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article by: Michael Canter

27 May 2011

Friday Flashback 1968

FRIDAY FLASHBACK: Every Friday we set the Wayback Machine to one year in rock history and give you the best (and worst) music from that year, all day long beginning at 5AM EST on Jivewired Radio powered by Live365. This week: 1968 Next Week: The Entire 1950s. To listen: Launch Jivewired Radio



Contrary to myth spread by the unbeknownst, 1968 was the year of the Summer Of Love and not 1969. Most music historians will point to 1968 as the apex of a three-year revolutionary period in pop music and culture. Sandwiched right between 1969, when the movement culminated with the Woodstock Concert, and 1967, when it all began, sits a great year for music, not as mythic or epic as the other two years, but certainly a tremendous year for music in it's own right. Assuredly, 1968 provided a soundtrack to a sociopolitical and music revolution, but it was much, much more than that, too. The Beatles/Stones/Hendrix/Doors/Joplin apocalyptic beast threatened to level the very foundation of popular culture. Psychedlia had found it's way into every nook and cranny of music, starting with the Beatles and filtering into the soul of Sly & The Family Stone, the R&B of The Temptations, the electrified folk of The Grateful Dead, Canned Heat and The Incredible String Band, and even Dr. John's Gris-Gris dabbled in the movement. Van Morrison's "Astral Weeks?" Please. Morrison's career-defining LP was a fully mature artistic statement that completely separated him as a solo artist from his work with Them. The Zombies released "Oracle & Odyssey" to critical, if not commercial acclaim. Britain followed suit, thanks to tremendous artistic achievements by The Kinks and Cream. "Beggar's Banquet" by The Rolling Stones showed a wonderfully artistic and hard-edged rock and blues maturity for the band, defining the band's direction until 1974.

When John Mayall released the album "Bluesbreakers" two years earlier, featuring former Yardbirds guitarist Eric Clapton, he defined, once and for all, a genre of rock and blues which soon became one of the strongest undercurrents of British rock music. The scene erupted in 1968 as Clapton, Jack Bruce and Ginger Baker formed the all-star trio Cream, and combined with diverse changes in musical direction from The Beatles and The Rolling Stones, effectively suffocated the final remnants of the Mersey Beat era. The new guard of Brit Rock indulged in guitar distortions, dissonant solos and psychedelic studio effects that were shocking for an audience raised on the early Beatles sound. By fusing blues and rock with a hint of improvisation and a propulsive beat, 1968 formed the perfect segue into progressive music and the free-form jam band and hippie sound it bore going forward, inspiring countless artists on both sides of the Atlantic Ocean. Though not revolutionary by any means, especially if you ask many of the blues artists of the 1940s and 1950s, the hybrid sound was much more sophisticated than the childish verse-chorus interplay of The Mersey Beat sound.

San Francisco, Los Angeles and Seattle also attracted and harbored a sizable blues community, thanks to Janis Joplin, The Doors and Jimi Hendrix. Influenced by the acid-rock movement on the West Coast, Joplin (vocally), Hendrix (instrumentally) and Jim Morrison of The Doors (poetically) were the most visceral and immortalized artists on the West Coast at that time. Joplin's wild antics were immortalized on "Cheap Thrills", her output with Big Brother & The Holding Company, Morrison's gigs with the Doors are legendary to this day, and Hendrix achieved incendiary status both literally and figuratively with his guitar work.



As the year ended, an icon from the old guard in music at a career crossroads vowed to assert himself with a statement showcase. Almost defiantly taking a stand for a way of life and an era of music that had come to be perceived as conservative, outdated and pedestrian, a revitalized Elvis Presley announced to the world that he still belonged and his music still mattered.

Perhaps in fear of the changing face of the music landscape, Presley launched an unprecedented comeback attempt in 1968. Probably the forerunner to the popular "MTV Unplugged" in that it featured informal jamming in front of a live, studio audience on a makeshift soundstage with limited amplification, Elvis launched a historical TV broadcast simply called "Elvis." Sponsored by The Singer Sewing Machine Company, it aired on December 3, 1968 on the NBC television network. The special is commonly referred to as the "'68 Comeback Special," because of subsequent developments in Presley's career, but the soundtrack album was released simply as The NBC-TV Special.

Despite huge success in both his music and acting careers following his release from the army in 1960, Presley's career had declined steadily in the years leading up to 1968. The music scene had changed dramatically since his last U.S. #1 single in 1962, and Presley was facing musical irrelevance.

The edited broadcast of December 3 - combining the big, choreographed numbers, lavish sets and some of the informal live sessions - was an enormous success. The show was the highest-rated television special of the year.

Critics generally agree that the broadcast did show what Elvis Presley really could do - in addition to making profitable, if generally uninspired movies and soundtracks. The '68 Special is widely credited with revitalizing his career: chart statistics for the summer of 1968 suggest that Presley's recording career was becoming all but non-existent. After the special, he began his stint in Las Vegas and toured, achieving a string of record-breaking sell-out performances across America until his death in 1977. Chart successes returned, including a U.S. number one hit in 1969 with "Suspicious Minds" and a U.K. number one in 1970 with "The Wonder Of You."





