhere between “Until It Sleeps” and “Where The Wild Things Are.” The first act closes with the epic centerpiece “Halo On Fire,” at eight minutes it feels more like four. The hulking leviathan morphs into a galloping volitant outro worthy of Black Sabbath’s “Wheels Of Confusion/ The Straightener” or their own “Fade To Black” as Hetfield and Hammett’s guitars intertwine in blazing alchemy. “Confusion” stomps with combative indifference while “ManUNkind” showcases Rob Trujillo’s dexterous and surprisingly lithe bass playing in the intro. “Here Comes Revenge” and “Am I Savage” are predatory marauders and “Murder One” is an ode to late metal icon Lemmy Kilmister. Being the consummate showmen they are however, Metallica save the best for last with “Spit Out The Bone.” A hard-boiled hellscape surging with speed demon riffs worthy of Master Of Puppets that sees humanity pushed to the brink by their own inventions, being hunted into extinction. In this cold and callous world Hammett keeps us febrile with his conflagrating solos as Hetfield delivers his eschatological proclamation, “Long live machine/ The future supreme/ Man overthrown/ Spit out the bone.”

Hardwired… To Self-Destruct is the best composite portrait of their career they’ve ever produced. They never settle in one area for too long whether it’s the blitzkrieg ascension of their ‘80s period, the global-conquering hooks of the black album, or the brawny grooves of the Load and Reload era. These are all fused with the modern aplomb of a band that now seemingly knows it’s in the middle of career revitalization. Metallica nearly completely derailed themselves at the turn of the century, now with back-to-back latter-day classics in Death Magnetic and Hardwired… To Self-Destruct the greatest metal band of all-time is once again acting like it.

2016

As the calendar year starts to wind down and reset there appears to be one overwhelming and inalienable narrative from pretty much everyone: 2016 was really horrible.

You’d be hard-pressed to make an argument otherwise. We lost too many great people to entirely list from musicians to sports luminaries, actors, actresses and so on. The ones that cut deepest with me were probably David Bowie, Prince, and especially Leonard Cohen. Cohen’s death felt like a cruel swift punch to the gut. I had been really reveling in his latter-day records over the past few years and he’s become one of my favorite artists. He released his final masterpiece You Want It Darker this year on October 21st, my wedding day. Thanks for the unintentional wedding gift Mr. Cohen.

Devastation was on a global scale with social unrest, mass shootings, and at its epicenter the American public flinched and elected (Not me) a petulant spoiled brat of a “man” in Donald Trump as their next President of the United States.

Work is still pretty horrible overall and I’ll definitely be ramping up the intensity of the job search in 2017 for a “career” and not just a “job.”

Those things make 2016 bittersweet for me and going forward I’ll choose to remember the good of this year and not the bad.

This year was one of the best years in recent memory for me as far as new music and albums go. Phenomenal personally rewarding albums were released by the likes of Metallica, Car Seat Headrest, Red Hot Chili Peppers, Black Pistol Fire, Kings Of Leon, Radiohead, and the aforementioned Cohen and Bowie along with many others.

I went and decided to do the most grown-up thing I’ve ever done and finally get married to Maggie. She’s one of the (very?) few people that truly makes me happy and understands me… and tolerates me! We decided to go to Ireland for our honeymoon and it was an incredible experience (Minus international flights). Plus they had a Tower Records in Dublin! How about that?

And oh yeah, last but not least… THE CHICAGO CUBS WON THE WORLD SERIES! I’ll be sitting on that one till next Spring for sure. Sorry haters, you lost this time. The Cubs were the best team in baseball (Hell, all of sports!) from the start of 2016 until the end. Best record in baseball, NL Central Champions, National League Champions, World Series Champions. Checked everything off the list in 2016. The greatest feeling I’ve ever felt in my life as far as sports fandom goes. I’ll cherish that forever.

I’ll remember the good times more than the bad for sure. And now with a star pointing True North to New Year’s Eve let’s all have a room at the top of the world that night.

NOVEMBER REIGN- LEGENDS OF THE FALL: CHICAGO CUBS 2016 WORLD SERIES CHAMPIONS

World Series Cubs Indians Baseball

(Curses and history be damned: The Chicago Cubs are your 2016 World Series Champions. Chicago Cubs celebrate after Game 7 of the Major League Baseball World Series against the Cleveland Indians Thursday, Nov. 3, 2016, in Cleveland. The Cubs won 8-7 in 10 innings to win the series 4-3.(AP Photo/Matt Slocum)

Now that I’ve a little more time to process what seemed to be impossible; I blinked and yes, the Chicago Cubs are still the 2016 World Series champions. For the first time in 108 years (And the first in my 20+ years of die-hard fandom) the Cubs accomplished something that many, and I’ll admit for a long while myself as well thought would never happen. It wasn’t easy of course, in true Cubs fashion it had to go the distance to a Game 7 and extra innings nearly ensuring an early installation of a pacemaker for my heart. Not to mention at one point the Cubs were teetering on the brink trailing the series 3-1 and for me personally I began to ponder my own sports fandom (again) with a sense of existential dread creeping back in. Would I ever see a favorite sports team of mine win a major world/national championship?

The only two sports teams I generally care for anymore are the Cubs and Notre Dame football. Yes Notre Dame did technically win a national title when I was four beating West Virginia but I wasn’t really cognizant of that obviously. When Notre Dame went 12-0 during the 2012 season on their way back to a national title game I didn’t know how to react during the build-up. I had never been in that situation as a sports fan, being the best team in football that year was on the line. Of course what transpired was (If I a may steal a title from a live album by the band the Drive-By Truckers) an “Alabama Ass Whuppin'” dished out by the Crimson Tide on Notre Dame as they rolled the Fighting Irish to the tune of 42-14. I began to ask myself, “Is this it? Is this as good as it gets for me as a sports fan? To see my team have a great regular season only to get stomped in a championship game?”

As Notre Dame got demolished in that national title game the Cubs were in the middle of a lengthy rebuilding process and were still at least a couple of years off from really being competitive. In the past 20 years or so though the Cubs have been no strangers to regular season success. You could’ve called them “lovable losers” I guess for not winning a World Series recently but they’ve been frequenters of the postseason since the late ’90s appearing in 1998, 2003, 2007, 2008, 2015, and of course 2016 while coming close in 2001 and 2004 (The final week meltdown of the ’04 Cubs still leaves a sour taste in my mouth as they were poised for the NL Wild Card spot and it forever remains a big What If for what they could’ve done that postseaon) as well.