Playlist Adds For Friday Flashback 1968

001. I'd Rather Go Blind by Etta James
002. Destination: Anywhere by The Marvelettes
003. No Regrets by Tom Rush
004. I Truly, Truly Believe by The Temptations
005. Daydream Believer by The Monkees
006. Dance To The Music by Sly & The Family Stone
007. Savoy Truffle by The Beatles
008. Cloud Nine by The Temptations
009. This Guy's In Love With You by Herb Alpert & The Tijuana Brass
010. Need Your Love by Little Willie John
011. Hush by Deep Purple
012. Living In The U.S.A. by The Steve Miller Band
013. Valleri by The Monkees
014. Why Don't You Lead Me To Love by Stevie Wonder
015. You're What's Happening (In The World Today) by Marvin Gaye
016. I Put A Spell On You by Creedence Clearwater Revival
017. Hooked On A Feeling by B.J. Thomas
018. Elenore by The Turtles
019. Come Back Baby by Aretha Franklin
020. Everyday People by Sly & The Family Stone
021. Just Dropped In (To See What Condition My Condition Was In) by Kenny Rogers & The First Edition
022. The Unicorn by The Irish Rovers
023. Games People Play by Joe South
024. Hey Jude by The Beatles
025. Wichita Lineman by Glen Campbell
026. Ball & Chain by Big Brother & The Holding Co.
027. Hello I Love You by The Doors
028. Suzie Q by Creedence Clearwater Revival
029. The Boxer by Simon & Garfunkel
030. I Will by The Beatles
031. Green Tambourine by The Lemon Pipers
032. Just A Little Bit by Etta James
033. Philosopher's Stone by Van Morrison
034. Blackbird by The Beatles
035. Niki Hoeky by Aretha Franklin
036. I Wish It Would Rain by The Temptations
037. Build Me Up Buttercup by The Foundations
038. Voodoo Child (Slight Return) by Jimi Hendrix
039. What A Wonderful World by Louis Armstrong
040. Summertime by Big Brother & The Holding Co.
041. Sing What You Wanna by Shorty Long
042. The Pusher by Steppenwolf
043. Ain't Nothing Like The Real Thing by Marvin Gaye & Tammi Terrell
044. Sad & Lonesome Feeling by Jimmy Ruffin
045. Everybody Needs Love by Jimmy Ruffin
046. (You Can't Let The Boy Overpower) The Man In You by Chuck Jackson
047. Slip Away by Clarence Carter
048. Sympathy For The Devil by The Rolling Stones
049. Safe In My Garden by The Mamas & The Papas
050. Abraham, Martin & John by Dion
051. Under My Thumbs by The Rolling Stones
052. Reason To Believe by Tim Hardin
053. Sunshine Of Your Love by Cream
054. You're All I Need To Get By by Marvin Gaye & Tammi Terrell
055. Sweet Thing by Van Morrison
056. Harper Valley P.T.A. by Jeannie C. Riley
057. Little Green Apples by O.C. Smith
058. Son Of A Preacher Man by Dusty Springfield
059. You're Gonna Miss Me by 13th Floor Elevators
060. Hip Hug Her by Booker T & The MGs
061. Killing Floor by The Electric Flag
062. I'm Gonna Hold On As Long As I Can by The Marvelettes
063. I Want To Take You Higher by Sly & The Family Stone
064. Something In The Way She Moves by James Taylor
065. Here She Comes Now by The Velvet Underground
066. Stormy by The Classics IV
067. Crosstown Traffic by Jimi Hendrix
068. Nobody But Me by The Human Beinz
069. Time Of The Season by The Zombies
070. I'll Be Your Baby Tonight by Bob Dylan
071. Little Ole Boy, Little Ole Girl by Marvin Gaye & Tammi Terrell
072. Love Child by Diana Ross
073. As I Went Out This Morning by Bob Dylan
074. Street Fighting Man by The Rolling Stones
075. Ride My See Saw by The Moody Blues
076. Mrs. Robinson by Simon & Garfunkel
077. Pictures Of Matchstick Men by The Status Quo
078. Legend Of A Mind by The Moody Blues
079. Magic Bus by The Who
080. Bad, Bad Weather (Till You Come Home) by The Spinners
081. Friends by The Beach Boys
082. White Room by Cream
083. Hot Fun In The Summertime by Sly & The Family Stone
084. Tighten Up by Archie Bell & The Drells
085. Bend Me Shape Me by The American Breed
086. I Wouldn't Change The Man He Is by Blinky
087. For Once In My Life by Stevie Wonder
088. You by Marvin Gaye
089. Born To Be Wild by Steppenwolf
090. Midnight Confession by The Grass Roots
091. Love Street by The Doors
092. Astral Weeks by Van Morrison
093. I Can't Give Back The Love I Feel For You by Rita Wright
094. On The Road Again by Canned Heat
095. I Could Never Love Another (After Loving You) by The Temptations
096. The Weight by The Band
097. People Got To Be Free by The Rascals
098. Here I Am Baby by The Marvelettes
099. Piece Of My Heart by Big Brother & The Holding Co.
100. Chain Of Fools by Aretha Franklin
101. Hurdy Gurdy Man by Donovan
102. I Shall Be Released by The Band
103. Dear Prudence by The Beatles
104. (Sitting On) The Dock Of The Bay by Otis Redding
105. Mony Mony by Tommy James & The Shondells
106. In-A-Gadda-Da-Vida by Iron Butterfly
107. Can I Get A Witness? by Barbara Randolph
108. Cry Like A Baby by The Box Tops
109. Do It Again by The Beach Boys
110. Cry Baby Cry by The Beatles
111. (You Make Me Feel) Like A Natural Woman by Aretha Franklin
112. A Child's Claim To Fame by Buffalo Springfield
113. Fading Away by Bobby Taylor
114. I Love You Madly by The Fantastic Four
115. All Along The Watchtower by Jimi Hendrix
116. Lady Willpower by Gary Puckett & The Union Gap
117. Judy In Disguise (With Glasses) by John Fred & His Playboy Band
118. The End Of Our Road by Gladys Knight & The Pips
119. I Heard It Through The Grapevine by Marvin Gaye
120. Journey To The Center Of Your Mind by Amboy Dukes
121. The Way Young Lovers Do by Van Morrison
122. Ob-la-di, Ob-la-da by The Beatles
123. Shoo-Be-Doo-Be-Doo-Da-Day by Stevie Wonder
124. Whisper You Love Me Boy by Chris Clark
125. I'm Gonna Make You Love Me by Diana Ross, The Supremes & The Temptations

Album art from 1968 - Click album cover to purchase at Amazon.com



Previous In This Series: Friday Flashback 1995

25 May 2011

Misunderstood Lyrics: Ball Of Confusion (That's What The World Is Today) by The Temptations

Providing a service for those who think they know the lyrics to this 1970 monster soul classic by The Temptations but actually have no clue.



Ball Of Confusion (That's What The World Is Today)

People movin' out
People movin' in
Why, because of the color of their skin
Run, run, run, but you sho' can't hide
An eye for an eye
A tooth for a tooth
Vote for me, and I'll set you free
Rap on brother, rap on
Well, the only person talkin'
'Bout love thy brother is the preacher
And it seems,
Nobody is interested in learnin'
But the teacher
Segregation, determination, demonstration,
Integration, aggravation,
Humiliation, obligation to our nation
Ball of Confusion
That's what the world is today, hey-hey

The sale of pills are at an all time high
Young folks walkin' around with
Their heads in the sky
Cities aflame in the summer time
And, the beat goes on

Air pollution, revolution, gun control,
Sound of soul
Shootin' rockets to the moon
Kids growin' up too soon
Politicians say more taxes will
Solve everything
And the band played on
So round 'n' round 'n' round we go
Where the world's headed, sayin' nobody knows
Great googa-mooga can't you hear me talkin' you?
It's just a Ball of Confusion
Oh yea, that's what the world is today, hey-hey

Fear in the air, tension everywhere
Unemployment rising fast,
The Beatles' new record's a gas
And the only safe place to live is
On an indian reservation
And the band played on
Eve of destruction, tax deduction
City inspectors, bill collectors
Mod clothes in demand,
Population out of hand
Suicide, too many bills, hippies movin'
To the hills
People all over the world, are shoutin'
End the war
And the band played on.

Great googa-mooga can't you hear me talkin' you?
It's just a Ball of Confusion
Oh yea, that's what the world is today, hey-hey
Lemme hear ya, lemme hear ya, lemme hear ya say
Ball Of Confusion - that's what the world is today, hey-hey


Copyright: 1970 Jobete Music Company, Inc.