The results in the postseasons for the Cubs were heartbreaking on different levels. The devastating NLCS loss in 2003 (We really don’t have to recap that one do we?) followed by the unceremonious and extremely impotent exits in ’07 and ’08 getting swept in the NLDS twice even after winning the NL Central both of those years. Being a Cub fan a part of your composition is that of superstition and beliefs in curses so I always had a sense of pessimism and doubt (If you didn’t at least to a certain degree you’re not a real Cub fan or you’re in denial) and nothing seemed like it was going to change, like it was an exercise in futility. Things began to change though in 2015. Yes, the Cubs were also swept out of the playoffs but this time not until the NLCS. While that was unfortunate and one-sided there were building blocks of positives to be found. Up until the NLCS they had eliminated the Pittsburgh Pirates in the Wild Card elimination game backed by a shutout performance by ace Jake Arrieta who had ice water running through his veins that night. The following NLDS series was far more important and seemed to be a path of destiny. If the Cubs were to ever make it to and win the World Series at some point they would have to go through their arch-rivals the St. Louis Cardinals. The Cubs dispatched the redbirds in four games and something started to shift it felt on a cosmic scale. The Cubs were swept next round by the New York Mets but things felt different than the ’03 NLCS. While I was disappointed to come up short again I had this sense that, “We’re going to be back in 2016 and we’re going to be even better.” I was never more confident in this team and organization than at the end of the 2015 season.

Obviously I’ll get to the 2016 postseason in a bit but let’s rewind things. The Chicago Cubs are better than any other team in baseball for the first time in 108 seasons. They accomplished something that is so rare to do in baseball now too: They were the best team in baseball the entire year from start to finish in 2016. Let’s look back at how they did it.

The Cubs dominated the NL Central from the beginning jumping out to a 25-6 record and after April/early May nobody really got anywhere close to touching them in the division. They finished with a league-best record of 103-58-1 and won the NL Central by a ridiculous 17.5 games. Baseball is by far my favorite sport and with Major League Baseball the journey is so much more epic than any other sport. Pitchers and catchers reported in February 2016 and spring training ran through March. The preparation of the season + the season itself ran from February through early November with Game 7 of the World Series. An absolutely unfathomable, magical season. There were numerous highs and yes some lows but the ultimate goal was finally realized. I thought I would use the rest of this post to riff on some of the spectacular highlights of the regular season and postseason for the Cubs:

  • February 25th- Dex Returns: Dexter Fowler was thought to be gone and reports started appearing of him signing with the Baltimore Orioles. Instead he surprised the team during a workout session and he had actually signed a one-year contract to return to the Cubs for the 2016 season. He was the catalyst to a potent Cubs offense all year and defined the term, “You go we go.”
  • April 7th- Cut down in the desert: The Cubs are dealt their biggest blow losing Kyle Schwarber for the rest of the regular season after colliding with Dexter Fowler in the outfield in Arizona tearing his ACL and LCL.
  • April 21st- Jake Arrieta paints another masterpiece: The Cubs crush the Cincinatti Reds (A recurring theme throughout the season) 16-0 and hit five home runs. The evening though belonged to Jake Arrieta throwing his 2nd career no-hitter. He claimed he was “Sloppy.” The Reds didn’t think so.
  • May 2nd- Leisure suits provide rocket fuel: The Cubs were already a league-best 17-6 at the start of May and it only got more ridiculous after that. Always one for themed road trip attire Joe Maddon mandated the team dress in leisure suits while heading out to Pittsburgh. The Cubs then rattled off eight more wins in a row running their record all the way up to 25-6 and never looked back after that. It had to be the suits!

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  • May 8th- Mother’s Day Marathon: The Cubs were going for a four-game sweep of the Washington Nationals at home and after a lengthy battle that went 13 innings Javier Baez stepped up and uncoiled with the pink Mother’s Day bat launching a ball into the left field bleachers to seal it (Feat. A little Sosa hop!). He was appropriately mobbed at home plate.
  • May- The Ben Zobrist Month: Ben Zobrist was probably the biggest free agent acquisition the Cubs brought in during the offseason after 2015 and it showed in May. Zobrist batted .406 in May with a .483 OBP and knocked in 25 runs. He’s one of the most consummate professional hitters in the game and as we found out down the road, his best heroics were still to come in 2016.
  • June 19th- Father’s Day fun with Willco’s Debut: The Cubs recent legacy of prospects turned stars continued. Following in the footsteps of guys like Anthony Rizzo, Javier Baez, Kris Bryant, Addison Russell, and Kyle Schwarber white-hot catching sensation Willson Contreras finally made his big league debut and he did not disappoint. The first pitch Contreras saw in the Major Leagues was crushed out to right-center for a home run. It was a Sunday night game against division rival the Pittsburgh Pirates (Also another team the Cubs manhandled all year) and Wrigley Field came absolutely unglued and the future looked bright for the Cubs behind the plate with Willco (I am taking that nickname from a message board and running with it) getting a curtain call after his first at-bat.
  • June 27th- The Kris Bryant Game: He’s already proven he’s a phenom and won this year’s NL MVP but on June 27th Kris Bryant had a legendary instant classic of a game offensively. In Cincinnati Bryant had 16 total bases hitting three home runs and two doubles going 5-5 for the game with six RBIs leading the Cubs to victory. I can’t recall if the bat was definitely sent to Cooperstown or not. Either way, Bryant himself will one day be there.
  • June 28th- The Joe Maddon Game: Joe Maddon and conventional have probably never been used in the same sentence when it comes to his managerial style. One night after “The Kris Bryant Game” we had the even crazier “Joe Maddon Game.” The game went into extra innings and by the 12th all of the position players had been used up. Maddon utilized pitchers Travis Wood, Spencer Patton, and Pedro Strop to continually switch positions between pitching and playing left field. Eventually the Cubs pulled away in the 15th thanks to a Javy Baez grand slam but it will be remembered for Maddon once again out-foxing the competition and using whatever resources he had to get the job done. Albeit probably with a grin and a wink.
  • Late June/Early July- Dogs Days Of Summer: The Cubs looked nearly unstoppable for about 90% of the season but even they had a bit of a mid-season slump. It wasn’t the entire reason for it but the skid coincided with Dexter Fowler getting injured. Maddon tried to shuffle his lineup and find guys that could lead-off and ignite the team in Fowler’s absence but nothing really stuck. That coupled with no days off in over three weeks and the Cubs limped into the the All-Star Break losing 15 of 21 games. Much needed rest and recharging of the batteries was needed. That’s exactly what they got.
  • July 12th- The Cubs Take Over The All-Star Game: The All-Star Game took place in San Diego but it felt like the Cubs had the home field advantage. The Cubs had seven players named to the All-Star team including the entire infield of Anthony Rizzo, Ben Zobrist, Addison Russell, and Kris Bryant starting in the game. Fowler was voted to play in the outfield but was still injured while Jon Lester and Jake Arrieta were named to the pitching staff. The biggest highlight came early as Kris Bryant took White Sox ace Chris Sale deep in the 1st inning. Kris Bryant says hello! And all of the NL supporters who complained that there were too many Cubs in the All-Star Game and that was the reason the NL lost… well, look what happened! Everything turned out okay in the World Series anyway!
  • July 25th- The Chapman Cometh: As good as Pedro Strop and Hector Rondon performed in the first half of the season at the back end of the bullpen they had their inconsistencies. To take that extra step toward the playoff and World Series push the Cubs were looking for a dominant closer to shut the lights out on opponents. The Cubs acquired left-handed flame-thrower Aroldis Chapman from the New York Yankees. Chapman was the imposing gavel the Cubs needed for the 9th inning regularly blowing away opponents with effortless 100+ MPH fastballs.
  • July 31st- Rally caps sink the Mariners: The Cubs were still looking for the definitive 2nd half spark and on the last day in July they found it. Trailing 6-3 to the Mariners in the bottom of the ninth they put three on the board to force the game into extras. All position players were eventually used again so in the bottom of the 12th an unlikely hero stepped to plate in Jon Lester. With Jason Heyward on third base Lester dropped down a perfect bunt for a suicide squeeze as Heyward raced to the plate and scored for the walk-off win. Lester’s reward for his heroics? A face full of rosin.
  • August- How the Cubs got their groove back: The Cubs started August scalding hot eventually winning 11 in a row and did not lose a game until the 13th of that month. The Cubs had the NL Central all but locked up at the end of August going 22-6 in the month and leading the division by 15 (!) games.
  • September 15th- NL Central Champions: Despite losing to the Brewers the Cubs clinched the NL Central when the St. Louis Cardinals lost later that night to the Giants. That’s okay the next day Miguel Montero hit a walk-off home run in Wrigley to beat the Brewers and in a way that felt like it was clinching day instead. They certainly celebrated like it was.
  • September 26th- The Century Marks: For the first time since 1935 the Cubs had won 100 games in a season by clobbering the Pirates 12-2. Kris Bryant also clubbed his 39th home run of season and for the first time in his career reached the 100+ RBI plateau.