  • Like "Psychedelic Shack" before it, "Ball of Confusion" delves head-on into psychedelia, this time with a strong political message.
  • The lyrics list a multitude of problems that were tearing apart the United States in 1970: the Vietnam War, segregation, white flight, drug abuse, crooked politicians, and more.
  • The lyrics are delivered over an up-tempo instrumental track with two drum tracks (one for each stereo channel), multi-tracked guitars, and an ominous bassline by Funk Brother Bob Babbitt that opens the song. Norman Whitfield's dramatic count-in, always recorded at the very start of a recording for synching purposes only, was left in the mix for this record.
  • The song was written as a response to the Woodstock Concert event of 1969, focusing on similar social issues.
  • Despite its strong political themes, the record consciously avoids a pro-liberal or pro-conservative theme, instead implying a subjective point-of-view and defiant stance. This is because the Temptations song "War", which Norman Whitfield intended as a spring 1970 single release, was not released due to Motown's concern the song's forward message could alienate more conservative listeners. Whitfield took "War" and reworked it as a single for Gordy solo artist Edwin Starr (for whom it became a #1 hit), while he and lyricist Barrett Strong wrote the more subtle "Ball of Confusion" for the Temptations.
  • When they first saw the sheet music for the song, The Temptations didn't think they would be able to pull off the rapid-fire delivery required for the song. Lead singer Dennis Edwards had the quickest tongue in the group, and was assigned to deliver the more difficult lines in the song. Eddie Kendricks was given a rare chance to sing in a tenor voice for his verses.
  • Bob Babbitt of the Motown house band The Funk Brothers recalled to Mojo magazine February 2009 the recording of this track: "Norman Whitfield gave the call to me the night before (the session). So I got to the studio the next day, there were a whole load of guys in there - Uriel Jones, Pistol Allen, Jack Ashford, Eddie Bongo, Earl Van Dyke on clarinet, Johnny Griffith on organ, Joe Messina, Dennis Coffey. There was no song, just some musical ideas, some chord patterns, and part of a bass line he played us. Norman knew what he wanted though, that it was going to be funky. He'd been listening to a lot of Hendrix, Sly and the Family Stone, that's the sound he wanted to make the Motown sound. Putting it together was simple, we just did that one song in the three-hour session and we had enough time left over to eat some BLT sandwiches. We didn't know it was going to be political, because the lyrics weren't written when the rhythm track was recorded. I heard the song four days later. It was a Saturday morning, I was running errands and it came on the automobile radio. They got the songs out quick in those days, especially in Detroit."
  • The song reached #3 on the US pop charts and #2 on the US R&B charts in 1970.
  • "Ball of Confusion" is among the Temptations' most covered songs. Cover versions have been performed by The Undisputed Truth, Love & Rockets, Duran Duran, Anthrax, Tesla, The Neville Brothers and Widespread Panic.
  • The song was played in the intro of the 2008 satire comedy film "Tropic Thunder."


Available at Amazon.com

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Text, video and lyrics available under the Creative Commons Attribution-ShareAlike License; No copyright on the video, text or lyrics is implied.

23 May 2011

Someone You Should Know: Johnny Hodges

John Cornelius "Johnny" Hodges (July 25, 1906 – May 11, 1970) was an American alto saxophonist, best known for his solo work with Duke Ellington's big band. He played lead alto in the saxophone section for many years, except the period between 1932 – 1946 when Otto Hardwick generally played first chair.



Possessor of the most beautiful tone ever heard in jazz, altoist Johnny Hodges formed his style early on and had little reason to change it through the decades. Although he could stomp with the best swing players and was masterful on the blues, Hodges' luscious playing on ballads has never been topped.

He played drums and piano early on before switching to soprano sax when he was 14. Hodges was taught and inspired by Sidney Bechet, although he soon used alto as his main ax; he would regretfully drop soprano altogether after 1940. His early experiences included playing with Lloyd Scott, Chick Webb, Luckey Roberts, and Willie "The Lion" Smith (1924), and he also had the opportunity to work with Bechet.

In May 1928 Johnny joined Duke Ellington's orchestra and he remained a mainstay of the group for the next 40 years. From his first recording in 1928 he revealed his authority and technical mastery of the saxophone, playing with a broad, sweeping tone and producing impressive, cascading runs. In the opinion of many people, he soon became Duke's most valuable soloist. He made hundreds of recordings with Duke and from 1937 led his own small studio group drawn from the orchestra which made many successful series of recordings for Victor and other labels. Titles included “Jeep's Blues,” “Hodge Podge,” “The Jeep is Jumpin” all of which were co-written with Duke. Also in this period of great creativity he played in many other small groups with musicians such as Lionel Hampton, Teddy Wilson, etc., producing classics of the period.

He was one of the prominent Ellington Band members who featured in Benny Goodman's legendary 1938 Carnegie Hall concert. Goodman described Hodges as "by far the greatest man on alto sax. that I ever heard." Charlie Parker called him "the Lily Pons of his instrument.

Johnny was one of the many stars of the Ellington band of the 40s producing solos of immense authority on songs such as “Things Ain't What They Used To Be,” “Don't Get Around Much Any More,” “Passion Flower,” etc. From the 40s he concentrated on the alto leaving the soprano alone completely and in this period he regularly won the popularity polls run by magazines such as Downbeat, Metronome, and Esquire.

Because he was such an indispensable member of Ellington's orchestra in the 1930s and '40s, it was therefore a shock, in 1951, when he decided to leave Duke Ellington and lead a band of his own

In March 1951 Johnny left Duke to form his own small group taking with him Lawrence Brown and Sonny Greer and in their first recording session they produced a hit record called “Castle Rock.” Johnny disbanded the group in the spring of 1955 and after a brief spell of TV work on the Ted Steele Show, rejoined Duke in August of that year where, apart from a few brief periods, he remained for the rest of his life. In the spring of 1958 he worked with Billy Strayhorn and in 1961 went to Europe with some of the other band members in a group called The Ellington Giants.

He continued to record prolifically with musicians such as Wild Bill Davis, Earl Hines, and even one session with Lawrence Welk. Duke and Billy Strayhorn continued to write compositions and arrangements featuring Johnny's unique sound and talents leaving a wonderful legacy of recorded music for the enjoyment of successive generations of enthusiasts. He won the admiration of many saxophonists such as Ben Webster and even John Coltrane who played in one of the small groups in 1953-4 said that Johnny was always one of his favorite players.

In his later years Johnny used fewer and fewer notes, remaining close to the melody in ballads and improvising simple but telling riffs on the faster numbers, many of which were based on the blues . The power of his playing came from his sound and his soul, generating immense swing and building the dramatic tension from chorus to chorus. His last attempt at recording was the monumental “New Orleans Suite,” but he would not live to see the final product.

Hodges' last performances were at the Imperial Room in Toronto, less than a week before his death. His last recordings are featured on The New Orleans Suite, incomplete upon his death.

Johnny Hodges, whose unchanging style always managed to sound fresh, was still with Duke Ellington when he suddenly died of a heart attack in New York City on May 11, 1970.


“Never the world's most highly animated showman or greatest stage personality, but a tone so beautiful it sometimes brought tears to the eyes, this was Johnny Hodges. Because of this great loss, our band will never sound the same. Johnny Hodges sometimes sounded beautiful, sometimes romantic, and sometimes people spoke of his tone as being sensuous. With the exception of a year or so, almost his entire career was with us. So far as our wonderful listening audience was concerned, there was a great feeling of expectancy when they looked up and saw Johnny Hodges sitting in the middle of the saxophone section, in the front row. I am glad and thankful that I had the privilege of presenting Johnny Hodges for forty years, night after night. I imagine I have been much envied, but thanks to God....” -- Duke Ellington eulogy of Johnny Hodges



Johnny Hodges Discography
(This is his solo work, and work as a band leader only)

1950 The Rabbit in Paris Inner City
1951 Johnny Hodges Collates, Vol. 1 Clef
1951 Castle Rock Polygram
1951 Memories of Ellington Norgran
1951 More of Johnny Hodges Norgran
1951 The Jeep Is Jumpin' Verve
1952 In a Tender Mood Verve
1952 The Blues Norgran
1952 Perdido Norgran
1952 Swing with Johnny Hodges Clef
1952 Alto Sax RCA Victor
1953 Johnny Hodges Collates, Vol. 2 Mercury
1954 Used to Be Duke Verve
1954 Alto Blue Verve
1954 A Man and His Music Storyville
1954 At a Dance, in a Studio, on Radio Enigma
1955 Dance Bash Norgran
1955 Creamy Norgran
1956 Ellingtonia Norgran
1956 Duke's in Bed Verve
1957 The Big Sound Verve
1958 Not So Dukish Verve
1958 Blues a Plenty Classic
1958 Side by Side Verve
1958 Johnny Hodges and His Strings Play the... Verve
1959 A Smooth One Verve
1960 Masters of Jazz, Vol. 9 Storyville
1960 The Prettiest Gershwin Verve
1960 Duke Ellington and Johnny Hodges Play the...
1960 Johnny Hodges Verve
1961 At Sportpalast, Berlin (live) Pablo
1961 Blue Hodges Verve
1961 Johnny Hodges with Billy Strayhorn and the... Polygram
1963 The Eleventh Hour Verve
1963 Previously Unreleased Verve
1963 Blue Rabbit Verve
1963 Mess of Blues Verve
1963 Sandy's Gone Verve
1963 Johnny Hodges Verve
1964 Everybody Knows GRP/Impulse!
1965 Joe's Blues Verve
1965 Johnny Hodges/Wild Bill Davis, Vols. 1 & 2 RCA Jazz
1965 Wings and Things Verve
1965 Johnny Hodges with Lawrence Welk's Orchestra Ranwood
1965 Blue Pyramid Verve
1966 Stride Right Verve
1966 In a Mellow Tone Bluebird/RCA
1966 Things Ain't What They Used to Be RCA
1966 Johnny Hodges and All the Dukesmen Verve
1966 The Incomparable Pairing of Blues and Johnny... Verve
1967 Triple Play RCA
1967 Blue Notes Verve
1967 Don't Sleep in the Subway Verve
1968 Swing's Our Thing
1969 Rippin' and Runnin' Verve
1970 Three Shades of Blue Flying