As the Cubs were winding down their regular season their dominance allowed them to sit everyday players and let the pitching rotation get some extra rest as well. The Cubs not only won the NL Central convincingly but also home field advantage throughout NL playoffs. A very distinct advantage considering they were 57-24 at Wrigley Field during the season.

Now that the Cubs flexed their muscles in the regular season it was time for “The Big Boy Games” in the postseason as John Lackey coined them. The postseason recap is only going to be of the games the Cubs won because, hey, no one wants to dwell too heavily on the losses right?

  • NLDS- Cubs vs. Giants Game 1: Jon Lester and Johnny Cueto were locked in an epic scoreless pitcher’s duel in front of a ravenous Wrigley Field. The bats stayed silent until the bottom of the eighth when Javy Baez hit a high towering shot into the left field basket. Aroldis Chapman came in to slam the door in the ninth preserving a 1-0 Cubs win as they took the crucial Game 1. This game and really all of the postseason was a coming out party for Javy Baez on the national scene. We as Cub fans knew how special he was, now everyone would.
  • NLDS- Cubs vs. Giants Game 2: The 2nd game of the NLDS I’ll always remember as I was in the rooftop bleachers across from Wrigley Field for playoff baseball. The Cubs seemingly had everything working this game. Kyle Hendricks even drove in two runs. Then a come-back line-drive at Hendricks knocked him out the game early. I thought that might be a momentum swing in the Giants favor but what happened instead? The Cubs bullpen completely shutdown San Fransisco’s offense and “The Super Athlete” relief pitcher Travis Wood even had home run! Couldn’t have written out that bizarre of a game if I tried. The Cubs took a commanding 2-0 series lead back to the bay area.
  •  NLDS- Cubs vs. Giants Game 4: In Game 3 the Cubs put up a valiant fight but eventually fell to the Giants in 13 innings as the series tightened to 2-1. One positive in that game was that the Cubs humanized postseason legend Madison Bumgarner as the Cubs knocked him around and Jake Arrieta even took him deep for a three-run bomb. For eight innings the Giants remained in control and I was already dreading a winner-take-all Game 5 back at Wrigley against Johnny Cueto. But in the ninth inning the Cubs’ postseason history book was torn up. Kris Bryant started the inning with a single and Anthony Rizzo was walked next batter. Ben Zobrist rediscovered his May magic and doubled home Bryant to cut the Giants lead to 5-3. Willson Contreras came up in a pinch-hitting role and delivered with a single up the middle driving home two and tying the game. After a botched double play attempt by the Giants Jason Heyward was standing at 2nd base with just one out. Javy Baez then continued his magical postseason and drove home Heyward with an RBI single and the Cubs stormed back to take a 6-5 lead. Aroldis Chapman then struck out the side in the bottom of the ninth and the Cubs were heading back to the NLCS for the 2nd year in a row.

The Cubs were able to enjoy a couple of extra days off while they waited for their opponents for the NLCS. The Washington Nationals and Los Angeles Dodgers went the full five games in the NLDS which eventually saw the Dodgers prevail. The Cubs would have to continue wrecking their way through the NL West if they were to make it to the elusive World Series.

  • NLCS- Cubs vs. Dodgers Game 1: The Cubs jumped on the Dodgers’ Game 1 starter Kenta Maeda early as Kris Bryant drove Dexter Fowler home with a ringing double in the first inning and then they quickly tacked on two more the next inning. The Dodgers tied the game late and it was 3-3 heading into the bottom of the eighth. The Dodgers eventually loaded up the bases to get to Miguel Montero and forced a man who had struggled all year offensively to beat them. What did Miggy do? On an 0-2 pitch he smashed the ball deep into the right field bleachers for a grand slam and Wrigley Field was shaking to its foundations. The Cubs didn’t look back after that and took a vital 1-0 series lead.
  •  NLCS- Cubs vs. Dodgers Game 4: After putting up eight runs in Game 1 the Cubs offense stalled in games one and two. Clayton Kershaw lead the Dodgers to a 1-0 shutout in Game 2 and former Cub Rich Hill foiled his old team 6-0 in Game 3. The Cubs offense had been shutout in back-to-back games and didn’t score for 21 straight innings. But in the fourth inning of Game 4 the Cubs offense caught fire again in a big way. The Cubs plated four runs capped off by an Addison Russell two-run home run. The offensive surge continued next inning with an Anthony Rizzo home run and the Cubs added five more in the sixth to blow the game wide open. The Cubs won in convincing fashion 10-2 to even the series back up.
  • NLCS- Cubs vs. Dodgers Game 5: The game started off as a Game 1 rematch between Jon Lester and Kenta Maeda and was a pitcher’s duel into the sixth until Addison Russell broke a tie ballgame with another two-run shot. Russell had been struggling mightily offensively the entire postseason but he found his swing out in L.A. and added a much-needed offensive weapon to the Cubs arsenal.  The Cubs again piled more runs on late and won 8-4. They took a 3-2 series lead, one win away from the World Series and were heading back to Wrigley Field.
  • NLCS- Cubs vs. Dodgers Game 6: The Cubs had one last major hurdle to conquer in their quest for the World Series appearance, beating the best pitcher on the planet Clayton Kershaw. The Cubs meanwhile turned to the man that had been brilliant for them all season in somewhat surprising fashion, ERA champion Kyle Hendricks. The Cubs offense jumped on Kershaw early as Dexter Fowler doubled to lead off the game and was knocked in by Kris Bryant. The Cubs continued to chip away at Kershaw’s armor and in the fourth inning Willson Contreras tagged him for solo home run and Anthony Rizzo followed the next inning with one of his own as Kershaw sank on the mound and the Cubs took a 5-0 lead. Meanwhile on the other side of the mound Hendricks pitched the game of his life completely shutting down the Dodgers offense allowing only two hits and no runs in 7 1/3 innings of work. Chapman took the mound and got the remaining five outs and the party was on at Wrigley Field as the Cubs were on their way to the World Series for the first time in 71 years. Deservedly so Javy Baez and Jon Lester were named Co-MVPs of the NLCS.