Johnny Hodges Discography with Duke Ellington

Early Ellington: The Complete... (1926) Clarinet, Sax (Alto), Sax (Soprano)
Jungle Nights in Harlem (1927) Clarinet, Reeds, Sax (Alto), Sax (Soprano)
OKeh Ellington (1927) Clarinet, Sax (Alto), Sax (Soprano)
Rockin' in Rhythm (Jazz Hour) (1927) Sax (Alto)
Duke Ellington (1927-1934) (1927) Reeds, Reeds (Multiple)
Great Original Performances 1927... (1927) Clarinet, Sax (Alto), Sax (Soprano)
Playing the Blues (1927-1939) (1927) Clarinet, Sax (Alto), Sax (Baritone), Sax (Soprano)
Jubilee Stomp (1928) Clarinet, Sax (Alto), Sax (Soprano)
Jazz Cocktail (1928) Clarinet, Sax (Alto), Sax (Soprano)
1928 (1928) Clarinet, Sax (Alto), Sax (Soprano)
1928-1929 (1928) Clarinet, Sax (Alto), Sax (Soprano)
Duke Ellington, Vol. 9: Pianist (1928) Sax (Alto)
Jungle Band: Brunswick Era, Vol. 2 (1929) Sax (Alto), Sax (Soprano)
1929 (1929) Clarinet, Sax (Alto), Sax (Soprano)
1929-1930 (1929) Clarinet, Sax (Alto), Sax (Soprano)
1930 (1930) Clarinet, Sax (Alto), Sax (Soprano)
1930, Vol. 2 (1930) Clarinet, Sax (Alto), Sax (Soprano)
1930-1931 (1930) Multi Instruments
1931-1932 (1931) Clarinet, Sax (Alto), Sax (Soprano)
1932-1933 (1932) Clarinet, Sax (Alto), Sax (Soprano)
Duke Ellington and His Great... (1932) Saxophone
British Connexion (1933) Sax (Alto), Sax (Soprano)
Duke's Men: The Small Groups, Vol. (1934) Sax (Alto), Sax (Soprano)
Back Room Romp (1936) Performer
Braggin' in Brass: The Immortal... (1938) Clarinet, Sax (Alto), Sax (Soprano)
Duke's Men: The Small Groups, Vol. (1938) Sax (Alto), Sax (Soprano), Orchestra
Blanton-Webster Band (1939) Clarinet, Horn, Sax (Alto), Sax (Soprano)
In Boston 1939-1940 (1939) Sax (Alto), Sax (Soprano)
Through the Roof (1939) Sax (Alto)
In a Mellotone (1940) Clarinet, Sax (Alto), Sax (Soprano)
Fargo 1940, Vol. 1 (1940) Sax (Alto)
Fargo 1940, Vol. 2 (1940) Alto
Sophisticated Lady (RCA) (1940) Clarinet, Sax (Alto), Sax (Soprano)
Sophisticated Lady (Bluebird) (1941) Clarinet, Sax (Alto), Sax (Soprano)
Duke Ellington and His Orchestra,... (1943) Sax (Alto)
Carnegie Hall Concerts (January... (1943) Reeds
Duke Ellington and His Orchestra (1943) Reeds, Sax (Alto)
Carnegie Hall Concerts (December... (1944) Reeds
1944-1945 (1944) Sax (Alto), Sax (Soprano)
Uncollected Duke Ellington & His... (1946) Reeds
Carnegie Hall Concerts (January... (1946) Reeds
Happy-Go-Lucky Local (1946) Saxophone
Duke Ellington & His World Famous... (1946) Reeds
Great Chicago Concerts (1946) Reeds, Sax (Alto)
Duke Ellington Centenary... (1946) Reeds
Carnegie Hall Concerts (December... (1947) Reeds
Duke Elilngton Cornell University Concert (1948) Sax (Alto)
Masterpieces by Ellington (1950) Reeds
Live at the Blue Note (1952) Reeds, Reeds (Multiple)
Two Great Concerts (1952) Saxophone
Duke Plays Ellington (1953) Clarinet, Sax (Alto), Sax (Soprano)
Jazz Profile (1953) Sax (Alto)
Duke Ellington Presents (1956) Sax (Alto)
Private Collection, Vol. 1: Studio (1956) Sax (Alto)
Ellington at Newport (1956) Sax (Alto)
Historically Speaking: The Duke (1956) Sax (Alto)
First Annual Connecticut Jazz... (1956) Reeds
All Star Road Band, Vol. 2 (1957) Sax (Alto)
Indigos (1957) Sax (Alto)
Happy Reunion (1957) Sax (Alto)
Such Sweet Thunder (1957) Saxophone
Satin Doll (1957) Sax (Alto)
Live at the 1957 Stratford... (1957) Reeds, Saxophone, Sax (Alto)
Private Collection, Vol. 7: Studio (1957) Reeds
Private Collection, Vol. 8: Studio (1957) Reeds
Blues in Orbit (1958) Reeds, Sax (Alto)
Duke Ellington With Johnny Side by Side (1958) Sax (Alto), Performer
In Concert at the Pleyel Paris,... (1958) Saxophone
Duke Ellington With Johnny Back to Back (1959) Sax (Alto), Performer
Ellington Suites (1959) Reeds, Saxophone
Newport Jazz Festival (1959) (1959) Sax (Alto)
Jazz Party (1959) Saxophone, Performer
Live at the Blue Note (1959) Reeds (Multiple)
Hot Summer Dance (1960) Sax (Alto)
Piano in the Background (1960) Saxophone
Three Suites (1960) Saxophone
Unknown Session (1960) Sax (Alto)
Unheard Recordings, Pt. 2 (1960) Sax (Alto), Alto (Vocal)
Duke Ellington with Count... First Time! The Count Meets the... (1961) Sax (Alto)
S.R.O. (1961) Saxophone
Duke Ellington w/ Coleman... Duke Ellington Meets Coleman... (1962) Sax (Alto)
Featuring Paul Gonsalves (1962) Saxophone, Sax (Alto)
New Mood Indigo (1962) Reeds
Recollections of the Big Band Era (1962) Sax (Alto)
Afro-Bossa (1962) Sax (Alto)
Private Collection, Vol. 4: Studio (1962) Sax (Alto)
Feeling of Jazz (1962) Sax (Alto)
Masters of Jazz, Vol. 6 (1962) Reeds, Sax (Alto)
Private Collection, Vol. 3: Studio (1962) Sax (Alto)
Reprise Studio Recordings (1962) Sax (Alto)
Great Paris Concert (1963) Sax (Alto)
Private Collection, Vol. 4: Studio (1963) Composer, Saxophone, Sax (Alto)
In the Uncommon Market (1963) Reeds, Saxophone
Symphonic Ellington (1963) Sax (Alto)
Great London Concerts (1963) Reeds
All Star Road Band, Vol. 1-2 (1964) Sax (Alto)
Harlem (1964) Reeds, Saxophone
Ellington Era, Vol. 2 (1964) Sax (Alto), Sax (Soprano)
Jazz Group (1964) (1964) Sax (Alto)
Never-Before-Released Recordings (1965) Reeds, Reeds (Multiple)
Private Collection, Vol. 10:... (1965) Reeds
Berlin '65 Paris '67 (1965) Sax (Alto)
Cool Rock (1966) Reeds
Far East Suite (1966) Clarinet, Reeds, Saxophone, Sax (Alto)
Pianist (1966) Saxophone
Soul Call (1966) Sax (Alto)
Ella & Duke at the Cote D'azur (1966) Saxophone
Far East Suite (Special Mix) (1966) Sax (Alto)
...And His Mother Called Him Bill (1967) Clarinet, Saxophone, Sax (Alto)
Duke Ellington Small Bands Intimacy of the Blues (1967) Saxophone, Sax (Alto)
Popular Duke Ellington (Bonus... (1967) Reeds
Private Collection, Vol. 9: Studio (1968) Reeds, Sax (Alto), Sax (Tenor)
Latin American Suite (1968) Saxophone
Second Sacred Concert (1968) Reeds, Saxophone
Yale Concert (1968) Reeds, Saxophone
Private Collection, Vol. 9: Studio (1968) Reeds, Sax (Alto), Sax (Tenor)
Up in Duke's Workshop (1969) Reeds, Saxophone
Intimate Ellington (1969) Reeds, Saxophone, Reeds (Multiple)
New Orleans Suite (1970) Sax (Alto)
Best of Duke Ellington (1971) Reeds, Saxophone
Works of Duke, Vol. 15 (1973) Sax (Alto)

SOURCES: www.allmusic.com; www.allaboutjazz.com; Downbeat Magazine; Princeton Record Exchange; Goodman, Benny; Kolodin, Irving (1939). The Kingdom of Swing. Stackpole Sons. p. 231; Morton, John Fass (2008). Backstory in Blue: Ellington at Newport '56. Rutgers University Press. p. 31. ISBN 0813542820. Retrieved 2 September 2010; Ellington, Duke (1973). Music Is My Mistress. New York: Da Capo. p. 119.

20 May 2011

Friday Flashback 1995

FRIDAY FLASHBACK: Every Friday we set the Wayback Machine to one year in rock history and give you the best (and worst) music from that year, all day long beginning at 5AM EST on Jivewired Radio powered by Live365. This week: 1995 Next Week: 1968. To listen: Launch Jivewired Radio



1995: The concept of the album was rapidly diminishing. The culprit? MP3s and file sharing. Audio compression technology and digital encoding made music files small and transportable. Consumers could now buy or trade, steal or give away only the songs they wanted or liked from a particular album.

Ironically, the process for developing the MP3 almost died during development. Karlheinz Brandenburg, often called the "father of MP3," was a specialist in mathematics and electronics who had been researching methods of compressing music beginning in 1977. In an interview with Intel, Brandenburg described how MP3 technology took several years to fully develop and almost failed, stating "In 1991, the project almost died. During modification tests, the encoding simply did not want to work properly. Two days before submission of the first version of the MP3 codec, we found the compiler error."

It is unfair to compare the quality of the albums released during the vinyl era (when making and distributing an album was an expensive process) to the quality of the albums released during the CD and MP3 era. With the development of the MP3, the concept of the album skewed toward one or two good songs interspersed with simple filler. No wonder then that quality and clarity on an album was so much better during the 1960s and 1970s. In the earlier era record labels could not risk releasing an artist's LP until it contained the best possible music, mastering and production.

Ultimately, the "album" was rapidly becoming an obsolete concept. The boom of independent music had changed the dynamics of the music industry. The internet gave indie musicians a platform to directly distribute their music, thus bypassing the need for major label representation. Some great music was released, but a lot of average stuff was too. What we saw was an explosion of mediocrity. Many avant-garde recording artists made a name for themselves with a virally spread song followed by a quick descent into obscurity. The motivation to innovate became inversely proportional to the low cost of making albums.

Among mainstream musicians, it became commonplace to release an album that contained only one or two songs worthy of being released. But there were some wonderful exceptions in 1995. Pearl Jam (Vitology), Radiohead (The Bends), The Smashing Pumpkins (Mellon Collie & The Infinite Sadness) and Ween (Chocolate And Cheese) released critically acclaimed records that year. Commercially successful albums in 1995 included "Jagged Little Pill" by Alanis Moreissette, "Pieces Of You" by Jewel and "Cracked Rearview Mirror" by Hootie & The Blowfish (both debuts), "Division Bell" by Pink Floyd, and "Tragic Kingdom" by No Doubt. Michael Jackson released his first double-album "HIStory," which became the best-selling multiple-album of all-time, with 22 millions copies sold worldwide. On December 4th, The Beatles released "Free As A Bird" as their first new single in 25 years.





Jerry Garcia died on August 9th, probably the most tragic event of the year, musically speaking. On a high note, Bruce Springsteen reformed the E-Street Band for arguably the most successful tour of the year. In fact, large scale tours of historically successful artists helped the major labels to keep the indie artists at bay. Concert tours in 1995 by U2, The Rolling Stones, Pink Floyd, The Eagles (who reformed in 1994) and Bruce Springsteen & The E-Street Band remain among the top-grossing tours of all-time. How ironic that Jerry Garcia died just as the whole scene morphed into the ultimate in capitalism and consumerism. The idealism of the hippie age had died with Garcia as music was becoming more and more faceless.


Playlist Adds For Friday Flashback 1995

001. All Mixed Up by 311
002. Don't Stay Home by 311
003. Down by 311
004. Freak Like Me by Adina Howard
005. Hand In My Pocket by Alanis Morissette
006. Right Through You by Alanis Morissette
007. You Learn by Alanis Morissette
008. You Oughta Know by Alanis Morissette
009. Grind by Alice In Chains
010. Waiting In Vain by Annie Lennox
011. Good by Better Than Ezra
012. Hook by Blues Traveler
013. Run Around by Blues Traveler
014. The Mountains Win Again by Blues Traveler
015. The Ghost Of Tom Joad by Bruce Springsteen & Tom Joad
016. Secret Garden by Bruce Springsteen
017. Glycerine by Bush
018. December by Collective Soul
019. The World I Know by Collective Soul
020. Gangsta's Paradise by Coolio
021. Ants Marching by Dave Matthews Band
022. Jimi Thing by Dave Matthews Band
023. The Best Of What's Around by Dave Matthews Band
024. Warehouse by Dave Matthews Band
025. What Would You Say? by Dave Matthews Band
026. Breakfast At Tiffany's by Deep Blue Something
027. Roll To Me by Del Amitri
028. Hey Man Nice Shot by Filter
029. Big Me by Foo Fighters
030. This Is A Call Foo Fighters
031. Stupid Girl by Garbage
032. Til I Hear It From You by Gin Blossoms
033. Name by The Goo Goo Dolls
034. Brain Stew by Green Day
035. Asking For It by Hole
036. Only Wanna Be With You by Hootie & The Blowfish
037. Space Cowboy by Jamiroquai
038. Runaway by Janet Jackson
039. Last Goodbye by Jeff Buckley
040. I Kissed A Girl by Jill Sobule
041. One Of Us by Joan Osborne
042. Stay (I Missed You) by Lisa Loeb
043. I Alone by Live
044. Lightning Crashes by Live
045. Selling The Drama by Live
046. Human Nature by Madonna
047. Protection by Massive Attack
048. Weather Storm by Massive Attack
049. Carnival by Natalie Merchant
050. Wonder by Natalie Merchant
051. 1963 by New Order
052. The Man Who Sold The World (live) by Nirvana
053. Just A Girl by No Doubt
054. Spiderwebs by No Doubt
055. Champagne Supernova by Oasis
056. Wonderwall by Oasis
057. Send His Love To Me by PJ Harvey
058. Better Man by Pearl Jam
059. Corduroy by Pearl Jam
060. Nothingman by Pearl Jam
061. Take It Back by Pink Floyd
062. What Do You Want From Me by Pink Floyd
063. Wynona's Big Brown Beaver by Primus
064. Crush With Eyeliner by R.E.M.
065. Strange Currencies by R.E.M.
066. Fake Plastic Trees by Radiohead
067. High And Dry by Radiohead
068. Just by Radiohead
069. My Iron Lung by Radiohead
070. Street Spirit (Fade Out) by Radiohead
071. Aeroplane by Red Hot Chili Peppers
072. Walkabout by Red Hot Chili Peppers
073. Kiss From A Rose by Seal
074. Cumbersome by Seven Mary Three
075. Tear Stained Eye by Son Volt
076. Windfall by Son Volt
077. The Day I Tried To Live by Soundgarden
078. Big Empty by Stone Temple Pilots
079. Interstate Love Song by Stone Temple Pilots
080. Pretty Penny by Stone Temple Pilots
081. Still Remains by Stone Temple Pilots
082. Vasoline by Stone Temple Pilots
083. Free As A Bird by The Beatles
084. Turn It On by The Flaming Lips
085. 1979 by The Smashing Pumpkins
086. By Starlight by The Smashing Pumpkins
087. Galapagos by The Smashing Pumpkins
088. Thirty-Three by The Smashing Pumpkins
089. Tonight, Tonight, Tonight by The Smashing Pumpkins
090. Zero by The Smashing Pumpkins
091. Ten Storey Love Song by The Stone Roses
092. Your Star Will Shine by The Stone Roses
093. History by The Verve
094. On Your Own by The Verve
095. It's Good To Be King by Tom Petty
096. You Wreck Me by The Stone Roses
097. Mother Mother by Tracy Bonham
098. Hold Me, Thrill Me, Kiss Me, Kill Me by U2
099. Days Like These by Van Morrison
100. I Can't Put My Finger On It by Ween
101. Buddy Holly by Weezer
102. Passenger Side by Wilco
103. Flying Lesson (Hot Chicken #1) by Yo La Tengo
Album art from 1995 - Click album cover to purchase at Amazon.com



Previous In This Series: Friday Flashback 1986

07 May 2011

Jivewired Top 25 Songs For April 2011

The list is based upon listener ratings on Jivewired Radio and at Jivewired.com for the period of April 1, 2011 through April 30, 2011 inclusive. Listeners can rate songs through an application on our radio player. A minimum of 10 spins for the month is required to qualify.