I was nearly at a loss for words. The Chicago Cubs were going to be in a World Series for the first time in my life and the first time since 1945. I was heading to Ireland the next day with Maggie for our honeymoon so it couldn’t have worked out better. I didn’t have to be sitting on a plane across the Atlantic for Game 7 wondering whether the Cubs were going to the World Series or staying home. I can’t even imagine how excruciating that would’ve been. I wasn’t about to miss the Cubs in the World Series while in Ireland so I ponied up and purchased the MLB TV international postseason package, even if it was just for four games.

As for the Cubs themselves they would be facing the Cleveland Indians who looked nearly untouchable in the AL playoffs going 7-1. Unquestionably the two best teams in the majors with two major chips on their shoulders. The Indians themselves hadn’t won a World Series since 1948 and the Cubs, well… you know, 1908. The Indians had home-field advantage thanks to the terrible All-Star Game rule (Can we please change that?) but the Cubs unveiled another weapon for the war. Kyle Scwharber, thought to have no chance at playing in 2016 was cleared medically to at least be a DH for the Cubs on the road. His bat would prove to be a vital part of the World Series success for the Cubs.

  • World Series- Cubs vs. Indians Game 2: The Cubs were no strangers to facing some of the best pitchers in the playoffs. Clayton Kershaw, Madison Bumgarner, Johnny Cueto, and now in the World Series it was Corey Kluber for the Indians. Kluber dominated the Cubs in Game 1 shutting them out 6-0. The Indians looked to take a 2-0 lead to Chicago but Jake Arrieta had other plans. Arrieta kept the Indians quiet offensively while the Cubs bats awoke thanks to a galvanizing performance from the returning Kyle Scwharber who knocked in two runs and helped the Cubs win 5-1 evening up the series and heading back to Wrigley on a positive note.
  • World Series- Cubs vs. Indians Game 5: The World Series had returned to Wrigley Field for the first time in 71 years and the electricity of the environment was palpable to say the least. But things didn’t exactly go the way the Cub faithful would want. The Indians came in and stunned the Cubs taking games three and four in a place where the Cubs had been so dominant all year. All of a sudden the Indians had a commanding 3-1 series lead and the Cubs were staring down the barrel of “Wait Till Next Year #109”. This couldn’t be how this unbelievable season was going to end was it? The Cubs postseason ace Jon Lester was not about to allow that. Despite giving up an early home run Lester settled in and waited for the offense to once again kick in. Kris Bryant woke up the echoes with his first World Series home run and the Cubs were able to tack on two more runs to take a 3-1 lead. Lester allowed one more run as the Indians closed the gap. Joe Maddon always one for the unorthodox brought Aroldis Chapman in for an eight-out save (!). Chapman was maximized and closed out the game to send the series back to Cleveland. The Cubs however still had serious work to do down 3-2 in the series. Either way it was great of the Cubs close out the last game at Wrigley Field in 2016 with a W.
  • World Series- Cubs vs. Indians Game 6: The Cubs once again turned to Jake Arrieta in an attempt to tie up the series. He would go up against Josh Tomlin who blanked the Cubs in Game 3. Things were different though this time as Kris Bryant crushed another home run deep into the left field stands. The Cubs then took advantage of some Indians outfield snafus and plated two more to take an early 3-0 lead. The night belonged to Addison Russell. With the bases loaded and down 0-2 in the count (Does this sound familiar?) Russell massacred a hanger deep to left-center for a grand slam to put the game to bed early. Russell ended up driving in six runs in the game. Anthony Rizzo tacked on a consolation home run late and the Cubs won in convincing fashion 9-3. Suddenly the series was tied up and heading to a winner-take-all Game 7. Streak vs. Streak, 108 Years vs. 68 Years. Something was about to give.
  • World Series- Cubs vs. Indians Game 7: I’m going to preface this summary by saying this was legitimately one of the greatest games ever played in baseball history. At times it was unbearable to stomach and others the absolute pinnacle of ebullience. Kyle Hendricks was once again the man the Cubs would hand the ball to. Winning the pennant for the Cubs is one thing, but winning the World Series for the Cubs? You can imagine how legendary of a feat that would be. The Cubs for the third time in the series would try to figure out Corey Kluber who had been a complete mystery to them in Game 1 and Game 4. To beat this mighty Cub team though three times in one series as an individual pitcher is quite a task to pull off. The Cubs jumped on Kluber immediately as Dexter Fowler lead off the game with a home run to give the Cubs an early advantage. In the fourth inning the Cubs took a 3-1 lead off of a double from Willson Contreras. The next inning Javy Baez hit a home run to drive Kluber from the game, the Cubs had finally got to him. Andrew Miller, arguably the best reliever in the game came in to try and stop the bleeding but the Cubs were able to get to him as well. Kris Bryant drew a walk and Anthony Rizzo followed it up with and RBI single, scoring Bryant all the way from first. Hendricks had a 5-1 lead and looked to be in control but was pulled after a walk with two outs in the fifth. Jon Lester made a rare appearance out of the pen to try and help seal the deal. David Ross had also come in as Lester’s personal catcher to replace Contreras. Things got off to a rocky start as the Indians were able scratch across two runs tightening the game to 5-3. As if to make up for some of his misfortunes behind the plate the previous inning, 39-year-old David Ross stepped into the batter’s box and took the once-thought impervious Andrew Miller out to dead center for a home run. Miller, like Bumgarner, Cueto, Kershaw, and Kluber before him was made mortal by the Cubs in the postseason. The Cubs were up 6-3 and Lester held down the Indians into the eighth and recorded two outs there. The Cubs were four outs away from the impossible. But as we know in Cubs lore, nothing is ever easy. NEVER. Lester gave up a single with two outs and Joe Maddon went to Aroldis Chapman for a third straight game. He served up a double and all of a sudden the Indians were trailing by just two with the tying run coming to the plate. As if the baseball Gods had one more thorn to stick into the Cubs and their fans Rajai Davis promptly hit a two-run homer to left off of Chapman and the game was tied 6-6. A little sidebar personal story here: I was watching this game in a bar which I was solidly against for fear of jinxing them by going out in public for any of the World Series. A few of my friends though goaded me into it and against my better judgment I went. When Davis hit that home run I was beyond devastated, I don’t have a word for it. My head sunk and I was completely deflated. I asked Maggie to whisk me out of the bar. I could no longer be sure of controlling my actions or emotions in public, especially if the Cubs were going to come this far only to have one more epic collapse. When I got home I was briefly despondent still not believing the dream season was trying to morph into a nightmare one more time. Back to the game, both the Cubs and Indians were unable to push across any runs in the ninth inning and as if there needed to be more stress added, this game was headed for extra innings. Something cosmic happened again though before the 10th inning could start. The heavens opened up and the rain fell as if to cleanse everything that had come before it in the game. A legit reset button. Meanwhile inside the visitor’s weight room the Cubs gathered as a team and Jason Heyward rallied the troops and reminded them who they were and why they were here. The 1oth inning began with Kyle Schwarber singling and Albert Almora Jr. pinch-running for him. Almora advanced on a sacrifice fly from Bryant. The Indians opted to intentionally walk Rizzo to get to Ben Zobrist. The biggest hit in Cubs franchise history came off the bat of Zobrist who slapped an opposite field double down the left field line scoring Almora and the Cubs reclaimed the lead 7-6. After an intentional walk to Russell Miguel Montero delivered another big insurance run with a single driving in Rizzo. The Cubs were leading by two and now three outs away from completing the dream. Young fire-baller Carl Edwards Jr. came in in the bottom of the 10th and retired the first two men. He then walked Brandon Guyer and who else but Rajai Davis drove him in and just like that the lead was back down to one with the tying run on base. The Cubs countered with Mike Montgomery, a mid-season pick up from the Seattle Mariners to try to get that precious final out. He faced Michael Martinez and on the 2nd pitch he hit a grounder to Bryant who fielded the ball. As he gathered himself he threw to first and slipped (Remember that rain?) but his aim was still true and Rizzo caught the ball in time. Everything stopped for me for a second. I realized it was over, the Chicago Cubs were the champions of the world. The curses: William Sianis, The Billy Goat, The Black Cat, Bartman, 108 years all erased in one night. But there was a wave that had been building for nearly nine months until that moment. The Cubs completed one of the most epic World Series comebacks in arguably the most epic Game 7 ever to end their title drought. I sobbed like I think I’ve never sobbed in my adult life and hugged Maggie. I couldn’t believe what I was witnessing and experiencing. I couldn’t form full sentences and began to pace around the basement couch (Which has become a postseason tradition for me now the past two years). Ben Zobrist was appropriately named the MVP of the World Series and a celebration that was 108 years in the making was on.

Looking back on it I still can’t believe it happened several weeks later. I think about it multiple times daily and I’m still mystified by how it went down. I still smile every time I reminisce too. I’ll savor this one forever and I’ll be letting Cub haters and detractors hear about it until next Spring, maybe longer.

So many things in the regular season and the postseason that I’ve left out that I can’t possibly cover entirely:

David Ross’ “Year long retirement party” was great. His wisdom and guidance were so pivotal on a young team. Hitting a home run in Game 7 off of Andrew Miller and getting carried off the field after winning the World Series and sailing into retirement is better than anyone could’ve wrote it.

Kris Bryant’s otherworldly MVP season and watching him play so many positions without skipping a beat (3B, 1B, LF, RF). His first two years in MLB he’s won the 2015 NL Rookie of the Year, the 2016 NL MVP, and is a 2016 World Series Champion. Not too shabby of a start. The phenom is just getting started.

Kyle Hendricks, Jon Lester, and Jake Arrieta all emerging as NL Cy Young candidates. Lester’s brilliance spanning the regular season and postseason, Arrieta’s fierce confidence and his 2nd career no-hitter, Hendricks’ calm demeanor and ascendancy to the upper echelon of MLB pitchers on the way to an ERA title.

John Lackey’s outspoken attitude and unmatched competitive fire. And who could forget, “We’re trying to win a World Series. I didn’t come here for a haircut, you know what I mean? We’re trying to get it on. I came here for jewelry.”

Javy Baez and Willson Contreras becoming part of the Cubs’ essential core. Sometimes this game can get a little too bland and by-the-books. They brought a certain charismatic flair, a machismo/moxie to this team. I loved watching these guys play. Contreras wearing his heart on his sleeve and gunning out runners. A coming-of-age tale behind the plate becoming a defensive marvel and swinging the bat great as well. He had big hits in all of the series clinching games for the Cubs in the postseason. A two-run single in Game 4 of the NLDS against the Giants that completely swung the momentum of the game and series, a solo home run off of Clayton Kershaw in Game 6 of the NLCS, an opposite field RBI double off of Corey Kluber in Game 7 of the World Series. I can’t wait for him to be the Cubs’ prominent catcher next year. Baez finally showed he could be the All-Star he’s been touted as for years and lived up to his potential. A defensive wizard at any position. His tags that defied the laws of physics. His postseason heroics and that smile.

Ben Zobrist as King Midas, anything he touches turns to gold. Winning a World Series title with the Kansas City Royals in 2015 then winning the next year with the Cubs in 2016. His inhuman month of May and the World Series MVP.

Addison Russell not only continuing his dazzling play at short stop but his burgeoning offense as well, hitting 21 home runs and having an astounding 95 RBIs in the regular season. Igniting the Cubs offense out on the West Coast in the NLCS clocking homers in back-to-back games. His grand slam and six RBIs in Game 6 of the World Series.

Jason Heyward’s defense in right field. Although he struggled mightily all season offensively and will definitely work on it in the off season his glove was never in question. Like Baez and Contreras, I loved watching him play defensively. Not to mention he added another Gold Glove to his trophy case as well.

Dexter Fowler’s million-watt smile and galvanizing the team as the best Cubs lead-off man I’ve ever seen. The “You Go We Go” mentality that he had causing a ripple through the entire lineup. I highly doubt he’ll be back with the team next year so whichever team gets him will be getting a great ball player.

Kyle Schwarber’s inspirational return in the World Series and immediate impact on the lineup. After that gruesome injury back in early April I can’t believe he’s walking right now. I can’t wait for his bat to be back in the lineup full-time next year.

Anthony Rizzo being the heart and soul of the team. He’s been through it all in this rebuilding process and was on some of the worst Cub teams in the history of the organization. Oh and he also ended up having a pretty incredible year too. In the hunt for the NL MVP all year and he raked in the awards after the season winning a Silver Slugger award, a Gold Glove, and the rare Platinum Glove award only given out to one defensive player in each league.

Joe Maddon being the Zen-master of the dugout. He was absolutely the right man to take the Cubs to the promise land and get the ultimate victory a World Series Championship. His experience and decades of baseball knowledge helped a young team show poise and have fun at the same time. His slogans, “Try not to suck,” “Respect 90,” “Never let the pressure exceed the pleasure.” Those themed road trips. He’s immortalized now.

The front office of Theo Epstein, Jed Hoyer, Jason McLeod and the owners the Ricketts family for caring about this organization, its players, and its fans. They tore the organization all the way to the ground and built a championship kingdom in its place.

And let’s not forget, LET’S NOT FORGET… my Cubs tweeting throughout the year(s). I’m sure I annoyed a lot of people and I’m sure some people actually enjoyed it. It was therapeutic for me. A release of joy, confidence, celebration, frustration, anger, sorrow. The numerous and sometimes ridiculous nicknames and hashtags: #W #CUBS #FlyTheW #WorldChampions #CubsTwitterAfterDark #CardinalsLose. Li’l Z, Z, Zorilla, King Midas (Zobrist), Phenom, MVP, Bryzzo (Bryant/Rizzo), Russellmania (Russell),  3B (Baez Bein’ Baez), Machismo/Willco (Contreras), Miggy (Montero), Ross Sauce (Ross), The J-Hey Kid (Heyward), Hail Szczur! (Matt Szczur), 3 AM- Automatic (Tommy La Stella), Rodan (Rondon), Soler Power/Soler flare! (Soler), The General (Arrieta), Big Jon Studd (Lester), Big John Studd (Lackey), The Professor (Hendricks), The Super Athlete (Wood).