Our mission at Jivewired Radio: Promote indie artists and their music. The music we play on Jivewired Radio (powered by Live365) is made available to you by artists and labels. If there's a particular artist or band you really dig on, show some love; click a link, buy a LP, go to a show and spread the word. You can listen by clicking on the following link: Launch Jivewired Radio

You see we have a new format. Songs and/or albums can be purchased by clicking on any album artwork. For a mini-review, simply mouse over the cover art. We've notated outside sources for content, and we hope those writers are cool with that. If not, going forward, we'll write up something for each artist.

Listener's Poll Top 25 Spins For April 2011

01. Buick City by Whitey Morgan & The 78's
from the album "Whitey Morgan & The 78's"
Label: BLOODSHOT RECORDS


02. Little Lion Man by Mumford & Sons
from the album "Sigh No More"
Label: GLASSNOTE RECORDS


03. Beach House by Norway
from the album "Teen Dream"
Label: SUB POP RECORDS


04. Hedonist by Sharon Lang
from the album "Lovers And Thieves"
Label: PER CAPITA RECORDS


05. Tighten Up by The Black Keys
from the album "Brothers"
Label: NONESUCH RECORDS


06. Chinatown by Destroyer
from the album "Kaputt"
Label: MERGE RECORDS


07. Jesus by Amos Lee
from the album "Mission Bell"
Label: BLUE NOTE RECORDS


08. Sorry by The Smithereens
from the album "2011"
Label: eONE MUSIC


09. Ma Grand-mere Charmante by Left On Red
from the album "Left On Red"
Label: LEFT ON RED/SPACE HELMET MUSIC


10. Good Evening by The Concretes
from the album "WYWH"
Label: FRIENDLY FIRE RECORDINGS


11. Hard To Save by Shannon Wurst
from the album "What's More Honest Than A Song?"
Label: FANCY MAYHEM RECORDS


12. Barton Hollow by The Civil Wars
from the album "Barton Hollow"
Label: SENSIBILITY MUSIC LLC


13. Take Your Medicine by The Quick & Easy Boys
from the album "Red Light Rabbit"
Label: PER CAPITA RECORDS


14. In Sleep by Lissie
from the album "Catching A Tiger"
Label: FAT POSSUM RECORDS


15. Human Condition by Joan As Police Woman
from the album "The Deep Field"
Label: [PIAS] AMERICA


16. Horses by Brad Yoder
from the album "Excellent Trouble"
Label: REVERIE RECORDS


17. Here To Pay My Dues by Baskery
from the album "Fall Among Thieves"
Label: VERANDA RECORDS


18. The Poet by Ryan Bingham & The Dead Horses
from the album "Jinky Star"
Label: LOST HIGHWAY RECORDS


19. Nothing Personal by Ana Popovic
from the album "Blind For Love"
Label: ECLECTO GROOVE RECORDS


20. The Diamond Church Street Choir by The Gaslight Anthem
from the album "American Slang"
Label: SIDE ONE DUMMY RECORDS


21. Harlem River Blues by Justin Townes Earle
from the album "Harlem River Blues"
Label: BLOODSHOT RECORDS


22. I Don't Feel Young by Wye Oak
from the album "Civilian"
Label: MERGE RECORDS


23. Across The Sun by We Landed On The Moon!
from the album "This Will Be One For The Books"
Label: WE LANDED ON THE MOON!


24. Big Star by Rachael Sage
from the album "Delancey Street"
Label: MPRESS RECORDS


25. Molly's Vertigo by Acrylics
from the album "Lives And Treasure"
Label: FRIENDLY FIRE RECORDINGS


Previous In This Series: Jivewired Radio Top 20 Songs For March 2011

See Also: Jivewired Radio Year End Listeners Poll - Top 50 Spins For 2010

*Note: Listening statistics are provided by Live365 as part of our contractual agreement as a Pro Station Broadcaster. Jivewired currently has a total of 18,235 songs in our library that are played randomly at any given time, with about 2,500 songs programmed for airplay in any given month.

06 May 2011

Friday Flashback 2002

FRIDAY FLASHBACK: Every Friday we set the Wayback Machine to one year in rock history and give you the best (and worst) music from that year, all day long beginning at 5AM EST on Jivewired Radio powered by Live365. This week: 2002 Next Week: 1969. To listen: Launch Jivewired Radio



A puzzling paradigm shift at the turn of the century put the audiophile on the endangered species list, and if that seems a bit drastic, at the very least the music industry platformed itself with that very intention. 2002 saw a dramatic reversal of a 30-year trend toward high fidelity equipment purchases by consumers. The widespread diffusion of lo-fi equipment into the marketplace, whether it be high-speed internet connections or advances and increased storage capacity of MP3 players skewed the majority of consumers away from higher quality listening and playback devices. Arguably, the consequence of less sophisticated playback fidelity and recording quality was a lower degree of instrumental prowess masked by an increased amount of layering and loudness in the recording process. The motivation to produce chromatically sophisticated music centered on technical expertise rather than talent or musical experimentation and innovation. Playback optimization fell victim to output compression creating more noise and less true music.

In a sense, the very concept of recorded music as a whole underwent a dramatic evolution: instead of music being the summation of a period, it became merely a sample of that period's sound. Labels paid less attention to the crafting of impeccable songs. Recording artists were signed less for talent and more for marketability, i.e., the "face" took precedent over the "voice" - because the sound could simply be digitally enhanced or manipulated. Labels contented themselves with documenting their new catalog, as well as their existing library, with a multi-layered and compressed recording of their artists' music. In a manner of speaking, consumers were purchasing the demo (or what the standards of a demo were defined as previously) rather than the finished, mastered product (or what the standards for the finished, mastered product were defined as previously). As consumers and audiophiles we became superficial listeners. Or rather, we were generally forced to.

To understand digitally compressed files, think about a pizza layered with your favorite toppings and how wonderfully delicious that first bite would be. Now imagine taking a slice and while it is in your hand, balling it up as tightly as possible, and then popping it into your mouth. You'll find that the taste has been quite compromised. That's exactly what happens to your digitally compressed MP3 files.