Well, this thing’s getting pretty long and has become and open love letter to the Chicago Cubs. This is a season, a team, a year I’ll never forget and I’ll make sure no one else does either. so hell, I’ll just leave you with some sweet pics.

But one more time…

#W #CUBS #WorldChampions

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TOP 10 GODZILLA MOVIES OF ALL-TIME

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I usually use this blog to muse about music but in the wake of the buzz surrounding the release of the American reboot of Godzilla tomorrow I thought it was appropriate to write about the greatest and mightiest movie monster of all-time (Sorry King Kong, you know it’s true). Kids have their favorite superheroes growing up. Batman, Superman, Spider-man, etc. Mine was always Godzilla. You could use the term “hero” loosely but I was solidly behind anything Godzilla did during my childhood and adolescent years. So much so that I still enjoy watching the movies even now that I’m in my 30’s. Blame it on a hyper-active imagination I guess that’s always been fascinated by the genres of Sci-Fi and fantasy. None more than kaiju/monster films with the Godzilla franchise being at the top.

Leading up to the theatrical release of Godzilla I thought I’d take it upon myself to watch all 28 Japanese Godzilla films (I just can’t bring myself to include the Roland Emmerich and Dean Devlin 1998 American abomination) in an epic marathon. Then I thought I’d challenge myself and try to create an all-time Top 10 list of my favorite Godzilla movies. It was tough narrowing down only 10 from the Showa, Heisei, and Millennium series. This isn’t based on critical acclaim, these are personal preferences. Here we go…

10. Godzilla vs. Destoroyah (1995)

Godzilla vs Destroyah2This was one of the more infamous movies in the entire Godzilla series mainly because it usually came with the tagline “Godzilla dies.” Godzilla vs. Destoroyah was the final installment in the Heisei series and it was a fantastic way to send Godzilla out in a blaze of glory.

The movie begins with Godzilla wreaking havoc in Hong Kong coated in a smoldering lava glow. We come to find this is caused by Godzilla consuming too much nuclear energy and he’s facing an imminent meltdown, the results of which will be catastrophic not only to Godzilla but the entire planet. We are also introduced to a new original Toho kaiju with Destoroyah. Destoroyah is one of my favorite Heisei series foes, truly impressive in size and design and a formidable challenge and it’s origin story traces all the way back to the Oxygen Destroyer from the original 1954 Godzilla film. Eventually Godzilla suffers his untimely demise melting down in a haunting yet gorgeous requiem composed by Akira Ifukube leaving Tokyo a ghost town of radioactive fallout. All is not lost however as radiation levels drop rapidly and off in the distance we find out that Godzilla Junior has been revived by his legendary father’s nuclear energy. Now transformed into a full-grown adult by the massive amount of radioactivity he is roars defiantly ready to reign as the new king of the monsters.

9. Terror of Mechagodzilla (1975)

terror-of-mechagodzilla-poster-kt5pws8uThis was the final installment in the original Godzilla Showa series. It’s also the only movie in my Top 10 where Godzilla appears strictly as a defender of Earth or a “Good guy.” This is a sequel to 1974’s Godzilla vs. Mechagodzilla and in my opinion I think it’s the better of the two.

I was always big on Godzilla overcoming seemingly insurmountable odds for a victory. Not only was he battling one of his arch-enemies in Mechagodzilla once more but he had to deal with the newest kaiju, an aquatic dinosaur known as Titanosaurus as well. Another edge it has over the original is the constant use of Akira Ifukube’s classic Godzilla march, one of the best orchestrations in cinema in my opinion. Godzilla triumphs in the end and saunters off into the ocean peacefully for a fitting close to the first chapter of Godzilla movies. He would not appear again on the big screen for nine years.

8. Godzilla, Mothra and King Ghidorah: Giant Monsters All-Out Attack (2001)

11158216_800Despite the completely ludicrous title, Godzilla, Mothra and King Ghidorah: Giant Monsters All-Out Attack is widely heralded as a success from fans and critics alike. Although I’m nowhere near as big of a fan boy of it as some (Many Godzilla fans consider this to the pinnacle Godzilla movie, that’s going a touch too far) but it demands to be included in this Top 10. This incarnation of Godzilla is much different from others as it has a more spiritual spin. It is thought that Godzilla is driven by evil spirits, the lost souls of World War II are embedded within him and intend to seek vengeance on Japan for the nation apparently forgetting their sacrifices. Even for a Godzilla movie that’s pretty far out. Luckily it doesn’t clutter the film up really as Godzilla is back to being the unstoppable unforgiving force he was in movies like Godzilla and Godzilla 1985.

Godzilla faces the three guardians of earth: Baragon, Mothra, and King Ghidorah. After making quick work of a completely outmatched Baragon, Godzilla has a showdown with Mothra and King Ghidorah. Eventually defeating both monsters it frees the spirits of all three earth guardians who enter Godzilla’s body dragging him down to the depths of the bay. Godzilla has a missile planted in a gaping wound he had sustained and when it detonates Godzilla explodes underwater. Japan rejoices in the apparent demise of Godzilla although as the camera plums the deepest fathoms of the water at the end of the movie we come to find Godzilla’s heart… still beating.

I should also note as far as Godzilla suits go this is one of the most malicious looking. Particularly the completely white eyes and snarling demeanor restoring his wickedly ominous presence.

7. Godzilla vs. King Ghidorah (1991)

godzilla_vs_king_ghidorah_heisei_poster_by_ryugassj3-d5yud7bOf all of Godzilla’s arch-enemies, King Ghidorah is considered his apex rival. Godzilla has fought King Ghidorah more times than any other adversary throughout the decades. It was tough for me to narrow it down, but their greatest clash on the big screen has to be the Heisei interpretation of Godzilla vs. King Ghidorah. There is a bit of campiness with the aliens known as the Futurians (Christ what is with those suits and that horrible android?) but Godzilla and King Ghidorah represent in grand fashion to lift the movie above that slight snag.

They engage in two fierce battles, the first of which sees Godzilla severely maim King Ghidorah thrashing its wings and severing its middle head. King Ghidorah is resurrected as a cyborg using futuristic technology to create the majestic Mecha-King Ghidorah. A 2nd battle ensues in the steel and glass canyons of Tokyo which is thought to eventually end in a stalemate at the bottom of the ocean. Godzilla however awakens on the ocean floor proving his indestructibility and superiority over King Ghidorah once more.

As far as suits go, this may be my favorite design of Godzilla. It’s essentially the same exact design as the suit from Godzilla vs. Biollante only more musculature and intimidating. King Ghidorah is a sight to behold as well. The great golden dragon from the deepest darkest depths of space has never looked more astonishing.

 

6. Godzilla vs. Monster Zero (Invasion of Astro-Monster) (1965)

Invasion_of_Astro-Monster_posterOkay okay, while he may have had the better one on one battles with King Ghidorah as stated above (Godzilla vs. King Ghidorah) my favorite movie with him still remanis Godzilla vs. Monster Zero. It is the 2nd appearance of King Ghidorah in the franchise and is a loosely based sequel from 1964’s Ghidorah: The Three-Headed Monster. This time around King Ghidorah is under the control of evil space aliens from Planet X known as Xians. Relying heavily on numbering things, they have given King Ghidorah the code name of Monster Zero. The Xians deceive the people of Earth into giving them Godzilla and Rodan, using the facade that they intend to drive Monster Zero away from Planet X with help from the two monsters. The ulterior motive of the Xians is soon revealed as they intend to conquer Earth enslaving the human race. When mankind does not acquiesce to the demands of the Xians they unleash not only Monster Zero but Godzilla and Rodan as well as they now too are under the same mind control as King Ghidorah.

One of the reasons this is a favorite Godzilla film of mine is the dichotomy of Godzilla himself. He’s seen as both a valiant protector of earth and when under the control of the Xians he reverts magnificently back to his malevolent city-leveling ways. I also enjoy King Ghidorah’s continued presentation in such a dominant manner. Once again having to battle Godzilla and an additional monster as well as escaping to fight another day once more. This is my 2nd favorite Showa era Godzilla movie… spoiler perhaps?

5. Godzilla vs. MechaGodzilla II (1993)

godzilla-vs-mechagodzilla-2-rpdf0zrwIf King Ghidorah is Godzilla’s most notorious foe, Mechagodzilla is a close 2nd. And it’s the Heisei version that captures their rivalry the best with Godzilla vs. Mechagodzilla II.

As far as the Heisei films go, Godzilla might have more on-camera time here than in any other in the series. He first battles Rodan on Adona Island and is able to overcome its aerial assault. There’s also an excellent 20-minute block in the middle of the movie that sees Godzilla first disable Mechagodzilla with a massive pulse of energy. He follows that by wiping out an entire army with ease before finally laying waste to Kyoto. Finally in the conclusive battle, Godzilla arrives not only to finish off Mechagodzilla but to bring a newly hatched baby Godzilla home with him. As Godzilla arrives on land, Mechagodzilla had just finished mortally crippling and wounding Rodan. The two engage in an epic showdown and Mechagodzilla here becomes arguably the closest any other opponent has come to killing Godzilla. It targets Godzilla’s 2nd brain in his abdomen which controls his mobility. They destroy the brain and Godzilla is temporarily paralyzed and seemingly defeated. However, before he parishes Rodan summons enough energy to fly over to Godzilla and land on him. Godzilla completely absorbs Rodan and his energy, his 2nd brain is completely reanimated and repaired. Godzilla is now super-charged with Rodan’s energy and becomes too much for Mechagodzilla. Godzilla incinerates his mechanical counterpart with a high-powered red atomic ray. Godzilla is united with his estranged son and the two wade off into the ocean together peacefully.

What can be said about Mechagodzilla? In every movie he’s been in he’s pushed Godzilla to the extreme brink. Always equipped with an onslaught of weapons and the latest technology (Whether it be alien or man-made) able to go toe to toe with the king of the monsters. Although this is not the greatest looking adaptation of Mechagodzilla (That distinction would go to the superb design of the Millennium series known as “Kiryu” in Godzilla Against Mechagodzilla and Godzilla: Tokyo S.O.S.), Godzilla vs. Mechagodzilla II is still the most fully realized its power and potential could achieve.

4. Godzilla 2000 (1999)

godzillatwothousandMaybe it’s just me but Godzilla 2000 has always seemed underrated and under-appreciated in the great Godzilla pantheon. After the disastrous 1998 American take on Godzilla by Dean Devlin and Roland Emmerich had severely mangled the franchise something had to be done quickly to stop the bleeding. Godzilla 2000 arrived just a year later and wiped out the sour taste of Devlin and Emmerich’s folly like a city in Godzilla’s wake. It restored prominence to the franchise and was a proper reboot that kicked off the Millennium series.

Godzilla’s appearance was updated for the turn of the century as well. He’s much more reptilian looking (He’s actually green in this film), his spines were larger and more jagged with a hue of purple outlining them, and his classic fluorescent blue atomic ray was replaced with an incendiary orange beam. Also, one of my favorite enemy monster designs happens to be Orga, an original kaiju conjured for the Millennium series to combat Godzilla in this relaunch. He’s a blend of alien genetics and Godzilla’s DNA to create a truly imposing adversary. He pushes Godzilla to the limit but he makes one of the biggest mistakes in the Godzilla playbook: Do NOT put Godzilla in your mouth. You will pay dearly. Godzilla stands triumphantly over a fallen Orga and a burning Tokyo skyline at the end as the Godzilla march begins to play while the credits roll. A fitting closing for the movie that from my perspective saved the franchise from the evil grasp of Devlin and Emmerich and ushered in the outstanding Millennium series.

3. Godzilla vs. Biollante (1989)

godzilla vs biollante

Godzilla films have connected on a number of different levels and different ways through out the years. He’s been a loveable childhood character and on the opposite side of the spectrum he’s been a ruthless unstoppable force, uncaring, unflinching. For me I always appreciated the more serious toned films (All within perspective here, we’re talking about monster films) rather than the campy cheese-ball kid-aimed ones. Even as a child I preferred the more dour stories so it should come as no surprise what my top three Godzilla movies are.

Godzilla vs. Biollante is one of the better cohesive stories told in the entire series as it’s a direct sequel to Godzilla 1985. Godzilla cells are recovered from the ruins of Tokyo and are used in an attempt to create an Anti-nuclear bacteria to use as a primary weapon against Godzilla should he ever return. Godzilla is in fact resurrected from his volcanic tomb and looks to wreak havoc on Japan once more. Meanwhile, the recovered Godzilla cells fuse with plants in a lab to create one of the most intriguing Godzilla foes, Biollante. After Godzilla easily takes care of Biollante in a rose form in their first battle, its 2nd incarnation is much more terrifying. A massive crocodilian-like head,Venus fly trap tentacles, an acidic sap spray it spews from its gargantuan mouth, and the sheer bulk of its body are impressive in scope. Godzilla comes out on top again as Biollante morphs into a spiritual stream of glimmering dust and retreats into the sky.

It should be noted that the basic entities of this Godzilla suit were so well received that this design (Still considered the best by many including me), although tweaked at times, remained as a constant for the rest of the Heisei films. Godzilla’s head was much more feral than ever before, his eyes were smaller and blackened, two rows of carnivorous teeth were added as opposed to one, and an imposing muscular build to show off the king of the monsters in his true glory.