Still some great music was released in 2002, and musicians united in the aftermath of 9/11 to produce songs of hope, comfort and community. A memorable performance by U2 at Superbowl XXXVI was a tribute to the victims of the terrorist attacks of September 11, 2001. Likewise, Bruce Springsteen's album "The Rising" centered around Springsteen's reflections on the New York City incidents. It's been rumored that Springsteen got the inspiration for the album a few days afterward, when a stranger in a car stopped next to him, wound down his window and said: "Bruce, we need you now." Springsteen also told this story to journalist Mark Binelli in the August 22 2002 issue of Rolling Stone. "My City of Ruins" was originally performed in, and written about, Asbury Park, New Jersey. After its performance by Springsteen on the post-September 11 "America: A Tribute to Heroes" telethon, however, the song took on an expanded meaning. Rolling Stone Magazine ranked "The Rising" #15 on its list of 100 Best Albums of the Decade.

In 2002, the Eagles finished mastering a new greatest hits album. The two-disc compilation was the first that encompassed their entire career. The album also included a new single, the September 11-themed "Hole in the World". The album debuted at #3 on the Billboard charts and eventually gained triple platinum status.

Also, Avril Lavigne, Coldplay, Maroon 5, Norah Jones, and The Strokes had break out years in 2002. Eminem had a very successful year as well. His album "The Eminem Show" was one of the decade's most popular and sold in excess of 8 million copies in the United States alone. The song "Lose Yourself" held the top spot on Billboard's Hot 100 for the final 9 weeks of 2002. Critically acclaimed releases from veterans such as Beck, Jurassic 5, Sonic Youth, Spoon, the Flaming Lips, and Wilco all charted, many of them considered some of the best work of their respective careers. In fact, "Yankee Hotel Foxtrot" by Wilco and "Yoshimi Battles The Pink Robots" by The Flaming Lips were #1 and #2 on many year end lists for best album of 2002.



Playlist Adds For Friday Flashback 2002

001. Dangerous Game by 3 Doors Down
002. Here Without You by 3 Doors Down
003. When I'm Gone by 3 Doors Down
004. Amber by 3 Doors Down
005. A Woman's Worth by Alicia Keys
006. Swing Swing by The All-American Rejects
007. 32 Flavors by Ani Difranco
008. The Boys Of Summer by The Ataris
009. I Am The Highway by Audioslave
010. Like A Stone by Audioslave
011. Complicated by Avril Lavigne
012. Lonesome Tears by Beck
013. I'll Be Your Man by The Black Keys
014. Leavin' Trunk by The Black Keys
015. The Breaks by The Black Keys
016. Bounce by Bon Jovi
017. Girl All The Bad Guys Want by Bowling For Soup
018. Medicate by Breaking Benjamin
019. Lonesome Day by Bruce Springsteen
020. My City Of Ruins by Bruce Springsteen
021. The Rising by Bruce Springsteen
022. Wherever You Will Go by The Calling
023. They'll Only Miss You When You Leave by Carissa's Wierd
024. Hero by Chad Kroeger feat. Josey Scott
025. Clocks by Coldplay
026. God Put A Smile On Your Face by Coldplay
027. Green Eyes by Coldplay
028. Warning Sign by Coldplay
029. Big Yellow Taxi by Counting Crows
030. 7 Days by Craig David
031. My Sacrifice by Creed
032. Ants Marching (live) by The Dave Matthews Band
033. Grace Is Gone by The Dave Matthews Band
034. Grey Street by The Dave Matthews Band
035. Where Are You Going> by The Dave Matthews Band
036. Babylon by David Gray
037. The Other Side by David Gray
038. A Movie Script Ending by Death Cab For Cutie
039. Days Go By by Dirty Vegas
040. Prayer by Disturbed
041. Landslide by The Dixie Chicks
042. Take It Off by The Donnas
043. Hole In The World by The Eagles
044. A Little Less Conversation by Elvis Presley vs. J-XL
045. Superman by Eminem
046. Over The Rainbow (live) by Eric Clapton
047. Do You Realize?? by The Flaming Lips
048. Drunken Lullabies by Flogging Molly
049. All My Lifeby The Foo Fighters
050. Let Go by Frou Frou
051. Lifestyles Of The Rich & Famous by Good Charlotte
052. Soulshine by Gov'T Mule
053. Cecil Brown by Hank Williams III
054. Running Away by Hoobastank
055. The Remedy (live) by Jason Mraz
056. Anger Rising by Jerry Cantrell
057. Solitude by Jerry Cantrell
058. The Middle by Jimmy Eat World
059. No Such Thing by Jon Mayer
060. Why Georgia (live) by John Mayer
061. Can't Get You Out Of My Head by Kylie Minogue
062. Electrician's Day by Liam Lynch
063. In The End by Linkin Park
064. Papercut (live) by Linkin Park
065. She Will Be LOved by Maroon 5
066. Sunday Morning by Maroon 5
067. This LOve by Maroon 5
068. Bright Lights by Matchbox Twenty
069. Unwell by Matchbox Twenty
070. Pocketbook by Me'Shell Ndege'Ocello
071. Get Me Naked 2: Electric Boogaloo by Minus The Bear
072. I Lost All My Money At The Cockfights by Minus The Bear
073. Beauty On The Fire by Natalie Imbruglia
074. How You Remind Me by Nickelback
075. Hella Good by No Doubt
076. Just A Girl (acoustic) by No Doubt
077. Cold Cold Heart by Norah Jones
078. I've Got To See You Again by Norah Jones
079. That Was A Crazy Game Of Poker (live) by O.A.R.
080. Ready Steady Go by Paul Oakenfeld
081. Starry-Eyed Surprise by Paul Oakenfeld
082. Love Boat Captain by Pearl Jam
083. Life On A Chain by Pete Yorn
084. Strange Condition by Pete Yorn
085. Never Like This Before by Peter Wolf
086. Just Like A Pill by Pink
087. Blurry by Puddle Of Mudd
088. She Hates Me by Puddle Of Mudd
089. Everybody's Gonna Be Happy by Queens Of The Stone Age
090. No One Knows by Queens Of The Stone Age
091. By The Way by The Red Hot Chili Peppers
092. The Zephyr Song by The Red Hot Chili Peppers
093. The Game Of Love by Santana featuring Michelle Branch
094. Soak Up The Sun by Sheryl Crow
095. New Slang by The Shins
096. Sister Surround by The Soundtrack Of Our Lives
097. Last Nite by The Strokes
098. Is This It? by The Strokes
099. Grace by Supergrass
100. Seen The Light by Supergrass
101. Toxicity by System Of A Down
102. Lebanese Blonde by Thievery Corporation
103. The Last DJ by Tom Petty
104. Something More by Train
105. Drift Away by Uncle Kracker
106. A Thousand Miles by Vanessa Carlton
107. Island In The Sun by Weezer
108. I'm In Love With A Girl by White Stripes
109. Jesus, etc. by Wilco
110. In The Waiting Line by Zero 7

Album art from 2002 - Click album cover to purchase at Amazon.com



Previous In This Series: Friday Flashback 1986