2. Godzilla 1985 (The Return of Godzilla) (1984)

godzilla-1985-the-legend-is-rebornIf Godzilla vs. Biollante was a solemn affair, its predecessor Godzilla 1985 was downright austere and incredibly bleak. Ignoring all previous Showa series movies except for the original 1954 outing, Godzilla 1985 was a sequel 30 years in the making. This is the movie that got me into Godzilla. Watching it as a little kid for the first time when I was 5-6 years old I was hooked, I was so engrossed and knew this was something more than just another monster. This was truly the king of the monsters I was watching. After becoming a savior of mankind in the latter appearances of the Showa series, Godzilla returns here as a callous force of nature. This was the beginning of the Heisei series as well which I consider the greatest stretch of Godzilla films (Notice five of the seven have been in my Top 10).

The action begins with a fishing vessel being caught in strong currents off the shore of Daikoku Island. There is a volcanic eruption and the ominous roar of a ghost from the past echoes over the ocean. Speculation begins to run rampant that it is Godzilla. To avoid mass panic the news of a possible Godzilla return is kept a secret. The film is also rife with Cold War subplot as Godzilla destroys a Soviet submarine in the Pacific Ocean. The Soviets believe Americans were behind the attack until Japan intervenes and announces it was Godzilla to avoid an international incident. Godzilla first makes land attacking a nuclear power plant off the coast of Japan where he absorbs all of the nuclear reactor’s energy. Shortly after, Godzilla arrives in Tokyo Bay where military forces confront him only to be annihilated by Godzilla’s atomic blasts. Meanwhile the Soviets attempt to destroy Godzilla themselves with a nuclear missile fired from an orbiting Satellite. Godzilla meanwhile makes his way through Tokyo demolishing everything in his way. It’s only until he meets the new defense force weapon Super X that they are able to slow him down and temporarily subdue him with cadmium shells. American forces are able to intercept the incoming Soviet missile with a defensive missile strike of their own detonating it in the atmosphere. This however creates an electrical storm, and serving as a lightning rod, it strikes Godzilla multiple times reviving him. Godzilla relentlessly chases the Super X and appears unstoppable, destroying it by knocking a skyscraper over on it. Godzilla continues his assault on Tokyo until he is eventually lured to Mt. Mihara by a frequency similar to a bird call that had lured him away from the nuclear power plant earlier. Upon arrival Godzilla falls into the volcano after a man-made eruption and his defiant roar seemingly morphs into a sympathetic cry. Godzilla had once again been thwarted by mankind. The victory would not last as this turned out to only be a hibernation for Godzilla.

Although the Godzilla design from Godzilla vs. Biollante – Godzilla vs. Destoroyah continues to be my favorite, the 1985 version is nearly as impressive, particularly the head. Godzilla’s teeth are sharpened, the snout shortened, and the eyes are baleful with intoxicating indifference. Truly a sinister design for perhaps the darkest Godzilla movie ever.

1. Godzilla (Gojira) (1954)

Gojira1954It’s the movie that started it all, and for me the original 1954 Godzilla still remains the benchmark of the entire series. Six decades after it, Godzilla is still ingrained in our collective consciousness. Not only would every Godzilla movie going forward be measured to this masterpiece but every large-scaled monster movie made after this would be judged against this. Godzilla is so ominous and foreboding that it even sometimes teeters more on the boundaries of a horror movie than a Sci-Fi flick. A lot of this was due to the gritty black and white of the film. I’ll always have that image indelibly etched in my mind of Godzilla’s inaugural arrival in Tokyo, his silhouette towering over the city as Akira Ifukube’s masterfully pernicious score churns like Nero playing the fiddle while Rome burned. Using Godzilla as a metaphor for the nuclear atrocities of war and the dropping of the atomic bomb on Hiroshima just nine years before was a brilliant allegory as well.

The plot begins with boats mysteriously being set ablaze and disappearing in the Pacific ocean. Villagers on the remote Odo Island believe this is being caused by a mythical creature known as “Godzilla” that they used to worship. Reporters remain skeptical until the monster makes his first ever appearance looming over a mountain on the island as everyone flees in terror. Godzilla inevitably makes his way to the Japan mainland and attacks Tokyo. Although his first attack is brief his unrelenting power is evident and there is a certainty in the air that he would return again. Shortly after Godzilla does indeed return and he tears through the first line of defense of high tension wires coursing with 50,000 volts of electricity, melting the towers with his atomic breath. He marches inland towards Tokyo where military weapons are powerless to stop him. Godzilla obliterates everything in his sight and turns Tokyo into a sprawling conflagration. Jets are finally able to annoy Godzilla enough to drive him from Tokyo but not before the city is completely destroyed. After all conventional weaponry fails against Godzilla officials turn to Dr. Daisuke Serizawa and his invention the Oxygen Destroyer which disintegrates oxygen atoms and organisms die of asphyxiation. Serizawa reluctantly agrees to use his invention against Godzilla but burns all of the blueprints for it so no one can follow his work. They find Godzilla in the ocean and unleash the Oxygen Destroyer underwater. The device proves effective as Godzilla suffocates and drowns. Serizawa stays underwater and perishes as well with his own instrument of death.

No one could’ve predicted the legacy of Godzilla that would follow his inception in 1954. If they did they probably wouldn’t have killed him off in the first movie. Even in death though Godzilla couldn’t be stopped as this milestone and 27 proceeding Japanese films cemented his immortality. The original Godzilla that still proves to be the most awe-inspiring and galvanizing and that’s why it gets the #1 spot.

So where will this new incarnation of Godzilla being released tomorrow fit in this amazing lineage? Early reviews and reports have me hopeful as it is supposedly a serious take on a newly adapted Godzilla origins story. It has a lot to live up to but here’s to hoping it is successful enough to generate a number of sequels and an American series that can hold it’s ground with the Toho Godzilla movies.

THE ROARING 20’s- Roll Credits

Tomorrow my roaring 20’s end as they began… out on Highway 61. Only this time it’s not just on record it’s on the road. I remember the Spring of 2004, shortly after I turned 20 there was one record I listened to more than anything else: Bob Dylan’s Highway 61 Revisited. I was obsessed with it, couldn’t put it away, you’d have to have NASA total up the amount of times I have spun this record. I’ve always wanted to take a road trip down south via Highway 61, the legendary blues highway Dylan mused about and countless other blues myths and legends have occurred along here as well. This is sort of a trial run as I don’t know how much of it I’ll get to cover but the goal is New Orleans as the terminus. At some point I’d like to travel all the way from Minnesota to New Orleans down the Great River Road. We’ll see.

As for the rest of my 20’s, in a rare occurrence I’ll be brief and blunt. Yeah, I had some massive highs and some crushing lows (Thanks for that one Craig Finn), put myself through a lot of gears, smashed my head into steel beams/pipes on multiple occasions (As recent as Monday!), and did things I’ll need to be more diligent about in my 30’s. The brain trust that has mainly been on the journey with me these past 10 years know all of the hilarious skeletons and ghost stories of the ragamuffin decade. I guess I’m waxing poetic about some of this because The Hold Steady’s new record Teeth Dreams is blasting in the background right now and they do it better than anyone else. The last great new record I’ll buy in my 20’s. Chances are some of those exploits are over-embellished because that’s the way the audience needs it! Despite all of the nonsense though I did make it out on the other side a little wiser. Here’s to 30!

“Time to grow up!” –The last great joke of my 20’s